Haikyu!! The Dumpster Battle

Do you know what I haven't talked about? 

Sports Anime! I'll get to three sports anime movies this month if I'm lucky, with one of those being a film that I should have - and would have - discussed last July. But let's start this month with Haikyu! The Dumpster Battle, the first of a planned two-parter set to conclude four seasons of anime based on Haruichi Furudate's volleyball manga.

The film opens with series protagonist Shoyo Hinata meeting one of his major rivals, Kenma Kozume. A few seasons later, Shoyo and Kenma's schools, Karasuno High and Nekoma High, finally meet on the volleyball court. This is the titular "Dumpster Battle," a name which isn't properly explained here, but might have something to do with their schools' junkyard-dwelling namesakes (Karasuno - Crow; Nekoma - Cat). Whatever happens, both schools have agreed to no rematch. The film's 86-minutes pretty much revolve around this decisive battle.

It sounds like I'm leaving stuff out, but so does the film. It already expects you to know the story thus far; we get Shoyo meeting Kenma, and it goes straight into the start of the Dumpster Battle. It expects you to be familiar with the supporting characters watching the game (a few players have sisters leading their schools' cheerleaders). It expects you to be invested in the culmination of two teams' longstanding rivalry. All of this will surely resonate with long time devotees of the franchise. Everyone else, like me, might greet allusions to past events with an "um, OK."

Shoyo might be the series' MVP, but it's Kenma who gets the spotlight here. The film delves into his jaded personality, as well as his friendship with his team's captain, Tetsuro Kuroo. We see the keen strategist of the present match contrasted with the lazy gamer he used to be. He uses some impressive visual metaphors in his strategies; the funniest being for his defense against Shoyo. It's quite engaging to see Tetsuro spur Kenma into taking up volleyball in the first place. At least newcomers have these flashbacks for much-needed context to the franchise. Kenma's ultimate takeaway when all is said and done - volleyball isn't a life-or-death battle, but it's still fun - is a decent assessment of this film.

Anything else? You won't be disappointed if you came here just for volleyball. The Dumpster Battle gets it done. You'll have some fun as the guys strategize, execute team attacks and even taunt each other with "advice." Besides the metaphors, the film's most spectacular scene is a first-person POV shot in the finale. Its large cast is likable even if you have no idea who they are. A few names not lost in the shuffle include Karasuno's former coach, Ikkei Ukai, and Satori Tendo, a loopy guy whose team once played against Karasuno. There's also a strong score by Yuki Hayashi and Asami Tachibana to accentuate the action on and off the court.

So, what do I think of Haikyu!! The Dumpster Battle? It's mostly harmless. It's decently entertaining for anyone who just wants some good anime volleyball action. But as the culmination of its long story, it's best to catch up with the manga and anime. Do that, and you might be caught up in time for the second movie, whose release date is currently unknown. But it might be soon considering that this is currently the second highest-grossing film at the Japanese box office. I'll just prepare for this month's movies in the meantime.

Furiosa: A Mad Max Saga

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

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

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

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

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

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

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

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

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

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

To Valhalla?

The Garfield Movie

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

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

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

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

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

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

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

And it's still Monday!

Blue Giant

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

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

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

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

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

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

Hundreds of Beavers

Meet Jean Kayak.

(Hi Jean!)

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

HUNDREDS OF BEAVERS!

And there's your movie. 

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

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

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

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

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

Here Comes a New Challenger

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

HERE COMES A NEW CHALLENGER!

Or not. 

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

It's not bad.

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

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

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

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

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

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

IF

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

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

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

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

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

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

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

Kingdom of the Planet of the Apes

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

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

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

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

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

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

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

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

The American Society of Magical Negroes

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

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

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

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

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

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

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

The Fall Guy

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

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

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

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

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

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

Rebel Moon - Part Two: The Scargiver

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

REBEL MOON

PART TWO

THE SCARGIVER

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

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

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

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

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

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

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

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

Challengers

I've heard much about Luca Guadagnino's Challengers ever since it started production in 2022. It had to sit it out since last fall due to the Hollywood strikes, but it's now finally ready for showtime this weekend. What can you expect if you enter its court?

Well, much like a ball going back and forth in a tennis match, the film goes back and forth in time to tell us the tale of a love triangle. It all starts in 2006, when best friends and tennis players Art Donovan (Mike Faist) and Patrick Zweig (Josh O'Connor) meet fellow player Tashi Duncan (Zendaya). While they maybe doubles partners, the guys become rivals for Tashi's affections, which Patrick initially wins. Patrick's ego drives away Tashi, who soon suffers a crippling knee injury in a match. Tashi soon becomes Art's tennis coach, and eventually, his wife. Patrick, meanwhile, lives out of his car.

Patrick and Art eventually square off at the final match of a 2019 Challenger event. The whole film is centered around this match, with the lead-up gradually unfolding with flashbacks. Everyone has a lot more to lose than just a nice check. Art is already a Tennis pro looking for his way out of the game. Patrick is just trying to survive. Tashi's vicarious tennis career with Art is threatened; meanwhile, she finds herself falling for Patrick again. That's a lot to think about.

This is a dynamic film on a technical level. The tennis matches are wonderfully shot and edited by Sayombhu Mukdeeprom and Marco Costa, respectively. They make even the most ordinary moments on the court look larger than life. Among the most impressive bits of camera work are the low-angle shots of bouncing balls. It's seemingly from the ground's POV, if that makes sense. The nonlinear story is easy to follow, though its gradual pace and overall runtime (131-minutes) need some getting used to. What's instantly easy to get used to is Reznor and Ross's latest exciting score. Their fast-paced music perfectly accentuates the fast-paced love triangle and tennis matches, but it also slows down for a few tender moments. The music cutting out for an "ordinary" match makes for great punctuation.

Its three stars play a great game, so to speak. They're compelling even at their most unlikable. Patrick, for instance, may seem like a cool dude, but his giant ego is so off-putting. Art nursing an old injury and growing resentment for the sport makes him easily the most sympathetic character. Tashi, meanwhile, effortlessly plays them against each other. She asks Patrick to throw the match, while she threatens to leave Art if he loses. Is she serious with the latter? Either way, there's never a dull moment with her around. 

