Arrival (2016)

*major spoilers lie ahead

Denis Villeneuve, the bright director who brought us "Sicario" and "Prisoners," now delivers a mysterious alien visitation movie. He has a brilliant way of bringing a new twist to an old genre and "Arrival" is no exception.

One day on our blessed Planet Earth, 12 daunting spacecrafts appear out of thin air at 12 different cities. The lens-like obelisks just float there, taunting their viewers with the big questions: What do they want? Why are they here? Where did they come from?

The U.S. Military recruits linguistics expert Louise Banks (Amy Adams) and theoretical physicist Ian Donnelly (Jeremy Renner) to investigate and determine the giant squid-aliens' intentions. Through a series of charades and drawings, they begin to learn the beautiful loopty loop language that seemingly inks into the air as though it came out of a wizard wand. Louise explains to those who employed her (and the audience) how teaching and understanding the basics of language - things like pronouns and requests - they will eventually get to the bottom line: what's their deal.

The big story is interspersed with flashes of Banks' memories of her dying child, and a husband who left her. We are drawn in to her story and just as mystified by what haunts her. She performs her work with an air of sadness and burden but effectively connects with the aliens.

In the middle, things get chaotic. A message from the aliens is possibly misinterpreted as an attack and suddenly things start ~happening. Decisions are being made by people that are somehow important, communications are stopped (why?) and some rogue soldiers try to blow up the alien spacecraft that defies physics with a little bit of C4? A lot happens at once and I'll admit I was losing it a little then.

While everyone is running around like chickens with their heads cut off, Louise has a chat with our squid friends. Now, it isn't often that I am blown away by a plot twist, and maybe it's embarrassing how I didn't see it coming? But my whole opinion changed with the reveal.

Just like that, the past is the future, the present is the past, and the future is in her hands. With everything in perspective she is given the great gift of understanding and experiences the full breadth of her life in a single moment. Not only does she take charge of the alien situation at hand, but she makes decisions about herself. She chooses a life where she knows her daughter would die and somehow that's just amazing to me. She chooses the tragic, because she knew sweet moments would accompany it. How is that not empowering?

In one scene, she explains to her daughter that her name, Hannah, is a palindrome. This is also the key to the film structure. At the beginning, what we think is the past, is also the ending. It's a paradox and also very confusing but very powerful.

The acting lacked in some areas. Jeremy Renner didn't do much for me. I have never found him a very versatile or empathetic actor and he doesn't stand out in any way in this film either. He's a physicist but doesn't seem to do any physics or contribute anything at all. Forrest Whitaker also had a supporting role and seemed nothing more than a stereotype to fit.

None of that bothered me, though, with how fantastic Amy Adams was. She is a wonderfully diverse actress and this subtle, empathetic performance is one of her best. In many ways, this movie is all her. There are more close ups of her face than close examinations of the extra terrestrials; her reactions and wide eyes provide the insights we need to these other worldly visitors. The Academy sorely missed a nomination for her.

The best science fiction movies are deeply human at their core. This is a movie that gives its main character a powerful sense of free will and love and though "Arrival" struggles with some confusion in the second act the rest is so intriguing and mystifying that it doesn't matter. 8/10

Blade Runner (1982)

It's funny watching old sci-fi movies in the Year Of Our Lord 2016 to see how far off we predicted the future. "Back to the Future II" brought flying cars and hover boards to 2015. "Fahrenheit 451" banned books, and the jury is still out on whether a nuclear apocalypse will be here in 2029 as predicted by "Terminator." "Blade Runner" zooms in on dystopian Los Angeles of 2019, which looks like an overpopulated, gothic Tokyo/Hong Kong hybrid where cars zoom through the sky. The phones may still belong in the '90s, but this fictitious future for America depicts a moody, dark ambiance that has given this cult classic its well-deserved recognition as a pilot for sci fi movies.

In this universe, the Tyrell Corporation manufactures genetically engineered "replicants" that are visually indistinguishable from humans. Their use on Earth has been banned so they work, instead, on outer colonies as slaves. Certain cops known as "Blade Runners" dispose of rogue replicants loose on earth. Harrison Ford plays ex-Blade Runner Rick Deckard come out of retirement to hunt down four replicants on the loose.

The source material, "Do Androids Dream Of Electric Sheep?" poses some fascinating questions about what it really means to be human. The film noir elements and examination on morality and science make the film go beyond skin deep. It's an action film interwoven with symbolism and ambiguity and while you might not "get it" on first viewing (or fifth) it is applause worthy.

These human questions on our existence - our rights, our abilities - are the driving force that make "Blade Runner" a revelation when the rest of the movie falls short. Unfortunately, the flaws outweigh the beauty. It seems that behind all of this ambiguity and thoughtfulness, the "why" is missing. These replicants have returned to Earth to seek their maker and extend their meager 4-year life span and yet it seems of the utmost importance that they be terminated. They kill some, yes. But there is no looming apocalypse, no maniacal killing sprees, no imminent threat to human existence besides those within the Tyrell Corporation. So, why kill the replicants? Now, there are arguments that the real villain is actually Deckard, not the replicants, and I subscribe to this theory. I find it the most fascinating conclusion, but I also find the lack of clarity frustrating. It is possible to create complex, ambiguous metaphors in film with more careful crafting of the narrative.

Harrison Ford plays no Han Solo in his interpretation of Deckard. I'd go so far as to say he was miscast in this role. It's no secret that there were issues with the casting as well as disagreements between Ford and director Ridley Scott. However it's unfortunate how bored Ford seems in the role (and don't get me started on that awful voice-over in the theatrical cut). Ford is at his best when he can be charming, likable, and funny. Perhaps I'm biased by selecting someone like Bruce Willis or a young Tom Cruise because I have seen the future of their sci-fi movies like "12 Monkeys" or "Minority Report." Deckard's character is intriguing, especially if you consider that he could also be a replicant. This is the most compelling facet of the plot, however vaguely it may be alluded to. It's unfortunate this character wasn't better interpreted.As it goes with so many of these stories, our protagonist falls in love with a replicant (played by Sean Young). She doesn't know she is a replicant until Deckard tells her. While she wrestles with this reality of her existence, Deckard forces himself upon her. Now, there are arguments for Deckard helping her "come to terms" with her existence, but I cannot see anything in this scene other than rape. It is the most awkward kiss I've ever witnessed on a screen, Deckard is incredibly disagreeable as a character, and how can we just look past the fact that he raped her?? Did everyone else watch the same movie as me? If there weren't enough other things to dislike, this scene alone is a total buzzkill.

The character that does stand out is the replicant leader Roy Batty (Rutger Hauer). His character shows the emotional complexity that I would hope from a layered movie like this. The final scene between him and Deckard is the best scene in the movie. I cared far more about the outcome of his character than I did of Deckard. Darryl Hannah as Pris was also good.

The other star of the movie is, of course, director Ridley Scott. Now famous for "Gladiator," "Black Hawk Down," and others, he was then known just for his work on "Alien." He had a magnificent vision for this neo-noir resulting in SEVEN different versions of his work. S-e-v-e-n. He worked tirelessly to perfect the film without studio restrictions and preferences. I admire his tenacity and his vision for this work of art.

I watched the theatrical cut, the director's cut, and the final cut. My first impressions of "Blade Runner" (all pretty negative) stemmed from the theatrical cut which has a lot of flaws, including the hokey ending and that terrible, terrible voice-over. The Final Cut certainly is a vast improvement and I felt like I ~understood "Blade Runner" better from watching it. This version also hints more at Deckard being a replicant himself with the weird unicorn sequence. Scott himself has said that Deckard is a replicant though it isn't overtly stated in the film, and this is the most fascinating arc of all, in my eyes. Perhaps this year's "Blade Runner 2049" will shed more light on this subject once and for all.

