You Should Be Watching: May 24-30

Posted on by Jacob Neff.

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, FilmStruck, and anywhere else streams are found. This week, I’m recommending one of the most classic of Westerns, a film about the love of cinema, and Don Bluth’s magical animated directorial debut about mice and rats. Also, among the films coming and going Coco arrives on Netflix this week and I, Tonya on Hulu.

 

STREAMING PICKS OF THE WEEK

High Noon

Year: 1952

Director: Fred Zinnemann

Genre: Western

Cast: Gary Cooper, Grace Kelly, Thomas Mitchell, Lloyd Bridges, Katy Jurado, Otto Kruger, Lon Chaney Jr., Harry Morgan, Ian MacDonald, Eve McVeagh, Morgan Farley, Harry Shannon, Lee Van Cleef, Robert J. Wilke, Sheb Wooley, Jack Elam, John Doucette, Ted Stanhope, Lee Aaker, Guy Beach, Larry J. Blake, John Breen, Tex Driscoll, Herschel Graham, Paul Kruger, William H. O’Brien, Roy Bucko, Russell Custer, Nora Bush

 

<i>High Noon</i> is the epitome of the classic Western, featuring a small Old West town with a virtuous good guy lawman named Will Kane (Gary Cooper) and a formidable bad guy outlaw (and his gang) named Frank Miller (Ian MacDonald), who is headed for town to get revenge against Kane for sending him to prison. To complicate matters even more, our hero, Marshal Kane, has just turned in his badge so he could marry his love, a pacifist Quaker named Amy (Grace Kelly), and with the news of Miller’s gang having arrived with Miller soon to follow, the newly married couple are rushed out of town in hopes of avoiding bloodshed. But Kane is torn between the love he has for his new bride and his duty to the unprotected town he was to leave behind, even though he struggles to find anyone willing to help him defend it.

This film is tightly scripted and tension-filled with the ever-present clock serving as a ongoing countdown towards the likely demise of both Kane’s life and his young marriage. And Amy’s discovery of “another woman” only makes matter worse. With each minute that passes, and with each request for help that’s refused, the desperation grows. Gary Cooper is a perfect fit for the Marshal role, stoic but heartfelt. Grace Kelly, in only her second film, delivers a wonderfully complex performance as the bride who loves her husband dearly but also has her own values to which she is fiercely loyal and refuses to sit around waiting for him to get killed.

EXPIRING: Last day to watch is 5/31

 

Cinema Paradiso

Year: 1988

Director: Giuseppe Tornatore

Genre: Romance, Drama

Cast: Philippe Noiret, Jacques Perrin, Marco Leonardi, Salvatore Cascio, Agnese Nano, Antonella Attili, Enzo Cannavale, Isa Danieli, Leo Gullotta, Pupella Maggio, Leopoldo Trieste, Tano Cimarosa, Nicola Di Pinto, Roberta Lena, Nino Terzo, Brigitte Fossey, Mariella Lo Giudice, Beatrice Palme, Franco Catalano, Giuseppe Tornatore, Giorgio Libassi, Mimmo Mignemi

 

If you love movies, if you love the cinema, if seeing the magical images flicker through the darkness on the screen in front of you fills you with the greatest of joys, <i>Cinema Paradiso</i> is for you. The film opens by introducing us to famous fictional film director Salvatore Di Vita receiving the news that Alfredo has died. Who is Alfredo, and what was his relationship with Salvatore? Flashing back to Salvatore at age 6, shortly after World War II, that story begins. Even at that young age, Salvatore, played with the utmost of precociousness by Salvatore Cascio, develops an intense love for the movies by practically living at his village’s local theater, the Cinema Paradiso, where we first meet Alfredo. But as the seasons of Salvatore’s young life go on, we learn he is no stranger to tragedy and must learn how to overcome. All the while, he continues to explore the world of film and develop the skills and experience that would turn him into the the master filmmaker he ultimately becomes. Over the course of the story, we experience various seasons of his young life and ultimately discover the positive and lasting impact one can have on a child’s life simply by taking the time to invest in him.

 

The Secret of N.I.M.H.

