Matilda the Musical

 It's time to rush one last review out before the new year. So, how about another Roald Dahl re-adaptation? We have an asterisk, this time!

One of his last works, Matilda, was previously filmed in 1996 with Danny DeVito directing himself as the no-good Mr. Wormwood, the title character's (Mara Wilson) dad. The asterisk is that this is Matilda the Musical, the film of the stage musical directed by Matthew Warchus and scripted by Dennis Kelly, who reprise their roles here. Let's talk more about it.

While most parents adore their newborns, the Wormwoods care less about their Matilda (Alisha Weir). Mrs. Wormwood (Andrea Riseborough) only finds out about her pregnancy when it's too late. Mr. Wormwood (Stephen Graham) is bummed that he didn't get a son. Years later, Matilda frequents Mrs. Phelps's (Sindhu Vee) mobile library for whatever's around. The authorities get the Wormwoods to enroll Matilda in public school. They end up sending her to the gloomy Crunchem Hall, run by an ogrish headmistress, Ms. Trunchbull (Emma Thompson). The only bright spot for Matilda is her teacher, Ms. Honey (Lashana Lynch), who supports her pursuing a higher education. 

Matilda slowly but surely realizes she's telekinetic. This makes it easier for her to get back at the cruel adults in her life. Meanwhile, she spins a tragic tale for Mrs. Phelps about an Escapologist and an Acrobat. It's a lot more relevant than she realizes. She needs to master her gifts to save her classmates from being locked in Trunchbull's Iron Maidens, The Chokeys. 

Trunchbull is a good distillation of Dahl's sinister whimsy. Her punishments for troublemakers include hammer-tossing a student by her pigtails and forcing another to eat a whole chocolate cake. Her punishing anyone regardless of true guilt makes her more unnerving. Her vision of a childless world is silly and a bit weird. The makeup team and cinematographer Tat Radcliffe help make her imposing. Tim Minchen's songs help us empathize with the kids feeling powerless under her Iron Fist. Overall, Thompson is surprisingly good as Trunchbull.

Weir is excellent as Matilda. We're on her side as she copes with the uncaring adults in her life. Her getting even with them gives us some great results. A few of its best moments are when she realizes her telekinesis. Her finally using them on Trunchbull is quite pleasing. As for the adults, Graham and Wiseborough are perfectly lousy as the Wormwoods, while Lynch and Vee are pleasant as Ms. Honey and Mrs. Phelps.

The film's locales were designed by David Hindle and Christian Huband. Its bright and cheery opening number is too much, perhaps intentionally so. But you'll be used to the brightness as the film goes on. The Escapologist and Acrobat subplot is set in a circus as perfectly farfetched as their act. Crunchem Hall is just as menacing as its headmistress. The visual effects for Matilda's powers were cool. One particularly memorable moment was her summoning up a storm with her powers. The musical numbers had some good staging, though it often sounded like the music overpowered the lyrics. Maybe it was just me.

Matilda the Musical was released for Netflix, though theaters might be playing it somewhere. Whether on the big screen or your screen is a good venue for this fine family musical. Its villains are often overwhelming with their cruelty. But their comeuppances are quite pleasing. Its songs and protagonist help keep its 117-minutes moving right along. See what I mean when you see it. That's all for this year.

Babylon

Nellie was a blonde and her age stood still

And twice a day she danced at vaudeville

She would, but,

Who went to vaudeville those days?

Not her.

Her future was pictures.

Yes, sir.

She shared her future with Manny Torres

When she and he took part in a party

Mr. March, who I'm trying to parody,

Would gasp at all the debauchery.

There's also Jack Conrad

Movie Star and cad.

His star falls when movies learn to talk

There's Sidney Palmer

Jazz Trumpeter.

From Racist Hollywood he shall walk.

And Lady Fay Zhu

A cabaret star with quite the love life. 

Hollywood will balk.

All these faces are in the Tinseltown

Of Damien Chazelle's Babylon.

I was attempting to parody Joseph Moncure March's poem The Wild Party with that intro. That's because Babylon also opens with a similarly wild party. Its parade of debauchery will shock and impress you. The impressive part comes from cinematographer Linus Sandgren's single shot tour of the whole affair. Another impressive sequence comes when we tour the fictional Kinoscope studios' cavalcade of productions. There, Nellie (Margot Robbie) films her big break, while Manny (Diego Calva) assists Jack's (Brad Pitt) new movie. Manny soon rushes to get a camera after all on set are destroyed in a breakneck sequence edited by Tom Cross. 

That wild party comprises the first half hour or so. We get to gangster James McKay's (Tobey Maguire) den of sin near the end. About the tamest thing I can mention from there is the rat-eating wild man. Surprisingly, that wasn't the scene that nearly sickened me. The trophy goes to Nellie's coup-de-grace in her rant against the stuffy rich. Meanwhile, Lady Fay (Li Jun Li) and Sidney (Jovan Adepo), get some compelling plotlines as they struggle against Hollywood bigotry. Both exit the film in tragically abrupt fashion. It's a shame because Fay saving Nellie from her own idiocy was awesome. Those plot lines are lost in the shuffle of its massive 189-minute runtime.

The leads have some compelling plot threads, too. Nellie struggles with the demands of both silent and talkie screen acting. The latter sequence sees numerous takes botched as she and others fail to take their new sound system into account. These eight takes feel like eighty and take their toll on a poor crew member. Manny, meanwhile, sees the dark side of fame as he rises from assistant to executive. He even plays an unwilling part in Sidney's exit from Hollywood. Manny and Nellie's relationship is fine, while Jack is an OK guy. As a film buff, I did get a kick out of recognizing the inspiration for Jack's talkie debut. 

The madness leaves a massive canvass for Justin Hurwitz to compose his score on. You can imagine what's going on if you listen to the score by itself. The party music is Wild, while the finale score is appropriately melancholy. Hurwitz and the sound designers join the makeup team in getting Oscar-shortlisted. The makeup team's best work is making Maguire into the unnerving McCay. His performance is all the more perfectly ghoulish with their help. The production and costume designers are guaranteed Oscar spots with their colorful work. Another highlight of Sandgren's work is the finale as it sweeps around a theater showing Singin' in the Rain.

Your ability to enjoy Babylon depends on if you can get through the opening party. That sequence left me asking "what is this?" multiple times. I'm sure it will for you, too. It does have some fascinating sequences depicting Old Hollywood film production. It does have a decent love story. But its massive runtime and madness are taxing on its audience's empathies. See it if you want to. If you don't, might I suggest you seek out the soundtrack? It's really that good.

Marcel the Shell with Shoes On

 Meet Dean, everyone.

