Booksmart

So I was looking for a movie this past Memorial Day. I thought the choice was between Brightburn and John Wick: Chapter 3. But I was curious and picked a third option, Booksmart. This marks the directorial debut of Olivia Wilde and the realization of a screenplay by Emily Halpern, Sarah Haskins, Susanna Fogel and Katie Silberman. Was it worth it? Read on to find out.

Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) are overachievers and proud of it. Why shouldn't they be? They're going to Ivy League! But on their last day of high school, Molly finds out that her slacker classmates are also going to Ivy League. Molly realizes how little she and Amy had fun during high school. So Molly decides to bring Amy along to the cool kids' party. All they know is that Molly's crush Nick (Mason Gooding) is hosting it and Amy's crush Ryan (Victoria Ruesga) will be there.

But they don't know where "there" is. Much of the movie is their odyssey across Los Angeles to locate Nick's house. A series of rude awakenings await them once they get to Nick's. And it all plays out for 105 minutes.

It's certainly a crazy odyssey. But it does wonders to dispel the notion that first impressions are everything. I've already mentioned the inciting incident. But there's one of the best supporting players, Jared (Skylar Gisondo), a seemingly shallow rich kid. He turns out to be a good guy despite his shallowness. His best friend, Gigi (Billie Lourd), the comic highlight, is too loopy to be a snobbish rich kid. Molly and Amy even learn more about their teacher, Ms. Fine (Jessica Williams) and their principal, Mr. Brown (Jason Sudeikis).

Molly and Amy are a likable pair of co-leads. Their whole night is a collective coming-of-age story. While Molly learns not to be so domineering, Amy learns to be assertive. They make some fumbles and utterly stupid decisions, but they never lose their audience sympathy. Their second act fight is devastating even when the film mutes their harshest words. Their reconciliation leads to one last crazy escapade.

Editor Jamie Gross show us how crazy it is. Molly and Amy's classmates end their last school day with wild partying before their parties. The girls' first stop, Jared's party, ends with a frantic encounter with Gigi and a security guard. Their next stop finds them thrust into a murder mystery party and a bonkers drug trip. Nick's party has an impressive tracking shot, which begins with Amy swimming in the pool and ending with her quarrel with Molly. Jason McCormack's cinematography is also highlighted by an alluring color scheme. Dan the Automator, best known as a producer for the Gorillaz, sets the movie to an energetic score.

Booksmart's an insightful story of teenage confusion and frustration. It's also a wild and sometimes odd film. You'll have much to learn if you can withstand the craziness. See it if it's playing locally. It's worth it. Let's hope it's not ignored early next year like last year's Eighth Grade ultimately was.

Aladdin

I'll bet you know about Aladdin and His Wonderful Lamp. But did you know Aladdin had two genies in Arabian Nights? One in a lamp and the other in a ring. So when's the Genie of the Ring gonna get his time in the spotlight?

Answer: not this year.

Disney's Aladdin is its latest live-action remake. It has only one Genie, he of the magic lamp, and he is played by Will Smith. Director Guy Ritchie and his co-writer, John August, conjur up an entertaining spin on an old story. It has some issues, but they're easy to overlook.

Aladdin (Mena Massoud) is a "street rat" in Agrabah. He meets a disguised Princess Jasmine (Naomi Scott), who passes herself off as her own handmaiden. Aladdin sneaks into the palace to see her again. That's when he's arrested and brought before Grand Vizier Jafar (Marwan Kenzari). Jafar needs Aladdin to retrieve a magic lamp in the Cave of Wonders. He does, but Jafar traps him in the Cave.

But at least Aladdin has the lamp. The Genie inside gets him out. Aladdin wishes himself to be a prince to win Jasmine's heart. He succeeds despite a few fumbles. But he doesn't want Jasmine to know that he's not a prince. That drives a wedge between him and Genie. In steps Jafar, who wants Genie to help him conquer Agrabah, and then, the World! Aladdin has to stop him from winning.

