Author: Stan

Today’s quick review: Miss Hokusai. O-Ei (Anne Watanabe) is a young Japanese artist who lives with her father Tetsuzo (Yutaka Matsushige), a renowned painter who works under the name Hokusai. O-Ei spends her days practicing her craft, keeping Tetsuzo’s pupil Zenjiro (Gaku Hamada) out of trouble, and taking care of O-Nao (Shion Shimizu), her blind younger sister. But for all the good in O-Ei’s life, the one thing missing is her own happiness.

Miss Hokusai is a Japanese animated historical drama and comedy based on the lives of Katsushika Hokusai and his daughter O-Ei. Miss Hokusai is a poignant look at life in Japan’s Edo Period and its blooming art industry. The film’s tranquil tone and loving animation make it a pleasant watch, while its mature observations about life give it some dramatic weight. However, its unfocused, slice-of-life story will limit its appeal for some viewers.

Miss Hokusai is a character portrait centered around O-Ei and her father. O-Ei is a proud, responsible woman who strives for perfection in her craft. Tetsuzo is a talented painter but an inattentive father, a laid-back man who shows little overt affection for his daughters. The heart of the film is their skewed but functional relationship: father and daughter cover for one another’s weaknesses and live in a tense but stable symbiosis.

Miss Hokusai ends up having an odd tone, in part due to this relationship. Happiness always seems to be out of reach, but simple joys abound, whether it’s a walk with O-Nao or an adventure that Zenjiro stumbles into. From moment to moment, the tone tends to be light, buoyed by bright visuals and understated comedy. But the film’s themes run deeper than that, and its more dramatic moments reflect mature truths about life, family, and art.

Watch Miss Hokusai if you’re interested in a meandering experience that mixes beauty and melancholy. Its animation and writing aren’t quite enough to rank it among Japan’s best, but its quality of execution is enough to make it a rewarding watch for the right viewer. Skip it if you’re looking for a focused plot, a pure comedy, or a darker drama. For a much bleaker historical drama set in Japan, check out Grave of the Fireflies.

6.7 out of 10 on IMDB. I give it a 7.0 for pleasant art, vivid characters, and a beautiful tone.

Today’s quick review: Black Jack: The Movie. Two years after a spate of superhuman performances at the Olympics, the athletes have begun to suffer from Moira Syndrome, an inexplicable illness that causes complete organ failure. Jo Carol, the head of a medical research lab, hires Dr. Black Jack, an unlicensed surgeon with world-class skills, to cure the disease. But Black Jack soon learns that there’s more to the story than his employer has let on.

Black Jack: The Movie is a Japanese animated medical drama based on the manga by Osamu Tezuka. The movie follows Black Jack, a stern but skilled surgeon, as he tackles a condition that could determine the fate of humanity. Black Jack: The Movie features a competent plot, a fair amount of drama, and reasonable craftsmanship overall. However, its thin cast, dated animation style, and lack of a clear emotional arc make it something of a niche pick.

Black Jack: The Movie is a loose spinoff of the 90s Black Jack television series, and its roots show. Black Jack and his daughter Pinoko are treated as constants, with minimal introduction and no significant character progression. Moira Syndrome, though calamitous, has the feel of a weekly illness. The supporting cast is limited to Jo Carol, an untrustworthy scientist, who happens to be the only character to undergo a complete character arc.

These factors don’t really affect the quality of the movie, but they do affect its scope. The story begins and ends with Moira Syndrome. The plot concerns the secrets behind the disease, the drama comes from Black Jack’s efforts to treat the disease, and the film’s main theme involves the possibility of superhuman performance that seems inextricably tied to the disease. The result is a focused movie with few frills.

Black Jack: The Movie is mainly worth a watch for fans of Osamu Tezuka or old-school anime in general. The movie delivers on its premise, but it doesn’t have enough in terms of plot, character, or artistry to draw in viewers who aren’t already interested. For an Osamu Tezuka adaptation with gorgeous animation and a more elaborate story, try Metropolis. For another anime spinoff with richer themes and a better plot, try Cowboy Bebop: The Movie.

6.8 out of 10 on IMDB. I give it a 6.5 for a decent, self-contained story without the scope to have a deeper impact.