  

Year: 1982

Director: Don Bluth

Genre: Animation, Drama, Family, Fantasy

Cast: Derek Jacobi, Elizabeth Hartman, Arthur Malet, Dom DeLuise, Hermione Baddeley, Shannen Doherty, Wil Wheaton, Jodi Hicks, Ian Fried, John Carradine, Peter Strauss, Paul Shenar

 

Don Bluth, the animation director perhaps most famous for the prehistoric classic <i>The Land Before Time</i> came out of the gate swinging with his directorial debut <i>The Secret of N.I.M.H.</i>, a brisk adaptation of the novel <i>Mrs. Frisby and the Rats of N.I.M.H.</i>. Creatively combining science and dark fantasy with surprisingly mature themes such as the imminence of death and the ethics of animal experimentation, Bluth created a magical, vibrant, world rich in mythology and full of stunning hand-drawn animation that rivals most Disney features and will appeal to young and old alike. It’s inspiring to see the lone mother and widow Mrs. Brisby, voiced by Elizabeth Hartman, doing everything within her power to care for her children and save her sick son. While there is a tone of mystery and wonder throughout, unlike in many animated films, the audience is not spoon-fed information. Viewers are expected to pay attention, and they will be rewarded for doing so. Just for fun, listen for a very young Shannen Doherty and Wil Wheaton as Mrs. Brisby’s firstborn daughter Teresa and son Martin.

EXPIRING: Last day to watch is 5/31

COMING AND GOING

LAST CHANCE (last date to watch)

NETFLIX

May 27
Black Coal, Thin Ice (2014)
Middle of Nowhere (2012)

May 29
The Jungle Book (2016)

May 31
Janis: Little Girl Blue (2015)
Men In Black (1997)
My Left Foot: The Story of Christy Brown (1989)
Oldboy (2003)
Scarface (1983)
The Lord of the Rings: The Fellowship of the Ring (2001)
The Resurrection of Jake the Snake (2015)
Training Day (2001)

 

AMAZON PRIME

May 30
1984 (1984)
A.I. Artificial Intelligence (2001)
Breakdown (1997)
Chaplin (1992)
Glengarry Glen Ross (1992)
Manhattan (1979)
Regarding Henry (1991)
The Secret of N.I.M.H. (1982)

May 31
From the Rocky Collection:

Rocky (1976)
Rocky II (1979)

From the James Bond Collection:

Dr. No (1962)
From Russia with Love (1963)
Goldfinger (1964)
The Spy Who Loved Me (1977)

 

FILMSTRUCK

May 25
Brighton Rock (1948)
Carol Reed:

The Fallen Idol (1948)
The Third Man (1949)

May 31
High Noon (1952)

June 1
House of Flying Daggers (2004)
A Night At The Opera (1935)

June 8
Christopher Guest:

Best in Show (2000)
Waiting for Guffman (1996)

Elia Kazan:

On the Waterfront (1954)
A Face in the Crowd (1957)

 

HULU

May 31
1984 (1984)
Breakdown (1997)
Manhattan (1979)
The Secret of N.I.M.H. (1982)

 

JUST ARRIVED

NETFLIX

Cargo — NETFLIX FILM (2017)
Bridge to Terabithia (2007)
Small Town Crime (2017)
The Survivor’s Guide to Prison (2018)

 

AMAZON PRIME

Beatriz at Dinner (2017)
The Black Stallion (1979)
Death at a Funeral (2007)

 

FILMSTRUCK

The Asphalt Jungle (1950)
The Maltese Falcon (1941)
The Man Who Would Be King (1975)
The Treasure of the Sierra Madre (1948)

 

HULU

Beatriz at Dinner (2017)
Justice League: The Flashpoint Paradox (2013)

 

COMING THIS WEEK

NETFLIX

May 29
Coco (2017)

May 31
Bombshell: The Hedy Lamarr Story (2017)

 

HULU

May 31
I, Tonya (2017)
Rain Man (1988)

 

Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: Solo: A Star Wars Story

Posted on by Aaron White.