It's hard to imagine anyone but Robin Williams as Genie. But Will Smith's Genie fills the void spectacularly. He's a fun character whether he's subdued or in manic mode. He's also a capable mentor for Aladdin. His CGI-induced Blue Form is surprisingly easy on the eyes. The screenplay gives him a love interest in Jasmine's actual handmaiden, Dalia (Nasim Pedrad). Dalia, herself, is a great new character and her chemistry with Genie is endearing. The film's framing device tries to hide the identity of its narrator and his family, but it's beyond obvious it's them once you see them.

What about the rest of the cast? Mena Massoud is a capable Aladdin; sly and honest, he gets the audience's favor right away. Not even his second-act selfishness diminishes the "diamond in the rough." He has great chemistry with Naomi Scott's strong-willed idealist Princess Jasmine. Marwen Kenzari's Jafar is a formidable and intimidating foe. Billy Magnussen plays another new character, Prince Anders, a suitor for Jasmine, a dunce who barely plays a part. Navid Negahban has a much bigger part as the Sultan, a sympathetic man despite his stern ways. Numan Acar and Robby Haynes also stand out as the Sultan's main guards, Hakim and Razoul.

Alan Menken's score mixes some new material with his original work. The songs' arrangements are more extravagant than the original film's. They sounded too much at first but I got used to them overtime. Benj Pasek and Justin Paul revise some of Howard Ashman and Tim Rice's original lyrics and add a new song for Jasmine, Speechless. It's a strong ballad for Jasmine, though its reprise stalled the film rather than support it.

And for some technical highlights. The editing is fast-paced but it's not as frantic as Legend of the Sword. At least it fits with the fast paced music. Production Designer Gemma Jackson and Costume Designer Michael Wilkinson create the bright, colorful Arabian world of Agrabah. Every color stands out spectacularly. The CGI and Practical sets complete the film's visually appealing setting.

What else can I say? Aladdin's plot points are familiar but their executions aren't. It was intriguing to see these new ideas play out. There's rarely a dull moment or a baffling one during its 128 minutes. You can thank the all-mighty Genie for much of that. Oh yeah, and the leads too. Now let's see how this theoretically live-action The Lion King will do.

Pokemon: Detective Pikachu

I haven't kept up with Nintendo's ever growing list of Pocket Monsters in their Pokemon series in years. I don't even have a Nintendo 3DS to play the latest games. But I still have some interest in the franchise. Pokemon: Detective Pikachu, based on a 3DS game, helps that interest.

So Tim Goodman (Justice Smith) is an ordinary insurance salesman in a world of superpowered Pokemon. His dad, Harry, a detective, is killed in a car crash. Tim leaves Leaventown for Ryme City to settle Harry's affairs. Tim meets his dad's Pikachu, whose perfect English (vocalized by Ryan Reynolds) only he understands. Everyone else hears him squeak his own name (courtesy of his longtime anime voice, Ikue Ohtani). Pikachu is certain that Harry's not dead, so he and Tim set out to solve the mystery.

Joining our heroes is news intern Lucy Stevens (Kathryn Newton) and her permanently-migrained Psyduck. Their investigation leads to "R," a substance which makes Pokemon stronger and feral. It leads to a conspiracy involving Ryme City's founder Howard Clifford (Bill Nighy) and the clone Pokemon Mewtwo (Kotaro Watanabe and Rina Hoshino). Meanwhile, Harry is a lot closer than our heroes realize.

The film's screen story/screenplay is credited to five writers: Nicole Perlman, Dan Hernandez, Benji Samit, Derek Connolly and director Rob Letterman. It's not a complex mystery but it tries. There's plenty of surprising twists and turns as our heroes investigate the conspiracy. There's also a bit of funny detective satire from Detective Pikachu and Lucy's mouths. The villain's endgame is equally silly and creepy. There are a few plot holes but they're easy to navigate around.

And how about the cast? Tim is a likable protagonist. Detective Pikachu is a fun electric mouse. Their chemistry together is entertaining and involving. Their "all is lost moment" in act 2 is somewhat cliche but it's also effective drama. Lucy and her Psyduck are endearing. Clifford is fine. But it's Mewtwo who's the best of the main cast. Of the overall cast? A Mr. Mime, who factors in a goofy interrogation scene.

