Ocean Waves (1993)

Tags

Animation, Anime, Drama, Romance

(The prompt for Day 3 of NaPoWriMo was to create a “Personal Universal Deck” of self-descriptive words, so I tried to come up with some word impressions for the characters of a lesser Ghibli film.)

Waves on the beach,
Wisdom to teach,
Woman and leech,
Scorning my speech.

Waves on my mind,
Wicked and kind,
Who she maligned
Is no longer blind.
__________________________

MPA rating:  PG-13 (for thematic material, very little objectionable)

I love so many Studio Ghibli films, but there are a few gaps I’ve been trying to fill, lesser-known works that have slipped through the cracks. Ocean Waves is one of them, an early ‘90s TV film based on a novel that was meant to give the younger animators a chance to show their stuff. It’s one of those subdued high school stories with a melodramatic love triangle that isn’t bad but can’t escape an overall dullness.

Told largely in flashback, the tale follows Taku as a high schooler who learns his friend Yutaka has a crush on a new girl named Rikako, and Taku is soon pulled into her life and drama more than he expected or wanted. My mom initially didn’t like Forrest Gump because of the way Jenny treated Forrest, and Rikako is in a similar mold. She manipulates, lies, uses people, and barely shows any remorse, yet her actions are eventually viewed with fondness. A high school reunion near the end hits some excellent nostalgic poignancy, but the main two characters aren’t exactly typical romance material, to the point that some have said the two male friends have more chemistry than the central “couple.”

Again, Ocean Waves is well-animated and not terrible, but it’s low-tier Ghibli with very little personality of its own and many tropes that have been done much better elsewhere. In fact, my favorite Ghibli film Whisper of the Heart has a lot of the same ingredients (high school love triangle, boy and girl who dislike each other at first) and yet has so much more character and passion to it. Perhaps Ocean Waves was just the warm-up.

Rank: Honorable Mention

© 2021 S.G. Liput
722 Followers and Counting

2020 Blindspot Pick #6: Moulin Rouge! (2001)

Tags

Comedy, Drama, Musical, Romance

They say not to judge a book by its cover:
A frontispiece hater could turn to a lover,
If only you got to the end.

You may still despise it a few chapters in,
But stopping too early is almost a sin,
For still you do not know the end.

You may get halfway and still loathe it intensely,
And yet sticking with it could pay off immensely,
If only you got to the end.

Not much more to go, but you’re tempted to quit?
That’s something that nobody wants to admit,
For still you do not know the end.

You finished! I see, and your hatred’s the same?
I thought you would like it, so that is a shame,
At least, though, you now know the end.
________________________

MPA rating:  PG-13 (for much sexual innuendo)

Oh, Baz Luhrmann, I don’t know what to make of you. I take pride in enjoying musicals, and I fully expected to like Moulin Rouge! if only for its status as a jukebox musical. I knew it incorporated more modern songs into its 1900 Parisian setting, so I was prepared for the requisite anachronisms. But my gosh, I haven’t watched a film that was this bipolar in tone since, well, Strictly Ballroom, also by Luhrmann.

I remember Strictly Ballroom as a wholly unique experience. It started out as an obnoxious mockumentary that I was certain I disliked after the first few minutes, but then it just kept getting better, from the romance to the dancing, until it actually won me over by the end. Moulin Rouge! attempts to do the same thing but not nearly as well. The story follows the tragic love story of young poet Christian (Ewan McGregor), who is hastily initiated into a troupe of Bohemian artists and introduced to the lovely Satine (Nicole Kidman), starlet of the Moulin Rouge cabaret and desire of a jealous duke (Richard Roxburgh). That short plot description sounds normal enough, but the in-your-face style is utterly insufferable for the first thirty minutes, with rushed character introductions, sudden tone shifts, cartoonish sound effects, lowbrow humor, choppy editing, and hard-to-decipher dialogue during the musical numbers. My VC decided to stop watching entirely, and I considered it too, though my Blindspot obligation made me stick with it. I read that Luhrmann was trying to channel the tonal rollercoaster of a Bollywood film he had seen, but all his extravagance does is make it difficult to take anything seriously.

