Furiosa: A Mad Max Saga

 Lady and Gentlemans, you want to get historic on the Fury Road?! Here your chance! George Miller is back at it with a new Mad Max movie, which don't continue the tale of Max Rockatansky, but instead tell us the tale of Fury Road's leading lady, Imperator Furiosa! What 'ya think of it, kitty?

And don't ya make me talk like that again.

Sorry, Baxter, it was just for a gag. Now, witness me!!! ... talk about Furiosa: A Mad Max Saga.

We find the future Imperator (Alyla Browne) at the Green Place, one of post-apocalyptic Australia's last remaining fertile lands. She's stumbles upon, and is taken prisoner by, an errant biker gang. They're part of the larger Biker Horde of Dementus the ever-changing epithet (Chris Hemsworth). Dementus decides to raise Furiosa as his daughter/guide to the Green Place; he even kills Furiosa's actual mother Mary (Charlee Fraser). Furiosa is left with nothing but the desire for vengeance and home.

The Biker Horde takes a wrong turn and ends up at the Citadel of Fury Road's Big Bad Immortan Joe (Lachy Hulme). Dementus trades Furiosa and his aptly named Organic Mechanic (Angus Sampson) to Joe in exchange for control of the Immortan's refinery of Gastown. Furiosa (now Anya Taylor-Joy) eventually grows up to be one of Joe's trusted soldiers. She even falls for Praetorian Jack (Tom Burke), the leader of Joe's supply-runners, who decides to help her escape. But Joe needs them to depose Dementus over at Gastown. Furiosa may finally have her revenge, but it won't be easy.

It rarely wastes any of its 148-minutes as it unfolds its motorized epic, which is told in five chapters with titles like "The Pole of Inaccessibility" and "Beyond Vengeance." You won't be underwhelmed by its explanations for aspects of Fury Road's status-quo. You'll care for Furiosa and Jack's relationship even though he's a non-entity in Fury Road. A "History Man" (George Shevtsov) gives us some compelling, yet sparse, narration. It even finds time for a quick cameo by Mad Max himself (Jacob Tomuri, Tom Hardy's stuntman for Fury Road). Let's not forget the car chases, for which there are plenty, but let's save them for the technicals.

But first, the villains. Hemsworth is clearly having a ball playing Dementus as a boisterous tyrant wannabe. He wants to take over the wasteland, but he grovels at Immortan Joe's feet. He maybe a joke of a ruler, but he's exceptionally cruel when he asserts his authority. His grandstanding is entertaining, and it helps that he has some decency underneath it all. Immortan Joe's rational villainy is surprisingly charismatic, especially when it's contrasted with the raging tyrant introduced in Fury Road. But you'll be reminded who he is long before you gravitate towards him. The villains are a wild bunch of freaks and mutants designed once again by makeup designer Lesley Vanderwalt. A few highlights include Dementus's henchmen Mr. Norton (Elsa Pataky) & Rizzdale Pell (also Hulme), along with Immortan Joe's returning goons like the War Boys and the People Eater (John Howard). 

Remember Furiosa. Browne & Taylor-Joy's performances as Furiosa are so compelling that you may not notice how sparse their dialogue is. Their body language is just that good. Taylor-Joy, in particular, has around thirty lines of dialogue. Browne's sparser dialogue makes her first line to Dementus all the more powerful. Both actresses' performances blend together so seamlessly you might not recognize the moment Taylor-Joy takes over. But when she does, you'll easily recognize the modern heroine Charlize Theron originated so well.

In addition to Vanderwalt, Miller brings back several of his technical road warriors. These include Oscar-winners Colin Gibson (production designer), wife Margaret Sixel (editor, now joined by Eliot Knapman), Ben Osmo (sound mixer) and Jenny Beavan (costume designer). They, along with the new cinematographer, Simon Duggan and returning composer Tom Holkenborg, deliver more of the shiny and chrome action Fury Road popularized. That means plenty of massive car chases with spectacularly designed monster trucks and cars. On a smaller scale, having Hulme play both his parts when both villain factions negotiate, is an impressive feat. The CGI effects were mostly good, though a few bits of dodgy compositing nearly took me out of the film a few times. Other than that, this is a film that looks great and sounds great.

Furiosa: A Mad Max Saga's dramatic storyline is just as interesting as its massive car chases. It ends a little before Fury Road's story starts, but you'll understand it all even if you haven't seen its famous predecessor. It's a spectacular action film even if it may not be as madcap as its predecessor. See it on the biggest screen you can find, even if it's at home a few months from now. Either way, you'll have a lovely day. That's it for now.

To Valhalla?