SOLO: A STAR WARS STORY (2018)

2 Hours and 15 Minutes (PG-13)

I’ve been on record as worrying quite a bit about Solo: A Star Wars Story (henceforth in this review know as Solo, because a one-word title just makes sense doesn’t it?). The first Star Wars anthology film, Rogue One, significantly underwhelmed me, and here a second prequel was attempting to unnecessarily go back and fill in gaps in the Star Wars timeline. But this time it required the dangerous risk of recasting one of the most iconic characters in movie history. I love Han. We all love Han. And Harrison Ford is Han. So, I’ve been pretty skeptical that Alden Ehrenreich could step into those enormously talented shoes and deliver a compelling enough performance to make us truly believe that he, too, is Han.

But folks… it happened.

It wasn’t right away, though. Solo wastes no time in introducing us to young Han the scoundrel, but despite an exciting chase sequence and Han trying to talk his way out of a pickle, Ehrenreich just wasn’t connecting for me. As the story went on, though, my expectations and presumptions about how young Han should act began to decline and he slowly transformed. When Han meets Lando, I was all in, having witnessed enough smirks, snark, and charm to really believe in this new version of the character. And by the time the credits rolled, I had to repent. Because maybe he’s not perfect, but young Han he is.

The thing to remember first and foremost about Solo is that it’s not a Star Wars saga film and thus doesn’t abide by the same storytelling rules. The question isn’t IF Han will make it out of situations safely, it’s HOW he will make it out. This is an intergalactic heist film and an origin story. Seriously, we learn the origin of EVERYTHING. Han’s lucky dice? Covered. Han’s blaster? That too. The Kessel Run? It’s definitely mentioned. How Han met Lando and Chewie? Of course. And so, so much more. Honestly, it could have been overkill. Maybe for some it will. But for me it struck the perfect balance, giving me depth and insight into a beloved character without ever stopping the plot to draw attention to a reference. All of it was woven seamlessly into the narrative. It made sense, and I loved every single wink and nod to the stories we all know so well.

Another strength of the film is that Solo doesn’t go solo. The film features a host of flat-out wonderful supporting actors and droids. Qi’ra (Emilia Clarke) is a fantastic addition to the canon and through her we are able to learn about Han the lover and what kind of woman he’s attracted to. Beckett (Woody Harrelson) provides Han with a mentor of sorts, someone who teaches him tricks of the trade and many life lessons. Then there is Lando, played as perfectly by Donald Glover as you’d expect, showing us how the two young smooth-talking smugglers came to their complicated friendship. The chemistry between Ehrenreich and Glover is definitely present and if I had one gripe it would be that I just wanted more of this duo together. Paul Bettany chews up scenes wonderfully as a bigshot gangster and leader of crime syndicate Crimson Dawn, the perfect subtle villain for a smuggler’s origin story. And L3-37 (yes, that spells “leet”), Lando’s droid, is hilariously liberal while also playing a surprisingly touching role in the tale.

The adventure itself is a ton of fun. Han, as you would expect, gets himself into a situation that involves stealing, smuggling, fancy flying, and generally getting shot at along the way. But it isn’t just fun, it’s a well-written story that thoroughly explains how the swashbuckling rogue became the man who may or may not shoot first, doesn’t trust anyone, and primarily looks out only for himself. All of the action pieces are also wonderfully done, from the big set pieces to the brief one-on-one fight sequences, and the cinematography is just as gorgeous as always. The film’s score stands out, too, with John Powell bringing a hint of his How To Train Your Dragon sound to the familiar Star Wars themes, particularly when the Millennium Falcon is speeding through the galaxy.

VERDICT

Solo: A Star Wars Story is one of the best origin stories ever told. It fills in details for so much of a beloved character that you may be shocked they could cover it all. The action and adventurous tone make for one heck of an enjoyable movie experience and Ehrenreich importantly embodies young Han, growing into the character over the course of the film. Though some may find parts to be cheesy or unnecessarily connected to past films, my expectations were thoroughly surpassed and as the final scene played, I found myself wanting to cheer. Solo is a great example of the kind of light-hearted, fun stories that can be told in this universe and further continues Disney’s fantastic year of blockbusters.

