Ghidorah, the Three-Headed Monster.

Review #1226: Ghidorah, the Three-Headed Monster.

Cast: 
Yosuke Natsuki (Detective Shindo), Yuriko Hoshi (Naoko Shindo), Hiroshi Koizumi (Assistant Professor Murai), Akiko Wakabayashi (Princess Selina Salno of Selgina), Emi and Yumi Ito (Shobijin), Takashi Shimura (Dr. Tsukamoto), Hisaya Ito (Malmess, Chief Assassin), Akihiko Hirata (Chief Detective Okita), Kenji Sahara (Kanamaki), Susumu Kurobe (Assassin), Ikio Sawamura (Fisherman), Haruo Nakajima (Godzilla), Masanori Shinohara (Rodan), and Shoichi Hirose (King Ghidorah) Directed by Ishirō Honda (#167 - Godzilla, #711 - Mothra, #1092 - Gorath, #1223 - Godzilla, King of the Monsters!, #1224 - King Kong vs. Godzilla, and #1225 - Mothra vs. Godzilla)

Review: 
Well, here we are. Essentially this has become like a Godzilla Week (with one obvious next step to come), although I do intend to cover a different sort of monster movie for June. Hope you folks enjoy film, for which all four monsters showcased here are also happening to be featured in the new Godzilla film.

As one might say, once you find gold (in case, box office dollars), you go off to search for more gold mines (in other words, bigger spectacle pieces) to scrounge around for. For the fifth film in the Godzilla franchise, there would not be just two monsters this time around; four monsters would be featured (Rodan had its own feature film in 1956 by Toho, right in the middle between Godzilla and Mothra's debut), while the big highlight is the introduction of the three-headed King Ghidorah. The monster was based off of Japanese mythology, such as the tale of Yamata no Orochi, which had featured an eight-headed (and eight-tailed) dragon. Eiji Tsuburaya's design for Ghidorah was modified to have just three heads. If operating the Godzilla costume seems grueling, the costume for King Ghidorah was not much better, owing to the fact that Hirose spent hours being hunched over in a costume with only a crossbar for support, while numerous men in rafters helped worked plastic wires for the neck, tails and wings - which would get stuck together on occasion.

The cast handle their responsibilities with enough conviction to go around; they aren't necessarily aiming to win awards as much as they are playing with familiar kinds of roles (after all, half of these actors have been in other Toho sci-fi films). Highlights in the cast include Natsuki and Hoshi, giving off light charm and rolling with the plot just as normally. Wakabayashi, cast as someone believing themselves to be from Venus (like that famous book, only 30 years early) shines just as well, reserved yet capable at letting this role seem more than a offbeat standout. As per the course, there's plenty of oddball sci-fi/fantasy meshes to go along with the monster mashing, and the human story doesn't tread too much water. I do appreciate the effort to push a bit of an message regarding the Earth and trying to help the planet one lives on, even if it's regarding a giant monster. In general, the series was soon shifting towards having Godzilla be more of a defender of the Earth than a simple towering beast over all, which reflects the lighter tone undergone. The fight between Godzilla and Rodan (turning up just before the hour mark) is a bit amusing, what with a giant flying reptile facing off against Godzilla with one move involving him dropping Godzilla into an electrical tower while they also flail their arms about and bash rocks against each other like volleyball (resolved of course by Mothra spraying the two of them with some pollen). Highlight two involves the monsters speaking...through the translation of the fairy guardians. If one has accepted tiny twin guardians of a giant moth creature by this point, one could probably accept (or expect) anything, so having someone claiming to be from Venus show up is quite a curve-ball. The designs for the creatures are fairly well done, with King Ghidorah looking like a suitable beastly threat with a nice golden polish (changed from suggested ideas of green or red) to go along with it.

Despite the rush to make sure that this film was released on the heels of a film released only eight months prior, it does seem that Honda and his crew (which was the same from the previous film with regards to direction, writing, music, effects, producer) have managed to do good craftsmanship once again with making a workable monster movie. It is a neat grand mess of ideas that I find to be quite wonderfully amusing to go along with. It works as a fine-tuning of the monster mash formula for the series while also having plenty of charm to go alongside a capably consistent feature well worth checking out.

Next Review: Godzilla: King of the Monsters (2019).

Overall, I give it 8 out of 10 stars.

Mothra vs. Godzilla (1964).

Review #1225: Mothra vs. Godzilla.

Cast: 
Akira Takarada (Ichiro Sakai), Yuriko Hoshi (Junko Nakanishi), Hiroshi Koizumi (Professor Shunsuke Miura), Yū Fujiki (Jiro Nakamura), Emi and Yumi Ito (The Shobijin), Kenji Sahara (Jiro Torahata), Jun Tazaki (Maruta, Chief Editor), Yoshifumi Tajima (Kumayama), with Haruo Nakajima (Godzilla) Directed by Ishirō Honda (#167 - Godzilla, #711 - Mothra, #1092 - Gorath, #1223 - Godzilla, King of the Monsters!, and #1224 - King Kong vs. Godzilla)

Review: 
It is easy to see where the Godzilla films started to make their next step of evolution when it comes to this film. Oh sure, Godzilla had significant shift in tone (alongside being in color and widescreen) with the previous film, and its success led to further Godzilla films, but this was the first one to make a monster mashup between Toho properties. The film shares the same director, screenwriter and even the same cinematographer and effects director (Honda, Shinichi Sekizawa, Hajime Koizumi and Eiji Tsuburaya, respectively) from both Mothra and King Kong vs. Godzilla, while certain actors make repeat appearances playing different characters - except for The Peanuts (a vocal group consisting of the twin Ito sisters, who had similar timbre), of course. The stories between the films do have a few similar beats to them as well with regard to parts involving a mysterious island and some fairy guardians, so it's more of a sequel to Mothra than to Godzilla but expecting a grip on continuity between movies can prove a bit silly when faced with monster mashing each other like presented here. The original intent was to have Godzilla be the one to wash ashore instead of Mothra's egg, but it was scrapped in part because of the logistics of a character trying to exploit a huge radioactive body for any sort of money (as opposed to just doing an enterprise about a big egg). It holds itself better story-wise when compared to the previous Godzilla movie, holding off on its headline battle long enough to make a worthwhile 88-minute movie seem like a breeze. It makes a kaiju (giant monster) fight between Godzilla and a colossal moth like Mothra seem actually feasible and not completely ludicrous - watching the former try to stave off two big larvae with spray is amusing and fairly satisfying for a climax that leaves the door open for further ideas (with a sequel released eight months later after release). In American releases, it was distributed as Godzilla vs. the Thing (as ridiculous as that sounds) by American International Pictures, including footage shot by Toho specifically for its release while shortening or removing certain sequences (such as cutting out the use of a gun by one of the characters on the other). In any case Mothra vs. Godzilla is a nicely done installment in the Godzilla series, taking the entertainment levels to comfortable heights with a serviceable foundation in story and a well-earned climax to go alongside its predecessors without trouble. It delivers with excitement for the audiences it aims for with no sense of wanting to stop giving treats of folks in rubber suits beating each other down.

Overall, I give it 7 out of 10 stars.

King Kong vs. Godzilla (1962).

Review #1224: King Kong vs. Godzilla. 