Art and Patrick's relationship is just as strong as their romantic rivalry. Faist and O'Connor's chemistry is great whether they play Art and Patrick as friends, more than friends, or bitter rivals. The origins of their love triangle with Tashi, as well as them gradually renewing that triangle on the court, are captivating. I'm certain an early scene will be the film's most talked about moment. 

Challengers makes for a memorable choice for date night or afternoon matinee. A few critics have already complained about its runtime, but I think it's an appropriate runtime for its complicated love triangle. You'll barely notice it once the relationships fluctuate both on and off-court. As an MGM movie, it's only a matter of time before it hits Amazon, but it's worth hearing fellow moviegoers' reactions in-person. You'll truly understand how much it's worthy of the hype. 

That's it for now.

City Hunter

Hey Jethro, wha's this that came in the mail?

First off, Baxter, why'd you open my mail? Second ... "XYZ - Go to Netflix." 

What do they mean by that?

If I get the context, then someone wants me to review City Hunter on Netflix. It's the latest live-action film of Tsukasa Hojo's seminal eighties manga, but the first such adaptation from Japan. Hong Kong had one with Jackie Chan in 1993, while France had another in 2018 directed by and starring Phillipe Lacheau. I already had this film on my schedule, so let's play ...

(One movie later.)

Let's divulge what I thought.

Ryo Saeba (Ryohei Suzuki) is a private detective codenamed "City Hunter." He and his partner, Hideyuki Makimura (Masanobu Ando), will answer anyone who writes XYZ on a public message board in Shinjuku (hence my opening). Ryo can't resist a pretty face, to put it lightly, and one pretty face (Moemi Katayama) hires him to find her sister, Kurumi (Asuka Hanamura), a famous cosplayer. They find her being accosted by the Yakuza, but she doesn't want the "sweepers" (as the manga describes their line of work) to find her, either. She subsequently outruns and outjumps the duo in an extended chase scene. She even leaves behind two vials of a blue liquid.

Hideyuki heads off to join his younger adopted sister, Kaori (Misato Morita), for her birthday dinner. But a creepy guy literally crashes the party and kills Hideyuki. Ryo reluctantly partners with Kaori to track down the killers, and they even find Kurumi and take her in. It turns out that the blue liquid is the drug Angel Dust, a super-steroid that makes people stronger and aggressive before it kills them. It's manufactured by the evil Union Teope cartel and Kurumi is their first living test subject. The cartel wants her back to refine the drug. Ryo and Kaori won't let that happen.

(Now for the thoughts.)

I'm sure one's enjoyment of the film depends on their opinion of Ryo. His immaturity might rub people the wrong way, but I found it weirdly amusing. He still has standards, which is exemplified when he prevents some creepy photographers at a convention from getting too close to Kurumi with some goofy photobombing. That then leads him into blocking tranq. shots from Union agent Brown Bear (Yasushi Ami), and an on-stage fight with the aforementioned pretty face (codenamed Scorpion). He'll drop the immaturity the second he needs to, whether it's to console Kaori with tough love or when the bad guys get serious. Needless to say, he's a complicated character.

Kaori and Kurumi's stories are the centerpieces of the screenplay. Kaori initially blows her first meeting with Kurumi by running in blind, but after that, the two's quick friendship is fun to watch. There's some more weird fun when they team up to get Ryo to take their case. Kurumi even helps Kaori cosplay for the convention, where Kaori has some fun with her prop hammer (a nod to a running gag in the manga). Their friendship makes it all the more compelling when Kaori joins Ryo to save Kurumi at the end.

On a more serious note, Kurumi's initial evasiveness is understandable once we learn the extent of her plight. It's quite effective when she reveals that Scorpion, who introduced herself to Ryo as her sister, isn't. Kaori gets a few other great scenes; the first when she unloads to Ryo about her unresolved issues with Hideyuki and the second when she has Big Bad Kunio Konno (Takaya Sakoda) at gunpoint but can't bring herself to kill him. In the end, Kurumi gets a nice coda, while Kaori and Ryo get a funny last scene together.

The fight choreography, as mentioned earlier, is excellent. Besides the convention fights, Ryo shows off some astounding marksmanship against waves of goons, while the opening chase includes some impressive slapstick. The production design gives us an amazing laboratory for the Union. The costuming does enough to evoke the characters' manga selves without looking like cosplay, too. Still, the in-universe cosplay is quite alluring. The music by Otomo Yoshihide is nifty, but the end credits' remix of the anime's iconic closer, Get Wild, is easily the most memorable bit of music. There's not much wrong with the technicals, other than some obvious CGI, in this film.

City Hunter is newly available on Netflix as of yesterday. You might find its atypical hero annoying or entertaining, but the other two leads are undoubtedly endearing. At least you'll have some truly astounding fight scenes waiting for you once you press play. Its MacGuffin is also the plot device for the manga's latest anime film, City Hunter: Angel Dust, which debuted last September. There's supposed to be a theatrical release sometime this year, and I think I'll review it if and when it comes out. I'll be waiting.

Abigail

The "Dark Universe" may have been exorcised seven years ago, but Universal is still trying to bring back its legendary monsters to modern movie screens. One of its more obscure titles, 1936's Dracula's Daughter, is the starting point for Matt Bettinelli-Olpin & Tyler Gillet's (part of the filmmaking team of Radio Silence) new feature Abigail. This isn't a remake of the early film, but a whole new creature feature. What can you expect?

Six crooks snatch aspiring ballet dancer Abigail (Alisha Weir) and take her to a secluded mansion. The crooks are tasked by the mysterious Lambert (Giancarlo Esposito) to watch her until her father (Matthew Goode) coughs up the $50 million ransom. Lambert assigns the crew code names inspired by the Rat Pack; they consist of space cadet driver Dean (Angus Cloud, who died not long into filming), stoic sniper Rickles (Will Catlett), dumb muscle Peter (Kevin Durand), bratty hacker Sammy (Kathryn Newton), crooked cop Frank (Dan Stevens), and central character Joey (Melissa Barrera), who is assigned to watch Abigail.