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 the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 110: Big Trouble in Little China

Posted on by thisispatch.

In Episode 110, Aaron takes a break to continue Seattle International Film Festival coverage, so Patrick calls in a friend of the show who is well-versed in the movies of old, Francisco Ruiz from Retro Rewind Podcast. Big Trouble in Little China has become a cult classic and there is a lot of admiration present as the guys discuss John Carpenter’s famous fantasy-comedy-adventure.

Big Trouble in Little China Review – 0:02:28

The Connecting Point – 0:42:17


 Contact


Join the Facebook Discussion Group

Powered by RedCircle

Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Lu Over the Wall

Posted on by Aaron White.

LU OVER THE WALL (2018)

1 Hour and 52 Minutes (PG)

Lu Over the Wall is the newest animated feature from visionary anime director Masaaki Yuasa, and tells the story of a small fishing village that is impacted by the appearance of a mermaid who comes ashore to join a middle-school band. It’s a twist on the classic fairy tale The Little Mermaid and features elements that will remind viewers of other films, too – specifically Miyazaki’s Ponyo, Best Picture winner The Shape of Water, and the under-seen musical hit Sing Street. Yes, it’s a little bit insane. But while these references seem similar on the surface, Yuasa’s film forges its own path and becomes some entirely unique.

The biggest thing that sets Yuasa apart from other anime giants like Miyazaki, Shinkai, and Takahata is the animation style. Visually striking and lavishly colorful in the present, it melts into an older style of animation when characters recall the past. The animation is also very busy and moves fast. At times it can be so frantic that it’s hard to follow and feels like you’re staring into a rapidly spinning kaleidoscope. Always, though, it provokes a sense of joy and wonder. Full of character designs like you’ve never seen before (mer-dogs!), if it doesn’t give you a headache the art style will most certainly captivate you and hold your attention.

As for the story, Lu’s friendship with Kai and his middle-school rock band Siren is at the center of the narrative. In this world, mermaids are attracted to music. Naturally, not everyone in the village likes mermaids. While some want to use their existence for profit in the tourist industry, others want to kill them all, and a select religious few wish to live in harmony alongside them. The conflict arises out of these differing opinions, but relational issues exists between Lu and her bandmates as well. This is where the heart of the film lies and the way it tackles feelings of depression, friendship, love, and chasing dreams is beautifully woven into this fantastical tale. That being said, for the most part it keeps things light, but there are elements of the plot that deal with some tougher emotions. In trying to juggle quite a few sideplots the film does seem to get away from Yuasa and perhaps go on a bit long.

VERDICT

Lu Over the Wall is a great reminder of why we watch movies. Yuasa is a director willing to take chances and it is exciting to participate in a cinematic experience like that. This is a beautiful film, overflowing with cuteness, and filled with solid positive messages. It is also a musical that will have you humming along and tapping your feet whether you fully follow the plot or not. Unforgettable animation is rare, but Lu Over the Wall is just that and therefore is a must-see experience.

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 the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 107: Avengers Infinity War

Posted on by thisispatch.

After 10 years and 18 films, Marvel’s ambitious, unique interconnected world of superhero films comes to this, a team-up movie the likes of which we have never seen before. Historic in its scope and in its box office success, Avengers: Infinity War is a special blockbuster and one that provides plenty to discuss. We’ve been chomping at the bit to talk about this one, its place in the MCU, and where Marvel goes from here.

Avengers: Infinity War Review – 0:02:33

The Connecting Point – 01:27:30


 Contact

Join the Facebook Discussion Group

Powered by RedCircle

Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Avengers: Infinity War

Posted on by Aaron White.

AVENGERS: INFINITY WAR (2018)

2 Hours and 29 Minutes (PG-13)

Marvel and The Russo Brothers had a very daunting task before them. Paying off the culmination of a decade of build-up and backstory, stretching over 18 films, is a challenge unlike any studio or director in Hollywood had ever faced. And to accomplish this feat, they worked with what has to be the largest cast of known stars ever assembled for a movie. The ambition of Marvel and its commitment to the cinematic universe it pioneered is worthy of praise and respect.

