Migration

Let's not waste any time with Migration. It's not a bad film, but the New Year is hours away and this film is just 83 minutes long. Let's see how Illumination did with its 14th film.

We find a family of Mallards somewhere in New England. Dad Mack Mallard (Kumail Nanjiani) is a worry-wort who refuses to leave the comfort of his forest. That doesn't sit well with mom Pam (Elizabeth Banks), and kids Dax (Caspar Jennings) and Gwen (Tresi Gazal), who want to see the world. One day, they meet another flock of ducks on layover for their migration to Jamaica. The prospect sounds fun for Pam and the kids, but Mack only agrees to migrate after a talk with cranky Uncle Dan (Danny DeVito). They accidentally migrate to Manhattan, where they have misadventures with a flock of pigeons and a vicious chef. They'll have to toughen up to get in the right direction. 

That's basically it.

Since the film's been trailered, often, since April, quite a few of the gags aren't that fresh. A few of them are amusing, such as pigeon boss Chump's (Awkwafina) difficulty crossing the street, but you'll have persistent deja-vu as you watch it. That doesn't mean there are surprises. Its darkly-funny opening has Mack tell the kids a morbid bedtime story, while Pam tries to overrule the downer ending. The creepy Erin the Heron (Carol Kane) ends up being more eccentric than dangerous. The Mallards' approach to Manhattan includes a pretty fun cloud fight. Salsa figures into the plot in an amusing fashion. My biggest surprise is realizing that its director, Benjamin Renner, is the same man who directed the Oscar-nominated Ernest and Celestine. Anyone more familiar with the film will see his influence in the water-colored bedtime story.

The Mallards are pretty basic archetypes but are still likable. Mack's cynical personality is amusing to listen to thanks to Nanjiani's animated voice work. Pam's a good voice of reason, while Uncle Dan's motivating speech for Mack is a brutal and unironic bait-and-switch. The Kids are fine, but it's decently compelling to see them mount the climactic rescue of their parents. The Chef only vocalizes with growls to the point there's no actor listed for him in the credits. It doesn't take long to know who he is when he violently tosses a quivering cook's duck a l'orange on the floor. Its most compelling character is Delroy (Keegan Michael-Key), the Chef's homesick parrot who jumps at the chance to guide the mallards. 

Its avian cast is aided by a strong visual team. You'll remember the vivid color palette as much as you'll remember its cast's eclectic designs. The Mallards' home forest is simply stunning in fall, while the layover flock's blue feathers are striking. Its version of Manhattan is grittier than that in The Secret Life of Pets, but it's still appealing in its own way. Its most appealing locale is, ironically, the creepiest. It's a duck "paradise" whose actual purpose is beyond obvious. The flying scenes look good, but John Powell's score makes them as majestic as those in the How to Train Your Dragon films. You gotta see the cloud fight scene.

Migration will make for a quick and easy family matinee. It's clearly made for kids, but I think adults will find some fun with it. They'll find even more fun with the opening short, Mooned, in which Despicable Me's Vector (remember him?) tries to escape the moon where he ended up in that film, only for the oblivious Minions to get in his way. His wacky gadgets are hilarious, and he's almost pitiable in his failures. It's a great opening for a harmless animated film. That's it for this year.

Rebel Moon - Part One: A Child of Fire

 It's time to get the last few reviews out for the year. 

Rebel Moon - Part One: A Child of Fire, Zack Snyder's reworking of his Star Wars movie pitch, is the first up at bat. It's essentially a sci-fi Seven Samurai as much as Star Wars was essentially a sci-fi The Hidden Fortress. Of course, some may recall that 1980's Battle Beyond the Stars was also a sci-fi Seven Samurai. But I'd imagine the older film is better than this.

As Jimmy the Droid (Anthony Hopkins) narrates, the galaxy is ruled by the evil regent Balisarius (Fra Fee) of the militaristic Motherworld. The Motherworld's been at a civil war with rebels ever since their former king (only referred to as "The Slain King" and cameoed by Cary Elwes) and his family were assassinated. Balisarius dispatches the evil Admiral Noble (Ed Skrein) to the farming moon of Veldt to get some grain. The Veldtians balk at Noble's high quotas, so he makes an example out of their elder, Father Sindri (Corey Stall). He promises to come back for his grain, though he doesn't promise to leave them in peace.

One of the Veldtians is actually Kora (Sofia Boutella), a former Motherworld soldier, who, along with her friend Gunnar (Michiel Huisman), decide to round up the magnificent space samurai. There's the Han Solo-type, Kai (Charlie Hunnam), beastmaster Tarak (Staz Nair), gladiator Titus (Djimon Hounsou), cyborg swordswoman Nemesis (Doona Bae) and the rebel leaders Darrian & Devra Bloodaxe (Ray Fisher & Cleopatra Coleman). They naturally have to stay one step ahead of Admiral Noble and his forces. But can all the magnificent space samurai be trusted?

The film's biggest problem is its storytelling. It takes about forty minutes before Kora and Gunnar set off to find the magnificent space samurai. We soon see them gather the warriors, after which they have final battle with Noble and that's it. It's rather easy to zone out during its tedious exposition dumps. I was reminded during them how George Lucas's original lengthy title crawl for Star Wars had to be edited greatly; imagine if there was no oversight and you have this film. It draws out scenes like Kora rescuing her friend, Sam (Charlotte Maggi), from Motherworld goons, to an annoying crawl. It's a somewhat short epic film at 134-minutes, though it certainly felt longer and incomplete. 

This is actually an incomplete movie. It has a director's cut coming in a few months right when Part Two, The Scargiver, comes out. This is a Netflix movie, which is rarely bothered by showtime restrictions, so why not make a full version the first time? This arrangement leaves it with a few oddities. Kora saving Sam is obviously edited for violence until she whips out a blaster. Nemesis's debut has her rushed into a contextless battle with the spider-woman Harmada (Jena Malone). That sequence looks good, and it heavily justifies it being shortlisted for the Visual Effects Oscar, but a bit more development could have helped. Jimmy and Aris (Sky Yang), the latter being a sympathetic Motherworld soldier, are not only likable, but are glorified extras. I can go on, but I won't.

But I will go on about what worked. Noble's dialogue with the Veldtians is affable, but tense, considering that this is a man who could have a planet flash-fried if he's angry. His murder of Sindri is a tense outburst of violence. We barely see Balisarius in this instalment, but when he first appears in a flashback, he welcomes the possibility of young Kora shooting him. It's as chilling as it sounds. Tarak's debut has him tame a space griffin, Bennu, to win his freedom from Hickman (Ray Porter), the farmer holding him in debt. Tarak's brutal surprise for Hickman makes him the most memorable of the magnificent space samurai.

 Let's not forget the visuals, as everything from the production design to its creatures are as wonderfully eclectic as Star Wars's. Jimmy, played on set by motion capture actor Dustin Ceithamer, looks like a real animatronic at times. Its creepiest crawlie is a parasite that talks by possessing an unlucky corpse (James William O'Halloran). It's also pretty cool how Nemesis's lightsabers look like molten magma. Its CGI is great, overall, but its makeup team deserves major credit for its practical aliens. Its grand tone is accentuated by another memorable score by Tom "Junkie XL" Holkenborg. 

What do I think of Rebel Moon: Part One - A Child of Fire? It's an OK movie; it could have been told a lot better but it's not really awful. It still looks great, and I wouldn't mind it being placed on the final ballot at the Oscars. Let's hope The Scargiver sets this new sci-fi universe's momentum to lightspeed. I don't think I'll put the director's cut on my docket, even if Snyder says it's going to be a different movie, but that's just me. I'm sure others will put it on their playlists in no time. That's it for now. 

Maestro

It's been five years since Bradley Cooper made his directorial debut with the remake nobody knew they wanted. He makes his encore with Maestro, in which he embodies the one and only Leonard Bernstein himself. Let's see how he did.

Actually, let's first see how the makeup team, supervised by the twice Oscar-awarded Kazu Hiro, did. When we first see Leonard, he's about seventy and playing piano for a news crew. I've seen videos of him conduct the 1984 recording of West Side Story, and the 1989 Candide concert (which, as of this sentence, I'm listening to now), and when I first saw stills of Cooper in old man makeup, I legitimately thought it was Leonard himself. He also ages Carey Mulligan - as Leonard's wife, Felicia Montealegre - to stunning unrecognizability. Do your own comparison and you'll understand why Hiro's third Oscar is pretty much inevitable.

The movie formally begins in 1943, when Leonard is asked to fill-in at the last minute for the Philharmonic's Bruno Walter for a concert. His triumphant debut is followed by him meeting Felicia at a party. They get married in 1951, though he has to break it off with his longtime boyfriend, David Oppenheim (Matt Bohmer). Felicia is understanding of Leonard's bisexuality, but not of his continuing affairs and his towering ego. By the 1970s, Leonard and Felicia's marriage is on the rocks, though they eventually affirm their love for each other before it's too late. That's basically it.

Cooper's performance isn't completely overshadowed by the makeup artistry. He greets his last-minute gig with infectious elation and his love for his craft is palpable when he conducts. On the downside, he can get pretty cold with his loved ones, including his daughter, Jamie (Maya Hawke), when he tries his hand at rumor control. I'll discuss him a bit more when I get to Felicia, but I'll skip ahead to some pivotal bits. While she accuses him of conducting "with rage in [his] heart," his reaction to her terminal diagnosis and his climactic conducting of The Resurrection Symphony shows the genuine love. 

Mulligan's performance perfectly complements Cooper's. Felicia and Leonard's relationship is initially radiant - a bit ironic since Matthew Libatique films their early years in stark black-and-white - and it's quite enjoyable to see them fantasize themselves in On The Town. It's also nice to see them rejoice over her Broadway debut in If Five Years Pass. The honeymoon years officially end once the film switches to color. By then, she's worn down by age and exhaustion, which finally explodes during a Thanksgiving argument where rips his ego apart. Still, they get a nice reconciliation after The Resurrection Symphony. 

Does anyone else get time to shine? Sarah Silverman stands out as Leonard's sister Shirley, who gives him and Felicia much needed emotional support. Michael Urie, Nick Blaemire and Mallory Portnoy make the most of their cameos as some of Leonard's future musical collaborators, Jerome Robbins, Adolph Green and Betty Comden, respectively. Let's not forget Hawke, who as Jamie, tries to make sense of her parents' rocky relationship.

Naturally, the soundtrack is populated by a setlist of Leonard's accomplishments. They all sound great as conducted by the London Symphony Orchestra. His musical debut, accompanied by his overture to On The Waterfront, is a small sample of the spectacular work of the now Oscar-shortlisted sound designers. It's not just the music, but the busy chatter, that perfectly accentuates the scene. Libatique also gets points in that scene with his long take of Leonard making his way to the theatre. The rest of the film spotlights a few of Leonard's lesser-known works like A Quiet Place and Trouble In Tahiti as much as his crowning achievements. 

