I think this sci-fi action movie directed by John Woo (who also made RedCliff) deserves a better reputation than it has. I like it better than all the other movies that were made from Philip K. Dick stories that I’ve seen so far (Blade Runner, Total Recall, Minority Report, Impostor), except for maybe The Adjustment Bureau. The premise is memorably fascinating (thanks, Phil) and the rest of the movie holds up reasonably well if you’re not expecting a cinematic masterpiece. (Yes, yes, you love Blade Runner. Fine. But I don’t, and at any rate Blade Runner isn’t fun, it’s grim.)
In Paycheck, Michael Jennings is a smart but lonely guy who gets paid to reverse-engineer (and improve) high-tech products. After each short-term contract job is completed, his memory is wiped of the work he did. What if, during the longest, highest-paid stint of his career, he learned that his boss had some kind of terrible plan? He’d still have to have his memory erased at the end of the job, but he’d need a way to tell himself how to escape the trap he was in while preventing his boss from carrying out the plan…
How does he escape, what is the plan, and how does he stop his boss? Watch the movie!
It’s impossible to talk about Predestination without giving away important surprises. If you’ve read the Robert E. Heinlein story All You Zombies, although I gather the story is a bit different, you more or less know how the story goes and can proceed to the plot summary. If not, go watch the movie! It’s a very clever retro-futuristic sci-fi thriller, and has nothing to do with actual zombies.
I think the vagueness of the looming disaster that the protagonists have to avert prevents the movie from being a great one, but there’s lots to delight the imagination in Tomorrowland, and the underlying message, the glorification of hope and creativity, is one I can get behind.
I don’t know who this retro-futuristic dys/utopian sci-fi/fantasy family mystery/thriller nostalgic road adventure movie was made for, because it’s got admirable protagonists in three different age groups, and that’s not the only thing that makes it a bit strange. Whatever else it may be, however it might be said to fail, it’s definitely original.
Previously, my husband and I saw part of Baby Driver in the theatre, but the equipment broke and we didn’t see the end.
My predictions for what would happen were pretty far off! Already a strange movie, Baby Driver just kept getting stranger. I’m so glad we managed to return to the theatre to see the ending, and I’m glad we chose to see it in the first place. It was interesting and different. (Now I really want to see Ant-Man because it’s by the same director.)
See below for ways I was wrong or right, the things I noticed the second time around, the beat sheet for the end of the movie, and a list of interesting movie-related articles.
Modern technology is great, right? For a while now it’s been the case that when you go to a movie theater, they don’t have to change projectors and load film reels during screenings because all the film has been spliced together and plays through one projector.
Screenings in Singapore, the ones that aren’t IMAX or 3D, all seem to bear the label “Digital”, so one assumes that perhaps in most cases, there’s no film at all. Maybe that upsets traditionalists, and maybe there are some things about analog films that are better than digital films, and connoisseurs will prefer to make pilgrimages to theatres that stick to older-style projectors, but on the whole I assume digital screenings are an improvement.
My assumption was tested when my husband and I went to watch a digital screening of Baby Driver. Somewhere maybe two-thirds of the way through, we lost the picture. The audio continued, but all we could see were some colorful, unmoving shapes and stripes on the screen. The few of us in the small theater seemed to wake as if from a dream, and started looking around awkwardly.
Someone was found to complain to, the audio and screen were shut off, hasty, vague explanations were made, people passed the time on their mobile phones. They never managed to get the movie going again. We agreed to accept movie ticket vouchers and come back another day.
Below is a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder’s Save the Cat. I’ve included my predictions for what I think happens in the last third of the movie, which I didn’t see (or read about online).
Considering the two movies as parts of a whole, it’s not surprising that the first one is more playful and triumphant and the second one is bloodier and more sombre. The theme of the first movie is that David Can Beat Goliath; the theme of the second movie is that War Is Bad. I think the two parts work well together, and I liked both movies.
What with all the Michael Bay–style explosions and destruction, you might not have noticed that Man of Steel is a thorough dialectical exploration of the nature/nurture debate. It totally is, though.
I was pleasantly surprised. I didn’t think I was going to like the movie at all because I didn’t remember hearing good things about it. It was fine, though, apart from being longer than I realized it was going to be, clocking in at almost 2.5 hours.
For what it was (a superhero origin story that could have been its own miniseries), it was really pretty good. It painted a clear and thematically strong picture of an admirable character and how he got to be who he is. In this rendition, Superman is not a lighthearted, perfect figurehead who proclaims belief in “truth, justice, and the American way”. He is a sensitive and largely anonymous but steadfast protector who stands for hope and choice. (I much prefer these kinds of themes to the ones associated with Spiderman, which tend be things like sacrifice and duty.)
I generally liked the sharply contrasting sci-fi and Kansas sets, the cast, and the costumes, though I always imagine Lois as Teri Hatcher, and until now I’d never imagined Kal El’s suit as made of the same stuff as those grippy rubber things you use to open jars.
If you have a long enough attention span for another 4000 words on this movie, keep reading for more on the nature/nurture theme and some other thoughts as well as a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder’s Save the Cat.
Oh, where to start. I’m stuck. I am, as it were, frozen.
Right. Well, when all else fails, go back to the beginning.
Frozen, like The Little Mermaid, is a Disney adaptation of a Hans Christian Andersen story. As a child I watched the low-budget Faerie Tale Theatre Snow Queen, which is a lot closer to the Andersen story. The Disney version of the tale has some stunning visuals and one good song, but—for reasons having nothing to do with other versions—I think its story is deeply flawed.
Though some say it’s a story about the problematic relationship between two sisters, I’d say Frozen is one girl’s coming-of-age tale or rite-of-passage story. Rite-of-passage stories have a life problem, a wrong way of addressing it, and a moment of acceptance. Anna’s problem is her sister’s unwillingness to face the world. Anna spends the whole movie wrongly acting as if she can soothe her sister’s fear, and totally fails because Elsa has to master her fear herself. Anna grows up when she accepts her sister as-is. Seems simple, right? Disney went and made it all complicated.
Wonder Woman captured the attention and approbation of hordes of moviegoers interested in seeing a heroic female fantasy character. It wasn’t personally meaningful to me the way that it seems to have been to a lot of people. I think the movie was pretty and entertaining but that, like many others that don’t have a well-crafted core story, it could have been thematically stronger.
Keep reading for more on the movie’s many possible themes and some questions I had (possibly because I’m not familiar with the source material) and things I liked, along with a plot summary with SPOILERS in the form of a beat sheet in the style described in Blake Snyder’s Save the Cat.
“Let’s get out of this stinking weather before we’re statistics. I can’t even feel anything in my feelers anymore.”
That’s a brilliant pun. It’s the best line of dialog in the whole movie, and like all the best lines in Thumbelina, it belongs to the beetle, who sounds like Iago in Disney’s Aladdin. (Both characters were voiced by Gilbert Gottfried.)
Unfortunately, “can’t feel anything” describes the effect the movie had on me. In spite of all the supposedly empowering messages in it that could have been meaningful, it left me numb.
If you saw and enjoyed Thumbelina when you were little, maybe you can see and enjoy it now. Otherwise, I’d say the odds are slim to none.