‘Here’ Movie: Zemeckis Meets ‘Wonderful Life’

 

'Here' poster. Taken by William Beavers, copyright 2024, Sony Pictures Entertainment.

In Robert Zmeckis' latest directing vehicle with Tom Hanks leading the cast, 'Here' talks about a house whose land had importance from the Jurassic era to the COVID-19 pandemic, specifically being the area where Indigenous people, Benjamin Franklin's family, or Hanks' and Robin Wright's family lived and/or died. It was based on a graphic novel of the same name by Richard McGuire. 

Though there were times I was thrown off by the nonlinear storytelling, the film not moving the camera away from the one spot till the end, and that it was mostly a retelling of 'Forrest Gump' (most of the same cast and crew), I actually liked the movie. It was sweet, sentimental, and poignant, and it was good to redo 'Forrest Gump' to show Hanks and Wright's characters still being peas and carrots after over 30 years.

Paul Bettany (from the back), Robin Wright, and Tom Hanks in 'Here.' Courtesy of Sony Pictures Entertainment.

While Hanks and Wright's characters of husband and wife Richard and Margaret take up most of the screen time, some other good parts came in the form of the La-Z-Boy recliner being invented, (despite thinking he slipped from American to British from time to time) Paul Bettany as Richard's father Al being a funny drunk and reminding me of Stephen Merchant, and nods to 80s pop culture such as Richard's daughter dancing to The Runaways on her cassette player or following an aerobics video. It may have been AI and some other usual Zemeckis magic, but nevertheless, it was great that the crew made Hanks look like he came back as Josh from 'Big.' It was also cool when some people thought his childhood self could've been the next Ringo Starr when he got a drum set for Christmas.

Tom Hanks and Robin Wright when they played young Richard and Margaret in 'Here.' Courtesy of Sony Pictures Entertainment.

'Here' director Robert Zemeckis chatting with Robin Wright and Tom Hanks. Courtesy of Sony Pictures Entertainment.

In the end, elderly Richard and Margaret reminded me of old Noah and Allie from 'The Notebook.' It was nice to see that despite the drama from Richard's happiness with employment and Margaret trying to find happiness of her own, they did the best they could with the house and family. The camera zooming out of the house reminded me of the opening and closing of Forrest Gump when the feather blew to and away from Forrest's book. Perhaps the message of 'Here' is that no matter what good or bad happens in life, just be 'here' for the people you love.

In addition, there was great scoring by Alan Silvestri, and great job to the make-up department, set decorators, and the cast and crew, as well. I would give 'Here' a 7 out of 10. 

‘Transformers One’-Best I’ve Seen In 2024

‘Transformers One’ poster. Taken by William Beavers. Copyright 2024, Paramount Pictures.

 “What defines a Transformer is not the cog in its chest, but the spark in its core.”

Josh Cooley of Toy Story 4 fame directed Transformers One, an epic, tragic, funny origin story of Optimus Prime and Megatron and their factions, the Autobots and the Decepticons, respectively. Watching Transformers One felt like watching Marvel Studios films and Disney animated classics all rolled into one, and it was the best film I’ve seen in 2024 and the best portrayal of Transformers.

Chris Hemsworth voices Orion Pax/Optimus Prime in 'Transformers One.' Courtesy of Paramount Pictures.

Brian Tyree Henry is the voice of D-16/Megatron in 'Transformers One.' Courtesy of Paramount Pictures.

Transformers One was an origin story of Orion Pax and D-16, voiced by Chris Hemsworth and Brian Tyree Henry, as brother-in-arms before becoming Optimus Prime and Megatron. As the young automatons sought their purposes while mining for Energon reserves during a war between Cybertron and the Quintessons, they chanced upon a mission in the surface world that changed their lives forever in good and bad ways. Joining them were excitable B-127/Bumblebee, voiced by Keegan-Michael Key, and their feisty mining supervisor Elita-1, voiced by Scarlett Johansson. 

It was amusing how young Orion Pax and D-16 had a role reversal, with Orion being a renegade and D being the voice of reason. Also funny were the personality clashes with Bee's energetic behavior and Elita's sassy and distant outlook. Hemsworth, Henry, Key, and Johansson sure brought some fun to their voice roles.

Scarlett Johansson voices Elita-1 in 'Transformers One.' Courtesy of Paramount Pictures.

Keegan-Michael Key voices B-127/Bumblebee in 'Transformers One.' Courtesy of Paramount Pictures.

The landscape of Cybertron gave nostalgic views of Asgard from the Thor movies, Haven City from Daxter, and some parts of Star Wars Episode I-II. For a moment, the surface above Cybertron looked like the beautiful aurora borealis lights you could see in the Arctic areas. The animation also made it look like The Lego Movie.

Jon Hamm voiced Sentinel Prime, and his character brought Apollo Creed-level flamboyance acting like a big shot in his role in the war between Cybertron and the Quintessons.

It took a minute to recognize that the musical score was from Brian Tyler because it echoed parts of Steve Jablonsky's scoring from Michael Bay's live-action Transformers movie. Nevertheless, it was powerful music, and you should all feel free to bob your heads to the cool song "If I Fall" written by Tyler and performed by Quavo and Ty Dolla Sign.

As the main Autobots continued their trek, it was funny how it took them a minute to master transforming into their alternate vehicle modes, such as Orion feeling he lost his head while turning into a truck. But they made up for it with excellent mecha action, Autobots and Decepticons, e.g. Bee showing off his knife hands.

As I said, Transformers One talked about Megatron before he became Optimus Prime's archenemy. But the nice thing about it was this film kind of humanized him; gave him a reason why he became a tyrant. Something heavy and comical was when he started sounding like The Rock as he became more arrogant. 

And though Orion was running around like Aladdin before learning to be the man of valor he is today, with guidance from Alpha Trion, voiced by Laurence Fishburne, and his teammates, he learned transforming isn't just about morphing into cool vehicles, but about transforming one's world for the better./

Fishburne sounded like a wise sensei as his character helped Orion and his friends save Cybertron.

Great voice acting, story, animation, and scoring were all why I loved Transformers One. I hope the same cast and crew can bring the great vibes to another animated power tale. 10/10!