Maestro is a film that resonates with repeated viewings. Its rather familiar plot - I was repeatedly reminded of the Cole Porter biopic De-Lovely - was just fine on the first watch. I genuinely understand its intricacies as I watch it a second time while I type this review. Its central relationship is decently compelling all the way through. It's ready for you to stream on Netflix. Who knows, it might resonate with you much quicker than with me. That's it for now.

The Color Purple

Alice Walker's literary magnum-opus, The Color Purple, already made its cinematic way in the form of Steven Spielberg's 1985 film. That film saw both Whoopi Goldberg and Oprah Winfrey in their first film roles and ultimately tied with the 1977 ballet drama The Turning Point for the biggest Oscar shutout of all time: no wins out of 11 nominations. 

Hopefully, this new adaptation, which is primarily based on the 2005 musical by Marsha Norman, with songs by Brenda Russell, Alle Willis and Stephen Bray, will fare better in the upcoming Oscar race. It certainly deserves an award or two.

The story follows roughly forty-years in the life of Celie Harris (Phylicia Pearl Mpasi), who, at the turn of the 20th-century, lives in Georgia with her sister, Nettie (Halle Bailey) and their abusive father, Alfonso (Deon Cole). Celie is already twice pregnant by her "Pa," who gives away both kids to be adopted, and her away to be married to a farmer, Albert "Mister" Johnson (Colman Domingo). Albert is no better than Pa; when Nettie runs away to live with them, Albert tosses her out, but not before she promises to write to Celie. Cinematographer Dan Laustsen then inventively shows the years and seasons progress in a single shot around Albert's house, which ends with Fantasia Barrino taking the stage as the older Celie.

Celie's unhappily married life gets a bit better when Albert's mistress, blues singer Shug Avery (Taraji P. Henson), comes to town. Shug shows Celie the first bit of friendship she's had in years, which eventually grows romantic. Celie also befriends Sofia (Danielle Brooks), her stepdaughter-in-law, who refuses to let anyone push her down. Her new friends help Celie stand up to Albert and to reconnect with her past. 

Director Blitz Bazawule (Black is King) and his screenwriter, Marcus Gardley, don't directly transplant the original stage play into film form. That much is obvious considering quite a bit of the songs have been cut, allowing a new score by Kris Bowers and a few additional songs to come in. The songs that survived, from Sofia's rousing I Am Song Hell No to the emotional titular finale, are dynamite. The fantasy numbers accompanying a few of the numbers are spectacularly visualized, which is no surprise considering The Shape of Water's production designer, Paul Denham Austerberry, is this film's PD, too. Miss Celie's Blues, the first film's Oscar-nominated song, gets an appealing reprise, while this film's Oscar-shortlisted Keep It Movin', gives Celie and Nettie one last needed bit of levity.

Mpasi and Bailey have such great sisterly chemistry from their first song onwards. We definitely feel for them when they're put through the ringer in the first half-hour or so before their separation. Bailey makes for a strong presence even when that is limited to her voice-over narration. Barrino, as the older Celie, is dynamic as she finds her courage, whether she seriously contemplates murdering Albert or actually standing up to him at a Thanksgiving dinner. Her romantic chemistry with Henson's Shug may satisfy those unsatisfied with the first film's bowdlerized relationship.

Shug, by herself, maybe a diva, but it's her kindness to Celie that puts her on top. She even provides the title drop, her way of telling Cellie that there's beauty in the world. It's just as moving as it was when Margaret Avery played the part in the first film. But little compares to Brooks's screen presence, who, as Sofia, fights to maintain her dignity in a cruel world. That makes it harrowing when she's arrested for slugging a racist mayor and her dignity disintegrates after a ridiculously long prison sentence. You'll still cheer inside when Celie's aforementioned Thanksgiving fight restores Sofia's sense of humor. 

Now for a few other characters. It doesn't take long before we despise Pa, and it takes a bit less before we also despise Albert. Albert, however, eventually realizes how cruel he's been and makes legitimate amends. Him showing his son, Harpo (Corey Hawkins), his approval at the end, is sincerely moving. His final gesture to Celie helps give the film its happy ending. A bit less sympathetic is his father, "Old Mister" (Louis Gossett Jr), who's just a rude old man. Harpo, meanwhile, is fine, while his mistress, "Squeak" (Gabriella "H.E.R." Wilson), is another great member in Celie's social circle. Goldberg even pops in as Celie's midwife at the start, which makes for quite an early surprise.

I've only seen bits of the first The Color Purple, but I think this musical adaptation does right by the original story. Its moving story, phenomenal cast and stellar production values make this a memorable movie musical experience. It's worth seeing it in theaters just to hear your fellow audience members react. Indeed, their reactions made for a lot of joyful noise. See it soon and you might agree with me.

Aquaman and the Lost Kingdom

It has been ten years since Man of Steel, the first of what has since been called the DC Extended Universe, set off countless internet arguments with its debut. These arguments might finally subside now that the last DCEU film, Aquaman and the Lost Kingdom, has washed ashore into theatres after a heavily protracted production.

Or not...

Arthur Curry/Aquaman (Jason Momoa) was crowned King of Atlantis at the end of his last movie. He finds the political life boring, particularly with a ruling council who persistently overrule him, while he's in his element as a superhero and father. Meanwhile, David Kane/Black Manta (Yahya Abdul-Mateen II) is still bitter over Arthur having left his dad, Jesse (Michael Beach in the last film), to die aboard the submarine they hijacked. He gets an evil Black Trident and invests in orichalcum, an ancient power source which accelerates global warming to ludicrous speed. Arthur decides to spring his half-brother and Kane's former collaborator, Orm (Patrick Wilson), from prison to help him stop the end of the world.

Oh yeah, wasn't there supposed to be a Lost Kingdom? It's in the title. Well, this Lost Kingdom is Necrus, a kingdom of undead merpeople ruled by Arthur's (several times) Great Grand Uncle, Kordax (Pilou Asbaek). It's his trident that Kane holds and is his conduit to talk to Kane. Kordax promises Kane awesome power if he releases him from his icy tomb. He just needs someone of royal Atlantean blood to sacrifice. So, global warming and fish zombies? What a mixture for our heroes to handle. Everybody got that?

I think I summarized all the essentials of this movie, which has four writers (including director James Wan and actual screenplay writer David Leslie Johnson-McGoldrick) working on it. While Kordax's spirit appears throughout the film to tempt Kane, it's only in the last hour that we fully learn about Necrus. That's just one bit of exposition clearly damaged by the countless reshoots. I didn't mention this in my Aquaman review, but I found it hard to sympathize with Kane there for his extreme moral myopia. It's barely different here, so much that there's barely any difference between his normal attitude and him being possessed by Kordax, though his casualness towards a dissenting minion is quite refreshing. 

Its star's performance is also refreshing. Momoa's boisterousness as Arthur is delightful, particularly in the opening where it switches between him fighting pirates and him narrating the adventure to his son. His chemistry with Orm is pretty decent even if you can see the ending a mile away. The aforementioned minion is Dr. Shin (Randall Park), a character I had forgotten about in the first Aquaman. He's a good scientist distressed by his employer's evil schemes and is easily the film's most sympathetic character. Jani Zhao makes a good impression as Kane's loyal first mate, Stingray, while Martin Short is a welcome surprise in the mo-cap role of the undersea crime-boss Kingfish. 

The undersea creatures, from the returning Brine King (John Rhys-Davies) or the new octopus Topo, are imaginative CGI creations. A few creatures Arthur and Orm meet on Kane's private island, particularly a swarm of ravenous giant grasshoppers, are pretty creepy. Unfortunately, much of the other CGI effects don't mesh well into their scenes. It's particularly noticeable in the climax when our heroes and villains converge onto Necrus, which is hidden under Antarctica. Its best effects turn Orm into a puny prisoner when Arthur finds him. It's so seamless unlike the green smoke and ice we see. 

Aquaman and the Lost Kingdom isn't a perfect movie, but its star gives it his all for the DCEU's last hurrah. It's a decently entertaining film that should make for a good holiday matinee. It's a relatively quick and somewhat easy matinee at 124-minutes. So, what do we do now that this continuity is done? Why, catch up on a few other movies, of course!

 Hopefully, James Gunn will make it fun to believe that a man can fly when his Superman reboot, Superman: Legacy, flies in a few years' time. We'll be waiting.

Wonka

Ladies and Gentlemen, my name is Jethro and I'm here to tell you about the year's most scrumdiddlyumptious film. So, quiet up and listen down - scratch that, reverse it - as I prattle on about Wonka!

(Barker Mood Off)

So, how did this prequel come about? Well, it all started when Paramount released Willy Wonka and the Chocolate Factory, based on Roald Dahl's Charlie and the Chocolate Factory. When Paramount lost interest in the film, Warner Bros adopted it, and eventually re-adapted the book into a Tim Burton film and a direct-to-video Tom and Jerry movie. The Dahl estate soon partnered with Netflix but allowed Warner Bros. some leeway to produce this prequel. That brings us up to here.

Here, we find Willy Wonka (Timothee Chalamet) as an aspiring chocolatier who arrives to make his fortune in an unnamed city. Its Galeries Gourmet is ruled by the "Chocolate Cartel" of Arthur Slugworth (Paterson Joseph), Gerald Prodnose (Matt Lucas) and Felix Fickelgruber (Matthew Baynton), who abhor the poor and competitors alike. These three try to keep Wonka from selling his fantastical wares with the help of a chocoholic police chief (Keegan Michael-Key).

Wonka is also roped into indentured servitude by the crooked innkeepers Mrs. Scrubbit (Olivia Colman) and Mr. Bleacher (Tom Davis). Wonka teams up with the orphaned Noodle (Callah Lane) to free themselves and Scrubbit's other servants. All they have to do is break the cartel's chocolate monopoly with his own shop. It's not easy, for they have to procure certain ingredients, avoid the police and contend with Lofty the Oompa Loompa (Hugh Grant), who keeps robbing him at night. Surely, they can do it, right?

Director Paul King reteams with his Paddington 2 co-writer, Simon Farnaby, for this cinematic confection. They also co-wrote the songs with Neil Hannon, not counting the few classics from Willy Wonka by Anthony Newley and Leslie Bricusse that show up. They're all pretty catchy and if there's any flaw, it's that Wonka's first sale song, You've Never Had Chocolate Like This, is too short. The reprise, thankfully, is longer and just as catchy. The Cartel's villain song and the Servants' work song are the catchiest of the numbers. While we're at it, let's give props to the arrangement for Oompa Loompa and Joby Talbot's original score.

The story these songs accompany blends sweetness with Dahlian whimsy. Never is that mixture most evident in a subplot involving Basil the Guard (Farnaby), which pays off in the climax. Meanwhile, there's some delicious satire as the cartel engages in chocolate bribery and the clergy worships chocolate itself. On the purely sweet side, Wonka and Noodle's friendship is engaging, while Wonka's late mom (Sally Hawkins) gives him a decent motivation. Her parting words on his keepsake Wonka Bar give the ending a surprising pinch of emotion. Trust me, you'll feel something once he shares it.

