Dragon Quest: Your Story

Now to another animated film that debuted on Netflix last February after an international theatrical release in 2019! It's a CGI anime film based on the Dragon Quest video games, specifically Dragon Quest V from the SNES. The series is a cultural mainstay in Japan, but a cult curiosity in the US, where it was once marketed as Dragon Warrior. The film is called Dragon Quest: Your Story. Here's the review: 

Our hero is Luca, son of the warrior King Pankraz and his Queen Mada. The evil Bishop Ladja wants to summon the almighty evil Grandmaster Nimzo, so he steals away Mada. Luca and Pankraz travel the world and meet a few friends. But when they encounter Ladja, he kills Pankraz and enslaves Luca and his alleged pal, Prince Harry.

Ten years later, Luca and Harry make a messy escape from Ladja's dungeon. The main plot kicks in when Luca learns he's apparently the Zenithian Hero, the Special destined to vanquish Nimzo forever. There's even a Legendary Sword to prove him such. He has to get it back from the ravaging Bjorn the Behemoose. Along the way, Luca is forced to choose between two of his old friends, sweet Nera and fiery Bianca, to take to the altar. Now to fight Ladja and....

The screenplay by co-director Takashi Yamazaki speeds through the long video game in just 102 minutes. Necessary, but not perfect. The film presents its prologue in SNES graphics form. Luca meets Nera and Bianca, but the speedy plot doesn't give their relationships the time to breathe. So when one of them abdicates to the other, it's more "meh" than "ahh." Luca spends all but one scene with Prince Harry before Ladja shows up. And it has Prince Harry being a royal pain (he gets better). Gootrude the Slime (Slimes being the series' mascot creature) is an important character for the climax, but he's just there for most of the time. The climax derails its chosen one narrative for a meta-fictional twist. It may make or break the film for some, but I thought it was OK. The surprise villain was a delightfully smug jerk.

What it gets right is the technicals. The character designs aren't exactly lifted from Dragon Ball creator Akira Toriyama's designs from the games. But they're recognizable. What this means is that the monsters are still goofy and the humans are equally cartoony. Ladja's design is perfectly creepy. The 3D environments they inhabit and their magical spells are visually stunning. Again, see it on the biggest TV you can find. Koichi Sugiyama's iconic soundtrack from the game scores the film. It only adds to the majesty of the visuals.

Its plot may go at lightspeed, but Dragon Quest: Your Story is anything but unintelligible. Its dramatic qualities are mostly inert but its plot points are understandable. You need not be familiar with the games to understand it all. It also has a good sense of humor and a mostly good pace. Its technicals are on par with any Pixar release. I'd like to find some other CGI anime now. This one is worth at least a watch. It's still on Netflix if you want to.

A Shaun the Sheep Movie: Farmageddon

 I must make a few apologies. 

First is for something in my Early Man review. A trailer for this about to be reviewed film played during that movie in 2018. I erroneously thought it didn't have a clear title. But it did: A Shaun the Sheep Movie: Farmageddon. It didn't register as a title for some reason. 

Anyway, the second apology is for not seeing this sooner (it debuted on Netflix in February of last year). It's a real breather from the heavy dramas about to pile up my schedule.

Our hero is Shaun the Sheep, a bit character from the Wallace and Gromit shorts that got his own franchise. He had his own movie once (which I never saw in theaters) and it got an Oscar nomination. This is his second movie, which debuted in UK Cinemas in 2019. And it got a BAFTA nomination. Fortunately, it's still eligible for an Oscar nomination, one of 27 films eligible this protracted year.

This time, Shaun gets a surprise visitor to his farm: an alien puppy named Lu-la. Lu-la took her parents' spaceship for a ride and got stuck on Earth. She needs Shaun's help to find her ship's remote so she can get home. But  Agent Red of the Ministry of Alien Detection (MAD) wants to make Lu-la's stay permanent. But her hazmat goons mistake Bitzer the Dog for an alien and they go after him.

Meanwhile, Shaun's Farmer decides to take advantage of the UFO-craze in their town. He plans to make an alien theme park called Farmageddon. That's where they meet for their final slapstick confrontation.

