Ponyo

Written and directed by Hayao Miyazaki. Starring Tomoko Yamaguchi (Risa), Kazushige Nagashima (Kôichi), Yûki Amami (Granmamare).

Bottom line: Ponyo on the Cliff by the Sea is an adorable Miyazaki movie but because of the odd story, I wouldn’t recommend it as someone’s first Miyazaki movie.

3/4

If you aren’t familiar with Hayao Miyazaki, he’s like the Japanese Walt Disney. He and his studio, Studio Ghibli, are responsible for Spirited Away, Grave of Fireflies, Princess Mononoke and others. Ponyo on the Cliff by the Sea (henceforth referred to as Ponyo) is one of their most recent films. I love Miyazaki movies, particularly how they animate water; Ponyo’s defining characteristic is that it’s about the sea so, naturally, it was on my to-watch list.

Plot wise, Ponyo feels pretty thin. There is a fish that wants to become a little girl. Only through true love can this happen…and also only through true love can she save the world from being flooded.

There isn’t too much else to say about this one, quite honestly. The animation is beautiful, Ponyo (Nara) and Sôsuke (the little boy, voice by Hiroki Doi, who finds Ponyo) are adorable, and the music is great, and it has a happy ending.

If you were unfamiliar with Miyazaki, I wouldn’t recommend this as your introduction to his movies because of the odd plot. I’d start off with something like Spirited Away or Kiki’s Delivery Service, and then after a little while, add Ponyo to your queue.

My wife and I have been watching a couple of Miyazaki movies so I’ll be writing some reviews about them in the next couple days. Next up: Princess Mononoke and Porco Rosso.

I checked on the cast of voice actors for both the original Japanese cast and the American dub. Looking at the cast, you can tell this was definitely a big budget movie; Matt Damon (Kôichi), Betty White (Sôsuke grandmother), Tina Fey (Sôsuke’s mom), and last but not least, the voice of the villain is Liam Neeson! We watched the original Japanese audio and it was great but, if you prefer dubs, I think Ponyo would be a good experience. Although, now that I’m thinking about it, Liam Neeson’s voice is so distinct I wonder if it would break my suspension of disbelief.

In writing this, I was going to include some links to my other reviews of Miyazaki movies but, in looking at my previous reviews to my shock, I don’t have any! So, I’ll have to build upon Ponyo to do a little series of Miyazaki movies. So, until then, thanks for reading! Please let me know, in the comments, your thoughts on Miyazaki!

Tamasha

Written and directed by Imtiaz Ali. Starring Ranbir Kapoor (Zed) and Deepika Padukone (Tara).

Bottom line: Tamasha’s best quality is its music and there are a bunch of songs that are smoothly incorporated into the movie.

3/4

Tamasha opens to a play; a clown is talking to a robot walking on a treadmill. The clown touches the robot on its heart causing it to malfunction and step off the treadmill. The clown speaks to the audience saying the robot has a story to tell. We cut to a boy being scolded for not doing well in school. You might be able to guess where this is going: the boy is forced into a safe, responsible mold, going to school to become a scientist (or something) even though he wants to be an actor.

During the preceding intro credits sequence, the boy spends his last few rupees to hear a story from the park’s resident storyteller. The storyteller mixes up his story but justifies it by saying it is always the same story, just different characters. It’s pleasant to hear that because Tamasha’s story is just like all the others but its execution is what differentiates it. Anyway, fade to black. Open to Corsica, France, where we are introduced to the love story.

If you’ve read my other reviews for Bollywood movies, you might be familiar with my general lack of understanding when it comes to the genre. Tamasha, however, would be a solid movie for someone not familiar with this style of movie. Sometimes in Bollywood movies they break into songs at, to me, odd times, or they have these over-the- top plot points that I don’t quite understand. In the case of Tamasha, it felt closer to a Hollywood musical.

In the initial love song for example, Zed (Kapoor) and Tara (Padukone) are talking about their plan to have a weeklong fling (sans physical contact) and never meet again. Amidst the festival going on around them, they exchange clever lines and then break into song. The song conveniently lines up with what the festival musicians are playing. Speaking of songs, I loved the music from this movie; the songs are catchy and fun.