‘Speak No Evil’ Has Laughter, Chills, and Thrills

On Saturday morning, September 14, 2024, I had the funny, chilling, and thrilling pleasure of watching James McAvoy steal the show in the latest Blumhouse production, Speak No Evil. McAvoy began as an uninhibited hipster, then brought out his inner monster on the family led by Mackenzie Davis and Scoot McNairy. Then Davis and McNairy brought the thunder in protecting their kids similar to Fox's The Gifted TV series, and let’s just say it’s awesome that both the adults and their kids went toe-to-toe with James McAvoy.

James McAvoy and Aisling Franciosi as Paddy and Ciara in 'Speak No Evil.' Courtesy of Universal Pictures.

While on vacation in Italy, the Dalton family, consisting of Louise, Ben, and their daughter Agnes, played by Davis, McNairy, and Alix West Lefler, respectively, met Paddy, Ciara, and their son Ant, played by McAvoy, Aisling Franciosi, and Dan Hough. The interaction went well, despite the Dalton parents being put off by Paddy's unhinged friendly demeanor. When they met again at Paddy's farmhouse, Paddy's aggressive behavior and secrets about it began to unfold.

James McAvoy as Paddy in 'Speak No Evil.' Courtesy of Universal Pictures.

For a psychological horror, it was jocular from McAvoy's character of Paddy borrowing and dragging a chair from the Daltons at their hotel to his and Franciosi's characters showing more affection than them. McAvoy may have had some of the young Charles Xavier charm return to him. Then, once he began to let out his inner thriller character,  it was like watching a repeat of his prior role as Wesley Gibson from Wanted. 

Back to the humor, it was funny when Paddy sang along to 'Eternal Flame' by The Bangles in a driving scene early on, then sang it again as he was wreaking havoc on the farm. He also appeared to be in great physical shape for the role, so great job for that, Mr. McAvoy.

The praise should also go to Mackenzie Davis as Louise Dalton. Despite occasional marriage, parental, and personal trials, she brought out her warrior instincts and fiercely fought off Paddy to save her husband and child.

From left to right: Alix West Lefler as Agnes Dalton, Mackenzie Davis as Louise Dalton, and Scoot McNairy as Ben Dalton in 'Speak No Evil.' Courtesy of Universal Pictures.

As for the kids, I don't have much to say about the performance of Lefler as Agnes Dalton or Hough as Ant, but more about their characters. Throughout the film, Ben is annoyed with Agnes' attachment to her bunny, Hoppy, and wants her to grow up. It was crazy that for Agnes to mature, she had to spend a weekend on a farm owned by a countercultural psycho. The same thing goes for Ant, who like Ferb from Phineas and Ferb, made up in action what he lacked in speaking. The other thing to appreciate besides that was the scene where the kids danced to 'Cotton Eye Joe' by Rednex. 

This was my first time watching a psychological horror starring James McAvoy, and I was impressed that he went from pacifist Professor X to amiable yet crazy Paddy. In addition to McAvoy, Davis, Lefler, and Hough, great work to Jessie Harrison, the Hair and Makeup Supervisor, Nicole Stafford, the Hair and Makeup Designer, and Jason Evans, the Visual Effects Supervisor, on-set.

I give 'Speak No Evil' a 7.5/10. Keep up the good work, cast and crew. And though it was filmed in Canada for a bit, it was nice to see the English countryside in the final result. And it turned out to be a remake of a film from 2022 with the same name. Check it out if you can.   

Beetlejuice 2: Not Necessary, But Still Funny

Michael Keaton returns as the lead in Tim Burton's 'Beetlejuice Beetlejuice.' Courtesy of Warner Bros. Pictures.

Despite some good undead makeup and laughs brought back by returning Michael Keaton, Beetlejuice Beetlejuice was not a sequel that needed to happen. Most of the cast was funny and goodhearted, the new addition Willem Dafoe, in particular, but the problems were Beetlejuice being stuck in his old ways instead of evolving, and the plot was confusing. It wasn't better than the first film.

Taking place almost 40 years after the original Beetlejuice, a now-grown Lydia Deetz (played by Winona Ryder) has a daughter, Astrid, played by Jenna Ortega, Wednesday. And though not as big with the undead as in her teenage years, she is still haunted by Beetlejuice, played by Keaton. And Beetlejuice has his own hauntings to deal with now that a soul-sucking ghost, played by Monica Bellucci, has a bone to pick with him.

Catherine O'Hara, Jenna Ortega, Winona Ryder, and Justin Theroux as Delia Deetz, Astrid Deetz, Lydia Deetz, and Rory, respectively in 'Beetlejuice Beetlejuice.' Courtesy of Warner Bros. Pictures.

The good parts of the film were Justin Theroux as Rory, Lydia's boyfriend, trying to be the hip, yet awkward father figure to Astrid, Willem Dafoe as Det. Wolf Jackson trying to be a macho cop like Clint Eastwood in the undead police department, and a romance blooming between Astrid and Jeremy, played by Arthur Conti, who seemed like a young doppelgänger of Evan Peters from X-Men: Days of Future Past. 

Willem Dafoe as Detective Wolf Jackson in 'Beetlejuice Beetlejuice.' Courtesy of Warner Bros. Pictures.

Other good parts were when Beetlejuice acted like a couples therapist, there was pop or blues music played during the treacherous scenes, such as Beetlejuice lip-syncing to Richard Marx, and there were some occasional gags such as "Ouija board curfew."

It was funny watching Lydia get panicky when overwhelmed by Beetlejuice's tricks, given how she used to be so dark. And Rory dressed like Shakespeare and John Travolta at the same time while trying to fit in with the Deetz family curse. Another funny part was seeing dead people looking so calm in the waiting room in the afterlife, namely a dead surfer.

It was ironic how Ortega seemed so tame to all this horror and fantasy given her scream queen status. But once she dressed as Madame Curie, teased her hair, and entered the afterlife, her character was like Lydia reincarnated. And as for entering the afterlife, how's that for radiation, Madame Curie?

Despite the zany throwbacks to the original film and good new additions, one problem for me was Beetlejuice was up to his old tricks with the Deetz family and was more a villain than a hero. And the subplots threw me off sometimes, meaning I couldn't tell if it was just about the Deetzes.

