Coco

I'm ashamed to say I waited to see this film until now. "Coco" opened a month ago and I wanted to see it but I was not in a rush. Usually a Pixar film would be a top priority, an opening weekend must. Something about the film put me off. I just didn't feel the same urgency I usually feel about these movies. I ultimately skipped "The Good Dinosaur" a couple of years ago for the same reason. Boy am I glad I didn't repeat that decision this time. "Coco" is a spectacular film and will certainly be among my favorites of the year.

It might have been the Dia de Muertos subject matter. Although the animation looked spectacular for The Book of Life" a couple of years ago, I have still never seen it. The controversy over the inclusion of the "Frozen" short may also have played a part in keeping me away. Well, there was no 25 minute Olaf short in front of the show we went to, and that is good because it keeps all the focus on this really terrific film.

The idea of the Land of the Dead being a place that could be visited by a living person is a little disturbing. And as Miguel, our hero stays longer, he begins to resemble "Jack" from "An American Werewolf in London", Maybe not that gruesome but in spirit at least. Creepy stuff for a kids film but the cultural roots of the story rescue it from being morbid and actually turn the setting and theme into a sentimental piece that people of a variety of cultures can appreciate. The skeleton images that are associated with Dia de Muertos, are not really designed to be frightening but rather a depiction of what an afterlife might resemble. The main characters in the story turn out to be relatives of Miguel who now reside in the land of the dead and are key to his accomplishing his goal of playing music.

There is a lot of humor in the film, much of it based on the displacement of skulls, bones and assorted body parts. There is also some appropriately themed Mexican style music composed by Michael Giacchino (who is not a Mexican but was assisted by musicians who do know the music) that sets a tone that is mysterious but also culturally familiar. People seeing this movie will have a much greater understanding of some of the Mexican traditions that they may only have a passing knowledge of to begin with.

Although there are twists in the story that you can see coming, and the structure is familiar to anyone who has seen a Pixar movie in the last twenty years, the film still manages to be surprising. It is also sentimental and very moving. Parents might want to be warned that there is a subplot that deals with murder, and that may be hard for the young ones to work around. The vividy realized world and the rules under which it operates however are creative as heck and you may be stunned by how beautiful the film can be at times.

Especially memorable is the role that an elderly woman plays in the story. While this might be reminiscent of last year's "Moana", the way it plays out is very different and it does offer children something to value. All of us live on because we are remembered. Heck, that's one of the reasons I started writing this blog, so my kids and grand-kids (if I ever have any) will be able to know me better. This movie is hanging around the box office long enough for all of us to be able to remember it. The theme song is special and ties into the principle behind the movie especially well. I suspect that the tune written by Robert Lopez and Kristen Anderson-Lopez, will be recalled by the Academy Members as well. I really loved this movie and I hope to see it again and maybe write some more about it's ideas, but for now I just want people to know how I feel.

Die Hard: The Nakatomi Christmas Party Edition

So it's Christmas time in Southern California, which means Santa Ana Winds, Wildfires and "Die Hard". We were accidentally invited to the Corporate Christmas party for the Nakatomi Corporation last night. The event took place at the beautiful Theater at the Ace Hotel. We had been to this venue back in the Spring for a Radiotopia event featuring "The West Wing Weekly". Last night however was a different thing entirely, a screening of that perennial holiday classic "Die Hard".

The event was part of KPCC's Screen Week Film series. Most of the attendees were listeners to that public radio show found here in the Southland. The radio host Larry Mantle, presented a discussion after the film with two critics who appear regularly on the KPCC show.  It was a light hearted salute to the film where the two women who clearly had not seen the film in it's original run , praised it as a perfect action/popcorn feature. One woman is a critic at Variety, and she had some insights on how the movie had originally been received by critics in 1988. The second woman was a writer at Rogerebert.com, and she told some background stories about the films development. I wish I'd written their names down one was Amy and the other I think was Christine. I looked for data on-line but I could not find it listed in the program notes.

The Theater at the Ace Hotel was formerly the United Artists Theater in Downtown Los Angeles. It was built in 1927 and it features a huge orchestra level floorplan and two balcony ares. It seats 1600 people and last night it was close to capacity. If you have never seen Die Hard with an audience, you are missing something. Maybe this crowd was hyped up because it's Christmas time and they are mostly subscribers to the station, but they were definitely a receptive audience.

We whooped it up when Hans arrived, when Karl is killed, when John jumps off the building, and we laughed loudly at every L.A. cliche you can spot in the film. Argyle got a huge share of laughs and every bad guy death seemed to get a cheer from the audience. Al Powell practically got an ovation in the last scene.

I was on a podcast just two weeks ago where we rhapsodized about the film for nearly an hour and a half. If you like, the link is HERE.

Two of the guests on the podcast,

@almostgingr  and

@LifeVsFilm

were Brits who were not familiar with the Run DMC Christmas hit, "Christmas in Hollis" so for them I have included the following music video, which by the way was featured in the pre-show entertainment for the Shane Black event last Sunday. 

I've seen Die Hard so many times it is hard to count, but last nights experience was one of the best. The theater was beautiful, it was packed and the sound combined with the big screen accomplishes exacly what you want, an immersive experience.

Just as promised, it will blow you thru the back wall of the theater.



Merry Christmas to all and to all "Die Hard". 

 

 

Lawrence of Arabia 70mm Print Screening at Egyptian Theater

If it seems like an annual tradition to see a Lawrence of Arabia post here on the KAMAD site, well I think you are pretty perceptive. This is a film, much like "Jaws" which we will go out of our way to see on the big screen, and it so happens that Southern California audiences are hungry for Lawrence on a regular basis.

Last night we had the premier of a new 70mm print, created from a restored negative, that has been in the works since 2009. Grover Crisp was introduced by the chief programming guru of the American Cinematique.  He was in charge of the restoration for the 50th Anniversary restoration that arrived in 2012. He talked about how they knew it would be a long process so they actually started three years ahead of time. They created a negative print to keep in the archives, while the digital materials were distributed for the anniversary edition. They ended up having many requests for a print version to use in repertoire screenings, and he said they created six. The North American print is now in the possession of the Cinematique and will be available regularly. Our screening was the first time this print was run for an audience in North America.

Mr. Crisp gave us a brief but detailed explanation of the process that was used to create this print. There were technical elements that are beyond my ability to explain, and to some degree even understand. The visual demonstration of the defects created by the cracks in the emulsion on the original negative prints was effective at showing why the work needed to be done.  Seeing the scenes back to back and side by side shows how extensive and impressive the work done by the experts was. Thank goodness someone can still do these things and that people want to make sure they get done.

For a video blog on a previous Lawrence screening, you can click HERE .

The last blog post on a Lawrence screening is HERE. 

The link to the Lawrence-a-palooza post is HERE.