Let's talk about the technicals. The CGI Pokemon look and feel real. Detective Pikachu, in particular, is as realistically furry as a dog-sized mouse might be. His expressive face bypasses the uncanny valley at lightspeed. Any too obvious effects actually works for the film's advantage. Want an example? The villain's shapeshifting Pokemon Ditto and its creepy eyes present in every form. Production Designer Nigel Phelps deserves praise for making Ryme City out of London. Cinematographer John Matthieson's use of color results in an alluring film noir. The sound designers' best work is fusing Watanabe and Hoshino's voices into the unearthly voice of Mewtwo. Henry Jackman's score fits the film's relatively dark and mysterious tone.

Pokemon: Detective Pikachu requires some familiarity with the franchise. But it won't punish you for unfamiliarity unlike some other video game movies. You'll leave with a basic understanding of the Pokemon world. The film's attention to detail will wow longtime fans. Its 104 minutes go by quickly, perhaps too quickly. I'm ready for a sequel, but I question how they'll handle the film's final twist. 

But until then, at least we have the model for future game movies to build upon. Perhaps the first, true great video game movie is on the horizon. Maybe not this year.

Avengers: Endgame

As Dr. Strange said last year in Infinity War, "We're in the Endgame now."

Actually, no. Avengers: Endgame may sound like the end, but it's not completely. Spidey comes back in a few months in Spider-Man: Far From Home. A few Marvel sequels and newcomers appear in the next few years. And who knows what else?

Let's give Strange some credit. These next Marvel movies will come with a new status quo. Let's read why ... and not give away too much.

Thanos the Mad Titan fulfilled his master plan to assemble the six Infinity Stones and dust off half the universe. The Avengers, and Captain Marvel, assemble to take down Thanos, get the Stones back and undo his mess. But Thanos already destroyed the Stones. Uhh...

Five Years Later, Ant-Man suddenly returns from the mysterious Quantum Realm. His time there gives The Avengers an idea to clean up the cosmic mess. They'll just go back in time, swipe the Infinity Stones, come back to the present and wish back the dead. Easy?

No. Among other issues, Black Widow and Hawkeye learn the price for obtaining one stone, while Ant-man, Captain America and Iron Man find their stone quests complicated by themselves, and evil follows them to the present.

The film's gargantuan length of 182 minutes sounds intimidating. But it's worth every minute. The first act lets The Avengers reflect on their lives as they cope with the mess. We're introduced to such sights as an overweight Thor and a smarter Hulk (long story). The second act splits up our heroes as they go back to The Avengers, Thor: The Dark World, and Guardians of the Galaxy to find the Infinity Stones. The third act is one last battle with the Mad Titan and his Army. It must be seen to be believed.

So what stands out? Directors Anthony and Joe Russo and their technical and story Marvels deserve praise for syncing the new story with the previous movies. The past characters don't look any older than they did then. The editing is just great. "The Avengers" part gives a nice expansion of the story post final battle. Iron Man, Captain America and Ant-Man's trip to the 70's gives us one last Stan Lee cameo. The new insights into Thanos almost makes me want to take back any benefit of the doubt I had last time. And, of course, the final battle gives everyone much to do.

Avengers: Endgame, more than any other Marvel movie, requires knowledge of the past 21 movies. Even if said knowledge is to know where certain characters come from. Those films all built up to its final battle and it's worth every minute. The resolutions to its long standing characters are sentimental and powerful. It provides some ideas on where to take the next films. But how will they top this galaxy-spanning adventure? Then again...

Oh, and go home once the credits start. There's nothing during or after the credits. You can stay if you want, though. You'll hear more of Alan Silvestri's score if you do.

Hellboy

Mike Mignola's demonic superhero Hellboy was first summoned to the big screen by Guillermo Del Toro's 2004 film and its 2008 sequel, Hellboy II: The Golden Army, both starring Ron Perlman as the titular jerk with a heart of gold. Unfortunately, a third film with Del Toro and Perlman never arose. The franchise starts again with Neil Marshall (The Descent) directing David Harbour as Hellboy. Let's read about it.

1944. An Allied Strike Team thwarts a Nazi ceremony, with assistance by Rasputin, to unleash Hell on Earth. A demonic infant appears and Professor Trevor "Broom" Bruttenholm (Ian McShane) raises the hell-spawn as his son, Hellboy. Of course, Hellboy doesn't learn this tidbit until...

