Sonic the Hedgehog

Faster than a Speeding Plumber!

Bouncier than a Mighty Mouse!

Able to speed through levels in a single day!

And now, after nearly thirty years, he's on the big screen! Jethro, how'd it go?

I thought you'd never ask, Baxter.

I did.

….

We're talking about Sonic the Hedgehog, Sega's video game star. His movie opens with him (as voiced by Ben Schwartz) on the run from baddies. They all want his super-speed for some reason. He escapes his home planet with magic rings that let him go anywhere in the universe. He eventually finds himself in Green Hills, Montana, where his "best friends" are Sheriff Tom (James Marsden) and Maddie Wachowski (Tika Sumpter), though they don't know he exists. 

Tom is about to move to San Francisco. That is, until Sonic accidentally blackouts much of the Pacific Northwest. The US Government calls up the mad Dr. Robotnik (Jim Carrey) to investigate. Sonic tries to ring himself to another planet when Tom shows up. His bag of rings ring themselves on top of the Transamerica Pyramid. Sonic needs Tom's sense of direction to get him to San Francisco. They have to hurry before Robotnik and his drones catch up with them. Gotta go fast.

Director Jeff Fowler (Oscar Nominee for the short, Gopher Broke) and his writers keep it fast. We first see Sonic and Robotnik speed-dueling in San Francisco before it literally rewinds through the whole movie. Once queued up, the movie gives us a concise and speedy plot. Barely any scene is wasted. A few questions, especially the secret of Sonic's speed, are seemingly left for a sequel to explain. We also get some logistical questions that make sense if you think them over. 

Sonic makes for a good protagonist. He's quick-witted and sarcastic, but he's really a lonely nice guy. He never ruins his goodwill with crass humor. We're easily on his side all the way through. The visual effects artists deserve extra pay for retooling Sonic's earlier much-derided first design to match his video game self on short notice. The retool was pretty seamless, mostly. His superspeed effects are astounding; his slo-mo runs are just as good as Quicksilver's in the X-Men movies.

And the others. Jim Carrey as Robotnik steals the show with his manic personality. He's legitimately formidable once he gets serious, though he's also sometimes funny too. James Marsden makes for a good human pal as Tom. We get his frustrations with small-town life and his desire to move on. His arc ended nicely, though somewhat too quickly. Sumpter as Maddie did fine with her relatively smaller role. Lee Majdoub was memorable as Robotnik's yes-man, Agent Stone; the military men were mostly forgettable save for Maj. Bennington (Neal McDonough).

Sonic the Hedgehog makes for a fine matinee. The story is basic, though it's mostly easy to understand. It's a silly escapade, so don't expect some dramatic weight (Sonic's dead? No, he's not.) Again, I hope the sequel explains what this movie didn't. We get a preview of a prospective sequel with one last character arrival in the mid-credits. That gets my interest.

Birds of Prey

Joker proved that he could headline a movie without Batman. Now it's time for his right-hand harlequin to get her own movie. Margot Robbie returns from Suicide Squad as the looney Harley Quinn in Birds of Prey (and the Fantabulous Emancipation of one Harley Quinn).

Harley Quinn is a free bird. The Joker dumped her and left her without a purpose. So she tries to find her calling in Gotham City. But without "Mr. J," she doesn't have the freedom to annoy everybody she wants. One such annoyed man is dapper kingpin Roman Sionis (Ewan McGregor). But he has bigger (smaller?) concerns right now.

Roman wants a MacGuffin diamond, but young pickpocket Cassandra Cain (Ella Jay Basco) swiped it. Roman lets Harley go after Cassie and the diamond. He also sends Gotham's criminals after them too. Harley isn't about to give up her quarry without a fight. She decides to protect Cassie and take her on as an apprentice. A Robin for her Batman.

Meanwhile, Gotham Detective Renee Montoya (Rosie Perez) gets on Harley's case. The Huntress (Mary Elizabeth-Winstead) wants the diamond for personal reasons. Dinah Lance, the Black Canary (Jurnee Smollett-Bell), is inducted into Roman's services. They get together to oppose Roman, his vile henchman Victor Zsasz (Chris Messina), and their army of goons.

Everybody get that?

Director Cathy Yan (Dead Pigs) and screenwriter Christina Hodson let Harley narrate the proceedings. An animated prologue tells us Harley's life up to her breakup. She frequently goes back and forth in time during her narration (i.e. Why is Harley raiding the police station? The next scenes fill us in.). The unchronological narrative makes sense considering the perspective. The only flaw is that the backtracking tends to kill some of the momentum. Fortunately, it gradually fades away, leading to a spectacular finale.

Harley is an entertainingly unapologetic criminal. Her would-be assailants have some legitimate grievances, but her audacity makes these encounters hilarious. Her time with Cassie shows how selfless she can be. Cassie herself is another great character. We understand her cynicism once we hear her foster parents violently argue. Cassie reacts to Harley's rundown apartment with awe; that says a lot. She's not much of a fighter, but her craftiness is put to great use in the finale.

The other Birds are great. The Huntress's comical seriousness is hilarious in-spite of her violent backstory. Renee Montoya spends the movie dealing with Harley and sexism in the Gotham Police. We're on her side all the way on the latter part; on the former, only a bit. Dinah spends the movie dealing with her mother's legacy and her current employers. She's as compassionate as she is an amazing fighter.

What about the villains? Roman Sionis is usually a suave and hammy gentleman, but that makes him scary. I mean, he has the daughter of a rival executed - a minute after sparing her - for the pettiest of reasons. Zsasz is all too willing to help him in his misdeeds. This makes their ultimate defeats all the more satisfying.

The film is a visual delight. Production Designer KK Barrett, Costume Designer Erin Benach and Cinematographer Matthew Libatique join forces to create a colorful world. A few highlights include Roman's nightclub, the Amusement Park in the finale and Harley and Roman's combined wardrobe. We also get some great CGI to realize Harley's pet Hyena, Bruce. The makeup artistry is just as good as Suicide Squad's Oscar-winning work (I know others had problems with it, but not me.).

I need to wrap up soon. So I'll conclude by saying that Birds of Prey is as delightfully wacky as its main character. Its eccentric narration easily excuse some narrative issues. Its ensemble makes for an entertaining bunch of comic book characters. Let's hope the Academy remembers its alluring visual design next year while it honors Mr. J.'s movie tomorrow.

Yes. See it now. See it soon.

Klaus

I should have seen Klaus, a Netflix animated film about Santa Claus, last month during Christmastime. But, nope. Don't ask me why. I finally saw it after it won the Annie Award for Best Animated Film last Saturday. Let's do it.

The story conceived by director Sergio Pablos and his co-writers begins with Jesper Johanssen (Jason Schwartzman), a slacker postman-in-training. His father, the Postmaster General, ships him out to the town of Smeerensberg with an ultimatum. Jesper will get disowned unless he posts six thousand letters. The town is populated by the feuding clans of the Krums and the Ellingboes. Neither side wants - or even knows how - to send letters.

One day, Jesper meets a reclusive craftsman named Klaus (JK Simmons). They join forces - Jesper, a bit reluctantly - to deliver a toy to a lonely Krum boy. Jesper's post office is flooded with letters for Klaus. The toy delivery business brings peace and goodwill to Smeerensberg. The clan leaders are abhorred by the niceness and they decide to do something about it.

It's a shame that this never got a full theatrical release. Its unique animation style would've been amazing on the big screen. Its style uses hand-drawn animation with digital shading. This results in characters who look CGI and behave like traditional cartoons. You'd only know the difference if you watched some behind-the-scenes footage.

Its screen story is an emotional tale. The Krums and Ellingboes hate each other so much that their feud is a proud tradition. That's funny. It's even more hilarious to see Jesper's Postman Training Academy treated like West Point for Postmen. It's also fun to see how Jesper and Klaus establish some of Santa Claus's quirks. A few highlights include the flying reindeer sleigh and the naughty list. It's so moving to see the toy delivery business brings about neighborly love. A few plot points seem like clichés - including Klaus and Jesper's temporary fallouts - but who cares? Its story is that endearing.

Now for the voice cast. Schwartzman as Jesper is sure to remind one of Kuzco from The Emperor's New Groove. Like Kuzco, his arc from selfish slacker to selfless hero is compelling. Simmons as Klaus is a soft soul with great deadpan humor, though he is scary when angry. Rashida Jones voices Alva, the schoolteacher turned fishmonger turned schoolteacher (long story) who warms up to Jesper. She's a great presence all around. Joan Cusack and Will Sasso voice Mrs. Krum and Mr. Elligboe, respectively, and are both effective villains. Pablos voices their hulking kids, Olaf and Pumpkin, who inadvertently help end the feud.

Again, it stinks that Klaus couldn't get a wide theatrical release. Its miniscule theatrical release got it an Oscar nomination for Best Animated Feature. Its strong story and appealing animation give it a very plausible chance of winning. It's waiting for you to Netflix and chill with it. So see it before this year's way early Oscars on February 9th. You may not be disappointed.