Slapstick moves the plot along. The cast communicates in grunts and grumbles. The only intelligible name is the one in the title. But you'll understand who's who in terms of story role. The plasticine characters have such lively personalities. You don't need to be familiar with the franchise to understand this plot. There are some sci-fi homages that need some familiarity, though. It's a goofy and fun romp that keeps things going for 87 minutes. Its ending was nice, too.

And for the technicals. Lu-la and her race are appealing alien life. Who wouldn't want a plush of her? There's some cool CGI to visualize her weird powers. An impressive display is a burp so loud it's heard in Africa. There's also some great CGI to visualize outer space. Watch it on the biggest TV you can find. Tom Howe's lively score fits the slapstick perfectly; it's also majestic when conveying Lu-la's powers and outer space.

It's been almost a year and Farmageddon is still on Netflix. Anyone looking for a light home matinee will get their money's worth. It's sure to entertain kids and adults alike. It may even motivate one to seek out the Shaun the Sheep TV series, the earlier film or any of the Wallace and Gromit toons. And levity is always needed for times like this.

Sound of Metal

Ruben and Lou are the heavy metal duo Blackgammon. Ruben (Riz Ahmed) is the drummer and Lou (Olivia Cooke) is the vocalist. They've had plenty of experience with the Sound of Metal, which is also the title of this Amazon Prime exclusive.

One day, Ruben suddenly goes deaf. He finds himself with around 26% capacity hearing. He wants to get through his latest tour but that's becoming impossible. Lou fears he'll relapse into drugs and helps him meet Joe (Paul Raci). Joe, deaf since Vietnam, runs a community for deaf recovering addicts. Joe tries to help Ruben and others like him adjust to a soundless world. But Ruben is looking forward to afford some Cochlear Implants. They're not what he expects.

This marks the feature directorial debut of Darius Marder, a co-writer of 2013's indie thriller The Place Beyond the Pines. He co-wrote the script with his brother Abraham and Pines director Derek Cianfrance. It's an intense story even without gunfights or car chases. Ruben's hearing loss is initially nightmarish. Anyone with some sudden disability can empathize. But we see him learn to accept it in due time. There are some slow spots but it's natural considering Ruben's arc

Ahmed's performance is great. One can tell that Ruben lives life fast - mostly - and hard. He's still a nice guy with a great relationship with Lou. His sudden deafness tells him to slow down. He finds some new friends and a purpose as a teacher's aide. He sells his RV and bargains to buy it back like a desperate addict (something Joe notices). We see the desperation and pity in his eyes. His story is a great case study for the Five Stages of Grief.

The most obvious technical stars are the sound people. They distort and undistort Ruben's sound world for the audience to hear. We sometimes hear the sound perfectly normal. It then sounds like being underwater. It's simply muffled in other times. The cochlear implants make it sound like an old video game. So it's a relief when he finally removes them for sweet silence. I just spoiled the ending, didn't I? Anyway, the sound mixing is a great model for anyone looking to join that field. There's also no underscore save for an end credits song.

I should have seen Sound of Metal sooner. It's a story that means a lot of things. But it especially means that having a disability is not the end of the world. It's not as depressing as I thought it be. Ahmed and the sound designers deserve whatever praise they get - or have gotten. It's still on Amazon Prime ready for you to press play. Prepare to hear a lot without hearing it.

Da 5 Bloods

I once again go to Netflix to continue my sprint towards 2020's best movies. Da 5 Bloods is Spike Lee's latest joint. Yesterday, it was voted Best Film by the prestigious National Board of Review. Who knows if it will win the Oscar. But it won't be ignored on nominations day.

Vietnam, 1971. "Stormin" Norman (Chadwick Boseman) leads the Bloods - Paul (Delroy Lindo), Eddie (Norm Lewis), Otis (Clarke Peters) and Melvin (Isiah Whitlock Jr) - into battle. One day, they are assigned to secure a box of gold bars from a downed CIA airplane. The gold bars are meant for Lahu fighters against the Viet Cong. Norman and the Bloods decide to take the gold for their fellow Black Americans. Norman is killed by the Vietcong and the treasure is seemingly lost.

