The Mule

The man is 88 years old and still working hard to make good films. I skipped the first of his 2018 movies, the poorly reviewed "15:17 to Paris". I was initially interested in seeing it, but the reviews were so bad that even the idea of the actual heroes playing themselves was not enough to induce me. This film does not any gimmick to it, it simply has the one essential plus that could over power any doubts; Clint is acting in the movie. In addition to directing, which has been his main focus for the last decade, he has come out of semi-retirement as on on-screen presence to deliver a performance to potentially cap off his amazing career.

It's unlikely that he will receive Awards attention, he will be stereotyped as playing a character that he is, an old man. That character can also be seen as not to distinct from Walt in "Grand Torino", a man who today's generation would see as a racist because of the generation he grew up in. He is also likely to be ignored because he has crossed some lines that politically are Hollywood landmines. Regardless of whether he gets some professional accolades, I'm willing to give him some personal ones. For most of his career, he has played steel willed characters with a streak of sardonic humor. He keeps the humor for this part but adds some personal weaknesses and doubts. A lot like his character in "Million Dollar Baby", Earl, the ninety year old drug mule in this film, struggles to connect with family and sees the most selfish impulses as the easiest ones to choose. His stubbornness is the real reason the title describes him. Earl has always done things his own way, and the fact that it might inconvenience his cartel employers is one lesson he has trouble learning.

The fun and personable aspects of Earl's character are shown in the early scenes of his horticulturalist success, and later in the film as he parties with the drug lords. Clint manages to make a flinty old man a subject of amusement and charm. At the same time, we see that he recognizes some of his faults. There is an opening scene where he should be reminded of his own daughter's wedding, and he brushes it off without a second thought. Towards the end of the film, we get to see that he can't do that anymore. He sincerely wants to be there for his mostly ignored family. The facial expressions on his phone call with his granddaughter are contained looks that are appropriate for the character and the film. When Clint plays against Diane Wiest as his former wife, you can see the frustration she feels, but the aura of sadness and realization and defensiveness that Earl feels is palatable.  There is a slightly manufactured scene where Earl comes across his counterpart, a younger version of himself, someone who is driven to succeed but may be doing so at the expense of his family. As he offers advice, the voice contains the weariness that should tell the younger man that this is a man with the kind of experience to learn from.

Although this is a family drama, the crime elements are barely in second place. We care about this head strong, recklessly casual nonagenarian. He jokes with the guys he is taking the drugs from, and we laugh as he struggles to figure out texting, or makes ethnically insensitive jokes with the wrong guys. You will almost certainly smile when Dean Martin is crooning and the gang is all a part of it, but when the timetable is upset or the actions of a uptight handler threaten Earl, you will feel tension and that is exactly the kind of thing that a director like Eastwood knows. He plays a old man, in over his depth, who is trying to get by on the same charm that works with his VA buddies and his friends, but we know that that is not the audience he is playing to, and disaster is on the horizon.

The cast is thick with talent, Bradley Cooper, Michael Pena, Lawrence Fishburne and Andy Garcia are all in small but valuable roles. Diane Wiest has only a few scenes but she shows again that she is one of the most talented character actors working. She is twenty years younger than Clint but you will not sense that difference in their performances. The cast that plays the drug cartel drones is chosen for their looks but they also are capable. Eastwood has picked an interesting story, put together an involving drama, and turned in a effective performance and he has done it as he himself is approaching Earl's age. We should all be so talented and full of ambition. 

Aquaman

Frankly, this movie is ridiculous. The premise of the Aquaman is one of the loopiest comic book concepts that was ever created. There is something fishy about the whole idea. (Yeah, prepare yourself for a lot of bad puns her). Despite the silliness of the whole thing, it turns out to be pretty entertaining. If ever there were bad movies that won me over by sheer will power, than "Aquaman" can be added to the list. This is a mash up of concepts that should not work together but somehow manage to overcome the complete incompatibility of those ideas to make something that is hypnotically watchable, regardless of how inconsistent it is.

