Month: January 2023

Today’s quick review: Wolf Children. While at university, Hana (Colleen Clinkenbeard) falls in love with a man (David Matranga) with a secret: he is part wolf, able to change from human to animal at will. Their love blooms, and soon Hana gives birth to two children: Yuki (Jad Saxton), a rambunctious daughter, and Ame (Micah Solusod), a timid son. But when their father meets an untimely death, Hana is left to raise her two special children by herself.

Wolf Children is a Japanese animated fantasy romantic drama about a woman trying to raise two children with very special needs. Unable to control their transformations, Yuki and Ame have to be kept away from other people to hide their wolf heritage. Wolf Children follows Hana as she navigates the challenges of motherhood on her own, with the added wrinkle of her children’s canine side.

Wolf Children is a heartfelt movie with gorgeous animation. Hana makes for an excellent protagonist, a gentle mother who sacrifices everything so her children can grow up happy. Her endurance, resourcefulness, and love for her children form the emotional backbone of the movie. For their part, Yuki and Ame are charming and fun. The movie has a knack for capturing the highs and lows of childhood, and its fantasy elements give them an extra twist.

The one thing Wolf Children lacks is a clear endgame. The story flows well enough, following Yuki and Ame as they learn and grow, but it’s not built around a specific conflict. There is no single goal for the characters to achieve, just milestones on the path of growing up. This fits the organic, slice-of-life nature of the film, but it results in a relatively flat story structure where the journey matters more than the destination.

Wolf Children is a warm and uplifting movie that artfully portrays childhood and family life. Beautiful animation and vibrant characters make it a joy to watch, while its story and world show a keen eye for detail. Some viewers won’t appreciate its low stakes and unstructured story, but its pleasant tone and insightful themes give it plenty of substance. Give it a shot when you’re in the mood for something sentimental.

For a fantasy movie about childhood and family from the same director, try Mirai. For a slightly more mature story about growing up, try Spirited Away or Whisper of the Heart. For a beautiful movie with more fantasy elements and a greater emphasis on romance, try Your Name. or Weathering with You.

8.1 out of 10 on IMDB. I give it a 7.5 for a sweet story with a high degree of craftsmanship.

Today’s quick review: College. Ronald (Buster Keaton) was a star student in high school, but his hatred of sports cost him the affection of Mary Haynes (Anne Cornwall), the most popular girl in school. After graduation, Ronald enrolls in Clayton College in the hope of winning her back. But to do so, he must give up his books, become an athlete, and upstage Jeff Brown (Harold Goodwin), his romantic rival.

College is a classic comedy starring Buster Keaton as an aspiring college athlete. Frail and bookish, Ronald tries over and over again to find a sport where he can excel. This simple premise provides ample basis for Buster Keaton’s slapstick comedy. Baseball, track and field, and rowing give Keaton a wide variety of props to work with, and Ronald’s attempts to win back Mary are just enough of a story to tie the film together.

College does one thing and does it well: physical comedy. Ronald fails at every athletic endeavor he tries, from pole vaulting to playing third base, and thanks to Keaton’s skill, every mishap looks perfectly natural. Keaton also shows an impressive talent for pantomime, managing to convey Ronald’s specific train of thought in ways that catch the audience off-guard. And while the story is thin, it does build up to a satisfying finale.

Give College a shot if you’re in the mood for some classic slapstick. College very much fits the mold of comedies in the silent film era, and as a story it has no real innovations to offer. But its light tone, the creativity of its gags, and Keaton’s comedic talent are enough to carry the film, making it an enjoyable pick for any fans of the genre.

For a classic college comedy with snappier writing, check out Horse Feathers. For a more robust comedy from Buster Keaton, try The General.

7.1 out of 10 on IMDB. I give it a 7.0 to 7.5 for sharp, creative slapstick.

