Jethro the Cat Part 2

The Poem was too long to fit in one post
So here's part two to keep you engrossed:

I slightly revised a line of my ten year old poem. To correct a continuity error. I accidentally mentioned a "Beavis" and "Cletus" after I changed them to "Buck" and "Baxter." It's corrected now.

This was the group that came to meet the Gamemaster.

There was Jethro and Vance, and a dog known as Baxter.

A swine known as Bo, and Daisy Mae and then there was Buck,

Which, by the way, was the name of a duck.

“You want to go there?” the Gamemaster did ask.

“Just follow my scenario; it’ll put you to task.”

Before he could say anymore, Jethro let out a big roar.

“Come on, fella,” he shouted, “don’t be a big bore.”

“I want to go there; I want to see it this second.”

“So, Mr. Gamemaster, some action I do reckon.”

To the above, the Gamemaster just said one thing:

“OK, you cat, if you wish; this is where you zing!”

And with these words, he sent them on their way.

They traveled dimensions and arrived in a day.

For Jethro, who’d never left home, there was amazing.

He felt home right away, his excitement took wing.

The Gamemaster himself, or at least a projection,

Visited the group for a routine inspection.

He decided to tell them the scenario he made,

For the group of those he managed to persuade.

“Your mission, my friends,” the Gamemaster began,

“Is to travel my world and find this man of evil.”

“His name is the Evil Sire, the master of upheaval.”

“He has minions on the prowl, who have one ambition.”

“To enforce the evil order, and slay the opposition.”

“But I‘m sure you‘ll win and beat them to submission.”

These were the last words before he ended transmission.

After the routine inspection, the group went exploring.

And saw sights that weren’t even boring.

Like the land made of sweets with chocolate not water,

The land of riches where no one needed a slaughter.

A green pasture was there that could never be polluted,

Which was so full of life that could never be uprooted.

It was in the green pasture did the group first see

A band of creatures that was exactly seven and three.

Three of them were trash piles that sprouted big limbs

And the rest were those that they called “Grimms.”

They were the monsters that went bump at night

Who were there before them all for a fight.

So, the group set forth for battle due to obligation,

But with a view of the rule book, they found a regulation.

Only four for a fight, no more and more less,

It seemed so unfair, Daisy Mae did confess.

But it wasn’t long before a group formation did advance.

They were Baxter and Bo, with Daisy Mae and Vance

It didn’t take long before the four animals did win,

And sent the lackeys to elsewhere, such as oblivion.

Going through the world, the animals were victorious.

With each battle won, their status was glorious.

But one grew impatient, for he’d been kept from the fight.

It was Jethro himself; to protest, he’d feel right.

“I don’t enjoy it here where the Gamemaster resides.”

“If this is how it is, then I’m not going in stride.”

Right in his lair, where volcanoes and smog laid about,

The Evil Sire was plotting; his evil knew no drought.

“I must maintain my world, the one of evil and fear,”

“These six that I see, their intentions so clear,”

“I must keep them from my lair, so dark and so scary.”

“So I’ll call for the ones who are never contrary.”

The ones that he summoned were his enforcers of order.

They viewed fairness and peace as simply disorder.

Their names were so feared that none dared speak them.

And that’s why they won’t be mentioned in this poem.

The Original Jethro the Cat

I mentioned once that Jethro the Cat was a character in a poem I wrote. If you're wondering when, it was in my infobox up until I lost my dog, Sandy.

No delays. No hesitation. After ten years, I give you The Story of Jethro the Cat. It's a mix of Dungeons and Dragons, Looney Tunes and The Dukes of Hazzard. It may not be a good mix, but, that's what I intended when I wrote it:

I edited the poem slightly as I posted it - I realized I forgot I renamed a few characters during the writing process. I also rewrote a few sentences just now for better flow. And formatting. But here's the poem I wrote, pretty much, nearly ten years ago. From here on in, what's in bold is the poem. Everything else is commentary.

4/5/19: I've decided to restore the poem to its original form. After I rewrote it a bit. I will explain why in a Part 6. And link to where I will post my revisions.

The Story of Jethro the Cat

This is the story of Jethro the Cat.

But I bet you knew that.

Jethro the Cat lived on his own.

Somewhere outside a large metro zone.

He did what he liked and liked what he did.

Even if it was what his neighbors did forbid.

If they told him to bathe, he did so in mud.

If he was told to dress nice, it was a dud.

Invite him to dinner, and he just couldn’t wait.

It was his behavior that drove his neighbors irate.

“He’s not a good cat,” said the Sheep Daisy Mae.

“He treats the rules with such bad disarray. “

“We need to teach him,” said her sister Jenny

“His rule breaking will get him four ‘n’ twenty.”

But then, one day, a stranger came strolling to town.

He was tall and lean and his coat was rusty brown.

His name was the Gamemaster, not Bob, John or Fred,

He assembled the townsfolk and this is what he said…

“I’m from another world; it’s one that I call there.”

“But I can send you to see it; that is, if you dare.”

“You must assemble a group, make it no more than six.”

“And I’ll send you all travelling; how’s that for a fix?”

“You‘ll travel my world, and see things big and small.”

“But beware of those ones who don’t like you at all.”

“If you meet one of those ones, you can fight back.”

“With your abilities, you’ll give them the sack.”

“My world is safe and fun, but don’t act like fools.”

“For I, the Gamemaster, make all the rules.”

After the meeting at noon, it later transpired,

A sneaky ambition the Gamemaster got inspired.

“A world full of order and a world full of rules,”

“There is the place that’ll placate all fools.”

These were the words of the bovine known as Vance,

A schemer and brute who liked Jethro out of his glance.

He and the neighbors travelled to Jethro’s location,

And gave him the idea to go “there” for vacation.

He accepted the idea; he gave it no thought,

Which meant that persuading him was a battle unfought.

Dumbo

Tim Burton ends the decade the same way he began it: with a live-action Disney remake. This time, he reinvents that flying elephant Dumbo with screenwriter Ehren Kruger. Let's see how high this elephant flies this time.

Dumbo the elephant is born to Mrs. Jumbo in 1919. Mrs. Jumbo was recently acquired by Max Medici (Danny DeVito) for his circus. But he sees no value in a baby elephant with huge ears. He sees less value in Mrs. Jumbo when she runs amok during a performance. Mama and baby are separated.

Siblings Milly (Nico Parker) and Joe (Finley Hobbins) find out Dumbo can fly when he sucks a feather in his trunk. Dumbo becomes a sensation. That's when millionaire V.A. Vandevere (Michael Keaton) comes calling. The Circus joins Vandevere's amusement park, Dreamland, where Dumbo is the star. But when Milly and Joe find Mrs. Jumbo there, Vandevere decides to get rid of her. So they and their father, horse-trainer Holt (Colin Farrell), and acrobat Collette (Eva Green), decide to free both elephants.

Let's examine the story. The barest bones of the original film are done in the first act. Of course, the most dated aspects are gone. But its most emotional key-points are still there. The new human characters, except for Max Medici, weren't as compelling as Dumbo. They weren't terrible either, save for a cruel circus hand who deservedly bit it in Mrs. Jumbo's rampage. The final realization concerning the "magic feather" is rushed. Mr. Vandevere's evil plot is as short-sighted as it's mean.

And the star of the show: the technicals. Dumbo and Mrs. Jumbo are realistically-textured CGI pachyderms. Dumbo's clown makeup early on is one of the film's saddest sights. It's another story when they start moving. They are obviously CGI most of the time they move around. It's distracting. The digital and practical sets from production designer Rick Heinrichs were better realized. Those infamous Pink Elephants on Parade, here, an act at Dreamland, was perfectly odd. Colleen Atwood's costume designs were splendorous as usual. Danny Elfman's score includes memorable renditions of the original film's soundtrack. I could go on, but I won't.

Dumbo's biggest problem is that it values style over substance. There's a few plot elements, like Milly's key, that other films did better. While there is some emotional substance, it won't stick with you as much as the scenery. I'll applaud the film for being slow-and-steady and not slow-and-frustrating. It's 112 minutes are good for an afternoon matinee.

I know this month's been slow. But I promise more, much more, next month....

Captain Marvel

We're a month away before the Avengers play their Endgame. We now have one last hero to join Earth's Mightiest Heroes for their final battle. Her name is Captain Marvel, formerly Ms. Marvel and is currently a box-office Marvel. It's easy to see why with her first cinematic adventure.

Vers (Brie Larson) is a soldier for the Kree Empire, whose arch-enemies are green shapeshifters called Skrulls. She has massive energy powers that her commander, Yon-Rogg (Jude Law), helps her control. She also has recurring nightmares of an older woman (Annette Bening) she's never met. That's what she thinks.

Anyway, Vers is nabbed by the Skrulls when a mission goes awry. She escapes and crashes in 1995 Los Angeles. She's met by Nick Fury (Samuel L. Jackson) and Phil Coulson (Clark Gregg), agents of SHIELD. The Skrulls come to Earth looking for a Dr. Lawson. Vers thinks Dr. Lawson is the key to her past. She also finds out the Skrulls' motivations are more than meets the eye.

