#he originally had a negative charisma/charm score

[bananasofthorns]

red for avery?

🔴 Red - What is a trait your OC has that those around them don't see very often? Is it seen by a rare few or completely overlooked?

He actually enjoys and is good at small talk, being charming, and building a rapport with people, but he works night shift gas station customer service and lives in a tinyass town trying to avoid a cult that wants him dead. He's friendly with the other people in town but he's trying not to get close to anyone or make himself noticeable (first mistake: moving to a tinyass town). (To be fair to him, though, the cult didn't catch up for like six months.) (And the townspeople like him so much that they didn't even really blink at the subsequent Horrors (and murder) (and arson) that he and the cult presence went through.) (They think he got possessed by an an angel to rid the town of evil (he now shares a brain with headmates AND an actual literal demon)).

orb oc ask game

[danwhobrowses]

Why ‘The Karate Kid Part II’ Deserves More Respect

So guess what film I finished watching today? Of course, the Karate Kid franchise is considered iconic mainly for its first entry; Wax on Wax off, Skeleton fights, Sweep the Leg and the Crane Kick all cemented its legacy that allowed Cobra Kai to also be such a success. But imagine my shock when the approval rating on Rotten Tomatoes for Part II is 45% - 21% lower than the Jaden Smith ‘The Karate Kung Fu Kid’ version (and Part III is scored 15%, which is also super harsh but hard to debate outside of the magnificence of Terry Silver). Originally this was just gonna be a general post of how much I enjoyed retreading Part II, but upon seeing that score I had to give it my ‘Deserves More Respect’ posts.

It is an off-chance, but if you haven’t watched this film there will be spoilers within, I encourage you to watch it before reading, and maybe watch it again if you have so it’s fresh in the mind

Let’s start with a controversial point shall we? There are several parts where Part II is actually better than the original. Now I know! There’s a lot about the original which is iconic, but nostalgia does blind you to other shortcomings and while it’s easy to sell the first part because of its mystique, a sequel has the added pressure of rising above and developing on old and new themes set by the predecessor. The Premise In case you decided against refreshing your memory. Karate Kid Part II starts with a recap of Part I, a bit of content that was meant to be Part I’s final scene (in the script, not for filming) and then a timeskip. Ali with an i is gone - brutally dumping Daniel for some Football Player before Senior Prom and after crashing his car, Daniel’s mother is in Fresno for work and Miyagi has received a letter from his home Okinawa in news of his father’s fading health. The stage is set for Daniel and the audience to learn more about the iconic Mr. Miyagi and the life he left behind. Okay, so there is bad in this film Part II deserves respect, but it’s not perfect. It definitely gets messy near the end with Daniel’s antagonist Chozen, he mainly took beats from Johnny Lawrence in physically confronting Daniel when he could with a bunch of no-named goons and he fought pretty similarly to Johnny in catch counters and leg strikes. The opening recap did take a lot of time too, while the ending remained somewhat abrupt having just beaten up Chozen to embrace Kumiko (who had a delayed recovery after being punched once). While not bad, a fair amount of retreaded content felt like downgrades of the original; Chozen and Sato lacked the charisma of Johnny and Kreese, the crane kick was far more impressive than the drum technique and the Tournament setting was grander than the O-Bon festival. But, there are Iconic Moments in this film too Part I may have the Crane Kick and the Skeletons and the Training and Sweep the Leg. But people may forget that Part II had awesome moments too.

Like Daniel chopping through 6 Sheets of Ice! If that isn’t one hell of a power play I don’t know what is. It is a moment genuinely impressive in and outside of the 80s cheese universe of Karate Kid, and it gets referenced in Season 2 of Cobra Kai.

Also referenced in Season 2 is Miyagi vs Kreese. While this is the intended ending for Part I, it certainly acted better at the start of Part II, especially given that is foreshadows the situation Daniel finds himself in at the end of the movie. This moment is equally iconic as it completely encapsulates the character of both senseis - Kreese the confident brute brought to a sniveling mouse when size and power failed him and Miyagi the cool-headed and vastly more intelligent fighter still with the cheeky prankster lightness to him as he honks the scared shitless Kreese on the nose. Perfect.

While I did want to cite the Tea Ceremony as well I think the more iconic moment for Part II had to be Miyagi chopping the log during the storm. The storm itself is a very well-done scene which unmasks several characters in the face of adversity. True tension, worry and stakes are sold as the village are in danger of the cruel whims of nature, an act which is all too real for Sato when the house he’s in collapses on him in the calm before his scheduled deathmatch with Miyagi. Not only is this again some great foreshadowing by the rule of three (Daniel asking if Miyagi can chop a log like Sato is doing with a banner and then Miyagi and Sato meeting and seeing Sato fail to chop a log) it proves a pivotal point where Sato turns from aggrieved antagonist to repenting ally. A great show of power and friendship as Miyagi metaphorically breaks the rift between their friendship that weighs Sato down. Okay, we hear you, but how is it better? I do have to preface that I do still love Part I, I have to because in pointing out where Part II is better I have to pick at Part I’s faults. While the ending is messy Part II definitely has much better pacing, until the skeletons scene Part I doesn’t really pick up because it has to set up, Part II while it does recap doesn’t need to worry about it. Giving Miyagi the main plot was definitely Part II’s strongest suit. Part I profited from Miyagi being the ‘mysterious old teacher’ but learning a lot more about his humanity and history was engrossing and it allowed positive development for Miyagi and Daniel, especially their bond as a surrogate father and son when Daniel personally goes out of his way to support Miyagi on a very personal matter. The main characters maintain their charm as well, still a lovely array of life lessons in Part II more than just finding balance, Miyagi teaches Daniel through words and action on taking time to breathe, to refocus when imbalanced, to forgive rather than to harbour hate, mercy, selflessness and humbleness

“never put passion before principle. Even if win, you lose.” - Mr. Miyagi

The scenes involving Miyagi and his father were some of the most deep and emotive of the series up until Cobra Kai, some still haven’t been topped such as Miyagi’s dad’s first words to his son or when Daniel talked about when his father died.  And say what you will about Chozen, he does have a lot of Johnny vibes but a lot of the character we believed was Johnny due to nostalgia goggles was more fitting of Chozen’s manner. The story did a great job in making sure Chozen was always an asshole, at times Johnny did at least display honour and grace but Chozen was always sore about stuff and quick to claim dishonour even when he was in the wrong. Contrary to Johnny it’s more about his family than it is about a girl, which allowed a lot more freedom in the plot. Whether you felt Elizabeth Shue’s Ali with an i was prettier than Tamlyn Tomita’s Kumiko is up to personal preference, but the messy-haired Kumiko definitely had a slightly improved presence in Part II than Ali did, with actual focus on her own feelings outside of attraction to Daniel, her ambition to become a dancer directly linking to the O-Bon Festival - which in turn related to the Drum technique - as well as the delicately beautiful Tea Ceremony scene and actually contributing to the final fight (granted Ali wouldn’t be allowed to). Also Daniel didn’t try to eat her face which is a general improvement to the romantic subplot, extra applause has to go to Tomita here too because this was legitimately her first role - Shue had her second so that’s impressive too - and both women had good careers going forward. The increased stakes definitely worked in the favour of Part II as well, as sequel culture is forced to do, but by moving to Okinawa (actually filmed in Hawaii) we opened the door to better suit Miyagi’s world while keeping Daniel the fish out of water. I can’t speak too much for appropriation because there is still kinda some ‘white saviour’ undertones but I didn’t feel like Japan was treated negatively in this light, its culture of the O-Bon Festival and the Tea Ceremony was treated with the utmost respect and explained without pandering, the flute music had definitely stepped up its game for the soundtrack as did the imagery. Can also appreciate that Daniel does go for the Crane kick when fighting Chozen but is parried. Added hat tip has to go to costuming too. A lot of costumes would have to have distinct Kamon such as Sato’s twin fish and Miyagi’s bonsai on a lot of their clothing

Between Sato and Miyagi the colours of their clothes often code their emotions towards each other, with Sato usually in grey and Miyagi in white or cream, when Sato and Miyagi prepare for death they are in black and when Sato wants forgiveness he moves to a lighter shade. While Part I also used black and white to differ Johnny and Daniel, Part II put Chozen and Daniel in the more Japanese-themed Red and Blue. While both men wear red, blue and whites at time, Chozen’s clothes almost devolve from the white he debuts in as his darker side comes out before flat out embracing yellow after his chance to prove his honour in the storm is refused (and he’s in white then), while Daniel often moves to Red or red tones even in his blue shirt. Kumiko also moves from white to blue, sometimes even purple, in set up to the final fight to have the primary colours stand out in the colourful crowd of the O-Bon festival, but even in the blue Kumiko had red to pair her connection with Daniel. Also her Yukata at the festival is just stunning, the Great Wave off Kanagawa print is a nice touch.