If there’s one thing I was looking for in Avengers: Infinity War, it was raised stakes. Much like the comic books these films are based on (in which characters rarely die and cities are destroyed without much afterthought), Marvel films have not fully dealt with loss in a way that seems realistic. Right from the start of Infinity War, though, Marvel makes it very clear that has changed. The potential consequences of a Thanos (Josh Brolin) victory are evident and the film progresses with an emotional weight and sense of urgency that it could not have attained if the studio followed its same old formula. This also creates much more investment in characters and the worlds they inhabit, and thus pays off quite a few very moving scenes in a much bigger way. If you haven’t cried in a Marvel movie before, you’re not alone, but this may be your first. I had genuine chills a few different times. But don’t worry, that trademark Marvel humor and witty one-liners are still there and won’t have you depressed for too long at a time.

Another area that Marvel outdoes previous films in their own franchise is with Thanos himself. Make no mistake, this is his film and his story. He is a fully developed villain with more screen time than any before him, and it helps to create a character with whom the audience can both despise and yet struggle with feelings of empathy for. Brolin’s talent is very obvious in this performance despite the incredible looking CGI that encompasses him. His Thanos is not just some loud, angry, destructive villain. He is intelligent and calculating. He is nuanced. He is cold, yes, but when he gives his reasons for what he wants to do with the Infinity Stones and why, in a very warped way it makes some sense. His presence as the foil to the Avengers and Guardians gives this film something unique and memorable.

With a cast this large it is inevitable that not everyone’s favorite will have the responsibility or amount of action they hope for. The Russo’s do an admirable job of balancing these heroes, however, and somehow left me feeling satisfied. Sure, a little more backstory or deeper character moments for them all would be nice, but it’s also unrealistic to expect in a single film of this length. By managing to give everyone at least one small moment in the sun, the Russo’s succeed where I believe many would have failed. Another result of keeping most character development small is that the film moves fast, pausing a few times for majorly impactful storyline beats, but mostly cutting between different groups of heroes working to accomplish different tasks. By keeping the heroes in smaller groups, we get to feel more focused when we’re with them, and enjoy the new forms of dialogue that emerge between characters who previously had not interacted.

The action in Avengers: Infinity War is, as expected, fantastic. Seeing heroes fight together with new gear and weapons, or teaming up in ways never experienced by movie goers before, was a huge treat. In one major battle that involves a host of heroes and countless alien attackers, the Silvestri score and rising stakes create a feeling similar to that in the Battle of the Pelennor Field from The Return of the King. While Avengers: Infinity War never quite reaches that level of epic, it comes much closer than many (myself included) ever thought possible.

VERDICT

If you’re thinking that this review is a but vague, please know that is by design. Fans have waited 10 years for this and going in with as little information possible is going to result in the best viewing experience. Avengers: Infinity War isn’t entirely unpredictable, but it’s got some surprises too. The historic puzzle that the Russo Brothers have put together is nothing short of amazing and will lend itself to multiple viewings. Perhaps that’s the highest praise possible for a film of this kind, that after it finished I immediately would have sat through those 2.5+ hours again. To sum it all up, Avengers: Infinity War lived up to the hype by being both entertaining and emotional. Well done, Marvel. Well done.

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.

August 2018 – “Choose Your Director Month”

Posted on by Aaron White.

In January 2017, Feelin’ Film had its inaugural Director Month, covering the films of our favorite director – Christopher Nolan. Going through a single director’s films over the course of several weeks in a row provided a unique perspective on how his work had evolved, and was one of the most enjoyable things we’d done. So, in January 2018, we chose to make Director Month an annual occurrence and covered the films of Stanley Kubrick. This, too, was a wonderful experience for us and left us anxious to do it again.

Looking forward at the new release schedule, we have identified August 2018 as a great time to slip in another Director Month. But this time, we want YOU, our listeners, to choose whose filmography we dive into. Below you will find a list of directors and the corresponding films we would discuss. This is your chance to tell us what you want to hear us talk about on the podcast, and you can vote by clicking on the link below to join our Facebook Discussion Group and selecting your preferred choices in the poll.