Cast:  

Tadao Takashima (Osamu Sakurai), Kenji Sahara (Kazuo Fujita), Yū Fujiki (Kinsaburo Furue), Ichirō Arishima (Mr. Tako), Mie Hama (Fumiko Sakurai), Jun Tazaki (General Masami Shinzo), Akiko Wakabayashi (Tamie), Akihiko Hirata (Shigesawa, Doctor), Somesho Matsumoto (Onuki, Doctor), Akemi Negishi (Chikiro's Mother, Faro Island Native), with Shoichi Hirose (King Kong) and Haruo Nakajima (Godzilla) Directed by Ishirō Honda (#167 - Godzilla, #711 - Mothra, #1092 - Gorath, and #1223 - Godzilla, King of the Monsters!)

Review: 
I suppose if there is any Godzilla film that gets mentioned quite a bit by monster moviegoers, it would be this one - after all, it remains the highest attended film of the franchise in Japan, having sold 11.2 million tickets on original release, with release in other countries (such as America) to follow. It is the third film of the franchise, released seven years after Godzilla Raids Again. The genesis for the film took place over a span of two years, evolving from the original proposition from effects animator Willis O'Brien (known from his work on King Kong) that he dubbed King Kong meets Frankenstein, for which a big fight between Kong and a giant Frankenstein would occur in San Francisco, with a script eventually being fleshed out by a writer named George Worthing Yates. Attempts to ship the idea to other studios did not pan out well in part because of the intent to do the film effects in stop-motion (deemed too costly), but Toho eventually acquired interest in the idea of making a film with King Kong, albeit through replacing Frankenstein with Godzilla to be released in 1962, Toho's 30th anniversary as a company. Honda returned as director alongside Eiji Tsuburaya directing the special effects, with a new writer in Shinichi Sekizawa; this is contrast to the first two films - the first film had a screenplay from Takeo Murata and Honda with a story from Shigeru Kayama, while the second film had Murata and Shigeaki Hidaka do the screenplay with Kayama as story writer. With this new writer came a light shift in tone. This shift also applied to the action with the monsters, such as when the two monsters volley a boulder back and forth. Nearly half the budget (roughly $200,000) dealt with paying RKO Pictures for the rights to King Kong. The film takes its time in setting the stage for its two monsters with its plot of the humans, for which Honda intended to be a satire on the Japanese TV industry. After all, there is quite a bit of humor on the attempts to drive up ratings (for a pharmaceutical company sponsoring TV programs). In that sense, it comes off as a bit silly, but at least it gives you a glimpse at what is to come without having a complete tonal shift when the monsters show up, with it being half an hour before either Kong or Godzilla show up, and the former monster has more to do with the plot for the opening hour before the latter monster makes more of an appearance. In that regard, the acting is just fine, playing itself a bit tongue-in-cheek with a bit of energy to try and make sure things aren't being wobbily held before its key players come in to show their hand. Arishima is the key highlight in giving off a bit of amusement amongst a minimal but passable story.

It does have some of the beats from the original King Kong, such as a trip to a mysterious island with natives that holds Kong defending them against other monsters (in this case, octopuses) along with bringing him back for publicity sake, and he even takes a girl with him while climbing up a giant building. I do applaud the look given to Godzilla, which certainly looks wonderful for his first foray in color. King Kong doesn't come off as well, mostly because the face looks a bit closed in, and the fur does seem a bit too distracting when wondering what kind of fur carpet they cut it from. Admittedly, it proves pretty amusing when it actually builds up to the two monsters meeting for their big final battle in the 85 minute mark, what with Kong being transported there by a stack of big balloons while asleep (the less said, the better). I applaud the idea to try and freshen up the films by going for a bit lighter fare, even if it does come at the cost of the characters; it certainly sticks out in the evolution of these films from films about a radioactive monster that attacks Japan to one involving a monster that encounters other particular monsters in a mashup, which is quite enjoyable to look at. The American edit that followed included removal and re-cutting of certain scenes, making the action seem like it was from a newscast, while utilizing music from older movies (a good deal of them from monster movies) that was shot for three days and $15,500 that was eventually distributed by Universal-International in American theaters in 1963. The versions differed only slightly in the climatic battle, with the edit including footage from The Mysterians (1957) to make a earthquake sequence seem more destructive, slight differences in dialogue regarding speculation over Godzilla surviving or not, and hearing only Kong's roar in the end. The success of this film prompted Toho to propose a sequel (which would've been called Continuation: King Kong vs. Godzilla), but the project did not come to fruition (they did however help co-produce King Kong Escapes in 1967, based off an animated series that Rankin/Bass had done earlier in the decade). They also had ideas about pitting Godzilla versus Frankenstein's monster, but this was scrapped instead in favor of pitting the monster against a familiar creature in Mothra, which was released two years later. Over a half century later, there will finally be a matchup of Godzilla and Kong, this time by Legendary Pictures. One would expect they will come up with a servicable story that isn't just repeating the same beats like other certain studios - at least monster movies inspire plenty of imagination. In any case, this is a fairly entertaining spectacle piece, having light fun with its big mashup between people in rubber suits that appeals well to both adults and kids alike, whether having popcorn at hand or not.

Overall, I give it 7 out of 10 stars.

Godzilla, King of the Monsters! (1956)

Review #1223: Godzilla, King of the Monsters!

Cast: 
Raymond Burr (Steve Martin), Takashi Shimura (Dr. Yamane; dubbed by Sammee Tong), Momoko Kōchi (Emiko), Akira Takarada (Ogata; dubbed by James Hong), Akihiko Hirata (Dr. Serizawa; dubbed by James Hong), Sachio Sakai (Hagiwara), Fuyuki Murakami (Dr. Tabata), Ren Yamamoto (Seiji), Toyoaki Suzuki (Shinkichi), Tadashi Okabe (Dr. Tabata's Assistant), Toranosuke Ogawa (President of Company), and Frank Iwanaga (Security Officer Tomo), with Haruo Nakajima and Katsumi Tezuka (Godzilla) Directed by Terry Morse and Ishirō Honda (#167 - Godzilla, #711 - Mothra, and #1092 - Gorath)

Review: 
The original Godzilla was a success upon release in 1954. Over nine million tickets were sold in Japan upon initial run in Japan (which remain the second most attendance for a Godzilla film in Japan) - it soon found its way to being distributed to the United States - in Japanese-American neighborhoods. In 1955 (the same year that Toho would release Godzilla Raids Again), the international rights for the film would be sold to an American group interested in adapting it for further audiences in America, led by Joseph E. Levine, who was involved in over 400 films in his life-tiem as either producer, distributor, or financier (ranging from Santa Claus Conquers the Martians to The Producers). 20 minutes of footage with Burr, alongside stand-ins were edited into the feature, trying (for 1956 standards) to make it seem that he is part of the action, with a bit of dubbing involved when not having Burr just ask someone that he knows to help translate what is going on. The run-time is obviously different from before, with Gojira running at 96 minutes and this lasting 80 minutes. It feels strange to see this one after nearly seven years since I viewed the original - so it is interesting to see what I viewed once again (for the most part), if only to remember how serious it had taken itself (such as shots involving people trapped under rubble), with the black-and-white cinematography helping to make the sequences with Godzilla really stand out in terror. A good deal of the subtext involving the horrors of nuclear testing (along with character elements) is cut out, which admittedly does make for a more stream-lined movie, which I suppose is preferable to dubbing the whole dialogue - even if it does undercut the ultimate decision made in the climax a bit. Burr gives a fairly wooden performance with such a strange role of being in the background of impactful events in the film and occasional dialogue to other characters (one sequence amusingly having him talk to the back of someone's head) that would probably work better for an audio play than anything. He doesn't really get in the way of enjoying the actual film, which in its own right still holds up well. If given the choice between watching the original film with subtitles, a dub, or this, the easy choice for me is still the film in its original 1954 film, but this manages to be a fair second choice. After all, this is the version that audiences outside of Japan were introduced to, lingering as a drive-in favorite and in TV syndication for years on end. It treats the original (and its cast members) with respect, letting them be in the forefront (beside sequences with Godzilla, naturally) just as before.

