My Hero Academia: World Heroes' Mission

Let's get this done before Halloween ends and November begins. 

As with Demon Slayer, My Hero Academia: World Heroes' Mission takes a popular anime and manga franchise to the big screen. Unlike Demon Slayer, this is actually the third film based on Kohei Horikoshi's franchise and is not adapted directly from the printed page. Now for those who came in late:

Izuku "Deku" Midoriya used to be one of the 20% born without a superpower, a Quirk. That is, until he met his favorite superhero, All-Might, who shares his aptly-named Quirk, One for All, giving him momentary bursts of energy. He's enrolled in UA High for his superhero education. Lots of stuff happens and we're here:

Deku is one of many called to action to fight Humarise, a terrorist organization out to wipe out the Quirky. Even though a few members, including leader Flect Turn, have Quirks (but at least they admit it!). Their "Trigger Bombs" fatally drive Quirks out of control. Deku and his classmates, the literally explosive Katsuki Bakugo and the hot & cold Shoto Todoroki, head for Humarise's home-turf of Otheon. 

Deku runs into a streetwise guy named Rody Soul, who comes into possession of a Humarise defector's MacGuffin briefcase. Coincidentally, Deku is immediately framed as a mass murderer. So they head for the border with the case. Katsuki and Shoto join up later on. It's up to them to find Humarise's home base and stop their plan to Trigger Bomb the entire world.

The usual Quirky League - director Kenji Nagasaki, writer Yosuke Kuroda and animation studio Bones, et al - continue their work from the show and previous films. They create a decent standalone story for the main cast. Flect Turn's threat is quickly established with the first of his Trigger Bombs. There's some semblance of backstory for those who came in late. The main three and some of their peers get at least a few moments to shine. It milks some suspense and runtime with its climactic battles; at least we're on edge as we wonder how the main three will win.

This is very much Rody's movie. He's still a likable guy underneath the sarcastic exterior. We see him support his younger siblings with shady work. His time with Deku lets him open up. That's when we see his important connection to Humarise. There's some genuine suspense as we wonder if he'll stay on Deku's side. His bird sidekick, Pino, is more important than one first suspects. 

The animation includes some stunning long takes, such as one where Rody outruns Deku. It's somewhat diminished when characters obviously lack faces. But it's brought up by the Quirky character designs, especially of the new characters created by Horikoshi. Flect Turn's blue visage is instantly memorable; a few memorable lackeys include the handbow-wielding Beros and the oni-morphing Rogone. The heroes' side includes the living paperman Salaam, the aptly named Clair Voyance and an unnamed flying squirrel girl. Their battles are great displays of sight and sound. Some of the best bits of sound come from series composer Yuki Hayashi's score.

Deku's latest big screen mission continues My Hero Academia's standards of superheroic excellence. It's sure to thrill fans as they wait for the anime's sixth season next year. The uninitiated get a great audience surrogate with Rody Soul. The World Heroes' Mission has something for everyone. I saw the English dub but it's also available subtitled. Whatever language suits you will do just fine. It's sure to make slow Sundays go, as the show puts it, plus ultra.

Dune

David Lynch's 1984 film of Dune is a fascinating failure. It's got great concepts crammed into two and a quarter hours. That doesn't bode well for cohesive storytelling, does it? But now, director Denis Villeneuve and his co-writers, Eric Roth and Jon Spaihts, try their hand at adapting Frank Herbert's career-defining novel into cinematic form. 

Or, at least about half of it, considering it calls itself Dune: Part One.

In the way far-off future, the desert planet Arrakis, aka Dune, is the center of the universe. It's the only source of Spice, which lets people live longer, smarter and in the hands of the ominous Spacing Guild, allows them to navigate spaceships across the universe. The creepy Baron Vladimir Harkonnen (Stellan Skarsgard) cedes control of the Spice Mining Operation to his arch-enemy, the goodly Duke Leto Atreides (Oscar Isaac). It's a plot to lure the Duke to his death.

Meanwhile, Leto's son Paul (Timothee Chalamet) has prophetic dreams about Arrakis. These get the attention of the Reverend Mother Mohiam (Charlotte Rampling) of the Bene Gesserit, the order which his mother, Jessica (Rebecca Fergusson) was part of. The Rev. Mother is worried that Paul might be the prophesized Kwisatz Haderach. Arrakis's native Fremen view Paul as their prophesized Messiah. Paul's not happy with the future knowledge of a violent war in his name. The Harkonnens' sneak attack doesn't help either. He'll have to seek help from the Fremen to ward off the desert, its humongous sandworms and Team Harkonnen.

It's only half the story of Lynch's film but it's a better film. Its massive worldbuilding is spread across the story as opposed to the first film's college lecture exposition. Concepts that were barely defined or not at all in that film are better defined here. The Maud'Dib, a desert mouse whose survival skills inspire Paul to chose his Fremen name later in the novel, is a great example. You'll get the gist of this universe pretty well. The half-way story might not feel like a complete one. But the climax is still relevant for Paul.