“If you lose this war don’t blame me.” —Johnnie Gray

Today’s quick review: The General. At the outset of the Civil War, Johnnie Gray (Buster Keaton) tries to enlist in the Confederate army to impress his sweetheart Annabelle Lee (Marion Mack). Rejected from military service, Johnnie goes back to his job as a train engineer. But when Captain Anderson (Glen Cavender), a Union spy, steals his locomotive, Johnnie finally gets the chance to help the war effort by stealing it back.

The General is a classic comedy starring Buster Keaton. The film follows a Confederate engineer’s desperate attempts to save his train from a group of Union soldiers who want to use it to sabotage the South’s supply lines. Buster Keaton packs The General with his signature style of slapstick comedy. The train chase at the heart of the film offers an endless supply of gags, and Keaton’s physical humor is among the best ever put to screen.

Beyond Keaton’s performance, The General is impressive for its scale. Train crashes, acrobatic stunts, a full-blown battle, and a complete story help the film feel larger than just a one-off gag. Even during the train chase, The General goes through several different stages, giving it a sense of progression that many early comedies lack.

The General is a must-see for fans of slapstick comedy. Its endlessly inventive jokes, talented lead, and sense of cohesion make it one of the gems of the silent film era. Not everyone will appreciate what The General has to offer due to its heavy reliance on slapstick. But viewers in the mood for a playful comedy will find that The General stands the test of time.

For another classic comedy from Buster Keaton, check out College. For even more ridiculous slapstick aboard a train, try the Marx Brothers’ film Go West. For a comedy of similar scale from the silent film era, try The Gold Rush.

8.1 out of 10 on IMDB. I give it a 7.5 for excellent stunts and impressive scale.

Today’s quick review: Dersu Uzala. In 1902, Captain Vladimir Arsenyev (Yury Solomin), the leader of a Russian survey expedition, meets Dersu Uzala (Maxim Munzuk), a seasoned hunter, while mapping the wilderness. Uzala agrees to act as the expedition’s guide and shows them how to survive the harsh winter. As the months wear on, Uzala and Arsenyev form a fast friendship that changes the course of both of their lives.

Dersu Uzala is a classic adventure drama from director Akira Kurosawa. Dersu Uzala is based on the true story of a Russian soldier and the Goldi hunter who would become his best friend. The film tells a simple story but a rewarding one. The main characters are nuanced and believable, the friendship between them develops naturally, and the theme of mankind’s relationship with nature gives the audience plenty to contemplate.

Dersu Uzala excels at capturing the details of humanity. The reserved leadership of Arsenyev, the rowdy interactions of his men, and the generosity and expertise of Uzala all shine through clearly, an earnest portrait that feels nearly effortless. Uzala holds a particular appeal. His animistic beliefs and lifetime in the wild have shaped him into a caring man whose odd mannerisms hide a wealth of knowledge, making him an easy character to like.

The other factor that makes Dersu Uzala a rewarding watch is its portrayal of nature. The Russian wilderness is an atmospheric setting, full of soaring mountains, frozen lakes, and endless forests. However, the terrain is as perilous as it is beautiful. On more than one occasion, Arsenyev and his men risk death to finish their mission. This element of danger ties the film together nicely, and Uzala’s reactions shed more light on his character.

The one major caveat of Dersu Uzala is that it requires the viewer to bring something to the table. The story has the winding nature of a biography, and the themes require engagement from the viewer to live up to their full potential. Active viewers, who enjoy digging into the films they watch, will not find this to be a problem. But reactive viewers may find Dersu Uzala to be a little too aimless.

Dersu Uzala is well worth a watch for anyone interested in grounded stories with realistic characters. It is a modest film that tells a personal story and tells it well. The combination of skilled character work and a unique setting makes Dersu Uzala a solid pick for anyone willing to take it on its own terms. Viewers looking for a more exaggerated adventure may want to steer clear.

For a darker tale of friendship and survival, try Papillon. For another dramatic adventure about survival in harsh conditions, try The African Queen. For a war drama with similarly nuanced character work, try The Bridge on the River Kwai.

