Beauty and the Beast (2017)

There is a world full of film bloggers who dislike the whole idea of live action remakes or reboots of classic animation films. They regularly let it be known that there is no need for a live action film, that the existing version is excellent and, "gasp", the production of such a movie is a money grab. Well those are all ideas that I can sometimes understand, they often get bandied about without regard to the product for which those comments are intended. I try to hold my opinion until I see each film and I do my best to judge it by it's own merits. That goal is exceptionally hard to achieve with the current "Beauty and the Beast". The animated film from 1991 is beloved by many, and I include myself in that group. It holds a pivotal place in my nostalgia file, since my kids were the perfect ages to see that film when it came out and we lived on a steady diet of "B & B" video watches for almost five years. Although I try to avoid other reviews and certainly spoilers on line, it is hard to exclude them entirely, and I'd heard one of the regular guests on the Lambcast, knock this version for being lifeless. So although I wanted this film to be a success, it was with some slight trepidation that I approached the screening. To put it mildly, there is nothing to worry about, this film is solid.

The legend of the original animated design of Belle was that they wanted her to resemble Julia Roberts. I think we can dispense with that image. Emma Watson is a fantastic fit as the heroine of this story. She has the pluckiness that we want out proto-feminist character to deliver and the charm that we remember. I think her voice is very solid as a singer and the big numbers at the beginning of the movie are carried off with aplomb. She also seemed to develop some chemistry with the Beast, through hard work as an actor in some pretty well filled out sections of the film. The transformation from antagonist to friend and love interest was very believable in this version of the movie. I also thought her relationship with her father was more adult like and based in a long standing status rather than just being patronizing.

There are places in the film where there are additions to the well known story that I think work, but there are also a couple that seem unnecessary. I don't know that the enchantress that places a spell on the castle and town, needs to be a character after the first sequence. I did like the fact that the town was included in the enchantment, which helps to explain a couple of minor inconsistencies in the '91 animated film. The character of LeFou changes in a couple of ways. Much has been made of the character's "identification", and those that are bothered by that sort of thing will probably ind the slight bit of humor related to that offensive. I wonder if that alteration is the justification for turning the character into a more sympathetic figure toward the end of the film. As if an orientation transplant also requires a morality defense. It's just a thought I had as I was considering the whole film. It doesn't qualify or disqualify the movie for me.

Here and there are minor changes in scene and blocking. Gaston, as played very effectively by Luke Evans, is introduced in much the same manner but already as a suitor for Belle, in fact she has turned him down before. Their interactions have less of the comic effect than the animated film was able to achieve, and that is a small drawback, but the back story of Gaston as a soldier  makes some of his attitudes a little more sensible. His temper issue, which replaces the blackmail into marriage strategy of the animated version, is a lot more logical and it also justifies LeFou a bit more.  Another set of background issues concerns Maurice, Belle's Father played by Kevin Kline. Instead of being an inventor, he is an artist, and some of his work is mechanical like clock making. I suppose it makes sense to enlarge the part if you are going to expand the film and hire an actor of this stature, but I don't know that we needed to know all the history of their departure from Paris to the provincial areas.

The Beast himself, is seen early on as an adult, although they disguise his appearance a little for the reveal at the end. This was another place where the story gets expanded. It seems the young Prince, when denied maternal oversight became a reflection of his father. Not much was told to us about all of that, but because we get a little more of his origins, the library becomes more important as a way of connecting Belle and he. One of the minor criticisms of the animated film is the quick step to love that occurs. I think this is a little more realistic in timing, although it still happens faster than one might expect.

I may be an outlier on this film. On the podcast that I was a guest on today, two of the other participants were quite harsh in their judgments and the other was mildly enthusiastic. I'm all in, so take that for what it is worth. If you are interested in hearing the discussion, I will be posting a link when the podcast gets published. Until then, you are invited to be my guest, and enjoy this tale as old as time, without worrying that all those little people in the provincial town you find yourself in, will judge you too harshly.

Kong: Skull Island

There is no news here. This is a big action film with a giant ape that fights humans an monsters on an island. It is pretty much what you expect it to be. It is entertaining while you watch it and forgettable almost immediately. You will have enough time to consume your popcorn, but I don't expect there to be deep conversations into the night over the nuances of the story. Samuel Jackson may be playing Captain Ahab or Colonel Kurtz, trying to win the Vietnam War after we abandon our ally, but  that plotline goes no where except to create a little motivation for otherwise foolish choices by a professional.

