She Said

We started the month with Germany's entry for this year's International Feature Oscar race. We end it with the follow-up from the director of Germany's entry for last year's International Feature Oscar race. That director is Maria Schrader, her last film was I'm Your Man and this film is She Said. What can I say about it?

Rebecca Lenkiewicz's screenplay adapts New York Times reporters Megan Twohey and Jodi Kantor's book about their investigation (with Rebecca Corbett) into Hollywood bigwig Harvey Weinstein's sexual misconduct. The three of them are respectively played by Carey Mulligan, Zoey Kazan and Patricia Clarkson. The three of them get on the case when they get a tip into Weinstein's abuse of actress Rose McGowan (only heard on the phone voiced by Katie McQuail). They work their way down from Ashley Judd (as herself) and Gwyneth Paltrow (never seen) to several of Weinstein's lower-level employees. They find it imperative to publish it before Weinstein lawyers up.

The victims and witnesses make it compelling. We open up with one woman, Laura Madden, helping with a film shoot in Ireland. One cut later, she's running and sobbing down Dublin. "What happened?" lingers in our thoughts. An older Madden (Jennifer Ehle) answers that with vivid detail. Employee Zelda Perkins (Samantha Morton) earns the audience's respect for confronting Weinstein during a board meeting over his abuse of co-worker Rowena Chiu (Angela Yeoh). An ex-employee is more than willing to talk, but can't due to legal reasons, while another closes the door on Twohey and Kantor. Their traumatic pasts are palpable. John Mazurek and Zach Grenier are good as John Schmidt and Irwin Reiter, the CFO and ex-vice president of Miramax, whose testimonies help crack the case.

Mulligan and Kazan are good as Twohey and Kantor. Their friendship is nice, while their journalistic determination is admirable. They get some much-needed levity with their families (Adam Shapiro is funny as Kantor's husband, Ron Lieber). We never stop rooting for them as they unravel Weinstein's abuse. Clarkson and Andre Braugher (as executive editor, Dean Baquet) are great supporting players. Baquet's refusal to let Weinstein intimidate him also earns him the audience's respect. Their best moment is their joy when their main article is finally ready for print. 

The real Weinstein is heard in disturbing detail in a recording of one of his misdeeds. When he's heard on the phone, and seen from behind in-person, he's played by Mike Houston. What we hear about him perfectly sets him up as a Hollywood boogeyman. A nameless guy at a bar and another on the phone perfectly establish themselves as loathsome individuals with one scene each. Peter Friedman is much more cordial as Weinstein's main lawyer, Lanny Davis. Overall, there's a good cast at work here.

Add an unforgettable score by Nicholas Britell and you have a strong journalistic drama. She Said is a compelling portrayal of recent history. You'll be hooked whether you've followed up on the real-life coverage or not. You should hurry up and see it if you want to. It might not last much longer with these box-office figures. That's a shame because it's still a winner.

Puss in Boots: The Last Wish

 Hola, amigos! 

You're probably wondering why and how I'm reviewing Puss in Boots: The Last Wish weeks before it's out in theatres. That's easy! Thank Universal for giving sneak previews of the "upcoming film," no strings attached. And since Sr. Spielberg's cinematic life story isn't playing near me, this will substitute for that. This is the surprise I hinted at in my last few reviews. Let's go!

This time, Puss's (Antonio Banderas) nine lives have finally caught up with him. A battle with a tree giant has left him with just one life left. He tries to ignore his doctor's orders to no longer adventure. But a Big Bad Wolf (Wagner Moura) puts the fear of death in him. So, he gives himself a funeral and resigns himself as the latest in cat lady Mama Luna's (Da'Vine Joy Randolph) clowder.

But then Goldilocks (Florence Pugh) and the Three Bears Crime Family show up looking for Puss in Boots. It seems his expertise is needed to get a map to a magic Wishing Star that crashed in the appealingly named Dark Forest. Puss sees an opportunity to get his lives back. So, he and one of his fellow "cats," actually a chihuahua named Perrito (Harvey Guillen), decide to look for the star. They run into Kitty Softpaws (Salma Hayek), and "Big" Jack Horner (John Mulaney), who both want the star. So, Puss, Kitty and Perrito join up in the Dark Forest with the bad guys in pursuit. That's the gist of it.

Puss's long-awaited sequel gives him a midlife crisis that's equally funny and sad. His montage of lost lives is comedic gold. We laugh and empathize when he eulogizes himself. His and Kitty's unresolved issues are quite endearing. The Big Bad Wolf is unquestionably menacing even before we realize who he really is. It makes perfect sense once we do. His final battle with the villains lets him come to terms with his last life in thrilling and moving fashion.

Meanwhile, Perrito doesn't realize his sad backstory is sad. He's a good boy throughout the film, especially when he joins in the final battle. "Big" Jack is as amusing as he is loathsome. He admits as such to his conscience cricket (Kevin McGann) and we don't doubt it with his callousness with his goons. Goldilocks and the Three Bears (Ray Winstone, Olivia Colman and Samson Kayo) are much lighter antagonists. Goldilocks gets her strongest moment when she realizes her crime family is her true family. And I've already mentioned the Wolf.

The film's CGI watercolor aesthetics are quite striking. It's especially noticeable in the action scenes when it goes by twos. The action scenes, from the opening mansion battle to the final battle on the Wishing Star, are all impressive. The locales are stellar, especially the Dark Forest, which shifts around throughout the film. The various magic items in Jack's possession are cool (the unicorn horns are a surprise). Heitor Pereira's score adds some welcome panache to it all. 

Puss in Boots: The Last Wish will make for a great holiday outing once it's officially out. Its animated midlife crisis story will entertain kids and move adults alike. It's as good to look at as it is to experience. Its 102 minutes are just right. Will I give you more surprises like this? It depends on what's available. 

The Guardians of the Galaxy Holiday Special

 Yes, this happened.

 And let's give thanks on this after Thanksgiving Day that it did. 

The Guardians of the Galaxy Holiday Special dethrones Werewolf by Night as the shortest film I'll cover at a whopping 42 minutes. That's within the boundaries of what the Motion Picture Academy defines as a feature film (40 minutes). So, I'm good.

The Guardians of the Galaxy now have their own planet, Knowhere (long story?). But Star-Lord (Chris Pratt) is miserable considering Gamora is dead and her time-displaced past self is somewhere in space (long story). It's also getting to look a lot like Christmas in Knowhere. So, Drax (Dave Bautista) and Mantis (Pom Klementieff) decide to get Star-Lord the perfect Christmas gift. Who or what could it be?

Why, it's movie star Kevin Bacon as himself! Drax and Mantis stroll through Los Angeles to find the star of Star-Lord's favorite movie, Footloose. Their Christmas surprise is threatened when they discover he's an actor. But Kevin Bacon is a good sport and decides to help them "save" Christmas. There's also a familial secret Mantis is hiding.

James Gunn returns to the MCU by writing and directing this special. It's nothing but a loony odyssey and that's OK. There's plenty of fun in Drax and Mantis's adventure and only one bit was bewildering. That would be when Drax assaults a man cosplaying Cy-Kill from Go-Bots. Huh? But them getting to Bacon and their indignation over his profession was hilarious. Drax is delightfully goofy, as usual, while Mantis seems loopier than usual. That's still OK. Star-Lord learning the truth is a surprisingly strong moment. 

We get some flashbacks of one particular Christmas with Yondu (Michael Rooker). They're animated in the style of Marvel's What-If? show and they look good. It's especially nice when we see the-then Grinchy Yondu lighten up. Other highlights include a surprisingly buff Groot and the newly promoted bit character Cosmo the Dog, who now speaks with the voice of Maria Bakalova. The Knowhere set doesn't seem as elaborate as the films, but it looks great when decorated. There's a cool soundtrack consisting of Kevin Murphy's score and a few funny Christmas songs.

This should satisfy plenty of fans' time as they wait for Guardians of the Galaxy Vol. 3. Don't expect too much drama in this special. It's a silly holiday film with a few endearing moments. It's ready for you to watch on Disney Plus as of today. But this isn't the surprise I promised you last time. The next film is.

Strange World

 Attention, moviegoers! Disney has for you an exciting and strange new tale to tell. It's Strange World, an adventure story unlike anything you've ever seen. But it's still like any tale you've ever heard. How can this be? Find out in this exciting review!

Epic narrator tone off.

Jaegar Clade (Dennis Quaid) is the greatest adventurer from the land of Avalonia. His son Searcher (Jake Gyllenhaal) isn't. On one expedition, Searcher finds an electrical plant called Pando. Jaegar doesn't care, and he goes off into the mountains, never to return. 25-years later, Searcher's discovery is now the land's power supply. But the Pando plants are getting weaker and weaker. One of Jaegar's former expedition members, Callisto Mal (Lucy Liu), now the President of Avalonia, grabs Searcher for a journey to the center of the Earth. They hope to find whatever's killing the Pando crops. His family - wife Meridian (Gabrielle Union) and son Ethan (Jaboukie Young-White) and tripawed dog Legend - tag along.

