Twisters

Phone Transcript

JETHRO: Hello?

(Unknown): Pop Quiz, Hotshot! There's a movie about tornados. It makes almost a half-billion dollars - that's in 1996 money, back when money was worth something - and was even nominated for two Academy Awards. It has a cast and crew of household names, including the author of the novel that became what was then the Highest. Grossing. Movie. Of. All. Time. A license to print money, I think, so what do you do? What do you do?

JETHRO: Wait twenty-eight years to make a sequel?

(Unknown): What?!

JETHRO: You're talking about Twister, right? It just got a sequel with Twisters.

(Unknown): OK, wise guy, tell me all about it.

JETHRO: Kate Carter (Daisy Edgar-Jones) and her team of storm chasers - Javi (Anthony Ramos), Addy (Kiernan Shipka), Praveen (Nik Dodani) and her boyfriend, Jeb (Daryl McCormick) - study twisters in Oklahoma. They think they can dissipate tornadoes by launching barrels of waterlock. They find a good test case, but it's much stronger than they anticipate, and all but Kate and Javi (who was miles away) are killed. 

Years later, Kate is a storm tracker at a NOAA office when Javi recruits her to help his company, Storm-Par, test their new weather scanner in Oklahoma. During their mission, they come across "storm wrangler" Tyler Owens (Glen Powell) and his storm chasers, who are off filming their latest meteorological adventures. The "city girl" and "country boy" initially don't get along, but they have to depend on each other to survive the ever-worsening tornadoes.

(Unknown): OK, OK, that's good. Tell me more.

JETHRO: The writing credits say it's "Based on Characters by Michael Crichton and Anne-Marie Curtin," but the only returning "characters" are the Dorothy probes used by Jo and Bill Harding (Helen Hunt & Bill Paxton). The probes are used by Kate and her first team in the prologue. Afterwards, Mark L. Smith's screenplay puts Kate and the audience through relatively unfamiliar narrative territory. I'm sure a lot of people will complain about the dissimilarities, but I haven't, for the story it tells is pretty decent.

(Unknown): How so?

JETHRO: Let's start with the characters. We don't get to know Kate's doomed storm chasers for pretty long. But we get to like them during that prologue and are perfectly gut punched when they are killed. They, Kate & Javi were that believable as longtime friends. Kate is quite compelling as she spends the movie owning up for her fatal miscalculations. She goes from panicking during one twister to helping citizens take shelter during the climactic monster tornado. Her survival is just as narratively satisfying as her theories finally working. 

Tyler and his "wranglers" introduce themselves as reckless glory hounds. But these storm chasers are anything but unlikable; their professional enthusiasm is endearing; their competence is impressive, and their altruism is inspiring. It's enough to make up for them accidentally running Kate and Javi off the road during their first storm chase. You'll be invested in Tyler and Kate's growing bond during their meteorological adventures. A lot. 

Now for a few others. It's later revealed that Storm-Par's financier, Marshall Riggs, is a bad guy. But he barely registers in the plot. Javi, however, perfectly sells us and Kate on Storm-Par's altruistic endeavors because he believes in them. So, we can sympathize with him even when he insensitively blames Kate for the fatal storm chase. He makes up for that by showing up his co-worker when the latter puts profit over people. Among the various bit characters, Jeff Swearingen was sympathetic as a doomed desk clerk, while Cody Paxton (Bill's son) and Lily Smith were less so as an ignorant couple. 

(Unknown): Hurry up.

JETHRO: Its relation to science is interesting. It explores a few concepts like the Fujiwara Scale, the Fujita Scale and why hiding under an overpass is a terrible idea. But it also has Tyler and his wranglers shooting fireworks into a tornado (which gave me the impression that they dissipated that tornado). In fact, Mother Nature is treated as a more palpable villain than Riggs himself. Either way, the cinematic twisters both look and sound perfectly menacing. Each one is more nightmarish than the last. The nighttime twister that disrupts a rodeo, and the climactic one that destroys a refinery - even creating a fire whirl - and later wrecks a movie theatre, are easily the most memorable. 

(Unknown): Hurry up!

JETHRO: There's some great Oklahoma scenery from cinematographer Dan Mindel, some excellent production design by Patrick Sullivan for the post-Twister devastations, and Benjamin Wallfisch's latest impressive score. 

(Unknown): Now!

JETHRO:  Who knows how scientifically accurate Twisters is, but it's still a pretty good blockbuster. It's worth paying even a few more dollars just to see the titular meteorological menaces on the biggest screens possible. It's also worth seeing it for the personalities on any screen. Give Twisters a spin and watch two hours spin right by. That's it for now. 

Who called?

Sasquatch Sunset

The Sasquatch, also known as The Bigfoot, and not to be confused with the Yeti, also known as the Abominable Snowman. Here, in the Forests of Northern California, we find four of them living their lives. Let's call them Alpha, Beta, Gamma and Mu. Alpha is, in human equivalence, a grumpy old man; Beta is the meeker male; Gamma is the lone female and Mu is the cub. All they have to do is to survive. So, let's follow them over a year in Sasquatch Sunset and see what happens.

I've been told that the Sasquatches are actually humans in disguise. Beta and Gamma allegedly go by the "real names" of Jesse Eisenberg and Riley Keough. I have been told that Mu is really Christophe Zajac-Denek. Alpha's alleged alias is Nathan Zellner, a filmmaker who frequently collaborates with his brother, David. If this is true, then the makeup team should be commended with the highest honors. It is difficult, if not impossible, to recognize them underneath their extensive makeup. I for one, choose to believe that this is a real cryptozoological family, and ...

Skip this nature documentary voice.