The movie opens to the stage play and then jumps back in time to see Zed as a child. It then jumps back and forth in time to show how various plot points play out. Unfortunately, the best example will give away spoilers, so I’ll wait until later to discuss it.

The performances of Ranbir Kapoor and Deepika Padukone were perfectly fine, except for a point that I will discuss in a bit. I must say that they both have this look, where their eyes tear up but they don’t cry. They do it well and they do it several times throughout the movie.

The only thing I didn’t like was how Zed was portrayed when he was breaking out of his mold. I don’t think there are any major spoilers in this next part. Have you ever seen Office Space? It was the movie about a guy who hates his cubicle job and then, through a botched professional hypnotherapist session, stops caring. He shows up late and has a new generally chill but disconnected demeanor. Zed, as you might’ve expected, experiences a similar existential crisis. Instead of shouting, “I quit!” or just quitting, he just becomes an insane jerk. Not just kooky but I’m-not-going-to-be in-a-relationship-with-you-because-you-might-murder-me insane.

Part of his morning routine is to hold the elevator door open for a little old lady. Once he starts to snap, he smiles at her as he lets the door closes. He shouts at his boss and makes a general scene. Is it too much to ask that protagonists in this situation address their concerns coolly? I mean, instead of flipping out, couldn’t he have just started writing a screenplay or taken up acting in his free time?

This doesn’t detract too much from the total movie, however. Overall, it is fun, colorful, and happy. At about two hours and twenty minutes, Tamasha is a long Bollywood film but it only drags in the last scene or two. I’d recommend this movie to someone who is even mildly interested in Bollywood. One strategy, I’ve come to use for selecting Bollywood movies, is to first listen to some of the music videos for the movie. If you like the songs then check out the movie, otherwise, pass on it.

If you are interested, here are some links to the videos on YouTube:

Heer Toh Badi Sad Hai

Matargashti

Wat Wat Wat

Safarnama

Whew, I’m sorry for the delay with the reviews, peeps. Writing is not too different from exercise, it’s just working out different muscles; it’s arduous at the time but really satisfying. In the comments below, let me know what you think of those songs!

Krrish 3

Written and directed by Rakesh Roshan. Written by Robin Bhatt, Honey Irani, Irfan Kamal, Akarsh Khurana, Rakesh Roshan, Sanjay Masoom, and David Benullo. Starring Priyanka Chopra (Priya Mehra), Hrithik Roshan (Krishna Mehra/Krrish/Rohit Mehra) and Amitabh Bachan (Narrator).

Bottom line: As one who has little experience with Bollywood action movie or the Krissh series, I wouldn’t recommend Krrish 3 because it’s too clichéd, too over-the-top, and too long.

2/4

Krrish 3 is the third in the saga of Krrish; the superhero of Mumbai. It’s everything I   expect from a Bollywood big budget action movie. I’ll get more into what I mean by that in a bit. The first few minutes of the film are dedicated to a review of the story so far. As if we needed a refresher, am-I-right? I’m willing to bet that you need so allow me to elucidate.

“This tale began with the birth of a mentally challenged boy, Rohit…” He grew but his mental age remained to that of a child. He was bullied. He prayed to Krishna and then, one night, a spaceship landed in his homeland. He made contact with the aliens who gave him super intelligence. He became a scientist, met a pretty lady and had a son (named Krishna). He went to Singapore to work with another super scientist and disappeared! Meanwhile, Krishna grew up with his grandmother (Rohit’s mother) in a secret location. He joined a circus, donned a mask and became a superhero. He learned that his father was held captive in Singapore. And now we can start the movie.

After writing all that, I’m exhausted of plot summary so let me speed up the general plot of this film. Kaal (Vivek Oberoi), a paraplegic with telepathic abilities (no, not Professor X), holds the world hostage by releasing a super-virus. He has the only known antidote. His ultimate goal is to get enough money to fuel his research to cure his paralysis. He splices his DNA with animal-DNA to create animal-human hybrids he calls “Manimals.” He has a frog hybrid, a shapeshifter lady, and a super strong guy. Will Krrish save the city and the world?

