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

Ford v Ferrari (2019)

Tags

Drama, History, Sports

The engines start,
The motors roar;
They tear apart
Their brief rapport.
Upon their tails
And on all sides,
The cause of fails
In patience rides.
The bends are aced,
And straightaways
See dust and haste
And sing their praise.
And time slows down
While speed ticks up,
The goal no crown,
Award, or cup.
Instead, the flag,
The finish line,
The right to brag,
The chance to shine,
And here it comes
The dream ahead,
As straight now as an arrowhead,
The end of a road of adrenaline dread,
To which all the hopes of a lifetime have led,
Victory, the alpha’s zed!
___________________________________-

MPA ranking: PG-13 (for language)

I have a confession to make: I have very close to zero interest in cars and racing, which seems like it would be a prerequisite to enjoy a movie about said topics. Yet Ford v Ferrari comes closer than I’d expected in making such subjects interesting to someone like me, who never even knew Ford and Ferrari had a rivalry.

The story focuses on the efforts of two racing legends working toward creating a Ford that can compete with Ferrari and win the 24-hour race of Le Mans. (Another name for the film in Europe is Le Mans ’66.) Matt Damon plays Carroll Shelby, the first American to win Le Mans, whose racing days are behind him but who is recruited by Ford’s Lee Iacocca (Jon Bernthal) to redesign the GT40. His first choice for a driver is Ken Miles (Christian Bale), whose volatile passion and lack of tact put him at odds with the Ford Motor Company’s executives.

Ford v Ferrari is an easy movie to like and has been called a destined favorite for many Father’s Days to come. Luckily, while racing itself is the climax, there’s a lot more going on than just racing. In particular, the engineering efforts by Shelby’s crew recall the problem-solving tone of Hidden Figures, and Shelby’s conflicts with Ford executives make a case for trusting the doers over the corporate meddlers. Then there’s the illuminating of a lesser-known slice of history regarding Ford’s attempted buyout of Ferrari, as well as the heartwarming bond between Miles and his son (Noah Jupe of A Quiet Place). All in all, it comes together quite nicely, and even non-racing fans like me had plenty to cheer for during the big race.

I liked Ford v Ferrari more than I expected, but it’s still a film for which I don’t feel much passion. Its 2½-hour length could have benefited from editing, and the ultimate ending is more downbeat than the rest. It strikes me as a good film that probably wouldn’t have gotten a Best Picture nomination if the Academy had the old rules keeping it to five nominees, but there’s nothing wrong with that. Damon and especially Bale (getting to use his British accent) deliver excellent performances and standout scenes, especially when Shelby explains to Henry Ford II (Tracy Letts) why he should let him continue on the project after an initial failure. The plot offers dream-chasing uplift and an easygoing sense of fun that made me forget I don’t care for racing movies. That, to me, makes it the best kind of racing movie.

Best line: (Shelby) “When I was 10 years old, my Pops said, ‘Son, it’s a truly lucky man who knows what he wants to do in this world. ‘Cause that man will never work a day in his life.’”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
661 Followers and Counting

 

2018 Blindspot Pick #11: The Sandlot (1993)

Tags

Comedy, Family, Sports

 

When I was a child,
I spake as a child,
And acted as foolish as children will do.
Yet now that I’m older
And ought to be wiser,
I find there’s more worry than wisdom in view.
That’s why I, like many, now crave what we lack,
Some innocent childhood foolishness back.
_______________________

MPAA rating: PG

It looks like I won’t be able to quite finish my Blindspot series before the end of the year, but I’ll at least get as close as possible with eleven. (That just leaves Pan’s Labyrinth, which should be first thing next year.) Growing up, I always skipped The Sandlot when I saw it in the kid’s section of Blockbuster – is it weird that this makes me feel old when it wasn’t that long ago? – mainly because I’ve never been a fan of baseball. Then, fairly recently but all of a sudden, I heard people at work saying it’s “the best movie ever,” and I started hearing people say “You’re killin’ me, Smalls,” as if it were some classic line I’d never heard before. That’s when I decided I had to see what was so great about this little ‘90s family film that has somehow amassed a cult following.