And then, slowly but surely, the romance element grows more intense and more serious, managing to achieve the intended epic tragedy of the star-crossed lovers. Despite partaking in a few of the puerile scenes that made me wonder how this movie snagged eight Oscar nominations, McGregor and Kidman are the film’s greatest strength, sporting palpable chemistry and decent musical chops. Their bravura medley of love-themed songs was the first clue that Moulin Rouge! might have more to offer than the beginning indicated.

Yet even if the core romance works well, so much else does not. The musical numbers and the choice of who sings them are a mixed bag and brought to mind the why-not(?) silliness of Mamma Mia! Just as I didn’t really need to hear Julie Walters sing “Take a Chance on Me,” I could have happily gone through life without hearing Jim Broadbent croon “Like a Virgin.” I admired the sheer number of recognizable songs used, but how they were deployed was often cringe-inducing. And even if the tone gets more serious over time, the film still indulges in occasional sound effects that undermine the pathos.

Moulin Rouge! is a case where its substance is upstaged by its distracting style. Strictly Ballroom managed to even out its tone and become a serious feel-good romance, and I suppose that’s easier than transitioning from surreal comedy to heartbreaking tragedy. I am aware that some people are able to look past Moulin Rouge’s faults and enjoy its over-the-top stylings, such as the Oscar-winning art direction and costumes, and I’m glad they can. I’ll acknowledge it’s original and took a risk, but this is one style I can affirm is not for me.

Best line: (several characters, quoting the song “Nature Boy”) “The greatest thing you’ll ever learn is just to love and be loved in return.”

Rank:  Semi-Dishonorable Mention (a rarely used ranking to reflect my mixed feelings)

© 2020 S.G. Liput
708 Followers and Counting

I Lost My Body (2019)

Tags

Animation, Drama, Fantasy, Foreign, Romance

A hand without a body or a man without a hand –
Which would be more piteous or prone to reprimand?
The hand is guiltless, lacking fault; its owner bears the blame
Of entering a situation liable to maim.
The hand is helpless, lacking mind; its owner bears the thought
That they may wish to clap and clasp two hands and yet cannot.
The hand is listless, lacking will; its owner bears the task
Of moving on and living life behind a fragile mask.

The former owner bears so much, yet his lot I’d prefer
Than that poor hand that cannot even know how things once were.
Pity the hand but love the stump and all to it attached.
At bouncing back from tragedy, we humans are unmatched.
____________________________

Rating: TV-MA (should be PG-13)

I take the Best Animated Feature Oscar perhaps more seriously than others do. After superb anime films like Your Name or Maquia have been spurned in recent years, I take notice when the Academy deems other foreign films worthy of the honor of nomination. The seventh French production to earn such a nomination was last year’s I Lost My Body, a strangely poetic meditation on loss that happens to involve a severed hand.

At first, we don’t know how the severed hand came to be, though; the film starts out with the appendage “waking up” in the macabre fridge of a hospital and figuring out how to walk and jump with its fingers, like a more mobile Thing from The Addams Family. Cut then to the past and sullen pizza delivery guy Naoufel (Dev Patel in the quite good English dub), whose childhood of joy and trauma is recounted in flashback throughout the film. In failing to deliver a pizza, he becomes acquainted with a librarian named Gabrielle (Alia Shawkat) and takes up a job as a woodworker to get closer to her. Edited into this more grounded story, Naoufel’s future hand (which is evident from a scar they both have) makes its way across Paris in search of its owner.

It’s hard to call any movie about an animate severed hand anything but strange and morbid, but I Lost My Body treats it as an extended metaphor, which, as I said before, grows surprisingly poetic, heightened by a memorably haunting score. The close calls of the hand’s travels across a dangerous urban landscape provide thrilling visuals, while Naoufel’s struggles offer bittersweet human drama. Naturally, the film’s ultimate lead-up is to how the hand and its owner were separated, which is both cringeworthy and deeply symbolic.As an art film that happens to be animated, I Lost My Body’s main drawback for me is how open-ended it is, not offering much closure beyond what viewers choose to interpret. What does the hand represent? It’s up to you, I suppose. At one point, Naoufel is criticized for not knowing another character is sick and accused of not truly caring; the film never mentions it again, so I guess the film doesn’t care much either. Despite this, I’ve often said that I enjoy animations that can delve into mature themes without wallowing in mature content, and I Lost My Body fits that laudable mold. Amid last year’s nominations, Missing Link was the weak link that should have been replaced last year, preferably with Weathering with You; while imperfect, I Lost My Body is a worthy nominee.