The Garfield Movie

Everyone's favorite cartoon cat - not you, Heathcliff - is finally ready for his first theatrical animated movie. Twenty-years after Fox released Garfield: The Movie, Sony gives us The Garfield Movie. Confused? Don't be. Unless we get The Movie Garfield in a few years. 

Anyway, Garfield (Chris Pratt) tells us how he, as a stray kitten, "adopted" his human, Jon Arbuckle (Nicholas Hoult) at an Italian restaurant. After that memorable dinner, Garfield and Jon live the "good life" in suburbia with Odie the Beagle (Harvey Guillen). One night, Garfield and Odie's midnight snack is interrupted when they're seized by Roland & Nolan (Brett Goldstein & Bowen Yang), the henchdogs of the evil kitty Jinx (Hannah Waddingham). Jinx is out for revenge against Vic (Samuel L. Jackson), Garfield's long-lost dad, and sure enough, the big guy saves Garfield and Odie for a minute. Yeah, a minute.

Vic and Jinx were in a cat gang together until he left her behind during a heist at a farm. She did hard time at the pound afterwards, and now, she wants Vic to pay her back. Garfield & Odie aren't out of the woods until they help Vic steal a lot of milk from the same farm. It's protected by a massive security system, but they may have an in with Otto the Bull (Ving Rhames), the farm's former mascot. He'll help them swipe the milk as long as they help him free his beloved former co-mascot, Ethel the Cow (Alice Grace Turrell). Unfortunately, Jinx isn't interested in upholding her end of the bargain. How will Garfield get out of this one?

I should address the orange tabby in the room. Pratt's upbeat rendition of Garfield, while severely different from the deadpan cat previously vocalized by Lorenzo Music & Bill Murray, is surprisingly appealing. It helps that the screenplay gives him a few funny zingers; his enthusiasm makes his daydream of being buried in cheese still funny after six months of it being trailered. Garfield "adopting" Jon in the opening is quite moving, even as it gets silly when he cries a literal river. He still has some of Garfield's classic traits, like a disdain for salad, which is better than none. 

It maybe Garfield's world, but other characters have to live in it too. Fortunately, they're all right. You'll easily sympathize with Jon after Garfield & Odie's disappearance drives him up a wall. His reunion with them at the pound is just as moving as their first meeting. Odie, meanwhile, is still a fun doggie. Vic is fine, though his reason for "leaving" Garfield is somewhat underwhelming. Somewhat, because it loops around to decently compelling after a few revelations. Jinx, and the film's human antagonist, Marge the Security Guard (Cecily Strong), chew up the scenery with gusto. The difference between them is that Marge comes around in the end. Let's not forget Roland, Nolan and Otto; the henchdogs also redeem themselves in the end, while Otto is an amusing mix of gruff and lovey-dovey.

You can accuse the film of a lot of things, but you can't accuse it of being uninteresting to the eyes. Its color palette is as lively as its characters, whose designs are a great 3D transplant of Jim Davis's 2D aesthetics. Its set pieces - from Garfield getting smacked around on his way to a train to him fighting Jinx with a squad of delivery drones on another - are all entertaining. The farm's gigantic processing room, the "Pinecone" as Otto calls it, is the production design's masterwork. Its rendering of Garfield's favorite eats is that appetizing. Anyway, a film like this needs an energetic soundtrack and composer John Debney is up to the task. There's also a good setlist of pop songs, of which Jon Batiste's Good Life is the clear highlight. 

Overall, The Garfield Movie is a decently entertaining family film. Its animated slapstick will surely entertain the kids, while the adults will relate to Jon's plight, even when he's out of focus. Its worst jokes elicit a minor chuckle at most, while they may elicit respectable indifference with others. Those jokes are not offensively stupid, but simply odd. You might get used to this interpretation of Garfield in no time. But the only way you'll find out is if you give it a watch. It's not that bad for a matinee. Don't imagine how it could get worse.

And it's still Monday!

Blue Giant

Last year, I reviewed three Japanese films that were only shown in theaters for two nights. Now, I have another one to discuss. Blue Giant, the anime adaptation of Shinichi Ishizuka's jazz manga, had its theatrical run last October. It was released on home media last month and it takes the spotlight on my stage this month.

It's ostensibly about Dai Miyamoto (Yuki Yamada), a college-age dude who wants to make it in the jazz world. He takes himself and his tenor sax to Tokyo, where he moves in with a high school buddy, Shunji Tamada (Amane Okayama). He works a few odd jobs, plays the sax by the river and even attends a few jazz bars. One night, Dai meets pianist Yukinori Sawabe (Shotaro Mamiya) and suggests they form a band together. Yukinori accepts the proposal, though he's more reluctant when Dai brings Shunji along as the drummer. Together, the guys are JASS, and they aim to play at the coolest jazz bar ever, So Blue. But will they be ready for prime time in no time?

