AUDIO PODCAST OPTION OF “ODE TO JOY – LOVE STORY WITH A TWIST” REVIEW
How do you manage a romance if being happy makes you pass out? This is the conundrum with which a cataplexic man struggles when his perfect woman unexpectedly appears.
WHO SHOULD WATCH:
Mature older teens and up for language, comedic miming of sex, and attempts by the main characters to physical intimacy, though there is no nudity or anything graphic.
What do Sherlock, Deadpool, Big Bang Theory, Saturday Night Live and a Bob Fosse docudrama have in common? The best of the supporting cast of each of these film projects in an adorable little rom com, directed by Jason Winer and written by Max Werner and Chris Higgins called Ode to Joy.
A friend of mine has often teased that EVERY movie could be described as “a love story with a twist”. But Ode to Joy really is.
Martin Freeman, (Watson from Sherlock) is Charlie, a man who suffers from a neurologic condition called cataplexy, a condition in which any strong emotion, but for him especially joy and happiness, will cause him to — basically faint. Watching a cute cat video could render him unceremoniously unconscious, and while it may initially seem funny, the movie points out how dangerous, both physically and emotionally, the condition can be for those who actually suffer from this condition.
The script is based upon a radio interview (which you can listen to HERE) with a man named Matt Frerkin, himself a neuroscientist, who discovered he had this condition after becoming unable to move whenever he experiences strong emotion.
So Charlie keeps himself in constant emotional check, leading a quiet life as a librarian — until the girl of his dreams storms in.
Jake Lacy (featured as Gwen Verdon’s second string love interest in the mini-series about the life of Bob Fosse and Gwen Verdon, Fosse/Verdon) plays Cooper, his watchful but fun love ‘em and leave ‘em brother.
Morena Baccarin (Deadpool’s fiancee) is Francesca, the woman who breaks into Charlie’s well encapsulated life.
Melissa Rauch (the loud but loveable Bernadette from The Big Bang Theory) is Bethany, a mousy eccentric woman, who rounds out the quartet.
Jane Curtain (an SNL charter member) is Francesca’s Aunt Sylvia, who is full of life despite her terminal illness.
There’s more than meets the eye to this un petite affaire de coeur. At one point Charlie yells at his brother, plaintively wondering if he understands what it is like to live every day afraid of making a fool of yourself. The answer is, of course, yes. Everyone does. We all have our burdens to bear. And when anyone falls in love, as Charlie has, they expose themselves to the ultimate vulnerabilities. It doesn’t take cataplexy to make you aware of the potential hurt and humiliation, rejection and risk of falling – in Charlie’s case literally – head over heels. Charlie’s cataplexy is merely an extreme physical manifestation of the chance we all take with that bold step out to admit we love.
What can leave us more exposed than being unconscious, especially unbidden and unexpectedly? And that is a perfect analogy for the leap you must take in a commitment. You lay your life, your heart and your unconditional willingness to accept rejection out on the floor, undefended to whatever might happen beyond your control. God, Himself, takes that risk with every human’s Free Will when He offers us Grace and unconditional Divine Love. Though there are consequences to turning our back on this Love, God never ceases to offer that Love. And ultimately this is what Charlie realizes he must do to pursue the good of another – genuine Love, Love without a sense of entitlement, what Plato would call philia born of eros, or a Catholic might call Charity – in order to find true — Joy.
There are scenes in which Charlie experiences true Joy, but is not “Happy” in the emotionally excited way which most of us think of as “happy” or which would trigger his cataplexy. Charlie, during these scenes, is noticeably joyful, pointed out by the other characters, even while we the audience members know he is sad, as Charlie attempts to bring Joy into the life of someone else even at his own expense. He unwittingly discovers what is true Love, even though neither his friends or even Charlie really understands this.
As for Francesca, she is a woman who prefers to set herself up for romantic failure. Having lost her mother to hereditary breast cancer and on the verge of losing her beloved Aunt to the same disease, she tends to keep things superficial, moving frequently and choosing shallow men uninterested in a permanent relationship. But Francesca too instinctively knows true Love and Joy as, though sad, she Joyfully visits and helps her Aunt, who she describes as her best friend. And counseled by her open-hearted, Bucket List accomplishing Aunt Sylvia, Francesca also wrestles with the idea of what it means to Love and commit.
It occurred to me that the characters were what an adult version of Inside Out might look like from the mind of someone “in love” who matures from adolescent infatuation to true altruistic Love. From Francesca’s often unfettered enthusiasm and Cooper’s libido, to Bethany’s confused obliviousness, Charlie’s hyper-awareness of his vulnerabilities, and finally the wisdom of Aunt Sylvia who, more than most, understands the ephemeral preciousness of life and the importance of altruistic Love, they rotate about each other examining the question of the importance of living well and FOR someone you love – even if you have to risk pain and loss.
The music by Jeremy Turner is simple, the cinematography by David Robert Jones uncomplicated, but the story is neither. Although Ode to Joy is in that familiar niche of quirky romantic comedies with some unique obstacle to the main couple’s happiness, Ode to Joy is also an intelligent and clever story which surprises, offering quite a bit to think about.
The language is occasionally adult with completely unnecessary profanity. And two unmarried couples try to go to bed together, though no nudity and ultimately, and wisely, nothing happens because of — comic reasons.
My only real complaint about the movie is it leaves the outcome of one of the characters unresolved and unaddressed, especially frustrating as that character was unfairly treated and earned a conclusion.
But overall Ode to Joy was – a joy to watch. So if you have a rainy afternoon to spend with someone you love, you could do worse than spend it watching and talking about this lovely little film with the big heart that is an Ode to Joy.
AUDIO PODCAST OPTION OF ONCE UPON A TIME IN HOLLYWOOD REVIEW
A classically Tarentino revisionist history of a terrible event during the 1960’s seen through the prism of a fading TV star and his stunt double in an intricately detailed and brain shockingly familiar re-creation of the 1960’s.
WHO SHOULD GO:
ADULTS! ONLY ADULTS! And only adults who have fairly strong constitutions. While there really are no sex scenes, the language is frequently raw and occasionally vulgar topics are discussed in crude ways, but there are a few fight scenes and one long scene of extremely gory and prolonged violence.
Allow me to begin this review by quoting GK Chesterton:
“Fairy tales do not tell children the dragons exist. Children already know that dragons exist. Fairy tales tell children the dragons can be killed.”
Reviewing this movie puts me in an awkward position for a number of reasons. For one, it is a typically Tarentino violent and sexually charged film but one I thought extremely well done and worth viewing. For another I don’t want to unduly spoil anything in the movie but need to set the stage for one of the most vile moments in American history without either scaring off prospective appropriate film goers or giving away too much.
So keeping all this in mind:
SPOILERS FOR OUATIH AS WELL AS IRON MAN, WONDER WOMAN, BEAUTY AND THE BEAST, AVENGERS: INFINITY WAR, AND X-MEN ORIGINS: WOLVERINE
There’s a YouTube show called How it Should Have Ended, a PG if not G-rated comedy, which points out inconsistencies, crosses universe franchise storylines, and evaluates any plot flaws in movies which rely on nonsensical stupidity to set up the premise or move the story along. They animate scenes and do very credible voice impersonations showing, for better or worse, what is likely to have really happened had common sense prevailed in a given situation.
For examples, they: point out how a man as smart as Doctor Strange would not have texted on a winding road, going super fast, in the dark, but would have hung up the phone and planned to call later; demonstrate how Iron Man’s quicker, lighter and faster suit, along with his flying experience would have easily defeated Obadiah Stane at the end of Iron Man; introduced Wolverine to assist Wonder Woman; clearly showed in a spoof of the theme song from Beauty and the Beast that Belle was a victim of Stockholm Syndrome; and exhibit how Mr. Incredible probably would have loved Syndrome’s childhood inventions instead of shunning him with far more positive results.
Similarly, Once Upon a Time in Hollywood is aptly named, for it is a fairy tale, if you consider, as Joe Harper did in Kenneth Branagh’s A Midwinter’s Tale that “most fairy tales turn out to be nightmares”, which explores the alternate possibilities in life.
Leonardo DiCaprio plays the fictitious fading star Rick Dalton, a composite of every little known ’60’s TV show one trick pony and Brad Pitt is his best friend and stunt double Cliff Booth (based loosely on Burt Reynold’s stunt double Hal Needham). Where Rick is a fragile bag of regrets and insecurities off camera, Rick exudes a tough cowboy presence 24/7.
Likely the best acting job of either DiCaprio or Pitt, and almost the only two people who do not play historically documentable figures, they avoid what easily could have been caricatures to create two very different but vulnerable men who are survivors at their core. Despite the background story, their downwardly spiraling respective careers and the omnipresent spectre of the looming profoundly malevolent event on the horizon, dreadful to anticipate for anyone familiar with this year, these two archetype examples of crank-’em-out TV show stars from the ’60’s manage to be likeable, interesting, relatable, appealing and, like yeast in a barrel of flour, lighten the mood of every scene they are in.
This is a very “META” concept outing – with actors portraying real people who portrayed characters in movies and TV shows similar to the ones being filmed withIN the confines of Once Upon a Time in Hollywood. Whew.
