The Creator (2023).

Review #2092: The Creator.

Cast: 

John David Washington (Joshua), Madeleine Yuna Voyles (Alpha-Omega "Alphie"), Gemma Chan (Maya Fey), Ken Watanabe (Harun), Sturgill Simpson (Drew), Allison Janney (Colonel Howell), Ralph Ineson (General Andrews), Marc Menchaca (General McBride), and Veronica Ngo (Kami) Directed by Gareth Edwards (#582 - Godzilla (2014) and #888 - Rogue One)

Review: 

I had to remind myself that Gareth Edwards had not been behind a film for the past seven years (Rogue One was indeed released in 2016). Granted, the director isn't the biggest focus of any film discussion point (particularly for sci-fi), but it did lend a hand in checking out a film to close out the decidedly-non spooky month of September out (you might think, hey, it's got this person in the cast, but I find that only works for older films). Contrary to the usual big-budget gorgonzola films, there is actually an attempt here to make a sci-fi film with a semblance of design work to it. As stated by Edwards, the crew shot the film in a wide variety of locations that resembled certain images that they wanted before the editing process would see these frames painted, effectively doing a runaround on expectations of green screen or extensive spending (as opposed to spending) before the effects would be headlined by Industrial Light & Magic. What better year to release a film that happens to talk about AI than 2023, one supposes. Edwards has cited various films as inspiration for his film (which he co-wrote with Chris Weitz) such as Apocalypse Now (1979), Baraka (1992), Blade Runner (1982), Akira (1988), Rain Man (1988), The Hit (1984), E.T. the Extra-Terrestrial (1982) and Paper Moon (1973); this is the fourth feature film by Edwards.

It may seem a familiar film, and perhaps it may have a view that you can see arising before the end of its 133-minute runtime, but I enjoyed what I saw and felt from the film, and that is essentially what one is hoping to see from a sci-fi film that is obviously crafted with the audience in mind. I wouldn't exactly call it a pro-AI film, because really the heart of the film is one of redemption. Yes, it does push at times for the idea of making a real attempt at co-existence, but really the only way to create a new phase of living is to break apart the old system (this does not involve talky sequence, of course, but I'm sure you can read what that means). That might as well make it a modern-day parable, one that examines the moral quandaries that exist within the similarities that really do seem to lie within humans and the AI that they had crafted, particularly when it comes to crafting a living in the hardest of times. The grip of the military-industrial complex cannot have their boot firmly in place on the oppressed when they find a way to dig out (oh sure, painting humanity in a weird light seems odd, but, well, have you seen the dregs of humanity at times?). With that in mind, the scope of the film works best within its effects. I love the look of Nomad, spaceship that is the focus for the climax that resembles a bird of prey with those particular features in its looming nature. It is the kind of future you make for useful scare in one's mind when it comes to the human element and what really is real. Washington proves a useful lead presence in that search for humanity on the road that makes for quality desperation once the passiveness is shed away. This works with Voyles for a suitable pairing, one that shows the bounds of what it means to be around someone beyond crafting a name and feeling to one that did not have it before. The rest do fine but are mostly just players being moved around the board in the senses of interaction, which is mostly consisted of mercenaries on either side. The action sequences are pretty entertaining, mostly because it doesn't come off as sludge to accompany green screen sludge but instead manages to seem like a blockbuster made in a better time that actually seems to care about creating something interesting even if at times it nearly reaches the plodding-off point at times. The film closes itself with a feeling of peace that does not feel the need to bait for further blockbuster spelunking, which is totally fine with me, because sometimes a good feature really can just end right where it is and leave it up to the viewer more than looking up a screen. There are worse ways to spend time with a film that builds a world more than a big story when you can have the imagination to let it ride.

Overall, I give it 8 out of 10 stars.

Next Time: Looking to the past in order to set the future for October. You'll see. 

Godzilla: King of the Monsters (2019)

Review #1227: Godzilla: King of the Monsters.