8.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for solid craftsmanship and well-developed characters; your score will vary.

“My brain? That’s my second-favorite organ!” —Miles

Today’s quick review: Sleeper. After a botched operation, Miles Monroe (Woody Allen) is cryogenically preserved and wakes up 200 years in the future, in the bizarre world of 2173. Miles is immediately recruited by an underground movement trying to overthrow the Leader’s oppressive government. Now on the run from the police, Miles runs into Luna (Diane Keaton), a hedonistic poet who reluctantly helps him on his mission.

Sleeper is a sci-fi comedy written and directed by Woody Allen. Allen stars as a mild-mannered clarinetist from 1973 who wakes up in a future full of domestic robots, pleasure devices, and other marvels. Sleeper pokes fun at both the cultural trends of the 1970s and the sci-fi genre in general. Its humor ranges from slapstick and prop gags to banter and cultural satire, set against the backdrop of a surprisingly coherent sci-fi story.

Sleeper’s comedy is a paradox. It wields blunt instruments with extreme precision. Its jokes are obvious from the first moment they are introduced, and every setup has a clear punchline in mind. But what the jokes lack in subtlety, they make up for in skill. Woody Allen shows impeccable comedic timing, and his jokes build on one another masterfully. The humor is coarse, but its delivery makes it an unmitigated success.

Give Sleeper a shot if you’re a fan of absurd comedy, slapstick, or science fiction in general. Woody Allen’s skill as a comedian and a director make the movie a thoroughly entertaining watch, while its satirical elements offer a fun twist on both modern culture and the conventions of the sci-fi genre. Sleeper has a blunt style of humor that won’t appeal to some viewers, but its skill will be enough to win over even some skeptics.

For a satirical action movie about a man sent to the future, check out Demolition Man. For a more dramatic movie about a hedonistic future, try Logan’s Run. For a more sober look at a quietly dystopian future, try Gattaca.

7.2 out of 10 on IMDB. I give it a 7.0 to 7.5 for a fruitful premise and skillfully executed humor.

Today’s quick review: Replicas. After his family is killed in a car accident, William Foster (Keanu Reeves), a brilliant scientist, uses memory scans and human cloning to try to bring them back to life. With the help of his colleague Ed Whittle (Thomas Middleditch), Foster successfully creates copies of his wife (Alic Eve) and children (Emjay Anthony and Emily Alyn Lind). But the toughest challenge proves to be hiding the truth from them.

Replicas is a science fiction drama about a scientist’s attempt to conquer death. Devastated by the loss of his family, Foster races to complete his research in time to bring them back. Replicas touches on some interesting questions about the nature of consciousness, the morality of cloning, and what secrets are best kept hidden. However, the movie’s generic plot and shallow treatment of these questions leave something to be desired.

Replicas never settles into a comfortable rhythm. The script feels like an amalgam of three different stories: a noble tale of scientific progress and self-sacrifice, a dark tale of forbidden technology and moral compromise, and the thriller the movie morphs into near the end. Any of these angles by itself could have made for a compelling movie, but the combination of three incompatible tones leaves the movie feeling unfocused.

Otherwise, Replicas is a middle-of-the-road entry into the science fiction genre, with neither groundbreaking ideas nor spectacular failures to set it apart. Foster’s desperate attempts to engineer a solution to his problems are an interesting hook, and the movie introduces a few nice moral quandaries to play with. But Replicas never capitalizes on these strengths, opting for a safe but bland story without a strong identity of its own.

Give Replicas a shot if you’re a dedicated science fiction fan looking for another dose of speculation. Even though Replicas holds few surprises, it goes through the motions well. However, fans who are looking for dark thrills or meaningful drama would be better off looking elsewhere.

For a darker, more far-flung look at the intersection of technology and human consciousness, check out Transcendence. For an action-oriented sci-fi movie that deals with the implications of human cloning, try Gemini Man. For a richer science fiction drama about the unexpected consequences of a scientist’s work, try Rise of the Planet of the Apes.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for generic science fiction with mediocre execution.