Tom Hiddleston seems to be auditioning for his role as the next James Bond by playing a SAS agent, out of service but willing to contract for a fee. He is supposed to be the hero part in the movie and he was fine, but the character is so thin that we don't get much rooting interest. Academy Award Winner Brie Larson is on hand as a photo journalist who smells a story. It's never clear how she got authorized to be there but that doesn't matter. I was completely surprised that the film is set in 1973. I suppose there are story issues that are easier to sell that way but it does seem a bit disconcerting. John C. Reilly is part Rip Van Winkle and part Dennis Hopper when the expedition gets to the island. Somebody on the writing team must be a Cubs fan because that is a thing here.

Anyone who has seen a King Kong movie before, knows that Kong is a double edged sword. He is as scary and dangerous as hell, but there are always other things that are more frightening and dangerous, including mankind.  There is actually a subtle environmentalist message in the movie, but I doubt anyone will notice it between all the helicopter crashes and monster battles. The tribesmen on this version of the island are just as silent as the ones in the Peter Jackson film of a Dozen years ago, but thety are less malevolent and apparently wise in the balance of nature. They have the role of religious shamans who convey wisdom to the modern world but do so in a silent manner.

John Goodman got a star on the Hollywood Walk of Fame in conjunction with the release of this film. This is a good sized part but nothing special as far as his performance. It would have been so much more befitting if the honor had been bestowed on him last year. Samuel Jackson is a lot more subdued than he usually is, I don't think I can remember one  use by him of his favorite adjective. There was a nice call back however to his role in Jurassic Park. That was entirely fitting given the nature of this film being about giant monsters on the loose on an island.

You are probably aware that there is an after the credits scene. It is entirely there to set up a series of future films featuring Kong. The studios that combined to create this movie are trying to set up a cinematic universe which will support all kinds of 50s monsters being in a story. It will probably work, this movie will do business until another action film worthy of our attention shows up. Until then, check your common sense at the service counter and pass the Hot Tamales. They will go well with the butter oil in the popcorn, and they will be satisfying for about the same amount of time as this film.

Logan

The X-Men franchise has been going pretty strong for the better part of two decades now. Both Hugh Jackman and Patrick Stewart have grown older in their roles as Wolverine and Professor Xavier. I don't know how they will replace Jackman, but Stewart has been gracefully edged aside for James McAvoy in the last few outings, including a dual casting in "X-Men: Days of Future Past". The two of them have been cast in this capstone film, which basically cements their exit from the franchise. This episode is tonally very different from any of the other films, including the last outing for Jackman which was "The Wolverine" back in 2013.

Most of these films have been cartoony super hero stories with a new "big Bad" to fight against in each edition. There is some subtext about ethnicity/sexuality and culture but usually it comes down to some big action sequences that everyone is looking forward to. "Logan" has plenty of action scenes but they are mostly a series of mutants versus mercenaries, and usually involve a car chase or two. No stadiums are lifted into the air, the Statue of Liberty is not at risk, and the wold does not seem to teeter on a single moment. The darker subtext here has to do with genetic manipulation for intentional purposes. Since the film is set ten years in the future, it is safe to make some jokes about GMO crops and GMO humans. The Frankenfood that most alarmists are worried about is mocked, but the human process is the thing that provides some depth to the movie.

Let me share a quote with you from my review of the 2013 film: " I know the film is PG-13 because we get only one f-bomb, and the blood from all the fighting and evisceration that is taking place, stays mainly on the characters. Body parts don't come flying off the screen, there are no fountains of blood spraying the walls, and the violence remains mostly in the imagination." Apparently, director/writer James Mangold felt the same way, or else he read my comments and decided to fix this deficiency. "Logan" is R-rated for blood and language. It's not a surprise that when freed from some contractual restrictions, Wolverine would find colorful uses for the f-adjective. What is a little more of a shock is the degree to which the claws get set free. The number of times the three prongs end up in the head, throat, or chest of a bad guy rivals John Wick's kill count. It gets a little wearisome at times. Let's throw in another character with claws, and the dismemberment, decapitations and general viscera is way up. If you have trouble with violence that looks really violent, then this film may not be for you.