Bollywood continues to baffle me. A while ago, I tried watching Dhoom:3 and couldn’t get more than a half hour through the nearly three hour epic. Krrish 3, on the other hand, is a reasonable two and a half hours and it even has an intermission. Both films are the mixture of over-the-top action sequences, over-the-top dialog, and musical sequences. I didn’t understand if I should internalize the tap dancing sequence like I internalize Die Hard. Now I know I’m writing about Krrish 3 but I tend to use Dhoom:3 as my point of Bollywood reference. Krrish 3 presents the same sorts of questions.

There’s a fight scene between a villain and Krrish. They are indoors, mind you, and whenever the camera does a close up of Krrish, his hair is blowing in the wind. They are indoors! There is no wind! Even beyond little details like that, just the level of similarity between X-Men and this movie. I can’t be the only one to ask this, right? And yet, Krrish 3 broke all sorts of Bollywood records. I wonder what was lost in translation that captured the Bollywood imagination.

Would I recommend Krrish 3? I don’t know, man. It’s one of those things where it could be fun to watch because it’s silly. But, I feel kinda bad saying that because I don’t really understand it. I feel like I’m laughing at a culture and their cinema, you know? As far as comic book action movies go, I don’t recommend it. There have been a ton of comic book movies in recent years and this one isn’t quite worth its two and a half hour runtime.

But I can’t seem to let it go as simply a “no” review. It, and Bollywood as a whole, continues to confuse me and I think it’s because I am too uninformed as to the culture. I can see how The Twilight Samurai, which I watched not too long ago, could have been equally confusing if I was clueless about Japanese culture and cinema.

As it is the New Year, this seems to be a good time to make a resolution to learn a thing or two about India and it’s cinema. Surely then I will be able to appreciate or at least have a better idea as to what is going on in the major Bollywood films that will undoubtedly come in the future.

Have you had any experience with Bollywood? If you have, please leave a comment! And, feel free to leave a comment if you have any questions or concerns. Thank you for reading!

The Twilight Samurai

Directed by Yôji Yamada. Written by Shûhei Fujisawa (novels), Yôji Yamada (screenplay), and Yoshitaka Asama (screenplay). Starring Hiroyuki Sanada (Seibei Iguchi), Rie Miyazawa (Tomeo Iinuma), and Nenji Kobayashi (Choubei Kusaka).

Bottom line: If I were to pick two words to describe The Twilight Samurai, they would be “taste” and “moderation” which are two very good words in my book.

3.5/4

Sheesh, it’s been a while since my last review. For that, I apologize. I might be getting a new computer so I’ll be able to make a video review more easily (not to suggest my tardiness is a result of anything but me). Any-who, onto The Twilight Samurai!

The Twilight Samurai is a story, set at the turn of the century, about a petty samurai father, Seibei (Sanada), narrated by his then five-year-old daughter. Seibei’s wife died of consumption leaving him to care for his dementia stricken mother, and two daughters. Seibei is of the samurai class though he works as a bureaucrat in the castle stores for a meager salary. IMDB summarizes the film as, “A 19th-century samurai tries to protect a battered wife.” This is only a minor plot point in the film. We follow him as he experiences tests of character with regard to his desires, his aspirations, and his duties to the clan.

Now, this may be an embarrassing testament to my general ignorance of international movies but I mistook this for another film. There is a popular samurai series about Zatoichi (aka “The Blind Swordsman”) that follows the adventures of, as you can probably guess, a wandering Samurai who is blind. According to Wikipedia, a total of 26 films were made in the ‘60’s featuring this character. I thought that The Twilight Samurai was that. Clearly, any samurai movie is an action movie, right? Sigh, it sounds even more embarrassing when I write it. In my defense, the film The Blind Swordsman: Zatoichi came out in 2003. The Twilight Samurai is, in fact, a serious and really good drama. It won just about every Japanese film award possible and it’s not too surprising.