The Strange World they find is full of, well, strange creatures. They also find Jaegar alive and crazy. Ethan, meanwhile, meets a blue blob called Splat, who becomes their tag-a-long mascot. Meanwhile, Jaegar and Clade have different ideas on Ethan's future. But Avalonia won't have a future if they don't hurry. It's especially so once they find out the true nature of their world and the Pando.

Let's get a few things out of the way. The Strange World and its creatures are as alluring as they are deadly. We have magenta pterosaurs, rock mollusks, walking cliffs and whatever species Splat is (there's also a red one that's there for like, one scene). The story is a checklist of familiar family film tropes. It's especially so with Ethan's story, who wants to answer the call of adventure, while Searcher wants him not to. Jaegar wants him to be an explorer, while Searcher wants him to be a farmer. The only thing they agree on is that they approve of his boyfriend, Diazo (Jonathan Melo), which is legitimately nice. The revelation of Pando and Avalonia's true nature gives the plot a much-needed jolt.

We get some good supporting characters amidst some average leads. Legend is the top star by virtue of being a tripawed. Call me biased, but I fostered one ((Hopalong) Cassidy) for a few months. His antics are as amusing as they are impressive. Splat is fun and quite sympathetic; it and Ethan get a nice bonding moment when he bandages its arm after it gets zapped by Pando. Amongst the crew, we have Caspian (Karan Soni), an amusing nerdy-type and the aptly named Ronnie Redshirt. Back to the mains, Callisto makes for a good anti-villain. Did I spoil it?

Strange World probably won't leave a cinematic footprint as large as, say, Encanto did last year. But it should provide a good family matinee for this holiday season. The story is average, but its visuals and supporting cast are superb. Anyone balking at Avatar: The Way of Water's 190 minutes will rest easily knowing that it runs just 102. But hurry up and see Strange World before that movie takes over the cineplexes. Stay tuned this weekend for a surprise.

Tár

I saw the French Film Irreversible in a film class in 2007. It's a film notorious for its nauseating infrasonic sound mix and for telling its story in reverse-chronological order (among other things). I remember the reverse order but not its sound mix; due to a DVD error, we watched the film mute.

A year earlier, director and writer Todd Field made his second and seemingly final film, Little Children. He's back with Tár, a film that opens with the end credits, sans cast, in reverse. I almost thought it was going the Irreversible route, but no, it's chronological. So, what's it about?

Lydia Tár (Cate Blanchett) is the conductor of the Berlin Philharmonic and a musical icon. She was mentored by Leonard Bernstein himself and she herself mentored, among others, this film's composer, Hildur Guðnadóttir. The film opens with a lengthy interview with The New Yorker's Adam Gopnik outlining her life and musical philosophy. Her warm public persona contrasts with her cold private one. She alienates a student at her Julliard class (in an equally lengthy scene) and is distant with her wife Sharon (Nina Hoss), their daughter Petra (Mila Bogojevic) and her assistant, Francessca (Noémie Merlant).

One of Tár's former students, Krista Taylor (Sylvia Flote), kills herself. She leaves behind allegations that she and Tár had an inappropriate relationship. This comes just as Tár and the Philharmonic prepare to record Mahler's Fifth. Tár tries to deny the allegations but along comes a new cellist, Olga (Sophie Kauer). She tries to start an affair with Olga, but it doesn't end well. Neither does her career.

Yes, its titular character is pretty much an abusive predator. But she's a charismatic one thanks to Blanchett's performance. She makes a strong case about looking past one's homelife in appreciating their arts during that lengthy class. We can at least side with her when that class is later re-edited online into her Worst Behavior Greatest Hits collection. She presents Krista as an obsessed fan, and we're inclined to believe her. Her relationship with Olga does lend validity to Krista's accusations, though. It's quite shocking to see her discard her coldness when she assaults her substitute conductor, Eliot (Mark Strong), on stage. She's there in practically every scene of the film's massive 158 minutes.

Tár's supporting women are more sympathetic than she. Francessca and Sharon both feel equally unappreciated by the "supreme genius" in their lives. They both get to call her out on it. Their sympathy barely fades even if the film gives them some selfish subtext for leaving her. Olga is quite likable; her giddy reaction to making the orchestra is endearing. We soon learn she's not so easily manipulated by her conductor's advances. Krista only appears in several fleeting instances. What we learn about her lets us pity her, though.

Editor Monika Wili and the sound team let us into Tár's crumbling mind. We hear the same unnerving ambient sounds she hears, some of which are never explained. We see her nightmares, some of which involves Krista, and another has her in a burning bed in a swamp. Her real world is perfectly bleak thanks to Florian Hoffmeister's cinematography. It makes one want to almost sympathize with her. On a positive note, the film's set list, whether it's Guðnadóttir's compositions or pieces she arranged, makes for a crisp soundtrack. 

Whether or not you enjoy Tár depends on whether you can stand its villain protagonist for so long. A lot of its scenes felt excessively long (the two I mentioned make up a bulk of its first half-hour). But one can almost feel something for its titular character. Her final scene is supposed to show her at rock-bottom, but let's say she can get some fan points with her venue. It's still playing in theaters now, though you can see it on streaming for $19.99 (it'll be cheaper and on home media in a month or so). I'll leave it to you when and where to see it.

Disenchanted

 Once upon a time, Disney decided to bring its fairy tale style to the real world. I'm not talking about its live-action remakes, but Enchanted, its delightful self-parody of their animated films. It took ages, but we now have its sequel, Disenchanted, on Disney Plus. Let's see how it is.

The first film had Giselle (Amy Adams) of the animated Kingdom of Andalasia thrown into live-action Manhattan. After dealing with her evil would-be mother-in-law Narissa (Susan Sarandon), she and lawyer Robert (Patrick Dempsey) had their own happily ever after. We're now post happily ever after, ten years later. Giselle is stepmother to Morgan (Gabriella Baldacchino, tagging in for Rachel Covey) and mother to baby Sofia. Giselle decides Manhattan life isn't for her, so she and her family move to Monroeville, a suburb essentially run by Malvina Monroe (Maya Rudolph). Their new house looks nice but try living there...

Giselle tries to mend her family's unhappiness with magic. Her former intended, King Edward (James Marsden) and his Queen Nancy (Idina Menzel), gave her a MacGuffin magic wand. She uses the wand to wish for a "Fairy Tale life." Next thing she knows, Monroeville is Monrolasia, filled with giants, dragons, talking animals and group musical numbers. Her family is happy and content. But then she has moments where she turns wicked ... like a wicked stepmother! The wish is so powerful that Andalasia itself is falling apart. She has till midnight to reverse the curse. She has to contend with not just her wicked self, but Queen Malvina, who won't give up her power without a fight.

The sequel's best idea was turning Giselle evil. Adams gets much mileage out of turning the innocent Giselle into a scheming stepmother. It's even funnier when she switches personalities back-in-forth. The highlight is when she and Malvina engage in a villain song duet, the best of Alan Menken and Stephen Schwartz's otherwise ok songs. The film beforehand felt like worn-out whimsy, but this picked it up and then some. If I had a sore spot with the screenplay, it's that it wasted a good opportunity to resolve the plot a few minutes faster. You'll see what I mean.

Morgan is a good dramatic center, even if the story fumbles it. A faulty circuit burns her clothes and her stepmom's ideal life isn't so. Her frustrations with Giselle are understandable. Her spell-induced happiness turns her into a different character, which makes the spell creepier. But when she's thrown into Andalasia, the spell reverses and she's essentially back again. But she remembers life in Monrolasia. Her reconciliation with Giselle is a strong moment, though.

Now for a few character highlights. Malvina, much like Giselle, hits her stride as a Fairy Tale Queen. She's equally funny and dangerous, especially by the final battle. Her toadies, Ruby and Rosaleen (Jayma Mays and Yvette Nicole Brown) are funny side characters. The wand's magic scroll (Alan Tudyk, reprising his Ed Wynn impersonation from Wreck-It Ralph) and returning chipmunk Pip (Griffin Newman), get some of the best lines. Robert and Edward are delightfully goofy, while Nancy gets a number that's sure to remind one of Frozen.

What else can I say? The production and costume designs are decent. Menken's orchestral score is good and the magical effects & 2D animation are great. It gets going well once you realize where it's going. That helped make its two-hours feel not so tedious. Overall, Disenchanted makes for a fine home matinee. If you disagree, at least you can pull up Enchanted on the same service. Either option's fine.

Slumberland

I saw two films that debuted today on streaming. The first of them is Slumberland, based on cartoon pioneer Winsor McCay's comic strip Little Nemo in Slumberland. It was previously adapted as an anime film in 1989 (1992 stateside), but this is the first live-action take on the century-old strip. Is this a good introduction to the classic story? Maybe.

Little Nemo (Marlow Barkley) and her dad Peter (Kyle Chandler) live alone in a lighthouse. He always tells her tales of his time in the magical Slumberland with the roguish Flip. One night, Peter leaves to aid a troubled ship and never returns. Her boring uncle Phillip (Chris O'Dowd), a rich doorknob salesman, takes her in. He has no idea how to raise a kid and Nemo has no idea how to live in modern society.