Present Day. Hellboy works under Professor Broom in the Bureau of Paranormal Research and Defense. Guess what it does?

Anyway, Hellboy's latest assignment is to stop Nimue the Blood Queen (Mila Jovovich) from unleashing Hell on Earth. King Arthur ("Yes, that King Arthur." as Broom's narration bluntly states.) cut her up and scattered her still living body across the English countryside. But the pig monster Grugach (Body by Douglas Tait, voice by Stephen Graham) put her back together. Hellboy is assisted by the psychic Alice Monaghan (Sasha Lane) and the were-jaguar Ben Daimio (Daniel Dae-Kim). It gets complicated when Nimue goads Hellboy into fulfilling his prophesied role as Harbinger of the Apocalypse.

I did my best to sum up the story. It's a simple story jumbled in knots. A major subplot is that Hellboy doubts that fighting demons is right and that demons are victims. But it takes a trip to the infamous Baba Yaga's chicken-legged hut to find out that demons are evil. But Grugach's backstory as a Changeling makes him legitimately sympathetic. In short: demons aren't evil, then they are; OK, maybe some.

The film runs 121 minutes, but the plot is slower than that. Hellboy is summoned to England, not to deal with Nimue, but to help the snobbish Osiris Club hunt giants. It's actually a protracted trap. We only find out later they had the last of Nimue's pieces. But again, later. We do get other story points told here, though.

The worst offense to the story is Hellboy and Professor Broom's relationship. They spend most of the movie arguing like a rebellious teen and their parents. It's funny but not really endearing. When Nimue eventually kills Broom, a potentially tragic moment falls flat. Especially when it segues into more of the apocalyptic finale already in progress. Wish we saw more of Broom's Heart of Gold a little earlier than that.

Harbour as Hellboy, at least, tries to save the film. His first scene has him deal with a vampirized BPRD agent. We can understand his hesitation from here. If only the story was more understandable. Still, his sarcastic attitude is entertaining and his over-joyous reaction to meeting pulp hero Lobster Johnson (Thomas Hayden Church) in the mid-credits scene is infectious. Joel Harlow deserves whatever praise he gets for designing Hellboy's appearance and those of the other demons.

Lorenzo Senatore's cinematography is another technical highlight. Sure, the fight scenes frequently jump from cut to cut. But when the shots stay still, and especially when they're stitched into one singular shot, they're impressive. Grugach is a mix of a practical monster suit and a CGI head. The CGI is obvious but it helps make Grugach more pitiable. Benjamin Wallfisch's score admirably sets the film's edgy mood. But the numerous rock songs are more noticeable.

And how can we forget Hellboy's R-Rating? It shows it off like a badge of honor. Hellboy's visit to Baba Yaga is the film's most disturbing scene. And I don't just mean Baba Yaga's withered visage. The apocalyptic finale is the second most disturbing scene. We'll leave it at that. Some of the violence loses its luster, especially by the third or fourth beheading. At least we get a groan-worthy pun when Hellboy dispatches Nimue.

I said a lot, so I'll make the summary quick. Hellboy isn't for the faint of heart. It might satisfy those who felt the first films needed more blood. Its overemphasis of blood left me little to care about the characters. But the few positives I found made it tolerable. Let's not imagine how it could've gotten worse.

Missing Link

Are you Yeti for more Yeti movies? Well, Yeti or Not, here they come. Two, in fact.

One by Dreamworks, Abominable, debuts this fall. You'll likely see its trailer with the other, Missing Link, right now. Missing Link is another Laika spooktacular. See it before Avengers: Endgame is afoot.

Here's why:

Sir Lionel Frost (Hugh Jackman) travels the world investigating myths and legends. After his attempt to document the Loch Ness Monster goes awry, Frost finds a letter that seemingly validates the Sasquatch. He goes to Washington State and finds the letter was written by the creature himself. "Mr. Link" (Zach Galifianakis) is tired of living alone and asks Frost to help him find his cousins, the Yetis, of Shangri-La. Frost wanted to find Mr. Link to get into a snooty Gentlemen's Club. But he helps Link go to Shangri-La.