The acting is fabulous, the cinematography is beautiful, and the music and sound are just as good. I’m generally not a fan of narration. “Show me, don’t tell,” I think when I hear a narrator but I’ve certainly heard worse narration than that of The Twilight Samurai’s. I’m also generally not a fan of children in movies (read: I generally loathe them in movies) but Seibei’s daughters are adorable. They play a large part in the motivations of Seibei but they don’t play a large part in the movie. They are there just enough to work their way into your heart and make you sympathize with Seibei; one can understand why he wants to stay at home, take care of them, and watch them grow.

Overall, The Twilight Samurai is a very good movie. To my chagrin, I went in expecting a hack and slash but was enthralled by the story presented in front of me. It’s happy and sad at the same time, and despite being a very Japanese movie, as an American, I found it accessible. By accessible, I mean that some movies use specific of cultural cues that either go over my head or don’t jive with my American state of mind. I’ll get more into detail about what I mean but it requires giving away some spoilers. This all said, I’d recommend The Twilight Samurai to someone interested in watching a more serious movie about the self and society and family. The only reason why I didn’t give it a four out of four is because of some details surrounding the ending (which I will discuss next). Now, mind yourself of spoilers from here on out.

I mentioned that The Twilight Samurai was a very Japanese movie. In my experiences with Japanese movies, there are some recurring themes, namely, responsibility to one’s duty particularly with respect to community versus the self. In The Twilight Samurai, we see this through Seibei and his interactions with his clan.

A friend of Seibei comes back from Edo (the capital city which was later renamed Tokyo) and offers to take him there for a promotion. Seibei respectfully declines saying that his dream is to eventually give up the title of Samurai and become a farmer with his daughters; he doesn’t want to rise up in class because he’s happy and content. Despite this desire to become a farmer, he is tasked with the job of killing a criminal samurai. The criminal was ordered to commit suicide but didn’t, saying, “If you want me dead, you’ll have to do it yourself.” The criminal samurai is the best one-sword fighter in the clan so it’s a high-risk task. Seibei attempts to defer the “honor” or responsibility to someone else but, eventually, accepts because it’s his duty to follow the orders of the clan. The film doesn’t stop at the “following orders” image. He accepts the task but reveals that he was going to let the criminal samurai escape to the mountains.

A while ago, I reviewed The Shonen Merikansak. It’s a movie about a washed-up punk band that reunites. The movie seemed say, “Yeah, I wanna rock, so let’s rock.” The last shot of the movie, however, undermines that whole message. It changes to “Yeah, I wanna rock, but let’s be serious and get back to work after this bit of fun.” The Twilight Samurai contains the theme of duty but still gives Seibei the strength to balance responsibility to one’s post with responsibility to one’s moral code. Seibei explains that he intended on letting the criminal escape to the mountains.

Unfortunately, the film takes an easy way out. After all, what would happen if he let the guy escape? What type of repercussions would he face? If he said that he let the guy go, Seibei would totally be executed. Well, we don’t have to worry about it because the criminal samurai says, “I will escape…after I kill you.” Conveniently, Seibei must defend himself and is thus rewarded with money, and his dream wife. Is it a deal breaker? No, it reminds me of my reaction to The Dead Poet Society.

Again, I’m sorry, for the hiatus from writing. I’ll try to get into more of a rhythm; I’ve seen a bunch of movies recently, I’ve just not made the time to write about them. But, in any case, what do you think? I’m willing to bet that you’ve seen or are going to see the new Star Wars movie. I haven’t had the chance to but I hope to soon. If I don’t write again in the next couple days, I hope you had a Merry Christmas and have a happy New Year! Thanks for reading – I really appreciate it!

Shaun the Sheep

Written and directed by Mark Burton, and Richard Starzak. Also written by Nick Park. Starring Justin Fletcher (Shaun/Timmy), John Sparkes (The Farmer/Bitzer), and Omid Djalili (Trumper).

Bottom line: Really cute, happy, and fun though it works better as episodic shows rather than a full length movie

3/4

Shaun the Sheep is a full-length movie from the makers of Wallace and Gromit. I didn’t realize, until later, that this was based off of a show of the same name. In retrospect, it makes sense why it is named Shaun the Sheep: The Movie.