The crew eventually learn that Abigail's father is Kristof Lazar, an ominous and unforgiving mob boss. That's not even the worse news; it turns out Abigail is a vampire. The Rat Pack spend the rest of the movie trying to scurry their way out of the mansion before Abigail kills or vampirizes them. That's basically it.

Of course, you'd already know Abigail's secret if you've seen the trailer over these last few months. And it was trailered a lot. Her bonding with Joey is almost convincing; she seems like a scared little kid, and Joey is quite sympathetic, but we, the audience, already know what's what. It takes roughly half-way through the 109-minute film before she shows her fangs. That might test some folks, but I think it has an interesting cast to help ease its audience along. They try to find their way out as soon as they realize something's wrong. It doesn't help the first victims, but at least they're proactive.

Weir absolutely relishes playing Abigail as a gleeful little monster. She still tries the scared kid act after she reveals herself but will gladly drop it once her "captors" see right through her. Her attacking the Rat Pack as a feral monster is horrific, but her dancing Swan Lake with her first victim's headless corpse is lunacy. She especially hams it up once she turns a survivor into her vampiric puppet. She has some ethics, particularly when Daddy Dearest shows up, but they're somewhat overshadowed by her little monster persona.

What about the Rat Pack? They're a pretty good crew, for the most part, and their likability mostly doesn't diminish when Abigail divulges the survivors' real backstories. Dean's quite loopy, while Rickles is just fine. Peter is a big lug with much of the film's funniest lines. Sammy has the brightest personality of the pack, as well as the saddest fate. Frank is quite unlikable well before Abigail tells the crew about his real backstory. He gets much worst from there. Joey, as mentioned before, is sympathetic, complete with an equally sympathetic real backstory. It's quite compelling to watch her fight back against the forces of darkness. Outside of the pack, Esposito and Goode make the most of their limited screen times.

Now for the technicals. The vampiric effects, whether it's Abigail flying or vampires exploding, are pretty well done. I'm not sure whether there was CGI involved in the vampiric designs. But if there were, it's quite seamless, which makes Abigail transforming in-camera all the more impressive. The mansion created by production designer Susie Cullen personifies creepiness, while its swimming pool holds its most horrific surprise. Brian Tyler's magnificent rendition of the Swan Lake theme is accompanied by a wonderfully haunting score. How many more movies will it take before he gets an Oscar nod?

Anyway, Abigail is an impressive blend of horror and absurdity. It's not afraid to admit it's silly, but then it shows us how scary its little monster can be. It helps that it's a got a good cast of would-be victims to help its audience through the monster delay. Anyone looking for a gleeful horror film will find it here. See it soon to see what I mean. That's it for now.

Spy x Family Code: White

After two seasons of anime misadventures, The Forgers, the titular family of Tatsuya Endo's Spy x Family, are ready for the big screen. Spy x Family Code: White debuted in Japan just before Christmas and is now ready to take on the North American Box Office. Let's see how their first cinematic mission went.

As the nations of Westalis and Oostania - basically West and East Germany - fight the Cold War, Westalian Secret Agent Loid Forger (alias Twilight) is tasked to investigate Oostanian political firebrand Donovan Desmond. For this end, Loid puts together a fake family to get into Donovan's son Damien's private school. He's unaware that his fake wife, Yor Briar, is the professional assassin Thorn Princess, their fake daughter Anya is a psychic, or that their dog Bond is a precog. This fake family slowly but surely becomes a real family.

Anyway, Loid's superiors decide to reassign him, which would threaten the not-so-fake family. He decides to get in their good graces by helping Anya win an upcoming cooking contest with the Judge's favorite dessert. That involves taking a family trip to the snowy country of Frigis, where the dessert originates. On the way there, the Forgers stumble upon a plot by the evil Col. Snidel to heat up the Cold War. Anya accidentally eats a chocolate MacGuffin, and the Colonel will do anything to get the microfilm it was holding out of her. Mr. and Mrs. Forger won't let that happen.

If one edits down the cold open, then it would make a good sitcom opening ("He's a world class spy. She's a deadly killer..."). Loid makes his way through a masquerade ball with secret documents, while Yor dispatches some hapless goons (Who are they? Who cares.). They make it home for family time with Anya and Bond, where we see the latter two's powers. That's quite an efficient opening for a TV show or movie. The series is pretty much an action sitcom, and like many sitcoms, or anime show movies, don't expect the status quo to change. How so? The plot is rendered all for nothing by a series of hilarious contrivances. 

Anya is the show's most popular character, so let's start with her. Her childish perspective is pretty endearing as she approaches the MacGuffin like a kid playing detective. We're a bit on edge as she's cornered by two goons - fortunately the comic relief duo - before Yor shows up. We're on edge for real when Snidel ties her up, though her ingenuity wins the day and saves Loid from nerve gas. Her dream sequences - rendered in crayon - are both quite hilarious and weird (particularly the second one). Her comical antics are a good contrast to her real fake parents' professions. 

One subplot that's not rendered moot is Yor's subplot. She spends the movie worrying that Loid is preparing to leave her after she sees him with another woman (actually fellow spy Fiona "Nightfall" Frost). She's easily pitiable despite her insecurity being somewhat played for laughs. It's quite moving when she and Loid get to talk it out on a Ferris Wheel, an accidental slap notwithstanding. It's easily Loid's best moment too, and they affirm their commitment when they go after Snidel aboard his mega Zeppelin. She even gets to use an unexpected tool to defeat an unstoppable cyborg. Overall, even those unfamiliar with the show will feel the "fake" family's real dynamic. They might fret what might happen once the secrets come out.