Believe it or not, this isn't the last time the film would receive edits for release in another country. Italian filmmaker Luigi Cozzi made further edits in 1977 to this film, colorizing the film (hence why it the credits list it as presented as in Spectorama 70) along with adding new scenes (such as Godzilla destroying a train and various stock footage) that made it last 105 minutes; it is referred to as "Cozzilla" in most circles, with limited availability besides the Internet Archive. In 1985, New World Pictures released Godzilla 1985, a re-edit of Toho's The Return of Godzilla (1984) that served as a follow-up to the original film, including additional footage with Burr reprising his role of Martin from this feature. It shouldn't be forgotten that Godzilla, King of the Monsters! soon found its way to Japan, being released in 1957 under the title Kaiju Ō Gojira (translating to "Monster King Godzilla"). In any case, while this film loses some of the underlying structure that made the original Gojira a riveting monster movie, it holds itself well enough with its foundation to make for an interesting piece of entertainment nonetheless.

Overall, I give it 7 out of 10 stars.

John Wick: Chapter 3 – Parabellum.

Review #1222: John Wick: Chapter 3 – Parabellum.

Cast: 
Keanu Reeves (John Wick), Ian McShane (Winston), Mark Dacascos (Zero), Laurence Fishburne (The Bowery King), Asia Kate Dillon (Adjudicator of the High Table), Halle Berry (Sofia), Lance Reddick (Charon), Anjelica Huston (The Director), Saïd Taghmaoui (The Elder), and Jerome Flynn (Berrada) Directed by Chad Stahelski (#905 - John Wick and #906 - John Wick: Chapter 2)

Review: 
It goes without saying that these have proved to be entertaining movies to sit through. They have plenty of action to go around, along with good pacing and a fairly well-thought-out story that makes these more than the mindless entertainment pieces that they might have been under lesser hands. It certainly seems like Reeves is having a great time with this role, having plenty of discipline when dealing with a glut of action sequences and a fair bit of plot without seeming lost in the background. This remains true here, with no real sense of stopping the ride of entertainment in sight (after all, a sequel was announced not long after this film's release), and I certainly can't wait to see where they want to go from here. Stahelski returns to direct, with screenwriter and story writer Derek Kolstad now being joined by Shay Hatten, Chris Collins and Marc Abrams in the former department, and there is certainly a good degree of consistency from one feature to the next as it continues to do a bit of storytelling beneath just people trying to take down Wick over and over again, remaining energetic with its resemblance to hard-boiled film noir and western types without becoming a parody of them. Sure, the action is the key highlight, but the fact that it doesn't feel overbearing with a run-time of 131 minutes is the underlying part of what makes for a winning experience. When the focus isn't so much on its main character (or more specifically, when it wants to take a breather), at least there is some sort of interesting nature to this world of assassins without blathering on too much. Reeves plays the role with subtle relish as ever, having no trouble at all. Dacascos shines finely in the way an adversary should, fairly agile and imteresting to view when faced with a climax battle. Fishburne goes along with the fun for his moments once again. McShane comes off fairly interesting for his moments on screen, amusing and watchable.  Dillon does fine as a newcomer to the series; the film doesn't really have a big enemy at the end, but at least Dillon manages to play an adversary (a bureaucrat of penance, egads) with smarmy effectiveness that will I surely see again soon. Berry is fine for her time on screen, showing some agility even when not having too much time on screen for the first half. On the whole, the film has plenty of movement and energy to make for a quality thrill ride that keeps up mostly with the quality of the first two without losing the spirit of what makes a film with a force like its title character so fun to be watching. They make for good shows of weapon work, editing and look, but most importantly good shows of people to look around with every now and then.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode III – Revenge of the Sith.

Redux Review #144: Star Wars: Episode III – Revenge of the Sith.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Senator Padmé Amidala), Hayden Christensen (Anakin Skywalker), Ian McDiarmid (Supreme Chancellor Palpatine), Samuel L. Jackson (Mace Windu), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Christopher Lee (Count Dooku / Darth Tyranus), Jimmy Smits (Senator Bail Organa), Matthew Wood (General Grievous), Silas Carson (Ki-Adi-Mundi / Nute Gunray), Temuera Morrison (Commander Cody), and Peter Mayhew (Chewbacca) Written and Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, #142 - Star Wars: Episode I – The Phantom Menace, and #143 - Star Wars: Episode II – Attack of the Clones)

Review: 
Countdown to 150 Reviews: 10, 9, 8, 7, 6...
At last, the end. The best of the bunch of prequels gets what I hope to live up to with the standard review, especially a redux - even if is more a blend of praise and slight criticism this time around. Enjoy.

Admittedly, finishing a trilogy can prove daunting, particularly when it is the culmination of a saga of a character as memorable as Darth Vader. This time around, there actually seems to be a real emphasis on making a tragedy alongside being entertainment. There are plenty of spectacle sequences along with a bit of depth - while also still having things to make light of. It isn't as inconsistent as the other two films, managing to find a heart of darkness that does seem to make this trilogy mostly worth it. For one thing, I actually seemed interested to view Anakin on screen beyond just lightsaber dueling. Sure, he always seemed to have problems with impulsiveness, anger issues, jealousy - and occasional lapses into ridiculous line reads. Christensen still struggles at times with the clunkier aspects of the dialogue at times - such as when he nonchalantly says to his wife that she'll die in childbirth. He shines best when conversing with McGregor or McDiarmid more so than Portman, who mostly is around just to linger in one set at a time without as much to really do. Their chemistry together isn't really too great, middling above teenage lyric posts on the Internet. McGregor proves efficient as ever, filling the noble roots set by Alec Guinness and completing the circle with charm. McDiarmid takes his time to go the ham of an actor on stage set by himself with Return of the Jedi (1983) - and I enjoy it just the same. Instead of being a phantom menace (pardon the pun) to the events around him, now he gets to be involved with actual fights, complete with snarls and cackles. Jackson gets something to do (and say), which I do enjoy when it comes to the film's key point for its first hour. Oz keeps the interest flowing as expected. Naturally, Lee is given four lines, disposed as quickly as expected from a trilogy that likes to jump from adversary to adversary before allowing its true puppet master to try and shine through. I would say that it might have been more interesting to have one villain throughout a whole trilogy before being disposed of (ignoring any sort of middle ground television show, of course) - but we're past that point of complaints, I guess. Smits is fairly serviceable; Wood is okay as a mediocre threat, which is quite the thing to say about a cyborg with four arms. Once the film disposes with the pretense of trying to build paper threats and actually showcases the true threat and Anakin's descent is when the film really does become an actual winner, complete with a worthy climax to alongside it.

I had forgotten to mention John Williams and his music score throughout these films, which it goes without saying are pretty well, but it really does shine here with the mood and pacing throughout the movie here, such as the aforementioned climax but also subtle moments such as the rumination sequence, where it carries a 90-second moment that shows off on a visual level with effective choice in composition. It isn't a perfect film by any means. It still meanders with wooden dialogue on occasion, while also feeling a bit too ridiculous with its justifications for Padme's fate (losing the will to live being a thing only a robot doctor would assume, I guess), but at least there is an actual sense of adventure present without being completely lost in a virtual screen. Sure, it does try to be a bit tidy with its ending, trying to seal things up with plenty of connections to before (much in the same vein that the other two had done), which does seem a bit overboard - but at least it sure has a well-done last shot to close on. Revenge of the Sith strives for a glut of action and story in a 140 minute run-time with plenty of drive and spectacle, managing to succeed on the last go on the prequel merry-go-round with very little in terms of hitches to interrupt the ride.