Nemo eventually meets Flip (Jason Mamoa) in her dreams. He wants to find magic wishing pearls in the appealingly named Sea of Nightmares. Nemo agrees, hoping to get her dad back. They have a map that lets them dream-hop through Slumberland. All the while, they find themselves pursued by a nightmare squid and the harried Dream Cop Agent Green (Weruche Opia). Meanwhile, Nemo has to resolve her real-world problems.

Director Francis Lawrence and his writers, David Guio and Michael Handelman, create a fairly decent family film. They wisely bypassed some of the strip's most-dated aspects (Imp's design won't fly today). Their story includes some legitimate surprises, some of which involve a few dreamers Nemo and Flip meet in Slumberland. It's also a tad overlong at 117 minutes, but the twist involving Philip and the climax, makes this Netflix session worth it.

Now for the characters. Peter's living time is short, but it sells his and Nemo's bond perfectly. You'll feel it for Nemo when Peter is lost. You'll naturally side with her as she goes on her dream quest. It's a compelling quest all the way through. Philip seemed like a one-note dullard until the mid-film twist. He spectacularly rises to the challenge of dad-hood in the climax. Mamoa plays Flip as an expy of Beetlejuice. It's still a bit entertaining, though. Agent Green was OK, as is India De Beaufort as Nemo's school counselor.

The strongest technical star is production designer Dominic Watkins. He visualizes such impressive places as Nemo's lighthouse and the many realms of Slumberland. One of Slumberland's best locales is a glass city whose occupants are a garbage truck and its surprising driver. The sky there looks like an actual painting almost comparable to the matte painting cities of Dick Tracy. Slumberland shifting around to different locales is an impressive feat of visual effects. A few more impressive effects include its version of the strip's walking bed, a few touchups to Flips' getup and Nemo's pig toy sidekick, Pig. Flip's dazzling wardrobe was among many designed by costume designer Trish Summerville. It not only looks good but sounds good with Pinar Toprak's score too.

My strongest familiarity with the strip comes from the anime film and a few panels highlighting McCay's stunning artwork. So, I'm not annoyed with any liberties taken with Slumberland. Its visual style is sure to entertain kids for an afternoon. Its clever twists save it from being as forgettable as the average dream. I think this is a good family home matinee. Maybe the length won't be an issue for you.

Black Panther: Wakanda Forever

Whatever a Black Panther sequel could have been died along with its star, Chadwick Boseman. So, Marvel and Wakanda find themselves dealing with the loss of its hero. Black Panther: Wakanda Forever proves that both of them are up to the challenge. 

King T'Challa dies after a protracted illness, leaving his mother, now Queen, Ramonda (Angela Bassett) and sister Shuri (Letitia Wright) to mourn with their people. A year later, Wakanda finds itself under international pressure to share their vibranium resources. Shuri tries to clone the heart-shaped herb that powered the Black Panthers to help create a new one to defend Wakanda. They'll need it soon as the underwater nation of Talocan, which holds the world's only other vibranium supply, resurfaces. Their leader, K'uk'ulkan, better known as Namor (Tenoch Huerta), is especially unhappy that there's an underwater vibranium detector. He plans to go to war with Wakanda unless they help him find the detector's inventor.

The inventor is Riri Williams (Dominique Thorne), a teen genius college student. Shuri and General Okoye (Danai Gurira) head off to find her, only to face the FBI, CIA and Talokanil forces. Shuri and Riri are taken to Talokan, where Namor is interested in forming an alliance with Wakanda. If not, then war. Unfortunately, war seems inevitable, and Shuri steps up to save her nation as the new Black Panther.

Director Ryan Coogler and his co-writer, Joe Robert Cole, return to tell this superhero tale. There's a lot that unfolds over its equally epic 161 minutes. We get plenty of subplots for returning favorites Everett Ross (Martin Freeman), Okoye, Nakia (Lupita Nyongo) and M'Baku (Winston Duke). Riri is a memorable new character, especially when she joins the final battle as the Iron Man-inspired Ironheart. A new Dora Milaje member, Aneka (Michaela Coel), and her relationship with Ayo (Florence Kasumba), is a bit lost in the shuffle, though. Julia Louis-Dreyfuss is just fine as CIA villain Valentina Allegra de Fontaine.

Ramonda puts on a brave and regal face, but cracks when the Talocanil warriors take Shuri. We sympathize with her even if we don't agree with her stripping Okoye of her command. Shuri, meanwhile, throws herself in her work. She's still in the anger-stage of grief, understandably, though Riri and Namor help her, directly or not, go through it. One of her strongest scenes is when she realizes that her latest cloned herb works. A few more include her debut as the Black Panther and her final battle with Namor.

Now for the antagonists. Namor is a compelling anti-villain driven by vengeance for the oppression of his people centuries ago. He's affable to his hopeful allies, like Shuri, when they talk in Talocan. His anger is terrifying as seen when he attacks Wakanda and, in a flashback, attacks a plantation. His warriors are equally terrifying in their first scene when they attack a mining vessel. They open their attack with a siren's song that drives people to jump off. Their own formidable fighting prowess cements them as legitimate threats to Wakanda. Namor promises we haven't heard the last for him. I'm quite curious to see how he'll factor in future installments.

The first film's Oscar-winning technical Marvels - production designer Hanna Beachler, costume designer Ruth Carter and composer Ludwig Göransson - return with equally Marvelous work. Talokan and its peoples' attire are equally impressive creations. The funeral march for T'Challa is quite emotional and the battle music is amazing. Cinematographer Autumn Durald Arkapaw's work is great, but her best scene is when the Dora Milaje emerge from the shadows to fend off an attack from vibranium-seeking mercenaries. Its three editors intercut between that attack and a United Nations meeting, which ends with the Dora Milaje dragging the mercenaries in. It's a masterstroke of a scene. 

The decision to not recast T'Challa has been a bit controversial. But for what it is, Black Panther: Wakanda Forever, stands strong on its own feet. Its newly promoted supporting characters and new antagonist are equally compelling people. Its ending gives us a lot to think about Wakanda's future in the MCU. That's especially true with the mid-credits scene and its stunning surprise. I won't hint at what it is. You'll just have to see the movie for yourself. It's worth the long runtime.

One Piece Film: Red

At this point, trying to keep up with One Piece is a daunting task. Eiichiro Oda's cartoony world spans over a thousand chapters in both manga and anime form with a similarly gigantic number of characters. Their latest film, One Piece Film: Red, is their fifteenth, made for the franchise's 25th anniversary. For those who came in late:

Just before his execution, Gold Roger, the King of the Pirates, announced that his treasure, the One Piece, and his title, were up for grabs. Our hero, Monkey D. Luffy, and many, many others, want what Roger left. Luffy and his wacky "Straw Hat" crew sail around looking for adventure and often fight corrupt noblemen, the navy, evil pirates and other bad folks.

The Straw Hats enjoy some downtime at the Island of Elegia, where the world's most popular singer, Uta, holds her first concert. Luffy immediately recognizes her as his childhood friend and outs her dad as being Captain Shanks, his pirate hero. The reunion turns sour when Uta announces her concert's going to last forever. That's because anyone who hears her sing is sent to dreamland. That includes around 70 percent of the planet. The Straw Hats and a few of their friends and rivals join forces to find a way out of there. That's the basic gist of it.

The film is directed by Goro Taniguchi, best known for the Code Geass series and this franchise's first anime incarnation, the short Defeat the Pirate Ganzack. Tsutomu Kuroiwa's screenplay gives the uninitiated enough backstory to understand its self-contained story. The numerous established characters in supporting or cameo roles barely impair that understanding. There's some stunning twists and turns as Uta's masterplan unfolds. One concerns some mushrooms and another concerns Tot Musica, an evil dream demon. You'll be on edge once you understand the ramifications. Its resolution is the only part its story felt stretched.

Uta makes for a memorable anti-villain. Her history with Luffy gives the film a great crux. We see them laugh and play and even engage in eating contests. Bring up pirates, and Shanks especially, and her good nature cracks. We gradually understand just how dangerous her plan is. But we still have some fun; her musical numbers are delightfully trippy music videos worthy of a Bond film. The film is available in both subbed and dubbed versions, though the latter still switches to the Japanese audio for Uta's songs (all sung by the enigmatic singer Ado). The language switch may strike some as odd, though let's focus on the positives. These numbers range from peppy to emotional to creepy; all are memorable.

How else does this film look and sound good? Uta's character design is as dazzling as her reality-bending powers. Her trapping people on music staffs like flies on flypaper is merely a sample. Tot Musica's full form and its screams make it a menacing final boss. Yasutaka Nakata's score perfectly punctuates whatever action Uta isn't part of. If this is your first exposure to One Piece, prepare yourself for an eclectic cast of characters consisting of ordinary-looking people, an afroed skeleton, a bulky cyborg, a polar bear and even a dead ringer for Cap'n Crunch. It's a weird world and they're part of why it's fun.

One Piece Film: Red gives a musical twist to the Straw Hats' high-seas hijinks. Its central new character is menacing, entertaining and sympathetic all at once. Her story is compelling whether you've experienced 100 or zero percent of the franchise. Either way, you'll get 115 minutes of wackiness, action, music and drama. It's a weird mix, but the franchise is too. See it and you might get the appeal.