Having said all this, Beetlejuice Beetlejuice is not something you need to see, and it didn't have to happen. There was good joking and music, on the upside. Good job on the makeup and hair design, Christine Blundell, and the visual consulting work, Bo Welch. 

I give Beetlejuice Beetlejuice a 7/10.

Deadpool and Wolverine: Chaotic Buddy Work

From a John Wick-style fight with "Bye Bye Bye" in the background to the tricky yet humorous inclusion of past Marvel characters, Deadpool and Wolverine did have its great moments in showing the characters played by Ryan Reynolds and Hugh Jackman embracing their inner heroes, even with more than their fair share of bloodshed on the battlefield and rocky budding friendship along the way.

After his last time-travel adventure, Wade Wilson/Deadpool, played by Reynolds, finds himself in trouble with the Time Variance Authority from Loki. He switches from time-traveling to multiverse traveling to stop a corrupt TVA agent, Paradox, played by Matthew McFayden, and protect his loved ones. Along the way, a variant of Logan/Wolverine, played by Jackman, ends up reluctantly teaming with Deadpool while he's dealing with some baggage of his own. And I don't just mean Logan hiding his insecurities behind beer or cigars.

I didn't think too highly of the movie at first because I'm not a fan of Deadpool using more "anti" in antihero, specifically how he chose to kill Francis over becoming a disciplined X-Man in his first solo movie, and how he treats nobility like a joke too much in general. But when I learned to open my mind about him a little, I saw some good stuff in him from his choice of pop or electronic music in battle or allowing himself to be a hero, not just a dishonorable fighter. One amusing moment was watching him and Logan duke it out in a minivan with "You're the One That I Want" from Grease in the background.

I also didn't expect to like bringing back Hugh Jackman as Wolverine after his character died a hero's death in Logan. But I did like it after seeing this variant had a good heart and learned from his predecessor's mistakes. The only thing just as cool as that was seeing him finally wear the yellow and blue spandex suit from the comics, mask occasionally included. Deadpool and Wolverine are like the main characters from Cobra Kai, different but same.

Beyond the quarrelsome relationship with the lead characters and ironic pop music during the gory moments, other things to enjoy were sets that gave vibes of past films like Ant-Man and the Wasp, great scoring by Rob Simonsen, and, though I won't say who, inclusion of past Marvel film characters. Overall, Deadpool and Wolverine had a chaotic buddy friendship and they made it work.

7.3/10.

'Borderlands'-An Impressive Space Western

'Borderlands' movie poster. Taken by William Beavers. Courtesy of Lions Gate Ent., Inc.

In one of the newest video game-to-screen adaptations, Cate Blanchett and Kevin Hart led a quirky Guardians of the Galaxy tribute in Lionsgate’s Borderlands, directed by Eli Roth. Blanchett was Lilith, a bitter bounty hunter in a Blade Runner-esque planet who gets called to rescue a titan’s daughter, Tina, played by Ariana Greenblatt. But just because she’s a youth, doesn’t mean Tina’s to be trifled with. Wait till you see her unleash her exploding bunnies. She's like Louise Belcher from Bob's Burgers with a face that resembles a young Zendaya. Tina's first protector was Roland, played by Hart, who showed more action initiative than his prior character in Central Intelligence. Adding to this unlikely band of merry heroes were the seldom speaking yet ready-to-rumble Drax knockoff Krieg, played by Florian Munteanu from Creed II, C-3PO/R2-D2/Wall-E wisecracking Claptrap, voiced by Jack Black, and mother hen and girl-in-the chair Tannis, played by Jamie Lee Curtis.

Contrary to other critics, I really liked the movie. Watching Blanchett was like watching her return as Hela from Thor: Ragnarok with more of a funny side and a bit of Charlize Theron from Atomic Blonde and Han Solo from A New Hope. It was funny when she managed to turn the tables on some toxic male bounty hunters. The next thing I knew, she went to a planet with areas similar to Rango, The Fall Guy, and Mos Eisley’s cantina from A New Hope, playing a reluctant yet capable protagonist. Black brought some Kung Fu Panda back into his work, along with his talkative servant attitude, then some awkward cussing and fighting energy when it came to psychotic mercenary shootouts. 

Hart also brought the thunder when defending Tina and the team, even when he got caught in gruesome alien encounters. I thought Munteanu didn’t get much to say, but he still acted like the life of the party on the battlefield. It took a minute to see what Curtis could bring if not a huge fighter, but I did appreciate how she reminded Lilith not to be a loner anymore, regardless of some childhood traumas that still haunt her. While she was in horror work and Everything Everywhere All at Once, I felt like this was a game-changer for Curtis, like a first time into the Marvel Cinematic Universe.

Part of the filming was done in Canada and on green screens, but the props and action made it look like Mad Max: Fury Road and other adventurous filming places. Good work for the VFX and cinematography team! And because it didn’t have the same Hans Zimmer sort of sounds I heard in Transformers and Teenage Mutant Ninja Turtles: Out of the Shadows, I mistook composer Steve Jablonsky for Junkie XL, often credited by his birth name Tom Holkenborg, because of all the heavy guitar music. Nevertheless, there was still great scoring. And great use of the Black Keys in the end credits.

I give the movie an 8/10 for cool thrills, laughs, and acting. Feel free to tell me what you think for those of you who actually played the video games.

'Fly Me to the Moon'- A Breathtaking and Beautiful Movie

In a great step away from her tenure as Black Widow, Scarlett Johansson starred in and produced a well-executed Space Race romantic dramedy, 'Fly Me to the Moon. I enjoyed her getting a chance to be the funny one, alongside a dedicated NASA employee played by Channing Tatum. The beautiful, breathtaking story along with jazzy scoring by Daniel Pemberton, swinging pop and soul songs, and clashing romantic times between Johansson and Tatum's characters were the highlights that made 'Fly Me to the Moon' a dazzling spectacle.

Scarlett Johansson as Kelly Jones and Channing Tatum as Cole Davis in 'Fly Me to the Moon'. Courtesy of Sony Pictures Entertainment.

In a retelling of the Apollo 11 mission, marketing expert Kelly Jones, played by Johansson, and mission director Cole Davis, played by Tatum, had their own ideas for how the story should be told to the American public. Jones saw it as a chance to make Armstrong, Aldrin, and Collins look great on commercials for items such as watches or Tang, and help people trust government spending on space missions while recovering from earlier tragedies such as the disastrous Apollo 1 mission, the Vietnam War, or Dr. Martin Luther King Jr's assassination. On the other hand, Davis focused more on the rocket launch than the program and astronauts being publicity stunts.

