Zootopia 2

It's been nearly a decade since we were introduced to Zootopia. But for bunny cop Judy Hopps (Ginnifer Goodwin) and fox con man Nick Wilde (Jason Bateman), it's been at least a week. Maybe more. Where has time gone? Let's find out in Zootopia 2.

Since we last left Judy and Nick, the two of them have now become partners in the Zootopia Police Department. But after a week, their teamwork leaves much to be desired. After a Cowboy Cop chase, Chief Bogo (Idris Elba) assigns them to partners' therapy. Judy, however, is much more interested in investigating the snakeskin she found during the chase. Reptiles haven't been seen in Zootopia ever since it was founded a hundred years ago. It just so happens that the city's "Zootenial" Gala is close at hand.

At the party, Milton Lynxley (David Strathairn), the richest cat around and descendant of the town founder, unveils his ancestor's journal. Our heroes crash the party just as Gary De'Snake (Ke Huy Quan) swipes the book. Judy and Nick are mistaken for Gary's partners-in-crime and go on the run. As they get on the case, they not only discover a conspiracy dating back to the town’s founding but mend their troubled partnership. That’s pretty much it.

Unlike the last film, which had seven writers, this film only has one: co-director Jared Bush. The narrative quality is consistent, even if it shows slight redundancy. While Judy and Nick spent the first movie working out their differences, this one still has them working out their differences. Shouldn't they have done all that after everything they've been through? I'm a bit bemused by Nick bringing up his "unresolved childhood trauma," which the first film painfully elaborated in flashbacks, as if it was something new. It's somewhat funny at times, but it's also noticeable. Maybe I'm reading too much into it, as I did with the "animal stereotypes" in the last film.

Still, just like last time, Judy and Nick make for a great pair. You'll be laughing with them and feeling for them as their friendship is tested. Judy's carrot recorder, which helped solve the last case, is just as relevant here. Gary's innocent personality is delightful; the same goes for Nibbles (Fortune Feimster), a chipper beaver podcaster, who helps solve the case. The new mayor, Brian Winddancer (Patrick Warburton), is pretty entertaining, especially when he fights the Lynxleys. Milton Lynxley makes for a formidable new villain, but his two oldest kids, Cattrick and Kitty (Macaulay Culkin & Brenda Song) are forgettable. You might not even recognize the new cast until you look them up; I didn't even recognize Jean Reno in a dual role as a pair of goat cops.

Another thing I can appreciate is its mystery plot. Why does Gary need to be smuggled into Zootopia? Why aren't snakes allowed in Zootopia? Why does Gary need the book? What are the Lynxleys hiding? It's pretty exciting as every question lingers in the back of your mind. You'll be rewarded with plenty of shocking twists, especially Gary's personal connection to Zootopia's history. Just as shocking is the surprise co-villain, whose reveal is quite a gut-punch; fortunately, the finale makes a fool out of him.

What else can I say about it? The technical artistry looks as good as it did nearly ten years ago. Zootopia's regions look great, the character designs look lovable (even the villains), and the animation is still impressive. The action scenes are impressive, especially when it finds time for a parody of The Shining! Michael Giacchino adds yet another fine score to his resume. I suppose I can talk about the puns, from the "Burning Mammal" festival to Duke Weaselton's (Alan Tudyk) bootleg DVDs. They're pretty funny. Flash (Raymond S. Peri), the speed demon sloth, is the film's one-scene wonder. I think that's it.

Chances are, Wicked: For Good and Zootopia 2 will be competing heavily for your family's time. There's no harm in making time for both; I sure did these past few days. They’re not just entertaining; their allegorical stories feel especially relevant in today’s world. Still, Zootopia 2's shorter length and lighter atmosphere might give it an edge. I'll leave it to you to decide if and when to see them. It's getting late, so that's it for now.

Wicked: For Good

Who's ready to get Wicked again?

Last year, Wicked's expanded first act proved wonderful for the box office. We now have the second act, Wicked: For Good, ready to send its Broadway fanbase, casual filmgoers, Oz fans, and every combination thereof, back on the Yellow Brick Road. Let's see what they'll find.

Elphaba Thropp (Cynthia Erivo) has now fully embraced her unwanted destiny as The Wicked Witch of the West. By that, I mean that she's actually fighting against the Wizard of Oz's (Jeff Goldblum) oppression of Oz's animal population. Meanwhile, Glinda the Good (Ariana Grande) is pushed into an arranged marriage with Fiyero (Jonathan Bailey), who actually loves Elphaba. 

There’s a lot of stuff that happens here. Elphaba tries to reconcile with her sister, Nessarose (Marissa Bode), but that ends badly. Elphaba considers joining the Wizard, but that ends badly. Fiyero and Elphaba have a secret affair, which, you guessed it, ends badly. It gets complicated when Madame Morrible (Michelle Yeoh) brings along a certain farmgirl from Kansas and her little dog, too. Still, Glinda and Elphaba try to save their once promising friendship.

I haven't seen the stage musical - I wish I did - but I've heard it said that its second act isn't as good as the first. Of course, all of Stephen Schwartz's popular songs have already been handled, which are reprised in the opening medley. But more importantly, we not only have the plot points I mentioned above, but the fates of Fiyero and Boq (Ethan Slater) to consider. Most productions tend to tell all of that in about 55 minutes! Maybe the filmmakers were on to something when they split it into two movies. Yes, I was skeptical when they announced the split, but its profound finale justifies it. It's quite a technical and emotional achievement.

With the fun songs over, we now get to the more dramatic ones. There's not a false note from Grande and Erivo as their characters are put through the ringer. Both of them get new Oscar-Bait songs, "No Place Like Home" for Elphaba & "The Girl in the Bubble" for Glinda; I prefer the latter over the former. Even as they fight, particularly in a weirdly silly brawl, you'll still hold out hope that they'll reconcile, which they do during the titular song. I surprisingly sympathized with Nessa, who turns out to be a deeply insecure control freak. She makes that clear during her powerful song.

Let's talk about the villains. You'll loathe and admire this Wizard for his casual callousness. Yes, he's got one of the score's lightest songs, Wonderful, in which he almost wins Elphaba over. But he also thinks that locking up sentient animals and depriving them of speech is a good thing. What redeems him is his how he processes one last bombshell: no words, spoken or otherwise. His devastation maybe the best bit of acting of Goldblum's career. Yeoh gets her best moments as Morrible when she gets to overact, even a little.

We now get to Dorothy and her friends. We never get to see her face, save for a few glimpses, but we hear her quite a bit. She's played by Bethany Weaver, and she's fine in the role. The Tin Man not only proves to be heartless, but ruthless, when he rallies the Ozians against Elphaba. He and the Scarecrow are marvelous feats of costume design and practical makeup; you'll have to see them for yourselves. And finally, we have the Cowardly Lion (Colman Domingo), whose ungratefulness towards Elphaba's kindness is surprisingly understandable.

Since both parts were filmed together, Jon M. Chu retains pretty much everyone on the technical side. Visually speaking, it's pretty much the same as last time, though Oscar winners Nathan Crowley and Paul Tazewell's new designs are still cool. Besides the Scarecrow and Tin Man's designs, we now see Fiyero's abandoned castle, Elphaba's own castle and the Deadly Deserts outside Oz. What makes me prefer The Girl in the Bubble is how it follows Glinda in and out of every mirror in sight. You'll have to see this amazing feat of cinematography and editing for yourself. The expanded score by Schwartz and John Powell accentuates the magical action quite nicely. Still, a few moments have the score overpowering the dialogue, especially during the beginning.

I don't know if I've been changed for good by this two-part musical. But I've had as much fun with Wicked: For Good as I did its predecessor. It's thankfully shorter than its predecessor, at 137 minutes, so it doesn't overstay its welcome too much. If anything, I hope that if Hollywood will learn all the essential lessons the next time it does this again. Maybe not, but it's worth a thought. I think I said enough.

Frankenstein

Who’s ready to meet the real Frankenstein? I don’t mean the numerous parodies, kid-friendly and not, but Mary Shelley’s actual tortured monster. Are you ready? Well, keep waiting, because this ain’t it.

That’s not to say Guillermo del Toro’s version of the story is awful — far from it. It’s just that Shelley could articulate ideas in print that film has historically struggled to capture. It's especially evident with the monster himself, here played by Jacob Elordi, whom she described as a creature of "horrid contrast" whom Dr. Victor (Oscar Isaac) created in a deliberately vague manner. Sure, CGI could replicate the uncanny valley of this description, but this makeup team creates an otherworldly, yet stunning, creature.

Anyway, I have to get to the movie, which, like the novel, begins at a North Pole. There, Captain Anderson (Lars Mikkelsen) and his crew take the half-dead Victor aboard. The Doctor recounts his life story as his creature demands his maker. Traumatized by his mother, Claire's (Mia Goth) death in childbirth with his brother William (Felix Kammerer), Victor devotes his life to necromancy. The scientific community shuns him, but rich man Henrich Harlander (Christoph Waltz) agrees to write him a blank check. It just so happens that Harlander's niece, Elizabeth (also Goth), is William's fiancée.

After much effort, Victor finally creates his homunculus. Elizabeth bonds with the unsightly creature, whom Victor chains up in the sewers beneath her uncle's castle. Victor, meanwhile, declares the experiment a bust because of the monster's limited vocabulary - he can only say Victor's name. He blows up the castle. At this point, The Creature—credited simply as such—tells Anderson how he survived and wandered the world looking for a purpose in life, or, failing that, an end to it all.

While most adaptations emphasize a "don't play God" moral, this one interestingly amends that to "don't play God if you don't want to do all the work." Yes, Victor breaks his back setting up his necromantic experiment. Yes, he puts his foot down when Harlander springs an unpleasant caveat at the worst possible time. But he's not that interested in nurturing or educating his creation. In fact, he blows up the castle even after The Creature says more than just "Victor." It's not just impatient, it's callous, and of course there will be consequences. That moment, and one last conversation between Victor and William, cement the former as the real monster of the tale.

That's not to say Victor is completely unlikable. We can already tell he's been punished enough when Anderson brings him aboard. We'll just have to watch how he got there over the course of two-and-a-half-hours. Initially, his self-ego can be quite charming, and even hilarious when others put him in his place. That lasts until he brings The Creature to life. We can sympathize with him being mistreated by his emotionally sterile father (Charles Dance), but not with him mistreating his own son. The consequences for Victor are brutal. But after everything, it's still moving when Victor and his creature reconcile. 

Elordi wonderfully conveys the creature’s soul beneath all that makeup. It’s hard to feel nothing when he realizes his own maker deemed him a mistake. Not only that, but because of his insane healing factor, he’s a mistake that can’t be undone. His misery turns to rage, and that rage gets violent. Still, a blind man (David Bradley) proves to be a better father than Victor, and if not for his violent death, he could’ve turned the creature’s life around. It's quite nice seeing them interact before the wolves show up. Anyone only familiar with the blind man with the Young Frankenstein parody, where he's played by the now-deceased Gene Hackman, are in for a surprise.

