Author: Mark A. Lester

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4 1/2 Stars Movies

Joker (2019)

One of the key aspects of the clown prince of crime was that we never really knew his backstory, which is why I was very hesitant (as I am sure others also were) to here we would be getting an origin story on a character that is possibly the greatest comic book villain ever (certainly the most popular).

In a sort of preparation for Director Todd Phillips’ (known for R rated comedies like 2009’s The Hangover) new Joker film,  I decided to revisit two films: one that was an inspiration to this current film and another that was one of the very first to galvanize the character in general. The former was Martin Scoresese’s 1976 classic Taxi Driver, about a man (played by Robert De Niro) who is basically shunned by the public despite wanting to “clean up” the garbage of the city. The second (and lesser known) was the 1928 silent german film The Man who Laughs, a story (from Victor Hugo) that tells about a man who has been surgically disfigured to always be smiling (I recently posted a picture of Conrad Veidt, the actor in the titular role,  to social media, and I still got friends saying that it is eerie, even over nine decades later).

The film opens in Gotham, where we meet a struggling Arthur Fleck (Joaquin Phoenix). He works on the side as a clown, as he keeps his dream somewhat alive of trying to be a stand up comic, like his hero, talk show host Murray Franklin (Robert De Niro). Arthur is indeed a kind man, but troubled to the core. We learn right away he has a certain disease (somewhat like tourettes) where he can’t stop laughing. It is clear that this laughter is desperately trying to hide unimaginable pain. Despite some nice co-workers, the only guiding light in Arthur’s life is his mother Penny (Frances Conroy), and the potential to go talk more with his crush in the apartment down the hall, single mother Sophie (Zazie Beetz).

The plot of the film is light and easy to follow, as Penny is trying to get Arthur to help her get a hold of her former boss, Thomas Wayne (Brett Cullen), who is currently running for Gotham Mayor. Yet the film is not about plot so much as it is about witnessing an tragic life event. In this case, it is the clear descent into madness that Arthur undertakes. The film will require more than one viewing, but the first viewing will undoubtedly be (as it was in my case) focused on one thing: the performance by Joaquin Phoenix.

The role of the Joker has been played by many actors over the years: Cesar Romero, Jack Nicholson, Mark Hamill (voice only, but still brilliant), Heath Ledger, and Jared Leto. Of those, Ledger is the one who has probably had the most impact (he won a posthumous Oscar for the role he had in 2008’s The Dark Knight). It is a role that demands to have an actor who is has the ability to be give a chameleon effect in their approach, and make us realize that we are not watching an actor (think of actors like Gary Oldman, Christian Bale, and my personal favorite, Daniel Day-Lewis).

Phoenix also qualifies, and is simply astounding in this film. He even is given more work to do than Ledger had. Ledger’s Joker was already past the point of redemption, and was a sociopathic madman. When we first meet Phoenix, we can’t help but sympathize with him at times, as someone who has been shunned from society and left to the wolves.

Parents, this is not a movie for kids. While there is mild nudity (the joke book that Arthur keeps is filled with some cut outs of naked models from magazines), it more than makes up for it in the swearing and violence. That is not to mention the exuberant dark tone the film even after you left the theater. High School and above.

There is no clear cut answer to what type of mental issues that Fleck/Joker has (though it is safe to say there are many). The real question is how we react to someone with these issues. I am not trying to excuse the actions he exhibits, but trying to understand why he does them in the first place. At the core of it all, Arthur just wants some guidance, a soul to connect with (Sophie is one example). When we push those who are “different” from us away, it damages them in ways we can’t imagine.

Most of the scenes do work, but some that fail (not sure we needed another rendition of the outcome of Bruce’s parents). One that caught me off guard was when Fleck goes to try and talk to Thomas Wayne, and encounters his young son Bruce (Dante Pereira-Olson). The jury is still out for me on this scene, but I would be lying if I said it did not give me goosebumps. I am sure there are a lot of people who will find this movie to speak out to them in some political way, but I was not looking at that. I was simply watching what happens when we forget to love our neighbor.

That, and one of the year’s best performances.

Send in the awards.

Overall:

Rating: 4.5 out of 5.
Categories
3 Stars Movies

Judy (2019)

It is more than likely true that other Hollywood stars had problems behind the scenes before the arrival of Judy Garland, but few would become as well known. As a young teen, Francis Gumm became Judy Garland, and the ruby red-slippered star of The Wizard of Oz had a tumultuous and wild start, to say the least. At MGM (where she stayed until 1950), she was looked over by the tyrannical Louis B. Mayer (who referred to the 4 ft 11 Garland as his “little hunchback”).