Now for a few other characters. Col. Snidel goes from confiscating Anya's dessert for himself to ordering his men to kill her. He does seem affable when he challenges Loid to a taste test to win back the dessert. But that affability goes away well before he shoots a random goon. He later orders his men to fire upon Loid, not even aware of his true identity. It makes one wonder how he'd react if he knew his extreme lengths to extract the microfilm were pointless. The two goons, Luka and Dmitri, are decent comic relief, though they're better as punching bags. On the subject of series veterans, Nightfall's gushing over Loid with the flattest of expressions is pretty amusing. It's actually relieving that Yor doesn't relapse into jitters when she sees Nightfall and Loid again.

The animation is about what you'd expect from the show: quite good. A few highlights include a sweeping shot across the opening masquerade ball, Loid exposing a carnival hustler's rigged game with some ingenious sharpshooting, his later dogfight with Snidel's mega Zeppelin, and Yor's battle with the cyborg. Its production design for Frigis is splendid, while the mega Zeppelin (it has a name, but I'm blanking on it for some reason) is quite cool. The show's composers, the band (K)now Name, reprise their roles on this film's soundtrack. Their soundtrack here is as jazzy and exciting as their work on the show. It may not be as proficient as a Ghibli film, but production company Wit Studio gets it done well.

Your mission, should you choose to accept it, is to see Spy x Family Code: White as soon as possible. It's a fun action comedy that will entertain the fans and unfamiliar alike. You'll love the fake family's real dynamic and thrill at their adventures. It's sure to satisfy anyone waiting for Season 3 and is another reason that may get me to fully reactivate my Crunchyroll account. As I said, see it soon, for it will be quite a while before it comes to home media. See it soon whenever and however you can. It's a great "ooting" to the movies.

The First Omen

The 2006 remake of The Omen was averagely forgettable, but it had two excellent teaser trailers. And yes, I saw both films that same year. I'll have little trouble forgetting this prequel, The First Omen, which sees the directorial debut of TV director Arkasha Stevenson. Let's see why you won't forget it either.

Margaret Daino (Nell Tiger Free) is a novitiate who heads off to Rome to take her vows. She's first assigned to an orphanage where she meets a few characters. She tries to connect with Carlita (Nicole Sorace), a troubled orphan who draws her own nightmares, against uptight Sister Silvia's (Sonia Braga) instructions. Her fellow novitiate Luz (Maria Caballero) takes her to a disco for their last night of freedom. Margaret meets a guy, Paolo (Andrea Arcangeli) and they hit it off. And...

Margaret begins hallucinating demonic sights. She's been troubled by hallucinations all her life, much like Carlita is now, but it's gotten much worse. She also contends with actual disturbances, including the suicide of another nun, Anjelica (Ishtar Currie-Wilson), and the concurrent Years of Lead. The ultimate disturbance comes when Father Brennan (Ralph Ineson, tagging in for Patrick Troughton from the original) tells her of a conspiracy to bring about the Antichrist. Carlita is at the center of that conspiracy ... or, is she?

I know what some of you might be thinking. "Didn't I see this movie recently?" I didn't, but some of you may have, seen the movie Immaculate, which came out just a few weeks ago. That means there are two movies that center on a conspiracy to bring about the antichrist. I almost thought I went into the wrong movie for the first few minutes (why? I don't know). My theatre doesn't label their auditoriums, so for all I know, it could have been playing in the next auditorium over. 

Anyway, its first few minutes have Father Brennan take confession from a semi-reluctant conspirator, Father Harris (Charles Dance). Harris's ensuing death is a nervously amusing homage to Brennan's eventual demise in The Omen. Paolo's death by truck is so obviously telegraphed I was thinking "look both ways, you idiot" before it happened. Still, Paolo's death comes with a surprisingly gruesome twist. Anjelica's suicide, another homage to The Omen, gets creepier when she shows up in Margaret's nightmares. Its most disturbing imagery, however, comes from its depictions of childbirth, and with good reason. I can't describe it in detail here. Let's just say the conspiracy makes those scenes much worse.

Margaret starts off quite likable as she tries to get used to living abroad. She turns compelling when she tries to circumnavigate, and later fight back, against the conspirators. She has a strong relationship with Carlita as she tries to get her out of her shell, and it spectacularly pays off at the end. By herself, Carlita is just a compelling a lead as Margaret is. The conspirators - including Sister Silvia and Bill Nighy's Cardinal Lawrence - have a loony rationale, but that doesn't stop them from being certifiably odious.  Father Brennan has his best moments when he outlines the conspiracy to Margaret. He really sells us on the danger the villains pose to the world. He and the young Father Gabriel (Tawfeek Barhom) turn out to be our heroines' only real friends here.

Its gruesomeness is excellently constructed by editors Mark Murawski and Amy E. Duddleston. One disturbing highlight has Anjelica slowly reveal herself out of the darkness in a nightmare. Another highlight is a pivotal flashback where we see glimpses of Satan himself - a demonic jackal portrayed by a perfectly gruesome animatronic. The gloomy production design and cinematography collaborate the best when we're in the conspirators' lair. The sound design does wonders in accentuating the squickiness of it all. Mark Korven's score, much like Jerry Goldsmith's Oscar-winning score from The Omen, is a good mix of booming terror and sweet serenity. Its most powerful moment comes when Ave Satani, The Omen's Oscar-nominated theme song, kicks in at the climax.

To say that The First Omen is disturbing is like saying water is wet. Of course it is. This happens to be a well-made disturbing film with a great lead and strong production values. I'm certain even the most avid horror fans might want to avert their eyes during a few scenes. It's a decently compelling prequel even if its script has a few inconsistencies with its originator. I'm a bit curious to see how a follow-up explains them away. But that's it for now.

Monkey Man

Monkey Man fought a long battle to get to the big screen. It was greenlit in 2018, had its production complicated by that pandemic in 2020, and was held up by Netflix (who paid $30 million for the rights) ever since. It was saved from oblivion by Jordan Peele, who got Universal to buy it for just $10 million. Let's finally see how it is.