Waltz is also charming as Harlander, whom you wouldn't suspect had any ulterior motives until he springs them on Victor. Goth is fine as Claire, but she's even better as Elizabeth, whose complicated relationship with Victor is dynamite. She shares better chemistry with the creature than she does with William (Kammerer is just fine in the role). On the technical side, Del Toro's usual craftsmen - costume designer Kate Hawley, cinematographer Dan Laustsen, production designer Tamara Deverell and composer Alexandre Desplat - once again work wonders in visualizing their director's gothic aesthetic. The CGI is often obvious, including the aforementioned wolves, but it's still effectively gruesome.

I could have seen Frankenstein last month when it played in theatres. But, as usual, I waited until it premiered on Netflix, which it actually did about two weeks ago. I may be late for the fun, but it's still fun, nonetheless. As the year winds down, and the days get longer, this new Frankenstein might just suit the mood. It might make for an interesting double feature with last year's Nosferatu, but I've got a better idea in mind.

It will take a while, but I suggest double featuring this Frankenstein with The Bride!, Maggie Gyllenhaal's take on Bride of Frankenstein, which will come out in March. But if you can't wait, just sit back and chill with the film you can watch now. It's a long movie, but it's worth every minute. 

Now You See Me: Now You Don't

 For my next trick, I'm going to tell you about Now You See Me: Now You Don't. I reviewed the first film over a decade ago, but for some reason, I skipped out on the second one in 2016. What did I miss?

Much like The Four Horsemen of the previous films, Charlie (Justice Smith), Bosco Leroy (Dominic Sessa), and June Rouclere (Ariana Greenblatt), stage Robin Hood-heists in the guise of magic shows. Not only that, but they digitally co-opt the Horsemens' likenesses for their heists. After one such heist, the trio are approached by J. Daniel Atlas (Jesse Eisenberg), one of the actual Horsemen, for a mission.

Their mission, that they choose to accept, is to purloin the "Heart Diamond" from South African criminal tycoon Veronika Vanderberg (Rosamund Pike). They'll have to join up with the other Horsemen - Merritt McKinney (Woody Harrelson), Jack Wilder (Dave Franco), and Henley Reeves (Isla Fisher) - to pull this off. This will actually be The Horsemen's first heist in years, but Veronika plans to make it their last. Oh yeah, and somebody's also blackmailing her. That's about it.

For years, I mistakenly believed that Isla Fisher had been replaced by another actress as Henley in the second film. That other actress, Lizzy Caplan, actually played a different character, Lula May, who shows up well into this film. She makes a memorable entrance by freeing three of our heroes from a French police station with a surprisingly gruesome trick. Not only is her eccentric personality entertaining, but so are those of our heroes. It's fun to watch them show off, explore a chateau full of trick rooms, or simply enjoy some downtime. You'll just have to roll with some of the past plot points they bring up. 

One past plot point, the return of Thaddeus Bradley (Morgan Freeman), is a bit hard to take in going blind. In the first film, he was a magic debunker targeted by the Horsemen. In this film, he and the Horsemen are on friendly terms. Not only that, but he's part of "The Eye," a secret society of Robin Hood Magicians introduced in the first film. What happened between movies? Obviously, another movie that you'll have to watch to know. That aside, he's got some great chemistry with the combined Horsemen, and his death is a surprisingly effective gut-punch.

As I watched this film, I recalled being amazed twelve years ago by the Horsemen pulling off their tricks, escaping peril and seeing how they did it. I'm pleased to say this film has that same level of panache. Sure, some might not see the fun in these narratively invincible heroes. But I see the fun in seeing what kind of tricks they'll pull out of their sleeves. The final heist, for example, is an elaborate stunt involving a stolen racecar, a pretend trip to the desert, and a bullet-catch trick, among other things. The visual effects team's own magic is spectacular, especially in a oner full of the combined Horsemen pulling off multiple tricks. Production designer David Scheunemann's greatest achievement is the chateau, especially its Escher house of mirrors! 

And finally, we come to Veronika, who makes for a good villain. Yes, she's got an odd accent, which had me wondering if the character was supposed to be Dutch. Yes, she revels in being politely condescending. But that's not what makes her truly memorable. Those would be when our heroes, particularly Merritt and the mysterious blackmailer, get under her skin. You'll almost want to pity her in those moments. But by the end, you’ll remember why she’s the villain. Her mysterious blackmailer, meanwhile, turns out to be the most improbable character in the cast.

Now You See Me: Now You Don't, as a whole, is pretty improbable, but it's also pretty fun. Just don't think too much of it, and you might be amazed as 113 minutes disappear. You've got your choices this holiday season, and I think this one makes for a dazzling choice. Let's see what some of the other choices are.

I think I said enough.

The Running Man

 Hey there! You made it!

Yes, it's finally time to give you the rundown on The Running Man! You might remember it as Arnold Schwarzenegger's other big film of 1987, but do you also remember that it's based on a Stephen King novel? As I previously mentioned, he wrote the book under his pseudonym Richard Bachman, which the first film credited him as. This time, he has his own name on the credits, while co-screenwriter Michael Bacall is credited twice (long story). Let's see what Bacall and his collaborator - director Edgar Wright - do with the material this time.

The original novel is set this year, so we can assume this film is set even further. In its crummy future, average citizens live in poverty, an evil Network runs the country and lethal game shows dominate the air. The Network's signature show is The Running Man, where contestants try to survive a month while being pursued by Network "Hunters." Viewers can also cash in if they turn in the "Runners" - or kill them. The Grand Prize for the Runners is a $1 billion.

Our hero is Ben Richards (Glen Powell), who has been blacklisted from most viable professions due to "insubordination" (translation: sticking his neck out for his fellow man). His daughter, Cathy, is chronically sick, while his wife, Sheila (Jayme Lawson), is overworked at a shady joint. So, he tries out for the Network and gets picked for The Running Man. Once he goes on the run, he and his fellow Runners are depicted as hardened heels. But eventually, he soon becomes the face of a growing anti-Network movement. He just wants to survive, but soon figures he might give the public what they want...

We barely get any exposition, but the existence of "New Dollars" has us wondering what happened. I mean, is inflation even worse? It doesn't take long before Ben gets going, but we can easily sympathize with his family's situation. We even open with him as he brings Cathy along as he pleads for a job back. It's not to guilt his heartless supervisor, but to remind him to check his temper. That's enough to get us on his side during his run. Midway through, the plot stops by at freedom fighter Elton Parrakis's (Michael Cera) place. His backstory is equally funny and not, but any sympathy for him goes out the window when he grabs the Idiot Ball just to have a go at the Network. As confusing as that moment is, at least this film's revised ending leaves us on a far-less sour note than The Long Walk's. 

What else can I say about Ben? Well, for one thing, Powell has fun whenever Ben takes up a disguise. He outwits the Hunters as a priest, while he has moustache trouble as a businessman! For another, Ben gets involved in one exciting battle after another during his run. We get a buggy filled with dynamite, a round of Metal Gear in a hostel, and a battle aboard a plane! One of the Network's other shows, Speed the Wheel, which is essentially death by hamster wheel, even foreshadows the plane battle during a question! His traveling companion, Amelia Williams (Emilia Jones), gets some good chemistry with him, even if she shows up well after an hour into the film!

Yes, Ben is a good hero, but he has even better adversaries. Dan Killian (Josh Brolin), the show's producer, is so casual in his loathsomeness, particularly when he breaks some devastating news to Ben near the end. He never even loses his cool until everything finally falls apart. His lead Hunter, McCone (Lee Pace), is a perfectly vicious heavy who lives up to his hype. Still, one can somewhat sympathize with his own backstory. Finally, we have Bobby T (Colman Domingo), the show's host, who gleefully dehumanizes the Runners on-air. But he's so fun to watch doing so, and it helps that he, unlike Killian, has standards. I'll just say that Domingo ought to have more roles where he gets to go all in.

Who else do we have? We have Ben's fellow runners, Jenni Laughlin (Katy O'Brian) and Tim Jansky (Martin Herlihy), who get along rather well with Ben during their short time together. When we next see them outside the studio, they're dead. Tim gets undone because he's an idiot, while Jenni's overconfidence deals her a bad hand (at least she goes down fighting). On the technical side, we get some excellent production designs for this futuristic world. A few highlights include the Network HQ, the main setting of Co-Op City, and even a dilapidated Derry (with no Pennywise!). There's also a pretty good score by Steven Price, but I'll especially remember the opening credit track. Is it just me, or do the opening bars sound like Frère Jacques on a kazoo? I think that's it.

The Running Man may not be as outlandish as its cinematic predecessor or Wright’s usual filmography, but it's still an entertaining action thriller. Some moments could have been written better, like the quick ending, but I’ll give credit to the parts that worked. Once this and The Long Walk both come to home media, I'd imagine they'd make for a rather interesting double feature. You can check this out at your own pace; I've got some more films to run off to.

Nuremberg

Over sixty years ago, Judgment at Nuremberg - in both Abby Mann's teleplay and his screenplay for Stanley Kramer's film - offered a fictionalized look at the Nuremberg trials following World War II. We now have a new film chronicling actual people and events in the actual trials, whose eightieth anniversary arrives next week. This is Nuremberg.

Upon Nazi Germany’s defeat in 1945, Hermann Göring (Russell Crowe), Hitler’s right-hand man and an architect of the Holocaust, willingly surrenders to the Allies. A few months later, Göring and a few of his fellow Nazis are about to stand trial at the city of Nuremberg. Back then, trying someone for crimes against humanity was new territory for the judicial system. The Allies would rather skip the trial and go for the punishment, but head prosecutors Robert H. Jackson (Michael Shannon) and Sir David Maxwell-Fyfe (Richard E. Grant) would still like to give the Nazis some chance.

Psychiatrist Douglas Kelley (Rami Malek) is sent over to evaluate the prisoners. He wants to know what makes the Nazis tick, which draws him to the affable Göring. His superiors are worried that his judgment is being compromised. It's not help by the fact that Kelley really wants to write a book about his experiences (director James Vanderbilt uses a different book, Jack El-Hai's The Nazi and the Psychiatrist, for the basis of his screenplay). But fortunately for them, Kelley's relationship with Göring evaporates once he realizes the extent of the Holocaust. That's basically it, and it takes 148-minutes to tell it. 

Much like Judgment at Nuremberg, the screenplay works as a bit of allegory. As Göring justifies his atrocities by basically saying "they let us do it," you might think of a certain modern administration - who shall be nameless - and their actions. Its thickest allegory comes at the epilogue, when we learn that Kelley killed himself after his warnings that "it could happen here" were ignored. It's also surprisingly funny, particularly with its love of the Gilligan Cut gag. For example, a character worries that the Russians won't join the Tribunals; one cut later, and "we've got the Russians on-board!" The film exposits the other defendants' crimes through faux newsreels; Rudolf Hess (Andreas Pietschmann), Hitler's other right-hand man, gets the silliest one. You'll just have to see it for yourself.

