Suffragette

Suffragette means well, but its storytelling doesn't help it rise above the fall movie crowd. It's a fine movie, though, so how about we read on and see what it's all about. Shall we?

In the early 1910s, Maud Watts (Carey Mulligan) is a laundress literally kept down by the Man. Her boss is a chauvinist pig, her husband is a dullard, and her son is a polite young boy. Meanwhile, the Women's Suffrage movement is taking shape, and some of its members take up property damage for their cause. When the Man decides to consider a voting rights bill for women, Maud reluctantly ends up testifying. The Man says No to Suffrage and Maud gets arrested by the brutish police.

Maud ends up joining the Women's Suffrage Movement for real. Her closest friends are Dr. Edith Ellyn (Helena Bonham-Carter) and Emily Davison (Natalie Press). The revered head of the Suffrage Movement, Emmeline Pankhurst, advocates militant action for Women's Rights. But a few members, including Maud, have some doubts. There's also a Police Inspector, Steed (Brendan Gleeson), who's out to stop them.

The screenplay by Abi Morgan was realized by director Sarah Gavron. It focuses on the story of several fictional characters, with Davison and Pankhurst being the most major exceptions. There are a few typical character types, but they're all played admirably well. It's satisfying to see Maud go from a mousy reluctant heroine to a more assertive heroine who smashes her employer's hand with a still hot iron!

The story has hints of cliche as well. One character has a weak heart and may die if she goes to one last protest. Does this affect her? No; her sympathetic husband locks her in the bathroom. Why bring up the plot point at all?

The technical efforts are fine, but not perfect. Barney Pilling's cinematography captures old dusty London well, but when scenes get intense, it shakes a lot. To make matters worse, the editing snaps by fast. We can't really keep track of what's going on when it does that. Alexandre Desplat's score is fine, but it sounds too typical of his style (The Grand Budapest Hotel being atypical). The Production and Costume design evoke the period admirably, so they get some points.

I find it amusing that Pankhurst, the revered head of the Suffrage Movement, is played by Meryl Streep. Her part is a one-scene cameo where she addresses her supporters. The real Pankhurst died in 1928, the year the British Suffragette movement finally succeeded. That would be a good end point for another movie.

This movie, meanwhile, ends too early. Suffragette ends in 1913, and its epilogue tells us how the Suffragette movement progressed from there. It would be nice if we saw a bit more of it. The story needs to be told, and hopefully, it will be told a bit better next time.

UPDATED 1/14/2025: I felt I was too negative with this review; don't ask me why it took this long to fix it.

The Hunger Games: Mockingjay- Part 2

Katniss! Peeta! The Other Guy!

(Psst ... his name's Gale!)

Oh yeah...

Their adventures come to an end in The Hunger Games: Mockingjay- Part 2. It's a satisfactory ending to the story of the one reality show no one wants to be on.

The Underground District 13 saved Peeta Mellark from torture. But he's brainwashed-and-crazy with "Kill Katniss Everdeen and anyone who gets in my way" on his mind. District 13's President Alma Coin (Julianne Moore)  has "Kill President Snow and free Panem" on her mind. Katniss Everdeen is willing to help the resistance any way she can. But she really doesn't have "Kill Peeta and end his suffering" on her mind. Meanwhile, President Snow has "Kill Katniss anyway I can" on his mind. And on his mind is to booby-trap the Capitol itself.

What do I have on my mind about this entry?

The screenplay is the confused Tortoise to the first film's assured Hare. It drags out some scenes, like Katniss and co. hiding out in the Capitol. But it doesn't give time for other plot points. The scene I long ago thought would end Part 1 involves the death of a specific character. But the foreshadowing, as in, why they're there, is lacking. The last scenes felt like multiple endings tacked on to each other. So why do I recommend it?

Firstly, I recommend it because of its characters. These are characters you've either loved or hated during the franchise's run. You'll feel appropriately when they get their ending. The climax got sentimental when it focused on the late Philip Seymour Hoffman's character Heavensbee; this is now his last film. The final, final ending gives you relief that a nightmare has ended, as opposed to your nightmare.

The visual design makes use of a lot of on-location filming. I was especially pleased when I recognized one location as being in Atlanta, my former residence. The Boobytraps that populate the streets are seamlessly integrated into the environment. The creepiest set some freaky fishmen-zombie things on our heroes in the sewers. The Capitol citizens are once again a walking fashion show; the aptly-named Tigris is the prime example. Maybe Oscar can give a look this time. Maybe?

Unlike The Hobbit, Mockingjay had enough plot to pass around a few movies. At least it wasn't stretched out even further than two to make more money. You'll get you're money's worth if you've followed the franchise from day one. For everyone else, it's a good action film that closes out one of the best Young Adult Franchises in History.