After the death of her father, the family was run with an iron fist by Judy’s domineering mother. The pills that Garland had to take at a young age started her down the path of drug addiction, and her cries for help to her mother fell on deaf ears, making it a surprise to no one that she would later refer to her mother as the “real wicked witch of the west.” Future husbands (she would marry five times) only added to a crushed soul in desperate need of care and understanding.

But hot dog, could she carry a tune.

Continue reading “Judy (2019)”
Categories
1 Star Movies

The Goldfinch (2019)

It was film critic Gene Siskel who normally would ask “Is this movie as interesting as the same actors having lunch together?” Had he lived to see The Goldfinch, the answer would be a short and direct no. With actors like Ansel Elgort, Nicole Kidman, Oakes Fegley, Finn Wolfhard, Sarah Paulson, and Luke Wilson, it can be safetly assumed that the making of this film would almost be riveting (not to mention some of those behind the camera). Oh how I wish these people were in a different movie.

Alas, that is not the case, and we are stuck with The Goldfinch, based off the 2014 Pulitzer Prize winning novel by Donna Tart (unread by me). The film starts in the aftermath of a (fictional) terrorist attack at the Metropolitan Museum of Art, leaving few survivors. One of which is 13 year old Theo (young talented Oakes Fegley), whose mother was killed in the attack. He is taken in briefly by an upper class family, the Barbour, and finds a somewhat newer mother figure in Mrs. Barbour (Nicole Kidman).We learn that one of the other victims in the attack was an acquaintance of a antiques dealer named Hobie (Jeffrey Wright), who takes young Theo under his wing as the young soul is more than intrigued by “old things” (not to mention Hobie’s adopted daughter Pippa, who also survived the attack and was catching Theo’s eye before the explosion). It is soon discovered by the audience that Theo has stolen a priceless artwork from the rubble, known as The Goldfinch.

He is soon taken away from his deadbeat dad (Luke Wilson) and his girlfriend Xandra (Sarah Paulson) to live with in the outskirts of Las Vegas. Though both seem loving, it does not take much to see that these two only want Theo for the money that his mother left him. The only light in Theo’s young life is his new friend Boris (Finn Wolfhard of Stranger Things and the IT films), a Russian immigrant (though he mentions he is from many places).

There is a lot (to say the least) jumping around in this movie, as we fast forward to an adult Theo (Ansel Elgort), who now deals in antiques, and finds pieces of his past childhood experiences, which were mostly nothing short of bad, as certain people of the past have died (and in tragic ways). It is melodrama cranked to the max. I forgot to mention how, when he first moved in with the Harbour family, Mrs. Harbour introduced him to a prescription drug that helped with the affects of the aftermath of the attack (PTSD I guess). This starts Theo into a drug habit that escalates even more when he meets Boris (whose own home life is chaotic with his father). The end of the film shows a crime caper of sorts, which legit makes no sense.

I am sure this film had all the best of intentions (and I am sure the book is great), but the translation from page to screen is not merely lost: it vanishes. There was a lot of source material to work from (I found out the book is in the 700-800 page range), but the film still drags on for too long. Sure, the run time is long (two and a half hours), but even films at that length don’t always seem to drag as much (the first film to come to mind that had about that same length of runtime is The Dark Knight, which never dragged on). The Goldfinch had me checking my watch constantly, and that started about 20 or 30 minutes into the film.

Parents, the film is rated R mainly for language and drug use. There is no sexuality (though it is inferred that some characters have slept with each other). High School and above.

The film is directed by John Crowley, who was at the helm of 2015’s criminally under seen gem Brooklyn. He is clearly a talented filmmaker, but even the best of them have flops. The one bit of light for The Goldfinch is (somewhat poetically) that the man behind the lighting (i.e., the cinematographer) is the legendary Roger Deakins, meaning the film is indeed wonderful to look at.

Toward the end of the film, one character mentions how some good can come from bad. It will be sometime before I discover what good has come from seeing this film.

Overall:

Rating: 1 out of 5.

Categories
4 Stars Movies

Ad Astra (2019)

In my mind, the two elements that are best exemplified in science fiction is that of fantasy and of the philosophical. We are intrigued by the technical wonder, yet still have reflections of our own life and world as we leave the theater. Certain movies make us think of one of said elements over the other (Star Wars is more fantasy), but others can balance them well (the all time great sci-fi film 2001: A Space Odyssey does this, though it leans a bit more slightly on the philosophical side). The same is the case with Ad Astra, and while it is not up there with 2001 (to be fair, very few are), it is still a wonder to behold.