In actuality, the film is really about all three guys. Dai is introduced playing by a snowy river as he declares he'll be the best. As Yukinori later observes, Dai is already a prodigy after four years of training (as opposed to Yukinori's fourteen). Consequently, Dai's character arc hits a note flatter than his bandmates. Yukinori, at least, is thrown into an existential crisis when he observes Dai's talent. Mr. Taira (Hiroki Tochi), So Blue's manager, doesn't help when he brutally assesses Yukinori's play style. We're all for Yukinori, then, when Taira comes around and lets him fill in for a sick pianist. I personally gravitated towards Shunji, whom Yukinori initially dismisses as a clueless novice, which he is. But his journey to drumming pro is the most compelling one of the three.

This is a showcase for lengthy jazz numbers composed by Japanese jazz icon Hiromi Uehara. They all sound great, though their visual presentation may take some getting used to. The animators emphasize the guys' awesomeness with trippy visual effects during these extended numbers. Imagine a jazzier Fantasia and you might get what I mean. The guys are even played by actual jazz musicians in motion capture - Uehara herself is Yukinori - during these numbers. The performances maybe realistic but it doesn't mesh well with the film's usual 2D animation style. Surprisingly, I got used to it considering I've seen a few musical anime use CGI for its numbers. Maybe it's a quirk of the medium.

What else can I say about the story? The screenplay, whose writer is only listed as "Number 8," includes a few scenes where characters are being filmed for a documentary. These scenes seem to imply something happened to Dai, but it's actually Yukinori that meets a crippling accident. It's a shocking swerve, naturally, but it does flatten Dai's prominence a bit. However, it's that last half-hour where I connected with the film the most. Despite that setback, Dai and Shunji carry on with a double-act, while Yukinori joins them for an encore. All their hard work pays off once you see how enraptured the crowd is. How can you not join them in that moment? The finale truly is the best moment of the film.

Anyone curious for an anime jazz concert will be satisfied here. Actually, once the finale hits, I think they'll be amazed. Blue Giant's performances will easily carry you throughout its nearly two-hours. I may have been critical of its "main character," but at least he's still likable. In fact, all three leads are likable. I think it's worth a watch or two on your favorite streaming service. See it soon to hear what I mean. 

Hundreds of Beavers

Meet Jean Kayak.

(Hi Jean!)

It's the 19th century, and Jean is the best Applejack maker in the entire Great Lakes area. But pesky beavers chew through his brewing silos, one of which rolls into his house. When he wakes up, it's wintertime, and our "hero" is hungry but determined. He's not that good at hunting, to say the least. He finds civilization in the form of a merchant and his furrier daughter. Jean decides to win the daughter's hand in marriage, but the merchant won't let him unless he brings him ...

HUNDREDS OF BEAVERS!

And there's your movie. 

It actually takes over an hour before we get to the title card. What else can you expect?

This is a live-action semi-silent cartoon rather than something like The Revenant. To start with, the beavers and most of the wildlife are played by actors in mascot suits. So, when the furrier (Olivia Graves) skins one of Jean’s (co-writer Ryland Brickson Cole Tews) catches, she’s actually going through an empty costume with x-ed out eyes and obviously fake insides. It's utterly pointless to complain about things like "obvious CGI" with that aesthetic. Throughout the film, Jean is also hampered by the wind (which is seemingly alive and intent on snuffing his campfire!), a woodpecker, raccoons that eat his rabbits, wolves and even Holmes & Watson in beaver form. It rarely misses an opportunity for a good gag; a climactic sled chase is filmed like the bike chase in Return of the Jedi. Still, some of these gags - like Jean imagining the wildlife as pretzels, pizza and ice cream - go on a bit too long and the resulting 108 minutes seems excessive. 

Why the semi-silent earlier? Well, Jean and the cast vocalize mainly with grunts; you can count on one-hand the clear sentences they speak. But I think we learn a lot about them. Jean is an idiot hero, and as its anthropomorphized cast emphasizes, hero is debatable. As the film's beaver counter ends with Jean accumulating three-hundred and counting, he seems poised to go for a million. It's still fun to see him get into slapstick, but not when he vocalizes with piercing screams (be prepared to adjust the volume). As for the other humans, the furrier and merchant (Doug Mancheski) are fine, while the Master Trapper (Wes Tank) and wise Native American (Luis Rico) are more likable than Jean. The Native American is easily sympathetic when he loses his horse to a Beaver Megazord (yes, really).