Vote Here

Tony Scott

THE LAST BOY SCOUT
MAN ON FIRE
CRIMSON TIDE
DAYS OF THUNDER

Michael Mann

HEAT
COLLATERAL
THIEF
MIAMI VICE

Michael Bay

PAIN AND GAIN
TRANSFORMERS
PEARL HARBOR
THE ROCK

Jeff Nichols

MUD
SHOTGUN STORIES
TAKE SHELTER
LOVING

David Fincher

SE7EN
ZODIAC
FIGHT CLUB
GONE GIRL

Coen Brothers

FARGO
NO COUNTRY FOR OLD MEN
INSIDE LLEWYN DAVIS
THE BIG LEBOWSKI

Clint Eastwood

UNFORGIVEN
MYSTIC RIVER
AMERICAN SNIPER
MILLION DOLLAR BABY

James Cameron

THE ABYSS
TITANIC
ALIENS
TRUE LIES

Martin Scorsese

GOODFELLAS
HUGO
THE DEPARTED
TAXI DRIVER

Wes Anderson

THE GRAND BUDAPEST HOTEL
MOONRISE KINGDOM
ISLE OF DOGS
FANTASTIC MR. FOX

Kathryn Bigelow

ZERO DARK THIRTY
THE HURT LOCKER
POINT BREAK
NEAR DARK

Episode 102: Pacific Rim Uprising

Posted on by thisispatch.

For the second week in a row, we tackle a new blockbuster action film, this one featuring heavy CGI work. We both love Guillermo Del Toro’s Pacific Rim, and a sequel with more giant robots punching giant monsters can’t possibly be messed up, right? We discuss our reactions to and (lack of) feelings for the fun but forgettable Pacific Rim Uprising. Also included are reviews of Wes Anderson’s new stop motion film, Isle of Dogs, and the 1971 Steven Spielberg thriller, Duel.

What We’ve Been Up To – 0:01:10

(Aaron – Isle of Dogs, The Films of Wes Anderson)
(Patrick – Duel)

Pacific Rim Uprising Review – 0:15:59

The Connecting Point – 0:53:43


 Contact


Join the Facebook Discussion Group

Powered by RedCircle

Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Pacific Rim Uprising

Posted on by Aaron White.

PACIFIC RIM UPRISING (2018)

GOING IN

Giant robots. Giant monsters. The original Pacific Rim is an amazing example of what an incredibly talented (and now Oscar-winning) director can do when he wants to make a movie about playing with childhood toys. The film is so much fun, so I’m all in for more of it. Expectations are set appropriately lower due to this not being directed by Guillermo Del Toro, nor having Idris Elba, but if it can provide half as much entertainment as the first film did then it will be a success. Again… giant robots… giant monsters. Win.

1 Hour and 51 Minutes Later.

COMING OUT

Pacific Rim Uprising wastes no time in setting its tone, opening with a serious sounding recollection of events from the first film and leading into an incredibly comedic introduction to Jake Pentecost (John Boyega). Jake is the son of Marshall Pentecost, the famous leader and hero who led the Jaeger team that closed The Breach, sealing off access to our world by the Precursors. Now that the war is over, and his father gone, Jake is having trouble finding his place, and Pacific Rim Uprising’s emotional focus is primarily on his journey to discover his identity and embrace it. It’s a soft focus, though, as Pacific Rim Uprising is largely a comedy first and action film second, with light dramatic moments sprinkled in for character development.

The story revolves around Jake meeting a young orphan named Amara Namani (Cailee Spaeny) and the two troublemakers finding themselves forced to relocate to The Shatterdome (a.k.a. Jaegar base headquarters, I think). Jake has beef with his former drift partner Nate (Scott Eastwood) to sort out, including some underlying competition for the attention of Jules (Adria Arjona), and Amara must try and integrate with a group of other cadets who see her as an outside who didn’t earn her way into their squad. Big picture wise, the Shao Corporation led by Liwen Shao (Tian Jing) is preparing to pitch a new drone system to the world. This new tech, developed in large part by Dr. Newton Geiszler (Charlie Day), will in theory provide hundreds of drone Jaegers for defense that can be operated remotely from anywhere in the world. Sounds like a good plan, right? Right. Which, of course, means things must go terribly wrong. And so they do.