The print was magnificent and the crowd was equally appreciative. There were three young guys sitting behind us who were clearly film fans from the conversation I overheard. I asked them and they told me this was the first time they were seeing the movie. I told them they were really lucky to get the experience in this format, and that I was jealous because the first time experience with a film like this is always terrific. Even though this is the sixth time I've seen the movie in the last few years on the big screen, my face still hurts from smiling for three and a half hours. 

 Film fans may be distracted by "Star Wars" this week and next, but if you are in the Southern California area, you owe yourself a trip to Hollywood for these special screenings. Tonight and Sunday are still available to you this weekend, and there are three nights next week when you can do this as well. Here's a link th help you get there: American Cinematique. 

If you do make one of these shows, please come back and let me know what you thought. 

Star Wars: The Last Jedi

It's hard to be dispassionate and analytical about a subject that you have been passionate about for forty years. Star Wars has been a cultural phenomena for that long now, and even casual fans can get carried away by the enthusiasm of anticipation and nostalgia. This film manages to hit most of the right buttons for the cosplay crowd, while still being accessible to everyone else. I suspect it will require a couple more viewings to be a bit more objective, but even now I can see a few things that are weaknesses from my view. They are not particularly significant to my enjoyment of the film, but they were more noticeable to me than the flaws of the last two Star Wars movie. "The Last Jedi" is a good story, surrounded by an ambitious production, with a couple of cinematic weaknesses that keep it from the perfection that so many are hyping now.

First, the good stuff. Just about every sequence with Mark Hamill works and gives him an opportunity to bring a character we have loved for a long time, some new dimensions. The callow schoolboy of the original trilogy has become a wizened figure of melancholy, but one with a great sense of humor. There are several light moments in the film that provoke a laugh, Hamill provides most of these, even though he is a character fraught with regret. Writer/Director Rian Johnson has given Luke an arc that is redemptive, cynical and blind all at the same time. Since I refuse to simply tell you the story, I'll let you find out for yourselves, but the payoff at the conclusion of Luke's story is emotionally satisfying to all of we fans who watched the original film in 1977. This is the best kind of torch passing you will see outside of the Olympic Relay.

It's been a year now since our Princess left us, but the character lives on in this film. Carrie Fisher has a significant role in this movie and she finishes her career with a strong presence in the film. Leia is haunted by the events from the last film in the trilogy, but she is needed more than ever by the Rebellion. There is no doubt that "the Force" lives in her, even though she is not a Jedi. Largely missing from the second act, her storyline through the rest of the film works well at keeping us connected to the reason that the "First Order" cares about a relatively small rebel force.

Many people, including myself, thought that "The Force Awakens" borrowed heavily from "A New Hope". There were plenty of call backs but also it seemed that the story beats mimicked the original film to a fault. It has been widely suspected that this movie would end up doing something similar with "The Empire Strikes Back".  There are several points that echo or repeat ideas from that film. They are mostly moments though, rather than plot threads. The parallel between Luke now and Yoda on Dagobah is clear but superficial. The temptation of Rey by Ben is very much in the vein of Luke and Darth Vader in "Empire". These similarities felt like strengths to me rather than weak imitations. It is as if the pattern of the struggle between the light and dark sides of the Force are destined to repeat themselves.

Of the characters introduced in "The Force Awakens", the ones who come off the best in this film are the principles in the main plot, Kilo Ren (Ben) and Rey. Adam Driver is being used in this film the way Christian Hayden should have been used in the two prequel films. His emotional arc is more subtle and less random than the earlier character. The behaviors that he was mocked for in the last film are not eliminated here but they are exploited to tell a story and create some motivation on his part. Getting rid of the mask will be one of the things that allows this film to be much more mature in bringing this character to the next film and the climax of his story.

Rey also gets a solid few pieces of character development, and much like Luke in the original trilogy, she is the center of the story without having to carry the whole film and plot on her back. Daisy Ridley can't have quite the impact she did as a new character in the last episode but she grows and fights and makes choices that all work because she commits as an actor to the character. Her best moments include a series of interactions with Luke, a moment of uncertainty in a cave, and the culmination of her interaction with Ben. Everything else in the film is context for the relationship that is being formed with these two.

OK, now to some of the things that hold this movie back from it's potential. The other characters introduced in the last episode do not fare as well in these events. Oscar Issac as Poe Dameron, is not the mix of Han and Luke that we want him to be. The character comes off as a weak version of Maverick from "Top Gun". Head strong and unwilling to listen to those higher in the chain of command, he needs more charm to be able to pull this off. His character is underwritten and feels the most cardboard of the leads in the film. Jon Boyega's Finn is marginally better, with more to do and a new character to play off. The problem is that the main sequence he is featured in was the weakest part of the film. The casino plot on a new planet, Canto Bright, feels the most like the prequel films. Elaborate set design, background scenes filled with CGI creations to amuse us, and a completely unnecessary chase on new creatures that we are introduced to, simply for the opportunity to have them in the film. The rushed and tacked on inclusion of Maz from the last film also makes this story thread feel like an accessory rather than something endemic to the plot.

There are some treats that come along with the story, which help compensate for some of the excess. The opening battle sequence is excellent as is the fight at the climax of the film. The material where Snoke confronts Rey and Ben is also a welcome surprise and turn of events. As I have already said, the Luke Skywalker payoff was maybe the most satisfying thing about the movie and the reveal and reactions to it were well played by all involved. This is officially the longest film in the Star Wars franchise, and it did not need to be. I was never bored but I was sometimes overwhelmed by having to keep track of so many events taking place simultaneously.

"The Last Jedi" can work as a stand alone feature but it does set up future events for subsequent films. The film looks terrific and there are plenty of action scenes to keep us involved, but only the plot with Luke and Rey and Ben feels like it is relevant to the story that is being told. I wish it had ended on a note that builds anticipation and discussion for the next film, but this movie feels complete. Clearly there are characters that have to be resolved, but It is unlikely to create the kinds of discussions that took place after either "Empire" or "The Force Awakens.". 

Lambcast Rian Johnson Epidode

I may have to move in with Jay. KAMAD back on the Lambcast.

Lady Bird

The characters portrayed in this film go to Catholic Schools and wear uniforms reflecting that status. Inspired by that vision and setting, I am prepared to make a confession. "Bless me internet for I have sinned. I am not a Catholic so it has been my whole life since my last confession,...I did not love this film."  Unlike Marion McPherson, I like Lady Bird rather than love her. After hearing so many podcast raves and seeing the 100% Fresh rating on Rotten Tomatoes (which finally dropped today to 99%), maybe I was expecting too much. Don't get me wrong, this is a perfectly fine movie and it has some excellent qualities to share with us, but it is not a "perfect" film, although I can say it is an accurate and honest one.