Best line: (Gabrielle) “Once you’ve dribbled past fate, what do you do?”
(Naoufel) “You try to keep away from it. You run blindly… and keep your fingers crossed.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
697 Followers and Counting

 

2020 Blindspot Pick #3: Annie Hall (1977)

Tags

Comedy, Drama, Romance

Love is hard to pin down –
What it is, where it’s from,
Why it makes you a clown
Or remarkably dumb,
Why it strokes you one minute with gentle caress
And pounds you the next with a cold callousness,
Why it fills you with joy at a memory made
That turns bittersweet as the joyful times fade,
Why it brings you to tears
At the thought of a laugh,
Why the grain is so worth
The abundance of chaff.
No, I can’t explain it, doubt anyone could.
You’ll know when you feel it, the bad and the good.
________________________

MPA rating: PG (should be PG-13 nowadays)

Have you ever watched a movie that you can appreciate for everything it does well but still just not connect with it? That was my reaction to Annie Hall. This Best Picture-winning rom com is among Woody Allen’s most iconic films, and I can see why. From innovative storytelling to an insightful script, it deserved acclaim, but I can only offer it so much.

Allen himself plays Alvy Singer, a neurotic Jewish comedian, who after a couple failed marriages, falls for the offbeat beauty Annie Hall (Diane Keaton), with whom he shares a rollercoaster of a romance. The longer I watched Annie Hall, the more a thought continued to grow in my mind: “This is just like (500) Days of Summer!” Sure, Alvy has little in common with Joseph Gordon-Levitt’s character in that much later film, but there were so many parallels: the non-linear storyline, the quirky girlfriend, the occasional use of split-screen, the digressions with unconventional styles (an animated sidebar here vs the musical number in the other), the ultimate depression as a once happy romance peters out. The 2009 film is practically a remake, though not exactly, sort of how I felt about the plot similarities between Hidden and A Quiet Place.

Annie Hall has so many creative choices that just feel unique and revolutionary even, such as Alvy repeatedly breaking the fourth wall, the visual representation of how a lover feels distant, characters’ inner thoughts being shown as subtitles to contrast with what they’re saying, or his discussions with random people on the street as if they were parts of his subconscious. And then there were the plethora of cameos, from Paul Simon and Carol Kane in larger roles to Christopher Walken used for a one-off gag, not to mention certain stars who had yet to become famous, like Jeff Goldblum, John Glover, and Sigourney Weaver.

And yet, for all those strengths that I enjoyed, I was left feeling oddly cold. For the film being considered the 4^th greatest comedy by AFI, I recall a chuckle here and there but no big laughs; it was full of lines where I didn’t laugh but instead thought, “That’s humorous,” which doesn’t seem like what a comedy should do. Perhaps it was the presence of Woody Allen himself. His overly neurotic Alvy, obsessed with death and Jewish discrimination, is quite a character, but I couldn’t stand to be around someone like him in real life. Plus, there’s the mental baggage of the real-life Allen and the scandalous allegations surrounding him. My VC says he makes her skin crawl and didn’t enjoy the film because of him; the only film with him she rather liked was The Curse of the Jade Scorpion, in which he’s constantly disparaged.

So, I guess I can count Annie Hall with so many other classics that just didn’t quite live up to expectations, right alongside the likes of The Third Man and The Philadelphia Story. I can appreciate it for its groundbreaking eccentricities, but when I consider that it won Best Picture over Star Wars, I just have to shake my head. Considering all the things I liked in Annie Hall, I just thought I would like the whole package more.

Best line: (Alvy Singer’s Therapist) “How often do you sleep together?”
(Annie Hall’s Therapist) “Do you have sex often?”
(Alvy, lamenting) “Hardly ever. Maybe three times a week.”
(Annie, annoyed) “Constantly. I’d say three times a week.”