As Kelley, Malek is rather smug as he confidently confides with a reporter (Lydia Peckham) that he can deal with the Nazis. He's not entirely wrong, as he gets Göring talking in English with a timely insult. Meanwhile, he altruistically bonds with Göring's wife and daughter (Lotte Verbeek & Fleur Bremmer), and is really distraught when the Allies apprehend them. His best piece of acting comes after he angrily confronts Göring after he views footage of the concentration camps. 

And then, there is Russell Crowe as Herr Göring. When we first meet him, he’s anything but a heartless, unfeeling monster—instead, he’s rather cordial and big fun personified. Don't worry, as that polite image starts to evaporate after the concentration camp reels. He insists he never meant for the "Final Solution" to happen, but he doesn’t seem all that remorseful about it, either. It especially doesn't help his case when he claims that the footage was staged. Fyfe even uses Göring’s lack of remorse against him during his cross-examination. Crowe does a spectacular job layering the depths of Göring's evil, and it should be a performance that gets him back into the Oscar race.

Most of the supporting cast is fine, though they do get a few big moments to shine. I already mentioned Fyfe's climactic cross-examination, but Sgt. Howie Triest (Leo Woodall), Kelley's initial interpreter, gets one of his own earlier. There, Triest reveals his hidden German Jewish heritage to Kelley, who has just been benched for insubordination. We feel the weight of his every word as he describes how he was personally affected by the Holocaust. That moment motivates Kelley to get back into the fight. Among the co-defendants, Julius Streicher (Dieter Riesle), the chief propagandist, stands out for how he utterly crumbles at the end.

What can you expect from the technical crew? Well, you can expect a perfectly gloomy world as visualized by production designer Eve Stewart and cinematographer Dariusz Wolski. Of particular note is how we see the Palace of Justice repaired in short order for the Tribunals. It's kind of impressively, really. Bartholomew Cariss's costume designs are adequate, but Jackson's blue suit really stands out in this literally gray world. Finally, we can thank Tom Eagles for those clever editing gags, and Brian Tyler for the perfectly somber score. I think I said enough.

Yes, Nuremberg is a long movie, but it's shorter than Judgment at Nuremberg's three hours. It probably didn't need to be too long, but at least it had a great ensemble and dialogue to keep my attention. It can be entertaining, but it's also very sobering, and I think I already said why. It's worth checking out any time, even well after November, and especially after the Academy Awards. Still, I'll understand if you prefer something else this holiday season; you have your choices.

Predator: Badlands

Who's ready for the other hunt?

You may recall that I reviewed Predator: Killer of Killers when it debuted on Hulu last summer. You may also recall that I said another Predator movie, Predator: Badlands, was coming from the same director, Dan Trachtenberg, in the fall. Guess what? It's fall! They're back, this time on the big screen! Let's get to the review!

The Predators, officially called the Yautja, don't like anybody. According to the opening text, they are "Prey to none. Friend to none. Predator to all." One of them, Njohrr (Rueben de Jong), doesn't even like his own son, a "runt" named Dek (Dimitrius Schuster-Koloamatangi, who also dubs daddy dearest). Dek wants to prove himself by hunting the Kalisk, a functionally immortal super beast, on the death planet Genna. Njohrr, instead, orders Dek's big brother Kwei (Mike Homik) to kill him. Kwei rockets Dek off to Genna, which prompts the old man to kill Kwei instead.

On Genna, where almost anything can kill you, Dek finds half of the android Thia (Elle Fanning). Thia, and her twin sister Tessa (also Fanning), were part of an all-android team sent by the Weyland-Yutani Corporation to find the Kalisk. She promises to help him find the Kalisk if he can help her find her other half. They meet "Bud" (Rohinal Narayan), an odd gremlin/ape critter, as well as the Kalisk itself. Dek soon goes from wanting to hunt to wanting to save the Kalisk when Tessa shows up.

So, what kind of world is Genna? Well, our first glimpse of it sees one beast after another getting munched on by something bigger. Past that, we have grass as sharp as blades, sentient snake vines, exploding berries, and the nigh-invincible Bone Bison. Many of these hazards are as surprising to Dek as they are to the audience - especially the berries! The highlight, of course, is the Kalisk, who can survive just about anything and everything Dek does. More than a mindless beast, the Kalisk is a wholly sympathetic creature on its own. The visual effects team, as well as production designer Ra Vincent, do a pretty good job creating this strange new world.

Dek is the first Yautja to carry a movie, and he does it pretty well. It's easy to get behind him as we learn about his complicated family life, which becomes more so during the credits. Kwei, who isn't long for this movie, has a decent relationship with Dek, and his death is a good motivator. We're all for Dek to become a worthy Yautja, even if it's not to his father's brutal standards. It's quite intriguing to watch him, whose cinematic predecessors prided themselves as the ultimate warriors, struggle with his environment. It all pays off when, after Tessa confiscates his gear, he creatively compensates with the environment. His digital face is mostly seamless, even if it's a bit obvious around the mandibles.

Things get livelier once Dek's traveling companions enter the picture. Thia is, perhaps, one of the most delightful chatterboxes in film history, and I don't mean it sarcastically. Bud, meanwhile, is an entertaining critter. It's fun to watch their chemistry together, but it becomes compelling once Dek realizes Bud's connection to the Kalisk. Tessa and Thia are another good cinematic double-act, even if most of their screentime has Fanning interact with a double filmed from behind. Tessa is a bit cruel, but compared to Weyland-Yutani and Njohrr, she's pretty difficult to hate. Still, the final battle between Clan Dek and Tessa - the latter in a mega Power Loader - is a pretty cool finale.

What else can I say about it? As cool as the action is, it can get sometimes overwhelming as it rushes through one battle after another. Alan Silvestri's famous theme isn't around, but Benjamin Wallfisch & Sarah Schachner give us a neat score of their own. Finally, some of the niftiest effects are used for both halves of Thia, especially when Dek wears her like a backpack. I think I said enough there. 

Predator: Badlands does a good job humanizing Hollywood's most famous space hunters. I mean, aside from mimicking their prey in the first movie, this is the first time I know of that they actually speak their own language. You won't be lost in this 107-minute jungle, even if you daze off during a set piece. The plot is that simple to follow. I'm already interested in seeing Dek's surprise visitor in person in a new movie. And then, maybe a Xenomorph or two. It might happen if enough people set their laser-sights on this movie.

I think that's it.

Hedda

Last summer, fans of the pseudo-zombie movie 28 Days Later finally got a new sequel with 28 Years Later, both directed by Danny Boyle. In just a few months, Nia DaCosta continues the story with another sequel, 28 Years Later: The Bone Temple.

In the meantime, you can check out DaCosta's take on Henrik Ibsen's celebrated antiheroine, Hedda Gabler, on Amazon Prime. Let's see what I thought about Hedda.

There's no concrete year of its setting, but it's obviously a few decades since Gabler's 1891 premiere. Here, we find Hedda (Tessa Thompson) in England, having just returned from her honeymoon with her scholarly husband, George (Tom Bateman). Between the honeymoon and their new house, the Tesmans are very much in debt. But there's a big party tonight, and George hopes to use the occasion to butter-up his chums into giving him a big professorship. George hopes that Hedda won't do anything drastic ...

Among the guests are Eileen Lovborg (Nina Hoss) and her new lover, Thea Elvsted (Imogen Poots), both of whom are acquainted with Hedda (Eileen especially). Eileen is now George's chief academic rival, who hopes to secure her professorship with a "revolutionary" manuscript. Basically, Hedda decides to push Eileen off the wagon, away from Thea, and out of George's way to secure her future. Oh look, something drastic is about to happen!

Previously, Hedda's been played by the likes of Glenda Jackson, Cate Blanchett, Ingrid Bergman and Fiona Shaw. I've read the play in college, but I haven't seen any of those prior performances, not even Jackson's Oscar-nominated take, so I can't compare them to Thompson's. Her Hedda swings from desperation to sociopathy without a moment's notice. One minute, she's overwhelmed by the stress of her married life; the next, she remorselessly nudges Eileen to suicide. It's not that easy to sympathize with her, though Thompson is still compelling in either of Hedda's moods. Her ambiguous end will leave you a lot to think about.

Hoss, who also played Hedda on stage, is simply dynamite as Eileen, a rewrite of the play's Ejlert Lovborg. Once she first arrives, she exponentially struggles under societal pressure to stay "on the straight and narrow." She knows that any slip-up will ruin her reputation several times over. Once Hedda covertly steals the manuscript, Eileen becomes a pitiful drunken mess and knows it. Throughout the film, you can feel her internal pressures rise with Hedda and Thea, which makes most of her poor judgements tragically understandable. Still, the same ending provides a bit of hope for her.

Bateman and Poots are fine in their roles, so who else do we have? For starters, Kathryn Hunter shows up as George's Aunt Bertie, who has a pretty amusing, yet overlong monologue at the halfway point. We also have Nicholas Pinnock, whose villainous Judge Brack helps us pity Hedda at the end. There's also Jamael Westman, whose David is involved in an amusing side-plot with Professor Greenwood (Finbar Lynch). He's also involved in Eileen's attempted suicide, though it's edited and filmed so haphazardly (by Sean Bobbitt & Jacob Schlesinger) that it's kind of confusing to watch. It's pretty surprising, considering how a prior fake-out was perfectly unnerving. The production and costume designs are fine, but I was more wowed by Hildur Guðnadóttir's intense score.

Hedda's various tweaks to its presentation didn't bother me. What slightly bemuses me is its moral whiplashes, though maybe I missed a few things along the way. As I said before, Hedda isn't an easy character to like, and Thompson gets that point across rather well. Check it out if you're curious. Unlike its cast, you'll survive a few hours in Hedda's world. I think I said enough.

Bugonia

Does anybody remember A Big Bold Beautiful Journey? Did anybody watch it?

As I previously stated, A Big Bold Beautiful Journey was written by Seth Reiss, who also wrote The Menu. I should have mentioned that he co-wrote The Menu with Will Tracy, who now has a new solo credit on Bugonia. What can you expect with this one?

Tracy's screenplay reworks the South Korean film, Save the Green Planet!, for Yorgos Lanthimos to direct. In it, we find corporate drone Teddy Gatz (Jesse Plemons), and his autistic cousin, Donnie (Aidan Delbis), facing a world crisis. Convinced that Aliens from the Andromeda Galaxy are out to invade, the cousins nab Michelle Fuller (Emma Stone), a major CEO, whom they suspect is one of them. After they shave her bald and lock her in their basement, Teddy & Donnie start prodding her to take them to her leader. 