One of the guys on the "In Session Film" podcast, said his only complaint was that "hella tight" sounded too early for 2003. He apparently is unaware that the term "hella" has been around the NorCal area since the early seventies and there was a No Doubt song that featured the phrase the year before. To me it sounded completely authentic to time and place. The one thing only that felt inauthentic was a sex scene where the girl keeps her bra on. I understand and respect the right of the film makers to present their story in a manner that is non-lascivious.  This is not an 80s teen comedy after all, but Saoirse Ronan is not Janet Leigh in the opening scene of "Psycho" released in 1960. The idea that a teen Lothario would be passive enough to ignore this undergarment is just ludicrous. Find a more modest angle, or use a bedsheet, which is a lot more probable, and that scene would still work without a topless shot.

I'm really not trying to pick at the film, that was just one minor example of the slight imperfections that people might overlook because they love so much of the rest of the film. Who can blame them? There is a lot to love about this movie. The actors are all pitch perfect.  Saoirse Ronan is deadpan funny in so many scenes that we ought to be laughing a lot. I did, but not as much or as deeply as I expected. Humor is subjective at times, and the contentious nature of her relationship with her mother Marion, while amusing, was also painfully expressed, which did not always deepen the laugh but soured it. The timing of the two actresses, Ronan and Laurie Metcalf, cannot be faulted. They are fine, it is the occasional bitter dialogue that sounds honest but hit my ear just a little too often as trying too hard. The same was true in a scene where "Lady Bird" confronts her best friend when being given the silent treatment. They both throw verbal jabs that are funny, but just a bit too perfectly set up.

Maybe the reason I am not quite as responsive to this is that I have lived this story to a large degree. Maybe I was off a year, but I have a daughter who longed to be going to school in NYC. She had a boyfriend who turned out to be something different than she had hoped. She worked as a barista to make cash so she could pay her own way. She was definitely smart but had work habits that held her back and she found friends late in her high school career in theater. The love/hate relationship was maybe more with her father than her mother, so the crisp dialogue in this film might just be too on the nose.

My favorite scene in the film involves Lady Bird's sudden realization that she doesn't want to fit in with her new friends. She wants to go to the prom. That was certainly the opposite of my child, who would never have bent her behavior to curry favor with a group of people she wanted to be "in" with, with only two exceptions, picking up cigarettes and automatically taking a position designed to irritate one or the other of her parents. Lady Bird has to come to realize that abandoning her friend Julie, played with a heart breaking degree of honesty by Beanie Feldstein,  was a big mistake, and it is one of several transformative moments in the movie. Lucas Hedges gets a second opportunity within just a couple of weeks to make a mark on the film business. His part here is deeper and more significant than his role as the neglected surviving sibling in "Three Billboards outside Ebbing, Missouri", and the tenderness between Ronan and he is wonderful despite the bitterness that accompanies it.

Writer/Director Greta Gerwig has fashioned a very effective coming of age story. There are plot elements that you can see coming, and the lines are sometimes to dead on, but it is a great script and film. It is however, just another coming of age story. The performances, elevate the movie quite a bit but the heaping of praise on everything about the movie burdens the experience rather than sharpening it.  There is nothing to not like about the film but that doesn't make me love it. To take advantage of one of the most derided quotes in movie history, "Love means never having to say you"re sorry". My guess is that it is apparent how I feel. Sorry.

Shane Black and Kiss Kiss Bang Bang/The Long Kiss Goodnight

This is designed to make all the bloggers out there jealous. An evening with two Shane Black films and Shane Black himself. Since it is the Christmas Season, it only seems appropriate that Kiss Kiss Bang Bang is the main feature here. If you haven't had enough of the question whether Die Hard is a Christmas movie, get ready for the encore with this sour seasoned greeting. It is a delicious mixture of violence, comedy and tragedy, all told around the Christmas Holiday. It will certainly not be everyone's favorite pudding, but it will make a lot of people laugh at the holiday season and remember why they hate the holidays.

I love seeing films at the Egyptian and the American Cinematique has created some great programming for the month of December, including a new 70mm print of Lawrence of Arabia which a certain youngest child and I will most certainly be taking in during the upcoming break. Tonight however is all about the marvelous Robert Downey Jr./Val Kilmer action comedy. Written and directed by Shane Black. 

From the beginning, I was reminded that I love this movie for it's idiosyncrasies. The titles are animated with shadow graphics and in a flash back sequence we see young Harry (The RDJ character) in his magician mode. The second character in this sequence who plays a major role later in the film is a little girl who grows up to be Harmony (the Michelle Monaghan character). That we pass the next twenty years in a few brief seconds is one of the marvels of how movies can be told.

The accidental nature of Harry's arrival in Hollywood and the guilt that trials him sets up the rest of the plot. This is a plot that is pretty complicated and may at times leave some gaps that are never completely filled. The Choice by Black to keep moving forward without lingering too much over the dangling threads is one of the things that keeps the film from getting bogged down in logical consistency at the expense of narrative drive.   When "Gay Perry" is introduced and becomes a foil for Harry for the rest of the film, we get a buddy comedy layered on top of a modern noir. Val Kilmer may not have had as good a role as this in the last fifteen years, and he was great. 

The big question that film fans have concerns what is Black's thing about Christmas. Most of his films are set around the holiday and make explicit references to it. As he explained, "''it's like falling asleep in the back seat of the car with your father driving and singing a tune as the lights flash past your window. It is a feeling of childhood security knowing your Dad is taking care of you. When you get to L/A. The Christmas references are different, a broken figure of a saint or lighting that looks slightly out of place, but it's still Christmas. It's a culturally shared experience." He credits "Three Days of the Condor" with inspiring the Christmas motif in his films. 

Black was modest and honest in describing his freshman directorial effort. He was happy to give credit to improvements in the dialogue to actors who improvised during rehearsal. He also noted that some of the photographic effects were a result of accident rather than planning. He uses the term "running and gunning" as the description of their filming schedule. One person asked if he had plans to film any other movies with different holidays and he joked about his time bomb race against the clock set during Breast Cancer Awareness week. There was also a question about the design of the story being a reverse "Chinatown" where the incest angle is different and not what you think it is going to be. "Every assumption you make is wrong and at the end you are faced with an old man bedridden that you beat on."

The second film on the program was "The Long Kiss Goodnight" and he frankly admitted that he wrote it alone in part as a way of coping with some depression. He was complimentary about director Renny Harlin but admitted there were some things that he would change about the film, which is one of the reasons he wanted to direct himself.



He strongly advised us to stick around for the second feature, which only about a third of the audience did, but we were rewarded with a great over the top serving of 90s action film that featured Geena Davis and Samuel L. Jackson. He debunked the notion that the plot has any 9/11 foreshadowing, as he put it, "it's just a movie."