But, yeah, the film commits itself to a nature documentary aesthetic. It's a stunning travelogue of the California wilderness as photographed by Michael Gioulakis and accompanied by a score from The Octopus Project. Whether it's a serene misty morning in the redwoods or the town of Willow Creek, its scenery never ceases to amaze. The Zellners keep up their concept even as the film gets sillier and sillier. The Sasquatches are bewildered by fellow forest creatures; they even pass a turtle around like a telephone. The Sasquatches' first encounter with a road is treated like they just encountered a monster in a horror movie. It revels in its gross-out humor, and I wouldn't blame you if you averted your eyes during these protracted scenes.

Its relatively simple story gives its actors a lot to work with. In addition to the makeup, the actors have to communicate without the benefit of human dialogue. They instead communicate with grunts, roars, hollers and body language. So, rather than exposit about their loneliness, they whack trees with big branches and stare forlornly when they don't get a response. You can easily understand their listless lives even if you don't know what they're saying. Its premise may seem bizarre to some viewers, but you'll feel for these bigfeet when they're put into mortal danger. Indeed, not all of them will make it out alive, and some come dangerously close. A few viewings may be necessary to understand the nuances. But overall, I think that the cast did well to get their points across.

Sasquatch Sunset isn't an easy film to describe. I wrote and rewrote this review several times before I got to this paragraph. But I think it's still an interesting film. It has a bizarre sense of humor, but an ultimately universal story of a family trying to survive hard times. Who knows if it will resonate with the Oscars as much as Everything, Everywhere, All at Once did, but its makeup designs are worth a look. See it if you want on your favorite streaming services. These not-Yeti will be ready if you do.

Onwards to the next review.

The Primevals

Are you ready for more yeti?

I streamed two films on Amazon today, though I think I'll have time for one review today. That lucky review is for The Primevals, a B-Movie that spent over fifty years in the making. No, I'm not kidding. It was spearheaded by famed stop-motion animator David W. Allen, who conceived it in the sixties, officially started production in 1978, actually started filming it in 1994 and died of cancer in 1999. Decades later, Charles Band, the film's producer, crowdfunded its completion.

This is the result.

Over in the Himalayas, the local Sherpa have a close encounter with an Abominable Snowman. The Yeti is killed when one of the Sherpa triggers an avalanche and its remains are brought to an American University for study. Dr. Claire Collier (Juliet Mills), the University's leading anthropologist, organizes an expedition to find the origins of this Missing Link. Her autopsy of the creature revealed its brain was tampered with. But by who?

Collier is joined by former student Matt Connor (Richard Joseph Paul), adventurer Rondo Montana (Leon Russom), young Sherpa Siku (Tai Thai), and scientist Kathleen Reidel (Walker Brandt). Their expedition leads them to a Lost World populated by more hominids and a race of sinister Lizardmen (that have me thinking of the Sleestaks from Land of the Lost). The Lizardmen don't intend to let our heroes get out alive. That's pretty much it.

Its protracted production is sometimes apparent. As I said, the live-action parts were filmed in 1994, but a few scenes, including a few in Siku's cabin, look much older. There's some obvious new computer displays when the party explore the not-Sleestaks' ship. There's also an egregious case of tell-don't-show when our heroes discover the aftermath of an attack on the hominids' village. Said village was in our heroes' line-of-sight when they set up camp. How did they not notice? On a storytelling perspective, the film never really explains how the first Yeti - there is another - got out. I can go on, but I can't. I also can't be too harsh on its imperfections considering the circumstances.

Thankfully, the creatures have aged pretty well. Allen, an Oscar-nominee for Young Sherlock Holmes and an animator for quite a few other films, left us some rather impressive stop-motion animation. There's also some modern effects work which blends surprisingly well with the old footage. Either way, the Yetis and Lizardmen move quite fluidly, and they blend pretty well with the live-action photography: no annoying chroma key washout or matte lines in sight! They are creatures with palpable personalities, so much so that the second Yeti is literally the best actor of the film. See, the Lizardmen have been brainwashing the Yetis into destructive monsters, and you'll feel for the Yeti as it fights its programming. These creatures really don't get much screentime, but it's a minor complaint.

What do I think of the human cast? They're all right. Collier and Connor seem to have sparks between them, even if their twenty-year age difference is beyond noticeable. Rondo Montana (what a name!) brings with him some likable charisma, while Kathleen's implied connections with the Sherpa are barely explored. Siku is determined to help the party after his brother was killed by the first Yeti. He nearly gets the group killed by provoking another Yeti, but is still a good character, and even gets a stellar big hero moment. The hominids, who are played by actors in makeup, are quite sympathetic when they're forced to fight the second Yeti in a gladiator match.

What else can I say about it? There's a pretty good score composed by Band's brother Richard. It's as melodramatic and bombastic as Max Steiner's work in the original King Kong; the opening chords may easily remind you of the older film's main theme. The non-creature effects, from matte paintings to laser blasts, blend with the actors as well as the creatures do. There's some good production design, with its best creation being the interior of the Lizardmen ship. Its Hominid Village is just a few buildings, but it's still an interesting enough locale.

I think The Primevals is at least worth a watch. For 91 minutes, you'll get a decent adventure story with astounding creatures and decent humans. Allen's filmography is astounding in its breadth, and despite some nitpicks, this film is a great legacy for him. If anything, this should make for an interesting study case along with other protracted productions like The Thief and the Cobbler. See it soon to see what I mean. I got to get Yeti for some Sasquatch tomorrow. 

Fly Me to The Moon

UPDATE: Revised a few things, including an awkwardly worded intro. But I still launched it initially in time for the exact minute.

If I time this right, then I will launch this review on July 16th, 2024, at 6:32 AM PST, 55 years to the exact moment Apollo 11 launched from Kennedy Space Center. How appropriate, then, that it's for Apple TV's latest theatrical release, Fly Me to the Moon. A few spoilers might be necessary, so let's blast off to the review.

