Author: Mark A. Lester

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4 1/2 Stars Movies

The Farewell (2019)

Whether it is the news of a loved one’s passing or the news that the passing is closing in faster than expected, we all process the information in different ways. Admittedly, I never thought of it being different for certain cultures, let alone different individuals. Whether it is a custom for Chinese people to not tell a family member they have terminal cancer, I am not sure, but that is surely the case for the family in The Farewell.

Raised almost entirely in the United States, Billi (Awkwafina, the highly affective comic relief sidekick in last year’s Crazy Rich Asians) is still at the stage of young adult life where she is being treated like she is ten years younger than she is. She has a rickety relationship with her mother Jian (Diana Lin), but does still love her as well as her less domineering dad Haiyan (Tzi Ma). Still, even though they live in New York, she still loves to chat with her Grandma Nai Nai (Shuzhen Zhao), who still lives in China.

Billi’s world is thrown a curve when her dad (Nai Nai’s son) informs her that the Grandmother has been diagnosed with stage four lung cancer, and is expected to live only three months at the most. The family decides to go, using her cousin Hao Hao’s (Han Chen) wedding to a Japanese woman (Aoi Mizuhara) as a valid reason to see her one last time, under the strict rule not to let Nai Nai know she will die soon. Despite her parents wanting her to stay, Billi arrives in China to attend.

Despite the obvious dramatic aspects of the film, The Farewell (which starts off by saying it is “based on an actual lie”) has more than enough moments of realism that make it rather comedic. Not laugh out loud comedic (though a moment or two may get you), but more in a subtle way. Consider the wonderful scenes where the family sits down to eat. Regardless of you ethnic background, every family has dynamic encounters (both positive and negative) when at the dinner table. There is laughing, squabbling, screeching, talking with your mouth full. Regardless, love is at the center of it all.

It is always wonderful when a comedic actor is able to show off their dramatic chops (and vice versa for dramatic actors). Here, there result for Awkwafina (who, last I heard, is going to be the seagull Scuttle in the Disney Live action remake of The Little Mermaid) is no different. There are truly times I had to remind myself I was watching the same person who was Peik Lin Goh in Crazy Rich Asians just a year ago. While I doubt it is going to be in the conversation for the award season, it is clearly proof that this is one actress with a wide range in the acting department.

Another standout is the director Lulu Wang (who based much of this off of her own experiences). While this is only her second full length feature since 2014’s Posthumous (unseen by me), the direction she uses here is powerful in how gentle and reserved it is. I was reminded of one of the cinema giants, Yasujiro Ozu, mainly from his masterful work Tokyo Story (1953). That film (which I would endorse highly) was also about parents in their twilight years seeing their children and grandchildren. Even though it was unique to its country of origin, it still spoke to us all on a universal scale. Though Wang is not as subdued as Ozu (who was known for hardly moving his camera, if at all), the technique she uses is rather imposing and proof of a filmmaker worth looking at in the coming years.

Parents, the film is PG, and has nothing here that should worry you as parents. There is little swearing, no sex (though some bare back nudity in one shot), but nothing else. It should be noted, however, that much of the film’s dialogue is in subtitles. If your kids are fine with that, then they can see this film.

One of the aspects of The Farewell that is also universal is how, regardless of the family life we have, we convince ourselves to lie to our loved ones when we think it is for their own good. Whether it be to cushion the blow, save them from details, or just because we don’t want to hurt feelings, we have all done it. When it comes to this film, I will do the opposite, and simply state it is easily one of this year’s best films.

Overall:

Rating: 4.5 out of 5.

Categories
3 Stars Movies

Dora and the Lost City of Gold (2019)

It has reached the point where I am feeling sorry for Dora the Explorer. In modern society, she has been the punching bag of little kid shows (I grew up when the punching bag was good ole’ Barney and Friends). Admittedly, I too thought it was a joke when I heard that there was going to be a live action film of the titular young heroine and was just as shocked as anyone to learn it was the truth. Still, when IMDB users (roughly 200 of them) all go on the film’s page and decide to post in the Parent’s Guide that the PG rated movie should be ranked “severe” in all categories…well, the joke has gone too far (thankfully, it was corrected).