The film opens with a montage of the daily routine of the sheep, the farmer, and his dog. It’s day after day of the same thing. After a while, the sheep get tired of the monotony. With their adorable and charismatic leader, Shaun, the sheep hatch an innocent plan to get a little vacation. They just want to trick the farmer into thinking it’s still night time so he stays asleep. Unfortunately, the plan goes awry and the farmer finds himself in the “Big City” with amnesia. Shaun, his fluffy friends, and the farmer’s dog have to find a way to rescue the farmer, all while avoiding the hazards of city life, most notably the Animal Control Guy.

The animation is the main component of Shaun the Sheep and it’s wonderful. It’s colorful and soft but expressive and cute. There are a number of fabulous little details like a bit of a tongue to emote concentration or making the eyes feel slightly more open to show surprise. Over the past couple years, I’ve been slowly warming up to Claymation as a medium but this seals the deal. I love it.

I always forget how important sound is to a movie until I see a movie with really good sound. Shaun the Sheep is one such movie. The buzz of clippers, the sound of water, and the rustle of fabric really add to the experience.

Shaun the Sheep has little to no dialog; it’s more of a pantomime but with the characters saying gibberish. Like the sound, the lack of dialog makes Shaun the Sheep more fun and forces you to focus on the animation. There are a couple of exceptions like the music. There are a couple of songs played at different points in the movie that have English lyrics. I wouldn’t have considered this but, because there is no dialog, I subconsciously latched onto the English lyrics and it felt forced. I think it would’ve been more successful if they sang in gibberish or simply had instrumentals.

I found the TV Show on Amazon TV Prime or whatever it’s called. It’s available for streaming there. In the case of the TV show, each episode is broken down into independent segments. I like this format. How much complexity do you really need after all? The show is about cute little sheepies doing cute little sheepie things.

To be honest, I wasn’t really looking forward to this movie. The trailer seemed to highlight burp jokes and crude humor but, fortunately, they weren’t a major part of the film. (Of course they were still there).

Overall, I’d recommend Shaun the Sheep. I’d definitely recommend the show. I’d give the show a 3.5/4 instead of the movies 3/4 because the characters and “plot” lend itself to a segmented show but, with this in mind, I still really enjoyed the movie. The animation is adorable, the sound is great, and the story is ok. Before ending this review, I’d like to mention something else that I liked but, mind yourself of spoilers for this next part.

From the introduction, where we watch Shaun and his friends grow weary of their routine, there was a little knot of dread in my stomach. How were they going to handle the ending? When the Shaun and company gets the farmer back, what were they going to do? Were they going to say, “We had our adventure but let’s get back to what we truly like, the routine?” That would be really depressing!

But it was such a relief when they tore up the schedule and went to the park. Sure, they would still probably have to do stuff, it is a farm after all, but the relationship between the farmer and his sheep had development to something greater than it was at the beginning of the movie. It’s that relationship is part of a larger point that I’d also like to discuss.

There is a really pleasant sense of humor in Shaun the Sheep (both the film and show). It isn’t malicious (the sheep don’t resent the farmer or do any mean tricks) but there isn’t a particular hesitancy when performing tricks or carrying out schemes. One episode, for example, Shaun kicks a soccer ball into the farmer’s kitchen and see’s a bunch of cakes and deserts. He gets the soccer ball, a couple bites of cake and then grabs a bunch of deserts for his friends. I suppose it’s stealing but it feels so innocent. It’s like there is this laid back attitude towards everything that I find really relaxing. Sure, they shouldn’t be eating the sweets but, it’s ok; the farmer had a ton and he can easily make more.

Have you seen Shaun the Sheep (the movie or the TV show)? Again, the TV show is on Amazon and, if you have Prime, it is free to stream. I’d highly recommend them both. Thanks for reading!

12 O’Clock Boys

Written and directed by Lotfy Nathan. Starring Pug, Coco, Steven.

Bottom line: 12 O’Clock Boys illuminates a complex social atmosphere in North Baltimore but it does so in a way that feels incomplete, not to mention a little exploitative.

2.5/4

12 O’Clock Boys is the name of a motorcycle group (one might argue that they aren’t quite a gang) in North Baltimore. Their name arises from the fact that when they do wheelie’s (that is, riding on the back wheel of their motorcycles) their wheels are straight up and down like the hands of a clock.