Kelly Jones (Scarlett Johansson) is a con-artist who sells herself as a marketing genius. She catches the attention of Moe Berkus (Woody Harrelson), a secret agent man who sends her down to Kennedy Space Center as NASA's newest marketing specialist. It's up to her to sell the public on the looming Apollo 11 launch. But first, she has to sell her unorthodox methods to launch director Cole Davis (Channing Tatum) and his crew. She doesn't get off on the right feet with them when she hires impersonators to take interviews. But she and Cole eventually fall for each other as she secures funding from a few senators.

Moe soon orders Kelly to stage an "alternative" moon landing as a contingency. Kelly reluctantly brings along her usual director, Lance Vespertine (Jim Rash) and his crew, to rehearse and film "Project Artemis" at a NASA warehouse. Hilarity ensues, until Moe decides to broadcast Kelly's fake moon landing no matter what. How will Kelly get out of this ethical crisis? How does a black cat, named Mischief, figure into this?

Director Greg Berlanti (Love, Simon, Arrow) works from a script by Rose Gilroy that the credits state is "Based Upon the Story by Bill Kerstein & Keenan Flynn". It's an unusual credit listing for a comedy with an unusual running time at 132-minutes. The film lulls in a few places, while Project Artemis isn't even a plot point until an hour into the film. Yet, the film eases our patience with its leads' personalities. Kelly maybe a con artist, able to change names and accents at will, but her people skills are real. She gets a truly great monologue when she reveals her tragic backstory to Cole. Speaking of Cole, he's decently likable, but you truly feel for him once the film reveals his connections to the ill-fated Apollo 1. It's amusing to see them trade quips with each other, and while their meet-cute moment may have been heavily trailered, it's still fun to see it in context.

You’ll be hooked during the climax as editor Harry Jierjian sends our heroes on the final countdown. Kelly, Lance & NASA control guys Stu Bryce & Don Harper (Donald Elise Watkins & Noah Harper) make a mad dash to secure necessary equipment (with smash and grab!), Moe breathes down their necks, while Cole mans the control center. Once Apollo 11 lands, the film obfuscates the differences between Kelly’s broadcast and Apollo 11’s feed. “Which one’s real?” you’ll ask yourself. Let’s cut to the chase: the film makes it clear that it’s real. It’s truly heartwarming when Cole declares “that’s our guys,” while Moe is surprisingly graceful once he realizes the truth. It definitely sells how much an achievement the moon landing was.

Anyone else I should mention? Ray Romano and Anna Garcia are pretty likable as Cole & Kelly's respective confidants, Henry Smalls & Ruby Martin. The various actors playing the sympathetic senators, including an uncredited Victor Garber, made for some good cameos. Mischief was actually played by three different cats - Hickory, Wilbur, and Eclipse - and the end result is one entertaining kitty. You won't forget how he figures into the climax. Apollo 11's eventual blast-off is made nice and loud with some impressive sound design. Kelly's renovations to her "broom-closet" office makes for some great production design by Shane Valentino; his recreation of the control center is also striking. There's also a nice romantic score by Daniel Pemberton; his standout is the romantic theme for Kelly & Cole.

It maybe overlong but Fly Me to the Moon has a likable cast and a happy ending. What's not to like with a romantic comedy? I think it's worth a watch, but when? Maybe you'll want to watch it on Saturday to commemorate the moon landing. Or maybe you'll want to wait for it to stream on Apple TV, whenever that is. I don't know if you'll be over the moon for it, but I think you'll be decently entertained whenever and wherever you watch it. That's it for now.

Horizon: An American Saga - Chapter 1 (?)

I've been putting off seeing Horizon: An American Saga - Chapter 1 for the past few weeks. Well, no more, dudes! It's time to saddle up and see what everyone's been missing out on! Let's prove them city slickers wrong and that this is ...

... not the greatest movie in the world. Concept's fine, though, but not the execution.

This is Kevin Costner's first film as director since 2003's Open Range. An epic saga of development hell turned what was initially a single film into four, with Chapter Two coming out next month and Chapter Three already filming. At least, that was the plan, until Chapter Two was yanked off the schedule yesterday. Let's see what went wrong.

The film chronicles several different storylines in the Old West. The Lionshare of the story is centered around the San Pedro Valley in the settlement of Horizon. It's a place advertised as the ultimate destination for the settlers of the American Frontier. It's also in Apache territory, and the warrior Pionsenay (Owen Crow Shoe) is determined to drive the settlers away. He and his warriors start the film by killing the surveyors setting up Horizon by a river. The actual settlers build Horizon on the opposite side of said river. Pionsenay burns the town to the ground in a nighttime raid. A few settlers survive, including young Russell (Etienne Kellici), who brings with him a Union regiment to protect the survivors.

Meanwhile, in Montana, a frontierswoman named Lucy (Jenna Malone) shoots her ex-lover James Sykes and takes their baby with her. James's sons, Junior & Caleb (Jon Beavers & Jamie Campbell Bower), are dispatched to apprehend her. Lucy soon makes the acquaintance of prostitute Marigold (Abbey Lee) and horse trader Hayes Ellison (Costner), who help raise the baby with her. Also meanwhile, over on the Santa Fe Trail, Matthew Van Weyden (Luke Wilson) leads a wagon train to Horizon (remember, news travelled slow those days). That's pretty much it for that storyline. But there's a bunch of other story threads I'll discuss later on.

All of these storylines are jumbled around in its massive 181-minute timeframe. We get a massive cast of characters to keep track of; plenty of them are either too meh to care about or too dead before we get that chance. The guy who I least liked was some random dude at Horizon with an appallingly poor sense of gun safety. But I felt nothing when he got arrowed in the raid. Frances Kitteridge (Sienna Miller) survived the raid with her daughter, Elizabeth (Georgia MacPhail), but her husband and son (who don't) are forgotten about pretty quickly. A few scenes are dragged way out: it's more repetitive than tense when Caleb Sykes threatens Lucy and her husband Walter (Michael Angarano). Its attempts at humor are so jarring they seem to belong in another movie.