Today’s quick review: Bad Times at the El Royale. Trouble looms when a struggling singer (Cynthia Erivo), an amiable priest (Jeff Bridges), a traveling salesman (Jon Hamm), and a temperamental hippie (Dakota Johnson) cross paths at the El Royale, a deserted hotel straddling the border between California and Nevada. As the night wears on, the guests discover that everyone there is harboring secrets, including the hotel’s nervous clerk (Lewis Pullman).

Bad Times at the El Royale is a crime thriller with an ensemble cast and a plot packed with mystery. The movie follows the interlocking stories of a group of strangers staying at a hotel where nothing is as it seems. Bad Times at the El Royale has thoughtful direction, deliberate pacing, a capable cast, a well-used soundtrack, and a bevy of interesting plot threads. These elements give the movie all it needs to be a tense, engrossing watch.

Bad Times at the El Royale uses its impressive cast as the foundation of its story. Each character has a distinct personality, human foibles, and a fascinating back story with a few open-ended questions to keep the audience guessing. Nearly everyone in the cast turns in a strong performance, from Cynthia Erivo’s vocal talents and tenacity to Jeff Bridges’ mix of friendliness and shadiness to the dark charisma of late arrival Chris Hemsworth.

The story plays out as a series of mysteries. Some of the guests have ulterior motives for staying at the El Royale, while the hotel itself hides a darker side behind all its faded glamor. The movie spider-walks between the guests, delivering morsels of back story, teasing at revelations yet to come, and moving on. What’s more, the characters’ actions have real consequences for themselves and those around them, helping to keep the stakes high.

How these plot threads come together is the one area that may not satisfy all potential fans of the film. The mysteries all start strong and their revelations are all credible. But the movie does not explore every question to its fullest, and not every mystery matters at the end of the film. The payoff is still worth the wait, but it’s a staggered sort of payoff, not the single climactic revelation that some viewers may be expecting.

Try Bad Times at the El Royale when you’re in the mood for a dark, well-crafted mystery. Its believable characters, intriguing mysteries, and keen sense of tension are enough to make it a strong pick for those interested in such things. For a darker thriller set at a hotel, try Identity. For a shorter, more action-oriented movie with a similar premise, check out Hotel Artemis. For a black crime comedy with an ensemble cast, check out Seven Psychopaths.

7.5 out of 10 on IMDB. I give it the same for strong execution on an interesting premise.

Today’s quick review: The Old Man & the Gun. Forrest Tucker (Robert Redford) is an elderly bank robber with an unusual modus operandi, robbing banks with just a polite smile and the glimpse of a gun. His string of robberies soon catches the attention of John Hunt (Casey Affleck), a Texas police officer and family man. At the same time, Tucker pursues a romance with Jewel (Sissy Spacek), a widow who might convince him to settle down for good.

The Old Man & the Gun is a soft-spoken crime comedy that’s based on a true story. Robert Redford stars as Forrest Tucker, a polite criminal who lives for the thrill of robbing banks. Late in his career, Tucker faces a choice: keep robbing banks and risk getting caught by Hunt, or give up his profession and make a new life with Jewel. The Old Man & the Gun uses these building blocks to craft an enjoyable story about living well and old age.

The Old Man & the Gun is a throwback to a gentler era of cinema. The film has almost no violence, a sprinkling of action, and only one instance of swearing. The story itself is a low-stakes confrontation between a bank robber who never hurts anyone and a police officer who isn’t sure that he wants to catch him. The film’s light tone works to its advantage, making its characters all the more likable and keeping its story optimistic throughout.

Where The Old Man & the Gun spends the most effort is developing its characters. The movie acts as a character portrait for Forrest Tucker, a gentlemanly robber who’s hard not to like. His motivations are simple, but just unusual enough to be interesting. Jewel matches him well, an older woman who helps him take joy in life. The lead trio is rounded out by John Hunt, a sympathetic cop who finally finds in Tucker a case worth caring about.

Watch The Old Man & the Gun when you’re in the mood for a light, heartwarming tale with a dash of mischief. What the film lacks in plot, it more than makes up for in character. Skip it if you’re looking for thrills, high drama, or anything resembling modern action. For a light crime caper with an older cast, check out The Maiden Heist or either version of Going in Style. For a more bittersweet comedy about old age, check out The Bucket List.