This Wonka's naive optimism hooks us from the first number onwards. We're in awe of the Galeries Gourmet as much as he is thanks to Chalamet's particularly pleasant singing. We already feel sorry for him when that first number ends as he loses all of his meager savings. He never loses that likability during the rest of the film. We can't even fault him too much when Lofty outwits him during their first meeting. We're even as surprised as he at the depths the villains are willing to go. He bounces back when he finally outwits the Chocolate Cartel.

Let's rundown a few of the cast. Bleacher, Scrubbit and the Police Chief almost had me convinced they were pretty reasonable people. After all, the former two took in Wonka out of the kindness of their hearts, while the Chief shows some integrity turning down chocolate bribes. But they soon prove themselves formidable, yet amusing, villains before long. The Chocolate Cartel also make for funny bad guys, though Slugworth becomes less so once we learn Noodle's backstory. Speaking of Noodle, she's a compelling co-lead and easily the best of Wonka's co-workers (close second is Jim Carter's Mr. Crunch). Hugh Grant is fine as Lofty, while Rowan Atkinson puts in a memorable cameo as the chocoholic Father Julius. Let's just say this ensemble is another good ingredient in this mixture.

No Name City is a splendid place even if it's not that technically perfect. The film's CGI mostly stands out like a sore thumb, particularly when some of Wonka's first customers get an odd side-effect. A bit better CGI is used for a Giraffe who figures into Wonka and Co.'s climactic scheme. The best effects are the flying people and the Hoverchocs responsible for their state. The Police Chief's ballooning figure and the other villains' wacky hairstyles are the makeup team's crowning achievements. The practical sets designed by Nathan Crowley are as spectacular as Lindy Hemming's colorful costumes. Who knows if the Academy will notice Crowley and/or Hemming's work as much as you will.

Wonka will make for a nice holiday matinee. Its likable lead and catchy songs will help make its 116 minutes go by pretty quickly. Its ending might make one question how a sequel would adapt the book, but I think it can get by with a bit of wiggle room. Then again, I also think it won't get a sequel for reasons above. It's still a good movie, though. See it soon and you might agree.

Past Lives

It's been a while, but it's time for another episode of "I Could Have Seen It ... It Was Playing." Today, we look at Past Lives, a romantic drama that played twice in my area since it came out in June. I don't have a good excuse for why I didn't go. I finally made time for it with an Amazon Rental, so let's get on to it.

Playwright Celine Song's first film chronicles 24 years in the lives of two South Korean friends, Nora and Hae Sung. As kids, Nora - then Na Young (Seung Ah Moon) - and Hae Sung (Seung Min Yim), were pretty close, but were growing closer by the time she and her family moved to Canada. Twelve years later, Nora (Greta Lee) is a Manhattan playwright, while Hae Sung (Teo Yoo) studies engineering back at Seoul. Nora reconnects with Hae Sung when she notices him asking for her on Facebook. They soon video call each other but they don't reconnect in-person for another twelve years. How much has changed since then?

Nora and Hae Sung have great chemistry whether they're in the same city or not. They feel like old friends the moment they reconnect on Skype. You'll feel the pleasantness as they catch up on old times throughout their subsequent chats. You'll soon feel their longing for each other as both of them want to visit each other but are unable to go first. By the time they reunite in person, they're quite older and Nora has even married fellow author Arthur (John Magaro), but you'll still feel their mutual attraction. They soon spend the third act wondering what their lives could have been. Overall, the film's story will resonate the most with anyone who's ever had a long-term long-distance relationship. It's quite a splendid story.

What else can I talk about? Arthur, the only other significant character, is a likable guy. We sympathize with him as he worries about being the third wheel, and thankfully, he doesn't turn antagonistic at all. It may be about Nora and Hae Sung's relationship, but the film develops Nora and Arthur's relationship rather well. The MVP on the technical side is cinematographer Shabier Kirchner. His work, whether in close-ups or a long climactic wide shot, perfectly spells out Nora and Hae Sung's mutual longing. His exquisite location filming in New York and Seoul makes for a good travelogue of both cities. I especially liked the serene countryside in Montauk, where Nora and Arthur meet during a writer's retreat. I think you will too.

Past Lives actually opens up with two un-seen people observing Nora, Hae Sung and Arthur at a bar late into the film. They speculate what these three strangers are to each other before the film flashbacks. It's as if the film is saying "Do you want to know? Well, come on in." Enter their world, whether on streaming or physical media, for the most compelling long-distance relationships in modern film. This is a film you will rightly hear more about in the next few months. As for me, I'll prepare for my next review, the first year I will ever make it past 100 posts. 

The Boy and the Heron

 Well, it's finally about time I get to review a Hayao Miyazaki movie. 

A decade ago, I was denied the opportunity to review his "final" film, The Wind Rises, due to a paltry limited release. But now, I get to review his "final" film, The Boy and the Heron. No, I'm not kidding about the "final" film part. I'll elaborate why in the conclusion.

During World War II, 12-year-old Mahito Maki (dubbed in English by Luca Padovan) loses his mother, Hisako, to a hospital fire. He relocates to the countryside with his father, Shoichi (Christian Bale) and his stepmother - previously his aunt - Natsuko (Gemma Chan), who is now expecting his stepsibling. Mahito struggles to adjust to his new living situation to the point he bashes his head with a rock after a schoolyard brawl. One day, he spots Natsuko walk into a nearby tower and disappear. 

A gray heron guides Mahito into the tower, which actually contains a magical world full of talking birds. It seems that Mahito's mother is alive there and it's up to him to save her. At least, that's what the heron, who is actually a squat dude in a heron costume, is saying. He also meets Himi (Karen Fukuhara), a girl with fire magic, and Kiriko (Florence Pugh), one of Natsuko's maids as a younger woman. Mahito even meets his granduncle (Mark Hamill), a famous architect, who offers him the job of maintaining the other world. Will he take the offer?

Its first hour unfolds slowly as we see Mahito adjust to his new life. Several silent scenes, including one where he reads from a copy of the real-life novel How Do You Live? (which is what this film was called in Japan), perfectly spell out his loneliness. Mahito hitting himself with a rock is as unsettling as you can imagine. It takes quite a while before we realize the heron can talk and even longer before he guides Mahito into the tower. In the fantasy world, we get a similarly slow plot and insufficiently explained plot points. The climactic revelation of Himi is, for example, doesn't have a moment to sink in. Maybe I missed the clues, which I'm willing to look for whenever I see the film again.

The film is livened by its titular co-protagonist. The Gray Heron pesters Mahito at the start and him leading Mahito to a fake Hisako is low. But we still pity him when Mahito shoots through his beak with an arrow made from his feather. From then on, he's a likable birdman even at his most cowardly, and he even gets points back for saving Mahito from carnivorous parakeets. His raspy voice is dubbed in English by an unrecognizable Robert Pattinson, and you'll be floored by his range. His Japanese voice was dubbed by 30-year-old actor and singer Masaki Suda, and from what I've heard of him from a teaser trailer, it's another impressive turn.

Now for a few notable supporting characters. Pugh's range as Kiriko is another dub standout as she goes from young mariner to old maid. Her old maid self is another likably sneaky character, though she's effectively serious when she needs to be. The warawara, a bunch of white blobs, are cuddly little creatures whom we pity when a flock of pelicans beseech them. We also pity a dying pelican (Willem Dafoe) when he explains why he attacked them. The Parakeet King (Dave Bautista) is a noble, yet short minded ruler, while his subjects (one of whom is Dan Stevens) are funny even at their most unnerving. Anyone familiar with Miyazaki will see him in the Granduncle as he discusses the perilous state of his world. In other words, is he talking about another dimension or Ghibili itself? That adds plenty of profoundness when he converses with Mahito. 

Ghibli's vibrant art style persists well into the age of digital ink-and-paint. The characters and the actual hand-painted backgrounds are as pleasant to look at as much of Ghibli's past films. It's even alluring at its most nightmarish, particularly with the opening fire and the heron's design. The fire is a haunting blur as people flee the flames while Mahito rushes towards them. The heron, meanwhile, is surreal as we see his human face, most noticeably his teeth, protrude from his beak. It only becomes goofy once he's unmasked. These splendid sights are accentuated by another splendid score by Miyazaki's longtime collaborator, Joe Hisaishi, who got his first Golden Globe nomination yesterday. Is the Oscar next?

Miyazaki has said his next film will be his last ever since 1997's Princess Mononoke. Will The Boy and the Heron be his final, for real this time, anime masterpiece? At least one associate basically said "no, he's got plenty of ideas left," and I'm interested to see him realize at least one of them. This idea has resulted in a slow, somewhat confusing film, that might improve upon a few viewings. Still, your first one will be greatly improved by a decently compelling lead, a strong supporting cast, and spectacular voice work. See it subbed or see it dubbed, for you'll still get a decent film overall. That's it for now.

Godzilla Minus One

Let's get something out of the way.

Godzilla Minus One is one of the best films of the year, and perhaps the best Godzilla film ever. There's quite a lot to like about it, but a few commentors like it because it's not a political movie. Did we watch the same movie? Let me spell out a few themes as I summarize it:

Our hero, Koichi Shikishima (Ryunosuke Kamiki), is a kamikaze pilot who, in the last days of World War II, gets cold feet and detours to Odo Island for "repairs." Godzilla shows up that night and kills everyone except Koichi, who froze up when he tried to shoot at Godzilla, and mechanic Sosaku Tachibana (Munetaka Aoki). Sosaku and Koichi's neighbor, Sumiko (Sakura Ando), blame Koichi for letting their friends and loved ones die. 

Koichi tries to live in "zero state" Japan, along with his new girlfriend, Noriko Oishi (Minami Hamabe) and their adopted orphan, Akiko (Sae Nagatani), but his survivor's guilt makes it extremely difficult. He finds some solace as a minesweeper on a dingy manned by engineer Kenji Noda (Hidetaka Yoshioka), captain Yoji Akitsu (Kuranosuke Sasaki) and fellow greenhorn Shiro Mizushima (Yuki Yamada). Godzilla soon returns, bigger and angrier, following Operation Crossroads, and he's out to take it out on Japan. It's up to Noda to rally a civilian army, Koichi included, to deal with the King of the Monsters when neither their own government nor the US are willing to.

What themes did director & writer & co-visual effects supervisor Takashi Yamazaki include? One of the most obvious is the mental health of veterans; some of the most unnerving scenes not involving Godzilla are Koichi's PTSD nightmares. That's sure to bring the struggles of modern veterans into perspective. It takes a needed pep talk for Koichi to take on Godzilla. As with Shin Godzilla, it also stresses the importance of the common man defending their country when their government won't. You'll cheer inside when Shiro, who never saw combat experience, rallies a fleet of tugboats that help stall Godzilla long enough for Koichi to finish him off. 

Oh yes, let's not forget some of the biggest. The film makes it clear that war isn't something to be proud of. You'll sympathize with Koichi for his initial desertion, as him only living to die so others may live is a harrowing prospect. To him, there's no point in fighting when the outcome is obvious. A few other guys are understandably reluctant to put their lives on the line again. You'll still rally behind those that stay and fight the unreasonable force of nature. And, as with the first film, it's very much opposed to nuclear weapons. Have I made myself clear?