In short, Dora and the Lost City of Gold is still a nice family flick (though much more for the kids, although I admit I found myself smiling once or twice). The film starts off where the TV show takes place, with young Dora and her cousin Diego going off on adventures in the rain forest with her faithful monkey Boots and the mischievous fox Swiper. Diego and his parents move to the city, leaving Dora and her parents (Michael Pena and Eva Longoria) in the rain forest.

Flash forward ten years, and teenage Dora (Isabela Moner) is still her upbeat self, eager to explore and help her parents find the Lost City of Gold. Of course, her parents don’t think she is ready to help, so she is sent to live with her cousin Diego (Jeff Wahlberg, nephew of Mark) and his family, as she explores her greatest challenge yet: High School. Soon, Dora finds herself back in the jungle with Diego and two new friends, the somewhat reserved Randy (Nicholas Coombe) and the rather high strung brainiac Sammy (Madeleine Madden), as they search for her parents who have gone missing. They still have to encounter Swiper the Fox (Benecio Del Toro), but still have the guided help of Boots (whose one scene of speaking is done by none other than Danny Trejo).

The screenplay tool of “fish out of water” has been used countless times, yet it works here, mainly because of the sheer dedication of Isabela Moner. Even the most savage of haters will admit it takes a lot to carry a movie, especially if the source material is of a former six-year-old explorer who talks to the camera (which the movie does playfully nod at). Moner never loses her appeal, even when she is singing about situations you would never think anyone would sing about in any genre of film. Even when other obscure things happen on screen, she is still herself, and it is rather impressive. In short, it is a performance worthy of respect.

As stated before, parents should not look at the user contents on IMDB. It is rated PG, with some minor action and peril, but no swearing or nudity. There is one scene that does contain flowers making certain characters hallucinate in a rather comical and bizarre way. Nonetheless, any age is fine seeing this film.

One of the key aspects of Dora’s philosophy (as taught by her parents) is that she is an explorer, “not a treasure hunter.” For kids, this could be a valuable lesson when it comes to Christianity. The exploring of God’s word (i.e. reading the bible) is its own treasure, wisdom that surpasses all (see Proverbs 3:13 and 8:11).

I was about the age of eight when the original Jumanji (the Robin Williams one) came out. It had its scares but was still fun at the time. Like that film, Dora and the Lost City of Gold is intended for kids over adults (though there are still some things adults would like). The special effects are not anything great (like Jumanji, which has CGI that is borderline laughable), but it is not entirely the movie’s fault (not every movie has the money that a Marvel film would have). It gives lessons to kids (along with the aforementioned one on treasures) that other movies have done in the past, like believing in yourself and the value of teamwork.

The spirit of Dora and the Lost City of Gold is still rather contagious and makes me even willing to say that the film is more enjoyable than any of the recent Disney Live Action Remakes.

Overall:

Rating: 3 out of 5.
Categories
4 1/2 Stars Movies

Once Upon a Time…in Hollywood (2019)

Nowadays, I am to the point where very few film makers are able to still deliver me with shock and awe. Some of them are still working, like Wes Anderson, the Coen Brothers, Martin Scorsese, and, of course, Quintin Tarantino. With only eight previous movies to his (directorial) credit, his newest one, Once Upon a Time…in Hollywood, is one of his more (somewhat) subtle films, but is still nevertheless a borderline masterpiece, riddled with plenty of the expected humor only QT could provide.

While the setting is in the title, the time is 1969. We soon meet former TV star, now fading movie actor Rick Dalton (Leonardo Di Caprio, who, like Tarantino, is in his first film in four years). Never feeling that the public has ever forgave him for leaving TV for film, he is heading for a mid life crisis. The only solid support he has is his stunt double and friend Cliff Booth (Brad Pitt). His dream of making it big are only escalated when he realizes he is living next to actress Sharon Tate (Margot Robbie), actress of filmmaker Roman Polanski (who would later go on to have his own dark history).

Of course, being a Tarantino film, the movie is not at all as simple as that. From lead roles to the smallest of supporting (more on the cast in a bit), every character is as deeply developed as need be. This can be seen especially when Cliff is paying a visit to the old Spahn Ranch, where he used to shoot old westerns. It has now been taken by the Manson “family” (“Charlie’s gonna dig you.”). Even those on screen with no lines seem like they have their own back story.