Till

Her last film, Clemency, barely had a theatrical release in 2019. I'm sure most only heard about it when Alfre Woodard got a BAFTA nomination for it. Director Chinonye Chukwu's newest film, Till, won't escape anyone's radar that easily. Let's see why.

It's 1955 in Chicago. Mamie Till (Danielle Deadwyler) sends her son, Emmett (Jalyn Hall), to visit his cousins in Money, Mississippi. She tells him to be on his best behavior around white folks. But he inadvertently offends shop-owner Carolyn Bryant (Haley Bennett) and a few days later, is lynched by her husband and brother-in-law. We only hear the crime in progress. But we eventually see the results.

Mamie dedicates her life to getting justice for Emmett. She gives him an open-casket funeral to let the world see what happened. She joins with Civil Rights leaders Medgar Evars (Tosin Cole) and T.R.M. Howard (Roger Guenveur Smith) to help get anti-lynching laws passed. Still, the Legal System in Money isn't interested in seeing justice done. She'll have to keep fighting anyway.

Chukwu collaborated with Keith Beauchamp, whose documentary The Untold Story of Emmett Till reopened the case in 2003, and Michael Reilly, in writing the script. It opens as Mamie and Emmett prepare for his trip. We see them in happier times as they dance to their favorite song and shop for nice clothes. We see Mamie as a loving, yet stern mother, while Emmett is a likable kid whose only flaw is naivety. It perfectly establishes their endearing relationship in no time. The foreknowledge of his murder is sure to make one ill at ease.

His corpse is revealed during the autopsy. This is easily the most disturbing part of the film between that and Mamie's drawn-out agonized screams. We soon see her deal with her grief and eventually channel that into activism. We stay on her side as the condescending (and worst) Money legal system antagonizes her. Although she leaves when she realizes "not guilty" is assured, she is applauded for her courage by the Black community. You will too. Still, while the trial was a joke, it's assuring to know that the killers lived as pariahs for the rest of their lives.

Deadwyler's performance is great, but there are a few good supporting players too. There's Whoopi Goldberg (one of the producers) as Mamie's mother Alma, a similarly loving and stern woman. John Douglas Thompson is Mamie's great-uncle Moses, whom Emmett was staying with, whose strongest scene is him defying witness intimidation to point out the killers. Jayme Lawson as Medgar's wife Myrlie (whom Goldberg played in Ghosts of Mississippi) has a strong scene with Mamie. Finally, the actors playing the racist townsfolks (especially the killers) perfectly play them as contemptable people. 

This is a tough film to sit through. But it's still a necessary one. Till's depiction of a vile crime will shock and anger you. It puts modern events in perspective as witnesses openly debunk the crime ever happened. I don't blame you if you choose to see something else. Anyone who sees it will get a compelling ensemble led by a powerful lead in Deadwyler. As for me, my next review will be something lighter.

All Quiet on the Western Front

 Now we go from fantastical horrors to actual horrors ...

All Quiet on the Western Front by Erich Maria Remarque was most famously filmed in 1930 as only the third film named Best Picture at the Academy Awards. There was also a TV movie in 1979 that's just a footnote now. It's more of a footnote now with this film version, the first made in its native Germany and its official entry in the International Feature Oscar race. Let's talk about it.

It's World War I. Paul Baumer (Felix Kammerer) is a new recruit to the Imperial German Army. He and his school chums are excited to fight for the Kaiser and the Fatherland. Their uniforms - all recycled from corpses of the opening skirmish - barely fit, but no worries. Their excitement disintegrates when they get their first taste of trench warfare. It's a chaotic ordeal which leaves one of the school chums, Ludwig (Adrian Grunewald), dead on their first night.

By November 1918, the war has gone nowhere, and an armistice seems imminent. Eventual Vice-Chancellor Matthias Erzberger (Daniel Bruhl) represents the Reich for the peace talks. Meanwhile, Paul and his friends try to survive the war's last few days. The odious General Friedrichs (Devid Striesow) wants a last-minute victory for the Fatherland. This will not end well.

This Netflix release was directed and co-written by Edward Berger. It opens in a majestic forest photographed by cinematographer James Friend as a vixen and her cubs rest. It's all quiet on their front. They're spared the carnage that the human soldiers endure for nearly two and a half hours. A few get smushed by tanks and scorched by flamethrowers. One makes good on his promise to not live a cripple. We get some levity whenever Paul and his friends have downtime. He and his mentor, Katczinsky (Albrecht Schuch), even raid a farm for food, though it doesn't end well the second time. 

Paul is a strong audience surrogate. Anyone expecting "War is Awesome," like he and his friends do, are sorely mistaken. His attempts to survive are tested when his friends are killed. We empathize with him as he finds Ludwig's body and later stabs a soldier who takes forever to die. The altered timeline of the film makes his eventual fate more tragic. Among his friends, Ludwig is the most sympathetic, Katczinsky is a cool old guy and Franz (Moritz Klaus) is fun. Erzberger is a compelling voice of reason, while Friedrichs is a War Hawk madman. 

The film's technical stars draw us further into the war. The editing and sound mix renders the battles as chaotic affairs. The sound design lets us experience Paul's momentary deafness from explosions. The cinematography and production design visualize an impressive Western Front. It's quite splendid when it's all quiet there. The makeup design gives us plenty of war wounds, mud-caked soldiers and world weariness. Volker Bertelmann's (aka Hauschka) score is as stunning as it is bleak. Its recurring bass motif is quite imposing.

All Quiet on the Western Front may drain your enthusiasm for future wars. If so, then it's gotten it's 93-year-old point across. Its grim portrayal of a mismanaged and destructive war puts modern events into perspective. I wouldn't blame you if you seek something lighthearted instead. But everyone else should see it on the biggest screens they can find. It's truly one of the best anti-war films of all time in any language.

Hellraiser

I get further in the Halloween mood with Hellraiser, which respawns the franchise Clive Barker began with his novella, The Hellbound Heart. It's ready to haunt you on Hulu now. 

As with the other films, this one revolves around the Cenobites, a band of demonic sadists. "Demons to some, Angels to others" as their leader Pinhead (Doug Bradley) proclaimed in the first film. They show up whenever someone opens up a cursed puzzle box. This time, Pinhead (going by Barker's preferred name, The Priest) is played by Jamie Clayton and she has such sights to show Riley (Odessa A'zion).

Riley and her boyfriend Trevor (Drew Starkey) find the puzzle box in an abandoned warehouse. She solves it and narrowly avoids getting a customary blade through the hand. The Cenobites want blood and settle on her brother Matt (Brandon Flynn). She and her friends get on the case. It all leads to the seemingly abandoned mansion of Roland Voight (Goran Višnjić), the evil rich man who last had the box.

David Bruckner (The Night House) visualizes a script by Ben Collins & Luke Piotrowski. What can I say about it? The human characters were average for the most part. That made the first act a slow crawl until Riley and Trevor meet Serena (Hiam Abbass), Roland's former lawyer. Incidentally, she's the most sympathetic of the supporting cast. Riley is quite sympathetic with her goal of finding Matt. That makes her friends' repeatedly insisting she dispose of the box grating. It almost felt longer than its 121 minutes.

The Cenobites overshadow their prey with gusto. Their grotesque visages designed by Josh Russell's makeup team are just as memorable as their original counterparts. Clayton as The Priest is the cast's overall MVP. The Priest's soft voice cuts like a knife as she outlines her plans for her victims. She makes the most of her limited screentime. The same goes for her fellow Cenobites, who have such appealing names as The Gasp (Selina Lo) and The Chatterer (Jason Liles). Although I found much of the supporting cast average, the pain the Cenobites subject them too is nothing less than horrific. That is, except for Voight and his mole (a legitimate twist), which was simply karma.

There's some strong production design and visual effects on display. They go together perfectly when reality opens up to reveal the Cenobites' dimension. You'll feel as distorted as the cast when the Cenobites come calling. It's equally unnerving when their Overlord, Leviathan, comes calling. It's a stunning sight as chain-bound victims are dragged up to meet it; Christopher Young's classic theme (as reorchestrated by composer Ben Levett) adds to the grandeur.

Hellraiser is not for the squeamish. Then again, what Clive Barker work is? Its slow plot is perked up by its demonic villains and unnerving tension. I don't know how it holds up to the originals, but it was a decent film on its own right. Hurry up if you're in the Halloween mood. If not, there's plenty of other films (some family-friendlier) now on streaming to choose. I don't have time to review them all. It's almost time to hand out candy.

Werewolf by Night

 As opposed to Werewolf in the Afternoon with George?

I shouldn't waste a lot of words with Werewolf by Night. It's only 53 minutes, making it the shortest film I'll get to cover so far. In it, Marvel spotlights one of its most obscure superheroes. It's on Disney + now, and with Halloween tomorrow, the clock is ticking.