What else can I say about it? The black-and-white cinematography by Quinn Hester and the minimalist sets built by Ryland’s dad Wayne intensify Jean’s trial for beaver murder. All those beavers looming over Jean in that pitch-black courtroom are a memorable sight. Jean escapes a post-trial death trap with goofy logic and fights off his captors with a few good gags. His earlier chase through the beavers’ giant sawmill is a fun Video Game inspired sequence. Its slight overlength is compensated by a nifty score from Chris Ryan. I have to leave stuff out or I'd be here forever.

Instead, watch Hundreds of Beavers wherever movies are streaming. Director/cowriter/editor Mike Cheslik's brand of blatant unrealism has resulted in a unique motion picture. Its aesthetics are admirable even if its protagonist maybe anything but that. It's still worth a watch or two just to see the madness for yourself. Again, I'm leaving stuff out, so you'll have to see it for yourself. You'll be amazed when you do.

Here Comes a New Challenger

Amy Winehouse's short life was chronicled in 2015's Oscar-winning documentary Amy. Now, Sam Taylor-Johnson (Fifty Shades of Grey) chronicles her life in narrative form with Back to Black. How did they tell the story of her second and final album? Let's see how they ...

HERE COMES A NEW CHALLENGER!

Or not. 

That proclamation is the title of a documentary that debuted on Blu Ray last year and is now on Amazon Prime. It's the latest documentary by British Youtuber Oliver Harper, who frequently produces longform retrospectives of numerous cult classics (most recently on David Lynch's Dune) or their video game adaptations (his latest, on Alien 3, debuted Monday). What do I think of it after it's been advertised these last few years on his videos?

It's not bad.

This takes a look at the origins and legacy of the definitive fighting game, Street Fighter II. Before its creators, Capcom, even released Street Fighter One, fighting games were rather simplistic affairs that were about getting the highest scores. Capcom refined the formula to emphasize its unique characters, even if players were limited to two characters - series mainstays Ryu and Ken - while the rest were computer opponents. After that, a few of its programmers left Capcom for rival SNK, who would later produce Street Fighter's closest rival, King of Fighters. A few newcomers were tasked with creating a follow-up, Street Fighter '89, which instead became the start of its own franchise, Final Fight. These developers were tasked with creating the actual Street Fighter II and its many updates. Harper interviews various figures, from developers to artists to players, for their perspectives on the game.

I've heard quite a few of its anecdotes before. It was still engrossing to hear the interviewees tell them themselves. For example, the original cabinet for Street Fighter One initially had two buttons - punch and kick - and the stronger you hit them, the stronger your characters hit. It was changed to six buttons - with three strength levels for punch and kick - because the earlier design led players to injure themselves or the machine. Cinematographer Christopher Stratton perfectly simulates the potentially hazardous gameplay on the original model with frenetic zooms on the buttons. While former marketing head Jeff Walker found the game change confusing, he admits it was the right call, and you'll certainly agree after that montage.

It also elaborates on a few other tales. I was aware that designer James Goddard created the Jamaican kickboxer Dee Jay to replace a palette swap for Bruce Lee homage Fei Long in Super Street Fighter II. But I wasn't aware that he also helped refine Native American grappler T. Hawk from his original stereotypical design. I also didn't know that a hardware shortage caused the first Street Fighter II to lack the ability for "mirror matches" or to play as the four boss characters, all rectified in later installments. I wasn't also privy to the fan demand that led to those changes. In fact, Goddard's interview segments emphasize how later updates were shaped by fan interactions - and even a bootleg, Rainbow Edition.

The documentary also touches on various bits of often silly merchandising. Its action figures - remolded from GI Joe figures - helped pave the way for its 1994 live-action film. I find that film corny fun even if director and writer Steven E. de Souza doesn't really see it that way. An anime film was released that same year, and Harper contrasts the English and Japanese releases' differing soundtracks. The mood whiplash you'll get from that segment is so extreme it's funny. Harper spotlights various conversions of the game, which range from great if not perfect (SNES) to abysmal (Commodore 64). Oh, even if I didn't own all of them, that segment is still nostalgic; I even vividly remember its Where's Waldo book!

Is there anything it missed? I'll list a few. It didn't mention the problems with naming the boxer boss Mike Bison; it mentions the game featuring in a fight scene in 1993's City Hunter, but not the same year or director's ludicrous knock-off Future Cops; there's only one mention of Capcom's monster fighter Darkstalkers amidst several other fighting rivals getting featured a bit. I'll admit, those are minor gripes, considering that the documentary is 140-minutes. But they were certainly noticeable. The troubled production of the live action film gets a relatively short segment, but I think it deserves a full documentary.