While Teddy's plan seems delusional, it's also personal. It turns out that his mom, Sandy (Alicia Silverstone, utterly unrecognizable), was rendered comatose by one of Michelle's medical trials. As Michelle proves to be an uncooperative hostage, Teddy's already fragile ego cracks away. It also turns out that Michelle might be that leader, which means that Teddy & Donnie might have doomed the human race. 

In case you can't tell, this is a rather bleak & strange movie. A huge portion of the film has Teddy relentlessly interrogate Michelle; he still shackles her after he "realizes" her secret. Cinematographer Robbie Ryan frequently films Michelle and her captors in tight close-ups, with nothing but darkness around them. Their actual surroundings, as visualized by James Price, aren't that comforting either. Teddy & Don's house is a mess, in more ways than one, and that's before Michelle finds Teddy's secret room. Before that secret, we're treated to the first of the film's extremely bloody deaths. To quote Lanthimos's last film, "isn't it wonderful?"

At the center of it all, we have two relentlessly flawed people. When we're first introduced to Teddy, his conspiracy theories make him sound like an amusing lunatic. But once we learn of his personal tragedy, his silliness starts to dissipate, until we finally learn how disturbed he is. Still, his lack of common sense gives us some dark levity after we see his secret room. Meanwhile, we have Michelle, who proves herself a subtly manipulative woman, at least by Earth standards. She's the kind of woman who would subtly trick someone into murder and consider that a mercy kill. Yes, that's a subtle spoiler, by the way. She's notably, understandably, and extremely angry when she finds Teddy's secret room, but she's not off the hook either. 

And then there's Donnie, who's wonderfully played by Delbis in his first film. He's Teddy's reluctant follower, who only joins him in insanity out of misguided devotion. He eventually draws a line but can't bring himself to free Michelle and end the movie. Still, we and Michelle recognize him as a good man. If this were an optimistic movie, his innate goodness would give humanity hope for survival. But alas, it's not, and his premature end gives way to the apocalyptic, but not too bloody, finale. 

Upon first glance, you won't be able to recognize Silverstone as Sandy. But you won't forget the moment Teddy visits her in the hospital, that's for sure. We also have Stavros Halkias as Casey, a jovial cop with a disturbing secret, as well as an equally disturbing demise. Michelle, bathed in antihistamine cream (long story), looks rather ghoulish with Ryan's cinematography. Ryan gets a few extra points for filming around Atlanta, including a few spots I've frequently visited decades ago. In the opening, Jerskin Fendrix masterfully contrasts Michelle with her eventual captors through his surreal score. I'd probably spell out too much of the film if I go further into its visual aspects, but I'll have to say that Jennifer Johnson has saved some of her funniest costume designs for that finale. 

Like Lanthimos's other films, Bugonia is not for everyone, but it's still darkly funny and visually appealing. Its final minutes are destined to spawn film debates for years to come. You'll have to see it if you want to believe it; even then, you might not want to believe it. I won't blame you if you skip it; you'll have plenty of more optimistic choices coming this fall. I think I said enough.

Chainsaw Man - The Movie: Reze Arc

Amongst this month’s spooky slate, Chainsaw Man - The Movie: Reze Arc, stands out for a few reasons, one being that it's an anime. 

As with the Demon Slayer movies, it progresses the story established by Tatsuki Fujimoto's original manga and MAPPA's TV anime from 2022. You might need some idea what's going on, but most of the story is given enough context by writer Hiroshi Seko and director Tatsuya Yoshihara to make it intelligible. Let's see what else the film has to offer.

In an alternate 1990s, the Soviet Union still exists, while Devils are a recognized public nuisance. There's a Devil for everything humanity fears, no matter how silly, but even they fear the Chainsaw Devil, who can devour them and their thing out of existence. This Devil's usual form is a puppy-thing named Pochita. Nowadays, the Chainsaw Devil exists as series protagonist Denji's heart, which gives him the ability to become the titular demonic superhero. Denji now slays Devils for the Government and that's where we find him when the movie starts.

One day, Denji gets to spend movie time with his supervisor, Makima. He's ready to go steady with her, who openly considered him her "pet" when she recruited him. But along comes Reze, a barista who's seemingly appreciates Denji for Denji. He reciprocates her affections, even if he worries about "cheating" on Makima. Unbeknownst to Denji, Reze is out for his heart (i.e. Pochita) and can morph into the destructive Devil Hybrid Bomb Girl. Denji and his co-workers have to work together to defuse this situation. 

While the first episode explicitly spells out Denji’s upbringing, the film gives us enough context to understand him. He may be rude & loud, but he's also extremely insecure and longs for human affection. During their "date," Denji and Makima sit stone-faced during five movie screenings, which leads him to wonder if he has a heart. It's only during the sixth that all doubts dissipate, both for him and perhaps for Makima (though the film hints at her truly villainous nature). After Reze betrays him, Denji snaps and, upon finally morphing into Chainsaw Man, has an extremely poignant breakdown. Still, he can't help but find himself charmed by the women who want to use and abuse him. Overall, he's a pretty relatable protagonist, and it's easy to see why he's a new modern favorite.

Once we realize who Reze is, she's finally ready to play the part of full-tilt villainess. Thing is, she plays it so well that not even Denji's Devil Hunter colleagues are fooled. For another thing, we get a few hints, some more overt than others, that her femme fatale act is just an act. She coldly strangles a serial killer with an epic leglock, while Denji's carefree personality takes her by surprise more than once. She may have strung Denji along, but you can't help but hope there's some truth to her. Let's just say she and Black Widow would find a lot of common ground if they ever met.

Who else do we have? We get a decent subplot involving Aki Hayakawa and the Angel Devil, two of Denji's colleagues. The former is doomed to die, while the latter longs for the sweet release of death. They make for a rather interesting odd couple. Denji's devilish roommate, Power, is sidelined in the first few minutes for reasons, but her bombastic personality leaves quite an impact. His new devilish partner, Beam the Shark Fiend, makes up for Power's absence with his own brand of craziness. Another set of Denji's colleagues, Kobeni Higashiyama and the Violence Fiend, only show up for a single scene, which is also the film's funniest. And if you're looking for a reason to catch this on the biggest screen possible, the colossal Typhoon Devil, Reze's accomplice, is more than enough.

Its blend of 2D and 3D animation is just as memorable as the show's, especially with its brighter color palette. A few times, the blood is rendered in just about any color but red - an approach Zom 100's anime also took - but the violence is still messy. It takes an hour before the action starts, but Denji's dynamic morph makes it worth the wait. The resulting fight scenes show off several nifty powers, both from the Devil Hunters and the Devil Villains. A few lines, unfortunately, are drowned out by the Typhoon Devil's apocalyptic winds, but they probably would still be in real life.

Much more comprehensible is Kensuke Ushio's score, which includes several exciting battle tracks, but also includes a hauntingly beautiful piano piece during Denji and Reze's nighttime school date. Kenshi Yonezu wrote and performed the opening and closing credit songs, Iris Out and Jane Doe, which wonderfully encapsulate Denji's complicated love life. The score and songs probably won't make the Oscar shortlists, but I think they're worth a listen for the music branch. I'm not joking.

So, yes, go check out Chainsaw Man - The Movie: Reze Arc. It's great for date night, but it's also suitable for a lonely matinee. It's not only gruesome, but it's surprisingly moving, even if you haven't followed Denji from the start. The only downside is the lack of Pochita's presence; yes, I know there's a reason, but he's too cuddly to ignore. It's a minor problem for a pretty great movie. What else can I say?

Springsteen: Deliver Me From Nowhere

Over thirty years ago, Bruce Springsteen won an Oscar for the devastating song Streets of Philadelphia in ... Philadelphia. This year, Jeremy Allen White might get himself Oscar-nominated as The Boss in Springsteen: Deliver Me from Nowhere. Let's see how it is.

First, let's think about the title. It demotes the title of Warren Zanes's book, subtitled The Making of Bruce Springsteen's Nebraska, into this film's own subtitle. Wouldn't Deliver Me from Nowhere be sufficient as a title? For one thing, they are the last lyrics of Springsteen's Open All Night. For another, it's a thematically appropriate quote. 

But that's just me.

Anyway, it's 1981, and The Boss decides to lay low in his hometown of Freehold, NJ. His own bosses want him to get on with his next album right away. Inspired by Terrence Malick's Badlands, Bruce decides to write a song from the POV of its real-life inspiration, spree killer Charles Starkweather, which ends up being Nebraska's titular song. His recording engineer, Mike Batlan (Paul Walter Hauser), helps setup a recording studio at his rental home, complete with a multitrack recorder. What results is an album that sounds as rough as its lyrics, and that's how he prefers it. 

Along the way, we get to see the genesis of his biggest smash, Born in the USA, when Paul Schrader sends him a script by that name (filmed as Light of Day in 1987). But that, and a few others, have to wait while he gets Nebraska and its gloomy songs out of his system. His manager, Jon Landau (Jeremy Strong), helps sway the record label to allow Bruce to work. Bruce starts a relationship with Faye Romano (Odessa Young), a former classmate's sister and single mom, which ends badly when he prioritizes his work. We also get to see what goes on in cutting a studio album.

Finally, we get plenty of childhood flashbacks of his father, Douglas (Stephen Graham), whose alcoholism made life difficult for the future superstar. Sure, he'd let Bruce (Matthew Anthony Pellicano Jr.) skip school so they can catch Night of the Hunter at the cinema, but he and his wife, Adele (Gaby Hoffmann), spend most of their time together violently arguing. One such argument sees Bruce whack Douglas with a bat, which actually amuses the old man. Their contentious relationship is literally all in the past when the old man shows up befuddled in the present. I think we missed a few connective scenes there.

The sound team might have slipped in a few of The Boss's vocals in there, but where? White's Springsteen imitation is almost indistinguishable from the man himself. His performances, particularly that of Born in the USA, enliven the film. He's quite sympathetic as he works through his tortured soul; it's especially so when he breaks down during therapy. The overall conflict is simple, but his quest to express himself through his music is pretty admirable. Though, it might be a bit hard to recognize Bruce's struggle with depression until the film's epilogue spells it out (maybe it was me).

The film leaves out quite a bit about Bruce's relationship with his dad, but you can sense a lot in Douglas's weariness when he first enters the main plot. Yes, Graham can be quite scary as Douglas, but you rarely doubt his niceness. Sure, I had some reservations about the cinema trip, but that was it. It's kind of surprising to realize that Douglas and Adele were still married when Bruce started out (said marriage ended in 1998 with his death). Writer/Director Scott Cooper probably should have clarified stuff like that better.

