Ghost in the Shell (2017)

The two most undesirable things in the entertainment world might be; adapting a best-selling novel to a screenplay or re-making a classic film into a modern version. I don’t envy either task  but I have tremendous respect for those who poke the sleeping giant.

When the anime classic, “Ghost in the Shell” released in 1995, it set a new standard not only in animation as a whole, but for film-making as well.

Given its sci-fi genre, “Ghost” resists the pigeon-hole of being a period piece, and that says a lot about how far ahead of the curve the anime jumped. It has become a yardstick by which many projects are compared.

Films like “Ghost” often impact people at a young age, it certainly left a huge impression on me, even in the subtitled version. That kind of experience can be the motivation that drives someone to bring that deep, inner passion into a modern work of art.

Anyone that attempts a revival of a classic film faces two demons of criticism that are diametrically opposed. One believes the original work should be honored to the tiniest detail, often panning any changes, including the choice of casting. The other looks for the new work to be different, surprising, and somehow improved, even though they can be vague on how that should be accomplished.

In the end, I paraphrase James Cameron, “Every film should have the ability to stand on it own, even if the audience has never seen the related works.”

I tip my hat to Rupert Sanders and the team that dared to craft such an iconic work of art. This new version brings the classic to life with both subtlety and panache. Some might look at many of the re-created scenes and see an uninspired vision, but I say it takes extraordinary skill to make so many shots look as if the anime itself was somehow charged and rendered into holographic photo-realism.

The original work spawned a television series called “Stand Alone Complex” that followed the continued adventures of The Major and her Section 9 Team. The modern film crew deftly draws on elements of this series (and other sequels) to bring greater depth to both the story and the central character. We watch The Major grapple with the unknown past of her inner ghost, and fight internally with the questions of her own existence. Maybe this isn’t technically bringing something new to the table, but how it was blended into the fabric of the film was well executed.

If there was one thing the original anime excelled at it was lush, detailed backgrounds. The overgrown, overcrowded, tech-heavy city-scapes of the anime reach forward with full force, and kudos to cinematography for shooting the angles that not only immersed you in the Major’s world, but made you feel as though you may drown under its sheer scale.

Many have criticized the casting of Scarlett Johanssen in the lead role as cheap Hollywood merchandising. To some extent that might be true, but when was the last time we saw any major film released without star power of some kind? Some say the lead should have been an oriental actress. Possibly, but if you look at side-by-side stills of the anime and new film, Johanssen nails the image. This is a point I’ve always wondered, why clamor for the oriental casting when most anime women don’t look oriental in the slightest?

There are many other ways the film pays proper homage to its roots. The geisha robots and various holographic advertisements throughout the city promote the Asian lineage. The sole member of the Section 9 Team that values his un-augmented human form is clearly oriental. I also loved how they showcased his loyalty to his old-fashioned revolver. Takeshi Kitano brings the oriental mojo in truckloads as the Section 9 Director. No matter if he is behind a desk deflecting veiled threats or wielding a large caliber pistol like a futuristic Dirty Harry, he never fails to make an imposing presence.

Juliet Binoche also adds depth to both the story and the emotional connection as Dr.Ouelet. So proud of the achievement the Major represents in technology, but also caring as if she were a parent. Dr. Ouelet is torn by the sacrifices made to reach the success of the Major, but is unaware of the adversary they inadvertently created in the process.

I congratulate Scarlett Johanssen on a performance that while action-driven, delivers on several levels. She is hi-intensity under combat conditions, fearless and skilled in every facet of her programmed training. The effects of her invisibility screen are top notch, but its her times away from danger that are most revealing. She walks with mechanical method, and is expressionless despite her inner torment, yet in those moments of personal reflection, the hints of her human ghost come near to the surface. The more she discovers, the more she begins to find the worth in herself, and the closer she slowly becomes to her stoic partner, Batou.

Pilou Asbaek rises to the role of the Major’s closest version of a friend. Batou never fails to have the Major’s back, even if he is picking up her broken pieces. I’m very glad the film adds the back story of how he came to have the cybernetic eyes.

All told, I think “Ghost in the Shell-2017” does its ancestor proud. Is it an exact recreation of the original? No. Is it a significantly different rendition? I would say no, because the material drawn from sequels and Stand Alone Complex was already related, and not written strictly for this film. Is it a worthy execution of the character and the world she lives in? Yes!

Like other remakes, I recommend watching the original AFTER you see the new film. Give the new work a chance to test and challenge your imagination and memory. Most of all, look at the latest version with the innocent eyes of the Major and her quest for knowledge. This is a dark and dazzling motion picture in its own right, and I get the feeling we haven’t seen the last of The Major and Section 9. At least I hope so, because she is an equal-opportunity ass-kicker and I look forward to seeing her in action once again.

T. August Green

Beauty and the Beast (2017)

My hat goes off with a deep bow to Disney for undertaking what must have been the most daunting project in the last 50 years. Forget Star Wars, forget Star Trek, forget any live-action transformation to date. When you green-light the live rendition of one of the most beloved, popular, and timeless animated classics, that takes spinal fortitude.

Let me begin by saying I probably held an unfair yardstick walking into this film. The animated version is one of my all-time favorites, and one of the elite group of movies I never grow tired of watching…repeatedly. In fairness, animation holds a level of unfair advantage in this case. Character expression can be wildly exaggerated for effect, and voice actors need not worry about what kind of motion-capture gestures are required. This has always been the essence of Disney magic and represents a bar almost too high to clear.