Did any of the story lines work? I think Costner and his co-writers, Jon Baird and Michael Kasdan, had a strong focus right with the Horizon plotline. That's where we get the most compelling character: Russell. For starters, it takes a lot of guts to outride the raiders in the night. He later joins Elias Janney's (Scott Haze) posse to get revenge on the Apache raiders. But while the posse decides to slaughter random Natives, not caring if they were Apache or even affiliated with Pionsenay, Russell can't bring himself to shoot a random man when the posse eggs him on. Him breaking the cycle of vengeance might form a good contrast with Pionsenay, though who knows now when, or if, we'll get to see that play out.

I wasn't moved that much, but I still have to respect John Debney's score here. It's got a good melancholic main theme and some perfectly intense music for the action scenes. There's some decent period makeup and hairstyling work on the cast. There's some good production design for the Frontier cities, particularly for pre and post raid Horizon, but it's J. Michael Muro's cinematography that really sells it as a big screen experience. The landscapes on display look perfect even if the story isn't.

The film's biggest problem is that it neglects itself for future installments. Its underdeveloped and numerous plotlines are clearly meant to make sense in one of the later sequels (or, in the case of the wagon train, saved for next time). But something's amiss when the groundwork for these plotlines is shaky. Horizon: An American Saga - Chapter 1 ends on a montage of scenes from the next movie. I hope for Costner's sake that everything established here makes sense whenever we get to see it. But I can't imagine how this could be a tetralogy. A trilogy, maybe? But that's it for now.

Despicable Me 4

Gru and his Minions are back to take over theatres with Despicable Me 4. This time, they're supposed to battle cockroach-man Maxime Le Mal (Will Ferrell). But he's not their greatest enemy; the imperfect script is. I'm sure kids will love the zaniness, and while I had some fun with it, I still have some issues. Let's see what they are.

Gru (Steve Carell) and Maxime were classmates at the same School for Evil. They open the film at their class reunion, where Gru leads the Anti-Villain League in arresting Maxime. Maxime busts out within days and vows vengeance, not just for the arrest, but for a talent show spat back in the day. AVL-bigwig Silas Ramsbottom (Steve Coogan) sends the Gru family into what is basically witness protection. They get new identities as the "Cunninghams," with Gru/Chet as a Solar Panel salesman and Lucy/Blanche (Kristen Wiig) as a hairstylist. Oh, did I mention there's now a baby Gru Jr.? There is.

Meanwhile, the Minions (all Pierre Coffin) are drafted into the AVL, with five of them getting the Super Soldier treatment to become "Mega Minions." They're not very good Superheroes. But they might help when Maxime and his girlfriend, Valentina (Sofia Vergara) target Gru Jr. to get back at papa Gru. Also meanwhile, the new neighbor girl Poppy Prescott (Joey King), drafts Gru into her plot to steal the aforementioned School of Evil's mascot: Lenny the Honey Badger. What's a Gru to do?

My aforementioned issues come from its multiple plotlines. Sure, they may be comprehensive, but they're pretty underdeveloped. They never explain how the AVL drafted the Minions, considering that all but a few of them left Gru at the end of Despicable Me 3 for his brother, Dru. I'm pretty sure there wasn't a movie or short that explained it, either. Gru's adopted daughters - Margo, Edith and Agnes - have issues that never really pay off. Poppy's heist backfires when school Principal Übelschlecht (director Chris Renaud) tracks her down. But it never dwells on Lenny's cowering in her presence. The biggest flaw is Maxime's plotline; he spends most of the movie on silliness rather than being an on-screen credible threat. He only registers a bit credible once he finally gets to act. He even has an army of cockroaches, seemingly his equivalent of the Minions, who literally do nothing! Next...

Now for stuff that I liked. The Mega Minions are amusing even if they barely affect the plot. Their designs are delightfully silly, as are their various super-fails. It's especially funny when they're marginally successful! Them being the cavalry when Maxime has already been defeated is actually a pretty good punchline to their joke. Lucy's only day on the job ends catastrophically for a customer, Melora (Lorraine Newman) and the salon. Melora chases Lucy down at the grocery store, complete with snippets from The Terminator theme, in a surprisingly thrilling chase. I wasn't exactly amused by Edith and Agnes's blowhard karate teacher, which wasn't helped by me being in the front row, but I was amused when Agnes stood up to him. Poppy is a fine new character, though Lenny is by far the MVP of the new characters.

Despicable Me 4 isn't that interested in catering to its oldest audience members. But you know what? It's a nice diversion from the heat. I wasn't bored with it, even as I noticed how underdeveloped its plotlines were. I was still impressed with its few surprises, particularly The Terminator gag. Maybe you'll be surprised to if you make it your latest summer family matinee. If not, you can at least take comfort in its 95-minute runtime. Minions are fine, but we don't need three hours of them...

There's a three-hour movie in my future, isn't there?

A Quiet Place: Day One

 You know, I promised you three sports anime movies at the beginning of the month. But something happened yesterday on the way to the third, Blue Lock: Episode Nagi. I headed off to the bus for an 11:30 show. On the way there, I discovered that the theatre changed the showtimes without warning. The earliest showtime now, according to the schedule, was 2:00. So, no to waiting nearly three hours for a movie ...

SHUT UP, STUPID! DO YOU WANT US TO GET KILLED---

(ROAR)!

(SLICE)!

And instead, I find myself straight in A Quiet Place: Day One. Here, we go back to the start of the invasion of The Death Angels, those pesky blind aliens that kill everything that makes noise, for another masterful showcase in sound design. What else does it have?