Dolittle

20th Century (Fox) has an interesting history with Hugh Lofting's whimsical veterinarian Doctor Dolittle. Their first attempt was a 1967 musical that nearly bankrupted them. Their second attempt was a 1998 Eddie Murphy vehicle that took the barest concept to modern times. Universal gets its shot at the character just as 20th Century Fox drops the Fox in its name. The end result is Dolittle.

John Dolittle (Robert Downey Jr) talks to the animals. He was a veterinarian until his wife was lost at sea. So he and his animal friends shun the world in their gigantic estate. One day, Tommy Stubbins (Harry Collett) accidentally shoots Kevin the Squirrel (Craig Robinson) and brings him to Dolittle. The same day, Lady Rose (Carmel Laniado) summons Dolittle to Buckingham. Queen Victoria (Jessie Buckley) is dying and she needs Dolittle's help. If she dies, Dolittle and his animal friends will be thrown out onto the streets.

Jip the Dog (Tom Holland) smells that someone poisoned Her Highness with nightshade. The only cure is the fruit of the Eden Tree, so Dolittle and his menagerie set off to find it. Tommy tags along, too. Meanwhile, the movie doesn't even try to hide that Jip's right on the money. The evil Lord Badgely (Jim Broadbent) and Dr. Mudfly (Michael Sheen) are behind it all. Dr. Mudfly sets off after Dolittle while Lord Badgely waits for the crown.

The film's director is a peculiar choice: Stephen Gaghan, who won an Oscar for writing Traffic, and who directed George Clooney to an Oscar in Syriana. Needless to say, it's unlike anything in his filmography. He and his co-writers have some good ideas buried in a frantic tone. It favors non-stop action and humor more than pathos. The climax is a long, crass joke, though it does allow for Dolittle to do a little doctoring. Tommy and Rose end up together despite barely sharing screentime together. Oh yeah, and at one point, an orangutan with "dance fever" shows up for a single shot. Where did he come from?

Downey Jr. does OK as Dolittle. His tragic past is set up perfectly in the animated prologue. But he's a doddering fool when we first see him in the flesh. That's a bit of a disconnect. But he quickly regains his wits when Tommy brings Kevin. We do see him affected by his past a few times. But the frantic tone blunts most of the potential drama's impact. The end was more "meh, OK" than "how moving."

Some of the supporting cast did better. The highlights are Emma Thompson as Polynesia the Parrot, Antonio Banderas as Dolittle's ex-father in law, King Rassouli, and Ralph Fiennes as Barry the Tiger. Marion Cotillard and Selena Gomez make the most of their painfully limited screentime as Tutu the Fox and Betsy the Giraffe. A few funny bits come from Kumail Nanjiani as Plimpton the Ostrich and John Cena as Yoshi the Polar Bear. The best bit character is a precocious lion cub.

The animals are mainly CGI creatures. They look like real animals and express themselves much like humans. A few shots, mainly of Polynesia flying, are obvious CGI, but everything else was good. Danny Elfman's score was OK, while the production and costume designs were fine. Moving on.

A lot of Dolittle's problems are traced to a nightmarish and protracted production. That includes the obvious dubbing throughout the film; nevermind that I barely noticed it while others did. It's an amusing matinee and nothing else. If you want to introduce Doctor Dolittle, in his original setting and without its most problematic content, to your kids, this is an OK start. But I'll bet much that a lot of better family films will come later this year.

1917

Tick Tock, Tick Tock
Oscar nominations come
after five o'clock.

That's right. The 92nd Oscar Nominations are set for tomorrow. It's fitting, perhaps, that the last major film (I think) on my to-see list centers on a looming deadline. It's the war movie 1917 directed and co-written by Sam Mendes.

April 6th, 1917. British soldiers Schofield (George MacKay) and Blake (Dean-Charles Chapman) are called before General Erinmore (Colin Firth) for an urgent mission. The 2nd Battalion of the Devonshire Regiment, which includes Blake's brother Lt. Joseph, has seemingly routed the German Army to the Hindenburg Line. The Devons plan to rout the Germans some more in a daybreak attack. Unfortunately, the Devons are walking into a trap. Our heroes have to deliver the orders to call off the attack.

The rest of the movie follows our heroes as they travel the no man's land. Literally follow, for much like Birdman, the film is stitched together to appear as mostly one take. The mission pushes our heroes, one of whom bites it half-way through, to their limits. Will they get there on time?

Mendes and his co-writer, Krysty Wilson-Cairns, barely waste precious seconds. The film opens with our heroes woken up from a nap and going to get their mission. The film shows their encounters with such perils as a booby trapped bunker, barbed wire, a shellshocked pilot, a sniper, a broken bridge and skeptical soldiers. We see, as they see, how unpleasant war gets. We also get some cameos along the way. A few notables are Mark Strong as Captain Smith and Benedict Cumberbatch as the Devons's Colonel Mackenzie.

There are plenty of technical stars on the frontlines. Chief among them are production designer Dennis Gassner, editor Lee Smith and cinematographer Roger Deakins. The film's vision of war-torn France is perfectly nightmarish; it's best exemplified by its rendition of Ecoust-Saint-Mein at night. A city in darkness, momentarily lit by ominous light from nearby fires. An alluring, yet unsettling sight. The only obvious cut is when the film skips from late afternoon to way early morning. All the other cuts are practically invisible.

Our heroes, Schofield and Blake, are great characters. Blake is a nice guy, while Schofield is determined to impossible degrees. The camera barely lets them out of our sights. They're as present as Thomas Newman's melancholically score. It barely reprieves us of whatever sights and perils they encounter. We're invested in their mission and are relieved when it's over.

This year's speculations are almost over. The Oscar nominations are around nine hours from now. You will hear a lot about 1917 starting tomorrow. Its plot maybe thin and somewhat familiar, but it's rarely, if ever, boring. Its compelling leads and stunning imagery easily guides its audience through 119 minutes. See it on the biggest screen possible. See it soon. Its time in theaters won't last forever.

The Farewell

The Farewell was a film that I meant to see last fall. But I got lazy. It's time to catch up now that I saw it on streaming. It's been a few days since I saw it on streaming, but OK. Let's go.

The film is "based on an actual lie" recounted by writer/director Lulu Wang, which was previously told on This American Life. Lulu Wang is represented by Billi Wang (Awkwafina). One day, Billi learns that her grandmother - Nai Nai in Chinese (Zhao Shuzhen) - is dying of lung cancer. Chinese custom forbids the family from telling Nai Nai of her condition. Instead, the family bears the news alone.

The family organizes the wedding of Billi's cousin Hao Hao (Han Chen), and his girlfriend, Aiko (Aoi Mizuhara), as a way to secretly say goodbye. Much of the film has Billi stuck between honoring her family's request or spilling the beans. The quick wedding ends up bringing the family closer together; more than they realize.

The film lets us see the seriousness and hilarity of the situation. We see Billi and Nai Nai's endearing relationship and understand her dread over losing her. We also see the family's dread, too, even when they try to hide it. This leads to a lot of tension between the family. But we also have time to laugh during their family time. A highlight is a visit to their grandfather's grave and quibbling over what to leave him. The climactic wedding has plenty of laughs even as the ruse nearly breaks.

The standouts of the cast are, of course, Awkwafina and Zhao Shuzhen. I already mentioned their endearing relationship as Billi and Nai Nai. Individually, they're hilarious and moving characters. Lu Hong, Wang's real life Great Aunt, plays herself, and she's just as compelling as Nai Nai. Other highlights of the cast include Tzi Ma, as Billi's dad Hayan and Yongbo Jiang as Billi's uncle Haibin, and the aforementioned Han Chen and Aoi Mizuhara.

Now for a few technical highlights. Alex Weston's often somber score was recently shortlisted for the Oscar. It fits with the sentimental tone pretty well. Cinematographer Anna Franquesa Solano gives us some great views of Beijing and some stylish takes.

Who knows if The Farewell will be cited in next week's Oscar nominations. The original screenplay category, in particular, is pretty competitive this year. But Oscar or not, The Farewell is a captivating look at cultural differences in one family. Awkwafina certainly earned her Golden Globe for her strong performance. You can see why if you see it soon.

Uncut Gems

Here's the film that I thought about seeing on New Years Day.

Good thing I didn't.

Uncut Gems is a comedy of grievous errors. A lot of things go wrong for one Howard Ratner (Adam Sandler). Some of it is absurd. Some of it is intense. Even both. Who is Howard and what is his life story?

Howard's a jewel dealer in New York in debt to the mob. Specifically, it's to his brother-in-law, Arno (Eric Bogosian). His marriage to Dinah (Idina Menzel) is a sinking ship. His affair with Julia (Julia Fox), an employee, is only slightly better. He hopes to revive his fortunes by selling an uncut opal at auction. Celtics Super Star Kevin Garnett (as himself) wants the opal as a good luck charm. Howard agrees to let him have it for a while. But Garnett wants to hold on to it longer. Unfortunately for Howard, Arno and his two goons have very little patience.