 

Rank: Honorable Mention

 

© 2020 S.G. Liput
692 Followers and Counting

 

2020 Blindspot Pick #2: Double Indemnity (1944)

Tags

Classics, Drama, Romance, Thriller

A murderer for money never thinks that he or she
Will be found out like all the rest who murdered foolishly.
“Those others never thought it through; they never planned it out;
They just weren’t careful to remove the slightest shred of doubt.
They acted on an impulse, failed to hide the fatal flaw,
But we would know exactly how to circumvent the law.
We’re smarter, right? More clever, right? When one of us commits,
No justice could contend in this, the coldest war of wits.”

Deep down within the killer’s mind, unconsciously or not,
They soothe themselves with thoughts like these to justify their plot.
And always they delude themselves, for justice, soon or late,
Will find out every criminal and lead them to their fate.
________________________

Rating: Passed/Approved (an easy PG)

Darn, I did not expect to post only one review in the whole month of May, but college is as college does. Nevertheless, I’m back to continue my long-delayed Blindspot series. (Now I’m only four behind this year!) I’ve heard of Double Indemnity for years, noticing its high placement on lists by AFI and other film organizations, yet I never really knew what the name even meant, not being versed in insurance terminology. As it turns out, I’ve seen versions of this plot plenty of times on true crime shows, but this influential film noir treatment brought it to a national audience way back in 1944.

Based on a James M. Cain novella, the script for Double Indemnity was the result of a tenuous collaboration between director Billy Wilder and famed detective novelist Raymond Chandler. As such, it utilizes a clever tool for narration; right from the beginning, insurance salesman Walter Neff (Fred McMurray) admits into a dictaphone his role in the death of a man named Dietrichson, beginning an extended flashback of his plot. After meeting the man’s alluring wife Phyllis Dietrichson (Barbara Stanwyck), Neff allows her to talk him into a murder conspiracy to get rid of her distant husband and collect on some ill-gotten life insurance, with Neff using his insurance experience to sweeten the pot with a double indemnity clause (which doubles the payment in the case of certain unlikely causes of death, such as a train accident). Yet, their “perfect crime” slowly unravels as Neff’s boss (Edward G. Robinson) becomes more and more suspicious during the investigation.

I haven’t seen many films of the film noir genre, but Double Indemnity certainly fits the bill with its shadowy angles and conspiratorial tension and indeed predates the widespread use of the term by a couple years. Plus, Barbara Stanwyck is a quintessential femme fatale figure, manipulating McMurray’s everyman character into taking charge of the plot she initiates. The film was apparently controversial for its portrayal of murder, which is tame by today’s standards, but the characters’ growing anxiety after the deed is done translates well to the audience. As Neff is forced to “assist” Robinson’s skeptical insurance man in following a trail that leads back to him, I happened to think of other similar plots that must have taken some inspiration from this one, such as 1987’s No Way Out.

Double Indemnity is a Grade-A film noir, but I can’t say it’s a new favorite since film noir is far from my favorite genre. Neff and Stanwyck do a fine job as the conspirators, but their cynically flowery dialogue, sometimes clever, is also sometimes a bit much, carrying on metaphors in ways people just don’t talk, though that’s mainly at the beginning. Robinson, though, is in top form here, stealing his scenes with a vocal panache that can’t be taught. I don’t always have to love a film to recognize it as a classic, and Double Indemnity is, another cinematic testament to the lesson “crime does not pay.”

Best line: (Neff) “Do I laugh now, or wait till it gets funny?”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
689 Followers and Counting

2020 Blindspot Pick #1: What a Way to Go! (1964)

Tags

Classics, Comedy, Musical, Romance

(Today’s NaPoWriMo prompt was to write about a homemade gift, so I merged one I’ve given myself with the set-up of a classic ‘60s film.)

I asked a rich woman what she valued most
Of all the excess she possessed.
She told me of gems from the Ivory Coast,
But they were not what she loved best.

Her multiple husbands had filled her accounts
And heaped her with riches obscene.
But Fabergé eggs and saffron by the ounce
No longer enticed such a queen.

The canvas and carvings of classical pros,
Which every museum would covet,
Served only to gild both the lily and rose,
For only one thing made her love it.