While I enjoyed the Final Cut better, "Blade Runner" still doesn't do it for me. It belongs in a museum with its important place in history, but a mere glance will do. It's really slow and the dialogue and narrative don't live up to its potential.

There are a few key things viewers should know about this film before watching. First of all, it's really slow, and the dialogue does not live up to its potential. As far as its place on the Top 100, I believe "Aliens" and "Terminator 2" are far superior sci-fi films. 4/10

Other Notes:

Directed by Ridley Scott

Nominated for 2 Academy Awards for  Best Art Direction and Best Visual Effects

Ranked #97 in AFI's Top 100 Years... 100 Films in 2008

The Hunger Games: Mockingjay - Part 1 (2014)

"Are you, are you coming to the tree? Wear a necklace of hope, side by side with me. Strange things did happen here, no stranger would it be if we met at midnight in the hanging tree."

The next installment of the Hunger Games series takes place shortly after "Catching Fire" and a rebellion against the Capitol is in full swing. Our hero, Katniss Everdeen (Jennifer Lawrence), is finally given a chance to catch her breath after the exhilarating events surrounding the Quarter Quell. She is reunited with her mother (Paula Malcomson), her sister Prim (Willow Shields) and best friend Gale (Liam Hemsworth) in District 13 - the secret, underground territory and headquarters for the rebellion. Now, however reluctant and emotionally broken she may feel, Katniss is poised to be the face for the rebellion. Their "Mockingjay." 

Without a Hunger Games, "Mockingjay" is a step outside of the usual formula for this dystopian series. But that doesn't mean that the games are finished for Katniss. As the symbol for the rebellion she must play her role to satisfaction for the new "game makers": Plutarch Heavensby (the late Philip Seymour Hoffman) and Alma Coin (Julianne Moore). It's almost a throwback to the first games where we got to watch Seneca Crane make all the moves to stage the perfect Hunger Games. Now we watch these two masterminds behind the rebellion stage (and film) the perfect scene of Katniss at the battlefront for the perfect propaganda. 

Like all games, there are two sides. Everything on the opposing side is strategized and orchestrated by the nefarious President Snow (Donald Sutherland). His strategy, though, is much more personal. His reactions to the rebellion's blows are concentrated on more specific targets. He knows that if he can demoralize the Mockingjay then the rebellion will be defenseless against his final check mate. Just as Plutarch and Coin are using Katniss, Snow has his own weapon: Katniss' Hunger Games counterpart Peeta Mellark (Josh Hutcherson). Katniss might have been confused about her feelings for Peeta before, but those feelings seem to be much more apparent as she watches Peeta's bruised face on the TV denounce the rebellion. The games go on, and the games affect Katniss more. The PTSD is real and through terrible shocks of a destroyed home, a tortured Peeta and hellish nightmares Katniss becomes more broken.

"Mockingjay" is the deepest of the three movies. I believe most people would agree that the third book is the weakest of the trilogy, but director Francis Lawrence manages to faithfully stick to the source material while enhancing on the emotion. It's an adaptation that everyone can be happy with. One scene particularly stood out to me as one of the most feels-inducing, if you will. While Katniss is visiting District 8 with Gale and her film crew, hoping to deliver some hope to the hopeless, the Capitol retaliates to the Mockingjay sighting by blowing up a hospital full of innocent, wounded people. PTSD or not, Katniss can still perform under pressure and she won't go down before whipping out her bow and arrow and shooting down a PLANE. Action aside, what is emotionally stirring about this scene is Katniss' subsequent powerful punch to Snow on camera. "If we burn, you burn with us."

Let's be honest. This would be nothing without Jennifer Lawrence. Katniss is portrayed so genuinely and honestly. You watch her work in these films and it's no question how Lawrence has shot to the top so quickly in movie stardom. She is the girl on fire, but she brings something bigger to the table in this film. Even the subtle scenes - like thumbing Peeta's pearl to calm her anxiety - show her emotional depth. She is never over the top (a drawback in the source material, which was written in first person), her outbursts in anger are natural for the broken hero. I believe the scene featuring her singing of "The Hanging Tree" perfectly culminates Lawrence's ability to emotionally reach out to an audience, I certainly know I was moved. Just as the rebellion was nothing without the Mockingjay, the movies are nothing without her either.

The supporting performances are equally as impressive. I must admit, it was a little heartbreaking to watch Hoffman and realize that we will never be surprised by him again. Woody Harrelson as Haymitch and Elizabeth Banks as Effie Trinket also deliver in their small but key roles. Donald Sutherland portrays Snow with such subtle cruelty and, man, are we excited for his comeuppance. Stanley Tucci, though no more than a cameo, is still a pleasant face in a dark world. Julianne Moore, however, is the greatest addition to his already stellar cast. With her Cruella de Ville-like locks and her calculating but sympathetic eyes she is the perfect face for the rebellion's leader. Lawrence may be the star, but this isn't all her show.

The ending is rather abrupt as Hollywood once again exploits a franchise' success by splitting a 390 page novel into two movies. Like, seriously. It was ridiculous with "Twilight" and even more ridiculous with "The Hobbit." However, despite the abrupt ending (and rather cruel tease), I actually agreed with this decision for the first time. The novel is a confusing mix of an emotionally driven first half to an action packed second act. It would have been a rushed, confusing mix as a movie, too. Splitting it into two movies allows for the audience to compartmentalize those emotions and no doubt "Mockingjay: Part 2" will bring this series to a satisfying conclusion next year.

It may be nothing more than a set up, but Mockingjay: Part 1 still delivers an emotionally stirring transition to the conclusion of The Hunger Games series. 8/10

Inception (2010)

I will always remember the first time I saw Inception. Because I was living in Tahiti when it came out I wasn't able to see it right away (unless I wanted to hear a francophone Leo which I'm not really into). I was geeking out for WEEKS leading up to its release nonetheless and doing everything I could to avoid the internets. I would talk to my friends on the phone and the second the conversation turned to the great new Christopher Nolan flick I'd shout "STAHHHHP!!!" and then their eardrums broke. I lost friends. I take spoilers verrrrrry seriously.

I saw it within a week of being home. Three times. I remember eating Red Robin with two of my guy friends and not having two seconds to eat my onion rings because we couldn't shut up about whether or not the top was still spinning or whether it was wobbling. (Kinda sad I couldn't have enjoyed those onion rings more). But I was just so mind-blown. I had endless discussions about the ending, the music, the buildings folding on top of other buildings, how beautiful Joseph Gordon Levitt and Tom Hardy are, and the fact that THERE'S A ZERO-GRAVITY FIGHT SCENE. Those conversations didn't stop for weeks.

Where Following is Memento's father, Inception is Memento's son. Inception borrows elements from both films and marks Nolan's first original film since Following. I mention these connections because I have not been so floored by a movie since seeing the 1998 & 2001 predecessors. Though Inception is more impressive on a visual scale than Memento, we are still thrown for loops and twists in the narrative (albeit linearly this time). Memento is a puzzle built on polaroids and tattoos. Inception is a maze in a much more literal sense. The very buildup of the dreams in Inception is a labyrinth mirroring the maze that we the audience must navigate. Most of the time we're disoriented and confused, so we just have to trust that Nolan knows what he's doing and that we'll make it out safely. He didn't lead us astray in Memento, so we're confident it'll all make sense in the end this time, too.