This is quite illuminating for anyone too young or simply unaware of Street Fighter II's place-in-history. Its talking heads are compelling as they tell tales fans may have heard a hundred times before. Its animated opening credits make stunning use of the game's sprites and backgrounds. I can go on, but like this documentary, I can't. Simply see it however you can, whether on streaming or Blu Ray. I think it's worth how many quarters you have to spend on it.

IF

John Krasinski can take a break after two movies with blind aliens that kill everything that make noise. In fact, he's already left the director's chair to next month's prequel, A Quiet Place: Day One, to Michael Sarnoski. Meanwhile, let's see how he does with a family-friendlier film of his own creation: IF. 

Bea (Cailey Fleming) and her dad (Krasinski) move in with her grandma Margaret (Fiona Shaw) as he awaits heart surgery. Bea's quite worried for him after her mom's (Catharine Daddario) off-screen death from cancer. One night, she meets her new neighbor, Cal (Ryan Reynolds) and his imaginary friends (IFs). All of these not-so imaginary friends had kids who outgrew them, and Bea & Cal are the only ones who can see them. It's up to her to help Cal find new kids for them. Either that or get their old kids to remember them. They do both

Yeah, I did my best to sum up the premise. What makes the pivot weird is the film's complete lack of stakes. It brings up the possibility that IFs could disappear forever if they're completely forgotten. But it never comes close to acting upon that threat. All they face is boredom in a magical retirement home. We get an intriguing plot thread - helping the grown-up kids with their adult problems - very late into the film. What's worse is Bea's dad, whose "broken heart" doesn't loom over the film as much as it should. That's what made it hard to get invested in the climax, where he apparently suffered from some complication, even if Michael Giacchino's emotional score is quite effective. 

So, who are these IFs? The merchandisable highlight is the purple lug Blue (Steve Carrell), while the most visually appealing one is the glossy cartoon butterfly Blossom (Phoebe Waller-Bridge). All of them are visualized with well-done CGI, while their eclectic character designs are as appealing as their personalities. All of them are voiced by a huge cast of well-known actors, some of which include the superhero Guardian Dog (Sam Rockwell), Uni the Unicorn (Emily Blunt), and the IF patriarch, Lewis the Teddy Bear (Louis Gossett Jr., posthumously). The film's funniest aspect is realizing the IF Krasinski also voices. Apparently, Brad Pitt is in it as an IF, but I didn't see him ... or hear him. As imperfect as the third act is, it's still powerful seeing the IFs glow when they resonate with their former kids.

The film's production design and cinematography are also proficient. Grandma's apartment building is initially as menacing as a haunted house, particularly when Bea gets a glimpse of the irate landlady (Barbara Andres). But as she and we get accustomed to the place, the landlady soon reveals herself a lot friendlier than she initially appeared. The IFs retirement home is the setting of another visual highlight when Bea remodels it with her imagination. In terms of real locales, you can't go wrong with its splendorous location filming at Coney Island. Its technical proficiency isn't surprising considering production designer Jess Gonchor (several Coen Brothers films) and cinematographer Janusz Kaminski are involved. Maybe they'll get noticed next year for the Oscars ... maybe not.

The film has a decent human cast. Fleming as Bea does pretty good with the imperfect story; you can at least sympathize with her as she struggles with her dad's mortality. As for the adults, Krasinski is funny, Shaw is quite pleasant, and Reynolds is reliably fun. Alan Kim is also amusing as Benjamin, a clumsy kid whom Bea tries to find an IF for. Bobby Moynihan is underutilized as Jeremy, Blue's former kid, though what we get from him is memorable. 

It's not a matter of IF, but when. When are you going to see IF? IF you're looking for a warm family film with a likable cast of human and cartoon characters, then IF is the film for you. Its heart is in the right place even if its story is all over it. Still, that cast should keep your attention through it all. It's a film you got to see to believe in any format you can. Now, let's see about the other family films coming out this year. I'll be waiting; will you?

Kingdom of the Planet of the Apes

 Welcome back, you darn dirty apes. I never thought I'd be on your planet again, but here I am, and on your kingdom this time. I see you also brought a new director with you. Good, good, let's see what we get this time ...

Anyway, the Caesar Trilogy that started with Rise of the Planet of the Apes continues with Kingdom of the Planet of the Apes. Wes Ball takes over for Matt Reaves as director, but the previous films' motion-capture ape aesthetics are still there. Actually, they're not there, but better than before. That's what seven years of visual effects improvements gets you. I still won't hold my breath on that Oscar.