I enjoyed the movie. Once Johansson's character of Jones appeared, I was amused by her marketing savvy and how she outsmarted some snobby businessmen at an automobile business. Though I picked up some 'Hidden Figures' vibe when she started off in the pits at NASA (a dusty, not-so-homey office), she went back to Johansson's Black Widow by sneaking in and charming the employees- to help her get NASA some better PR and funding. Tatum's character was funny, as well, when he tried to dissuade Johansson from entering a center at NASA by saying anything could fry or poison her, but Johansson was undeterred. Sometimes, Davis dressed like Captain Kirk from 'Star Trek.' 

Channing Tatum and Ray Romano in 'Fly Me to the Moon'. Courtesy of Sony Pictures Entertainment.

Other funny actors came courtesy of Jim Rash and Ray Romano. Rash played a brash film director who resembled Steve Carell and Stanley Tucci, and he tried too hard to imitate the Moon landing as a failsafe in case the rocket didn't make it again. Romano played Tatum's coworker who provided some comic relief at the workplace, like Romano was bringing back his prior character of Ray Barone. I noticed one person of color in the cast, Donald Elise Watkins as engineer Stu Brice, and I enjoyed seeing his excitement as the film proceeded. And though he was not funny to me, Woody Harrelson as Jones' employer Moe Berkus seemed like a cross between a paranoid government agent and a slick car salesman.

The film's songs were sung by artists such as Sam Cooke, Aretha Franklin, Bee Gees, and Eddie Floyd among others. Their sounds provided soothing and/or danceable music during the laborious times of the Space Race. As I said in my Bikeriders blog, you got to enjoy the costumes of the 60s. Johansson's character reminded me of the original comic book appearances of Karen Page from 'Daredevil.' from the hairstyle, at least.

Cole Davis, played by Channing Tatum, in front of a memorial of the Apollo 1 astronauts in 'Fly Me to the Moon'. Courtesy of Sony Pictures Entertainment.

As faith in NASA began to be restored, Johansson and Tatum's characters (predictably) fell in love. Their romance reminded me of Clark Kent and Lois Lane from 'Smallville'; they started as bickering and clashing, then got closer. 

Besides the cast, humor, and music, I enjoyed the Apollo 11 liftoff and discussions of the beauty of space from the characters. Ultimately, 'Fly Me to the Moon' was a beautiful, dazzling, sentimental movie. If you want to see a film this summer that's not a sequel, reboot, or remake, you should watch 'Fly Me to the Moon'. starring Scarlett Johansson and Channing Tatum.

'Despicable Me 4' is 'Incredibles' with Slapstick

Gru, voiced by Steve Carell, is back in 'Despicable Me 4'. Courtesy of Universal Pictures.

On Friday, July 5, I watched Universal and Illumination's latest work, 'Despicable Me 4.' I felt like they were returning to the original film's roots with Gru, voiced by Steve Carell, being superbad and a super dad, along with cool original songs from Pharrell Williams, clever voice acting and characters, and humor and action that reminded me of 'The Incredibles' with slapstick.

In this sequel, Gru is back in the Anti-Villain League and must contend with a villain without sea creatures, mutation serums, or a keytar. That villain was Maxime Le Male, voiced by Will Ferrell, a primadonna rival who plans to conquer the world with cockroaches. Gru must protect his wife Lucy, voiced by Kristen Wiig, daughters Margo, Edith, and Agnes, voiced by Miranda Cosgrove, Dana Gaier, and Madison Polan, respectively, and newborn son, Gru, Jr, voiced by Tara Strong. And of course, there's comic relief from the Minions, voiced by executive producer Pierre Coffin.

The Minions, voiced by Pierre Coffin, return in 'Despicable Me 4' Courtesy of Universal Pictures.

'Despicable Me 4' was similar to 'The Incredibles' with Gru trying to be the protective and bonding dad,  Gru Jr being a tricky baby like Jack-Jack, and Maxime acting like Syndrome with some eccentricities from Sacha Baron Cohen. Though Gru may have softened up from being despicable, he was still funny on his own with his bumbling parenting, or struggling to mingle with his new neighbors, Perry and Poppy Prescott, voiced by Stephen Colbert and Joey King, respectively.

Poppy Prescott, voiced by Joey King, a new character in 'Despicable Me 4'. Courtesy of Universal Pictures.

Poppy physically reminded me of Audrey, Taylor Swift's role from 'Dr. Seuss' The Lorax.' She was funny and intimidating in trying to get Gru out of his shell and teach her the art of villainy. Next, they performed a heist that ended with a showdown with an older villain that could make throwbacks of the Omnidroid or Doctor Octopus. Talk about "Granny overboard."

And though this is primarily Gru's story, Ferrell's character of Maxime Le Male really stole the show. As I said, he was a primadonna, and a knockoff of Syndrome and Sacha Baron Cohen, because he was obsessed with taking Gru down. He also reminded me of Dave the Octopus, John Malkovich's character from Dreamworks' 'Penguins of Madagascar.'

All in all, I would give Despicable Me 4 a 7.5/10 for showing that the franchise can still kick butt, make some laughs, and have excellent spy scoring from composer Heitor Pereira and original songs from Pharrell Williams. There's also some uplifting music Cameo, Blackpink, and Tears for Fears. I'd just suggest more screen time for Gru and the girls; I feel like I don't see enough of their father-daughter moments. Feel free to check out 'Despicable Me 4'.

‘Wonder Woman’ is Similar to ‘Captain America’ and ‘Mulan’

Gal Gadot reprising her role as Diana of Themyscira in 'Wonder Woman'. Courtesy of Warner Bros. Pictures.

When I watched Wonder Woman back in 2017, I was probably looking for a cool summer movie to watch at the time. Now that I've seen some behind-the-scenes footage, I appreciate it better.

When I watched the DVD, I thought Gal Gadot's reprisal of Diana of Themyscira was like watching 'Captain America' and 'Mulan'. Her intense training also reminded me of Scarlett Johansson as Black Widow. And it was funny watching her struggle to blend in with humans with help from Steve Trevor, played by Chris Pine. 