Dean has an unusual housemate in his Airbnb. His name is Marcel, a walking, talking shell. He and his Grandma Connie used to live with a community of walking, talking shells. But they all got accidentally packed up by a previous resident. Nowadays, Marcel and Connie live their lives the best they can. 

Dean uploads a series of YouTube videos starring Marcel the Shell with Shoes On. What starts with 84 views grows to over 2 million. Those fans aren't that all interested in Marcel's search. The producers of Marcel and his community's favorite show, 60 minutes, are. They want to set up an interview with Marcel and host Lesley Stahl. There may be some hope, after all. But Connie's deteriorating health is an issue.

That's the gist of it. The film was adapted from director Dean Fleischer Camp and Jenny Slate's real-life YouTube videos. Camp is this film's Dean and Slate is Marcel himself. The mockumentary style shows us Marcel's daily life. Among other things, Marcel walks on walls with honey, pops popcorn by magnifying glass, uses a tennis ball for transportation and assembles gadgets with junk. He knows quite a lot about loss, but he faces the world with a child's enthusiasm. He and Connie make the most of it without arms and a decent height. Their relationship is endearing. You'll feel it when she goes.

Don't expect any explanation for how walking and talking shells exist. It's probably one of life's quirks. In actuality, the shells were brought to life with stop-motion. The animation is well-integrated into the film's live-action settings. The odd character designs will grow on you as the film goes on. Marcel's nifty innovations include a stage for him to perform in front of an audience, usually lit candles. You'll especially like his use of a tennis ball. 

Marcel the Shell with Shoes On is a fascinating study of a unique individual. His observations about life are delivered with a child's naivety. His quirky philosophy is highly quotable. You won't forget this little man after the film's 90 minutes are up. So, pick a streaming service (like Amazon) and stream it right away. You won't regret it.

The Fabelmans

 I've been waiting to see The Fabelmans for a while now. Steven Spielberg's cinematic autobiography came out last month, but it didn't play locally upon its "wide" release on Thanksgiving. I think I had a great substitute that weekend with that sneak preview. No more waiting. Let's go.

Spielberg represents himself as Sammy Fabelman. Sammy's moviemaking life begins when he (Mateo Zoryon Francis-DeFord) sees his first movie, Cecil B. DeMille's circus epic The Greatest Show on Earth, in 1952. Its climactic train crash sears into Sammy's mind and he asks for a train set so he can recreate it again and again. His dad, Burt (Paul Dano), doesn't understand his obsession with train crashes. His mom, Mitzi (Michelle Williams), helps him film a train crash movie. That one movie leads to several more, many of which star his sisters. He and his family move to Arizona with their "Uncle" Bennie (Seth Rogen) in 1957.

Sammy continues his moviemaking as a teenage Boy Scout (Gabriel LaBelle). By then, he bears witness to his family's problems. His Grandma's death leaves Mitzi emotionally devastated. His filming a camping trip inadvertently leads him to discover Mitzi's affair with Bennie. His parents soon divorce after this. Meanwhile, at school, Sammy faces antisemitic bullying and dates devout Christian Monica (Chloe East). He eventually wonders if his "hobby" is worth turning into a profession. I think we know how that turned out.

Spielberg collaborated with Tony Kushner on the screenplay. It's a compelling tale as Sammy makes movies, finds love, loses love, makes peace with one of his bullies, among other things. A few lines are obvious trailer material (and they were). But they're not a dealbreaker in the story. Sammy's cinematic life is so enthralling you'll wonder how it compares to Spielberg's actual life. One of its best scenes is the finale, where Sammy has a rather interesting (to say the least) conversation with John Ford (David Lynch). 

LaBelle and Francis-DeFord are quite good as Sammy. Together, they make Sammy into a compelling character. We're as enthralled as the younger Sammy as he discovers filmmaking. We're outraged when he's bullied as a teen. His discovery of Mitzi and Bennie's affair while editing the camping trip movie horrifies him. Meanwhile, we're left smirking when Sammy impresses Monica and her friend, Claudia (Isabelle Kusman). We later sympathize when Monica eventually dumps him. His confrontation with the aforementioned bully, Logan (Sam Rechner), is his best moment. Logan, meanwhile, shines when he defends Sammy from the other bully, Chad (Oakes Fegley).

Dano and Williams are quite sympathetic as Burt and Mitzi. Mitzi sees the value in Sammy's moviemaking when Burt doesn't, though her instability drives plenty of conflict. Her imagining a phone call from her late mom is just the start. They do try being better people throughout the movie. Their reconciliations with Sammy are rather nice. Julia Butters as Sammy's sister Reggie does her best as the family's voice of reason. As with Lynch, Judd Hirsch stands out as Sammy's Great-Uncle Boris, whose segment sees him strongly encourage Sammy's moviemaking.

Spielberg's usual collaborators - editor Michael Kahn (this time with Sarah Broshar), cinematographer Janusz Kaminski, production designer Rick Carter and, of course, John Williams - deliver their usual excellence here. Let's discuss some highlights. Sammy discovering the affair is a tensely edited moment. The film's last shot is an amusing fourth wall gag. Sammy's many homes are rather appealing locales. Mitzi dancing during the camping trip is given an eloquent tune. Back to cinematography, her dancing in the dark, illuminated by their car's headlights, is a memorable sight. As I said, they did great as usual.

The Fabelmans unfolds over the course of a slow and steady 151 minutes. During which, we're fully involved with Spielberg's author avatar through many of his highs and lows. So naturally, we're confident in his filmmaking success when he walks into the proverbial sunset. It's a pity that this didn't get a much wider release. So, if you can, see it as soon as it's in a theater near you. On one hand, a wide release is some benefit to its current digital distribution. On the other, there's that $19.99 price tag. Whichever venue is fine, though.

Glass Onion

Last time, master detective Benoit Blanc solved a dysfunctional family murder mystery. Once again played by Daniel Craig, he must solve an unusual corporate murder mystery in Glass Onion. Rian Johnson's sequel to Knives Out jumped from Lionsgate to Netflix, where it recently debuted after a one-week theatrical run Thanksgiving week. Here we go.

It's May 2020 and that annoying pandemic is in full swing. Tech Genius Miles Bron (Edward Norton) invites some of his friends for a weekend murder mystery party on his island estate, the Glass Onion. These "disruptors" are dude-bro Duke Cody (Dave Bautista), vapid model Birdie Jay (Kate Hudson), scientist Lionel Toussaint (Leslie Odom, Jr.) and Governor Claire Debella (Kathryn Hahn). Their fifth member, Cassandra "Andi" Brand (Janelle Monae), suddenly joins them with Blanc. Brand left the group on bad terms and their reunion isn't that pleasant. Bron, meanwhile, doesn't remember inviting Blanc at all.