Today’s quick review: Weekend at Bernie’s. Richard Parker (Jonathan Silverman) and Larry Wilson (Andrew McCarthy) think they’ve hit it big when their boss Bernie Lomax (Terry Kiser) invites them to his beach house for the weekend. But when Richard and Larry arrive, they find their host dead of an apparent drug overdose. To salvage their weekend, the two friends concoct an elaborate ruse to convince the world Bernie is still alive.

Weekend at Bernie’s is a crime comedy about two friends trying to maintain the illusion that their boss is alive. Quick thinking and clever puppetry let Richard and Larry fool a beach full of partygoers, but Richard’s crush Gwen (Catherine Mary Stewart) proves to be a more difficult problem. What follows is a madcap comedy full of lies, accidents, and slapstick. Physical humor and a well-picked pair of leads make Weekend at Bernie’s a fun pick.

Weekend at Bernie’s puts its premise to good use. Bernie’s corpse makes for a surprisingly versatile slapstick prop. It gets used as a puppet, buried in the sand, dropped repeatedly, and generally gets in Richard and Larry’s way. The humor can be a little macabre, but the light tone and lack of gore keep things palatable. Meanwhile, Jonathan Silverman and Andrew McCarthy have an easy rapport that keeps the jokes flowing smoothly.

Give Weekend at Bernie’s a shot when you’re in the mood for a breezy comedy with plenty of overt humor. The movie does not have the depth or wit that some comedies bring to the table, but it does make the most of an original premise. For a comedy with a similar tone, try Men at Work or Stakeout. For a classic musical with a similarly askance view of the corporate world, try How to Succeed in Business Without Really Trying.

6.4 out of 10 on IMDB. I give it a 6.5 to 7.0 for blunt but entertaining humor.

Today’s quick review: Holes. Wrongfully convicted of stealing a pair of shoes, teenager Stanley Yelnats IV (Shia LaBeouf) is sentenced to eighteen months at Camp Green Lake, a juvenile work camp where the Warden (Sigourney Weaver) forces the boys to dig holes in the desert. There, Stanley makes friends with a quiet boy named Zero (Khleo Thomas) and uncovers a long-buried secret.

Holes is a family adventure based on the book by Louis Sachar. Shia LaBeouf stars as Stanley, an ordinary boy who has to get used to living and digging at a desert work camp. Unlike some other family movies, Holes is well-grounded. The characters and conditions at Camp Green Lake are entirely believable, and there’s no slapstick or overt humor. Instead, the movie engages the viewer with Stanley’s journey and the secret behind the camp.

At the center of Holes is a mystery spanning generations. Stanley’s family believes that it was cursed by the actions of Stanley’s ancestor, causing everything from his father’s career troubles to Stanley’s wrongful arrest. Meanwhile, Camp Green Lake has secrets of its own, which are told through flashbacks throughout the movie. The way these puzzle pieces combine gives Holes an interesting story with a rewarding payoff.

Give Holes a shot when you’re in the mood for a prison drama without the bleakness. Seeing Stanley adapt to his surroundings and connect with Zero makes for a satisfying character arc, while the mystery of the camp gives the characters something concrete to interact with. The result is a relatively mature kids’ movie that tells a balanced and engaging story.

For a more fanciful movie about a child in a bad situation, check out Matilda. For a more mature prison drama, try The Shawshank Redemption or The Last Castle. For a more comedic tale of imprisonment and escape, try Chicken Run.

7.0 out of 10 on IMDB. I give it the same for an original premise and a well-told story.

Today’s quick review: Matilda. Ever since she was a baby, Matilda (Mara Wilson) has been neglected by her parents (Danny DeVito and Rhea Perlman). Now six years old, Matilda convinces them to send her to elementary school. But school turns out to be a terrifying place, thanks to child-hating Principal Trunchbull (Pam Ferris). Matilda’s only comfort is Miss Honey (Embeth Davidtz), a kind-hearted teacher who takes Matilda under her wing.

