Episode 093: 2001: A Space Odyssey

This week we continue Kubrick Month by looking at the director’s science fiction masterpiece. Is 2001: A Space Odyssey just an artistic marvel or is it also a genuinely entertaining story? We discuss the possibilities while talking plenty about HAL-9000 and Kubrick’s deliberately ambiguous ending. Join us for this conversation and let us know what you think about the film, theories and all.

What We’ve Been Up To – 0:01:16

(Aaron – Warrior, Phantom Thread)
(Patrick – 24-Hour Comic)

2001: A Space Odyssey Review – 0:14:28

The Connecting Point – 0:59:42

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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Paddington 2

PADDINGTON 2 (2018)


GOING IN

In 2014, a movie based on a children’s book about a talking bear who is discovered in Peru and moves to modern-day London, became an overwhelmingly positive critical success. I’d never have bet on this happening. But it did, and so much so that the British live-action/CGI hit has spawned a sequel. Paddington was recognized for being a warm-hearted family-friendly adventure full of charm, wit, and with a playful sense of humor. It was also filled with gags that made it just plain fun, and my family is excited to see where the immigrant bear’s story goes from here.

1 Hour and 43 Minutes Later.


COMING OUT

Rarely does a film so exceed my expectations that I’m left with a feeling of awe, but my face literally almost broke into pieces from the immensity of my smile as I sat watching one of the most perfect post-credit scenes I’ve ever witnessed follow-up a film so adorable that I wanted to hug it, then see it again immediately. The word awesome may be overused and have a wide range of application, but when expanded to its full definition of something that is “extremely impressive; inspiring great admiration”, it applies perfectly to Paddington 2.

Now with the origin story out of the way, director Paul King is able to show us what Paddington’s every day life in London is like with the Brown family. It still requires some suspension of disbelief to see humans interacting with a talking bear as if it’s routine, but it doesn’t take long to start feeling the joy that Paddington is bringing into the lives of everyone he interacts with and accept him for who he is, and not how he looks. Watching the Brown’s operate as a family is particularly sweet, and each member has their own personal issue of identity that they are dealing with in some manner. Each of these is introduced briefly and King’s ability to pay off each individual family member’s struggle while maintaining a balance of character focus throughout the film is a triumph. As for Paddington, he simply wants to find the best present possible for Aunt Lucy’s 100th birthday, and due to a bad case of wrong place/wrong time he ends up in the most unlikely of places… prison. The rest of the plot takes everyone on whimsical adventures, complete with treasure hunting, plenty of detective work, and hijinks on a train. The film has plenty to say about being yourself, having manners, and looking for the good in others, but it is never distracting and rather genuinely uplifting.

Along Paddington’s journey, one of the characters he meets is former star actor turned dog food salesman Phoenix Buchanan (Hugh Grant). Phoenix wants what Paddington wants and serves as the villain of the film, and boy oh boy is Grant having the time of his life in this role. It’s impossible not to smile and laugh constantly because Grant’s performance evokes these involuntary reactions at every turn. While he doesn’t have the kind of Oscar-worthy moment that is thought of when awards are handed out for best acting work, his consistent greatness in playing this character perfectly should not be overlooked. Also hitting a home run with his performance as Knuckles McGinty, a prison cook, is Brendan Gleeson. McGinty and Paddington enter into a unique sort of friendship that is as much gut-busting fun as it is soft and caring. Paddington is the kind of bear who always looks on the bright side, after all, bringing people together and making the best of whatever situation he is in, and McGinty and the other prisoners find it as hard to resist his unrelenting kindness as audiences do his charm.

All of this is well and good, but what truly raises Paddington 2 to greatness is that it’s not just a wonderful family-friendly story full of laughter and smiles, but also a technical marvel. The blending of live-action and CGI work is really special, never once being noticeable or feeling out of place. The cinematography is always fantastic and often striking with vivid color. Many times I was reminded of Wes Anderson’s work, particularly in The Grand Budapest Hotel, by the way in which a variation of angles were used to frame characters and scenes in interesting ways (usually centered). That color, though, bursting off the screen as if it was alive, added so much to the overall joy of the experience and was a treat for the eyes.