Before last year. A mudslide has uncovered the gold's resting place. Norman's remains aren't that far behind. The surviving Bloods return to Vietnam to get both of them back. They're joined by Paul's estranged son David (Jonathan Majors), Hedy (Melanie Thierry), a French anti-landmine activist, and Vietnamese tour guide Vinh (Johnny Tri Nguyen). Paul's erratic behavior makes the trip tense. A French businessman named Desroche (Jean Reno) and his mercenaries aren't helping either.

Lee and his BlacKKKlansman co-writer Kevin Willmott rework a screenplay from Paul De Meo and Danny Bilson. Its main plot will instantly remind one of The Treasure of the Sierra Madre; there's even a homage to that line. The whole story revolves around Paul, who runs the gamut from cool old guy to angry bigot to erratic vet to deeply insecure man. It's a test of the audience's sympathy ultimately rewarded. Delroy Lindo's dynamic performance will keep you watching for the whole 156 minutes. 

The cast definitely earned that Best Ensemble award the National Board also gave them. David, the film's deuteragonist, has an arc as strong as his dad's. The final shootout with Desroche and his men gives David the chance to be a hero. It's rewarding to see. The other Bloods are a likable bunch with their own affairs to settle. Their first scene at a Vietnamese hotel says a lot about their past before we see it. Their happiness when they finally find the gold is infectious. Naturally, it puts the audience on edge when the Bloods face danger. A lot of danger. Finally, Boseman as Norman makes the most of his limited screen time. 

Newton Thomas Siegel's cinematography is the standout technical achievement here. The film switches through aspect ratios depending on locale or time period. It felt extra significant, for example, when the jungle trek unveiled its full 16:9 aspect ratio. The flashbacks look straight out of a 60s news report. Speaking of which, the present Bloods play their past selves without visual trickery. It makes sense considering what they've been through. 

Meanwhile, the action scenes are perfectly tense thanks to editor Adam Gough and the sound designers. The standout scene is when the Bloods, Hedy and her friends, team up to extract David from a landmine. It's a riveting scene you need to watch for yourselves. The soundtrack is populated by a few Marvin Gaye songs from his What's Going On album and an emotional score by Terence Blanchard.

Da 5 Bloods is a strong story about facing one's past. It's also about how trouble can start with good intentions. It's not an easy sit, both in tone and length, but it gives one a lot to think about. So much that it might require their own movie. It's still ready for a Netflix home matinee. See it if you want a wild and crazy experience.

Emma.

The other film I meant to see last March is Emma., the latest take on Jane Austen's last novel published in her lifetime. I'm old enough to remember two other film versions in the mid-90s (one being Clueless), but I never saw them. But I've now seen this film, which marks the directorial debut of photographer Autumn de Wilde.

Let's see if I can cut through the knotted romantic threads. Emma Woodhouse (Anna Taylor-Joy) prides herself as a matchmaker. She already set up her governess, Mrs. Taylor (Gemma Whelan) with wealthy Mr. Weston (Rupert Graves). She decides to take on orphaned girl Harriet Smith (Mia Goth) as her new best friend. Mr. Martin (Connor Swindells) proposes to Harriet, but Emma sets her up with vicar Mr. Elton (Josh O'Connor). But Mr. Elton likes Emma instead. Emma likes Mr. Weston's son Frank Churchill (Callum Turner) instead. Emma's brother-in-law, Mr. Knightley (Johnny Flynn), likes her too. Emma doesn't like him back. But then they do like each other.

Everybody got that?

Eleanor Catton's screenplay is a perfectly complicated comedy of manners. The characters, at their worst, are never loathsome people. Maybe except for Emma's sister, Isabella, and her husband, who never stop bickering. But even Mr. Elton, who coldly can't "think about Miss Smith when Miss Woodhouse is near," is a likable dolt. He seems heartbroken when Emma rejects him (but then quickly rebounds). 

A few more likable characters come with Emma's doddering father (Bill Nighy) and eccentric neighbor Miss Bates (Miranda Hart). He's got some odd quirks but he's still a loving father. She talks a lot but she still has feelings. Harriet, meanwhile, reveals herself more complicated than she appears

There's also Emma herself. Taylor-Joy is pretty good as the socially ignorant Emma. The movie is about her learning to be more considerate. We see the consequences of her thoughtlessness in due time. One of the most devastating for her is hurting Miss Bates's feelings. Her social ignorance never rises to loathsomeness. Her love-hate relationship with Mr. Knightley is just as good as Elizabeth and Darcy in Pride and Prejudice (with and without Zombies). 