Chris Pine as Steve Trevor from 'Wonder Woman.' Courtesy of Warner Bros. Pictures.

But now, I get that this film was not just made to fill a Warner Bros./DC quota. It was and still is important to augment the "wonder" that is Wonder Woman. From director Patty Jenkins trying to stay true to the original character's iconic story to fulfilling her own ambitions to the set design to the costumes to VFX to different filming locations, it truly was a lot of work to display the power of Wonder Woman, and it was well-executed.

Similarities to other films aside, the other great part of the movie was Diana was a beacon in an otherwise troubled world. Whereas some people were sexist or cautious about battlefields during the times, she's more uninhibited in that she will walk straight into the danger if it means no man, woman, or child has to suffer in war, whether that war was caused by Ares, played by David Thewlis, or men who just don't want to be peaceful. But going back to the sexist discussion, it was no skin off her nose if some men objectified her and didn't want to see her as an equal. She shut them up by staying true to her calling and proving she could knock down gunfire with powerful bracelets and more in her array of weaponry.

Like Superman and so many people before and after her, Wonder Woman brought hope to people as the world was suffering in war. Beyond that, she proved that women can do just as well, if not better, than men in belonging on this planet.

'Wonder Woman' director Patty Jenkins behind the scenes. Courtesy of Warner Bros. Pictures.

As for the crew, I appreciate all their dedication to filming, contrasting the color palettes, and trying to bring more life to a groundbreaking comic book superhero. For example, including blue smoke in Diana's running in No Man's Land and using classic Greek mythos about an eagle with Wonder Woman's emblem and tiara were examples of showing how fierce Diana was when she put her mind to it. Whether we'll see Gal Gadot as Wonder Woman again in the new DC Universe remains to be seen.

Meanwhile, DVD or not, I challenge you all to watch some behind-the-scenes videos of your favorite movies. You might see more reason to enjoy it. Thank you.

'The Bikeriders': Hectic, Tragic, Yet Electric

One of the posters for The Bikeriders. Photo courtesy of William Beavers.

Austin Butler and Tom Hardy did a great job acting in Focus Features' The Bikeriders. There was occasional Johnny Cash and June Carter Walk the Line-esque chemistry between Jodie Comer and Butler's characters, enjoyable humor watching Butler act like Patrick Swayze and Hardy act like Robert De Niro, and amazing blues and rock and roll music depicted in the film. The Bikeriders was also a great combination of tragedy and togetherness when it told the tales of humanity and inhumanity in members of a biker gang in the 1960s American Midwest.

Based on a book by real-life photographer Danny Lyon, played by Mike Faist from Challengers, The Bikeriders tells the story of the Chicago chapter of the Vandals motorcycle club, led by Johnny, played by Hardy. One of his members and closest friends, Benny, played by Butler, is caught between enjoying the life of a dangerous biker or freeing himself and settling down with his love interest, Kathy, played by Comer, from Free Guy. As all three quarrel with their individual lives, questions of loyalty and change follow them.

Boyd Holdbrook, Austin Butler, and Tom Hardy in The Bikeriders. Courtesy of Focus Features.

In the beginning, Butler's character of Benny reminded me of Patrick Swayze, with the whole tough-guy act and the crazy Road House-style action. Then it got funny and tender watching him and Comer as Kathy riding with a nice expressway skylight and "Out in the Streets" by The Shangri-Las. As I said earlier, it reminded me of Johnny Cash and his future second wife June Carter in Walk the Line. But, later, it seemed that the relationship was one-sided given that Benny was willing to get in more fights and break himself rather than just be a great man for Kathy, similar to Bradley Cooper's A Star is Born.

Jodie Comer and Austin Butler in The Bikeriders. Courtesy of Focus Features.

Despite his occasional rowdiness, I did like Butler being a cool troublemaker. Going to Hardy, I couldn't tell which type of accent he used as Johnny. It seemed like a Jersey or New York accent, or a hint of Sylvester Stallone, but, still, it was amusing watching him be a mellow and tough cat when it came to protecting the Vandals. He's a little removed from Bane in The Dark Knight Rises, then goes back to Bane with fights reminiscent of West Side Story.

Other than Butler and Hardy, you may enjoy the crazy hair (like mullets or bobs that could remind you of Priscilla Presley) and costumes from the 1960s, songs from artists such as Muddy Waters, Cream, or the Sonics. Though I got them all wrong, I saw some Vandals club performers who looked like Christopher Walken, Daryl Sabara (Juni Cortez from Spy Kids), Evan Peters from X-Men: Days of Future Past, and Andy Serkis.

One note is that they should've given more screen time to Comer. 

All in all, I enjoyed watching The Bikeriders. Maybe a 7.5/10. I hope you enjoy it, too, if you watch it. Only in theaters. Rated R.

'Inside Out 2'-Emotional, Stunning, and Real

'Inside Out 2'. Copyright 2024, Disney/Pixar.

Good afternoon, everyone.

This morning, I saw Inside Out 2. From a scene that resembles Pandora from Avatar to a good blend of emotion, real-life perspective, and humor, it was a well-executed sequel courtesy of Pixar Animation Studios.

After the original Inside Out, Riley Andersen, now voiced by Kensington Tallman, is 13, at hockey camp, and on the cusp of puberty and an identity crisis. 

Sadness (voiced by Phyllis Smith), Joy (voiced by Amy Poehler), Disgust (voiced by Liza Lapira), Fear (voiced by Tony Hale), and Anger (voiced by Lewis Black) in Disney/Pixar's Inside Out 2. Courtesy of Disney.

Even though Joy, Sadness, Fear, Anger, and Disgust are working well together now, more complex emotions such as Anxiety, voiced by Maya Hawke, have run amok, and they all must find a way to solve Riley's identity crisis together.

Embarrassment (voiced by Paul Walter Hauser), Anxiety (voiced by Maya Hawke), Envy (voiced by Ayo Edebiri), and Ennui (voiced by Adèle Exarchopoulos) in Disney/Pixar's Inside Out 2. Courtesy of Disney.

At first, I was skeptical of Inside Out 2, given that I want fewer sequels and more original stuff from Pixar. But they proved me wrong in many cases. For example, Tony Hale and Liza Lapira made great close seconds to Bill Hader and Mindy Kaling as the voices of Fear and Disgust. Hale, in particular, was great bringing back his crazy energy from voicing Forky in Toy Story 4. 

