Tenet

So this is supposed to be 2020's first great summer blockbuster.

I didn't take the offer to see Christopher Nolan's latest film, Tenet, during its theatrical release (there were some theaters open). So I waited to get the Blu Ray from Amazon to watch it. I know that Nolan's films make much more sense upon repeated viewing. But. Never. Was. This. Truer. Than. With. This. Movie.

The protagonist of Tenet is … The Protagonist (John David Washington). He starts the movie by foiling a terrorist attack at the National Opera of Ukraine. Our hero is taken prisoner and, one cyanide capsule later, is inducted into the Tenet Organization. Now let's see if I can explain this clearly:

The MacGuffins of the movie are objects with "inverted" entropy. We see our hero fire at an already shot up wall and the bullets return to the gun. They've been coming from the future. Tenet thinks someone is planning to destroy all existence with an inverted bomb. Mr. Protagonist and Tenet agent Neil (Robert Pattinson) are assigned to the case. Their Antagonist is oligarch Andrei Sator (Kenneth Branagh). His abused wife Kat (Elizabeth Debicki) is willing to help our heroes. But whether backwards or forwards, the mains don't have all the time in the world.

Everybody got that?

Nolan's screenplay gives a full textbook's worth of exposition about time inversion and stuff. A lot of it would've been understandable had the sound mixing been better. The dialogue is often drowned out by Ludwig Goransson's booming score. And there's a lot of dialogue. A key plot point involves a fake Goya painting that Sator blackmails Kat with. How? It's easy to get lost after the third or fourth exposition lecture

It does get better when the action picks up, though. There's a heist at an Oslo Airport that involves crashing a live 747 into a hangar. That leads to an inverted fight with Our Hero and Neil against two of the same guy. They have a car chase in Estonia where they try to stop Sator from getting inverted Plutonium. And there's a spectacular siege of Sator's home base. These scenes show off the best of Jennifer Lame's editing. The international locales are splendidly photographed by Hoye van Hoytema. 

Let's devote a paragraph to the inverted effects. It's simply more than playing the footage backwards. There's some amazingly complicated choreography in motion. We see our heroes going forward while everyone else goes backward. In the same shots. The Airport fight scene is a perfect highlight. We even see clouds go back and forth behind the Protagonist. The technical prowess is the film's most intriguing part.

I'd normally say a blockbuster like Tenet needs to be seen on the big screen. But if your TV is the biggest screen around, so be it. The film is a visual marvel even if its mechanics are confounding. As I said, repeated viewings may help you understand the plot. Keep in mind that it's not an easy home matinee at 150 minutes. You may also get the published script from places like Amazon. I did.

Soul

I should have seen Soul back in June. But, once again, things didn't go that way. A bit like a day for the Pixar film's protagonist, music teacher Joe Gardner (Jamie Foxx). He gets a gig with the Jazz band of the esteemed Dorothea Williams (Angela Bassett). Then he steps into an open manhole and finds himself somewhere else...

Joe refuses to go to the light of the Great Beyond. He instead goes to the Great Before, where new souls are counseled by historical greats and entities all named Jerry. Joe is assigned to counsel the cynical soul number 22 (Tina Fey). She'll get an "Earth Pass" once she gets her "spark." Since she'll not need it...

But Joe and 22 get back to Earth anyway. She occupies his body and he occupies a cat's. The ensuing escapades motivates 22 to live and Joe to rethink his life. They'll have to hurry up and solve their existential crises. A busybody soul accountant named Terry (Rachel House) looks to pull them back to the other side.

Director Pete Docter and his co-writers Mike Jones and Kemp Powers create one of Pixar's funniest scripts. One young soul gleefully admits to being "a manipulative egomaniac." We see 22 frustrate even Mother Theresa. 22 in Joe's body displays some blunt philosophy. I can go on but there's some seriousness too. "You can't crush a soul here. That's what life on Earth is for," 22 says at one point. But she and Joe find purpose in their time on Earth. Their "spark" being their motivation. The existentialism hits hardest the more one thinks about it.