Anything else we should know? It might not be much else about the film itself I can tell you, but I do appreciate something I’m starting to call ‘The Rocky Connection’ when it comes to Karate Kid. Like Part I’s ‘You’re the Best (Around)’ was shortlisted for Rocky III, Part II’s song ‘Glory of Love’ was shortlisted for Rocky IV’s theme, losing to ‘Hearts on Fire’, Bill Conti also chose to score this film instead of Rocky IV. I like to pair this with Daniel’s Rocky-esque character, he has that same kind of swagger but a lot more naive and childlike. Martin Kove also gets a nod because those bleeding hands were legit, he had an accident on-set and the footage was kept for the final cut. Tamlyn Tomita wasn’t the only film debut for Part II, B.D. Wong of...well, several famous roles including but not limited to Shang in the animated Mulan, Dr. Wu in the Jurassic Park franchise, Hugo Strange in Gotham and many more, also had his debut here in a minor speaking role when he’s handing out flyers for the dance party to Kumiko and Daniel before the Ice Chopping Scene. So, why does it deserve respect A film that adds to a beloved character in a respectful fashion without having really any god awful moments does not deserve a 4.5/10 rating. It may not have as emphatic an ending or as great a villain but it has a captivating plot and a good pace, better stakes and much more emotionally driven and responsive scenes. A lot of effort and dedication went into this film to explore new dimensions of the main characters in a fashion which was enjoyable and at times heartwarming. And characters are given human moments, even Miyagi confesses himself not to be perfect and it keeps each character grounded. Even to this day parts of Part II are remembered fondly rather than the campness that Part III had outside of Terry Silver and his magnificent ponytail, the fondness also continues to reflect in Cobra Kai with homages and fan theories of Daniel going to Okinawa again and even re-encountering Chozen. Not to mention it grossed $113m on a $13m budget and got nominated for a Best Original Song Oscar (losing to Top Gun) Part II was a good and enjoyable film which deserves far more credit than to be rated this low, for that it deserves respect.

[thewickedmerman]

My Fan-Cast for the Live-Action Remake of The Swan Princess

As some of you might be aware, there is going to be a potential live-action remake of the 1994 animated classic, The Swan Princess. The original movie is one of my all-time favorite movies, not just in animation but in general. It has fantastic songs, a lovely score, great characters, beautiful animation, a cool villain, awesome action scenes, funny comedy, and an engaging romance. So I am both very excited and cautious about the live-action remake, due to how much the animated movie means to be (I was actually born only twenty-one days before the movie was released in theaters). I don’t want it to be an exact copy but rather tell it in a new way while staying true to the original, as well as justify its existence. The creators of the original Swan Princess, it’s two hand-drawn sequels, and its terrible CGI movies are wanting to make a live-action remake of the classic. They are really awesome with how they interact with their fans and even accept that most of the fans really hate the computer animated movies. They appreciate praise and criticism, unlike some studios that only want praise. Anyway, they created a concept trailer, which is pretty much like what a pilot for a TV series is. It’s to give an idea of what it could be rather than being a finished product, so the actors in it aren’t necessarily going to be in the actual movie, as well as the effects/CGI not being finished. They are looking for the right studio to help make the film a reality. To get an idea, here is the concept trailer.

Anyway, despite being a little nervous about the movie, I am also excited for it because I want to see how they bring it to life. Besides, just like many fans, I’d much rather see a live-action remake of The Swan Princess than one of their computer animated movies, but I won’t go into that. Something I will go into is my dream-cast for this movie. As many of you know, I have a thing for doing my own fan-casts for movies. I’ve even made a video of my fan-casting choices as well, which I will include at the very end of this, which shows their acting and singing abilities. However, I did not include the animal sidekicks (Jean-Bob, Speed, and Puffin) or Bromley and I replaced Bridget (The hag and Rothbart’s little minion) with Rothbart’s daughter from the original Swan Lake ballet, the Black Swan herself, Odile. Let me be clear, I have nothing against those characters AT ALL. I love all of them! However, I feel like their very cartoony and Looney Tunes style of humor wouldn’t work in a live-action setting. So without further ado, here are my casting choices.

Jennifer Morrison as Odette’s Mother

If you have seen Disney’s live-action remakes, you’d know that they have a thing for actually showing the dead mothers of Disney Princesses. Cinderella’s mother, Belle’s mother, they revealed that Ariel’s mother is going to be in the live-action remake of The Little Mermaid, and while Jasmine’s mother didn’t make a physical appearance, she was mentioned a lot. So why not do the same with The Swan Princess? It could be added to the prologue and have her die giving birth. Jennifer Morrison has proven in Once Upon a Time that she is really incredible in labor scenes. Emma giving birth to Henry is considered one of Jennifer Morrison’s best performances, if not her absolute best. She also has a beautiful singing voice, which could make for a lovely new song in the movie, like a lullaby to Odette before she dies from childbirth. Maybe it would be one that could foreshadow Odette’s journey like the song “All is Found” from Disney’s Frozen II. Plus, Emma Swan is basically the Odette of the Once Upon a Time world. She’s too old to play Odette but she can still play her mother.

Kevin Kline as King William

I instantly thought of him for King William because of his role in the live-action remake of Beauty and the Beast. He showed such tenderness and a loving fatherly nature as Maurice that he would be perfect for King William, who is protective of nurturing towards Odette. He can also be funny and charming, which is another part of King William. He’d be able to show what a loving father and an entertaining character he is, which will make his death all the more heartbreaking and you could even show flashbacks to Odette’s childhood that shows how much she misses her father. The live-action remake should show more of how Odette is traumatized by her father’s death and how she didn’t get to say goodbye, hug him one last time, or tell him that she loves him for the very last time (But still have the main focus be on her relationship with Derek and try to develop it further). So it would add a layer of depth and complexity to Odette’s character and showing some flashbacks of their bond will make her refusal to give Rothbart her father’s kingdom even more powerful than it already is. She’d also wonder if she’d be the kind of queen he wanted her to be or he would be proud of, which he would be because she’d be putting the needs of her people ahead of her own by not giving into Rothbart. Kevin Kline is a strong actor that would exemplify everything that would make for a great King William and help with Odette’s own journey as a character with her wanting to make him proud. Not to mention that Kevin Kline has Broadway experience and can really sing. He actually has a better voice than what he had displayed in the remake of Beauty and the Beast, which will be important for the musical sequence, “This is My Idea.”