Blanc disrupts the reunion by solving the murder mystery ... before the game gets afoot! But one of the Disruptors is killed for real. There's also another murder mystery within the murder mystery. It may have something to do with Bron's new alternative fuel, Klear. Blanc and Brand get on the case. They soon come to the shocking conclusion that the obvious suspect is the actual culprit.

Does that sound appealing? 

It is.

We spend the first hour or so getting to know the Disruptors. They're mostly not a nice bunch of characters, save for, maybe, Lionel. But we see their hidden layers when the story goes for a long flashback. OK, they still do morally questionable things (perjury, for one). But we see them as messed up people who know they're messed up. They're so spineless that it's easy to pity them. It's still nice to see them grow some backbone in the end. While we're at it, Duke's girlfriend Whiskey (Madelyn Cline) and Birdie's assistant Peg (Jessica Henwick), who tag along for the trip, prove themselves quite likable characters.

Brand is the star of the show. The Disruptors solve elaborate puzzle boxes to get to their invitations in their first scenes. She smashes it open. She lays into the Disruptors thick for their moral flaws. Of course, much of her resentment makes more sense once we learn of the other murder mystery. But unlike last time, I won't spoil it for you. She and Whiskey have some great scenes together when the latter shows her legitimate kindness. She and Blanc make for great partners together. The finale lets her cut loose against the actual culprit in a glorious fashion. 

Blanc is still a great detective. He's first introduced cooped up playing the video game Among Us with some celebrity friends, two of whom are the recently departed Angela Lansbury and Stephen Sondheim. He jumps at the chance to solve a murder mystery when Brand comes calling. He proves himself just as caring and competent as he is eccentric. Bron, meanwhile, talks smart but proves himself anything but. But at least he convincingly plays dangerously smug. Did I spoil the killer? 

The Glass Onion estate is an impressive piece of film architecture. That and the puzzle boxes are great highlights of production designer Rick Heinrich's work. They look especially stunning with cinematographer Steve Yedlin's work. The cast have an appealing wardrobe designed by Jenny Eagan. A few of Brand's costumes are the standouts here. Nathan Johnson's score also stands out, especially since it made the recent Oscar shortlist. It suits the film's grand mystery plot rather well.

Glass Onion: A Knives Out Mystery is just as funny and suspenseful as its predecessor. Its potential suspects are interesting characters even if they aren't fully likable. Its lead characters are unambiguously likable ones. It maybe 139 minutes but those minutes are all compelling. It will make a great home matinee this holiday season and beyond. Netflix paid over $400 million for the Knives Out sequels and it's a good investment, so far. I'm ready for part three already. 

Spirited

It's Christmas day, which means it's the last day to watch a seasonally appropriate film this year. Among your options are the numerous reiterations of A Christmas Carol, two of which recently debuted on streaming services. Your options there are Netflix's remake of Scrooge and Apple TV's riff, Spirited. I chose the latter. Beware of spoilers.

Jacob Marley (Patrick Page) and the three Ghosts make it their business to redeem a Scrooge (a "perp") each Christmas. The Ghost of Christmas Present (Will Farrell) has put off retirement for a few decades. They have an abusive hotel manager to deal with, but Present finds the hotel's guest speaker a better perp. That man, Clint Briggs (Ryan Reynolds), is a media consultant who specializes in scandals. Marley finds him unredeemable, but Present insists, and the Ghost team goes on the case.

Briggs is no ordinary Scrooge. His wiliness proves difficult with Marley and Christmas Past (Sunita Mani), forcing Present to take on a larger workload. Briggs flips Present's attempt to make him confront his past and present back on him. In life, Present was not just a Scrooge, he was Ebenezer himself. Present wonders if he was truly redeemed and truly considers that retirement package. But first, he has to save that "white whale."

A few reviews think that director Sean Anders and John Morris's script isn't that an innovative rendition of the Dickens story. I think the opposite. The perspective flip to the Christmas Ghosts is an innovative take. We get to see some interesting sides to the Ghosts Ebenezer never did. Christmas Past feels stuck in a soulless job, while Christmas Yet-To-Come (body by Loren Woods, voice by Tracy Morgan) struggles with the scary act. The fact that this is a sequel to A Christmas Carol adds poignancy to Present's relentless optimism. It's a twist I didn't expect. Briggs being a crafty Scrooge makes it a fun romp. His secretary, Kimberley (Octavia Spencer), is Present's love interest; their scenes together are nice.

What isn't great is the lack of a few tonal transitions. We see in Clint's past that his mom gave him a water bowl for a non-existent puppy that "ran away," according to her. Another flashback sees them on better terms. What's missing is a flashback of them reconciling. A subplot has Clint coaching his niece, Wren (Marlow Barkley), to win a school election with underhanded means. Yet-To-Come shows that said means inadvertently led to Wren's opponent's suicide. After he sees his grave, Clint rushes in comical fashion to convince Wren not to go low, while that grim future funeral lingers in our mind. We don't see much of Wren, other than one scene, after Clint's surprising demise (a legitimately funny case of mood whiplash). 

There's some bright and cheery production and costume designs here. The Ghosts' headquarters, Clint's apartment and future graveyard are some of the striking locales. Clint shows off an elaborate wardrobe during his first musical number. His and Present's red and green contrast is striking. There's also good makeup work to render Ferrell into the elderly Ebenezer and Page as the creepy Marley. Marley appearing to Clint is made hysterical when the latter consistently interrupts the former's formidable song. Pasek and Paul's songs are consistently met with annoyance or confusion from onlookers (Marley included). Clint getting Present to reignite his inner Scrooge is set to the funniest song the duo wrote: Good Afternoon. It's made funnier by the fact that this, and not any of the dramatic numbers, has now been shortlisted for Oscar notice.

Robert Zemeckis's A Christmas Carol didn't do much new that previous renditions (even the Muppets) did great. By contrast, Spirited's perspective flip is a unique take on an old story. Its leads are entertaining, and the story is sometimes moving. It suffers from jarring mood whiplash but it's still good. It'll make a fine matinee whether on Apple TV or wherever theaters still have it. Whichever's fine. Even if it's another Christmas movie.

Avatar: The Way of Water

 It finally happened last week.

After years upon years of it being talked about and years upon years of people (myself included) wondering if it was necessary, the twice certified highest grossing film of all time finally has a sequel. James Cameron continues his story of Pandora in Avatar: The Way of Water. Let's go.