But that doesn't mean other aspects shouldn't be ignored. Chief among them is production designer Daniel T. Dorrance, who presents Los Angeles as a literal urban jungle "many generations" after War for the Planet of the Apes. Here, trees and vegetation have grown around decayed buildings and streets. You won't even recognize the city unless you look at the architecture closely. The film kicks off with three chimps, Noa (Owen Teague), Soona (Lydia Peckham) and Anaya (Travis Jeffrey) hunting for eagle eggs atop a skyscraper. Their clan raises eagles, and the trio get their future companions after a perilous climb.

They encounter a seemingly feral human - whom they call an "echo" - who accidentally breaks Noa's egg. Their clan is soon attacked by the raiders of the evil Proximus Caesar (Kevin Durand), who are led by the gorilla general Sylva (Eka Darville). The raiders leave Noa for dead while they kill his dad, Koro (Neil Sandlands) and abduct the rest of the clan. Noa sets off to find the clan with the help of the orangutan Raka (Peter Macon) and the human, Mae (Freya Allen), who can actually talk like them. They're soon taken to Proximus's seaside Kingdom, where he aims to break inside a vaulted door for whatever's inside. There's supposed to be something that can help humans talk. So, Mae, Noa and his friends break in. But can Mae be trusted?

Cinematographer Gyula Pados renders the opening climb, as well as the urban jungle of Los Angeles, as magnificent sights. We see Noa and his friends use ingenuity to climb all the way to the top for their eagle eggs. They use further ingenuity to brave the heights and an angry mama bird in an exciting action scene edited by Dan Zimmerman. Let's not forget John Paesano, whose stellar score perfectly accentuates the film. Their following work, from the raid on Noa's clan to the final battle with Proximus's forces, is just as superb as that opening climb. This is a noticeably long film clocking in at 145-minutes. There were moments in the first half that surprisingly tested my attention span. Still, I'm open to checking it out again once it makes it to home media.

Why? It gets really good once Proximus enters the picture. He's a charismatic villain who is surprisingly patient for someone who views his apes as expendable. He doesn't off them when their latest attempt to blow up the door fails; he just tells them to try again. He even enjoys the company of another sapient human, Trevathan (William H. Macy), who is practically his court jester. That makes it all the scarier whenever he loses his patience. Sylva, his general, is perfectly detestable for his leading the raid on Noa's clan. Their final battles with Noa are quite cathartic as he uses his wits to defeat them. There's another villain, a sadistic hairless chimp named Lightning (Ras-Samuel Weld A'abzgi), whose sudden demise is surprisingly shocking.

Now for the good guys. Noa and his friends are quite likable; their bickering during the opening is as enjoyable as their reunion later on. You can feel Noa's outrage when he discovers a picture book showing monkeys in cages. That easily tells him - and us - of what awaits him if humans talk again. Koro makes the most of his limited screentime; scolds Noa for his screwups but defends him from Sylva to the death all the same. Noa's mother, Dar (Sara Wiseman), is quite compelling when they reunite and helps him defeat Proximus. Raka is delightful, which makes it a shame he doesn't make it to the kingdom. Mae is all-right and seemingly sympathetic; still, she tests it when she blows up Proximus's seaside wall to leave the apes (regardless of alignment) to drown.

This is a decent start to a new cycle of this old franchise. The visuals and characterizations are even better than their already well-regarded predecessors. Although the first half is slow, it gets better once its big bad makes his big debut. I'm still waiting for that remake of Planet of the Apes with this film's motion-capture apes; apparently, its final moments set up something like it. But for now, step into the Kingdom of the Planet of the Apes, and you might find yourself with a wonderful day. Hopefully, the length won't be an issue for you. Bye.

The American Society of Magical Negroes

 Yes, folks, The American Society of Magical Negroes is an actual film title. Believe it or not, it's not actually the most awkward film title this year; just wait until you hear about Nightbitch. Maybe they'll tie for awkwardness, but for now, let's see what this film has to offer.

The Magical Negro in the title is a stock Black character - famously mocked by Spike Lee in a college lecture tour in 2001 - whose only function in a story is to assist the white protagonist. Some are more magical than others, such as John Coffey (Michael Clarke Duncan) in The Green Mile, Bagger Vance (Will Smith) from The Legend of Bagger Vance, or even this film's titular American Society. It's the Society's job to protect their fellow Blacks by assisting whites.

Its newest member is Aren (Justice Smith), a failed yarn artist, who is saved from a potentially lethal misunderstanding by Roger (David Alan Grier). Once inducted, Aren is tasked with enriching Jason (Drew Tarver), a designer at Meetbox, a Social Media company. Aren joins Meetbox as Jason's work partner. They both fall for Lizzie (An-Li Bogan), but the Society forces Aren to put his feelings aside for his "client." What is he to do?