Every role is perfectly cast here. Chalamet as Paul is a strong Messianic deconstruction. He's not happy about the future violence in his name and wants to change it. Still, he recognizes he needs to help free the Fremen. His friendship with soldier Duncan Idaho (Jason Mamoa) is strongly defined, which makes the latter's demise somewhat sad. Somewhat because he went down fighting. Isaac as Leto is a good man, while Skarsgard is perfectly repulsive as the Baron, as is David Bautista as Harkonnen's nephew Rabban. Zendaya is fine as Paul's literal dream girl, Chani, while Sharon Duncan-Brewster is better as Dr. Kynes. Other highlights include Josh Brolin as Paul's mentor, Gurney Halleck, Javier Bardem as Fremen leader Stilgar and Chang Chen as Dr. Yueh.

Yes, I saw this on HBOMax, but on my largest TV. Its technicals were still amazing. The ludicrously massive spaceships, the dragonfly-esque Ornithopter and the sandworms are amazingly realistic CGI. Cinematographer Greig Fraser perfectly establishes the scale of this universe. Production Designer Patrice Vermette visualizes each world, from the Harkonnens' bleak Giedi Prime to the harshly serene Arrakis, splendidly. The aural side includes some great sound design and an eerie score from Hans Zimmer. I should make plans to see it in theatres eventually.

This is a movie I wanted to review for a long time. And I hope that the Part One in the title isn't tempting fate. Dune is a good start to this latest attempt at Herbert's universe. Its worldbuilding across 155 minutes is intriguing instead of soporophic. There's some welcome levity in this serious space story. It's quite an experience to compare it to past versions. You can have that experience too on HBOMax and theatres now.

The Last Duel

 Ridley Scott began his film directing career with The Duelists in 1977. And now, for the first of two films he has this year, Scott chronicles The Last Duel, based on Eric Jager's non-fiction book.

The screenplay is divided into three parts chronicling, Rashomon-style, the lead-up to one of the last Trial by Combats in France. Each part is written, in succession, by Matt Damon, Ben Affleck and Nicole Holofcener. Damon and Affleck also star as Jean de Carrouges and Count Pierre d'Alencon. Who are they?

 Well, during the 100-years War, Carrouges was a war hero serving alongside Squire Jacques Le Gris (Adam Driver). They used to be pals until Le Gris met d'Alencon. The Count gives Le Gris a coveted captaincy and a piece of land both promised to Carrouges. Carrouges doesn't take it well. The last straw comes when Carrouges's wife, Marguerite (Jodie Comer), accuses Le Gris of raping her. Carrouges decides to throw down the gauntlet. Whoever wins is telling the truth, so says God.

But Le Gris' version portrays Carrouges as a petulant brute. Le Gris and Marguerite have a mutual attraction towards one another. He recognizes his sins after the deed. But in Marguerite's version, which the film emphasizes is the truth, neither man is a saintly paragon. Carrouges is a petulant brute who only married her for an heir and dowry. Le Gris, while somewhat attractive, isn't much better. She's not into the Trial by Combat either; especially since she'll be burned at the stake if her husband loses.

The film shows neither man as perfect in their POV-parts either. In example, Carrouges has no sympathy as his men flee a flaming arrow ambush, while Le Gris has no sympathy for Carrouges's complaints. Damon and Driver convincingly sell us on their characters' good natures. It's all upended when their true selves are revealed. Comer as Marguerite captivates us with her story all the way through. And who can blame her for not wanting the duel? Affleck, nearly unrecognizable with blond hair, is fine as the libertine Count. Harriet Walter as Carrouges's mother is harsh but we understand her worldview in the end.

Now we get to the technical side. The bloody battle scenes lose their luster pretty quickly. I was more stunned by the patriarchal stiffs' backwards statements than the routine stabbings. The best battle scene is the titular battle; even though I knew who won, it was still a suspenseful brawl. It's a strong scene thanks to editor Claire Simpson. The scenery filmed by cinematographer Dariusz Wolski is stunning. The costume and production designs are convincingly medieval. Harry-Gregson Williams's score is impressive, as is the sound design.

The Last Duel is a slow medieval drama. It's 152 minutes long so we have to get through a lot to that duel. That duel doesn't disappoint but about ten minutes could've been shaved off. Still, its present-day medieval commentary is commendable. It's better than nothing for a slow Sunday afternoon. So see it if you have nothing else to do.

No Time to Die

 It wasn't 2015, or 2020, but this year, when Daniel Craig, the sixth James Bond, the first Bond I saw theatrically, has his final, for real this time, mission. It's a tall order for Bond's 25th overall mission, No Time to Die, which was written by director Cary Joji Fukunaga with three other writers.