Josh Gad as Chamberlain

I can’t imagine anyone else as Chamberlain! I mean, he’s flamboyant, he’s hilarious, he doesn’t rely on shouting or being loud for humor, he can be subtle, he can act, he can dance, he has so much charisma, and he can sing. Josh Gad IS Chamberlain! His credits speak for themselves with his Broadway work, voice acting, and film work. Sure, his singing voice is higher than Chamberlain’s but he actually can sing in a lower register. Even if he can’t, he still has a phenomenal voice and so much energy that it wouldn’t really matter. He’d bring alive the musical sequence, “Princesses on Parade.” He’d be able to make the humor of Chamberlain feel like it’s more natural in the live-action remake the same way he managed to make Lefou feel more grounded in the live-action remake of Beauty and the Beast.

Sandy Duncan as Queen Uberta

This won’t take much explanation because of the fact that she is the original voice actress for Queen Uberta in the original film. She’s the right age to play her in live-action and even said she could do Uberta now. She’s known as “Funny Girl, Sandy Duncan” for a reason. She will be able to bring Uberta to life with her humor, charm, quirkiness, and charisma. But also show her caring and motherly side. Besides, it would be a great callback to the original movie to have her reprise her role in live-action.

David Hyde Pierce as Lord Rogers

This would be absolutely PERFECT! I mean, if you have seen him in his most iconic role, Niles Crane from the sitcom Frasier, you’d know he would be able to capture the dry wit that Rogers is known for. He can also do physical comedy as well, which Rogers does some of. Not to mention he can also pull off the wise and caring mentor aspect that Rogers is to Derek. He has such an appealing sounding speaking voice that is 100% right for Rogers. He’s the right age and still has a lot of energy in him, despite his age. He also has Broadway experience, so he’d be able to pull off the singing aspect as well.

Bella Thorne as Odile

I know a lot of people hate on Bella Thorne, but that doesn’t change what a brilliant actress she is with A LOT of experience. She’s been acting since she was six-years-old and even played a villain at the age of eleven (Maybe even younger) in the movie Forget Me Not. She has experience playing villains in movies like The Duff, You Get Me, The Babysitter, and The Babysitter: Killer Queen. She can be very frightening, especially in You Get Me, despite the film not being very good. Just the look of her eyes shows how intimidating she is. She can be very sassy and make it come off as very natural and not feel forced. She puts her heart and soul into every role she’s in. It’s always clear that she is giving it her all. While her movie Infamous was received negatively, her performance received critical acclaim. One critic in particular compared her talents to award winning actress, Sandra Bullock. Her acting talents have even been praised by award winning actress, Jessica Chastain, as well as many other celebrities that just loved working with her (Which is pretty much everyone she’s worked with). She’s very seductive, which Odile is known for, and is absolutely gorgeous. She also has a lovely singing voice. Nothing great but still good enough for a movie musical. If they included her in the movie and decided to make her a redeemable villain, Bella Thorne would be able to show that with her wide range of acting. Crying real tears is something that comes very easily to her. She’d be able to show the complexity and dimensions of the character.

Either way, it makes much more sense to have Odile be in the role of the Black Swan instead of Bridget. The Fake Odette is supposed to act seductive and also give Derek some hesitation to show that he has a feeling something isn’t right. It shows how he isn’t only interested in Odette because of her looks. This makes more sense with Odile because her behavior and mannerisms should be more like her own rather than like Odette’s, which doesn’t work with Bridget. In all the scenes that Bridget is in, she’s very comedic, wacky, silly, and over-the-top in her behavior and mannerisms. That makes her entertaining, but it doesn’t make sense in the context of the Black Swan trick. Just an observation I have. Not to mention that it could give Rothbart more motivation for wanting the kingdom, because of his love for his daughter. Besides, a lot of fans are hoping that Odile will be in the live-action remake. In my opinion, Bella Thorne is the only real choice for the Black Swan. She’s a phenomenal actress, she’s a good singer, she’s sexy and seductive, and she’s gorgeous. With a major movie like this, she could end up getting an Oscar nomination for Best Supporting Actress and have people finally take her seriously as an actress. I think she’s the most talented actor on this fan-cast list (I don’t care what anyone says) and that is saying something because this cast is phenomenally talented.

Toby Stephens as Rothbart

First of all, I cast a real redhead as Rothbart because I’m not ignoring gingerism like a lot of people are. Second of all, talent is in his blood, since he is the son of critically acclaimed actors, Robert Stephens and Maggie Smith. With brilliant talents like that for parents, you know that he has to be a brilliant talent as well. He is a phenomenal actor with many credits to his name. He’d be able to capture the gruffness of Rothbart but also the class, anger, sinister nature, wit, and energetic charisma of the character. He can also sing, though out of all the actors here, he has the weakest voice. However, his voice suits the character. It’s deep and raspy, which is perfect for the musical sequence, “No More Mr. Nice Guy.” He’s the second most talented actor on here, next to Bella Thorne, which makes sense because villains tend to be the ones to steal the show. Everyone loves a good villain. Honestly, I can’t imagine anyone else as Rothbart but Toby Stephens.

Derek Klena as Prince Derek

I mean, he already has the name for it, though that had nothing to do with this casting choice. He has an incredible singing voice and a lot of Broadway experience. He even played another Non-Disney hero on Broadway in the musical Anastasia as the love interest, Dimitri. YES! I’m aware that Disney bought 20th Century Fox and therefore own Anastasia. However, I still don’t consider Anastasia to be Disney. Anyway, his voice has a love of passion, power, tenderness, and is just the voice of a prince. He also has experience in screen acting and not just stage acting, which are two completely different skillsets. He demonstrates a lot of charm and charisma in his acting, so he’d be able to bring the character to life. When he sings, he shows just what a great actor he is as well as a singer. You can instantly connect with the character he’s playing and what he is feeling/going through. Not to mention that he is really handsome. But I hope that they won’t give Derek that ugly hairstyle that he has in all of the movies.

Demi Lovato as Princess Odette

Now for The Swan Princess herself. I bet some of you think that this is an odd choice because of how Demi is a pop star. However, that doesn’t mean she can’t be a princess. Look at Mandy Moore as Rapunzel in Disney’s Tangled. Besides, look at Demi with blonde hair. She looks exactly like Odette! Demi Lovato’s voice may not be as light as Odette’s usually is, but she still has a voice that would translate very well into the Broadways style music. Her vocal abilities speak for themselves and are undeniably brilliant. Not only that, but she’s a great actress, which a lot of people seem to forget because of how she focuses on her music career. It also wouldn’t be the first time she’s played an elegant princess, since she was in the Disney Channel original movie, Princess Protection Program. I also feel like she’d be able to capture qualities of Odette that people often overlook. Odette in the original trilogy (Especially the first movie) was feisty, strong-willed, and defiant. Demi represents those qualities perfectly in everything she does. She can capture Odette’s kindness and caring nature, since she is such a loving soul, but also manage to represent other qualities that make Odette who she is. She isn’t afraid to go against Rothbart, find a way to get out of her bad situation, and even defy her father in wanting Derek to tell her what he loves about her besides her looks. She even has some experience with voice acting, so she’d be a natural when having to do voice acting for Odette when in her swan form.

She’d also be able to capture the sexy and seductive behavior that is required for when Odile is disguised as Odette. If you have seen any of Demi Lovato’s music videos where she’s very provocative, she’s clearly able to capture that perfectly. Plus, if the movie does have Odile and they cast Bella, it would work because of how Demi and Bella are actually really good friends, so they’d be able to work together to make sure that Demi could imitate the mannerisms that Bella establishes for Odile.

Lets also not forget that she could help write an original song for the movie, which could get an Oscar nomination for Best Original Song. Demi’s songs, more often than not, have a story-telling quality to them. Her songs have her emotions and feeling out on her sleeves for people to know about and sometimes even have something of a character arc. Combine that with a traditional Broadway score by Lex de Azevedo or maybe even with the score from the original Swan Lake ballet by Tchaikovsky. Besides, with her MASSIVE fanbase, she would draw in a LARGE crowd, especially since they would love to see her in a movie musical, particularly one that would have a theatrical release. I wouldn’t be surprised if she got an Oscar nomination for Best Actress.