The acting of the supporting cast, most of whom do play real people, is terrific. Among a large cast: Margot Robbie is the sweet and gentle but vacuous Sharon Tate. Dakota Fanning does a gut clenching quietly evil rendition of Manson follower Squeaky Fromme. And Mike Moh has all the mannerisms down for what can only be described as a Bruce Lee caricature (for which his surviving daughter, Shannon Lee, has taken exception). But one of the most impressive was Damien Lewis’ Steve MacQueen (The Great Escape, The Thomas Crown Affair). With just his voice and gestures he brings this cinema icon back to life for just a few wonderful movie moments.
In addition, there are some wonderful cameos from Al Pacino (1972’s The Godfather), Kurt Russell (from Disney’s 1969’s Computer Wore Tennis Shoes to Snake Plissken in Escape From New York) who has a small part as stunt coordinator Randy and provides some V.O. narration, and Bruce Dern (1972’s eco-warning sci fi Silent Running), actors whose careers were pretty much “born” during this period of time.
And then there are little Easter Eggs that you might miss unless you look closely, like Mama Cass from the Mamas and the Papas who greets Tate at the Playboy Mansion, and someone who can only be Twiggy talking to Steve MacQueen. NOT to mention the resurrection of the old TV show Lancer, including Wayne Maunder (portrayed by Luke Perry) and cigarette commercials which are startlingly accurate dopplegangers to the ones we watched on TV as kids.
The songs are beautifully handpicked for the right moments like bouquets placed around a professionally decorated room featuring the likes of: “Good Thing” from Paul Revere and the Raiders, Neil Diamond’s “Brother Love’s Traveling Salvation Show”, and “California Dreamin'” by Jose Feliciano.
And the sets, pacing of interviews, acting styles of the actors as they performed the shows within the movie, costumes, blunt and awkward dialogue all open a portal into a world I have not experienced in more than half a century. It was jarringly realistic. Tarantino even cleverly placed throughout the movie the awkward and jerky edits often experienced in watching a show from my youth, as the more humble equipment just did not produce the smoother transitions we all demand today, subtly evoking that era, as well as reminding us this is all just a fantasy, a wishful thinking creation of a cinematic mind.
If he has done nothing else, Tarantino has done a stunning job of disabusing me of any temptations to nostalgia for the era in his pinpoint accurate recreation of the world in which I grew up – the ’60’s with its emphasis on: the constant generation of cigarette smoke, plastic furniture, ridiculously high miniskirts, obnoxious self-aggrandizing hippies, sparse air conditioning, unchallenged snake oil salesmen, terrible TV shows, black and white monitors with Vietnam in the background, and condescending talking heads masquerading as newscasters (OK we still have those).
Don’t get me wrong. I loved it while I was living it but in the stark light of a Tarantino day – let’s just say that walks down Memory Lane should be taken sparingly.
And then there is the specific history of that particular “moment” in time.
In order to appreciate the pervasive sense of suspense and anxiety that hangs over the entire movie, you have to understand the backdrop in which the story plays out. The movie takes place during the year preceding the slaughter of Sharon Tate, her baby and guests on the night of August 9th 1969. On that terrible night, a cult leader name Charles Manson sent his followers out to kill everyone in the house on Cielo Drive. The people there were not just murdered they were savaged. A pregnant Sharon Tate, two weeks from delivery, was hung up and butchered like cattle. The rest were bludgeoned, shot, and stabbed dozens of times. Anyone old enough or well read enough to be familiar with this event knows it is coming — and protagonist Rick lives next door.
The next day, before their capture, Manson and his hippies did the same to a couple named LaBianca. It is hard to appreciate how this atmosphere of evil informed those days unless you lived through it…or watched this movie.
It was largely thought that the 1960’s “died” that day, (ignoring the fact that, well yes, 4-1/2months later it would be 19–SEVENTY, but I get the drift), replacing the open door “love is in the air” perception of the flower child with the reality that these people engaged in highly dysfunctional and destructive behaviors, who were predominantly a danger to themselves and those around them.
In OUATIH we get the true face of the hippie, free-love, Flower Power movement: promiscuous, selfish, manipulative, filthy, violent, arrogant, condescending, narcissistic, slothful, parasitic, hypocritical, self-adoring, drug addicted anarchists with a sense of entitlement to other people’s property. The greatest horror to those who stylistically aligned themselves with these pet anti-establishment philosophies (while living otherwise) was that the Manson cult demonstrated to the world merely the logical extrapolation of the hippie mantras which included calling police names and advocating their destruction, extreme hostility to capitalism while living off the work of others, and engagement in sexual debauchery without accepting consequences.
The aftermath of Woodstock alone demonstrates it takes a lot of someone else’s effort and money for one to appear to be living a life of freedom and independence from the drudgery of actually having to work for a living. (Of course, unfortunately, that is now the Democrat National Party goal – to be living off the hard work of other people, responsibility free – not surprising since many in their leadership fermented out of that intellectual cesspool —— but that’s a post for another day.)
Without any real job they lived, if you can call it that, on the largesse of family, friends and community, that is when they weren’t begging, prostituting themselves or outright stealing.
As this is a Tarantino film one expects an extreme amount of violence and gore and OUATIH is no exception…..but not the way you might expect, or cringe fearfully. I am delighted to say that, through the magic of Tarantino pixie dust, I was inspired to clap and cheer during the last scenes.
Tarantino likes to play with “What if’s”. Inglourious Basterds and Django Unchained being his most telling examples. I had actually never seen an entire Tarantino movie before but only clips from the likes of Kill Bill, Hateful Eight and Pulp Fiction. Sudden and ferocious bloodshed tend to jump out like ghouls from a haunted house, but OUAPIH is quite gentle for most of the movie in comparison, as the director manifests more suspense and extreme apprehension than actual violence…until the end.
Also stick around for a funny ending credits scene with a brilliantly on point faux cigarette commercial.
So if you want a head first dive into the deep end of nostalgia, and if you have the stomach for it, this is Tarantino at his best, if for no other reason than his masterful re-invention of a time gone by and for the cathartic satisfaction of seeing justice served in a Tarantino-flavored version of How it Should Have Ended.
God bless and R.I.P. Sharon Tate, baby Paul Polanski, Wojciech Frykowski, Abigail Folger, Jay Sebring, Steven Parent, Leno LaBianca, and Rosemary LaBianca.
AUDIO PODCAST FOR “JANE BOND? POLITICAL CORRECTNESS RUN AMOK”
At first I thought it was a joke. But now — if it is, then include me in the list with those who believe “gullible” is not in the dictionary – as having fallen for the prank Hook Line & Sinker.
SPOILERS FOR SOME PAST BOND MOVIES
I thought Judi Dench was the best M the Bond franchise ever had. And I think that a flighty science-enamored character like Elizabeth Henstridge’s Jemma Simmons from Season 1 of Agents of Shield, or Letitita Wright’s hip teen prodigy, Shuri, from Black Panther would be absolutely adorable as a new Q.
But a female James Bond? What are they going to call her? Jamie Bond? Jane Bond? Janet? June? Jill? Jasmine? Jenny? Joan? Jessica? Josephine?
The actress they have in mind, Lashana Lynch, (last seen in Captain Marvel as Danvers’ best friend Maria Rambeau), seems a perfectly good candidate for an action adventure movie, having acquitted herself with satisfaction in the Marvel Universe so far. It would be interesting to see her in an Atomic Blonde-type movie, for example.
BUT!!! When the vast majority of the attraction of the Bond movies, for the vast majority of the demographic audience, is the bevy of beauties who follow, surround, bed and attempt to kill 007, if you have a female Bond, how is that going to work?
If she’s a lesbian, that’s going to attract an entirely different primary demographic than has been following the Bond franchise for 70 years. In short, the Bond franchise would be starting all over from Square One. And given the money invested in this franchise, I don’t know that that’s a risk they’re willing to take. So assuming she is presented as either hetero or asexual, what will be the excuse for all the women who are an integral, if not in some cases, the sole reason some people have for going to see the movie?
I was willing to seriously consider a female Doctor Who (Jodie Whittaker) and I’d hoped for better, though I do not think it has worked out very well.
I am on record as having doubted the viability of a female-superhero-led movie, but was delighted to be wrong when Wonder Woman (Gal Gadot) came along and have guarded optimism about the idea of a Black Widow (Scarlett Johansson) origin story. But those two succeeded, and promise to succeed, primarily on the strength of the actresses involved in the respective films. Both female protagonists are/were heroes who happened to be females, not females onto which they shoehorned the mantle of superhero (as they did with Captain Marvel). Neither Wonder Woman nor Black Widow have chips on their shoulder against men and both work with easy camaraderie with their male counterparts, (UNlike Captain Marvel.)
My point being is, that while I have an educated and experienced bias against the viability of females in traditionally male iconic roles, I am delighted when I am wrong and I’m happy to admit it. However, it is frankly inconceivable to me what on Earth they going to do with a female Bond, given almost 70 years of set formula, (Casino Royale, published in 1953 was the first novel by Ian Fleming and 1962 opened Dr. No, the first Bond film), which would operate strongly against it.
I suppose one possibility is if this young woman was the fruit of one of the previous male 007’s innumerable liaisons.
But even then I think it would be a gimmick that would only be viable for one movie – much like the smart, competent bride of James Bond in Her Majesty’s Secret Service. As amazing as the Emma Peel/Diana Rigg’s Tracy was, she would not have fit within the Bond franchise long-term and was an outlying one trick pony. Tracy had to die for the Bond character to live. And I don’t think it was a coincidence that this movie, the outlier, was the one and only Bond with George Lazenby. Bond in love and married was a construct against the tried and true formula which just did not work. Grafting a female child of James Bond would alter the chemistry and shape of the decades-successful pattern into something unrecognizable as a Bond movie.