There's plenty to see and hear in Emma. Alexandra Byrne dresses Emma herself in searingly bright dresses, including a gold one that sadly, is in one scene. Her house, which is seen throughout the film, is an impressive estate visualized by Kave Quinn. There's also some great English scenery photographed by Christopher Blauevelt. We also have an energetic folk score by David Schweitzer and Isobel Waller-Bridge. There's quite a bit to consider come Oscar time in a few months.

Emma. (period included) is sure to please Austen fans. Austen's dry wit is alive and well after 200 some years. I don't know how it compares to the other films, or to Clueless, but it's a good romantic comedy. A few viewings maybe needed to get through the love triangles within love triangles. But it's a good way to spend 124 minutes or so. Perhaps I should have seen it last year in theaters.

Perhaps...

[Title Here]

Surprise! It's The Invisible Man!

I meant to see this modern take on HG Wells' classic thriller last year. But you might guess why I didn't go. At least we have the film on streaming! So let's get to it!

Cecilia Kass (Elisabeth Moss) should be happy. She left her abusive scientist boyfriend Adrian Griffin (Oliver Jackson-Cohen). A few weeks later, word comes that he killed himself. His will bequeaths her - in a backhanded contrite fashion - $5 million provided she stays sane and crime-free. Why would that be a problem?

Because it seems someone is following her and messing with her life. It's almost as if Adrian is haunting her from beyond the grave. Either that, or he's found a way to make himself invisible and is haunting her that way. That's what Cecilia figures out, and she's right. Even worse, Adrian's brother and executor, Tom (Michael Dorman), is in on the scheme. They're out to cut off Cecilia from the rest of the world. So it's up to Cecilia to expose them before she's stuck in solitary or with him.

Director and writer Leigh Whannell's screenplay draws as much from The Cat and The Canary as it does with the novel. That movie and play also had a woman stalked by a fiendish figure after she inherits money on the condition she's sane. It's just that it's not in a haunted house.

But anyway, this film gives us a strong story about a woman who stands up for herself. Moss as Cecilia is compelling as she deals with her invisible enemy. Her supporting cast, Harriet Dyer as her sister Alice, Aldis Hodge as her cop friend, James, and Storm Reid as his daughter, Sydney, are a nice bunch. Dorman as Tom was a convincing nice guy until he dropped the act. As for the villain himself, Jackson-Cohen as Adrian's presence is persistent even if his screen time is not.

It makes the most of its $7 million budget. For starters, there's Adrian's invisibility suit, which makes him look like a black golf ball. But that seemingly goofy design turns creepy when the suit glitches in and out of visibility. How did they do that? The complete invisibility effects were flawless. The cinematography and editing keep things tense even when there's nothing there. The spookiness is amplified by Benjamin Wallfisch's unnerving score and some equally creepy sound effects.

I'd tell you to see The Invisible Man, but you can't. So see the movie with his name instead. It's got sci-fi thrills and emotional chills in a 124 minute package. It's a marvel that it was made for such a low budget. See it wherever it's streaming legally for a memorable home matinee. There was one other film I wanted to see before things went haywire in March. That film is next:

Borat Subsequent Moviefilm

Jagshemash! My name Borat. I'm big reporter for nation of Kazakhstan. I was on movie screens fourteen years ago in famous movie film called Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. But that movie film make America think Kazakhstan is big joke. So I go to Gulag. But Premier Nazarbayev decide to give me chance. He tell me to deliver gift to American Premier (soon to be not Premier) to win America favor. That gift is Johnny the Monkey.

Actually, due to certain circumstances, like kitty kat says, I can't deliver gift to American Premier. So I aim for next best thing: American Vice Premier.

But my daughter Tutar stow away with me to America. She ate Johnny the Monkey on the way there. So I decide to offer Tutar to American Vice Premier. What follows is trip full of things kitty kat won't let me say. But he let me say Tutar learns to be independent woman who questions what her daddy (me) says. It's a problem because I will be execute if I fail. All this and more are in Amazon Prime exclusive movie film called Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan.