This was directed by filmmaking brothers Ben and Josh Safdie. They and their co-writer, Ronald Bronstein, open their Kafka-esque comedy with a mining accident in Ethiopia. It leads to the discovery of the opal, a surreal trip inside it and then, a surreal trip inside Howard. Weird, no? The rest of the film's 135 minutes show Howard digging his grave with a series of stupid mistakes. He also gets into shouting matches with almost everyone. It proves unbearable after the third or forth argument.

Sandler is slightly compelling as Howard. Yes, he's rude to pretty much everyone throughout the story. But he knows he's a screwup and is trying to do better. Trying, anyway. He doesn't know when to fold it, which directly leads to his final mistake. Indeed, everything that happens to him is his fault. It's hard to care about his ultimate fate.

Among the rest of the cast, Menzel makes the most of her screen time as Dinah. Arno's two goons, Phil (Keith Williams Richards) and Nico (Tommy Kominik), prove even less likable than Howard. Arno himself starts off as a jerk, though we soon see his sympathetic side. Julia is the film's most likable character. Garnett is a standout as himself.

There are two technical standouts. The first is cinematographer Darius Khondji, for his gritty and colorful work. The trips inside the diamond's insides look like a trip through the cosmos. Howard's world is appropriately less colorful. The other star is composer Daniel Lopatin. His booming score makes Howard's dark life most obvious.

Uncut Gems is for anyone who loves the darkest of comedies. It's probably the funniest Kafka-esque comedy ever made. Maybe that's why I barely laughed at all. All the screaming didn't do it for me. See it if you can find some humor in the madness.

Or rather, a diamond in the rough.

Spies in Disguise

I wasn't in the mood for a serious film this New Year's Day. So I went for the birds. Fox's animated spy comedy Spies in Disguise is here for some family-friendly superspy action. Let's get on the case.

Lance Sterling (Will Smith) is the best secret agent of HTUV. On his latest mission, he's sent to take back an Attack Drone from arms dealer Katsu Kimura (Masi Oka). But it falls into the hands - one being a robot claw - of supervillain Killian (Ben Mendelsohn). To make it worse, Killian frames Lance for the theft. Lance goes on the run. Special Agent Marcy Kappel (Rashida Jones) leads the manhunt against him.

Lance tracks down HTUV teen genius Walter Beckett (Tom Holland), who he dismissed hours earlier, and asks him for his newest invention: "biodynamic concealment." The potion changes Lance into a pigeon. They immediately go on the run to find Killian. While Lance insists he flies solo, literarily this time, he needs Walter's help to find the bad guys and get un-birded.

The film credits Lucas Martell's animated short Pigeon Impossible as the inspiration. That had a secret agent, also named Walter Beckett, deal with a pigeon in his flying, laser-shooting, nuclear suitcase. That's not what the writers - Cindy Davis, Brad Copeland and Lloyd Davis - thought up here. It's still a silly spy spoof involving a pigeon. The best gags involve Walter's non-lethal inventions; among them, glitter bombs that summon images of kittens. I wasn't too keen on the crude humor, though. It still takes Killian very seriously.

Its non-violence moral is simplistic. Lance embraces explosive weaponry because other agents died. We don't get to know any of these agents, but OK. Walter gets it better because we know he lost someone: his mother, Wendy, a police officer. We understand why he embraces non-violent weaponry. Killian gets it worst. He also lost people on the job, but he was a bad guy then and now. If anything, Lance's prior fight with him made him worse. It's hard to empathize with Killian. But it's easy to laugh when the final fight has the good guys embrace Walter's inventions.

It's also easy to embrace these characters. Lance starts off as an entertainingly arrogant secret agent. The film makes his character development into a team player fun to watch. Walter is likable all the way through. Lance's fellow pigeons, Lovey, Jeff and Crazy Eyes, are a fun bunch of birds. Killian, as I already alluded, is a very formidable threat. Marcy and her team, Eyes and Ears, are a good bunch of misguided antagonists. Overall, there's nobody to hate but the villain.

Some gross gags aside, it's one of the best looking animated films around. The production design by Michael Knapp visualizes some stunning locals from bad guy lairs to HTUV headquarters. The first fight scene is a visually stunning brawl between Lance and many Yakuza men. The animated cinematography by Renato Falcao makes it worthy of the big screen. The opening and end credits are appealing homages to James Bond's title scenes. There's also a good score by Theodore Shapiro to set the moods.

Spies in Disguise isn't an emotionally demanding film. There's a few deep moments, but you'll notice the silliness even more. Fortunately, its gags are more hit than miss. It's a good family matinee for a slow afternoon. But if you want a more serious spy caper, wait a few months for Daniel Craig's final, for real this time, James Bond film, No Time to Die.

Little Women

I found time for a second movie today!

It's not Netflix, either!

No, it's Little Women, the latest screen adaptation of Louisa May Alcott's literary magnum opus. Greta Gerwig's follow-up to Lady Bird is a great film to end a year - or decade - of moviegoing. Let's see why.

Gerwig's screenplay goes back and forth in time to tell the story of the March sisters: Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlen) and Amy (Florence Pugh). During the Civil War, they and their "Marmee" (Laura Dern) hold down the home front while their Father fights for the Union. After the Civil War, the Little Women try to make their ways in the world. Jo submits stories for an editor (Tracy Letts) who prefers his female protagonists dead or wed. Meg settles down with John Brooke (James Norton). Amy travels abroad with Aunt March (Meryl Streep) to hone her passion for painting. Beth plays piano …

There's also Theodore "Laurie" Laurence (Timothee Chalamet), the boy next door. Jo and Amy both fall for him, though they're put off by his carefree attitude. Jo also has a suitor in Friedrich Bhaer (Louis Garrel), whose blunt criticism of her writings doesn't suit her. The March sisters have their fights and quibbles, but they still come through for each other.

Let's talk about the back-and-forth timelines. Cinematographer Yorick Le Saux films the past timeline in warm colors and the present timeline in darker ones. We see a divider between an optimistic past and a cynical future. Editor Nick Houy perfectly juxtaposes the March sisters' highs and lows. The Oscar-shortlisted makeup/hair team capably ages and de-ages the characters. Costume Designer Jacqueline Durran and Production Designer Jess Conchor create an alluring vision of the 1800s. There's also another great, Oscar-shortlisted score from Alexandre Desplat to move the heart.

The March sisters are spectacular. Jo wins the audience over with her spirit. We see how her family inspires her passion; her tough negotiating for her publishing contract is awesome. Amy starts off as a spoiled girl, but we see her change for the better. And it's incredible. Meg and Beth are sympathetic all the way through. They have excellent chemistry; their highs and lows are as believable as any family's.

Let's highlight some of the cast. Laurie is a likable rogue who greatly matures at the end. Chris Cooper, as Laurie's grandfather Mr. Laurence, is a warm fatherly figure. Bob Odenkirk makes the most of his limited screentime as Mr. March. Aunt March, of course, gets some of the best lines. What else is there to say?

Little Women is a great introduction - or re-introduction - to the oft-told story. Its cast, especially its four title characters, are as memorable as their literary characters. Its story structure sharpens each plot twist, especially with Beth's fate. Its 135 minutes go by pretty quickly. All in all, it's anything but a dull retread of an old tale. It's a fresh family drama.

See it soon and you'll be amazed.

The Two Popes

It's the end of the year and the end of a decade. It's also the end of an era as I trade one computer for another. The first film I'll review with this computer is The Two Popes, a film that's also about changing times.

In 2005, Argentinian Cardinal Jorge Bergoglio (Jonathan Pryce) is called upon to help elect a new Pope after the death of John Paul II. The Vatican ultimately elects Cardinal Joseph Ratzinger (Anthony Hopkins) as Pope Benedict XVI, but Bergoglio comes in second. Bergoglio returns to his congregation. But then, in 2012, Bergoglio decides to resign and heads to the Vatican just as Pope Benedict summons him there.

They have a lot to talk about. Among the biggest points is Pope Benedict's own plan to resign the papacy. He wants Bergoglio to take over. But Bergoglio is still haunted by his "compromising" with the Argentinian Junta. They'll have to find a way to let themselves, and the Church, move forward. Of course, since Bergoglio is now Pope Francis, we know that they did find common ground.

Anthony McCarten based the screenplay on his stage play, The Pope. Sure, it being a dialogue-heavy two-man piece kind of gives away its theatrical origins. Stylistically, though, it's not stage-bound. We have director Fernando Meirelles and his cinematographer, Cesar Charlone, to thank. On one side, we see Bergoglio and Benedict's conversations as they discuss topics like God, The Church and Tradition v Change. On the other, we get flashbacks to Bergoglio's past. These flashbacks intrigue the audience the more they gradually tell.

Whether by circumstance or a good makeup artist, Pryce and Hopkins are deadringers for their real life characters. On-screen, they make a good duo. Hopkins as Benedict sticks to tradition to a fault; but he's the kind of man one can respectfully disagree with. Pryce as Bergoglio is a warm man with a dark past. They give each other much to talk and think about for the film's 125 minutes. We get to see them bond not merely as Their Holinesses, but as people. They hold the audience's attention with their words. The end credits see them bond over the World Cup in a delightful scene.