The Sandlot is a healthy dose of juvenile nostalgia, one which most viewers should be able to relate to their childhood, even if it’s set back in the summer of 1962. Scotty Smalls (Tom Guiry) is the new kid in town, awkward and wimpy as he tries to join a local group of kids on their baseball field. While most of them have no patience for a kid who can’t even throw a ball, Benny Rodriguez (Mike Vitar) reaches out to him and allows him to enjoy the summer as part of the team, which includes various misadventures and a giant terrifying beast on the far side of the fence.

Like The Goonies or Clue, it’s the kind of film that I wish I’d seen when I was younger, because it might well have been a cherished classic by now for me as well. The vignettes of childhood camaraderie and conflict and what matters to an acceptance-seeking tween reminded me at times of Disney’s Recess series and A Christmas Story, thanks also to the nostalgic narration of a grown-up Scotty. There were also echoes of Stand By Me, but thankfully the amusingly juvenile insults lobbed among the kids are kept far more PG-rated. There are no instantly recognizable child stars here (though it was nice to see James Earl Jones), but that only helped each of the young cast feel like real kids, trading taunts, having fun, and exaggerating danger.

There are scenes that go on a bit too long, but overall The Sandlot was a fun film that didn’t require a love of baseball to enjoy. The friendship between Scotty and Benny is also a laudable example for other kids to follow; inviting an outsider into the group and having the patience to help them fit in are not common behaviors for most kids, so I hope this movie helped make some playgrounds friendlier out there. I’m not sure why “You’re killing me, Smalls” has become such a repeated line, since it was only used twice and not that prominently, but at least I’ll get the reference from now on. It’s certainly a film I’d watch with my own kids some day.

Best line: (Babe Ruth, in a dream) “Remember, kid, there’s heroes and there’s legends. Heroes get remembered, but legends never die. Follow your heart, kid, and you’ll never go wrong.”

 

Rank: List Runner-Up

 

© 2018 S.G. Liput
600 Followers and Counting!

 

Creed (2015)

Tags

Drama, Sports

When all the world is calling you
A mere mistake, appalling you
And casting cruel and galling new
Abuse upon your back,

Perhaps you want to rage and hit
Or simply disengage and quit
Or seek out wars to wage a bit
Till no one’s left to smack,

But if you see through all the slights
And find the wherewithal that writes
A bigger man for taller fights,
You’ll scoff at their attack.
________________

MPAA rating: PG-13

The Rocky franchise has certainly had its ups and downs over the years, and despite some positive aspects, 2006’s Rocky Balboa was a downer for me, which is why it took me this long to give its 2015 follow-up Creed a chance. Here, Sylvester Stallone’s iconic character is now a secondary player in the story of Adonis Creed (Michael B. Jordan), the illegitimate son of his old friend and rival Apollo. Adonis chooses the family business of boxing, much to the chagrin of his adopted mother/Apollo’s wife (Phylicia Rashad), and Rocky grudgingly becomes the trainer of this hotheaded rising star as he seeks to make a name for himself separate from that of his famous father.

I’ll say up front that Creed is probably the best directed of all the Rocky movies, with Ryan Coogler proving himself as a highly proficient talent behind the camera, giving me high expectations for the upcoming Black Panther. He changes the aesthetic of the series a bit to reflect his black protagonist, but also adds impressive tracking shots and an elegance to the camera movements and shot composition, which I suppose are also credited to cinematographer Maryse Alberti. The actual boxing scenes are just a fraction of the film’s rather long runtime, but they pack a “punch.” I’d say they’re some of the finest boxing scenes on film, particularly Adonis’s first official fight, which is marvelously captured as one continuous shot from start to finish.

Likewise, the performances measure up to the production quality, with Jordan and Stallone making the most of their conflicted characters. Jordan isn’t as luggishly lovable as Stallone was in his first outing, but his connection with the Italian Stallion, whom he fittingly calls “Unc,” is still engaging, as is his journey of finding a balance between distancing himself from and embracing the name of the father he never knew. Oscar-nominated again, Stallone steps easily into the trainer role Burgess Meredith played so well in the original, amusingly old-fashioned in the modern world but preserving some of the classic training methods that served him well. The script’s best parallel between the two comes when Rocky’s health takes an inevitable downturn, and Adonis encourages Rock to fight just like the young boxer he’s training. Because of that theme and despite Rocky’s being older and wearier here than in Rocky Balboa, Creed manages to be somehow far less depressing than that movie.