The first film ended with Jake Sully (Sam Worthington) joining Pandora's Na'vi population in his Avatar body. He and his mate, Neytiri (Zoe Saldana), raise their sons Neteyam (Jamie Flatters) and Lo'ak (Britain Dalton) and daughter Tuk (Trinity Jo-Li Bliss) alongside the human Spider (Jack Champion) and Kiri, the mysteriously conceived offspring of the deceased Dr. Grace Augustine's Avatar (both of them Sigourney Weaver). The human military returns to Pandora for round two, this time with several deceased marines, including Col. Miles Quaritch (Stephen Lang), brought back as Na'vi Avatar clones. The military landing on Pandora incinerates a good chunk of its rainforest. So, the Na'vi have to go to higher ground.

Jake spends the next year leading the Na'vi against the "sky people." But Spider is caught during one mission. Quaritch is Spider's dad and he's invested in making his son a valuable asset. Jake and his family exile themselves to the ocean where the aquatic Metkayina Na'vi live. Chief Tonowari (Cliff Curtis) welcomes them to their tribe, while his wife Ronal (Kate Winslet) and their kids are more reluctant. Eventually, the villains make their way to the oceans ready for a fight. Jake and his family have to bond with Pandora's sea life to fend them off.

Let's get the visuals out of the way. Its visual effects exceed the already groundbreaking work on the first film. The Na'vi look even more photorealistic, while the new creatures look incredible. The Tulkun, Pandora's version of a whale, is the most stunning of these creatures. There are some great underwater scenes made better with bioluminescence. They do falter a bit with some sputtering movement, a consequence of this being filmed at a higher framerate but projected slower, but the effects team still has an Academy Award in its future. Cinematographer Russell Carpenter and production designers Dylan Cole and Ben Procter put themselves in Oscar consideration too with their splendid work.

Now for the story. How was Kiri conceived? What makes her special? Why does her linking with the Metkayina's Spirit Tree nearly kill her? You'll find none of those answers in this movie. You'll likely find them in part three, which fortunately, has already been filmed. But it does make this movie a bit incomplete. The Metkayina are casually established right away as if everybody knew who they were. It's a case of "remember the new guy." The main Tulkun, Payakan's backstory, is a bit confusing. As I previously warned in other reviews, the film comes with a gigantic runtime of 190 minutes. Let's just say it can overwhelm your patience a bit.

Now for the story, part two. Spider and Quaritch's subplot is interesting as the former teaches the latter how to connect with Pandora. He may still be a villain, but it's impressive to see Quaritch bond with the dragon-like mountain banshee. We get to see Quaritch as a friendly man a bit; we also see him as a sadistic maniac a lot. Spider's time with Quaritch only strengthens his connection to the Sullys. I'd like to see where part three will take them.

Story, part three. Kiri's subplot, while incomplete, is still interesting. It's also impressive that Weaver convincingly plays her as much a teenager as her stepbrothers despite Weaver herself being 73. Neteyam was OK, while the adult Na'vis are simply fine. Lo'ak gets a nice subplot with Payakan. Lo'ak removes a harpoon stuck in Payakan's fin, while Payakan saves Lo'ak and his family from whalers. Did I mention there were whalers? There are. The final battle takes place on their gigantic vessel. A few human villains appear with the whalers' Dr. Gavin (Jermaine Clement) and General Ardmore (Edie Falco), both of whom are perfectly unlikable.

The conclusion. Avatar: The Way of Water improves on the visual spectacle of an already spectacular film. Its storytelling skills aren't perfect, while its massive runtime is a challenge. But the subplots that work really work. It does leave one interested to see where Cameron will take the story next. The aforementioned part three, currently subtitled The Seed Bearer, is currently scheduled for 2024. I think I'm ready for that. 

Unless it's a four hour film.

Good Night Oppy

 I was right. 

Fiddler didn't get atop the Academy's roof. But another documentary I was certain would show up on today's shortlists didn't either. That would be Good Night Oppy, Ryan White's chronicle of the twin Spirit and Opportunity rovers and their mission to Mars. Of course, Opportunity, aka "Oppy," has the lion's share of focus. But I digress.

It chronicles the rovers' lives from their inception and throughout the mission. We see NASA race against time to launch the rovers to take advantage of Mars and Earth's close alignment. They launched three weeks apart in the summer of 2003 and landed three weeks apart in early 2004. Their mission was to search for signs of water, which would mean life, on the Red Planet. NASA expected the two to expire after 90 sols. But Spirit chugged along until 2011, while Oppy lasted all the way to 2019. 

It recreates the mission with some impressive CGI by ILM. A solar flare hit their pods with enough force to damage their circuitries. We get the full magnitude of the impact inside and out. It's certainly miraculous that they survived that and their landing. Other hazards including Martian winters, Martian sandstorms and getting stuck in dunes are all presented as formidable threats. Their "faces" make them instantly lovable robots. They look and feel like real robots so much that, when Oppy gets robo-arthritis and robo-dementia, it's devastating.

The film also chronicles the NASA team behind them. We see them conceive, build and test the robots before their launch. When trouble strikes, including the aforementioned sand dune, we see them brainshoot on Earth.  We see Oppy's daily routine, which includes a good setlist of "wakeup songs." We see them plot Oppy's course with precision, especially since it takes twenty minutes for her to receive orders. One portion has them trying beyond hope, and eventually succeed, in restoring contact with Oppy after that sandstorm. It's an interesting chronicle of NASA's technical prowess on Earth and in space. 

It's also a compelling chronicle of their emotional investments in the rovers. They came to see the rovers as their kids exploring a harsh world. You'll share their joy when the rovers first land and they send back the first photos. You'll feel their triumph when they solve Oppy's hazards. A few of them were kids when Oppy launched and were NASA-employees when Oppy expired. One of them lost her grandma to Alzheimer's when Oppy's robo-dementia hit. It was equally devastating to lose both at once. You'll feel it when Oppy expires, too.

It's quite surprising that the Academy bypassed Good Night Oppy. It's a compelling science documentary about the little rover that could and the team behind her. Anyone looking to see NASA behind the scenes will get the most out of its 105 minutes. It's ready to watch on Amazon Prime whenever you are. You won't regret it.

RRR

I've heard much of one film this year. A film that took the internet by storm with its bombastic action and style. Why didn't I see it sooner, whether in theaters or on Netflix? I think it was the three-hour runtime that made me put it off. But now, with its multiple awards and Avatar: The Way of Water and Babylon opening this month with similar runtimes, it's time to finally experience RRR.

RRR, which stands for Rise Roar Revolt, is writer and director S.S. Rajamouli's follow-up to his Baahubali films, the second of which is India's highest grossing film. This is India's third highest grossing film. Rajamouli pairs together real-life revolutionaries Komaram Bheem (N.T. Rama Rao Jr.) and Alluri Sitarama Raju (Ram Charan) on a rescue mission to save a Gond tribe girl, Malli (Twinkle Sharma), from the odious Gov. Scott Buxton (Ray Stevenson) and his equally detestable wife, Catherine (Alison Doody). A little context is needed.