Directors and Writers Anna Boden and Ryan Fleck (Half-Nelson, It's Kind Of A Funny Story) collaborated with Geneva Robertson-Dworet on the screenplay. The setup of the Kree-Skrull War and its players is intriguing. The revelation of both sides' true colors is a strong twist. Vers' time on Earth makes for a funny and meaningful fish-out-of-water story. But the strongest story element is the film's best supporting player; a cat named Goose (played by four cats), who also turns out to be more than meets the eye.

Larson is great as Vers, later revealed as Carol Danvers. A few reviews have questioned her arc about controlling her emotions as Larson's performance is quite subdued. But I get it. Her fierce body language comes through perfectly. She's a determined, snarky soldier. Her chemistry with Fury and her fellow pilot Maria Rambeau (Lashana Lynch) is endearing. The climactic moment where she lets loose with her abilities is awe-inspiring.

What about the rest of the supporting cast? Jude Law as Yon-Rogg is a good mentor turned great adversary. The Kree Starforce unit is a nice bunch, which makes it a shame they aren't really nice. Bening makes an impression as Carol's mentor and the AI Kree Supreme-Intelligence which takes her form. Ben Mendelsohn stands out as the Skrull leader Talos. Akira Akbar is good as Maria's daughter, Monica. All in all, another fine bunch of Marvelous actors.

And here's another fine bunch of technical Marvels. The visual effects department has two crowning achievements. I've already mentioned a fully-powered Carol, but there's also Fury and Coulson. They've been digitally de-aged 20+ years and it's flawless. Nothing. Is. Amiss. The costume designs by Sanja Milkovic Hays includes a fantastic alien wardrobe for Krees and Skrulls alike. Ben Davis's cinematography and Alex McDowell's production design best come together in the Supreme Intelligence's eerie dimension.The Alien characters had great makeup work behind them. The soundtrack, whether the old standards or Pinar Toprak's score, is another good listen.

Captain Marvel's debut was well-worth it. It's an exciting space-adventure which never lags in its 125 minutes. Carol's mid-credit scene sees her join the Avengers in time for Avengers: Endgame. And we're even more ready to see how that'll play out. If you want to see a movie starring another Captain Marvel, look forward to next month's Shazam!

The End Credits scene gives us one more scene with Goose the Cat. And it's funny and creepy.

How to Train your Dragon: The Hidden World

Vikings and Dragons are back together in Dreamworks' animated spectacle, How to Train Your Dragon: The Hidden World. This is Dreamworks' first animated film distributed by Universal. It's a great way to start their partnership. May it last longer than the last....

In the last film, young viking Hiccup succeeded his father, Stoick the Vast, as Chieftain of the island of Berk. In this film, he and his Night Fury dragon, Toothless, lead their community of humans and dragons. There's a lot of humans and even more dragons and even less space. That's a problem. So Hiccup sets out to find the "Hidden World," a mythical dragon community, and maybe relocate his people and dragons there. 

Hiccup has a few more issues. His fellow vikings want him to tie the knot with his best friend, Astrid (America Ferrera). Toothless falls for a female White Fury dragon. Hiccup plays wingman for his dragon. But the White Fury won't let him near them. An evil dragon hunter Grimmel the Grisly (F. Murray Abraham) wants to slay Toothless. Perhaps it's best the dragons go to the Hidden World without their humans.

Writer and Director Dean DeBlois returns to finish the story he helped start with Chris Sanders in 2010. It's a fine story. A major part of the film involves Hiccup and Berk relocating to a new island. They essentially decide home is where you make it. It's almost like Thor Ragnarok's ending. But it's good. Toothless and the White Fury's (they never give her an actual name?!) scenes are delightful. Grimmel's goal is to satisfy his own ego; it works because he's that deranged. 

Amongst the cast, highlights include the returning duo of Tuffnut (Justin Rupple) and Ruffnut (Kristin Wiig). They're so annoying they're actually funny. Rupple gets points for his flawless impersonation of Tuffnut's original actor, TJ Miller, who had to be replaced due to certain circumstances. You can hardly tell if some of Miller's work remains. Cate Blanchett's Valka is another welcome return. Though I don't know what to make of the viking Fishlegs's (Christopher Mintz-Plasse) attraction to her.

It's another technical wonder like its predecessors. The new and old dragons are visually appealing. The White Fury's glittery skin is especially striking. The opening sequence, where Hiccup and his fellow dragon-riders, liberate caged dragons from captivity, is a great action scene. The final battle with Grimmel and his forces is just as amazing. It helps that now Oscar winner Roger Deakins helped with the film's look. The animated environments are just as appealing as the character designs. The Hidden World is a sight to behold. And John Powell has another score ready for the magnificence.

How to Train Your Dragon: The Hidden World promises that it's the end. That may dissatisfy anyone hoping for more adventures. But we have Toy Story 4 in June, so maybe.... But the final scene with Hiccup and Toothless is certifiably emotional. It may hit you more if you've followed the franchise since its beginning. It's still an exciting animated fantasy adventure. Let's see how it fares in next year's Oscars.

Alita: Battle Angel

Do we need four Avatar sequels? Two is fine. But four? They better be good. We'll see how good Avatar 2 is when it debuts in December, next year.

In the meantime, we have another James Cameron feature to behold. His long in development, long-delayed and long-anticipated adaptation of Yukito Kishiro's manga Battle Angel Alita (aka Gunm). Producer Cameron left the director's chair to Robert Rodriguez for the end result, Alita: Battle Angel. Let's move on before we question the title switch-around.

In the way distant future, the wealthy live above the masses in floating cities. Or, they did. There was a war called The Fall that sent all but one floating city to Earth. That city is Zalem, which floats above the trash-heap Iron City. There, scientist Dyson Ido (Christoph Waltz) finds a trashed cyborg in the junkyard. He rebuilds the cyborg into our heroine, Alita (Rosa Salazar).

Alita can't remember her past at first. But she's curious and is a skilled combatant in the vicious art of Panzer-Kurst. Her first human friend, Hugo (Keean Johnson), introduces her to the suitably violent sport of Rollerball Motorball. Dr. Ido doesn't want her to partake in the brutality. But she does, and she even signs up to be a Hunter-Warrior (a bounty hunter). Mr. Vector (Mahershala Ali), the commissioner of Motorball, wants to take her out. She'll just have to stop him.

Cameron and Laeta Kalogridis's screenplay skims through the manga in 122 minutes. We jump through many plot points in the first half-hour alone. A few characters, namely some other Hunter-Warriors, get lost in the narrative shuffle. The visuals have more impact than Alita and Hugo's doomed friendship. It all builds up to an abrupt ending. You'll know it when you see it. Strangely, much of the basic plot is comprehensible. But it's so hard to distill it in a few easy paragraphs.

The film's visuals are worth the $200 million budget. The production design by Caylah Eddleblute and Steve Joyner visualizes a fascinating future world. Iron City is a crowded, yet visually pleasing crowded metropolis. Much of it was filmed on actual sets. Props like Dr. Ido's rocket hammer are a delightful collection. The robots are an eclectic bunch of perfectly rendered CGI. The CGI for the cyborgs is flawless. Mostly. 

And then, there's Alita. The film visualizes her with convincing motion-capture effects. Her large anime eyes threaten to push her into the uncanny valley. But they'll become easy on the eyes (ha!) after a while. As a character, Alita's personality transcends the script's problems. She pulls no punches against cyborg villains like Vector's top man, Grewishka (Jackie Earle Haley). She's also naive and caring. It's easy for her to get the audience's support.

The film's unfocused narrative is its biggest problem. There are some aspects, like Dr. Ido's tragic backstory, that are captivating, but needed more development. Still, Alita: Battle Angel is a capable action film. It left me curious for a potential sequel. Whether or not it'll get one is a another story. But you still have a unique looking film.

Let's just see about Avatar 2.

The Lego Movie 2: The Second Part

So I won't see Beale Street before the Oscars. How disappointing. So let's move on to this year's slate of films.

The Lego Movie 2: The Second Part is a silly sequel to the silly The Lego Movie. It's a fun romp through Legoland even if it's not as good as the first film.

The Lego Movie ended with our hero, Emmet Brickowski (Chris Pratt) and his friends, confronted by "evil" Duplo Aliens. The Duplo Aliens wreck our heroes' city, Bricksburg. Repeatedly. Eventually, the citizens keep the city destroyed and rename it "Apocalypsburg." A cool, grungy, post-apocalyptic town too cool and serious for kids' movies.

Except for Emmet. He's still bright and cheery.

The Duplo General Sweet Mayhem (Stephanie Beatriz) shows up. She nabs Emmet's friends, including Lucy/Wildstyle (Elizabeth Banks) and Batman (Will Arnett), and takes them to her leader, Queen Watevra Wa-Nabi (Tiffany Hadish). Emmet turns his house into a spaceship and goes after them. He runs into an asteroid field and gets saved by tough guy Rex Dangervest (also Pratt).