The Two Popes is an intriguing story. It may be an admitted imagined story, but it still gives us a lot to think about. Its two stars never bore us. The cinematography is outstanding. Its sparse soundtrack includes a surprising choice or two. It's a Netflix movie, so see it there if you've missed it during its miniscule theatrical run.

Cats

Cats is one of the most beloved and most mocked musicals of all time. Andrew Lloyd Webber's take on TS Eliot's Old Possum's Book of Practical Cats is surely a weird musical. As a lad, me and my family left halfway through one production. As an adult, I stayed through another. As an even older adult, I stayed through Tom Hooper's big screen take of the story. It's a decent movie if you have the right mood.

Victoria the white cat (Francesca Hayward) is dumped on the streets of London. The "Jellicle" Cats rescue her and welcome her to their world. Tonight, the Jellicles wait for Old Deuteronomy (Judi Dench) to choose a cat who can travel up to the "Heavyside Layer" to be reborn. Victoria is introduced to some of the cats who wish to be picked.

1. Jennyanydots (Rebel Wilson) sleeps all day and reforms the vermin at night.

2. Bustopher Jones (James Corden) is the fat cat about town.

 3. Gus (Ian McKellen) is the old theater cat.

4. Skimbleshanks (Steven McRae) keeps the trains running.

5. Mr. Mistofelees (Laurie Davidson) is the magic cat.

6. Rum Tum Tugger (Jason Terulo) is the wild and crazy cat.

Lurking in the background is Grizabella the Glamour Cat (Jennifer Hudson), the pariah of the Jellicles. Victoria takes pity on her and decides to give her the spotlight. Meanwhile, the diabolical Macavity (Idris Elba) plots to become the Jellicle Choice by default. How will the Jellicles get out of this one?

The Cats themselves may make or break the film. The film's "digital fur technology" visualizes humanoid Cats with very human looking faces. Even Jennyanydots' vermin friends have humanish faces. Creepy, no? But it does add to the surreality of the numbers, such as the opening Jellicle Songs for Jellicle Cats.

To many a chagrin, the film's effects team are one of ten that are now shortlisted for Oscar notice. Not mine, though. I wasn't bothered by the Cats' faces as I thought I'd be. Their expressiveness works wonders for Grizabella's scenes, especially her iconic number, Memory. I was more bothered by the vermins' human faces than the Cats. Still, they look like real creatures instead of obvious cartoons.

The other technicals are hard to disagree with. The songs are still spectacular after many years. Memory is as emotional (or unbearable) as you may remember it. The film's new song, Beautiful Ghosts, is surprisingly effective. Taylor Swift, who co-wrote the song with Webber, co-stars as Macavity's moll, Bombalurina, who sings Macavity's praises. Meanwhile, the digital cats play in real sets designed by Eve Stewart. Cinematographer Christopher Ross captures some exquisite imagery, especially during the moonlight Jellicle Ball.

Hooper and Lee Hall's screenplay expands the story beyond Eliot's text. Oh yes, there is a story. On stage, the Cats tell the audience about themselves. On film, the Cats tell Victoria about themselves. The plot still has the audience/Victoria led around the city to meet other Cats. Meanwhile, Macavity whisks away other Jellicles to a barge captained by Growltiger (Ray Winstone). It's not a thorough plot, but it's an understandable one.

There's a great cast here. Victoria is a good lead, even if her biggest moments are near the end. Mr. Mistofelees and Old Deuteronomy are good cats, too. Elba, Corden and McKellen play their parts with giddy enthusiasm. Swift's "cameo" is the film's one-scene wonder. Let's not forget Mungojerrie and Rumpleteazer, Macavity's twin henchcats, or Munkustrap (Robbie Fairchild), one of Victoria's Jellicle guides.

So what is Cats? Its simple plot may bore some, while its visual effects may turn others off. But for me, it's a surprisingly appropriate take on a weird musical. The cast's musical performances transcend their digital cat suits. There's supposed to be an updated print coming this week with improved visual effects. I think I saw the original print today. Fortunately, it wasn't a total cat-a-clysm.

Meow...

Bombshell

It's been four years since The Big Short came out. The film's co-writer, Charles Randolph, goes solo for his follow-up, Bombshell. As realized by director Jay Roach, it's an angry satire much like that earlier film. It's not that entertaining. But is it any good? Let's see.

In 2015, Megyn Kelly (Charlize Theron) and Gretchen Carlson (Nicole Kidman) are two of the top anchors on Fox News. Kayla Pospisil (Margot Robbie) is an ambitious young staffer. All three women attract the unwanted attention of the man upstairs, Roger Ailes (John Lithgow). The channel's toxic work environment drowns their concerns. At least, until Gretchen gets fired and later sues Ailes for harassment. This inspires Megyn and Kayla to come forward with their own accusations. They're not the only ones.

I think I summed up the movie.

The film starts with Megyn giving the audience a tour of Fox News headquarters. She, Gretchen and Kayla narrate some story points. We get some characters voicing their inner thoughts. But the wacky fourth-wall breaking dims once the story gets going.

Kayla deals the most with Ailes's unwanted attention; it culminates in a protracted and disturbing meeting with Ailes. Until the lawsuit hits, much of Megyn's part deals with the fallout of that infamous 2015 debate. We understand her frustrations as she deals with trolls and Ailes. The same goes for Gretchen even as the film somewhat sidelines her. There's still some humor as the film mocks the toxic work environment of Fox News, but we're often too outraged to laugh. I'm sure that's the point, but it often succeeds too well.

There's a great cast here. Theron, Kidman and Robbie make their characters likable and sympathetic people. Theron and Kidman pull off pitch-perfect impersonations of their characters. Robbie, whose character is a fictional composite, gets a good character arc as she stands up to the "system." One embodiment of the system is, of course, Lithgow as Ailes. He's patronizing at best and a short-tempered and creepy old man at worst. It helps that there's a great makeup team headed by Kazu Hiro (the same Kazuhiro Tsuji who made Gary Oldman into Winston Churchill). We also get some eerily convincing impersonations of Rudy Giuliani (Richard Kind), Bill O'Reilly (Kevin Dorff) and Rupert Murdoch (Malcolm McDowell).

Some reviews say that Bombshell's satire isn't that sharp. But I think it got the basic point. Even if one disagrees with Fox News's politics, they'll understand there's nothing justified in harassment. Still, the tonal whiplash is sure to throw its audience off its feet. Just keep that in mind if you decide to see it. It's OK to see at least once. You decide ... if you want to see it twice or more.

Star Wars: The Rise of Skywalker

The last two Star Wars films weren't what the fans were looking for. I thought they were OK, but that's just me. But anyway, it's time for the real finale of the Star Wars Saga. That's what Episode Nine, The Rise of Skywalker, promises. JJ Abrams returns to the director's seat for this grand installment. 

Last time, Luke Skywalker (Mark Hamil) faced down the evil First Order at the cost of his life. This time, his apprentice, Rey (Daisy Ridley), continues her Jedi training with Leia (Carrie Fisher, via outtakes from the last two Episodes). Meanwhile, First Order Supreme Leader Kylo Ren (Adam Driver) goes to the Dark Planet Exegol and finds Emperor Palpatine (Ian McDiarmid) back from the dead. Palpatine has a fleet of planet-killing Star Destroyers for his new regime, The Final Order. He also tells Kylo to bring Rey to him.

The Resistance decides to find Palpatine first. But they need a Sith Wayfinder to do it. So Rey and her friends, including Poe (Oscar Isaac) and Finn (John Boyega), travel the galaxy. There's a host of different aliens and humans along the way. There's a shocking revelation about Rey's past, too. Eventually, Rey must confront Palapatine for the fate of the galaxy.

Abrams and his three co-writers, including Chris Terrio, keep things going for a quick-paced 142 minutes. Maybe too quick paced. We get a lot of action in rapid succession in the first hour or so. A grand highlight is a Millennium Falcon chase where it "lightspeed skips" across several planets in rapid succession. The pace stabilizes once Rey's past is revealed. But some details are still skimmed over. For instance? A new character, Zorri (Kerri Russell), has a past with Poe. But she gets barely any screen time to elaborate. Meanwhile, the "course correction" of The Last Jedi's most controversial plot points didn't bother me. Luke's cameo addresses one such point hilariously.

What's to say about the technicals? They're to the Star Wars brand of excellence. Everything from the visual effects, creature designs, sound design and of course, John Williams's score, is top notch. There's nothing amiss from the Carrie Fisher stock footage. The new planets are appealing; even the dark and dreary planet Exegol. It's a great pinnacle of forty-two years of technical evolution.