This is essentially a showcase for Dev Patel, who makes his directorial debut from a script he co-wrote with Paul Angunawela and John Collee, and also stars as its nameless protagonist. Our hero, who is only called "Kid," fights at an underground fighting arena run by the unscrupulous Tiger (Sharlto Copley). He's a jobber who regularly gets beaten by all the "cool" fighters. His persona is "The Beast," a gorilla masked fighter inspired by the monkey deity Hanuman, a central figure in the Indian national epic, Ramayana. 

As a boy, his mother Neela (Adithi Kalkunte) and much of his village, were massacred by the corrupt police chief Rana Singh (Sikandar Kher), who acted under the orders of the also-corrupt guru Baba Shakti (Makarand Deshpande). He gets his chance for revenge when he's hired by crime boss and Madam Queenie (Ashwini Kalsekar) on the kitchen staff of her VIP club. Rana is one of her regulars, but it takes time before our hero gets close to him. His first chance for revenge goes south, so he needs unconventional help to get him ready for round two.

This is a heavily political film, which is partially why Netflix got cold feet. Its villains are allegories for the government of current Prime Minister Modi; Shakti, in particular, is aiming to win an election for his Nationalist Party. A lot of the political references may fly over a few heads - I spent a good portion just now researching them - but the villains are still crooked enough that a few themes still get through. Our hero's unconventional help is a Hijra (third-gender in Hindi culture) community led by Alpha (Vipin Sharma). They're quite interesting characters who train him quite well and even provide backup in the final battle.

Its relatively sparse plot is told over the course of 121 minutes. It takes quite a while before our hero makes it to Rana, during which, he becomes involved with Sita (Sobhita Dhulipala), an escort under Queenie's employ. It's a decent relationship which suffers from her relative lack of screentime. All the while, Kid's backstory is gradually given in flashbacks, with the pivotal moment saved for the second half. It's quite easy to sympathize with Kid during his hero's journey before then. His fury, whether visceral or tranquil, is impressive, and he shows his humanity when he feeds a stray puppy. There's another ally, Alphonso (Pitobash), who gives him an in with Queenie, but he doesn't have much screentime.

The film is naturally livened by its brutal fight scenes. We get a few good arena fights for Kid to show his jobber role. When he finally gets to Rana, it sets off a long brawl which sees him fight off several goons, escape from corrupt cops and fight more goons. It also leads to the funniest moment in the film when a window escape attempt doesn't go as planned. The film's slow pace is validated when Kid makes his comeback in the arena. He knocks his frequent rival out with one boot to the head and defeats the follow-up opponent - a giant - with relative ease. The final battle makes for another excellent brawl; wait till you see his firecracker gun!

Those fight scenes are excellently edited by David Jansco & Tim Murrell and accentuated by a soundtrack which includes some surprising oldies and a great score by Jed Kurzel. Sharone Meir's cinematography gives some excellent use of color (i.e., Kid bathed in red light in the finale), and a stunning shot travelling from above to Shakti down below. All in all, Monkey Man is a good action thriller even if its major themes require plenty of context. I don't know if there'll be a sequel - I'm not talking about its box office, for once - but I'm curious as to what Patel might direct next. Hopefully, it'll be something good. 

Godzilla x Kong: The New Empire

It's funny that there are now two films where the big bad's endgame is to essentially start the next ice age. I'm sure it's just a coincidence that Ghostbusters: Frozen Empire and Godzilla x Kong: The New Empire both hit upon the same idea. But that's where any similarities end.

So, where am I going with this?

This time, Kong explores Hollow Earth for any other big apes like him, while Godzilla roams normal Earth fighting other Titans. Meanwhile, Monarch scientist Ilene Andrews (Rebecca Hall) tries to connect with her adopted daughter, Jia (Kaylee Hottle), the last surviving human from Skull Island. Jia senses something a great disturbance in the Force (so to speak) coming from Hollow Earth. Godzilla senses it too, which is why he gets up looking for power. Kong gets back to normal Earth when he gets a toothache. After that, Jia, Ilene, Titan veterinarian Trapper (Dan Stevens) and podcaster Bernie (Brian Tyree Henry), follow Kong back to Hollow Earth.

Meanwhile, Kong finally finds a whole tribe of other big apes. These apes are ruled by the evil Skar King, an old enemy of Godzilla who is looking for a way to get back to normal Earth. Kong can't defeat him and his ice-powered attack Titan, Shimo, alone, which is why he needs Godzilla. They're not exactly friends, but Jia might be able to help after she reconnects with survivors of her tribe, the Iwi. They have a prophesy that she'll reawaken the one force that can get the Kings of the Monsters together. That force is Mothra.

Everyone got that?

Director Adam Wingard and his co-writers get to the main event slowly but surely. It didn't take long before Godzilla and Kong met last time, but here, they don't meet until the third act. In the meantime, we go back and forth between Kong and the humans, with Godzilla showing up every so often. We empathize with Kong when his tooth breaks and are moved when he bonds with a young ape named Suko. Granted, their relationship doesn't start out smoothly, since Suko and some of his tribe ambush Kong. It's still awesome and funny to see Kong assert himself in the ape tribe. The Skar King needs little effort to convey how evil he is to the audience. Godzilla spends much of the film pretty grumpy, while Shimo is quite sympathetic. Their final takedown of Skar King makes the long buildup worth it.

In the human plotline, Ilene tries to help Jia adjust to modern civilization. When they encounter the Iwi, Ilene prepares for the possibility that Jia will go back to them. Their relationship is a great anchor for the monster madness, and their resolution is quite moving. Trapper, meanwhile, is a welcome addition for his bravado and his looking out for the big guy. Anyone intrigued by how giant monster dentistry works will get a cool demonstration. Bernie is amusing, while Mikael (Alex Ferns) the Red Shirt is really the only other human character of note.

The visual effects are quite nifty. The monsters are quite emotive, which is useful considering that they alone take up much of the screentime. Godzilla's upgraded magenta glow is neat, while Kong's metal gauntlet for the final battle (long story) is even neater. Mothra's new design is her best rendition since her look in King of the Monsters. The opening panoramic view of Hollow Earth is stunning, but the later battle between Godzilla and the Titan Scylla in Rome is impeded by the opening credits. The music by Tom Holkenborg and Antonio Di Iorio is fine, though not as memorable as the monsters' past films. The sound designs for the monsters, however, is quite impressive.