The important thing to keep in mind about the plot and general comedy-driven nature of Pacific Rim Uprising is that this is 110% stylistically a live-action anime. The characters are over-the-top. Dialogue is cheesy. Acting is pronounced and silly. Reality is often thrown out the window in favor of whatever looks the coolest. Extreme close-ups of single characters talking is frequent. And the action is big, big, big. This is not a typical American action film where drama is the driver and most of the comedy is in quick quips while the action is kept center stage, and so expecting that is going to result in a major letdown. Even those who are fans of the original Pacific Rim may have to adjust to this sequel because it has much more humor and less of a “weight of the world on our shoulders” feel to it.

When it comes to action, Pacific Rim Uprising does mostly deliver what fans want. Four Jaegers with unique abilities and some surprises make for fresh action. Those wanting start-to-finish fighting do get what feels like more action than in the predecessor, and Jaeger pilots don’t hold back until the final moment to deploy their weapons this time around. Unfortunately, most all of those weapons and many of the best action shots were revealed in trailers during the film’s marketing campaign, leaving precious few “OMG WOW THAT JUST HAPPENED” reactions during the film. There is also perhaps a drop in quality of the action scenes. One character in the film suggests that “bigger is always better”, but ironically this may prove otherwise. Nothing comes close to being as powerfully emotional and stunning as the chain sword usage in Pacific Rim. In short, Pacific Rim Uprising seems to have gone with quantity over quality in the action department.

Though there is a lack of strong emotion, the film does have its moments. Jake and Nate’s relationship is a bit like Maverick and Iceman. Jake also develops a relationship with Amara throughout the film and together they provide some of the most affecting scenes. Newt and Hermann (Burn Gorman) reunite, much to the joy of many fans, and their hilariously awkward and sweet relationship offers plenty of laughs this time around, along with a few new twists. The actor’s performances are precisely what the tone and style of the film ask for. Boyega seems to be having a lot of fun playing the snappy, funny, would-be-hero and Scott Eastwood is… well, he’s Scott Eastwood, playing the same character he does in films like The Fate of the Furious and Suicide Squad. And though she isn’t featured heavily, the lovely Tian Jing is fantastic as the smart, strong Shao.

 VERDICT

Regrettably, yet not unexpectedly, Pacific Rim Uprising does not reach the mind-blowing heights of its predecessor. In cranking the anime styling up to 11, it loses the balance between epic and cartoon that makes Pacific Rim so great, and a portion of its fan-base that needs things a bit more serious will likely be less than impressed. For those who enjoy this kind of craziness, though, watching the film (especially with a crowd of like-minded fans) is an absolute blast. It may be ultimately forgettable, but its laugh-out-loud humor and robot vs. monster battles still make Pacific Rim Uprising worthy of seeing on the biggest screen possible at least once.

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: Isle of Dogs

Posted on by Aaron White.

ISLE OF DOGS (2018)

GOING IN

Wes Anderson is known for his colorful, whimsical style of filmmaking, which has earned him legions of devoted fans. His films are almost always beautiful and can be seen as period pieces, since none of them have ever taken place in the present. Thus far, I’ve only found one of his films to be spectacular, and that is Fantastic Mr. Fox. I do feel that should I revisit his films, I might discover myself enjoying them more because my tastes have changed quite a bit in the past few years and I now highly value the kind of technical precision Anderson employs. What I know about Isle of Dogs: it has unique, gorgeous stop-motion animation, is set in a dystopian sci-fi future, has talking dogs, and revolves around a boy trying to find his lost pet. Consider me highly intrigued.

1 Hour and 41 Minutes Later.

COMING OUT

“Who are we? And who do we want to be?”