And you want to know who the kitty kat is?

Me. Jethro. Trying my best Borat. Time to talk as myself.

The screenplay credits Sacha Baron Cohen, the creator and portrayer of Borat himself, and eight other writers. The film gives Borat and Tutar (in reality, Maria Bakalova) a crazy trip across the East Coast. Its politically incorrect humor is not for everyone. But it does a good job showing the idiocy of being narrow-minded. Borat is so narrow-minded that he makes conspiracy theorists, like the two he meets, almost look sane. The normal people seen casually going along with Borat's wackiness is amusingly horrifying.

Of course, Borat and Tutar are idiotically narrow-minded. But Baron Cohen and Bakalova play their parts with utter sincerity. These absurd characters feel like real people. Seriously. They question their minuscule worldview during the film and end up marginally better people. Marginally, but still. There's a great makeup team giving Borat some wacky disguises and Tutar a progressively glamorous appearance.

Borat Subsequent Moviefilm is either a long awaited sequel or completely unnecessary. I'm sure it will please fans of the first film. It's just as as politically-incorrect and as insightful as the first film. Its climactic twist is perhaps the most topical of its jokes. Did I say too much? 

It tested my comic tolerance quite a bit. But it got better once I understood the method to its madness. You might see what I mean when you press play on Amazon Prime. 

One Night in Miami

I don't think I'll ever get over the fact that my local theaters never played If Beale Street Could Talk in time for the Oscars. I would have seen it the first weekend it was out. Seriously.

Anyway, Regina King, who won an Oscar for that film, makes her directorial debut with One Night in Miami. Kemp Powers adapted his own stage play for this Amazon Prime exclusive. It just became available for the service this past weekend. And I wasted little time in watching it.

February 25, 1964. Cassius Clay (Eli Goree) is crowned the World Heavyweight Champion by defeating Sonny Liston. Malcolm X (Kingsley Ben-Adir), Jim Brown (Aldis Hodge) and Sam Cooke (Leslie Odom, Jr.) are in the audience. The four of them meet that night at Malcolm's motel room. 

They spend the night conversing about their roles in Black America. Among the subjects are Clay's converting to Islam (where he'll rename himself Muhammed Ali), Malcolm's desire to leave the Nation of Islam, Brown wanting to pursue a movie career and the sounds of Cooke's music. It's an eventful night.

We also have an eventful prologue to Fight Night. It's a good introduction to the ensemble. Brown meets a family friend (Beau Bridges) who turns out to be racist. Meanwhile, Cooke plays to a cold audience at the Copacabana. Also meanwhile, Malcolm talks to his wife about his aforementioned plan. We don't need to hear them monologue like Shakespeare to air their frustrations. Their faces speak for themselves. We see them deal with their fears and doubts during the night.

Finally, we have Cassius Clay, whose showmanship is perfectly presented by Goree. The film opens with his narrow victory against Henry Cooper. His victory against Liston gives him much to think about. Much of the film is about Clay debating whether to convert or not. Malcolm's doubts with the Nation of Islam give Clay his own doubts. We see his humility and thoughtfulness unfold during the night. Overall, Goree, Odom Jr, Ben-Adir and Hodge make a great ensemble to spend 110 minutes with.

One Night in Miami is an excellent way to spend your day anywhere. You'll get to know the men behind four modern legends in no time. You'll get a compelling story about using one's fame to advance social justice. You'll rarely notice that it's a stage play on film. The titular night is a lot of things, but it's never boring. It's a great addition to Amazon Prime's film catalog. 

And I've got a few more to get through.

Mank

Orson Welles made his screen debut as the uncredited narrator of 1940's The Swiss Family Robinson. Nobody seems to acknowledge that perhaps because 1.) he was uncredited, 2.) he wasn't on screen, and 3.) it wasn't Citizen Kane. As his first film as filmmaker and star approaches its 80th anniversary, it's time to acknowledge his co-writer, and some say, only writer, Herman J. Mankiewicz. The movie is called Mank.