First of all, this movie is cheesy.  In addition to the bad puns, you are going to get a whole lot of metaphor in this review.  Like the soft, cheddar flavored goop that covers your nachos, this movie drips warm flavor over the saltiness of the sea. It is a fairy tale to begin with. The title character actually narrates the opening and closing of the story and it involves a peasant and a royal, finding love and trying to overcome the obstacles they face. There is a return to the glowing sunrise that gives the film a "magic hour" look, which reflects like the crusty topping off of your baked Mac and Cheese recipe. I spent most of the movie trying to figure out who the actress was that plays Aquaman's mother. I thought to myself, where did they find this Nicole Kidman look alike? Then it turns out it was Nicole Kidman, I had no idea she was in this movie. Her scaly costume must have thrown me off. Also, I did not know she was so Gouda at martial arts. Some of the action takes place in Atlantis, which looks a lot like the castle in "The Little Mermaid", but also the more CGI heavy scenes in "The Lord of the Rings" films. Oh, and just to emphasize the fairy tale connection a little more, the romantic interest in the film is given the same red hair as Ariel.

The second genre that is sprinkled on top of this souffle, is a Sci Fi quest story. A little bit like "the Hero's Journey" in most of these films, there are a series of steps the hero must follow to reveal his true nature. The grated Parmesan covering this concerns an attempt to unravel some clues which will reveal the sacred Macguffin at the end. If you thought the National Treasure movies were laying on the Provolone a little thick, than get ready for a panini  of ginormous proportions. For a movie set in the ocean, the characters end up on land, in the air and the middle of the desert for some very odd reasons. When the bottle has a secret code engraved on the bottom, which will only make sense in the hands of a statue that the characters find in a provincial Sicilian village, you know that fish oil is ripening and the cheese mold is finally curdling sufficiently to make you stop worrying about any consistency in tone.

A third genre that gets heaped onto this, like a slice of blue cheese that you don't really need but over powers all the other flavors, is a war film with a Kaiju thrown in. There are elaborate effects creating different under water kingdoms which will battle one another at the climax of the film. Some of the characters look like elves from the Lord of the Rings in elaborate capes flowing in the ocean currents. Other creatures are orc like fiddler crabs with one enlarged claw and an exoskeleton covered in barnacles. They are approaching each other like Calvary battalions on seahorses and sharks. This is the most comic book type image you can fathom. On the page, these panels would stand out as illustrations of over stuffed imagination, but in the movie, which is already filled with a bunch of preposterous images, they simple seem to be the natural conclusion to someones gumbo recipe.

Aquaman is a comic book character, but from the D.C. Universe not Marvel. That does not stop the creators of this movie from flavoring the pot with some melted mozzarella on top of the French Onion. There is a revenge story with a pirate who steals technology for the Loki-like Prince who is Aquaman's half brother. This character gets suited up like Iron Man or Ant-Man, and has crazy powers that he uses to try to kill our heroes. I think you will laugh out loud at the endomorphic head that the "Black Mantis" wears during the combat in the middle of the story. The top heavy look is another choice that makes this film a continuing bag full of Doritos.

The base that holds all of this mixed metaphor together is Jason Momoa. Having been introduced in earlier D.C. stories, he gets to be the lead here and he has the charisma to carry it off. Somewhere I read that this movie is basically "Wet Thor", and that comparison is apt, especially to the first of the Thor Marvel movies. Both characters are masculine parodies, full of self confidence and blundering humor. They are battling against siblings who are plotting to take over a kingdom and launch a war. At one point they are outcast and seemingly disgraced. Thor has to regain the power to wield his hammer and Aquaman, cleverly named "Arthur" in a brie moment, has to pull the sword from the stone, no wait, I'm sorry, he has to recover the trident from the ossified king. Whether we are dealing with Arthurian legend or Norse mythology, it doesn't really matter.  It is all nonsense but it is like a curated plate of cheese with enough crackers and wine, you will not notice how much it all seems to clash.