The Queen wants to marry Batman. Batman eventually accepts. But is the Queen planning something evil? Is their more than what Rex is telling Emmet? And what is this "Our-Mom-ageddon?" Emmet's plan to stop the Queen isn't as simple as he thinks.

All of this is presented as representations of live-action siblings Finn and Bianca playing with Lego. And fighting and reconciling.

Director Mike Mitchell takes over for Phil Lord and Chris Miller. The screenplay/story Lord and Miller conjured with Matthew Fogel is a good one. The Lego brand silliness is present and accounted for in Apocalypsburg and Beyond. Rex Dangervest's backstory is absurdity with a straight face. But it knows when to be serious (sort of). It proves it with Everything's Not Awesome, a downer, then triumphant reprise, of the first film's Oscar-nominated Everything is Awesome.

Did I mention this is a musical? It is. Jonathan Lajoie wrote much of the songs, while Devo's Mark Mothersbaugh composed the score. It's serviceable music. Despite the film's Catchy Song insistence that "This song will get stuck inside of your head."

Its biggest flaw is its repetition. In particular, Finn and Bianca's relationship is basically, un-ironically, Finn and his dad's (Will Farrell) relationship in the first film. Nobody brings that to the film's attention. At least the film admits that the Duplo aliens are only "evil" because of poor communication.

The Lego brand visual style is alive and well. Apocalypsburg perfectly replicates Mad Max Fury Road's visual style in Lego form. The other planets in the Lego universe are cool, too. The Duplo temple even looks like a giant wedding cake! The character designs are still great. The best one has to be Queen Watevra; her morphing effect was stellar. And as usual, look for Lego cameos.

The Lego Movie 2: The Second Part makes for a good 107 minutes. It's not as exciting and new as the first film, but that's OK. There's a bit of visual and story creativity that makes it worth it. There's also a few funny gags. It's a good start to this year's slate of animated films. We'll see more of it when How to Train your Dragon: The Hidden World, debuts next week. But until then, this Lego Movie makes for a good family matinee.

Stan & Ollie

Here's another fine mess I've gotten into.

So my writings have slowed down to a crawl. I think it's a crawl. A huge factor is that my local theaters have yet to show If Beale Street Could Talk. I don't know if they will before the Oscars. But I need to review something. That something is Stan & Ollie, a film which the Oscars bypassed. It's another fine trip down Hollywood memory lane.

It's 1953. Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) were comedy stars in the 1930s. They're past their prime now and looking for a comeback. A parody of Robin Hood is their best bet. So they go on tour in the United Kingdom to impress a prospective producer. Their wives, Ida (Nina Arianda) and Lucille (Shirley Henderson), soon join them.

Trouble follows. The tour initially plays to almost empty seats. Their manager gets things going with a few public appearances. But their prospective producer backs out, which means no movie. They have personal misgivings with each other, primarily fueled by a contract dispute in 1937. Ollie's failing health is no help either. They threaten to quit each other. But they can't do it. They need each other.

Coogan and Reilly are the boys alive again. They look the part, act the part, and while they don't perfectly sound the part, get their diction just right. They're great characters as much as they are great imitations. We're invested in their struggles with their pasts and futures. Their chemistry with each other and their wives is genuine. The Boys' ultimate reconciliation leaves us on a high note.

Director Jon S. Baird (Filth) works from a script by Jeff Pope. The opening credits showcase Laurie Rose's cinematography as the camera follows Stan & Ollie to the set of Way Out West. Their ensuing three-way argument with themselves and boss Hal Roach (Danny Huston) tells us a lot about their strained relationship in a short time. The rest of the film's 97 minutes is the same. The Boys' creative and personal differences play out in the concise plot. We understand the Boys' history as they evaluate their own.

Stan & Ollie's text epilogue relates their final years; Ollie dies in '57, then Stan retires and dies in '65. It's a bit sad, but not depressing. We see them rediscover their partnership as entertainers and as friends. We end with them happy with whatever time they have left. We're pleased with that. See it for yourselves. Then, see a Laurel and Hardy feature. They're still funny after many decades.

Mary Queen of Scots

Queen Elizabeth I of England shone in the cinematic spotlight many times. Behind her is her cousin and arch-rival, Mary I of Scotland. The conflict between queens is depicted once again in Mary, Queen of Scots, which sees the directorial debut of theatrical director Josie Rourke.

In 1561, Mary (Saoirse Ronan) returns to her native Scotland to assume the throne. As Queen Elizabeth's (Margot Robbie) cousin, Mary has a claim to her throne. Mary knows it, and asks repeatedly to be named successor.  Elizabeth doesn't take it that well. She offers her cousin a potential suitor or two; Mary eventually settles on Lord Darnley (Jack Lowden).

Meanwhile, Protestant Cleric John Knox (David Tennant) doesn't take kindly to the Catholic Mary. He uses his pulpit to turn public opinion against Mary. A few conniving noblemen, including Darnley's father Matthew (Brendan Coyle), manipulate Mary. Mary pushes back. But the scoundrels gain the upper-hand. An attempt to reconcile with Elizabeth doesn't go as planned.

There was a Mary, Queen of Scots in 1971 with Vanessa Redgrave and Glenda Jackson. Beau Willimon's screenplay is actually based on John Guy's 2004 biography, Queen of Scots: The True Life of Mary Stuart. Let's get that out of the way.

The film opens and ends with Mary's execution for her alleged involvement in the Babington Plot. We don't even get her side in the story. Was she innocent or not? Did her ambitions leave her no friends or defense from treason charges? Who knows. The film skims through history in 124 minutes and it's easy to lose track with the verbose dialogue.

Let's talk about the leads. Mary's progressive and inclusive beliefs earn her the audience's respects. .She's a bit too insistent on asking Elizabeth for succession rights, but she's not as conniving as history suggests. She'll fight when she has to and does it well. We're rightfully outraged as Lord Darnley and the other men antagonize her. Her execution is a legitimately tragic moment.

Elizabeth, on the other hand, is emotionally frail. Her conflict with Mary makes her more pitiable than hateable. But she's still compelling. Mary and Elizabeth's conflict is dulled by the film's pace and them never meeting but once. Their climactic meeting, as historically defiant as it is, makes the film worth it.

The technical highlights are the makeup/hair and costume designs by Jenny Shircore and Alexandra Byrne. Elizabeth and Mary's wardrobes, in particular, stand out with their bright hues. Elizabeth's white-painted face and searing red wig are a memorable visage. Her debilitating smallpox bout is appropriately creepy. The production design by James Merifield is less colorful in comparison but still impressive. Max Richter's score stands out with its rousing main theme.

Mary, Queen of Scots's historical discrepancies didn't bother me. In fact, the movie did not bother me at all. It did confuse me with its skimming through history. Its overall story presents Mary as a woman whose good deeds still got her betrayed. That's a compelling subject even if its presentation wasn't perfect. See it if you want. It's not Best Picture material but Shircore and Byrne's work may surely get it some good Oscar attention.

Vice

My first film review was for the George W. Bush biopic W. for a College journalism class. That film had Richard Dreyfuss play VP Dick Cheney to Josh Brolin's President Bush for director Oliver Stone. It's Cheney's turn for a biopic in director/writer Adam McKay's Vice, in which Christian Bale plays Cheney to Sam Rockwell's President Bush.

Cheney starts out as a drunken Yale dropout. But when his wife, Lynne (Amy Adams), tells him to sober up, he does. He later interns under Donald Rumsfeld (Steve Carell), where he learns the art of political war. He later becomes Chief of Staff under President Ford. He's then a Representative for Wyoming and later, President George HW Bush's (John Hillner) Secretary of Defense. He also comes to accept his gay daughter, Mary (Alison Pill). And they all lived happily ever...

...No, they didn't.

Finally, he accepts George W. Bush's offer to be his running mate. Once he's Vice President, Cheney handles the War on Terror's most controversial aspects. His ruthlessness even divides his daughters. Meanwhile, Cheney needs to pay attention to his frail heart.

The film flat out admits that it's not totally accurate. But, as the title screen says, "We tried our (censored) best." Its storytelling methods are as unconventional as The Big Short's. There's a fictional narrator named Kurt (Jesse Plemons) to set the stage. Dick and Lynne have a faux-Shakespearean conversation. A fictional news anchor (Naomi Watts) chimes in for several bulletins. A waiter (Alfred Molina) offers Cheney and co. some tasty underhanded tactics. There are facts and figures, too. But the most off-kilter moment is a fake-out ending complete with credits (which I referenced above). It leads to a wacky take on a dour time.