After two films with the Abbotts in Upstate New York, this prequel takes us to NYC itself, where we find Sam (Lupita Nyong'o) and her cat, Frodo. Sam, a published poet, lives in hospice with terminal cancer. A hospice worker, Reuben (Alex Wolff), takes her and a few patients on a field trip to a puppet show. That's when the Death Angels show up and wreck everyone's day. 

As military helicopters guide survivors to the ferries - the Death Angels can't swim - Sam heads for Harlem for a slice at her favorite pizzeria before her cancer or the Death Angels kill her. Along the way, she's joined by Eric (Joseph Quinn), as her reluctant traveling companion. A silent walk in the world's loudest city shouldn't be a problem, right? Right?!

As I previously mentioned, director Michael Sarnoski takes over for John Krasinski, though both of them collaborated on the screen story. Sarnoski's actual screenplay is a simple quest that runs an adequate 99 minutes. It doesn't need to expand on the outside world as much as the previous films. Sam's pizza quest amidst the apocalypse may strike rather odd for some. But you'll understand her once you learn of her sentimental attachment to the place. She and Eric bond nicely throughout the film, using a rainstorm to mask even the slightest conversations and enjoying quiet card games at a jazz club. Frodo is delightfully cuddly, but I'm astounded at how level-headed he is compared to the humans

But even the film's least level-headed humans aren't infuriatingly stupid. In fact, some of them are pitiable, like a panicking guy at the puppet theater who gets accidentally permanently shushed by Henri (Djimon Hounsou's "Man on the Island" from Part II). There's a woman following a scene I'll describe later who's holding back a scream with all her might. You won't blame her if she didn't. Eric is a nervous wreck, which is partially why Sam is reluctant to let him join her. His narrow escape from a flooded subway, where we first see him, certainly doesn't help his nerves. He proves himself when he distracts the Death Angels with car vandalism, and later ventures for Sam's pain medicine. The biggest jerk is a store owner who reprimands Sam for bringing Frodo despite him having a cat. But that's still not enough to warrant death by Death Angel (I think he's dead. His store is later shown destroyed).

 As the opening states, New York has a noise level of 90 decibels, and we get nearly fifteen minutes of its hustle and bustle before the invasion starts. We then get audible highlights such as stampeding Death Angels, an inconvenient power generator, and several jump scares. Its most striking moment is the collective silent noise of several hundred survivors, which adds up to adequate Death Angel bait. That's the scene I alluded to in the last paragraph. That ought to be the scene shown for the inevitable Sound Oscar Bakeoff. The puppet show is scored to stunningly elegant music by composer Alexis Grapsas, whose themes for the Death Angels perfectly sell us on their shear menace.

The Death Angels were already bad news in the first two films. The bad news keeps coming as they swarm all over the city; one swarm drops down to pursue Sam & Eric. When Eric and Frodo wind up at their nest, a construction site, we get glimpses of a bigger Death Angel. Yikes. Still, one of the film's most satisfying moments is seeing one realize too late that it can't swim. The visual effects for the monsters are impressive, as is the production design for post-apocalyptic New York. There was an excessively shaking stationary shot in the second half, but not even that is enough to downgrade Pat Scola's stunning cinematography. Suffice to say, this is a movie as visually impressive as it is audibly impressive.

If anything, A Quiet Place: Day One amplifies the anticipation for next year's Part III. I mean, how will the Abbotts deal with that giant Death Angel, if it or another like it, shows up? I guess we'll have to find out. In the meantime, you can find out how these humans and cat deal with the alien apocalypse. I'm sure you can find it in a theatre near you, unlike Blue Lock. Just don't make a sound.

The First Slam Dunk

 You know, I was looking forward to reviewing The First Slam Dunk when it debuted last July. But it never played near me at all. You'd think that an anime basketball movie would be an easy sell. But no, it only played in less than 600 theatres nationwide. It finally made it to home media yesterday. It's game day.

This is far from the first movie based on the definitive basketball manga. It is, however, the directorial debut of series creator Takehiko Inoue, who picks up where Toei's 1990s anime left off. Like Haikyu, the film revolves around the manga's volume spanning climactic game. There's the central team, Shohoku High, and their opponents, Sannoh High. Unlike Haikyu, you don't need to go in knowing the story thus far. It brings us up to speed with pivotal flashbacks for the Shohoku guys.

Ryota Miyagi (dubbed in English by Paul Castro Jr.), Shohoku's point guard, is also the film's main focus. It opens with him losing his father, and later, his basketball ace brother Sota, in quick succession. The double-loss strains Ryota's relationship with his mother, particularly in a tough scene where she catches him looking through Sota's mementos. He takes to the basketball court, even as scouts tell him he can never replace Sota. With him, we're all pumped to see the guys prove themselves on the court, but him especially. 

Let's see who else is on the team. There's Hisashi Mitsui (Jonah Scott), an ex-thug who got into a brutal altercation with Ryota early in the manga. His redemption arc is compelling, particularly when he visits Ryota in the hospital after a motorcycle crash. The team's big guy, Takenori Akagi (Aaron Goodson), deals with lingering self-doubt, embodied at one point by an annoying devil (long story). Kaede Rukawa (Aleks Le), the team's bad boy, takes the game pretty personally. Ayako (Kelsey Jaffar), the team's manager, bonds nicely with Ryota during nighttime practice. You'll get to know these characters rather well even if you haven't lived with Slam Dunk your whole life. 

The team's biggest personality belongs to the franchise's regular protagonist, Hanamichi Sakuragi (Ben Balmaceda). He frequently proclaims himself a genius, and he lives up to that on the court. Even his accidentally deflecting the ball with his face is impressive. He may annoy his teammates, and he doesn't always respect his Coach Anzai's (Mike Pollock) fatherly advice, but you can tell there's mutual respect between them all. He doesn't even let a crippling injury stop him, even as everyone else wants him to hit the bench. He might not be the film's central focus, but you'll never forget Hanamichi Sakuragi once he gets onto the court.