It's 1920 during the British Raj of India. The Buxtons steal Malli from her tribe because Catherine loved her singing that much. Bheem, the tribe guardian, sets out to rescue her. Raju, a colonial policeman, is sent to apprehend him before he can raise hell. They meet when they save a kid from a fiery train crash. Bheem is incognito as "Akhtar," so Raju doesn't realize that he just met his quarry. They quickly become best buds as Bheem tries to infiltrate the Governor's mansion. He meets and falls for Jenny (Olivia Morris), the Governor's niece. Eventually, the two are pitted against each other before they finally unite against the villains.

It takes about forty minutes before the title shows up on-screen. It feels a bit longer to get through the other opening credits. But the overall 182 minutes are anything but boring. Rajamouli keeps the audience's attention whether it's with a dialogue scene or an action scene. You'll rarely feel the time as the film sets up Raju and Bheem's individual stories before their first adventure. You'll rarely feel it afterwards as they battle villains, each other and villains again. Nothing is subtle in this film. It even has a musical number, the Golden Globe nominated Naatu Naatu (or Naacho Naacho in the Hindi version I watched), which contains the most stunning displays of fleet-footedness on screen. Bar none.

The heroes help us through the massive runtime. Raju is introduced running into a riot braving hundreds of protestors to grab just one. You just have to admire his determination. We're a bit outraged that he's still passed over for promotion even though he's on the colonial side. That's mitigated when we find out he's actually a revolutionary spy. Bheem, meanwhile, is introduced fending off a wolf and a tiger. He later unleashes a whole menagerie on a party and defies the Buxtons' subsequent attempts to break him. Jenny lets him show off his gentleness; one of his best moments is when he helps her escape the aforementioned killer zoo. The friendship these guys have is compelling in its ups and downs. You'll be cheering from when they first meet to their final battle.

Now for the others. The bad guys sneer like proud pantomime villains with every syllable. Whether it's the Buxtons, their aide Edward (Edward Sonnenblick), or assorted officers, they're unambiguously evil. You'll be far from amused with their racist attitudes and will cheer their demises. Jake (Eduard Buhac) gets off lightly as our heroes outdance him in Naatu Naatu in glorious fashion. Meanwhile, Sharma is far more sympathetic as Malli, as is Ahmareen Anjun as her mother, Loki, and Alia Bhatt as Raju's fiancé, Sita. Morris as Jenny is quite likable. Ajay Devgn makes the most of his screentime as Raju's father, A. Venkatarama, from whom he clearly inherited his determination.

What else haven't I mentioned about the spectacle? A tiger tackles a wolf; the killer zoo is unleashed with a hard truck skid; Bheem tosses a leopard at a soldier; Raju's sniping skills. The CGI-aided stunts are spectacular even if the effects are too obvious. An arrow in the climax stuck out like a sore thumb. M. M. Keeravani composed Naatu Naatu and the rest of the perfectly bombastic score. Several lyricists - with Chandrabose doing Naatu Naatu - wrote the songs. The production, costume and makeup designs add to the visual splendor. The bombastic tone is aided by editor A Sreekar Prasad and cinematographer K.K. Senthil Kumar. 

RRR is a rousing good time. Its over three-hour runtime flies fast as you experience the action and heroic friendship. Yes, I should have checked it out earlier, especially since it played in theaters nearby. But it sure makes for an eventful home matinee in the closing days of 2022. You don't need to be familiar with both of its real-life heroes to enjoy their adventures. Watch it now for a spectacular time on Netflix. You won't forget Naatu Naatu anytime soon.

The Banshees of Inisherin

 I could have, would have and should have seen The Banshees of Inisherin during its theatrical run a few months ago. But it never arrived locally. So, it's off to HBOMax to see what others have seen. What have I seen indeed?

On the Irish Isle of Inisherin, during their Civil War, Pádraic Súilleabháin (Colin Farrel) and Colm Doherty (Brendan Gleeson) were good buddies. But Colm decides he wants to end their friendship. Why? Because he finds Pádraic boring. He finds his music a better use of his time than listening to idle chatter. He's so serious that he threatens to cut off his own fingers if Pádraic keeps bugging him. He's not kidding. Pádraic tries to mend their friendship but it only frustrates him, his sister Siobhán (Kerry Condon) and Colm. It only goes further downhill from there.

That's the gist of Martin McDonagh's fourth feature. Everyone initially treats Colm and Pádraic's split with absurd casualness. Colm's finger threat leaves us gob smacked with nervous laughter. So, we're actually hyperventilating when he follows through with it. Are these men supposed to be likable or not? You'll ask yourself that as the film follows them both. 

How are both men unlikable or not? Well, Pádraic's quest to save that friendship is a reasonable goal. But he's an immature man whose only eventual friend is his donkey, Jenny. Meanwhile, Colm is quite sympathetic as we realize he's suffering from depression. So, his wanting to be left alone is also reasonable. But the depths he goes for that goal are ludicrous. Still, both Farrell and Gleeson play them as compelling people.

Now for the supporting cast. Condon as Siobhán is good as the only sane woman on Inisherin. We empathize with her as she tries to mediate between the two men. It's only natural that she pursues life outside of the isle. Barry Keoghan is Dominic, a mutual friend of both men, and another likable character. Gary Lydon is Dominic's father, Officer Kearney, who is unambiguously detestable. A few other good supporting players are Sheila Flitton as the mysterious Mrs. McCormick and David Pearse as the Priest. These are all highlights of a memorable ensemble of quirky characters.

Now for the technical highlights. Ben Davis's cinematography of the Irish countryside is superb. The opening shots of the Inisherin plains are stunning and Mrs. McCormick's scenes are perfectly eerie. Mikkel E.G. Nielsen's editing helps build up the absurdity of the central conflict. Carter Burwell's score feels perfectly Irish despite him saying he toned down its Irishness. The Irish town visualized by production designer Mark Tildesley looks and feels authentic. Quite a few of these names would be welcome additions on the Oscar nominations next month.

The Banshees of Inisherin is a weird dark comedy. You'll laugh at the absurdity of its main conflict until the fingers come off. Afterwards, you might find it absurd to laugh at all. Things don't work out for its main characters, but the last words suggest some hope. It should make for an oft-kilter home matinee, that's for sure. It might still be playing in a theater somewhere. It might be worth it to see the Irish countryside on the big screen. It's an unforgettable film either way you choose to see it.