In 1940, "Mank" (Gary Oldman) is hired by Welles (Tom Burke) to co-write Citizen Kane. He's holed up in a house in the desert with his secretary, Rita Alexander (Lily Collins) and Mercury Theater producer John Houseman (Sam Troughton). He dictates the script to the former and the script is supervised by the latter. They've got about 60 days to finish it.

EXT. HOLLYWOOD - DAY AND NIGHT (1930-1937)

We also see Mank's pre-Kane days as a writer for MGM. He and his brother, Joseph L. Mankiewicz (Tom Pelphery) rise up in Hollywood. We also see him mingle with William Randolph Hearst (Charles Dance) and his mistress, Marion Davies (Amanda Seyfried), the real life inspirations for Kane's Charles Foster Kane and his wife, Susan Alexander. Mank's past experiences shape the script and inspire him to confront Welles for credit.

David Fincher dusts off a script his late father, Jack, wrote ages ago. It's a good script even if its central thesis has long been disputed. One thing it gets right is its chronology; slug lines (like the one above) denote Mank's pre-Kane days. No getting lost in time jumps thanks to editor Kirk Baxter. But on the subject of thesis, we don't see Hearst try to stop Mank from writing Kane, not to the extent that he antagonized Welles in real life. The finale skips from Mank delivering the script to Welles to them winning the Oscar for Best Screenplay.

The film is a great movie to look at. The Black-and-White cinematography by Erik Messerschmidt almost looks straight out of the 1940s. Almost, because it's not in the Academy Ratio. But there's even cigarette burns for reel changes. The visual effects team deserve praise for its practically invisible work. Production Designer Donald Graham Burt helps make Old Hollywood look intimidating. It's just waiting for a film noir to happen. It's all set to another great Trent Reznor/Atticus Ross score that's equally creepy and sentimental.

What about the cast? Oldman as Mank mostly dominates the film. We see how he became a disillusioned alcoholic and how he sobered up to co-write his masterpiece. It's a compelling arc throughout the time jumping. It's mostly dominating because there's a good supporting cast too. Seyfried, Collins and Tuppence Middleton (as Mank's wife "Poor" Sara) are strong presences. Arliss Howard also stands out as Louis B. Mayer, who tries to sell himself as a "family man" but is subtly failing. Burke as Welles is a dominating force in his few scenes. Perhaps the most surprising cameo is Bill Nye (The Science Guy) as Upton Sinclair. Jamie McShane portrays Shelly Metcalf, the film's most sympathetic minor character.

Mank is another fine entry in Netflix's streaming catalog. It's an interesting story about the origins of one of history's most acclaimed pictures. It's also a compelling story about a man finding meaning and passion in his life. That's a good angle no matter which side of the authorship question you're on.

Mine: Welles and Mank deserve equal credit.

It's worth a chill on Netflix. You still got time before the Oscars.

The Trial of the Chicago 7

I've got a busy week planned full of movies I've put off till now. So let's go. First on the docket is The Trial of the Chicago 7. Steven Spielberg was supposed to direct Aaron Sorkin's script about a decade ago. But we now have Sorkin himself directing his own script. 

The Chicago 7 stand accused of inciting the riots at the 1968 Democratic National Convention. Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), Tom Hayden (Eddie Redmayne), Rennie Davis (Alex Sharp), David Dellinger (John Carroll Lynch), Lee Weiner (Noah Robbins) and John Froines (Daniel Flaherty) are the seven. Their eighth, unofficial member is Bobby Seale (Yahya Abdul-Mateen II). All are represented, officially or not, by William Kunstler (Mark Rylance). US Attorney General John Mitchell (John Doman) wants to make examples out of the "leftist radicals". Judge Julius Hoffman (Frank Langella) is ready to convict them. "The whole world is watching" as the protestors put it.

You can already tell this is a heavy ensemble film. 

So let's get down to highlighting the best. Baron Cohen as Abbie Hoffman gets the funniest lines and moments. He also proves himself perhaps the most insightful of the 7. Strong as Rubin is also funny and proves himself a good man. The most compelling characters are Dellinger, Hayden, Kunstler and especially, Seale. We see how none of them wanted trouble, but trouble wanted them.