12 O’Clock Boys is also the name of a documentary which follows Pug, a thirteen-year-old kid who wants to eventually join the illustrious (or notorious, depending on who you ask) aforementioned group.

Many documentaries I’ve seen about gangs focus strictly on the gang: its origin, current members, former members, and police. 12 O’Clock Boys incorporates those but, as it follows the development of Pug, we come to see the larger ecosystem of Baltimore; not only do we see the gang and its relationship with the police but also we get to see how the gang operates with Baltimore and the poorer districts of the city, and even its relationship with future members, i.e. children.

Pug’s home life is such that I can see how one might be drawn to the 12 O’clock Boys and the resulting sense of community. It’s kinda sad to watch over the course of the movie how Pug gravitates towards an angrier lifestyle. He wanted to become a veterinarian and he had a bunch of pets but by the end of the movie he says that he wants to become a dogcatcher (I suppose because it sounds tougher). It’s too bad too because, when he talks about animals, he sounds rather knowledgeable about them.

I read in an interview that Pug and his mother participated in the documentary because they wanted to shed light on the group. If people had a place to ride their bikes, like a park, they argue, then the problems would go away. But, is that really the case? Thinking about this is one of the more interesting questions to come out of the movie.

On one hand we have the founding members saying that they just wanted to ride, because when they ride they forget about their problems, yadda yadda yadda. Former and current members interviewed, insist that the gang doesn’t do anything like guns or drugs or whatnot; they just want to ride their bikes. And, yet, they break traffic laws and intentionally ride past the police department to exacerbate the already tenuous relationship with the police.

We see Pug practicing with a child-size ATV and, eventually, in the park on his dirt bike. The plan is always to practice and ride until he gets to the point where he can ride with the group in the streets. There’s the rub.

What would the dynamic be if the group had a venue for their riding? Would it be the same or is part of it the experience breaking the law?

At one point, the group is riding up and down a street and in a nearby park when the police come. The environment is electrified by the clash between the bikers and the police. So it’s not “just about riding,” but the movie doesn’t really explore what it really is about.

If you’ve read my previous reviews, you might recall that I generally dislike children in movies. More often than not, it’s a cheap way to force an emotional response from audiences. 12 O’Clock Boys is pushing it. With Pug, we see this kid come of age and watch his development. But because he’s a kid, it feels mildly exploitative.

With respect to following Pug, there are a couple standout sequences. First, when Pug finally gets a dirt bike. He is practicing in the park near a group of kids playing basketball and one comes over and asks if he could try out Pug’s bike. After some hesitation, Pug lets him. Sure enough the kid says, “I’m just going to take it around the block.” The kid speeds away. After a few minutes, Pug runs around the corner to see if he’ll return. You can see fear, desperation, embarrassment, and frustration wash over his face as he looks at the camera and then the cameraman. It feels like a really great moment to capture on screen.

At the end of the movie, Pug has spiraled further into the hood mentality. He had just gotten in trouble for fighting in school. The cameraman asks what Pugs intends to do about his bike. “Steal it back,” Pug answers matter-of-factly. As he explains the plan, footage of the robbery plays. The movie ends with a shot of Pug in the back of a van dressed in black, with his bike, looking silently at the camera. It’s depressing but well executed.

I’ve spent a lot longer thinking about this movie than countless other’s that I’ve seen and I can’t quite figure out why. I think it has something to do with why I found it unsatisfying. We watch Pug spiral downwards into the subculture of the 12 O’Clock Boys, which is depressing, right? We hear positive messages from the current and former members but we see contradictory images: a guy kicking the tail light of a police car, for example. The stories and images paint of picture of this group and it’s surrounding city but it’s not getting anywhere.

I don’t think a movie should necessarily a definitive position but I feel like it would be helpful to provide a starting point and, perhaps, a direction for conversation. It you watch fluffy tupolev’s Youtube video entitled "12 O'Clock Boys", you’ll have just as much of a conversation starter as 12 O'Clock Boys. If you are interested in watching it, currently, it can be found on Youtube.