Top Gun: Maverick

Top Gun is pretty much the greatest fighter pilot movie ever made. A sequel would have a lot to live up to. It took my entire lifetime before that sequel, Top Gun: Maverick, finally flew in. I think it more than lives up to the hype.

The aptly named Maverick (Tom Cruise) has spent the past three decades refusing to rank up beyond Captain. The Navy finally decides to ground him for his maverickness until his old wingman Iceman (Val Kilmer), now the Pacific Fleet admiral, intervenes. Maverick gets sent back to the TOPGUN program as an instructor. His mission, which he has no choice but to accept, is to train the Navy's best pilots to fly in and destroy an unsanctioned uranium plant. Chief among the pilots is Rooster (Miles Teller), whose dad was Maverick's ill-fated RIO Goose (Anthony Edwards in the first film), and the egotistical Hangman (Glen Powell).

Maverick spends quite a bit of time training these recruits and annoying Vice-Admiral Cyclone (Jon Hamm) with his antics. He also finds time with former girlfriend Penny (Jennifer Connelly). Meanwhile, Rooster resents Maverick for keeping him out of the Naval Academy. They'll have to rely on each other to get through the mission alive.

Joseph Kisinski starts the film the same way Tony Scott started the first one: aboard a flight deck at daybreak as Harold Faltermeyer's famous anthem plays before Kenny Logins' Danger Zone kicks in. The building anticipation isn't as strong as the first film's scene but it's all right. It also looks nicer thanks to Claudio Miranda's cinematography. It's a good way to get us in the mood. The mood is kept going by Faltermeyer and his scoring collaborators, Hans Zimmer and Lady Gaga. 

The main mission is sure to amuse anyone who remembers The Dam Busters. Anyone who doesn't may recognize it as Star Wars on Earth (which is how the first film was pitched). Either way, you will get a kick out of its airborne sequences. There's plenty of hotshot antics in Maverick's flight school and the mission itself. Editor Eddie Hamilton builds up the suspense whenever Maverick or the others take to the skies. You'll guess right away, for example, that Rooster and Maverick will survive a firefight in an ammo-less F-14 with a "felon." How they survive will keep you guessing, and the payoff is thrilling. The visual effects also perfectly obfuscate the difference between a real plane and a mainly-CGI one.

Sure, if you've seen one hotheaded Tom Cruise character, you've seen them all. But Maverick is still a charismatic character after all this time. He tries to prove to himself and his superiors that he's still relevant. It's a compelling arc that keeps his invested for 131 minutes. He gets some laughs as he and Rooster try to sneak out of enemy territory and sadness as he visits the ill Iceman. Iceman's few raspy lines were reportedly constructed with an AI program (due to Kilmer's own ill-health) and it's a great touch to the already spectacular sound design.

Maverick's not the only Top Gun here. Rooster and the other recruits are a strong squad here. Rooster's plot is as compelling as Maverick's, while Hangman ultimately proves himself a good man despite his bravado. A few more highlights include Lewis Pullman as Bob, Monica Barbaro as Phoenix and Jay Ellis as Payback. Cyclone and Rear Admiral Hammer (Ed Harris) are acceptable and reasonable antagonists for Maverick to fly over. On the civilian front, Penny and her daughter Amelia (Lyliana Wray) bring some much-needed gravity to ground Maverick's ego. 

Anyone looking for a simple blockbuster will find it here. Top Gun: Maverick will thrill you on land and in the air. You won't get too lost if you lack either the pop-cultural osmosis or firsthand experience of the original. Its relatively simple plot is a rarity today. This is the kind of film that was made for the biggest screens possible. This is the kind of film made for holiday weekends. This is the kind of film summer was made for. Simply see it soon. It's just that good.

The Bob's Burgers Movie

We follow one TV transplant with another with The Bob's Burgers Movie. The animated Belchers follow their Fox Sunday neighbors, The Simpsons, in becoming movie stars in this musical murder mystery. What can you expect if you haven't tuned in once?

Bob (H. Jon Benjamin) and Linda Belcher (John Roberts) run the titular joint on Ocean Avenue. But they have seven days to pay a loan, or the Bank will foreclose on them. A new sinkhole in front of the place dissuades any business for them. Their kids, Tina (Dan Mintz), Gene (Eugene Mirman), and Louise (Kristen Schaal), explore the sinkhole and accidentally unearth the skeleton of a murdered carny. The street's landlord, Calvin Fischoeder (Kevin Kline), is arrested for the murder. 

The kids, led by Louise, investigate the murder mystery. They have their own issues as summer vacation approaches: Tina hopes that Jimmy Pesto Jr. (also Benjamin) will be her "summer boyfriend"; Gene hopes his new band will take off; while Louise hopes her peers will stop calling her a baby. Meanwhile, Bob, Linda and their favorite customer Teddy (Larry Murphy) open a guerilla burger cart at nearby Wonder Wharf. Both groups discover a conspiracy to destroy the Wharf.

Anyone unfamiliar with the show won't get lost. You'll get to know the Belchers and their supporting cast pretty quickly. They're all a quirky and relatable bunch of characters you'll get to like. Fischoeder and beleaguered Sgt. Bosco (Gary Cole) are a few highlights of that supporting cast. Its opening number perfectly distills the basic premise in a few minutes time. The stakes get sillier the more they are raised in this mystery. How so? The climax involves a go-cart chase!

The music was co-composed by series creator Loren Bouchard (who also co-directed and co-wrote the film) and many others. The songs are extremely upbeat numbers you'll wanna tap along to. They're accompanied by some of the bounciest animated choreography you'll see. The movie's only flaw, in fact, is that it could have used more than its four numbers. It's about a half-hour between the first and second numbers - the latter a group number for the carnies. The following numbers are saved for the actual villain and the end; they're still entertaining.

The Bob's Burgers Movie is ready to fill you up with 102 minutes of upbeat silliness. It may be as episodic as the show, but it's an entertaining big screen episode. Fans will get more time with the Belchers, while newcomers will get their appeal in no time. You'll order up some fun if you see it soon. It's a good way to get you in that summertime mood.

Downton Abbey: A New Era

 Downton Abbey transplanted Jullian Fellowes' ITV series onto the Big Screen to pretty good results. The Crawley family is ready for your acquaintance in their cinematic follow-up, Downton Abbey: A New Era. And they have a problem on two fronts:

Violet Crawley, Dowager Countess of Grantham (Maggie Smith), has just been willed a French Villa by a former lover, Marquis de Montmirail. Violet is too ill to travel, so Lord Robert (Hugh Bonneville), former butler Mr. Carson (Jim Carter) and a few others, head there in her place. The new Marquis (Jonathan Zaccai) drops a relative bombshell on the unsuspecting Lord Grantham. Meanwhile, Countess Cora (Elizabeth McGovern, whose husband Simon Curtis is the director) announces that she may not be long for this world either.

On the home front, the abbey is occupied by a film crew shooting their newest silent melodrama, The Gambler. The Upstairs welcome the handsome sum with which they can renovate the Abbey. The Downstairs crew is especially starstruck by leading lady Myrna Dalgeish (Laura Haddock), though not with her spoiled demeanor. Lady Mary (Michelle Dockery) and former footman Mr. Molesley (Kevin Doyle) come to the rescue when The Gambler needs emergency talkie surgery. Leading man Guy Baxter (Dominic West) offers butler Thomas (Robert James-Collier) a compelling proposition. Director Jack Barber (Hugh Dancy) offers Lady Mary one of his own.

Needless to say, there's a lot going on in this 125-minute film. Surprisingly, the easiest bits to follow are call-backs to the show. We get Lady Mary, for instance, describing how her first husband (Dan Stevens in the first three seasons) died the day their son was born. It's a compelling scene even if you haven't caught up on your Downton. A few character threads from the first film were easy to remember. But Lady Cora's terminal subplot is lost in the shuffle and turns out to be a false alarm. Still, fan or not, you'll feel something when Violet finally expires - especially after her choice of last words.

The home front is essentially a British take on Singin' in the Rain. The revelation will hit you full force once you know where it's going. But you'll like where it's going. In particular, Myrna is a cockney deconstruction of the older film's Lina Lamont. She's a raging prima donna who is painfully aware that she's not "star material." But she doesn't see herself as anything else but a star. Lady Mary and the Downstairs crew eventually turn her life around with some support. It's a surprisingly strong characterization for this character type. All in all, The Gambler's troubled production is an entertaining affair.

Andrew Dunn's cinematography is the technical highlight of the film. Whether it's the colorful French Villa, the opening fisheye aerial shots, or Downton itself, his work is splendorous. Credit also goes to production designer Donal Woods for visualizing the appealing locales. Our first glimpse of Downton is made majestic when John Lunn's classic theme kicks in. There's some surprisingly good sound work when The Gambler's dubbing begins. The playback is just too clean.

Downton Abbey: A New Era is another fine showcase for its massive ensemble. It eases you into the show's lore pretty well. A few subplots - other than the one I mentioned - can get lost in the shuffle. Its new characters are welcome additions to the Downton world. There's enough to appeal to new fans and veterans alike. Who knows if this is the last we'll hear of the Crawleys. If it is, it's a good second sendoff for them. It's worth at least a watch; you'll have to decide when and where.

Chip N Dale: Rescue Rangers

 The most I remember about the Disney show Chip N Dale: Rescue Rangers boils down to the theme song and visuals. Any individual episode plots? I've forgotten. The Lonely Island, however, are out to jog a few memories with their live-action/animated take on the show. It's a wackier take on Who Framed Roger Rabbit and it's on Disney + now.