Judge Hoffman runs the gamut from arrogant incompetence to arrogant callousness. Prosecutors Richard Schultz and Thomas Foran (Joseph Gordon-Levitt and JC MacKenzie) show themselves as good guys despite their positions. Michael Keaton gets a good cameo as former Attorney General and star witness Ramsey Clark. The characters I mentioned are a memorable bunch. I can go on, but I won't.

The film opens with the eight defendants preparing for Chicago. Editor Alan Baumgarten goes back and forth between them, often having them finish each others' sentences, while we see news of the 60s. The trial comes after that. It's only in flashbacks much later that we see the protests and the riots in Chicago. The film spares no one from the chaos of those scenes. Or the slowness of much of the trial. 

The Trial of the Chicago 7 came out during a weird year. I finally saw it during another. It gives you a lot to think about over 130 minutes. It's got a fine bunch of actors though some stand taller than others. It's ready to watch on Netflix. Chances are, it'll still be there by April.

Tenet

So this is supposed to be 2020's first great summer blockbuster.

I didn't take the offer to see Christopher Nolan's latest film, Tenet, during its theatrical release (there were some theaters open). So I waited to get the Blu Ray from Amazon to watch it. I know that Nolan's films make much more sense upon repeated viewing. But. Never. Was. This. Truer. Than. With. This. Movie.

The protagonist of Tenet is … The Protagonist (John David Washington). He starts the movie by foiling a terrorist attack at the National Opera of Ukraine. Our hero is taken prisoner and, one cyanide capsule later, is inducted into the Tenet Organization. Now let's see if I can explain this clearly:

The MacGuffins of the movie are objects with "inverted" entropy. We see our hero fire at an already shot up wall and the bullets return to the gun. They've been coming from the future. Tenet thinks someone is planning to destroy all existence with an inverted bomb. Mr. Protagonist and Tenet agent Neil (Robert Pattinson) are assigned to the case. Their Antagonist is oligarch Andrei Sator (Kenneth Branagh). His abused wife Kat (Elizabeth Debicki) is willing to help our heroes. But whether backwards or forwards, the mains don't have all the time in the world.

Everybody got that?

Nolan's screenplay gives a full textbook's worth of exposition about time inversion and stuff. A lot of it would've been understandable had the sound mixing been better. The dialogue is often drowned out by Ludwig Goransson's booming score. And there's a lot of dialogue. A key plot point involves a fake Goya painting that Sator blackmails Kat with. How? It's easy to get lost after the third or fourth exposition lecture

It does get better when the action picks up, though. There's a heist at an Oslo Airport that involves crashing a live 747 into a hangar. That leads to an inverted fight with Our Hero and Neil against two of the same guy. They have a car chase in Estonia where they try to stop Sator from getting inverted Plutonium. And there's a spectacular siege of Sator's home base. These scenes show off the best of Jennifer Lame's editing. The international locales are splendidly photographed by Hoye van Hoytema. 

Let's devote a paragraph to the inverted effects. It's simply more than playing the footage backwards. There's some amazingly complicated choreography in motion. We see our heroes going forward while everyone else goes backward. In the same shots. The Airport fight scene is a perfect highlight. We even see clouds go back and forth behind the Protagonist. The technical prowess is the film's most intriguing part.

I'd normally say a blockbuster like Tenet needs to be seen on the big screen. But if your TV is the biggest screen around, so be it. The film is a visual marvel even if its mechanics are confounding. As I said, repeated viewings may help you understand the plot. Keep in mind that it's not an easy home matinee at 150 minutes. You may also get the published script from places like Amazon. I did.

Soul

I should have seen Soul back in June. But, once again, things didn't go that way. A bit like a day for the Pixar film's protagonist, music teacher Joe Gardner (Jamie Foxx). He gets a gig with the Jazz band of the esteemed Dorothea Williams (Angela Bassett). Then he steps into an open manhole and finds himself somewhere else...

Joe refuses to go to the light of the Great Beyond. He instead goes to the Great Before, where new souls are counseled by historical greats and entities all named Jerry. Joe is assigned to counsel the cynical soul number 22 (Tina Fey). She'll get an "Earth Pass" once she gets her "spark." Since she'll not need it...