Christian Bale as Dick Cheney is silent but deadly. His political maneuvering is masterfully executed. He has some humanity but he throws it out at the end. His most sympathetic moment is his initial desire to turn his life around. His story holds our attention for the film's 132 minutes. Bale is masterfully sculpted into Cheney's likeness by an Oscar-shortlisted team including veteran winner Greg Cannom (Bram Stoker's Dracula, Mrs. Doubtfire and The Curious Case of Benjamin Button).

The rest of the cast also stands out. Carell as Rumsfeld is a capably smug mentor for Cheney. Adams is equally sympathetic and conniving as Lynne Cheney. Rockwell's George W. is likable and amiable. Pill's Mary Cheney is the most sympathetic of the ensemble. Colin Powell (Tyler Perry) is just as good in his fleeting appearances.

Editor Hank Corwin is once again here to educate and enrage us. He'll educate you as Cheney's tenures are written on-screen. He'll enrage you with Cheney and co.'s bad behavior. It's worse when we see the consequences of their actions on innocent people. He and McKay are surely daring us to laugh at the crooked characters now. Nicholas Betrill's also Oscar-shortlisted score is as introspective and powerful as its subject.

Vice's mid-credit scene anticipates a bi-partisan political response. It's a bit heavy-handed as two panelists at a focus group (with McKay as the liberal) come to blows over the movie. It's this scene alone that might make or break the film for some people. The film that precedes it is a strong portrayal of a political schemer. Its laughs are uneasy but plenty. One way or another, its points will stick in your mind. Whether you like it or not is another thing. 

Welcome to Marwen

It's almost 2019. I have one more film to review before midnight. So let's go. 

Welcome to Marwen is the dramatization of artist Mark Hogancamp's life. It was previously told by Jeff Malmberg in his 2010 documentary, Marwencol. In 2000, Mark (Steve Carell) was beaten outside a bar by five guys who he met earlier. All because he told them he liked wearing women's shoes. Mark was left physically impaired and amnesiac. Mark finds therapy by creating a miniature WWII Belgian village called Marwen. He uses dolls to stage the adventures of one Captain Hogie and his all-female companions (representing different women in his life) as they battle the Nazis (representing his attackers). There's also a witch named Deja Thoris (Dianne Kruger) who wants Hogie for herself and will go after any woman in her way.

A few years later, where the film actually opens, Mark is suffering from PTSD. He's having second thoughts about attending the sentencing hearing of his attackers. A nice neighbor named Nicol (Leslie Mann) moves across the street. Mark incorporates her into her Marwen world. But things don't work out as easily in real life. How will he move forward?

Director Robert Zemeckis co-wrote the screenplay with Caroline Thompson. There's some great concepts with questionable executions. A few examples:

3. The real life "women of Marwen" mostly barely feature in the film. Certain ones, like hobby shop owner Roberta (Merritt Wever) and Carlala (Eiza Gonzalez), actually are present. A few others, including Mark's rehab therapist Julie (Janelle Monae), feature in one scene each. Even Wendy (Stefanie von Pfetten), the "wen" in "Marwen," barely factors in it. The actresses also play their doll counterparts for the fantasy sequences, so they're still around.

2. The film takes a while before it depicts Mark's attack. But it doesn't spend enough time depicting the immediate aftermath. How did he meet the real life women of Marwen? What happened between Wendy and Mark? How did he come up with Marwen? These questions are glanced over in a case of Tell, not Show. Which is not as satisfying as showing.

1. But most problematic is its tone. Mark's fantasy sequences are riveting and creative. We get mood whiplash when fantasy switches to the real world or bleeds into it. These transitions are more odd than scary. Mark panics when he sees a new Nazi figure named Kurt, the same name as Nicol's stalker ex. He imagines Kurt coming alive to taunt him. Why? He wasn't part of the attack. Kurt's subplot, by the way, isn't resolved. 

But I'll give the visual effects team credit. The transitions from reality to fantasy are executed flawlessly. Nothing is technically out of place when, for example, the ringleader of Mark's attackers morphs into his Marwen Nazi counterpart. Or when Captain Hogie driving his jeep shifts to real Mark pulling the toy jeep. The fantasy characters are convincingly realistic dolls. A few might get put off by the uncanny valley, but they didn't bother me. As I see it, the doll aesthetic actually softens the uncanny valleyness. It's easy to see why the Academy shortlisted this for the Visual Effects Oscar.

The cast is acceptable. Steve Carell is likable and sympathetic as Mark. His fears are understandable even if they're not fully explored. The women of Marwen are a good bunch in the real and fantasy worlds. Kruger's Deja Thoris is a delightfully over-the-top villainess. The attackers aren't given much character even as we see one of them moved by Mark's victim impact statement. Conrad Coates was also good as Mark's lawyer Mr. Johnson.

Welcome to Marwen is a flawed, yet fascinating story of a man coping with trauma. The uneven blend of reality and fantasy doesn't do the story favors. But the story has some effort in it. There's even a great pun or two in the dialogue. "Cow-lateral damage." See it if you want. It's not outstanding but it wasn't dull either.

The Favourite

It's Christmas Day, a time of peace and love. It's time for a film full of lies and deceit. That film is the historical dramedy The Favourite, directed by Yorgos Lanthimos (The Lobster) and written by Tony McNamara and Deborah Davis.

England, 1708. Queen Anne (Olivia Colman) rules during the War of the Spanish Succession. She's in poor physical and emotional health. Her best friends are her 17 rabbits, one for each of her doomed pregnancies, and her adviser, Lady Sarah Churchill (Rachel Weisz).

Along comes Sarah's cousin Abigail Hill (Emma Stone) looking for employment. She starts out as a low scullery maid. But she gains favor with the Queen and becomes her lady-in-waiting. This doesn't sit well with Sarah, who correctly sees Abigail as a threat to her place in Anne's court and heart. Sarah and Abigail use any means necessary to take the other out. Meanwhile, the pompous men try to assert themselves. It doesn't go exactly as planned for them.

The story is divided into seven chapters. Sarah and Abigail gradually reverse audience sympathies throughout the story. Abigail's plight is sympathetic and it's unfair how foppish Robert Harley (Nicholas Hoult) treats her. But she turns into a sociopath by the end. Meanwhile, Sarah starts off as cold and uncaring, but we learn her affections for Anne are genuine. Her getting spiked by Abigail and subsequently falling off - and getting dragged by - her horse is too much for her. One can ultimately pity her when she's exiled from England near the end.

The one truly all-sympathetic character is Queen Anne herself. Her mood swings are funny and sad. She's an emotional wreck who needs company. She's easily distracted by frivolities. But she'll remind you that she is The Queen if you push her. The film is about her asserting herself as a person. It's rewarding to see her deal with Abigail in the last scene.

The film's view of the 18th century is anything but glamorous. Its soundtrack is an mix of unsettling modern and classical pieces. Even the Fox Searchlight Logo's custom tune sets the audience ill at ease. Cinematographer Robbie Ryan's fisheye lenses add to the surreal atmosphere. Fiona Crombie and Sandy Powell's production and costume designs are both low-key and formidable. Even the men are creepy with their overdone makeup and wigs. The film's style is a dark and alluring world. It's appropriate for the dark comedy of manners.

The Favourite succeeds because of its three leads. They're captivating characters even if only one is truly good. The only real downside is the film's ungainly and almost unreadable font. But if you can get past that, you'll get an intriguing story of royal backstabbing. Its final scene is succinct and powerful. You'll understand the gravity once the film's 119 minutes are up.

Bumblebee

The Transformers are back on the big-screen this Holiday Season. Their latest adventure gives the spotlight to Autobot hero Bumblebee in Bumblebee. Long time director Michael Bay finally abdicates the director's chair in favor of Laika alumni Travis Knight.

The evil Decepticons and the heroic Autobots fight for control of their homeworld Cybertron. But the Decepticons overwhelm their enemies as the film opens. Autobot Leader Optimus Prime (Peter Cullen) sends his scout, B-127, to establish a base on Earth. B-127 is warmly greeted with military fire and the Decepticon Blitzwing (David Sobolov), the latter of whom rips out his voice box. Broken and bruised, B-127 takes the form of a VW Beetle and drives off.

Charlie Watson (Hailee Steinfeld) finds B-127, or Bumblebee as she calls him, in her Uncle Hank's (Len Cariou) junkyard. She quickly befriends the Robot in Disguise and teaches him how to hide amongst humans. Her nerdy neighbor, Memo (Jorge Lendeborg Jr.), is let on to the secret. Meanwhile, Deception agents Shatter (Angela Bassett) and Dropkick (Justin Theroux), join with the military to look for Bumblebee. They also plan to call the other Decepticons to Earth. Our heroes have to stop them before that happens.

This isn't like the last five films. It mercifully clocks in at an acceptable 113 minutes. There's no sign of crass humor or a needlessly complicated story. No. Instead, Christina Hodson's screenplay is a simple, endearing story of a girl and her car robot. Charlie's frustrations are understandable. Her relationship with Bumbleebee is great. It's sad when Bumblebee eventually drives off to join the Autobots. But not before he shifts to a Camero in a nice moment. Memo is likable and his friendship with Charlie is enjoyable to watch. Agent Burns (John Cena) is a reasonable antagonist who's just following orders. My only real nitpick is that Bumblebee doesn't spend too long with his natural voice (Dylan O'Brien) before it's gone. But him speaking through radio clips made up for it.