What else do we have? Strong, Young and Hauser are mostly fine in their roles. Harrison Gilbertson, as Matt Delia, is mostly noticeable when he helps Bruce move to L.A. Springsteen's sister, Virginia, appears as a kid in one scene, which is the only time she's even acknowledged (why include her at all, then?). Watching his creative process, from inspiration to songwriting and sound recording, is pretty interesting. It's especially intriguing to watch Chuck Plotkin (Marc Maron) and his fellow engineers try to "salvage" Bruce's rough recordings. It didn't occur to me who played Adele, or how old she was compared to White, until a few days later. She looked about as old as her on-screen husband, a testament for the surprisingly good makeup team.

Sure, a film about the making of Born in the USA might be a more "cinematic" movie. Deliver Me from Nowhere is still a pretty interesting, though not perfect, insight into one of the Boss's most underrated albums. See it if you're that curious. If you want a film of his hits, let me remind you that Blinded by the Light, a film about his impact on one fan, exists. You should check it out sometime. I think I said enough.

Black Phone 2

The Black Phone may have been a short story, but when a movie is good enough, Hollywood finds a way to make a sequel. Fortunately, the sequel they've dialed up, Black Phone 2, is pretty good. I've got quite a few fitting titles for this Halloween season, so let's go.

We now find Finney Blake (Mason Thames) in 1982, a few years after he permanently disconnected the evil Grabber (Ethan Hawke) from the mortal coil. He's now a jaded stoner who gets into fights and avoids phones whenever possible. Meanwhile, his psychic sister Gwen (Madeline McGraw) converses with her late mom, Hope (Anna Lore), in her dreams. It turns out that mother and daughter are both dreaming of the same place, Camp Alpine Lake, where the Grabber began his murderous career. Joined by their classmate Ernesto Arellano, whose brother Robin was the Grabber's penultimate victim (both played by Miguel Mora), the Blakes head off to Camp.

A massive blizzard immediately snows in our heroes at Alpine Lake. They're accompanied by supervisor Armando (Demian Bichir); his niece, Mustang (Arianna Rivas); two sanctimonious employees, Barbara & Kenneth (Maev Beaty & Graham Abbey); the ghosts of the Grabber's first three victims; and the Grabber himself. The Grabber plans to kill Gwen in her dreams, which will kill her for real. Our heroes can de-power the Grabber by exhuming his first victims from their frozen lake grave. They'll just have to stay awake as long as possible; but that might not be enough.

While some might scoff at The Grabber becoming Freddy Krueger, I think it's a natural development for him. What else was he going to be other than dead? The film's new setting doesn't quite amplify his menace as much as the first film's basement. But Hawke still gives it his all as this force of giddy malevolence. He wants vengeance, something he takes too long to spell out to Finney, and he's going to have fun doing it. We’ll enjoy watching Gwen take him down in one dream, before teaming up with the others to finish him off in the final battle.

Finney mostly takes a backseat for Gwen to become the protagonist. The only hiccup with this arrangement comes when he clobbers a new kid jobber in his first scene. A little more on-screen context would make this re-introduction a little less jarring, but I digress. Anyway, Finney gets plenty of time to shine as he deals with his traumatic ordeal, especially during a major breakdown in Act 3. Gwen, meanwhile, proves quite compelling as she deals with not just The Grabber, but her own psychic powers. A few developments, plus one last ghostly phone call, give Gwen the film's most emotional moments. At least we get some levity with her creative insults. 

Now, a few words for the rest of the cast. Ernesto proves himself to be a pretty good guy during this ordeal. Mora wonderfully distinguishes Ernesto and Robin between the two movies. Amongst the staff, Armando is a pretty good mentor; Barbara & Kenneth are annoying, but not that annoying; Mustang is just fine. Jeremy Davies returns as the Blakes' dad, Terrence, who thankfully doesn't relapse into abusive dad territory despite his drinking. I think that's enough for them.

Now, we go to Scott Derrickson's directorial panache. He filters the Dreamworld through a home video aesthetic that, surprisingly, remains consistently terrifying, especially when it weaves in and out of reality mid-shot. The action scenes are pretty spectacular as editor Louise Ford switches between an invisible and "actual" Grabber. Ford and cinematographer Pär M. Ekberg go great together, particularly when Finney is surrounded by the ghost boys. As the camera circles around Finney, trapped in the Camp's "dead" phonebooth, the ghosts teleport between blind spots. It's so seamless! Derrickson's son, Atticus, accentuates the dread with his wonderful score. 

Go ahead. Accept the charges and pick up this sequel. I don't know how Black Phone 2 compares with this month's horror slate, but it's still a delightfully spooky time. See it however and whenever you can. I think I said enough.

Kiss of the Spider Woman

- Ah, I see that Madame Web finally got that sequel it always wanted.

- No, it didn’t, Bo.

- Come again?

- Kiss of the Spider Woman, by Manuel Puig, was previously filmed in 1985 with Raul Julia & William Hurt headlining. While Puig already adapted it to the stage in 1980, Terrence McNally did so again in 1992 as a musical with songs by Chicago and Cabaret’s Fred Ebb & John Kander. Thanks to Bill Condon, who adapted Chicago for Rob Marshall in 2002, the Spider Woman musical is now a movie. With me so far?

- Yeah, just tell me all about it.

- It’s 1983, Argentina, during the final months of the junta. Here, we find two mismatched cellmates: Valentin Arregui (Diego Luna), a revolutionary, and Luis Molina (Tonatiuh), a trans-coded window dresser. To pass the time, Molina tells Valentin about his favorite movie musical. It stars his favorite matinee idol, Ingrid Luna (Jennifer Lopez) as Aurora, a woman caught between two men - her gay-coded assistant Kendall Nesbitt and the more conventional Armando - and the ghostly Spider Woman (also Lopez). For the retelling, Molina casts himself and Valentin as the leading men.

Meanwhile, back in reality, it turns out Molina is actually a mole for the Warden (Bruno Bichir). Molina is supposed to get Valentin to spill his secrets. Molina, instead, falls for Valentin, and Valentin gradually reciprocates. How will this melodrama end?

- Badly? But please go on.

- The musical numbers come in through Molina’s fantasies, both from the in-universe movie and his own musings. Yes, it’s sort of a combination of how Chicago and Cabaret handled their numbers for their films. The mood whiplash can sometimes be extreme. One of the peppiest numbers, the Fosse-inspired Where You Are, follows one of the story’s darkest moments. Meanwhile, the title song perfectly juxtaposes a pivotal moment between our leads; it’s also Lopez’s standout scene. And then, there’s the finale, which makes for a memorably surreal dying dream. Did I say too much?

- Yeah.

- William Hurt won an Oscar for his take on Molina, and hopefully, Tonatiuh won’t be far behind. He’s delightfully giddy when he goes on about the movie, and quite sympathetic when reality cruelly sinks in. We fully empathize with the circumstances that drove him to be the Warden’s mole. By the end, I felt kind of ill as I recognized that the novel’s downer ending was imminent. But at least the aforementioned finale gives Molina one last moment of happiness.

As Valentin, Luna plays the jaded stoic pretty well. He and Tonatiuh share some excellent chemistry, particularly when Molina’s influence finally enlivens Valentin. Nothing, not even a cleaning crew, will make you take your eyes off him during the final shot. Lopez, meanwhile, does all right as Aurora & Ingrid, but she’s perfectly menacing as the Spider Woman. Her guises give her a lush wardrobe designed by Colleen Atwood & Christine L. Cantella, which perfectly compliments Scott Chambliss’s extravagant production design. And finally, we have Bichir, whose Warden tempers his menace with professionalism.

The film also has an exquisite makeup and hairstyling team. In prison, our leads and their fellow prisoners have seen better days. In Molina’s fantasies, he and Valentin are all dressed up and ready to go. The contrast between our leads’ real and fantasy selves is so extreme that they look like different people. You’ll be amazed once you see the difference. The fantasy world, as filtered by Tobias Schlissler, is pretty gaudy, but you might get used to its old-time aesthetics. Finally, we have a pretty good adapation of the stage score by Sam Davis, particularly the title song.

- Wrap it up, Jethro.

- Kiss of the Spider Woman isn’t looking that hot at the box-office right now. But I hope enough people see it and take notice of what is certainly Tonatiuh’s star-making role. Its more established cast are good, but his spotlight shines the brightest here. You won’t want to look away once you get into this movie’s web. See it soon before it gets crowded out by everything else this weekend. That’s it for now.

Tron: Ares

 Tron: Legacy did all right fifteen years ago. It took quite a long while to get a sequel up-and-running, partially due to the Tomorrowland fiasco. That sequel is finally here in the form of Tron: Ares.

While the previous films had people digitized into the computerized world of The Grid, this film has warring tech companies Encom and Dillinger Systems plot to actualize digital constructs in the real world. ENCOM CEO Eve Kim (Greta Lee) has far better luck than Dillinger’s Julian Dillinger (Evan Peters), whose constructs “derez” after 29-minutes. The difference is that Eve has the “permanence code,” a parting gift from ENCOM’s “retired” CEO Kevin Flynn (Jeff Bridges). 

Julian actualizes his two best digital soldiers - Ares (Jared Leto) and Athena (Jodie Turner-Smith) - and sends them after Eve and the code. Once they catch her, Ares defies his programming and defends Eve from possible deletion. Athena, meanwhile, will stop at nothing to fulfill her directives. It all leads to a destructive battle of the constructs. That’s basically it.

Joachim Rønning and his writers create a pretty self-reliant sequel. You can probably skip not only Tron: Legacy, but the original Tron, and not miss much (except for the outstanding technicals). Its opening, done through news broadcasts shown from The Grid, handles the exposition pretty well. Its own story is overly long, and has some plot issues, but its plot is pretty decipherable.

The cast do all right with their roles. The real world and Grid pairs of protagonists are tangible opposites. Eve, having previously lost her sister and co-CEO to cancer, is doing it for life. Julian, whose grandpa was Tron’s Big Bad Edward (David Warner), is doing it for war and glory. In the middle of it all, we have Ares and Athena; one wants to learn more, the other is stuck in her programming. There’s not much to it, but it’s fine. The best acted scene is Bridge’s cameo as Flynn’s digital ghost, who shows that he might be really old, but he’s still The Dude.

In this film, The Grid turns out to refer to several digital worlds. Ares’ world is rendered in a striking black-and-red aesthetic. He and his fellow on-set warriors blend in seamlessly with the digital backgrounds and tech. The actualized vehicles, especially the famous light-cycles, are marvelous. When Ares visits Flynn, his Grid is a spotless recreation of the original film’s “primitive” look. I wonder if this effects team had it easier, this time. Any breaks in the verisimilitude are understandable considering they’re all digital creations. 

And finally, let’s talk about the soundscape. Tron was scored by Wendy Carlos, Legacy had Daft Punk, and this film has Reznor & Ross (credited under their band name, Nine Inch Nails). Like their predecessors, they accentuate the video game action with a perfectly appropriate techno score. A particular highlight accompanies Athena pilots a colossal Recognizer ship into the film’s unnamed city, ready for war. The sound design is also exquisite, whether it’s for the sound effects or the filters used for Ares and Athenas’ voices. I think I said enough.