FADE TO BLACK

THE END

Spectre

It took me a long time, but now I am here.

Here to review James Bond's 24th cinematic adventure, Spectre. It's the fourth where he's embodied by Daniel Craig and the second where director Sam Mendes is calling the shots.

This time, Bond is out of a job. Bond went on an unauthorized trip to Mexico City to stop some terrorists, caused some chaos, and got grounded by M (Ralph Fiennes). Meanwhile, the 00 operation is about to get grounded by C (Andrew Scott), who wants to install his new worldwide surveillance system, the Nine Eyes. OK?

So James crashes the funeral of one of the terrorists and discovers the evil organization Spectre. Its leader, Franz Oberhauser Ernst Stavro Blofeld (Christoph Waltz), knows James all too well. All the villains from the last three movies were on his payroll. And one of them, Mr. White (Jesper Christensen), has a daughter named Madeline (Léa Seydoux) who knows what Spectre's up to. James has to protect her to keep Oberhauser Blofeld from winning.

Yes, another film hid a signature franchise villain's name under a fake one. It was novel when Star Trek: Into Darkness did it, but it's too obvious here. Bright side is, Christoph Waltz is ideally cast as Blofeld. Soft-spoken, intelligent, sadistic; his Blofeld makes for one memorable villain.

As for the other villains? Dave Bautista's Mr. Hinx debuts by beating another henchman to death. After that, he's the silent henchman up until Bond gets rid of him. It's also revealed that Blofeld has a collaborator within the British Government, the revelation of which came out of nowhere at first. But it made sense later.

The screenplay was written by four writers, including John Logan. It gives Bond quite more humor compared to the last few films, especially Skyfall. The gadgets in Bond's new car, for instance, don't work as he expects it to in a car chase. It also drags its heels during the set pieces. And it also shows Bond at his least tactful: romancing the widow of the aforementioned terrorist (Monica Belluci) and leaving her, despite knowing that Spectre assassins want her (and he personally foiled two of them). It's 148 minutes long, but it felt longer at times.

Composer Thomas Newman returns from Skyfall; his work here is much more memorable than in Bridge of Spies. Cinematographer Hoyte van Hoytema, an Oscar no-show last year from Interstellar, should show up here after they see his long-opening shot. Editor Lee Smith, at least, makes the action scenes exciting.

Spectre is a serviceable Bond, I'll give you that. And whether or not this is Daniel Craig's last time at bat, the story feels like a good way to end his cycle.

The Peanuts Movie

Charlie Brown, Snoopy, Lucy and the rest of the Peanut Gallery haven't had a cinematic run for the football since 1980. Maybe they shouldn't have named that movie Bon Voyage, Charlie Brown (and don't come back!). That title didn't sound inviting.

Well now, Chuck and Dog are back in the aptly named The Peanuts Movie. It's their first 3D cinematic adventure and a simplistic one at that. But it was a good one.

Charlie Brown (Noah Schnapp) is still the neighborhood blockhead and Snoopy (Bill Melendez, through archive sounds) is still his Beagle. One day, the Little Red-Haired Girl (Francesca Angelucci Capaldi) moves into town. Charlie is smitten and tries to work up the nerve to talk to her. But all his past failures, not to mention his current ones, threaten to derail him. But he can't let that get to him. Meanwhile, Snoopy plays with a typewriter and imagines himself a Flying Ace out to save Fifi
(Kristen Chenoweth) the poodle from the evil Red Baron. And that's all there is too it.

It's a simple story that doesn't need research before going in. Its CGI characters emulate the limited animation of their 2D counterparts. Their facial expressions are as memorable as always (especially with that classic "Augh!"). Snoopy is still the best animated beagle. But the highlight is the always imitable trombone "wah wah" to simulate adult speech (provided by Troy "Trombone Shorty" Andrews). The classic bits are there, but what else? What makes it worth seeing them again? These questions can help or hurt your viewing experience.

What pushes the film to "help" for me is its good-nature. The gags are amusing and the characters are likable. Its message of perseverance is a positive one. And yes, Snoopy is still great comic relief. It's a good-natured adventure through Suburbia. Overall, the movie knows what it wants to be and does it well.

The Peanuts Movie is a good introduction to these characters. If one can overlook its simplicity and enjoy all the classic bits, they'll find a movie that'll go hand-in-hand with Charles M. Schulz's comic strips and all the specials and films that came from them. It stays to its roots, but its morals resonate today.

You'll also find a trailer for the upcoming fifth Ice Age film, Ice Age: Collision Course, disguised as a short, Cosmic Scrat-tastrophe. Good news is, the short was funny. Better news is, the full film's in July, so that means the novelty won't wear off by the time I see it.