This time, James and his one true Bond girl, Madeline Swann (Léa Seydoux) enjoy a peaceful retirement in Matera, Italy. That is, until she inadvertently leads him into a Spectre ambush. He gets her on the next train out. 

Five years later, James is recruited by his CIA buddy, Felix Leiter (Jeffrey Wright), to a new mission. Spectre stole a nanobot virus, the Heracles, which kills anyone with specific DNA. But its creator, Dr. Obruchev (David Dencik), is working for the true villain, Lyutsifer Safin (Rami Malek), on a plot to destroy Spectre. Safin, as seen in the prologue, once tried to kill, then saved, young Madeline. He wants her for himself.

Bond's mission is to find Obruchev and stop Safin's plots. Does it sound convoluted? Ultimately, I don't think it is. Bond and Madeline's story is an engaging one even if one hasn't seen Spectre rather recently. We see their relationship - and her encounter with Safin - established in the 22 minute prologue. We understand the threat posed by the Heracles and its creators. We get to see Bond come to terms with his past, especially his lost love Vesper (Eva Green), who perished in Casino Royale. It leads to an almost unthinkable ending. It all plays out in a massive 163 minute runtime.

Among the new characters is Nomi (Lashana Lynch), the newest Agent 007. She's a strong partner for classic 00 and the confusion between them is kind of funny. Ana de Amares makes the most of her limited screentime as Paloma, an agent who helps Bond out in Cuba. Malek as Safin is sure to be among the franchise's most memorable villains. His soft-spoken entitlement complex makes him as creepy as his porcelain mask. Obruchev is such an unlikable twit that you might wish for his death long before it happens. There's also Mathilde (Lisa-Dorah Sonnet), Madeline's five-year old daughter. It takes a long while to establish who the dad is but it's still emotional.

Hans Zimmer's score perfectly punctuates its romantic and action moods. Its somber title song by Billie Eillish and Finneas O'Connell exemplifies the former. Expect to hear it a lot in the score. Production designer Mark Tildesley gives Safin an impressively bleak villain base. Its scale is helped by Linus Sandgren's cinematography, which includes some amazing aerial shots of London. Editors Tom Cross and Elliot Graham put us on edge once Safin first appears in the prologue. We can tell what's gonna happen instantly.

No Time to Die is a strong finale to this Bond cycle. The end credits promise "James Bond will Return," but I hope it'll take a while. It feels like a grand finale even if it's not. You'll need all the time in the world to process its finale. What a way for Bond to go, that's what I'll say. It really earns its massive length. See it on the safest screen you can find.

Venom: Let There Be Carnage

 At 97 minutes, Venom: Let There Be Carnage doesn't waste time. So I won't either.

Eddie Brock (Tom Hardy) interviews Serial Killer Cletus Kasady (Woody Harrelson). Eddie's journalistic career is resurrected. He and his symbiote Venom are happy, at first. Cletus's execution gets fast-tracked and he's not happy. One scuffle later and Cletus accidentally ingests a bit of Venom. The bit becomes a full symbiote, Carnage, which foils Cletus's execution and revives his killing career.

Meanwhile, Eddie and Venom break-up over the latter wanting to eat brains. Cletus breaks out his childhood sweetheart, Frances (Naomie Harris), whose sonic shrieks are lethal to symbiote kind. That's a problem for Cletus and Carnage's relationship. Eddie and Venom realize they need each other just in time to fight off the villains.

The screen story was conceived by Hardy and Kelly Marcel and realized by director Andy Serkis. I must reiterate that it doesn't waste time on story. It's a simple one involving some complicated relationships. It does miss some opportunities to elaborate but it's not a fatal injury. We still get the gist of Venom and Eddie's symbiotic relationship. It's a funny and strangely endearing one. I must say that it does a better job than its predecessor at being intentionally funny. 

Harrelson as Cletus Kasady is a complicated sociopath. He's a bit self-righteous and ax-crazy but he still has a sympathetic side. That involves his relationship with Frances; let's say they were made for each other. Harrelson is also unrecognizable as the voice of Carnage. It's some impressive voice work.  Meanwhile, Det. Mulligan (Stephen Graham), was an OK side antagonist. Peggy Lu, returning as Mrs. Chen, stands out in the supporting cast.

There's some strong sound work. Maybe, too strong. The speakers at my showing made some of the sounds unbearable. That includes Carnage's roars. Cinematographer Robert Richardson helps make Carnage's emergence in San Quentin perfectly creepy. Carnage's red and black design is stunning as is his transformation effects. The same goes for Eddie and Venom, especially when the latter host jumps. There's some great photography of San Francisco, a city I really want to get back to.

Venom: Let There Be Carnage makes for a quick and easy matinee. Still, a few bits make one think hard about any follow-ups. The one that's sure to be the most talked about is the mid-credits scene. It's a perfect set-up for Spider-Man: No Way Home. We got a few months to guess what will result. A month after that is when Sony's next superhero movie, Morbius, debuts.