Pompo: The Cinephile

 While I slot in numerous contenders for this year's Oscars, I also find room for one of last year's could-have-been nominees. I namedropped Pompo: The Cinephile earlier this year when I reviewed fellow anime Belle. It had a one-week qualifying release in L.A. last year for its Oscars. Its official theatrical release last April was only for two nights, neither of which I had time for. I found the Blu-Ray in July and left it on my shelf...

Until now.

Based on Shogo Sugitani's online manga, the film is directed by Takayuki Hirao, whose best-known anime film, Gyo, is about zombie fish. A film like that is producer Joelle Davidoich "Pompo" Pomponett's forte. Her latest B-Movie, Marine, features a giant crab terrorizing beachgoers. Pompo is only twelve, at least, but she's a veteran producer with an eye for talent. One day, she decides to write an award-worthy script, Meister, and hand the director's chair to her gopher, Gene Fini. 

The film sees Gene directing "the world's greatest actor" Martin Braddock and fellow newcomer Nathalie Woodward as the leads. The production takes the crew from Hollywood Nyallywood (Meowllywood) to the Swiss Alps. Eventually, Gene is tasked with editing down the 72 hours of footage into just 90 minutes. It's a task that pushes him to the mental and physical brink. But he has a deadline to meet for the studio's investors. The post-production process gives him a sense of purpose.

Its greatest strength is its relentless optimism. We see it in frame one with its pastel art design. We feel it with its cast of characters. They avidly believe in the power of movies and find purpose in making them for the downtrodden. That's what helps Gene, Nathalie, and Alan, a banker we eventually meet, endure soul-crushing jobs. Nathalie's montage of failed auditions is equally funny and sad. Gene's determination to finish Meister is as admirable as it is dangerous. Pompo is quite profound for her age and her leading lady, Mystia, is sweet. They're all relatable and likable people. The only unlikable people are some of Alan's stuffy shirt superiors who nearly pull funding for Meister. But even they come around.

Its version of film post-production is quite interesting. Gene dissects footage to see which to keep or not. A few editing choices I wouldn't agree with, but a few others make me curious to see Meister in full. He imagines himself cutting through film with an oversized sword and infectious zeal. He eventually realizes that the film lacks a crucial flashback and him begging Pompo to greenlight it is a tense scene. Gene gets a nice scene with Nathalie when they make a few tough cuts. Overall, it's a unique way to hear about moviemaking.

It's not a realistic film, but Pompo: The Cinephile is an earnest tribute to moviemaking. This and Belle rank as my favorite anime films of the year, even if they came out last year. Its cast and tone are quite moving even if they lack the heavy drama of something like Belle. Find it however you can and see it right away. It even runs 90 minutes (minus credits) much like Meister does. It's a nice and easy home matinee ... not like my next reviewed film.

Pinocchio Double Feature Part 2: Del Toro

 Now for the Netflix version:

Guillermo Del Toro's Pinocchio also has its Geppetto (David Bradley) build his Pinocchio (Gregory Mann) in the likeness of his late son. We actually meet the boy, Carlo, and spend some time with him and Geppetto in an endearing prologue. But it's World War 1 and Carlo is killed in an air raid. Mussolini reigns over Italy by the time Geppetto gets to work. Sebastian J. Cricket (Ewan McGregor) resides in the pine tree Geppetto uses for puppet fodder. He's a natural choice for conscience when a Wood Sprite (Tilda Swinton) brings Pinocchio to life. 

The village and Geppetto are unnerved by the animate wood boy in their midst. The impresario Count Volpe (Christoph Waltz) sees a new star for his circus, while the local Podesta (Ron Perlman) sees the perfect fascist soldier. Sebastian has his work cut out for him guiding Pinocchio down the straight and narrow. Pinocchio can die, but not for very long. He'll still have to spend a bit longer with Death herself (also Swinton), who tells him to make the most of his existence. It all comes to ahead when Geppetto meets the Terrible Dogfish.

Del Toro, along with his co-director, Mark Gustafson, and co-writers Patrick McHale and Matthew Robbins, visualize a unique take on Collodi's story. It's a tale where, instead of turning kids into donkeys, the Podesta turns them into fascist soldiers. Our introduction to the training camp is unnerving as the kids revel in their war games. It only gets creepier from there. Its themes of mortality are more obvious than in previous versions as Pinocchio is faced with outliving Geppetto. His sacrificing himself to save Geppetto is quite moving. It still has some much-needed humor, including a surprisingly funny song mocking Il Duce in-person and a sea captain Geppetto meets. Both Il Duce and the Sea Captain share an actor: Tom Kenny.

We empathize with Geppetto as he mourns for Carlo in a montage. He creates Pinocchio with the furor of Dr. Frankenstein flat out drunk. He's naturally unnerved when Pinocchio comes alive like a creaky ghost. Pinocchio himself is flippantly curious as he explores the world in song; even him setting his feet on fire is fun to him! His growing up into a selfless boy is a compelling arc throughout 117 minutes. We see him help Volpe's monkey, Spazzatura (Cate Blanchett), stand up to Volpe's abuse. We see him bond with the Podesta's son, Candlewick (Finn Wolfhard), and help him stand up to the old man. He even puts his lying to inventive use to escape the Dogfish. His unpolished design (Geppetto was too drunk to finish him!) doesn't detract from his compelling arc.

Now for a few words about Sebastian. His pompousness is amusing, while the slapstick he endures is hysterical. His chemistry with Geppetto is a nice addition to the story. He eventually proves himself just as noble as the little wooden head. You'll feel for him when he selflessly wishes Pinocchio back to life. He gets a song during the end credits after getting interrupted throughout the film. It's an OK song. But overall, you'll remember Sebastian just as well as Jiminy Cricket by the time it's done.

The stop-motion characters and their environments are perfectly crafted creations. The animators' stunning work makes these puppets as real as human actors are. Spazzatura can only communicate with monkey noises and body language. But he doesn't need to say a lot to get the audience's attention. The underworld rabbits and the two spirits are as unnerving as they are splendid. We still feel for Pinocchio despite his imperfect design. Alexandre Desplat, as usual, sets the enchanting mood right with his score. Meanwhile, his military themes befit the imposing Podesta. He also collaborated with Del Toro, McHale, and Roeben Katz, on the songs, the centerpiece of which is the stirring Ciao Papa. Both song and score are now Golden Globe nominated and they'll surely get Oscar notice next month. They should.

Guillermo Del Toro's Pinocchio resembles less of the novel than Disney's did. It does resemble the seminal manga and anime Astro Boy a bit more, though (itself inspired by Pinocchio). The film will stick with you better than not only Astro Boy's 2009 film, but Disney's recent remake as well. It's a strong story about one puppet's quest for validation. Its ending is quite powerful. I could have seen it when it was in theaters a few weeks ago, but I wanted to watch it and Disney's remake the same day (why? why not?). I found it easier to do that at home. This is the clear winner of the matchup. Netflix and chill with this unforgettable take on the famous story. Sure, it's creepy, but remember the donkey racket in the 1940 film?