There's also a good cast. Rey's character arc is probably the most "course corrected" plot point here. It still makes a strong point about shaping one's destiny. It's still satisfying to see her triumph. Kylo's character arc was OK, even if it was somewhat rushed. Classic characters like C-3PO, Chewbacca and especially Lando Calrissian (Billy Dee Williams), get much to do. Zorri makes the most of her limited screentime. Palpatine is still a formidable threat. There's also a ton of cameos that may slip past you on first viewing.

The Rise of Skywalker decently concludes this saga. Its story is convoluted but its visuals are grand. You might just have to sit back and relax for most of it. Still, the final scene is a poignant call-back to the first film. Meawhile, that new Disney + show, The Mandalorian, is supposed to be good. But who knows how Star Wars will continue on the big screen. Maybe a few years of dormancy can rile up fan demand.

Hey, it worked with The Force Awakens.

But there should be some better foresight.

I Lost My Body

I found time for a second film to review yesterday. It's on Netflix now, so it was easy. It's a French animated film called I Lost My Body, based on the novel Happy Hand by Guillaume Laurent, who also wrote the screenplay with director Jeremy Clapin.

So who lost their body? Rosalie the Hand. One day, she wakes in a lab, lost and detached. After a very messy escape attempt, she travels through Paris to find her former owner.

Meanwhile, we're introduced in flashbacks to her former owner, Naoufel (Dev Patel), an aimless orphan. After his latest, and likely final, tardy pizza delivery, Naoufel interacts with the annoyed customer by intercom. That voice belongs to Gabrielle (Alia Shawkat) the librarian. He gets a job with Gabrielle's carpenter uncle Gigi (George Wendt). His attempts to get closer to her are awkward at best.

It runs at a sparse 81 minutes, so I'll try to keep it short too. Rosalie's part of the plot barely has any dialogue. But it's got plenty of creepy moments. A few highlights include the lab escape and her encounter with a pigeon. The film's 3D/2D animation style makes these moments artistically creepy. We soon get to see what led to her separation with Naoufel. You'll be uneasy before you see it happen. You will cringe at these perils and empathize with that poor, lost hand.

Naoufel's part seems like a different movie. One might not even get his connection with Rosalie at first. Even if the film starts with the aftermath of their fateful accident. But they will get it, eventually. We get to see how ended up an aimless man. It's easy to understand his desire to get out of his funk. It's nice to see him find a friend in Gabrielle. We understand some of his awkwardness in his own flashbacks. But we don't empathize with his egregious offenses. Still, the ending gives him a bit of hope.

I Lost My Body is a surprisingly endearing story about a lost hand. Never thought I had to write that sentence. But I did. Rosalie makes for the most memorable walking hand since Thing from The Addams Family. You might not want to turn your eyes away even if you want to. It's not for the feint of heart; but for those that are, it's still on Netflix and some theaters now.

Jumanji: The Next Level

Jumanji: Welcome to the Jungle was a good way to update the concept of Chris Van Allsburg's original book and 1995 film. It made you think that there was no room for sequels. But, no. We now have that sequel, Jumanji: The Next Level, and it's another fun end-of-the-year action film.

The four Jumanji players, Spencer, Bethany, Martha and Fridge, are now college students. They mostly keep in touch and can't wait to reconnect over the holiday break. Everyone except Spencer, who split with Martha, and misses the game world. He gets out the Jumanji console, which was smashed to pieces last time, to go for another round. The others go after him once they realize what he did. But the game only sucks in Fridge and Martha, along with Spencer's Grandpa Eddie (Danny DeVito) and his former friend, Milo (Danny Glover).

While Martha gets her old avatar, Ruby Roundhouse (Karen Gillan), Fridge is stuck with Professor Oberon (Jack Black). Eddie gets Smolder Bravestone (Dwayne Johnson) and Milo is "Mouse" Finbar (Kevin Hart). This time, they have to reclaim another jewel from the evil Jurgen the Brutal (Rory McCann), and show it to the sun. Eddie and Milo's inexperience proves lethal for the group. Still, they have three lives before it's game over. Eddie and Milo have to get over their personal problems to get Spencer and get out. Martha and Spencer have much to deal with when he shows up as thief Ming Lightfoot (Awkwafina).

It sounds somewhat the same as before. But director Jake Kasdan and his two co-writers keep it interesting. Their best move was to change around the real cast's avatars. It was fun to see them learn their new roles. The Jumanji game's new innovations pit them against ostriches, mandrills and even a man named Switchblade. They even find a way to switch avatars again, which they, save Martha, user permanently in the end. It's hilarious to see who ends up as Ming.

Its main draw is its great cast. The game cast once again pull off perfect imitations of the real cast. The character development is believable even though we spend most of the movie watching them as different folks. It's especially fun to see Johnson and Hart play two old men. They argue, both hilariously and seriously, and start off with the memory spans of goldfish. But they pull through as valuable players. The game cast do wonders when the real characters switch avatars. So we have them essentially play up to three characters (four?), and the switches are believable. As for the rest, McCann was an OK brutal villain as Jurgen, and Bebe Neuwrith has a surprise cameo as Nora from the 1995 film.

Now for the technicals. Once again, we have some great scenery filmed by Gyula Pados. The game journey takes the cast to such locales as the Hawaiian forests, the New Mexico dessert and digital jungles. Jurgen's fortress is a perfectly imposing villain lair. The animals are formidable digital creations. Bravestone's massive strength is comically amazing. The action is set to another fine Henry Jackson score.

Some might say Jumanji: The Next Level is too repetitive of the last film. But like a good video game, it at least it provides some fun for an afternoon. Its 123 minutes are never dull. So pay whatever price you can. It ends with a potential sequel hook midway through the credits. How will they get through this one? Anyway, it won't punish you too badly if you never saw the last film. But it wouldn't hurt to do so.

Marriage Story

Tolstoy opened Anna Karenina by asserting that "happy families are all alike; every unhappy family is unhappy in its own way." Is he saying happy families are boring? Is he saying unhappy families are more interesting? I don't know.

The Thrombeys are entertaining. The Barbers, the family featured in Noah Baumbach's new Netflix film, Marriage Story, are less so. Funny thing is, it's not as depressing as I'd thought it be. Let's see why.

The Barbers' marriage is practically over. Charlie (Adam Driver) is bound to his directing career on the New York Stage. Nicole (Scarlet Johansson), his lead actress, wants to return to her roots in Hollywood. She takes her chance when she's offered a role in a TV Pilot. She takes their son, Henry (Azhy Robertson), with her for the stint. This builds up already simmering problems between them. Charlie gets served divorce papers once he arrives to visit.

Nicole gets Nora Fanshaw (Laura Dern) as her attorney. Charlie first hires milquetoast Bert Spitz (Alan Alda), and then the more brash Jay Marotta (Ray Liotta). They have a lot to argue about, especially concerning custody of Henry. They'll have to come to some agreement for the sake of Henry and themselves.

The film starts off with the Barbers explaining each others' good qualities. But they're too bitter to read them to their mediator. We don't get any flashbacks to their happy times. But we soon understand how badly their relationship has crumbled. The film wants to paint neither as "good" or "bad," though I think it sympathizes with Nicole a bit more. It's Charlie's ignorant indifference that sets off the divorce.

Still, Driver and Johannson are sympathetic leads. They have understandable motivations for their city choice. You can feel their pressure as the proceedings go on. They both make commendable efforts to make things right. They do have some tender moments during the process, which are accentuated by a nice Randy Newman score. Their climactic fight is the most unbearable part of the proceedings. Maybe second; Charlie's botched knife trick (long story) is painful.

The film's supporting cast makes the family drama bearable. Nicole's eccentric mother Sandra (Julie Haggerty) and sister Cassie (Merritt Wever) are much needed comic relief. They dote on Charlie despite Nicole's objections. It's both funny and tense when Cassie has to serve Charlie the divorce papers. Laura Dern as Nora steals her scenes with her sunny viciousness. She's a good friend to Nicole and a strong verbal sparring partner for Jay Marotta. Alda's time as Bert doesn't last the whole film. But his dialogue is the most incisive ("{Divorce} is like a death without a body.""). Wallace Shawn stands out as Frank, a veteran actor in Charlie's company.

There's quite a few ways this Marriage Story could've ended. But let's talk about the end result. It's a strong family drama about life during divorce. Its memorable ensemble carries the film through 136 minutes. Its ending is much more hopeful than something like The War of the Roses. So don't feel too bad if it's not a conventional ending. See it on Netlfix or theaters. You decide ... if you have both options.

Knives Out

Today, we celebrate family togetherness. It's a perfect time for a film about family dysfunction. That film is Knives Out, writer and director Rian Johnson's mystery comedy. It's full of stunning twists and dark laughs. Let's see why.