There's much to appreciate on the technical side. The new Transformer designs are sleek and colorful robots. A majority of them are perfect CGI recreations of their cartoon designs. I'm sure that'll make a lot of people happy. Their interaction with real elements is seamless as usual. Cybertron was an amazing accomplishment of production design. The action scenes are exciting and they don't wear out their welcome. The sound design was appealing, rather than deafening. Dario Marianelli's score fits the less-bombastic tone of the film. It works just as much as Steve Jablonsky's score did for the last few films.

Bumblebee is the best of the series since the first ... and it's better than that. Its characters are a memorable bunch. Its scaled-back action and upgraded story makes it more than a toy commercial. Overall, its new direction is just the spark the franchise needs. See it in this year or next. But see it on the big screen first.

Mary Poppins Returns

Mary Poppins practically pleased everyone but its original creator, PL Travers. So it was quite a surprise that an actual film sequel was greenlit in 2016. But it's here. In the appropriately titled Mary Poppins Returns, Emily Blunt takes up the role that won Julie Andrews an Oscar.

Jane (Emily Mortimer) and Michael Banks (Ben Whishaw) had whimsical adventures with Mary Poppins as kids. But they have real-world problems as adults in 1936. Michael's wife is dead and he has three kids to raise. The Bank will repossess his house unless he gets the money in five days. A shares certificate left behind by the late Mr. Banks might save them. Meanwhile, youngest Banks kid Georgie Banks (Joel Dawson) goes kite-flying and pulls down Mary herself.

Mary takes the new Banks kids on whimsical adventures. A cockney lamplighter, Jack (Lin-Manuel Miranda), joins them. The kids' adventures brighten up their day. But Michael has no time for "stuff and nonsense" as mean Bank Chief Mr. Wilkins (Colin Firth) breathes down his neck. The kids might have what Michael needs.

That's pretty much it.

Director Rob Marshall and his crew match the aesthetics of the 1964 film. The London of 1936 hasn't aged much since 1911. Even old Admiral Boom's (David Warner) deck roof is familiar. Of course, there are some modern technologies involved. The animated world inside a ceramic bowl is still hand-drawn, but it isn't ink-and-paint. Mary and company's costumes for this sequence, designed by Sandy Powell, perfectly match the painted world. Marc Shaiman's score and the songs he wrote with Scott Wittman are as bouncy and emotional as the Sherman Brothers' famous music.

The screen story was conceived by Marshall, John DeLuca and the screenplay's author, David Magee. The film hits a lot of the same beats as the original film. A few of them, including a visit to Mary's upside down cousin Topsy (Meryl Streep), come from Travers's stories. The MacGuffin's location is supposed to be a surprise but it's so obvious. What makes it work? Its story of families sticking together during crisis is relevant. Its resolution was great even if it relied on a silly deus-ex-machina.

The cast is practically perfect. Emily Blunt's Mary Poppins is a practically perfect mix of dry wit, vanity and warmness. Lin Manuel-Miranda's Jack is a fun character. Whishaw is good as Michael Banks. His on-screen children are a good bunch. Streep as Cousin Topsy is entertaining for her exaggerated accent. Angela Lansburry has a noteworthy cameo as a Balloon lady near the end. Dick Van Dyke even appears as Mr. Dawes Jr, fifty-four years after he played Mr. Dawes Sr. (and Bert).

Speaking of alumni, look for a cameo by Karen Dotrice, the original Jane Banks, asking for directions.

Mary Poppins Returns is a fine sequel. It's overly-familiar but it's not too familiar. It's an optimistic story full of whimsy and humor. It makes the most of its 130 minute runtime. The finale is worthy of the big screen. So see it before Mary goes off with the wind.

Aquaman

Yes, it's Aquaman, the DC superhero who can talk to fish. Some think that's all he's good for. They'd be surprised if they knew. He was embodied by Jason Momoa in last year's Justice League. This year, Momoa returns as Aquaman in his own movie. It's a nice distraction from the Oscar Bait coming around now.

Arthur Curry is the son of lighthouse keeper Tom Curry (Temeura Morrison) and Queen Atlanna of Atlantis (Nicole Kidman). Atlanna goes back to the sea when Atlantean Troops come knocking. He's taught the ways of Atlantis by royal adviser Nuidis Vulko (Willem Dafoe). Vulko tells him Atlanna was fed to sea monsters for the crime of having a half-human son. Arthur grows up into a bitter, yet rowdy man who patrols the seas as Aquaman.

Meanwhile, Arthur's full-Atlantean half-brother Orm (Patrick Wilson) decides to start a war with the surface. Princess Mera (Amber Heard) doesn't want that. So she gets Arthur to come with her to Atlantis. The only way to stop Orm is to prove Arthur is the Once and Future King. There's a MacGuffin Trident that they need. The much-alive Queen Atlanna helps them. They'll have to hurry before Orm takes up the title of Ocean Master and unites Atlantis's tribes for war.

Got that? I think I do.

Its story sounds like King Arthur underwater. But it sure makes a better King Arthur movie than last year's catastrophe. A significant factor is Aquaman himself. Aquaman's bitter rowdiness is a step beyond stiff stock hero. His rowdiness is entertaining, while his bitterness is understandable considering the circumstances. His relationship with Mera is fun to watch. Its best story aspect is how it legitimizes his much-mocked superpower of talking to sea-life. He puts it to good use to scare away bullies, then to bond with the sea monster, the Karathen, who guards the Trident. There's some story issues, mainly too much story, but it's forgivable.

The rest of the cast is pretty good in their roles. Dafoe as Vulko is a good adviser, even if the film skips how he first met Arthur. Morrison and Kidman make a great pair as Tom and Atlanna. Atlanna's part in the resolution was a strong moment. Wilson as Orm is a memorable antagonist. Yahya Abdul-Mateen II is even better as Orm's human collaborator, the Black Manta. There's a surprisingly abundant amount of big names in the supporting cast. But the most surprising cameo of all is the voice of the Karathen: Julie Andrews.

Director James Wan's crew is an awesome league. The underwater world is a visual spectacle. Soldiers ride monstrous sea-horses or Sharks with laser beams. A wide variety of sea creatures and fish-men populate the seas. Their world is illuminated in alluring blue. Their technology is delightfully futuristic. Costume Designer Kym Barrett's work dresses the Atlanteans in delightfully comic bookish attire. The costumes' appeal is increased by cinematographer Don Burgess's lighting. Rupert Gregson-Williams's score fits the spectacle pretty well.

Aquaman is saved from the Dune syndrome by its earnestness. There's a bright tone beneath its story pileup. A seemingly impending brawl with biker toughs takes a delightful turn. The final conflict between Aquaman and Orm is resolved peacefully. Its execution isn't perfect but it makes an effort. Its 143 minutes make for a good matinee. Its underwater world is worth the price of admission.

Spider-Man: Into the Spiderverse

Hey there, True-Believers! Deadpool here, and I want to talk to you about my latest movie. Or, is it my latest old movie?! Fox, soon to be a subsidiary of Disney, is re-releasing my summer blockbuster, Deadpool 2, for the holidays. But it's no ordinary re-release. All the R-Rated goodness is cut out for PG-13 hijinks and a frame story where I make Fred Savage relive The Princess Bride (RIP William Goldman). This is Once upon a Deadpool and...

It's not the film I'm reviewing, 'pool.

WHAT?!

No. Instead, I am looking at Sony's latest plan to keep the Spider-Man franchise going. Spider-Man: Into the Spiderverse is Spidey's first big-screen animated adventure. And he's not the only one. There are multiple Spider-Themed heroes here. The end result is surprisingly and most sincerely a spectacular sensation. Let's read more about it.

You're not reviewing my new, old movie?

Doubt it.

You won't miss much.

....

Anyway...

Miles Morales (Shameik Moore) is a Brooklyn kid, who, much like Peter Parker (Chris Pine) before him, gains superpowers after a weird spider bites him. Spidey, meanwhile, is out to stop mammoth Kingpin Wilson Fisk (Liev Schrieber) from destroying the city with his new supercollider. Spidey meets Miles and promises to train him in the ways of the Spider-Man. Unfortunately, Spidey is soon killed by Fisk.

Miles is traumatized by Spidey's death. He later meets a Peter Parker (Jake Johnson) from another dimension. The supercollider pulled him and four other Spideys into Miles' universe. They are tough girl Gwen Stacey/Spider-Woman (Hailee Steinfeld), monochrome private eye Spider-Man Noir (Nicolas Cage), Animesque Peni Parker (Kimiko Glenn) and her robot SP//dr and Looney Tunish Peter Porker the Spectacular Spider-Ham (John Mulaney). The dimensional displacement threatens to glitch them out of existence. They try to help Miles control his new powers. They'll have to hurry as Fisk plans to start up the supercollider again.