VERDICT

Shocking as it may be to read this early in the year, Paddington 2 is a truly wonderful film that will stand as one of 2018’s best. As the sequel to a great film, this one is even better. More heart-warming, more hilarious, and with outstanding performances by Grant and Gleeson that set it apart from other animated and similar genre pictures. In a world that often gives plenty of reason to frown, Paddington will replace that with pure delight. Take the whole family to see it once, twice, or more. Spending time with this marmalade-loving bear will start your year at the movies off right.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Jumanji: Welcome to the Jungle

JUMANJI: WELCOME TO THE JUNGLE (2017)

We live in a world of remakes, reboots, reimaginings and rebrandings. Sequels and franchises dominate the box office. If a studio sees any opportunity to squeeze a dime out of something you loved as a child, chances are it’s already in production. While they’re not all terrible, even the best of them are merely well-produced retreads that lack innovation and imagination. But every once in a while, a sequel or a reboot comes along that surpasses its source material with a fresh take that injects life into the property. This Christmas, we’re lucky enough to have one of those rare diamonds in the rough in Jake Kasdan’s Jumanji: Welcome to the Jungle.

Jumanji: Welcome to the Jungle is a standalone sequel to the 1995 hit Jumanji, directed by Joe Johnston and starring Robin Williams, Bonnie Hunt and a young Kirsten Dunst that spawned an animated television series and multiple video games. Boasting cutting edge CGI for its time, the film told the story of four players stuck in the middle of a mystical interactive board game where you win or you die. I’ve been excited for this film for a while due to my fond memories of the original and the casting of Dwayne Johnson in the lead role. Anyone who knows me knows that the easiest way to get me into a theater is to cast The Rock.

The film picks up almost exactly where the original left off in 1996 with the board game being discovered on a beach where it washed up after Robin Williams’ Allan Parrish attempted to bury it in the bottom of a river in 1969. The man who discovered the game gives it to his son Alex who has no interest in board games but is an avid video gamer. The game transforms itself into a video game and after we see some green flashing lights from outside Alex’s window, the film fast forwards to the present day where four high schoolers discover the video game while cleaning out an old storage room and they one by one get sucked into the world of Jumanji. Having been transformed into the bodies of their avatars (Johnson, Kevin Hart, Karen Gillan and Jack Black), the four students must find a jewel that’s been stolen and return it to its sacred resting place before the perils of the jungle take their lives.

If the plot sounds simple, that’s because it absolutely is. There are a couple of mostly predictable twists and turns along the way, but this film works because of the solid chemistry of its cast. Continuing the on-screen chemistry that was forged in 2016’s surprising comedy Central Intelligence, Johnson and Hart play off of each other well and are the source of a lot of the film’s biggest laughs. Jack Black is as funny as he’s been in years as a self-obsessed teenage girl trapped in the body of a middle-aged man. Karen Gillan is perfectly awkward as an awkward teen suddenly trapped in the body of a stereotypical female video game heroine. The four of them clearly seem to be having a lot of fun together and each character is given their chance to shine.

There are a lot of films out there to see this time of year that will be mentioned come awards season. Jumanji: Welcome to the Jungle is absolutely not one of those films. It’s ridiculous and over the top, but if I were making a list of the most enjoyable movies of the year, it would definitely be in the top five. I enjoyed the action, it made me laugh and there was a surprising emotional punch at the end that I didn’t see coming. If you’re wanting to go out with the family* to have a good time at the movies this holiday season, I have a hard time believing that Jumanji: Welcome to the Jungle would leave you disappointed.

Rating:

*This is a film with PG-13 humor unlike the original that catered to wider audiences. There is some content that might be objectionable to some with younger children. I’m glad I saw it on my own before taking my children who are all under the age of 12.


 

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Episode 090: Arthur Christmas

It’s all about Santa’s extended family and a modern Christmas for our holiday episode this year and we hope this episode finds you smiling as much as we did during the 2011 British adventure comedy, ARTHUR CHRISTMAS. 