(I don’t know if it’s worth a spoiler warning for films that came out thirty-plus years ago, but spoilers in this paragraph.) The Rocky sequels can easily be accused of just killing off characters for the sake of some drama, starting with Mickey in Rocky III and followed by Apollo in Rocky IV, but Creed successfully deepens the tragedy of Apollo’s death in the fourth film. It meant he wasn’t there for his kids and that, even if he died a legend, he could have lived as a father. His shadow hangs over Adonis’s budding career, and the way it shapes him in the end makes for an inspiring conclusion to rival any of the previous Rocky films.

All that said, Creed doesn’t measure up in one big way, the music. For a series that gave us iconic montages to outstanding theme songs like “Eye of the Tiger” and “No Easy Way Out,” there’s nothing even remotely that good in the musical department. Adonis’s girlfriend (Tessa Thompson from Thor: Ragnarok) is even a musician, but the hip hop and rap are pale modern shadows of those good ole ‘80s tunes.

Thus, Creed isn’t my favorite of the Rocky series, but its superior quality tells me it should be high. Despite some differences in tone and style, it has all the familiar underdog elements of a Rocky movie and even ends pretty comparably to the first. You know what? I’m done trying to separate these in my Top 365 List, which I usually only do for series where the quality varies widely between installments. Rocky IV may not be on the same technical level as this or the Oscar-winning original, but I still enjoy it. Therefore, I’m just going to group Creed with the other “good” Rocky movies, which I consider to be Rocky through Rocky IV. Creed succeeds where Rocky V and Rocky Balboa failed, and I personally hope the saga ends here. Stallone had planned to direct another sequel, but after his being caught up in the recent Hollywood accusation scandals, that may not happen, which I think is for the best. Leave both the new and the old Rocky on a high note.

Best line: (Rocky, pointing to Adonis’s reflection in the mirror) “That’s the toughest opponent you’re ever going to have to face.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
520 Followers and Counting

 

Cars 3 (2017)

Tags

Animation, Comedy, Drama, Family, Pixar, Sports

The world will see you as they choose,
No matter how they may deny.
They see exteriors so well
It takes hard work to break that shell,
To prove you’re more than meets the eye
And pay the greater dues.

The world’s opinions can infect
And sap the will to prove them wrong.
You balk on whether to begin,
But those who don’t will never win.
To everyone such doubts belong,
So prove them incorrect.
_________________

MPAA rating: G

I’m sure many, like me, approached Pixar’s third Cars movie with some hesitance, unsure if it was being made as a more fitting end for the series than Cars 2 or because Disney and Pixar were just trying to cash in on one of their most profitable (and least loved) franchises. While I still wasn’t sure through the first half of the movie, I’m glad to say it’s the former. Cars 3 is far more like the original than the over-the-top sequel, returning its sights to Lightning McQueen and the racing world and totally ignoring all the spy stuff of its immediate predecessor. Thankfully, Mater is once again a mere side character too.

Early on, we’re treated to a montage of Lightning’s time in the sun as a racing champ. After years on top, though, he’s suddenly outclassed by newcomer Jackson Storm (Armie Hammer), and much as Lightning overshadowed the King in the first film, analysts and fans are suddenly enamored with Storm’s ascent and scientifically proven training. After pushing himself too far, Lightning faces a career crisis when his contract is sold to a new owner named Sterling (Nathan Fillion, who I’m glad is still finding work), and his future in racing comes down to raw performance and perhaps a new way to train with motivational coach Cruz Ramirez (Cristela Alonzo).

I will say this felt like one of Pixar’s more uneven films, making me wonder at times whether it was more like the first or the second Cars in terms of story quality and character interactions. There were times in the first half when things just felt “off” for a Pixar film, like when Bonnie Hunt’s Sally encourages Lightning in highly generic fashion, and some of the new characters take some time to get used to them.

Yet as the story develops, Cars 3 grows into a worthy conclusion for the series. It’s also a fitting farewell to two members of the original voice cast who have since died, Paul Newman as Doc Hudson and Tom Magliozzi of “Car Talk” fame as one of Lightning’s Rust-eze sponsors, both of whom are sort of resurrected via pre-recorded audio, which is underused but still touching. All of the other cast members (save for George Carlin) return as well, except for Michael Keaton as Chick Hicks, replaced by the very different-sounding Bob Peterson.