Dom Cobb (Leonardo DiCaprio) is a thief (another nod to Following). His burglarizing territory, though, is not homes, offices, or computers. He specializes in breaking into the mind stealing secrets from high executives and business tycoons in their sleep. His skills make him a coveted player in this new game of corporate espionage. After a mission seemingly gone wrong, Cobb and his partner Arthur (Joseph Gordon Levitt) are approached with a risky job of a different nature by a wealthy Japanese businessman named Saito (Ken Watanabe). Instead of asking them to extract an idea, he asks them to plant one. His target is the heir to a rival company, Robert Fischer (Cillian Murphy). If all goes well, Fischer will wake up from a dream and decide on his own to dissolve his father's company.

It appears, though, that inception - the plantation process, not the movie title - is harder to pull off than their run-of-the-mill extraction jobs. "Don't think about elephants. What are you thinking about?" "Elephants." Arthur explains, "Right, but it's not your idea. The dreamer can always remember the genesis of the idea. True inspiration is impossible to fake." "No it's not," Cobb disagrees. He doesn't go into detail, but he knows it's possible because he's done it before. Despite the imminent risks, the stakes are high for Dom. He is less motivated by the excitement and intriguing concept of "inception" and more by Saito's promise to let Cobb walk away from the business and return home to his kids. Dom, after all, means "home" in most Slavic languages. DiCaprio plays Cobb similarly to his performance of Teddy Daniels in Shutter Island. Both are driven to obsession over loss and guilt (more on that later) and Leo can deliver in that type of role

So in true classic heist movie fashion, Cobb assembles his team to get the job done. Along with right hand man Arthur we have Eames (Tom Hardy), the "forger", shape shifter, and scruffy badass (associated with Ray & Charles Eames - famous architects), Yusuf (Dileep Rao) the sedative-concocting chemist (think Joseph - biblical dream interpreter to add to the name-tally), and Ariadne (Ellen Page) the maze-building architect wiz. Cobb is introduced to Ariadne by his father-in-law Miles (Michael Caine) who seems to know the ropes of the dream-invading course but doesn't run it anymore. It's just one of those things where Michael Caine appears on screen and you automatically assume he is wiser than anyone else and he definitely knew what he was doing when he brought the new girl on.

Cobb shows Ariadne just how limitless her power is in dreamland. We learn right along with her that physics and gravity no longer matter and architectural paradoxes are now possible. This is where all of the special effects eye candy happen and we're not disappointed by the grandeur and dazzling impossibilities. Not only does Ariadne build the mazes, she is the guide. Just like Ariadne the daughter of King Minos helped guide Theseus through Minotaur's labyrinth, she guides the characters and the audience through the maze of Inception and Fischer's brain. (More name significance, guys). Ellen Page portrays her with just as much realism and intelligence as she did the lead character in Juno three years earlier. We trust her like Cobb trusts her and her character is cleverly devised to enlighten us in this unfamiliar subliminal territory.

As an aside to that thought, let me give a plug to Nolan's storytelling genius, here. It is brought to our attention that we never really remember the beginning of our dreams - we always end up in the middle of the action. Holding to that idea, Inception is much more about process than about beginnings. Of course the idea behind dream invasion is foreign to our concept of reality. But the origins to the dream-sharing don't matter. During Ariadne's apprenticeship, we are provided with just enough detail to keep us satisfied, but ultimately we are enveloped in the process of this dream-world, not with how it came to be.

I digress.

Though special effects and visual bravado trump emotion in the story arc, the one relationship we are invested in is that between Cobb and his late wife Mal (enchantingly played by Marion Cotillard). Though Cobb is, like, on the run, forbidden to return to the US on charges for her murder. It's complicated. Mal is by far the most interesting character of the bunch. We get to know her as she haunts Cobb's dreams and the dreams he shares with others sabotaging their missions along the way. We feel invaded by her piercing gaze, enchanted by her curly bob and French accent, and haunted by the way she thumbs that knife. Her character is so complex and deeply layered that we connect to her internal conflict better than any of the other comparatively thinly-written characters. Cobb is driven to near insanity with guilt and grief over her death and his intense love for his unstable wife. If we're going to keep going with the whole name thing then "Mal" is "bad" in French which unmistakably reflects on her infecting presence in the dreams.

Also noteworthy is Marion Cotillard's connection to Edith Pilaf's song "Non je ne regrette rien" - a fun little inside joke with that key plot device.

Since it is so difficult to plant an idea without the dreamer detecting its origins and since Mal is making it her business to sabotage Cobb's missions they need to delve deep into the subconscious. A dream within a dream within a dream, if you will. Everything comes to a climax in the dream-sequence that spans over an hour of screen time. Fischer's name is no doubt a nod to the game of mind-chess that is going down in his psyche and each character needs to carefully strategize to get the check mate at precisely the right time. Regret, loss, obsession, and redemption are important themes intertwined with the intense action sequences jam packed with special effects. It's visually enthralling, mind-bending, confusing, and moving all at the same time. The more I write, the less sense it makes. It really is something that should be experienced.

That end, tho.

I won't get into it too much. Just like the beginning matters less than the process, the end is the same. Some argue that it was all a dream. Indeed, the audience doesn't have a totem like the characters do to distinguish reality and dreams and are therefore never clearly able to identify a given scene as reality. This would explain why the other characters are flat since they're only projections of Cobb's subconscious and it would also negate most plot holes. It's a compelling theory, but ultimately I am of the camp that there was some reality and that Cobb is not dreaming right before the credits roll (the he wasn't wearing his wedding ring, the kids are older, the top was definitely wobbling camp). Why? I don't know, maybe because I would like to think that Cobb found some happiness and catharsis in real life, not just in his dreams. Regardless of whether or not the top toppled after the screen turned black is rendered irrelevant because Cobb doesn't care anymore. He doesn't obsess over his dreams like he used to and he has emotionally broken through prepared to be with his kids again.

These theories are fun to hash out, but they're not why I love Inception. My experience with this movie four years ago changed the way I viewed dreams and my expectations for sci-fi movies. It anchors me in to experience something phenomenal. The music is enthralling, and the wholly original plot exciting. In short, Inception dazzles and reminds us why movies can be magical. 9/10

My last plug for the name thing: Dom, Robert, Eames, Arthur, Mal, Saito = DREAMS. Wut.

Star Trek (2009)

Turned on Star Trek the original 1979 movie. And then I remembered I was a Star Wars girl and turned it off.
— Lauren Smith (@lauren_smith_17) April 8, 2014

I am a Star Wars girl. It's true. It's also true that I haven't yet been able to bring myself to watch the other Star Trek movies. I thought it was against some sort of nerd-code to like both. You know? Anyone else with me on this? Apparently you can like both. I just haven't quite made it to that level yet.

That being said, these new movies are the shiz. Do I think it's a LITTLE weird that JJ Abrams is doing both Star Wars AND Star Trek? Yes. It's kind of weird. And a little traitorous (the nerd-code thing). But he made Star Trek 4000 times cooler by turning it into Star Wars! Does that mean that next year when Star Wars Episode VII comes out it will be morphed into the Star Trek realm a little? Perhaps. We'll get there when we get there. 

But for the meantime, I will enjoy these movies.

All I knew about the 'verse before I saw this a few years back was some stuff about Captain Kirk, the Enterprise, and Spock, of course. And, like, William Shatner. And stuff from Galaxy Quest. So take that knowledge, and throw it all through an awesome time travel loop and you got my experience with Star Trek. 