A film about Jazz needs a great soundtrack. Soul has it. The Jazz tracks were scored by Jon Batiste, while Trent Reznor and Atticus Ross handle the bulk of the main score. Batiste's tracks are lively numbers sure to please Jazz devotees. Reznor and Ross's electronic music sells the eeriness of the afterlife. It's great music paired with great production design. It's sure to give Oscar's Music Branch a headache determining its eligibility. But it's still cool.

Want another reason to get Disney Plus? Soul is a reason. It keeps Pixar's reputation for story and technical excellence going strong. You'll be surprised at its sense of humor. Look out for some cameos too. Its 101 minutes are time well spent on Earth. Soul would've premiered with a short called Burrow had it fully premiered in theaters. That short is also on Disney Plus. I should look at it too.

Mulan

I gave myself Disney Plus for the new year. So it's time to catch up on some more movies. The first film I'll review from the service is Mulan, the live-action take on Disney's animated take on the beloved Chinese folktale. Say that ten times fast.

Hua Mulan (Yifei Liu) aspires to be a great warrior. Her parents aspire her to make her a "good wife." Meanwhile, China is invaded by Bori Khan (Jason Scott Lee) and his warriors. The Emperor (Jet Li) calls for one man from every family to serve in the Imperial Army. Unfortunately for Mulan, the only man of her family is her injured father Hua Zhou (Tzi Ma). So she takes his armor and sword and enlists as "Hua Jun." Mulan proves herself a capable recruit. The army has to hurry to prevent Khan and his sorceress ally Xian Lang (Gong Li) from reaching the Emperor.

Unlike The Lion King, director Niki Caro (Whale Rider) and the four screenwriters don't re-enact the earlier animated film in live-action. For starters, there are no animal sidekicks or musical numbers. Harry Gregson-Williams incorporates some of Matthew Wilder and David Zippel's iconic tunes in his rousing score, but that's it. The story set to that score is a decent one. On one hand, Mulan's plight is understandable. On the other, her relationship with fellow soldier Chen Honghui (Yoson An) is less compelling than the one with her sister, Xiu (Xana Tang). Both should be equal.

Liu is still a strong Mulan. She's a strong warrior and devoted family member. Her interactions with the town Matchmaker (Cheng Pei-Pei) are humorous. The final battle with Khan is an exciting one. Jet Li as the Emperor shows some awesomeness when he takes on Khan. Jason Scott Lee and Gong Li are formidable villains, but Gong Li's Xian Lang leaves the most impact. Mulan's Commander Tung (Donnie Yen) was an OK character; a bit too routine, though.

In addition to Williams, Caro's technical crew is pretty good too. Production Designer Grant Major visualizes grand locales from the Imperial City to Mulan's Tulou. Cinematographer Mandy Walker adds to the grandeur with her work. Would've been nice to see it on the big screen, but oh well. The wall-running and wall-jumping during the fighting is spectacular. Xian Ling's magic makes for nifty visual effects, though some questions (what happens to the folks she possesses?) aren't answered. Meanwhile, costume designer Bina Daigeler and the makeup team create memorable looks for all.

I definitely would've seen Mulan back in March. But 2020 had other plans. But I've seen it now. It's a decent action film with a strong lead and memorable villainess. At least it's not a flat retread of its animated counterpart. It's got some surprises. It's a good reason to get Disney Plus. I got the yearly plan.

Ma Rainey's Black Bottom

Gertrude "Ma" Rainey, the "Mother of the Blues," is the title character of August Wilson's Ma Rainey's Black Bottom. Her band is there to perform the music her way. Viola Davis perfectly embodies Ma's dominating personality, but Chadwick Boseman, in his final role, equally dominates the film as her trumpeter, Levee.

Anyway, it's Chicago in 1927. Levee and the other members of Ma's band, Cutler (Colman Domingo), Slow Drag (Michael Potts) and Toledo (Glynn Turman) assemble to record Ma's latest album. Levee is looking to strike out on his own. He wants to re-arrange the title song to something jazzier. But the others aren't won over by his attitude. Neither is Ma, who arrives late to the session with her girlfriend, Dussie Mae (Taylour Paige) and nephew, Sylvester (Dusan Brown). The conflicts within the band eventually explode.