There’s a recent book about AI, which spells out its authors’ fears in its title: If Anyone Builds It, Everyone Dies. Tron: Ares, with its self-aware human programs, is more optimistic than that book by a country mile. It isn’t too complex, but I doubt the human drama was ever the selling point of the franchise. You won’t be disappointed if you came in for the visuals; if you’re into human drama, my next review might describe something up your alley.

The Smashing Machine

 Let's get ready to rumble with tonight's match!

In this corner, The Smashing Machine, directed by Benny Safdie, a true-life story of one fighter's struggle against his personal demons!

In that corner, Marty Supreme, directed by Josh Safdie, a story loosely inspired by a true-life table tennis star!

Now, which one of these sports movies by these filmmaking brothers will come out on top? Find out this Christmas when Marty Supreme actually comes out!

....

I don't know who that is, but here's what I thought about this current film.

The Review

Our contender is a feature remake of the HBO documentary - subtitled The Life and Times of Extreme Fighter Mark Kerr - directed by John Hyams. It opens with Kerr (Dwayne Johnson) being interviewed in glorious VHS before he makes his MMA debut in 1997. It bumps up the quality once the bloodsport gets well underway. According to production notes, Maceo Bishop switches up the subsequent scenes from 16mm to 65mm, but I barely noticed any difference.

Kerr earns his monicker as he smashes through his subsequent fights. Outside of the ring, he lives a decent life with girlfriend Dawn Staples (Emily Blunt). Inside the ring, he can't fathom losing until he does so in Japan. Although the fight is ruled a no-contest, the initial shock exasperates Kerr's substance abuse problems. He eventually cleans up after an off-screen overdose, while pals and fellow fighters Mark Coleman (actual MMA fighter Ryan Bader) and Bas Rutten (as himself) coach him back to victory. But all that success worsens his relationship with Dawn.

It sells itself quite well on Johnson's performance. He's quite likeable as Kerr, who's only brutal because his chosen sport is brutal. He' quite charming as he boasts about winning - which he calls the "highest of highs" - during an interview. His time with Dawn gives him a few nice scenes, though there's a major caveat I'll discuss in the next paragraph. When he loses that first fight, you'll feel his bravado shatter as you wonder how he picks himself up. He does so pretty well, even if it involves another big loss. All in all, this is a standout performance from The Rock, as well as another triumph for Kazu Hiro and his makeup team.

As I said, Johnson and Blunt have some nice scenes, including a stop at a carnival. These moments are outnumbered by their quarrels, which usually involve Kerr overreacting to an innocuous comment.  You can probably count the number of scenes that result in no argument one hand. There's some property damage, notably Kerr punching a door into nothing twice, but not physical damage. One argument even escalates to Dawn trying to kill herself, the culmination of her own barely-explored addictions. Kerr calms her down, and she's literally driven out of the movie in a cop car. Their off-screen reconciliation and eventually brief marriage could've been conveyed better than a piece of epilogue text.

Anything else good? Bader proves quite a natural in his film debut. As Coleman, he's quite likeable whether he's acting as Kerr's pal or even potential opponent. He and Rutten also make for great mentors to Kerr. Their adversaries are also played by actual fighters, such as Cyborg Abreu (as Fabio Gurgel) and Satoshi Ishii (as Enson Inoue). Their experience, Safdie's editing prowess, the sound designers, and the aforementioned makeup team, render the fights appropriately brutal. The aforementioned epilogue lets the real Kerr play himself, which is kind of nifty. I think that's it.

The Smashing Machine is still contending for your box-office dollars. It could've done without all that arguing, but Johnson's performance makes it a decently interesting biopic. I went in knowing little about Mark Kerr, and I went out wanting to watch the original documentary. Thing is, it's not actually available anywhere, not even on HBOMax! That's a real disappointment. This movie, on the other hand, is all right. I think I said enough.

One Battle After Another

And now we go from One Paul to Another with One Battle After Another.

Paul Thomas Anderson's latest film has been hyped up as his most mainstream movie. It's got chase scenes, shootouts, bad language and fun stupidity. It doesn't have a mainstream source material - Vineland by celebrated hermit Thomas Pynchon (yes, the same Pynchon whose Inherent Vice Mr. Anderson filmed in 2014) - but it's got a nice runtime of 161-minutes. 

But Jethro, not everyone's gonna take to the runtime, or even its politics!

You can't please everyone, Baxter. Let's just get to it.

Back in their day, Ghetto Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Teyana Taylor) fought The Man with their revolutionary group, The French 75. The film opens with them liberating prisoners at a Migrant Detention Camp run by Capt. Steven J. Lockjaw (Sean Penn), who soon becomes obsessed with Perfidia. Perfidia eventually sells out the French 75 to Lockjaw, forcing Pat to flee to the city of Baktan Cross with his and Perfidia's daughter, Charlene. 

Sixteen years later, Pat & Charlene are now Bob & Willa Ferguson (the latter played by newcomer Chase Infiniti). Lockjaw, now a Colonel, wants to join a spiffy Neo-Nazi club, the Christmas Adventurers Club. The only problem is that Willa might actually be his daughter. So, he shows up looking for the Fergusons with full military support. Deandra (Regina Hall), a former French 75er, spirits away Willa to a convent; meanwhile, a washed-up Bob struggles to reacclimate to the good fight. Sergio St. Carlos (Benicio Del Toro), a community leader and Willa's Karate sensei, is ready to help. Thus begins a three-way quest between Bob, Lockjaw's forces and even the Christmas Adventurers to find Willa first.

It sounds like a lot, but it hardly feels boring with Andy Jurgensen’s editing prowess. Midway through the film, we get a dynamite sequence of events as Bob flees Lockjaw's forces across town. He desperately tries to get in touch with his French 75 comrades. Their receptionist, “Comrade Josh” (Dan Chariton), refuses to talk until Bob answers a certain password, which he's since forgotten. It takes up quite a bit of the film, but it's so compelling that you'll hardly notice the time. In fact, all of the action scenes, such as the opening raid and the climactic chase, are dynamite. They're made especially dynamic by two of Anderson's other longtime collaborators: cinematographer Michael Bauman & composer Jonny Greenwood. 

Mr. Anderson's longtime casting director, Cassandra Kulukundis, is a guaranteed nominee for the inaugural Casting Oscar. There really isn't a weak link in this ensemble. As Bob, DiCaprio is more of a loser than an action hero, but he still tries to do good. You'll empathize with him as much as you'll laugh at his comically maddening password scramble. He and Infiniti have a great chemistry; the latter, in particular, is quite amazing when she asserts herself as the story's true heroine. As Lockjaw, Penn is a pathetic loser and a loathsome creep, which makes for a fascinating mix. He's oddly pitiable when the Christmas Adventurers give him a nasty surprise. All of that comes after he's horrifyingly and hilariously injured during the climactic chase, conveyed by excellent prosthetic makeup.

Who else do we have here? We have Sergio Sensei, who's more of a foil to Bob than a mentor, but he's still a cool guy. Taylor leaves quite an impression as Perfidia, who mostly disappears after the first half-hour. Deandra has no love lost for Perfidia, as Hall expresses in her best moment with Infiniti, but Perfidia's depressiveness makes it easier for the audience to. The Christmas Adventurers are mostly a bunch of losers, but John Hoogenaker's Tim Smith is their biggest standout. Eric Schweig also stands out as Avanti, Lockjaw's bounty hunter who eventually saves Willa at the cost of his life.

Over fifty years ago, Pynchon's novel Gravity's Rainbow baffled the Pulitzer Prize committee so much that they opted to skip out on that year's Fiction Prize. Pynchon's other novels, especially Vineland, aren't that conventional either. So, if you're intimidated by One Battle After Another's runtime, rest assured that it's a reasonable approximation of its most comprehensible themes. These themes highlight one of this year's most memorable films, as well as one of the most fascinating movies of all time. That's how good it is.

The Lost Bus

I don't think I was aware that The Lost Bus was driving to theatres this month. If I had been aware at one point, I completely forgot about it until I saw the trailer with The Roses at the top of the month. Don't let it pass you by, even if you wait until it premieres on Apple TV + this Friday. Let's get to it.

On November 7, 2018, Kevin McCay (Matthew McConaughey) is just a regular bus driver for the Paradise Unified School District. His family life is spent with his disabled mom, Sherry; his resentful son, Shaun, who is also sick with stomach flu (both played by actual McConaugheys Kay McCabe and Levi); the recent death of his estranged father; and a sick dog he puts to sleep that night. While some might scoff at the trauma conga line, it actually generally lines up with what Lizzie Johnson chronicled in her book, Paradise: One Town's Struggle to Survive an American Wildfire, which director Paul Greengrass & Brad Inglesby used for their screenplay.

As the Camp Fire erupts the following morning, Kevin rushes to deal with his family crises instead of to the bus depot. This makes him available to swing by Ponderosa Elementary School and help evacuate 23 stranded students (actually 22; one lucky kid's parents showed up in time). Kevin gets teacher Mary Ludwig (America Ferrera) to come aboard to help out. The mission is complicated when the fire spreads beyond everyone's expectations, forcing them to go further to the town of Chico. Kevin is naturally worried for his own family, but he has a mission to do.

Besides the trauma conga line, the build-up to Kevin literally answering the call is a long one. Before his fateful drive, he argues with his supervisor Ruby (Ashlie Atkinson) over his work ethic, argues with his ex over the state of his life, and is told by Sherry that Shaun really wants to leave. It's practically an eternity before he finally notices that gigantic smoke cloud. That long build up was the only thing that tested my patience in this 130-minute movie. That first half hour or so is pretty long, but it's still thematically appropriate.

Still, that first half-hour is quite suspenseful as we see the Camp Fire become an apocalyptic threat. Even if it takes Kevin too long to notice it, you'll feel it as Cal Fire Chief Martinez (Yul Vasquez) and his crew start fighting it. The Cal Fire crew get a substantial B-Plot, in which they contend with the environment, inadequate procedures and the incompetence that started it all; none of it is intrusive. Kevin and his charges face an ever-escalating series of complications, all of which make for perfectly intense set pieces. Mary hunting for water at a soon-to-explode campsite, an armed looter attacking the bus, and a heat-exhausted Kevin getting his second wind, easily justify a potential Editing Oscar for its three editors (including past winner William Goldberg).

Any technical nitpicks you might have become irrelevant as the drive gets underway. Besides the editors, the film also benefits from spectacular sound design, visual effects and cinematography by Pal Ulvik Rokseth. As the characters drive through blustering winds, smoke, flames and orange-tinted skies, it feels like they're driving through Hell on Earth, rather than Hollywood Magic. It makes it all the more cathartic when Kevin finally drives out of the inferno. James Newton Howard's score especially shines during that climactic drive. Whatever budget they had, it was worth it.