Another possibility is her partnering with a male Bond or perhaps even a junior male Bond-in-training. But then we’re moving into the equivalent of the Marvel Universe’s Ragnarok or Guardians of the Galaxy territory, wherein they plant their tongue far more obviously and firmly in their cheek than they did with Roger Moore’s unfortunately titled — well let’s say it would be another way to describe an eight-armed cat.
Honestly, I can view this with a certain objectivity as I have never been able to sit through an entire Bond movie, (or Wagner opera for that matter), without dozing off at least once. Suffice it to say, I’m not a huge Bond fan, though I find them fun to spectate in groups with male relatives and friends who — for one reason or another —seem to enjoy them a lot more than I do.
I wish this young lady all the luck. But I am afraid that in their heightened enthusiasm for political correctness they may have a James BOMB on their hands and have given themselves a License to Fail.
P.S. If they want my vote it would be – hands down – IDRIS ELBA!!!!!!
AUDIO PODCAST OPTION OF SPIDER-MAN: FAR FROM HOME REVIEW
Terrific newest contribution to the Marvel cinematic Universe, FFH is supposedly the last movie of Phase III which began in 2008 with Ironman. It is also the third of, hopefully, many more Marvel-version Spider-Man movies, its quality credited as much to the perpetually youthful and delightfully appealing Tom Holland version of Peter Parker as it is to the clever writing, great music and amazing special effects.
WHO SHOULD GO:
With some cautions, pretty much anyone. But be advised, while the story is clean and the romances innocently portrayed, there is a bit of language, and the violence, while cartoonish, is often intense and could frighten very young children.
What if super powers and access to billions of dollars of tech were given to a kid – a really great and very intelligent kid who was humble and wanted to do the right thing but still was – a kid. You’d have Spider-Man: Far From Home. Spider-Man: FFHis one of the best coming of age stories I’ve ever seen – coming of age, as in a youth being faced with circumstances that allow or force him to step from the safe confines of childhood out into the deeper, more treacherous waters of adulthood.
Although the movie stands firmly on its own, the more Marvel genre films (including TV’s Agents of Shield) since 2008’s Ironman, with which you are familiar and the more you know about Marvel, the more you will enjoy Spider-Man: FFH. Visual, verbal and circumstantial homages to that larger universe abound.
SPOILERS FOR FFH AND OTHER MARVEL MOVIES (mostly referential but I don’t want to ruin anything for anyone – so be warned)
Spider-Man: Far From Home burst forth with a crisis for which Nick Fury wishes to recruit Peter Parker. Now while in our modern culture it may seem unreasonable to ask a 16 year old teenager to step up in the way Fury wishes, keep in mind that there is abundant precedent for this in our own human history. Henry II, father of Richard the Lion Heart was forced, by the untimely death of his father Geoffrey of Anjou, to lead his troops against competitor armies for the possession of England and a big chunk of what we now consider France, when he was only 17. (P.S. Henry won). However, regardless of what the inimitable Mr. Fury demands, Peter doesn’t want anything to interfere with his school European trip and planned courting of the aloof M.J. – not even the potential end of the world.
Along with this humorous and all too human motivation of the main character, which is one of the wings that propels this story, FFH has a smart underlying theme cautioning objectivity to media – a very “meta” concept given the massive green screens used by the film makers in EVERY Marvel movie.
Tom Holland is again, and still, wonderful as the absolute best and perfect Spider-Man – all youthful confident enthusiasm but with an irresistibly humorous boyish naivete.
Zendaya (Greatest Showman) portrays her own unique “Goth” brand M.J. without becoming annoying. The adorable Jake Batalon returns as Peter’s best friend Ned. Jon Favreau reprises his role as Happy Hogan, providing the much needed father figure Peter lost in Endgame. Marisa Tomei is great as Peter’s youthful Aunt May (who says Aunt May has to be old, gray and grandmotherly!!). Jake Gyllenhaal plays Mysterio/Quentin Beck, the unknown factor in the plot. And there are a few cameos I would hate to ruin by divulging here but suffice to say they are well placed and fun.
The movie opens with the bang you would expect from any Marvel movie, touches briefly and with some amusement on the practical effects of the “blip” which “undusted” everyone from the end of Infinity War, then carries the audience on the crest of the story wave through to the end, leaving clever bread crumbs along the way, and beyond to all THREE end credit scenes (guess they were making up from not having a proper end credit Easter Egg after Endgame).
And, again, leave it to Marvel to have the perfect blend of story character arc, humor, and tension all placed against a complex backstory which fits with all the other movies like one of the overlays which made up the secret blueprints Tony cobbled together clandestinely in the cave where he had been held hostage in the first Ironman movie.
The colors are bright and vibrant, as they should be for a movie based on a comic book. The story is clean and wholesome, the romances gentle and age appropriately innocent, but the dialogue does contain a small handful of words you would not want younger children repeating. The violence is cartoonish but can be very intense. However, if they can handle any of the previous Marvel movies released since 2008 they can handle this one.
The music by Michael Giacchino is, at turns, bright and lively, romantic and lyrical, and tense and suspenseful, but always maintaining that Marvel hero-flavor.
Spider-Man: FFH works on multi-levels – as a classically formula-ed Marvel action adventure, as a cautionary talent of believing too quickly what you THINK you see because it is in the media, and as the story of a genuinely good young man on the cusp of becoming an adult who must choose when and how to grow up.
So swing right over at your earliest opportunity to see your friendly neighborhood – Spider-Man: FFH.
Despite a brilliant start, clever plot, continued great acting, wonderful cameos, and magical animation, the story abandons its own raison d’etre.
WHO SHOULD GO:
Anyone can go but I can’t recommend it for the target young audience because of very dark imagery and multiple scenes of loss and childhood trauma involving being separated from one’s family and justifiable fears of a child losing her toys which could seriously distress small children. And I can’t recommend it for the older crowd because of the final message.
SPOILERS FOR THE ENTIRE TOY STORY FRANCHISE
Full disclosure – this is a long post, even by my standards, but the Toy Story franchise has always been the beneficiary of some truly good writing, and the theme has always been that of family, so, it breaks my heart, but I have to make the case ….. against Toy Story 4, and that’s going to take some explaining.
In the first movie the question was the choice between ego or family, when Woody’s seniority and favorite status is threatened by Buzz Lightyear. Woody chose family by placing the needs of his fatherless owner, Andy, above his own wants and even risking his own life to rescue Buzz and incorporate Buzz into their group.
Toy Story 2 dealt with the idea of fame versus family when Woody has the opportunity to be admired from afar as a classic toy in a Japanese museum but instead chooses to return to Andy, even telling Buzz that he no longer fears Andy outgrowing him because he has the family of toys “for [sic] infinity and beyond”.
Toy Story 3 addresses the inevitable time when Andy, like Little Jackie Paper in the song “Puff the Magic Dragon”, does outgrow the magic and the toys are sent to another child.
This latest installment also involves the issue of family.
Aside from the amazing computer animation, the sterling voice acting of terrific actors, the astonishingly complex characters, the jokes both obvious and inside which parents and even the youngest can understand on a variety of levels and the complex and interesting plot lines, the real brilliance of the films has always been that the stories are really about parenthood – selflessly being there when your child needs you, even if they don’t know they do, even if you do it knowing the goal is for them to eventually not need you any more.
To be a good parent one must choose their children’s happiness, safety and sense of security over the expediences of the parents’ own wants, desires and even needs. Woody, the de facto Dad in each of the movies, chooses to protect his toy family for the benefit of his child. And this is the way to which the ownership is referred – that the toy has a child, which is always viewed as the ultimate and Xanadu of existence for any toy. And the lack of a child is always seen as a tragic circumstance and even one which can, like Lotso or Stinky Pete, lead to a bitter expression of their baser and negative personality traits.
Woody chooses to share the lime light in the first, to forego fame in the second, and accept when his child no longer needs him but accepts the responsibilities of another child who does in the third.
MAJOR SPOILERS FOR TOY STORY 4 – SEROUSLY I AM GOING TO BE DISCUSSING THE ENDING SO IF YOU HAVE NOT SEEN IT YET AND WANT TO LET THE STORY UNVEIL ITSELF IN THE MOVIE THEATER PLEASE BAIL OUT NOW.
ALSO SPOILERS BY IMPLICATION FOR IMPORTANT PLOT POINTS IN PETER PAN, LION KING, ALADDIN AND STAR WARS– A NEW HOPE.
OK FAIR WARNING WAS GIVEN
FIRST – THE GOOD STUFF
While I have rarely seen a franchise manage the same quality throughout all of its films, Back to the Future being the only one that springs to mind at the moment, Toy Story seemed to conquer that artistic challenge with grace and a strong sense of its own universe. The writers respect these characters and recognize the intricate personalities of each toy, especially the major players. Each has flaws and virtues. None are treated as black and white. They are very recognizably 3D humans. Part of the magic of these stories is that everyone in the audience, including the adults, can find a toy with which to identify, just as any child can, in real life, find a toy which speaks to them out of a well stocked toy box. And the one overarching and abiding principle which has provided the strength of backbone to all of the stories is that their child means everything to the toys about whom the tale is woven.