Acclaimed mystery writer Harlan Thrombey (Christopher Plummer) is found dead in his mansion. His highly-dysfunctional family celebrated his 85th birthday the previous night. Lt. Elliot (LaKeith Stanfield) and Trooper Wagner (Noah Segan) are assigned to the case. Celebrity detective Benoit Blanc (Daniel Craig) is summoned by an unknown party to help out. Harlan's death was apparently a suicide. But the detectives aren't that sure yet. They've got a whole bunch of suspects:

1. Son-in-law Richard (Don Johnson), who didn't want Harlan to tell...

2. His wife and Harlan's daughter, Linda (Jamie Lee Curtis), about an affair.

3. Son Walter (Michael Shannon), who got cut from his and Harlan's publishing company.

4. Daughter-in-law Joni (Toni Collette), who got caught embezzling from Harlan.

5. Grandson Ransom (Chirs Evans), annoyed that Harlan cut him from the will.

There's also Harlan's caretaker Marta Carbrera (Ana de Armas). She was the last person to see Harlan alive. She suddenly finds herself Harlan's sole heir. The family finds that too convenient. Marta and the detectives have to get to the bottom of the case fast.

The plot unfolds over 130 minutes. And you'll barely forget any one of them. Barely any tidbit, including Marta's physical incapability to lie, is unimportant. They're all relevant to the climax. Flashbacks slowly reveal the truth behind Harlan's last night. The ending is built on twists upon twists. It's as brilliant as it's hilarious. You won't get lost untangling this web.

The family as a whole is made up of comically unlikable jerks. The possible exceptions include Harlan's mother Wanetta (K Collan) and granddaughter Meg (Katherine Langford). But the others bicker, cheat and lie for all the world to hear. They're almost all of them elitist gold-diggers. They're most venomous when the will is read. The lawyer (Frank Oz) gladly waltzes out of the movie when they tell him out. Oh yeah, and just after they say they'll support Marta, they turn on her once she's named heir. I hope your family isn't like them.

Fortunately, the real protagonists are all likable. Marta is a hard-working woman caught up in tough circumstances. She wins the audience over with her selfless demeanor. You can feel her shock when she's named heir. You'll be pleased when she stands up to the family. Meanwhile, Blanc is a laugh riot with his unusual mindset. But you'll be amazed to see how competent he is. Blanc standing up for Marta is pretty good. Harlan makes the most of his comparatively limited screentime. You'll understand why he chose Marta over his family.

Harlan's house is the film's technical star. It's one of the most appealing Gothic houses since The Addams Family's. The most memorable touch is the massive knives display.  Its secret exits and rooms surely make it seem bigger on the inside. It kind of is; Production Designer David Crank used the real Ames Mansion and two sound stages for the place. Cinematographer Steve Yedlin and composer Nathan Johnson deserve points for their eerie work.

Knives Out is a fun twist on the murder mystery. We have a likable protagonist, an unlikely master detective, absurdly detestable suspects and memorable dialogue. You'll laugh and cheer when the real villain is caught. Overall, there's quite a bit to enjoy with this film. See it and you'll get it. Be prepared for some modern political topics (in case you don't like them).

The Irishman

Now for Netflix's biggest film of the year.

That film is Martin Scorsese's long-awaited and long in-development tale of The Irishman. Steven Zaillian's screenplay reworks Charles Brandt's book I Heard You Paint Houses, a biography of hitman Frank "The Irishman" Sheeran, into cinematic form. It all unfolds over a titanic 209 minute runtime. Hopefully, this review will take not even a quarter of that to read.

Around the 1950s, Sheeran (Robert De Niro) is a truck driver for a meat-packing company. His load vanishes one day, but lawyer Bill Bufalino (Ray Romano) gets him cleared of theft. Afterwards, Bufalino's cousin, Mafia Don Russell (Joe Pesci) decides to induct him into his services. This includes "painting houses" with blood. He gets the attention of top Teamster Jimmy Hoffa (Al Pacino), who wants his help dealing with his enemies. Whether it be an annoying taxi company or Attorney General Robert Kennedy (Jack Huston).

After Hoffa's arrest and later pardon, his first priority is to go back on top. He doesn't care who he irritates along the way. Unfortunately for him, the irritated include the organized crime world. Russell tells Sheeran to tell Hoffa to keep it down. But he won't. This all culminates in Sheeran's explanation for Hoffa's disappearance in 1975. Yes, Sheeran's explanation. The original book's historical accuracy has been disputed. But the film's technical goodness is not.

Its most highly publicized technical feat is its visual effects. The visual effects that de-age Pacino, De Niro and Pesci by a good thirty or so years. At first, you might spend time looking for the seams. You'll later stop and ask yourself "what seams?" The digital makeup job is so great you can ignore any seams. No wonder this movie cost $175 million.

The screenplay has a lot to take in. We have Sheeran discussing his life with an unseen character (Brandt, maybe?). There's also Sheeran and Russell driving with their wives to Bill's daughter's wedding. Sheeran also tries to reconcile with his daughter, Peggy (a mostly mute Anna Paquin as an adult), who disapproves of her father's lifestyle (See his altercation with a local grocer). And of course, there's Sheeran's rise to power. Juggling between timelines can sometimes feel jarring. The film moves pretty quickly in its first half. It only strains at the last half-hour; it could've shaved that much.

Now for the cast. De Niro perfectly plays Sheeran as a tough, but sensitive man. Pacino's Hoffa is a well-meaning man whose ego is his biggest weakness. I mean, he's not that contrite when he asks a guy he previously insulted for union support. Pesci is subdued, but formidable as Russell Buffalino. It's easy to get lost amongst the film's mammoth supporting cast. Fortunately, a few of them have captions explaining their ultimate fates. It's even easier to not recognize some actors; some examples include Harvey Keitel as Don Angelo Bruno and Bobby Cannavale as his hitman, Felix.

The Irishman lives up to its hype. The digital fountain of youth is just as good as Marvel's. Its violence is mundane and brutal. Its runtime is a bit excessive. It's an interesting story about the futility of criminal life.  It's still worth a watch even if you have to take breaks. I did. It's playing at some theaters across the country. But they won't let you pause the movie. I'll let you decide where to see it.

Jojo Rabbit

Now for the most awkward comedy of the year.

Taika Waititi follows up Thor: Ragnarok with his take on Christine Leunen's novel Caging Skies, called Jojo Rabbit. It's a silly comedy set in an unfunny time. At least, it's silly until it's not. Let's see why.

Johannes Betzler (Roman Griffin Davis) is an aspiring Hitler Youth living with his mother, Rosie (Scarlett Johansson). His imaginary friend is the Fuhrer himself (Waititi), who he envisions as an enthusiastic manchild. Johannes goes with his real friend, Yorki (Archie Yates), to training camp, supervised by Captain Klezendorf (Sam Rockwell). There, the other boys brand him "Jojo Rabbit" after he refuses to kill a rabbit. A grenade mishap ends Jojo's time at training camp. Afterwards, Rosie gets Klezendorf to hire Jojo as a menial worker.

Jojo finds an unexpected guest at home - a Jewish girl named Elsa (Thomasin McKenzie). Furthermore, Rosie, as part of the German Resistance, hid her. If Jojo rats Elsa out, Rosie will surely hang. So Jojo uses the situation to learn about Jewish culture. He soon realizes that Adolf and the Nazi way are bad influences. He and Elsa have to avoid detection some how.

A lot to take in, isn't it?

It starts as a goofy comedy which mocks Hitler's cult-of-personality. The drills Jojo and his peers are put through are played as absurd war games. It gradually gets more serious when Elsa is introduced. Her introduction even plays out like a horror movie - which is surprisingly apt for one of Jojo's worldview. There's a few more goofy moments, but not that much, especially after a tragic discovery. A surprise visit from the Gestapo is appropriately terrifying. Jojo's former peers resisting the Allies in the climax is tragically absurd. But Jojo finally rejecting the Nazi way is awesome and funny.

Davis makes a great lead as Jojo. Sure, he's an aspiring Nazi, but he's clearly misguided. The whole movie is him learning a lesson some adults clearly haven't. It's amazing to see Jojo become "rabbit the survivor," instead of "rabbit the coward." McKenzie as Elsa makes a great surrogate sister for Jojo, complete with bickering and reconciliation. Johansson and Rockwell are strong supporting players here. Rebel Wilson is a surprising choice as Klezendorf's assistant Frau Rahm, but she was funny.

And finally, there's Waititi as Adolf himself. He's introduced as a goofy father figure for Jojo. He's useless at the sight of blood, but he shows Jojo the upside of being a "rabbit." Adolf goes from a goofy madman to a monstrous madman as he beckons Jojo to fulfill his duty. It's a great parallel to Jojo's character arc as he realizes the severity of the Nazi way. Again, Jojo's rejection of Adolf is sure to bring some applause.

There's plenty of technical highlights here. Production Designer Ra Vincent creates some alluring locales from Jojo's house to the training camp to Jojo's unnamed town (before and after an Allied Air Raid). Cinematographer Mihai Malaimare Jr. provides some stunning scenery of the Czech Republic, which stands in for Germany. Editor Tom Eagles and Composer Michael Giacchino collaborate the best when Jojo discovers Elsa and during the film's tragic swerve. The soundtrack adds to the goofiness with some German-translated Rock Songs.