Set in the near future, Ad Astra (which means “to the stars”) centers on veteran astronaut Roy McBride (Brad Pitt), who also narrates. When a power surge occurs that affects all of mankind, he is approached to undertake a top secret mission and contact the leader of a past mission, Project Lima. The crew of that project was sent to the outer reaches of the solar system in search of extra terrestrial life. It launched nearly three decades prior, led by Roy’s father, H. Clifford McBride (Tommy Lee Jones).

Roy is told his father has made it as far as Neptune, where the source of the power surge occurred. Along the way, he gets some help from an old friend/collegue of his dad, Thomas Pruitt (Donald Sutherland) and Helen Lantos (Ruth Negga).

Nearly the whole movie revolves around Roy, and Brad Pitt is no stranger to being able to carry a movie (he ranks up with Tom Cruise and Will Smith as one of the biggest stars in the world). He is much more subdued here than he was in Once upon a time…in Hollywood, and that is because the script demands it. Roy is required to keep self check ins, making sure he is fit emotionally and psychologically for each mission (it is said his heart rate has never exceded past 85 during a mission). He is so focused he is barely there mentally for his wife Eve (Liv Tyler).

What’s more, Roy must also live the life of knowing his father is a hero in the public eye, somewhat riding the coat tails. He has indeed looked up to his father, but soon realizes that being like him will indeed take a heavy toll on his life and soul.

Undoubtably, the film is breathtaking in how it handles its visuals. Long before the movie started, a part of me wondered if I should have taken the chance to see this in IMAX, and how I wish I had! Consider the scene on the service of the moon, where the Pitt and Sutherland characters are chased by pirates (since the moon has been colonized) on rovers. We know it is fiction, but it seems like it could actually happen in a century or so. The dangers of space travel are always shown in film (most notably 2013’s Gravity), but the views one would see make those dangers almost worth the risk.

Parents, the film is a very moderate PG-13. There is no sexual content of any kind, and only a few curse words (at least one F bomb I remember). There is also some violence, but nothing too much that would scare a preteen senseless.

There are still many questions raised that will puzzle some audience members (how an animal test subject was alive when the crew wasn’t was confusing). Still, the end result is more than satisfactory. The best part of the film I won’t give away, but it is what Roy discovers at the end of his journey, is something all of us need to remember, and what makes it unique among nearly any science fiction film I have ever seen.

Overall:

Rating: 4 out of 5.
Categories
5 Stars Movies

The Witch (2016)

When it comes to paranoia, very few historical events are brought up before that of the various witch hunts (actual ones) that have occurred throughout human history (Salem being one of the most popular). I am not an expert (though I was rather intrigued when I did visit Salem), but it is hard to think that many of these incidents actually involved truth behind the accusations that were deployed. Of course, the fear behind the accusers would be more than understandable if they had been witness to the events of Director Robert Egger’s The VVitch, one of the best horror films of the decade (which has produced quite a good amount of horror classics).

Set in New England during the 1600s (a prime time of witch hunting), God fearing William (Ralph Ineson) and his Katherine (Kate Dickie) are kicked out of the local puritan village after accusing the villagers of being false Christians. Along with their five children, they set out to edge of the forest to start anew (“We will conquer this wilderness. It will not consume us.”). While it is clear that the family tries as hard as they can to be humble servants of God, things begin to slowly fall apart for them, as their newborn baby Samuel vanishes without a trace.

While the family believes a wolf had taken the baby, we the audience learn right away that it is indeed a witch (no real spoilers, since that is the title). What causes the sudden mysterious acts soon leads to the members of the family blaming each other, including Katherine, the oldest daughter Thomasin (Anya Taylor-Joy) and even the young twins Mercy (Ellie Grainger) and Jonas (Lucas Dawson). The only two who seem to start having a cool level head about it is William and his second born son Caleb (Harvey Scrimshaw).

The imagery of the film is terrifying (only amped up by the searing soundtrack). What Eggers does so wonderfully (alone with cinematographer Jarin Blaschke) is there is little to no added light to any of the scenes: it is all purely natural (which is fitting, since electricity was nonexistent at the time). When you revisit the film (if you are not too frightened), you can honestly almost stop paying attention the narrative and just look at the artistry of the landscapes and texture of all that is onscreen. It is said that there needs to be darkness in order for light to shine, and the example here is pitch perfect. In short, it is breathtaking.