Toy Story 4 is no exception. At least not at first and not for most of the movie. Woody steps aside as Jessie and other toys are regularly chosen as playmates over him because that is what Bonnie wants. He is the only one who recognizes Bonnie’s need for a champion and secret guardian when she is taken to kindergarten for orientation. Not even her parents apparently fully wish to understand that the little girl is too young to be left at an institution when she is devastated by her separation from home. Woody sneaks into her backpack and secretly assists her throughout the day, proving abundantly that he was right. Woody then steps up to promote a “toy” given life by Bonnie’s imagination and love which is made from a spork and some art supplies. Forky’s determination to be trash instead and his constant attempts to throw himself away are played for laughs and every parent who has had to deal with a self-destructive toddler (but I repeat myself) understands what Woody is up against.
And for anyone who has raised a child to adulthood, Woody’s consistent leadership, even when not wanted, and loyalty even when not appreciated, are part of the definition of true parenthood. You want kids to grow up and not need you any more but it is a painful process. In Woody’s case Bonnie still needs him but doesn’t even know it.
They have brought to the acting table all of the previous actors: Tom Hanks as Woody, Tim Allen is Buzz Lightyear, the ubiquitous Ratzenberger as Hamm, Wally Shawn as Rex, Joan Cusack as Jessie, Annie Potts as Bo Peep, Bonnie Hunt as Dolly, and even, using posthumous archival clips, the late Don Rickles as Mr. Potato Head, even dedicating the film to his memory. And in a delightful spate of celebrity castings they have added: TV legend Carol Burnett in a small part as a talking child’s chair named Chairol Burnett, the one and only incredible Mel Brooks as Meliphant Brooks, and Betty White as Bitey White, the infamous web-short duo of Key and (Academy Award winning) Peele as Ducky and Bunny, Carl “Apollo Creed” Weathers as three action adventure versions of Combat Carl (possibly take-offs of real toys based on his role in Predator), the Shakespearean actor and former James Bond Timothy Dalton in a reprising role as Mr. Pricklepants, Carl “basically invented TV sitcoms” Reiner as the little pink Carl Reinerocerous , and saving the most surprsing for laughs – Keanu “John Wick” Reeves as Duke Caboom – a Canadian based (in honor of Reeves home country) daredevil toy.
As a small digression: for anyone who has read my review of John Wick will note, I have mentioned that, despite Reeves omnipresence in bloody action flicks might otherwise suggest, Reeves calling is comedian – and if this stint as the voice of the wheelie posturing motorcyclist doesn’t prove that, then not even Bill and Ted could.
NOW THE BAD – TO BEGIN WITH IT IS VERY DARK AND CREEPY
I wish I could tell you that the film makers took this final installment to the Toy Story adventure to a brilliant conclusion… AND THEY WERE sooooooo CLOSE… but in truth they stumbled and fell badly at the finish line – or perhaps it would be more accurate to say they just quit the race altogether.
I won’t reveal the details of the plot journey in THIS part of the post, except to say this is a darker movie than the others. Even Toy Story 3 with the accidental abandonment of the toys and Lotso’s dystopian nursery is not as unsettling as Toy Story 4. Bo Peep reemerges but her porcelein arms have been broken, are held on by tape and occasionally fall off. Some time is spent in an antique store which might as well have been labeled “Haunted House” from the toys’ point of view. A band of shuffling, very creepy, perpetually smiling, voiceless ventriolquist dolls protect, Gabby Gabby (Christina Hendricks) the nemesis, providing jump scares and kidnapping and assaulting different characters. Worse, Bonnie is beset almost the entire film with having to face loss. Loss of her home to kindergarten, loss of security as the other children treat her with casual indifference and her teacher does nothing about it; constant and repeated episodes of losing Forky, a traumatic (and I mean for the observing audience as well) scene where she is beside herself over Forky’s disappearance on a trip.
I HOPE YOU’RE SITTING DOWN, BUT WOODY — LEAVES — HIS CHILD
But the darkest parts of this Toy Story is Woody’s decision to become a “lost toy”. By choice.
Our younger son who went with us, an adult now, but a child when the first one came out, mentioned he was glad they had not gone to the well again of making another toy the “bad guy” as they had done with both Toy Stories 2 and 3 with Stinky Pete and Lotso, respectively. In retrospect, I’m afraid he was wrong. And I’m not talking about Gabby who ultimately repents, but Bo Peep. like the song about the temptress Lola in Damn Yankees, whatever Bo wants she gets and Woody, little man, she wants you.
Bo even expresses bitterness at having never truly been played with but ultimately rejected and discarded as an eventually unneeded nightlight. She shows her true colors in the opening scene of TS4, in a flashback event which took place nine years before, (and retroactively explains why Bo was not in Toy Story 3), when she tries to get Woody to abandon Andy, when Andy was still just a little boy. Woody wisely resists the temptation and stays with his child. But Bo finally gets her revenge through Bonnie, by enticing Woody to abandon his sworn responsibilities to Bonnie, his child now, to run off with her. It is a stunningly sad epitaph describing the fall of a once noble character.
The narrator in a famous Bruce Springsteen song defiantly declares: “Got a wife and kids in Baltimore, Jack, I went out for a ride and I never went back….” This is all we need to know about this manure ball – that he abandoned his family because he had a “hungry heart”. Sorry, but that’s a pathetic reason to turn your back on your kids – your KIDS! Never mind breaking the most important oath he will ever make – to his wife. This is an evil perpetrated that can never be fully healed.
In the end, and contrary to everything that has gone before in all four movies, Woody walks away from his heretofore all important vocation of being his child’s toy in order to stay with Bo Peep. Bonnie, his child, has not given him up. She plays with him sometimes, knows he’s around, obviously needs him whether she knows it or not, and will eventually realize he is gone.
In the somewhat realistic universe in which the Toy Story characters exist it is even possible that Andy, who gave Woody up with great reluctance at the end of Toy Story 3 and then only because he thought Bonnie loved Woody so much, that Andy might one day find out that Woody has been lost. So Woody’s abandonment of Bonnie is a betrayal not just of Bonnie but of Andy as well.
ALSO also, the toys live in a background of realism where their actions did effect the humans around them. Al from Al’s Toy Barn, for example, ended up near bankruptcy when he lost his valuable toys – but could be seen to deserve it because he had stolen Woody. Bonnie’s parents are stopped by the police when the van they are driving moves erratically because of toy hi-jinx. So, when in the end of TS4 the mission of Woody, Bo and company seems to be stealing from carnival barkers to give toys they do not own to children, this has a disastrous effect on the humans. From the horrified expression of the game attendant on which this scheme was perpetrated, this was not a good thing. His stall would not survive long and he might even be accused of stealing the merchandise himself.
If Toy Story is a reminder to parents to not let their ego get in the way of being good parents, if Toy Story 2 is a reminder not to let the lure of fame and attraction of money (presumably representing one’s job) keep them from being there for their kids, and if Toy Story 3 is a reminder to parents that one day they will have to take a step back and let their kids grow up but perhaps parent (read grandparent) a new generation , then what exactly is Toy Story 4 trying to tell us?
AN EXCUSE FOR THE ABANDONING, DEAD BEAT PARENT
Are the Toy Story 4 film makers saying one should put personal romantic attachments ahead of their family? Is this a subtle message to imply that a Dad who abandons his responsibilities for a girl friend is OK? Is this finally, an attempt at justifying behavior of the actual Hollywood culture which is responsible for the creation of this franchise, to say that it is acceptable to leave their children behind like goose droppings or unwanted furniture for a selfish fling? Yes, Bo Peep is an old friend, but this is still not reasonable. Woody’s behavior in the final moments of this four movie franchise flies in the face of everything Woody has said, done and believed up to now INCLUDING what he has said in this very movie – that a toy’s most noble cause and purpose is to help their child. Instead Woody, in a completely unexpected 180 degree turn around ABANDONS his child, who is still a little girl demonstrably in need of his aid, even if it is behind the scenes, for Bo Peep, a now wild toy who he has not seen for 9 years.
This is, frankly, an appalling and disappointing break in an established noble character – What if Simba had decided to stay in his comfy hobo existence? What if Wendy had chosen to not leave Neverland with her brothers? What if Aladdin had decided to tuck Genie back into his lamp for a rainy day? I know I’m crossing universes here but Disney will eventually own everything, so what if Han had decided to book it out of town with the gold in the first Star Wars and never come back?
What if Woody left his child?
The Woody we know would not leave Bonnie. But he does. It’s a shame that the Toy Story franchise had to end with a tag line that should have read: And so Bonnie lived precariously, never knowing what loss she would suffer next … ever after.
WOODY LOSES HIS CONSCIENCE
Now all this being said, my husband made a VERY interesting point. A lot of rather clever and playful reference is made about one’s conscience. Woody understands the abstract concept well but when trying to explain it to Buzz, Buzz mistakes it for his pre-programmed sayings, which actually end up being very appropriate. This was actually quite a cute way to broach this ethereal topic for a very young crowd and amuse the older people at the same time. Woody’s pre-programmed voice box works perfectly, but the voice box of Gabby Gabby, the antagonist, does not – because she was manufactured incorrectly.