Overall, I give it 8 out of 10 stars.

Redux: Star Wars: Episode II – Attack of the Clones.

Redux Review #143: Star Wars: Episode II – Attack of the Clones.

Cast: 
Ewan McGregor (Obi-Wan Kenobi), Hayden Christensen (Anakin Skywalker), Natalie Portman (Senator Padmé Amidala), Ian McDiarmid (Chancellor Palpatine), Christopher Lee (Count Dooku / Darth Tyranus), Samuel L. Jackson (Mace Windu), Temuera Morrison (Jango Fett), Frank Oz (Yoda), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Daniel Logan (Boba Fett), Leeanna Walsman (Zam Wesell), Silas Carson (Nute Gunray and Ki-Adi-Mundi), Ahmed Best (Delegate Jar Jar Binks), and Jimmy Smits (Bail Organa) Directed by George Lucas (#113 - Star Wars, #141 - American Graffiti, and #142 - Star Wars: Episode I – The Phantom Menace)

Review: 
Countdown to 150 Reviews, 10, 9, 8, 7...
As promised, a redux of the second prequel film. I described it as better than the first film, but not by much, and not much really does change, does it? At least these are reviews I can feel proud of, which I hope you enjoy.

These films, if distilled into a basic premise of the portrayal of the rise and fall of Anakin Skywalker, from adolescence to adulthood, could have made for some weird and wonderful tragic drama. The first film proved that trying to cover details from the past mixed with ill-advised story choices made for a film that collapsed under its own weight of hubris and anticipation from others. The only thing that changes this time around is that the anticipation is more of a dead calm, and the film manages to find time for improvement at the pace of a snail. While Lucas once again served as director and writer, Jonathan Hales was brought in to help co-write for the film, refining the script until right before production was to begin. The dialogue can't quite help the actors out again, a villain is introduced and wasted once again, and story motivations seem more appropriate for an opening film than a middle movie. You really could skip the previous movie and not really lose too much grip on the story, since you could basically sum up key events in one line or less. As I mentioned earlier, having to switch actors for your main character doesn't help matters, especially since the dynamic between McGregor and Christensen only really comes into focus on occasion. In trying to make a grander, more epic scale Star Wars with plenty of plot-lines, Lucas has succeeded in making two mediocre movies to drive his trilogy, finally finding some sense of focus by the time of its climax, with its Clone Wars aspect.

The film builds itself on the blooming relationship dynamic between Christensen and Portman's characters, having the passion of lines spoke by a computer program. A film romance works best when it actually seems the actors are truly invested in what the script wants them to say. The previous trilogy had a romance that was subtle without being overbearing in the slightest. Lucas wanted something more than just a scoundrel and a princess - a forbidden romance with a Jedi involved. Again, this works best when I actually feel that these actors really seem invested in what they want to do, and it slowly rises from slightly weird to slightly palpable, but that isn't enough in a film that plods along for 142 minutes. The acting still plays hit-and-miss, but McGregor and McDiarmid do turn out to be the key winners of the bunch, the former seeming much more interesting to be around with this time around - whether when bantering with Christensen like an odd couple or in battle, and the latter being as conniving as ever. Christensen doesn't fare too well with such a big role to fill as the eventual Darth Vader, feeling a bit too flat and occasionally grating, falling into the same trap as Lloyd had with being stuck with offbeat lines that make a shadow of a character. Portman is okay, but not too particularly inspired as the other side of the token, faring a bit better when running onto an action set than on some grass trying to talk about politics. Highlights include complaints about sand, attempts at humor that go hit-and-miss, and eventual action sequences on dusty planets that can't help but be like cutscenes once again. Lee is criminally wasted as the main adversary behind the true power, a character cut from bare cloth that isn't too particularly menacing, even with a legend like Lee. The fight with him and Yoda is amusing to picture and weirder to try and describe, since it's a CGI muppet against a mix of Lee (then in his late seventies) and a stunt double. Morrison is quiet, but alright for the necessary time needed. Jackson and Oz are given a few lines to carry, so that's a nice repeat of before I guess. The action sequences here doesn't seem as involving as one would hope, and the political drama is only slightly less pale this time around. The question isn't so much if this is a better film than the previous one as is it really a question of how it took so long to drive the story to some sort of meaningfulness. Lost in a shroud of effects, flashy costumes, and questionable motivations, Attack of the Clones is a mediocre sequel to a mediocre movie that is made lesser by comparisons of past and future of Star Wars films. I wasn't exactly bored by what I saw - I just felt much of the same mood that I did the last time.

Overall, I give it 6 out of 10 stars.

Redux: Star Wars: Episode I – The Phantom Menace.

Redux Review #142: Star Wars: Episode I – The Phantom Menace.

Cast: 
Liam Neeson (Qui-Gon Jinn), Ewan McGregor (Obi-Wan Kenobi), Natalie Portman (Queen Padmé Amidala), Jake Lloyd (Anakin Skywalker), Ian McDiarmid (Senator Palpatine / Darth Sidious), Anthony Daniels (C-3PO), Kenny Baker (R2-D2), Pernilla August (Shmi Skywalker), Frank Oz (Yoda), Ahmed Best (Jar Jar Binks), Oliver Ford Davies (Sio Bibble), Hugh Quarshie (Captain Panaka), Samuel L. Jackson (Mace Windu), Ray Park (Darth Maul, voiced by Peter Serafinowicz), Terence Stamp (Supreme Chancellor Finis Valorum), Keira Knightley (Sabé), Silas Carson (Nute Gunray), Brian Blessed (Boss Nass), Andy Secombe (Watto), and Lewis MacLeod (Sebulba) Written and Directed by George Lucas (#113 - Star Wars and #141 - American Graffiti)

Review: 
Countdown to 150 Reviews, 10, 9, 8...
Well, it has now been 20 years since the release of this film, the first of the three Star Wars prequel films. Fans may remember the revised editions of the Original Trilogy reviews (originally published 3/30-4/1, 2012) back in 2016, in light of Star Wars: The Force Awakens being released months earlier. I figured it was time to revise some admittedly okay reviews (original publish date of 5/19-5/20, 2012) right before Star Wars: The Rise of Skywalker comes out. I hope you enjoy these reduxes. 