Chipmunks Chip (John Mulaney) and Dale (Andy Samberg) used to star in the titular show, where they and their fellow Rescue Rangers "pick up the slack" when "some crimes go slipping through the cracks." But then their show got cancelled when Dale tried to go solo with Double-O Dale. Years later, Chip's an insurance salesman and Dale is a CGI remodified star. Their fellow Rescue Ranger Monterey Jack (Eric Bana) disappears, having warned them about a "bootlegging" racket. They get on the case.

The ringleader is none other than an adult Peter Pan (Will Arnett), now calling himself Sweet Pete, and his CGI henchmen are Bob the Viking (Seth Rogen) and Jimmy the Polar Bear (Da'Vone McDonald). Our heroes are helped by Det. Ellie Steckler (Kiki Layne), a longtime fan of theirs. Can they overcome their longtime grievances to deal with the biggest cartoon trafficking case in history? Obviously.

Director Akiva Schaffer and his writers, Dan Gregor and Doug Mand, flood the film with meta humor galore. Spotting every fictional film poster (a few highlights include Lego Miserables and Batman vs ET) and licensed cameo is sure to take hours. They take jabs at Cats, The Polar Express and The Lion King for its uncanny valley nature. They even turn Sonic the Hedgehog's rejected initial movie design into a major supporting character named Ugly Sonic (Tim Robinson). The audacity of their jokes is impressive; their most surprising twist is the reveal that obvious villain Captain Putty (JK Simmons) is, in fact, a villain. The only downside is that all the wackiness can easily overwhelm viewers.

It's still a good buddy picture. Chip and Dale are so likable that you'll feel something when Dale is presumably killed (twice) despite knowing he'll be OK. Seeing them work out their grievances makes it a compelling 98 minutes. Ellie is fine and Putty, while no Judge Doom, is hilariously sinister. Pete is a sympathetically sadsack big bad. Bjornson the Cheesemonger (Keegan-Michael Key), a twisted parody of the Swedish Chef, is a memorable bit villain. It's also quite something when we see what the remaining Rescue Rangers, Gadget and Zipper (Tress MacNeille and Corey Burton), are up to. 

There's plenty of visual style with the toon characters. Or, rather styles, as 2D, CGI, claymation and even muppets, occupy the same world as humans, and do it well. I'm sure a lot of the off moments are intentional. For instance, Pete moves around like someone from a Ralph Bakshi film, while some 2D characters are clearly cel-shaded. This is a movie that uncovers the uncanny valley with a spotlight, after all. On the aural side, Brian Tyler composes a good action score with some classic Disney thrown in. It's a good mixture.

Anyone lamenting the loss of Roger Rabbit 2 can finally rest. Chip 'n Dale: Rescue Rangers is a surprisingly worthy successor to the early film. It's a good buddy film, a visual delight, a great treasure trove of cameos & meta humor, and more. Roger Rabbit even cameos! All this in a feature film of a simple adventure cartoon. See what all the fuss is about on Disney + now. You can also jog your memory there with episodes of the old show. 

Doctor Strange in the Multiverse of Madness

Doctor Strange thought he was done with the multiverse. But the multiverse isn't done with him. Get ready to see why in his newest movie, Doctor Strange in the Multiverse of Madness. It's a sequel to Disney Plus's WandaVision series, so ...

Previously On WandaVision:

Wanda Maximoff (Elizabeth Olsen) conjured up her own sitcom world in the town of Westview. She and her husband, the android Vision (Paul Bettany), had twins, Billy and Tommy. A lot of weirdness ensued, and Wanda is forced to cancel her sitcom world. But she misses her twins, despite them being imaginary, and consults the evil Darkhold tome.

This time on Doctor Strange:

Wanda, now the Scarlet Witch, discovers a multiversal girl named America Chavez (Xochtil Gomez). She wants her verse jumping powers to find and supplant an alternate her with a real set of her fake twins. The good Doctor (Benedict Cumberbatch) and his allies come to the rescue. But their stronghold of Kamar-Taj falls to Wanda and Strange soon goes verse jumping with America. They find a verse with superheroes worried that all that verse jumping will destroy everything. Not that it concerns Wanda ...

It sounds like a lot to take in. A lot of it can be explained with a "that's how it's there" mentality. It's most apparent with the other heroes, the Illuminati, whose members include MCU newcomers Mr. Fantastic (John Krasinski) and Professor X (Patrick Stewart). If anything, you'll just have to familiarize yourself with WandaVision and Doctor Strange 1 to get the big picture. Perhaps the biggest misstep in all this is wasting Baron Mordo's (Chiwetel Ejiofor) start of darkness. It's the Illuminati's Mordo, essentially a different character, who antagonizes Strange here. Speaking of which, the climax hinges on the fact that Wanda's alternate twins are not hers. It's a well-acted heel realization.

Sam Raimi's technical Marvels deliver on the title. We have moments like the battle with the one-eyed Gargantos and Wanda's rampage through the Illuminati that make one question the PG-13 rating. A few cinematographic flourishes and creepy ghosts aren't that out of place in The Evil Dead. America and Strange getting drugged by Mordo is splendidly disorienting; you'll think the screen got bigger. America's spectacular verse jumping abilities are highlighted when she and Strange go through many verses in rapid succession. The multiverse is visually stunning, even the post-apocalyptic one, and Danny Elfman's score gives it a grand tone.

Cumberbatch is good as Strange and his alternate selves. The best of those alternates is "Sinister" Strange, a variant maddened by his accidentally causing an apocalypse. Olsen is perfectly menacing as Wanda and sympathetic as the alternate her caught up in the mess. Gomez is quite likable as America Chavez; she maybe a living MacGuffin, but here's hoping she'll be more next time. Rachel McAdams as Christine Palmer gets a bigger and better role than the last film gave her. Benedict Wong (Wong) and Ejiofor are as impressive as they were last time. Of course, Raimi's number one guy, Bruce Campbell gets an amusing cameo and the last line of the film.

It's quite a jarring experience to see this so soon after Everything, Everywhere, All at Once. It's not as delightfully gonzo as the other film but it's still a visual marvel. You'll be fine as long as you focus on the big picture. Otherwise, you'll get thrown off by minute things like the unexplained minotaur in Kamar-Taj (his name's Rintrah) or the cameo in the mid-credits scene. I'm sure a lot of it will be explained in a Doctor Strange 3 or the next time he co-stars in another film. I'll be here waiting eagerly for whatever comes. 

Everything Everywhere All at Once

The 2016 film Swiss Army Man is a buddy movie about a man and a gassy corpse. There, I can describe it in a single sentence. I have, and you will have, difficulty distilling directors Daniel Kwan and Daniel Scheinert's (known together as Daniels) follow-up film, Everything Everywhere All at Once, in a single sentence. Let's see why.

Evelyn Wang (Michelle Yeoh) has a lot on her mind. Tax Day is coming, her dad Gong Gong (James Hong) is here, her daughter Joy (Stephanie Hsu) has just brought her girlfriend, Becky (Tallie Medel) home and her husband Waymond (Ke Huy Quan) wants divorce. And then the Multiverse decides to get involved.

The "Alphaverse" is at war with the reality warping Jobu Tupacki. Jobu distilled all her knowledge of the multiverse in a Bagel-shaped black hole that could destroy everything. The Alphas can "verse jump" to access an alternate self's skills (usually by doing something unbelievably idiotic). Evelyn learns all this when Alpha Waymond possesses her Waymond. She gets the means to verse jump to fight Jobu and her minions. Did I mention Jobu is the Alphaverse Joy? So, it's awkward. 

This is a delightfully gonzo film. It starts normally, albeit with a frenetically verbose family scene. Any sense of normalcy disintegrates when Alpha Waymond appears. It leads to universes with hot dog fingers, no life but rocks, a Ratatouille parody with a racoon (Randy Newman), the really stupid ways to verse jump and a fight with a verse jumper (Jenny Slate) who uses her Pomeranian as a flail. Even the tax agent Deidre (Jamie Lee Curtis) is a verse jumper. The fight scenes are some of the best martial arts lunacy since Scott Pilgrim. What's astounding is that only twelve people manned the effects department.

There's a compelling tale amidst the surreality. Evelyn's multiversal journey helps her mend her multiversal relationships. Take Jobu, for instance. Far from a megalomaniac, she's actually a lonely young woman looking for meaning. Evelyn helps her - and Joy - find happiness. Evelyn's climactic battle against Jobu and her minions has her defeat them with kindness. That and her chasing Jobu as rocks embodies the film's love of Bathos.

Yeoh has a lot to do in 138 minutes from comedy to drama and dramedy. She's stellar as the reluctant heroine and her alternates (who are also her). She's just as flummoxed by the crazy as any unprepared viewer. It's quite a ride to see her rise through it all. Quan makes a welcome comeback as Waymond - whether as a bumbling dad with hidden depths or his more assertive alternates. Hsu is equally compelling as Joy and Jobu. One of Hong's best moments as Gong Gong is him meeting Becky, where we see he's much more progressive than Evelyn thinks. Curtis is unrecognizable as Deidre, who similarly is much more sympathetic than we think. I can go on, but I won't.

Everything Everywhere All at Once is a ludicrously profound movie. What's crazier than a woman making sense of her life? Her making sense of all of her possible lives! That's quite a method to the madness. It's one of the most bizarre family stories you'll ever see. It's just as moving as the normal ones. You'll just have to see it for yourself. See it soon.