Lightning’s story is all about whether he’ll give up and ride on his fame or risk damaging his reputation by striving further than he is able, a strong yet subtle conflict with real-world parallels, such as tennis player Roger Federer for example. (My VC and I love him and have debated whether he should quit while he’s ahead, yet he keeps on eking out wins.) Lightning’s main goal is to be able to choose when he quits rather than being forced out of the game as Doc was. Yet by being constantly called a “legend,” he sees that everyone considers him past his prime, and Cruz makes it very clear that she considers him old as dirt.

Despite her initial presumptions, though, Cruz becomes something that Lightning has never had before, a protégé, one who has offered so much support to others through training that she’s never kept any of that confidence for herself. The fact that she is played by a Latina woman is no coincidence either, and she becomes a fine example for minority underdogs daring to be taken seriously. The dynamic between Lightning and Cruz isn’t without its bumps, but how it plays out by the end is a clever realization of both of their goals and a perfect way of bringing Lightning’s character full circle.

As I said, except for maybe a couple racers, Cars 3 essentially ignores Cars 2 altogether, with not a single mention of the spy plot and even casting off key details. For instance, Cars 2 mentioned that the Piston Cup had been renamed in Doc’s honor, but here it’s the Piston Cup again. Plus, I noticed a scene in my recent viewing of Cars 2 where Lightning had product endorsements and plenty of merchandise, making me wonder why he is now so reluctant to “cash in” as a brand. Personally, I think Cars 2 was all a dream or one of Mater’s tall tales because Cars 3 stays as relatively grounded as the first film and thus is a far better continuation of its story. Despite a rocky start, Cars 3 turns out to be a superior sequel than the cash grab it might have been, raising Pixar’s animation quality even higher and providing a satisfying end to the trilogy. At least until they come up with a Cars 4. Please, Pixar, this franchise is one case where you should quit while you’re ahead.

Best line: (Smokey, Doc’s former crew chief) “You’ll never be the racer you once were. You can’t turn back the clock, kid. But you can wind it up again.”

 

Rank: List-Worthy (joining the first Cars)

 

© 2017 S.G. Liput
511 Followers and Counting

 

Cars 2 (2011)

Tags

Action, Animation, Comedy, Family, Pixar, Sports, Thriller

Imagine a world of living cars,
With windshields for eyes and mouths in their grills.
Now picture that some are elite racing stars,
And some are so junky, they’re fit for landfills.

Okay, so you got it? That’s good. Picture now
One racecar is cocky and needs a good lesson.
He’s stuck in a small town, which helps him somehow
Find more happiness than what he had success in.

You with me? All right, after that, visualize
A worldwide grand prix and an evil car plot,
And British car spies to take on the bad guys
And a tow truck that helps doing what he ought not
And maybe explosions and one car that flies.
The racecar’s there too, as a mere afterthought.

Wait, where are you going? No need to be cruel.
It may not be perfect, but it will look cool!
___________________

MPAA rating: G (PG would probably be better, since cars are actually killed in this one)

Before I review Cars 3, I thought I should get to the one Pixar film I haven’t covered yet, the black sheep of the Cars franchise and Pixar in general, Cars 2. Up until 2011, it seemed that Pixar could do no wrong, which I can say as someone who still greatly enjoys the first Cars, even if it is a rip-off of Doc Hollywood. Yet the first non-Toy Story sequel in Pixar’s lineup proved to be quite the mixed bag; it remains the only Pixar movie to have a “Rotten” score of 39% on Rotten Tomatoes. It follows Lightning McQueen on a worldwide racing grand prix, which is threatened (and overshadowed) by an evil cabal of lemon cars that only British secret agents and Mater can prevent from fulfilling their heinous plot. Whereas other Pixar films utilize inspiration to tell charming and relatable stories, Cars 2 is inspiration run amok and not really in a good way.

