Welcome to Marwen

It's almost 2019. I have one more film to review before midnight. So let's go. 

Welcome to Marwen is the dramatization of artist Mark Hogancamp's life. It was previously told by Jeff Malmberg in his 2010 documentary, Marwencol. In 2000, Mark (Steve Carell) was beaten outside a bar by five guys who he met earlier. All because he told them he liked wearing women's shoes. Mark was left physically impaired and amnesiac. Mark finds therapy by creating a miniature WWII Belgian village called Marwen. He uses dolls to stage the adventures of one Captain Hogie and his all-female companions (representing different women in his life) as they battle the Nazis (representing his attackers). There's also a witch named Deja Thoris (Dianne Kruger) who wants Hogie for herself and will go after any woman in her way.

A few years later, where the film actually opens, Mark is suffering from PTSD. He's having second thoughts about attending the sentencing hearing of his attackers. A nice neighbor named Nicol (Leslie Mann) moves across the street. Mark incorporates her into her Marwen world. But things don't work out as easily in real life. How will he move forward?

Director Robert Zemeckis co-wrote the screenplay with Caroline Thompson. There's some great concepts with questionable executions. A few examples:

3. The real life "women of Marwen" mostly barely feature in the film. Certain ones, like hobby shop owner Roberta (Merritt Wever) and Carlala (Eiza Gonzalez), actually are present. A few others, including Mark's rehab therapist Julie (Janelle Monae), feature in one scene each. Even Wendy (Stefanie von Pfetten), the "wen" in "Marwen," barely factors in it. The actresses also play their doll counterparts for the fantasy sequences, so they're still around.

2. The film takes a while before it depicts Mark's attack. But it doesn't spend enough time depicting the immediate aftermath. How did he meet the real life women of Marwen? What happened between Wendy and Mark? How did he come up with Marwen? These questions are glanced over in a case of Tell, not Show. Which is not as satisfying as showing.

1. But most problematic is its tone. Mark's fantasy sequences are riveting and creative. We get mood whiplash when fantasy switches to the real world or bleeds into it. These transitions are more odd than scary. Mark panics when he sees a new Nazi figure named Kurt, the same name as Nicol's stalker ex. He imagines Kurt coming alive to taunt him. Why? He wasn't part of the attack. Kurt's subplot, by the way, isn't resolved. 

But I'll give the visual effects team credit. The transitions from reality to fantasy are executed flawlessly. Nothing is technically out of place when, for example, the ringleader of Mark's attackers morphs into his Marwen Nazi counterpart. Or when Captain Hogie driving his jeep shifts to real Mark pulling the toy jeep. The fantasy characters are convincingly realistic dolls. A few might get put off by the uncanny valley, but they didn't bother me. As I see it, the doll aesthetic actually softens the uncanny valleyness. It's easy to see why the Academy shortlisted this for the Visual Effects Oscar.

The cast is acceptable. Steve Carell is likable and sympathetic as Mark. His fears are understandable even if they're not fully explored. The women of Marwen are a good bunch in the real and fantasy worlds. Kruger's Deja Thoris is a delightfully over-the-top villainess. The attackers aren't given much character even as we see one of them moved by Mark's victim impact statement. Conrad Coates was also good as Mark's lawyer Mr. Johnson.

Welcome to Marwen is a flawed, yet fascinating story of a man coping with trauma. The uneven blend of reality and fantasy doesn't do the story favors. But the story has some effort in it. There's even a great pun or two in the dialogue. "Cow-lateral damage." See it if you want. It's not outstanding but it wasn't dull either.

The Favourite

It's Christmas Day, a time of peace and love. It's time for a film full of lies and deceit. That film is the historical dramedy The Favourite, directed by Yorgos Lanthimos (The Lobster) and written by Tony McNamara and Deborah Davis.

England, 1708. Queen Anne (Olivia Colman) rules during the War of the Spanish Succession. She's in poor physical and emotional health. Her best friends are her 17 rabbits, one for each of her doomed pregnancies, and her adviser, Lady Sarah Churchill (Rachel Weisz).