Both films were on 35mm but Black's parting comment was that 35mm bows in the middle and is fuzzy, so he is happy with digital projection.

Christmas Movie of the Month Lambcast: Die Hard

KAMAD gets in the Holiday spirit with several other Lambs to discuss the greatest of Christmas Films.

Movies I Want Everyone to See: Get Shorty

Review by Richard Kirkham  Originally Published in the Fall of 2014

This summer has been a cruel one for fans of "Get Shorty".  In June, James Gandolfini who played Bear the enforcer for Bo the Drug Dealer/wanna be movie producer, passed away at a relatively young 51. Last month, Dennis Farina who played Ray "Bones" Barboni left us at 69. This last week, Elmore Leonard the novelist and screenwriter responsible for the story and characters in the first place, left us at age 87. I'm not suggesting there is a curse or anything, but if this film does not get included before anyone else from the cast dies, I will feel terrible. "Get Shorty" is a star vehicle, and it featured John Travolta in a great part immediately after his comeback role in "Pulp Fiction". In spite of the obvious star driven nature of the film, there is a great ensemble cast that adds to the quality of the movie and makes it something I think everyone will be glad to have seen.

For movie fans, this is a film that should give them a warm feeling in their dreams. This is a gangster movie about gangsters who want to make a gangster movie. There are dozens of colorful characters both in the crime world and in Hollywood as the story gets told. The crime stuff may be accurate, someone with a better sense of that can judge for us, but the movie end of the story cuts incredibly close to the bone that is the film making process. Last year in the movie "Argo", John Goodman's character summed it up this way:

John Chambers: [after hearing of the plan to get the hostages out] So you want to come to Hollywood, act like a big shot...
Tony Mendez: Yeah.
John Chambers: ...without actually doing anything?
Tony Mendez: Yeah.
John Chambers: [smiles] You'll fit right in!

That is the plot of this movie. Everyone thinks they can be in the movie business and they are right. Yet being in the movie business does not always mean making a movie, sometimes it is about talking about making a movie. Our lead character Chili Palmer, played by John Travolta is good at talking.

Look At Me

Chili is a loan shark from Miami, who ends up in Hollywood while running down a customer who has tried to outsmart the mob. He is not a thug but he is not a pushover by any stretch of the imagination. Chili is the kind of guy who is usually too smart for everyone else in the room. He is also a movie fan and like many other fans of film, he thinks he can do better than the people who are currently making it in "Tinseltown". The plot involves him trying to find financing and a star for the movie he has in his head. That's right, the movie in his head. There is a screenplay for another movie that is pivotal to the plot, but most of what we see on the screen is the movie that Chili sees turning into his own film. It's a movie about a loan shark who comes to Hollywood in pursuit of a bad debt. He is making up the movie out of his life story as he is living it. That is a pretty awesome way of creating a screen story, if only all of us could lead an interesting enough life to do that, we would be able to get rid of all the remakes and sequels that come out of the film world today.

Travolta is a walking advertisement of "cool" in this film. He dresses in a sharp manner that doesn't seem ostentatious, he looks great in sunglasses and finally, he may be able to set the anti-smoking cause back by ten years. When he lights up and stares down an adversary, it is a moment everyone in the business will want to emulate. Travolta was at the top of his game in the moment this film was made. He was natural, charismatic and he had an everyman touch despite the fact that it was clear he was not everyone. Warren Beatty was apparently offered the role, and from the looks department and the cool factor you can understand why he seemed a good fit, but Travolta has a sense of humor in his eye that makes the part work, and when he drops the veneer of friendliness he feels dangerous in a way that I think Beatty would not have been able to match.

In addition to Chili Palmer, there are a dozen other characters that flicker around the flame of Hollywood success. Delroy Lindo, a charismatic presence himself, plays Bo the drug dealer. Bo wants into the business of movies and sees an opportunity to leverage himself in because a director owes him a large sum of cash. Another debt that Chili is trying to recover is owed by that director and Chili manages to insert himself into the process of making movies ( or more accurately movie deals) by trying to extricate the director from his entanglement with the drug dealer. Bo has a partner and an enforcer. The enforcer is a giant of a man who was once a stunt guy in the movie business. "Bear" is played by the late James Gandolfini as a menacing but ultimately ineffective threat. Muscle alone will not be sufficient to put Chili Palmer out of the deal. This is the first time I remember Gandolfini from a movie role. He had a sweet disposition for a thug and his wardrobe was California casual to the max. The big beard and long pony tail he came equipped with was authentic for the times, I know because I saw it in the mirror every day in the 1990s.

Every comedy has to have a fool somewhere, otherwise everyone would just act in their best interests and reason would dominate rather than laughter. "Get Shorty" has the biggest self deluded fool in Hollywood; low budget exploitation director/producer Harry Zimm. Harry wants to play with the big boys but we know he doesn't have what it takes from the beginning. Harry owes a Vegas casino, he owes a drug dealer, he has a script he can't quite get control over and a girlfriend who is way too smart for him. Casting gives this movie another secret weapon, Gene Hackman.  Pound for pound, movie for movie, I would put Hackman up against any other actor of any time, but he was not always thought of as a comedian. That makes no sense in light of the Superman movies where he was the antagonist and the comic relief at the same time. His three minutes in "Young Frankenstein" may be the highlight of one of the greatest comedies ever made.  He turned down the part originally because he did not usually do comedies. Zimm is a funny character not because he makes jokes but because he is a parody of the movie business itself. Hackman just had to play a character who was so clueless and yet so certain that he could really be a Hollywood figure. He nailed it.


One of his funniest lines comes when he can't even speak because of a beating that he took. Crawling out of the hospital to make it to a lunch with the potential star of his breakthrough quality picture, Chili and Karen, Harry's girlfriend, wonder what the hell he is doing at the lunch meeting at "The Ivy" in his condition. Harry can only croak out the phrase "My project" through  his jaws that have been wired shut. That is a true sense of commitment from a producer protecting his interests.

So far our focus has been on the Hollywood element, let's not neglect the gangster part of the story. Bo and his partners have problems of their own, a South American drug lord has come in search of money and a lost nephew. The FBI is watching money that has been stored in an airport locker, and Bo tries to trick Chili into exposing himself to get at the cash. Harry's big mistake in addition to not listening to Chili earlier and getting more deeply involved with Bo, is that he thinks he can big shot his way around the mob. Harry makes the mistake of trying to go it alone and contacts Chili's gangland connection in Miami, hoping to shake loose some cash for his film. Enter Ray "Bones", played with the usual gusto by Dennis Farina. Farina played gangsters in dozens of projects (he also played cops pretty well being a former Chicago cop himself). Farina had a poetic way of delivering a line with complete disdain and superiority. His conversations with just about everyone in this film suggest a barely contained rage at how idiotic he thought everyone else was. From the start of the film, he was the east Coast version of Harry Zimm, too big for his britches and not able to really stand toe to toe with Chili despite his elevated position of power. The scene where he and Harry meet is a high point of comedy in the movie. It is violent and abusive in the way that modern gangster films are wont to be. It is also hysterical.