The film was directed by George C. Wolfe, who, among his theatre credits, directed both parts of Angels in America. The screenplay was adapted by Ruben Santiago-Hudson, who also starred in Wolfe's Jelly's Last Jam. The resulting ninety-four minutes are dynamic. No scene or bit of dialogue is wasted in the transition. We get to know the characters and how life treated them. You'll barely notice the story's stage play origins. 

Boseman as Levee leaves the strongest impression. He's introduced as a swaggering dreamer ready to hit it big. He's so full of himself that he doesn't care how he'll make it. But he's not some naïve fool. We understand his persona with some intense monologues. He's just waiting to erupt with rage and he finally does so. The climax sees him at his scariest and most unreasonable. 

Now for the title character. The film wastes no time establishing her persona. We see her argue with a cop after a traffic accident outside the studio. We see her march in over her manager, Irvin, and producer Sturdyvant. She quickly shoots down Levee's arrangement idea. She's difficult, but we understand her. We see her world-weariness in her disheveled face (great makeup work). She needs to be heard by the uncaring world. And if she'll be a diva, so be it. Davis's performance gives the film another strong note.

There are some great technical stars. Editor Andrew Mondsheim opens the film with a great montage establishing Ma's presence in the 20's. The recording of the title song is an excellent musical sequence … which amplifies the disappointment when it's revealed the microphone is busted! Cinematographer Tobias A. Schliessler draws a contrast between the claustrophobic recording studio and the vibrant Chicago outside. He and production designer Mark Ricker paint an apt metaphor for Levee's situation near the end. Nowhere to go. Costume Designer Ann Roth and the sound designers also deserve whatever praise comes their way.

Ma Rainey's Black Bottom is another strong addition to an unusual film year. The next Oscars are in April, so you have plenty of time to see it on Netflix. I mean, neither you or Oscar will forget its stars. They won't let you forget. Keep in mind that it doesn't end happily for all. 

Wonder Woman 1984

While Zack Snyder finishes his version of Justice League, Patty Jenkins continues the adventures of one of the League's best. Wonder Woman goes straight from World War I to the Cold War in the aptly named Wonder Woman 1984. It's not as awful as some reviews have stated. Let's see why.

In the titular year, Diana (Gal Gadot) works at the Smithsonian as an anthropologist. She also fights crime as Wonder Woman. The two professions meet when, after a robbery, the FBI hands Diana a bunch of stolen goods. One of them is a "Dreamstone" which grants wishes the Monkey's Paw way. She accidentally wishes Steve Trevor (Chris Pine), who perished in World War I, back from the dead. But it's in another man's body. And also, because of her wish, her formidable physical powers vanish.

Meanwhile, dirt broke businessman Maxwell Lord (Pedro Pascal) merges with the stone and becomes the world's richest genie. But the Monkey's Paw rule brings the world straight into World War III. The only way to undo the damage is to get everyone to renounce their wishes. It's painful for Diana, but easier for her than her co-worker, Barbara (Kristin Wiig), who wished herself some confidence and won't give it up without a fight.

Jenkins and her co-writers Geoff Johns and Dave Callaham keep it going decently for 151 minutes. It starts off with young Diana participating in her home island, Themyscira's version of the Olympics. It does thematically set-up the film's McGuffin. The "present day" opening gives Diana plenty of comical superheroics on the way to the robbery. Diana thwarting the robbery is a spectacular sequence. The film spends its time developing its characters in some engaging scenes. It's a slow plot, but it's got some good ideas.

Perhaps the best ideas come from the villains. Pascal as Lord starts off as a vapid 80s tycoon. But we see how he's trapped by his public persona. He becomes an misguided megalomaniac when he merges with the stone. But fortunately, Diana is able to make him see the error of his ways. Wiig as Barbara goes from likable to vicious during the movie. She makes a great personal antagonist for Diana, especially when she becomes The Cheetah. 

Gadot is still engaging as Diana/Wonder Woman. We see her as lonely and world weary; seems understandable for someone as long-lived as her. We can understand why she would hesitate to renounce her wish. Whether one can empathize with it is apparently a deal breaker for some reviewers. But her taking action as Wonder Woman is awesome. Her chemistry with Steve is still endearing.