One of the true hidden gems of the film is how the script (also written by Robert Eggers) uses the common speech of the times, yet it does not confuse us. When we hear phrases like “Wouldst thou…” and “thy”, we may at first be a bit uneasy (since no one uses those phrases anymore). However, it does not take us long to put that aside and realize that we not just watching some English pilgrims talking weird: we are watching humans experiencing emotions both relatable and terrifying.

When it comes to horror films, one of the crucial elements is the pacing. A close friend of mine (and horror film fan) told me that, while he likes this film, he thought it went a little slow. I told him I thought it was perfectly paced. While other cheap horror films try to give you a lot of “gotcha!” moments all over the place, the true great horror films build the suspense, and (as Hitchcock would say) play you like a piano.

All of the performances are highly affective, but the three that stand out are Ineson, Taylor-Joy, and Scrimshaw. Ineson’s William is indeed loving but still firm, making sure his family knows he will put God first in any circumstances. Though I have not seen him in anything since, Scrimshaw still shows talent beyond his young years (especially in one scene). Overall, it is Anya Taylor-Joy who steals the show, and is still showing promise of being a star in the making (since this film, she went on to star in 2016’s Split and 2019’s Glass, both by M. Night Shyamalan).

Parents, this film is High School and above, by far. There is haunting imagery that will scare people of any age, not to mention some rather graphic (albeit brief and mostly non sexual) nudity. Kids today may think of witches as something intriguing (no doubt due to Harry Potter), but this deals with the true horror of the nature of witches. It makes you realize for certain why the bible did say to stay away from witchcraft.

As the movie progresses, we find out that each member of the family has hidden sin to confess (even Caleb). For Christians, unconfessed sin is a bad thing, and something that Satan always will feed off of (not just a witch).  While God always wins over Satan, the movie shows what can happen when true evil takes over. That is the true horror of the film.

That, and the goat and rabbit. Those will plague you for sometime.

Overall:

Rating: 5 out of 5.

Categories
2 1/2 Stars Movies

It Chapter Two (2019)

I have often stated that, for one reason or another, I have yet to read a single Stephen King book, meaning I am not always sure if the films are entirely faithful to the material (thought it is wildly known that Stanley Kubrick’s The Shining was not, resulting in King vocally hating the film). It is true that most (if not all) film adapations will differ from the original source, so I feel compelled to judge the film as a whole rather than just how well the film was accurate or not. Whether or not IT Chapter Two is in the loyal category or not, the end result is still rather disappointing, especially since the first IT film two years ago was one of the better horror films of recent memory (I even went to declare it as the best film of 2017).

The film (directed by Andy Muschietti, who also directed the first film) opens twenty seven years after the events of the first film (2016, so modern day in some form), we see the return of the terrifying Pennywise (once again, played radiantly by Bill Skarsgard). We see that only one member of the Loser’s Club, Mike (Isaiah Mustafa) has decided to stay in the town of Derry, Maine (in flashbacks, he is played by Chosen Jacobs). He begins to call the remaining members back.

As expected, a lot has changed in twenty seven years, which is shown through a good number of flashbacks (where all the child actors from the original return). When last seen, young Bill (Jaeden Martell) was the leader and getting over his stuttering problem (let alone the death of his little brother Georgie). Now as an adult, Bill (James McAvoy) is a writer who seems to have problems coming up with good endings. Young Ben (Jeremy Ray Taylor) was last overweight yet still kind hearted. Now, the adult Ben (Jay Ryan) has clearly been working out, yet his heart is the same as ever (and still turned toward the one person who signed his yearbook twenty seven years ago). Ever the comic relief, young Richie (Finn Wolfhard) has grown up to be a comedian (played by Bill Hader). There is still the hypochondriac Eddie (James Ransone, who looks the most like his younger self when played by Jack Dylan Grazer), Stanley (Wyatt Oleff as a child, and Andy Bean as an adult), and, finally, Beverly (Sophia Lillis as a child and Jessica Chastain as an adult).

One of the shocking parts to me (which I believe was in the book) was that it takes the characters a good amount of time to remember the events of the past (with the exception of Mike, who, due to staying in Derry, has remembered everything). I guess it would make sense that, due to the oddities of Derry (“I’m kind of used to it by now”, Bill says), memories may have faded in time (all of us have faded memories as well). However, some seem to take a long time for the characters to remember (it does not seem to cross Bill’s mind for sometime that he once had a little brother).