The old saying “There are no small parts…only small actors” has always applied to a Tarantino film. As to be expected, no one here gives a bad performance. Just a few of the actors include Dakota Fanning as one of the main Manson girls, Damon Herriman as Charles Manson, Bruce Dern as the old Spahn Ranch owner, Emile Hisch as Tate’s friend Jay Sebring, Al Pacino (!) as a studio executive, and the late Luke Perry (in his final role) as one of the actors on set. We also get roles from normal Tarantino faces such as Kurt Russell and Michael Madsen.

It also helps that (as in all his films), there are countless scenes that nearly live as their own small films (which helps when some of the scenes are about filming). My favorite involves the scenes between Rick and a young upcoming child actress (an absolutely delightful young talent named Julia Butters). The chemistry between her and DiCaprio is truly special. Yet the one who steals the film is Pitt. His unparralled charm and delicious line delivery are truly mesmerizing. He truly should get some awards consideration here.

Another key aspect in the film is what Tarantino may be better at then any other working director: a solid soundtrack. As someone who grew up listening to “oldies” (shout out to my parents), I can say that most of these are songs I had heard at one point or another, but forgot the name of (with the main exception being the use of Simon and Garfunkel’s Mrs. Robinson). We don’t get what would be considered “the best” of the 1960s, but we do get the perfectly placed songs in accordance with the story. These include hits from Paul Revere & the Raiders, Bob Seger, The Rolling Stones, the Box Tops, and Neil Diamond.

The relationship between DiCaprio and Pitt is the true heart of the film (Tarantino has said they are the most dynamic film duo since Paul Newman and Robert Redford.) We see this at the beginning as Cliff must drive Rick around, offering his sunglasses to Rick as he breaks down in tears. The only other real relationship Cliff has in the film is with his dog (love that dog). It truly brings out a cinema friend who “sticks closer than a brother” (Proverbs 18:24). The same could also be said for Proverbs 17:17: “A friend loves at all times, and a brother is born for a time of adversity”.

Parents, it is Tarantino, so there is virtually no way this film is for kids. Though the violence is somewhat toned down (at least compared to his other films), the scenes that do show violence is really graphic. Add in the language and the sexual dialogue (though there is no nudity, there is one scene with a younger teen in a car with an older character that is rather disturbing, even though it does not go anywhere further), and you have a movie that deserves its R rating.

Despite some minor flaws (there are some scenes, especially with Margot Robbie, that drag on a bit long), this is another Tarantino classic, proving that originality still exists in film. In my years as a movie goer, he is one of  the select few who (like Cliff) have stuck closer than a brother.

Overall:

Rating: 4.5 out of 5.
Categories
1 1/2 Stars Movies

The Lion King (2019)

I have a working theory that everyone has one film that was the staple of their childhood. Sure, a child would have seen many a film in their youth, but there is still one that stands above the rest. For my little siblings, these ranged from Space Jam (1996), Spider-Man (2002), Star Wars Episode III: Revenge of the Sith (2005), and Dolphin Tale (2011). Without a doubt, mine was 1994’s highest grosser, The Lion King. I have seen over a 1000 movies or so, and can safely say that I have seen The Lion King more times that any other (the only possible close second would be the 1980 comedy masterpiece Airplane!). I even knew the struggles of the SNES video game of the film (it took me years to finally beat “I just can’t wait to be king” without using the cheat on the options menu.) In short, my expectations for the live action remake of The Lion King were exceedingly high.

The plot is unchanged (if you have not seen the original, I don’t know what could be holding you back). The kingdom has a new future king born in Simba (JD McCrary), who lionizes (pun intended) his dad Mufasa (James Earl Jones, the only returning actor from the original), unaware of his scheming Uncle Scar (Chiwetel Ejiofor) planning to reclaim his right to the thrown. After tragedy strikes, Simba runs away, makes friends with Timon (Billy Eichner) and Pumba (Seth Rogen), and realizes he needs to return to take his place in “The Circle of Life”.