Rene Russo is Karen, a b-movie scream queen, and Harry's girlfriend. It doesn't take long for Chili and Karen to connect because they are the two most intelligent characters in the movie. Whenever Chili is confounded by some stupidity in Hollywood, Karen is right there to to interpret for him. Russo is completely believable as a working actress who should know better and has greater ambition than originally seems. As the ex-wife of movie star Martin Weir, she connects Chili and Harry to some real power in Hollywood, a major star. Danny Devito seems like an odd candidate for the role but he channels his friend Jack Nicholson and creates an actor who is serious about his work but indifferent to how it effects others. In the film "The Player" Tim Robbins' character orders a different kind of fashionable water at every meeting, and then he never drinks. Martin Weir special orders food and then never takes a bite. It is one of the irritating ways that the pecking order in Hollywood might be measured.

In the background of the story are several other perfectly cast characters. David Paymer does nervous and combative at the same time. Bette Midler, who was unbilled in the film, does sexy and smart ass. Miguel Sandoval has made a living playing drug lords and government officials. Here he is menacing as he discusses taking in the Universal Tour and then maybe murdering some of the other characters in the movie. There is a long line of character actors who all bring this movie some realism and personality.

The director Barry Sonnenfield should get a lot of credit for making the movie play so well. There are great tracking shots that don't call attention to themselves but make the movie feel even more movie like. The look of all the locations is also important. Martin Weir's arrival for lunch at "The Ivy" is staged like a red carpet moment for an every day Hollywood activity. Harry's office looks rundown, over stuffed and heavenly to a movie fan who would love to have those kinds of film mementos on the walls and bookshelves. Bo's house in the Hollywood Hills is both pretentious and strangely attractive.

The real hero of the movie though is the creator of all of these characters, the late Elmore Leonard. His book is really the script for the movie. Scott Frank is credited with the screenplay and he and Leonard shared the same relationship on another project "Out of Sight" a couple of years later. Leonard's plotting and dialogue keep us involved. The actors bring the characters to life and it all comes off as a good natured poke in the eye to the movie business that is responsible for putting this out in the first place. In light of all the recent passings, it is a good time to embrace the quality of this film and remember how much a talented cast of professionals can do to entertain us. "Get Shorty" may have been a star vehicle for John Travolta, but it was a project that showed us that real stars are found in every well cast part.

Richard Kirkham is a lifelong movie enthusiast from Southern California. While embracing all genres of film making, he is especially moved to write about and share his memories of movies from his formative years, the glorious 1970s. His personal blog, featuring current film reviews as well as his Summers of the 1970s movie project, can be found at Kirkham A Movie A Day.

West Side Story:L.A.Philharmonic

I'd not intended to write a post on this event, because I did not realize until we got to the venue that they were going to play the entire film. I was under the impression we would be getting a medley type concert, but it turns out this was one of those performances where the music in the film is entirely replaced with the live music in the concert hall. Since it is my policy to post on any film I see in a theater, this roughly qualifies.

"West Side Story" is one of the few movies I remember going to with just my Mother and older brother. It must have been 1968 when I first saw it and it was on a double bill with "In the Heat of the Night" of all films. I don't know if it was a nationwide match but I do know that the Mirish Company produced both films so a double feature was a probability. So I saw two Best Picture winners on the same night and I was probably just ten years old. I did write about "In the Heat of the Night" earlier this year when it was the opening film at the Turner Classic Movie Film Festival, but as far as I can see, there is not a previous post on "West Side Story".

I know that the Lambcast this week was going to be a movie musical draft, and I hope this is one of the films that got picked. It has always been a film that moves me. My daughter laughs at me because I tear up at the finale of the film. That's right, I'm a big wuss. The modern day re-telling of Romeo and Juliet is deeply moving just concerning the story, but when you pile on the fantastic dancing, the dynamic performances and the Leonard Bernstein music, it just knocks me over.

The overture today got my heart racing. As each melody is introduced, I could pick out the instruments in the orchestra that were playing and listen for the personality of each performer. When the lush violins come in for "Tonight" I began to feel the emotion build. The Jet Song gets the plot started and sets up the premise of the rivalry, and then Tony sings "Maria" and I frankly well up with admiration for the delicate poetry of Stephen Sondheim's lyrics. The whole orchestra bangs into the Dance at the Gym numbers and it was loud and powerful and gets the blood stirring. When people say they don't like musicals, to me it is almost like saying you don't like music. How could you not want to follow our lovers, fear for our friends and families and marvel at the dances in this movie?

So much of the credit goes to the original Broadway director/choreographer Jerome Robbins. He managed to make gangs doing ballet moves look like something that would express their feelings and still leave them as dangerous youth. Robert Wise brought cinematic magic to the movie as well. The opening helicopter shots and the quick edits to the locations match up with the Bernstien music and drag us into the context of the film quickly. There are a half dozen transitions that are clearly created by Wise and the color design of the film with the terrific cinematography is definitely more Hollywood than Broadway. Twenty years ago, one of the English Teachers who taught a cinema based class was out for a few weeks. The Dean asked me if I could take over the class and show a film one day and talk about it enough the next class day to help the students with their paper. I was happy to do so and the film that they were showing was "West Side Story". The Dean knew that I was a film buff and could probably carry it off. Fortunately, I did not have to read the thirty or so papers that were written, but I did get to talk about the film making techniques, and director's choices made here. It might have been my first attempt at a movie blog, even if it was not published on line.

The emotional peak of the music occurs during the "Tonight" Quintet, as several different voices trade off their stanzas, each one using the same notes but lyrics that are sadly at odds. The heart breaking innocence of Tony and Maria is contrasted with the bitter sniping from Riff and Bernardo and underscored with Anita's lustful planning. It builds to a crescendo and then it is immediately followed by the haunting silence which is broken by familiar whistles as the two gangs converge for the rumble. The L.A/ Philharmonic stays right in place with the screen and the music works marvelously. Today they were led by David Newman, an Oscar nominated composer and a regular conductor of classical music and film performances. I have seen and heard his conducting work at the Hollywood Bowl on numerous occasions and this day he dis another smashing job bringing the music of the movies to life for an audience.

The experience today was an invigorating end to a long holiday weekend. It was a great surprise and offered me an additional opportunity to write something for you "Tonight".