Arthur Christmas Review – 0:00:50

The Connecting Point – 0:40:48

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Episode 089: Star Wars: The Last Jedi

Star Wars: The Last Jedi has arrived, and it is proving to be extremely divisive, as critics laud Rian Johnson’s film despite many fans coming away disappointed. We enjoy this opportunity to talk about trilogy world-building and whether we like the directions Star Wars is heading. We also discuss the recently announced 2017 Seattle Film Critics Society Awards, of which Aaron is a voting member.

What We’ve Been Up To 0:01:05

(2017 Seattle Film Critics Society Awards)

Star Wars: The Last Jedi Review – 0:39:29

The Connecting Point – 1:46:30

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: Ferdinand

FERDINAND (2017)


GOING IN

Someone decided that it was a good idea to take a 1936 short story about a pacifist bull and turn it into a film starring the voice talent of wrestling superstar John Cena. While I know the actor, I didn’t know of the book that Ferdinand is based on. The original story by Munro Leaf and Robert Lawson was initially met with a mixture of opinions before becoming so much of a hit in the 1930’s that it was featured on several commercial products. And now here we are in 2017 to see if it can make a comeback and win over family audiences this Christmas. My expectations for this film are extremely low, but I have at least enjoyed the prior films of director Carlos Saldanha (Ice Age, Rio) and Cena’s casting does make me curious. Just another needless kid’s film, or heartfelt and moving animated story with an important message or meaningful life lesson? Time to step into the arena and find out.

1 Hour and 46 Minutes Later.


COMING OUT

Well, hey, it’s another anti-bullying movie. And that’s not a bad thing. Because people shouldn’t bully others, ya know? Poor Ferdinand grows up with plenty of this from his fellow calves, who have trouble accepting a bull who just wants to smell the flowers instead of fight. Tragedy strikes while Ferdinand is still young and he escapes to the country where he takes up residence at a flower farm. Convenient since he loves flowers so much, right? And also convenient that the little girl who befriends him actually knows his name is Ferdinand, too! Yes… if there is one word that I would use to describe Ferdinand it would be “convenient.” Every plot choice works perfectly because it has to, not because it makes any kind of logical sense. By the time the animals are driving a truck during the film’s climax, I was completely checked out.

Along with its message against bullying, the film promotes accepting who you are and loving others for the same. I actually never got the sense that the movie was strictly anti-violence. It (shockingly) shows what the alternative is for bulls who don’t succeed in the arena and could be emotional for young children who pick up on the subtlety. Don’t worry, though, no animated bulls were killed in the making of this movie so they won’t be scarred for life. The irony of John Cena playing a pacifist is somewhat amusing considering his fame comes from a career spent acting out violence for the entertainment of a large ground. Not all that unlike bull fighting, hm?

Characters in the film are hit and miss. Ferdinand himself is well played by Cena. A goofy “calming” goat voiced by Kate McKinnon that plays a large role in the final third of the film has importance as a character but is so annoying that I wanted to plug my ears. The rest of the bulls are unique, have their own strengths and weaknesses, and all play a part at precisely the right time to the surprise of no one. They’re… fine. Oh, and there are also German fancy horses. Who dab.

VERDICT

There are so many better animated films to recommend over Ferdinand. The bar has been raised, and every film has a positive message so that doesn’t set this one apart. It does have some charm and Cena’s voicework is good, but an overly convenient plot that tries to balance heartfelt concern with ridiculous unbelievable antics fails to connect and barely entertains. Possibly worth a rental eventually, but with Coco still in theaters there is no reason to spend money and time on Ferdinand.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Star Wars: The Last Jedi

STAR WARS: THE LAST JEDI (2017)


GOING IN

In the two years since Star Wars: The Force Awakens was released, it’s been a bumpy ride for my fandom of this once beloved franchise. I thoroughly enjoyed the beginning of this new trilogy, but also found its use of nostalgia to be a bit off-putting. And then came Rogue One, which I did not enjoy much and resulted in me becoming very down on Star Wars and its cinematic future. Thankfully, a recent re-watch of The Force Awakens and the release of the first trailer for Star Wars: The Last Jedi snapped me back to attention and I am now properly excited once more.

So many questions exist that must be answered. How will Rian Johnson fare in the director’s chair and how will the treatment of recently deceased Carrie Fisher be handled? Where is Kylo Ren’s character arc heading and will he evolve into a villain on par with Darth Vader? And who, for the love of all that is holy, are Rey’s parents? The Last Jedi looks amazing, and expectations are sky high. Hopefully not so high that they’re bound to be let down.