7.4 out of 10 on IMDB. I give it a 7.0 for a charming story and strong acting.

Today’s quick review: The Golden Child. Chandler Jarrell (Eddie Murphy) is a Los Angeles detective who specializes in recovering lost and kidnapped children. While working a case, Chandler is approached by Kee Nang (Charlotte Lewis), a Tibetan woman who claims he is the Chosen One. To fulfill his destiny, Chandler must rescue the Golden Child (J.L. Reate), a boy with mystic powers, from the clutches of the evil Sardo Numspa (Charles Dance).

The Golden Child is a fantasy action comedy that drops a sly Los Angeles detective into a supernatural Tibetan conflict. Chandler’s quick thinking and kind heart turn out to be just what he needs to save the Child, in spite of his objections at being involved in the case at all. Most of the film’s comedy comes from Chandler’s quips and complaints, while the story is a basic but competently handled fantasy adventure with a light tone.

However, that’s as far as The Golden Child goes. It’s entertaining to see Chandler talk his way out of tricky situations, but the comedy as a whole isn’t as sharp or as memorable as other Eddie Murphy films. The romance between Chandler and Kee comes across as forced. The plot does what it needs to but offers few surprises. Likewise, the action helps spice up the movie and uses some clever special effects but isn’t enough to carry the film.

The Golden Child is worth a watch when you’re in the mood for a light adventure and aren’t too particular about being impressed. Its blend of comedy, action, and the supernatural makes it an enjoyable watch for Eddie Murphy fans, but it’s largely outclassed by other films that play around in the same space. Skip it if you’re looking for a compelling story or jaw-dropping action.

For a funnier Eddie Murphy comedy, check out Beverly Hills Cop. For an action fantasy movie with a similar plot and more supernatural action, check out The Medallion. For a tongue-in-cheek cross between Western action and Eastern mysticism, check out Big Trouble in Little China.

5.9 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent story and some laughs, but not much else.

“Who’s the Master?” —Sho’nuff

Today’s quick review: The Last Dragon. Leroy Green (Taimak), a young martial arts expert, seeks the Glow, a mystic ability that comes with perfect mastery. His quest takes an unexpected turn when he helps Laura Charles (Vanity), a popular nightclub DJ, fend off the advances of Eddie Arkadian (Chris Murney), a deranged music producer. Meanwhile, Sho’nuff (Julius J. Carry III), the self-proclaimed Shogun of Harlem, tries to goad Leroy into a fight.

The Last Dragon is a martial arts comedy with an optimistic tone and an upbeat 80s soundtrack. The movie follows Leroy as he attempts to complete the last stage of his training, navigate his first romance, and defuse a dangerous rivalry. The Last Dragon offers a charming story, a few decent fight scenes, and a fair amount of dancing. However, the limitations of its story and fight scenes keep it from being a sharper or more memorable hit.

The Last Dragon is a quirky movie. The plot consists of three separate threads—Leroy’s search for the Glow, his romance with Laura, and his rivalry with Sho’nuff—that have very little to do with each other. The Last Dragon makes a credible attempt at tying the three together, but it takes the first half of the movie to figure out how. The result is a story that hits most of the expected beats but takes a roundabout route to do so.

Leroy himself makes for an unusual protagonist. Uptight and awkward, he lacks the fire of a young apprentice and the confidence of a mature master. To the movie’s credit, The Last Dragon embraces Leroy’s status as an oddball, using it both for comedic purposes and as a challenge for Leroy to overcome. The supporting cast is just as odd in their own ways, from the neurotic, self-absorbed Eddie Arkadian to the boastful, inexplicable Sho’nuff.

Watch The Last Dragon when you’re looking for a light, endearing taste of the 80s. The Last Dragon doesn’t hit as hard as other movies in the genre, either in terms of drama or stunt work, but its quirky charm makes it an enjoyable watch all the same. Those who go in expecting a tight story or jaw-dropping fights will be disappointed. Those willing to embrace the movie for what it is will have a good time.

For a martial arts movie with a similar tone and a better story, check out The Karate Kid. For martial arts comedies with better stunts, check out the work of Jackie Chan.

6.9 out of 10 on IMDB. I give it a 6.5 for a light tone and plenty of heart with slight flaws in its fundamentals.