Matilda is a family fantasy comedy based on the book by Roald Dahl. Matilda tells the story of a bright young girl trapped in a family that doesn’t appreciate her. Left to her own devices, Matilda takes solace in books, Miss Honey’s lessons, and the peculiar telekinetic powers she manifests when stressed. The movie features a creative story with uplifting themes, a talented cast, and an especially liable lead in Mara Wilson.

Matilda is a colorful comedy that caricatures the perils and joys of childhood. Many of the adults in Matilda’s life are cartoonishly dysfunctional, from her self-absorbed father and mother to her abusive principal. Her few pleasures in life are just as pure: reading a good book at the library, meeting the occasional friend, or pulling one over on her clueless elders. The result is an exaggerated world that’s easy to grasp.

Against this backdrop, Matilda tells a unique story about finding happiness and the power of a good education. Matilda puts her brains and her powers to good us as she tries to stay out of trouble, and even her smallest triumphs are heartwarming. The movie relies on slapstick for many of its gags, but some clever flourishes make the jokes worthwhile. Matilda also benefits from a cast that perfectly fits the tone of the movie.

Matilda is an enjoyable watch for older and younger audiences alike. Its exaggerated world and emphasis on slapstick will seem a little crude to more sophisticated viewers, but anyone willing to take the story on its own terms will find it to be a joyful experience that’s well worth trying.

For a full-fledged fantasy adventure about a boy who escapes his troubled family life, try the Harry Potter series. For a somewhat less endearing story about the power of books, try The Pagemaster. For a more action-filled family adventure with a similar sense of heart, try Secondhand Lions. For an animated comedy with similar themes, try Chicken Run. For another Roald Dahl adaptation, try Willy Wonka and the Chocolate Factory.

6.9 out of 10 on IMDB. I give it a 7.0 for a charming and creative story.

“One little murder and I’m Jack the Ripper.” —Larry

Today’s quick review: Throw Momma from the Train. Struggling novelist Larry Donner (Billy Crystal) makes a big mistake when he tells Owen Lift (Danny DeVito), a student in his creative writing class, that he wants his ex-wife Margaret (Kate Mulgrew) dead. Taking this as a cue, Owen kills her, leaving Larry as the prime suspect. To make matters worse, Owen expects Larry to return the favor by killing his insufferable mother (Anne Ramsey) for him.

Throw Momma from the Train is a crime comedy starring Billy Crystal and Danny DeVito. The movie centers on the odd relationship between a frustrated author and his misguided student. Through a poor choice of words, Larry finds himself at the center of a murder scheme he never agreed to. Crystal and DeVito have a natural chemistry that carries the movie, while Owen’s convoluted scheme gives them some interesting material to work with.

Throw Momma from the Train specializes in cheap but effective humor. The movie has a few sources of comedy it goes to repeatedly: Larry’s frustrations with his work and his ex-wife, Owen’s lack of personal boundaries, and the abuses of Owen’s mother driving a kind-hearted man to murder. The script cannot sustain the premise for very long, but it covers all the ground it needs to, and it puts its actors’ talents to good use.

How much you get out of Throw Momma from the Train will depend on your taste in comedy. The movie skews a little dark in places, but not enough to jeopardize its upbeat tone. Fans of witty, understated humor may also find it a little too blunt. But for fans of Danny DeVito, Billy Crystal, or their style of comedy in general, it makes for a breezy watch.

For the same premise played for suspense, check out Strangers on a Train. For a black comedy in a similar vein, check out The Ladykillers, What About Bob?, or So I Married an Axe Murderer. For a stranger story about a frustrated writer, try Ruby Sparks, Barton Fink, or Adaptation. For another comedy about domestic murder, check out How to Murder Your Wife.

6.3 out of 10 on IMDB. I give it a 6.5 for simple but effective humor.