Production Designer Aline Bonetto, Cinematographer Matthew Jensen and Costume Designer Lindy Hemming return to produce a vibrant world for Diana to inhabit. The film looks great whether it's on Themyscira or a Washington DC Mall. The Cheetah was created with CGI, but it looks so much like prosthetic makeup. It's just that good. Hans Zimmer adds to the aural excellence with his score. It's mostly subdued but it amplifies the emotional moments.

Wonder Woman 1984 is a good diversion from the dour real world. It's a spectacular blockbuster even if it's not as resonant as the first film. I'd say it's worth the price of an HBO Max subscription. It's also wherever there are movie theaters. See it whichever legal way you can. Nothing can top the dreariness of the current news cycle.

The Personal History of David Copperfield

It's Christmas time, again. So let's finally look at another rendition of a Charles Dickens novel. David Copperfield, essentially Dickens' autobiography, has been rendered many times before. This time, it's Armando Iannucci's turn to tell The Personal History of David Copperfield.

It's kind of a long title. But nowhere near as long as the novel's full title: The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account).

David Copperfield (Dev Patel) tells the audience, both in-story and the real world, about his life. Born to a widowed mother, young David (Jairaj Varsani) is abused by his stepfather, Mr. Murdstone (Darren Boyd), who sends him away to a workhouse. His family there is the eccentric debt-ridden Micaawbers. When David's mother dies, he tells the Murdstones off and he goes to his also eccentric Aunt Betsey (Tilda Swinton). David soon finds employment with Mr. Spenlow (Matthew Cottle), falls for his daughter, Dora (Morfydd Clark), then rises to become a famous storyteller.

Iannucci and co-writer Simon Blackwell re-arrange or edits out bits of the novel for a nicely paced two hours. The storytelling devices make it a fun and unique take. David's introduction, addressing a Victorian audience, calls to mind Dickens' live-readings of A Christmas Carol. He literally walks through the first years of his life. Flashbacks are projected on the walls like movies. There's even a bit of silent movie undercranked wackiness. Mr. Micawber's (Peter Capaldi) introduction sees him deftly evade creditors like Chaplin or Keaton. Still, Murdstone abusing David wasn't fun at all. 

Dev Patel as David is very much the hero of his own story, and an engaging one at that. But the eccentric characters along the way are quite memorable. Swinton as Betsey is hysterical, as is Hugh Laurie as her friend, Mr. Dick. Clark is great as Dora, as well as David's mother, Clara. Boyd as Murdstone is a cruel and contemptible villain. Ben Whishaw stands out as the sniveling, scheming Mama's boy, Uriah Heep. Capaldi as Mr. Micawber, though, is the best of the ensemble. Bennett Wong and Rosalind Eleazar are also good as Mr. Wickfield and his daughter, Agnes. There's just so many highlights in this great ensemble. 

It's also a great looking and sounding film. The costume designs by Suzie Harman and Robert Worley are striking, but the best is Mr. Micawber's stylish wardrobe. The cinematography and production design is just as vibrant as the costumes. The boat house is a wonderfully unique locale. Christopher Willis's grand score adds to the film's larger-than-life story.

This is certainly Iannucci's most optimistic film. The Personal History of David Copperfield is a crowd-pleasing (even if that crowd is just a household now) film with a wonderful cast of characters. Its lighthearted tone hasn't forgotten how serious Dickens can get, though. But it turns out all right in the end. Although it came out in August, this film is sure to make a great holiday movie. 

The Witches

 What happened to my good movie year? I had a lot of good movies lined up to see this year and now, zilch. My movie year's been cursed. Must have been a witch.

Yeah, witches.

Now that my family has HBOMax, it's time to make my comeback with another Roald Dahl cinematic rendering. The Witches was already conjured to the cinematic plane in 1990. A film best remembered for its main villain, creepy PG-rated special effects and makeup work and driving the terminally ill Dahl to publicly protest its altered ending. Wonder how he'd take to this rendering?

The unnamed narrator (Chris Rock) tells the audience about his youth. As an orphan boy (Jahzir Kadeem Bruno), he's sent to his also unnamed grandma (Octavia Spencer) in Alabama. He encounters an obviously evil lady offering him candy, but he doesn't fall for it. Good call. The lady, as grandma explains, is a witch who seek to rid the world of kids. Grandma and Grandson head for a hotel for safety.