This is the filmmaking debut of Kobi Libii, who was the "citizen journalist" in Comedy Central's The Opposition with Jordan Klepper. His Magical World is at its best when it shows off its wizardry. An animated glove housekeeps at Society HQ, while its leader, DeDe (Nicole Byer), proudly levitates above everyone else. Aren and Roger start off by befriending a nervous police officer, Miller (Tim Baltz), and magically change his self-image for a night at a club. The climax even has Aren teleporting Lizzie to the Empire State Building and accidentally leave her there (long story, might explain later). I think the effects are good, suffice to say, but Michael Abels's magical score is the film's secret weapon.

Things aren't that perfect with the story. Roger points out that the Society "does more for black people than a hundred marches." Where were they for many a hate crime over the years? Sure, it's noble to disarm people of hate, but what if that doesn't work? The film doesn't answer those questions. It only somewhat explores how the Society's enforcing of the Magical Negro trope has exasperated its members. Roger was forced to let the woman he loved marry a client, while another is expelled and mindwiped for passive aggressiveness. A lot of that examination is saved for the end, particularly with Aren's big speech. But it spends more time with the love triangle subplot than dealing with any uncomfortable logic.

What about the characters? Aren makes for a decent protagonist, as well as a good viewpoint character for the Society. There's no denying that his big speech is well-acted even amidst the imperfect story. He and Lizzie have good chemistry from the moment they meet. It's quite awkwardly funny when he's teleported away just after he warps himself and Lizzie to the Empire State Building (there's an explanation). Jason is an insensitive blowhard, but he has a few good moments. Keyword, few. As for the Society, Roger is likable, while DeDe makes the most of her scenes with hammy humbleness. We have a few perfectly exasperating characters with Lacey (Mia Ford), the unintentional impetus of Aren's recruitment, and Meetbox boss Mick (Rupert Friend). That's not the same as funny, believe me.

If you want to see what the fuss is all about, you can stream The American Society of Magical Negroes on Peacock like I did. Its story isn't perfect, but its Magical World has a few great concepts. It's not a total disaster, so there's that. Like its protagonist, it just needs a little more assertiveness. See it soon if you want to see what I mean. That's it for now.

The Fall Guy

The Academy of Motion Picture Arts and Sciences have recently announced that an Oscar for Best Casting will be a thing a few years from now. I bring this up because the Academy has yet to acknowledge Stunt Coordinators with their own Oscar category. Isn't it about time someone acknowledged those who arrange all the dangerous stuff normal actors can't do?

David Leitch - himself a former stuntman - pays homage to his former profession with The Fall Guy, the film version of that one show Lee Majors did after The Six-Million Dollar Man. It opens with a homage of contemporary movie stunts - including a bit from Leitch's own Atomic Blonde - before it introduces us to stuntman Colt Seavers (Ryan Gosling). He frequently doubles for superstar Tom Ryder (Aaron Taylor-Johnson) while he carries on a professional - and personal - relationship with camerawoman Jody Moreno (Emily Blunt). It's a good life until Colt's latest stunt sends him falling with the camera to ground level. 

A year later, Colt is in the doldrums until Tom's producer Gail (Hannah Waddingham) calls. He's wanted on the set for Tom's latest film, Metalstorm, a space western which marks none other than Jody's directorial debut. Colt will do anything for love, even come out of retirement, and he does. But Jody didn't want him on the set; she's still mad at him for leaving her. She's forced to make do with him anyway. Meanwhile, Ryder himself is missing, and it's up to Colt to find him for reasons. Things get even more difficult when someone sets up Colt for murder. A fall guy becomes The Fall Guy, so to speak.

This is a complicated, yet simplistic movie. It's a film where Colt and Jody mirror each other in an impressive split screen shot, where Colt fights and later has a casual talk with co-star and henchwoman Iggy (Teresa Palmer), and where Colt starts seeing unicorns during a trip. The villains employ digital trickery to frame Colt, a scary prospect for real actors worried about their likenesses being stolen. Their frameup, however, would easily collapse upon scrutiny, and the only reason it doesn't here is that a few characters are idiots (not naming names). They're not the deepest characters around, but they're still likable, even the villains to an extent. Colt and Jody are especially likable together and they have a few great supporting characters with them. A few highlights include Alma (Stephanie Hsu), the PA who exonerates Colt; stunt-coordinator Dan Tucker (Winston Duke); and Jean-Claude the Blue Heeler. It's unfortunately easy to lose track of them when the film overexplains itself.