"Welcome to my World," as the Jim Reeves song, and by extension, this movie, beckons. Godzilla x Kong: The New Empire is sure to satisfy anyone and everyone who just wants to see monsters fighting. Its human story has some nice touches, but its monster story is just as riveting. I got to hand it to them how extensively it sells the monsters on nonverbal communication alone. It's not as deep as the now Oscar-winning Godzilla: Minus One, but it's still effective. See it however you can wherever you can. That's it for this month.

Ghostbusters: Frozen Empire

 I saw Ghostbusters: Frozen Empire on Tuesday, and it took me until now to commit my thoughts to writing. A major factor is that there's a lot going on in this sequel, in which Afterlife's director Jason Reitman cedes the director's chair to his co-writer, Gil Kenan. Ultimately, it's fine, but less could have been more, and less could have been better explained more.

What do I mean?

Callie Spengler (Carrie Coon), her beau Gary Grooberson (Paul Rudd), and her kids Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), are now New York's latest team of Ghostbusters. One particularly destructive bust gets them sent to the mayor - none other than the first film's Walter Peck (William Atherton) - who is looking for any excuse to bust the team. Phoebe gets benched from the team soon after, and later meets a teen ghost named Melody (Emily Alyn Lind).

An aimless dude named Nadeem (Kumail Nanjiani) sells original buster Ray Stantz (Dan Aykroyd) a metal orb that once belonged to his grandmother. This orb, as later revealed, houses the demon god Garraka (Ian Whyte), who's out to freeze the world solid. His influence is so powerful that other ghosts are scared silent. Meanwhile, the Ghostbusters' overflowing containment unit is about to burst, and Garraka wants its inmates for his cause.

There's quite a bit of subplots. Phoebe spends more time with Melody and covertly busts ghosts with her former classmate, Podcast (Logan Kim). Trevor discovers Slimer in the attic and tries to bust him. Gary tries to fit in with the Spenglers. Lucky Domingo (Celeste O'Connor) is now an intern for OG buster Winston Zeddemore's (Ernie Hudson) Paranormal Research Center. Peter Venkman (Bill Murray) helps Nadeem discover his destiny as a firebender (long story). That sounds like a lot, but they need a lot of help to thaw out the demonic God once he shows up.

That's a lot of subplots for a 115-minute movie. A few other new characters, Dr. Hubert Wartzki (Patton Oswalt) and Dr. Lars Pinfield (James Acaster), are lost in the shuffle. Wartzki exposits on Garraka's mythology in his only scene, and while a fun presence, his role could have easily been given to someone else for streamlining purposes. Pinfield, Winston's lead researcher, barely has much to do in the film. As for the old characters, Trevor's only bits are him trying to get Slimer and permission to drive Ecto-1. Phoebe's tense relationship with her mother and "step-teacher" could have used an extra scene to help it resolve in the third act. Lucky and Peter are just there.

The containment unit breaking down has a bit of odd logic. The film mentions that the unit storing forty-years of busted ghosts is causing it to burst. It mentions that Peck inadvertently released the ghosts when he had the unit shut off in the first film. But did the Ghostbusters recapture them by the time they were sued to bankruptcy before Ghostbusters II? The film never explains that. Speaking of Peck, his first scene seems amiable when he, despite ordering Phoebe being benched, suggests another way to contribute. But all doubts dissipate when he later relishes the Ghostbusters' latest misadventure as his aforementioned excuse. It's quite amusing when the Ghostbusters show him up at the end.

What actually worked about the plot? Melody is quite pitiable given the circumstances of her death, and not even her being revealed to be Garraka's mole is enough to destroy that pity. She and Phoebe's friendship is quite compelling, and their final scene together is moving. Phoebe herself is also compelling as she tries to work around her being benched. It pays off when she uses her gadgeteering to strengthen her proton pack to spectacular levels. Nadeem maybe comical, but his hero's journey is surprisingly effective. The original Ghostbusters get a moment to shine when they team-up to reseal Garraka. The writing maybe imperfect, but you do feel the combined team's comradery, which is amplified once the title song finally kicks in.

I have mixed feelings about Garraka. His unsettling design is spectacular, but he only finally manifests at the tail end of the film. So much for the promise of the premise the title suggests. Then again, Gozer only shows up late in the first film and Afterlife, but her presence is felt beforehand with her minions. Garraka freezes a roomful of guys in the prologue, and his orb manifests his psychic rage whenever someone messes with it. There's some great visual effects and sound design at work here. He proves himself a formidable foe capable of overpowering the Ghostbusters' conventional equipment. Maybe another watch can solidify my opinion of him.

What else worked? The opening chase with the ghostly Sewer Dragon is a great way to kick off the film. The film's other standout sequences are a return trip to the New York Public Library, where Ray is reunited with John Rothman's administrator Roger Delacorte and the Ghostly Librarian, and the final battle with Garraka. Melody's ghostly effects and those for the mini-pufts are impressive (the minis almost look like real marshmallow!). Dario Marianelli does a good job mixing Elmer Bernstein's themes with a new score. I can go on, but I've said a lot.

Ghostbusters: Frozen Empire should make for a good matinee, particularly with Easter right around the corner. It may take a while to discern the plots, but there's quite a bit to like about this installment. I'd like to see more of the Paranormal Research Center if there's a sequel, for instance. Let's also hope there's a better-balanced plot for its cast, next time, no matter how big it is. Nevertheless, this imperfect round of ghostbusting still makes me feel good. It'll do something right if it makes you feel a bit good, too, even for an afternoon. That's it for now.

Orion and the Dark

Netflix now has the streaming rights to Universal's animated films from Dreamworks and Illumination. What I have now is a film Dreamworks produced for Netflix itself. This is Orion and the Dark, based on a picture book by Emma Yarlett, and it is an interesting film, to say the least. Let's see why.