Ulysses Bloodstone, champion monster hunter, is dead. His widow Verussa (Harriet Sansom Harris) summons five of the best monster hunters for a competition. Their goal is to claim the family's eponymous MacGuffin and slay the dreaded Man-Thing that holds it, thereby becoming the new top monster hunter. Elsa Bloodstone (Laura Donnelly) is the event's unofficial competitor. Official Competitor Jack Russell (Gael Garcia Bernal) is actually the Werewolf by Night. He has to keep it secret, or the others will hunt him too.

Michael Giacchino's lush score, Maya Shimoguchi's production design and Zoe White's black-and-white cinematography make it an appealing homage to Universal's Monster films. They're so committed to the aesthetic they even have cigarette burns for reel changes. There's plenty of violent mayhem obscured by the monochrome, especially when Jack goes Werewolf at the end. The Bloodstone's glow stands out as the only bit of color for most of the film. 

Giacchino also gets to direct here. He visualizes a tight story by Heather Quinn and Peter Cameron. You'll get the gist of this TV Special in no time. Jack and Elsa are fairly likable protagonists, but most of their competition (save for Kirk Thatcher as the Scottish Jovan) are unremarkable. Verussa is at her creepiest at the climax. The best character is the Man-Thing, aka Ted, a sympathetic plant monster who just wants to live in peace. Ted is portrayed with some impressive motion capture by Carey Jones, while editor Jeffrey Ford voices him.

Marvel's Werewolf by Night is an impressive monster film unbound by its heroic predecessors. There's no end credits scene you have to stay tuned for. It makes for quick and easy Halloween viewing. At least, it's easier than the other film I decided to watch today. It had such sights to show me. Meanwhile, see this film if you want to know how much mayhem Marvel can muster on TV.

Black Adam

 Welp, Shazam's not coming for Christmas. He'll have to face the Fury of the Gods in March. Before that, meaning now, his archnemesis Black Adam headlines his own movie with Dwayne Johnson as the now-antihero. Let's see how this works. 

Teth-Adam was a slave in the Middle Eastern nation of Kahndaq. The Council of Wizards gives him the power of Shazam, which he uses to go on a vengeful rampage. They seal him away after that. He's released in modern times to battle the evil Intergang, who occupy Kahndaq as they search for the Macguffin, the Crown of Sabbac. The people of Kahndaq are grateful for his return. The Justice Society doesn't take kindly to his killing bad guys. He doesn't consider himself a hero, but he'll gladly kill anyone who opposes him. We'll see how he becomes a nobler anti-hero over the course of 124 minutes.

Johnson's Jungle Cruise director, Jaumet Collet-Saura, visualizes a script by Adam Sztykiel, Rory Haines and Sohrab Noshirvani. This is a visual movie full of shocking villain deaths and spectacular superpowers. The former is epitomized by Black Adam's rampage once he's set free. The latter is epitomized by the Justice Society, which consist of Hawkman (Aldis Hodge), Cyclone (Quintessa Swindell), Atom-Smasher (Noah Centineo) and Doctor Fate (Pierce Brosnan). Their dazzling superpowers are complimented by their attire designed by the duo of Kurt and Bart. Now that I think about it, the overall tone is somewhat uneven. But it's still a great looking film. It's also a great sounding film when you factor in Lorne Balfe's grand score.

The actual script is pretty decent. A lot of its heavy exposition is in the prologue, though it's not that heavy. Once that's done, the plot moves pretty quickly. I'd say it's a half-hour by the time the Justice Society gets involved. There's an interesting twist about Adam's history that I didn't allude to. His protestations that he's no hero take a legitimately tragic turn once the twist hits. Sure, it raises some questions about when Shazam alluded to him, but I get their intentions. The film heavily favors heroes willing to kill, though it gives the no kill heroes a fair shake. One might find the basic plot too familiar, but I found it anything but boring.

It helps that Johnson is compelling as Adam. He's much kinder than he thinks he is. His time with Adrianna Tomaz (Sarah Sihi), the resistance fighter who released him, and her family, gives him that much needed humanization. It pays off when he relinquishes his power at one point. It's satisfying once he commits to using his destructive power on those that truly deserve it. The Justice Society, meanwhile, have great chemistry with each other and Adam. Marwan Kenzari is fine as Ishmael, the duplicitous leader of Intergang and the later host of the demon Sabbac. Perhaps the biggest standout is the guest star in the mid-credits scene. My screening erupted in applause once he showed up.

Black Adam was introduced in the comics as Shazam's opposite. But this film makes him a compelling independent antihero. That's enough to make me anticipate his cinematic future. Let's hope he'll meet Shazam, even for a chat. For now, let's hope that Shazam: Fury of the Gods sticks to its current date. This film makes me anticipate that one more than ever.

Amsterdam

 Long ago, David O'Russell assured us that "some of this actually happened" in his film, American Hustle. His newest film, Amsterdam, bluntly tells us "A lot of this actually happened." You might ask "what happened?" after watching it. 

It's 1933 and Roosevelt is in office. Burt Berendsen (Christian Bale) is a war veteran who specializes in patching up fellow vets. He and his war buddy Harold Woodsman (John David Washington) are excited that their old General, now-Senator Meekins (Ed Begley Jr.) is speaking at their regiment's reunion. But they never expected to be reunited with the man's corpse. Meekins is dead, most likely murdered, and somebody's responsible. That's what his daughter, Liz (Taylor Swift), wants to find out. But then she's pushed into traffic and the guys are accused of it.

They turn to their mutual friend and wartime nurse, Valerie Voze (Margot Robbie). They spent the best years of their lives in Amsterdam (which explains the title). But they have quite a bit to unravel in New York. Our heroes slowly realize the Meekins' deaths are part of the real-life Business Plot. Only the "cooperation" of fellow vet Gil Dillenbeck (Robert De Niro) can root out the conspirators.

Its story is its biggest mystery. We have a real-life conspiracy and an assassin (Timothy Olyphant) & two cops (Matthias Schoenarts and Alessandro Niva) chasing our heroes. But the heavies are barely there to pose a threat. The film stops dead right when the guys go running for their long wartime back story. A major revelation is reduced to another flashback instead of real time. Its often-meandering exposition is liable to make one zone out. Burt's strained relationship with his wife Beatrice (Andrea Risenborough) is delegated to tell, not show. Its ending is so rushed that you'll feel little when Burt talks about appreciating the little things in life. You're bound to feel its 135-minute runtime before long.

It's not a complete loss. The main trio have some good chemistry together, which made the flashback tolerable. Burt's screwball antics are amusing, and Harold is a fine sane man. You'll be jolted once you realize the truth behind Valerie's supposed neurological condition and that her brother, Tom (Rami Malek), is a conspirator. An imagine spot of hers at the end is as funny as it is shocking. Michael Shannon and Mike Myers have some fun bits as our main trio's benefactors, while Chris Rock makes the most of his limited screentime as Milton, another of Burt and Harold's army buddies. 

The technical aspects are also commendable. The production and costume designs create a visually appealing manifestation of old New York. The makeup department have their own striking contributions: war wounds, Burt's disheveled look and his patchwork faces for fellow vets. The film maybe overlong, but editor Jay Cassidy deserves some kudos for that imagine spot. It's all set to a memorably whimsical score by Daniel Pemberton that would fit right in a Wes Anderson film.

Amsterdam wants to be a screwball mystery and a sentimental drama. It can't pull off that juggling act, but it tries. The conspiracy plot is its most fascinating aspect, especially when it introduces Dillenbeck's inspiration, Gen. Smedley Butler. It's still quite amusing, and its main trio is likable. See it if you want. But I suggest you read about the actual plot as soon as possible. It's quite a read.

Lyle, Lyle Crocodile

 It's rare that I get to see a film on its Day Zero. I've reviewed a few (Dune, Prey), but that averages about once a year at most. I add one more with Lyle, Lyle, Crocodile, the film version of Bernard Waber's children's books. Let's see if and how this crocodile rocks.

Hector P. Valenti (Javier Bardem) is a mediocre song-and-dance man hoping to make it big. He needs a new partner and finds it in Lyle, a crocodile who can only vocalize in song (via Shawn Mendes). Hector bets everything on Lyle's debut performance. But Lyle has stage fright, and the act is a bust. Hector skips town and leaves Lyle at his Victorian brownstone.

The Primms eventually move into the brownstone. Son Josh (Winslow Fegley) finds Lyle in the attic, and, after the initial shock, they become pals. The same goes for dad Joe (Scoot McNairy) and stepmom Katie (Constance Wu). Lyle's influence helps the Primms get over their insecurities. Hector even moves back in, and they agree to share the brownstone. The aptly named Mr. Grumps (Brett Gelman) isn't that neighborly and wants them gone. The Primms need to show off Lyle's singing talent somehow. An American's Got Talent knock-off might help.

It's a decent kids movie directed by Will Speck and Josh Gordon. Its best gags involve Lyle's crocodilian nature and naive bumbling. Its cringiest jokes include an overlong dumpster diving scene. The songs by Pacek and Paul are sufficiently entertaining. There's an impressive oner during the musical prologue as Lyle and Hector dance all around the brownstone. Josh and Lyle bonding is nice, but Lyle meeting Hector is charming. It's not a revolutionary story but it gets the job done for 100 minutes.