Along comes Sarah's cousin Abigail Hill (Emma Stone) looking for employment. She starts out as a low scullery maid. But she gains favor with the Queen and becomes her lady-in-waiting. This doesn't sit well with Sarah, who correctly sees Abigail as a threat to her place in Anne's court and heart. Sarah and Abigail use any means necessary to take the other out. Meanwhile, the pompous men try to assert themselves. It doesn't go exactly as planned for them.

The story is divided into seven chapters. Sarah and Abigail gradually reverse audience sympathies throughout the story. Abigail's plight is sympathetic and it's unfair how foppish Robert Harley (Nicholas Hoult) treats her. But she turns into a sociopath by the end. Meanwhile, Sarah starts off as cold and uncaring, but we learn her affections for Anne are genuine. Her getting spiked by Abigail and subsequently falling off - and getting dragged by - her horse is too much for her. One can ultimately pity her when she's exiled from England near the end.

The one truly all-sympathetic character is Queen Anne herself. Her mood swings are funny and sad. She's an emotional wreck who needs company. She's easily distracted by frivolities. But she'll remind you that she is The Queen if you push her. The film is about her asserting herself as a person. It's rewarding to see her deal with Abigail in the last scene.

The film's view of the 18th century is anything but glamorous. Its soundtrack is an mix of unsettling modern and classical pieces. Even the Fox Searchlight Logo's custom tune sets the audience ill at ease. Cinematographer Robbie Ryan's fisheye lenses add to the surreal atmosphere. Fiona Crombie and Sandy Powell's production and costume designs are both low-key and formidable. Even the men are creepy with their overdone makeup and wigs. The film's style is a dark and alluring world. It's appropriate for the dark comedy of manners.

The Favourite succeeds because of its three leads. They're captivating characters even if only one is truly good. The only real downside is the film's ungainly and almost unreadable font. But if you can get past that, you'll get an intriguing story of royal backstabbing. Its final scene is succinct and powerful. You'll understand the gravity once the film's 119 minutes are up.

Bumblebee

The Transformers are back on the big-screen this Holiday Season. Their latest adventure gives the spotlight to Autobot hero Bumblebee in Bumblebee. Long time director Michael Bay finally abdicates the director's chair in favor of Laika alumni Travis Knight.

The evil Decepticons and the heroic Autobots fight for control of their homeworld Cybertron. But the Decepticons overwhelm their enemies as the film opens. Autobot Leader Optimus Prime (Peter Cullen) sends his scout, B-127, to establish a base on Earth. B-127 is warmly greeted with military fire and the Decepticon Blitzwing (David Sobolov), the latter of whom rips out his voice box. Broken and bruised, B-127 takes the form of a VW Beetle and drives off.

Charlie Watson (Hailee Steinfeld) finds B-127, or Bumblebee as she calls him, in her Uncle Hank's (Len Cariou) junkyard. She quickly befriends the Robot in Disguise and teaches him how to hide amongst humans. Her nerdy neighbor, Memo (Jorge Lendeborg Jr.), is let on to the secret. Meanwhile, Deception agents Shatter (Angela Bassett) and Dropkick (Justin Theroux), join with the military to look for Bumblebee. They also plan to call the other Decepticons to Earth. Our heroes have to stop them before that happens.

This isn't like the last five films. It mercifully clocks in at an acceptable 113 minutes. There's no sign of crass humor or a needlessly complicated story. No. Instead, Christina Hodson's screenplay is a simple, endearing story of a girl and her car robot. Charlie's frustrations are understandable. Her relationship with Bumbleebee is great. It's sad when Bumblebee eventually drives off to join the Autobots. But not before he shifts to a Camero in a nice moment. Memo is likable and his friendship with Charlie is enjoyable to watch. Agent Burns (John Cena) is a reasonable antagonist who's just following orders. My only real nitpick is that Bumblebee doesn't spend too long with his natural voice (Dylan O'Brien) before it's gone. But him speaking through radio clips made up for it.