A small piece of paper with “I Heart You” on it
From when her first love was dirt poor.
It quite overshadowed a jewel or a sonnet,
For less with nostalgia is more.
__________________________

MPA rating: Approved (due to some steamy romantic scenes, I’d say it straddles the line between PG and PG-13)

It’s a shameful embarrassment that it’s taken four months for me to finally review the first of my Blindspot picks. Life and work and a certain virus have just delayed my access to actually watching any of the twelve movies I selected at the beginning of the year, but here at last I have begun my catch-up. Before I chose my picks, my mom told me that 1964’s What a Way to Go was one of my late dad’s favorite movies, which surprised me because I never saw it with him or heard him talk about it. But he introduced it to her, and now she’s done the same for me.

Black comedies are a difficult balance of two contrasting genres, so what would such a balance look like in the comparative innocence of a 1964 film? What a Way to Go! is the answer. Shirley MacLaine plays a young widow trying to get rid of her vast amounts of wealth, her inheritance from multiple dead husbands, and after a psychiatrist (Bob Cummings) thinks she’s crazy, she recounts the varied tales of how she accidentally led her lovers to both wild success and early graves.

The best thing about What a Way to Go! is its cast: Dean Martin as a snooty playboy, Dick Van Dyke as an everyman-turned-busybody, Robert Mitchum as a suave millionaire, Gene Kelly as a talented performer, and Paul Newman (as I’ve never seen him before) playing a gruff expatriate. Some of the roles are tailor-made for the actor, such as Gene Kelly’s presence allowing for a song-and-dance number, while others seem designed to make them play against type. It seemed odd seeing Shirley MacLaine so young and attractive when I’ve mainly seen her as a grumpy older lady in Terms of Endearment or Steel Magnolias, but she does a great job as the unluckily lucky widow, even holding her own alongside Gene Kelly when dancing.Most of the goings-on are fairly silly, with the husbands’ unusual (non-graphic) deaths earning more laughs than grief, including a gag that’s crept up elsewhere about trying to milk a male cow. I especially liked how each marriage is compared with a different film genre, launching into a series of vignettes recalling silent comedies, foreign art films, musicals, or posh dramas with ridiculously extravagant costumes from the great Edith Head. All in all, What a Way to Go! was a delightful bit of lightweight absurdity, finding hilarity in repeated tragedy and managing to land a happy ending. It certainly looked like everyone involved had fun making it, as I did watching it.

Best lines: (announcer) “Tonight, in ‘Flaming Lips,’ Pinky Benson proved that a comedy can run five and a half hours. Earlier today, Pinky told us his next film will run seven and a half hours.”

and

(Larry Flint/Paul Newman) “Money corrupts. Art erupts.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
680 Followers and Counting

 

VC Pick: Top Gun (1986)

Tags

Action, Drama, Romance, VC Pick, War

(Today’s NaPoWriMo prompt was for an effusive poem of over-the-top praise, so I just kind of let my imagination run with it.)

Although it’s been said many times, many ways,
The feats at your feet never fail to amaze.
You stand high above every other by far.
If we were all Beatles, you’d drive every car.
You mass-produce marvels; you trigger the awe
Of both proletariat and the bourgeois.
You’re such a sensation, a spectacle said
To paint, not the town, but the whole county red.
The scholars no longer use language defining
The word “awesome”; no, it’s your photograph, shining.

The wonders don’t cease when you have a hand in them;
If there were contests for impressing, you’d win them.
Chuck Norris is porous compared to your muscle;
Gaston at his best can’t compete with your hustle.
The terms that describe you left Earth long ago;
The rest of the words couldn’t handle their glow.
If there is a mountain to move, you will move it.
And best of all,
As per protocol,
You need not be told all this; each day, you prove it.
______________________________

MPA rating: PG-13

At long last, my dear Viewing Companion (VC) convinced me to see Top Gun again. I recall seeing it years ago, but for some reason, it never really appealed to me in my memory. When the sequel was announced, my reaction was basically, “Meh,” while so many others were thrilled by their own ‘80s nostalgia. I just don’t have much interest in fighter pilot hotshots; it’s like wrestling or rap music, just not my cup of tea. But she finally got me to see it, and I must admit it was far better than I remembered, deserving of its reputation as a seminal film of the decade.

Tom Cruise was in his youthful prime as “Maverick” Mitchell, the pilot whose massive shoulder chip propels him into the Navy’s top pilot school and the danger zone of aerial dog fights, aided by his trusty wingman Goose (Anthony Edwards). While he can be cocky and unpredictable, his stubbornness and penchant for risk get him far, including in his romance with the lovely Kelly McGillis, at least until tragedy strikes and threatens his career and his spirit.