This story starts on the day our beloved James Tiberius Kirk was born, the same day his hero father is martyred saving his all-star crew from some time traveling alien bastards in search of Ambassador Spock. Who is also just a little dude. Irrelevant. The bulk of the story takes place 25 years later and Kirk has grown up (played by Chris Pine), but still a younger, more brash, rebellious version than the Kirk most fans are used to. See this whole time-traveling thing works out great because we get to enjoy younger, more attractive versions of the usual Enterprise crew-members who essentially feed off their older selves. Kirk, Spock (Zachary Quinto), Dr. Leonard "Bones" McCoy, (Karl Urban), Uhura (Zoe Saldana), and Scotty (Simon Pegg) make up that crew, and they go through their growing pains with each other. When Spock meets his future self (played by Leonard Nimoy) he is shocked to hear that in this alternate all-too-familiar universe of original Spock & Kirk, he and Captain Kirk were best friends. Ultimately, the young crew, combat those same time-traveling alien bastards that killed Papa Kirk.

Besides all the cool time travel stuff (which, frankly, I'm super into), what gets me with this film is the characters and their interaction aboard the maiden voyage of the Enterprise. It being an origin story, we learn very interesting details about Kirk and Spock. Jim T's father made history in his battle against the nefarious Nero (awesomely hard-to-recognizely played by Eric Bana) and left Kirk with that legacy's shadow to hide from. He's convinced by Commander Pike (Bruce Greenwood) to join Starfleet, but his rebellious hot rod attitude inevitably clashes with straight-nosed half-Vulcan/half-human Spock. Spock is thoughtfully played by Zachary Quinto. He has a troubling background and goes through some serious emotional turmoil when his planet is blown up in front of him - Alderaan style. Spock is in a constant battle between his natural Vulcan instinct to be un-emotional and to proceed business as usual with his human side fighting from deep within to explode. Quinto's performance delivers something special: he stays true to character yet delivers every line and every gesture with subdued emotion and the feeling that something hot is boiling underneath his calm exterior.

If you're going to do a reboot - especially a reboot of a series so massive and with so many dedicated followers - this is the way to do it. Abrams goes back to the beginning (who doesn't love origin stories?) he brings out familiar characters but gives them a new twist, and he delivers everything with top-notch special effects, a clever story, great action sequences, and a good script to boot. If I knew more about science, I'm sure I'd be able to hate along with the rest of you on the actual implications of black holes and whatever. If I knew more about Star Trek in general, I might be able to do some hating that I'm sure I'll be throwing around when the new Star Wars comes out. But even long-timers can't hate on that new and improved Enterprise. It's beautiful. When it comes down to it, if we're talking about spectacle, 2009's Star Trek has got it. 8/10

The Terminator (1984)

Post-apocalyptic 2029.  The world looks pretty dark and gray.  The only thing stopping artificially intelligent beings from completely exterminating the human race is a handful of rebels led by John Connor.  Robots plan of action will execute itself on the battlefield of 1984, where a Cyborg Terminator (Arnold Schwartzenegger) is sent on a deadly mission to eliminate Sarah Connor (Linda Hamilton), the mother of the future’s rebel-leader.  Kyle Reese (Michael Biehn) is sent from the rebel’s side to detail Sarah and keep her safe.

I finally saw James Cameron’s sci-fi magnum opus, and Schwartzenegger’s defining performance as an actor before he became, you know, governor and stuff.  I always thought that Terminator would be one of those movies that gets its awesomeness because it’s nostalgic.. not because it’s actually good.  Well, this movie bears zero nostalgia for me and I absolutely loved it.  So I guess Cameron DID do a few things pre-Titanic.  I don’t know, maybe it’s just my nerdy fixation with sci-fi and dystopian societies.  Actually, that probably is it, but I still think that Terminator is a good movie.

First of all, while I’m not a huge Arnold fan in general, he is pretty boss as the ruthless killing machine.  His lines are few, but weighty.  “I’ll be back.”  He’s got some serious presence.  Annnnnd, he’ll probably be nothing but The Terminator.  The limited speaking fits the limited acting talent.  No offense.  The others are pretty good too – Linda Hamilton and Michael Biehn in particular.  They didn’t shine necessarily, but they still were fine in a movie where the acting REALLY doesn’t matter that much.  Their interactions with each other?  Mehh.  Whatever.  Indifferent.

I guess what it boils down to is some serious surpassing of expectations.  Coming into this for the first time (finally, I might add) I was expecting some action-packed explosive kinda movie.  Lots of shooting… lots of blowing up… things like that.  Of course, there was definitely some of that junk.  I guess what I didn’t expect was the intrigue and mystique behind all the action.  The jumping back and forth through time and the detailed machines.  The dark thrill, the fear.  A computerized killing machine, programmed to do nothing but.  Man this crap is awesome.  It makes me proud to be a sci-fi nerd.

A word that keeps coming to mind is convincing.  I feel like the movie believes its own tale.  It believes in this world that we are so unfamiliar with that we hardly know to be scared out of our pants.  It convinces us that this could happen, it sucks us into this land of incredulity.  We’ve got Kyle to explain us the ups and downs (man I love those scenes where someone unfolds every detail for the audience).

And I could rave for days about the music.  Er, the main title anyway.  It’s such a quintessentially deep science fiction feeling.  I… adore it.  There’s nothing quite so captivating as a good score, and this nails that aspect.  The credits are rolling and I’m sitting there wide-eyed and drooling from my open mouth I feel so much from the music.  Yeah, I’m going crazy.  The main theme’s just really cool, okay?

What I found fascinating was how truly apprehensive I felt at the climax.  I am not one to jump or scream, but I was near holding my breath as our heros ran from the killing machine.  His seemingly human appearance is slowly unveiled and with that, the wall between comfort and terror.  His arm inching towards Sarah with such slow tension.  Yeah, I was kinda scared.  That rarely happens – and for it to occur in a freaking action movie with Arny was, well, remarkable.  The camerawork and special effects are also fantastic, as well as James Cameron’s craftsmanship behind the scenes.  I’m AMAZED at the low budget, it’s really top-notch even with the lack of funding.

The Terminator was ahead of its time.  Though one could still recognize it by some rather obvious 80′s labels, it does manage to achieve a level of timelessness still.  It will always be iconic, and it will always be parodied.  It will always be freaking awesome.  8/10

The Adjustment Bureau (2011)

The greatest disappointment was the gross lack of Chuck Norris jokes…

David Norris (see what I mean? oh, and Matt Damon), with the charming smile in one pocket and a sketchy past in the other, rises from his grungy upbringing to run for Senator of New York.  Elise Sellas (Emily Blunt) is a professional ballet dancer, spunky and sassy.  After Norris is slaughtered in the election, he stumbles upon Elise in the men’s room (oh, it’s cool, she’s just hiding from security after crashing a wedding).  Their chemistry is fizzling instantly, and their spontaneous kiss is magical.  Her fire and spirit inspire David to give the best speech of his career – catapulting him to a lead in the next election.

The next day, after failing to spill his coffee according to some agenda that a fairly attractive, skinny black man in a hat (Anthony Mackle) is in charge of, he runs into Elise again.  But that wasn’t supposed to happen.  He was never supposed to see her again.  He was never supposed to arrive at work when he did.