Review: 
It goes without saying that Star Wars is one of the biggest media franchises of pop culture. It has transcended film, television, and beyond over the decades - the original trilogy is still beloved by many, whether from people who seeked it out upon original release or found it playing somewhere on their screen in the present day. Return of the Jedi was the last of these films for 16 years, with Lucas not being inspired to do further films of his saga until the advent of CGI led him to believe it could help him do what he felt was needed. The result proved polarizing, especially in the age of a growing Internet - and age doesn't really help make this film seem too much better. This is a film that bears more on spectacle and details than a fully developed adventure. Perhaps Lucas fared best when he had at least one other writer trying to guide story ideas into something more than just an assortment of old arch-types and myths. The space opera has now shifted into one with mixes of action and politics - which makes for a somewhat stilted result. Like before, there are plenty of creatures and worlds to look at, even if it seems a bit less involving to stick for. I appreciate the effects for what they try to deliver, since they hold up well for 1999 - but wondering what is a blue/green screen and what isn't does get a bit distracting sometimes. The story seems spread too thinly, distracted over whether to be a movie about the Republic or Anakin, spending too much time to really drive itself forward. To say nothing of the logistics of electing a queen at 14, or midichlorians (which is still something to ridicule even with the dawn of a further trilogy), or referencing things from the previous films (did you know who built C-3PO? Weird, I know), and so on. Making fun of these aspects is more interesting to do while watching the film rather than spend a paragraph writing, one must say. The film does fine with spectacle pieces like the pod race sequence or the Darth Maul duel, but the former verges on meandering and the latter is nearly distracted from its other battle at the same time to have the right impact. With all of these characters (new and familiar), only a select group seem truly necessary, but the dialogue doesn't give them many favors. The trilogy is meant to be a tragedy of Anakin Skywalker, and yet the first film can't really plant many seeds to make that start to bloom, perhaps since the initial focus is on a kid (after all, Lucas moved his age from initially being 12 to 9 to try and fit the effect of him separating from his mother better). It didn't need to be a rehash with him being a young adult like Luke, but Lloyd is fledged with an unenviable task of playing an eventual Darth Vader in only one go. Having just one actor (and a change in pace, no less) for three films might have made them roll with more impact - at least we would have been spared a kid Anakin asking someone if they are an angel.

In a sea of interesting acting choices, it should only prove fair to have them seem routine behind some sets and screens. Neeson seems a bit too pallid to evoke much drama, with his final fate not having as much impact as it likely could have. McGregor doesn't quite have his familiar role pinned down here, and the lack of a dynamic between him and his future student in Anakin doesn't help much. Portman is hindered more by a ridiculous decoy plot than anything, but at least she does make some sort of curious impression. Lloyd doesn't quite have the conviction to make this role work, but how can anyone turn dialogue such as "Now this is podracing" really work (while being on a starfighter - long story) without ridicule? Any time with him and Portman is just weird in general. McDiarmid does well with playing the subtle kingmaker of his own doing without hitting a snag. August is quietly effective, even when occasionally lost in the spectacle background. Best plays a role that Buster Keaton would likely laughed off as too clownish with effort - it may not work out well, but at least he isn't the only fault present. The others (including a criminally underused Stamp) are pretty forgettable, and Darth Maul proves to be a fair but not too inspiring threat. Obviously the real threat is supposed to be the bigger one to look into (even if you already know who said threat is), but it only served to make for a trilogy of cut-scene quality adversaries. The droids don't prove too imposing, either, just big stick-looking things to fill the screen. By the time it gets to its climatic battle sequences, it proves to be a glut of overload, though the Maul fight is a bit nice. At least the lightsaber fights stick out for their attempts at finesse. In the end, the movie is a mish-mash of old story types, a dash of hubris, and ultimately something ridiculous to behold for each generation of fans, old and new. Some can rush to defend it for its quirks, and I understand that basis all the same - to me, this is an average adventure compounded as a disappointing Star Wars film.

Overall, I give it 6 out of 10 stars.

Dark Star.

Review #1221: Dark Star.

Cast: 
Brian Narelle (Lieutenant Doolittle), Dan O'Bannon (Sergeant Pinback, Bomb #19, and Bomb #20), Cal Kuniholm (Boiler), Dre Pahich (Talby, dubbed by John Carpenter), Joe Sanders (Commander Powell, dubbed by John Carpenter), Barbara Knapp (Computer), Miles Watkins (Mission Control), and Nick Castle (Alien) Directed by John Carpenter (#068 - Halloween (1978), #634 - Escape from New York, #712 - The Thing, and #732 - Escape from L.A.)

Review: 
This is a weird one. But what is one to expect from a film with an beachball alien with claws? Dark Star is the creation of Carpenter and O'Bannon, who wrote the film while being students at the USC School of Cinematic Arts. Carpenter was inspired by George Lucas' and his drive to adapt his USC short "THX 1138" into a feature-length film to make his own feature. The attempt began in 1970 with an initial budget of $1,000 and the use of USC soundstages. The budget rose over time, having one form as a 45 minute short made on $6,000. Carpenter also composed the music score, while O'Bannon served as editor, star, production designer, and visual effects supervisor. Through the help of distributor Jack Murphy and Jack H. Harris, additional minutes were filmed to make it feature-length (along with doing certain cuts) that resulted in a 83 minute feature made for $60,000. O'Bannon subsequently described the film as such: “We had what would have been the world’s most impressive student film and it became the world’s least impressive professional film.” Carpenter later stated that it was "one of the most difficult, brutalizing, devastating, and satisfying experiences of my life." It wasn't a huge success upon limited theatrical release, but it has found its own place as a cult classic. It certainly stands out from other science-fiction films, that is for sure, seeming like a riff on features such as 2001: A Space Odyssey (1968) and a bit of a precursor to Alien (1979) with its blue collar crew on a spaceship (which O'Bannon subsquently wrote) who have the task of destroying unstable planets that might threaten future colonization of other planets. Being stuck on a ship like that for years on end would probably either make for a horror or a comedy film - the result is an uneven, but fairly enjoyable little comedy. I didn't find myself loving what comes out on screen each and every minute, but it did prove to make a few interesting moments that overcomes some of its amateurishness. After all, the buttons on the bridge consoles are ice cube trays, the space helmets are from a toy line, and the bombs are made out of plastic model kits. The ending is apparently inspired from Ray Bradbury's short story "Kaleidoscope", albeit with a plummet towards a planet with a makeshift surfboard. 

For a movie described by Carpenter as "Waiting for Godot in outer space", there is plenty of discussion one could have about the place this film has within sci-fi, cynical yet biting in its tale that stands out from other space films of previous ilk (especially so in the years that followed), being a product of its decade that resonates for those who allow themselves to do so. The special effects team (Ron Cobb, Bob Greenberg, Greg Jein, Harry Walton, John Wash) prove to do a fine job with what they are given - it may be a cheap film, but at least it is an ambitious one too. The scene with the beach ball alien is also pretty neat too. The acting isn't too particularly great by any means, but there are a few moments that make for chuckles, such as O'Bannon and his reflections on being stuck on his ship through video tape with this casual crew, or Narelle having to try and give a philosophical try at stopping a smart bomb detonation. It isn't a great film by any means, but it is an ambitious one that sets out for its own take on moving beyond the stars with a fair sense of conviction on its side. It might not be for a casual taste, but it does have an appeal within for those who are curious enough to let it linger in its reaches.

Overall, I give it 7 out of 10 stars.

A History of Violence.

Review #1220: A History of Violence.