Koichi is a sympathetic protagonist, but how about his castmates? His familial relationship with Noriko and Akiko is endearing, which makes the midpoint seemingly devastating. The minesweeper crew is a likable and quirky bunch, and you'll be impressed as Noda lays out his plan to kill Godzilla (sink him with freon, and if that fails, float him back up and let decompression take care of him). Sosaku and Sumiko, as harsh as they are on Koichi, are both sympathetic as they deal with their own losses, and they both help him in the end. Their human drama is so compelling that you'll shake in your seat as Godzilla menaces them.

If there's an advantage to creating Godzilla with CGI, as this film does, rather than a man in a suit, it's the expressiveness. This Godzilla announces his presence by throwing the nearest heavy object (ie, a train) and he views the puny humans in the climax with palpable rage. His rampage across Ginza is accentuated by Akira Ifukube's iconic, booming score and is capped off by his atomic breath vaporizing the district. His initial attack on Odo Island has a spectacular jump scare and his initial form, which kind of resembles his 1998 variant, is as imposing as his final form. Overall, Yamazaki and co-supervisor Kiyoko Shibuya's effects are quite seamless, while the new score by Naoki Sato emphasizes the film's gravitas.

Godzilla Minus One is a very serious film whose storyline hits as hard as Godzilla's atomic breath. It's a film you'll want to stay through the ending credits even as it lacks a post-credit scene. Its coda is instead a stunning display of sound design as his booming footsteps draw closer and closer. If I had time to watch films in theaters multiple times, this would be one of them. It's just that great, and hopefully, Godzilla's return to theaters in April's Godzilla X Kong: The New Empire is just as good in its own way. That's it for now.

Saltburn

 This Christmas, as you make your guest lists and check them twice, check them again. You may never know if the downtrodden stranger you just met wants to take over your life. At least, that's the implied message in Emerald Fennell's second feature, Saltburn. Let's see what you think of it.

It all starts in 2006 at Oxford. Oliver Quick (Barry Keoghan) is a scholarship student snubbed by his richer classmates. He admires the adonis on campus, Felix Catton (Jacob Elordi), and formally meets him when Felix gets a flat. Felix pities Oliver for his sad backstory and invites him to his estate, Saltburn, after Oliver's dad overdoses. The titular estate, which was filmed at the actual Drayton House in Northamptonshire, is quite spectacular to say the least. Who can blame Oliver for not wanting to leave?

He gets along fine with Felix's parents, Sir James & Elspeth (Richard E. Grant & Rosamund Pike), who both view him with condescending compassion. He attracts the interest of Felix's sister, Venetia (Allison Oliver), and the enmity of their American cousin, Farleigh (Archie Madekwe). Slowly but surely, we realize that Oliver is actually a sociopath who wants, if not Felix, then his good life. He'll just have to clear all the obstacles away.

Oliver is quite the charismatic villain protagonist. You'll end up loathing him for his villainy towards those whose only "crime" is being oblivious rich folks. You'll also pity him, even a bit, for his implied self-loathing over his true background. We buy into his nice guy persona when he arrives at Oxford. He seems sincere when he seemingly breaks the fourth-wall to introduce his story. You'll shudder when you see who he's actually talking to. The ending clarifies his actions all too well with some flashbacks. All in all, this is a spectacularly unnerving performance from Keoghan.

But Keoghan has a nice ensemble around him. It's easy to dislike Farleigh for his snobbishness early on, but even we sympathize with him once we learn more about Oliver. We sympathize with Felix when he learns about Oliver's lying and obsessiveness. Elordi does that great a job at making Felix an all-around nice guy. Venetia is similarly sympathetic when she's put through the ringer in the last half-hour. Sir James's amiability and Elspeth's over-the-top snootiness are fun to watch. Heck, the family bonding over Superbad of all things is surprisingly endearing. Carey Mulligan is fine in her unrecognizable cameo as houseguest "Poor Dear" Pamela. The only character I really disliked was Jake (Will Gibson), an arrogant math wiz who forces Oliver to prompt him to show off his skills.

Linus Sandgren's cinematography is truly something else. We get some nice tracking shots for the opening credits, Oliver's first tour through Saltburn, and the finale. The Academy ratio formatting amplifies Oliver's most unsettling actions, which I can't really reiterate here. Fortunately, I can reiterate that its nighttime photography is perfectly surreal, especially during a fateful birthday party. The money shot is Oliver seemingly hovering over Saltburn's gates (actually reflected in a pond). You'll be astounded even after you realize what you're looking at. All these sights, glorious or not, are accentuated by a sincerely romantic score by Anthony Willis.

Saltburn is weirdly fascinating if you can withstand its villain protagonist. It isn't easy on the eyes at times, but at least we get a clean joke with a hedge maze. A few critics have called it a twisted take on The Talented Mr. Ripley, a film I haven't seen before, but know of its reputation. You might get their point once you see the film. My theater is demoting it to a single nighttime screening starting tomorrow. Who knows how long it will stay in other theaters? So, see it soon if you're interested. 

At least I know what my next film review is on...

The Killer

David Fincher's The Killer doesn't waste time. It immediately begins with 55-seconds of opening credits once you press play on Netflix. It's all to get to the captivating story of an unnamed assassin (Michael Fassbender) wasting time before his next kill.

That's not as boring as I make it sound. This killer, created by Alexis "Matz" Nolent and Luc Jacamon for their graphic novels, waxes poetic in his narration about life, boredom, his profession, Popeye and other things. He sets up shop in an unfinished office room in Paris as he waits for his next target to check into the hotel across the street. Neither he nor the film care who this target is; to him, the target is a paycheck. It all goes wrong at the big moment when he accidentally shoots the man's dominatrix (Monique Ganderton).

The Killer flees for his home in the Dominican Republic. His employers have marked him for death, and the hired guns have already hospitalized his girlfriend, Magdala (Sophie Charlotte). This makes it very personal for a killer who has always remained neutral in his line of work. He decides to track down the hired guns, his employers, and whoever ordered the job in the first place. That's basically it, but not in that order.

The screenplay by Seven writer Andrew Kevin Walker is neatly divided into six chapters, each taking The Killer to one city with one goal (i.e., Chapter 1: Paris/The Target). It's as darkly hilarious as it is unnerving to hear how casual he is about his line of work. This is a man who complains that his job won't make a dent in the world's population and uses sitcom characters for his fake names. His narrating is often interrupted by the real world, like when he's almost discovered by a mailman, or when his ex-handler, Hodges (Charles Parnell), takes far quicker to die than he estimates. The few moments that Fassbender has on-screen dialogue are some of the film's tensest scenes. All in all, it's an unconventional, yet captivating performance.

It helps to have a great editor like Kirk Baxter as an asset. We're perfectly tense as we wait for the big moment in Paris, with The Killer's watch measuring his heartrate as a countdown and are similarly hooked as he makes his escape. His confrontation with "The Brute" (Sala Baker), one of the hired guns, is a long fight in which the man smashes up his own home as much as The Killer. He gets the other hired gun, "The Expert" (Tilda Swinton), after a well-acted and morbidly funny chat as she realizes her number's up. You'll have little trouble remembering a film with these moments, nor the excellent Reznor & Ross score accentuating them. What else can I say?

I should mention the film's most sympathetic character. Her name is Dolores (Kerry O'Malley), Hodge's secretary and the embodiment of being at the wrong place and wrong time. She's somewhat complicit in Hodges's enterprises, but she's not as malicious as the man's hired guns. We do sympathize with her as The Killer extracts some names for her and gives her an "accidental" death. A bit less sympathetic, but somewhat pitiful, is Claybourne (Arliss Howard), the guy who hired The Killer in the first place. His confrontation is saved for last.

The Killer is a well-acted and well-paced crime thriller. Its main character doesn't say much on-screen, but when he speaks, you listen. Its sound designers and cinematographer Erik Messerschmidt make it a great film to hear and watch wherever you can. Indeed, you should watch it wherever and whenever you can. It's just that good.

Napoleon

 Ah, Napoleon Bonaparte, a man of many distinctions. The First Emperor of France, military genius, devotee to Josephine, and not as short as everyone thinks he is. Stanley Kubrick spent much of his life trying to make the definitive Napoleon film, and now, Ridley Scott gets his shot at the subject. Let's see how he did.

In 1793, Napoleon (Joaquin Phoenix) watches as ex-queen Marie-Antoinette (Catherine Walker) gets her turn with Madame Guillotine. He's promoted to brigadier general when he wins the Siege of Toulon. Meanwhile, Joséphine de Beauharnais (Vanessa Kirby) is spared the guillotine when the Reign of Terror ends. She and Napoleon meet at a party and soon marry. His military career takes off, but their relationship goes nowhere. He eventually crowns himself the Emperor of France and it still goes nowhere. Actually, it goes somewhere all right, and that's downhill.

David Scarpa's screenplay chronicles Napoleon and Josephine's relationship amidst his wars with Europe. They go from hating each other to crazy for each other between scenes. It's an erratic relationship, to say the least, enough to make one question why Josephine stuck by a funny, yet cruel manchild. But Napoleon shows himself a spark of decency when he attempts to recover her late first-husband's saber from a stache of unmarked weapons. Who knows if he got the right one, but it's the thought that counts. Perhaps these scenes will flow better when Scott's director's cut eventually debuts on Apple TV+. The present film's mood whiplashes are odd but are thankfully not as tonally catastrophic as House of Gucci's. 

Napoleon's battle scenes are as visually impressive as they are brutal. Its production design by Arthur Max and cinematography by Dariusz Wolski help visualize plenty of stunning locales for Napoleon to battle in. Scott holds nothing back, as even Napoleon's horses are blown apart by cannon fire. My personal favorite was the Battle of Austerlitz, where Napoleon lures his enemies to his death on a frozen river, for its massive crowd shots and desolate battlefield. Napoleon's suppression of the revolt on 13 Vendemiaire is brutally quick, while the burning of Moscow is an alluring end to his failed invasion of Russia. These scenes make the film's 157-minutes worth it.

What else is there to recommend? Kirby is decently compelling as Josephine, while Rupert Everett & Edouard Philliponnant are entertaining as Napoleon's arch-enemies, the Duke of Wellington and Tsar Alexander. Amongst the film's other famous faces, we have Ian McNiece in a surprise cameo as Louis XVIII and Sam Troughton as a somewhat pitiful Robespierre. The biggest surprise is in the soundtrack; while Martin Phipps composed much of the score, the film also uses Dario Marianelli's main theme from Pride & Prejudice. It's a surprising film to hear that soundtrack in, for sure.

Napoleon is a peculiar film. It has perfectly visualized battle scenes with an imperfectly developed central relationship. Its titular character is still interesting enough that its sheer runtime is barely an issue. Who knows what Kubrick would have thought of this film, but I thought it was fine. It's not perfect but it's not the hot mess a few folks peg it as. This may have been produced for Apple TV +, but you should still see it on the biggest screen you can find. After all, who knows when it will finally stream there?