As stated before, my expectations were as high as ever. Sadly, they were (for the most part) not met. First the voice acting. It is true you cannot have anyone other than James Earl Jones (owner of one of the most notable voices in history) playing Mufasa, and he is basically as iconic as he was a quarter century ago (though age has made him sound more of a grandfather figure). However, you want to know who also has an iconic voice? The original animated Scar (arguably one of the top five or so best Disney villains), brought impeccably to life by Jeremy Irons (Ejiefor is undoubtedly a talented actor, but he can’t fit in the shoes that Irons left). The same could be said by the animated films’ vocals by Whoopi Goldberg (Shenzi), Cheech Marin (Bonzai), Rowan Atkinson (Zazu), Jonathan Taylor Thomas (Young Simba) and Matthew Broderick (Adult Simba).

The new film has (somewhat) notable performances, including the voice of Adult Simba played by the immensely talented Donald Glover and his love interest Nala (Beyonce Knowles-Carter). John Oliver also does his own unique take on Zazu. There is also some nicely done chemistry between Eichner and Rogen as the duo behind the immortal “Hakuna Matata” (Eichner manages to make the role his own, even after it was played uncannily in the animated film by the great Nathan Lane). Their take on how to create a “distraction” at the end of the film is just as funny and memorable as the one from the animated film.

One thing that I (or anyone) cannot argue about is the visuals. This is as close to a live action retelling of the pride lands as we can ever get, and all the credit goes to director Jon Favreau (who, along with the original Iron Man, also directed the 2016 live action version of The Jungle Book) and his team of technicians. The effects are nothing short of extraordinary (if you think you know what it is like to see a lion eat bugs, think again).

Proverbs 19:21 says that “Many are the plans in a person’s heart, but it is the LORD’s purpose that prevails”. After his father’s death (like I said, who did not see the original by now?), Simba runs away from his problems (to be fair, Scar manipulated him to). He tries to take it easy and have “no worries”, but his past does catch up with him. Then (with the help of the ever-wise Rafiki), he sees his true purpose: to take his place as king. It reminds me a bit of Jonah, running away from God, only to realize his fault later on before returning. Something we have all done at one point or another (minus the whole being swallowed by a whale).

Parents, there is nothing new added to the live action that was not in the original. If your kids have seen the original, they can see this film (though the darker moments are still there).

There is a lingering question for The Lion King remake: If the original was not broke, why try to fix it? Undoubtedly, the answer is to make money, but that does not make it any easier to digest. We have many (and I mean many) more remakes of Disney classics on the way (Mulan, The Lady and the Tramp, and The Little Mermaid, just to name a few). It reminds me of a speech from 1993’s Jurassic Park, given by Dr. Malcom (Jeff Goldblum). After viewing the park, he is telling those at the table (as well as the audience) of the dangers of this endeavor. He utters one statement that perfectly sums up my reaction to Disney remakes.

“The were so preoccupied with whether or not they could, that the didn’t stop to think if they should.”

Overall:

Rating: 1.5 out of 5.

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4 1/2 Stars Movies Vintage

Crouching Tiger, Hidden Dragon (2000)

The turn of the century was also the turn for me as a moviegoer. I began seeing that stuff happened behind the camera as much as in front of the camera (it also helped that DVDs came into the full). There were so many questions I had to ask the likes of names like Spielberg and Lucas.

Still, I like to think that there is some bit of me that is naïve enough to believe that what I was seeing on screen was real. Which brings us to Crouching Tiger, Hidden Dragon (2000), a movie I still refuse to see what happened behind the scenes.

Continue reading “Crouching Tiger, Hidden Dragon (2000)”
Categories
4 Stars Movies

Spider-Man: Far from Home (2019)

For those who are suffering from film fatigue of the superhero genre, you can at least rest a little easy knowing that Spider-Man: Far from Home (the ending of Phase Three of the MCU) is the last we will see for at least a year. For those who are fans (such as yours truly), it is another (somewhat) solid entry into the MCU, and an even deeper dive into the world of Spider-Man.