Cars established the world of sentient automobiles that has become Pixar’s biggest cash cow, and despite the outlandishness of its surface concept, the actual events of the plot were fairly down-to-earth, urging racing hotshot Lightning McQueen to slow down and enjoy the ride. By incorporating international espionage and globe-hopping plots into its world, Cars 2 is like director John Lasseter’s personal fan fiction, saying instead to speed up and enjoy the ride. The world of living cars takes a certain amount of suspension of disbelief to not ask questions like “Who builds the cars?” or “How do they do things that require hands and manual dexterity?” I was able to put such issues aside for the first film, but with James Bond-style gadgets and visits to different countries and car ethnicities, the suspension of disbelief is seriously strained here.

And that’s on top of its other issues. While Lightning and all the other characters from the first film are still present (minus Paul Newman’s Doc Hudson, who is implied to have passed away), Cars 2 puts Mater front and center. I enjoyed Larry the Cable Guy’s bumpkin tow truck in the first film as another humorous member of Radiator Springs, all of whose inhabitants served as a good-natured contrast to Lightning and his crowd. Yet there’s such a thing as too much Mater, and his oblivious ineptitude grows grating when it becomes the main course, particularly as moments of mistaken identity pile up to make the British spies assume Mater is an American secret agent. I could tell Mater’s character here would be overbearing early on, when he spends the whole day with Lightning and then acts all sullen and gloomy when Lightning wants to spend some alone time with his girlfriend.

Worse still is how Mater’s character is tied into the film’s message of not condemning one’s friends for who they are or wishing them to change. Such a moral could be good and worthwhile, but it just doesn’t work when applied to Mater, who consistently acts like a fool in public and causes Lightning to lose a race. When Lightning gets upset, he’s justified in being upset, yet he’s the one who eventually apologizes. The film doesn’t seem to recognize the difference between changing who you are and behaving properly in different circumstances. Mater even comes to realize how he looks to other people, but despite his feeling bad, it doesn’t really lead to any insight or change on his part.

Add to all that smaller problems, like the light political jab of making “big oil” the bad guys and hailing alternative fuel as the greatest of breakthroughs. Plus, there are numerous scenes that just feel rushed and poorly written, especially toward the end, like the sudden confirmation of Mater having a “girlfriend” or Lightning totally misconstruing Mater’s warnings while simultaneously forgetting that he’s right in the middle of a race.

So much negativity, but I don’t mean to bash Cars 2 like some low-rent DreamWorks movie. There’s still fantastic animation and ample imagination and humor on display, even if a lot of it consists of car-related puns. I may object to the secret agent plotline on a logical level, but it still offers some genuinely fun action sequences and eye-candy explosions. Michael Caine and Emily Mortimer are perfectly cast as the British spy cars who manage to mistake Mater for an undercover agent, and there’s cartoony amusement to be had, though the James Bond-ish elements make me hope that The Incredibles 2 works better than Cars 2 since they at least fit well into that superhero world. In conclusion, Cars 2 may not be good Pixar, but it still entertains if you don’t think about it too much. In fact, it’s probably more entertaining the less you think about it.

Best line: (Finn, played by Caine) “I never properly introduced myself: Finn McMissile, British Intelligence.”   (Mater) “Tow Mater, average intelligence.”

 

Rank: Honorable Mention

 

© 2017 S.G. Liput
509 Followers and Counting

 

VC Pick: Over the Top (1987)

Tags

Drama, Family, Sports, VC Pick

If I had rippling muscles
And a huge right arm to lend,
I’d enter contests proving
What a beast I am at moving
Other people’s arms at angles
That they were not meant to bend.

I suppose my strength would let me
Find more meaningful success,
But when limbs become this hefty,
Whether right-handed or lefty,
There are few things quite as tempting
As to prove one’s manliness.
__________________

MPAA rating: PG

Many of Sylvester Stallone’s films are designed to reinforce his manliness, the kind of machismo that automatically raises the ambient testosterone level. If there’s any doubt about who the toughest guy in the room is, just wait, and he’ll prove his muscular superiority.