Before the exchange near the end of the movie in order to save Forky, Woody’s spiritual conscience works with selfless clarity of purpose, while Gabby’s behavior stems from a desperate selfishness born of loneliness and a sense of never experiencing what non-defective dolls get – unconditional love (her appropriately used term).
AFTER the transplant, though we never hear the defective version of Woody’s pre-programmed “inner voice”, we get to hear Gabby’s now much improved inner, pull string, voice. So we know the exchange was made, with Woody getting Gabby’s flawed “inner voice”.
We quickly see a subtle but significant change in behavior. Gabby gives up a sure home to risk helping a lost child, while Woody … chooses the vagabond life of a “lost” toy to be with his “honey,” Bo Peep, abandoning his fellow toys and Bonnie, the little girl who is SELF-DESCRIBED AS HIS CHILD. It used to be considered an abominably shameful thing to turn your back on the spouse to whom you promised fidelity and the child you produced, in order to engage in selfish pursuits. Now, tragically, it is applauded and the children left behind are treated like old furniture at a garage sale to be shuffled to whomever might still want them.
IS TOY STORY NOW ADVOCATING IN FAVOR OF THE DIVORCE CULTURE ?
For more information on the devastation that divorce leaves, even decades later to adult children of divorced parents, you can buy at the Ruth Institute or READ ONLINE FOR FREE HERE THROUGH AMAZON KINDLE, a copy of Leila Millers’s Primal Loss – The Now Adult Children of Divorce Speak.
And where were Jessie and Buzz? I can not fathom why the writers think we would accept either of them letting Woody go. But it fits in with the popular divorce routine where all the adult friends are supposed to rally around the abandoning parent and encourage them to “follow their heart”. I think if I hear that phrase used to justify another self-indulgently destructive behavior in a movie I’m going to stand up right there in the theater and scream in frustration. While they do not actually SAY it in TS4 Woody certainly DOES it.
Were the film makers saying they think it is OK to justify the “divorce” culture dad who leaves his child to start a new life with another woman (or less frequently but just as horrible, wife who leaves to be with another man) and we’re all supposed to be OK with it? OR – is this a subtle remonstration that those who behave in such a cruelly callous, irresponsible and self indulgent manner have broken inner voices – defective consciences? If the latter, it wasn’t nearly made clear enough … perhaps because the writers were afraid to ruffle a few feathers whose plumage was way too close to the guilty fire on this one.
I’m more than a little confused so can only imagine the perplexing message being conveyed to the youngest members of the family to whom these movies are primarily aimed.
The Toy Story we know and loved might have allowed Woody to be tempted but one of his most trusted confidantes would have slapped him, questioned his sanity, and made Woody recognize what a terrible mistake he was making. THAT would have been a good and fitting ending to this franchise. Anyone can be tempted. Even Jesus was tempted in the desert. It is what we fallen creatures do in the face of that temptation which separates the wheat from the chaff. And the film makers tossed every bit of good will the audience had invested in this character into the wind.
I would rather have seen Woody destroyed or fade into inanimacy from Bonnie’s loss of interest than see him betray everything for which he was created, everything he espoused and every principle he upheld for the last 24 years through the first three and most of this fourth movie.
The writers, lead by John Lasseter and Andrew Stanton, had so much going into this movie: a rich treasure of talent, an invested audience, well developed characters and plot back ground, and they gave it all away for a potage of politically correct propaganda to help justify succumbing to the lure of romantic adventure at the expense of a small trusting child. Shame on them.
AUDIO PODCAST OPTION OF THE REVIEW OF JOHN WICK (THE FIRST CHAPTER)
Ultra-violent movie which skates on a thin excuse for revenge to create large piles of dead bodies.
WHO SHOULD WATCH:
Adults only, and then only those with a stomach for violence: intense weapon and martial-art combat lethal force, and extreme language. Its only “virtues” are a minimal amount of sexuality, mostly limited to bikini clad escorts, and the fact that the protagonist is a devoted and faithful, albeit grieving, husband.
I know I’m probably the last one on the train here with John Wick (2014) as it has been out so long there is now a third installment. Having just seen the first one and with the John Wick: Chapter 3 – Parabellum in theaters now, I felt compelled to make some comments about the “origin” story.
SPOILERS FOR JOHN WICK, TURNER AND HOOCH, A DOG’S PURPOSE, AND MARLEY AND ME
The premise, in case you have been on a prolonged abstinence from movies, is that a retired assassin goes on a massive killing spree after someone shoots his dog.
Now there is more to it but that is what it boils down to. John Wick verges on, if is not steeped in, what one might label as violence “porn” ( by which I mean senseless and gratuitous violence for the purpose of cathartic schadenfreude* brutality), though of a certain attractive elegance, which takes itself way too seriously. Don’t get me wrong , I am sympathetic to Wick’s righteous anger over the unnecessary killing of a puppy. As I have mentioned before in other posts, while I can tolerate an awful lot of violence in an action movie, I cringe at the thought of something happening to a dog. That point has actually prevented me from ever watching a couple of movies, including:
Turner and Hooch, and Marley and Me. I have even been putting off watching A Dog’s Purpose even though the dog gets reincarnated multiple times, because I know the viewing will require a couple boxes of kleenex.
My point being, from a cinematic point of view, I am quite sympatico with a lead whose motivation, which propels the entire running time, is the death of his dog.
However, even by my rather indulgent parameters of an average action movie, wherein the protagonist is given nothing to lose, I could not help but yell at the screen occasionally, wondering why his opponents did not handle the situation quite differently.
The mutt murderer was, Iosef, (Alfie Allen best known as Theon Greyjoy in Game of Thrones), the son of John’s previous employer, Viggo, a Russian mafia Don, (Michael Nyqvist from Mission Impossible: Ghost Protocol and the Naomi Rapace version of the Dragon Tattoo girl). Iosef had come to steal John’s hot car – and the dog just got in the way.
As Viggo, the Slavic Vito Corleone points out, it was bad luck that brought them back together in this way. But a little common sense and a teensy bit of courtesy could have mitigated the situation, if not established an easy detente.
The dog was the last gift from John’s dying wife. From the reaction of wiser heads than the aforementioned Iosef, the dog dispatcher, everyone knew about this and what the legendary assassin, John’s, response was likely to be. A hitman with nothing to lose and a lot of grief anger to expend, is a recipe for a bloodbath.
Therefore, I thought, had I been Viggo, (and keep in mind I am stepping into the shoes of a Mafia Don), I would have arrived with a new car, a new dog, a profuse apology, a chastised son with a black eye, and an offer to set up an entire charity Animal Hospital in the name of his deceased wife.
Instead, Viggo, knowing his son was stupidly in the wrong, as evidenced by the beating he gave Iosef after the fact, puts a contract out on the man to whom he refers as the best of the best, the one who was called Baba Yaga, not because he was The Boogeyman but because he was the one you sent out to kill The Boogeyman. This is a guaranteed plan for failure and Viggo’s downfall hereafter is from criminal (if you’ll excuse the pun) stupidity. I couldn’t help but think of Hawkeye in Thor. Watching Thor dispatch agent after agent in Thor’s path towards Mjolnir, Hawkeye quips to Coulson: “Do you want me to take him down, or would you rather send in more guys for him to beat up?” Because, that is what Viggo does – he sends in squad after squad to kill this unkillable killing machine. Viggo’s men are about as effective as Storm Troopers and were this a video game John would have the High Score. But WHY???!!!
Viggo is an intelligent man or wouldn’t have been able to create and keep his empire. He MUST have seen the results of his decreasing returns. And no explanation is given as to why he would commit his entire army in a fruitless and hopeless effort to take out the one man he knows he can not defeat, especially when it seemed obvious to me there were alternatives. It’s not even that he is so committed to the protection of his son. Viggo doesn’t like or love his son and Viggo ultimately gives Iosef up to Wick as bait to save his own skin.
90% of the movie is John’s body count which quickly exceeds the opening scene in Saving Private Ryan.
I get the use of the MacGuffin. I even get stories where you put the protagonist in a corner with nothing to lose and watch them fight their way out. Movie franchises like Taken, Die Hard,Jack Reacher and even a few of the James Bonds are good examples of a protagonist who resolved knotty conundrums with fists and firefights. And I am the first to admit they are guilty pleasures. But the motivations are usually more compelling, as in: protection of a vulnerable family member, a national danger, or the righting of a grave injustice. AND the protagonist usually is witty, relieving the unremitting gore and violence a bit with dry one liners.
But, despite the fact I have often maintained that Keanu Reeves has missed his calling as a comedian, Reeves’ Wick parkours his way through the movie on the backs of dead bodies with the somber deadpan of a mini-Lurch from The Addams Family. Don’t get me wrong, I like Keanu Reeves. I just wish someone would DO something with him which entails more EXPRESSION!!!
When I refer to Keanu Reeves’ comedies, I’m not talking about the unintentionally – so bad they are funny – like Constantine, and his insult to the classic Day the Earth Stood Still. Nor am I referring to his well done stint as the singular dry villain in Branagh’s Shakespearean comedy Much Ado About Nothing. I’m talking about Reeves roles in legitimate comedies. If unfamiliar with Keanu Reeves’ comedies, I recommend the slapstick ridiculous Bill & Ted’s Excellent Adventure, and the wryly observant ensemble piece Parenthood. Both are for an older crowd though.