Jojo Rabbit isn't a film for everyone. Some might find the Nazi mockery distasteful. Others may find it empty-headed. For me, it's a good story about a boy growing up. His rejection of a toxic influence shows how much he's changed. The story ends well even if everyone doesn't make it. It's worth a watch. There's more depth than you might imagine.

A Beautiful Day in the Neighborhood

Why, hello neighbor. Come on in.

You may recall last year I highlighted the documentary Won't You Be My Neighbor, a film about Mister Fred Rogers. Today, I highlight the narrative feature A Beautiful Day in the Neighborhood, which was formerly called You Are My Friend. It stars Tom Hanks as Rogers and is based on the Esquire article Can you Say ... Hero? by Tom Junod.

Junod is represented by Lloyd Vogel (Matthew Rhys). Vogel is an acclaimed journalist with a wife, Andrea (Susan Kelechi Watson), and baby, Gavin. His relationship with his father, Jerry (Chris Cooper), is highly strained. One day, his editor, Ellen, assigns him to write an article on Fred Rogers. When he meets Mister Rogers at WQED in Pittsburgh, Vogel can't believe that real Fred is as wholesome as TV Fred. He's not impressed at how Fred asks him about his own life. Overtime, Fred's gentle personality helps Vogel mend his troubled relationships.

Director Marielle Heller frames the movie as an extended episode of Mister Rogers Neighborhood. Among other touches, we get to see establishing shots of miniature cities instead of real ones. We also see Hanks re-enact the show's opening so perfectly I thought he was Gumped over the real Fred. But, no. Production Designer Jade Healy's recreation of the show's sets - at the actual WQED studio! - was that flawless. Cinematographer Jody Lee Jipes's work makes the Mister Rogers segments look like pristine TV footage. It's easy to get used to the film switching aspect ratios as it goes from The Land of Make-Believe to Real Life.

Now for the star. Tom Hanks as Mister Rogers perfectly embodies the soft-spoken nice guy Fred Rogers was. The film, like the documentary, shows how nice he was both on-screen and off. He never raises his voice even when one thinks he will. He responds to others' frustrations with patience and understanding. Yes, I made similar points about Fred in the documentary, but Hanks' performance here was on point. The film is another reminder why Fred Rogers is beloved.

Noah Harpster and Micah Fitzerman-Blue's screenplay is another welcome neighbor. We're introduced to Vogel as a picture on Mister Rogers' wall. We're told Vogel is hurt inside, and we wonder why. The film tells us why in a slow but steady 107 minute runtime. During which, we get to see Vogel see Mister Rogers' impact on others - including a scene where subway riders serenade Fred with the show's theme. We see him struggle with his past in an eerie nightmare. We feel it when he finally reconciles with Jerry. 

What's more to say about A Beautiful Day in the Neighborhood? Along with Won't You Be My Neightbor, this is another fine invitation to Mister Rogers Neighborhood. Its two leads welcome you into the movie with open arms. It's a quiet movie but it's heavily emotional. Its comforting morals are most welcome this year. It deserves whatever attention it gets (maybe more).

Frozen II

Have no fear, Elsa is here.

Six years after Frozen lit up the box office, its sequel, Frozen II, will do the same. I don't know if it's better than its originator, but this film is dazzling in its own way. Let's discuss.

In the prologue, Elsa (Idina Menzel) and Anna's (Kristen Bell) parents told them how their granddad, King Runeard (Jeremy Sisto), built a dam for the indigenous Northulda tribe of a nearby Enchanted Forest. The Northuldrans attacked and killed the King, while their elemental spirits sealed away the Forest in mist.

Three years after Frozen, the now Queen Elsa of Arendale, along with Anna, Kristoff (Jonathan Groff) the mountain man, Sven the Reindeer and Olaf the Snowman (Josh Gad) live happily ever after. But then, a wailing voice (courtesy of Norwegian singer Aurora), calls out to Elsa. Elsa's response wakes up the elemental spirits. They attack Arendale.

The troll leader Pabbie (Ciaran Hinds) tells our heroes to go to the Enchanted Forest. There's a whole lot of secrets and lies in Arendale's history. One involves the circumstances of how Anna and Elsa's parents met. Another concerns the origins of Elsa's ice powers. One more concerns the attack that killed Runeard. Our heroes can only quell the spirits by righting the past wrongs.

The screen story was conceived by directors Jennifer Lee & Chris Buck, along with songwriters Kristen Anderson-Lopez & Robert Lopez and Marc Smith. It's not an easy story to sum up in a few paragraphs. Elsa's spirit awakening happens when she lets loose with icicles during her big number, Into the Unknown. It's a colorful display, but how does that wake spirits? The nature of Ahtohallan, Elsa's ultimate destination, is sure to raise some questions. A few plot points are too easy to guess beforehand.

What the film gets especially right is its music. Amongst the songs, Into the Unknown might have the best shot at Oscar time as much as Let it Go did for the first film. It's a strong ballad whose only flaw is that it plays too early on. Another standout is Kristoff's lament Lost in the Woods - a goofy parody of stupid 80s music videos. There's also the heavily emotional The Next Right Thing and Olaf's goofy When I am Older. Christophe Beck's score stands out amongst the songs. I could go on, but I won't.

The returning characters are a great bunch. Anna and Elsa's relationship is still endearing. Anna's relationship with Kristoff includes some comically painfully forced conflict - though the resolution was strong. Olaf and Sven are most welcome here. Two new characters, the Northuldran Ryder (Jason Ritter) and Honeymaren (Rachel Matthews), barely get much to do. Two of the Elemental Spirits, a salamander and water horse, are appealing creatures. The true villain of the piece gets off too easy - as he's already dead.

The visuals are another strong asset. Whether it's Elsa's wardrobe or the Enchanted Forest, the film gives us much splendor. The water effects are realistic, which adds much to the film's best scene. It's when Elsa walks on the raging ocean, and fights and tames the water horse. It's even better than what the already spectacular trailers showed. The Ice Memory Sculptures are another marvelous sight. What's that about ice memory? It makes sense in context.

Frozen II is a great film to look at and listen to. It's sure to take a while to process the heavy storyline. But it's ultimately worth it. There are some strong dramatic and funny moments as memorable as the first film. It's not an instant milestone, but it might become more regarded later on. It's worth whatever price to see it on the big screen.

Ford v Ferrari

James Mangold's last two directed films starred The Wolverine. His latest film, Ford v Ferrari, trades superheroes for race cars. It's an exciting entry into next year's Oscar race.

In 1963, Henry Ford II (Tracy Letts) decides to buy the Ferrari company. The "Commendatore" himself, Enzo Ferrari (Remo Girone), sells his company to Fiat instead. Ford decides to get even by building a race car. His goal is the 24 Hours of Le Mans, in which Ferrari-built Cars are on a winning streak. Ford needs a maker and a driver.

His maker is Carroll Shelby (Matt Damon), the last man to drive a non-Ferrari to victory. His driver is Ken Miles (Christian Bale), a hotheaded racer and mechanic. The two have a rocky relationship. But Shelby knows Miles is the best man for the job. A few Ford execs, namely Leo Beebe (Josh Lucas), don't approve of Miles. Shelby and Miles will have to prove them wrong with the GT40 Mk II.

They deliver.

The racing scenes deserve the big screen. The biggest screens possible. Editors Michael McCusker and Andrew Buckland and the Sound Designers make each race perfectly fast paced and tense. You'll be cheering for Miles even if you came in mildly curious. Each crash will put you on edge. You won't believe that much of the stadium crowds are digital. For me, the Mk II lighting up like the Delorean time machine as Miles overclocks it was the most stunning effect.

Damon and Bale make a great duo. Individually, both men are likable guys. Together, they are fun. Their arguments are serious, but often resolved hilariously. It's awesome to see them work it out. Their supporting cast has a few strong players, including Letts, Noah Jupe (as Miles' son, Peter), Caitriona Balfe (as Miles' wife, Mollie), Lucas and Jon Bernthal as Ford President Lee Iacocca.

The screenplay by Jez and John Butterworth, with Jason Keller, mostly works. It sets up the plot, along with Shelby and Miles' issues, clearly and quickly. Where it doesn't exactly work is the ending. Specifically, the events after Le Mans feel anti-climactic after the highs of the race. They're also unexpectedly tragic, albeit historically accurate, but that's another thing. The ending is where the 152 minute runtime is most apparent. Everything else zooms by wonderfully.

Ford v Ferrari is an entertaining racing film. Its two stars entertain the audience on and off the track. Its racing scenes are some of the best on screen. Its only real flaw is the relatively slow-paced ending. Still, it's an awesome film that deserves a steady place in theaters this holiday season. 

Doctor Sleep

Stanley Kubrick's take on Stephen King's The Shining is regarded as a classic horror film. It's also best remembered for King's dislike of it. But he's reportedly pleased with Doctor Sleep, the film version of his 2013 sequel novel of The Shining, which follows the original film instead of the novel. Why the name Doctor Sleep? Let's see.