BONUS MATERIAL:

For some bonus material, I’ve included who I would choose to sing the end credit songs from the original movie, “Far Longer Than Forever” and “Eternity.”

“Far Longer Than Forever”: Jordan Fisher and Coco Jones

These two singing a duet together would be absolutely HEAVENLY! They have absolutely amazing voices with wide and versatile vocal ranges. Jordan Fisher is pretty much a male version of Mariah Carey. Coco Jones is pretty much a younger version of Jennifer Hudson. Not to mention singing the end credit song to a remake of an iconic and beloved animated movie could help her get the recognition she deserves. She was done dirty in Hollywood because of her being a dark-skinned black woman. Singing the end credit version of “Far Longer Than Forever” in the live-action remake could be to her what “Reflection” was for Christina Aguilera. That song is what helped make Christina the massive star she is today, so much so that she came back to sing a new version of the song in the live-action remake of Mulan.

“Eternity”: Anneliese van der Pol

Anneliese van der Pol is such an UNDERRATED talent! She has one of the most amazing voices I’ve ever heard in my life. It’s so powerful, she can seriously belt, has such an old fashioned beauty to her voice reminiscent of singers like Judy Garland and Barbra Streisand that is rare to find nowadays, she can be full-on but also tender, and is a Broadway singer. She would do the song justice and would stay true to the spirit of it. I mean, listen to her cover of the song “Candle on the Water.” Usually with Disney Mania, it’s almost always modern style music to classic Disney songs, however, Anneliese’s cover was in the same style as the original song, which is unique. In fact, her cover was better than the original.

Lastly, did you know that The Swan Princess has an OFFICIAL Youtube, Facebook, Tumblr, and Instagram? They even interact with fans A LOT! Take a look!

https://www.instagram.com/swanprincessofficial/

@theswanprincessofficial​

https://www.youtube.com/channel/UCm_Q3k32sEVQbrANS7-vSjA

https://www.facebook.com/official.swanprincess/

You can even send an email to Odette@swanprincessseries.com where you can ask a question and it might be chosen for the monthly Chamberg Daily News (Chamberg is the name of Derek’s kingdom).

[agentnico]

A Quiet Place (2018) Review

A few of the viewers at my screening would not survive A Quiet Place. That’s right, I’m talking about you, guy with crunchy popcorn and a slurp-filled Diet Coke!

Plot: A family is forced to live in silence while hiding from creatures that hunt by sound. If they hear you, they will hunt you.

What a concept! When was the last time you watched a film and there was a truly original idea that hasn’t really been done before? It’s been a while, but now we enter A Quiet Place, a film with no sound...well, almost no sound. Mostly this movie plays out like a silent film, however when sound is used, it works to add towards the overall creepy unsettling feel of isolation that the movie holds throughout. Whether it’s the whistle of the wind, or the notes of Marco Beltrami’s eerie score, any use of sound is minimal but to the point. Otherwise this film is done in complete silence, even the characters have to rely upon the use of sign language (fair play to all the actors who had actually made the effort to learn sign language, minus of course the daughter, the actress, playing whom, who you may know from last year’s film Wonderstruck, is actually deaf). Having this isolated silence all the time really naturally brings out the horror aspect, as it is not that the film is scary per-se, but its the overall aura that it gives off, and it really immerses you, since you sit there in your seat at the cinema trying to make as least amount of sound as possible...and also if anyone around makes the slightest sound, even if some one takes a more heavier breath, it sounds like a drum in your ears. So that aspect affect the film both positively and negatively. The movie demands to be seen at the cinema, since the sound, or lack of it, surprisingly works well with the surround speakers of the cinema, but that is balanced out by the fact that any noise made by any of the audience members will annoy the hell out of you.

Following in the steps of Jordan Peele with last year’s Get Out, we have ourselves a comedian who has now turned towards both horror and being in the director’s chair. And fair enough to John Krasinski who does a stellar job, fixating on bringing out tension, experimenting with some camera angles and having certain shots where you question what you see. He also loyally sticks to the simple premise of the film, taking a few risks here and there but staying dedicated to not trying to make this film any bigger than it should be. I mean, if you think about it, this film could have easily been turned into a Cloverfield film, it has all the merits to work for it. It’s even being distributed by Paramount. But I am glad that the film was kept quite ‘in itself’ so to speak, as the result is a very good self-contained thriller. However I do have one complaint, and that is the abundant reliance upon jump scares. So many horror flicks these days rely upon jump scares, and why cannot studios understand how tiring this gag is by now. It’s been over-done. Just let it go. There are also a few cliched moments here and there, however they are cliches for a reason, they worked for what this film was going for. I should also mention that there are a few plot holes and some questionable moments here and there, but if you don’t think about it too much, it shouldn’t bother you. There is one thing that did bother me though, and that is that Emily Blunt’s character is pregnant with a baby. I mean, who thought it was a good idea to start conceiving a child in a middle of the apocalypse, especially one involving the rule of not being allowed to make any sound? Have they considered birth? That tends to involve a lot of screaming, I’m just saying. And no, the excuse of her becoming pregnant is not an excuse that can be used, as the story in the film takes place around the 470th day (or something along those lines), so the child was conceived DURING the whole chaos. Basically, I question the prospect of why Krasinski’s and Blunt’s characters were having a baby in the first place. One can connect this to their need of wanting another child, but with Krasinski’s character being a no-sh*t-taker survivalist it seemed a bit far-fetched.

Lets talk about the cast, which is basically made up of this one family. John Krasinski (who also writes and directs the film) plays the father, and he is a straight up survivor who really cares for his family, and survival is his key motivation. And you really connect with his character thanks to Krasinski’s natural charm and charisma. Emily Blunt is also good as the mother, but her motivation has a bit more layers, as she does care about her family (and most importantly her kids’) survival, however she also wants her children to thrive. Blunt also has great chemistry with Krasinski, no surprise, they are married in real life! The kids did a very good job too, and for their age they have fairly decent acting chops.

In the end, A Quiet Place is a very solid directorial debut by John Krasinski. The film’s concept is its strongest point, but strong control from the director, good performances, the use of sound (you’ll know what I mean when you see the film, which you should)...it’s very good and highly entertaining. As of right now, this is easily my favourite film of this year so far.

Overall score: 8/10

TOP MOVIE QUOTE: “I...love...you, I...have...always...loved...you.”

[rebelsofshield]

Ranking a Saga: Nick Tries to Review all of Star Wars

I have done quite a bit of writing on Star Wars throughout the years. Whether it’s through rankings or countdowns or episodic reviews The Clone Wars or Rebels, I have long used this blog as a way to share my thoughts on the Galaxy Far Far Away. That being said, I have actually written very little about my opinions regarding the films themselves. What better time to do so than this week with a new Star Wars movie arriving tonight?

While I had originally hoped to do lengthy reviews for all seven saga films, Rogue One, and the theatrical Clone Wars release, due to time constraints, we will instead be doing another ranking with medium length reviews for each movie. (Yes, I love lists.)

As always, feel free to voice your opinions. Tell me how wrong I am about everything or better yet share your own Star Wars lists. I would love to see them.

9. Star Wars: The Clone Wars (2008)

Watching the theatrical pilot for Star Wars: The Clone Wars is like watching a talented high school quarterback be assigned to play for a major NFL team. It’s taking something that in its own small, minor scale would be perfectly acceptable and potentially even good, and forcing it into a realm where it has no business belonging. This is the unfortunate task faced with Dave Filoni and his crew. Star Wars: The Clone Wars is a movie that should not be a movie, in fact it barely functions as one to begin with.

I do not hide my love for the still flawed but at the same time charming, engaging, and compelling animated series that this film would spawn. It’s for this reason that the failings of The Clone Wars feel all the more painful.