The Bad Guys

I didn't have much interest in Dreamworks's animated slate for the last few years. I almost forgot Abominable was the last new one I saw in theaters. It's time to get reacquainted with the studio with The Bad Guys.

Mr. Wolf (Sam Rockwell) and his fellow critters, Mr. Snake (Marc Maron), Mr. Shark (Craig Robinson), Mr. Piranha (Anthony Ramos), and Ms. Tarantula (Awkwafina), are The Bad Guys, the most notorious gang in Los Angeles. They decide to steal the coveted Golden Dolphin award from its latest recipient, the guinea pig Prof. Marmalade (Richard Aoyade). They get caught and thrown in jail. They avoid the last part when Wolf "pleads" for clemency. At least, until they get another chance for the award. The Professor agrees to turn them into The Good Guys.

Their attempts to turn good initially go hilariously wrong. But it all goes wrong when they get it right. Wolf decides he wants to be a real Good Guy; the others don't want to quit. All the while, Marmalade plots to use them as scapegoats for his own evil scheme. The Good Bad Guys have to get together to stop him.

It's a slick crime thriller for kids scripted by Etan Cohen, directed by animator Pierre Perifel and based on Aaron Blabey's book series. The opening perfectly establishes the crew as they rob a bank, make a getaway and try to get Mr. Snake to celebrate his birthday. We get to see these likable misfits act and interact within the first ten minutes. We're told that they turned bad because society treated them like it. But we don't get much backstory than that. A few flashbacks could have developed that portion better. Snake's obsession with guinea pigs doesn't pay off against an actual guinea pig villain. Still, the scheme to bring down Marmalade (and turn Snake good) is a clever one.

The Bad Guys are a likable crew of criminal misfits. Wolf is a delightfully smooth operator who gets his best moments with Gov. Foxington (Zazie Beetz), who has a secret of her own. Snake tries his best to the baddest guy, but his friendship with Wolf shows him wonderfully failing. Shark's obvious, yet fool-proof, disguises are a good running gag. Tarantula is perfectly sarcastic and crafty, as shown when she hacks through the extremely well-prepared security system guarding the Golden Dolphin. Piranha is ferocious and gassy, a weird combination, but it pays off near the end. 

Meanwhile, Marmalade is believably nice even though the film purposefully telegraphs his true colors. The main humans, Chief Luggins (Alex Borstein) and reporter Tiffany Fluffit (Lily Singh), are quite amusing Bad Good Guys.

The animation is a superb 3D approximation of 2D aesthetics. It's easy to picture the movie in cel animated form. There's some Looney Tunes zaniness with anime-styled character designs and effects. They're generally too cuddly to be threatening bar a few moments. A standout sequence is a swarm of guinea pigs in the finale. They look like a singular creature. Daniel Pemberton's score fits right in with anyone of the movie's live action inspirations. 

The Bad Guys are good; not just the characters, but the movie. Its story is not as profound as it could have been. But it's a silly enough crime film for kids. It'll keep them busy until they're old enough to see Tarantino, et al's output. It's a good way to spend a slow afternoon. It'll come to Peacock around June in case you can't see it now. I might just give it a go there, too.

Fantastic Beasts: The Secrets of Dumbledore

The Potter Prequels progress with Fantastic Beasts: The Secrets of Dumbledore. I questioned Warner's plan for a five-film series after the convoluted The Crimes of Grindelwald. Believe me, I still do. But this film's less cluttered (despite being longer) plot relieves some of my perplexedness.

That Dark Lord Gellert Grindelwald (Mads Mikkelsen, tagging in for Johnny Depp) is out to take over the Wizarding World. He takes the relatively peaceful route by running for Supreme Mugwump (Wizard World Leader). But he gets current Mugwump Anton Vogel (Oliver Masucci) to expunge his criminal record. He also needs a Qilin (pronounced Chillin), a Fantastic Beast whose goodness detection is vital to the election. His goons steal a newborn but forget its twin.

Magizoologist Newt Scamander (Eddie Redmayne) and company are sent by Dumbledore (Jude Law) to topple Grindelwald before he gets elected. Dumbledore could do it himself, but as Grindelwald's former friend (and more), he's magically unable to. Our heroes' attempt to thwart Grindelwald in Berlin accidentally enables his Kill the Muggles campaign. They'll have to try again in Bhutan, the site of the actual election. All the while, they have to keep the other Qilin safe. Meanwhile, Credence Barebone (Ezra Miller), who is actually Dumbledore's long lost nephew Aurelius, is on the fence about reconciling with the family.

While David Yates returns to direct a script by JK Rowling herself, they're now joined by the Potter films' head writer, Steve Kloves. It's got quite a few subplots, some more developed than others. The best one involves Jacob Kowalski (Dan Fogler) and his girlfriend, reluctant Grindelwald follower Queenie (Alison Sudol). They're more compelling than Newt, who comes across as a pinball protagonist here. He still gets a tense set piece as he rescues his brother Theseus (Callum Turner) from a German prison. Our heroes' climactic trek through Bhutan involves some clever magical cloak-and-dagger work; this includes a strong payoff for Dumbledore Double Agent Yusuf Kama's (William Nadylam) subplot.

We have some compelling figures driving the plot. Mikkelsen as Grindelwald is a formidably charismatic Dark Lord whose rationality rarely falters. Law as Dumbledore is a reluctant hero who still proves himself a crafty wizard. They have good moments apart and better ones together. It's evident right from the start when Dumbledore and Grindelwald meet. There's so much palpable tension as the two reminisce about their youth. They still care for each other despite their ideological differences. Their mutual tension explodes in a final wizarding duel. 

The technical wizards still know their craft. The production designers and visual effects team collaborate on more amazing locales. The German prison is a cave made more menacing by the monstrous Manticore and its creepy offspring. Bhutan itself is the most impressive locale the film visits. The CGI creatures are another fantastic menagerie of beasts. Pay close attention to the Qilin for a visual clue on the extent of Grindelwald's plan. It didn't hit me until he got exposed. The magical books used for teleporting are nifty effects, too. A few more points are awarded to George Richmond's cinematography and James Newton-Howard's score.

This was conceived as a five-film series. But The Secrets of Dumbledore has a clear ending in case it doesn't conjure up major money. If so, then it ends the series on a decent note. It's a bit rushed especially considering the much-hyped final duel between Dumbledore and Grindelwald is still years off. Ironically, its central figures are so compelling that I wouldn't mind one more movie to show that duel. Key word: ONE. I'll leave it to you to decide if you want to see this current film or not.

Sonic the Hedgehog 2

The world's fastest hedgehog races to the big screen again in Sonic the Hedgehog 2. It's got more action, more funny animal characters and more runtime. Let's talk about now.

Sonic (Ben Schwartz) and his adoptive humans, Sheriff Tom (James Marsden) and Maddie Wachowski (Tika Sumpter), live a good life in Green Hills, Montana. Sonic tries being a superhero but he's not that good at it. The Wachowskis leave Sonic home alone as they attend Maddie's sister, Rachel's (Natasha Rothwell), wedding in Hawaii. But then Dr. Robotnik (Jim Carrey), whom Sonic exiled to a mushroom planet at the end of the first film, returns with his new Echidna best friend, Knuckles (Idris Elba). 

Knuckles thinks that Sonic can lead him to a MacGuffin called the Master Emerald. He decides to pound the information out of Sonic. Sonic gets bailed out by Tails (Coleen O'Shaughnessy), a super smart two-tailed fox. Sonic decides to race Robotnik and Knuckles for the Emerald. It's an easy race with Sonic's warp rings and Tails' gadgets. But they've got a few traps to deal with. Once again, they gotta go fast.

It's a simple plot stretched out to 122 minutes. You'll notice the length after Sonic crashes Rachel's wedding. That's when the entire wedding is revealed as a Sonic trap by the nebulous GUN organization. I've got mixed feelings on that portion. It gives Rachel greater depths than the first film did. That's good. Her and Maddie outsmart GUN agents with Tails' gadgets. That's awesomely funny. But it distracts considerably from the Emerald race. GUN's presence is not tied to Robotnik, but another franchise favorite character the mid-credits tease for the sequel. Perhaps that sequel can finally explain what makes Sonic special after this film didn't.

It's mostly a fun ride. Sonic's still a good character. He's careless but is always willing to fix his mistakes. He thwarts an armored car heist, inadvertently causing property damage, but he dismantles the car before it can crash into a kid. He further proves his heroism by saving Tails and Knuckles from danger. Tails proves himself a delightfully crafty fox with his gadgets (even if his translator isn't perfect). His gadgets aid in a surprisingly fun dance off at a Siberian inn. Knuckles is tough but his density is hilarious. Their human adversary, Robotnik, is a delightfully goofy and sometimes creepy mad scientist. He's especially the latter when he gets ahold of the Emerald.

The visual effects are mostly good, too. The CGI for Sonic and his friends is seamless, though a few shots of the live-action Robotnik are anything but seamless. The opening armored car heist is an exciting and funny action scene. The final battle is an astounding action scene. Overall, Sonic's speed effects are the best. The sound designers show their best work with Robotnik's eerie voice when he merges with the Emerald. The accompanying green costume and imposing theme (by Tom Holkenborg) help set up the dire mood of the moment.

Sonic the Hedgehog 2 isn't perfect, but it's a harmless matinee for a slow afternoon. Anyone looking for a silly action movie for kids will find it here. Anyone looking for a super dramatic action movie can look elsewhere. You've got a lot of choices. Carrey said he was done with movies after this, but this franchise isn't done, and I'm interested in the next film. Whenever that is.