There's much to appreciate on the technical side. The new Transformer designs are sleek and colorful robots. A majority of them are perfect CGI recreations of their cartoon designs. I'm sure that'll make a lot of people happy. Their interaction with real elements is seamless as usual. Cybertron was an amazing accomplishment of production design. The action scenes are exciting and they don't wear out their welcome. The sound design was appealing, rather than deafening. Dario Marianelli's score fits the less-bombastic tone of the film. It works just as much as Steve Jablonsky's score did for the last few films.

Bumblebee is the best of the series since the first ... and it's better than that. Its characters are a memorable bunch. Its scaled-back action and upgraded story makes it more than a toy commercial. Overall, its new direction is just the spark the franchise needs. See it in this year or next. But see it on the big screen first.

Mary Poppins Returns

Mary Poppins practically pleased everyone but its original creator, PL Travers. So it was quite a surprise that an actual film sequel was greenlit in 2016. But it's here. In the appropriately titled Mary Poppins Returns, Emily Blunt takes up the role that won Julie Andrews an Oscar.

Jane (Emily Mortimer) and Michael Banks (Ben Whishaw) had whimsical adventures with Mary Poppins as kids. But they have real-world problems as adults in 1936. Michael's wife is dead and he has three kids to raise. The Bank will repossess his house unless he gets the money in five days. A shares certificate left behind by the late Mr. Banks might save them. Meanwhile, youngest Banks kid Georgie Banks (Joel Dawson) goes kite-flying and pulls down Mary herself.

Mary takes the new Banks kids on whimsical adventures. A cockney lamplighter, Jack (Lin-Manuel Miranda), joins them. The kids' adventures brighten up their day. But Michael has no time for "stuff and nonsense" as mean Bank Chief Mr. Wilkins (Colin Firth) breathes down his neck. The kids might have what Michael needs.

That's pretty much it.

Director Rob Marshall and his crew match the aesthetics of the 1964 film. The London of 1936 hasn't aged much since 1911. Even old Admiral Boom's (David Warner) deck roof is familiar. Of course, there are some modern technologies involved. The animated world inside a ceramic bowl is still hand-drawn, but it isn't ink-and-paint. Mary and company's costumes for this sequence, designed by Sandy Powell, perfectly match the painted world. Marc Shaiman's score and the songs he wrote with Scott Wittman are as bouncy and emotional as the Sherman Brothers' famous music.

The screen story was conceived by Marshall, John DeLuca and the screenplay's author, David Magee. The film hits a lot of the same beats as the original film. A few of them, including a visit to Mary's upside down cousin Topsy (Meryl Streep), come from Travers's stories. The MacGuffin's location is supposed to be a surprise but it's so obvious. What makes it work? Its story of families sticking together during crisis is relevant. Its resolution was great even if it relied on a silly deus-ex-machina.

The cast is practically perfect. Emily Blunt's Mary Poppins is a practically perfect mix of dry wit, vanity and warmness. Lin Manuel-Miranda's Jack is a fun character. Whishaw is good as Michael Banks. His on-screen children are a good bunch. Streep as Cousin Topsy is entertaining for her exaggerated accent. Angela Lansburry has a noteworthy cameo as a Balloon lady near the end. Dick Van Dyke even appears as Mr. Dawes Jr, fifty-four years after he played Mr. Dawes Sr. (and Bert).

Speaking of alumni, look for a cameo by Karen Dotrice, the original Jane Banks, asking for directions.

Mary Poppins Returns is a fine sequel. It's overly-familiar but it's not too familiar. It's an optimistic story full of whimsy and humor. It makes the most of its 130 minute runtime. The finale is worthy of the big screen. So see it before Mary goes off with the wind.

Aquaman

Yes, it's Aquaman, the DC superhero who can talk to fish. Some think that's all he's good for. They'd be surprised if they knew. He was embodied by Jason Momoa in last year's Justice League. This year, Momoa returns as Aquaman in his own movie. It's a nice distraction from the Oscar Bait coming around now.