Hastily edited together out of the initial five episodes for the series, quite simply everything about The Clone Wars is a mess for a film. Despite the best efforts of Director Dave Filoni, The Clone Wars cannot escape its slipshod construction. It moves along in hurts and jolts and switches focus too quickly to attain much of any narrative momentum.

It also hurts that the animation itself, while perfectly serviceable for a CG animated series for the late 2000’s, is stiff, clunky, and oddly flat. Environments are sterile and lacking in texture. Characters move in jerky motions and lack facial expressions. In a year that would bring us kinetic and gorgeously detailed CG animation from films like Wall-e and Kung Fu Panda, watching The Clone Wars is an ugly and even depressing affair.

The only passing grace for this film are the creative and at times epic in scope battle sequences, but when the film itself is this lacking in cohesion and heart it is hard to raise anything more than half-interest.

Score: D

8. Star Wars Episode II: Attack of the Clones (2002)

By far the weakest of the so far released Saga films, Attack of the Clones acts as a call to action for all those who have issues with the prequel films. While it has dropped the bizarre racial stereotyping of its predecessor, George Lucas’s second installment in the series’ second trilogy is filled with strange decision making and a convoluted plot structure.

Trying to understand the narrative of Attack of the Clones is often very difficult. While it is relatively easy to tune out and simply enjoy the spectacle of it all, the attempts to meld space opera with noir and political intrigue prove unfortunately more convoluted and stale than intriguing. In particular, the circumstances surrounding the creation and implementation of the clone army stretch credibility.

While The Phantom Menace made extensive and competent use of combining miniatures and digital effects, Attack of the Clones falls back on computer generated images to detrimental effect. While it serves the sweeping battle sequences and wide arrange of alien creatures well, the pervasiveness of digital additions to the film’s world becomes distracting when it oversteps its bounds. In particular, the decision to make the armor for each of Temuera Morrison’s clonetroopers digitally rendered is an unnecessary decision and it gives a slightly uncanny feel to the clone army itself. Even worse are the completely digital environments which feel detached and weightless in their interactions with movie’s cast.

Ultimately though, the biggest failing of Attack of the Clones is Anakin himself. While Jake Lloyd may have struggled in The Phantom Menace he at least succeeded in turning Anakin into something of a likable character. While Hayden Christensen is a talented actor and he certainly improves by the time Revenge of the Sith arrives, it is hard to relate or even sympathize to the manner the character is presented in Attack of the Clones. He oscillates between arrogant, angry, and uncomfortable without giving us much to fall back upon. If we are meant to feel for his temptation and fall from the Light, then there needs to have been somethings there worth saving in the first place. By the time Attack of the Clones closes, we don’t have much of that.

The same can be said for the much maligned romance at the film’s center. While the concept is compelling in and of itself, Lucas’s writing and staging of the scenes can’t help but feel staged and forced. Both Natalie Portman, who was one of the previous film’s highlights, and Christensen struggle in finding a chemistry in the material that feels natural and the end result is something that at times approaches unwatchable uncomfortable in its presentation.

That being said, once the film’s political powder keg explodes, Attack of the Clones evolves into something intense and actually quite fun. Both the unique arena sequence and the Battle of Geonosis are visually stunning and entertaining action set pieces that are bolstered by a swashbuckling and charming performance by Ewan McGregor. While it does close out in the most disappointing lightsaber duel of the saga, it still ends on a relative high note given the meandering and detached mess that preceded it.

Score: C-

7. Star Wars Episode I: The Phantom Menace (1999)

While still one of the weaker films in the saga, The Phantom Menace receives significantly more ire than perhaps it deserves. Much of this is perhaps due to the initial hype and disappointment that it brought with it during its release in 1999. Some of this is understandable considering that it does mark a significant step down in terms of quality from 1983’s Return of the Jedi and an even further one from the first two films. However, when viewed in context of both Attack of the Clones and The Clone Wars animated film there is something about The Phantom Menace that feels inherently more watchable and even entertaining.

Much of this is that despite the fact that the film’s structure is strange and lacking in cohesion, it does move along at a pretty steady speed and provides us with a wide variety of locations and faces. There is also something about the aesthetic of the whole thing that feels significantly more in line with the original Star Wars than both the other prequel films would provide. It also helps that Lucas’s action direction, even if it does tend to the over complicated and unnatural, is visually arresting and engaging. Both the podracing sequence at its center and the stellar lightsaber duel between Qui-Gon, Obi-Wan, and Darth Maul are representative of the sort of fast moving fun that make the Star Wars films what they are.

Unfortunately, this is about where the praise for The Phantom Menace ends. I have already spoken at length about the rampant presence of racial stereotyping in the film and one does not have to spend much time discussing the flaws behind Jar Jar Binks or Jake Lloyd’s performance of a young Anakin Skywalker. The fact of the matter is, much of the negative aspects of the film have been so ingrained into popular culture that even discussing them at length would feel almost unnecessary. Jar Jar is annoying. The acting is stale. Etc.

However, perhaps the biggest detriment to the Phantom Menace as a whole is the lack of a direction when it comes to its characters. Of the cast on display only Liam Neeson and Natalie Portman are given characters with much of anything to do and while they may lack depth or charisma, their portrayal are competent and engaging enough to avoid boredom or disinterest. Unfortunately, the same cannot be said for the rest of the cast. Although there is nothing inherently poor about his presence in the movie, Ewan McGregor’s Obi-Wan Kenobi is given next to nothing to do in the film and in the process his sudden importance at its conclusion feels half-baked and insincere.

Ultimately, The Phantom Menace is a disappointment, but it remains a watchable and at times entertaining movie, especially in contrast to the worst of the saga.

Score: C+

6. Rogue One: A Star Wars Story (2016)

The second of the two so-far released Star Wars films released by Lucasfilm since Disney’s heralding of the franchise is also the weaker. Rogue One: A Star Wars Story represents the first live action, theatrically released film in the Galaxy Far, Far Away that centers itself outside of the main Skywalker saga. It styles itself as both a prequel and spin-off and strikes out to capture some of the genre-bending style that has been Marvel Studios’s secret success. Telling the story of the theft of the Death Star plans, director Gareth Edwards styles Rogue One as a science fiction war epic filled with intense battle sequences and clever camera work.

When Rogue One is at war, the film is a success. Edwards’s strong visual eye, especially when detailing scope and scale, is the movie’s true secret weapon. Rogue One is a gorgeous film to look at and more so than The Force Awakens finds a way to inhabit the aesthetic of the Original Trilogy while also updating it for a contemporary audience. The blending of practical and digital effects is close to seamless (outside of the infamous digital recreations of Peter Cushing and Carrie Fisher). As an extension, the battle sequences whether they be urban shootouts in the ancient city of Jedha, storming the beaches of Scarif, or capital ships crashing into one another in high atmosphere, are stunning to behold and perfectly capture the chaos but also emotion of galactic warfare.

Similarly, when Rogue One functions as an allegory for the battles of oppressed people against fascist or totalitarian governments it is effectively stirring and even emotional. Sacrifice for freedom is a key theme of the franchise and Edwards and screenwriters Chris Weitz, Tony Gilroy, John Knoll, and Gary Whitta are keenly aware of this.

It is unfortunate then that so much of Rogue One is so starkly impersonal and flat. Throughout the film’s runtime there is an undeniable texture of ideas and concept that are intriguing. There are different political factions, sub-cultures that have clear beliefs and unique meanings to the franchise, and characters that are well drawn and conceptualized. These ideas just often feel untouchable or nebulously realized.