Got all that? 

The film's artistic style is mostly flawless. The backgrounds, visual effects and cinematography are stunning. The characters move with a limited, yet smooth framerate. Peni and Spider-Ham are great CGI realizations of 2D cartoon characters. There are text boxes and word balloons like a comic book. Each frame is even composed of benday dots. When the film imitates the effect of comic artists coloring outside the lines, it looks like a 3D film without glasses. The film's frantic imagery makes some story details fly by the audience. It's probably intentional.

The creative personnel counts Phil Lord and Chris Miller amongst its numbers. It beats up the fourth wall by jabbing at some choice moments in Spidey's history. But it knows when to take things seriously. Miles's doubts and frustrations are understandable. Other Spidey's broken life is simultaneously funny and sad. Their teacher/student dynamic is engrossing. Fisk's top lieutenant The Prowler is a legitimate threat. Fisk's scientist Olivia (Kathryn Hahn) is likable and dangerous. Fisk's motivation for the supercollider mess is a sympathetic one. These aspects help create a captivating showcase for Miles Morales and his ascension to Spider-Man.

What about the other characters? Gwen is an awesome Spider-Woman and her awesomeness makes one wish her mourn for her last screen counterpart. Peni and SP//dr are an endearing pair. Spider-Ham is awesomely funny and Spider-Man Noir is there. Brian Tyree Henry and Luna Lauren Velez are great as Miles's parents, Jefferson and Rio. Mahershala Ali is also a standout as Miles's Uncle Aaron. And there's Lily Tomlin as an awesomely assertive version of Aunt May.

Spider-Man: Into the Spiderverse is a great introduction to a multiverse of Spider-Men. Miles Morales is as compelling as Peter Parker. The other Spider-Men are so amazing you'll wish for more. 117 minutes doesn't seem like enough. Sony can have at least part of the franchise if it keeps up this film's creative energy. It deserves to be seen on the big-screen. Whatever size and (maybe) whatever price.

The End Credits memorialize Spidey's recently departed co-creators, Steve Ditko and Stan Lee. Lee has his usual cameo during the movie. It's a solemnly funny moment. The end credit scene gives us one last Spider-Man and a hilarious parody of the 1967 cartoon. See it for yourselves.

Roma

My family has Netflix. But I haven't chilled. A lot of movies on Netflix also had adjacent theatrical runs. Some have earned Oscar nominations. But I still didn't chill. What made me chill?

Roma.

Roma is Alfonso Cuaron's long-awaited follow-up to his Oscar-winning smash Gravity. Cuaron directed, wrote, co-produced, cinematographed and co-edited with Adam Gough. Sounds like everything, but it's not. It's still impressive.

Anyway...

It's 1970-71. The titular Roma is the Colonia Roma neighborhood in Mexico City. Here, we find Cleo (Yalitza Aparicio), a housekeeper for Mrs. Sofia (Marina de Tavira) and her husband, Antonio (Fernando Grediaga). Cleo mainly tends to the family's four kids. They regard her as one of the family. Meanwhile, Antonio leaves for a "business trip" in Quebec.

Cleo's life is upended when she becomes pregnant. Her boyfriend, Fermin (Jorge Antonio Guerrero), wants nothing to do with her. Things take a turn for the worst after Cleo witnesses the Corpus Christi Massacre. Her spirit is broken, but she's still devoted to her charges.

All of this is told in 135 minutes. But it keeps our attention. It helps that Cuaron's black-and-white cinematography employs as much long takes as his regular DP, Emmanuel Lubezki. Its landscape shots are spectacular. Single shots often end up as single scenes. They say a lot without cutting a lot. The best scene is where Cleo defies her lack of swimming to save two of the kids from drowning. That was a strong scene.

Cleo is a captivating main character. It's easy to not notice that she doesn't say much. Her face says much, though. She gets on the audience's side with her dedication and devotion to her charges. It's crushing to see her fall into depression. It's amazing to see her overcome it by saving the kids. It's a strong debut performance for Aparicio, and here's hoping for a good career.

The rest of the cast is good, too. Marina de Tavira as Sofia is a strong supportive character. She sticks with Cleo during her pregnancy and after. She tries to make the best of her crumbling marriage. She's only at her worst when she's under stress. A great employer. Veronica Garcia is also great as Sofia's mother, Teresa. Guerrero as Fermin, meanwhile, seems like a good guy. But once he violently rejects Cleo, he's firmly in the unlikable spectrum with no hope of redemption. There's a good cameo by Victor Resendez Ruiz (aka the Luchador Latin Lover) as real-life personality Professor Zovek.

Roma is a fascinating drama. It's a story of a woman dealing with a changing world. It's a story of a family sticking together in tough times. Its seemingly minimalist plot hits you emotionally by the end. It's easy to see why critics have gone over the moon for it. See it if you have Netflix or are lucky to live near one of the scant theaters playing it. It's worth viewing even once. Be careful it can get too emotional at times.

Mirai

...Or the fun of finally seeing another anime film on the big screen.

One can always count on the Oscar for Best Animated Feature to include at least two films inaccessible to wider audiences. As in, "not playing at a theater near you." At least one or both of these films is distributed by the company GKIDS. Fortunately, this year, at least one normally inaccessible film went wider via Fathom Events. That film is Mirai, which is now a Golden Globe and Critics Choice Award nominee. And here's hoping the Academy will take notice.

Four-year-old Kun's (Jaden Waldman) world is disrupted when his baby sister, Mirai (meaning future), comes home. His parents (Rebecca Hall and John Cho) are overwhelmed by the stress that comes with her. Kun can't stand losing all the attention. It's a typical household. Is it?

Strange things happen to Kun in his house's garden. He first meets his dog, Yukko, as a human (Crispin Freeman). He then meets Mirai as a teenager (Victoria Grace). He also meets his mother at his age. There's even his great-grandfather as a young man (Daniel Dae-Kim) shortly after World War II. These fantastical visits slowly teach Kun to appreciate his family more. There's a bleak future for Kun if he keeps up the brattiness.

Writer and Director Mamoru Hosoda (Summer Wars, Wolf Children) tells a slow and steady story. It's never boring. Parents and kids can identify with the stress of a new sibling/baby. In one scene, Kun mischievously plays with Mirai's face, then smacks her with a toy train when mommy drives him off. The pile-up of emotions which follows is darkly funny (daddy falling apart and Yukko howling sell it). Kun's episodic fantastical encounters gradually improve him. His fantastical adventures have plenty of endearing moments. Future Mirai was only really in three scenes. She could've used a few more.

The animation is a great mix of hand-drawn animation and CGI. The characters' exaggerated facial expressions are priceless. They move with personality. Their real and fantastical environments are colorful. The CGI is noticeable but it serves the surreal climax well. How surreal? It sees Kun wander a nightmarish train station, save baby Mirai from a ghoulish train, and go with future Mirai on a magical family history tour. On the mundane side, Kun's house is an architectural marvel designed by actual architect Makoto Tanijiri.

My screening of Mirai was the last of Fathom Events' special screenings. A few other cities have it playing regularly. See it if you can find it. It's an unforgettable family fantasy. It's a visual sensation. It's an emotional experience even if you don't have kids. It's a lot of things.

Fathom's screening ended with an interview with Hosoda, discussing his inspirations for Mirai and the declining state of 2D animated films. His family experiences inspiring Mirai is endearing. The film's a great case for keeping 2D animation alive. It's also a great case for releasing international animated films wider and wider.

Boy Erased

My college sociology class once showed us But I'm a Cheerleader, a satire of Gay-Conversion programs. It was bright and silly, but its points were serious. I'm thinking about it now as I review a less funny criticism of Gay-Conversion programs, Boy Erased.

Joel Edgerton adapted his second directorial effort from the memoirs of Garrard Conley. Conley is represented here by Jared Eamons, played by Lucas Hedges. Jared is the son of Baptist minister Marshall (Russell Crowe) and hairdresser Nancy. He's a star basketball player in high school and his girlfriend's a cheerleader. He appears normal to the world. But he feels something amiss.

After his best friend at college, Henry (Joe Alwyn), sexually assaults him, Jared comes out of the closet to his parents. They are less than thrilled with the news. They quickly sign up Jared for Love in Action, a Gay-Conversion program. The uptight director Victor Sykes (Edgerton) swears his flock to secrecy about the curriculum. At best, it's a minor assignment like tracing one's family tree "for the source of sin." At worst, it's a mock funeral where the "deceased" is beaten with bibles. Neither sounds fun.

Jared tries to survive the program. Otherwise, he'll have to live on campus for much longer. Nancy sees the curriculum and realizes she's made a mistake. It all comes to a head after Sykes goes too far.