But Joe and 22 get back to Earth anyway. She occupies his body and he occupies a cat's. The ensuing escapades motivates 22 to live and Joe to rethink his life. They'll have to hurry up and solve their existential crises. A busybody soul accountant named Terry (Rachel House) looks to pull them back to the other side.

Director Pete Docter and his co-writers Mike Jones and Kemp Powers create one of Pixar's funniest scripts. One young soul gleefully admits to being "a manipulative egomaniac." We see 22 frustrate even Mother Theresa. 22 in Joe's body displays some blunt philosophy. I can go on but there's some seriousness too. "You can't crush a soul here. That's what life on Earth is for," 22 says at one point. But she and Joe find purpose in their time on Earth. Their "spark" being their motivation. The existentialism hits hardest the more one thinks about it.

A film about Jazz needs a great soundtrack. Soul has it. The Jazz tracks were scored by Jon Batiste, while Trent Reznor and Atticus Ross handle the bulk of the main score. Batiste's tracks are lively numbers sure to please Jazz devotees. Reznor and Ross's electronic music sells the eeriness of the afterlife. It's great music paired with great production design. It's sure to give Oscar's Music Branch a headache determining its eligibility. But it's still cool.

Want another reason to get Disney Plus? Soul is a reason. It keeps Pixar's reputation for story and technical excellence going strong. You'll be surprised at its sense of humor. Look out for some cameos too. Its 101 minutes are time well spent on Earth. Soul would've premiered with a short called Burrow had it fully premiered in theaters. That short is also on Disney Plus. I should look at it too.

Mulan

I gave myself Disney Plus for the new year. So it's time to catch up on some more movies. The first film I'll review from the service is Mulan, the live-action take on Disney's animated take on the beloved Chinese folktale. Say that ten times fast.

Hua Mulan (Yifei Liu) aspires to be a great warrior. Her parents aspire her to make her a "good wife." Meanwhile, China is invaded by Bori Khan (Jason Scott Lee) and his warriors. The Emperor (Jet Li) calls for one man from every family to serve in the Imperial Army. Unfortunately for Mulan, the only man of her family is her injured father Hua Zhou (Tzi Ma). So she takes his armor and sword and enlists as "Hua Jun." Mulan proves herself a capable recruit. The army has to hurry to prevent Khan and his sorceress ally Xian Lang (Gong Li) from reaching the Emperor.

Unlike The Lion King, director Niki Caro (Whale Rider) and the four screenwriters don't re-enact the earlier animated film in live-action. For starters, there are no animal sidekicks or musical numbers. Harry Gregson-Williams incorporates some of Matthew Wilder and David Zippel's iconic tunes in his rousing score, but that's it. The story set to that score is a decent one. On one hand, Mulan's plight is understandable. On the other, her relationship with fellow soldier Chen Honghui (Yoson An) is less compelling than the one with her sister, Xiu (Xana Tang). Both should be equal.

Liu is still a strong Mulan. She's a strong warrior and devoted family member. Her interactions with the town Matchmaker (Cheng Pei-Pei) are humorous. The final battle with Khan is an exciting one. Jet Li as the Emperor shows some awesomeness when he takes on Khan. Jason Scott Lee and Gong Li are formidable villains, but Gong Li's Xian Lang leaves the most impact. Mulan's Commander Tung (Donnie Yen) was an OK character; a bit too routine, though.

In addition to Williams, Caro's technical crew is pretty good too. Production Designer Grant Major visualizes grand locales from the Imperial City to Mulan's Tulou. Cinematographer Mandy Walker adds to the grandeur with her work. Would've been nice to see it on the big screen, but oh well. The wall-running and wall-jumping during the fighting is spectacular. Xian Ling's magic makes for nifty visual effects, though some questions (what happens to the folks she possesses?) aren't answered. Meanwhile, costume designer Bina Daigeler and the makeup team create memorable looks for all.

I definitely would've seen Mulan back in March. But 2020 had other plans. But I've seen it now. It's a decent action film with a strong lead and memorable villainess. At least it's not a flat retread of its animated counterpart. It's got some surprises. It's a good reason to get Disney Plus. I got the yearly plan.