Next, new emotions Anxiety and Envy, voiced by Hawke and Ayo Edebiri from Mutant Mayhem, were funny in making Riley cool and awkward in trying to fit in with her hockey camp teammates. Anxiety started being funny when she tried to understand Riley's social skills, then came off as an antagonist in challenging Joy and rebranding Riley altogether.

Joy (voiced by Amy Poehler) and Anxiety (voiced by Maya Hawke) in Inside Out 2. Courtesy of Disney.

However, it wasn't all bad, because I empathized with being anxious about my future and present just as Riley did. In addition, it was impressive when Joy learned to be vulnerable telling her frustration of trying to control everything with Riley. Once she did that, the other emotions learned to be a team. In a way, Anxiety and Joy could be foils to each other. 

Back to the team talk, I was glad to see Anger, voiced by Lewis Black, be more than just a hothead when guiding the team back to the core of Riley's mind. And Sadness, voiced by Phyllis Smith from the American version of The Office, held her own again in trying to rebuild Riley.

There were also other funny suppressed emotions, cool hockey action, and astounding animation reminiscent of classics such as Blue's Clues.

To conclude, Inside Out 2 was worth watching because it tells that life's not too scary with the right emotional work and support system. If you want a film that feels real instead of just for entertainment for you, go watch Inside Out 2.

Chris Pratt's 'Garfield': A Plateful of Lasagna, Laughs, and Love

Chris Pratt's latest voice-acting venture as the leading lazy cat we know and love as Garfield was very humorous, and it had a few good twists to add more to the one-dimensional character. In addition to said twists, there were funny characters voiced by Samuel L. Jackson and Ving Rhames.

'The Garfield Movie' began showing Garfield's abandonment as a kitten, adopted by Jon Arbuckle (voiced by Nicholas Hoult, Beast from 'X-Men: First Class'), and modernizing his slacker behavior with food drone delivery and Netflix. But his routine, mundane albeit happy life took a change for the worse and better when his birth father, Vic, voiced by Jackson, gets into some trouble and needs his son's help.

The film began as funny with Garfield's usual overeating lasagna and allusion to past Garfield media, such as his birthplace in Mamma Leoni's restaurant and former voice actor Lorenzo Music. Between the poignant piano music score by John Debney and Garfield trying to sort out his family issues, the movie seemed like director Mark Dindal's 'Chicken Little' all over again, just without aliens. On the bright side, it shows Garfield in a better light than just being sloth-like. 

Besides Pratt being comical in his role of Garfield, Jackson and Rhames were funny as their respective characters of Vic and Otto the Bull. Jackson as Vic was amusing in acting like a smooth-talking con man and trying to bring the deeper animal out of Garfield. Their complex working relationship seemed reminiscent of Miles Morales and Peter B. Parker from 'Into the Spider-Verse.' As for Rhames, his character of Otto was like a tough trainer for Garfield when (spoiler alert) he tried to prep him and Vic for a team heist. It was still funny how even in his somber mood, he acted like a foil to the cats and a nod to Rhames' work in 'Mission: Impossible.'

Because it was a higher pitch than I was used to, I couldn't really recognize Hoult as Jon Arbuckle. And Harvey Guillén as Odie wasn't very recognizable to me, either. But in Odie's case, he proved his worth in getting Garfield and Odie to heal their fractured relationship with a little time-out.

'The Garfield Movie' was like 'Open Season', in that Garfield was too domesticated and had a rough time embracing life on the wild side. One really laughable part was his catapulting trip gone wrong when he and Vic planned the heist. Other scenes reminded me of 'Daxter', 'Cars', and 'Toy Story 3'. While I said there was poignant piano music and family drama, it wasn't all sad once I saw Garfield and Vic patch things up, along with Garfield getting some action in him.

To summarize, 'The Garfield Movie' was a plateful of lasagna, laughs, and love. It had some parts I didn't expect, but I still enjoyed the movie. If you want a good "ha-ha" moment and more, go watch 'The Garfield Movie.'

Rain Man-Rocky Start, Good-Natured Finish

Dustin Hoffman and Tom Cruise in 'Rain Man', directed by Barry Levinson. Copyright 1988, United Artists.

On Sunday night, I watched Dustin Hoffman and Tom Cruise in the Academy Award-winning 'Rain Man'.

To those who are unfamiliar, Tom Cruise plays Charlie Babbitt, a troubled, shady Lamborghini dealer who's hoping for some inheritance money from his recently deceased, estranged father to pay the bills. But he gets more than he bargained for when he discovers the trustee of said money is his unknown brother, Raymond, played by Dustin Hoffman, an autistic savant with unique memorization skills, but often troubled mannerisms in socializing.

Hoping to get Raymond to give him half his father's money, Charlie attempts to whisk him away to Los Angeles. But when he is forced to drive Raymond from Ohio instead of flying, a bond begins to grow between the brothers.

At first, I didn't like Charlie's exasperated and greedy attitude toward Raymond. I also couldn't relate to Raymond's level of autism compared to mine. Those aside, I grew to like the film because Raymond gave Charlie closure over his fractured relationship with his father and made him realize he can still have a happy life. That was very touching.

I once heard of references to 'Rain Man' in 'The Hangover', specifically Alan talking about Raymond's counting cards in Vegas and the main men pulling into their casino dressed like winners. Even though the plan was for Charlie to get his money, I liked how he found something better. Spoiler alert, he teaches Raymond to dance, Raymond gets to live like Fred Astaire and Ginger Rogers when dancing in the elevator with Charlie's girlfriend Susana, played by Valeria Golino, and Susanna tells Raymond any woman would be fortunate to be with him. Another thing to enjoy was Hans Zimmer's scoring sounding like worldly 

Raymond may not be your conventional guy, but that's not a bad thing. Whether winning casino money or being good with memories or human calculating, I think the message of 'Rain Man' is that there's hope for people with "disabilities" and they can make us better, too, if we let them. I won't spill any more details until you see 'Rain Man' yourself.

'Romy and Michele'-Funny, Really Places Perspective

Lisa Kudrow and Mira Sorvino from 'Romy and Michele's High School Reunion. Photo courtesy of Dazed.