Most critics tend to laud the aerial plane fights, which are well done, though I had trouble telling who was who and which plane was which at times. (Of course, in the cockpit, it helps that they made the Russian MiG pilots a faceless enemy with a full helmet mask.) Plus, I can’t help but wonder what “enemy waters” in the Indian Ocean would have warranted the air fight at the film’s climax. But there was also more to the characters than I remembered, more real emotion than the mere angst and testosterone I expected, though there was that too. For instance, Val Kilmer as fellow pilot “Iceman” is more of a genuine rival to Maverick rather than the smug antagonist he could have been. Plus, you can’t fault the cast, from Kilmer and Tom Skerritt to early roles for Tim Robbins, Meg Ryan, and Adrian Pasdar.

Top Gun will never be one of my favorite movies, but watching it again has vastly raised my opinion of it. It’s a cool icon of a film, boasting not only the famous quote below but a truly quintessential soundtrack, including Kenny Loggins’ “Danger Zone” and the Oscar-winning “Take My Breath Away,” which is the kind of song that could make anything romantic. Plus, it inspired the name for Goose the cat in Captain Marvel, and who doesn’t love Goose the cat? The sequel may have been pushed back to December, but here’s hoping it can do justice to its classic original.

Best line: (Maverick) “I feel the need…”   (Maverick and Goose) “The need for speed!”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
679 Followers and Counting

Little Women (1994)

Tags

Classics, Drama, Family, Romance

(Today’s NaPoWriMo prompt was for a poem about flowers taking on certain meanings, so I decided to compare flowers with the little women of this film.)

A family of daughters is like a bouquet
Of flowers, all different, that brighten the day.

The rose offers beauty and layers of grace,
With thorns to keep those who would pluck in their place.

The daisy seems simple, but as you look nearer,
Complexity waits for the few who revere her.

The lily looks shy with its petals locked tight
But opens up wide when it knows love and light.

And baby’s breath sighs with its placeholder status
Yet binds us all close in an elegant lattice.

From practical pansy to sumptuous mum,
Each woman and bloom are just right as they come.
_____________________

MPA rating: PG

After thoroughly loving Greta Gerwig’s most recent adaptation of Louisa May Alcott’s novel, I had to check out 1994’s similarly acclaimed version from Gillian Armstrong. With such a classic story and relatable characters, it’s clearly hard to go wrong, since this also proved to be a wonderful rendition, even if it didn’t quite match its most recent sister.

The ensemble is full of stars in their prime in the ‘90s: Winona Ryder as Jo, Kirsten Dunst (and later Samantha Mathis) as Amy, Claire Danes as Beth, Trini Alvarado (of Paulie) as Meg, Susan Sarandon as Marmee, and Christian Bale as Laurie, not to mention Gabriel Byrne, Eric Stoltz, and Mary Wickes as well. Unlike Gerwig’s non-linear narrative, jumping back and forth across a four-year gap, this version plays its events in order, which is easier to follow as the March sisters grow up, finding love, heartache, and joy along the way.

So how do the two versions compare? Over and over, I recognized scenes and interactions (which obviously means they came from the book), and I liked them here but couldn’t help preferring the more recent film’s take on them, which might have been reversed if I’d seen this version first. Much of the dialogue that I so loved in the 2019 film wasn’t the same here, a testament to Gerwig’s contribution, yet I still appreciated its simple, often humorous elegance. Individual characters were harder to decide on. Meryl Streep was certainly a more memorable Aunt March than Wickes was. Winona Ryder and Saorsie Ronan are evenly matched as Jo, considering I have a crush on both, but I thought Christian Bale made a more sympathetic Laurie than Timothée Chalamet. Likewise, Friedrich and Jo’s relationship felt slightly more natural and fleshed out here than in the remake.

I must admit one embarrassing thing. I kept being confused by certain differences I viewed as creative choices. Why did they keep giving Beth’s actions to Amy? Only halfway through did I realize I had Beth and Amy mixed up, thanks largely to the casting of the 2019 film. In that one, Florence Pugh plays both the younger and older Amy, but because she looks and is older than Eliza Scanlen as Beth, I thought Amy was the third eldest of the girls, which threw me off when 12-year-old Kirsten Dunst’s Amy was clearly the youngest in the 1994 film. It’s hard to say which is the better option, though. In this film, I thought that the replacement of Dunst with Mathis after the 4-year gap sapped some of the bond formed with Amy, so I can see why keeping the same actress might be desirable, if slightly confusing for people like me. I should really just read the novel.