You also won't forget the basketball action. The cel-shaded motion capture for the players is a bit too fluid at times, but you'll still be on edge as Shohoku and Sannoh face off. I never really watch basketball, but I was glued to the screen when time slowed down during the game's last nine seconds. I'm certain you will be too. Inoue's editor Ryuichi Takita sustains the excitement rather well down to the last decisecond. Surprisingly, the cel-shaded motion capture blends rather well with the 2D animation used off the court. I didn't notice the different styles until I took a second look. The art directors stated they wanted to make it look like a moving manga, and I think they succeeded in replicating Inoue's style.

My only real gripe is that the Sannoh guys didn't have much personality. I still liked their coach's gracious pep talk at the end. All in all, The First Slam Dunk is a stellar anime sports film, and I'm pretty pleased it finally became available to watch. I had to update my Fandango at Home/Vudu account to watch it, and it was worth it. This is a film that welcomes, not confounds, potential new fans with its compelling drama on both sides of the court. I think you'll be impressed too once you press play. Game on.

The Bikeriders

Elio doesn't come out until this time next year, so how about we look at another film the recent Hollywood Strikes messed up? The Bikeriders, Jeff Nichols's ode to outlaw motorcycle culture, actually swapped studios during the Hollywood Strikes, going from 20th Century Studios to Focus Features. Let's finally see how it is.

The film is named after a photobook by Danny Lyon, which chronicled a few years in the lives of the Outlaws MC motorcycle club, who are represented as The Vandals. Lyon, played here by Mike Faist, spends the movie interviewing Kathy Bauer (Jodie Comer), the wife of Vandal Benny (Austin Butler). She narrates how she met Benny at a bar and married him five weeks later. She's introduced to his Vandal buddies, particularly their leader Johnny (Tom Hardy), who seem like a cool bunch. But Kathy soon realizes the Vandal lifestyle isn't for her and she wants to take Benny out of it. It gets worse when a few new members turn the Vandals truly Outlaw.

Much like Lyon, whose photos populate the end credits, Nichols spends much of the film chronicling The Vandals' lives. The Vandals' ranks also include Johnny's right-hand Brucie (Damon Herriman), the goofy duo Corky & Wahoo (Karl Glusman & Beau Knapp), the quiet Zipco (Michael Shannon), the aptly named Funny Sunny (Norman Reedus), and the bug-eating Cockroach (Emory Cohen). They pal around at bars, picnics & parties. They mourn the surprisingly sudden death of one of their own. They even give the law some trouble. We see how Johnny founded The Vandals, initially a racing club, after he caught The Wild One on TV. It all makes for an interesting chronicle of these outlaws' daily lives. 

Johnny is a cool guy devoted to his fellow bikers and outsiders alike. He's quite welcoming to Kathy, whom he even saves from some brutish Vandals, while he's affable to rivals for his leadership. He also has a truly scary temper. When Benny gets into a near-fatal bar fight, which opens the film, he gets the bartender to give him the assailants' names AND burns down the bar. He also doesn't take Cockroach's plans to leave The Vandals rather well. He's still sympathetic enough that you'll cry foul when the ending kicks in. A major supporting character is an unnamed "kid" (Toby Wallace), a scrappy wannabe biker who's introduced defending his mother from his abusive father. That's really the only nice thing he does. And yes, he factors in the ending.

Now for the other leads. Jody Comer's Midwestern accent as Kathy is a little much, but you start minding it less as the film goes on. Her emotional range is very believable; you'll feel her sadness when she tells Lyon "I thought I could change (Benny), ya know?" She has great chemistry with Butler, though they have little screentime together in the framing device. Butler as Benny is very much a typical brooding bad boy. He perfectly shows off his stubborn tenacity during the bar fight and a high-speed police chase. He rarely gets emotional, but you'll feel it when he finally breaks down. Faist, meanwhile, barely does much as Lyon other than interview Kathy. His time with The Vandals is dramatized in about one scene.

There's a good technical crew riding with Nichols and The Vandals. Let's begin with the fatal accident involving a Vandal. We see him riding around until a Cadillac suddenly pulls back. It cuts to the Vandals discussing the accident, and then, we see the fatal impact, a great touch by editor Julie Monroe. The sound team add a few more devastating aural punches the few times guns get involved. Cinematographer Adam Stone presents us an impressive travelogue of small-town America, especially when we see legions of bikers ride down its highways. The soundtrack, whether David Wingo's score or the oldies, is a good one.

If your only frame of reference on outlaw motorcycle culture is Easy Rider, which gets mentioned here, then The Bikeriders might help broaden your horizons. I think it's worth watching just for the great ensemble and technical work. It's a bit slow, and there are a few plot points I wished were elaborated on-screen. But overall, it's a good weekend ride. Prepare to be blown away if you catch the trailer for Nosferatu, though. You'll bet I'll cover it for Christmas. 

Inside Out 2

Who wants to go on another mind trip? I've seen the box-office results, so I know a lot of you have said yes. Those who haven't yet are in for a good time with Pixar's personified emotions. Let's get into Inside Out 2 and you might see what I mean.

Riley Andersen (Kensington Tallman, tagging in for Kaitlyn Dias) and her personified emotions - Joy, Sadness, Anger (Amy Poehler, Phyllis Smith & Lewis Black), Fear and Disgust (Tony Hale & Liza Lapira, tagging in for Bill Hader and Mindy Kaling, respectively) - are celebrating her thirteenth birthday. The emotions keep Riley's sense of self, represented by a crystal ball, while they throw away bad memories in the darkest depths of her mind. Riley and her besties, Bree and Grace (Sumayyah Nuriddin-Green & Grace Lu), head off to summer hockey camp to qualify for the big shot varsity team, the Firehawks. Easy, right? Of course not.