There's quite a bit to like about this film. Colt's first stunt on Metalstorm actually set a real Guiness Record, and you'll know why when you see it. Colt later endures repeated takes of him getting set on fire and slammed against a rock in an absurdly long and weirdly amusing scene. The action scenes are delightfully silly, but none more so than Colt literally dumpster surfing across Sydney to save Alma from goons, while Jody sings Phil Collins's Against All Odds at Karaoke. The climax, where the Metalstorm crew helps Colt and Jody stop the villains, is simply awesome. The end credits show us the action being filmed live, but the digital effects they still used are pretty good. I especially liked the "finalized" Metalstorm scenes we see during filming.

The Academy may not recognize stunt coordinators, but let's hope they consider editor Elísabet Ronaldsdóttir's work. The Fall Guy's plot maybe complicatedly daft, but the action scenes she puts together are unforgettable. It's not only worth seeing them on the big screen, but it's worth hearing other audience members' reactions to its silliest gags. There's plenty of memorable laughs during its 126-minutes; stay through the credits for a really big one. I'm a bit curious to watch an episode or two of the show after I've spent my whole life without knowing of it. Maybe you might too.

Rebel Moon - Part Two: The Scargiver

A long time ago in Zack Snyder's version of Kurosawa's galaxy far, far, away ...

REBEL MOON

PART TWO

THE SCARGIVER

The Magnificent Space Samurai, now fully assembled, return to the farming moon of VELDT to celebrate their victory over the evil ADMIRAL NOBLE of the MOTHERWORLD.

Noble, seemingly slain by former soldier KORA, has been resurrected by the Motherworld, and prepares to bring war to Veldt. The SCAR she GAVE him is his pride; her capture would elevate it.

With five days to prepare for Noble, the Magnificent Space Samurai train the peaceful villagers to defend their REBEL MOON from annihilation.

This is a marginal improvement over Part One. The exposition is still dense, but we have some mitigating factors this time around. Jimmy the Robot's (Anthony Hopkins) opening narration is noticeably shorter here than in Part One (for one thing, the title crawls in during the narration than just after). Our heroes narrate their backstories in a series of flashbacks which gives Snyder plenty of room to show more of his galaxy. Of these flashbacks, Kora's (Sofia Boutella) flashback is the most memorable as we see how she was thrown under the bus for Big Bad Balisarius's (Fra Free) assassination of the former Motherworld royal family. Only a few moments in these flashbacks could have been better shown, but it's a minor quibble.

It's also an improvement for its characterization. As you may recall, cyborg swordswoman Nemesis (Doona Bae) was introduced in Part One in a boss battle already in progress. She gets a few moments to establish her aloof nature, which is much more than she had previously. Private Aris (Sky Yang), the sympathetic Motherworld soldier, figures greatly into the plot as he plays double agent for Veldt. Jimmy the Robot gets his moment to shine during the final battle. The Motherworld's Slain King - whom a recent comic Christened Athander (Cary Elwes) - is truly pitiable in his last moments. Millius (E. Duffy), a character so minor I didn't mention them last time, stands out a lot more here.

Nearly half of its 123-minutes is devoted to the final battle alone. In the meantime, we get plenty of decent moments as General Titus (Djimon Hounsou) and Tarak (Staz Nair) train the Veldtians and prepare their defense. Its strongest scenes show how much our heroes have been accepted on Veldt. Meanwhile, Noble sees through their defense strategy before he even makes moonfall. It's cathartic, then, that he's legitimately taken off guard by several surprise bazooka blasts from up-close. The final battle is lengthened with false victories, false defeats, a few deaths (only one of which is tragic), and more before our heroes' triumph. That's quite a lot to take in.

What can I say about its technicals? I've reminded myself repeatedly while watching that our heroes ride not horses, but Urakis, on Veldt. The CGI used for them are that seamless. The final battle's best moments come when Kora and Gunnar (Michiel Huisman) get aboard Noble's massive flagship to take the fight to him. Let's just say it's an impressive space for a final battle. Speaking of space, its outer space imagery is beyond impressive even on a small TV screen. Tarak's home planet of Samandrai has the most alluring production and costume designs we see of the new planets. Once again, Tom Holkenborg's score perfectly accentuates its grand space opera tone.

A Child of Fire and The Scargiver were supposed to be it for Snyder's galaxy. But there's now supposed to be a few more movies on the way. The Scargiver even ends with a cliffhanger concerning the former royal family. I'm curious to see how it's resolved in, hopefully, Part Three. I'm pretty sure how it'll unfold given a minor scene in A Child of Fire, but let's hope for creativity. Both current films are still on Netflix if you want to see what I mean. You can also wait for the director's cuts for both later this year. With all due respect, I won't.