More men in hats confront David.  They explain some religious hoo-dah about “men upstairs,” “the chairman,” life-plans that keep the universe in check, human-beings can’t make decisions… stuff like that.  They swear David to secrecy about their existence, otherwise he gets some serious “reset” lobotomy, oh, and he can never have Elise.

Even three years later when chance takes over and he bumps into her again.  It’s not according to plan.  But then this Thompson dude (Terence Stamp) ups the ante.  If they get together, David will never be president, and Elise will never have the dance career that she would have had.  And he decides to show his omnipotence by forcing a sprained ankle on Elise.  David is faced with following his heart vs. following destiny.

Superb premise.  Once things got cooking in the bathroom I was hooked.  Men with hats observing from above, stalking a potential presidential candidate.  The whole thing with the coffee spilling at 7:05 or the world keels over is pretty awesome.  My first question (of many): are we all observed?  The entire bureau seems to focus all efforts on these TWO people.  I mean, that’s cool, that’s a movie, but they barely put forth the effort to make it look like they observed anyone else at all.  The “big reveal” or whatever missed the opportunity to make this look like a universal organization, encompassing every human being who missteps.  Oh well.

Free agency vs. pre-determined destiny.  Being religious myself, these underlying themes are fascinating.  While many believe “the chairman” to be God as we know him, I think of this chairman dude as being a lot more like the devil.  Obviously this isn’t the real world, and in this real world I do choose to believe that God is watching over upstairs.  But he doesn’t intervene in our affairs like those in The Adjustment Bureau do, he gave us choice.  Satan, the devil, or whatever, wouldn’t give us that choice.  And that makes us slaves to him.  This is a dystopian society, and things AREN’T supposed to be like that.

Which is where my main problem comes from.  (Sorry for the religious rant in there, bee-tee-dubs.  I couldn’t help it).  Spoilers.  After all their cat and dog antics, David determines his decision.  He wants to be with Elise no matter the cost.  His decision is made and no “chairman” is going to tell him what to do.  So, in an escapade of brilliance, he and Elise depart hand in hand to confront the man who writes the plans, since no one else seems to know why they can’t be together.

Call me a realist, but I wanted there to be a face to the responsibility.  I’m so pleased that this dude came to his humane side and changed the plan just for them to be together.  He’s a real sweetheart.  But, as anticlimactic as it is, I wanted some kind of confrontation between the good guys and the messed-in-the-heads.  Some big speech about letting us choose our destiny, no one can force us to do anything blabbity blah.  But instead, we get some immediate resolution between Elise and David’s story… and nothing for the bigger picture.  What happens to the next person who unknowingly never meets the person of their dreams?  The future remains sadly unaffected and I guess I had a problem with that.

Anyways.

Matt Damon and Emily Blunt are a fantastic duo, and I knew that would be so two years ago when I first HEARD about this movie.  I’m not even going to attempt to deny my girl-crush on Emily Blunt, she’s a terribly versatile actress and I’ll bank on any film of hers nowadays.  And, well, who doesn’t love everybody’s man Matt Damon.

The theme and mood of the film is a perfect balance between drama and adventurous excitement.  The music is a wonderful accompaniment to the mood, Thomas Newman is a stud.  The pace too was captivating the entire way (though perhaps with one too many jumps to the future), and I was intrigued until the end with its outcome.  It’s a thinker, and everyone knows that I dig that kind thing.

And again, the plot itself was original and fantastically enthralling.  Walking through doors, super hats, men in suits nonchalantly controlling everything.  Though it perhaps didn’t achieve its potential, it is still worth the watch and an exciting ride.  7/10

Star Wars Episode III: Revenge of the Sith (2005)

Remember when I wrote this and this?  Well, go ahead and get yourself in the mood with those year-old opinions.  My coworker who loves Star Wars even more than I do (if that’s possible) suggested a May tradition of Star Wars lovin’.  I highly approve, and so I’ve been going through them again.  Here’s the next installment that I managed to not write a review of…

*CAUTION* This summary is written under the pretense that, well, all of you know the what’s up of Anakin Skywalker in the Star-verse.  If you don’t know the ending, well, stop reading and join the real world and watch some Star Wars.

K anyways.  Three years after the commencement of the Clone Wars, Anakin (Hayden Christensen) and Obi-Wan (Ewan McGregor) are still teamed up and kicking Separatist trash.  Aside from the war, Anakin’s got more problems.  His secret marriage with Padme (Natalie Portman) reaches new levels when Padme gets pregnant.  Anakin, after more crazy premonitiondreams, is worried that his wife will suffer a similar fate to his mothers and Emp, I mean Chancellor Palpatine (Ian McDiarmid) is still taking a special interest in young Skywalker.  The Jedi army aids the clones across the galaxy on various star systems, and Chancellor Palpatine has his own all-but innocent agenda to seize control.

First of all, III is associated with one of my favorite Star Wars memories.  My mom let me skip SCHOOL to see this on opening day back in ’05, and I have my brother to thank for planting that genius idea in my mother’s head.  It was so exciting, and so sad to see it all come to an end… and a pretty tragic end at that.  I believe I will feel similarly after this next Harry Potter installment is released next month.  But seriously, that was amazing.  And I was enamored with the entire movie.  With perhaps a few flaws, this is by far the best of the new trilogy and my opinion is largely the same (though not quite as obsessed).

Let’s talk Anakin.  And let’s talk HUGE IMPROVEMENT over II.  Allow me to reiterate from my last review – if Anakin hadn’t been such a douche in Attack of the Clones, then this third bit would make so much more sense.  Make Episode II Anakin into a nice though still cocky boy, willing to follow orders and inherently good.  THEN in Episode III he can defy the council, kill sand people and be an overall angry person.  But alas.  I did think that he played a confused, and scared young adult playing with fire very well.  His fall to the dark side, though initially implausible because his relationship with Padme is so unbelievable, is emotionally driven and powerful by the end.  Palpatine is a devilish snake, working Anakin like a puppet.  “Remember what you told me about your mother and the sand people?”  He “sees greatness in Anakin” but still reminds him of past mistakes.  He embodies the dark side of the force in the most literal way I could imagine.  He knows just how to play him, how to build him up and butter his ego, and make him more his servant.  It gives Darth Vader’s relationship to the Emp an entirely new meaning in the later trilogy – DV was never more than a slave.  Did I let the cat out of the bag too early?Natalie Portman is solid as the mother of the future – rockin’ the princess Leia ‘do and everything.  But how could Anakin and Padme expect to keep their marriage a secret if A) they lived together and B) they were having kids!  Is prego Senators the norm in the Star-verse?  Did that affect her rep AT ALL?  I feel like they didn’t think things through very clearly.  Oh well, Natalie Portman is still good.  And beautiful and stuff (as the boy I was watching the movie with mentioned every few minutes…)

Ewan McGregor manages to emulate Sir Alec Guinness to perfection.  He’s fantastic as the scruffy Jedi-master.  I was pissed when he was tossed about so easily by Count Dooku… just like the last one.  Please don’t mess with one of my favorite characters.  I beg of you.  That’s all irrelevant though, because by the end he’s tossing General GRIEVOUS about like his cough were pneumonia and with more style than Anakin could ever have.  He’s a fantastic leader and you gotta feel his anguish by the end.  Poor guy.  I practically get teary (but not really) when Anakin and Obi-Wan part before their final showdown and Anakin bids the force be with him one last time…  So sad.  Yoda (Frank Oz) too is a bad-A green guy – it doesn’t get any cooler than nonchalantly outing Emperor Palpatine’s familiar red guards at the door.  So cool.  And the battle between the two of them is pretty sick, but I HATED Palpatine’s earlier battle with Windu (Samuel L. Jackson) and co.  Seriously? There’s no way that his pathetic swordsmanship could have bested all three of Windu’s buddies.  And Mace is MUCH too cool for the death he was given.  Fail.