It helps that there's a good human cast. The highlight is Bardem, who is clearly having fun as the eccentric Hector. You'll pity him even when he lets down Lyle, which he does twice. Mr. Grumps is quite goofy as he coddles his cat, Loretta. But his unneighborly attitude makes him hateful rather than entertaining. It was quite cathartic to see Grumps go down at the end. Fegley is compelling as Josh, while Wu and McNairy are likable as Katie and Joe.

Lyle was visualized with some good CGI. He looks and feels like a real-enough creature. His face talks so much when, for example, animal control corners him. His despair in his subsequent zoo enclosure is palpable. Similarly, Loretta is quite an emotive CGI cat. I'm sure she was portrayed partially by a practical cat, but it's hard to tell. You'll love her kittenness even if you're a dog person. 

Lyle, Lyle, Crocodile is sure to rock many a kid's afternoon. Its story isn't emotionally heavy, and its humor certainly skews younger. Adults may get a kick out of it whether or not they grew up with the books. I didn't; I don't even remember the 1986 animated TV special. I'll certainly remember this crocodile and his hijinks now. I'm sure you will too once you see it. You might never know a better time this month.

Hocus Pocus 2

How about for something fun?

That something is Hocus Pocus 2, the sequel to Disney's 1993 supernatural cult classic. A lot has changed since the witchly Sanderson sisters - Winifred (Bette Midler), Mary (Kathy Najimy) and Sarah (Sarah Jessica Parker) - haunted the cineplexes. They now take to Disney Plus to run amuck, amuck, amuck ...

Moving on ...

It's Halloween in Salem. Becca (Whitney Peak) celebrates her birthday with her BFFs, Cassie (Lilia Buckingham) and Izzy (Belissa Escobedo). It usually involves a bunch of, well, Hocus Pocus. But since Cassie now has a boyfriend, a doofus named Mike (Froy Gutierez), Becca and Izzy will have to do it alone. They get a special candle from Gilbert (Sam Richardson), their local magic shop guy. It's a Black Flame Candle, like the one that brought back the Sandersons last time, and sure enough, this one does too.

The Sandersons set out to steal the lifeforces of Salem's kids. They also plot to take revenge-by-proxy on Mayor Traske (Tony Hale), Cassie's dad and a descendent of the Reverend who drove them out of Salem. That involves casting a spell so dangerous that not even their living spellbook will let them read it. Becca and Izzy have to save Salem and reconcile with Cassie tonight. It's a bit easier since Becca is coming into her own witchly powers.

The stars are much older, but they haven't lost their charms. Midler, Najimy and Parker are having as much fun now as they did then as the laughably wicked coven. Their rediscovering the modern world (including a Sandersons costume contest) provides much hilarity. They're legitimately terrifying when they need to be, though. They also get some surprisingly endearing sisterly bonding time. Anyone who didn't grow up with the first movie will get their appeal in no time.

 

The film's prologue helps out a lot. Taylor Paige Henderson as young Winnie perfectly nails her older counterpart as she storms through Salem after rejecting an arranged marriage. One that even the Reverend (also Hale) and the arranged match are legitimately grateful that she did. It turns sufficiently dramatic when she and her sisters run off into the woods and meet their "Mother Witch" (Hannah Waddingham), who makes the most of her one scene. It's a strong distillation for what we're in for.

The film's actual protagonists are quite likable. Becca and her BFFs are put through a compelling arc as they reconnect. You'll be on edge as they try to outmaneuver the Sandersons. You'll cheer for them when they share in Becca's magic. Their final scene together is so nice when they walk a familiar walk. Gutierez, Hale and Richardson are delightfully goofy supporting players. Richardson shares his best scenes with returning zombie Billy Butcherson (Doug Jones).

I saw the first film back when it was new in theaters. Its opening aerial shot is such a vivid memory. That experience is perfectly replicated by Elliot Davis's similar opening shot. His cinematography gives the film's spooky locales their edge. The Sandersons' magical powers are both practical and CGI wonders. Mary's magical roombas make for the film's funniest surprise. Gilbert's flashback to the Sandersons' first defeat seamlessly blends new footage with the first film. John Debney's score is just as grand as his work on the first film. The Sandersons even get two musical numbers that'll make you yearn for a Broadway musical (like one that just got announced).

This is a good way to start the Halloween season. I haven't thought of Hocus Pocus that much in my adult life. But its sequel suddenly stirred some nostalgia for that movie. I'll bet Hocus Pocus 2 will work that spell on you whether you watched its originator yearly or not. Press play and find out. 

Blonde

 Marilyn Monroe was easy on the eyes, but her new biopic, Blonde, isn't. She suffers through nearly three hours of tragedy and abuse. Then there's the stuff that earned it an NC-17 rating. Shockingly enough, it's not that much of a slog to sit through.

Let me explain.

Andrew Dominik (The Assassination of Jessie James by the Coward Robert Ford) wrote and directed this adaptation of Joyce Carol Oates's fictionalized biography of Monroe (which also inspired a far tamer miniseries in 2001). Monroe - real name Norma Jeane Masterson - is played here by Ana de Armas. To cut to the chase, de Armas is why the film isn't a slog. She nails Marilyn's signature voice and never lets the audience lose their sympathy of her. That's essential for what she goes through.

In 1933, Norma Jeane lives with her abusive mother, Gladys (Julianne Nicholson). Norma Jeane is sent to an orphanage after Gladys tries to kill her one night. One montage later, she's Marilyn Monroe, famous model and soon-to-be movie star. She finds an open relationship with Charlie Chaplin Jr (Xavier Samuel) and Edward G. Robinson Jr (Evan Williams). She marries Joe DiMaggio (Bobby Cannavale), who abuses her, and later Arthur Miller (Adrien Brody), who's a bit condescending. All the while, Norma Jeane longs for her father (Tygh Runyon), whom she only saw a picture of as a girl.

Her father frequently writes to her throughout the film. His letters give her some needed hope. What else is there? She is raped by some prominent men, one of whom is JFK (Caspar Phillipson). Let's say the latter scene earns the film its rating. She also has an abortion they won't let her back down from. She grows disconnected from her real and fictional selves. Overall, the world overpowers her and her audience. A climactic twist concerning her father's letters is a punchline to a cruel joke. 

Dominik renders Marilyn's life as nightmarish. Gladys and Norma Jeane's escape from the Griffith Park Fire is apocalyptic. The premiere of Some Like It Hot is a delirious blur save for Joe E. Brown's last line. People crowd around like maniacs as they watch Marilyn film The Seven Year Itch. We also get some auditory scares, including an imagined conversation with Marilyn's second unborn child. Kudos to cinematographer Chayse Irvin and the sound team. On a lighter note, the film perfectly recreates the Diamonds are a Girl's Best Friend number from Gentlemen Prefer Blondes so well I thought it was an actual film clip.

Marilyn finds some happiness with her husbands and lovers. Keyword, some. I'll take them as victories over the trauma conga line she endures in Blonde. Its star saves the film from being a miserable experience. Instead, it's a somewhat indifferent experience. But the climactic twist irks me the more I think about it. It's in theatres and Netflix now; anyone curious about it is welcome to the challenge. It's not for the feint of heart.

Don't Worry Darling

 Don't Worry Darling, it's only a movie.

This is perhaps the most anticipated film of the month. It's gotten a lot of press for having Harry Styles in top billing and his relationship with director and co-star Olivia Wilde. It also has a relatively secret plot involving dangerous suburbia. As Chris Pine's sinister Frank says, "I'm curious to see where [they're] going with this." 

Your curiosity shall be rewarded.

It's the 1950's. Alice (Florence Pugh) and Jack Chambers (Styles) live in the town of Victory, run by the aforementioned Frank and his "Victory Project." What is the Victory Project? It's so important that Jack can't explain what it is. He and his fellow workers head off to the desert each day while their wives live in luxury. The only caveat is that they can't leave the city limits.

One of Alice's neighbors, Margaret (KiKi Layne), kills herself in front of her. But the VP guys tell Alice that Margaret tripped off the roof and lived. That and a few other occurrences lead Alice to question her reality. Meanwhile, Jack moves up the corporate ladder and he doesn't want Alice to make him look bad. The VP guys will do anything to keep their super-secret project super-secret. Alice has to find her way out of Victory on her own.

Shane and Carey Van Dyke (grandsons of Dick) share screen story credit with Katie Silberman, who wrote the film's actual screenplay. The film takes time in crumbling Alice's sense of reality; it's fitting that her first clue is a carton of yolkless eggs. Alice's hallucinations - and actual trauma - are legitimately creepy moments. The actual nature of the Victory Project makes all too perfect sense. It's not just in what it is, but what kind of men the VP guys really are. It's a bit overlong - apparent when Jack shows off some awkward dance moves at a VP party - but it buckles when Frank's yes-wife Shelley (Gemma Chan) turns on him with nary a clue. 