The characters themselves are mostly fine. The kids, save one, barely receive individuality, while Kevin's family barely appears on-screen. But the circumstances are dire enough that you'll still be invested in their safety. Kevin, Mary and Ruby are pretty likable and sympathetic, for the most part. Kevin and Mary's heroism, along with Ruby's diligence, will make you like them even more. Chief Martinez is quite engaging as he deals with the aforementioned complications. They all make a good ensemble, but I'm wondering why they left out Abbie Davis, the other teacher aboard the bus. Was it simplicity? 

What else can I say about it? I was kind of apathetic about boarding The Lost Bus; I stepped off surprisingly refreshed. I suspect it might be a hidden gem in later years, especially due to its minimal advertising. So, here's my way of telling you that one of the best thrillers and disaster movies in recent years exists. See it however you can. 

That's it for now.

A Big Bold Beautiful Journey

Over the years, there have been many films that I have considered reviewing here. A few years ago, a few such films included the melancholic sci-fi drama After Yang, and the culinary horror comedy The Menu. This year, the director of the former film (Kogonada) and the writer of the latter (Seth Reiss), team up to present A Big Bold Beautiful Journey. Let's see if it lives up to its title.

David's (Colin Farrell) car gets booted on the day of a big wedding. It’s not his wedding, but somebody whom the film isn’t interested in elaborating on. Anyway, a convenient dealership, The Car Rental Agency, shows up in a back alley. Its two clerks, The Cashier and the Mechanic (Phoebe Waller-Bridge and Kevin Kline), run the place like a casting agency (they have David’s headshots, for reasons), and The Cashier casts David as a Saturn driver (because that's all they have).

David meets Sarah (Margot Robbie) at the wedding, but nothing happens between them. On the drive home, David's talking GPS (Jodie Turner-Smith), who has a very familiar interface, asks him if he wants to go on A Big Bold Beautiful Journey. He agrees, and he gets redirected to Sarah at a gas station Burger King. Sarah, who also rented from the TCRA, gets car trouble, so she hitches a ride with David.

The GPS redirects them to magical doors that take them to specific points in their lives. For instance, David gets to relive the night he crushed it in How to Succeed in Business Without Really Trying, which is also when his crush crushed his heart. Everyone sees David as he was, but we see him as he is now. The same goes for Sarah in her door worlds. Their past hangups threaten to tear them apart, but there's a happy ending for them.

Did everybody get all that? 

Because this isn't a film that explains much. In fact, its world-building is often done with proudly vague and generalized dialogue. David and Sarah's romantic flakiness is exposited with outlines, not dialogue. Stuff like the TCRA and the unnamed city is like a genre savvy movie parody. Yet, the film also wants to be a serious romantic drama. One minute, Sarah is ready to pump the breaks on their relationship because David doesn't really know her, or something. The next, they get in car trouble and stay at the "Timely Inn" (which is an admittedly amusing detour). We get vague hints of the TCRA's true purpose, but we have no real idea who they are. Even Big, which factors into Sarah's past, has hints of something bigger with its unplugged fortune teller machine. What I'm getting at is that the tonal confusion makes it a little hard to get invested in the central relationship.

It's a little easier to get into Kogonada's directing flourishes. The cinematography by Benjamin Loeb gives us some pretty scenery, both real and fantastical. The sky adorning the couple's first stop, a lighthouse, is overly romantic and nice to look at. Farrell's musical prowess in How to Succeed's opening number is a pleasant surprise; between that and the staging, here's hoping he and Kogonada do more musicals. Its sweet, sentimental score is nice to listen to, but the fact that it is by Studio Ghibli's favorite composer, Joe Hisaishi, in his first American film, is the film's biggest surprise. 

Amongst the supporting cast, a few highlights are actual couple Hamish Linklater & Lily Rabe, who play David's dad and Sarah's mom. They each get a scene where their respective kids talk to them in the door worlds. David gives his dad some needed moral support in his door world, and Sarah's mom gives her some in hers. Granted, the circumstances confuse an already confused plot, but the two of them make the most of their moments. Another confusing, yet decent moment, is when David suddenly becomes his dad and consoles himself (Yuvi Hecht) in another door world. I can go on, but I can't.

If you think this movie is for you, feel free to go on A Big Beautiful Journey to your local cineplex. You should probably hurry before it gets crowded out. Late in act two, David and Sarah, on a "break" from their journey, hike up to the moon (because, of course). Both comment that the experience is "beautifully strange," and "strangely beautiful;" either way they phrase it, that's what I think of this movie. 

The Long Walk

 Stephen King may have started his published career with Carrie, but he actually wrote another novel, The Long Walk, almost a decade earlier. It was eventually published in 1979 under his short-lived pseudonym, Richard Bachman, who also has another novel with a film on the way. In the meantime, that first book is now a movie, so let's walk over to that one.

Instead of yet another crummy future, we have a crummy past. In it, a second Civil War has led to a second Great Depression and a Totalitarian United States. Every year, fifty boys, one from each state, are chosen by lottery for The Long Walk, the nation's biggest sporting event. Supervised by a sinister Major (Mark Hamill), the contestants walk hundreds of miles until only one remains. The winner gets a huge cash prize and whatever else he wants; the losers, particularly those who can't keep up the pace after three warnings, get "ticketed" by their military convoy.

At the starting line, we find the likes of Raymond Garraty (Cooper Hoffman), Peter McVries (David Jonsson), Hank Olson (Ben Wang), Billy Stebbins (Garrett Wareing), Arthur Baker (Tut Nyuot), and Collie Parker (Joshua Odjick). Ray, who has it out for the Major, bonds with Peter, the idealist. How long can they keep up the pace?

Francis Lawrence, with his work on The Hunger Games franchise, is quite an appropriate director. Indeed, your mind might veer to Panem once the radio exposition establishes its bleak world. It might not have a huge budget to fully visualize its world, but the desolate landscapes filmed by Jo Willems more than suffice. There's barely any life on the beaten path, as if the Dust Bowl never ended. That's how bad it is. A particular highlight is when the walkers pass by two parked cars - a police car and a burning car. You'll be wondering what happened there.

You may also wonder how a film like this can be engaging. Well, Lawrence and screenwriter JT Mollner accomplishes that with their cast. It's quite compelling to watch Ray and Peter bond with each other and their fellow walkers. You'll want to keep up with these "musketeers" as they help each other keep up the pace. The tension is high whenever the convoy starts issuing warnings. The walkers just narrowly avoid getting ticketed multiple times, and it's never redundant by the time they finally get it.  What makes the convoy really cruel is how they keep warning obviously unfit contestants (one comes down with epilepsy, another suffers the worse broken ankle you'll ever see). The long-delayed mercy kills are nowhere near a relief.

Let's discuss a few characters. One walker, Gary Barkovitch (Charlie Plummer), gets on everyone's bad side - on-screen and off - when he gets another walker ticketed. His flippant behavior does little to change that opinion, but after a while, we fully understand how broken he is. We eventually pity him when he ends his own life. The Major isn't a nice man, to say the least, but he surprisingly takes it in stride when the walkers shout treason (or something like it). And finally, we have Judy Greer as Ray's mom Ginnie, who mostly just weeps hysterically. Considering the situation, you won't blame her too much. In fact, it's because of her presence that the film's ending, which is significantly tweaked from the novel, takes on a bit of a sour note. 

 Those that walk on by will get themselves a masterful dystopian thriller. You'll be surprised how funny most of the movie is, at least until the final stretch. At face value, the ending is rather bleak, but it's still interesting to think about. Of course, if The Long Walk doesn't suit your speed, then that other movie surely will. You bet that I'll run on by that film once it hits on November. That's it for this one.

Spinal Tap II: The End Continues

 In 1984, moviegoers were introduced - if they hadn't watched The T.V. Show in 1979 - to the most famous fictional rock band of all time in the most famous musical mockumentary of all time. They are Spinal Tap, stars of This Is Spinal Tap, and this is Spinal Tap II: The End Continues.

Rob Reiner, and his cinematic alter-ego Marty DiBergi, tell us what the band has been up to since the first movie. Nigel Tufnel (Christopher Guest), the lead guitarist, has a guitar-and-cheese shop in Ireland. David St. Hubbins (Michael McKean), the lead singer, now composes for true crime podcasts. Derek Smalls (Harry Shearer), the bassist, now runs a glue museum. Fifteen years earlier, the band tapped out because of tensions between Nigel & David. It turns out they're contractually obligated to play one last show, which they'll do in New Orleans. Marty and his crew film the band as they prepare for showtime. That's basically it.

I admit that I'm not much of a "taphead," being only vaguely familiar with a few of their jokes (like their speakers that go up to eleven, and the high turnover rate of their drummers) and their guest spot on The Simpsons. That said, I found plenty of delightful silliness packed into 83 minutes. Their new manager, Simon Howler (Chris Addison), is tone deaf in more ways than one. They lodge in a "ghost house" haunted by living tour groups. They get some weird auditionees for drummer, none more so than somebody from the Blue Man Group. We also get Nigel's weird fixation with cheese, an unfortunate incident at Derek's museum, and a pretty entertaining set list (mostly oldies).

What can I say about the characters? Well, for starters, Nigel & David have the only compelling story thread. As the concert nears, we’re told that something happened between these lifelong friends. Well, we find out why late into the film, and it's quite the Act Two bombshell. You'll have to find out for yourself what it is, but they do have a nice reconciliation afterwards. Derek's fine, but it's pretty fun to hear Shearer break into his Otto voice from The Simpsons in live action. A few supporting players return with their own humorous anecdotes. One of them, Jeanine Pettibone (June Chadwick), figures into the big bombshell, though I didn't realize the connection until after the movie. Did I spoil too much?

Who knows if Spinal Tap II: The End Continues will raise your afternoon up to eleven? But I think its brand of silliness will make your afternoon interesting. You might get the most mileage out of its story if you've already watched the first film. Those who haven't, like me, will have a lot to catch up to. If you want to see it big, see it now, for the end might end sooner than you think. Don't believe me? My local theater plans to demote it to a single nighttime showing starting Monday! Will it be around next weekend? Stay tuned ...

... Or not.

A Samurai in Time

A Samurai in Time was self-financed by filmmaker Jun’ichi Yasuda for 26 million yen. When it opened in Japan last year, it eventually made a billion yen, and won Japan’s equivalent of the Best Picture Oscar, the Japan Academy Film Prize for Picture of the Year. I say that’s a pretty good investment.

And now, if you want to see what the fuss is about, you can stream it on your favorite service. Let’s get to it.