Wish

The other film I saw today was Wish, the animated centerpiece of Disney's centennial. I must say it's better than its otherwise average reviews suggest it is. Does it have any problems? Let's find out.

King Magnifico (Chris Pine) and his wife, Queen Amaya (Angelique Cabral), are the founders of the Kingdom of Rosas. Magnifico is also a sorcerer who can hold onto his subjects' wishes and grant them whenever he pleases. He only grants whatever wishes he pleases, so most of them are stored away for nothing. Nobody knows what they lost because of his magic.

Asha (Ariana DeBose), a peppy tour guide, wants the King to grant her grandpa, Sabino's (Victor Garber), wish for his 100th birthday. She finds out about the King's dark side when she applies to be his apprentice. She soon wishes upon a star, which brings a star named Star to Earth.  Star gives a voice to Asha's goat Valentino (via Alan Tudyk), and a few funny problems. But the King's not happy to be upstaged and vows to hunt down Asha and Star. Asha decides to liberate her peoples' wishes from his clutches. It's not easy.

Directors Chris Buck and Fawn Veerasunthorn collaborated on the story with screenplay writers Jennifer Lee and Allison Moore. Their Disney celebration is loaded with callbacks to the company's extensive animated catalog. There are some glaringly obvious ones, including practical cameos of Bambi's woodland friends. There are a few subtle ones, too, as I didn't realize till the end that Asha's friends were homages to the Seven Dwarfs. All of these jokes, and more, populate a decently compelling story.

This is essentially a Disney heist movie. Asha, as the center of it all, is a particularly selfless protagonist. Her biggest wish is to make everyone else happy, that's it. She rightfully questions why the King would keep the wishes he never planned to grant. Her first attempt to steal back a wish, particularly Sabino's, is as funny as it is tense. Her and her friends' mission to free the rest makes for a tense climax. She gets a few good songs by Julia Michaels and Benjamin Rice, particularly her "I Want Song" This Wish and its emotional climactic reprise.

King Magnifico makes for a splendidly dastardly villain. He’s affable when he and Asha meet, which goes awry when she inadvertently challenges his ego. While his villain song is catchy, it’s also where his affability strains and breaks. He fully turns scary once he descends into dark magic. But he also reveals himself a petty jerk who distrusts, yet demands respect from, his populace. It's quite satisfying when he gets his comeuppance.

Now for a few supporting highlights. Queen Amaya is far more sympathetic than her husband; she joins Asha and her friends on their mission and delightfully deals with the King herself. Asha's friends include Bazeema (Della Sabba), the Bashful homage and Simon (Evan Peters), the Sleepy homage. Bazeema's talents for off-screen teleportation are astounding; Simon is quite likable even after he sells his friends out in a moment of weakness. Valentino and Star make for great sidekicks. Asha's mom, Sakina (Natasha Rothwell), and Sabino are warm presences here. I'm sure we've seen a few of their types before, but these characters are sufficiently likable. 

The film's CGI is rendered with a unique watercolor aesthetic. Its characters, especially non-human ones like Valentino and Star, look like appealing 3D renderings of cel-painted ones. Its backgrounds are almost indistinguishable from paper painted ones. King Magnifico's sickly green aura accentuates his scariness once he embraces the dark magic. In other words, this is a great film to look at. It's also a good film to listen to, with the aforementioned songs and Dave Metzger's powerful score. Who knows if they'll be as memorable as those in their animated predecessors. But right now, the music makes for a nice listen.

Wish doesn't veer into the straightforward "be careful what you wish for" plot the ads imply. Instead, it's got a likable, if somewhat straightforward, protagonist, and a surprisingly twisty main plot. I kind of hope that its currently mixed reception improves with time, like so many of its animated predecessors. I had fun with it; give it a chance, and you might too. It makes for a good family matinee during these upcoming holidays and beyond.

The Holdovers

I did that theatrical double feature that I promised. The first film I saw today was The Holdovers, which marks Alexander Payne's first film since 2017's shortsighted Downsizing. Let's see why it's great.

It's Christmastime, 1970. Paul Hunham (Paul Giamatti) is a history teacher at the esteemed Barton Academy. This year, he's forced to supervise the five "holdover" students with nowhere to go during winter break. Angus Tully (Dominic Sessa), a troubled underachiever, is one of these students. His mother and stepfather are honeymooning, while the other four students are soon bailed out for a ski trip. He soon becomes the biggest thorn in Paul's side. Eventually, the two of them, along with head cook Mary Lamb (Da'Vine Joy Randolph), become a close surrogate family. 

This marks the theatrical debut for longtime TV writer David Hemingson. His screenplay features three compelling protagonists with memorably hilarious dialogue. Paul has plenty of audacious comebacks for his students ("I can't fail this class," protests Angus. "I truly believe that you can," Paul counters). Angus hurls back Paul's insults, with a mix of hypocrisy and obliviousness, when he accidentally injures himself at one point. Their relationship improves once they see each other as the sad and lonely guys we do. They pull through for each other when a semi-unauthorized trip threatens their academic futures.

Mary makes for a great centerpiece of this trio. Her relationship with Paul & Angus improves her outlook on life as much as she improves theirs'. She calls out Paul for his insensitivity, while she serves as the mother Angus wishes he had. All the while, she struggles with her son's death in Vietnam. She gets some subtly emotional scenes, such as a breakdown at a Christmas party and perusing through her son's baby items. She's also very funny when she needs to be. It's a great range for Randolph's performance that should warrant attention in a few months. 

Now for the others. The youngest holdovers, Alex Ollerman (Ian Dolley) and Ye-Joon Park (Jim Kaplan), are quite sympathetic. But once they go skiing, they and the other holdovers don't matter until the end. Still, the bully Teddy Kountze's (Brady Hepner) comeuppance, ice burn, is pretty amusing. Lydia Crane (Carrie Preston), the only Barton staff person who likes Paul, is herself likable. Danny (Naheem Garcia), the school's janitor, is just as funny as the leads. Gillian Vigman and Tate Donovan show up at the end as Angus's aforementioned mom and stepdad, and these two skirt the line between selfish and reasonable. Stephen Thorne is sympathetic in his one scene as Angus's dad.

The Holdovers is a foul-mouthed feel-good movie. You'll be hooked as its three central characters improve themselves and each other over the course of 133 minutes. You'll also be stunned at its colorful language. Either way, it's a future Christmas classic. See it soon while it's there for your holidays. Now, to the other film I caught today.

The Hunger Games: The Ballad of Songbirds and Snakes

 Who wants to play the games again?

It's been nearly a decade since The Hunger Games ended with Mockingjay - Part 2. But they're back with a prequel, subtitled The Ballad of Songbirds and Snakes, a long subtitle for a long supervillain origin story.

Long before he was Donald Sutherland's President Evil in the original films, Coriolanus Snow was Tom Blyth's scion of a disgraced family. He and his cousin, Tigris (Hunter Schafer), and their "Grandma'am" (Fionnula Flanagan) live in abject poverty in the otherwise wealthy Capital of Panem. Dean Casca Highbottom (Peter Dinklage), the mastermind of The Hunger Games, tasks "Coryo" and his Academy classmates to mentor the tributes of the upcoming 10th Games. Coryo, in particular, is assigned District 12's Lucy Gray Baird (Rachel Zegler), a popular country singer. Whoever mentors the best gets wealth and glory.

Problem is, The Hunger Games are actually not that popular. Coryo decides to drum up support by turning it into a spectacle, complete with sponsorships already in place by the time Katniss plays her first games. He sees Lucy Gray's fiery personality as perfect superstar material. Dr. Volumnia Gaul (Viola Davis), the Head Gamemaker, approves Coryo's innovations. A few problems arise for Coryo when the Games start; for one thing, his relationship with Lucy Gray turns romantic. 

The screenplay by Michael Arndt and Michael Lesslie is divided into three parts: The Mentor, The Prize and The Peacekeeper. Those first two parts are the most gripping as we learn about the Games pre-Katniss. It's shocking to see that the ghastly spectacle in the original films is an improvement over what the tributes experience here (for one thing, they're dumped into a zoo until game day). The ineptitude of the drones which send tributes items is weaponized at one point. All the while, we see Coryo's relationship with Lucy Gray develop as he becomes invested in the spectacle he created. Her victory would make a great ending for the film. That happens at around 90 minutes out of 157.

The Peacekeeper is a dour character study as Coryo is drafted into military service in District 12. He faces heartbreak and betrayal - he even does some betraying - on his way to becoming President Evil. Blyth is quite likable whenever Coryo's a good guy, but his descent to self-serving villain is rushed in this part. It's still tragic to see his idealism rot away into villainhood. He has Sutherland's demeanor nailed by the time he's fully future President Evil.

Zegler makes quite a first impression when Lucy Gray stuffs a snake down her archenemy Mayfair's (Isobel Jesper Jones) dress, lunges at her father, the Mayor, and sings a defiant song on stage. She never loses that spark throughout its runtime. Her chemistry with Coryo is great, and we're fully invested in her when the Games begin. Davis, meanwhile, absolutely relishes playing Dr. Gaul as a wicked mad scientist. She cements her maliciousness when she persuades Coryo's academic rival, Clemensia (Ashley Liao), to dip her hand into a tank of rainbow snakes. She's the kind of villain you'd want to see get her comeuppance. Maybe next time.

Now for a few others. Jose Andres Rivera is quite compelling as Coryo's best friend, Sejanus, who detests the Games. Dinklage as Highbottom is surprisingly likable, while Jason Schwartzmann is funny as Games Host Lucky Flickerman. A few tribute highlights include the sympathetic Reaper Ash (Dimitri Abold), Lucy Gray's District 12 counterpart, Jessup (Nick Benson), and Coral (Mackenzie Lansing), the ringleader of the antagonistic tributes. Lily Cooper also stands out as Coryo's classmate, Arachne, whose snootiness spectacularly bites her.

The film's Art Deco production design - think futuristic Great Depression America - is spectacular. Everywhere from the opulent Capital to the bleak District 12 is appealing. The visual effects that help complete these locales are seamless. The matching costume and makeup designs are pretty good, too. The sound design gets its best moment when the Tributes and their Mentors encounter an unexpected problem. Let's just say it's a shocking one. James Newton Howard returns to give this instalment another splendid score. Who knows if the Academy will notice any of them.

It's a bit too long, but The Hunger Games: The Ballad of Songbirds and Snakes is a good prequel. Its supervillain origin story is surprisingly compelling even with its narrative issues. It will fill your need for Thanksgiving action with style. It's a fine return for the one reality show nobody wants to be in. So, yeah, see it on the widest screen you can find. If all goes well, I'm going to do something crazy:

A theatrical double-feature.

Next Goal Wins

Let's cut to the chase.

The narrative ball is in the wrong court with Taika Waititi's soccer dramedy Next Goal Wins. A few other reviews have accused the film of barely developing its real-life team with one major exception. They're far more interesting than their coach, Thomas Rongen (Michael Fassbender), whom the film actually follows.