Morbius

Morbius, the Living Vampire rose up to antagonize Spider-Man in 1971, the same year the Comics Code Authority finally allowed vampires in comic books. He was a memorable recurring anti-hero in Spidey's animated series in the 90s. He's waited almost two years for his movie debut. Was it worth it? 

Dr. Michael Morbius (Jared Leto) and his adopted brother, Milo (Matt Smith), both suffer from the same blood disorder. Michael spends his medical career researching a cure. Milo finances his research. Michael's research involves mixing vampire bat DNA with human DNA. One day, Michael finally concocts what I'd like to call "Distilled Essence of Vampire," because after he takes it, he becomes the Living Undead. 

The Distilled Essence improves Michael's health and gives him echolocation. But it also gives him blood lust that his own patented artificial blue blood can't satisfy forever. Meanwhile, Milo somehow gets ahold of the Distilled Essence and also becomes the Living Undead. He has no issues with feeding on innocent people. So, it's up to Michael to use his Living Vampire powers to stop Milo's bloodlust.

Michael's rush to cure his bloodlust is a good premise. But it collapses when Milo turns evil. Michael denies Milo the Distilled Essence because of the side effects. That's fine. But Milo gets it somehow and vampirizes off-screen. A potentially compelling character turns into a one-note bad guy straight away. Milo's killing spree also lessens Michael's rush to cure his bloodlust. All we get is Michael noting that his blue blood is losing its punch. He only takes his bloodlust out on a boatload of mercenaries. That's when he initially vampirizes.

You'll leave with plenty of other questions. Is it supposed to be endearing that young Michael gives young Milo his name (it was originally Lucien) because his other roommates were named Milo? Why does he go along with it? Michael tests his D.E. on a mouse, who dies and comes back. Do we have a vampire mouse on our hands? But the most noticeable questions come from Michael Keaton's return as the Vulture in the mid-credits. How is that supposed to tie into any future films?

But I can't stay mad at it. Al Madrigal and Tyrese Gibson make for an interesting duo as Agents Rodriguez and Stroud, the FBI guys on Michael's case. Milo's first kill, a nurse in Michael's hospital, is set-up to make us think it is Michael doing the deed. It's a strong bait and switch and the scene is perfectly creepy. Milo goes all out embracing his inner bad guy. He maybe a confusing character but he is entertaining. Some strong makeup work gives Michael and Milo their sickly looks. Their CGI vampire forms look a bit obvious, but them switching back and forth works well. The best effects come from Michael's echolocation powers.

Morbius isn't a strong superhero or horror film. But at 104 minutes, it at least knows when to quit. You can see it if there's literally nothing else available. You can see it if you have nothing to do on a slow day. But I think there's plenty of somethings this year and this month. Hopefully, Spiderman: Across the Spiderverse (Part 1) will satisfy your need for anything Spidey related this fall. This month alone has plenty of reasons for me to go to a theater. You'll read about them soon enough.

Cyrano

I would have seen Cyrano much sooner. I should have seen Cyrano much sooner. But my only option was a $19.99 digital rental everywhere since MGM kept delaying its wide release. It's now a week after the Oscars, which saw this film nominated for Costume Design, and it's finally theatrically available locally. Let's finally see what everyone else has seen.

Erica Schmidt adapted her off-Broadway musical based on Edmond Rostand's Cyrano de Bergerac. Schmidt's Cyrano substitutes the original's elongated snout for her husband, Peter Dinklage's, compact stature. In either form, Cyrano is a master poet & soldier with more-than-enough swordsmanship to back up his boasts. He shows this off when he disrupts a play to chase off his least favorite actor and duels a heckler to the death.

His dear friend Roxanne (Haley Bennett) watches the duel with her suitor, De Guiche (Ben Mendelsohn). She immediately falls for Christian (Kelvin Harrison, Jr), a new recruit in Cyrano's garrison. Christian feels the same, but he lacks Cyrano's way with words. Cyrano offers to supply him with some. Cyrano watches as Christian and Roxanne exchange love letters. But what will he do when they finally meet in person? What if De Guiche finds out?

There's a lot of panache in director Joe Wright's technical crew. Jacqueline Durran and Massimo Cantini Parrini's stylish costumes deservedly earned praise. But cinematographer Seamus McGarvey was also worthy of attention. We get several stunning long shots as the camera makes its way through crowds. It stays on Cyrano as he makes his way through ten men in a rousing action scene. A few crowd numbers turn surreal with its methodical choreography (some dancers even float). That surreality vanishes when De Guiche deploys the garrison to war. Their fears of mortality are treated solemnly, though we get a daring scene with Cyrano stealing apples from the enemy.

The music in this musical was composed by Aaron & Bryce Dessner, Matt Berringer (of The National) and Carin Besser. A lot of the songs and score are appropriately romantic themes. The opening number, Somone to Say, and its reprise, along with a few of Cyrano's personal songs, are musical soliloquies as the leads ponder their romantic situations. That likely explains the aforementioned surreal choreography. Cyrano's battle music is a rousing theme. Wherever I Fall is a haunting number. Overall, the music is pretty serious even in the fairly lighthearted first half.

Dinklage is compelling as Cyrano. He's got an ego, but he's charitable to the (figuratively) little man and respectful to his opponents. His every word is full of eloquent bravado. His crippled self-esteem is evident when the subject turns to Roxanne. You'll certainly beg for him, as much as his pal Le Bret (Bashi Salhuddin) does, to spit it out to Roxanne. You'll feel it near the end when Cyrano tries to deny it with his final breaths. At least Roxanne reciprocates at the end.

There's a good cast sharing the stage with Cyrano. Christian is delightfully dorky, while Roxanne's romanticism is enthralling. You'll get some fun when they officially meet. Cyrano speaks for Christian at one point, and she can't recognize him. Don't think about that too much. De Guiche is perfectly slimy, while his good side is underdeveloped. Mark Benton makes the most of his one scene as Montfleury, the target of Cyrano's scorn. Keep an eye out for Glen Hansard as the first singer in Wherever I Fall.

Cyrano will make it to Blu-Ray/DVD later this month. Streaming prices should go down then. So, anyone who missed, or was deprived of, the chance to see it in theatres can finally see it then. It's a strong romantic drama and a great rendition of an oft-told story. There's plenty of panache in Schmidt's script. See it when you get the chance. It's a great use of 124 minutes.

The Worst Person In The World

 It's time to detail the other film I streamed on Thursday. That would be The Worst Person In The World, Norway's entry into the International Feature Oscar race. Eskel Vogt and director Joachim Trier are also up for Best Original Screenplay, and they could conceivably win if their Best Picture rivals cancel each other out. It helps that it has a compelling tale to tell:

Vogt and Trier chronicle fourteen chapters (including a prologue and epilogue) in the life of Julie (Renate Reinsve), a directionless young woman in Oslo. We see her go from medical school to psychology major to photography in the span of that prologue. She also meets Aksel (Anders Danielsen Lie), a significantly older comic book artist, and they hit it off. She later breaks up with Aksel in favor of Eivind (Herbert Nordrum), whom she meets at a party. Julie figures that she has a lot of time to figure things out. Some like Aksel have significantly less time on their hands...

Anyone worried about their personal futures can relate to Julie. Her fluctuating career paths and relationships initially seem like youthful restlessness. But we eventually see the existential dread in her life. She even tells Aksel that she feels like "a spectator" in her own life when she breaks up with him. She knows and hates that she hasn't figured things out. The dread is amplified when Aksel is diagnosed with terminal cancer. It's enough to put anyone's life in perspective. Reinsve's performance makes Julie compelling throughout the film's 128 minutes.

What about her lead men? Aksel's youthfulness is reflected in his politically incorrect Bobcat comics, Norway's answer to Fritz the Cat. He's quite riled up when his work is adapted into a kid's movie. He's still a sensitive man who wants a family. Eivind leaves his lover because he can't stand her meticulous environmentalism. His initial fling with Julie is dismissed by them both as "not cheating." They have a good relationship when they officially hook up, but that doesn't last. Neither man is completely hateful; the biggest problem is existentialism.

Kasper Tuxen's cinematography gives us some great views of Oslo. The payoff is when Julie makes time freeze, runs through the city, and spends a day with the unaffected Eivind. Julie moving through the frozen city is nothing short of a visual effects triumph. It's especially so considering that the film cost €5 million. That scene, by the way, shows Ola Fløttum's great score at its best. We also get some stunning views of the Finnmark Highlands when the film shows us Eivind's perspective for a chapter. We also take a turn for the surreal when Julie trips out on shrooms. It has to be seen to be believed.

Only Julie herself would think she deserves the tile of The Worst Person In The World. We clearly see her potential for greatness as she wonders what that is. Her leading men are both likable even with some inherent flaws of their own. By the end, she faces her existential dread and gets a steady career path. Julie finally comes of age at 30. Overall, it's a compelling and unusual dramedy. It's ready for you to rent on your favorite streaming service. Amazon was mine. Hurry up though if you want to catch up on the Oscar contenders. 

Tomorrow...

Parallel Mothers

It's now three days until the Oscars and I'm starting to fret. Have I actually seen all the winners? I was so close to doing it last year (skipping on Doc. Short winner Colette), and I don't intend to fall behind this year either. So, I decided to stream two International Contenders today. I'll talk about one of them now, though.

First up is Parallel Mothers, the latest film from Iconic Spanish Auteur Pedro Almodovar. I had to start an account with Vudu (formerly FandangoNow) because it was the cheapest place to rent it ($4.99 vs $19.99 everywhere else). But at least it's free to join.