Cast: 
Kyle Chandler (Dr. Mark Russell), Vera Farmiga (Dr. Emma Russell), Millie Bobby Brown (Madison Russell), Bradley Whitford (Dr. Rick Stanton), Sally Hawkins (Dr. Vivienne Graham), Charles Dance (Colonel Alan Jonah), Thomas Middleditch (Dr. Sam Coleman), Aisha Hinds (Colonel Diane Foster), O'Shea Jackson Jr. (Jackson Barnes), David Strathairn (Admiral William Stenz), Ken Watanabe (Dr. Ishirō Serizawa), Zhang Ziyi (Dr. Ilene Chen and Dr. Ling), with T.J. Storm (Godzilla) Directed by Michael Dougherty.

Review: 
It's about time for this one. Perhaps this review may prove a bit too long - but I wanted to have some fun with saying as much as I could with a film I really did anticipate - after all, I didn't cover four Godzilla movies for nothing, so here's a Godzilla-sized review for the hell of it - 1,000 words for your enjoyment. 

Five years can certainly pass by when it comes to movies. Godzilla (2014) was a fine movie that worked to get out of the shadow of doubt that an American adaptation of Toho's monster franchise couldn't actually succeed. I really can't say I have too many memories of the film, but I might as well just snatch some words from way back when:

"The cast isn't bad (though I wish there was more Bryan Cranston in it), our main character is okay even though it seems the cast get more screen time then the monster himself, Godzilla. The movie seems to want to build tension and wait, so it cuts the first two monster fights (along with waiting an hour to show Godzilla) so we don't see much and then relents and shows the final fight, which is fantastic."

Of course, I also don't remember giving it a 9, but yet here we are. The only other Godzilla film that I had covered at the time was the original Gojira (1954). I hadn't (and still haven't) even touched the 1998 American attempt at Godzilla, with me just going in cold for some big monster action. Actually, I haven't returned to the 2014 Godzilla since I saw it in the theater all those years ago, perhaps since I don't usually re-visit each film I go see on the big screen. In the five years since its release, Toho re-started the series with Shin Godzilla (2016) while Legendary Pictures continued their pursuit of a "MonsterVerse" with Kong: Skull Island (2017). Just three cast members (Watanabe, Hawkins, Strathairn) return for this one, with a few references included throughout while doing a bit of ret-conning and changes in tone that make for a fairly decent if not perhaps as challenging monster movie. The first film had a screenplay by Max Borenstein and a story by David Callaham, while this one has director Dougherty as co-writer and co-screenwriter while retaining Borenstein for the screenplay once again alongside Zach Shields. It lingers a little too long at 132 minutes (eleven minutes longer than its predecessor), but I felt that I enjoyed a good majority of what I saw on screen, albeit more when it focused of its monsters than its cadre of characters. The quirk of the original having its only interesting character being wasted midway through is modified by this film having a quirk of having sprinkles of just mildly interesting characters. This film is basically a re-imagining of Ghidorah, the Three-Headed Monster (1964), albeit with a somewhat developed foundation of human characters that makes for a less silly experience. Honestly, as long as there is an entertaining monster mash somewhere in its run-time that isn't overshadowed by something else, you have my vote, and this one gains that vote for the most part. This is a $200 million CG spectacle with monsters that takes itself mildly seriously - once a year is just enough for my standards, really, even if I am aware of the prevailing tastes for other kinds of action films for the summer.