Its strongest technical standouts include production designer Chad Keith and cinematographer Eduard Grau. The Love in Action campus is appropriately dour and oppressive. It's not a welcoming environment as Jared and the others learn. The aforementioned mock funeral feels more like an exorcism against a defenseless ghost instead of Pazuzu. Editor Jay Rabinowitz's best moment is the frantic scene where Jared quits the program. 

The leads are pretty good. Hedges as Jared is believable as a conflicted, self-loathing youth who eventually stands for himself. His on-screen parents, Crowe and Kidman, are misguided people. They love their son and honestly believe they're doing what's best. Nancy learns to assert herself when she realizes that's not true. Marshall is stubborn but his and Jared's eventual reconciliation was good. Sykes is brutal but even he thinks he's being helpful. His lead councilor is a less-likable man named Brandon (Flea).

Jared's fellow students are a decent bunch. A few get more spotlight than others. These include Cameron (Briton Seer), the victim of the aforementioned mock funeral, the haphephobic Jon (Xavier Dolan), and Gary (Troye Sivan, who has two songs on the soundtrack). You'll feel for them even if you don't get to know them that much.

Boy Erased makes for an uneasy 114 minutes. The program's extreme beliefs (and a glaringly obvious typo in a booklet) provide a few uneasy laughs. Its actions are another story. It's a perfect analysis of that old saying where hell is paved with good intentions. It was satisfying to see Jared and Nancy asserting themselves. That's what makes the resolution a relief. It's uneasy but it was necessary.

Green Book

Over the years, The Farrelly Brothers gave the world such films as Dumb and Dumber and There's Something About Mary. They're the sort of films the Academy freely ignores. This year, Peter Farrelly goes solo for an Oscar-calibur Dramedy, Green Book. You don't need to be the Academy to enjoy this true life story.

In 1962, Tony Vallelonga (Viggo Mortensen), aka Tony Lip, is a bouncer at the Copacabana. He needs a job after the club closes for renovations. He's recommended to pianist Dr. Don Shirley (Mahershala Ali) for a long-term job. Shirley, an African American, is about to tour the Deep South. He needs someone tough enough to manage his affairs. The sophisticated Shirley (aka Doc) and blunt Tony don't get along at first. But Tony comes around and takes the job. He's given a Green Book, a Black traveler's guide listing Black-friendly establishments.

The rest of the movie deals with their tour. Tony and Doc's personalities still clash. But they still help each other out. Shirley helps Tony write more sophisticated letters to his wife, Dolores (Linda Cardellini). Tony ensures Doc is accommodated at each stop. Tony is wowed by Shirley's musical talents. While Tony isn't racially sensitive, he's disgusted by the institutionalized racism Doc faces. Eventually, he and Doc become friends for real.

Farrelly and Brian Hayes Currie collaborated on the script with Tony's son, Nick. Its travelogue of the 1960s makes for a slow and steady 130 minutes. Tony and Doc's bickering makes for several humorous exchanges. The letter writing bits are endearing. But the film knows when to get serious. It's not funny when Doc is threatened for travelling in a "sundown town." Eventually, their refusal to play at the last stop is an awesome act.

Mortensen and Ali get equal spotlight here. Mortensen as Tony is a funny, tough guy. He's not enlightened at first but he's still an upstanding guy. Ali as Doc, meanwhile, is smooth and sophisticated. But he's only trying to stay tough in the face of racism. It takes a long, emotional speech in the rain for them to work out their differences. Tony and Doc's eventual friendship is a believable destination. The end of their journey takes them to a heartwarming Christmas Eve dinner at Tony's place.

There's also some delightful music. Whether Kris Bower's original score or the standards Doc plays, the soundtrack is great. It fits right in with the meaningful story. It's not a desperate grab at Oscar-bait by any means. It believes what it's saying. That's what makes Green Book a great crowd-pleaser. See it as soon as you can. It's worth the trip.

Widows

Harry Rawlings (Liam Neeson) is a criminal mastermind. His crew, Carlos Perelli (Manuel Garcia-Rulfo), Florek Gunner (Jon Bernthal) and Jimmy Nunn (Coburn Goss) are lucky to be with him. Unfortunately, they're in a movie called Widows. They're all killed in a fiery shootout with Chicago PD before the title even comes up.

Harry's wife, Veronica (Viola Davis), tries to get by without him. Unfortunately, Harry's last job had him steal $2 million from Jamal Manning (Brian Tyree-Henry), a gangster turned candidate for Alderman. Jamal bills Veronica for the theft and gives her a month to pay up.

Veronica finds Harry's notebook, which has the plans for his next crime. It's worth $5 million. Veronica recruits two of the other widows of Harry's crew, Linda Perelli (Michelle Rodriguez) and Alice Gunner (Elizabeth Debicki), for the heist. The fourth widow, Amanda Nunn (Carrie Coon), is preoccupied with her baby. Her spot is filled by Belle (Cynthia Erivo), Linda's babysitter. The four women prepare for the heist. The target is the home of Jamal's political opponent, Jack Mulligan (Colin Farrell). Things get complicated when Veronica learns more about Harry's last heist.

Director Steve McQueen and his co-writer, Gillian Flynn, adapted the ITV series scripted by Lynda La Plante (Prime Suspect). The opening sequence goes back and forth between Harry and Co.'s home-lives and their final heist. We get so much in roughly five minutes. The rest of the film's 128 minutes perfectly balances the widows' individual storylines as they prepare for the heist. We perfectly understand their desperation as they turn to crime. The climactic heist and its aftermath will not disappoint.

The ensemble is a great crew. Davis as Veronica tries to remain stoic in the face of tragedy. It isn't easy, though. Debicki gets a major share of the story as she romances a real-estate broker (Lukas Haas) to get info on their target. Rodriguez as Linda is unsure of the plan's success, but she proves herself strong-willed and quick witted. Erivo as Belle only joins later on but she's a formidable presence. Coon as Amanda is barely in the film but is more essential than we think.

Neither of the alderman candidates, Mulligan or Manning, are likable guys. Neither are Mulligan's grumpy, racist father Tom (Robert Duvall) or Jamal's brutal brother and enforcer Jatemme (Daniel Kaluuya). The true mastermind of the heist is equally sympathetic and pathetic. The actors play their unlikability with finesse.

McQueen's usual editor and cinematographer, Joe Walker and Sean Bobbitt, head up a great technical crew. Walker gets points for his balance of action and drama. The flashbacks tell a lot without saying a lot. Bobbitt gets points for his spectacular long takes. One of these takes has Mulligan ride in his car and argue with an aide for a few minutes. Hans Zimmer's score is perhaps his most subdued in years. It doesn't show up until about 40 minutes or so. It's still a memorable soundtrack.

Widows isn't as flashy as the Oceans Eleven movies. But it's still a formidable heist movie. We're invested with its four protagonists as they stand up to their personal problems. Its ending is satisfying but not clean-cut. You'll think hard about the societal injustices fought here. You'll definitely remember that shocking swerve twist. Widows will fill your need for a subdued action film this holiday season. It's that good.

Ralph Breaks the Internet

Six years ago, Wreck-It Ralph left his mark on the big screen. Now, Ralph and his video game companions return for more box office quarters in Ralph Breaks the Internet. It was worth the sequel gap.

Wreck-It Ralph (John C. Reilly) and Vanellope Von Schweetz (Sarah Silverman) enjoy life as arcade characters and best pals. But Vanellope's bored of doing the same thing for the last six years. Ralph's attempt to spice up Vanellope's game, Sugar Rush, gets it broken and unplugged. The game's characters are now homeless because of a broken steering wheel. They have hope, though. Their arcade just got wi-fi. A replacement steering wheel is up on Ebay. Ralph and Vanellope set out for the World Wide Web to save the day.

They win the auction but have no way to pay. So they try some stuff. They try a Death Metal racing game, Slaughter Race, and meet its star racer, Shank (Gal Gadot). Ralph tries his hand at becoming a viral video star. That helps them get the money. But Vanellope decides that Slaughter Race is the game for her. Ralph doesn't want his best pal to go away. Unfortunately, his attempts to get her back involve a computer virus. A World Wide Wipeout is imminent.

There's plenty of logistical questions in the story. How would a fictional character get real world money? But it's just a movie, so let's relax. There's a good story by directors Rich Moore and Phil Johnston and their co-writers. Its greatest strength is its seemingly simple conflict. There's a looming deadline before Sugar Rush is taken away, but what else? There's no Big Bad except for Ralph's insecurities. They wreck Ralph and Vanellope's relationship as much as the internet. Ralph getting over them firewalls the virus.

The returning characters are a great bunch. Ralph and Vanellope are a likable pair of best friends. Their conflict is understandable; they're like two friends with one moving away. It was nice to see them make a long distance friendship work in the end. Shank is an awesome new character and her motley crew is a cool wild bunch. Even Disney's Princesses come in the story when Vanellope finds a Disney site. Their best moment is when they all pitch in to save Ralph from falling to his doom.