It's not an easy trip. The guys first steal a map belonging to a late pal of Frost's. Said pal's wife, Adelina (Zoe Saldana), joins them. The snooty Lord Piggot-Dunceby (Stephen Fry) doesn't want Frost to embarrass high society with his quests. So he sends an assassin, Willard Stenk (Timothy Olyphant), after Frost and Co. There's also the chilly reception our heroes get at Shangri-La.

Chris Butler directed, wrote and designed the characters for this tale. Frost's first scene sets him up as an insensitive jerk. His valet, Mr. Lint (David Walliams), understandably quits after he almost becomes Nessie food. But Frost isn't as unlikable as the snooty hypocrites of the Gentlemen's Club. His interactions with Mr. Link and Adelina show him as a Jerk with a Heart of Gold.

Meanwhile, Mr. Link's literal mindedness is a lot of fun. But we understand his loneliness and sadness. His interactions with Frost and Adelina help him find meaning. Adelina's desire for adventure is understandable. Her resolution with Frost is fulfilling and atypical. Overall, the leads have believable character development.  Their story is told over a slow and steady 95 minutes.

Amongst the supporting cast, the best has to be Shangri-La's Yeti Elder (Emma Thompson), who might have said the greatest oxymoron in film history: "The people we don't want here are trying to leave! Force them to stay!"

Missing Link's monsters and humans have equally exaggerated and appealing designs. The film's production design is brighter than the creepy look of Laika's other films. The CGI additions to the practical sets are perfectly blended. But the visual star of the film is cinematographer Chris Peterson. He gives the film astounding views of the scenery. It's his tracking shots that make the action scenes into incredible set pieces.

Missing Link is another marvelous work of stop-motion. Its slow and steady plot might make it feel longer than it is. But its set pieces are unforgettable. If you want to see it on the big screen, see it now. The Endgame is coming and it's coming quick.

Jethro the Cat Part 6 (Or, The Origin of the Name).

The Story of Jethro the Cat was written in November 2009. My Grandma requested a short story from me. I had some writer's block. But I was on to something. Let's read on.

I jotted down an idea for a screenplay for an animated film. Inspired by the troubled production of 1962's Mutiny on the Bounty, I thought of a story where one brave hero saved the day on a movie set when it went awry. That hero's name: Jethro the Cat. I liked the name. So when she asked me, via Skype, what story I'd write, I responded with the name.

I wrote it. I liked the mix of Dungeons and Dragons, Looney Tunes and The Dukes of Hazzard. Well, on the last title, I lived in Atlanta for almost half my life. So a southern inspired RPG cartoon story was a thing for me.

Sometime later, my Mom suggested I start a movie blog. When I did, I took the name of my poem's hero. The blog, Jethro Goes To The Movies, became Stuff About Movies in 2014. I liked my poem so much that I sat on it. I wanted my Cat to be an officially-published character. A video game. Cartoon. I thought having a blog with the name would be a conflict of interest.

I think I sat on the idea too long.

Why am I bringing this up now? Why publish now?

My Grandma, the one who I wrote the story for, passed away on March 31, 2019, at 97. She'd been ill for a while. I thought of releasing the story online for a while (Like Sword Art Online; it was on Livejournal before it became a Globally Polarizing Franchise). Her passing finally pushed me. I booted my computer up, shortly after I turned it off for the night, just to retrieve my poem and finally post it online. I still hope something comes out of my weird mixture.

In the meantime, I and my alter-ego, Jethro the Cat, will still go on, reviewing recent movies. But here's a conundrum. The next film I'm thinking of is Pet Sematary, but it's kinda depressing. Should I go or not? I'll have to decide.

Here's a link to my Livejournal, where The Story of Jethro the Cat is also published, and where I am working on revising it. There's other stuff too: See it here.

Shazam!

In 1940, Fawcett Comics debuted its answer to Superman, Captain Marvel. DC did not take it kindly and sued Fawcett out of existence in 1953. In 1972, DC bought Fawcett's assets, including Captain Marvel. Because of Marvel's Captain Marvel, they couldn't use the name on its comics. But they could use it in the comics. At least they had the right title substitute: Shazam!

Decades later, DC's Captain Marvel is now DC's Shazam. It's now the name of his first feature film. It's a simple story for a hero with a complicated history. And it's a great one.