Nowhere is this more apparent than in the film’s central cast of characters. While the ensemble of talented actors do their strongest to bring these rebels to life, many struggle to stretch beyond their initial drawings or conceptualizations. Few outside of the film’s lead, Jyn Erso, possess much of a clear character arc or personal stake in the proceedings, but even those that do experience some form of personal realization do so in a stop gap manner that is hard to follow. At its most basic, Rogue One’s characters lack agency; their wants and desires feel removed from the central thrust of the plot and instead feel like game pieces moved about for a larger force. While this may have been done as a way to ape grunt work in military campaigns, there is still a storied history of war films that explore the personal and human side of battle, especially when the war concerns battles of freedom against totalitarianism. Diego Luna’s Cassian Andor may hint at a lifelong history of war and battle, but we don’t see how this shapes him as a human or why he comes to realize that this has harmed him in the third act. It says something that the most iconic scene in the film concerns a cameo from a villain from a more successful movie. As a result, Rogue One functions as a series of beautifully executed set pieces and ideas, but is told through an emotional distance and relative lack of humanity.

Score: B-

5. Star Wars Episode III: Revenge of the Sith (2005)

While it is not flawless, it is refreshing to see the franchise reorient itself so strongly during the closing act of the prequel trilogy. Revenge of the Sith is a film that blends mythos and character and at its best does both rather well.

At its worst, Revenge of the Sith recommits the sins of its predecessors. Hayden Christensen, while as a whole is significantly better than his previous take on the character, still has his moments of woodenness and has a proclivity for overly heightened melodrama. Lucas’s script also continues to struggle in providing dialogue, particularly in romantic scenes, that feels human often resulting in stilted and even sometimes nonsensical phrasings. Overall, there is something also strangely off about the tone in Revenge of the Sith which changes from relatively fun and light hearted space adventure to dark and brooding tragedy often times rather close to each other.

However, Anakin’s eventual fall from grace and the rise of the Galactic Empire carry with them a great sense of dramatic and mythological weight, even if the transition from conflicted Jedi Knight into child murderer does feel a tad rushed. The fact of the matter is, Revenge of the Sith knows how to play into its subject matter. Its story is appropriately weighty and once Grievous falls and Sidious makes his masterstroke the film evolves into some of the most consistently entertaining and weighty material in the saga, easily surpassing its predecessors in the prequels.

While it has come under fire recently for its apparent decision to select spectacle over emotion, the final confrontation between Anakin and Obi-Wan still remains some of the most intense and emotional stuff the series has seen. Its dancelike and kinetic fight choreography coupled with John Williams’s haunting score commands attention and leaves dozens of striking images in the viewer’s brain.

However, it is ultimately Ian McDiarmid performance as Palpatine/Darth Sidious that really makes Revenge of the Sith special. McDiarmid knows how to sell the myth and lore of Star Wars with nuance and restraint while at the same time is not afraid to embrace the hammy and ridiculous side of his character as well. Whenever he is on screen, he owns every second of it and he makes the film equal parts entertaining and haunting.

Score: B

4. Star Wars Episode VI: Return of the Jedi (1983)

Despite containing some of the most iconic and even emotional content of the series, there is something oddly stale about Return of the Jedi. It still is a consistently entertaining and engaging film, but in comparison to the two masterworks that proceeded it, something feels off.

Some of this might simply be due to the abundance of slapstick humor, the ill-fitting Ewoks, or any number of frequently cited issues with the presentation and script such as an overly long sojourn to Jabba’s Palace on Tatooine. (I do love the Errol Flynn/Flash Gordon style set piece above the Sarlacc pit all the same.) However, perhaps the most unfortunate aspect about Return of the Jedi is simply the fact that two of its principal characters are played by actors who simply do not seem to want to be a part of the film. Both Carrie Fisher and Harrison Ford turn in performances that are competent in their own right, but at the same time are a far cry from their work in both preceding films in the original trilogy. A particular exchange between the famous smuggler and princess on a balcony in an Ewok village contains some of the most forced dialogue and line delivery in the saga and it’s more than a tad distracting and disappointing.

However, outside of these individual moments, Return of the Jedi progresses the narrative momentum from both previous films into an incredible three part climax that is thrilling and compelling. Whether it is the sublimely ahead of its time space battle between the scattered rebel fleet and the Imperial war machine or the final temptation of Luke Skywalker by the Emperor, Return of the Jedi draws the viewer into its dense dramatic landscape and rarely lets up. Yes, even the relative silliness and levity of the Ewok forest battle even makes for some amusing breaks of the heavy material surrounding it.

What ultimately elevates Return of the Jedi above most of the rest of the Star Wars franchise is its beautiful conclusion to the central drama of the Skywalker family saga. Mark Hamill and Ian McDiarmid are arguably the two strongest actors in the original six Star Wars films and seeing both paragons of light and dark play off one another in such a way is a rare treat that bursts with scenery chewing pathos. The tempting of Luke through family and eventually Vader’s redemption through love for his son is a beautiful thematic tableau. Vader’s slaying of his Master and his gradual death bed re-transformation into Anakin Skywalker makes for the most emotional sequences in the series. Regardless of the tragedy that has brought the series to this point, Return of the Jedi ends on a moment of unabashed peace and unity and it’s both serene and appropriately celebratory. Whether you are a “Yub Nub” fan or a fan of the Special Edition’s galactic victory revelry (I’m the latter), it is hard not to smile as our heroes embrace one another and an old generation sees its sins rectified. Score: B+

3. Star Wars Episode VII: The Force Awakens (2015)

Director JJ Abrams and co-writer Lawrence Kasdan stated that the one emotion they wished to elicit in audiences while viewing The Force Awakens was delight. In that they delivered in spades. While the film may tread into some dark and even tragic material, what The Force Awakens does first and foremost is return a sense of fun, adventure, mythos, and character to Star Wars’ presence in the world. It makes for a breathless, endearing, and entirely involving viewing experience that only manages to win one over with each consecutive watch.

Much of this is due to the embarrassingly talented and engaging ensemble cast assembled in the film. Not since The Empire Strikes Back has a Star Wars film been this densely populated with genuinely relatable, exciting, and intriguing characters. It’s what makes the movie breathe, live, and thrive and in the process turns it into premium blockbuster entertainment and one of the finest installments in the series to date.

Daisy Ridley’s Rey easily finds herself fitting into the archetype of a loner elevated from poverty into extraordinary circumstances. She makes for the sort of every woman that made the original Star Wars narrative so appealing and was lacking from the prequel trilogy as a whole with maybe the exception of a childhood Anakin. In contrast, John Boyega’s Finn is a boundless source of energy, outward conflict, and humor. Boyega is about as charismatic and energetic character as the franchise has ever had. From his first traumatic introduction through the eventual end of his journey, Finn’s struggle for purpose and arguably redemption adds a level of unpredictability but also flawed humanism. Boyega clearly has a large amount of affection not only for the role but for the film and the universe itself. It’s hard not to fall in love with Finn from the second he appears on screen. Pairing off with him is Oscar Isaac’s underutilized by seductively charming hot shot pilot, Poe Dameron. Isaac owns every scene he is a part of with each spin of his fighter, smirk, and cheer.

Opposing the trinity is Adam Driver’s Kylo Ren, whom Abram’s and Kasdan craft into a fractured and unstable meta-symbol of legacy and male fragility. It turns Kylo into an entertaining and uniquely frightening villain that is not sympathetic, but understandably human. It makes the character’s slips towards the Dark scarier in their closeness to real world insecurity. This is not a fall of mythic proportions such as Anakin but one instead fueled by uncomfortably familiar emotion.

Of the returning cast members, Harrison Ford not only turns in his best take on the galaxy’s most notorious smuggler since The Empire Strikes Back but arguably his most lively and enjoyable performance in over a decade. Like much of the cast, Ford seems to be enjoying the role and luckily, unlike Return of the Jedi, he seems to have found what makes the character of Han Solo not only fun but interesting and human. The same can be said for Carrie Fisher as Leia Organa. Fisher has not lost her ability to appear both emotionally torn but also commanding at one moment, and she, like Ford, effortlessly slips back into her old role.