Taking place just months after Avengers: Endgame (meaning if you have not seen it, stop reading now, because it is impossible to review this film without talking about the fall out of Endgame), Peter Parker (Tom Holland, proving again he is the best Spidey to date) returns to high school after the reverse of Thanos’s snap (called the “blip”) from five years ago. While Peter and many of his classmates did return, those that stayed still aged five years older. He still tries to be the “friendly neighborhood” webslinger, but is soon thrown into the position of having to fill the shoes of his late mentor (and father figure) Tony Stark/Iron Man. This is apparent as Nick Fury (Samuel L. Jackson) attempts to call Parker, only to be ghosted (“You don’t ghost Nick Fury!”) It also does not help that his Aunt May (Marisa Tomei) is starting a budding romance with Happy Hogan (Jon Favreau). In short, Peter is in desperate need of a vacation.

 He is on his way for a class trip to Venice, where he looks forward to hanging out with his buddy Ned (Jacob Batalon), and may even get to spend time with his crush M.J. (Zendaya), who has a bit of a slightly darker/awkward side than her past cinema portrayals. This of course is put on the side when big water and fire monsters (called Elementals) are terrorizing the locals, meaning Peter will have to join in with Fury, Maria Hill (Cobie Smulders), and the one fighting the monsters from the start, Quentin Beck (Jake Gyllenhaal), who becomes known as Mysterio.

All the actors are top notch. Gyllenhaal (who I still think is underrated as an actor) works off of the younger Holland, and there are times it is hard to tell who is the veteran thespian. As for Zendaya, I admit I was very worried when I heard she would take on the role of M.J. (though not entirely Mary Jane, she may as well be). The chemistry between her and Holland is so palpable that I admit to being totally wrong. While they are not teenagers in real life (both are in their early twenties), they look, sound, and act like actual teenagers that we don’t care.

As is always the case, the film has enough of those nicely seasoned comedic moments that will have you in smiles and giggles (such as the acronym for the gift that Stark has given Parker). It is also rather amusing to know that, at the start, Peter is somewhat almost oblivious to the fact that he can’t get out of helping Fury. It some ways in reminded me of Proverbs 16:9: “In their hearts humans plan their course, but the Lord establishes their steps.”

(Note: The following paragraph contains a spoiler for the film). [bg_collapse view=”button-blue” color=”#ebebeb” icon=”eye” expand_text=”Show Me the Spoiler” collapse_text=”Close the Spoiler” ] The movie also reminds us how we as humans can sometimes trust the wrong person. When we are vulnerable (especially if we have just lost someone close to us as Peter has lost Tony), we can look for nearly anyone who can fill that void, or for someone to share our burden with. While God would certainly be able to provide that person for us, Satan will do all he can to make us follow the wrong person, making our situation end in chaos. (End Spoiler)[/bg_collapse]

Parents, the film does have a little violence and some good amount of swearing (including one use of the middle finger), but nothing else to worry you. If your kids have seen any other MCU movie, they will be okay with this PG-13 rating.

While this is not the best of the Spider-Man films (2004’s Spider-Man 2 was always the best until 2018’s Into the Spider-Verse came along), it still does service for fans and non-fans alike. While watching it, the theater was sold out (unsurprising), meaning I had to sit in the front row (not to mention next to young teen girls, and if you are sitting next to teen girls when the movie has Tom Holland, you can be sure to hear their reactions). The special effects were so uncanny I actually was happy to sit as close as I did. The film will satisfy everyone’s inner spider- sense.

Or, to be more accurate, “Peter tingle”.

Overall:

Rating: 4 out of 5.
Categories
2 Stars Movies

Yesterday (2019)

From what I remember, I was about 9 or 10 when my dad introduced me to the Beatles, easily his favorite band (though I think Bread was a close second). The first song I remember hearing was “I want to hold your hand”, and then my world of music was never the same again. This is what would start me out on listening to other “oldies” of the 1960s and 1970s. Even those who don’t like The Beatles cannot deny the influence they have had on music, putting them right on the list of names like Bach, Mozart, Beethoven, and Elvis. The love of the fab four from Liverpool is clearly evident in the movie Yesterday, but its brain is not.

The premise is well known by now: Struggling solo musician Jack Malik (relative newcomer Himesh Patel), once a former teacher and now working part time at a local factory, is about to hang up his guitar strings for good, having only his manager/life long friend Ellie (the always charming Lily James) as his main supporter (even his parents seem hesitant on his musical career). All this changes one night when, as he is riding his bike home, there is a mysterious power surge all over the world that lasts for twelve seconds. This also happens right at the time Jack is hit by a bus, knocking out his two front teeth in the process.