Photographer Janis Martinez (Penelope Cruz) gets involved with anthropologist Arturo (Israel Elejalde). Nine months later, Janis is expectant and shares a maternity ward suite with Ana (Milena Smit). They both deliver at the same time. They keep in touch as they raise their baby girls separately. But Arturo is not convinced the baby is his. A DNA test confirms that it's not Janis's either. Her and Ana's babies were swapped at birth. Her efforts to keep things a secret are complicated when she reunites with Ana.

There's also a subplot concerning a mass grave of victims of the Franco Regime. Janis hopes Arturo can exhume the grave, as her great-grandfather was one such victim. He and the grave come back into the picture just as Janis and Ana's relationship evolves significantly. It won't be easy for anyone involved.

One can tell it's a pure cinematic soap opera. It's especially that on a technical level. To start, there's Alberto Iglesias's melodramatic - and Oscar-nominated - score. The sweeping music accentuates Janis's relationships rather well. Antxon Gomez's production design and Jose Luis Alcaine's cinematography heighten the emotions with their searing colors. One standout moment is the end when the mass grave is fully exhumed. It's a creepy and emotional moment.

Let's talk about the title characters. Cruz's performance as Janis wears her heart on her sleeve. You'll feel delighted or uneasy when she is. Her inability to reveal the secret is from clear emotional trauma and not "drag out the plot syndrome." I haven't divulged much about Ana, but the revelations make an already sympathetic character even more so. Smit's performance as Ana is just that good. Their best scenes are when their relationship picks up near the halfway point. It's a tense moment when that secret is finally revealed. They fortunately reconcile by the end.

The supporting cast has two highlights. The first is Aitana Sanchez-Guijon as Ana's actress mother, Teresa. She's a seemingly self-centered egotist who, as we find out, has her own emotional trauma to deal with. You'll sympathize with her as much as her daughter. Rossy de Palma brings much needed levity as Janis's best friend and agent, Elena. She makes the most of her comparatively limited screentime.

How does a story about Parallel Mothers relate to the Spanish Civil War? In a way, both plots are about giving people back their loved ones and moving on from emotional trauma. The themes made much more sense as I pressed play a second time (and it's playing as I write this). It's a slow but steady drama that kept me interested for 123 minutes. I'm sure it will too if you can find a venue to watch it. It might be in local theatres now, or you'll have to find it on demand, but if you want to watch it before the Oscars ... the clock is ticking. 

Jujutsu Kaisen 0

As the Oscars approach, I find myself trying to schedule a few nominees into my schedule. Today's film is too recent for this year's Oscars. I now find myself having to sum up a manga and anime franchise that I've never read or watched other than some plot synopses. 

But as indicated by the title, Jujutsu Kaisen 0 is actually a prequel to Gege Akutami's main manga storyline. It debuted in manga form as Tokyo Metropolitan Curse Technical School in 2017, the year before the main manga debuted. Let's see what I can do:

Yuta Okkotsu is a bully magnet protected by the ghost of his dead girlfriend, Rika Orimoto. Said ghost is actually a demonic Curse, one of many born from bad karma, and Yuta can't really control her. The eccentric blindfolded Satoru Gojo offers Yuta a place at Tokyo Jujutsu Technical High, a school for aspiring "Jujutsu" exorcists. Yuta reluctantly accepts and is introduced to weapon expert Maki Zenin, the deadly voiced Toge Inumaki ... and Panda the Panda.

Gojo's former classmate Suguru Geto wants to kill all muggles. So, he and his followers decide to unleash a thousand Curses on Christmas Eve. He dares the good guys to stop him. It's part of a plot to get Rika, who happens to be a really powerful Curse, for himself. The Jujutsu elites threaten to kill Yuta if he lets Rika loose. Gojo's teachings help Yuta focus her power. Yuta will have to hurry when Geto comes for him. 

The first twenty or so minutes feel like two condensed anime episodes. Yuta gets to Jujutsu High, has some interactions with his classmates, and is ready to put his life on the line for Maki (complete with flashbacks and climactic music) against a giant Curse in that span. A few concepts, namely Panda's nature as a "Cursed Corpse" and Yuta's mysterious ancestor, can fly over a few newbies' heads. That aside, a lot of the franchise's lore is discernable to newcomers. Its episodic plot is compact, and its 105 minutes are rarely boring. What tested my patience were moments when I thought the screening was, or about to have, technical difficulties.

What helped my patience is the characterization. Yuta has good chemistry with his classmates whether in battle or school. We get to learn about Maki's family history, Toge's killer voice and revel in Panda's antics. Yuta's bond with Rika makes for an interesting dynamic. Curse Rika is creepy looking, but her childish personality makes her weirdly eccentric. We get to see Yuta go from wimp to warrior in due time. Their strongest moments are in the finale, when they defeat Geto, and she gets to rest in peace. Gojo's eccentric personality is sure to make him an audience favorite (if the show hasn't already). Geto's affableness heavily contrasts with his smug superiority complex, which results in a memorably vile villain. His henchmen and a few bit Jujutsu exorcists stand out with their eclectic personalities.

There's a lot to talk about on the technical front. The Curses are suitably repulsive creatures, and the Jujutsu exorcists have plenty of stellar superpowers. The fight scenes involving them are a visual delight. The production design and cinematography sell the franchise's horror aesthetics pretty well. My screening sounded unusually quiet, but I still heard a perfectly unnerving score (by Hiroaki Tsutsumi, et al) and a strong sound design for the Curses. 

Big Screen Transplants of Anime shows usually have stories meaningless to the main narrative. I'd like to think that they are distilled self-contained essences of their franchise. That's what Jujutsu Kaisen 0 is and more. Its story suitably introduces its characters & lore to the uninitiated through a compelling main duo. You won't be that lost if you haven't watched the first season. There's plenty of setup for the second season, which will debut next year. There's plenty of time to catchup if you haven't and this movie piques your interest. I think it did that for me and it might do the same for you.

Turning Red

 I'm tempted to comment on a recent, now offline review, of Pixar's Turning Red. Among other things, it said the film wasn't made for a universal audience and was made for the director's family and friends.

 Really? I'd like to think some films help us relate to universal themes despite their "limited scope." Otherwise, I wouldn't relate to films about a high school girl dealing with her mother's death or a billionaire on a nighttime crusade. There's quite a bit to relate to in this animated tale conceived by director Domee Shi, an Oscar-winner for the short, Bao. Let's see what they are:

It's 2002 in Toronto. Meilin "Mei" Lee (Rosalie Chang) has just turned thirteen. She's got girly interests like Tamagotchis and the Boy Band 4-Town, which she shares with her besties, Miriam, Priya and Abby. But she's also an overachiever who struggles to live up to her mom, Ming's (Sandra Oh), standards. One morning, she discovers that she can "poof" into a giant Red Panda when she's overexcited and can de-poof when she calms down. It's an "inconvenience" passed down from generations.

Mei's panda self makes her the most popular kid in school. But Ming would rather have her suppress the panda. A specific ritual on a Red Moon can do that, but it's on the night of a 4-Town concert. But Mei accepts the panda form as a quirk and not a curse. How will she get through to her mother? It all leads to a titanic argument at the Skydome.

What's there to relate to in Shi and Julia Cho's script? To start, it's sure to provoke some turn-of-the-millennium nostalgia for anyone who was around Mei's age back then (I was fifteen). Second, it tells the story of a kid dealing with familial and social expectations. Anyone who worried about failing either can relate to Mei. The film mines plenty of dread and audacious comedy out of her controlling the panda curse. The best surprise is seeing that her friends and classmates accept her once they find out. Indeed, one of the strongest scenes is when Mei's friends cheer her up when they see her panda-sized.

We quickly meet Mei with her opening narration. She tells us how she still pursues her kid interests despite the taxing expectations. She and her friends endear us with their quirky and likable personalities. We're quite invested when they fall out and later reconcile after Ming confronts them. Her friends even help Mei and her family calm Ming down when she upsizes into a colossal Red Panda. Who wouldn't want to have friends like these?

Let's talk about the adults. Ming's overbearingness makes her the film's primary antagonist. She inadvertently hinders Mei more than helps, especially when she unfairly blames her friends for her "rebelliousness." We soon see that she's got her own issues to deal with. Mei's Dad Jin (Orion Lee) gives her a much-needed pep talk just before the Red Moon ritual. Mei's aunts are a good bunch, while Grandma Lee (Wai Ching Ho) is a stern yet reasonable woman. James Hong also stands out as Mr. Gao, who assists the Red Moon ritual.

This is a technically appealing film. The production and character designs are visually striking, especially when they incorporate anime aesthetics. Mei and her friends frequently sport plenty of amusing expressions throughout the film. The best designs are Mei and her elders' Red Panda forms, all of them being irresistibly fluffy creatures. It's all set to an outstanding score from Ludwig Goransson and a few catchy pop songs written by Finneas O'Connell (who also voices Jesse of 4-Town) and Billie Eillish. 

What's not to like about Turning Red? It's a well-made and well-told fantastical coming-of-age story. There's plenty to relate with its main protagonist even if you didn't have her "inconvenience." Find out for yourself when you press play on Disney Plus. It's so good that I'm watching it again as I write this. Maybe I'll press play a third time today. It's a great use of 100 minutes.

The Batman

Last time, I recommended that no one should see Drive My Car and The Batman back-to-back. This time, I will have reviewed both of them back-to-back. But on different days!