Ultimately, I loved both versions because they both bring this story to life in a brilliantly traditional way. So many 19^th-century period pieces are centered in Victorian England or focus on some war or significant historical event, so it’s a rare treat to glimpse into the everyday lives of Americans from this time. I may be partial to Gerwig’s incarnation, but both films share a stellar cast and engaging wholesomeness that are equally refreshing.

Best line: (Jo, after Laurie proposes) “Neither of us can keep our temper…”
(Laurie) “I can, unless provoked.”
(Jo) “We’re both stupidly stubborn, especially you. We’d only quarrel!”
(Laurie) “I wouldn’t!”
(Jo) “You can’t even propose without quarreling.”

 

Rank: List-Worthy (I’ll tie it with the 2019 version)

 

© 2020 S.G. Liput
679 Followers and Counting

Avatar (2009)

Tags

Action, Drama, Romance, Sci-fi

(Today’s NaPoWriMo prompt was to write something inspired by a dream’s imagery. Since I don’t remember most of my dreams, I incorporated a more general theme of dreaming that tied in with today’s movie.)

My eyelids are a diving board,
And when they close, I leap
To worlds no other human’s seen
In waking or in sleep,
Ephemeral new universes
Born of counted sheep.

I fly on wings of opal skin
And climb inverted mountaintops.
I live a life that’s not my own
And wait until my bubble pops.
I test the limits of a dream
And hope to God it never stops.
______________________

MPAA rating: PG-13

Considering Avatar was the biggest movie ever for a time, this review is probably long overdue. I suppose the reason it took so long was simply because I considered it vastly overrated. I remember making a point of watching it before I started my Top 365 list back in 2014, just to check whether it deserved placement. It didn’t make the cut. That’s not to say James Cameron’s monster hit is bad; it’s an impressive sci-fi epic with a brilliantly rendered world held back by a painfully unoriginal plot.

In 2154, mankind has reached out into space and formed a colony on the distant moon of Pandora, where their mining endeavors run into conflict with the big, blue native Na’vi. In an effort to connect with the aliens and convince them to move, scientists have created Na’vi-human hybrids called Avatars, which a human consciousness can control while their real body sleeps. Jake Sully is one such candidate, a paraplegic Marine who is only brought to Pandora because he shares DNA with his dead brother and can control his brother’s Avatar. There, he forms a bond with the fierce Neytiri and the other Na’vi and must choose between the nature-centric natives and the unsympathetic military.

Not to be confused with the beloved Nickelodeon cartoon, the film Avatar can be summed up in various ways, but my favorites are Pocahontas with blue aliens or Dances with Wolves in space. My VC noted FernGully as another clear inspiration. The whole nature vs. industry/natives vs. military conflict has clearly been done before, and there’s nothing about the overlong plotline or the romance that makes it any better than those other two films. James Cameron’s New Age, environmental sentiments are worn on the film’s sleeve, and it’s anything but subtle. And honestly, Sam Waterston is rather bland as the main character, though I enjoyed Sigourney Weaver’s scientist and Stephen Lang’s macho villain (Lost alert for Michelle Rodriguez as well).

What Avatar does have going for it are its groundbreaking motion capture and 3D special effects, which leave no doubt why it won Oscars for Art Direction, Visual Effects, and Cinematography. The flora and fauna of Pandora are full of colorful, eye-popping wonders, and the scenes of flight after Jake tames a dragon-like creature are exhilarating as he swoops between gravity-defying midair mountains. And the epic battle scene at the end is one of the biggest, most awesome action sequences ever made. Plus, James Horner’s score adds a perfect majesty to the visuals. If only the story had the same imaginative effort as the rest….