Good evening.

So, on Saturday night, I finally watched 'Romy and Michele's High School Reunion' starring Mira Sorvino and Lisa Kudrow.

The ladies played two late twenty-somethings returning to Arizona for their high school reunion. 10 years prior, they were "outcasts". And 10 years later, Romy works as a cashier at a Jaguar dealership while Michele is unemployed. On the good side, Michele is quirky yet offbeat like Kudrow's Phoebe Buffay from 'Friends.'

So they make up some lies and dress like businesswomen to fool the crowd. That's where I finally got the quote "Um, I invented Post-its" which I see at my movie theater. But in the end, they dressed as their usual selves, won over their former classmates, and opened their own boutique.

What was great about the movie was the humor with the women trying to come up in their adulting journeys, the cool pop and new wave music from artists such as The Go-Go's or Culture Club, Romy and Michelle's self-empowerment, and breaking down on the dance floor with Alan Cumming. The perspective is that even if it's not the typical way Hollywood presents it, you just got to be yourself and people will learn to love you. And those who won't, that's their problem, not yours. I liked the movie, and I hope you stream it and find some enjoyment for yourself.

‘Fall Guy’-A Wallop of Spicy Stuntman Excellence

 

Good morning, people. 

On Thursday, May 16, I saw 'The Fall Guy' starring Ryan Gosling (also a producer) and Emily Blunt. Based on a show from the early 1980s starring Lee Majors, Gosling played Colt Seavers, a stuntman. Though he had a tough injury that put his job on hold, he got back, but here's the twist: While covering for an actor played by Aaron Taylor-Johnson, Colt accidentally gets mixed up with some of the actor's enemies and ends up on a 'Central Intelligence' type adventure around Australia. If that's not enough, he's got to patch up some broken romance with Emily Blunt's character, Jody. Jody has more drama than that with a major directorial film debut job and an overbearing producer, played by Hannah Waddingham, pressuring her to make a hit.

The excellent parts came when Gosling's fight scenes reminded me of 'Central Intelligence', 'Scott Pilgrim', and 'Fast and the Furious'. Not only that, I enjoyed how the film directed by Jody gave vibes of 'Guardians of the Galaxy', the hurdles of the romance between Jody and Colt, and how crazy Hollywood is. You'll also relish Jody's occasionally feisty moments trying to prove herself in this profession.

In addition, it shed some light on how stuntman and production work as a whole deserves more credit than the final product itself. And from what I saw of Aaron Taylor-Johnson, given his physique and rude behavior, he looked like he was ready for his role as Kraven the Hunter, but you'll know more when you see the film yourself. Besides the action, acting and humor, you'll be amused when you see music by people such as Kiss or Taylor Swift undercut the tense moments here and there. On another note, Winston Duke, M'Baku from the Marvel Cinematic Universe, can add some more comic relief in the otherwise bizarre action movie world.

As it says in the title, 'The Fall Guy' was a wallop of spicy stuntman excellence. Check it out if you need a good adrenaline comedy mix, with a few twists and turns. And I don't just mean with trying to look cool in an exploding car scene, Thank you to cast, crew, stunt people, and all who made 'The Fall Guy.'

The Ministry of Ungentlemanly Warfare Lives Up to Title, and Did Good

Guy Ritchie's latest direction escapade, The Ministry of Ungentlemanly Warfare, was a good feat with jazzy scoring, scene stealing by Eiza González, and good-hearted rebellious heroism courtesy of Henry Cavill and Alan Ritchson, whom you may/may not have forgotten was Raphael in the 2014-16 live-action Teenage Mutant Ninja Turtles movies.

Set in the early 1940s, the film tells a fictionalized tale of Operation Postmaster. Similar to Magnificent Seven, British Prime Minister Winston Churchill sets up the operation as a black ops group where several unconventional warriors were to thwart Nazi warships receiving supplies and help the United Kingdom effort in World War II. 

While it was funny in the beginning with Cavill and Ritchson as Gus March-Phillipps and Anders Lassen outsmarting the Nazis with commando initiative and humor, the real appeal in the film came to me with Eiza González as Special Ops Executive agent Marjorie Stewart. I haven't heard a lot about females in these trying times, and Gonzalez really wowed me with her mental fore-playing and seducing with Nazi officials, then knowing how to attack in the end.

The scoring by Christopher Benstead seemed reminiscent of the jazzy, drumming music from Hidden Figures. It was pretty great when González had a musical moment.

As for the gentlemen's side, Cavill and Ritchson stood out between Cavill acting like Hannibal Smith from The A-Team and Ritchson acting like The Rock with his combination of sweet guy and muscle-head.

I guess I'd give a 7/10 for The Ministry of Ungentlemanly Warfare.

Ghostbusters: Frozen Empire-Not the Most Epic, But Still Pleasing

Ghostbusters: Frozen Empire final poster. Courtesy of Sony Pictures.

Though the Ectomobile looked fresh as it was speeding towards a crazy sewer dragon, Ghostbusters: Frozen Empire was not as fresh as Afterlife. It wasn’t too much fun for the most of the film with Phoebe Spengler’s (McKenna Grace) dramatic change, but closer to the end, busting still made me feel good.

The new Ghostbusters chase a sewer dragon in New York City in Ghostbusters: Frozen Empire. Photo courtesy of Sony Pictures.

Frozen Empire takes place 3 years after Afterlife. Walter Peck (William Atherton) is back and determined to put the Ghostbusters, both past and present, in the grave. Peck also gets Phoebe benched because she’s not legally old enough, and Phoebe’s mother Callie Spengler (Carrie Coon) and her former teacher Gary Grooberson (Paul Rudd) agree because they want her to have a normal teenage life instead of the burden of Ghostbusting. As Phoebe tires to fill her loneliness, some ancient artifact shows up at Ray Stantz’s (Dan Aykroyd) bookstore and unleashes a ghost capable of literally freezing people to death with their own fear. This causes issues to subside so Phoebe and her family, Ray and his veterans (Bill Murray, Ernie Hudson, Annie Potts) can zap and trap for another ride.