It is said that, in order to defeat IT, each member must retrieve a piece of their past, which must be done by themselves. This results in the flashbacks to the parts of that summer when the kids were not on speaking terms (after Eddie broke his arm and Bill punched Richie in the face). While the first film showed how we have to face our fears, the second film dives deeper, as it shows we sometimes do all we can to bury our fears and insecurities in the past. Facing our past mistakes can be scary in itself (think of Moses).

While I know there are parts of the story that needed to be told, the film still runs too long. There are some moments that are well done, but don’t really drive the story at all. One main scene I can think of is with a little girl who discovers Pennywise under the bleachers of a local baseball game. The scene is well done and affective, but what does it add to the story? We already knew that Pennywise was taking bloodcurdling to the next level.

Another one of the flaws of the film was the return of a certain character from the first one. While I won’t give it away (and the new actor looked like this character would in the future so well I was borderline flabbergasted), I will say how this character manages to escape predicaments and interact with the other characters is too bizarre to take into account.

As was the case with the first film, the cast is practically pitch perfect. Everyone fits their roles like a glove (I read that, when the child stars were asked who they would like to play their roles as adults, both Finn Wolfhard and Sophia Lillis picked the performers who would eventually play them). We also get two nice cameos that I for one was not expecting at all.

Parents, it should not take much thought to know that this is not a film for children. The movie deserves its R rating, though if your kids did see the first film, they would probably be okay here.

One thing the sequel has more of is CGI, which tends to dampen the scares down a bit (though there are still a good amount of “jump scares” to go around). While the CGI is not bad in a sense, the very idea of seeing Pennywise in his true form takes away some of the imaginative properties we had going into the theater. There is a point in the film where Mike talks about how, sometimes, we tend to keep the memories we like and not the bad ones. That being said, I plan to remember the greatness of the first film and not a lot from the second film.

Overall:

Rating: 2.5 out of 5.

Categories
5 Stars Movies

The Peanut Butter Falcon (2019)

It goes without saying that the title of a film is rather crucial to reeling in an audience. Awkward examples include 1991’s Highlander 2: The Quickening (though I have heard the title is far from the only problem with the film), 1995’s To Wong Foo Thanks for Everything Julie Newmar, and 1996’s Don’t be a menace to South Central while drinking your juice in the hood (a title that wowed me in my youth, though, like the other mentioned films, I have not seen it). There can be some that work (no other title is more everlasting than the Stanley Kubrick masterpiece Dr. Strangelove: Or How I learned to Stop worrying and love the bomb from 1964), but it is up to the audience member to decide if they will let the title make or break the film going experience, which leads us to The Peanut Butter Falcon, one of the year’s best films. I won’t spoil what the title implies, for the less you know about the film, the better (I would not blame you at all if you stopped reading and came back after you saw the film).

Directed by Tyler Nilson and Mike Schwartz, the film takes place in modern day as we meet Zak (Zack Gottsagen), a young man with down syndrome who has been living at a nursing home because he has no immediate family. He dreams of attending a school to learn professional wrestling as taught by his hero, The Salt Water Redneck (Thomas Haden Church), but is unable to despite many escape attempts. Eventually, he is able to get away, only to come across a fisherman/outlaw named Tyler (Shia Lebeouf), on the run from rival fisherman Duncan (John Hawkes). Meanwhile, one of the nursing home staff Eleanore (Dakota Johnson) has been tasked to find Zak.

For a small movie (which is not a bad thing), there are a sizable amount of talented actors. Aside from those formentioned, small parts are filled by the always adept Bruce Dern as one of Zak’s nursing home friends, Jon Bernthal as Tyler’s deceased brother (shown in flashback), and minor roles from former wrestling stars Mick Foley (“Mankind”) and Jake “The Snake” Roberts. The mention of the last two gives me promise that some who are in the WWE will be able to see the film.

Despite all the star power of the film, the core of the film’s energy belongs to the relationship of Tyler and Zak. As they set off on a modern day Tom Sawyer/Huck Finn type of journey, the unlikely bond becomes humorous, heartfelt, potent, and true. There is a moment where Zak states that, when he reaches the pro circuit of wrestling, he will be a “bad guy”. Tyler then explains Zak does not need to be the bad guy, and….well, the movie explains it better than I can, but expect to be floored with a lot of positive emotion.