Anakin and Obi-Wan’s battle is arguably the best in the whole series.  Granted, Darth Maul is the best Sith Lord the franchise has seen, but this is so emotional.  The blue on blue, the music oh the music (I could practically write a paper just on the J. Williams himself…), the lava land, the sadness.  Granted, Hayden is a little over the top once he loses his legs, but Ewan manages to keep it smooth and classy.  Overall it’s a fantastic scene and it gives Ep IV an entirely new twist.  III strikes the perfect tone leading into the old trilogy.  It makes you realize that the entire saga is really just a story about Anakin and his path as “the chosen one.”  He just took a little 20-year detour in a bad-A breathing suit.Other cool things:

• The order 66 execution.  And just like that, everything turns Darth Sidious’ way.  Pretty cool way to get rid of all the Jedi…
• The continual expansion of the Star-verse.  Mustafaar, Kashyyk, whatever else.
• Chewbacca’s cameo.
• R2D2 further establishes himself as the number one selection for your team against the Zombie Apocalypse.  What can’t that little droid do?  That opening scene is excellent, and almost manages to capture the charm and wit of the original trilogy.  Almost.  But yeah, R2D2 is boss.
• NO JAR JAR.
• Awesome special effects.
• Don’t tell me you didn’t get the chills when Darth Vader drew his first breath.  Or when James Earl Jones spoke his first words.

I’d ALMOST venture to say that this one’s better than Return of the Jedi.  Almost.  I’ll be rewatching that one sometime this week, so I guess I’ll see what my final opinion entails.  But whatever Lucas destroyed in the first two, he redeems in Episode III.  And hey, I’m not a hater of any of them.  This is the perfect bridge to the old trilogy and makes me feel good about being a Star Wars fan…atic.  8/10

Source Code (2011)

This didn’t blow me out of the water like Inception did, but it was pretty close.

What would you do if you had only 8 minutes left to live? What would you do if you had 8 minutes left to live… ten times?  Source Code is the government’s latest invention for intervention.  Military pilot Colter Stevens (Jake Gyllenhaal) wakes up one day on a train, in a body that is not his own and sitting across from an attractive woman who apparently knows him.  The last thing he remembers is flying over Afghanistan.  8 minutes later, the train blows up.

He doesn’t die, though.  He winds up in a small isolation chamber – being awoken by a woman’s voice.  Colleen Goodwin (Vera Farmiga), after issuing some basic memory tests, explains that he is part of a government operation and that his experience on the train is nothing but a simulation called source code.  Earlier that day, a bomb exploded on the train, and Colter’s mission is to locate the bomb and the bomber to prevent a subsequent terrorist attack later that afternoon that would wipe out the entire population of Chicago.  Every time he lands in the same place with 8 minutes to find out more information about the attack, as well as more information about himself.

Phew!  That was an intense summary.  Don’t worry about it.  I applaud Duncan Jones for repeating an 8 minute situation ten timesish and have it STILL be original and legit.  We can’t always have Bill Murray to entertain us every single repeated Groundhog Day.  I was never once bored.  It’s fast-paced, exciting, but insightful and deep, too.  I loved the trippiness of it, the question of how much saving he can actually do without being limited to changing the future only.

It also manages to throw in some great character development without being overbearingly mushy or distracting from the excitement.  Colter Stevens can’t remember what happened to him, he doesn’t know how he wound up in the Source Code, he hasn’t even made amends with his father since before he went to war.  Apparently he’s on a mission, but he doesn’t know at all what’s up.  On another note, I never thought I could hear the phrase “everything’s going to be okay” as many times as Colter said it without tasting the oozing cheese.  But it works as an emotional backbone to the thrill.

Even with movies like Inception out and popular, this is still a great, original story and gives thrillers a good name again.  It’s also a great mysery, though I’ll admit I wasn’t too surprised with every twist and turn, save the ending of course.  But that doesn’t mean it’s worthless – in fact if I can compare it to Unknown, which I recently saw as well, it doesn’t make the same mistake of trying to confuse the audience TOO much for the sake of being confusing.  In that regard, the suspenseful plot and theme are perfect.  Then again, I could watch these cerebral fantasies all day.  I love Minority Report, Inception and The Matrix.  I love this.  I knew that I was onboard the second Jake Gyllenhaal looked at himself in the mirror and saw another guy looking back at him, then confusedly looking through his wallet to find an alternate identity in a History teacher named Sean.  [And yes, for the record, Inception is definitely my go-to comparison these days.  Man do I love that movie.  I promise to review it soon.  Anyway.]

I warn you, there are questions.  Who’s Sean?  Who’s Christina for that matter? (the attractive girl sitting across from him – played by Michelle Monaghan).  What’s he doing, when is this happening, what is going on… Just don’t worry about the science.  Suspend your disbelief.  Love the ride.  I adored the almost end – Colter pays off a comedian to lighten up everyone’s faces right before they die for the last time.  Perfect touch.

Jake Gyllenhaal is really good as our leading man (oh the charmer he is), as well as the supporting cast.  I particularly enjoyed Vera Farmiga’s performance, though Michelle Monaghan, and Jeffrey Wright are also good.  But I’m applauding Duncan Jones more than anyone.  I’ll get around to seeing Moon one of these days, I’m definitely a fan.  The editing is also excellent.

It’s like a video game on steroids.  This intellectual thriller is worth full price, folks.  8/10

V for Vendetta (2006)

“Remember, remember the fifth of November, the gunpowder, treason and plot.  I know of no reason the gunpowder treason should ever be forgot.”

Geek fest geek fest geek fest…  I can think of a few movies that I’ve seen in my lifetime where I come home from the theater, or turn off the TV and just sit back and think.  Memento falls under this category as does Inception or actually The Prestige… k so any Christopher Nolan movie AT ALL, but I’ve also had this feeling with On the Waterfront, The Truman Show, Psycho, and The Man in the Moon.  It doesn’t have to be trippy like Nolan’s movies to get me thinking.  These movies all made an impression on me in some way or another, whether it’s crazy good acting, a revealing twist, trippy cinematography, a great script or simply a wonderful story.  V for Vendetta made an impression on me.  I’m not sure exactly what it was, but this movie is freaking amazing.

So there’s this terrorist dude.  He’s got a white mask, a deep impressionable voice, and goes by the name “V.”  (Hugo Weaving, so awesome even without a face).  Dystopian London is a wreck, and he thinks he can set it straight by finishing what Guy Fawkes and co. started in 1605… blow up Parliament.  On the 5th of November, of course.  Though he dons the Fawkes mask as his symbol, V has his own personal vendetta against the government, beginning with his imprisonment at a British concentration camp for homosexuals, blacks, Jews, Muslims, etc.  His face was disfigured in an explosion (also on November 5th) and he seeks revenge over all responsible at the camp.

There’s also a girl named Evey Hammond (played brilliantly and very British-like by Natalie Portman).  She’s a twenty-somethin’ orphan working at the British Television Network.  She crosses paths with V (well, he saved her life or somethin’) and invites her to watch him blow up the Old Bailey.  The government steals his thunder by covering to the public what really happened, so he makes a personal appearance on the TV Network Evey works at, appealing to the people to unite with him the following 5th of November against Parliament.  Evey saves his life… he takes her to his freaking awesome lair where she’s supposed to chill for a year.  And later she shows off her awesome head shape  - very few women could pull off a shaved head like she can.  (“Natalie Portman’s Shaved Head” anyone?)