Arthur Curry is the son of lighthouse keeper Tom Curry (Temeura Morrison) and Queen Atlanna of Atlantis (Nicole Kidman). Atlanna goes back to the sea when Atlantean Troops come knocking. He's taught the ways of Atlantis by royal adviser Nuidis Vulko (Willem Dafoe). Vulko tells him Atlanna was fed to sea monsters for the crime of having a half-human son. Arthur grows up into a bitter, yet rowdy man who patrols the seas as Aquaman.

Meanwhile, Arthur's full-Atlantean half-brother Orm (Patrick Wilson) decides to start a war with the surface. Princess Mera (Amber Heard) doesn't want that. So she gets Arthur to come with her to Atlantis. The only way to stop Orm is to prove Arthur is the Once and Future King. There's a MacGuffin Trident that they need. The much-alive Queen Atlanna helps them. They'll have to hurry before Orm takes up the title of Ocean Master and unites Atlantis's tribes for war.

Got that? I think I do.

Its story sounds like King Arthur underwater. But it sure makes a better King Arthur movie than last year's catastrophe. A significant factor is Aquaman himself. Aquaman's bitter rowdiness is a step beyond stiff stock hero. His rowdiness is entertaining, while his bitterness is understandable considering the circumstances. His relationship with Mera is fun to watch. Its best story aspect is how it legitimizes his much-mocked superpower of talking to sea-life. He puts it to good use to scare away bullies, then to bond with the sea monster, the Karathen, who guards the Trident. There's some story issues, mainly too much story, but it's forgivable.

The rest of the cast is pretty good in their roles. Dafoe as Vulko is a good adviser, even if the film skips how he first met Arthur. Morrison and Kidman make a great pair as Tom and Atlanna. Atlanna's part in the resolution was a strong moment. Wilson as Orm is a memorable antagonist. Yahya Abdul-Mateen II is even better as Orm's human collaborator, the Black Manta. There's a surprisingly abundant amount of big names in the supporting cast. But the most surprising cameo of all is the voice of the Karathen: Julie Andrews.

Director James Wan's crew is an awesome league. The underwater world is a visual spectacle. Soldiers ride monstrous sea-horses or Sharks with laser beams. A wide variety of sea creatures and fish-men populate the seas. Their world is illuminated in alluring blue. Their technology is delightfully futuristic. Costume Designer Kym Barrett's work dresses the Atlanteans in delightfully comic bookish attire. The costumes' appeal is increased by cinematographer Don Burgess's lighting. Rupert Gregson-Williams's score fits the spectacle pretty well.

Aquaman is saved from the Dune syndrome by its earnestness. There's a bright tone beneath its story pileup. A seemingly impending brawl with biker toughs takes a delightful turn. The final conflict between Aquaman and Orm is resolved peacefully. Its execution isn't perfect but it makes an effort. Its 143 minutes make for a good matinee. Its underwater world is worth the price of admission.

Spider-Man: Into the Spiderverse

Hey there, True-Believers! Deadpool here, and I want to talk to you about my latest movie. Or, is it my latest old movie?! Fox, soon to be a subsidiary of Disney, is re-releasing my summer blockbuster, Deadpool 2, for the holidays. But it's no ordinary re-release. All the R-Rated goodness is cut out for PG-13 hijinks and a frame story where I make Fred Savage relive The Princess Bride (RIP William Goldman). This is Once upon a Deadpool and...

It's not the film I'm reviewing, 'pool.

WHAT?!

No. Instead, I am looking at Sony's latest plan to keep the Spider-Man franchise going. Spider-Man: Into the Spiderverse is Spidey's first big-screen animated adventure. And he's not the only one. There are multiple Spider-Themed heroes here. The end result is surprisingly and most sincerely a spectacular sensation. Let's read more about it.

You're not reviewing my new, old movie?

Doubt it.

You won't miss much.

....

Anyway...

Miles Morales (Shameik Moore) is a Brooklyn kid, who, much like Peter Parker (Chris Pine) before him, gains superpowers after a weird spider bites him. Spidey, meanwhile, is out to stop mammoth Kingpin Wilson Fisk (Liev Schrieber) from destroying the city with his new supercollider. Spidey meets Miles and promises to train him in the ways of the Spider-Man. Unfortunately, Spidey is soon killed by Fisk.

