Landline (2017)

On a plot level, I don’t exactly get why this film was set in the 90’s. The title makes you think that perhaps a shared phone line will play a cruicial role, but it doesn’t. This film could have easily been set now with no problems whatsoever. Our world is so obsessed with the past that all the 90’s fashion and music could be used as well. So why set it in the 90’s?

My theory is that director Gillian Robespierre made this film as a Tarantino-level genre homage. Only instead of homaging exploitation flicks from the 70’s, Robespierre was paying homage to New York movies of the 90’s. Dana is living in a Nicole Holofcener film a la Walking and Talking, Ali is living through Kids, and their parents are a Woody Allen film incarnate. And just like in Pulp Fiction, the supporting character of one story gets to be the star of another story.

It’s a cool idea that never beats you over the head with showy visuals or title cards spelling everything out for you. It also doesn’t attempt to elevate the material. This film is right on par with the films it is paying tribute to. This is an warm and funny film that is content to be adequate, and that is wonderful.

Coco (2017)

The other night ‘Becca’lise was telling me about a coworker who was trying to guess why Coco is making everyone cry. Seeing as the movie is about Dia de Muertos, the coworker justifiably guessed that the big, tear-jerking scene centered around the death of a prominent character. If this was any other film, they would have been right. But this is a Pixar film. They never take the easy route. Yes a beloved character dies in this film, but at least in our theater, that passing was only greeted with a brief, audible sigh from the entire audience. No tears. Because in Coco, death is not an end. As long as someone is remembered, they are never truly gone.

Toni Erdmann (2016)

On paper this sounds like a film that would fill multiplexes. It also sounds like something we've seen a million times before: Joker parent needs to learn that not everything is a joke, serious child needs to loosen up, everyone learns and grows. As I was watching it, I kept imagining these same scenes being played out with bright lighting and crisp lines and the mere thought made me cringe. It's the makings of an Adam Sandler for Netflix film. Fortunately this movie is not shot that way. 

Director Maren Ade's choice to place this generically farcical story in a very believable world helps to expose just  how generic and farcical our world actually is. Especially the world of business! If you are hoping to climb the corporate ladder, there's practically no end to the ways in which you will debase yourself for advancement. You'll also let a whole lot slide in order to not be seen as difficult. Go along to get along. The world of this film is not a fiction. We are living in it. Donald Trump is President.

Good Morning (1959)

Roughly 500 years ago, Leonardo da Vinci declared that, "Art is never finished, only abandoned." From apocryphal stories about artists breaking into houses to tweak the color of a painting, to George Lucas' continual futzing with the Star Wars films, it's been notoriously difficult for creative individuals to accept that a work is done. Even artists who have moved on from one particular piece, will often return to that style or those themes in another work as a way to get another bite at the apple. And of course there are directors who literally remake their own films.

Sometimes the results can be as astounding as Michael Mann's reworking of the TV Movie, L.A. Takedown into Heat. Other times the resultant film can be as awful as George Sulizer's English-language remake of his own chilling, Dutch-French co-production, The Vanishing. But most of the time it results in an enjoyable film that is no better or worse than its previous incarnation. Such is the case with Ozu's pleasant, family film Good Morning.

Queen of Katwe (2016)

I'm not sure if it's due to the popularity of TV where there are A, B, C and D plot-lines to follow throughout a narrative, but modern films tend to have way too much going on. This is how we end up with Superhero films that run nearly three hours. It's also how we get a cascade of different endings that have to be resolved after the big bad guy has already been dispatched. Though Queen of Katwe is far from a straightforward story that is over and done with in 90 minutes, it does take the novel approach of resolving all of its lesser plot-lines before concluding the main one. This way, when the movie is over, it is over. I desperately hope that screenwriting courses will start teaching this as a way to more delicately handle all of that cinematic bloat.

Hidden Figures (2016)

I really think this movie benefited from being seen in a theater. Not because of any sort of visual or aural grandeur. In fact, both those aspects of this film are pretty rote. What this film benefits from, is following a slew of awful trailers. I always dread seeing PG-rated films because all the trailers have to be family friendly as well. It's just this unending stream of platitudes and fart jokes. So the fact that Hidden Figures is actually good feels like a small miracle. Sure there are still scenes where smart people explain things to other smart people so that the audience can get the information, but oh well. The charisma of those three leads could get me through most anything. And they did it all without dirty words. No wonder my parents loved it.