In 2001, the American Samoa national team lost to Australia in the World Cup Qualifying Matches an astonishing 31-0. This certified their place as the world's worst soccer team. They're still losers ten years on. Tavita (Oscar Knightley), the head of the American Samoa Soccer Federation, decides to look outside the island for a new coach. Rongen is soon assigned to the job. Rongen's task is to ensure his team scores at least 1 goal in the next World Cup Qualifier.  

Rongen is out of his element on the island. He's completely ignorant of their culture, particularly "curfew time," where everyone stops and prays. His harsh coaching style and foul temper doesn't win him many fans on the team. He only has a few short weeks to make them better, if not perfect. The film's most significant player is the fa'afafine (third gender in Samoan culture) Jaiyah Saeluna (Kaimana), an eventual trans soccer pioneer. Her and Rongen's relationship is initially rough, but she helps him lighten up, and he involves her in his winning strategy.

This is a narrative remake of Mike Brett & Steve Jamison's 2014 documentary of the same name. Waititi, as a goofy priest, tells us up front that the story has "a couple of embellishments along the way." I sure hope one of them is the portrayal of Rongen, whose inflated ego makes him rather difficult to root for here. He deliberately deadnames Jaiyah, just because he can, until she tackles him. Their eventual reconciliation falls a little flat. He gets a few likable moments, but his tragic backstory is revealed way late into the film. 

Jaiyah, on the other hand, is a far more compelling character. Her radiant personality makes her popular with her teammates and, hopefully, the audience. She helps Rongen recruit a few key players, including goalie Nicky Salapu (Uli Latukefu), a veteran of the 2001 team looking for a comeback. She still struggles to maintain her soccer career despite her changing biology, which leads to an emotional breakdown. Her eventual triumph is somewhat undermined by the film positioning the climactic seconds as flashbacks (long story). She's still the film's best character.

A few more MVPs include Officer "Rambo" (Semu Filipo), whose strong kick gets him scouted by Rongen; fellow player Daru (Beulah Koale), who is also Tavita's son; and Ace (David Fane), the former coach who gets a good gag when he (quietly) berates his team at the start. Rongen's daughter, Nicole (Kaitlyn Dever), plays a major part in his backstory. On the other hand, Rongen's estranged wife Gail (Elizabeth Moss) and her new beau, Alex Magnussen (Will Arnett), are just there. 

Next Goal Wins could have been better. It could have switched protagonists, adjusted its current one, or even kept its dramedic tone more consistent. It gets a bit sillier when Waititi shows up as the priest. Its glimpses into American Samoan life are interesting, even if they are brief. See it if you want, but hurry if you do; it might get benched rather soon.

Trolls: Band Together

 Everyone's favorite dolls with the wild hair now have another movie. I skipped Trolls: World Tour, as by the time I got Hulu, where it landed, I was already busy with plenty of other films. Well, I have time for the threequel, Trolls: Band Together, one of many, many, films on my docket for the rest of the year. Yay.

Fortunately, anyone who skipped out on World Tour is barely lost here. Sure, plenty of stuff happened since they last saw Trolls Poppy (Anna Kendrick) and Branch (Justin Timberlake) win over the hungry Bergens with music, but a lot of it is natural progress. For one thing, Poppy and Branch are officially boyfriend and girlfriend. For another, the Bergen King Gristle (Christopher Mintz-Plasse) and his former scullery maid, Bridget (Zooey Deschanel), are about to get married. The ceremony is disrupted by former Troll heartthrob John Dory (Eric Andre), who announces himself as Branch's long-lost brother!

That's not all. Branch and his brothers were a boy band called BroZone, who broke up when they couldn't get NSYNC (ha!). Their brother Floyd (Troye Sivan) has been troll-napped for his talent by twin hacks, Velvet and Veneer (Amy Schumer and Andrew Rannells). Floyd needs Branch's help to get their other brothers, Clay and Spruce (Kid Kudi and Daveed Diggs), back together to save Floyd. It seems only the "Perfect Family Harmony" can break the diamond prison the hacks are holding Floyd in. So begins a weird road trip that also sees Poppy reunited with her own long-lost sister, Viva (Camila Cabello). But are the hacks really going to let them walk into their home turf of Mount Rageous? Obviously not.

Everybody got that?

It's actually a much simpler story than my summary suggests. The road trip is pretty straightforward, but it has a few interesting stops. One of them is the subplot involving Crimp (Zosia Mamet), the hacks' put-upon mop assistant, who gets some sweet revenge at the end. Likewise, Bridget and Gristle's honeymoon is pretty amusing, and it pays off near the end. The glittery Troll Tiny Diamond (Kenan Thompson), who was introduced in World Tour, is mildly amusing, while Veneer is almost sympathetic. Viva's insecurities manifest in the film's most poignant scene. Its climactic scene tries to be poignant with a character's death, but it's blatantly obvious that it's a fake-out. 

Its most appealing aspect is its art styles. The Trolls and Bergens are still ugly cute, but its new characters have wholly unique aesthetics. The denizens of "Vacay Island," where the Trolls find Spruce, are clearly CGI Muppets that almost look real. The Mount Rageons look like hip updates of lanky golden age cartoon characters. A "hustle button" on John Dory's bus critter, Rhonda, is just an excuse to throw in trippy 2D sequences. The visual highlight is the climactic chase of the hacks across the wacky highways of Mount Rageous. It's that sequence alone that would make a trip to IMAX worth it (I saw it on a regular sized screen).

The soundtrack includes more mashups of pop standards, a few new songs, and an instrumental score by Theodore Shapiro. Let's cut to the chase on some of the new songs. The much-hyped Better Place, which sees Timberlake collaborate with his old NSYNC bandmates (who get a weird cameo), is simply fine. It's a good listen but nothing too special. Watch Me Work, the hacks' hit single, is quite appealing, especially when it's mixed with Fame in the climax. The mashups are fine, but Crimp's take on 9 to 5 is entertaining. The instrumental score stands out just fine amongst all the pop. 

Trolls: Band Together's 92 minutes of cartoon silliness will appeal to kids the most. Its oldest audience members will still get some amusement, even a few groaners, out of it. It's good for an afternoon matinee, but who knows if you'll still feel the beat beyond that. I surprisingly remembered quite a bit of plot from Trolls as I watched it; that might be a good sign going into a Trolls 4. Make your plans soon before the cineplexes get crowded this holiday season.

Priscilla

Last year, I reviewed Elvis, a dazzling biopic of a dazzling superstar. This year, I’m reviewing Priscilla, a down-to-earth biopic of said superstar’s wife. What a double-feature that would make.

Sofia Coppola adapted the film from Priscilla's memoir, Elvis and Me. They both tell how Priscilla (Cailee Spaeny), the 14-year-old daughter of an Air Force captain stationed in Germany, met the King of Rock'n'roll. Elvis (Jacob Elordi) is a foot taller and a decade older than her. But it's love at first sight for them. He even arranges for her to move into Graceland a few years later. Her parents have quite a few objections. 

Priscilla initially enjoys living like a superstar's girlfriend, and later, wife. She slowly becomes lonely at Graceland as Elvis goes on the road for tours and film shoots. Back home, Elvis becomes more and more volatile, especially when she confronts him over his highly publicized flings with his co-stars. He expects her to "understand that things like this may happen." He probably expected too much.

What can you expect? We get to see their romance start in a surprisingly endearing way. She's just a humble schoolgirl and he, the superstar mama's boy. They hit it off right away despite their many differences. It's so easy to miss how the film's central romance went wrong for much of the film. But you'll realize it, if you haven't, when Elvis blows up over a silly pillow fight. It suddenly puts much of his actions in perspective. I'll get into further detail with the leads.

Spaeny, who is 25, is believable as Priscilla goes from 14 to 27. She's quite compelling as she tries to circumnavigate Elvis's world. As I said, it's initially endearing despite the differences. But then reality sinks in. Elvis's father and stepmother, Vernon and Dee (Tim Post and Stephanie Moore), are so demanding they won't let her play with her poodle on Graceland's front lawn. Elvis, himself, is overdemanding of her fashion choices, among other things. We're as uncomfortable as she is when cinematographer Phillipe Le Sourd shows him loom over her. So, naturally, we're all for her as she tries to find happiness elsewhere.

It's inevitable to compare Elordi's Elvis to Austin Butler's Elvis. Both are charming, but Elordi's Elvis slowly becomes more and more erratic and unsettling. He has some redeeming moments, such as him accepting Priscilla's disinterest in spirituality, albeit with the unseen Col. Parker's orders. A few other moments are at best, irresponsible, and nasty at worse. We don't really see Elvis perform, other than a home piano solo, as Coppola couldn't get the rights to his songs. I think it's apt. If Butler was the public Elvis, then Elordi is the private Elvis.

What about the actual music? Coppola populates the soundtrack with a few other classic songs, and a score by the bands Phoenix and Sons of Raphael, the former of which is fronted by her husband, Thomas Mars. Its tender opening theme and its classic songs make for easy listening. Its final selection may strike a few viewers as odd given the film's events. But it made sense to me once I read up on Priscilla's perspective. The production and costume designs are stylish, but nowhere near as dazzling as last year's film. All in all, it's a good film to see and hear.

Priscilla has a much narrower focus than Elvis, and thus, has plenty of time to breath. I barely noticed his Grandma Minnie Mae "Dodger" in last year's film, where she was played by Liz Blackett. But here, as played by Lynne Griffin, she's a warm presence and a welcome friend for Priscilla. See both films back-to-back for some major whiplash. Are you not interested in that? Priscilla is still an interesting biopic of a star's private life. Let's see if the Academy takes notice.

The Marvels

Yay, the Hollywood Strikes are over! 

My first review of a post-strike film is The Marvels, which functions as a sequel to both Captain Marvel and the Disney Plus show Ms. Marvel. It's a nice diversion even if it has some narrative issues.

Ms. Marvel ended with its titular heroine, Kamala Khan (Iman Vellani), inexplicably switching places with Carol Danvers/Captain Marvel (Brie Larson). The film explains that it's all the doing of Dar-Benn (Zawe Ashton), the "Supremor" of the Kree. She needs the Quantum Bands, a pair of MacGuffins, to save her home planet, Hala, from uninhabitability. How? By opening up space portals that let her siphon some unfortunate planets' natural resources to Hala. Kamala has one Quantum Band, and Dar-Benn gets the other when she opens the film. 

Anyway, because of the space portal stuff, Kamala, Carol and Capt. Monica Rambeau (Teyonah Parris) - the last of whom got superpowered in WandaVision - switch places when they use their powers together. It's all very confusing for Nick Fury (Samuel L. Jackson) and Kamala's family. But "The Marvels" have to figure out how to manage it before Dar-Benn's quest goes too far. That's basically it.