In 1867, during the Bakumatsu era, Shinzaemon Kosaka (Makiya Yamaguchi) was just a regular samurai for the Aizu clan. One stormy night, he encounters Hikokuro Yamagata (Ken Shonozaki), a rival samurai, and they duel. Suddenly, Kosaka gets struck by lightning and awakens on a Jidaigeki (period drama) set in 2007. Just about everyone, including assistant director Yuko Yamamoto (Yuno Sakura), mistakes him for a dazed extra. Yuko helps him move in with a local priest (Yoshiharu Fukuda), and his wife, Setsuko (Manko Kurenai).

When an extra falls ill, Yuko helps Kosaka fill in. Pretty soon, Kosaka becomes a regular Jidaigeki kirareyaku (essentially a jobber). Eventually, acclaimed actor Kyoichiro Kazami (Norimasa Fuke), formerly a Jidaigeki star, announces his return to the genre and handpicks Kosaka as his co-star. Kyoichiro is actually an older Yamagata, who wishes to settle things once and for all. Kosaka, while initially reluctant, eventually comes around with a pretty drastic plan for the finale.

It would be easy to play Kosaka's temporal fish-out-of-water antics completely for laughs. Indeed, it's pretty funny as Kosaka discovers things like prop fish and a vacuum. It's also endearing to see him moved to tears after he watches his first Jidaigeki, and when he's offered some cake (when only the nobles of his time were allowed sweets). We laugh with Kosaka, not with him, as he encounters the intricacies of modern life. We even sympathize with him, particularly when he discovers the historical fate of his clan. It's quite tense when he and Yamagata film their final battle, in more ways than one. 

Kosaka is surrounded by a good supporting cast. There's his sword fighting instructor, Mr. Sekimoto (Rantaro Mine), whose stories as a kirareyaku are quite compelling. Yuko, Setsuko and The Priest are quite likable as they help Kosaka adjust to 2007 (they never learn the truth!). One scene in particular, which probably helped Yasuda win the Japan Academy's Film Editing Award, has the trio try to console Kosaka after he's seemingly rejected by Sekimoto. Of course, if he was rejected, there'd be no movie, but it's still fun watching it play out. Kyoichiro being Yamagata is a clever plot twist; surprising yet natural. Kyoichiro and Kosaka have great chemistry, which plays out wonderfully during the final battle. Tsutomu Tamura makes quite an impression as Kyotaro Nishiki, the star of the Jidaigeki Kosaka stumbles upon; what little we see of him shows him as a cool dude.

Now, for a bit of meta discussion. It was mostly filmed on Toei Kyoto Studio Park, a major filming location for Jidaigeki productions. When Toei's superheroes time travel, their adventures are filmed there too. It got me thinking of how Jidaigeki (and Kabuki) tropes evolved into those of Kamen Rider and Super Sentai (including those installments which overtly homage the genre).  Yuko, at one point, tells Kosaka of how she grew up watching Jidaigeki shows, and how much they mean to her. It's another compelling character moment. Overall, I was left with some more respect for the Jidaigeki genre. Avid fans of Japanese superheroes, or even casual film watchers, might gain some too.

I'm sure an American equivalent of this premise would be an Old West gunman getting a job on Western movies. It might give us a comparison between Hollywood's Wild West and the actual Days of Yesteryear. That would make for a great movie, too. But please see A Samurai in Time before someone gets that remake idea. I think that its unique fish-out-of-water story is well worth your time. What more can I say about it?

Demon Slayer: Infinity Castle

 Who’s ready to slay the box-office? Again?

Tanjiro Kamado, that’s who!

Demon Slayer: Kimetsu no Yaiba the Movie: Infinity Castle is, by far, the most anticipated anime film of the year, and it has the box-office to prove it. It starts off a film trilogy which is set to conclude the story of Koyoharu Gotoge’s manga by 2029. That’s quite a ways away, so let’s sum up the film we have now. And this time, we're going by the English dub.

When we last left Tanjiro (Zach Aguiler) on TV, he and his fellow Demon Slayers were having their final battle with supreme demon Muzan Kibutsuji (Greg Chun). But Muzan changed the locale to his stronghold, the Escher-esque Infinity Castle. Now, the elite Hashira and the rank-and-file Slayers have to fight their way through Muzan’s demonic legions to get to him. The film follows groups of Slayers around the castle, but it concerns most of its massive 155-minutes with three fights:

1. Shinobu Kocho (Erika Harlacher), the Insect Hashira, fights Doma (Stephen Fu), the demon who slew her sister and predecessor Kanae (Bridget Hoffman) in combat. It doesn’t end well for her.

2. Zenitsu (Aleks Le), hardly a wimp anymore, fights Kaigaku (Alejandro Saab), his treacherous training partner who is now one of Muzan’s Upper Ranks.

3.Tanjiro and his Hashira mentor, Giyu Tomioka (Johnny Yong Bosch), fight Akaza (Lucien Dodge), who slew fan-favorite Hashira Kyojuro Rengoku all the way back in Mugen Train. Akaza refuses to let decapitation get in his way, but a few flashbacks might help the Slayers.

And by few, I mean a lot. The film devotes a lot of time to the backstories of its main combatants. In particular, we're meant to sympathize, even if somewhat, with the villainous demons (which I've noted in the last few movies). Doma's backstory, as the figurehead of a scam cult, emphasizes the "somewhat" part, as he still comes across as a condescending creep. Kaigaku fairs a little better, as we understand his jealousy and resentment towards Zenitsu. It still doesn't absolve him, but it's progress. Akaza's fight and backstory is so long that it could be its own standalone feature; it's also, by far, the most compelling of the main bouts. It's surprising how much time zips by as you watch everything play out; still, some might think the flashbacks slow down the film too much.

Akaza's flashbacks introduce us to Keizo, his foster father and sensei. This easygoing man communicates tough love with his fists, while rarely breaking his smile. He and his daughter, Koyuki, give Akaza some much needed positivity up until their tragic ends. Nobody expected somebody like Channing Tatum would be cast in the role, up until his casting was announced last month. But his stoic voice gives Keizo a welcome cool dad vibe, fitting since he took the role for "cool dad points." Rebecca Wang, who dubs Koyuki, makes her a sympathetic and warm presence.

By now, you should probably know what to expect from the technical departments. The crisp animation, color palette and flashy sword effects, are still exquisitely done. A consequence of its extended length is that its flashy effects are somewhat overwhelming, which is partially why I didn't mind the flashback breaks. The production design fares a lot better on the eyes. Yes, I know the Infinity Castle has been around since the first season, but it's still an amazing locale, especially when we see it shift around to confound the Slayers. Series composers Yuki Kaijura and Go Shiina still churn out some impressive work. 

Demon Slayer: Kimetsu no Yaiba the Movie: Infinity Castle is a pretty satisfying start to this unorthodox series finale; the Akaza portions alone make its extended runtime worth it. Those uninitiated with the franchise need to catch up; the Mugen Train has well and truly left the station. Thankfully, the flashbacks provide some context for those just now hopping in. I'll leave it to you to decide when and where to see it. Here's hoping the momentum is still strong when the sequels pull in.

A few more things. It's kind of weird hearing Kiriya Ubuyashiki, the new leader of the Slayers, refer to the titular locale as "Infinite Castle" before he calls it "Infinity Castle" in the finale. What little we see of the non-mains are a few good character moments; Tanjiro and Giyu even get a surprisingly funny one at the start. Yeah, that's pretty much it.

Downton Abbey: The Grand Finale

Ten years ago, the Crawleys of Downton Abbey ended their television days on their sixth season. A few films later, they're finally ready to say goodbye with the aptly named Downton Abbey: The Grand Finale. So, what can you expect from the Crawleys this time?

As usual, you can expect a lot.

Lady Mary (Michelle Dockery) has finally divorced her husband Henry Talbot (Matthew Goode, who's been absent since the first film). The Crawleys find themselves mostly exiled from high society due to the "scandal." Lady Mary's American uncle Harold (Paul Giamatti, back from season 4's Christmas episode) returns with a new acquaintance, Gus (Alessandro Nivola). According to Harold, Gus saved most of Harold and Countess Cora's (Elizabeth McGovern) late mother's (Shirley MacLaine in the series) wealth from the collapsing stock market. But then Harold squandered it anyway on bad investments. He might, perhaps, get out of debt by investing in Downton.

Meanwhile, Lord Robert (Hugh Bonneville) bequeaths Downton to Mary as he plans to move out. Mary gets tapped to judge at the county fair, much to chairman Sir Hector Moreland's (Simon Russell Beale) objections. Mr. Carson (Jim Carter) is finally ready to retire, for real this time, as the butler. And finally, no less than Noel Coward (Arty Froushan) plans to visit Downton with star Guy Baxter (Dominic West) and his "assistant," Thomas (Robert James-Collier). So, yeah, there's quite a lot to unfurl.

You should probably know what to expect by now. And thankfully, everyone from series creator Jullian Fellowes, composer John Lunn and the technical crew, maintain their consistently excellent work. Its acidic wit is still accounted for, even if Violet Crawley, Dowager Countess of Grantham (Maggie Smith), is no longer around to deliver it. Its huge ensemble is still compelling, as are their multiple subplots. Its visual splendor is showcased in DP Ben Smithard's long oner, which takes us on a tour across Picadilly Square, all the way to - and around - Coward's Bitter Sweet. This time, it takes quite longer to get to Downton and Lunn's theme. The wait is worth it.

Anything new to expect? Froushan is pretty entertaining and likable as the famously flamboyant Coward. He's especially likable when he recognizes Mr. Moseley (Kevin Doyle) for his screenwriting in the last film and compliments him. It's quite amusing to see Coward's mingling with the Crawleys inspire a few of his future stage hits (Private Lives & Cavalcade). Harold's fine, even sympathetic when he learns that Gus actually scammed him of his wealth. Gus, meanwhile, is initially a charming rogue, but he gradually reveals himself as so detestable that you'll wish for karma yesterday. Even if it only comes in the form of Mary's sister, Marchioness Edith (Laura Carmichael), telling him off. 

Its presentation, however, almost derailed the film experience. I don't know why, but two magnetized lines ran down the screen during my showing. It was quite distracting to say the least; fortunately, more than enough of the film made the distortions unnoticeable. A bit more noticeable was the audio mixing problem during the opening. The musical number in Bitter Sweet had its music track overwhelm the vocals exponentially. Shouldn't both tracks be equal? I hope you won't run into any problems like that if you see it.

Anyway, Downton Abbey: The Grand Finale, gives its cast a good last hurrah. It's still surprising how much information I've retained from the previous films. Indeed, it’s hard to feel nothing during its bittersweet finale, particularly when it focuses on Violet and Dame Maggie. Its calm sea of continuity makes it a surprisingly good introduction to the franchise in case someone decides to start here. They, and those avid fans, will still see the same entertaining costume drama. I'll leave it to you to decide when and where to see it. 

The End.

On to the next review.