Today’s quick review: Black Dynamite. When his brother is gunned down by a drug dealer, Black Dynamite (Michael Jai White) leaps into action. Using his kung fu skills, Black Dynamite embarks on a quest to clean up the streets, end a drug epidemic, and win the heart of Gloria (Salli Richardson-Whitfield). But as Dynamite follows the trail of clues to his brother’s killer, he uncovers a conspiracy that goes all the way to the top.

Black Dynamite is a ridiculous action comedy that parodies the blaxploitation films of the 1970s. The movie follows the titular hero as he fights his way through all manner of henchment to get to the source of the drug epidemic plaguing his neighborhood. The movie revels in the outrageous, with larger-than-life characters and dialogue that consistently manages to top itself. However, its particular style of humor won’t appeal to everyone.

Much of Black Dynamite’s humor comes from imitating a low-budget 70s production. The camera shakes, shots linger too long, musical cues are done to death, and the special effects are blatant fakes. The actors even get in on the fun, alternating between overacting and deadpan delivery. The result is a hilarious and surprisingly subtle spoof of the era. However, the deliberately mishandled lines and awkward timing do interrupt the movie’s flow.

The rest of the movie’s humor comes from taking an extreme genre and pushing it over the top. Black Dynamite is a one-man killing machine whose kung fu skills and hard personality make him the master of every situation he’s in. Just a few tweaks to the blaxploitation hero template are enough to create an over-the-top, memorable protagonist. The supporting cast is just as absurd, packed with ridiculous caricatures and shallow but entertaining characters.

Watch Black Dynamite when you’re in the mood for something unabashedly silly. Its mixture of subtle and outrageous humor won’t click for everyone, but those who enjoy it will find the movie to be a uniquely satisfying watch. Skip it if you’re sensitive to sex or swearing. For a remarkably similar parody of the genre, check out I’m Gonna Git You Sucka. For an even more absurd martial arts spoof, check out Kung Pow!: Enter the Fist.

7.4 out of 10 on IMDB. I give it a 7.0 for a fun, clever sense of humor; your score will vary.

Today’s quick review: The Man Who Knew Too Little. While visiting his brother James (Peter Gallagher) in London, Wallace Ritchie (Bill Murray), a personable but dim-witted American, agrees to spend an evening participating in an interactive theater event. But when a mix-up places Wallace at the center of a plot to sabotage a treaty between Great Britain and Russia, he must navigate his way through a dangerous sitaution he doesn’t realize is real.

The Man Who Knew Too Little is a light spy comedy starring Bill Murray. The Man Who Knew Too Little thrusts a clueless tourist into the middle of a full-blown spy adventure, which only pure luck and his complete lack of cunning can see him safely through. The movie features an inventive premise, a capable lead in Bill Murray, and a steady stream of pleasant humor. However, its one-note humor keeps it from matching Murray’s best.

The Man Who Knew Too Little works hard for its laughs. The premise relies on a delicate web of coincidence, cluelessness, and double meaning to keep Wallace in the dark but still alive. Bill Murray has ample chance to show off his comedic talents as Wallace blissfully role-plays his way through a real conspiracy. He’s paired with Lori (Joanne Whalley), a call girl who begins to fall for the unconventional hitman Wallace thinks he’s playing.

However, this routine only takes the film so far. The jokes are usually amusing but rarely hilarious. Wallace’s ignorance avoids becoming repetitive, but only just so. It’s only the charm of Bill Murray and a constant supply of new, hand-crafted situations for him to play out that keep the movie from overstaying its welcome. Still, The Man Who Knew Too Little avoids any major missteps, and its execution on its premise is solid.

Watch The Man Who Knew Too Little when you’re in the mood for a light diversion with a simple routine and an involved plot. The movie is not as memorable as Bill Murray’s best, but its fruitful premise and consistent humor make it an enjoyable pick. For a sharper comedy in a similar vein, check out A Fish Called Wanda. For a slapstick comedy about a bungling police officer, check out The Naked Gun. For a more subtle one, try The Pink Panther.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for enjoyable but insubstantial comedy.

Today’s quick review: Rumble in the Bronx. Keung (Jackie Chan) has come to New York to attend his Uncle Bill’s (Bill Tung) wedding. As part of his retirement, Uncle Bill has decided to sell his supermarket in the Bronx. While Bill goes on his honeymoon, Keung decides to stick around to help out the market’s new owner, Elaine (Anita Mui). But when a street gang attempts to rob the store, Keung gets embroiled in an increasingly violent conflict.