Three Billboards Outside Ebbing, Missouri

It might look like a comedy from the trailer, but "Three Billboards Outside Ebbing, Missouri has a subject as unfunny as anything you can probably think of. The fact that Writer/Director Martin McDonagh manages to get us to smile so often is a testament to his writing skills. The death of a child through a brutal crime generally does not set off the chuckle meter for most of us. However, if you have seen his previous films, "In Bruges" or "Seven Psychopaths", you might not be too surprised. Each of them deals with dark themes with comic overtones and while not always successful in the case of "Seven Psychopaths", it all clicked in the feature debut "In Bruges".

Crime leaves a scar on everyone it touches. The feelings may not be the same from one victim to another, and they certainly do not get expressed the same way, but everyone has a piece of themselves changed by these kinds of events. Mildred Hayes is the mother of a dead teenage daughter. Her anger seethes for months and when she reaches a boiling point she is ready to let it out on anyone in the vicinity. Frances McDormand will probably win her second Oscar as the brutally self centered, guilt ridden and thoughtless Mildred. She is pushing for answers but there are none coming her way. Mildred is a character that you can at first feel for, but as we see what her mania is doing to others in the community that would otherwise sympathize with her, we can also hate her a little. She still has one child and he is battered by her pitbull like approach to the problem she sees. The Sheriff in the town is not guilty of negligence, just a lack of evidence to pursue. A man who shows a romantic interest in her and tries to be a friend, is belittled by her blindness to the feelings of others.

This movie never goes where you think it is going to. It feels like a vengeance film and a procedural, wrapped up in small town melodrama, but it never takes a conventional course. There are a number of moments that come out of left field, although they really are significant and related to the characters. The Sheriff's story turns out to be as sympathetic as Mildred's. Just when you think the deputy is getting his just desserts, there is a string of information and behavior that changes our attitude towards the character. People in this movie say and do hurtful things to each other, but rarely with the intention of having the kind of effect that occurs. It's as if each is throwing a temper tantrum and the whole town feels like the bewildered Mother in the grocery store with a ego-centric toddler to deal with.

Woody Harrelson can play both psycho and family man. Here, you will find his performance ultimately heartbreaking. At the same time, he manages, even when off screen to delight us with a sense of humor or a moment of empathy that everyone should appreciate. John Hawkes plays Mildred's ex-husband, the abusive Charlie. He too can be sympathetic one moment and loathsome the next. Lucas Hedges, who was so effective in "Manchester by the Sea" last year, again plays a teen, trapped by a family drama that he has difficulty coping with. There are a dozen performances by secondary characters that are just spot on: Zeljko Ivanek, Samara Weaving,  Abbie Cornish, Caleb Landry Jones and others make this feel like a real place with real people who have real faults and qualities. 

Special attention however must go to a second likely Academy nominee for this film. Sam Rockwell has been a favorite of mine since I first saw "Galaxy Quest". He was neglected for Awards attention a few years ago for one of my favorite films from 2013,  "The Way, Way Back".  That injustice is unlikely to be repeated. Rockwell is simultaneously repellent and sympathetic in the part of a Dim Deputy who has anger issues but also a strong need for justice. The less you know about the film and it's plot twists, the more compelling the performances turn out to be, Dixon is a character in search of a redemptive storyline, and it doesn't matter that he is sometimes an awful person, he is also a human being. Mildred's quest for justice for her daughter changes lives in many ways, none of them are predictable, and Rockwell's Dixon is the least predictable of all. 

 

Murder on the Orient Express (2017)

Elegantly filmed and put together with great craftsmanship, this new version of "Murder on the Orient Express" is fine entertainment for an evening but it lacks the elements that would make it a true classic. Remakes inevitably will suffer by comparison to earlier versions because of changes that might need to be made to the story, the use of technology that distracts from an older version of the same events, or simply nostalgia. We can't unsee that which we have previously watched, and we can't unknow that which has been previously unraveled for us. Kenneth Branagh can't escape comparisons to the Sidney Lumet version from 1974. There is much to be admired here but in the final analysis, this film will live in the shadow of it's older twin.

There are things to compliment about the film, but let's save those for the end and start with the disappointments. The first thing that I noticed is that the score of the film is serviceable but not elegant. Patrick Doyle has worked with director Branagh on a number of projects and he has a great track record on many contemporary films. Unfortunately there is nothing that stands out about this music. It sometimes helps build a little tension, but it does not accomplish the same thing that the score from the 1974 movie provided, romance. Listen to the opening musical passage as the train leaves the station, it is light, elegant and decidedly romantic in a traditional sense. It sets the tone for the whole film and that touch provided by the late Richard Rodney Bennett is sorely missing in the new incarnation.

Another element of the new film that I think is problematic, is the very rapid introduction of characters, many of whom are shown before we even get to Istanbul. There is a very solid attempt to familiarize us with the detective Hercule Poirot at the start of the movie. The eccentricity that Albert Finney brought to the part in manner of dress and personal grooming cannot be matched, so Branagh goes for character in some idiosyncrasies. As he solves a puzzle in Jerusalem that starts off like a bad joke, we get a small taste of the OCD that the character must suffer from. He manages to be cordial however, to even the most tiresome people he encounters. Branagh lets his mustache do a lot of the acting for him. Other than Poirot however, we get very little from the other characters by way of personality. They often feel like pieces on a board game being moved around merely for the benefit of blocking the detective's progress. That is especially true of the four youngest passengers on the train, the Count and Countess and the Governess and the Doctor.

Now for a few things that work. Johnny Depp has been scorned quite a bit the last few years for his personal life and film selection. In this movie however, he plays an ensemble character very effectively and let's just say that he gets treated the way a person guilty of his crimes probably deserves. Depp had the right attitude as the gangster Ratchett, he is self confident and sniveling at the same time. The exchange between him and Poirot over a piece of cake was a dlightful sequence of droll put downs by the detective. He also has an effective moment with Michelle Pfeiffer in the hallways of the train. For her part, Pfeiffer started off a little rocky but by the climax of the film, her performance settled into a more intriguing character. The film also features Penelope Cruz, Jason Gad, Derek Jacobi and Judi Dench, none of whom manage to make much of an impression despite all the histrionics involved. The reveal of the plot comes much too rapidly and the flashbacks to the events that launched the whole affair are lifeless.

It's a good old fashioned plot and the performance of Branagh as the Belgian detective that make this worth seeing. The sets are fine but my memory of the original is that it was more detailed and elegant, even without all the special effects computer graphics. If you are looking for a night out, this is still doing business and you will find that it is entertaining enough. If you are staying home however, watch the '74 version and appreciate the old time storytelling and performances that make the movie so memorable. 

Lambcast Justice League

KAMAD is featured on another Lambcast in the very next week. Check it out below.

Lambcast 400th Episode

                         KAMAD is included in the epic 400th Episode of the Lambcast.

Click on the link HERE to vote for the 007 Draft, assuming you are going to support my slate of films of course.