This was supposed to have been a showcase for Ben Affleck as director and Batman. It wound up with Matt Reeves directing Robert Pattinson as a new version of the Caped Crusader. I've got a lot to say about this nearly three-hour movie so let's say them.

Batman is already on his second year of crimefighting. He's called by Det. Jim Gordon (Jeffrey Wright) on Halloween night to investigate the murder of Mayor Mitchell. The killer is The Riddler (Paul Dano), who leaves cryptic messages for the Dark Knight as his calling cards. Batman goes on the hunt when The Riddler kills a few more upstanding citizens.

Batman's sleuthing discovers that The Riddler's victims were on the payroll of mob boss Carmine Falcone (John Turturro). He eventually crosses paths with Falcone's lieutenant, The Penguin (Colin Farrell), and cat burglar Selina Kyle (Zoe Kravitz), who has her own connection with Falcone. Batman also discovers some dark secrets about his late father. He and his allies will have to act fast to stop, or minimize, The Riddler's explosive surprise for Gotham on the night of its upcoming Mayoral Election.

It doesn't take long to establish the mood of the next 176 minutes. The Riddler is introduced quietly staking out Mayor Mitchell before loudly murdering him. Criminals run in fear of the Bat Signal as Batman narrates while he can't be everywhere, he could be anywhere. What we have is a dark tale that'll shock you as much as it entertains you. The Riddler's masterplan will leave you guessing as hard as Batman. The only time you'll feel its length is in the multiple denouements.

The Batman wears his world-weariness from his nighttime crusades on his face as Bruce Wayne. He sometimes struggles in unexpected ways. You'll truly wonder if he's getting sleep at all. He gets some levity when he shares screentime with Alfred (Andy Serkis). He terrifies criminals but is terrified himself when the unmasked Riddler proclaims himself his biggest fan. That's enough to make him finally question the methods and motives of his nighttime crusade. It leads to a strong climax as he saves Gothamites trapped in a stadium with The Riddler's loyalists. Simply put, Pattinson makes for a great Batman.

Kravitz as Selina is also compelling as she struggles with her past. She spends one scene with her best friend Annika (Hana Hrzic) before the latter is killed by Falcone off-screen, but it depicts a palpable friendship. She and Pattinson have great chemistry as they deal with each other and their criminal foes. One of their best scenes is when he stops her from killing Falcone. It's a strong moment that helps them move from vengeance to justice. 

Finally, a few supporting highlights. The Riddler himself is terrifying when masked and silent and an unnervingly pathetic loser when he's unmasked and talking. Meanwhile, The Penguin and Falcone make for memorable co-villains. Gordon and eventual Mayor Bella Reál (Jayme Lawson) are legitimate upstanding citizens and great allies for Batman. One of The Riddler's victims, DA Gil Colson (Peter Sarsgaard), is truly pitiable in his last moments.

Where to even begin on the technical stars? Gotham is an alluring visual nightmare visualized by production designer James Chinlund and cinematographer Greig Fraser. Mitchell's study, for example, goes from a warm locale to a ghoulish crime scene within minutes. Batman gets a great entrance as he emerges from the shadows to deal with a gang of clownish hoodlums. Similarly, the reveal of the Batmobile is nightmarishly awesome as it prepares to chase Penguin. Fraser also makes great mileage out of the color red here. The makeup team deserves all the praise for rendering Farrell unrecognizable as The Penguin. On the aural front, Michael Giacchino's score gives Batman an eerie new theme. There's plenty to like here.

One of its last scenes has a fellow inmate befriend The Riddler. Let's just say you won't forget his laugh. That's just one reason why I'm ready to see more of this new Batman. Another reason is that The Batman is a great superhero detective story whose massive length won't wear you out. If you can't see it in theaters, fear not, for it will apparently be on HBOMax sometime next month. Either way, seek out the biggest screen you can find. It was made for them.

Drive My Car

 Drive My Car was the film I was alluding to weeks ago that was playing at inopportune times. They could've been opportune times had they not been so late, and it wasn't a minute short of three hours. Thankfully, it's now on HBOMax, meaning you can set your own schedule to see it.

This is Japan's entry into the International Feature Oscar race, being based on a short story by one of its most celebrated authors, Haruki Murakami. It's also the obvious frontrunner considering that it's also up for Best Picture and Ryusuke Hamaguchi is up for Best Director and Best Adapted Screenplay. Let's see how it is.

Yusuke (Hidetoshi Nishijima) and Oto Kafuku (Reika Kirishima) are a creative couple. He's a stage actor and director in a multi-lingual company and she's a TV writer who spins erotic stories with him each night. One day, Yusuke finds Oto cheating on him and a few days later, finds her dead of a brain hemorrhage.

A few years later, Yusuke is hired to direct a multi-lingual Uncle Vanya in Hiroshima. This was the role he was rehearsing at the time of Oto's death. So, he casts her other man, Koji Takatsuki (Masaki Okada), as Vanya. Meanwhile, he's forced to hire Misaki Watari (Toko Miura) as his chauffer due to company policy and his glaucoma. He accepts this arrangement once she proves herself a good driver. Their relationship helps them open up about their tragic pasts. It culminates in the show itself, where Yusuke is forced to take on the titular role.

It takes about forty-minutes before the action moves to Hiroshima. None of those minutes are wasted as it paints a clear picture of Yusuke and Oto's marriage. We see them mourn their long-dead daughter. We see them celebrate their successes. We see him rehearse Vanya in his car by reacting to her on tape.  We see his reluctance to play Vanya after her death. There are plenty of details in that time that are relevant to the remaining 139 minutes.

A good chunk of those remaining minutes is spent with Yusuke and Misaki. They go from stoic strangers to good friends (no, not romantic) in due time. Their time together helps them open up emotionally to the world. We see her reservedness subside when she bonds with Yusuke's assistant's dog when they're invited to dinner. We see his stoicism crack when she takes him to what's left of her home, where her abusive mom was left to die after a mudslide. She's in the audience of Uncle Vanya as Sonya (Park Yu-Rim as Yoo-na, the aforementioned assistant's wife) signs her closing monologue in Korean. Chekhov's speech is an emotional coda to their character arcs.

The Vanya audition and rehearsal process makes for an interesting portion of the film. Yusuke and Koji bond surprisingly well during the production. Koji also has some strong chemistry with co-star Janice Chang (Sonia Yuan) during their audition. His temper ultimately undoes his career. But he still goes gracefully to the cops.

What else can I say about it? There's some great location shooting by cinematographer Hidetoshi Shinomiya. Whether it's a nighttime city, a small theater or snowy Hokkaido, the locales are all splendid sights. There's also a suitably solemn score by Eiko Ishibashi. It's not used much, but it's used effectively.

Drive My Car's long runtime is surely taxing for first time viewers. I felt the pressure near the end, but as I watch it again as I write this, I felt more of its emotional relevance. On one hand, it's all about overcoming grief and loss. But on another, it's about never taking people for granted, as a minor conversation with them could be the last. It's worth seeing at least once whether on the big screen or small. Be prepared for that runtime and you'll do fine. Just don't see this and The Batman back-to-back.

Attica

Some movies won't be on streaming forever. The Oscar-nominated documentary Attica is an example; Amazon Prime de-listed its free stream after yesterday. I tried watching it on Sling, a streaming service I didn't hear about till now, but it left after I streamed about 16 minutes. At least I remembered where I was when I picked it back up on XFinity. It's $9.99 mostly everywhere else. 

Let's talk about the film before I prattle on about streaming.

Stanley Nelson and Traci Curry chronicle the uprising at the Attica Correctional Facility from Sep. 9-13, 1971. Its numerous prisoners, overwhelmingly black or Latino, and understandably fed up with mistreatment, revolted against their all-White guards. Their demands, as voiced by spokesman L.D. Barkley, included basic human dignity not just for themselves, but prisoners everywhere. But Gov. Nelson Rockefeller sent the police and National Guard to take back the prison by force. That assault killed prisoners and hostages alike.

It's not an easy film to sit through. Former prisoners testify about getting a measly minimum of amenities and nothing else really. Any complaints about it made it worse. The San Quentin prison riot a few weeks earlier emboldened them. You can see the tension rise up to when the prisoners finally revolt. 

 Basic living conditions are bad enough, but the climactic assault cements the cruelty. In all seriousness, the prisoners getting shot up amidst commands of "put your hands up and you will not be harmed" make the cops sound like the Martians in Mars Attacks, only far less funny. The ceaseless gunfire on the soundtrack sells us on how disproportionate the assault was. Reporter John Johnson also testifies getting threatened by victorious cops on a kill-happy power trip. You'll shudder as the film shows how the guards reprised against their prisoners. 

You'll sympathize with the prisoners despite whatever deeds landed them in "the last place." None of them try to excuse their original crimes. They just wanted basic human rights in spite of them. Al Victory, a white prisoner, testifies of his shame of getting preferential treatment for himself and not just for others. William Quinn, the only prison guard killed by the prisoners, got medical treatment from a few prisoners. The hostage family members interviewed show no ill will to the prisoners. They have plenty of that for the State Government's inadequate attempts at restitution. 

Overall, Attica earns its place among this year's Oscar nominees. It's a tense and perfectly infuriating documentary about the injustice of the justice system. It gives you a lot to think about the present as it describes the past. You won't stop thinking about it after its 117 minutes are done. You can only hope that it's somewhat better than it was. Somewhat. 

Marry Me

 Oh yeah, my house has Peacock. But I never got the urge to watch something there for this blog. 

Until this week.