Mary Poppins Returns

For a nostalgia junkie like me, this premise was catnip, with a potential for disaster. The original "Mary Poppins" is one of the pivotal films of my childhood.  It was the one movie that I distinctly remember my grandmother taking me to. I also recall listening to the soundtrack with my friend Kathy Callen and singing the words from the songs, because in those days there was no home video, we relived the movie through the music. So I wanted to revisit the characters and the setting of the movie, but there is always trepidation when a sequel comes along, especially when it if fifty plus years later. As things worked out, we are all in good hands. Rob Marshall has made a career out of bringing musicals to the screen and this original story with new songs fills our expectations in a number of ways.

The first thing the movie gets right is the tone of the story. There is some melancholy over a Mother who has passed, a family on the brink of financial ruin, and some grown ups who have forgotten what it is to be imaginative. Jane and Michael Banks are all grown up and face some adult problems, and Mary Poppins is really there for them. Michael's children are doing their best to be mature in the face of their family upheavals, but it is taking a massive toll on their childhood. When Mary Poppins drops out of the sky and into their lives, they are not being given a chance to grow up, but rather, to enjoy a childhood they might lose. OK, that's the serious part and it fades into the background quickly to give the main focus of the film full range. This movie is a visual confection, designed to entertain us with old fashioned story telling and traditional film making. An occasional boost from computer technology is present, but you never get the idea that this is a series of ones and zeros being manipulated to show us something that can't possibly be there. I know that the London Clock Tower was not used an actual location, but because so much of the film relies on studio backstreets and real sets, the magic sells much more readily. Kites and Umbrellas are real, so it's OK that the Dance Hall is a digital fabrication.

There is a nice chunk of the story told in animation, and it was such a pleasure to see traditional two dimensional line drawings and cartoon characters. Shamus the Coachman and Clyde the Horse are refreshingly old fashioned characters that look like they could have been part of the original film. They also lack the irony that so many comic moments in a contemporary film comedy would require. If we had just had the animation section of the movie, this would be a delight. Mary and Jack, dance and cavort with penguins and a variety of other critters in a show piece dance number that is all flash and fun. The cotton candy the children are indulging in while watching is exactly what I felt like I was consuming. Something sweet, light and airy, and it was utterly delicious. If there are critics of this film ( and I know there will be), I suspect one of their complaints will be how this movie mines the beats of the first film, in much the way "Star Wars: The Force Awakens" copied the original. There is an extended animated sequence as noted, there is also a visit to an eccentric relative of Mary Poppins to try to address a problem and a light-hearted comic sequence ensues. We don't have chimney sweeps, but we do get lamplighters who also wear dark vestments and dance on high with props, in ths case, bicycles rather than brooms. Instead of the suffragette that the original Mrs. Banks was, Jane is some kind of labor organizer. Thankfully, just as in the original, we are spared that as backstory and it is simply a characteristic to add color to the character.

Lin-Manuel Miranda is a suitable performer for this film, he has talent and charisma enough to hold the screen when it is his. I was very much surprised to notice that this talented, Tony Award winning, Academy Award Nominated songwriter, contributed only his voice to the songs featured in the film. If I have any reservations about the movie it is that the songs are serviceable and nice but not memorable. There is nothing equivalent to "Chim Chim Cher-ee" or "Feed the Birds" or"Supercalifragalisticexpealidocious".  Maybe with subsequent viewings, "Trip a Little Light Fantastic" and "A Cover is not the Book" could in fact be hum-able and repeated, but it is a little too early to tell.

The not so secret weapon of this movie is Emily Blunt as Mary Poppins. Whatever vocal skills she has, and they are considerable, she could hardly match Julie Andrews, so she doesn't really need to try. She adds a different characteristic to the film. Mary's flintiness falls away on a regular basis and she enthusiastically engages in the nonsense songs as joyfully as the children or Jack, the character played by Miranda. She sings beautifully and she dances with vigor and she looks the part the whole time. Mary Poppins is not the emotional center of the film, she is the initiator and reflector of the emotions that are being felt by others and Blunt is quietly and forcefully in control, even when she acts out. I thought she was fantastic in "A Quiet Place" earlier this year, this is a completely different performance but it is just as noteworthy. She may end up competing with herself in the Awards season.