Miles is traumatized by Spidey's death. He later meets a Peter Parker (Jake Johnson) from another dimension. The supercollider pulled him and four other Spideys into Miles' universe. They are tough girl Gwen Stacey/Spider-Woman (Hailee Steinfeld), monochrome private eye Spider-Man Noir (Nicolas Cage), Animesque Peni Parker (Kimiko Glenn) and her robot SP//dr and Looney Tunish Peter Porker the Spectacular Spider-Ham (John Mulaney). The dimensional displacement threatens to glitch them out of existence. They try to help Miles control his new powers. They'll have to hurry as Fisk plans to start up the supercollider again.

Got all that? 

The film's artistic style is mostly flawless. The backgrounds, visual effects and cinematography are stunning. The characters move with a limited, yet smooth framerate. Peni and Spider-Ham are great CGI realizations of 2D cartoon characters. There are text boxes and word balloons like a comic book. Each frame is even composed of benday dots. When the film imitates the effect of comic artists coloring outside the lines, it looks like a 3D film without glasses. The film's frantic imagery makes some story details fly by the audience. It's probably intentional.

The creative personnel counts Phil Lord and Chris Miller amongst its numbers. It beats up the fourth wall by jabbing at some choice moments in Spidey's history. But it knows when to take things seriously. Miles's doubts and frustrations are understandable. Other Spidey's broken life is simultaneously funny and sad. Their teacher/student dynamic is engrossing. Fisk's top lieutenant The Prowler is a legitimate threat. Fisk's scientist Olivia (Kathryn Hahn) is likable and dangerous. Fisk's motivation for the supercollider mess is a sympathetic one. These aspects help create a captivating showcase for Miles Morales and his ascension to Spider-Man.

What about the other characters? Gwen is an awesome Spider-Woman and her awesomeness makes one wish her mourn for her last screen counterpart. Peni and SP//dr are an endearing pair. Spider-Ham is awesomely funny and Spider-Man Noir is there. Brian Tyree Henry and Luna Lauren Velez are great as Miles's parents, Jefferson and Rio. Mahershala Ali is also a standout as Miles's Uncle Aaron. And there's Lily Tomlin as an awesomely assertive version of Aunt May.

Spider-Man: Into the Spiderverse is a great introduction to a multiverse of Spider-Men. Miles Morales is as compelling as Peter Parker. The other Spider-Men are so amazing you'll wish for more. 117 minutes doesn't seem like enough. Sony can have at least part of the franchise if it keeps up this film's creative energy. It deserves to be seen on the big-screen. Whatever size and (maybe) whatever price.

The End Credits memorialize Spidey's recently departed co-creators, Steve Ditko and Stan Lee. Lee has his usual cameo during the movie. It's a solemnly funny moment. The end credit scene gives us one last Spider-Man and a hilarious parody of the 1967 cartoon. See it for yourselves.

Roma

My family has Netflix. But I haven't chilled. A lot of movies on Netflix also had adjacent theatrical runs. Some have earned Oscar nominations. But I still didn't chill. What made me chill?

Roma.

Roma is Alfonso Cuaron's long-awaited follow-up to his Oscar-winning smash Gravity. Cuaron directed, wrote, co-produced, cinematographed and co-edited with Adam Gough. Sounds like everything, but it's not. It's still impressive.

Anyway...

It's 1970-71. The titular Roma is the Colonia Roma neighborhood in Mexico City. Here, we find Cleo (Yalitza Aparicio), a housekeeper for Mrs. Sofia (Marina de Tavira) and her husband, Antonio (Fernando Grediaga). Cleo mainly tends to the family's four kids. They regard her as one of the family. Meanwhile, Antonio leaves for a "business trip" in Quebec.

Cleo's life is upended when she becomes pregnant. Her boyfriend, Fermin (Jorge Antonio Guerrero), wants nothing to do with her. Things take a turn for the worst after Cleo witnesses the Corpus Christi Massacre. Her spirit is broken, but she's still devoted to her charges.