The visual spectacle is as great now as it was then. Sugar Rush looks as tasty as ever. The sprawling Internet world is pleasing to behold. Even the dark and grim Slaughter Race is appealing. The user avatars remind me of Nintendo Miis, which is fun to see. On the audio side, there's a great score by Henry Jackman to set the scenes. Alan Menken even contributes a Disney song parody for Vanellope. It's pretty funny to see the Slaughter Race cast participate in the song.

Ralph Breaks the Internet goes nicely for 112 minutes. It's somewhat too long, but seeing Ralph and Vanellope in their new surroundings was fun. It helps that the Internet Jokes, while bountiful, fail to drown the story. It's as good as the first film was. Stay during the credits to see a few more gags. Keep your eye out during the movie for the one and only Stan Lee in avatar form.

Nuff said.

Can You Ever Forgive Me?

To answer the film's question, yeah, we can forgive you.

Depends on what we're forgiving you for.

(Sees the movie.)

Let's work out the forgiveness part.

What am I talking about? I'm talking about the biopic Can You Ever Forgive Me? Directed by Marielle Heller, it's based on the memoirs of Lee Israel, played here by Melissa McCarthy. Lee Israel wrote a few biographies, but they never caught on. At the start of the film, Lee's alcoholism and abrasiveness gets her fired from her desk job. Her agent, Marjorie (Jane Curtin), is at the end of her rope with her. She'll certainly get evicted. And her kitty, Jersey, is sick.

Lee procures a letter from Fanny Brice and sells it to a collector. This is after she forges another paragraph on it. She then forges a few more letters from literary giants like Noel Coward, Marlene Dietrich and Dorothy Parker and sells them. Her partner-in-crime is Jack Hock (Richard E. Grant), a flamboyant grifter. The scheme makes them comfortably rich. At least, until a few gaffes brings the scheme down.

Lee's abrasiveness doesn't win her any fans. But McCarthy's performance shows Lee for the sad, lonely lady she is. She's socially awkward rather than simply uptight. Her fondness for Jersey helps her case. Her vet bills are what inspire her to do this drastic action. By the end, even when she expresses no remorse for fraud, we're pleased that she's happy in life.

As Hock, Richard E. Grant is a delightful smooth talker. He's a great extrovert to Lee's introvert. His dialogue is more often than not hilarious. He's likable even if he's a bit careless. He retains his audience sympathy even after one tragic mistake near the end. There's good makeup work depicting his physical appearance, especially his late stage AIDS at the end.

The screenplay by Nicole Holofcener and Jeff Whitty is a great asset. It goes into great detail of how Lee and Jack pulled off their scheme.  You'll feel bad for the poor dealers who get duped. It's so intricate you'll wonder how it falls apart. When it does, you'll feel the pressure as the Feds come in. You'd only be lost if you don't know who much of the impersonated ones are.

Can You Ever Forgive Me? is a captivating biopic of a literary fraud. It's a strong story about flawed people. It's about a woman who comes out of her shell. It's a deeply-layered tale that'll leave you pondering its title question. Honestly, some people have done worse than her, so I might forgive her.

Fantastic Beasts: The Crimes of Grindelwald

Fantastic Beasts and Where to Find Them started a magical five-film series. It progresses now with Fantastic Beasts: The Crimes of Grindelwald. And I'm wondering if five films are necessary. Four would do just nicely.

The Dark Lord Gellert Grindelwald (Johnny Depp) escapes from magical prison transport. Like Voldemort after him, Grindelwald sets out to dominate the Muggles. He hopes to enlist the troubled Credence Barebone (Ezra Miller) to his cause. Meanwhile, magizoologist Newt Scamander (Eddie Redmayne) is travel-banned after the mayhem in the last film. Dumbledore (Jude Law) helps Newt get to Paris to find Credence.

There's quite a bit of subplots thrown in. Leta Lestrange (Zoe Kravitz), Newt's future sister-in-law, has a secret key to Credence's past. So does Yusuf Karma (William Nadylam). Credence surely wants to know who he is, too. There's also Nagini (Claudia Kim), Voldemort's future familiar, here a woman cursed to one day become a permanent snake. Jacob Kowalski (Dan Fogler) and his girlfriend, Queenie (Alison Sudol), have issues to sort out. 

David Yates once again visualizes a script from JK Rowling herself. Like the first film, this entry has a bunch of details crammed into a tight 135 minutes. Credence's true identity is revealed after a convoluted assortment of exposition. The final reveal is a bit confusing, but still surprising. Nagini is underutilized compared to her future importance. Once again, it's a relief that there's no pop quiz after the movie.

The cast does great with what they have. Redmayne as Newt is still a likable nerd. Even though Redmayne is older than Callum Turner, who plays his brother Theseus, you'll believe he is the younger one. Law as Dumbledore makes for a great wise and crafty wizard. Kim as Nagini is sympathetic, which makes her tragic in hindsight. Kravitz as Leta is compelling as well. Leta's revelation is shocking, but she doesn't lose her audience sympathy. Depp as Grendelwald is charismatic and his goals are understandable. Still, world domination doesn't seem the best way to do them. 

Among the supporting cast, Fiona Glascott completely nails her brief cameo as a young Professor McGonagall.

The technical wizards once again conjure up great cinematic magic. The travelling circus where Nagini is introduced was a delight in CGI and production design. The giant cat-like ZouWu is a cool creature design. The other creatures and spells were dazzling, as usual. The costumes designed by Colleen Atwood are as unique as the sets. The cinematography by Philipe Rousselot continues the first film's dark and fanciful mood pretty well. The moods are accentuated perfectly by James Newton Howard's score.

Fantastic Beasts: The Crimes of Grindelwald  is an OK prequel. Its heavy exposition is more perplexing than shocking. But it has a few good moments that save it from disaster. One can only wonder how they'll fill three more films of the Potter Prequelness. I'll wonder how they'll fill the remaining eighteen on-screen years before Grindelwald is finally defeated. Let's hope the next film gives us some good answers.

The Girl in the Spider's Web

The Girl with the Dragon Tattoo was advertised as "the feel bad movie of Christmas." Maybe that's why it didn't set the world on fire in 2011. Only now has Columbia Pictures brought Stieg Larsson's antisocial computer genius Lisbeth Salander from hibernation. Their latest cinematic adventure skips past Dragon Tattoo's two immediate followups - The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest - in favor of David Lagercrantz's continuation, The Girl in the Spider's Web.

Salander (Claire Foy) roams Stockholm as an avenger of battered women. She takes up computer jobs too and Frans Balder (Stephen Merchant) has a job for her. He created Firefall, a program which accesses all the world's nuclear codes. He wants her to steal it to keep it out of the wrong hands. She hacks into the NSA to get it. Agent Needham (LaKeith Stanfield) spots the hack and tracks down Salander. Some shady goons find her first, take the program and blow up her warehouse apartment.

Salander survives the attack. She gets her hacker friend Plague (Cameron Britton) and journalist Mikael Blomkvist (Sverrir Gudnasson) to help her. The goons find Balder and Salander is forced to go on the run with his son, August (Christopher Convery).

Salander's long lost twin sister Camilla (Sylvia Hoeks) is the criminal mastermind behind the plot. She and her gang, The Spiders, plot to use Firefall for evil. They need August's savant talents to help them unlock Firefall. Lisbeth has to confront her past to save the present.

Director Fede Alvarez's (Don't Breathe) aesthetic matches nicely with the first film. Pedro Luque's cinematography is dark and alluring; the vast snow is a spectacular sight. Editor Tatiana S. Riegel makes the action nice and concise. Roque Banos's eerie score works wonders for the nightmarish opening credits. It's a great investment for $43 million.

The screenplay by Alvarez, Jay Basu and Steven Knight is a mixed bag. Lisbeth's payback on a wife-beating businessman was perfectly executed. Lisbeth and Blomkvist's reunion was a nice moment. But a few details seem to allude to the last two novels which the film skipped over. Characters seem to know about Alexander Zalachenko (Mikael Persbrandt), Lisbeth's abusive father, when they didn't in the last film. Lisbeth considers Camilla a sociopath before she finds out she's a criminal mastermind?! The double and triple crossing amongst the bad guys was pretty convoluted. It felt longer than its 117 minutes, which is a half-hour shorter than Dragon Tattoo.

Foy makes for a memorable Lisbeth. She's a brutal character, though considerably softer than last time. She's clearly traumatized by her past but moves on. That's a heroine. Her supporting cast is a nice bunch. Hoeks as Camilla is a compelling villain. Gudnasson's Blomkvist was a likable guy. Stanfield as Needham was cool too. While Persbrandt as Zalachenko only appeared in the prologue, we didn't need much to tell what kind of man he is.

The Girl in the Spider's Web is a fine reintroduction to Lisbeth Salander. It might've helped had they adapted the previous two novels. It would've helped transition between Dragon Tattoo Lisbeth and this one. Its convoluted plot is confounding, but its action doesn't disappoint. There's enough good here for a quiet fall matinee. Don't worry. It's not the feel bad movie of the holiday season.