The movie is also filled with other performers who manage to get a little extra into the movie. Meryl Streep doesn't really need to be here but she worked with Marshall before and she is in this just long enough and not any more. Angela Lansbury and Julie Walters also add a bit of English charm to the story. Walters is amusing and Lansbury is just the right light touch at the end of the movie. Colin Firth has only a couple of scenes where he twirls his mustache and tries to look like Walt Disney himself.  The most amazing element in the supporting cast however is Dick Van Dyke, playing the older version of a different character from the first film. He has one scene and the ninety three year old, dances and sings like it was still 1964. He has a thousand watt smile that is the perfect cherry on the top of this dessert.

If you are a cynic, a hipster, or someone who thinks films need to promote a social justice agenda, there is not really anything here for you. However, if you are a child at heart, or the parent of children, or you want to feel like a child again, then this is right where you want to be. This is a holiday entertainment that will please families and leave you with a song in your heart, although the lyrics might not be there as well. 

Ralph Breaks the Internet

It has been six years since "Wreck it Ralph" popped into our video consciousness and it's time for a sequel.  I am pretty sure I only saw the previous film the one time. It's not that I disliked it, it simply was not my jam and I never felt connected to it the way I have to other Disney films. So this sequel was not something on my radar until a trailer dropped, and even though it looked like it might be fun, I was in no hurry to see it. In fact, I ended up in this screening completely by accident. I'd gone to see "Creed II" in the brief window of time I had available yesterday, and the film failed. I sat in the dark and the movie never started. After I notified the management and they struggled for ten minutes to reboot the equipment, I was offered a pass and an invitation to take in another film. "Ralph Breaks the Internet" was what was starting next so here I am.

After having built a world out of the old arcade games of the past, the makers of this film decided that the thing that made the previous film worthwhile was that creativity which made the arcade games real. So instead of building a story in the world they have already explored, they looked for new territory and of course what is right in front of them is the internet. Take all the ones and zeros and turn them into an imaginary community populated with characters that make all the things we users see on line. Algorithms are personified, pop up ads have a life of their own, and web sites are viewed as corporate entities occupying space much like old school brick and mortar retail stores did. Our heroes go on a quest to find a rare piece of equipment on eBay, but of course the journey is complicated and the main duo has lessons to learn. 

John C. Reilly reprises his character voice as the lovable villain of a video game, who really just wants to feel a connection to others. His story was much more complete in the earlier film, in this one he is more of a cog in the clockwork of the narrative. Ralph does get to emote and the character has to grow by the end, but this is not really his journey. Vanellope, voiced by Sarah Silverman is also a character with some story to enhance the proceedings, and maybe she could be seen as the key figure in the film, except I think the story is less about either of these two. The story is really about us, the users of the internet, and how we can trivialize just about anything and make it into something to be consumed.

One of the obstacles the two main characters face is a lack of cash, but on the internet, you can generate money with stupidity if it manages to hit the right sweet spot. Just as an example, the post on this site that has received the most traffic over the eight years I have been doing this project is for the movie "The Deep". I doubt the reason is my keen insight or the widespread affection for the movie. The explanation is simple, I put in a picture from the film that features the best wet t-shirt contest winner ever. Boobs bring in the boobs and "Ralph Breaks the Internet" is primarily about how gullible, distracted and bored we all are with the material that can be found there. The positives are mentioned as well but it is the critique of our behavior on line that makes this a message movie.