2 Hours and 32 Minutes Later.


COMING OUT

A few weeks prior to the release of The Last Jedi, Disney announced that director Rian Johnson would be expanding Star Wars further with a new trilogy. This news sort of tipped Disney’s hand as to how they felt about The Last Jedi because they certainly weren’t going to give Johnson more work if they didn’t like what he’d done in Episode VIII. Well, it all makes sense now, and Johnson has proven that the franchise is in good hands.

The Last Jedi follows a similar path to The Empire Strikes Back, with dual storylines following Rey (who we last saw tracking down Luke Skywalker at his secret hiding place) and the rest of the Resistance separately. But if you’re worried about the film being a beat-for-beat remake of the hallowed Episode V, you can rest easy knowing that it does not do so and instead offers many surprises. It is telling that Luke says, “This not going to go the way you think,” because for (mostly) better and (a few times) worse Johnson twists and turns this tale all over the place, which creates the exhilaration that comes with having no idea what is coming next. After its typical over-the-top opening sequence, Johnson’s film does lag a bit, though, and I felt the overall length more-so than I have in other epics. It’s not that the character development and plotting aren’t important, but it is noticeable compared to the high octane pacing of the film in its second half. And in that second half is where things really shine the brightest as everything and anything can and does happen. The final third of The Last Jedi is as emotionally affecting, gorgeous to behold, and fun to experience as any Star Wars film has ever been.

One thing that really stuck out the most in The Last Jedi was Johnson’s ability to challenge the moral choices of characters both “good” and “bad.” Poe Dameron has to actually deal with the repercussions of his Maverick-esque personality and Finn struggles with being considered a hero. Even Chewie deals with moving on after the loss of his best friend, albeit with a pretty adorable outcome. Many characters are faced with dilemmas that seem easy to solve on the surface but prove to be so much more. I’m not even going to address Rey and Kylo Ren’s arcs because those need to be seen firsthand with no prior knowledge, but I will say that I appreciated where the former ended up more than the latter. One of my disappointments with the film was being left with the feeling that Ren still isn’t a villain worth fearing like Darth Vader. That being said, this is a different story with different relationships in play, and there is much I do like about the complex Kylo Ren.

Acting is solid across the board with Hamill standing out the most. His grizzled, regretful Luke feels very real and sincere. We do finally get to see Supreme Leader Snoke up close and Andy Serkis does his typical great motion-capture work, however the voicing of Snoke sounds a little too reminiscent of Gollum at times and that can be distracting. Also, thankfully, Carrie Fisher’s appearance is handled with the utmost care and respect. She’s not just a side character either, but a very integral part of the the entire film’s plot. One final small criticism would be that the characters are sometimes forced to use very modern dialogue, specifically when the film is being humorous. Many laughed, but I found some lines to just be more eye-roll worthy instead. Luckily these moments are few and far between, nothing that derails the cerebral and intriguing plot.

VERDICT

Star Wars: The Last Jedi is a wonderful next step in this new trilogy and one of most epic cinematic space operas since The Empire Strikes Back. Its unexpected plot choices will have fans gasping in surprise, and many emotional moments will cause a lump in the throat or tears in the eye. As Star Wars has always told us, the Resistance (and Rebellion) operate on HOPE. The story here is no different, but our HOPE in Rian Johnson has also been pleasantly rewarded. Whether you like every choice or not, it’s impossible not to respect the filmmaker’s talent, ambition, and passion, especially as the film’s momentum builds and races home to its incredible conclusion. The Last Jedi is a must-see for fans and should be taken in at the biggest theater possible for full effect. See it soon to avoid spoilers, and may the force be with you always.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 088: Star Wars: The Force Awakens

With the upcoming release of Star Wars: The Last Jedi right around the corner, we take a look back at the first film in this newest trilogy. Star Wars: The Force Awakens was met with great critical acclaim and yet a number of fans also loudly complained that it might just be too nostalgic. We discuss our first experience with the film and how it’s aged for us, now two years later, and get ourselves (and hopefully you) ready for Episode VIII.