That’s the kind of movie I assumed Over the Top would be based on the fact that it’s about an armwrestling competition, and that’s what it is, but not all it is. It’s also, surprisingly, a family film, in contrast to Stallone’s many R-rated actioners. He plays Lincoln Hawk (now that’s a cool ‘80s name if I ever heard one), a trucker who attempts to bond with his estranged son Michael (David Mendenhall) via a road trip, much to the chagrin of the boy’s rich, Hawk-hating grandfather Jason Cutler (Robert Loggia). As Michael’s chilly treatment of his absentee father melts in the wake of cross-country bonding, we get to see Stallone show off his armwrestling expertise. Can he use that underdog prowess to earn back his son from the intrusive grandfather? Can he defeat all the trash-talking he-men at the World Armwrestling Championship? Can he? Can he?!

You probably know the answer so, yes, Over the Top is entirely predictable, but it still manages to be enjoyably so. The first half especially engenders the same tough-guy sympathy that Stallone had in Rocky, as he tries to break down Michael’s walls and prove he’s more than the irresponsible Neanderthal Cutler considers him, with some stunning western scenery to back their father-son journey. The latter half is more typical sports stuff, with Hawk’s future, fatherhood, and everything else depending on his strong right arm. As he trains hard and progresses through the championship with accompanying encouragement and theme music, it’s hard not to feel like you’re watching an obvious variant of Rocky and The Karate Kid, but it’s still aggressively macho fun. I just didn’t understand how winning the championship would legally get Hawk’s son back or why Cutler was intent on stopping him, when I thought Hawk had already signed over his parental rights.

Even if the details are left vague, Over the Top is decent fun backed by rousing rock songs, and it’s not nearly as bad as its reputation as a bomb would indicate. By the way, the title refers to conquering the middle arm position during an armwrestling match, though I suppose it also applies to the bravado of the championship itself. Over the Top may not stand out next to most of its ‘80s brethren, but it’s worth a watch if you’re in the mood for macho.

Best line: (Hawk) “The world meets nobody halfway. When you want something, you gotta take it.”

 

Rank: List Runner-Up

 

© 2017 S.G. Liput
497 Followers and Counting

 

Eddie the Eagle (2016)

Tags

Biopic, Drama, History, Sports

From way up here, my view is clear,
And all the world extends below.
They wait to see if this wannabe
Deserves this chance and vertigo.

Yet no one thought this soaring spot
Could be achieved by such as me.
They patronized and minimized
My every try and cut me free.

But not this time, this chance sublime,
Unmarred by how they’ve criticized;
I’m flying higher than critics desire
And won’t the scolders be surprised!

I don’t compare in skill or flair
With medalists, but I aspire.
That goal sincere has brought me here.
Now just to land, and I’ll retire.
___________________

MPAA rating: PG-13 (could almost be PG)

One of the most pleasant surprises from last year was how the story of an apparent goofball from the 1988 Winter Olympics exceeded its by-the-numbers genre to become one of the most uplifting films of the year. Inspirational sports dramas are a dime-a-dozen, but I wouldn’t hesitate to call Eddie the Eagle the best underdog story since the 1993 classic Rudy.

That comparison extends to the plucky protagonist whose dogged refusal to give up overshadows his relative lack of athletic ability. Eddie Edwards (Taron Egerton) has dreamed since childhood of going to the Olympics, despite the repeated failures of his clumsy practice runs. All the familiar ingredients are here: a father (Keith Allen) who thinks Eddie’s dreams are a waste of time, an authority figure (Tim McInnerny) who disparages Eddie and does all he can to block the irrepressible upstart,  an embittered coach (Hugh Jackman) who grudgingly agrees to mentor the young dreamer. It’s all so potentially cliché, and yet it’s all done so well, thanks in large part to the unironic exuberance of Egerton as Eddie himself.

Eddie’s journey is a constant struggle that never seems to faze him, or at least doesn’t keep him down for long. In many ways, he glides along on unrealistic goals and loopholes, choosing to compete as an Olympic ski jumper when he discovers that Great Britain hasn’t had one since the 1920s. If it gets him to the Olympics, it doesn’t matter if he’s completely inexperienced. Yet it’s his unabashed spirit that earns some much-needed sympathy along his way and convinces disgraced former competitor Bronson Peary to coach and support him. Ordinarily, the coach would be the one encouraging his protégé, but Eddie needs no outside encouragement and instead lightens the drunken cynicism of his trainer.