Reeves can be really amusing and cute with good timing. And while I’m not suggesting that a former assassin who has just lost his wife to cancer and his dog to a home invasion should be light-hearted, John Wick is unrelentingly grim where it perhaps did not have to be. I mean, Wick is SUPPOSED to be human, right?
I have often maintained that the best loved action films often have a sense of their own humor. Good examples are Jaws, Aliens (but only the second as the first and third are even grimmer than John Wick and the fourth is best simply ignored) and all theDie Hard movies. Tongue is planted occasionally but firmly in cheek and there is an awareness in the script of its own cliched vulnerability.
But Wick‘s level of constant violence with no emotional offsetting balance is just exhausting.
The cinematic atmosphere is dark and poetically sympathetic, as most of the movie takes place in dark interiors, at night, or in conjunction with bad weather.
There is an interesting juxtaposition with another film I have previously reviewed, which DOES have a sense of humor, called Hotel Artemis. Much of the third act of John Wick takes place in the Continental, a hotel renowned as a high-class refuge for people in John Wick’s line of work. Like the Artemis, a hospital for the underworld with questionable aesthetics, the Continental has a primary rule: you are not supposed to kill any of the other guests. A certain neutrality is supposed to be enforced there amongst society’s lethal predators. These two – the titular Hotel Artemis and the Continental in John Wick – exist in a consistent universe where you could put them on a double bill or even together in the same movie. But Hotel Artemis, unlike John Wick, has a heart and knows when to recognize the grin in even the darkest human comedy, and is a far better movie for that.
Small parts and cameos from the action-adventure pool abound in Wick from both TV and film. Ian McShane, who has added his talents to everything from westerns to British and American cop shows to Pirates of the Caribbean, plays the owner of the Continental. Willem Dafoe who has appeared in movies as divergent as Platoon and Spider-Man 3 is a mysterious colleague / competitor. Adrianne Palicki, most notably the indominable Agent Bobby Hunter in Agents of Shield and Kelly Grayson in The Orville, is Perkins, a female assassin. Lance Reddick from Fringe and Blacklist is Charon, the concierge of the Continental. John Leguizamo, from Executive Decision and Baz Lurhmann’s ultra-violent version of Romeo and Juliet, is Aurelio, the chop shop owner to whom Iosef brings Wick’s stolen car and who is the first to clue Iosef in to his mistake with a punch in the mouth. There were so many cameos from the action adventure genre that I would not have been surprised to see Samuel L Jackson show up. Sadly, that was not to be.
The acting is good and the shoot-‘em-up-bang-bang with combined martial arts is well-choreographed and interesting as Wick dispatches his targets with precision and no innocent bystanders to the count.
Wick is obviously an anti-hero with a ledger redder than Black Widow’s. As action adventures go it was brainless fun and emotionally cathartic to watch a bunch of bad guys being blown away with incredible efficiency and expertise by another, but sympathetic, bad guy. It is always a pleasure of sorts to see anyone do their job with such skill and excellence whether they are a pastry chef, a ghost hunter, or a paid assassin. But still I couldn’t help perseverate on the plot point of the missing opportunity to mitigate. Had Viggo tried to placate Wick but been rebuffed I would have found the scenario far more believable at least within the universe of that genre.
But what I truly do not understand is how the film makers can justify one sequel much less two. I mean, in this first one John killed …….. EVERYBODY. And I wonder about the movie’s core world-view. Iosef, for all his being a completely cruel jerk, was not responsible for the death of John’s wife nor did he attempt to kill John. Therefore, John’s reaction to the theft of his car and slaughter of his puppy without at least an attempt at peaceful and equivocal recompense, to me seemed over the top even for this kind of movie, making it hard for me to empathize with a protagonist who creates this much mayhem.
Compared to similarly set up movies like the aforementioned Die Hard, Taken, or from a HUGE variety of styles where the protagonist goes on a mission to avenge a terrible wrong with extreme prejudice, like: True Grit, Death Wish, The Count of Monte Cristo, or Dirty Harry – even for me, even for this genre of movie – John’s reaction was too extreme and with insufficient reasonable motivation, making this a (if you’ll excuse the pun) fatally flawed story.
schadenfreude – a German word for which there is no English equivalent, meaning: pleasure derived from someone else’s misfortune.
AUDIO PODCAST OPTION FOR DISCOVERING CAPTAIN AMERICA IN A MEDIEVAL BOOK ON CHESS
Marvel fans have long been familiar with the figure of Captain America. His conception dates back to the beginning of World War II, 1941, when America needed an example of bravery and fortitude against tremendous odds. I’m sure his creators, Joe Simon and Jack Kirby, genuinely believed they were penning a brand new image to inspire a determined America during that time of great peril, as she fought against the evil of tyranny: the Axis in general and Nazis in particular. Inspirational Cap is. Original he is not.
I was doing research for a play set in the Medieval era and came across a book written in 1474 by a man named William Caxton. Caxton is thought to be the first English printer and retailer of printed books and his Game and Playe of Chesse, (and no those are not misspellings but Anglo-Norman English) is believed to be only the very second book ever printed.
In the book there is a passage which anticipated and described the character we know as Captain America with great precision.
The premise of Game and Playe of Chesse is of a tutor instructing a monarch. By way of guide the tutor explains the ideal virtues of each of the gentry on which the piece is based: fairness of a king, faithfulness of his queen, good judgement of his “alphyns” (which in Old German means chaser or wolf and meant as a reference to a judge, which eventually morphed into the modern day chess token of Bishop).
Then the description of the idealized knight.
As a side note, the Anglo-Norman looks strange to the modern eye but with a bit of practice becomes surprisingly easy to parse out. One especially unusual feature is the letter that would soon morph into our familiar “s”, which, in Anglo-Norman English, looks like a lower case “F” with a shortened cross-bar. I do not have that character on my keyboard, and even if I did I would hesitate to use it without an editorial emphasis of some kind because they are, in the jumble of text letters, at first glance (as well as second and third) very difficult to distinguish from our conventional modern “f”. Therefore, for the purposes of this post, I have indicated that medieval “s” as an italicized “f”.
The knyghtes ought to be ftronge not only of body but alfo in corage. Ther ben many ftronge and grete of body – that ben faint and feble in the herte – he is ftronge that may not be vaynquyfshid and ouercomen – how well that he fuffryth moche otherwhile – And fo we beleue that they that be not ouer grete ne ouer lityll ben moft courageous & befte in batayll.
And my amateur/layman’s translation:
The knight should be strong, not only in body but in courage. There have been many large and powerful men who have been faint and feeble of heart. But he is strong who can not be vanquished, discouraged or overcome in spirit no matter how much he suffers. And so we believe it is not the physical size of a man, no matter how big or small, that matters, but that it is those who have courage who will do best in battle.
So, out of history’s echo, comes the prescient description of America’s example of the perfect knight, 467 years before Cap’s first iteration in Marvel Comics. The physically frail Steve Rogers who, with the help of Dr. Erskine’s Super Soldier formula, becomes the first Avenger, not because of his height or strength, but because of the greatness of his heart – his kindness, his sense of justice, fair play, common decency and courage. And if Cap’s motto while confronting overwhelming odds: “I can do this all day,” doesn’t summarize Caxton’s otherwise flowery prose into a simple and pragmatic maxim, then I do not know what does.
AUDIO PODCAST OPTION FOR REVIEW OF GODZILLA: KING OF THE MONSTERS
If you are a fan of Godzilla then you will love this contribution to the now 65 year old franchise.
WHO SHOULD GO:
At youngest, younger teens, for: frightening and extensively violent images of city-wide destruction, human peril and cataclysmic fight scenes with other monsters. There is also some language including one “f” word and blasphemy. And while there is no sexuality shown, there are a small handful of sexual innuendos spoken, which will probably go over the head of most younger teens. There is also a confusing mish mash of paganism and Christian religious symbols and references which could confuse a spiritually immature child.
In 1954 Godzilla inexplicably and emphatically became a cult hit. A rubber suited man emitting a now iconic shriek (created by Akira Ifukube rubbing a resin coated leather glove across the strings of a double bass) wrecks havoc, clumping awkwardly as he lazer-breathes his way through towns and countrysides behind fleeing crowds of (mostly) Japanese victims.
35 films later (all but 3 made by Toho, a Japanese-based film company), the franchise is still going strong. The latest, Godzilla: King of the Monsters, is a loose sequel to the 2014 Hollywood film which firmly established Godzilla to mainstream American audiences as a “good guy” ally to humanity. In point of fact, some Japanese philosophies even see Godzilla as an indifferent “god” of destruction in a cycle of death and rebirth.
At one point a scientist, upon seeing the monster in full, interjects the name of the Lord, to which Rick Stanton (Bradley Whitford – Get Out, Saving Mr. Banks, Cabin in the Woods) punnily follows up with “zilla”. In fact the name Godzilla was never meant to refer to our Creator. It was actually a Europeanized mispronunciation of the Japanese, Gojira, which, in turn refers to an animal which is akin to both a whale and a gorilla.
SPOILERS – but, I mean, come on, this is Godzilla and there’s not that much plot to spoil.
In this outing, Godzilla is a bit of both ally and destructo-machine, as he tromps over the Earth with 16 other “Titans”. The human subplot, which is supposed to keep us grounded to the big critters, involves scientists Mark and Emma Russell, (Kyle Chandler – Game Night, Argo, King Kong and Vera Farmiga – The Nun, Conjuring 2) who lost their son in the first Godzilla movie, (flashback) then divorced. Emma is now brainwashing, I mean raising, their remaining child Madison (the clearly talented Millie Bobby Brown who is the amazing “11” from Stranger Things) to follow in her tunnel vision footsteps, putting her research of the Titans above everything (and I mean EVERYTHING) else.