Nia DaCosta, who directed and co-wrote the recent Candyman, helms this film as well. She and her co-writers, Megan McDonnell and Elissa Karasik, create a pretty basic "stop the bad guy" comic book plot. The mechanics behind all the switching is jumbled at best, and contradictory at worst. Naturally, you'd have to do your MCU homework to follow a few plot threads. It gets weird when the returning "Flerken," Goose the Cat, introduces a new plot thread.

It’s a delightfully silly comic book film. The first major fight is a farcical, yet somewhat overlong, brawl between the Marvels, assisted by the Khans, and two Kree goons. Prince Yan (Park Seo-joon), Carol's political husband from the musical planet Aladna (roll with it), is a pretty cool new character. Goose’s plot thread is resolved in the most audaciously hysterical manner. It’s sometimes serious, especially concerning Monica’s late mom Maria (Lashana Lynch) or Carol’s biggest diplomatic failure. It's not completely serious, but it's far better than the real-life stuff I've dealt with lately. 

Anyone who missed Ms. Marvel gets a great introduction to its star. Kamala's superhero fangirling is endearing, especially when she visualizes her and Carol's first meeting in fanfic form. It's fun to see her bond with the older Marvels and to see them warm up to her idealism. We feel for her after she nearly falls out with Carol after Dar-Benn's attack on the Skrulls' world. We definitely feel good once she proves her mettle as a heroine. As for the others, Carol, Monica and Fury are pretty good, Dar-Benn's a decent misguided villain and Kamala's family (especially Zenobia Shroof as her mom, Muneeba) are fun.

Now for the technical Marvels. A few highlights of Care Brower's splendid production design include Fury's S.A.B.E.R. space station, Dar-Benn's ship, the desolate Hala, and Aladna's palace. The Aladna scenes make for a good highlight reel for the costume and makeup designers. There's some great CGI for The Marvels' powers, whether it's with Kamala's hard-light attacks, Monica's intangibility or Carol's energy surges. Goose is still creepy when her true nature is revealed. The film retains Ms. Marvel's composer Laura Karpman, who gives the film a rousing theme perfect for its cosmic scale.

Did I mention that it's pretty short by superhero standards? It's just 105 minutes long, which makes it a concise, but not perfectly told, superhero adventure. It'll make for a great pre-Thanksgiving matinee just before the glut of new releases between next Friday and Turkey Day. If you're still not convinced to see The Marvels, then do it for a surprise cameo in the prerequisite mid-credit scene. I'm sure it's not the last you'll hear of this character.

Five Nights At Freddy's

What better way to celebrate this Halloween than with Five Nights at Freddy's, the long-awaited film version of the wildly successful video games? I'll wait for your reply as I tell you about it.

Mike Schmidt (Josh Hutcherson) is a chronically jobless guy trying to support himself and his much-younger sister, Abby (Piper Rubio). His career counselor, Steve Raglan (Matthew Lillard) offers him a night watchman job at Freddy Fazbear's Pizza, a rundown family restaurant with a sordid past. He takes the job to help keep his evil aunt, Jane (Mary Stuart Masterson) from getting custody of Abby. A friendly cop, Vanessa (Elizabeth Lail), warns him to get out while he can.

Why's that? It's because the animatronic mascots - Bonnie, Foxy, Chica, Mr. Cupcake and Freddy himself - like to come alive at night. They're also a bit homicidal, but Abby bonds with them pretty easily. Mike, meanwhile, has recurring nightmares about his brother, Garrett's abduction, and five ghostly kids. It soon becomes clear that the animatronics are haunted by those kids, and they want Abby to join them.

Director Emma Tammi (The Wind) collaborated with series creator Scott Cawthon and Seth Cudeback on the screenplay. It's an entertainingly spooky story. The mascots' murder sprees are inherently goofy, especially when they sic Mr. Cupcake on some victims. Mike's nightmares are quite haunting, the running gag with the Balloon Boy figurine popping up is darkly funny, and it's downright nightmarish when William Afton, the human ringleader of the mascots, shows up. There are a few strong plots involved, such as the mystery of Freddy Fazbear's Pizza & Mike and Abby's strained relationship. All in all, it's a good job at expanding the games' concepts to feature length.

Jim Henson's Creature Shop does a great job at visualizing the mascots. Freddy, Chica and Bonnie are played by actors in animatronic suits, while the withered Foxy and Mr. Cupcake are all-animatronic. They're perfectly cuddly and terrifying robot monsters. Them befriending the Schmidts and Vanessa is pretty endearing, especially when they build a chair fort with them. Their kills are mostly off-screen, but still unnerving, with Afton's death being the most gruesome. Golden Freddy, the leader of the mascots, and Springtrap, Afton's alter-ego, are the most unnerving of the creatures. 

Mike's nightmares are as sad as they are creepy. We're on edge when the mascots target him and later, Abby. His and Vanessa's relationship makes for another compelling dynamic. That only intensifies when she reveals her connection to Afton. You just know Afton is trouble with his booming entrance theme scored by The Newton Brothers. His defiant speech when the mascots turn on him is masterful acting. Abby's a funny and sympathetic kid; we feel for her when Aunt Jane nearly takes custody. Jane chews up the scenery with relish, while her hapless and ethical lawyer, Doug (Michael P. Sullivan), is actually my favorite supporting character here.

You just need to spend 109 minutes, not Five Nights at Freddy's, for a unique horror experience. I'm a bit hesitant to play the games because of its signature jump scares (all is quiet ... and then, THEY JUMP IN YOUR FACE AND SCREAM!). The film version is spooky, but a lot better on my nerves than the game. Of course, you're welcome to have the opposite opinion. This is a good introduction to the video game horror phenomenon of the last decade. Come right in, they'll be waiting for you. 

Lonely Castle in the Mirror

 Once again, I've streamed a Japanese import on Amazon Prime that had a two-night theatrical release earlier this year. This is Lonely Castle in the Mirror, the anime film version of Mizuki Tsujimura's 2017 novel. It's a surprisingly twisty film directed by Keiichi Hara (Miss Hokusai, The Wonderland). Let's get on the case.

Kokoro Anzai (dubbed in English by Micah Lin) should have been enjoying her first year of Middle School. But a particularly nasty bullying incident has rendered her a shut-in. She practically secludes herself in her bedroom while her mom tries to transfer her into another school. One day, Kokoro finds her mirror glowing, and when she goes in for a closer look, she's drawn into the titular locale. 

The castle sits on top of a rocky island surrounded by endless ocean. Its only inhabitants are a bossy little girl wearing a red dress and a wolf mask, The Wolf Queen (Vivienne Rutherford) and six other kids who also went through their looking glasses. Those kids are Rion (Huxley Westemeier), Aki (Giselle Fernandez), Fuka (Zoe Glick), Masamune (Adrian Marrero), Ureshino (Riley Webb) and Subaru (Kieran Regan). All have their own personal issues.

The Wolf Queen tasks them to find the key to a wishing room that only one may enter. They have a year to find it, but they can search the place at their leisure. They just have to be out of there by five, or else, a big bad wolf will eat them. The kids spend the next year bonding with each other. But who's getting the wish? Do they even want it?

That's kind of it. It relies a lot more on character interactions than looming stakes. There's barely any friction between them. You'll be intrigued the more you learn about its cast. The first hour drops hints then and there of what led Kokoro to become a shut-in. The conclusive flashback is both horrifying and sad. In another case, Aki enters the castle, shuddering, and the question of what happened will linger in your mind. Many of your questions will be answered in a long, moving series of flashbacks when Kokoro sees her friends' memories.

 In fact, there are plenty of twists that, in any other movie, you should see coming, but are legitimately surprising. I would spoil a few of them if I revealed the dub voice of teacher Mrs. Kitajima. If you think you've guessed the climax once you read my summary, you haven't. You'll be shocked when these twists hit.

You'll empathize with Kokoro's isolation long before you learn of her traumatic incident. She has little reason to trust her tormentor, Miori Saneda's (Cassie Glow), apology letter, and so will you. It's so nice to see her reconnect with her only friend, Moe Tojo (Ashley Boettcher), just before the third act. Let's just say she's the "lucky one" who finds the room. But you'll be on edge as she makes the slow journey.

 As for the others, Subaru and Aki are the likable "big siblings," while Masamune and Fuka hide their tragic stories with sour personalities. The Wolf Queen's bossy personality makes quite an impression. She discards that for a softer personality after her first scene. Rion's fine, though the twist involving him is quite powerful. Ureshiro's goofball personality is delightful, and it's quite impactful when he accuses the others of treating him like a joke. The adults are mostly sympathetic; Kokoro's mom gets the best scene once she learns of what happened to her daughter.

Where A-1 Pictures excels at is the color palette and background designs. The real-world scenes are appropriately down to earth, while the scenes in the castle are splendorous. The titular castle is stunning; perhaps its most appealing locales are its massive libraries. It's quite creepy once we finally see it after hours. The character designs and animation are good, but the big bad wolf is the standout. It's a living nightmare. Harumi Fuuki's score is decent, while the climactic song is perfectly emotional. 

Why wait? Step inside the Lonely Castle in the Mirror for a strong anime drama. It's a slow but rewarding film with a likable young cast. A few reviews have accused it of being predictable, but its plot progression felt anything but that. See what I mean once you stream it on your favorite service. It's a bargain in every sense of the word.

No One Will Save You

 I think we've found the feel-good movie of the year.

What else can we expect from a film called No One Will Save You? Ironic titles are a thing, right?

(One movie later.)

They weren't kidding.

Brian Duffield's latest film runs on practical silence for 93 minutes. There's only one discernable line in the whole film, with a few words sprinkled as background noise. What we can discern is that Brynn (Kaitlyn Dever) is a town pariah in Middle of Nowhere, USA. One night, an extraterrestrial intruder shows up at her house. She kills the intruder, but finds herself further isolated the next morning, as practically everyone's been taken over by alien parasites. To make matters worse, the intruder's fellow aliens aren't done with her yet.

Aaron Morton's cinematography establishes Brynn's life in the absence of words. A few gravestones let us know that her mother and best friend, Maude, are dead. The mailman's (Zack Duhane) flippant handling of a package lets us know him all too well. Dever, herself, introduces us to Brynn as she nervously looks in the mirror. She keeps our attention with compelling body language. That's all the essential when her normal life becomes abnormal.

The first invasion is the film's centerpiece. Anyone who's ever worried about rats in their house will freak out when the alien arrives. The unnerving sound design vocalizes the alien with utterly inhuman chirps and groans. Its footsteps are as startling as its first glimpses. Its presence causes electricity to fluctuate much like Jean Jacket did in Nope. That scene lasts for ten minutes, and all the while, you'll question whether it's a good idea to watch it before bed. Jospeh Trapanese's score doesn't help the nerves at all. The full alien is a creepy CGI creature which gets creepier in hindsight when the others are revealed to be shapeshifters.

What else can you expect? Brynn's subsequent close encounter with possessed humans is a thrilling set piece. The aliens' ships emerging from the clouds is just as unnerving as the ones in ID4. She dispatches the next two aliens with some masterful ingenuity. She even breaks free from possession by parasite. Her audience sympathy doesn't waver even after the reason for her being a pariah is finally revealed. But the audience is guaranteed to laugh, nervously, once it gets to its "happy" ending.