Star Wars: The Force Awakens Review – 0:00:01

The Connecting Point – 0:55:40

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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Episode 087: Coco

Pixar’s newest film Coco puts the Mexican holiday of Dia de los Muertos (Day of the Dead) in the spotlight and explores fascinating cultural traditions with its vibrant animation and music. We discuss how Coco makes us feel and also talk about Kedi, a wonderful documentary about the cats roaming the streets of Istanbul and the people who love them. This episode is a happy one, and we hope our conversation captures the joy that these two films brought us.

Kedi Review – 0:01:34

Coco Review – 0:16:22

The Connecting Point – 1:06:30

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: The Shape of Water

THE SHAPE OF WATER (2017)


GOING IN

Guillermo del Toro makes gorgeous films. Whether it’s horror, comic book characters, live-action cartoon, or fantasy, the visual aspect of his movies is always a treat. Now he returns with his first straight fantasy since the much beloved Pan’s Labyrinth. Expectations are (understandably) very high for this story of a mute worker in a secret government lab who discovers what appears to be a merman, or the creature from the black lagoon. Set during the Cold War era, it won’t be surprising at all if someone tries to use this creature as a weapon. The film’s story is the kind of fantastical adventure that del Toro could do wonders with, and I expect a twist or two as well.


COMING OUT

Honestly, there is much to like about del Toro’s The Shape of Water. Sally Hawkins turns in an incredible, emotionally-driven silent performance as the mute protagonist Elisa Esposito. Her acting is noteworthy because so much of it requires facial expression and body language to convey nuanced changes in feeling. She is often acting opposite a creature that cannot communicate with her verbally and this results in an intriguing relationship as she sorts out ways to connect with him. It is the wide range of emotions she conveys that actually makes her stand out the most, though. At times tender and caring, other times sad and longing, and ultimately strong  and determined. Also turning in a great performance is Michael Shannon as the film’s antagonist, a cruel and abusive Colonel that discovered the creature (which he coldly refers to as an “asset”) and along with his superiors wants to dissect and study it for possible scientific advancement in space travel technology. Shannon owns this role of a villain and becomes easy to hate. It’s a top-notch portrayal of evil and there isn’t much complexity to his character – whether that’s for better or worse will depend on your taste.

Dan Lausten’s cinematography accents its mostly shadowy colors with moments of vivid color to highlight emotion. The whole film has a noir feel to it without ever being traditionally black and white. Since the majority of the story takes places inside of a bunker or apartment, there isn’t much sunlight in the picture, but it fits this dark fairy tale’s tone perfectly and at least gives the viewer something pretty to look at despite the film’s surprisingly violent content throughout. The creature design is unsurprisingly fantastic. He, of course, has some secrets to reveal and discovering what those were was interesting and eventually vital to the plot.

Where The Shape of Water doesn’t work is in the direction it takes with the relationship between Elisa and the creature. One of the first scenes we see is a fully exposed Hawkins pleasuring herself in the bathtub and that sets the tone for what is to come. Elisa is a woman who has sexual desires and conveying that is not a bad thing. However, del Toro’s method feels unnecessary and sets the tone for a disturbingly sexualized human/creature relationship. If you weren’t certain before, this is a very adult fairy tale, and this one underlying plot point can really derail the entire film for those who are turned off by it. Imagine for a moment if Beauty and the Beast’s love story included him remaining a Beast and the viewer was shown the two having a sexual relationship. What takes place in The Shape of Water is akin to that, minus a believable romance. Ultimately, the film does give the relationship some meaningful touches, with sacrifice and trust coming into play, but the overall path of it can be so off-putting that enjoying the film becomes impossible.

VERDICT

It’s too bad when a film is ruined by one particular choice. There was so much potential here for this to be an intriguing new dark fairy tale, but del Toro’s choice to sexualize a relationship that didn’t need it makes this a hard film to recommend to all viewers. The violence is more frequent than expected and also quite brutal at times, and there is no real hope of redemption for the villains. Despite a gorgeous aesthetic and score, these story elements made it difficult for me to enjoy and I’ll be a lot less likely to get excited about another del Toro adult fairy tale in the future because of it.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.