Justice League

The DC Universe has been a controversial playground for film fans and comics aficionados. With the exception of this years earlier entry in the collection, "Wonder Woman", the films have not had a great deal of enthusiastic reception. That has not kept them from being financially successful, but it does leave fans dissatisfied and ready to jump on the next film with every misstep. "Justice League" will probably continue that trend instead of reversing it. Many of the issues that cause hesitation are still present in this entry, but despite the mistakes, this film was satisfactory in accomplishing some of it's goals but mostly in entertaining the audience. It may not be "Wonder Woman" but it is a step up from the murkiness of the other films that preceded it.

Goal number one, get all of the characters in this Universe introduced and started on their own stories. "Man of Steel" was supposed to do that for Superman, and it did set up a lot of the material that has followed, but it was stodgy and grim and lacked the spark that made the Christopher Reeve films fun. I hope it is not a spoiler to say that Clark Kent/Superman does play a significant role in this movie. More on that later, I'll put a mild spoiler warning on that section for anyone who wants to go into this blind. Batman got reintroduced in "Batman vs. Superman", a film that was convoluted but had some great spectacle and the irresistible appeal of the two superheroes dueling.  Ben Affleck's Batman was more impressive in that film, here he seems to be less engaged. It's not until near the finale that Affleck starts to give the character the energy we want. Gal Gadot can do no wrong this year. She is the character that we most want to see and she leads the narrative strings around so that everyone else can follow what the heck is going on in the story. I'm not tired of seeing her fight CGI bullies yet, but at least she gets a more complete one to fight here than she did in the stand alone film.

Three new characters get introduced in a more elaborate manner than the brief thirty seconds they were afforded in the prior film. You would think with so much to do that the story lines would begin to feel over stuffed. That's not the case with these three characters. Judicious editing and story telling give us just enough on each one so that we feel they do really exist in this Universe, but we don't dwell on their backgrounds more than is necessary. I suspect that Jason Momoa as the Aquaman will be a big hit with the fairer sex. My wife liked him quite well and his belligerent humor was one of the things that helped make this movie a little more fun.  Ray Fisher has to perform under prosthetic metal and through elaborate CGI accoutrements, but he still makes a solid impression. His character has the most detailed backstory and includes actor Joe Morton, a face that should be familiar to fans from his association with another cybernetic character. The breakout character however has to be Ezra Miller's Flash. Like a yopung Justin Long, Miller comes across with puppy dog enthusiasm and a sense of humor that is sorely needed in this Universe.  There is a mid-credit stinger that you will want to wait for that gives him one more chance to make us laugh.

[Something of a mild spoiler ahead]

The best thing about this film however is the restoration of a sense of humanity to Superman. In the initial stages of his return, we are threatened with a repeat of the grim countenance of Kalel and it looks like "Man of Steel" will repeat. Somewhere after Henry Cavill reunites with Amy Adams as Lois and Diane Lane as his mom, Clark Kent returns and Superman becomes something much closer to the character we love.  When the final battle begins, Superman shows up and it feels like Christopher Reeve is being channeled by Cavill. There is a spot where he gets to smile and suddenly, this feels like the movie I have wanted all along. I don't mind the series being more serious, but our main characters have to give us something to root for. Finally, I think the series is getting to that point. I like the work of Zack Snyder for the most part, but he does have those crutches he relies on for drama in the fights. He is the credited director although Joss Whedon took over in the last few months when Snyder had to step away from his project for personal reasons. Maybe Whedon lightened things up a bit, but this is definately the film that Snyder has been nurturing to fruition for several years.

The antagonist in this story is another CGI creation, but there is at least some backstory and it does not feel rushed. The transformation of the planet into a world that the character wants is  mechanical in nature, but it was tempered with a little family story to make the stakes more meaningful. If everything is about the end of the world every time, it is going to get a little boring. This brief side trip from time to time reminds us of the human stakes involved. This is the sort of thing that seemed to be missing from the earlier films. The stakes have to be something that we can relate to or else it is just going through the motions.

I enjoyed the film far more than the second wave of negative word would have me expecting. Early reviews were promising, round two was wholly negative, and now I have seen it for myself. They have not solved all of the problems the DC franchises have faced but they did make great strides into turning this into something more than just a money making enterprise. If the new characters are given a chance to shine a bit more and Superman keeps up the more optimistic demeanor, I will be able to look forward to more of these films. It is probably a good idea to allow some other directors a chance to invigorate these stories, but the Snyder lead trilogy has set a better framework than many critics have asserted. Good news for film fans, it is also just two hours.

Only the Brave

Most of us will never have to do anything that is heroic in a death defying manner. We will get chances to take heroic positions or act in a manner that is consistent with our principles, but very few of us will be called on to look death in the face in order to protect others. That is one of the reasons that films like this work for me. I have to live vicariously and deploy my empathy for men and women who put themselves on the line every day. Our military, police, firefighters and other first responders have something in them that makes them step forward and say, "My Turn". Sometimes the stakes of those voluntary actions are grave and this is one of those stories.

I think people have a general understanding of what firefighters in a structure fire face. Everyone has probably heard the saying about those souls, "When everyone else is running out of the building, they are running in." The people who fight wildfires are working in a completely different environment. There may be no place to run. They set backfires rather than extinguish fires, and their incident may go on for days not simply hours. "Only the Brave" is a film about these types of heroes and the work and sacrifice they go through. I really enjoy films that show me lifestyles and working conditions that are new to me. The cultures and labor of these people can be fascinating. Military stories based on true events, like "Dunkirk", "13 Hours" or "Lone Survivor" carry with them the weight of history. Even when a story is fictional, like "Battle L.A.", with aliens invading the planet, the opportunity to watch dedicated people do the things they are trained for inspires me. "Only the Brave" emulates those films by showing us similar kinds of struggles but in a much less familiar context. There are thousands of war films, but movies about dangerous occupations where you don't carry a gun are much more scarce. The most comparable film to this that I can think of in the last few years is "Deepwater Horizon".

Since this movie is also based on a real world event, some of you going in will already know the outcome. I know I largely knew what was coming. My daughter did not so she was unprepared for how overwhelming the events in this story would be. Now obviously, this film is an entertainment so liberties are probably taken in events or dialogue to make things more compelling, but there is nothing in this film that does not feel real to a degree. Even the personal stories, which can sometimes be hyped up to make the background more engaging, still seem like they could be everyday experiences for the kinds of people the story depicts.