Unfortunately, they arrive in time for a convention of witches led by The Grand High Witch (Anne Hathaway) herself. She plans to turn all the kids in the world into mice. She demonstrates her new mousifying potion on another kid, Bruno (Codie-Lei Eastick) and then, the narrator himself. The rest of the movie is about them, a fellow mousified kid named Mary (Kristin Chenoweth), and Grandma as they prevent the witches from enacting their plot even further.

Director Robert Zemeckis cowrote the film with Guillermo Del Toro and Kenya Barris. Anyone who's seen the first film will recognize the same story beats albeit with some divergences. Its ending is closer to Dahl's. Its first 45 minutes or so go by pretty quickly thanks to good acting from Spencer and Bruno. Its special effects whiplash the film's tone, though. Some scenes are scary (see Grandma's friend Alice get chickenized), while some are silly (mousified victims get rocketed into the air). The digital creatures are just too obvious. Overall, it's nowhere near as nightmarish as the first film.

The other technical elements mix together better. Gary Freeman's production design and Don Burgess's cinematography paint a suitably gothic picture. The Hotel and Grandma's house make for memorable locations. The makeup department conjurs up creepy images for the Witches' true forms. While their three-clawed hands and fanged Glasgow grins are CGI, I can't tell if their toeless feet are. Let's not forget another great score from Alan Silvestri to set the intended tone.

Let's talk about some of the stars. Hathaway as The Grand High Witch is best when she's subtle. She vaporizes a Witch who asked her about the logistics of her plot and only a second later considers it a valid point. Her Grand High Villain Speech a bit earlier is a bit much, especially with her flying and her Glasgow fangs. Spencer as Grandma is equally warm and formidable. As stated before, her bonding with her Grandson helps make the time go by. And finally, Stanley Tucci makes the most of his smaller screentime as hotel manager Mr. Springer.

If anything, this version of The Witches is an ok enough representation of the story. A bit more work on the visual effects could've helped the verisimilitude. But there's still some creepiness in the cauldron. It's a decent home matinee if you have HBOMax. For everyone else, there's regular HBO or eventual physical media.

Onward

Onward to a new Pixar story!

And not a sequel!

Pixar's latest release is the fantastical road-trip movie Onward. It's got some fun ideas and a bit of soul (not to be confused with Pixar's June release, Soul) but its pacing throws it off balance. Read on for more.

Once upon a time, the creatures of fantasy had magic to do. Today, their magical world looks like ours. In this world, elven brothers Ian (Tom Holland) and Barley (Chris Pratt) Lightfoot live in New Mushroomton with mom Laurel (Julie Louis-Dreyfus). Their dad, Wilden, died before Ian was born. Ian gets a convenient present for his sixteenth birthday: a magic staff, a rare Phoenix Gem and a spell that can bring their dad back for one day. After Barley tries his luck, Ian makes the spell work ...

… halfway!

Only Wilden's lower half materializes before the gem breaks. There's another gem that can finish the spell. So Ian, Barley and their dad go on an epic quest in Barley's van, Guinevere. They have to deal with the cops, led by step-dad Colt Bronco (Mel Rodriguez). A pixie biker gang. A booby trapped dungeon. These obstacles threaten the brothers' bond. Of course, they'll have to work together to defeat the menace guarding the gem.

Director Dan Scanlon and his two co-writers spin a fine suburban fable. Their fantastical twists to modern life provide many laughs. One of the best concerns Corey the Manticore (Olivia Spencer), a former adventurer struggling to live a normal life as a restaurateur. Her B-Quest with Laurel to find her pawned-off sword is entertaining, even if it slightly disrupts the momentum of the A-Quest. The film's shout outs to Dungeons and Dragons, one being Barley's favorite game, were cool. Still, its abundant obstacles sometimes prolong the basic plot too much. The resolution is a bit of a letdown.

But it's far from a disaster. Ian and Barley carry the quest with ease. We see Barley's inner big brother emerge from a boisterous lout. We see Ian become a confidant young elf. Pratt and Holland's voice work lets us believe their magical tale. In fact, the voice work all around is magical. Corey the Manticore and the Pixie gang are standouts.