Danny Torrance and his mother, Wendy, escaped with their lives from the demonic Overlook Hotel. But the Hotel's ghostly guests followed him to civilization. The ghosts sought his psychic abilities, the titular Shining, for sustenance. Fortunately, the ghost of Overlook cook Dick Hallorann (Carl Lumbly) taught Danny how to seal the ghosts away in mental boxes. Years later, "Dan" (Ewan McGregor) is a driftless alcoholic who finds purpose as a small town hospice orderly. The patients name him Doctor Sleep for his uncanny ability to soothe folks in their very last moments.

Meanwhile, an evil coven of soul-sucking vampires, The True Knot, murder Shiners and feed off their "steam." Their leader, Rose the Hat (Rebecca Ferguson), notices, and is noticed by, a particularly powerful teenage Shiner, Abra Stone (Kyliegh Curran), and wants her dead. Abra, meanwhile, notices Dan, and the two become friends. Dan tries to teach Abra to subdue her Shining. But it's too late; The True Knots are coming to get her. They'll have to put up a fight. It all leads them back to the Overlook.

The film is written, directed and edited by Mike Flanagan, who also adapted King's Gerald's Game for Netflix. Its biggest hurdle is its 151 minute runtime. It takes about fifteen minutes before Dan appears as an adult, and a little longer for the main plot to get going. There's still a few memorable moments along the way. One scene, in particular, is excessively long and shocking: the True Knots' utterly brutal torture of a Shining Little-leaguer - and Abra's understandable psychic panic attack as she witnesses it. It's unbearable with an overloud sound system. It's still satisfying when the villains meet their ends. The climax even borrows from The Shining's explosive literary finale.

There's a pretty good cast here. Curran makes a strong debut as Abra, who proves a surprisingly capable psychic warrior. McGregor is decent as an emotionally subdued man. And Ferguson is equally vile and hammy as Rose the Hat. The True Knots, whose oddly-named members include Barry the Chunk and Crow Daddy, take a while to become distinctive characters. One of the most distinct is Snakebite Andi (Emily Alyn Lind), a con-artist who gets inducted early in the film. The casting department deserves medals for its dead-ringers for the original film's characters. None of that is visual effects.

The actual visual effects conjure up some stunning results. A few memorable feats include Rose flying above a city, some rotating rooms, and the True Knots' dissolving to steam as they die. It's incredible for a film at least $45 million. Flanagan's best editing feats involve flashbacks to The Shining. Some of it is stock footage, while other bits look like it. Production Designer Maher Amid's recreation of the Overlook is just that good. The Newton Brothers create a score as foreboding as Wendy Carlos's work from the first film. Some of that iconic score is reprised here.

Doctor Sleep is ready to see you now. Are you ready to see it? It won't punish you that badly if you never heard of The Shining. Be warned that it is quite long and occasionally disturbing. But it ended pretty well ... depending on one's interpretation. Overall, this sequel is better late than never. Though I can't imagine how they could do part three. See it, read it, and you'll get it.

Parasite

Before I review this film, a word of warning...

JETHRO! It's me, Baxter.

I have a guest. 

I heard you were going to review Parasite! That anime was something else, wasn't it? But it's a few years old and...

I'm not reviewing the anime or its live-action films, which is Parasyte with a y. Instead, I'm reviewing South Korea's entry for this year's now-renamed International Film Oscar. Parasite, with an I, was written and directed by Bong Joon-Ho (The Host, Snowpierecer, Okja). 

The Host? Twilight meets Invasion of the Body Snatchers?!

Before I get into arguing over similarly titled works, let's review the film.

OK.

The Kim family do whatever they can to live through poverty. One day, son Kim Ki-Woo's (Choi Woo-Shik) friend Min-Hyuk (Park Seo-joon) suggests he take over for him as the English tutor of Park Dy-hye (Jung Ji-so). The Park family is far wealthier than the Kims. Ki-woo smells an opportunity and decides to get his family jobs with the Parks. He first gets his sister, Ki-jeong (Park So-dam), hired as an art tutor for the Parks' son Da-song (Jung Hyun-joon). Their parents, Ki-Taek (Song Kang-Ho) and Chung-sook (Chang Hyae-jin), swindle their way to becoming chauffeur and housekeeper. The Parks don't realize that they're being conned.

The Kims are happy to feed off the Parks. But when the Parks' former housekeeper, Moon-gwang (Lee Jung-eun), unexpectedly returns, the charade starts to collapse. 

Bong and his co-writer, Han Jin-won, create what is surely this year's darkest comedy. It introduces the Kims as unpleasant and desperate people. The Park family, while better off, have their own issues. It leads to some hilarious dialogue and situations. Still, the Kims test their audiences' sympathy by tricking the Parks into firing Moon-gwang and the prior chauffer. Once Moon-gwang's secret is revealed, the audience pities the Kims as they realize the magnitude of their situation. The comedy gradually phases out after that. It all leads to a cataclysmic ending.

Who stands out among the cast? I'll name a few. Ki-Taek starts the film as an unmotivated loser, though we do learn his understandable, fatalistic motives. Ki-Woo is a good protagonist. The Park parents, Dong-ik (Lee Sun-Kyun) and Yeon-kyo (Cho Yeo-jong), are sympathetic, ignorant rich folks with somewhat skewed priorities. The most sympathetic character is Moon-gwang; her secret involves a surprise character.

Production designer Lee Ha Jun's best work is the Park house. Sure, it looks like an idyllic mansion, but wait till you see the underground bunker. As filmed by cinematographer Hong Kyung-pyo, the bunker is an alluring claustrophobic nightmare. It's fitting for what comes afterward. Other artistic achievements include the Kims' tiny apartment and the nighttime Seoul photography. The sound design is perfectly creepy ... bar the first few minutes, as my theater forgot to play the sound! At least I still got to hear most of Jung Jae Il's intense score. 

Parasite is a memorable exercise in mood whiplash. It goes from cynically hysterical to cynically disturbing during its 132 minutes. Its screenplay is sure to shock and amaze you. It's not for the feint of heart. See it if you're up to it. Look elsewhere for a happier film. I'm sure you'll find some in many languages.

Harriet

We now go to a biopic with a significantly less troubled production than The Current War. 

Harriet, the biopic of Harriet Tubman, spent years in development. But it all went smoothly once filming started. Here's the end result.

Harriet Tubman (Cynthia Erivo) was born into slavery as Araminta Ross. She married a freedman, John Tubman (Zackary Momoh). Her cruel master, Edward Brodress (Mike Marunde), cheats her out of her freedom. When Brodress dies, his son, Gideon (Joe Alwyn), decides to sell Araminta downriver. This drives Araminta to escape up to Pennsylvania. She's welcomed into the Anti-Slavery Society by William Still (Leslie Odom Jr), joins the Underground Railroad and takes on the name of Harriet Tubman.

Harriet goes back and forth to the South to free the slaves. Among her first rescues are her brothers. Soon enough, "Moses," as she is nicknamed, has an ever increasing bounty on her head. Gideon is ready and willing to collect. He has two Black slavetrackers, Walter (Henry Hunter Hall) and Bigger Long (Omar J. Dorsey), to help him. Harriet's mission is further complicated by the passage of the Fugitive Slave Act. But she won't rest until her family is led to safety.

Cynthia Erivo makes a great choice as Harriet. Her plight and drive is compelling. We see Harriet pull off subterfuge on par with The Scarlet Pimpernel. She's more than willing to fight if needed. Throughout the film, she has visions of the future, which she attributes to God. It's somewhat over-dramatic, though not entirely out of place in this grounded film. One of the visions drives Walter to have a Heel-Face Turn; it's a bit abrupt, though an interesting development.

And the villains. Alwyn as Gideon is a capably vile man. He believes he's doing the right thing by hunting Harriet, but his callous racism voids any sympathy from the audience. Even his "rescue" of Harriet from Bigger Long has a selfish motivation. Meanwhile, his mother, Eliza (Jennifer Nettles), has an almost sympathetic motivation to keep her Farm alive - keyword is "almost." Marunde as Edward perfectly fails to endear himself to the audience. Bigger makes for a brutal co-antagonist. 

A few more highlights from the cast include Janelle Monae as Harriet's friend, Marie Buchannen, Clark Peters as Harriet's father, Ben, and Kathryn Tkel as Tilly, a rescued slave who pulls off a bit of her own subterfuge. 

Now for the technicals. Harriet's visions are presented by cinematographer John Toll with eerie washed-out color. His nighttime cinematography is alluring. So is the production design by Walter Allan Young; Marie's boarding house is splendid. Terence Blanchard's score includes a few strong hymns for Harriet to sing. The makeup department convincingly ages Harriet and the cast through the years. Editor Wyatt Smith builds the tension as Harriet undertakes her missions. Their work should get some Academy consideration.

Director Kasi Lemmons and her co-writer, Gregory Allen Howard, create a compelling biopic with Harriet. Whatever flaws it may have barely impede it. Its 125 minutes present the story of a woman who sought to end a certain injustice. Some may question why the final confrontation plays out like it does - but it makes sense as a form of cruel mercy. See it at least once and you might learn something new.

Historical liberties not withstanding.