No One Will Save You debuted last month on Hulu. But this is a good as time as any to watch it. It's a slow but rewarding horror film with a strong lead and one of the best sound designs you'll ever hear. The sound designers deserve whatever praise comes their way. Press play to see what I mean. Just beware of the tractor beams.

The Portable Door

We now open The Portable Door, an Australian film based on Tom Holt's novel that debuted earlier this year. I found time to make its acquaintance even as the month is almost over. Let's see how it is.

Paul Carpenter (Patrick Gibson) is a hapless Londoner who just wants a job. But a dog steals his scarf and leads him to the offices of J.W. Wells and Co. (the namesake company of The Sorcerer from Gilbert and Sullivan's operetta; the novel makes the connection clearer). J.W. Wells and Co. does "what we can" to make coincidences happen, like a chance meeting with a soulmate or reuniting lost relatives. The board of directors is a bit unimpressed, particularly middle manager Dennis Tanner (Sam Neill), but they still hire him as an intern. He's joined in his magical corporate daily duties by fellow intern Sophie Pettingel (Sophie Wilde). 

One day, CEO Humphrey Wells (Christoph Waltz) assigns Paul to find his portable door. It's a magical door that can go anywhere someone wants to; Paul soon finds it masquerading as a towel. He and Sophie travel the world during business hours with their new MacGuffin. Paul discovers that Humphrey is plotting something sinister for the people of London. Or maybe, the world! Also, there are goblins involved.

All in all, this owes more to They Live than Gilbert and Sullivan. Humphrey's end goal, much like the aliens in John Carpenter's film, takes subliminal consumerism to a devious level. While the characters in They Live needed special glasses to expose the subliminal, a few ads throughout this film don't even hid it ("There's no such thing as a coincidence" says one). Director Jeffrey Walker and writer Leon Ford play their own corporate satire for sweetness, hilarity and creepiness. The film opens with one of those user agreements you get with computer programs. Overall, it's a pretty weird film.

Paul's a fine protagonist. We're all for him getting a job once we see his crummy flat at the start. We're weirded out with him when he's confronted by the company's bizarreness. Sophie, however, is much more compelling because Humphrey's plot revolves around her. The film gets pretty creepy once you realize she's being magically made to try things like coffee against her will. Secretary Alice's (Jessica De Gouw) affection for a stapler makes much more sense later on. Tanner is a good scene stealer, but Humphrey outclasses him in every way. As played by Waltz, Humphrey goes from kindly, to sinister, and finally, to petulant manchild. That's quite a range. Waltz even pops up as Humphrey's father, John Sr., and it's only barely confusing when they meet.

There's a lot to say about the technicals. The production design is spectacular, visualizing such weird locales as Paul's flat, the interior of JW Wells and Co, and an endless hall of doors called the Nether. As the film was co-produced by Jim Henson Productions, they bring with them plenty of neat visual effects and makeup designs. The lightning effects are nifty, while the goblins are perfectly creepy creatures. There's some decent location filming to disguise Queensland as London by cinematographer Donald M. McAlpine. The film's weirdness is accentuated by Benjamin Speed's memorable score.

The Portable Door is a decent magical satire and a good first impression to Holt's literary world. Will the other novels be adapted too? Who knows. But I'm more than in the mood for a few more Gilbert and Sullivan film adaptations. They're in the public domain, why wait?! As for this film, it's ready to stream stateside on MGM +. I don't see why you shouldn't look in.

Zom 100: Bucket List of the Dead

 100 Things to do Before I Die? (pending)

1. Tell people about Zom 100: Zom 100: Bucket List of the Dead is a relatively recent manga by writer Haro Aso and illustrator Kotaro Takata that debuted in 2018. This year saw both an anime and a live-action film debut within a month of each other. The anime is currently on hiatus due to production issues, while the complete film is ready to stream on Netflix. 

2. Tell people what the movie is about: Akira Tendo (Eiji Akaso) is a hapless drone for a marketing company. He pines for his co-worker, Saori Ohtori (Yui Ichikawa), while being worked to the bone by their manager, Gonzo Kosugi (Kazuki Kitamura). He practically feels like a zombie long before the living dead rise up in Japan. He soon relishes the fact he's on indefinite vacation. But what to do now?

He whips up a bucket list 100 items long. The living dead can't stop him from fulfilling such items as setting off fireworks near Tokyo tower or rooftop camping. He soon drags along his best bud, Kencho Ryuzaki (Shuntaro Yanagi) and survivalist Shizuka Mikazuki (Mai Shiraishi) on his quest. There's an aquarium that's supposed to have shark-proof diving suits well-suited for braving zombies. Our intrepid trio have to get there before they're all zombified.

3. Tell people if the story is any good. Yeah, I think it is. There's plenty of goofiness as Akira's newfound optimism is contrasted with the zombies around him. The color grading even brightens when Akira realizes his newfound freedom. There's plenty of wacky action scenes as Akira and his friends deal with the zombies. It all culminates with the final boss, a zombified shark held up by human legs. There's still some seriousness along the way. Akira confesses to Saori just as she zombifies. Akira and co. meet a pair of likable flight attendants who eventually zombify. A neighbor couple Akira promised to help don't make it out ... but they do. Overall, it's still pretty fun.

4. Tell people how the characters are. Akira is likable before and after the zombie apocalypse. He's surprisingly endearing as he declares his freedom from his dead-end job. Maybe not surprising considering his palpable misery as we see him overworked. It's quite admirable to see him save Kosugi from the Zombie Shark despite him causing his misery. Kosugi maybe a cowardly jerk, and Kitamura plays him as such rather well, but Akira wrote "be a superhero who saves everyone," not "be a superhero who saves all but one."

A major aspect is how Akira's optimism rubs off on others. So, it's quite fun to see Kencho, Shizuka and the neighbor couple learn to live again as the world un-dies around them. Kencho and Shizuka are just as likable as Akira, with whom they share great chemistry. Their best moment is the final battle when they rally the survivors to safety and defeat the Zombie Shark.

5. Let people know about its visual effects. The zombies are appropriately freaky with their sputtery movements and gruesome visages. Its visualization of a wrecked Tokyo uses some perfectly seamless CGI. The Zombie Shark is an obvious CGI creation, but then again, the whole concept of its existence is inherently goofy. I've already mentioned how wacky the action is and the climax is its wackiest. The battery-charged punch with which Akira finishes off the shark is spectacular. Overall, I think this film looks good.

6. Give them your verdict. Zom 100: Bucket List of the Dead is a good introduction to a modern manga hit. It's as unique a take on the zombie movie as Shaun of the Dead was. This is about as good time as any to check it out or what exists of the anime so far. I think both are worthy items to check off your streaming bucket list.

7. Come up with a new 1-7 for your bucket list. Yeah.

Killers of the Flower Moon

How did Killers of the Flower Moon cost $200 million? The Irishman costing $159 million is understandable given all the digital makeup work. But how did Martin Scorsese's new film cost that much?

Hey, Baxter. How much should it have cost?

$100 million, perhaps? Maybe there's a bunch of visual effects I don't know about. It doesn't look that expensive.

Let's hurry up and discuss the film.

OK.

Scorsese and co-writer Eric Roth adapted David Grann's non-fiction book. Their story begins when the Osage Nation hits it big after they strike Oil on their Oklahoma reservation. How big? They become the wealthiest people per capita in the U.S. The evil Cattle Baron William "King" Hale (Robert DeNiro) hatches a plot to take their wealth for himself. Exploiting a law that requires white "guardians" to manage Osage wealth, he'll just have his goons kill the wealthiest for their headrights. And then, profit.

A major part of it involves his nephews, Byron (Scott Shepherd) and Ernest Burkhart (Leonardo DiCaprio). Ernest and Byron marry Mollie (Lily Gladstone) and Anna (Cara Jade Myers) of the especially wealthy Kyle family. Anna later turns up dead in the woods, sister Minnie & mother Lizzie Q (Jillian Doan & Tantoo Cardinal) die of "wasting disease," and sister Rita (JaNae Collins) is blown up. Mollie, a diabetic, has her insulin (a new discovery at the time) poisoned by Ernest, but she survives. In fact, Mollie gets the attention of the US Government, who sends Tom White (Jesse Plemons) of the BOI (precursor of the FBI) on the case. Now what, King?

Well, King has a lot of time to think about it. The film runs a massive 206 minutes, slightly shorter than The Irishman. It's an excessive runtime, but it keeps your attention all the way through. It establishes how the Osage came into their wealth and the greedy conspiracy in no time. Mollie narrates about the "mysterious" deaths in an eerie montage (one victim is shot dead in broad daylight and the sound design there is perfectly shocking). You'll be well aware of conspirators Acie Kirby (Pete Yorn) and John Ramsey (Ty Mitchell) long before they act. Kirby is the one who blows up Rita (Or is it Reta? The closed captions in my screening spelled it that way), and his explosive crime is the film's biggest jolt.

Its most unnerving part has to be De Niro as King. He plays the part of a comforting friend to the Osage long after it's established to the audience that he's the mastermind. Now, when DeNiro played Max Cady in Cape Fear, he made it no secret that Cady was a raging holier-than-thou psychopath. King, on the other hand, mocks his victims with his friendliness. That backhandedness is perfectly detestable. Similarly, I had trouble accepting Ernest as a good guy roped into evil. He seems like a good guy but him poisoning Mollie is inexcusable. I'm certain a lot of it is intentional.

It's not all doom. Mollie is quite compelling as she survives the plot against her and her people. We feel her desperation in her voice as she narrates about the reign of terror. Her and Ernest's somewhat endearing relationship gives the film some levity ... emphasis on somewhat. Bill Smith (Jason Isbell), Minnie and later Rita's husband, is among the film's most sympathetic characters in that he's not in on the plot. He's joined in that regard by Mollie's family and the BOI agents (including Tatanka Means as Ute agent John Wren). The film's climactic trials bring us John Lithgow as Prosecutor Peter Leaward and Brendan Fraser as King's bombastic amoral attorney W.S. Hamilton.

I think this is a good segue into the technical aspects. The sound design is pretty good, though it loses points for the muffled dialogue in the first trial scene. The production and costume designs by Jack Fisk and Jacqueline West, respectively, are as splendorous as Rodrigo Prieto's cinematography. What visual effects I could notice are quite seamless. A few highlights include Ernest and King driving through an oil field of digital refineries and the explosive crime. The recently deceased Robbie Robertson gives us a perfectly foreboding soundtrack, while Thelma Schoonmaker adds another achievement to her long editing career. 

Killers of the Flower Moon's massive runtime isn't for everyone. Those who sit through it will get a tense historical tale of murder and greed. Maybe you'll have a better opinion of Ernest than I did. The epilogue, which gives Scorsese a cameo, is quite unique, that's for sure. This was produced for Apple TV, though its streaming date has yet to be determined. So, if you want to see it, see it soon, and make plenty of room in your schedule.