Eventually, he realizes he is the only person left alive who remembers any songs from John, Paul, George, and Ringo (his google searches lead him straight to Beetles and Pope John Paul). While he has some struggle remembering certain song lyrics (mainly Eleanor Rigby), he finds he can become famous by passing the songs as his own (and does a good job of singing them in the process). He becomes so well respected that Ed Sheeran (as himself) says that Jack is Mozart and he is Salieri.

One of the things of the film I was not expecting was that the Beatles would not be the only thing that people have forgotten about. I won’t spoil what they are, but they seemed really superfluous to the film other than some laughs and a product placement (one of the absences would be even more impactful than the absence of The Beatles, without question). Another flaw is the character of Debra, Jack’s new manager. She is played by Kate McKinnon. This is a character that felt totally out of place and even somewhat annoying, going for total schtick. This is in no way a negative take on McKinnon (who has done wonderful work on SNL.)

Parents, the movie is a very soft PG-13. There is swearing, but very little violence (just the aftermath of Jack’s accident). There is also mild suggestive material, but it does not get past lots of kissing. I would think that mature middle schoolers and up are okay.

One thing the movie does get right is the zeal that Jack has for the Beatles (such as his reaction to Ed trying to change the name of “Hey Jude”). Sure, he can use the money, but at the core of it all he is trying to make sure people here songs from the most influential band of all time. This got me thinking: What if I got up one day, and somehow found myself to be the only person alive who has heard about Jesus Christ? While I would assume my first reaction would be utter shock, how would I get his message across? How much fervor would be behind it? Even now, when not alone in knowing the name of Christ (who the Beatles did say they were more popular than at one point), how much joy do I have in proclaiming his name to all?

Yesterday was written by Richard Curtis (who wrote 2003’s wonderful all star cast rom-com Love Actually), and was directed by the very talented Danny Boyle (who won an Oscar for his 2008 capraesque like Slumdog Millionaire). Their work on Yesterday, though well intended, falls short of their previous works, as well as other films revolving around The Beatles such as the underrated Across the Universe (2007) and (perhaps the best of the fab four flicks) A Hard Day’s Night (1964). As a relatively loyal fan of the band, I will stick with those films and the original tracks.


Ob-La-di, Ob-La-Da. Life still goes on.

Overall:

Rating: 2 out of 5.

Categories
4 1/2 Stars Movies

Toy Story 4 (2019)

Memorable characters are one thing, but being relatable is just as important (if not more so). This is one of the main reasons why the Toy Story films have been so effective for nearly a quarter century. Like The Godfather, Star Wars, and films in the MCU (not to mention other Pixar films), the characters of Toy Story are ones we relate to, and are all around timeless. Just like a toy is to our inner child. This makes all the events of the fourth installment all the more powerful, and even sometimes poignant.

Like many, I too was hesitant to hear there would be a fourth film for Woody (Tom Hanks), Buzz Lightyear (Tim Allen), and the rest of the gang, especially after the emotional climax of the third film. Still, this revisitation is another knockout. When it is discovered that the toy’s new owner Bonnie (Madeleine McCraw) is about to start kindergarten, she (literally) makes a new friend in class out of a spork, naming him Forky (a wonderfully casted Tony Hale). Woody is doing all he can to make sure Bonnie is happy (despite no longer being the favorite toy) and makes sure that Forky is aware of the fact that he can be more than just “trash.”

On a road trip, Woody and Forky are separated from the rest, and wind up in an antique shop. In a rather dark and creepy situation (the music used was the same used during The Shining), they come across Gabby Gabby (Christina Hendricks), an old doll that reminded me of the classic Talky Tina from the “Living Doll” Episode of the old school Twilight Zone. She is set on getting Woody’s voice box (her own is busted). Woody eventually teams up with his old friend (and flame) Bo Peep (Annie Potts), who was given away in-between the second and third film. Meanwhile, Buzz has set out to help Woody despite having trouble listening to his “inner voice”.