As it is most likely clear by this point, The Force Awakens is a film that thrives by its incredible cast of characters. Star Wars at its best is a series that works best when the mythology, despite how compelling it may be, takes a back seat to the human, robotic, and alien beings at its center. This proves doubly the case for The Force Awakens. While its central plot mostly serves as a means by which to challenge, test, and reveal its characters, it also functions as one of the most structurally weak points of the movie. Those familiar with A New Hope will find a fair share of structural similarities with the beginnings of both trilogies. Most of these center around the mostly ill-advised inclusion of Starkiller base, a third string Death Star that functions as little more than a staging ground for the film’s final act. However, while this overt reverence for the past can prove distracting and unwarranted, it does not prove as detrimental to the film as a whole as some critics and fans have claimed since its release in 2015.

Score: A

2. Star Wars Episode IV: A New Hope (1977)

Viewing Star Wars, or A New Hope, is almost an exercise in examining an indelible piece of pop culture history as much as viewing a movie. It is hard to overstate just how drastically this film has shaped the world and cinematic culture since it was first released to record breaking crowds in 1977. While it may seem inconsequential when viewed in the pure breadth and scope of the behemoth franchise that it has spawned in the 40 years since its premiere, A New Hope laid the groundwork for one of the most enduring pieces of science-fiction/fantasy in the world all the while telling a uniquely entertaining and compelling movie in its own right.

As its own artifact, A New Hope is this strange sort of mad genius cooked up within George Lucas’s often baffling but uniquely talented creative space. The sheer amount of consequential but essential world and character building that A New Hope carries within its opening act is a gargantuan feat and it does so with the same sort of on-the-nose optimism and sense of adventure that pervades the entirety of the picture. Whether it’s the thrilling opening clash between Leia’s rebellion and the Empire or through Obi-Wan’s melancholy explanation of the history of the Jedi to an eager Luke Skywalker, Lucas’s script is busy crafting a myth and its one that’s worth listening to.

A New Hope’s secret success has always been its distillation of the hero’s journey into a unique narrative. Lucas imbues his take on this classic storytelling trope with his own creative flourishes and iconic imagery: the long arm of the Empire represented as the never ending Star Destroyer filling the screen, Luke’s desire for adventure represented as an almost self-imposed prison in his aunt and uncle’s farm before it is torn away from him, and of course the cantina that represents the steps into a larger new world filled with oddities and danger. A New Hope’s iconography is memorable and steeped into pop cultural memory for a reason.

In terms of performances, outside of Alec Guinness’s stoic but appropriately haunted Obi-Wan Kenobi and Peter Cushing’s deliciously twisted and sinister Grand Moff Tarkin, A New Hope functions moreso as a stepping stone for future development than an acting showcase. This is not to say that the acting is poor. Mark Hamill’s Luke Skywalker is impatient and impetuous, but he serves as a more than adequate focal point for the film’s young audience. Harrison Ford’s Han Solo may not yet be the cocky romantic that audience’s will come to love him for, but his devil-may-care swagger makes for a magnetic secondary protagonist. Carrie Fisher is given relatively little to do here, but right off the bat brings with her Leia’s brash confidence, knack for heroism, and utter impatience for those around for her who are holding her back from her mission.

Above all, A New Hope is simply a joy to watch. It’s buoyed by an infectious sense of wonder, adventure, and optimism while at the same time hiding a hints of tragedy and even canny political awareness. It’s an appropriate blockbuster for the ages and likely will feel its legacy stretch out for decades to come. Score: A+

1. Star Wars Episode V: The Empire Strikes Back (1980)

If A New Hope was the film that laid the foundation of what Star Wars could become, The Empire Strikes Back is the movie that catapulted the series from creatively executed novelty into myth. Director Irvin Kershner and writers Leigh Brackett (to this day the only woman to write for a Star Wars feature) and eventual franchise regular Lawrence Kasdan escalates George Lucas’s original story of a hero’s journey into a layered, philosophical, and beautifully realized story of character and familial drama.

What sets Kershner apart from Lucas from the start is his sinister and almost dreamlike visual style that pervades throughout the film. To this day, The Empire Strikes Back makes for the most visually evocative film in the franchise with its dizzying moments of space flight, incredible battle over the snow drifts of Hoth, majestic and appropriately hazy skies of Bespin/Cloud City, and of course eerie and murky swamps of Dagobah. Kershner establishes a smart language through the movie’s cinematography that establishes the franchise and its characters not only as more mature beings but with those that are battling their own struggles of aging and adulthood.

Appropriately, The Empire Strikes Back is a story of growing up and challenging its central cast. Luke discovers that his path to adventure leads not to one of heroism and uncovered legacies but to an inheritance that is tempered with trials and a dark and tragic family legacy. Leia finds her attempts to guide a galactic rebellion clouded by her own personal feelings. Han Solo can’t bring himself to leave because he has discovered that he is maybe addicted to heroism but is also hopelessly in love with the princess at the war’s center.  Kasdan and Brackett move these characters into scenarios that routinely challenge them and in the process mines series, and even career, high performances from all involved. Harrison Ford in particular is both a dashing romantic while also remaining a cocky and oddly insecure criminal.

Similarly, while A New Hope may have established Star Wars as a cultural icon, it is The Empire Strikes Back that has left its indelible mark on the franchise as a whole. Whether through the development of the Empire into a multifaceted fascist machine spanning worlds and star systems, introducing the Force as a mystical and philosophical belief system more in tune with Buddhist and Hindu spirituality than as a magical tool through the instantly iconic character of Yoda. (Frank Oz is one of the unsung performing heroes of this series), having Billy Dee William’s bring a sense of moral ambiguity but also undeniable cool to the franchise with Lando Calrissian, or John Williams’s most mature and instantly iconic score of the franchise, The Empire Strikes Back inspires more iconic Star Wars elements than one often realizes.

However, what the central piece that draws the entire film together into pure classic territory is the onyx clad Sith Lord at its center. While Darth Vader carried a presence throughout the previous film, James Earl Jones and the general creative team in Empire establish the character as not only a sinister force to be reckoned with but one with a twisted sense of humor and a dark personal pathos. It solidifies the character as one of the most, if not the most, iconic villain in film history.

The Empire Strikes Back is a triumph. It is intelligently engaging, artistically realized, beautifully acted, and at the same time strikingly funny and entertaining. It is and likely always will be the zenith of Star Wars entertainment. I doubt anything will ever top it.

Score: A+ ----------------------------- So how did I do? Agree? Disagree? Let me know.

[themattress]

The GOOD things about the OUAT Finale

The finale for the sixth season and original series of Once Upon a Time was sadly not on par with previous finales (save for Season 5′s) nor the ideal series finale it could have been.  But with that said, there were several positive aspects to it and I think they are worth looking at.

The Parallels - While the literal usage of the Dark Curse in order to give a sense of coming full circle was groan-worthy, there were many great parallels to the first season that came along with it such as Emma and Henry’s relationship, the evil gaslighting female mayor, Snow and Davd’s kiss and following exchange, the place they were married, Emma’s old apartment, Henry getting a sword from Mr. Gold just like Emma did in the finale, and of course the role-reversed True Love’s Kiss between Emma and Henry. That all worked.

Mayor Fiona - Fiona as the Black Fairy was a pretty lame villain, even with Jamie Murray doing her best in the role.  The awkward attempts to portray her as the Ultimate Evil and sheer unoriginality of combining many past Big Bad traits into one character left me very unimpressed.  But strangely enough, as the mayor of her cursed Storybrooke, Fiona finally became genuinely scary and despicable to me.  How seamlessly she could adopt the mask of being a kind, caring person made her even more hateful than the over-the-top Mayor Mills of Season 1, and her absolute psychotic conviction that all of her manipulative villainy was for a just cause made her frightening.  In the end, she was actually a pretty decent final foe.