If you watch the details of the scenes the characters walk through, you will notice a lot of clever references. Memes that have come and gone still linger in the community. Sly inclusion of Disney characters is both obvious, as with the Disney Princesses, and sometimes more subtle, Mickey hats and castles. You might think this is a movie filled with product placement, but it is our collective memory of products that makes us notice them.  Gamers will find things they can relate to, this movie is almost a mirror image of "Ready Player One" in its' use of pre-existing products and images. While there is a scene that involves the "dark web" thank goodness it is not a realistic depiction of what might be found there. My favorite detail involves a Louisiana Licence plate, I'm sure you will find your own favorites somewhere in the film.

So once again, there is incredible world building, a serviceable character story and plenty of humor to carry the film. My reaction to this movie is very much the same as the previous entry, it is entertaining and it will work for families and those who love the setting. I would not turn it off if it comes across my radar in the future, but I can't see much reason to reboot and watch it again. I will be mocked by far more clever films than this in the future, so I'll probably just wait for them.  

My Fair Lady: A Beautiful Memory

This is one of those posts that is personal nostalgia rather than a film review, so if you were looking for a detailed evaluation of the film, sorry, not today.

Last night I watched "My Fair Lady" on TCM as they were screening it in honor of it's inclusion on the National Film Registry. I happened to be by myself, a scenario that is likely to be more common than I have any desire for. As almost all film lovers know, much like music or the scent of Grandma's cooking, a film can trigger memories that are vivid and powerful, and that is what hit me last night.

In 1994, shortly after my Mother had passed away and my Father began living with us, "My Fair Lady" was restored and released in a limited number of theaters for a week or so. It might have been Mother's Day weekend that we chose to go and see this, but I definitely remember the experience. My girls were Eight and Six, and we drove across the county of Los Angeles, to Century City (A place my youngest commuted to on a daily basis for the last year) to see this at the Century Plaza Theaters, which were the Fox Studio's Premier Houses located in the Century Towers complex.

My wife and I delighted in how much the kids liked the movie, and as always, they wanted to dance under the screen while the credits rolled. I'd been sick with grief for several months, the circumstances of my Mom's passing and my Father's condition were putting me into a depressed state. This wonderful experience lifted my spirits and it was a turning point in my attitude for the rest of the year. As a family gift, I sprang for a Deluxe Box Laser Disc Release of the film, which was a beautiful Christmas reminder of the joy we'd experienced a few months earlier.

Last night's accidental viewing of the film stirred a desire to look at the elements that were included in the box set, and I thought I would share a few pictures.

This is what the box looks like. While there is no beautiful artwork  to illustrate the film, the photo choices were grand, especially the focus on the gorgeous black and white number that Audrey Hepburn wore at the Ascot Race scene.

As usual with great packaging, the extras here were special, they included a book about the film, a CD of the Soundtrack, and a 70mm film frame from the movie that came from an original print. These were all carefully stored in a fitted section located under the three discs that contained the movie and a number of extras.

Also included was a portfolio of costume designs for many of the women's gowns in the film. On the left you can see the two memorable outfits that Eliza wore at Ascot and at the Ball.

There is a program book included that details information about the film, the restoration and the history of the film. Somewhere in my collection, there is also a poster for this release, which was available to those who purchased this set, it is basically the same design as the cover of the box.

As I was watching this, I had some wistful moments and feared I might descend into another bout of grief, but as I thought more and more of our visit to a special film, and the pleasure I had from sharing it with two enthusiastic little girls and my wife who also found the whole experience delightful, I stopped tearing up and instead bathed in the warm glow of a family moment which helped me through despair twenty-four years ago. Last night, it worked a little more magic and instead of sadness, I feel uplifted today.  One step at a time, but this was a good step to take.

Elf 15th Anniversary

Frankly I'm not a big fan of Will Farrell. After the first five years of listening to him scream, I lost any sense that it was humorous. "Elf" came out right about the time I started feeling like this was too much. It did manage to channel that maniacal loud voice into something that was a little bit more charming and I remember having a pretty solid reaction to the film. Flash forward 15 years and I went to see it for a second time, this was also a regular theatrical screening, in acknowledgement of the Anniversary. I still enjoyed it, but there were moments that I wanted to look away.