Cast: 
Viggo Mortensen (Tom Stall / Joey Cusack), Maria Bello (Edie Stall), Ed Harris (Carl Fogarty), William Hurt (Richie Cusack), Ashton Holmes (Jack Stall), Peter MacNeill (Sheriff Sam Carney), Stephen McHattie (Leland Jones), Greg Bryk (Billy Orser), and Kyle Schmid (Bobby) Directed by David Cronenberg (#816 - Crimes of the Future and #1127 - eXistenZ)

Review: 
I suppose there is something to be said about violence and how it pervades our lives from time to time, and how people deal with the consequences of said actions in trying to survive and where it can go from there. This is adapted from the 1997 graphic novel of the same name written by John Wagner (writer of works such as Judge Dredd) with art from Vince Locke that Josh Olson turned into a screenplay, which kept parts from the first half mostly intact while re-writing the climax involving Stall and his brother. In any case, this is a nice pulpy tale with plenty of noir elements to go around, having capable performances from its cast that makes this a worthy piece to check out alongside other Cronenberg pieces. In a sense, it feels like a take on the Western genre, with its take on the reluctant gunfighter and his fight to escape the impulses of his dark past. It moves at its own pace for 96 minutes, having its share of violence alongside interesting moments with its characters that allow to seem more than just figures to play around with. Mortensen is wonderful, playing his man with the right sense of balance between trying to toe the line of morals and his true nature, being convincing and selling his paths in two different worlds with plenty of conviction to go around. Bello also shines well, being capable with passion and grace with plenty of chemistry to go around with Mortensen. Harris makes for a worthy adversary when he shows up on screen, showcasing menace with ease and a pair of sunglasses. Hurt shows up right for the climax, but he makes it all worth it with his own degree of threatening nature (with ensuing Irish accent) that makes his time on screen work just as well as any big bad in a noir type of film does. Holmes is decent when needed, as can be said for MacNeill. McHattie and Bryk do well with their moments on screen in the first half, being capable at showing aggression as expected with subtlety. It is a film that makes its violence ugly and shocking without dwelling on going for overkill or distraction. This is a well-done blunt instrument of a film, showing violence and its mingling with identity without becoming just another crime thriller movie. We never find ourselves cheering for when the characters get into a shootout but instead think about the circumstances that drive people to do such things in the first place. This is a effective film that wraps itself in tension and violence without losing its target in all of the ruckus and blood.

Overall, I give it 8 out of 10 stars.

Pokémon Detective Pikachu.

Review #1219: Pokémon Detective Pikachu.

Cast: 
Ryan Reynolds (Detective Pikachu), Justice Smith (Tim Goodman), Kathryn Newton (Lucy Stevens), Bill Nighy (Howard Clifford), Ken Watanabe (Detective Hideo Yoshida), Chris Geere (Roger Clifford), Suki Waterhouse (Ms. Norman), Omar Chaparro (Sebastian), Rita Ora (Dr. Ann Laurent), and Karan Soni (Jack) Directed by Rob Letterman (#164 - Shark Tale)

Review:
I suppose it had to happen sometime. This is based off the Pokémon franchise created by Satoshi Tajiri and Ken Sugimori alongside the spin-off game Detective Pikachu developed by Creatures Inc. This isn't the first film based on the video game property, with Pokémon: The First Movie being released in 1998; since then, there has been 21 animated films released (all released in Japan with release in America later - with only the first five given theatrical release for the latter). In any case, it is easy to say that this is a very average movie, racked with plenty of visual enjoyment and a few laughs headlined by a solid lead voice and facial motion capture performance from Reynolds. It proves to be a light charmer that doesn't waste its 104 minutes on being anything other than just fine for the kids and ones big on seeing certain Pokémon (a property I'm not overly familiar with). In a sense, it does feel a bit like Who Framed Roger Rabbit (1988), albeit instead of animation it is big furry creatures. The look of the film (from cinematographer John Mathieson) is fairly nice, helping to make the main city setting look bright enough where the neon and other things don't become too flashy for the sake of it. They certainly nailed the look of these Pokémon creatures when it comes to finding that right type of balance where the photo-realistic nature doesn't look too weird, seeming fairly natural for where the film wants to go, where the distraction involves wondering what you may see in the background instead of being weirded out by the designs made. It probably isn't a surprise that there were four writers involved with the screenplay (Dan Hernandez, Benji Samit, Letterman, and Derek Connolly) and three with the story (Hernandez, Samit, and Nicole Perlman), since the film seems to try to aim to make a detective story with tinges of comedy and action, making a fairly decent effort to hold itself together with decent intrigue and climax, even if its human characters seem a bit lacking. It seems more of a weird film than one with some depth to it, I guess. Reynolds is the star of the show, being the best of the bunch of the cast, sarcastic and yet still endearing to be around with. Smith is okay, playing off with Reynolds decently when needed. Newton is quirky but amusing that plays off fine on occasion. Nighy and Watanabe prove okay in their respective times on screen. On the whole, while I wish the film was a bit more ambitious with where it wanted to go, this proves to be a light silly charmer that will play well with those who seek out cuddly creatures with powers and some detective work. I wouldn't be against making another one of these, if only to see where it could go from there, I suppose.

Overall, I give it 7 out of 10 stars.

Pulp Fiction.

Review #1218: Pulp Fiction.

Cast: 
John Travolta (Vincent Vega), Samuel L. Jackson (Jules Winnfield), Uma Thurman (Mia Wallace), Harvey Keitel (Winston Wolfe), Tim Roth (Ringo/"Pumpkin"), Amanda Plummer (Yolanda/"Honey Bunny"), Maria de Medeiros (Fabienne), Ving Rhames (Marsellus Wallace), Eric Stoltz (Lance), Rosanna Arquette (Jody), Christopher Walken (Captain Koons), Bruce Willis (Butch Coolidge), Bronagh Gallagher (Trudi) Directed by Quentin Tarantino (#638 - Kill Bill: Volume 1, #639 - Kill Bill: Volume 2, and #1180 - Reservoir Dogs)

Review: 
It isn't hard to say that this is a wonderful film. 25 years since its release, Pulp Fiction is a wonderful exercise in film-making and storytelling, managing to be entertaining from start to finish with the stories and characters weaved through the story work of Tarantino and Roger Avary. It has its share of violence and vulgarity, but it is a fun kind of movie that also has its share of humor and people that roll with what is going on that seem like it is culled from an older time without choking on its own homages and references. In an interview talking about inspiration for the idea in the film, Tarantino stated that these were "...ones you’ve seen a zillion times—the boxer who’s supposed to throw a fight and doesn’t, the Mob guy who’s supposed to take the boss’s wife out for the evening, the two hit men who come and kill these guys.” Tarantino knows where to go with his movie in part because of his love for them, knowing the best way to go isn't so much a straight line but a circle. This love is pretty apparent with the scene in the restaurant, having people dressed up as film stars and others and having plenty of posters around (such as Attack of the 50 Foot Woman). Travolta and Jackson shine brightest whenever on screen, eliciting plenty of interest and chuckles when in conversation, such as when talking about the way they survived as a sort of miracle or about Royales with cheese. Travolta in particular is wonderful, casual yet inviting - highlighted when he dances with Thurman, for example. Jackson isn't hard to forget, however, and it's the closing sequence involving him trying to make a way out of his current path and onto something else that makes the whole film complete, selling the whole exchange with Roth without hesitation. Thurman plays well with her gun moll type character, having plenty of spry charm with her time on screen. Keitel is efficient in his brief time on screen, controlling the room with intimidation that fits just right for his scene. Roth and Plummer are quite effective with their roles when needed. Rhames does quite well with his role, rough and compelling even when just shown with just the back of his head. Walken has one scene in the film, but he sure makes it one worth viewing, telling his story without fail. Willis plays a familiar character type with raw charm and effectiveness one would expect from him without having to say too much. With a run-time of 154 minutes, it never proves to be overlong or plodding in one story too much without purpose. Even when it makes references, it never feels like it is being done just because one could, and there's plenty of depth to go around. It is quite the accomplishment for a film made on a budget of $8 million and a quality cast to go with it. At the Academy Awards ceremony months after release, the film recieved plenty of nominations to go around, three of them for its leads alongside Best Original Screenplay and Best Picture. While the film lost in six of its categories (most notably losing to Forest Gump for the latter category), Tarantino and Avary received an Oscar for their screenplay, which is certainly well warranted by the film's result - a modern masterpiece for the ages. You could highlight at least five scenes to show someone how the film is and still wonder if you could add another to say how much fun it can be.