Little Women (1994)

Adapting classic literature can be challenging. In addition to the normal problems that come with adapting a novel, there is the added complication of the fact that lots of early novels were pretty weirdly structured. Though the "hero's journey" is as old as time, I'm pretty sure Louisa May Alcott was not consulting Aristotle's Poetics as she was crafting her touching tale of the March Family. From the limited research I've done, the novel we think of as Little Women is actually the fusion of two shorter works. In spite of all of this, the adaptation that director Gillian Armstrong, writer Robin Swicord and editor Nicholas Beauman were able to put together is pretty great. They were able to successfully include numerous, smaller, side stories from the book(s) without losing the overall thrust of Jo's journey of actualization. It is somehow simultaneously loose and tight. Few films are able to hit that sweet spot so squarely. It should be studied in schools.

Paddington (2014)

Wow! That was extremely pleasant. I'd been hearing people sing this film's praises for years, I just didn't believe them. I kept thinking back to that trailer, which is just the entire "facilities" scene. Who chose that scene to lead with? It's not really that representative of the film as a whole. Were they just hoping to appeal to the lowest common denominator? Probably. It's a shame though. By taking the easy route, you miss out on audience members who might appreciate how sweet the film is. Or miss out on people who prefer more nuanced or absurdist humor. Or people who aren't six-years-old. Hopefully the sequel doesn't drop the ball. I promise not to judge it by its trailer. I'll trust you guys this time!

The Straight Story (1999)

While it's pretty surreal to see that Walt Disney castle followed so closely by the words, "a film by David Lynch", that S-word holds little sway over what is to follow. As the title states, this is "The Straight Story" but that does not mean that it is out of place among the rest of Lynch's output. That early scene of Dorothy sunning herself in the yard could easily be right out of Blue Velvet or Twin Peaks. The same goes for all the various characters Alvin lives with and comes across on his journey. Yet instead of playing them for menace or ridicule, Lynch instead chooses to take this languid road trip as an opportunity to show us that they are more than just roadside curiosities. Like John Merrick in The Elephant Man proclaiming, "I'm not an animal!" this is David Lynch insisting upon the humanity of the characters he continually chooses to train his camera on. While "surreal" is easily the word most associated with the cinema of David Lynch, I would place "compassionate" as a close runner-up.

Hugo (2011)

I love it when a master filmmaker takes on a maligned genre. And what genre is more maligned than that of the "family film" with its well-worn conventions and sappy sentimentality? Thankfully we have Martin Scorsese steering this ship and any time things begin to approach conventionality, Marty is there to take us in a different direction. Like a great Pixar film this has something for the young and something for the old. For the young there's mystery, adventure and funny animals. For the adults there's the story of an old man who has lost his spark and finds it again. It's a continuous back and forth that keeps things interesting for both audiences. But most importantly this film serves as a means by which to unite both the young and the old in a shared love of early cinema and the importance of preserving it. It uses the latest technologies to make new audiences feel the same excitement for cinema that audiences felt at the medium's inception. This is the perfect film for a cinephile parent to raise their child on.  I wouldn't be surprised if this film is one day credited as having launching numerous careers.

Chef (2014)

Many critics have written this film off as a cute but predictable treat where the character quirks are enough “seasoning” to keep things interesting. While I will agree that it isn't particularly significant or profound, I do think there is a little more to it than just a feel-good father/son story. Like 8 ½ and Nymphomaniac, this is a film about its own creation. This isn't a situation where Jon Favreau got his groove back on a different film and made this film to tell us about how he got his groove back. This film is literally watching that happen. When he wrote it he had no guarantee that he would be successful. This film could have been just as lifeless as Iron Man 2 or Cowboys & Aliens. But just like Chef Carl in the film, once unencumbered by a stifling studio/owner, Favreau was able to flourish. He was also able to indulge some of the impulses that studio filmmaking tends to drive out. On a studio film he couldn't have had all the swearing around the kid, budgeting would have surely ruled out shooting in so many diverse locals and even the start and stop structuring would have been jettisoned in favor of something more streamline. Hopefully he’s at least able to bring some of this energy to his next film because when the studio is Disney and the property at play is The Jungle Book, you know they’re gonna want to secure their investment by making things as generic as possible. Let’s pray that his payday will be big enough to fund a small, personal film afterwards.

Koko and the Ghosts (2011)

I had the immense pleasure of seeing this film over the weekend at the newly opened Frida Cinema in Santa Ana, CA. I felt really honored to get an opportunity to see a film from a country whose cinema is so rarely seen in this country, and this was a really fun one!