Orion (Jacob Tremblay) is scared of everything. He fears rejection, dogs, bees, the Ocean, falling off skyscrapers, the school bully and even accidentally killing the school bully, among others. But he's scared of the dark most of all. The Dark himself (Paul Walter Hauser) isn't happy with that. So, he decides to assuage Orion's fears with a global tour. 

The Dark and his friends, Sweet Dreams (Angela Bassett), Sleep (Natasia Demetriou), Unexplained Noises (Golda Rosheuvel), Insomnia (Nat Faxon), and Quiet (Aparna Nancherla), show Orion how they bring night to the world. All the while, they have to stay one step ahead of Light (Ike Barinholtz) and his daytime. Everything seems fine until Orion's insensitivity threatens the world itself. I think that's it, but...

All of this is actually told by an adult Orion (Colin Hanks) to his own fearful daughter, Hypatia (Mia Akemi Brown). This sudden metafictional twist is revealed within the first half-hour.  Actually, it's not really surprising, considering that Charlie Kaufman (Adaptation, Being John Malkovich, Eternal Sunshine of the Spotless Mind) wrote the script. His story-within-a-story approach is as intricately surreal as those films. Although Orion assures Hypatia his story is real early on, they both make it up as they go along. Hypatia even inserts herself into the story as a Deus Ex-Machina. That, however, isn't as weird as a second Deus Ex-Machina in the final minutes.

Orion is quite likable. Sure, many of his fears are morbidly ludicrous, but him being afraid of rejection is compelling. His first words narrate not just to us, but his crush, Sally (Shino Nakamichi), about his fearful state of mind. He can't even fathom sitting next to her in an upcoming field trip. Dark, his co-protagonist, shares his feelings of social inadequacy. He first complains about Orion's scaredness, but he's still willing to politely assuage his fears. His first plan is to show him a pitifully short film narrated, by of all people, Werner Herzog. It's quite fun to see them bond over the course of the movie. You'll definitely feel it when they fall out near the end, which I can't elaborate on, but there is a flying turtle involved. 

Now for a few others. I liked the other night entities, particularly Sleep and Quiet. Sleep's somnolent weapons are morbidly funny, while Quiet's barely legible voice makes for some impressive sound editing. It helps that they have character designs as appealing as their personalities (practically everyone does, though I wouldn't call the bully Richie's personality appealing). Sweet Dreams's ethereal visage is striking and she makes for a good voice of reason, while Unexplained Noises and Insomnia are both pretty amusing. Dark and Orion falling out in act three is precipitated by them joining Light, though that plot thread (intentionally) goes nowhere. Light is the closest thing the film has to an antagonist, but he still respects Dark as his equal. On the human side, what we see of Sally and Orion's relationship is nice to see.

Who knows if Orion and the Dark will make it onto next year's Oscar ballot? I think it should, considering its cuddly animation and intricate storytelling. Anyone too young to see its screenwriter's usual works will get plenty to think about over its 93 minutes. Anyone who is old enough will somewhat understand its intricacies once they see his name. I don't think either age group will lose any sleep over this film. It's just an appealing, yet weird, film. Press play and you'll see what I mean.

Kung Fu Panda 4

Where was that marathon Oscar reviewing you promised, Jethro?

I had a migraine a while back and with it, some insight. I figured I've seen all of this year's winners (and I was right), so maybe, I could afford to skip some. I think I should spread out next year's Oscar crop over the course of this year. I got to avoid the overload.

Fair enough.

But I think I can say with confidence that Kung Fu Panda 4 won't figure in the Oscar race at all. It's a fine film, but there are plenty of ways it could have been better. 

How so?

This time, Po (Jack Black) is commanded by Master Shifu (Dustin Hoffman) to retire as the Dragon Warrior and become the valley's new spiritual leader. Po doesn't want to retire, but he agrees to hold auditions for his successor. But, in a stunning upset, he picks himself as successor. Yay?

Po is soon called into action when Tai Lung (Ian McShane), his nemesis from the first movie, seemingly comes back. In actuality, this is The Chameleon (Viola Davis), a mob boss sorceress, from the distant Juniper City. She's looking to bring back Tai Lung for real, along with several other villains, to steal their kung fu skills. Po recruits Zhen the Fox (Awkwafina), whom he caught stealing artifacts earlier, to help him stop her. Nobody in the city recognizes Po, but everyone there recognizes Zhen as a notorious criminal. Po soon thinks Zhen might be the next Dragon Warrior, but this fox has secrets of her own.

You didn't answer my question.

I'm getting there, Vance.

It's got a few good gags. There's an amusing bull-in-the-China shop skit when Po and Zhen get chased by Juniper City guards. Anyone familiar with Avatar: The Last Airbender will get a kick out of a recurring merchant in that scene. Po listening to his inner voices leads to some silly results. Po and Zhen visit her local Den of Thieves, whose denizens (led by Ke Huy Quan's pangolin Han) are weirdly amusing when they "do the right thing for the wrong reasons." Nobody there is weirder than the killer rabbit trio, that's for sure. Po's two dads, Li Shan (Bryan Cranston) and Ping (James Hong), get an amusing subplot as they follow Po and get into slapstick. Their chemistry is surprisingly good.

Po and Zhen make for a pretty good main duo. It's fun to watch them bicker and banter, but you'll especially feel it when they have their third-act fight. To spoil it, Zhen's betrayed Po to The Chameleon and feels bad about it, so she tries to stop Po from fighting The Chameleon. Zhen's sincerity is sold by the great animation and Awkafina's voice work in that scene. There's also great voice work from Black as we feel how angry Po really is. It's no secret that they reconcile, but it's nice when they do. 

What else can I say about the technicals? The fight scenes are good, the production design and cinematography are good, while the Chameleon's shapeshifting abilities are pretty nifty. The final fight gives Po a few inventive workarounds to The Chameleon's indestructible cages. The Chameleon's goons provide our heroes with a few good fights, and us a few good gags. Hans Zimmer, this time collaborating with Steve Mazzaro, gives us another great score. And ...