I'm sure you do.

Pinocchio Double Feature Part 1: Disney

Last year, I concluded my review of Pinocchio with this:

Oh yeah, and there's also two other versions in development. One is being developed by Guillermo Del Toro for Netflix; the other by Robert Zemeckis for Disney +. Expect a few workarounds if and when I get to them.

That opportunity came yesterday. Both films in one day. Here's the Disney Plus version:

Zemeckis's version transplants Disney's 1940 film into live action. As usual, Geppetto (Tom Hanks) builds himself a puppet boy named Pinocchio that comes alive. The little wooden head (Benjamin Evan Ainsworth) is a gullible puppet who needs some guidance. So, the Blue Fairy (Cynthia Erivo) appoints Jiminy Cricket (Joseph Gordon-Levitt) as his official conscience. Pinocchio gets led astray by Honest John (Keegan Michael-Key) on his first day of school to Stromboli's (Giuseppe Battiston) puppet theater. Geppetto sets off to look for Pinocchio, who looks for Geppetto once he escapes Stromboli. Pinocchio needs to prove himself a brave and selfless puppet before he can be a real boy.

Writers Chris Weitz and Simon Farnaby don't stray far from the original animated film. Pinocchio witnessing Lampwick turning donkey even recycles the original scene word for word. It doesn't recycle its nightmare fuel, unfortunately. A few new plot elements are underutilized. In this version, Pinocchio is carved in the likeness of Geppetto's late son; too bad we don't have flashbacks of them together. The most annoying is the lopsided long arm of the law. Stromboli is arrested off-screen for his cruelty, but not Pleasure Island's coachman (Luke Evans) for his donkey racket, too. Pinocchio gets roped into Pleasure Island almost immediately after escaping Stromboli. I'll discuss more gripes later on.

Now for a few cast members. Hanks, as usual, is a nice old man as Geppetto. Ainsworth's Pinocchio gets his best moment when he recoils from the raucousness of Pleasure Island. But he frequently springs back to chipper with confusing speed. The Coachman is perfectly creepy, even more so than in the 1940 film. That's what makes his karma houdini especially annoying. Gordon-Levitt is pretty good as Jiminy and is unrecognizable with his impression of Cliff Edwards. The film's funniest moment is the opening where Jiminy the narrator argues with Jiminy the character. Wish the film had more of that. A few new characters, Sophia the Seagull (Lorraine Bracco) and Fabiana the Puppeteer (Kyanne Lamaya) are fine.  But the best performance is Key's, who is perfectly grandiose as Honest John and his rendition of Hi-Diddle-Dee-Dee is stellar. It also helps that Honest John is the best animated and composited CGI character in the entire film.

Whereas The Lion King had stunning photorealistic animals and inert character acting, its titular character has good character acting and painfully obvious CGI. He doesn't mesh well with the real world. A few other shots, including one of Jiminy in the climax, stick out like a sore thumb, too. Pinocchio and Lampwick's tour through Pleasure Island loses some luster with its length. It still gets points for inventiveness (a gondola ride that connects to a Ferris Wheel, takes them through a slide and a candy mountain, among others). Alan Silvestri's score is especially great in the climax and his renditions of the original film songs are perfect. His new songs with Glenn Ballard are fine, with the Coachman's being the best.

Pinocchio is still on Disney Plus along with the 1940 film. I don't think that this film will become as cherished as its ancestor. Its story plays second banana to its imperfect visual style. That's probably why the donkey racket isn't as unnerving as the original film (or even the recent Italian film). It'll make an OK home matinee but not much else. Stick around for part two of this double feature for a version that will stick with you beyond one matinee.

See How They Run

 The Phantom of the Opera will close on Broadway in a little over four months. But not only is that chandelier-hating Phantom staying put on the West End, there's another stage production that's staying put too. That would be The Mousetrap, Agatha Christie's detective story that opened way back in 1952. Christie was so protective of her twist ending that she forbad any film version until the play closed for at least six months. 

But director Leo Kopernick (Adrien Brody) is going to try anyway. He doesn't care for the traditional who-dun-it formula, and he especially wants to turn the ending into a dumb action movie one. This riles up writer Mervyn Cocker-Norris (David Oyelowo) and producer John Woolf (Reece Shearsmith). As Leo narrates, the first victim of a detective story won't be missed by anyone. He finds out too late that he fits that bill when someone kills him backstage while the show celebrates its 100th performance.

The actual heroes of our story, titled See How They Run, are Inspector Stoppard (Sam Rockwell) and Constable Stalker (Saoirse Ronan). They get on the case as they interview everyone connected with the play, including star Richard Attenborough (Harris Dickinson). They all have plausible motives, but they can't jump to conclusions. The actual murderer reveals himself in due time.

This marks the film debuts of TV director Tom George and TV writer Mark Chappell. The end result is a silly murder mystery romp with some legit twists. The opening scene perfectly fools us into thinking Leo is the protagonist. He still shows up in flashbacks and in a weird dream scene in the second half. Mervyn's testimony has some fun meta-humor as he decries the use of flashbacks in a scene that used them. Stoppard himself becomes a perfectly plausible suspect. The actual killer is, naturally, above suspicion. Their final confrontation perfectly plays out Leo's Hollywood ending.

The cast is fine. Rockwell and Ronan are likeable together as Stoppard and Stalker. He's an alcoholic loser and she's a diligent newcomer. Together, they fight crime! There's not much to them but they give it their all. Their superior, Commissioner Scott (Tim Key), is the best of the bunch for his hilariously skewed priorities. Dickinson as Attenborough is too likable to be a plausible suspect, while Shearsmith as Woolf is perhaps the second most plausible. Shirley Henderson eventually shows up as Christie herself and she proves to be a cool character. The actual killer's confession during the summation is a strong one.

Production Designer Amanda MacArthur and cinematographer Jamie D. Ramsey deserve praise for their recreation of 50s London. Their rendition of St. Martin's Theater is especially striking with its neon palette. Close behind them are editors Gary Dollner and Peter Lambert, whose use of split-screen adds much needed tension. That's especially useful when Stalker catches "Stoppard" in the act and chases him through the theatre. We actually believe it's one chase and not two. There's also some good tension when The Mousetrap personnel are lured into a trap at Christie's mansion. The best of Daniel Pemberton's score features in Stoppard and Stalker's climactic race to the mansion.