I mentioned that the tone of the movie is different. Both Charles and Logan have medical issues in this movie. In a different X-Men Universe, there would be brilliant blue furry mutants and mystic scientists working to discover solutions for their problems. Instead, we have a pair of overworked caregivers who are struggling to get by while hiding from the world. Some vaguely hinted at disaster has made the X-Men disappear. Getting the pill count and schedule is hard enough, but some characters also need assistance in going to the toilet. That's not something you will see in the comic books I bet. Another thing that will show how different and dark this world is, no one is spared in the story. Sympathetic characters die and often in gruesome ways. I thought we were being set up at one point for a secondary character to use some skills that are human based, but no. As soon as we hear about those accomplishments and start thinking of how they might be used, the character is dead. The warmth of friendship or humanity is held out only long enough to make us feel something when it is snatched away.

Overall I liked the movie quite a bit, but I have my reservations. The violence is continuous without the self awareness of a movie like John Wick. There is background missing that would make the story a little more interesting, and just as we get some monologing to  explain it, a bit of violence jumps in and cuts it off as if to say "That's not the story we are telling here." This is really an elegy for the X-Men characters we have known and a passing of the torch to new mutants. It feels like the studio has set up the whole franchise for a second reboot since they got started. The Deadpool 2 teaser at the start of this film has nothing to do with this movie except for a brief reference to Logan as a joke. The mood of the opening teaser is incredibly different from the movie that follows it. The final tip off for where this is all going to end up is contained in the use of a Johnny Cash song in the trailer and a different Cash song in the end credits. The dire and desperate voice of Johnny Cash is a natural for Mangold to use. He was after all the director of "Walk the Line". It is also a Cliff Note sized clue that this movie is a tragedy and not an adventure.

Get Out

Last night I had a disappointing experience. We decided to watch a horror film and we chose "The VVitch" because we'd heard a lot of positive things about it. Maybe it works for other people but I was not happy. In fact I found it quite irritating in the way the story gets resolved, or at least sort of resolved. Today, to wash the bad memory out of my brain, we picked another widely acclaimed horror film. This movie is more contemporary and it has an interesting perspective on the world. I'd seen the trailer and I was afraid it was going to be a polemic on white privilege, instead, the movie twists the idea of cultural appropriation in a way that is totally off the wall and satisfying.

Daniel Kaluuya is a name I did not recognize, but he was in a movie I saw a couple of years ago, "Kick Ass 2". His part in that movie was not significant, but his role in this movie is impressive. He is the lead and he carries most of the drama and horror of the film on his shoulders. The only thing I know Allison Williams from is the highly criticized Peter Pan Live form a couple of years ago. She was also very good in this film and her character has surprising elements to it that will turn the story at some points. Three other well known old timers are also in the cast. Bradley Whitford from the West Wing and "Cabin in the Woods" plays the neurosurgeon father of Rose, the white girl that is dating Kaluuya's character Chris. Dad is just enough of a social justice liberal to be disarming, but still he and his wife player by Catherine Keener, are just a little off.  Mom is a psychiatrist who uses hypnotherapy to help clients deal with smoking and other issues. At first they seem just a little odd but as time passes, Chris begins to listen to the doubts that he might be expected to have as a lonely black face in a well off suburban neighborhood. The third character played by an old hand is Jim Hudson, another blind character played by Steven Root. He turns out to be a key element of the reveal when it shows up.

The slow burn creep factor in this movie is exquisitely patient. We know things are off but we have no idea exactly what is going on. Chris gets warnings from his friend Rod, who is concerned about him going into the country with all the white people.  Rose is supportive in the way a girlfriend ought to be, but she is also a bit nonplussed by the potential of her black boyfriend meeting her parents without their knowledge of his background. All of the family friends that show up at the parents house are also a little too awkward and direct about Chris and his ethnic difference. There are a couple of disturbing or frightening scenes that involve the servants at the house, and there is definitely a Stepford Wives feel to the goings on.

The twist comes and it is a dozy. Suddenly things are more frightening than they might have appeared and the story gets clever with the social conventions but maybe a little to direct with the horror elements. Rod gets some great sequences that add some comic moments to the film, and that makes the story feel a lot more believable than it otherwise would have. I can't give away anything, it's not my style to do so, but I can say that the story is a lot more satisfying than the psychological supernatural film I saw last night. The wrap up to this film may be more conventional, but at least it feels like it is part of the story that we have been watching.