Riley's "puberty alarm" goes off the night before camp, and the emotions soon discover that their slightest influences cause her to overreact. They find themselves sharing their headquarters with four new emotions: Anxiety (Maya Hawke), Envy (Ayo Edeberi), Ennui (Adèle Exarchopoulos) and Embarrassment (Paul Walter Hauser). Anxiety takes over the Riley operation after Riley discovers that her besties are moving away. Anxiety and the others create a new "cautious" sense of self for Riley, discards the old one, and literally bottles up their predecessors. Their improvements overwhelm Riley, so it's up to the regular emotions to take back control before it's too late.

This marks the feature debut of director Kelsey Mann, a story supervisor since Monsters University, who also co-wrote the film with Meg LeFauve and Dave Holstein. Their journey into Riley's mind is just as memorable as the first film's journey. Their new mental gags, which include a "brainstorm" of raining lightbulbs and a "sar-chasm," are visually and verbally clever.  A few new mental characters, the brooding bad boy parody Lance Slashblade (Yong Yea), and the over saccharine cartoon duo of Bloofy and Pouchy (Ron Funches and James Austin Johnson) are quite amusing. That's all well and good for the mental world, but what about the real world?

Riley gets a strong storyline as she deals with her fluctuating emotions. It's quite moving when we see her memory of meeting Grace and Bree, and that friendship remains compelling even as it gets tested. She gravitates towards Firehawk captain Val Ortiz (Lilimar) and tries her best to look cool with her. Val is already pretty friendly, so it stings knowing how much of her (and Anxiety's) effort is unnecessary. It's quite the betrayal when Riley disses her and her besties' favorite band in front of them. While Riley's mood swings can get amusing, nobody's laughing when Anxiety's influence causes her to have a prolonged panic attack. The inevitable reconciliation is just as moving as that flashback. You'll just have to see what I mean.

Anxiety maybe the ostensible villain, but even she's sympathetic as she starts fretting over the future. Still, a few of her bad thoughts are morbidly hilarious, as is the film's representation of her bad idea center. Riley's panic attack is caused by Anxiety working the controls so fast she causes a cyclone. That scene is as impressive as it is scary. You'll also be moved when Joy gets Anxiety out of her own panic attack. Anxiety's Muppet-like visage is the cuddliest of the already appealing character designs and rendering for the new emotions. 

What else about the other emotions? Joy is still the same embodiment of happiness - even under pressure - that she was in the first film. Sadness's odd friendship with Embarrassment is a rather nice one. Envy's childlike personality is a unique characterization for her emotion (she's not even the least bit mean). Anger's temper maybe funny, but you'll be amazed by his bits of compassion. Fear, Disgust and Ennui are just there, though Ennui's droll line deliveries are fun to listen to. Did I mention there's a fifth new emotion? That would be Nostalgia (June Squibb), whose brief cameos are oddly amusing comic relief. 

Let's not forget the score, whether it's Michael Giacchino's returning themes, or the new material by Andrea Datzman, to guide us through the good and bad times. There's plenty of each I've had to leave out of this review. Just watch Inside Out 2 as soon as you can, and you'll get the rest. You won't be disappointed by what Pixar has conjured up this time. I'm disappointed, however, that their next film, Elio, has been stranded in space for another year, but that's for that review. Onwards to the next one.

Ultraman: Rising

Welcome back, Ultraman.

How does Japan's biggest superhero follow up his biggest cinematic makeover ever? How about a Netflix movie? Ultraman: Rising is neither his first animated-film, his first American-produced film, or even his first Netflix adventure. It is, however, a good film for next Father's Day. Don't ask me why I'm two days late for this year. Let's just go.

Kenji Sato (Christopher Sean) has the biggest ego in all of baseball. He is also Ultraman, the reluctant successor to his father, Professor Hayao (Gedde Watanabe). Kenji returns to Japan, not just to play for the Yomiuri Giants, but to fight Kaiju as an actual giant. His showboating gets him into trouble with civilians and the Kaiju Defense Force headed by Dr. Onda (Keone Young). One night, Kenji's game is disrupted by Gigantron, the dragon Kaiju that sidelined his father. He knocks it out cold and retrieves a package the KDF were carrying.

That package is Gigantron's egg, which hatches into a giant chick. Emi, as she is eventually called, imprints on Ultraman. Kenji and his AI, Mina (Tamlyn Tomita), now have to raise a baby several times bigger than them. Hilarity ensues. But after Kenji starts striking out, he reaches out to his father, as well as sportswriter and single mom Ami Wakita (Julia Harriman), for some help. He's going to need a lot of help when the KDF close in.

Maybe I should get some gripes out of the way. Actually, they can all be traced to imperfect worldbuilding. How did Hayao, and then Kenji, get their Ultraman powers? The film doesn't bother answering that question. A major subplot involves the disappearance of Kenji's mom, Emiko (also Tomita). The film doesn't explain how she vanished, but the mid-credits sequel bait hints at an answer. Hayao later calls Gigantron "the most magnificent creature on Earth," when the most we see of them together is their one fight. I'd like to have known a bit more about that aspect of his Ultra career. These gripes, at most, knock half-a-star from this overall impressive film.

Early on, Kenji's coach tells him "It takes more than attitude to become a Giant." It's hilariously ironic given his secret identity, and thus, the film's most memorable line. It also defines Kenji as we soon see, beneath his towering ego, an insecure guy beneath it. That insecurity makes it a bit understandable when he ditches his first fight without subduing the Kaiju first. He quickly improves once he becomes Emi's new dad, and the film gets plenty of laughs and sweetness as he cares for his big baby. His relationships with his father, Mina and Ami also help improve his audience appeal. You'll certainly feel something when Ultraman and Ultradad team-up to use their signature Spacium Beam against Dr. Onda's giant robot.