That something is Marry Me, a harmless romantic comedy with a wacky premise based on the Webcomic of the same name by Bobby Crosby. The film takes the concept in its own silly direction. It's a good break from whatever serious movies I have left on my list.

Charlie Gilbert (Owen Wilson) is an average math teacher and divorced dad to Lou (Chloe Coleman). Kat Valdez (Jennifer López) is a pop superstar about to marry her boyfriend, Bastian (Maluma), live in concert. Charlie's best pal Parker (Sarah Silverman) convinces him to take Lou and join her for the concert. But Kat finds out that Bastian's been cheating on her just before the vows. So Kat, already married thrice, decides to marry a random guy in crowd. That guy is Charlie, just because Parker got him to hold a "Marry Me" sign.

So now, Charlie has to adjust to being married to an international icon. Kat decides to go through with the marriage even though her support team wants it to blow over. They find that they have surprisingly much in common. But will it be enough when Bastian decides to win her back?

Wilson and López make an unlikely compelling couple. She wants something new in her life after her latest heartbreak. He's a good guy who just wants to make a stranger happy. It's really compelling to see their relationship become genuine. They start off trying to make sense of a convoluted situation. But they soon bond over Coney Island and Charlie's dog, Tank, among other things. While Charlie's insecurities help drive the act three breakup, they soon realize they're made for each other. It all adds up to a fun climax at a mathalon. 

Kat's support team, including her manager Colin (John Bradley), are understandably confused by her sudden marriage. They're a likable bunch who have the best intentions, though. Chloé is a good kid who helps bring out the best in her dad. Parker, who sets the plot in motion, has her best moment when she helps Kat to the mathalon. Bastian isn't too antagonistic towards Charlie after the wedding. He seems apologetic, though he does rebound quickly. The biggest jerk is the opposing Mathalon coach.

The soundtrack, including the title theme, has plenty of memorable tunes. They're kind of silly songs, but they fit the film. The most serious song is called On My Way,  which plays an important part in the climax. The score by John Debney is just as good as the pop music. There's some great editing by Peter Teschner and Michael Berenbaum in the climax too. Finally,  some points to the production design for Kat's elaborate apartment. 

Marry Me is an endearingly silly comedy. It makes a surprisingly compelling case for its off kilter concept. Its unlikely couple will keep you interested for a good 112 minutes. It's ready for you to say yes on Peacock or theatres. I can think of a few webcomics Hollywood could option if they're interested. This current film gets my interest in a few of them.

CODA

I need to hurry to make the most of my free Apple TV. This week, after putting it off for too long, I found time for CODA, the service's Oscar-nominated remake of the French film, La Famille Belier. Seeing it now makes me wish I saw it sooner.

CODA stands for "Child of Deaf Adults," and that's what Ruby Rossi (Emilia Jones) is. She's the only one who can interpret for her deaf parents Frank (Troy Kotsur) & Jackie (Marlee Matlin), and her also deaf brother Leo (Daniel Durant). She works with Frank and Leo on their fishing boat while going to high school. One day, she joins Miles (Ferdia Walsh-Peelo) into the choir headed by Mr. Villalobos (Eugenio Derbez). She impresses "Mr. V" so much he gives her private lessons and recommends her for Berklee.

Unfortunately, the family fishing boat is threatened by overbearing Union suits. Frank and Leo decide to start their own fish mongering business. But they need Ruby's help, while Ruby wants to follow her singing dreams. Naturally, she finds herself struggling to balance her commitments. 

Writer and Director Sian Heder gives us a great family drama. Sure, it's a typical movie plot about balancing dreams vs family. But there are compelling reasons for each side. It's easy to forget (or discount, as I did) that the ADA would've (or should've) alleviated much of Ruby's stress. She's all the help her family knows. But we see her exhibit a promising talent. I'll elaborate further on the conflict when I discuss the cast.

Jones as Ruby is a compelling lead. We understand her exhaustive life as she balances fishing and school. The choir gives her an outlet to sing in front of others. It's a stressful prospect at first but we see her get some confidence. What makes her conflict compelling is that her family is likable. Matlin and Kotsur are (nonverbally) outspoken parents, much to Ruby's embarrassment. Frank, especially, is a hoot as he signs out some colorful language. His business really needs help, as shown when Ruby is essentially substituted with a beyond-useless Union rep. They soon understand how much singing means to Ruby. Durant as Leo understands quicker when he tells her to go to Berklee. Meanwhile, Derbez as Mr. V proves to be more than a typically eccentric teacher. 

There are some standout moments during its 112 minutes. One of the earliest scenes has Ruby endure some unbearable loudness from her unaware family. The climax gives us the opposite as we experience the Rossi's watch Ruby's concert in total silence. Her successful audition at Berklee is an emotional moment, as is when Frank feels her vocal cords singing. We get to hear plenty of stellar singing from Ruby on the soundtrack.

CODA makes a compelling case to get Apple TV. There's a great cast acting out this moving family story. There's plenty of laughs and drama to be found here. You might be lucky this weekend as some cities will get free theatrical screenings then. Whatever format is fine as long as you see it soon. 

Uncharted

 Harrison Ford is the only Indiana Jones on the big screen (so far), but anybody can be Nathan Drake with their Playstations in the Uncharted video games. Now, Naughty Dog's resident adventure archaeologist has a movie of his own. One that shows us how he started his adventuring career. Let's see how it is.

It begins when Victor "Sully" Sullivan (Mark Wahlberg) walks into the bar where Nate (Tom Holland) works and pickpockets. Sully recruits Nate to help him find the lost treasure ships of Ferdinand Magellan. Nate's brother Sam helped Sully steal the MacGuffin diary that'll tell them where those ships are. Sam's gone missing, so Nate agrees to help steal MacGuffin keys that'll open the treasure. The guys join with fellow treasure hunter Chloe Frazer (Sophia Ali) to dissect the clues.

Billionaire Santiago Moncada's (Antonio Banderas) ancestors funded the original Magellan expedition. So, he's naturally interested in getting that long-delayed return in their investment. He sends a mercenary squad led by Jo Braddock (Tati Gabrielle) to deal with our heroes. It's going to be a long treasure hunt.

I never had the time or Playstations to play Uncharted. So, I don't know how much the screenplay lines up with the continuity. What I do know is that it's a decent action film. Nate starts the film in media res falling from a cargo plane. The lead up to that misadventure takes him from a New York auction house to underneath Barcelona. The climax has him aboard Magellan's ships as they're lifted by helicopters. These scenes are tied together by a somewhat average story. I was invested when Chloe and Nate were trapped in a flooding crypt while Sully, who can stop the flooding with his key, is fighting Braddock at a Papa John's. It's an overlong fight but it's still tense.

The cast was entertaining. Nate is a likable guy who's a bit hapless in the action scenes but proves himself a crafty dude. His chemistry with Sully is good with their best moment being at the end. Sully himself is a decent mentor with a dark past. Chloe is the standout of the cast as she spends the movie fluctuating sides. Her nice act with Nate is legitimately convincing. So, it's genuinely shocking when she double-crosses him. Nate outwits her in a surprising switcheroo. Moncada is an interesting villain while Braddock is just fine.

Uncharted is a good way to spend a slow day. There's plenty of hijinks and thrills as Nate and Sully travel the world. It's not the most original story but it was rarely, if ever, boring. It moves along rather well at 116 minutes. You need not be familiar with the game lore, other than for a few cameos at the end. While some have considered it miscast, I think this cast is fine for a prequel. I'm slightly intrigued enough to see where it'll go. 

Summer of Soul

The poster for American Graffiti asked its audience "where were you in '62?" 

That's easy.

 I wasn't there for '62, or '69, when Woodstock was a thing. That lasted a weekend in August and led to an Oscar-winning documentary. The Harlem Cultural Festival lasted throughout the Dog Days of Summer. But that barely got any attention.  The documentary Summer of Soul (...Or, When the Revolution Could Not Be Televised) will chronicle those days.

Ahmir "Questlove" Thompson chronicles the festival's place in history. It was created as an outlet to celebrate African American culture after a decade of turmoil. It was something positive a year after MLK and RFK were murdered. "It was like seeing royalty," says Musa Jackson, the first interviewee, about the many black festivalgoers. Music Royalty such as Stevie Wonder, Gladys Knight, BB King, Nina Simone, the 5th Dimension, and many more, reigned on stage. 

Hal Tulchin filmed forty hours of footage that barely anyone wanted. Still, he wanted someone to broadcast them. They sat in his basement for nearly fifty years. While Questlove couldn't show it all in one movie, he and his editor, Joshua L. Pearson compiled it into a compelling 117-minute film. Jackson and his fellow interviewees tell us how the festival was important to them. They're astounded to see the archival footage for the first time. Chances are, you will be too.

One of the best anecdotes comes from Marilyn McCoo and Billy Davis Jr. of The 5th Dimension. They tell us of how they impressed the producers of Hair, who let them see the show for free and let them record its signature medley, Aquarius/Let The Sunshine In. It's a delightful stroke of luck. They tell us how the festival helped the band prove to the festivalgoers they were as black as them.

Journalist Charlayne Hunter-Gault is another memorable interviewee. One of the first black students at the University of Georgia, her white classmates weren't that welcoming. She got through it with the music of Nina Simone. She tells us how, as a New York Times journalist, she got the paper to substitute "Negro" for "Black." The festival helped see herself as, to quote Simone, "young, gifted and black." It's a compelling personal story.