Miles Teller is a young actor who is making quite a mark on the film business. He was incredible in my favorite film of 2014, "Whiplash". He has another film out at this same time "Thank You for Your Service", which is on my "want to see" list. It looks like he has some turkeys  on his resume, but they are offset but some solid performances in quality films like this. Here he plays Brendan McDonough, a young man floating on the edge of self destruction through drug use. He finds a need to redeem himself and a path to do so in joining the firefighting team of Josh Brolin's Eric Marsh, the Prescott Arizona supervisor. This municipal unit is attempting to get certified as a "Hotshot" unit, the first line of defense in wildfires. The film has some local politics and extended training sequences and that may feel a little familiar, but it is a legitimate part of the story. The domestic issues that Brolin's character and his wife, played by Jennifer Connely, have are maybe a little melodramatic but they are not over the top. Teller is a wastrel, trying to change so that he can be a man that his new daughter can depend on. Of course he has a troubled past and the others on the team are suspicious of him, but as in most workplaces, when people come to know each other and especially rely on one another, those relationships develop. Brendan becomes friends with one of his team mates in the unit, another solid turn by actor Taylor Kitch. In a way, Kitch is getting a chance to redeem his career a bit as well. He went from being the next big thing to anonymous very quickly. It is with secondary roles like this and the recent "American Assassin" that he is moving back to a more solid footing as a film performer.

Jeff Bridges plays a senior fire official who is assisting  his friend Marsh in trying to get the team certified. Between Bridges and Brolin, you will want to turn down your sub-woofer for home viewing, because they both have their grumbling low pitched delivery styles going. I like the fact that the towns that these guys help protect appreciate the work the team is doing. The folks at the local store or bar, know what it means to do a job like this. Small town America is full of values where neighbors understand each other more often, even when they are not always agreed on things. Of course an official like Bridges character will have a band that plays at the local rodeo or roadhouse. [Bridges by the way is a talented musician]. People in small towns know each other, they see one another at the grocery store or at the local school. When bad things happen, everyone shares in the misery, and when good things happen, they get to bask in the glory of their home town heroes. Be aware that both of these emotions will be present in this story.

The firefighting sequences in this film are harrowing. We have been prepped to know some of the things that are coming because we saw training exercises that deal with those emergencies. Clearly, the best strategies are not always going to work out in the worst case scenario. As the credits role at the end of the film, we get an even greater sense of the enormity of the sacrifice that families and communities make to help each other out. This movie is an excellent tribute to the spirit of small town folk living big time lives. When a film can be dramatically honest and subtle and it still isn't over the top but it draws you in and makes you care, then you know it is well done. "Only the Brave" might be seen as a cliche by some, but if it would be seen by anyone, you will have a greater understanding of some of the things that make everyday American exceptional.

Thor: Ragnarok

If anybody was holding their breath because they were worried about this film, you can let it out now. "Thor: Ragnarok" is as good as promised and entertaining as hell.  I keep hearing how it is the shortest of the Marvel Films, but it did not feel to me like it was shorting us on anything. We got an expansion of the Asgardian Universe, there are significant connections to the rest of the Marvel Cinematic Universe and "the Avengers" get to play a little in this sandbox as well. It may not be essential to the progress of the phases of the Marvel plan, but it is a solid stand-alone with enough Easter Eggs to keep the faithful happy.

I want to start with something that is usually a side-note or an endcap to most film reviews, the use of source music. Whatever they paid for the use of the Led Zeppelin "Immigrant Song", it is worth twice that. You almost certainly heard it in the teaser trailer and you know the hypnotic effect it can have when combined with images from the film. In the movie itself, the tune gets used in two places and each one is just perfect. It works the way the "Mission Impossible" theme does, it underlies the mythos  of Thor, it accentuates the mood and it tells us that a moment of heroic action is on the way. Zeppelin may have been finished since 1980, but the songs have continued to transfix listeners for almost 40 years since they left the stage, with this use of the tune, they will safely be around for forty more years. There is one other tune that gets used in a slightly different spot. It has not been advertised so I won't spoil it for you, but if you don't laugh out loud when it comes up, you are either without a sense of humor, or you were never a child of the seventies.

Since we are on issues not related so much to the plot, let me explain how valuable a second investment the makers of these movies chose that pays off in spades. The Grandmaster is not an essential character in the Cinematic Universe, but he is essential to the humor in this film. It may be that any movie without Jeff Goldblum in it will never seem funny by comparison. You "Jurassic Park" fans will smile with every line reading. It is as if the funny parts of Ian Malcom were transplanted onto this alien being who has control of a trash planet and uses his power for evil. His line readings are incredibly arch and dry. Goldblum's facial expressions match the vocal performance with the same kind of wit, it is never over the top but rather pitch perfect for the brief moment we are given it.

Cate Blanchett is Hela, the villainess of the film. Her character has a more reasonable explanation for existence than most of the similar female antagonists in these kinds of films do ( see "The Mummy" or "Suicide Squad for examples). In the big scheme of things, Hela turns out to be a one off for this story, but she was an exceptionally effective one off. Taika Waititi is a director that I am not familiar with although his two prior films have lots of admirers, I've yet to see either one of them. He deploys Blanchett in small doses and lets her actually act in some of the scenes rather than simply pose, but she does also get to pose. If the three point stance of a super-hero is now a trope, the slow motion turn of a villain must be as well, and it is used here regularly.

The relationship of Chris Hemsworth's Thor to Tom Hiddlestons Loki, continues to be the thread that holds the line of films together. The characters have grown enough to be interesting, Thor is still arrogant, but he is wiser and his humor is much more self effacing than in previous installments. Loki doesn't change so much as he does adjust to circumstances. We can almost always count on him to betray his brother, but we can also now see that he understands how important it is to have someone to betray. It is an amusing conundrum. The two actors play off of each other really well. When you throw in Mark Ruffalo as Bruce Banner/The Hulk, it gets even better. At one point Thor gets the treatment that Loki did in "The Avengers" and the smirk of satisfaction on Hiddleston's face is great.

Earlier this year we got Chris Pine in "Wonder Woman", this film has a feature role for Karl Urban. Now we somehow have to get Zachery Quinto into one of these super hero stories so that all the main cast of the "Star Trek" films can point to a comic book movie on their resume. I did not recognize Urban at first but I did know that the actor in the part was much better than the part first appeared to require. As the film went on, there was more to it and suddenly we see why you needed an actor like Urban. Anthony Hopkins appears to finish off his role as Odin, the father of the main characters, and a figure of stature that seems to embody the idea of real Gods. He is used sparingly, but just his visage matters in the later parts of the story.

"Thor: Ragnarok" is funny as heck, with a couple of subplots that pay off in the end. I don't see a huge tie in to the whole Marvel Universe but maybe I was laughing to hard to notice some of the connections. It feels like a seventies psychedelic comic book has come to life. The colors and characters will keep you amused and the story is just about as solid as you can get for a non-Avengers Avengers movie. It's hard to think of this film as being part of the same world as the Spiderman film we got earlier this year, except someone clearly remembers  that the word "Comic" implies funny.