About ten or so minutes of screentime made me realize I have been too hard on Shia Lebeouf over the years (I know I am not alone). Despite what goes on in his personal life, he proves here he is one rather talented individual, giving one of his better performances of his career. The same can also be said for Dakota Johnson. Though she had a small part in The Social Network (2010), I have not seen her in any other film until this one (I have not seen any of the Fifty Shades films, and never plan on it). She is proof that actors are best able to shine when given the right material. Still, it is Zack Gottsagen (who does have down syndrome in real life) who steals the scenes he is in.

Parents, the film is rated PG-13, mainly for swearing and some violence (though there is no sexuality, there are scenes where Zak is in nothing but his underwear at the beginning). Still, I would think middle schoolers and above would be okay seeing the film, and would argue they should.

Of all the things The Peanut Butter Falcon exudes the most is a spry charm that I have not felt for some time at the theater. I will put it simply: Give the movie a chance, or you are no longer invited to my birthday party.

Overall:

Rating: 5 out of 5.

Categories
3 1/2 Stars Movies

Blinded by the Light (2019)

In just under twelve months, we have seen films that have glamourized the music of Queen (last year’s Bohemian Rhapsody), Elton John (Rocketman), and The Beatles (Yesterday), not to mention other music icons such as Ray Charles (2004’s Ray), Johnny Cash (2005’s Walk the Line) and Bob Dylan (2007’s I’m Not There). As is the case with any viewer, my familiarity with each artist varied as each movie started. The same is true for the film Blinded by the Light, the most recent film by director Gurinder Chadha (who made the unsung gem of a film Bend it like Beckham back in 2003), about a soul discovering the music of “The Boss” Bruce Springsteen.

Based on a true story, the film is set during 1987 England, during the times of Margaret Thatcher and increased chances of unemployment. It has been seven years since the Khan family has had to flee Pakistan due to the invasion of the Russians. With two older sisters, teenager Javed (newcomer Viviek Chadra) has many more problems than the average High Schooler. Perhaps the most stressful source in his life is his rather domineering (but still loving) dad Malik (Kuvinder Ghir), who is in danger of losing his job. He wants to make sure his son studies hard and “stays away from girls” (which he yells out for all to hear). His mother Noor  (Meera Ganatra) is sewing clothes all day in order to make more money. One of his sisters, Yasmeen (Tara Divina), is set to be married, though he does get along well with his other sister Shazia (Nikita Mehta). He constantly seeks the attention of classmate Eliza (Nell Williams), though is still shy to come out of his shell. His only true escape is writing, but even though he tries to write lyrics for his lifelong friend Matt (Dean-Charles Chapman) and his band, the school paper still won’t publish Javed’s work. He does get inspired to keep at it by one of his teachers, Ms. Clay (Hayley Atwell, once Peggy Carter of the MCU).

All this changes when Javed meets Roops (Aaron Phagura), who insists that a listen to Bruce Springsteen will alleviate him. Indeed, when we experience Javed’s experience of his first Springsteen song (“Dancing in the Dark”), the words are so powerful to him that they almost literally jump off the screen.

The screenplay is rather predictable and borderline trite, as we know that Javed will be inspired to open up about his writing, show his true self to his family (something also very relevant in Bend it Like Beckham), express his feelings, and even interact with Eliza. Yet the film still works because of the nearly effortless charm of everyone in the cast, from Chadra in the lead role to Mr. Evans (David Heyman), the neighbor next door who turns out not to be all Javed believes him to be.

In my review on the film Yesterday (of which I was not a fan), I said that one thing that film got right was the zeal that the film’s character Jack (Himesh Patel) had for The Beatles. The same is true for Javed’s zeal of The Boss. Looking at Javed’s face as he listens to the music, it is easy to imagine back to the time when you were captivated by the Word of God. Not just reading it, but understanding it and letting its power guide your character. The same could be said of looking into the eyes of Javed, as he actually is oozing out intensity as he explains his love of Bruce Springsteen.

Parents, the film is a solid good PG-13. Most of this is do to swearing (including words not considered swearing in the United States), but there is a fair share of racism and mild violence (just a bloody nose when one character is punched in the face). There is kissing, but nothing beyond that. Basically, trust the rating.

As teenagers, we all had forms of escapism (no doubt mine were movies, both past and present). Undoubtedly, the real source we need to “escape” to is Jesus, which requires effort. Or better yet, as we learnt to live as Christ, we learn to live in the world and not escape from it.

We were born to run, after all, so run to Jesus.

Overall:

Rating: 3.5 out of 5.
Categories
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.