Rounding out the cast is Ken Watanabe (Inception, Last Samurai, previous Godzilla, Pokémon Detective Pickachu), Charles Dance (staple in film and TV for 45 years, bringing a wicked class and style to everything from Game of Thrones to Shakespeare and a villain in the James Bond franchise), Sally Hawkins (in both the offensively awful Shape of Water and the extremely delightful Paddington movies), and Joe Morton, (whose career dates all the way back to 1951 including the innovative cult sci fi Brother From Another Planet and the classic Terminator 2: Judgement Day).
The rest of the run time is spent watching CGI monsters destroy each other in admittedly spectacular fashion, although a lot of cheating is done in the details by holding all the fights at night, under water or in a Cat 6 (???) hurricane manufactured by one of the “bad guy” Titans.
It occurred to me as I perused a Youtube which did a quick survey of all the Godzilla movies, that the phenomenon of Godzilla has much in common with the Lego movies. Aside from the 1998 Matthew Broderick contribution, which envisioned Godzilla as a more “realistic” mountain-sized Komodo Dragon, Godzilla reminds me of an action figure. Despite all the CGI available, the director, Michael Doughtery, (Superman Returns and a couple of X-Men movies) chose to stick with the stilted, squat, awkwardly moving Godzilla instead of the 1998 lithe, quick and sinuous monster which chased Matthew Broderick through New York City. Similarly to the Lego Movie, which sees the world from the point of view of the toys, Godzilla strikes me as inspired by the imaginations of every child who had a monster toy with which they liked to terrorize their surroundings. The traditional Godzilla MOVES like an action figure with an inverted triangle body, whippy tail with which to bludgeon objects, and tiny useless arms, clumping from side to side as it stomps forward crushing everything under foot in its path – except the “important” actors. The end credits even camp it up, featuring a cover by Bear McCreary of the 1977 Blue Oyster Cult novelty song “Godzilla”.
This is a pulp funny book brought to full Technicolor life with all of the shallowness of plot, disjointed explanations, magic-style “science”, inconsistent character motivations, and single note personalities of a comic book and its denizens. Even so, this is not meant as a criticism or failure of the movie. I suspect this is what the film makers were after. And it succeeds, as such, admirably, throwing in a little wry humor dialogue now and again just to keep things “real”.
As a matter of fact, there is one special reason why I, personally, like this movie. In a delightfully refreshing turn of events, a truth is demonstrated. The monsters have been deliberately set forth to destroy mankind by a recognizably legitimate force for evil, one which wrecks havoc on us in the real world on a daily basis – the Environmental Wacko. The bad guys here boldly state that humans are a “virus” on the Earth which must be scoured off, in their way of thinking, to allow the world to return to its “natural” state. But, of course, in true and honestly portrayed, narcissistic liberal hypocritical fashion, the villain, after murdering tens of thousand of men, women and children with these behemoths, she willing puts all her plans on hold when it is her child at risk. No one else’s child is important though, only hers and hers alone.
Her insane scheme to find and release the Titans upon the Earth is understood by the rest of the characters in the movie as: ridiculous, evil, short sighted, cruel, and – ultimately, flat out wrong. This, of course, can sum up the entire mentality of the extreme environmentalist movement, which wants to put animals above people, prefers human suffering for OTHERS (who are not members of their extreme club) to widespread use of modern inventions, ignores common sense science (like the fact that carbon dioxide is GOOD for the environment as plants LOVE it), proposes hoaxes which further their agenda with NO verifiable evidence (like human caused climate change) but continue to jet around the world using up fossil fuels at a rate the rest of us can only dream about. It’s nice to see the blame placed at the feet of those to which it really belongs for a change.
Godzilla also leans heavily on paganism, reverencing and even calling to some worship of the monsters. That being said there is also some comparisons of Godzilla to Christian motifs – that he died trying to save us, descended to the depths of the Earth and was reborn to arise and defeat an evil monster (well two if you count the environmental wacko). While this has been done appropriately and respectfully in stories like Narnia (NOT that Godzilla even belongs in the same solar system with Aslan), it is a fair point to say not all of Godzilla is pagan, but that there are at least some superficial nods to a Christ-like theology, though it is obvious that the writers neither understand it nor fully embrace it.
So if you are familiar with and are a fan of the mythos of Godzilla then you will not be disappointed in Godzilla: King of the Monsters. But while you should be advised of the heavily pagan-favored worldview, it will at least provide a breath of politically incorrect but common sense-accurate fresh air.
AUDIO PODCAST OPTION OF ALITA: BATTLE ANGEL REVIEW
Fascinating animation/real action mix story based on a long-running Japanese manga series, about a cyborg girl reconstructed and “adopted” by a human and the dystopian society they both must navigate to survive.
WHO SHOULD GO:
Older teens/young adults minimum for language, and extreme violence.
BEYOND HERE BE OCCASIONAL SPOILERS
This first heads up is more of a warning than a spoiler. Alita: Battle Angel is nowhere near a completed story. James Cameron takes a page from Peter Jackson’s playbook – giving us great character introductions, wonderful interpersonal relationships, interesting and fearsome enemies, exciting battle scenes …. and an abrupt unfinished ending. OK – technically the titular director is Robert Rodriguez but with James Cameron as the scriptwriter you know many of the decisions in the filming of this movie were done as a collaborative effort.
A musical analogy would liken it to ending a symphony on a dominant chord instead of the tonic chord, meaning a note that does not feel complete. Another way to look at it would be to begin the phrase ” shave and a haircut…”
Anyone who has seen the brilliant three-part Lord of the Rings series or the bloated Hobbit trilogy knows that Mr. Jackson likes to end his first story not exactly with a cliffhanger but with a temporary break in the action, taking Donald O’Conner’s advice to: “Always leave your audience wanting more,” to heart. Jackson ends his movies at about the place where one might choose to hit the pause button in the middle of the movie after one has had too many sodas.
And Mr. Cameron and Robert Rodriguez have done exactly the same thing with Alita – starting with an involving, well told story which then drops off a cliff. To be fair, this is on purpose.
HOWEVER, this is not surprising as Alita: Battle Angel is based, in whole and in part, on the first four of a NINE VOLUME manga series written between 1990-1995 by Yukito Kishiro called Gunnm (translated literally as “Gun Dream”). Alita: Battle Angel, the movie, like the manga series before it, is about a cyborg girl rescued from a dumpster and reconstructed by a cybernetics physician in a dystopian society set about 500 years from now.
The CGI was astonishing. James Cameron, who has been enamored of this manga series for about 10 years, said that he was waiting for the technology to become advanced enough to meet the demands of how he saw the film should be made. And he does not disappoint.
Rosa Salazar who plays the eponymous character is quoted to have said: “I’m a walking piece of technology, so that made it actually quite easy to fall into the physicality of a cyborg.” Photos of her show her dressed literally from head to foot in motion capture, including the unusual addition of two cameras on her face. Watching the behind-the-scenes was amusing as the actress would have to subtly duck and weave around the other actor’s head when coming close to avoid clobbering them with the extra headgear (which technology was, of course, CGIed out in post production). But the slight dance goes smoothly in the final product due to Ms. Salazar’s skillful body language and the technical prowess of the computer geniuses who brought Alita to life.
It’s interesting to see Christoph Waltz as a good guy. Usually he plays very rough, sometimes cold blooded or downright evil characters – such as being the most recent incarnation of James Bond’s antagonist Blofeld in Spectre, or the chilling psycho-Nazi Landa in Inglourious Basterds (sic), or the abusive plagiarizing husband in Big Eyes – the list goes on. But in Alita, Waltz is a nurturing protective creator/father-figure, his normally scary edge giving believability to his “side job”.
Jennifer Connelly, whose pedigree dates all the way back to David Bowie’s 1986 fantasy, Labyrinth, is Ido’s estranged wife and, therefore, Alita’s “mother”.
Mahershala Ali (Green Book – see my post on that brilliant movie) is the lead baddie’s main henchman.
Keean Johnson does a delightful job of charming Alita as the shady boyfriend, Hugo, in a mixed motivational character with shifting alliances that Clark Gable might have played way back when. And I MUST note that Mr. Johnson is a HOMESCHOOLED KID!!! Check out his bio here on us.imdb.com.
There are also some VERY fun cameos, which are designed for Mr. Cameron’s hoped for sequel. Jai Courtney (Terminator Genisys – and don’t laugh at me, I REALLY LIKED that movie – see my post on it here) plays Jashugan, a champion in Motorball, the gladiatorial game played in Alita. Edward Norton (he is to Hulk as Tobey Maguire was to Spiderman – close but no cigar, also in Collateral Beauty – see post here, Fight Club, and American History X), appears in a couple of – don’t blink or you’ll miss it – moments as Nova the ULTIMATE controller of the sky city of Zalem, who becomes Alita’s nemesis and the target of her future goals to storm said city. Both have uncredited parts. Mr. Cameron explained that even if they never make the sequel, that those characters were must-haves in the story and essential to show. And, he said, if they did make a sequel that they wanted heavy hitters for those roles. Both men, Courtney and Norton, are friends and work colleagues of Cameron’s, so were more than willing to participate even in these tiny roles to help further the prospect of a sequel.