Where to begin with the concert footage? A lot of effort was made to make it look and sound pristine. It's the next best thing to being there in '69. It's astounding to see many a familiar face in their youthful prime. It's just as incredible to hear them perform. The soundtrack is sure to get your feet tapping. It's a dream setlist for fans of soul, jazz, R'N'B and more.

Summer of Soul gives an important cultural event its day in the sun. You'll understand its place in history in no time at all. You'll be shocked that it hasn't been extensively chronicled before. But rest assured. Fifty-One years after Michael Wadleigh won an Oscar for documenting Woodstock, Questlove will most certainly do the same for chronicling the event dubbed "Black Woodstock." It's that great a documentary. You can either stream it on Disney + (like I did) or Hulu now. Either one is a good option.

Death on the Nile

Hercule Poirot could have solved the Death on the Nile again in 2020. But his cinematic layover was longer than expected. A lot has happened in the world since then. So, let's get on the case.

Kenneth Branagh retains his services from Murder on the Orient Express as director and as M. Poirot. But while that film promised a "murder on the bloody Nile" at the end, it actually happens an hour in this film. Apparently, Poirot solved another case on the Nile, returned to England and then went back to the Nile to solve this titular crime. Huh?

We first spend that hour during Poirot's time in World War I. We first see Poirot's captain, who could easily be mistaken for young Poirot thanks to his elaborate moustache, before we meet the clean-shaven and convincingly digitally de-aged Poirot. The captain is killed in an explosion that disfigures Poirot. He soon grows his own supreme moustache.

1937 London. Poirot witnesses a love triangle in progress between layabout Simon Doyle (Armie Hammer), his fiancée Jackie de Bellfort (Emma Mackey) and the wealthy Linnet Ridgeway (Gal Gadot). When he sees them again in Egypt, Simon and Linnet are now married and Jackie is stalking them. Simon hires Poirot to keep tabs on Jackie. The Doyles, Poirot and their wedding guests board the SS Karnak for a river cruise. Jackie follows them there too. 

We finally get to the crime itself. Somebody shoots Linnet during the night. Almost everyone on board is a suspect. Poirot intends to keep everyone on the Karnak until he can figure out which of them did it. He'll have to hurry as this killer isn't afraid to add more to the body count.

This film runs 127 minutes, which is shorter than the 1978 film with Peter Ustinov. It feels longer thanks to its slow build-up to the main crime itself. It's easy to miss some details that pop up during Poirot's summation. The sequel hook from Orient Express adds some confusion to the mix. A throwaway line near the start suggests that Poirot already solved the main event. But it's actually linear storytelling. 

It gets going great once it finally gets to the death. Branagh has fun exercising Poirot's personality as he interviews an all-star cast of suspects. A few memorable suspects include Dr. Windlesham (Russell Brand, unrecognizably strait-laced), Linnet's Communist godmother Marie Van Schuyler (Jennifer Saunders), her helper Mrs. Bowers (Dawn French) and socialite Rosalie (Letitia Wright). It's far too easy to guess the obvious suspect onboard if not for their alibi. But they're not that innocent. The final twist is as devious now as it was when Agatha Christie devised it 85 years ago.

As I said, digital fountain of youth is exquisite. But the digital compositing is glaringly obvious. The actors don't look like they're actually in Egypt (never mind that they weren't, as it was filmed in Surrey and Morrocco). The digital scenery and Haris Zambarloukos's cinematography are far better looking. The aural front gives us a memorably foreboding score by Patrick Doyle. The sound designers hit their strongest mark when the second body turns up.

Death on the Nile takes its sweet time to get to the titular event. But Branagh puts his acting and directing prowess to great use when it happens. This film will twist your suspicions in knots well before the summation. Let's just say it's a memorable summation. I'm once again ready for another big Poirot mystery should it happen. It wisely doesn't give us a sequel hook at the end. We don't need to stump viewers with continuity hang-ups twice, do we?

Flee

I'm going to try to catch this year's Oscar nominated International and Documentary films again this year. Key word is "try," for some of them aren't accessible in my area now. At least one will be in theatres soon but is playing at inopportune times.

I'll start my trek with the movie that's up for both awards. Flee, Denmark's entry, is that film, which is also nominated for Best Animated Feature. I worried that I'd be waiting for a theatrical release that would never come. But here it is now on Hulu.

Jonas Poher Rasmussen chronicles his high school pal, Amin Nawabi, an Afghani refugee, and how he made it to Denmark. He realized early on he was gay thanks to the films of Jean-Claude Van Damme. His pilot father was seized by the Muhajadeen as a political dissenter. The Afghani Civil War forced him and the rest of his family to hightail it to Russia. They soon lived in fear of poverty and deportation. Human traffickers helped them across the border for a price.

Meanwhile, Amin is about to marry his boyfriend, Kasper. Amin has never told Kasper about his rough past. But he'll now tell Rasmussen about it through multiple interviews. Amin is often shown in close-up lying on a couch. His world weariness is front and center even if his true face (and name, for Amin isn't it) isn't on display. That's before he divulges his life story full of bleakness and brevity.

You'll notice that the animation here isn't Pixar perfect. The scenery is full of brisk colors, but the characters move choppily. A few flashbacks even resemble moving sketches. But you can't deny the emotions here. One of those flashbacks visualizes Amin's mother's fear of drowning. That plays out when a trafficker vessel they're on starts flooding. As if being locked below the lightless decks wasn't a terrifying concept before. He and his fellow refugees are naturally overjoyed to be spotted by a Norwegian cruise ship. But that turns to palpable despair when they're informed the Estonian Coast Guard will send them back.

Both the traffickers and Russian police are presented as terrifying villains. Both hate it when they're not appeased with bribes. Amin and his brother have an encounter with the police in which they meet a nameless immigrant girl that they never see again. What could've happened is the scary part. Meanwhile, the traffickers threaten to shoot an elderly refugee when she slows them down. It's little wonder that Amin pretends to be an orphaned refugee instead of going with the traffickers to Denmark. It's not an easy choice to make or commit to.

One of the earliest scenes shows young Amin running around listening to Take Me On. A carefree lad unaware of the political unrest waiting to explode. He said he always knew he was different. But he didn't know his family knew. When he comes out at the end, his family gives him some money for a gay bar. His scenes with his family, and Kasper, give the subject matter its needed brevity.

Flee certainly earns its three nominations. Its unique animation style is mixed with live-action clips to tell its tale. It's a captivating story about one man's quest for survival. You won't forget any one of its 89 minutes. It's worth checking out on Hulu or in theatres if it's playing there. There's also an English dub available with Riz Ahmed (who executive produced this) voicing Amin. Either language is great; just give it a watch.

The Eyes of Tammy Faye

I wasn't in the mood for much moviegoing when The Eyes of Tammy Faye debuted in September. But I gave it a shot on HBOMax now that Jessica Chastain and her makeup artists have Oscar nominations. It's a respectable biopic all things considered.

This is a narrative remake of the 2000 documentary by Fenton Bailey and Randy Barbato. Director Michael Showalter (The Big Sick) introduces us to Tammy Faye Grover (Chastain) as a kid (Chandler Head) fascinated by the Church despite her divorced mom, Rachel's (Cherry Jones) objections. She meets Jim Bakker (Andrew Garfield) at Bible College, and they quickly wed. They spread The Word with puppets and songs. Pat Robertson (Gabriel Olds) hires them to host The 700 Club for the CBN. 

The Bakkers form their own network, The PTL, in the 1970s. They find themselves with a nice family and a spectacular house. Tammy Faye, despite her devotion to Jim, breaks with him and their ally, Jerry Falwell's (Vincent D'Onofrio), rigid views. She shows her support for the gay community upon the onset of AIDS. Their media empire collapses once Jim's financial and marital impropriety is confirmed. 

I wasn't exactly familiar with much of Tammy Faye's life, especially the puppets and the singing career. So, Abe Sylvia's screenplay was a good introduction to her life story. I wish they'd mention Heritage USA, the Bakkers' shuttered theme park, more than in passing (if only because I'm reminded of a Simpsons episode about a similarly ill-fated Bible theme park). It makes a great case for her good nature. The best scene is her televised interview with AIDS patient Steve Pieters (Randy Havens) where she shows him more compassion than a lot of people did in the day. What's especially outstanding is finding out Pieters is still alive as of this writing. 

The makeup team certainly earned their Oscar nod. They perfectly recreate Tammy Faye's overly beautified visage (to put it charitably) on Chastain and convincingly age her and Garfield throughout the years. Nothing is amiss as Tammy Faye goes from college age to her fifties. D'Onofrio is unrecognizable as Falwell. The production design and cinematography create a gaudily oversaturated look for the Bakkers' mansion. It fits well with their inhabitants.

What about the actors? Chastain is convincingly earnest as Tammy Faye. There's some overacting but you'll believe what she says. Her chipper accent becomes lyrical when she voices her puppet characters. Garfield is fine as Jim as he goes from warm to cold. I only felt sympathy for him when Falwell publicly throws him under the bus during a press conference and when he and Tammy Faye reconcile when he's in prison. Havens and Jones give the best performances of the ensemble. Rachel starts off as Tammy Faye's "nothing you do's good for me" mother. But as she mellows out with age, you'll feel sorry for her once she's thrown out of the Bakkers' mansion.

I haven't seen the original documentary. But The Eyes of Tammy Faye is a decent place to start learning about its infamous subject. Don't expect it to give you the full story, though. It's not an audacious biopic but it's not a miserable one either. It's a good showcase for Jessica Chastain and a better one for the makeup department. It's ready to watch on physical and digital media any time now. It's a good way to spend two hours on a slow afternoon.