Overall, I give it 10 out of 10 stars.

Final Fantasy: The Spirits Within.

Review #1217: Final Fantasy: The Spirits Within.

Cast: 
Ming-Na Wen (Doctor Aki Ross), Alec Baldwin (Captain Gray Edwards), Ving Rhames (Ryan), Steve Buscemi (Neil), Peri Gilpin (Jane), Donald Sutherland (Dr. Sid), James Woods (General Hein), Keith David (Council Member #1), Jean Simmons (Council Member #2), and Matt McKenzie (Major Elliot) Directed by Hironobu Sakaguchi and Motonori Sakakibara.

Review: 
Perhaps this movie is like the tale of Icarus. However, instead of daring to fly near the sun on illustrious wings of feathers, this is a film that dares to soar as the first photo-realistic computer-animated feature film, made over the course of four years with a budget of $137 million (with at least half the budget being spent on marketing from Columbia Pictures and construction in Hawaii of a studio for Square Pictures, whose demise rose from the eventual failure of the film at the box office). Final Fantasy (created by Hironobu Sakaguchi) is a series of fantasy role playing video games, with each installment being stand-alone tales that have recurring elements in terms of game mechanics, with fifteen main titles being released since 1987. Undeniably, it is easy to give praise to the ambition that the makers of this film had towards delivering something that would inspire curiosity and interest, although it seems more for the animation than the actual story in any case. It just can't help itself being a visual spectacle even after two decades of age (although it may take a bit of time to get used to its type of flair), at least. The spirit aspect feels a bit too hokey to really make for a compelling story, with the twist involving their true nature (with a name like Phantoms, take one guess) not making as much an impact. It feels too clumsy with trying to handle its characters, particularly with its main character, who never comes into focus as someone to really follow along with.

That's not to say I didn't like the performances of the cast, who each do their parts just fine. Wen does okay with what she is given, even if her chemistry with Baldwin (probably the most practical performer here) reads more like an audio-book than something befitting a movie, especially a science-fiction one. Rhames, Buscemi and Gilpin all do okay, providing little moments of amusement until they aren't needed by the plot. Sutherland fills the wise old shoes of his character without much trouble (ponder on the whole Gaia theory stuff as you wish, however), and Woods is finely tuned to play with a good deal of ham to his performance, which work out okay, even if his motivations feel a bit too underplayed to really resonate. The writing can't quite make them feel like people to gel with, as if I am watching one long cut-scene with no way to break free. The story was done by Sakaguchi, while having a screenplay from Al Reinert (writer of films such as For All Mankind and Apollo 13) and Jeff Vintar (co-writer of I, Robot). The parts involving the Gaia only serve to make the film seem more deeply rooted than it really is, with a climax that feels too patched up to have an impact. It isn't so much a junk food type of sci-fi movie as it is just an off-brand piece of candy that looks nice but is a bit stale in all the wrong places to really sit right. With a run-time of 106 minutes, it will prove fine for the eyes to sit with while resonating less with its aims that at drag a cobbled assortment of sci-fi gobbledygook across the line without being a complete success. I didn't feel that it was a waste of my time, but I did feel disappointed that it wasn't worth it just enough. I do find science fiction movies to be a fun thing to sit through, but I couldn't find this one to be just as fitting of praise as others that dared to show a different kind of reality or look.

Overall, I give it 6 out of 10 stars.

Redux: Star Trek (2009).

Redux Review #009: Star Trek.

Cast: 
Chris Pine (James T. Kirk), Zachary Quinto (Spock), Leonard Nimoy (Spock Prime), Eric Bana (Captain Nero), Bruce Greenwood (Christopher Pike), Karl Urban (Dr. Leonard "Bones" McCoy), Zoe Saldaña (Nyota Uhura), Simon Pegg (Montgomery "Scotty" Scott), John Cho (Hikaru Sulu), Anton Yelchin (Pavel Chekov), Ben Cross (Sarek), Winona Ryder (Amanda Grayson), Clifton Collins, Jr. (Ayel), Chris Hemsworth (George Kirk), and Jennifer Morrison (Winona Kirk) Directed by J. J. Abrams.

Review: 
On December 20, 2010, I covered Star Trek (2009). As is the case with any of the reviews from Season One, while I do feel the rating is probably still accurate to what I feel now as opposed to then, it does feel appropriate to revisit this film, since it has been ten years since its release on May 8, 2009. Hope you folks enjoy - live long and prosper.

It goes without saying that Star Trek is a cultural phenomenon. It has endured for over a half-century in part because of how entertaining it has proven itself to be with a balance of adventure and intelligence throughout its several incarnations. While the original series was cancelled after just three seasons in 1969, it proved to be a hit in syndication, leading to an eventual feature film and a subsequent film franchise. From 1979 to 2002, ten films were released into theaters, six covering the original cast and four with the cast of the third Star Trek show, Star Trek: The Next Generation, which began in 1987. From that year onto 2005, there was at least one Star Trek series on television, with four series coming and going before the cancellation of Star Trek: Enterprise. That, alongside the previous failure of Star Trek: Nemesis (2002) led to a pursuit for a different direction of the franchise, with Roberto Orci and Alex Kurtzman (writers of Mission: Impossible III alongside J. J. Abrams) brought in to help write a new film, with Abrams initially being brought in as producer. However, he subsequently accepted Paramount Pictures' offer to serve as director, owing to how he felt about the duo's script, describing it in an interview as "...so emotional and so relatable". It is evident to see that Abrams has a passion for entertainment, even if he described himself as someone who was not a particularly a big fan of the original show. He wanted to make a movie that any sort of fan can be interested in without becoming a shell of itself or becoming too absorbed in references. The idea of making a prequel wasn't new to Star Trek, since plans for an Academy Years film was thought up after the failure of the fifth film in 1989, although it was soon scrapped, and the aforementioned Enterprise show was set a century prior to the original. This film tries to have a balance with its time travel aspects and its usage of Nimoy to bridge the past into making a new, somewhat familiar future, which works itself out more often than not.

Undeniably, the film hinges on the dynamic of Pine and Quinto and their characters, with the film building itself up towards them being in the film together. I found myself more interested in the sequence with a young Spock and Sarek than the part with young Kirk, since it felt more impactful to the nature of the plot dynamic, seeing how the former is one of two worlds where the other has had better moments. By the time the plot kicks in, one does get a hold for most of these characters without too many objections (whether fan or not). Pine, trying to not find himself playing a shadow of the original Kirk played by William Shatner, comes off as fairly charming to be around with, fitting right in with the adventure and delivering some of the heroic qualities one would expect, as brash and confident as one can be. Quinto, who has the interesting proposition of trying to fit themselves in as a character while being passed the torch by the previous actor, proves quite capable. He delivers a measured performance, as calm and logical as per the standard while maintaining both human and alien nature that plays off well when with others like Pine, where the seeds of a friendship get well cultivated by the film. When Nimoy appears (feeling as a mix of fan-service and a way to deliver exposition), it does sure feel nice to see him back again, seeming just as in-step with his calm exterior and logic as ever when he is on screen. Bana makes for an okay villain, but he feels underscored when compared to the things around him. His ultimate plan never really seems to come into focus as much as it should. It is clear to see that they want to make a villain just as threatening as Khan from the second film, but they can't quite make someone worth being around. Greenwood carries his weight for the first half quite nicely, encouraging and reliable at once. Urban does well with recreating the abrasive yet amusing nature of his role without too much trouble, feeling right at home for his time on screen. Saldana proves to be a fine match to go alongside the others, as is the case with Pegg, Cho, and Yelchin, who each get their little moments into shine without seeming lost in the background. Instead of a 1960s take on how the 23rd century would be with regard to space travel, now it is a 2009 take, with plenty of lighting choices to go around alongside other things. It certainly is an interesting movie to look at, having plenty of interesting effects (and enough lens flare to point out and likely stair or make fun of) that makes this a well-done spectacle while having enough of a grip with a capable if not flawed plot (in the age of the Internet one could have a bit of day with its usage of black holes); it manages to have a strong foundation while lingering forward in its middle and closing out strongly enough to make a winner. It sets out to please both fans of the original and curious newcomers and does well with its intentions, finding a middle ground that inspires some joy, a little bit of laughs (mostly intentional), but also a pursuit to see where it could go from there, maintaining the spirit of curiosity and wonder from before without being lost in spectacle or technobabble. It works as a recommendation for newcomers and fans looking for a new frontier to set their eyes on.