Avatar is a well-made sci-fi adventure that isn’t the transcendent blockbuster it tries to be, even if its box office haul says otherwise. I was glad when Avengers: Endgame passed it as the highest-grossing film of all time (not adjusted for inflation), simply because that record and Avatar’s Best Picture nomination indicates that it’s better than it is, which irks me a little. Perhaps it just doesn’t feel as innovative now as it was in 2009. Even so, I’m interested to see what the repeatedly delayed sequels will do to continue the story and how certain characters will return for another three films. Perhaps they’ll avoid clichés better than Cameron’s first film… whenever they finally come out.

Best line: (Jake, narrating) “I was a warrior who dreamed he could bring peace. Sooner or later, though, you always wake up.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
675 Followers and Counting

Ride Your Wave (2019)

Tags

Animation, Anime, Drama, Fantasy, Romance, Sports

(For Day 1 of NaPoWriMo, the prompt was for a metaphor poem comparing life to a particular action, so I took inspiration from a movie that heavily focused on a similar metaphor of surfing.)

 

I live upon a wooden board
That glides along the ocean swell.
So many others stood and fell,
So on my belly, safe I dwell.

My wiping out I can’t afford,
And so I hug the firm and known,
And watch the few whose comfort zone
Is so much wider than my own.

They call to me with one accord
To stand within the arching wave,
And though I fear it, still I crave
The confidence of being brave.

I close my eyes and let my board
Convey me to the tunneled tide
And find the worries, from inside,
Have dwindled down and liquefied.
_______________________

MPA rating: Not Rated (should be PG-13, for some adult themes and brief nudity)

I love that the last two years, I’ve been surprised by anime films I wasn’t expecting. Maquia: When the Promised Flower Blooms proved to be the anime of the year in 2018, and Masaaki Yuasa’s Ride Your Wave was a similar pleasant surprise, considering I’d never heard of it until a preview before Weathering with You. Star-crossed love is a common anime trope, but Ride Your Wave puts a uniquely emotional spin on it, also standing out for its characters being young adults rather than the usual highschoolers.

Hinako Mukaimizu has just moved into a new apartment near the ocean, allowing her to regularly partake in her favorite hobby of surfing. After a fire threatens her building, she falls in love with handsome firefighter Minato Hinageshi, and their romance is wholesomely reminiscent of the beginning of Up. And like Up, it ends in tragedy, leaving Hinako alone and unable to move on. Soon, though, she begins seeing Minato in water when she sings their favorite song, leading to hilarious misunderstandings and an unhealthy situation that clearly cannot stay the way it is.

I’ve tended to steer clear of Yuasa’s other works (like Lu Over the Wall or The Night Is Short, Walk on Girl), perhaps because his unique art style didn’t seem to appeal to me, but I must admit that I loved Ride Your Wave, and it’s made me curious to check out his past work. His hyper-fluid animation really complements the prevalence of water in the film and creates some unique angles and perspectives to ravish the eye. It’s a more cartoon-ish style than Makoto Shinkai’s photorealistic scenes, but it’s still detailed and pleasing in its own way. (It’s interesting to note the coincidence of this film and Weathering with You both coming out the same year and both featuring an emphasis on water and a notable scene with fireworks.)

Beyond the technical, Ride Your Wave has real heart to it and does a great job developing its central couple, as well as side characters like Minato’s churlish younger sister. And that focus on likable characters is essential because there’s certainly absurdity to swallow here, such as Hinako walking around town with an inflatable porpoise filled with water (and Minato) in an effort to relive the days when Minato was still alive. The climax is wilder than that, so let’s just say it’s hard to imagine this film in anything but animation. It didn’t hit me until afterward, but the plot has many similarities to 1990’s Ghost, though with more of a rom-com sensibility than that film’s thriller elements. By the end, though, it definitely knows how to tap the emotions hard, even while retaining a sense of hope.

Since I can’t be all positive, Ride Your Wave is sometimes too on the nose with its blatant metaphor of learning to “ride the wave” of life. Plus, at only 94 minutes, the film’s relationships might feel too rushed to some, yet one could also say it presents what it needs to economically. I feel like Weathering with You is objectively a better film, yet Ride Your Wave made me feel more deeply, identifying at times with its exploration of grief. Yuasa’s blending of the poignant and the surreal is an unexpected treat for any fan of bittersweet romance.

Best line: (Minato) “If you stay with your head underwater, you’ll never learn to ride the waves.”

 

Rank: List-Worthy

 

© 2020 S.G. Liput
670 Followers and Counting