Rumble in the Bronx is a martial arts action movie with comedy elements. Rumble in the Bronx pits a young martial arts expert against a gang of violent thugs who are terrorizing his uncle’s New York neighborhood. The movie takes the usual Jackie Chan formula and shifts it slightly, dropping some slapstick and comedy in favor of weightier stunts and a more serious conflict. The result is a fast-paced action movie showcasing Jackie Chan’s talents.

Rumble in the Bronx skews more mature than most of Jackie Chan’s work. The fights are more violent, the stakes are higher, and the film is more willing to kill and injure its characters. These changes let the movie indulge in more intense stunts, showing off Jackie Chan’s prowess as a fighter even more than his knack for martial arts slapstick. The fight choreography is top-notch, while a couple of impressive set pieces give the film some raw spectacle.

But in spite of its more serious tone, Rumble in the Bronx avoids becoming too gritty. Jackie Chan’s trademark humor is still present, if more restrained than usual. The comedy isn’t as elaborate as usual, but there’s a steady stream of it throughout the movie. The plot isn’t brilliant, but it has a few sweet moments and manages to drive the action quite well. The mix of levity and drama is slightly uneven but works on tehe whole.

Watch Rumble in the Bronx when you’re in the mood for sharp martial arts action. Hard-hitting stunt work makes Rumble in the Bronx one of Jackie Chan’s more robust offerings, while its slightly darker tone doesn’t detract from its comedy or its charm. Skip it if you dislike Jackie Chan. For another Jackie Chan action adventure movie with impressive stunts, try Who Am I?. For a more serious martial arts movie in a similar vein, try The Protector.

6.8 out of 10 on IMDB. I give it a 7.0 for excellent martial arts coupled with a decent story.

Today’s quick review: Troy: The Odyssey. Following the Greeks’ ten-year siege of Troy, Odysseus (Dylan Vox), the king of Ithaca, prepares to sail home with his men. But with his dying breath, the Trojan king lays a curse on Odysseus, forbidding him from ever returning to Ithaca. Taking the Trojan priestess Circe (Lara Heller) with him as protection against the curse, Odysseus sets sail for home, only to be waylaid by strange and terrible dangers.

Troy: The Odyssey is a budget fantasy action adventure movie loosely based on Greek mythology. Unfortunately, the movie has a hard time living up to its classical roots. The movie’s budget shows in everything from its action and special effects to its acting and dialogue. The plot preserves the broad strokes of The Odyssey but changes several key events, while the movie’s attempts at going the action route are stymied by its small sense of scale.

Troy: The Odyssey plays fast and loose with its source material. The most notable change is that Circe is now a Trojan priestess who joins Odysseus on his journey home. Despite being a central part of the revised story, Circe fits awkwardly into her new role, requiring several clumsy modifications to the plot to keep her relevant. In principle Circe’s story could have worked smoothly, but in practice she throws the plot badly off balance.

The other changes serve to streamline the story further, in keeping with the film’s budget limitations. The great armies of Greece and Troy are reduced to a few dozen at most, while the setting is established with only a few brief, low-budget CGI shots. Key events from Odysseus’ journey are merged into one or cut entirely. Some of these changes are justifiable as part of the adaptation, but others are wholesale fabrications that serve little purpose.

The film’s execution quality is low enough that its deviations from the source material matter. The most robust parts of the movie are those lifted directly from The Odyssey, while the new inventions are generally lacking. Stiff acting and clumsy dialogue undermine the film’s drama. The action side fares little better, consisting of one-on-one swordplay with little weight or flair, coupled with the occasional fleeting appearance of a monster.

Troy: The Odyssey is only worth a watch for those who wish to pick it apart. Its execution leaves it badly outclassed by other action movies, other fantasy movies, and other works of historical fiction, with little to redeem it. For a better take on related source material, check out the version of Troy starring Brad Pitt and Orlando Bloom. For a more inspired take on Greek mythology, check out either version of Clash of the Titans.

2.6 out of 10 on IMDB. I give it a 3.5 for poor acting, underwhelming action, and flimsy execution overall.