All of this is told in 135 minutes. But it keeps our attention. It helps that Cuaron's black-and-white cinematography employs as much long takes as his regular DP, Emmanuel Lubezki. Its landscape shots are spectacular. Single shots often end up as single scenes. They say a lot without cutting a lot. The best scene is where Cleo defies her lack of swimming to save two of the kids from drowning. That was a strong scene.

Cleo is a captivating main character. It's easy to not notice that she doesn't say much. Her face says much, though. She gets on the audience's side with her dedication and devotion to her charges. It's crushing to see her fall into depression. It's amazing to see her overcome it by saving the kids. It's a strong debut performance for Aparicio, and here's hoping for a good career.

The rest of the cast is good, too. Marina de Tavira as Sofia is a strong supportive character. She sticks with Cleo during her pregnancy and after. She tries to make the best of her crumbling marriage. She's only at her worst when she's under stress. A great employer. Veronica Garcia is also great as Sofia's mother, Teresa. Guerrero as Fermin, meanwhile, seems like a good guy. But once he violently rejects Cleo, he's firmly in the unlikable spectrum with no hope of redemption. There's a good cameo by Victor Resendez Ruiz (aka the Luchador Latin Lover) as real-life personality Professor Zovek.

Roma is a fascinating drama. It's a story of a woman dealing with a changing world. It's a story of a family sticking together in tough times. Its seemingly minimalist plot hits you emotionally by the end. It's easy to see why critics have gone over the moon for it. See it if you have Netflix or are lucky to live near one of the scant theaters playing it. It's worth viewing even once. Be careful it can get too emotional at times.

Mirai

...Or the fun of finally seeing another anime film on the big screen.

One can always count on the Oscar for Best Animated Feature to include at least two films inaccessible to wider audiences. As in, "not playing at a theater near you." At least one or both of these films is distributed by the company GKIDS. Fortunately, this year, at least one normally inaccessible film went wider via Fathom Events. That film is Mirai, which is now a Golden Globe and Critics Choice Award nominee. And here's hoping the Academy will take notice.

Four-year-old Kun's (Jaden Waldman) world is disrupted when his baby sister, Mirai (meaning future), comes home. His parents (Rebecca Hall and John Cho) are overwhelmed by the stress that comes with her. Kun can't stand losing all the attention. It's a typical household. Is it?

Strange things happen to Kun in his house's garden. He first meets his dog, Yukko, as a human (Crispin Freeman). He then meets Mirai as a teenager (Victoria Grace). He also meets his mother at his age. There's even his great-grandfather as a young man (Daniel Dae-Kim) shortly after World War II. These fantastical visits slowly teach Kun to appreciate his family more. There's a bleak future for Kun if he keeps up the brattiness.

Writer and Director Mamoru Hosoda (Summer Wars, Wolf Children) tells a slow and steady story. It's never boring. Parents and kids can identify with the stress of a new sibling/baby. In one scene, Kun mischievously plays with Mirai's face, then smacks her with a toy train when mommy drives him off. The pile-up of emotions which follows is darkly funny (daddy falling apart and Yukko howling sell it). Kun's episodic fantastical encounters gradually improve him. His fantastical adventures have plenty of endearing moments. Future Mirai was only really in three scenes. She could've used a few more.

The animation is a great mix of hand-drawn animation and CGI. The characters' exaggerated facial expressions are priceless. They move with personality. Their real and fantastical environments are colorful. The CGI is noticeable but it serves the surreal climax well. How surreal? It sees Kun wander a nightmarish train station, save baby Mirai from a ghoulish train, and go with future Mirai on a magical family history tour. On the mundane side, Kun's house is an architectural marvel designed by actual architect Makoto Tanijiri.

My screening of Mirai was the last of Fathom Events' special screenings. A few other cities have it playing regularly. See it if you can find it. It's an unforgettable family fantasy. It's a visual sensation. It's an emotional experience even if you don't have kids. It's a lot of things.

Fathom's screening ended with an interview with Hosoda, discussing his inspirations for Mirai and the declining state of 2D animated films. His family experiences inspiring Mirai is endearing. The film's a great case for keeping 2D animation alive. It's also a great case for releasing international animated films wider and wider.