While other old characters have returned (Joan Cusack as Jessie, Pixar vet John Ratzenberger’s Hamm, Wallace Shawn’s Rex, Kristen Schaal’s Trixie, Bonnie Hunt’s Dolly, and the late great comic Don Rickles as Mr. Potato Head), we still get a good amount of new characters. The duo of Jordan Peele and Keegan-Michael Key nail it as Bunny and Ducky (respectively), two stuffed animals tied at the hand who have spent their lives on the wall of a carnival game. Still, perhaps the best new cast member is Keanu Reeves as Duke Kaboom, a daredevil motorcycle stunt toy from Canada (“Yes I Can-ada!”).

Without giving anything away, I will mention that the film manages to deliver more than a good share of laughs and cries (more on the ending in a bit). It delivers a sense of redemption and closure with it’s characters. It reminds us that certain paths in life that take longer to travel then others. It reminded me of one of my favorite verses: “In their hearts humans plan their course, but the Lord establishes their steps.” – Proverbs 16:9

Parents, I imagine this is one of those animated movies you would be taking your kids to, not them asking you to take them to. Aside from some of the darker moments (including ventriliquist dummies) mentioned already, the film is fine for kids.

Now about the last half hour or so of the film. I read recently that Tom Hanks and Tim Allen each had to record the lines of the last scene away from other cast and crew due to getting too emotional. Being that I cried till I pulled up to my driveway on the way home, I would think this is accurate. If you thought the last half hour of Avengers: Endgame was a tough cry, wait till the last half hour of Toy Story 4.

Overall:

Rating: 4.5 out of 5.
Categories
3 Stars Movies

Godzilla: King of the Monsters (2019)

The book of Revelation crossed my mind a good amount while watching Godzilla: King of the Monsters. One verse I did not expect to think of was in chapter 3, when Jesus is talking to the church in Laodicia.

“So, because you are lukewarm-neither hot nor cold-I am about to spit you out of my mouth.” _ Revelation 3:16.

The reason for this is simple: I have not been this “lukewarm” about how I feel over a movie in sometime. In the end, I have to choose a side, and that side is on the positive…barely.

Set five years after the previous movie, we meet Dr. Emma Russell (Vera Farmiga), who has been trying to find out how to make the titans less vicious (I think, I admit I am not sure) after losing her son Andrew in the events five years ago.. Along with her daughter Madison (Millie Bobby Brown, aka Eleven from Stranger Things), she is soon kidnapped by the (over the top) evil Alan Jonah (Charles Dance), who is dead set on being eco friendly. Her ex husband Mark (Kyle Chandler) teams up with a team of doctors from the first film (played again by Oscar nominees Ken Watanabe and Sally Hawkins) as well as new faces such as Bradley Whitford and Ziyi Zhang. There is conflict over which of the titans are here to help us (such as Godzilla) or destroy us (newcomers such as Rodan, Mothra, and Monster Zero, better known as King Ghidorah).

The human drama does tend to take away from the film, though none of the actors can be at fault. Grizzled faced vets don’t get played much better than Kyle Chandler, and if you need a girl who is quick witted, smart, and capable of emotion in the blink of an eye, then look no further then MMB. The drama involves whether or not to let the titans battle it out, or have humans put an end to it (with help from the military, of course).

All of that is sheer background to the real reason we see these movies: all out monster mashing. Since the 1998 version of Godzilla (a film some friends of mine still like for reasons I may never understand), the battle sequences have always seemed to be in the dark rain, obscuring the visuals. That is a shame, because the 2014 version showed some rather impressive visuals (regardless of the weather situations), and this film is just as fun to look at.

Parents, the film is fine for anyone who has seen a modern monster movie before. The only thing to mention is there is some good amount of swearing, but nothing worse than the PG-13 rating allows. Middle school and up is totally fine.

Going back to the book of Revelation, it is clear that the return of Jesus will come. It will be an event that will be like no other. We humans can either try to prevent it (which would be foolish to say the least), or just leave it up to God to fix it all. The same goes with Godzilla, as his movies have shown that they tend to work the best when pesky humans are not in the spotlight.

Note: The next matchup scheduled for Godzilla is King Kong. As someone who watched the 1960s version of the matchup many times as a kid. I am stoked for the remake, and have my choice picked out regardless of the odds.