These questions, posed by a dog, to other dogs, are the kind of existential nuggets slid into most Anderson films. Here, there is something particularly powerful about them coming from an animated talking pet, as it really drives home the awareness these dogs exhibit throughout the film. Never does Anderson allow us to lose perspective – a dog is an animal and they act accordingly – but this additional layer of thoughtfulness gives them profound human depth, making it all the easier to emotionally resonate with how they feel. It also encourages us to ask the same of ourselves…

At its heart, Isle of Dogs in an adventure story. The film opens with historical background on the Japanese Kobayashi Dynasty (cat lovers) and tells of how dogs once were nearly wiped from the earth, overtaken by cats, but saved by a young samurai boy. Time passes and dogs become the loving pets we know of today, but then mysterious illnesses such as the Dog Flu and Snout Fever begin to appear and spread rapidly amongst the canine population in Megasaki City. Mayor Kobayashi (Kunchi Nomura) decrees that all dogs will be banished to Trash Island in an effort to supposedly keep the city healthy, but of course the feline-loving empire has other reasons as well.

The first dog to be banished is the guard dog Spots (Liev Schreiber), who was assigned to protect Mayor Kobayashi’s young nephew, Atari (Koyu Rankin). This sets in motion the primary story events, which revolve around Atari venturing to Trash Island to find his beloved dog, and instead coming across a pack led by Chief (Bryan Cranston), that also includes Rex (Edward Norton), Boss (Bill Murray), Duke (Jeff Goldblum), and King (Bob Balaban). As this adventure progresses, Atari and the pack begin to bond, and much is explored about the relationship between man and man’s best friend. Atari never speaks English (and there are no subtitles), but it’s always perfectly clear what he is trying to say. Meanwhile the dogs speak in typical Wes Anderson style, with a dry wit about them, providing most of the movie’s adorable humor. Anderson’s minimalist screenplay really allows the incredible animation and fantastic score to be equally provocative, too. Characters eyes fill with tears on multiple occasions and the sight of it alone is enough to send most viewers reaching for the Kleenex. It’s unsurprising, of course, seeing as how Anderson is known for such detailed work, but at the same time the animation is so mesmerizing that it almost becomes entrancing. There is a style and uniqueness here that not only shows great skill, but really elevates the emotion of the story.

This coming-of-age tale for both boy and dog is also chock full of subtle political and social issues. In a sense the Mayor is deporting an entire race that he seems to hate for no real reason at all, other than he prefers another one. Most of these issues are brought up by Duke in the form of him telling the gang about rumors he’s heard, so while they are effective and can get adults thinking, they’re also woven seamlessly into the narrative in a humorous way. There’s also Tracy (Greta Gerwig), a foreign exchange student who believes a major conspiracy is afoot and is determined to find the truth about Mayor Kobayashi’s actions. Her dedicated efforts may be played for laughs, but she serves as a great character example of what it’s like when someone tries to fight the establishment and challenge what they consider to be poor (or downright evil) leadership.

Isle of Dogs may look and sound like a fun adventure story for kids, but there is some death and there are more complex themes covered. The issues of identity touched on earlier, and how to handle changing responsibilities, are key parts of this story and may go over the head of younger viewers, but they likely will be so enamored with the sweetness of the relationship between the dogs and Atari that they’ll still enjoy it just fine. There are also broken family issues (sometimes between species), as is almost always the case with Wes Anderson films. So, for those who look deeper, Anderson has given plenty to chew on while watching and long afterward.

It’s also important to note the amazing score by Alexandre Desplat. Fresh off winning an Academy Award for his won in The Shape of Water, he once again proves to be a force. Anchored by a traditional Japanese drum-baseline, the music will have you tapping your fingers and whistling all the way home. When Anderson decided to set this story in Japan he smartly brought on writer Kunichi Nomura to help ensure he referenced the culture appropriately, and Desplat’s score seems to fall right in line.

VERDICT

Isle of Dogs is a richly imaginative film, highlighted by playfulness and emotional depth that anyone who owns a dog will easily connect with. It’s drenched in Anderson’s typical style, that is to say technically marvelous, and its brilliant marriage of sly humor, sincerity, and beautiful animation make this an adventure well worth embarking on. It also made this lifelong cat owner want a dog. Well played, Mr. Anderson.

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.