Writer /Director Jordan Peele is a guy I recognize but I have not really paid much attention to. I have seen the routine with the substitute teacher, in fact, I plan on using it in my classes. As an actor, I remember him from the "Fargo" TV series, as one of the FBI guys who screws up massively. This film shows that his talent is not limited to comedy and he clearly understands the check points for a good horror film. This probably does not need any recommendation from me, the movie is doing good business after all, but I will be telling anyone who will listen, this is worth your time. As I said to my daughter at the end of the film, "Now that's how you make a horror film!".

AMC Best Picture Showcase Day 2

Day two promised to be a long one. There are five films left and none of them is a crisp ninety minutes. Even the two that manage to come in under two hours are deliberately paced. Shane, who has been our regular host for a couple of years now, was out of town but AMC employee Johnny was an enthusiastic substitute and ran the trivia with efficiency. Of course maybe I say that because we cleaned up with three movie poster prizes and some Batman Lego pieces.  I'd seen all of the films already, so this will mostly be a quick recap and there are links back to my original comments in each title and picture below.

Moonlight

As an exploration in anthropology, this was a revelation to me. I'd not expected myself to have a lot of empathy for drug dealers but the way this story unfolds gives us a lot more to connect with. The three part structure of the film is not subtle but it does choose the three stops in Chiron's life that seem to be most critical in our understanding of him. As much praised as the first chapter was, I found the last chapter with the regretful visit with his mother and the reunion with his somewhat reformed school buddy Kevin, to be most interesting this time out. The performances are very solid in this adult world.

LION

I was pretty critical of this film when I first saw it. The structure is so bifurcated that it seems like two different pictures. On this viewing I was more able to appreciate the connection between the two and give the second section a little more credit. Inevitably, it is the miraculous story of Saroo's use of Google Earth to reconnect with his original family which is the heart of the film. Little boy lost is
found, but the story has some sad twists to it. Once again I cried at the last ten minutes of the movie as our hero reconciles his two lives and we discover some resilience in his mothers as well. I did not give Nicole Kidman much credit before but as I watched the movie again, my appreciation for her work was elevated. Dev Patel is a good actor, and supporting actor is the right category for him even though he is the first listed star of the film.

Hacksaw + Ridge

This movie is the closest thing to a sure thing for me. I am eternally grateful to our fathers and grandfathers for the sacrifices they made in two world wars. The exceptionalism of Desmond Doss is a perfect illustration of the diversity of Americans who stood up to tyranny in all kinds of ways. I recently listened to a Lambcast where one blogger complained about this movie and the prayer that Doss made on that day of his heroism. She found it cliched and annoying, she also asked about the triage issue. Doss acted as a fellow soldier would at times rather than just as a medic. I found it humbling and inspiring. The opening act in the film should get some credit as well, Hugo Weaving was not nominated but he was very good as the battle embittered father of Doss, and an indirect inspiration for the choices he made.

Arrival

This movie about communication is also a thoughtful puzzle for us to solve. This second viewing allowed me to percieve scenes in a way that I could not have expected in the first screening. There are secrets revealed at the end of the movie which force us to rethink much of what is going on. Since there is a time shifting component to the process, it also introduces some of those pesky conundrums that make our brains hurt to much if we get carried away trying to work them all out. I can confidently say that the biggest Oscar snub this year was Amy Adams, who carries this movie in almost every frame and who not only deserved to be nominated but also to win. The production design her also deserves to be singled out, it sells the concepts in great ways, both the fantastic and the mundane.

Hidden Figures

 

My wife has been sick the last two days and she toughed it out as long as she could but this film was starting at 8:30 and she was spent, so we left before we got to re-watch this fine entertainment.  I think this is a popular choice to include in the categories that it was nominated in, but I will be surprised if it wins in any of them. While the story and the themes are important, and the film was entertaining, the film making did not seem extraordinary. This is an excellent film that deserved to be included but it is not quite in the same class as some of the other contenders. A second viewing changed my mind a little about Manchester By the Sea" and "Lion", maybe this one would have gone up in my mind as well.

2017 Oscar Nominated Shorts: Animated/Live Action

Blind Vaysha

The very distinctive animation here made this less appealing but still interesting. There is a YouTube Version available, I have posted it here for you.