See How They Run never played locally during its theatrical run. I had to make do with HBOMax. It's a good way to spend time as you wait for Glass Onion. It's a nice and compact mystery film at just 97 minutes. There's plenty of Christie in-jokes during the whole affair. It's a light affair, but it got me interested in reading more about the actual case that inspired the play. It might spur your interests too.

Fiddler's Journey to the Big Screen

Of the 144 films on this year's long list for the Documentary Oscar, I don't expect Fiddler's Journey to the Big Screen to be one of the fifteen for the short list in a few weeks. But its subject is appealing, so I'm going to look at it. You should look at it too even if you know its subject by heart.

Max Lewkowicz already chronicled how Sholem Aleichem's stories of Tevye the Milkman made it to Broadway as Fiddler on the Roof in his documentary, Fiddler: A Miracle of Miracles. Daniel Raim chronicles here how Norman Jewison brought it "To (cinematic) Life." Jewison, despite the name, is a Goy, something he brought up when United Artists asked him to helm the film. He faced antisemitism for that last name alone and felt like an outsider. His experiences with social injustice influenced his directorial career, including In The Heat of the Night. In a way, he was still a reasonable choice for the definitive musical about European Jewish life. 

I've known a few of its anecdotes already. There's the Tevye casting process, for example. We see how Jewison passed up Zero Mostel, who originated the role on Broadway, for Topol, his West End counterpart. Jewison felt Mostel's towering stage presence would be too much on film. But critic Kenneth Turan makes an interesting counterpoint for Mostel's Tevye. Jewison's bemusement as he recounts how Frank Sinatra threw his hat in the ring is entertaining. It's also entertaining to hear for the first or fiftieth time to hear how cinematographer Oswald Morris rendered his Oscar-winning work through silk stockings.

It also has a few new fascinating stories. We see how Rosalind Harris, Michele Marsh and Neva Small were cast as Tevye's eldest daughters, Tzeitel, Hodel and Chava. Them recounting how Jewison went all in running lines with them is fun to hear about. We see how Lekenik in the former Yugoslavia was chosen as the primary filming location for Tevye's shtetl Anatevka. We see how the production moved to soundstages when it became infeasible to film the astounding bottle dance in the Yugoslavian winter. We see how violinist Isaac Stern was hired for the titular role's solos. John Williams, whose score adaptation won him his first Oscar, tells how he created the opening credit solo.

Its most compelling stories describe its societal relevance. Early on, we see critic Pauline Kael proclaim it "the most powerful movie musical ever," especially when contemporary movie musicals were often bloated messes. Later on, we see the interviewees go in detail about what the film means for them. Topol tells us how he channeled his heritage into his acting as Tevye. His story of his father's hardships gives one profound context the next time they see Tevye dismissing Anatevka. Yugoslavia no longer existing adds poignancy to its story of changing times. As Jewison recounts, the film moved Israeli Prime Minister Golda Meir and it was especially successful in Japan. He succeeded in making a film for everyone. "Not bad for a goy," as he put it upon accepting his Irving G. Thalburg award.

I would have liked to hear anecdotes about the late co-stars Norma Crane and Leonard Frey (Tevye's wife and son-in-law Golde and Motel) and how Jewison voiced the ghostly rabbi in Tevye's "nightmare." But these are minor gripes in an otherwise good documentary. Anyone who knows Jerry Bock and Sheldon Harnick's songs by heart will love to see Fiddler's Journey on the Big Screen. There's quite a bit to learn in just 88 minutes. I saw it on Amazon Prime, where A Miracle of Miracles is also streaming for free. That's a great double bill, a triple if you want to add Fiddler itself. 

The Quintessential Quintuplets Movie

A lot of the anime films I covered this year saw the fate of the world (in one way or another) at stake. This latest release, The Quintessential Quintuplets Movie, sees relationships at stake. It's a nice change of pace as the year winds down.

The film concludes two anime seasons adapted from Negi Haruba's manga. Naturally, those familiar with the titular quintuplets - Ichika, Nino, Miku, Yotsuba and Itsuki Nakano - and their classmate/tutor Futaro Uesugi, will be the most invested to see which sister will go to the altar with him. There's no question about it since the story is framed around their wedding day. But when the sisters all show up all looking the same, he'll have to point out which one's who...

Meanwhile, in the past, Futaro and the Nakanos prepare for their fall school festival. A lot happens over these three days. Ichika's acting career takes off; Futaro helps Nino bond with her distant stepfather, Maruo; Miku plays peacemaker between rival food stands; Yotsuba overexerts herself helping out everywhere; and Itsuki gets an unwelcome visitor. Futaro promises the Nakanos that he'll profess his love for one of them at festival's end. How will it work out?

It's a relatively gentle film with a harsh runtime: 135 minutes. There are still some interesting flashbacks with the girls, then indiscernible, with their late mother, Rena, and of the eventual lucky girl with a disguised Futaro (long story). It's nice to see them fight to stick together when said girl nearly flunks school. A good portion of the story is dedicated to showing the festival from each girl's perspectives. They aren't what-ifs despite each segment being titled "If the last festival was (x)." But they still give them plenty of nice character moments. 

 A subplot that could've been better is Mudo, the girls' deadbeat biological dad. He shows up trying to atone, pathetically, and beats it once he gets called out. His arrival is treated with seriousness and his departure is no big deal.

Its ensemble will easily welcome newcomers to the story. Futaro's ego flashes are entertaining and his relationships with the Nakanos are charming. The five Nakanos are equally plausible lucky girls thanks to their charming personalities. One of the sisters doesn't take the choice well, but she comes around by wedding day. That's good because the Nakanos and Futaro are so hard to dislike. You'd hate to see them quarrel. Meanwhile, Maruo gets his best moments when he proves himself a caring stepdad and Rena is a warm presence. Another new character, Takebayashi, seems like a rival for Futaro's affections, but she quickly turns out to support him and the Nakanos. Overall, the only character truly unlikable is Mudo.

Now for the quintessential technicians. The vibrant animation by Bibury Studios is easy on the eyes. Add in a score by Hanae Nakamura and Miki Sakurai and this high school love story is surprisingly sentimental. An accidentally disorienting moment is when Nino fronts a pop group during the festival. Their song is dubbed but it's still subtitled. The subtitles don't match the dub lyrics. I saw the film dubbed, and I wouldn't bring it up if I saw it subbed. That aside, it's still an entertaining pop number.

This is probably the perfect anime film for a date night. The Quintessential Quintuplets Movie is a feel-good-movie all the way through. You'll be invested in the story even if you haven't read the manga or seen the prior seasons. It'll surely appeal to you in either subbed or dubbed formats. But you'll have to hurry soon before it's out of theaters. It's a long way before it hits home media.