Pugh as Alice is compelling all the way through. It's fun to watch her initially happy life with Jack. We're as perplexed as she is as she confronts her crumbling reality. We're invested as she finds the means to escape her suburban nightmare. Styles as Jack is fairly likable through most of the picture. Once the twist hits, we realize how pitifully narrowminded he is. Pine is charismatic as Frank and Timothy Simmons is perfectly callous as VP's shrink Dr. Collins. Wilde's character Bunny is a good confidant for Alice whom we pity by the end. 

Victory is a special kind of town. It's so alluring and so perfect you'll be creeped out before the twist hits. That's how Katie Byron's production design rolls. The characters wear some dazzling period attire visualized by Arianne Phillips. But the red jumpsuits worn by VP's goons will sear into your mind. Matthew Libatique's surreal imagery is sure to bring back memories of his work in Black Swan. Editor Alfonso Goncalves shines during the finale when Alice fights her way out of Victory. It's all set to a perfectly unnerving score by John Powell.

Don't Worry Darling is an entertaining suburban nightmare. It's an intriguing mystery film visualized with outstanding technical flair. Its lead character will keep you captivated even when the story drags. At least it's only 123 minutes and not any longer. I'll leave you to decide where to see it. My theatre screening didn't aim its projector all the way on the screen. That left me with most of, but not all, of the big picture. Hopefully you'll have better luck if you choose the small screen option.

The Woman King

 The Woman King seems like a familiar story with historical women. That doesn't change the fact that it's a compelling action film about historical women. Let me explain why.

The aforementioned women are the Agojie, the all-female fighting force of the Dahomey Kingdom in present-day Benin. Their enemies are the Oyo Empire, who collaborate in the slave trade with the Europeans. As the film opens, General Nanisca (Viola Davis) leads her fellow Dahomey Amazons (as they're also called) to liberate Dahomey captives from Oyo slavers. The Dahomey and the Oyo look ready for war, so Nanisca has to train some new Agojie. 

Our heroine is Nawi (Thuso Mbedu), a girl dumped at the palace by her father after she rejected far too many suitors (none of whom were nice). She is recruited into the Agojie by Nanisca's right-hand warrior, Izogie (Lashana Lynch). Her rebellious spirit infuriates the disciplined Nanisca. Nanisca, meanwhile, looks to persuade King Ghezo (John Boyega) to end the Dahomey's own slave trade. They'll have to hurry as Oyo's General Oba (Jimmy Odukoya) draws ever closer.

Gina Pryce-Bythewood (The Old Guard, The Secret Life of Bees) realizes a screenstory by Dana Stevens and Maria Bello. It has a romantic subplot between Nawi and Malik (Jordan Bolger), a Dahomean-Portugese man who can't abide with the slave trade like his friend, Santo (Hero Fiennes Tiffin), does. It's an ok subplot as Malik is a fairly likable man. There's a twist concerning Nawi and Nanisca that you'll realize well before they do. The denouement is quite familiar to anyone who's seen Mulan. It's got quite a few surprises waiting for you (including the Agojie's answer to the Oyo's demands). 

It helps that it has a strong ensemble. The Agojie are believable sisters-in-arms on and off the battlefield. We feel it right away as they mourn a fallen comrade from the opening battle. Izogie even greets a young onlooker as they return home. They further bond in sisterhood during the arduous training. The film efficiently gets Nawi into their sisterhood once it shows her established life. Her innovative thinking helps rout the Oyo. Nanisca's methods are harsh, but what she's experienced is worst. It's perhaps exemplified once they realize the aforementioned twist. It's devastatingly awkward. Let's say it involves General Oba, who is a perfectly detestable villain.

The Agojie themselves are sure to make one think of the Dora Milaje. They were indeed models for the Black Panther's bodyguards and costume designer Gersha Phillips dresses them in equally elaborate attire. Production Designer Akin McKenzie visualizes Dahomey as alluring a kingdom as Wakanda. The fight scenes are as brutal as a PG-13 rating allows, which is enough. Polly Morgan's nighttime cinematography is astonishing, as well as its sound editing (see/hear Nawi's dagger-whip). Terrence Blanchard and Lebo M complement the Agojie's sisterhood with their amazing score.

You'll feel the Agojie's triumphs and sorrows throughout the film's 135 minutes. It's somewhat overlong, but you'll be rewarded with some impressive battles. Just don't rely on it for your next history test. The Woman King has arrived and it's sure to enliven a dull movie month. What else is there? There's an Avatar re-release, and the subject of my next review. It's coming soon.

Mrs. Harris Goes To Paris

 Sometimes, it's amazing the width of an author's bibliography.

Like Paul Gallico, for example. His novel, The Poseidon Adventure, defined the disaster movie genre in 1972. He also wrote of one Mrs. Harris and her disaster-free life. Her first book, Mrs. 'Arris Goes to Paris, was adapted for TV in 1992. It's now in theatres and home media as Mrs. Harris Goes to Paris. Let's see how it is.

London, 1957. Mrs. Harris (Lesley Manville) is a cleaning lady living the best she can. She's motivated by a client's Dior dress to get one herself. One day, her good luck piles up and she's a wealthier woman. She hops on the first plane to Paris to get one from the Fashion House itself.

Mrs. Harris is met with skepticism by Dior director Colbert (Isabelle Huppert). But she gets support from Marquis de Chassagne (Lambert Wilson) and Dior employees Andre (Lucas Bravo) and Natasha (Alba Baptista). Mrs. Harris's outlook helps enrichen the lives of her new acquaintances. That's basically the whole movie, but it's hard to complain with a cast of likable characters.

Colbert and other Dior traditionalists might gawk at Mrs. Harris's goals. But they don't know her like we do. We see her optimism tested spectacularly within the first twenty minutes. Her desired dress is not just a pretty "frock," but a symbol of a better life. Why shouldn't she have it? Manville as Mrs. Harris is likable enough that we easily ask that question. It's endearingly silly when her wealth rapidly piles up and it's quite nice when her new acquaintances come through after a sudden twist. It's a blunt, yet entertaining treatise, on how goodness is eventually rewarded.

What about the rest of the cast? The least likable character is the snobbish Madame Avallon, Mrs. Harris's rival for a Dior. Colbert goes from uptight to pitiable during the course of the film. Lambert is fun as the Marquis, while Bravo and Baptista are fine as Andre and Natasha. Rose Williams is good as Pamela, a client of Mrs. Harris, whose carelessness kicks off the ending. Phillipe Bertin makes the most of his screentime as Christian Dior himself.

The Dior fashion show Mrs. Harris attends is a strong showcase for Jenny Beavan's costume designs. One alluring dress after the other after the other. Her work here is just as splendid as her recently Oscar-awarded work in Cruella. These designs inhabit an equally impressive rendition of 50's Europe visualized by Luciana Arrighi. Rael Jones's romantic score thankfully takes center stage on the soundtrack. Hopefully, we'll hear more about it the next few months.

The Mrs. Harris books always escaped my notice. I barely even remember that the 1992 film existed. But I'll remember this take on Mrs. Harris Goes to Paris. Its dramedic charms will liven up your post summer - or late summer - boredom. Its optimistic protagonist won't leave your mind after her film's 115 minutes. I'll let you choose where to see it, but I think it's best with company.

Three Thousand Years of Longing

 While the world wishes for George Miller to continue the Mad Max series, it gets to see his newest film, Three Thousand Years of Longing. He and his daughter Augusta Gore adapted the titular short story from AS Bryant's book The Djinn in the Nightingale's Eye. Let's see how it is.

Alithea Binnie (Tilda Swinton) is a scholar on business in Istanbul. She buys an antique bottle and accidentally releases the Djinn (Idris Elba) within. The Djinn offers her the standard three wishes, but Alithea knows her Djinn stories and how the wishers rarely live happily. The Djinn decides to tell her his life story. A story of how he went from the court of the Queen of Sheba to the court of Murad IV and ultimately, the home of Zefir, a merchant's wife. Each destination led him confined to a bottle. This tale leads the seemingly-content Alithea to fall for the Djinn.

It's all spread out over 108 minutes. The Djinn's history is intriguing enough to make one want to read more on the historical figures mentioned. But the presentation feels more like a stuffy college lecture than an engaging tale. Alithea falling for the Djinn, a good concept for a whole movie, is the last half-hour. The last half-hour even has multiple fake out endings. The tales are jolted by some audacious humor and feature some creepy moments that'll leave you perplexed. That's mainly because they're never elaborated on. The bulk of the movie might make an engaging stage play but it's unusually long on film.

The technical genies conjure up some splendorous results. The sets and costumes are visually appealing and cinematographer John Seale's work is as grand here as it was in Fury Road. The CGI is mostly good, with the exception of a poor composite shot near the start. Tom Holkenborg's score is suitably romantic, and the sound work is perfectly otherworldly. There's not much else I could wish from them.

Three Thousand Years of Longing is a decent fantasy film. Elba and Swinton are fine together, but its story will make you wish for a strong narrative jolt. There are some great concepts that needed stronger elaboration. There's much to marvel at on the technical side, though. It's a mixed bag, but it's a decent option in this slow movie month. You can also wish to wait for something else. There's no harm in that.

Dragon Ball Super: Super Hero

 And here's the other anime in question ...