It’s an important development toward the end that Eddie recognizes that his jubilation in the face of apparent failure can be seen as the antics of a fool and addresses those concerns head-on. Ultimately, as the film and a quote from the founder of the Olympics state, it doesn’t matter that Eddie’s best efforts still come up short, just as it didn’t matter that Rudy’s moment of truth was only a single touchdown: the very act of participating and doing one’s best is admirable, and it’s no wonder that Eddie’s tenacious joy and determination captured the hearts of spectators.

It helps too that the film is designed to be as crowd-pleasing as possible, with a good deal of humor and a deliciously ‘80s soundtrack with well-placed song staples from the time, like Van Halen’s “Jump.” Egerton and Jackman imbue their familiar character types with likable personalities, Egerton lovably nerdy and Jackman ruggedly cool, and are easy to root for. By the film’s breath-holding climax (which surely looks ridiculous to those not in the moment), I was cheering alongside the characters with the biggest smile a movie has given me in some time. Plus, except for some brief sexual dialogue, the film is refreshingly family-friendly and free of profanity.

It’s true that the core story of Eddie the Eagle is far from original and ends on Eddie’s most positive moment with no mention of the fact that his next three attempts to reach the Olympics failed due to eligibility changes. Thus, its inspirational bias may seem contrived to some, but when a film is this uplifting and joyous, who cares? Eddie the Eagle takes its genre and flies high with it.

Best line: (quoting Pierre de Coubertin, the founder of the Olympics) “The most important thing is not the victory but the struggle.”

 

Rank: List-Worthy

 

© 2017 S.G. Liput
487 Followers and Counting

 

Queen of Katwe (2016)

Tags

Biopic, Drama, Family, Sports

(Today’s NaPoWriMo prompt was for a poem that incorporates the terminology of sports or games, and this film was the first to come to mind.)

 

Who showed the grandmasters to break and blockade?
Who taught the young hotshots before they were paid?
Somebody who saw that this amateur played
With potential to rival the greats.

No pro cut his teeth in the big leagues to start;
No novice knew every play tactic by heart.
The champions once were unversed in their art,
Like those whose achievement awaits.

To round the bases,
To win the races
Or marathon,
To queen the pawn,
To reach for fame upon your name,
To spike the ball,
Slam dunk them all,
To hit a home run,
To say you’ve won,
You first must dare to play the game.
_________________

MPAA rating: PG

This inspirational sports drama (yes, apparently chess can be considered a sport) didn’t make many waves when Disney quietly released it last September, but it’s a finely crafted member of a genre that often falls into feel-good clichés. In 2009, 10-year-old Phiona Mutesi (Madina Nalwanga) had little expectation for her life other than selling maize for her mother (Lupita Nyong’o) to prolong their dirt-floor subsistence living in Uganda, but the encouragement of sports coach Robert Katende (David Oyelowo) awakens in her not only a surprising talent for chess but a hope for a better life.

Queen of Katwe sidesteps the “white savior” accusations that similar films often bear (Finding Forrester, The Blind Side) by possessing an almost exclusively black cast, with Nyong’o and Oyelowo excelling as loving mentors who sometimes clash over how best to nurture Phiona’s potential. The film includes quite a bit that other underdog stories have, but it does it well, following the various stages of Phiona’s competitive development, from not believing herself worthy of attention to obsession and success to overconfidence to despair to rewarded effort. Again, whereas an American version of this true story might have stressed a racial divide between Phiona and the chess-playing elites, her struggle is instead against the class divide between her native slums of Katwe and the more educated and comfortable social status that seems out of reach for people like her.

Perhaps the film of which Queen of Katwe most reminded me was Akeelah and the Bee, another inspirational tale of an encouraging coach fostering in a young black girl an intellectual talent that might have gone unnoticed without his intervention. Akeelah and the Bee is a better and more entertaining film, in my opinion, but Queen of Katwe has the advantage of having real events and people behind its story, who we actually get to see during the obligatory where-are-they-now segment before the end credits. Plus, the presence of Christianity is refreshingly forthright in the faith of many characters with Katende’s coaching being a part of a Christian ministry, but it never becomes evangelistic or preachy. As admirable as Queen of Katwe is, it’s a bit too drawn-out and overlong in places; one sequence of Phiona’s mother buying paraffin for her late-night studying could have been cut down to half the number of scenes, for example. Even so, Phiona’s journey is worth rooting for, punctuated by some brilliant words of wisdom from her coach and a constant hope that dedication can lead to triumph and self-improvement.