Overall:

Rating: 3 out of 5.
Categories
1 Star Movies

Aladdin (2019)

Unless you own a copy of a special edition on Blu-ray or DVD (or VHS for that matter), your best chance of finding a copy of the original Aladdin from 1992 would be to go to Family Video (or better yet, the library) and try your luck there. The new Disney streaming service, Disney +, won’t be available til November 12th, which is supposed to have all the original classics for viewers to witness. I mention these for one simple reason: you are far better doing all you can to see the original than the newest live action Aladdin remake, which is more than a let down.

Directed by Guy Ritchie (a somewhat peculiar choice, despite his talent), the film is mostly faithful to the original story, with some adjustments. Aladdin (Mena Massoud) is still a “street rat”, able to get by with his faithful monkey Abu by stealing (though he does still have a good heart, as he shows again by giving food to those worse off than him). He makes a quick connection with a local girl, who we know is Jasmine in hiding (played by Naomi Scott). Unlike the original, this film does not show her trying to escape her palace life. That life, of course, is not the most glamourous, as she is told by her Sultan father (Navid Negahban) that the best way for her to live life is to get married to a prince and keep her mouth shut when it comes to (for lack of a better word) political matters. Behind the scenes of the Sultan is Jafar (Marwan Kenzari) and his mischievous parrot Iago. He manages to get Aladdin to (you know) go into the cave of wonders and fetch a lamp, containing the genie (Will Smith, for those who did not know).

At this point in the review, it is time to know whether Will Smith works as the genie. The answer is (for the most part) a sad, “No.” Let us first state the obvious: what Robin Williams did in the original animated film was a landmark performance for film animation (and film in general), resulting in what is arguably the best performance in animation history, never to be topped. Smith himself has said that he was nervous in trying to play the role. To his credit, he does not (for the most part) try to duplicate all of the Williams performance, but try to make it his own. When he is not in his blue form, it is just under par. In his blue form, it is cringeworthy. Will Smith is undoubtably talented and one of the most charming actors alive, but when it came to universality (which is what the Genie should really be all about), Robin Williams will always be number one.

It should be noted that the Genie is not always in his blue form. This is so he can be somewhat of an advisor to Aladdin when he is pretending to be Prince Ali in order to impress the princess. This leads to something that I never expected for the Genie (spoiler): He finds a love interest. This interest is the Princess’s handmaiden (more like best friend) Dahlia (former SNL alum Nasim Pedrad). Am I the only kid from the 90s who thinks the Genie having a love interest is just … off?

This is not to say that the film doesn’t have positive attributes. Most of those come from the lead roles (who, I am happy to say, do some form of justice to “A Whole New World”). Massound’s Aladdin is like a kid friendly version of the characters from the Assassin’s Creed video games (he does do a lot of building hopping). The stand out, however, is Scott’s Jasmine. There is one new song (supplied by the legendary Alan Menken who worked on the original) called “Speechless”. This is sung (twice) by Jasmine in order to show female empowerment. I guess I should not be too surprised at this, but I am still not sure if it was needed for the story. One thing is for sure: Naomi Scott can sing rather well (I admit I got some moments that almost reminded me of Idina Menzel from Frozen). It is a breakthrough performance, and then some.

There are one or two added scares to the film (though there is no giant snake, there is a giant bird), but I would think the film would be okay for kids eight and up (as always, I urge parents to have their kids see the original first).

Aladdin also has some value in teaching us how to be ourselves as God intended (something we all struggle with). It also reminds us (with the idea of wishing) that what we wish for is not always what we wanted. The Genie (regardless of who plays the role) can also be seen as somewhat of a Christ like figure. Someone who inspires confidence, giving us opportunities we could not adhere ourselves, realizing our inner strength, pushing us to do the right thing. After all, we never will have a friend like Christ, right? (Not that it has to be stated, but of course I don’t think God is like a genie who grants wishes.)

I am not denying any of these lessons, or saying they are unimportant. What I am saying is simple: They were in the original, so why not just watch that?

I close by saying that the only reason Aladdin was not the most painful part of my day was because it was followed by a scheduled root canal. Then again, that did have Novacaine.

Overall:

Rating: 1 out of 5.