Dragon Ball is undoubtedly the most famous thing ever inspired by the Chinese literary staple Journey to the West. It's had a long run with, among other things, manga, movies and TV, more recently with Dragon Ball Super. Hence why their latest effort is called Dragon Ball Super: Super Hero. Let's read on.

The movie is kind enough to fill the uninitiated on past events. It specifically tells us how franchise hero Goku crushed the evil Red Ribbon Army singlehandedly and later destroyed Cell, the ultimate creation of Red Ribbon mad scientist Dr. Gero, with his son, Gohan. Magenta, son of Red Ribbon mastermind Commander Red, plots to revive the army with his Staff Officer Carmine. They recruit Dr. Hedo, Gero's grandson, to help them get rid of Goku and his allies, who they frame as alien invaders. Hedo creates two superhero-themed androids, Gamma 1 and Gamma 2, to lead the charge.

Since Goku and his best frenemy Vegeta are off world, their ally Piccolo has to lead the anti-Red Ribbon campaign. Gohan joins the fight when the Ribbons target their daughter, Pan. Fortunately, she's already able to knock down much bigger men. But there's a much bigger problem cooking in Hedo's laboratory: a giant-sized copy of Cell named Cell Max. The rest of Earth's heroes have to pitch in to help shut down the Red Ribbons for good.

The film was written by series creator Akira Toriyama and directed by Tetsuro Kodama. It's both a spiritual distillation and continuation of the anime's story. Anyone looking for over-the-top fights between overpowered heroes and villains will be rewarded. It's also got a good sense of humor; Gamma 2's ability to generate comic book sound effects and Carmine's presentation videos are great highlights. Meanwhile, the film is full of subtle callbacks to the anime's long history. The climax even involves Piccolo growing giant, something he only used once (and not recently).  

Speaking of Piccolo, his relationships with Gohan and Pan are a driving force. Piccolo wants Gohan, his former student and now a shut-in entomologist, to take up martial arts training again. He even helps the Red Ribbons take Pan, his current student, to motivate Gohan. It sounds a bit much, but at least Piccolo lets Pan in on his act. We soon learn he didn't need to go that far. But it all pays off with Gohan getting a new form and Pan mastering flight. It's a decent story of growth between these three.

Dr. Hedo is a mad scientist with an unhinged moral compass. He served a prison sentence for grave robbing (with a goofy use) and gives his jail an explosive farewell. He only serves the Red Ribbons after being offered a lifetime supply of Oreos. But he still believes in super heroics. He's also not genre blind, as his confrontation with Magenta demonstrates. The Gammas are also true believers in super heroics and switch sides when they learn the Red Ribbon truth. They have a quite compelling arc here.

The film proudly shows off its new cel-shaded CGI aesthetics. There's plenty of tracking shots and camera angles never thought possible with its traditional predecessors. A few flashbacks are traditionally animated and it's hard to tell the difference. I had my reservations when the new style was unveiled, but after a while, it grew on me. The new style is accompanied by Naoki Sato's grand score. In particular, the Gammas' theme makes for a worthy superhero theme.

What's more to say about Dragon Ball Super: Super Hero? It's a perfect mix of goofiness and grand heroics. Its new CGI style is an appealing update of its traditional aesthetics. Its new and old characters are a strong bunch. Anyone unfamiliar with the lore won't get lost even with the callbacks. It's worth seeing on the biggest screens possible. If you want to see it, see it now, as it won't get to home media for quite some time.

Inu-Oh

Jesus Christ Superstar conveys its titular figure's radical life through the radical means of a rock opera. The anime film Inu-Oh applies this philosophy to the legendary Noh dancer of the same name. Let's see if I can describe it.

Director Masaaki Yuasa (Keep Your Hands Off Eizouken; Devilman Crybaby; The Night is Short, Walk on Girl) and writer Akiko Nogi adapt Hideo Furukawa's novel Tales of the Heike: The Inu-Oh Chapters, itself inspired by Japan's national epic, The Tale of the Heike. It starts with a rundown of the climactic Battle of Dan-No-Ura, where the Heike clan was defeated by their rivals, the Genji. Centuries later, a treasure hunter and his son, Tomona, find the Kusanagi, the sword of the God Susanoo, in a Heike shipwreck. That find ends with Tomona blind and his father dead. Tomona later finds his calling as a biwa player.

Enter our title character. Inu-Oh (Avu-Chan of the rock band, Queen Bee) was born hideously deformed when his Noh-dancer father (Kenjiro Tsuda) made a deal with a demonic mask. Inu-Oh spends his days swinging through Kyoto with his huge arm, freaking out people with his misshapen face (which is kept masked) and dancing. He soon meets Tomona (Mirai Moriyama) and together, they essentially become Japan's first rock stars. Inu-Oh's cursed body normalizes with each performance we see. But a few powerful people don't take kindly to their act.

But we can. The performances, scored by Otomo Yoshihide, are rousing rock numbers with spectacular lights and sounds. Inu-Oh's dances are marvelously animated by Yuasa's studio, Science Saru. It's also fun to see their fans react like modern day rock fans at a concert. How can you not love the climactic 14th-century equivalent of Bohemian Rhapsody? The soundtrack is completed by a lively traditional score (a highlight being a huge biwa performance). This film was clearly meant to be seen with a huge crowd on the big screen, but alas, I was the only one at my screening.

These performances begin halfway through its 98 minutes. We spend a long time learning about our leads and Ancient Japanese history in the first half. Inu-Oh and Tomona's first meeting on a bridge is worth the wait even if their act doesn't immediately begin. We also see the Kusanagi drip with blood and ready to unsheath itself - a Chekhov's Gun that never fires. Inu-Oh's relationship to his nameless father isn't exactly clear at the beginning. But his villainy will hit you with a ton of bricks upon the reveal. What also hits you is the sudden downer ending just after the third rousing concert. At least the epilogue was nice.

Inu-Oh won't replace Belle as my favorite anime musical. But I'll still admire it as a creative one. It's a gleefully anachronistic tale of ancient rock stars defying normalcy. Just keep that slow first half in mind. A few plot points could have been developed better with at least another half hour. But you'll have a rocking good time once its concept kicks in. No English dub is available; at least the subtitles can help you understand its massive exposition. If you want to see it, see it soon, for another anime is about to dominate cinemas real soon.

Bullet Train

What if Arthur Hailey wrote an action comedy?

I don't mean unintentional ones like Airport '79, but an intentional one. It might look like Bullet Train, based on Kotaro Isaka's novel Maria Beetle. You might not think of Hailey, but I did. Let's try to understand why.

Ladybug (Brad Pitt) is an assassin with extremely bad luck. He's called out of retirement by his handler, Maria, for an assignment in Tokyo. He has to steal a briefcase holding $10 million on a bullet train and get off. It sounds simple, except that several other hired killers are aboard. None of them want Ladybug off the train.

The briefcase is held by "twins" Lemon (Brian Tyree Henry) and Tangerine (Aaron Taylor-Johnson), who are escorting the loser son (Logan Lerman) of the infamous crime boss The White Death.  The Wolf (Bad Bunny) blames Ladybug for fatally ruining his wedding. Someone kills the loser, while an extremely deadly boomslang snake gets loose. All the while, a conniving schoolgirl named The Prince (Joey King) manipulates Yuichi Kimura (Andrew Koji) to kill The White Death. It's a bad day for Ladybug.

Normality goes off the rails in this violent farce. But you can still understand what's going. In fact, you'll be on edge as the lunacy unfolds. Who killed the loser? Who had the snake? Who killed the Wolf's wife and friends? A few flashbacks answer these and other questions. A notable one concerns a water bottle that proves essential for the climax.

Kimura's storyline drives much of the plot. We're on his side as The Prince ropes him into her plot. We're on his side as she holds his comatose son's life in her hands. We're on his side as she turns the other killers on him. It's quite cathartic to see his father (Hiroyuki Sanada) come to the rescue. And how. All the madness around him barely overshadows his compelling storyline. 

Meanwhile, Pitt is quite likable as the world's "unluckiest" man. We empathize with him as his attempts to deal with things peacefully are constantly thwarted. He still steps up to the plate when needed, so he's no mere pinball protagonist. His fellow killers are mostly likable eccentrics. Lemon views the world through Thomas the Tank Engine, Tangerine tries to keep his cool, while The Wolf and The Hornet (Zazie Beetz) are even unluckier than Ladybug. The Prince's surprise motivation is dwarfed by her prior scheming. The biggest surprise is realizing who played The White Death only after I finished the film.

There's some good production design for nightlife Japan and the bullet train itself. It's especially astounding to know that only three sets were used for the train. You'll especially remember the neon-colored anime themed car and its cutesy mascot. The action is equally exciting and silly. The soundtrack includes an intense score by Dominic Lewis and a few Japanese covers of some famous tunes.

Should you board this Bullet Train? Yeah. It's an intensely silly ride full of legitimate tension. The villains are fine, while the anti-heroes are a fun bunch. The finale is a perfect climax to this crazy train. Anyone wanting a mindful film should wait a little longer at this station. Everyone else should hop on board now. It won't be there forever.