The movie starts and ends with Bob Newhart so it has that going for it. I've always been a fan. It also features a supporting role from Mary Steenburgen, whom I've had a crush on since I first saw her in "Goin" South" in 1978. Finally, it also features Zooey Deschanel, right before she became America's Manic Pixie Dream Girl of choice. She was much more subdued and she has a sweet, slightly flat singing voice that worked perfectly for what she was doing in this movie.

The parts that turned me off are mostly related to eating. The Coke chugging and belch are just annoying but the spaghetti with maple syrup was a bit too far and subsequently, the stakes get raised with added candy, chocolate and then hand shoveling it into one's maw. Definitely not funny and more disgusting than some gore I've seen in a horror film. Just the thought of the gum scene makes my stomach turn. One other thing that did not work for me was Peter Dinklage going all Hulk Hogan on Buddy. Another scene that just misses for me entirely.

What does work however are Buddy'd antics in the mailroom, his rocket like arm in the snowball fight and the decorating he does. The Toy section at Gimbals was lovely, as was his Dad's apartment after Buddy works it over. The relationship with James Caan feels like there is a scene missing but the emotional payoff at the end still worked for me. All of the cast singing "Here Comes Santa Claus" was just what I could use to help lift my Christmas spirits.

One other scene that works but will probably draw flack from the SJW out there. Buddy is so enamored of Jovie singing that he wanders into the ladies locker room. Not only is that a violation of her safe space, but the song she is singing and he joins in on is now notoriously labeled an ode to date rape. Sorry my friends, the song was perfect and the scene was really a sweet moment of innocence that was awkward because of society's way of viewing the intrusion, rather than the guileless affection that Buddy is showing.  Over all a mixed experience for me, but I was glad to be out of the house for a couple of hours and it is a Christmas movie, so that helps. 

LAMBracket: Best Christmas Movie – Play-Off #7

LAMBracket: Best Christmas Movie – Play-Off #7: From December 1st until Christmas Eve, here on the LAMB, we’ll be determining what is the BEST Christmas movie of all time. We’ve asked you all which films are the main contenders, and …

championed by Richard Kirkham from Kirkham A Movie A Day

If you are not considering The Muppet Christmas Carol as your choice for the best Christmas movie of all time, you must not have seen the film. Not only is it a great Christmas film, it is in many ways, the greatest telling of one of the most important Christmas themed stories of all time. Charles Dickens’ story has been filmed more than two dozen times, with distinguished Shakespearean actors and American Television Thespians. None of them can hold a candle to this version which succeeds because of two fantastic features. First, look at the title, “Muppets”. I have heard that there are people who do not appreciate The Muppets, I don’t want to know who those people are. The off kilter humor, the manic and deadpan delivery in the same scene, the plethora of weird characters are all things that make even the most mundane material watchable. Kermit the Frog is perfectly cast as Bob Cratchitt. Miss Piggy is surprisingly subdued as his wife and the mother of Tiny Tim. Meanwhile, subverting the proceedings by drawing attention to the narrative explicitly, Gonzo and Rizzo Rat are a Greek Chorus representing Dickens himself. You can’t beat that for creative story structure on this particular tale.

Muppets alone would be enough to elevate this to the status of Christmas classic, but there’s one other secret weapon here that should overwhelm any other objections, Michael Caine. In most versions of the story, Scrooge is ancient and closer to the end of life. Caine is closer to middle age, which means his arc of redemption will span the life of the Cratchit family more. Caine plays crotchety without being particularly old.We can accept that he has an old man disposition with a younger man’s vigor. He also sings. Maybe not the dulcet baritone that would be featured in a stage version of the story, but he has a “talk-singing” style that works perfectly for the amusing Paul Williams penned songs.

“Oh, Scroogey loves his money ’cause he thinks it gives him power,
If he became a flavor you can bet he would be sour “