Kenji is also given a great villain in Dr. Onda. Onda is quite sympathetic given he lost his family in a Kaiju attack. He's a well-intentioned extremist, emphasis on extreme, but he does have some decency. When his plans go awry in the climax, he has his subordinates abandon ship, leaving himself to face the consequences alone. But a nasty surprise for Ultraman certainly tests that audience appeal. Still, that moral complexity makes him one of the most memorable animated villains in years.

It's no surprise that the animation is spectacular, given that it was done by no-less than Industrial Light and Magic. We get a great rendition of futuristic Tokyo - as vibrant as the present city but with forcefields for Kaiju attacks - and stunning starlit skies when Ultraman bonds with Emi. Emi is the cuddliest "little" Kaiju you'll ever see, while Ultraman's new design is certainly interesting. The visual effects emphasizing major blows and Kenji's rising emotions are as impressive as Ultraman's various powers. On an aural level, the sound effects pop as bullets fly, monsters roar and laser beams fire. Scot Stafford's score gives us a great heroic theme for the opening, while Gigantron's theme perfectly sells us on its perceived menace. Overall, its technical prowess is beyond Ultra.

I sure hope that it gets the sequel it wants. Ultraman: Rising isn't a perfect starting point for the Ultra series - Shin Ultraman does that better - but it has an appealing central story. You don't need to have kids to be moved by its unconventional family tale. If that doesn't appeal to you, then its heroic battle scenes might do it for you. It's ready for you to shuwatch on Netflix right now in either English or Japanese. Either option is just Ultra for this film. Next time, another animated film.

Bad Boys: Ride or Die

Yes, it's true. 

I never saw any of the Bad Boys movies, which means I stepped into the fourth installment, Bad Boys: Ride or Die, completely blind. Fortunately, I wasn't completely lost as I followed Miami's finest, Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence), for nearly two hours. At least it's not drowning in a sea of continuity (unlike some other sequels).

The film opens as the titular Bad Boys race to Mike's wedding to Christine (Melanie Liburd), his off-screen therapist during Bad Boys for Life (more on that later). Marcus has a heart attack on the dance floor, and in his near-death state, he gets a pep talk from the late Captain Howard (Joe Pantoliano). He wakes up fully convinced of his immortality, even as his family and Mike try to get him on a diet. And then, the bad guys show up.

An evil Cartel enforcer, James McGrath (Eric Dane), frames Capt. Howard for corruption. Howard saw the posthumous slander coming, so he left Mike and Marcus a video message warning them about the real crooked cops. The Bad Boys immediately get on the case, which requires them to team-up with Mike's illegitimate son Armando (Jacob Scipio), who also happens to be the Cartel enforcer who personally gunned down Howard in the last movie. Unfortunately, McGrath sabotages their prison helicopter, frames them for the act, and even puts a bounty on them for Miami's gangs to fight over. Mike and Marcus have to rely on a few good cops to get out of this one.

Whether you've followed Mike and Marcus from the beginning, or are starting fresh here, you'll get a good time here. It's only natural that the titular Bad Boys are the biggest reasons why. Mike maybe annoyed with Marcus's sweet tooth, especially when it nearly gets him late to his wedding, but he's still crushed when Marcus has his heart attack. Mike saves Marcus from his overconfidence a few more times, particularly with an alligator in the finale. Mike gets the dramatic arc with his PTSD over Capt. Howard's death, while Marcus gets the funny stuff and a few motivational bits. You don't need to know much about their past adventures to understand their chemistry here.

Now, for the villains. In his backstory, McGrath was a DEA agent who broke under Cartel torture. Any chance for sympathy is thrown out the window in his first scene, in which he forces a guy to wire money into Howard's bank account and kills him & his mistress anyway. Who's that guy? Who cares, but that was low. He's a flat villain, but it's his sheer loathsomeness that makes him a memorable villain. It's even more memorable when Mike finally takes him down in the climax. His collaborator, a corrupt Mayoral candidate named Lockwood (Ioan Gruffudd), is a bit pathetic, but he's no less dangerous, as current Captain Rita (Paola Nunez) finds out (fortunately, she lives).

Now, for a few others. I know I haven't seen Bad Boys for Life, but as I researched its plot, I wonder why Christine wasn't introduced then. This is literally the first time anyone has seen her. She's fine here, but her "remember the new guy" introduction is a bit odd. Marcus's family includes several established characters, one of whom, Marcus's wife Theresa, is actually a recast (going from Theresa Randle to Tasha Smith). Dennis Greene, returning as Marcus's son-in-law Reggie, gets his moment to shine when he takes down some of McGrath's goons. Armando is a compelling reformed villain and is quite funny when he plays straight man to Mike and Marcus. Rhea Seehorn and Quinn Hemphill are fine as Howard's U.S. Marshal daughter Judy, and her daughter Callie, respectively. I can go on, but I can't.

I'll instead go on about the technicals. There's some stunning cinematography of nighttime Miami by Robrecht Heyvaert, who also impresses with a perspective-flipping shot during the final battle. The production design by Jon Billington is also exquisite as it takes Mike and Marcus to plenty of impressive locales from a few neon nightclubs to a rundown alligator amusement park. There's some strong visual effects work here, whether it's the helicopter crash or especially Marcus in limbo. The effects team should be proud of what they did with the latter. The action & comedy are perfectly edited by Asaf Eisenberg & Dan Lebental, while Lorne Balfe's score and the sound design are impressive. If this was the panache directors Adil El Arbi and Bilall Fallah (together, Adil & Bilall) brought to the Batgirl movie, then it makes that film's cancellation even dumber.

But let's talk about films we can see. Bad Boys: Ride or Die has likeable heroes, a hateable villain, and plenty of stellar action scenes. In other words, it's a basic summer blockbuster, and that's not a bad thing. What's especially great is how inviting it is to newcomers and established fans alike. I wouldn't mind seeing a fifth film if they choose to make one. But for now, let's set our sights on this summer's crop. That's it for now.

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.