Billy Batson (Asher Angel) is a Philadelphia foster kid looking for his real parents. He's adopted by the Vasquez's (Cooper Andrews and Marta Millans) and joins their five other foster kids. When Billy defends his new foster brother, Freddy Freeman (Jack Dylan Grazer), from bullies, he is summoned to meet the Ancient Wizard Shazam (Djimon Hounsou).

The Wizard wants someone to pass his powers to. Billy is it; when he now shouts the Wizard's name, he morphs into a super-powered adult (Zachary Levi), also named Shazam (long story). He plays around with his powers with Freddy's help. Until Freddy gets sick of his recklessness.

Dr. Sivana (Mark Strong) was rejected by the Wizard Shazam as a child. He now has the powers of the demonic personifications of the Seven Deadly Sins. But he also wants the Wizard's powers. He'll threaten Billy's new foster family to get them. Billy will have to mend his relationships to stop Sivana.

Director David F. Sandberg works from a script by Henry Gayden and Darren Lemke. It's a simple story with intricate emotions. Billy learning of, and playing with his powers, is comedy gold. So is the issue of his alias. Billy's story of him finding his place in the world is captivating. Billy only accepts his foster family once he learns the truth of his past. It leads to the final battle where Billy and his foster siblings take on Sivana. It's as awesome as it's heartwarming.

Asher Angel's Billy is a troubled, yet good kid. You wouldn't blame him that much with his family issues. Zachary Levi as Shazam is perfect as a kid with new-found privileges. You'll be amazed as he becomes a legitimate hero. Glazer as Freddy is a good pal for Billy. His chemistry with Angel/Levi is great. Billy's other foster siblings, Mary (Grace Fulton), Darla (Faithe Herman), Eugene (Ian Chen) and Pedro (Jovan Armand), are a nice bunch, too. Finally, we have Strong as Sivana, who's a perfectly legitimate threat for this sunny film.

It's amazing how a film like this cost no more than $100 million. The visual effects crew dazzles us with Shazam and Sivana's superpowers. The CGI enhancements to his costume are flawless. Billy's on-screen transformations are seamless. The Seven Deadly Sins are legitimately scary CGI creatures. The best shot from cinematographer Maxime Alexandre is the debut of Billy's superpowered foster family. The Wizard's realm, the Rock of Eternity, is incredible. The sound design and Benjamin Wallfisch's score also work wonders. It's another fine league of technical heroes on screen.

Shazam! is an excellent crowd-pleasing superhero film. It's a film that enjoys super-heroics as much as its young hero. Sure, he's irresponsible at first, but he gets over it. And you'll wow when he does. I've some issues with the plot but they're relatively minor. Overall, you must see it on the big screen at any price. It'll leave you ready for a sequel. The mid-credits scene promises an unusual foe for our hero. The end-credits scene has some fun with Aquaman.

Jethro the Cat Part 5

This poem is as long as I need it.
Here's part five, so don't have a fit.

The animals were released; they were pretty shocked.

They never expected how the Gamemaster was socked.

Even Vance congratulated Jethro, even if grudgingly.

So did Bo, Daisy Mae and Buck; yes, those three.

Even Baxter, not really a speaker, got out a few words.

“That’s the end of it all. I’ll go chase some birds.”

But that’s not the end of the story, not in a bit.

There’s more to the story that you need to get.

The six animals quickly got back to their dimension.

Their neighbors were there to give them a reception.

When they heard of Jethro’s deeds, their minds drew blanks.

They couldn’t decide if they ought to give him thanks.

But before they could decide, Jethro had gone away.

For the Cat just wanted to get back home right away.

So he returned to his house outside the metro zone,

And once again began to live his life on his own.

But this time, the neighbors did not really complain,

Whenever Jethro decided to go against the grain.

They had some new respect for their neighbor Jethro,

The Cat whom convention could ever really know.

And that was the story of Jethro the Cat,

And now you know that.

Jethro the Cat Part 4

One more part, I realize,
will make the poem easy on the eyes.

Elsewhere, Jethro was wandering all by his lonesome.

It was no surprise that he’d not succumb to boredom.

“Now that I’m not with a group, I can see action.”