Jethro!

Which finally leads me to the problems. The first is that Po's mandated retirement seems awfully sudden and unnecessary. Why does he need to retire and take the new job? It could've been understandable if, say, the current leader, whoever that is, isn't long for this world. Second, The Chameleon is underutilized as a villain. She just sticks to Juniper City after impersonating Tai Lung and waits for Po to show up. That's it. Third and worse, the classic villains don't show up for real until halfway through the film. The only other villain besides Tai Lung to talk to Po is a new guy named Scott (Harry Shum, Jr). They and the other villains are just there to be there. These problems help muddle its message that change is a good thing. 

Kung Fu Panda 4 has plenty of the "skadoosh" from its past installments. Unfortunately, its unrefined plot squanders the potential of its inciting incident. It recovers somewhat with Po and Zhen's double-act, which makes me mildly curious for a fifth movie. This should be enough to entertain the kids if Dune: Part Two isn't for them. It's just 94 minutes, so that might be a plus to them. Make sure you get them to see the first movie. It's surprisingly still great after all these years.

Dune: Part Two

Thankfully, Dune: Part One wasn't a case of tempting fate, for we now have the other half of Denis Villeneuve's cinematic adaptation of Frank Herbert's career-defining novel. While I failed to follow through on the plans within plans to watch Part One theatrically, I didn't skip the opportunity for Dune: Part Two. Let's see how it is.

When we last left our hero, Paul Atreides (Timothee Chalamet), he and his mother, Lady Jessica (Rebeca Ferguson) were exiled from their dukedom on the desert planet of Arrakis and had joined the native Fremen population. A few Fremen believe that Paul is their prophesized messiah, the Lisan al Gaib, though his love interest, Chani (Zendaya) is among the several skeptical. Paul, fully aware that his mother's former sect, the Bene Gesserit, invented the prophesy, is further haunted by visions of a galactic holy war should he embrace his messianic role. Jessica, meanwhile, assumes the role of the Fremens' religious leader with a dangerous ritual. Paul and the Fremen launch guerilla attacks on his family's enemies, the Harkonnens, and their spice-mining operations.

The Fremen attacks get Universal Emperor Shaddam IV (Christopher Walken) breathing down the neck of Baron Vladimir Harkonnen (Stellan Skarsgard). The Baron calls for his blood-thirsty nephew, Feyd-Rautha (Austin Butler), to take over for his elder brother, Rabban (Dave Bautista), as the boss on Arrakis. This forces Paul and Jessica to travel further south to recruit the more fundamentalist Fremen living there. That would only hasten the holy war that Paul doesn't want, but Fremen leaders like Stilgar (Javier Bardem) do. That's not going to end well in a later instalment.

Villeneuve and cowriter Jon Spaihts once again weave a strong narrative out of half a novel. Paul's reluctance to take on his messianic role is beyond understandable, while Stilgar's devotion to the prophesy is amusing. One scene that says that much may have you thinking of Life of Brian, of all films. It takes quite a bit of effort for Paul and Jessica to persuade the fundamentalist Fremen of him being the messiah. But they accept him with open arms once he proves himself. This and Part One show us the hows and whys of a society ready to follow their messiah even to galactic war. Hope is a dangerous thing, after all. This film proves it.

Chalamet's deconstructed messiah is still compelling here. Paul and Chani have a compelling relationship, one where their devotion is tempered by her skepticism of his messiahness. She's not wrong for her skepticism, as Rev. Mother Mohiam (Charlotte Rampling) makes clear. She still helps him integrate into Fremen culture; it's from her that Paul gets the idea for his tribal name Muad-dib. When he finally, albeit reluctantly, becomes the dark messiah, it's a tragic moment for both of them. I'm even more intrigued to see how Dune Part Three handles their relationship after this film's tweaked ending.

Now for much of the cast. The Baron and Rabban are even viler than they were last time, while Feyd-Rautha's twisted sense of honor makes him a memorable new villain. The Rev. Mother Mohiam's subplot has her desperately try to salvage her sect's collapsing plan to cultivate their preferred messiah. So, her cold treatment of her acolytes, Margot Fenring (Lea Seydoux) and Shaddam's daughter Irulan (Florence Pugh), to secure that plan, is quite unnerving. Shaddam himself is fine, but Mohiam makes a greater impression as a greater scope villain. Josh Brolin is once again great as Paul's mentor, Gurney Halleck. The one-scene wonder has to be Giusi Merli as Jessica's predecessor, Rev. Mother Ramallo.

Villeneuve brings back much of his Oscar-winning (and nominated) crew on his return to Arrakis. The most notable new addition is sound-designer Richard King, whose work gives the Bene Gesserit "Voice" technique a piercing oomph and the monstrous sandworms their thunderous roars. Hans Zimmer's thunderous score is put to good use in an early scene with Paul and Chani. The score overwhelms the dialogue a bit, but it's intentional, as he's clearly distracted by her.

Its visual effects are stunning, but its standouts are when Paul mounts a particularly large sandworm, and when he and the Fremen ride several into the final battle. Cinematographer Greig Fraser's most memorable work is his infrared rendering of daylight on the Harkonnens' home world, Giedi Prime, particularly during Feyd-Rautha's gladiatorial games. Special attention must be given, then, to production designer Patrice Vermitte and costume designer Jaqueline West, for their artistry here. Even the makeup work for Feyd-Rautha is even more disturbing in this literal new light. It's too early to talk Oscars for this film, but hopefully, the Academy will notice later this year.

Dune Part Two is 165 minutes long, which is an astonishing two-hours longer than the corresponding events in David Lynch's 1984 Dune film. The worldbuilding and character development leads to a more thorough ending than even Part One had. As I said, I'm all the more interested to see how they adapt the first sequel novel, Dune Messiah, into Part Three. It would make a satisfying ending to this film series even if there's four other novels (and dozens of spin-offs) left. See it on the largest screen you can find. It's worth the cinematic space journey. That's it for now.