Best line: (Robert Katende, to Phiona) “Sometimes the place you are used to is not the place where you belong.”

 

Rank:  List Runner-Up

 

© 2017 S.G. Liput
473 Followers and Counting

 

#38: Chariots of Fire (1981)

Tags

Drama, History, Sports

‘Twere many fine names

In the Olympic games,

The runners and sprinters who dashed for their fames.

With wings on their feet

That few others could beat,

They strove in 1924 to compete.

 

At Cambridge, a Jew

Who did not run but flew,

One Abrahams trained to be best in each queue.

He ran to resist

Those who were prejudiced,

And friends thought no faster young man could exist.

 

In Scotland, however,

One man would endeavor

To run to please God, but on Sundays, he’d never.

This brave Eric Liddell,

Whom none could belittle,

Held faith and resolve which a king could not whittle.

 

They all took their place

In the glorious race,

The high point of lives, formed by training and grace.

Each swift Englishman

Did their utmost and ran,

For medals, for country, for God, or for clan.

______________________

 

The Best Picture of 1981, Chariots of Fire captures not only two moving stories of talent and trial but also the thrill at the core of a race. The true accounts of Harold Abrahams and Eric Liddell reveal their similar skills as athletes and disparate purposes in employing them.

Ian Charleson is eminently devout Eric Liddell, who balances his desire to run by dedicating his victories to God’s service. I love his assertion that he feels God’s pleasure as he utilizes his talents; I sometimes feel the same when writing. Whereas his sister in the film insists he focus solely on God, anything can be used to give our Creator glory, whether it be peeling a potato or running a foot race. As Liddell runs, flailing his arms about in a wholly unorthodox manner, at times it is as if the Lord takes hold of him, pushing him faster than any contender would expect. Even so, he remained solid in his convictions concerning his Sunday heat. Beyond running for God, his refusal to compromise was disseminated to the world as a faithful stand that was ultimately rewarded. Abrahams, on the other hand, played by Ben Cross, runs with all the determination of a man who dares never lose. His desire is not to please God, fans, or even himself, but to prove his merit in the face of discrete anti-Semitism. When he sees Liddell run firsthand, he strives even harder, unable to cope with not being the best. Yet even when he wins his victorious Olympic medal, he’s just as overwhelmed by the weight of victory as by the weight of defeat. Ian Holm is likewise outstanding as his trainer Sam Mussabini, looking considerably older than in Alien just two years prior. By depicting both of these runners, as well as their comrades who run more or less for the fun of it, the film serves as a well-rounded view of this promising generation of young athletes.

Chariots of Fire is exceptional in its Oscar-winning electronic score by Vangelis and its painterly cinematography. The film abounds with scenes worthy of being hung on the wall, not least of which is the opening jog along the beach with the man and boy watching from a distance. Though the film is rather slow overall, its artistry is wondrous to behold. Speaking of slow, it also is notable for the frequent use of slow motion, which realizes the suspension of time during a race and how a contest lasting mere seconds can become a deep-seated memory of joy or grief. In the case of Liddell, the protracted running seems to portray a miracle in progress, especially with the transcendent accompanying music.

A film that well-deserved its four Academy Awards, Chariots of Fire is the greatest film about track and one of the finest sports films ever made, choosing the contemplative furor of a race over the energetic action of a ball game. Also, for Star Trek fans, Ben Cross’s appearance with Alice Krige (as his fiancée Sybil) affords the unlikely sight of Sarek dating the Borg Queen. Implacable values like those of Eric Liddell are sadly harder to come by now than they were in 1924, but his stand for his beliefs continues to serve as an example to all who are called to compromise too far.

Best line: (Liddell, when accused of arrogance) “My arrogance, sir, extends just as far as my conscience demands.”

VC’s best lines: (Eric, to his sister) “I believe God made me for a purpose, but he also made me fast. And when I run I feel His pleasure.”

(Lord Cadogan, fed up with his decision not to run) “Don’t be impertinent, Liddell!”  (Eric) “The impertinence lies, sir, with those who seek to influence a man to deny his beliefs!”

 

Rank: 58 out of 60

 

© 2014 S. G. Liput

269 Followers and Counting