Koko (Antonio Parac) is a young boy recently praised for helping catch thieves with a group of his friends. After moving to a new town, he becomes involved in a new mystery involving the previous (and deceased) owner of his home. He's convinced the old man is a ghost, bent on reclaiming his home, and Koko's friends Zlatko (Kristian Bonacic) and Bozo (Ivan Maltaric) help him prove whether or not this ghost is real.

This movie had a fun Scooby Doo vibe to it, and all of the child actors were great. It very much felt like a children's film, and that's not a bad thing in this case at all. The story was told from the children's perspective, and unlike lesser children's films, the adults were not bumbling or foolish. Koko's parents in particular were very sympathetic, and there's a sweet scene between mother and son. Overall I had a very good time with this film, and I wish it could have more opportunities to be seen by American audiences. In fact, there's a sequel! Maybe I'll get to see that one someday...

The Little Mermaid (1989)

Excellent, another Disney film added to my collection! I usually wait until after the holidays to grab whatever Disney film just came out of the "vault" because I'm hoping somebody will get it for me for Christmas. And guess what was under the tree! 

Most girls (and boys) of a certain age have very fond memories of this movie. I remember having a little stuffed Flounder that I would hold by its fins like Ariel did. I would swim in my grandparents' pool and pretend I was a mermaid. You know, typical little girl stuff. What's nice about a lot of these classic Disney films is that while you grow up loving them for one reason, you can revisit them as an adult and appreciate them on a totally different level. What makes this movie great for me now is the amazing musical work by Howard Ashman (RIP) and Alan Menken. Those songs! I hate to think of a world without "Under the Sea". And let's not forget the hilariously violent "Les Poissons" sequence! The blu-ray is pretty great, featuring a great making-of documentary and lots of other fun behind-the-scenes tidbits for superfans. Did you know Ursula the sea witch was based on Divine? Awesome! I'm so glad Ashman's legacy will live on as people continue to love this movie. And with a great voice cast (Jodi Benson as Ariel is flawless), beautiful animation, and top-notch music, there will be no shortage of love for The Little Mermaid anytime soon.

It's A Wonderful Life (1946)

Is there really any reason to summarize this plot?

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Forget all y'all who hate this film. If you don't like this film, I don't think you're actually watching it. I think you might just be reacting to the film's reputation, because as a film it's darn near impeccable! The story is touching, the social message is important/relevant to right now, the actors are charming and the filmmaking is top-notch. There's a silent tracking shot of George at the train station after he finds out that his brother doesn't plan to go into the family business that could absolutely work in a Bresson film! Even something as deceptively simple as that opening shot of the sign reading, "You Are Now In Bedford Falls" is a stroke of genius. The film is even able to handle some pretty dark/unsettling moments with little sugarcoating. That Capra fella sure could spin a yarn and this is one that I don't have any problem seeing each year. It's A Wonderful Film!

The Nightmare Before Christmas (1993)

Jack Skellington is feeling a little bored and restless in his role as the Pumpkin King in Halloween Town when he stumbles into Christmas Town and has his little skeleton mind BLOWN. He is inspired to claim Christmas as his own, to the delight of some, and the dismay of others.

This movie takes me back to 10th grade. I was going through my little goth phase, I had a Jack Skellington lunchbox, and Disneyland had just opened their Nightmare Before Christmas Halloween/Christmas makeover on the Haunted Mansion ride. Ah, those were the days! It's true that merchandise for this movie seems to be EVERYWHERE now and it can get kinda seen-one-seen-them-all, but if you look at just the film by itself it's really quite extraordinary. First of all, the amount of work that went into this film is mind-boggling.  I can't wrap my head around the dedication and patience required to make a stop-motion film. The voice actors are top notch, the music is wonderful (well done, Danny Elfman!), and the combined talents of Tim Burton and Henry Selick make this film shine. There's something comfortable and familiar about these songs and these characters. Whenever I feel too snobby and abandon this movie for a few years, it waits, patiently, for me to come back. Like an old friend. For Jack, Sally, Zero, even Oogie Boogie, I'll always come back.

Awesome Kids Movie Villains You Almost Forgot About

So I was feeling nostalgic (AGAIN!) thinking about how fun kids movie villains can be. OK sure, they spend a lot of time making silly faces and tripping over their own feet. But some really take that character and run with it. Let's revisit a few of my favorites!

Meredith Blake (Elaine Hendrix), The Parent Trap

I love a rich bitch! I watched this movie a lot when it came out, and I can't get enough of how awful Meredith Blake was. I want her wardrobe, though.