Borrowed Time

A morbid but touching western theme for a Pixar short. There are some gruesome elements so it's not really for kids. I liked it quite well but it ends up being pretty depressing. Below is the trailer.

Pear Cider and Cigarettes

If I thought "Borrowed Time" was depressing, I was slapped by reality with this offereing. The longest animated short of the evening. It centers on a friendship with a self destructive person, and it is not a pretty story. It is however excellently animated. Another trailer below.

Pearl

The most pleasant surprise of the collection. This looks like a rotoscoped film and it has a nice design that is different from most of the other films here. This is another one where I found a complete version on line and you will find it next.

Piper

The last nominated short is also Pixar. I think it played with "Finding Dory" so it should be familiar to most of you. The computer animation is lush and photo real while still maintaining a  sense that it is animated. No words, just the usual high class story telling from the premire animation group working today. It is below.

Live Action Shorts

Enemies Within

A French Short that basically consists of an interrogation of an Algerian man applying for French Citizenship. You never know which one of the participants to sympathize with, but the experience is insightful.

Le Femme et le TGV

A Swiss film about the odd connection between an older woman and the high speed train she greets twice a day. This was an interesting and nicely complete story.

Silent Nights

Another fairly complete story with several highs and lows. The power of love and hate come together in two people from very different worlds. It is a painful but sweet experience for each.

Sing

A Hungarian film about a school choir. I think it was my favorite because it is subversive in a very nice way. Kids have feelings and adults should stop worrying about always getting their way.

Timecode



The shortest of the shorts, Timecode is a winner of the Special Distinction Award at Cannes. It is also odd and entertaining and ultimately charming.

AMC Best Picture Showcase Day 1

So we put on our lanyards and started off another year of the AMC Best Picture Showcase at 10:00 am on Saturday Morning. Our host for another year was Shane, a long time employee at the AMC Santa Anita 16. He greeted us and set up the schedule for the day. There are four films on this weeks menu, next week there will be five. I still haven't found anyone willing to do the 24 hour marathon with me. Oh Well, maybe next year. I've already seen all the films so this is a recap. The titles and pictures will link you to my original comments.

Manchester By the Sea

A movie that has improved in my esteem with a second viewing. There was nothing wrong with it the first time out, it was just so overwhelmingly tough to view that some of the nuances that make it a great film slipped by. As hard as it is to re-experience, it is rewarding in additional ways. The sadness hangs like a pall over almost everything, but there are moments of humor throughout, which help make the story feel completely human. Casey Affleck is almost certainly going to win the Award for his acting performance here. Completely deserved as he manages the difficult task of portraying a man paralyzed by grief and guilt, who must find at least a little room in his life for the family he has remaining.

Fences

 

I still have the same issues with this movie that I first had on viewing it. This is a very stage-bound set of dialogue, performed wonderfully by the cast, but still  a two set scene. Director Denzel Washington has taken the story as far as he can to make it feel more like a movie, but in spite of some trash trucks, Pittsburgh neighborhoods and a scene at a public building with some old murals, it still comes down to actors standing around talking to each other in the backyard or kitchen. If you don't know baseball, half the metaphors in this film will leave you uncertain as to what the character of Troy Maxson is talking about. I understood, but the poetry of the diamond sounds too conspicuously well written. 

Hell or High Water

 

This is a movie that has grown on me more every time I have seen it. If there is a chance for an Oscar upset, this is the movie I would be happiest to see take the prize. There are four really good performances at the heart of this film, and a half dozen smaller roles that add so much character to the movie. Once again I was impressed with the work of Ben Foster as the older of two brothers, who is not as smart as his younger sibling, but has the gumption and fierceness to push their plan of economic justice to fruition. The ambiguity of the ending is perfect, it feels like a film from my youth, in the glorius days of the last golden age of Hollywood, the 1970s.

La La Land

This exuberant update of the Hollywood musical, stole my heart when I first saw it. On second viewing, the few lapses and pacing issues were more apparent, but they bothered me only slightly. I finally downloaded the digital version of the soundtrack to my device and I expect to be listening t it all week. The two lead performances are even better when you have adjusted to the musicals style. This is the front runner for good reasons. I still expect it to be victorious,  although that sense of inevitability may detract a bit from the current experience.