The soundtrack, written by Antonius B. Holkenborg, who goes by Junkie XL, is gorgeous and positively symphonic, creating a delightful variety of emotions from Alita’s sweetly, almost fairy-like awakening in Dr. Ido’s home to Terminator-feel violent reflections of her experiences in the Motorball battles against homicidal cyborgs during the Rollerball-level lethal game.
For anyone who is not old enough or geeky enough to remember the 1975 movie Rollerball, starring James Caan (whose credits date from the iconic tear-jerker sports game Brian’s Song, to the ill-fated Corleone son in The Godfather, to the voice of the tech-befuddled Dad in Cloudy with a Chance of Meatballs), it is worth taking note. Motorball, as presented in Alita is a DUPLICATE of the murderous gladiatorial eponymous game played in the movieRollerball, set in another dystopian ultra-violent society. It is obvious Mr. Kishiro is familiar with this story.
There has been some controversy over the use of oversized eyes in Alita. Some say they are disturbing and off-putting. I strongly disagree with the naysayers. Alita’s unusually large orbs perform a multiplicity of plot functions. For one, it highlights Alita AS a cyborg. There is no mistaking her for a natural born full human. For another, if windows are the eyes to the soul, then Alita wears hers not just on her sleeve right next to her heart but right there on her face for all the world to see. Between the fine acting and the quality CGI every subtlety of Alita’s growing and changing emotions and character are there for the audience to relate. Large, disproportionate eyes are also a feature of small young creatures, including humans. It is one of the designations which mark an inchoate being, not just inspiring protective feelings of those around them but signaling their fundamental innocence. While Alita does do some horrific things it is from her training in her previous life and only done for the protection of others – Ido, her human friend Hugo, even a stray dog.
Alita has a couple of obstacles to hurdle to gain the attention and affection of a Western audience. The first and most obvious is, of course, the manga origin, which is a subset of an already limited demographic of comic book sales. The second is her identity as a warrior cyborg, which could have been an automatic bias against her given the Terminator series. I think her preternaturally large eyes help create an almost instant connection to this character, helping break down those barriers. I thought the device clever, without being (IF you will excuse the VERY deliberate pun) “in your face” and quite effective.
While animated AND based on a comic book character, Alita is NOT for children. There is EXTREME violence, which includes dismemberment, crushed heads, and death. It is likely the movie might have been saddled with an R rating had Cameron and Rodriguez not had the simple foresight to make cyborg “blood” obviously manufactured blue instead of gory red. There is at least one gratuitous “F” bomb uttered by Alita, herself. And they even violate one of MY personal taboos – they KILL A DOG! Though this happens, admittedly, out of sight, Alita smears the dog’s red blood under her eyes like war paint before beginning her quest to defeat the tyrannical forces which have been unleashed against her and her ersatz family.
As a result this is not a movie either for the young nor the faint of heart. For a more mature audience, however, it is a spectacular and creatively told outing. It is interesting to almost “feel” the Japanese manga origins in the way the characters react in more restrained, almost “Vulcan” ways than an America audience might be used to.
In addition, the plot moves along quickly and efficiently. It does not dawdle on relatively trivial points on which many similar genre American movies might languish. For example, there is a bit of tension created from Ido not telling Alita initially that the name he chose for her was that of his murdered daughter. (In the original manga series it was Ido’s cat, but Cameron’s script, wisely, I thought, decided on a more emotionally compelling attachment). Honestly, in an America movie this omission might have been held on to for a prolonged period then left as a mid-first act or even mid-second act “reveal”. Instead, Alita establishes this “secret” only long enough for the audience to find out, then has Ido explain it to Alita fairly expeditiously. To avoid spoilers I won’t give any more examples, but suffice to say this style is adapted throughout the movie. Such choices clear the way for a more intelligent plot.
I do recommend Alita but only for an older audience of late teens/young adults and up. It is refreshingly different and well written. It features excellent acting, especially considering the massive amounts of green screen in the landscape and motion capture equipment on the people with which the actors must contend. The music is worth listening to all by itself. But DO keep in mind the ending is VERY unsatisfying – albeit contrived purposefully so – as a build up for the next installment.
Excellent buddy dramedy based closely on the real life friendship between a black gifted but haughty pianist and the thuggish but fundamentally noble white bouncer he hires to chauffeur him during a concert tour through the Deep South in the 1960’s.
WHO SHOULD GO:
Any mature mid-teen and up but with parental discretion due to language, the examination of extreme racism during this time period and some conversation topics.
Green Book is one of the most delightfully charming movies I’ve seen in a long time. The story is about a New York Copacabana bouncer, Tony Vallelonga, conventionally bigoted for the 1960s, hired as the driver for a brilliant black pianist, Dr. Donald Shirley, for a concert tour through the Deep South.
Based on a true story, Tony Vallelonga was already a part of Hollywood. The real Vallelonga appeared in movies like Goodfellas. His son, Nick, wrote and helped produce this movie based upon interviews with him and Dr. Shirley about this road trip taken when Nick was a little boy.
The title refers to the name of the catalogue the men use as a guide for the places that black people were allowed to go – the hotels, vacation spots, tourist areas, bars, and gas stations where black people could stay without fear of harassment from regional authorities and punitive local ordinances. The title comes from its author, Victor Hugo Green, a New York postman and a black man. The book was published yearly from 1936 until 1966, when Civil Rights Law made it, thankfully, obsolete.
The unlikely pair are wonderful to watch. An entire play could have been made just out of their time in the car together as they exchange observations of the world from their own unique perspectives. Tony is white, tough, with a mediocre education, naive in his own way, and world-wise in others, who lives in a simple small house with his devoted wife and two boys, living somewhat hand to mouth, between jobs, even willing to engage in a hot dog eating contest for an extra $50 towards the soon-to-be due rent. Shirley also grew up poor, but after being recognized for his gifted playing has become an effete, sheltered, black man residing in an artfully appointed apartment literally above Carnegie Hall. He distances himself from his black heritage in particular and most people in general. Both have much to teach the other.
We get a tour of 1960’s Americana, from the gift stands at the local gas stations to the tough bars, and the “coloreds only” seedy hotels to which Dr. Shirley is relegated because of the color of his skin.
The acting is Oscar-worthy. Mortensen, stepping, chameleon-like into the skin of this gruff and uneducated but likeable and protective bodyguard, is almost unrecognizable in physique, mannerisms or even speech patterns from such previous characters as the seduced professor Halder from Good or the incorruptible hero Aragorn from Lord of the Rings. Along with the accent, the body movements and facial expressions of Vallelonga, which surviving son Nick claimed were so accurate they brought him to tears, Mortensen gained 45 pounds to get into character. Mortensen’s Vallelonga is a three-dimensional character from moment one on the screen throughout. Brutal and thoughtful, principled and amoral, loving father, devoted faithful husband, and violent bouncer, Mortensen creates a completely recognizable person from characteristics which could have lent themselves to a cliched caricature.
Mahershala Ali (small parts in Hidden Figures and Hunger Games) does an excellent job of portraying the stiff and defensive Shirley while incorporating the subtle chinks in his armor through which the unassuming Vallelonga connects. His Shirley is sensitive and subtle with a tough core of dignity, principle, and determined courage.
Linda Cardellini (Daddy’s Home) is lovely as Tony’s devoted wife, Dolores. In real life the Vallelongas were happily married for 41 years until her death in 1999.
In addition there is the fantastic music, and delightful songs played in classical mode by Dr. Shirley. The background soundtrack was written by Karol Bowers whose hands, through the miracle of CGI, physically sub for the gifted Dr. Shirley piano performances. Much effort went into blending Ali’s physical performance with Bowers piano playing prowess and it works very convincingly.
Peter Farrelly, whose credits up until now mostly amounted to questionable movies such as Three Stooges, Movie 43 and Shallow Hal, has really found his inspiration in this script. Green Book is masterfully crafted – balancing the natural humor that comes from people simply interacting with each other against the tragic drama of abuse, condescension and indignities which black people endured all over the country during the 1960’s. Every detail is complete and period – from the gas station gift stands full of trinkets to the chandeliered restaurants and the florid night clubs.
By all accounts the script details both their trip and their characters very accurately, coalescing experiences described in interviews with both Vallelonga and Shirley. The only liberty taken was that the road trip lasted, not two months, but a year and a half! While taken directly and in detail from real life, the story still serves as an allegory. Vallelonga is an example of the transformation America was making from the caricature perceptions of minorities to the informed friendships and respect which would soon be crafted, blossom and become commonplace all over the country.
Historically educational, were it not for the rough language, admittedly appropriate to the characters, their occupations, times and places, and one scene depicting a massive character flaw of Shirley, this movie would be family-appropriate. As it is, while I very highly recommend this movie, it is only for midteens and up and even then only upon the discretion of a pre-informed parent. The language is not confined to profanity, but is littered with historically accurate racial epithets often casually included in conversation.
This is a movie both men should be very proud of having made. It touches on very sensitive racial issues from the ’60’s but does so with politically incorrect good natured humor, an acknowledgement of the past with both its virtues and its mistakes, and attention to detail in authenticity which would have made any history professor proud.
With its slice of the past, the inspirational character learning curves, the marvelous music, and the splendid performances, time going to see Green Book is time well spent.