It is a loud and sometimes dumb movie, but I can't help but adore its ambition at spectacle. Each monster, from Godzilla to King Ghidorah, is rendered really well, looking quite crisp that retains the characteristics from before (like the latter and its three heads) while making sure they stand out in their own ways, which proves to be a fairly done strategy. While I do wish there was a bit more emphasis on shown spectacle of distraction (as opposed to just showing things already being destroyed), at least I can say that this one manages to retain most of the wrath that nature can bring onto us if not careful from the earlier movie. I never feel lectured or bored when it comes to trying to peddle some plot threads on me, with the parts involving specific frequencies for the monsters faring best over parts involving discussions in rooms over what to do. The cast does what they can, some faring better than others. Chandler is fine to follow around with, straight-laced yet completely willing to go along with what occurs on screen without seeming like a drag on what occurs in the basis of a monster movie. Farmiga does fine as well, with the focus on her and Brown being fairly subtle. Brown shines just as well when shown on screen. At least the family angle the film pushes is okay, since the film can't just be all on the monsters and their ties to myths and legends from yesteryear. Whitford and his attempts at being comic relief (by being the equivalent of someone on the Internet lecturing you on "uberscience lol" at 8am) come off as a bit tepid, although Middleditch doesn't fare too much better. Dance comes off as ridiculous as the human adversary - I don't care too much about the eco-terrorism angle, but the parts involving trying to restore a sense of balance in the world with Titans (as opposed to the previous film's classification of the monsters of MUTO)  Not having too much to do with Hawkins is a bit disappointing, although at least Watanabe gives the film some sense of emotional depth. Rounding out the cast is passable performances from Hinds, Jackson and Ziyi. With all of that mind, where else did I find time to show some joy besides seeing a bunch of occasionally creative fight sequences and a bunch of CGI in the dark? I found some fun within Bear McCreary and his music, taking some inspiration from previous music beats from the Godzilla series from Akira Ifukube - any time you do a cover of a Blue Oyster Cult song (particularly "Godzilla") gets a nod from me as well. With a looming sequel in Godzilla vs. Kong next year, this is a movie that succeeds in garnering interest to see some more monster mashing without regret. It proves as a worthy follow-up to its predecessor while also living up to the standards of other Godzilla films before it without too many stumbles yet having plenty of thrills to make one satisfied.

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.

Movie Night: Godzilla (2014).

Review #582: Godzilla.

Cast
Aaron Taylor-Johnson (Lieutenant Ford Brody), Ken Watanabe (Dr. Ishiro Serizawa), Elizabeth Olsen (Elle Brody), Juliette Binoche (Sandra Brody), Sally Hawkins (Dr. Vivienne Graham), David Strathairn (Rear Admiral William Stenz), and Bryan Cranston (Joe Brody) Directed by Gareth Edwards.

Review
It may have taken a while to get to another Godzilla film (#167 - Gojira), but I finally got around to it. And what better way to review a Godzilla movie then the latest one? Imagine being in the theater, a packed house after waiting an hour (or so) in line and then a while longer with trailers and such (The Giver film sounds like it'll be awful, Edge of Tomorrow reminds me of Groundhog Day for some reason, etc, but you get my point), the movie premieres. And the biggest cheer of the audience in the whole movie? When Godzilla uses his atomic fire breath. Heck, even I cheered for that because some things are just too awesome to say in words, so we say them in claps. The movie itself is good and certainly deserves a sequel. The cast isn't bad (though I wish there was more Bryan Cranston in it), our main character is okay even though it seems the cast gets more screen time then the monster himself, Godzilla. The movie seems to want to build tension and wait, so it cuts the first two monster fights (along with waiting an hour to show Godzilla) so we don't see much and then relents and shows the final fight, which is fantastic. Godzilla looks fantastic, looking incredibly imposing, and the roar is just great to listen to. Gareth Edwards does a great job directing as well, making me hope he returns for a sequel. The movie may take a while to getting what makes Godzilla awesome, but the payoff is excellent enough to leave you wanting more.

Overall, I give it 9 out of 10 stars.

Movie Night: Inception.

Review #055: Inception.

Cast
Leonardo DiCaprio (Dom Cobb), Joseph Gordon-Levitt (Arthur), Ellen Page (Ariadne), Tom Hardy (Eames), Ken Watanabe (Mr. Saito), Dileep Rao (Yusuf), Cillian Murphy (Robert Fischer), Tom Berenger (Peter Browning), Marion Cotillard (Mal Cobb), Pete Postlethwaite (Maurice Fischer), and Michael Caine (Professor Stephen Miles) Directed by Christopher Nolan (#054 - The Dark Knight)

Review
The film is...Weird. It's creative yes, but I just couldn't get into it enough. I felt the film wanted to bore me so I literally could dream. At roughly two-and-a-half hours long, it's difficult to watch all of it. I give marks for solid acting and good action though.

Overall, I give it 8 out of 10 stars.