Okay, so the British government is pretty messed up.  This is dystopian GB, the US is basically destroyed, and totalitarian gov of the fascist Norsefire party led by Adam Sutler (John Hurt) tries to fix the environmental mess that England is in post some war involving biological weapons.  They basically came to power by creating a deadly virus, killing thousands, and then producing a cure.  And they, like, had psycho concentration camps like Nazis.  Sketchy kinda?  So the public might actually pay attention to this “V” man, no one likes the controlled situation they’re under.

Another character of note is Inspector Finch (Stephen Rea) who is investigating the murders of several government officials, all killed by V.

First of all, V is freaking awesome.  His opening V-alliterated monologue along with Evey’s “Are you, like, a crazy person?” is kind of great. V kinda has a knife obsession, loves The Count of Monte Cristo, and all things beautiful.  He’s a jack of all trades master at EVERYTHING kind of a guy.  Too bad we only hear Weaving’s voice, but it’s still a good performance balancing brilliance with insanity.

I, personally, think that Natalie Portman is good as well.  Some argue that her accent sucks and that she’s just white noise behind better performances.  But I disagree, I think she’s a very talented actress and her accent is actually quite good.  I enjoyed her performance.

But I’ll be honest, though the acting, cinematography, directing, writing, costumes, technical aspects (freaking sweet in its own right – visually exciting and better than The Matrix in some aspects) and what else have you are all great ‘n’ all… the story makes the movie.  And I’m a sucker for dystopian plot lines.  It’s gotta be my consistently most favorite genre.  I can’t believe I haven’t gotten ahold of the graphic novels yet (it’s on my to-do list now), because just the film itself has sparked a bug in me and I want to know everything I can about this crazy, unfamiliar world.  It’s complex and nuanced, heartbreaking and gripping.  It’s also a kick-A action movie, if you dig that.

I’m sure the Wachowski bros and James McTeigue don’t do Alan Moore justice, but on a strictly movie standpoint – this is hardcore. 9/10

A.I.: Artificial Intelligence (2001)

Spoilers. Just sayin’.

I remember so well when this movie was released.  I was 10-years-old, and I wanted sooo badly to see it – but due to its PG-13 rating my mom wouldn’t let me.  I got over it.  I’m glad, now, that I didn’t see it then because when I finally was able to, I could appreciate it.  At 10-years I already loved movies and knew all about Steven Spielberg; E.T., Close Encounters, Jaws, & Jurrasic Park were favorites from my childhood.  I did not, however, know who Stanley Kubrick was (pretty sure that name came along when I was 12 or 13).  This began as Kubrick’s project and you can see his prints all over it.

Sometime in the future, where the world is starting to freeze over and couples must obtain a license to have children, technology has advanced so much that man can create life.  Artificial intelligence (robots) are hardly distinguishable from human beings.  Scientist Allan Hobby (William Hurt) wants to take it a step further: What if we could create a Robot that could love.  Not physical lust but love like a child would care for his mother. What if?

And so David was created (Haley Joel Osment).  Monica (Frances O’Connor) and Henry (Sam Robards) Swintons – whose child is being held in cryostasis until a cure is found for his disease – decide to test out this new product. (Yeah, I totally stole that from IMDb.  But I didn’t really know what the kid’s problem was.  So sue me).  Henry brings him home and Monica is initially furious.  No “mecha” could replace her own physical child.  Trial period ensues.  Should they choose to keep David, they must perform an irreversable imprint ritual.  Monica spends time with David and they begin to bond.  She decides to do the imprint thing (sadly, this now makes me think of Breaking Dawn…) and David is now in for good.  The transformation is instant – Monica is now Mommy and David wants nothing but to make her happy.

Problems arrive when their “real” son, Martin (Jake Thomas) recovers and comes home.  Suddenly David’s got competition.  Suddenly “Daddy” has changed his mind about the entire ordeal.  Suddenly David is getting in trouble and doesn’t know how to get mommy’s love anymore.  David cuts a lock off Monica’s hair to gain her love but is falsely accused of sinister motives.  Things get worse when he’s found holding Martin at the bottom of a pool… but only because he was frightened seconds earlier and wanted protection.  Monica (sob sob sob) can’t take it anymore, David’s gotta go.

So what does she do?  She drops him in the middle of the woods with nothing but a smart Teddy, some money, and a dismal parting message: “I’m sorry I didn’t tell you about the world.”  WTF?  He may be artificial, but he’s still a kid.  All he can figure is that his mother must not love him because he isn’t real like Martin.  He decides to search for the Blue Fairy so that he can become a real boy like Pinnochio.

Part two, the story takes a turn and we are introduced to (though we don’t thoroughly explore) this “world.”  Mecha exist everywhere, but humans resent their presence.  “Flesh Fairs” are held to destroy and publicly ridicule mecha, led by Lord Johnson-Johnson (Brendan Gleeson).  Human nature hasn’t degraded far enough for them to ridicule an 8-year-old boy, however, when David is under display.

David still searches for the Blue Fairy, still accompanied by Teddy and newly accompanied by Gigolo Joe – Hey Joe what do you know? (Jude Law).  He is led (guided by Dr. Know (Robin Williams)) to an underwater Manhattan.

The end to this film is an end for discussion, and I must admit I have a few issues with it myself.

David is reunited with Dr. Hobby, creator.  We learn that David is the new frontier.  Soon he will be available to anyone who wants a child that can love.  Suddeny, though, David leaves.  Hey Joe what do you know is taken by the police.  David finds the remains of a Pinnochio exhibit on an underwater Coney Island.  David and Teddy stay in the helicopter thing for, wait for it, two thousand years praying to the Blue Fairy.  After those two thousand years – the Mecha of the future and some sort of real Blue Fairy (Meryl Streep) find David and are able to reunite him with his mother for a day only.  The film ends after a perfect day spent with Monica.

I’m not in the habit of writing an entire synopsis for a simple review, that’s not my thing.  But I’ve been thinking about this movie so much that it helps me to sort it all out.  I’m even having difficulty throwing in sarcastic comments, made-up words and dumb jokes I’m thinking about this so hard.  Allow me to interject now with a big WTfreakingF???  Like, seriously.  I don’t even know what to think.  But now that I’ve gotten this out of my system, thanks for listening to that really boring summary instead of our usual review format.  I feel much better now, folks.  Anyway, there are the little things that bug me… for example though I liked Jude Law’s character I found the sexual innuendos unnecessary.  It gave an interesting perspective to David’s unique ability to truly love, but in the end it contributed nothing.  I also wonder what the point is of owning a perpetual 8-year-old.  But those are small things.

Many complain about the end.  Many are convinced that Spielberg took this film a completely different direction than was the intention of Kubrick.  (Spielberg has been quoted to say that this is false, Kubrick’s intentions were met in the finished product.  Apparently).  Granted, I had a WTF moment myself and it took two viewings to really place it but seeing as mecha cannot become human, this is sci-fi not fantasy, I found the ending appropriate.  David found closure.  His wish essentially came true.  He was able to spend a perfect day with his mother and do the things he wanted to.  Who knows what his future holds – he is one of a kind, now.