Lucky Domingo (Celeste O'Connor (they/them), Trevor Spengler (Finn Wolfhard), Dr. Lars Pinfield (James Acaster), Podcast (Logan Kim), and Dr. Ray Stantz (Dan Aykroyd) studying the orb of their latest ghost victim in Ghostbusters: Frozen Empire. Photo courtesy of Sony Pictures.

I was excited about Frozen Empire for weeks, but upon seeing the film, even with Gary’s enthusiasm and bringing the main men from ’84 back, it wasn’t that exciting. It wasn’t so exciting not just because of the uneasy adolescence of Phoebe, but because Kumail Nanjiani as Nadeem Razmaadi didn’t seem very funny to me at first. It seemed like Frozen Empire didn’t start to lighten up till the film’s climax.

There were some good moments, mind you. For example, Callie made her first non-cynical pun when they trapped the sewer dragon, even though the hunt left a mess reminiscent of Will Smith's Hancock character. Next, Podcast (Logan Kim) was like Ned from the Tom Holland Spider-Man films, with his childlike wonder about the weird things and guy-in-the-chair outlook. Last, the rookie and veteran busters went back to the ‘84 roots at the 5^th avenue section of the New York Public Library, where they confronted a stone lion.

Though I couldn’t dig his whole wooden character at first, Nadeem did come through in the end when he found some mystical power to help attack the ice age ghost. And the final battle reminded me of Raiders of the Lost Ark, just like the original film.

It all comes down to one big proton blast in Ghostbusters: Frozen Empire. Courtesy of Sony Pictures.

While I may not have liked so much drama for Phoebe, that development may be a good thing on the other hand. It shows that she’s not just there to please Ghostbuster fans, but she wants to have a happy life of her own, away from fulfilling her grandfather’s legacy. Some other things that lighten up the tough parts of the film are the goofy Mini Puft Marshmallow men, Gary’s awkward yet well-meaning attempts at bonding with Phoebe, and the returns of Peter Venkman and Slimer. 

When it came to Venkman, this time, his deadpan humor came in handy when the chips were down towards the end. And you’ve truly lived when you’ve gone through Slimer, or as Ray used to call “that ugly little spud.”

The other good parts of the film were the science behind the hunting equipment and strategies to catch the ghost.

I wish there was more fun like in the past, but I guess some of these tough changes are to help the new Ghostbusters establish a different legacy from their predecessors.

As for Ghostbusters: Frozen Empire as a whole, I’d give it a 7/10. I'm curious what will be next. And to the memory of original director Ivan Reitman and Dan Aykroyd's partner in creating the franchise, Harold Ramis.

Teaneck High School's 'Mamma Mia' was a Coruscating Disco Inferno

Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

The evening of March 22, 2024 was a disco inferno when Mamma Mia came to Teaneck High School. From vigorous singing voices by the main and supporting cast to the astounding pop rock from the stage band, it was a well-executed musical production to bring to the Township of Teaneck. A great direction by THS alumnus Ari Hiller, co-direction by Mr. Todd Murphy, and musical direction by Mrs. Molly Neff.

To those who are not familiar, Mamma Mia tells the tale of young bride-to-be Sophie Sheridan, played by Lula Najera, who has no idea who her birth father is. It could be one of her taverna owner mother Donna's ex-lovers Sam Carmichael, Harry Bright or Bill Austin, played by Henry Hietikko-Parson, Nate White and Hamish White. On the other hand, Donna Sheridan, played by Maggie Smith, wonders if the party’s over now that her disco days are behind her and Sophie’s ready to move on to adulthood. She has great support in the forms of her Dynamo bandmates Tanya and Rosie, played by Toni Loveless and Esa Gadson, but no partner to share her life with. These heavy tales of adulthood, female empowerment, and friendship do tend to lighten up with help from the musical numbers courtesy of pop supergroup ABBA.

Sophie Sheridan, played by Lula Najera, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Donna Sheridan, played by Maggie Smith, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Though I do enjoy ABBA’s “Dancing Queen”, I wasn’t invested in Mamma Mia until Friday night’s performance, which was coruscating. When I say “coruscating”, I don’t just mean because there were moments that they lit up during the tough times with a dance under the colorful disco ball. It was also coruscating when the show also shed light on the fact that just because you don’t know one of your birth parents or because you’re a hard-working single parent, that does not mean your life doesn’t deserve something or someone special. In that case, the show was heartwarming as well as a real excellent festivity.

The Dynamos, Tanya and Rosie, played by Toni Loveless and Esa Gadson, in Teaneck High School's production of Mamma Mia. Photos taken by William Edward Beavers, V.

Donna Sheridan's employees Pepper and Eddie, played by Chase Burton and Alex Perez, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Sam Carmichael, played by Henry Hietikko-Parson, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Harry Bright, played by Hamish White, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Bill Austin, played by Nate White, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

Sky, played by Sebastian Mendoza, in Teaneck High School's production of Mamma Mia. Photo taken by William Edward Beavers, V.

A second thing I liked about the musical were the main female and male castmates making fun of adulthood’s responsibilities and getting wild around Greece, including Tanya rejecting Donna’s employee Pepper’s flirting with her on the beach in “Does Your Mother Know?”. Another humorous scene was Rosie bringing ABBA’s “Take a Chance on Me” when one of Bill was going to resign to being single.

And as I stated earlier, there was some vigorous singing in the cases of Sophie, Donna, Tanya and Rosie. Putting aside their funny yet awkward first meeting, the actors who played potential fathers Sam, Bill, and Harry were great when they poured their hearts out to Sophie, then Donna, and when the men were discussing the joys of being unhitched and traveling the world.

A note I have was that the sound prevented me from hearing most of Act II, starting with “Does Your Mother Know?”. However, Tanya made up for visuals with her breaking down Pepper and the scene seeming reminiscent of an Elton John music video. And I felt like Sky, Sophie’s fiancé, played by Sebastian Mendoza, should’ve been given more stage time. That may not have been the original show’s plan, but still.

Teaneck High School's Mamma Mia at the end. With friends and family (blood or not), you can have the time of your life. Photo courtesy of William Edward Beavers, V.

Nevertheless, I stand by my previous statements that Teaneck High School’s production of Mamma Mia was a coruscating disco inferno. The music and acting were wonderful things to witness, and great job in reminding that happiness should never stop at any age. And my best wishes to the stage crew, set designs, band, and basically everyone who made this possible.