The Multiversal Apocalypse - Even though the reason for it happening made absolutely no freaking sense (Why is the existence of all the realms suddenly bound to the Savior’s belief?), I still loved the stakes and intensity that it brought to the finale.  It was also a fantastic visual.  The image of a darkness consuming the world brings to mind the Nothing from The Neverending Story, which makes perfect sense for a show like this to reference. 

Operation Cuckoo’s Nest - Thank you, Henry. Finally a real nod to the fact that the psyche ward nurse and janitor are so clearly Nurse Ratched and Chief Bromdan from that story.

Hook’s Speech - In front of the beanstalk where the Captain Swan relationship officially began, Hook makes a passionate speech to David that sums up exactly why the couple, despite the missteps made with it in the past two seasons, is so great.  They weren’t some pre-destined pair that was guaranteed a happy ending by fate (the kind of relationship that Swanfire shippers insist that their ship was), it was two people who had to fight for their love and earn their happy ending.  Even better, Hook acknowledges the fact that is barely talked about in-show and out of it: that he and Emma made each other better.  Previously the show had been acting as if was just the love of a good woman than changed a bad man, while certain fans seem to think that Hook made Emma worse since S1 Emma is the pinnacle of strength and badassery (more on that later…), but in fact both characters have helped develop and improve one another over the course of their relationship. That is why CS > all.

Captain Charming - Following up from this, Hook and David’s beanstalk adventure and the reflection it shows on how their relationship has developed is beautiful.  If you ignore the bullshit retcon about Hook killing David’s father like the show does once its purpose of contrived temporary angst has been served, then the Hook/David bromance has been one of the show’s most endearing bonds over several seasons, and it culminates with the exchange where David admits to Hook that “he’s not trusting a pirate, he’s trusting his son….in-law.” 

Rumple’s Comical Misogyny - Rumple has always been a misogynist and usually it’s disgusting, but in both episodes of this finale it crosses the line into flat-out hilarity.  The first is when Fiona, after some dramatic build-up, reveals the supposed fate of Belle under this curse to him.  She has dared to pull a Milah, leaving her family to actually pursue her own dreams and sustain her own well-being by travelling the world!  Rumple’s horrified face as he looks through the obviously Photoshopped selfies of Belle at foreign landmarks is priceless. The second is when Rumple kills Fiona.  Not only is this another woman to add to his body count, but it’s his own mother!  Rumple’s habit of killing women who oppose him has finally reached the point where he kills the very woman whose womb he came from, the very woman who birthed him!  Again, his expression after this deed coupled with his shaking arm is hilarious, as if even he realizes just how fucked up his murderous misogyny has gotten!

The Book Burning Scene - The closing scene of Part 1, where Emma burns the Once Upon a Time storybook all while shit is getting real back in the Enchanted Forest, is excellently shot and scored.  I especially like when Fiona is to the side of Emma, tempting her, with flames seen just below her to signify how devilish she is, and when Emma sees the burning page of Hook’s picture which triggers something in her subconscious memory. It’s True Love, people.

“Hello there, Mummy” - Just…that line from Hook to Snow.  Best line in the whole finale.

The Evil Queen - One of the biggest surprises in the finale was the return of the Evil Queen who had been split from Regina and served as the main antagonist for the first half of the season.  Not only was the plot hole of her previous “happy ending” addressed (it wasn’t safe for her in the Wish Realm), but she proved to be noble and self-sacrificing in a way that Regina seldom has been.  I mostly liked the Evil Queen earlier in the season, and her performance in this finale just reinforces my firm belief that like with Jekyll and Hyde, it’s the alleged “dark” part who is truly the better half.  I can actually get behind her happy ending.

Gideon Gold - I never cared for Gideon throughout this season.  He was a whiny psycho who lacked charisma when he first showed up, and the retcon that his heart was being controlled by the Black Fairy still didn’t endear me to him.  But, like his surrogate mother, he was actually more effective here.  First he was a complete asshole under the curse which helped show how bad Fiona and what she has done is, then he was hilarious with his befuddled reactions to Fiona ranting on about magic and having his heart, and finally he was a truly sympathetic figure, forced to be a puppet who had to fight and kill Emma even when he didn’t want to, a huge improvement over his “I wanna be the Savior!” crap from before.  I actually felt for him, and was glad that he was reset into a baby, giving him another chance.

Emma’s Character Development - Whenever people say they want “Season 1 Emma” back, they seldom mean the Emma who had great plot relevancy who got to be the hero, nor the Emma who saw Regina for the sociopath that she was and stood up to her.  No, they mean they want the shallowly “badass” Emma who was cold and muted in her emotional reactions, wore leather jackets all the time, punched people, said snarky things to everyone, and who was cynical and unbelieving in magic…and who was also a sad, pathetic loner. She was someone with no life beyond her job, had no friends because she pushed everyone away with her “walls”, and refused to believe in magic that she was at the center of because her self-esteem was so low that she refused to believe she had any such worth.  All that bluster about “punching back and saying ‘this is who I am’?  Just a way to repress what she truly thought of herself: as an unlovable orphan.  In this finale, they brought Season 1 Emma back, were not subtle about how negative a person she was, and then showed just how she’s changed for the better.  Even when cursed to regress back to her Season 1 self, all of Emma’s development doesn’t just disappear.  It’s still there in her subconscious, and thus she ends up doing something the actual Season 1 Emma would never have done - believe in Henry and believe in herself because she wants to be the kind of magical hero he insists that she is and she’s willing to take a chance on becoming that hero. She’s truly punching back - against her own bleak outlook - and defining who she is: the Savior, giver of hope and light.

Rumple Beside Himself - Why did it take until the last episode for Rumple in his present-day Mr. Gold identity to stand opposite from his manic, sparkly past alter-ego?  Given how the Dark One was established to work in Season 5, this felt like a much more natural thing to have happen than Regina and the Evil Queen sharing screentime together.  Robert Carlyle is fantastic in both roles, as Rumple is tempted by his own dark side into once again making the wrong choice and screwing everyone over, but for some reason or other, he’s not having any of it this time and does the right thing.  This doesn’t redeem him by a long shot, especially since the current crisis is his own fault, but it’s nice to see him take a stand all the same.

The Final Battle - Fiona may go out in an anticlimactic way, but she does leave behind a pretty ingenious trap: she gives Gideon’s heart the command for him to kill Emma at all costs. If Emma is killed, then light magic as embodied by her will die.  If Emma kills Gideon, who is an innocent victim, it will cause light magic to die too!  In a callback to 6x02, Regina says Emma can find the third way that she could not when faced with a similar situation when the Charmings were attacked by the heart-controlled Edmond Dantes.  She finds that third way by allowing Gideon to stab her in order to save him, hoping that a self-sacrifice like this will spare light magic.  At the same time, Rumple gives Gideon’s heart the command to not kill Emma, which can’t fully override Fiona’s command but causes his stab to curse her rather than irretrievably kill her.  And because good as represented by the Savior and evil as represented by the almost-Savior both did the right thing, both combatants of the Final Battle are able to survive it.  I’ll admit it - that’s actually some decent writing. Still, I’d rather Rumple have died as a part of his contribution, since it’s pretty galling that he gets off scot-free. 

The Closure - The happy ending montage is beautiful…for the most part, anyway.  The “Swan-Mills Family” pandering moment is ridiculous, and Regina and Rumple’s big scenes are morally twisted and infuriating.  But the closing scenes for Snow, David, Emma and Hook are all perfect, with the first couple finally getting a better house complete with a barn and David’s old dog, and the second couple patrolling the streets as sheriff and deputy, with the hilarious added detail of a siren put on the yellow bug.  And if you’re actually able to stomach the presence of Regina, Zelena, Rumple and Belle, then the final shot of the big family dinner at Granny’s is pretty touching as well, especially when it turns into the final page of the book.