He was then met with some of the Gamemaster’s faction.

“Attention, you cat. Yes, you there.” One of them said.

“It’s time that we put you down.” Another declared.

To their threats, it was known that Jethro did scoff.

He looked at them for seconds, and he gave a big cough.

“You insult our threats; we can’t forgive that.”

The enemy leader stated before he faced Jethro the Cat.

In no time at all, the battle was finally resolved.

It was Jethro who won; the threat he dissolved.

In the Gamemaster’s lair, they told him what occurred.

And as for a response, this is what they all heard.

“My way prevails! To have it defied is totally absurd.”

“But if it makes you better, I’ll verify your word.”

With this declaration, the Gamemaster went off to war.

To face the cat whose minions’ egos he’d made sore.

There was a great field that had never seen sunlight.

That was where Jethro and the Gamemaster met for a fight.

The Gamemaster was shocked when Jethro called him the Sire.

“You said you made the rules, or am I a big liar?”

“If you called the shots, then you do control it all.”

“Your thoughts are too fast,” the Gamemaster said.

“But somehow, you’ve hit the nail right on the head.”

“I’ll now shift the scene; I’ll change the location.”

And then, just like that, they were right in his dungeon.

The animals met each other again; it was not a great time.

Mainly when Jethro mocked Vance’s feet full o’ grime.

“Now, you animals listen up!” said the Gamemaster.

“I shall make his defeat all the more faster!”

The five could care less about Jethro’s big battle.

The feelings were mutual; but no one did prattle.

Instead, they watched as Jethro got his big showdown.

It was a fight that all thought Jethro would go down.

But all of a sudden, the fight came to an end.

That’s all because Jethro refused to contend.

No, it’s not that he didn’t think fighting was wrong.

It’s because he knew the Gamemaster’s weakness all along.

“You know what to expect because you call the shots.”

“Time for something different. I’ll tie you in a knot.”

“And if you wondered how I defeated your minions.”

“It just so happened that I made the same decisions.”

And with this sudden surprise, the Gamemaster did abate.

That’s when he collapsed like a forty ton weight.

Jethro the Cat Part 3

The Poem was still long even after I cut it into two. 
So now, it's three parts to view.

Meanwhile, the six animals travelled around the land,

And defeated those minions who had goodness banned.

But Jethro had enough; his impatience couldn’t wait.

He talked to Vance, and asked why he couldn’t participate.

“You want to know why we won’t let you fight?”

“Because it’s how the world works, this is just right.”

“We never liked you because you mock our traditions.”

“Learn to behave, and we’ll not regret your addition.”

It was right at this moment that Jethro did depart,

As Vance came to view it, his actions were the right start.

But the other animals who saw it; they didn’t agree.

The punishment, they felt, was not the right degree.

After Jethro’s departure, the group carried on.

They fought more with some brains and some brawn.

But soon, the battles grew tougher and longer.

A pack of Grimms was a chore since they were stronger.

Just when the group thought it couldn’t be worse,

Then came the ones who are never contrary in a hearse.

“Attention, you travelers,” the six of them said

“It’s time that we showed you true fear and dread.”

To the warning, the five animals refused to regard,

And they readied themselves on the villains’ backyard.

Unfortunately for them, the evil ones were victorious,

And they whisked them off to parts most inglorious.

Everything above was seen by Jethro’s study eyes.

He’d quickly go save them, or so one might surmise.

But actually, Jethro was happy that they were defeated.

And he went off to do what he liked and like what he did.

In the dungeon constructed by that Evil Sire,

The five animals were trapped, surrounded by fire.

“It’s not fair that they won,” Daisy Mae did mope,

“How could they beat us? Their brains are just soap.”

“Good always win, and bad ones lose,” Vance complained,

“But those lackeys beat us; I want that explained.”

“Because it’s my world; it does what I want done.”

They saw the Gamemaster; by his presence, they were stun.

He then changed shape; he was now the Evil Sire.

“To have you defeat me? No, that was not my desire.”

“But what’s this? I see that the cat’s not among you.”

“Well, I’ll have to find him. That’s not hard to do.”

And with those words, the Evil Gamemaster went away.

And left the five animals in complete disarray.

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.