Pixar's technical mages do their jobs well. New Mushroomton is a visually appealing place. The character designers conjur up a wonderfully eclectic cast of fantasy creatures. The film's final boss is a monstrous - and somewhat silly looking - dragon formed from a chunk of Ian's school. Animating it probably wasn't easy. A Gelatinous Cube, a creature from D&D, serves as the semi-final boss. Its scene was both tense and funny. On the aural side, its best achievement was Jeff and Mychael Danna's score.

Onward isn't as emotionally challenging as Coco or Toy Story 4. But it's still a fun adventure. It's probably what a D&D session feels like without excessive number-crunching. Or, much time to breath after every encounter. Maybe that's why its 102 minutes feel longer than they sometimes are. It's still worth a matinee.

Its most emotional moments come from its preceding cartoon. Playdate with Destiny stars Maggie Simpson as she falls for a fellow toddler. It was a cute short with an emotional and funny climax. It's enough to hope for a new Simpsons movie.

The Call of the Wild

One of the last films distributed by the late Twentieth Century Pictures was their take on Jack London's novel The Call of the Wild. This year, the first film by the newly renamed Twentieth Century Studios is another take on the same novel. Let's see how it is.

During the Gold Rush, Buck the Dog was Judge Miller's (Bradley Whitford) pampered pooch. Dognappers take him and sell him up to the Yukon. Buck is sold as a sled dog to mailcarriers Perault (Omar Sy) and Francoise (Cara Gee). Buck asserts himself against the mean Alpha Dog, Spitz, and becomes the new top dog. And then, the mail route is cancelled.

It's about halfway into the 100 minute runtime that we're really introduced to its narrator - John Thornton (Harrison Ford). He and Buck met a few times during the film. But Thornton finally becomes relevant when he liberates Buck from his new and incompetent owners. Thornton decides to go off the map with Buck and explore whatever wilderness comes their way. Buck finds a wolf pack and decides to join them.

Oh yes, remember the new and incompetent owners Thornton liberated Buck from? One of them, Hal (Dan Stevens), decides to follow them into the wild with murderous gold fever.

This marks the live-action and solo directorial debut of Chris Sanders (Lilo and Stitch, How to Train your Dragon). The screenplay by Michael Green probably could've used a different narrator. We get Buck's adventures narrated by someone he really meets halfway through. And at the end, you'll wonder how he even narrated them at all. It ends up making their eventual meeting too long coming. Along the way, we get some captivating character plots that are never addressed again. Perhaps that's a consequence of it adapting an episodic novel.

Buck's CGI realization may make or break the film. He's a very expressive dog; so expressive, one may expect him or his sled mates to start talking. They don't. But we feel for him when abusive humans threaten him. We also laugh when he acts roughly or hides Thornton's liquor. On the other hand, his CGI is sometimes too obvious. Still, his expressive face justifies the CGI.

The realization of the 1800s makes great use of CGI and production designer Stefan Dechant's sets. A few standout scenes include Buck's outmaneuvering an avalanche, his rescue of Francoise from a frozen river and his battle with Spitz. Cinematographer Janusz Kaminski helps create the stunning nature views. The action is set to another strong score by John Powell.

What about the human cast? To start, Ford is likable as an old outdoorsman who learns to embrace company. Stevens is perfectly detestable as Hal; his companions, Mercedes (Karen Gillian) and Charles (Colin Woodell), start off as unlikable idiots before their sanity kicks in. Sy and Gee are likable as Perrault and Francois. One of the best bit characters is Edenshaw (Michael Horse), who intervenes when Hal tries to beat up Thornton.

The Call of the Wild has to deal with its slightly uneven tone. It goes from silly to serious somewhat quickly. Buck's abduction and cruel treatment is very terrifying. The introduction of the ragtag bunch of losers that make up most of his sled team is silly. I could go on, but I can't. It's nowhere as rough as the novel, and some of its most questionable elements are gone. The most basic story is still present despite the changes. It's still an epic adventure story about a dog discovering his inner wolf. See it at any price.

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.