My issue concerns the almost-end.  Apparently he was led to Manhattan as part of a plan.  Apparently he was special.  Apparently the fellow scientists (including Miles from Lost!)  were dying to meet him.  He was made in the image of Doctor Hobby’s son for crying out loud!  Yet…. nothing else happens?  David… gets left?  Did they search for him?  What would have happened next?  Now do their Davids and Darlenes get shipped to the world?  We are led to this moment and nothing happens.  That threw me.  And really bothers me.

My admiration for this film outweighs my contempt for its faults, and although I was thrown by the ending it adds to my appreciation.  Though I love Spielberg and Sci-Fi always – the selling point is Haley Joel Osment.  He may be the very best child actor to have passed through cinema, and yeah I’m being serious.  It’s not easy for an adult to correctly display artificial emotions, yet he does it without a single misstep.  His eyes tell the story.  His performance could not be duplicated.  If anything, the film is worth it for him.

It is unique.  It is fascinating.  I was invested every second.  As with all works of art, it’s now left to interpretation, so do what you will with the ending.  I, however, highly recommend the film.  It must have been worth it if I’m already eager to watch it again. :) 8/10

On a side note – I want a Teddy.  That’s my kind of companion!

Star Wars Episode I: The Phantom Menace (1999)

So I think it’s about time I did a Star Wars marathon review-fest.  To start off: I. Am. A. Star. Wars. Nut.  I grew up watching the original trilogy and they still remain some of my all-time favorite movies.  Another thing you should know: I am not a prequel-hater.  I prefer the original trilogy, yes. Definitely yes. But I think George Lucas gets a lot of crap thrown at him for prequels that really aren’t that terrible.  There are many things to like.  Sure there are bad aspects which I will discuss in my reviews, but so do a lot of good movies.  The original movies are classic, with the perfect blend of character, action, a wicked plot, and heart.  The prequels are just good movies.

So on to The Phantom Menace…

This takes place about 30 years before A New Hope (or if you want me to get really nerdy.. that’d be 30 years BBY – Before Battle of Yavin).  Two jedis, Qui Gon Jinn (Liam Neeson) and Obi Wan Kenobi (Ewan McGregor) are sent to settle a dispute between the Trade Federation and the planet of Naboo.  When things go sour, they narrowly escape and set off to warn Queen Amidala but the Federation are already starting to take over.  While helping to protect the Queen they land on the planet Tatooine where Qui Gon and the Queen’s handmaiden, Padme (Natalie Portman) meet young Anakin Skywalker (Jake Lloyd) who helps them get parts to repair their ship.  He ultimately joins them on their way to Coruscant, where they hope to settle their issues once and for all.

I have such a clear recollection of going to see this in the theater.  I was just 9-years-old but I still knew the Star Wars universe backwards and forwards.  In the opening scenes, I still remember the excitement I felt at hearing the older jedi with the long ‘do speak the name of “Obi Wan” to the younger jedi with the funny pony tail.  Yes!  Obi Wan!  I had no idea what the plot was going to be about at the time, so I felt a certain security early on to find a favorite character on board.

Many, many viewings later I still get a kick out of it.  Though with that I now notice different things. Like corny dialogue.  Yeah, okay.  I’ll try not to repeat this several times so let’s just consider it understood that the script is not, how shall I put it, its strongest point.  Yeah, I get it. Let's just move on from it, okay? SO WHAT. Luckily we get some early lightsaber action to move it along to better things.

Oh sorry, did I say better things?  Excuse my hastiness.  The better things will have to wait until we get this big walking mistake out of the way.  Jar-Jar Binks (Ahmed Best) is the WORST thing to ever happen to the Star Wars franchise.  Worse than corny dialogue.  Worse than Hayden Christensen and Jake Lloyd put together.  As Qui Gon put it, “The ability to speak does not make you intelligent.”  Jar-Jar should have just bolted at that insult then and there to spare us from his obscene presence.  Though his real opportunity to be written off came just a scene later – by allowing him to receive the “pune-ishment” he deserves.  But no.  He’s got himself a “life debt” with Qui Gon.  Really Qui Gon?  Do you NEED to hold this Gungan just because you saved his life?  Do you really expect him to help you out in return? I’m pretty sure you can save your own skin a lot better.  *Sigh*  I’m pretty sure that Jar-Jar is the one thing that everyone can reach an agreement on.  Terrible.  I mean doesn’t George Lucas know that “ex-quueeze me” is from Full House of all things?  Shutting up now.

Side note: Would you get a hold of the Queen’s wardrobe?  Holy I’ve never seen anything so big and extravagant.  It’s also fun to see some small Keira Knightley action in there too, even if she is covered in white makeup and feathers.

Now to the better things.  Better thing number 1: The Nubian cruiser.  It’s pretty slick, ain’t it?  I mean, nothing rivals the Falcon but this beast is pretty!  Better thing number 2: R2-D2 is still kicking trash, just look at how he outlasted every single other droid to save the ship.  Man, he rocks.

Tatooine is still as ugly as ever.  I also remember going “Hey!  That’s Luke’s dad!  Darth Vader!”  And again, things are so much better when you’re nine.  Jake Lloyd may be a cute kid but he’s not terribly talented.  Frankly though, I don’t mind him.  At least he had some spirit – which is more than you could say for Hayden Christensen.  I think he was a good symbol of innocence.  It was like, how could he turn evil, ya know?

Better thing number 3: C-3PO (albeit a naked C-3PO).  The dynamic droid duo is (almost) reunited once more!

Better thing number 4: The podrace.  This is the first highlight of the movie.  From the announcing of the contestants to the explosions, Tuskan raider chants, and familiar Jawa jabber – this is nothing but intense and entertaining film watching.  I can’t say it’s better than Ben Hur‘s chariot race (though it is uncannily similar) but this is still awesome.  A little long, perhaps.  But awesome.

From then on out we get some more lightsaber action with Darth Maul (Ray Park), an introduction to then Senator Palpatine (Ian McDiarmid) with an oddly familiar voice, some political intrigue, and best of all the introduction to the jedi council.  Yoda (Frank Oz), and Mace Windu (what’s this – Samuel L. Jackson in a Star Wars movie??) are two other excellent factors to the prequel trilogy.  I had an Episode I Encyclopedia and I loved learning about all of the different jedis on the council.  Don't judge me!

Better (and final) thing number 5: The jedi-battle with Darth Maul.  Being a martial artist myself I delight in watching Ray Parker.  This is the best part of the movie, and one of the best moments in the entire series.  It’s excellently choreographed and perfectly set to John Williams’ “Duel of the Fates.”  What a sick battle, and where can I get me a double sided lightsaber?  It’s too bad Obi Wan had to finish Maul off because we could have used his awesomeness in a few more movies.

Other notes… Acting: This is Natalie Portman’s worst of the trilogy.  I actually really like her as an actress, but she was really wooden this time around.  I do think that Ewan McGregor was an excellent choice for a young Ben Kenobi, or rather a young Alec Guiness.  He too improves in the subsequent movies but he’s pretty good in this one.  Liam Neeson isn’t bad either.  As I mentioned earlier Jake Lloyd may not have been the ideal choice but he isn’t terrible, IMO.

The special effects, scenery, and plot are all great.  We already knew that Anakin Skywalker was once good but here we learn that he had a destiny to fulfill.  He was “the chosen one.”  He was supposed to bring balance to the force.  The story is great, it’s a shame the script didn’t match up.

All in all I think it’s a good introduction to the saga setting up better things to come.  I actually enjoyed it a lot better than the last time I watched it, though it still remains my least favorite of the six.  It doesn’t have the same heart of the original trilogy but it’s still a good, enjoyable movie.  6/10