Mary Poppins (1964)

Like many of my friends, I am eagerly anticipating the new film about the making of Mary Poppins, Saving Mr. Banks, so I thought I'd sing the praises of the beloved original film. But where do I even start? All the actors are so incredibly fantastic and wonderful and memorable. Every single face in this film makes me feel like I'm looking at an old friend, especially David Tomlinson as Mr. Banks. Maybe it's because there's a quality about him that reminds me of my own father, but when I look at him I feel like I've known him my entire life. The entire cast is great. Say what you will about Dick Van Dyke's questionable Cockney accent, but his dancing and physical comedy is absolutely top-notch. And Julie Andrews! She needs no explanation; she's "practically perfect in every way."

Can we talk about the music for a second? Every single song in this movie is a classic. Even the songs I found kinda boring as a kid are my favorites now..."Stay Awake" and "Feed the Birds" are just sublime. Those Sherman Brothers, man. That's a whole lot of talent right there. "Let's Go Fly a Kite"? Such a great song! "Jolly Holiday"? Marvelous! Every song is so good!

I'm trying not to gush over this movie, but it's more difficult than I thought. There's a lot to take in - frolicking in chalk drawings, dancing with chimney sweeps, winning a horse race, laughing on the ceiling, cleaning a room with the snap of your fingers - but I guess at the end of the day there's only one word to describe this film...

Supercalifragilisticexpialidocious! Oh come on, you knew that was coming.

The Goonies (1985)

With the scheduled foreclosure and demolition of their town imminent, a scrappy group of kids band together and go in search of lost pirate treasure with some very bad people hot on their trail.

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Why can't movies for kids be this awesome any more? More specifically: Why can't they be this scary anymore? I'm inclined to blame political correctness, but that would make me sound like Rush Limbaugh and we of course can't have that. But seriously! It's important for kids to be scared and the only way to do that is by putting young characters in real danger like this film does. Sure there's elements that defy the laws of physics/reality (ie: all of Data's inventions) but even when he's dangling from chattering teeth, there are still real jagged spikes down there waiting to kill him. Even when they cut out the dirty stuff to show it on the Disney Channel, they re-inserted the Octopus scene! More danger! Outside of awesome exceptions like ParaNorman, this would not fly today. Some of my fondest childhood memories are connected to things I was afraid of and it's sad to think that the children of tomorrow are being deprived of this. They're also being deprived of dirty/naughty stuff, but that's another rant all together...

Rise of the Guardians (2012)

The children of the world are protected by immortal "guardians," defenders of those children who believe in them.  North (Santa Claus), the Sandman, the Easter Bunny, and the Tooth Fairy must band together when Pitch Black, the Boogeyman, threatens the children with endless nightmares that will cause them to lose their innocent belief in their protectors. Things get interesting when the unlikely Jack Frost is chosen to join their ranks.

I haven't been so pleasantly surprised by a movie in a long time! My sister picked it to watch last Sunday night and I was kind of like "Okaaaaay..." but I got sucked right in! The story is creative, the animation is excellent and I loved the original take on our beloved childhood characters. Santa Claus with tattoos? An Australian Easter bunny? Yes please! I had a lot of fun watching this. I really appreciate when children's films aren't afraid to be dark and scary at times. It's good for them! I might have to add this one to my future child's collection of good-but-scary films, along with ParaNorman and Coraline. And now I want to read the books too!

If you're a fan of good animation or just like an interesting story, I very much recommend this one. It's not flawless, but it's surprisingly enjoyable and reminds us all to hold onto that sense of wonder we all had as kids! Enjoy!

The Flight of Dragons (1982)

The power of magic is fading in a world of reason and logic. The wizard Carolinus (Harry Morgan) summons his three brothers in hopes that together they can create a haven for all magical creatures, safe from the outside world. The evil fourth brother Ommadon (James Earl Jones) refuses to hide away and instead vows to use his powers to control and destroy mankind. Carolinus then organizes a quest, headed by a 20th century man of science (John Ritter), to steal Ommadon's crown, the source of his power.

This film is one of the few non-Disney animated films I grew up with. I've met very few people who have seen this film, so I'm always defending it despite the fact that it's all over the place. Once you get past the somewhat wonky animation and crazy monsters, it's actually an interesting story about magic versus science. One could even look at it as a story of religion's place in the modern world ruled by logic. Can the two coexist? This film also gets props for being the only movie I've seen that attempts to scientifically explain dragon fire and flight. Not bad for a little cartoon from the 80s!

You'll have a tough time finding this one without purchasing it outright, but you can watch individual clips on YouTube if you're interested. At least get it for the kids!