Overall, I give it 8 out of 10 stars.

The Woman in Green.

Review #1216: The Woman in Green.

Cast: 
Basil Rathbone (Sherlock Holmes), Nigel Bruce (Doctor Watson), Hillary Brooke (Lydia Marlowe), Henry Daniell (Professor Moriarty), Paul Cavanagh (Sir George Fenwick), Matthew Boulton (Inspector Gregson), Eve Amber (Maude Fenwick), and Frederick Worlock (Doctor Onslow) Directed by Roy William Neill (#846 - Frankenstein Meets the Wolf Man, #873 - Sherlock Holmes and the Secret Weapon, #925 - Sherlock Holmes in Washington, #936 - Sherlock Holmes Faces Death, #1021 - The Spider Woman, #1040 - The Scarlet Claw, #1056 - The Pearl of Death, and #1161 - The House of Fear)

Review: 
This is the eleventh film of the Sherlock Holmes series of films with Rathbone and Bruce, release three months after the previous film. If you're at all familiar with how these things go for these features, you'll probably find yourself satisfied with this installment. Anyone looking to jump in these films out of random will also find themselves with a workable winner in any case - it won't be much of a waste in any case with a run-time of just over an hour in 68 minutes. I do think the title is pretty amusing, given that this is a black-and-white film, and I don't think anyone even mentions green at any point. Then again, with a focus on severed forefingers (not shown, obviously), blackmail of rich people, and hypnotism, one won't really think about that too much. It doesn't have much in terms of deep mystery, but it is a decent experience in entertainment at least, having a few interesting sequences. Rathbone is as efficient as ever, never seeming lost in the shuffle or disinterested in getting the best out of what he can with the scenarios presented - consistent as one can. Bruce plays up to the standard of his second fiddle character with comic relief - some of which that works, some that doesn't, with two easy moments easy to highlight you can judge for yourself. One involves him being a skeptic of hypnotism and its effectiveness, opening stating his doubts when at a presentation, only to have him subsequently tricked into being hypnotized and taking off his shoe and rolling his pant leg. The other is him leading the way to "rescue" Holmes while the other authorities arrest the others, including him hopping up on a ledge to get him down. Whatever the case may be, Rathbone and Bruce are around to keep things steady.

This is the third film with the character of Professor Moriarty (The Adventures of Sherlock Holmes (1939), played by George Zucco, and Sherlock Holmes and the Secret Weapon (1942), played by Lionel Atwill), with each having the same type of fate for its villain: falling off a great height. This is the third different actor to play the role, but it also happens to be his third appearance in the Holmes series, joining the tradition of re-using actors for multiple appearances (as is the cast with Brooke and Cavanagh). Daniell proves fine, with one key highlight being a sequence in which he sneaks into Holmes' place in order to have a conversation with him midway through the film, warning him about further pursuit into the mysterious killer. Of course his final fate is a bit ridiculous, since he tries to escape jail by jumping from one ledge to another - while wearing handcuffs, and he then just falls down to death. I guess just having him go to prison didn't pull the final punch they wanted. Brooke is okay as the person referred to in the title, although she isn't really too particularly compelling with the hypnotism aspects. This is the second of four films you can find in the public domain (alongside Secret Weapon and the last two films of the series - Terror by Night and Dressed to Kill), which makes them readily available. In recent years, they were digitally restored and given computer colorization by Legend Films; the Universal films had for decades deteriorated in terms of cellulose nitrate film, requiring restoration from the UCLA Film and Television Archive, which took eight years to restore the twelve films from 1993 to 2001. As a whole, this is a decent film among other okay films of the Holmes cycle with Rathbone and Bruce, being just as well to recommend as other features for anyone looking for a bit of quick mystery.

Overall, I give it 7 out of 10 stars.

Message from Space.

Review #1215: Message from Space.

Cast: 
Vic Morrow (General Garuda), Sonny Chiba (Hans), Philip Casnoff (Aaron), Peggy Lee Brennan (Meia), Etsuko Shihomi (Emeralida), Tetsuro Tamba (Noguchi), Mikio Narita (Rockseia XII), Makoto Satō (Urocco), Hiroyuki Sanada (Shiro), and Isamu Shimizu (Robot Beba-2) Directed by Kinji Fukasaku.

Review: 
Undeniably, Star Wars (1977) looms over this film, much in the same way that one sees with other "inspirations", like Starcrash (1978) or Battle Beyond the Stars (1980), only this time with an attempt at making some spectacle, having a budget of over $5 million (roughly half of the amount from Star Wars) while having a big blend of castmates and ideas, some of which that go well and some of which that go ridiculously. It has something for everybody, or more specifically it has all of the things someone can use to pick it apart, such as magic walnuts, ridiculous young leads, semi-passable effects, metal-skinned villains and their mom and so on. I should expect no less from a film with four writers (Hiro Matusda for the screenplay, and a listing of Kinji Fukasaku, Shotaro Ishinomori, and Masahiro Noda for the story), a grand total of eight producers, and seven special effects members. This was made and distributed by Toei Company (with American distribution by United Artists in the fall).

This is a mess of a movie, but it sure is perfect to make light of with the execution of its story and effects. The highlights are seeing Morrow and Chiba, seemingly in it for the money (which seems really obvious for the former) but at least interesting to be around when they try to sell this material. Casnoff and Sanada, playing a hotshot spacerider duo, do not fare as well. They come off as too silly to be the kind of character to become heroes; one amusing sequence involves the characters recieving their magic walnuts after throwing them out earlier (while getting bad dreams that make them feel bad) - which takes a bit of time for one of them, who pouts for a moment. Brennan is cheery but pretty forgettable. No one really stands out too much, mostly because of the goofiness that the film shows in full, such as when some of the characters go out in space without helmets. It does seem like an ambitious film at least, clearly looking at the current big thing and making a big effort to make something weird and epic. It may need to be hold enough for me to really give this a positive note, but at least it made an effort. No sci-fi movie is complete unless you have a big goofy villain, and this one is no different, with a big silver faced, big horned weirdo like this. I especially like how he is guided by his mother Empress, played by an actor in drag of all things. Narita tries his best with this material, no doubt wondering how long he'll have to put up with such oddness. At 105 minutes, it might prove just fine for people looking for something a bit familiar with their space stuff but with a bunch of weird flair packed into things, where scenes involving playing chicken with space ships can roll right along with others about a robot being chosen alongside the other walnuts seed things. Whatever is your fancy, this film may have the weird thing for you.

May the 4th be with you.

Overall, I give it 6 out of 10 stars.