Lucky for Disney, there was never a need to aim higher. The last 30 years have seen multiple productions turn into successful Broadway musicals, and live theater is another world in its own right. Song, dance, lights, innovative costumes, and brilliant choreography transform the stage without any of the computer magic motion pictures bring to bear. So the question wasn’t to make it better, it was to combine all the best elements film and stage had to offer into one seamless experience.

Never having seen the stage production, I can only guess at the segments carefully plucked from the tree of talent. No matter, because the result is a visually lush and emotionally rich movie-going experience.

Emma Watson shines as Belle, and what she lacks in musical talent is balanced nicely with the earthy reality she delivers. Watson doesn’t look like she is in costume, and if she accomplished nothing else, she made you forget about Hermione Granger.

In my view, Luke Evans had the biggest boots of all to fill..those of Gaston. The bar-room song and dance of the animated film has to be one of the most sinfully hilarious in cinema history. Its almost impossible to simply read the lyrics without bursting into laughter, and the distorted images of Gaston himself take on the proportions of the Incredible Hulk.

To his enormous credit, Evans delivers enough attitude, narcissism, and hubris to still make you hate him as the villain. Every smile, every song, and every walking strut is spilling over with ego. Gaston provides the great irony of the whole story, the most beautiful among us can possess the greatest ugliness. Bravo, Luke Evans!

I won’t say Dan Stevens had it easy due to make-up and CG, but he filled out the Beast with as much heart as humanly possible. Reaching through the barrier of unrecognizable make-up is no easy feat, but Stevens make you tremble, laugh, and wipe the misty eye before his final transformation.

Kevin Kline brings a new depth to Belle’s father, Maurice. While less of a theme in the original, this version paints a touching back story of why Belle is so precious to him. Their relationship cemented from a young age, the glimpse of her past is provided by Beast, but quickly encapsulates a lifetime of dedicated love for his little girl. Few things are more prized and fiercely protected.

The rest of the cast was equally amazing in such an ensemble effort. My only slight discourse, and I say this with all humor, is that Ewan McGregor will never be confused for a Frenchman.

Whatever you do, DON’T watch the animated classic as refresher and then go see this film. No, leave the vintage art on the shelf for the time being. Go see this film with fresh eyes, a curious mind, and an open heart, ready to drink in a new chapter of Disney magic.

Walt himself said, “That’s what storytellers do. We restore order with imagination. We restore hope again, and again, and again.”

Go see “Beauty and the Beast,” and let your imagination tell the story of love and hope to your heart all over again.

– T. August Green

Mr. Church

Director: Bruce Beresford

Writer: Susan McMartin

Starring: Eddie Murphy, Britt Robertson, Natasha McElhone

Eddie Murphy hasn’t appeared on the silver screen since 2012’s “A Thousand Words,” and that was another vehicle of comedy. No one can blame Mr. Murphy for sticking with the genre that made him a star but box office numbers showed the results were getting thin.

Once upon a time, comic icon actor Tom Hanks branched out into drama and many said it would be the death of his career. History has proven otherwise for Mr. Hanks and given the heartfelt performance in “Mr. Church,” Eddie Murphy could be well on his way to a newfound career.

More than a few critics have panned this film, saying that its too formula-like, predictable, and even unbelievable. They say the only thing stranger than fiction is the truth and screenwriter Susan McMartin is living proof. Granted, she took a couple of creative liberties but I know of few screenplays that don’t. All that aside, the emotional impact of human kindness, love, and loss is delivered in copious amounts.

Anyone who has survived the loss of a loved one, struggled though the hardships life can dispense without warning, and found unexpected support and friendship will find common ground in this film.

Eddie Murphy sells Henry Joseph Church from his very first appearance on screen, and he only gets better as he goes. There is still opportunity for the comic response but they are subtle and well placed. The loud and boisterous style he is more readily know for is channeled into the drunken outbursts of the contentious relationship with his father, and it brings depth to the history of the character.

The entire story is told through the eyes of Charlotte, (Britt Robertson) a young girl whose mother is dying of cancer.(Natasha McElhone) The wealthy, estranged father employs Mr. Church to cook for the terminally ill mother until she passes, but the kindness he finds compels him to do much more. The bonds of friendship reach across the years as Charlotte grows, and through teenage awkwardness, college adventures, and the adjustments to adult life, Mr. Church proves to be the loyal friend Charlotte can always count on.

The story comes full circle as age and failing health eventually claim the life of this trusted man and his giving heart, but the memories he made tied a broken family together with meals, books, and stalwart kindness.

Those who criticize this movie as a racial vehicle or an unrealistic tale completely miss the point. Disney has kept simple themes for decades but they still entertain and lift spirits while drawing genuine tears. Quite simply, it works. Secondly, to demean the real-life events of the author is both cold and cynical while insulting the life of such a kind and giving soul. Many have bemoaned the lack of human storytelling based on goodness and love. I say thank you to Susan McMartin for sharing a serving of her life with us.

“Mr. Church” is an inspiring film about how family and the giving of ones self is far beyond anything money can buy.

T. August Green

Sully

Almost everyone knows the story about the “Miracle on the Hudson.” But I would venture to say few know the depth of the story behind the event, and even fewer about the man himself.

Tom Hanks seldom lays an egg in front of a camera, and Clint Eastwood has shown his prowess as a director enough times to foster high expectations. In the case of “Sully,” neither man disappoints.

This film places you not only in those tense moments in the cockpit of Flight 1549, but squarely into the nightmares, second guessing, and stressful aftermath of living through such an unprecedented disaster. We all know the amazing outcome of not losing a single soul on board, but the toll it took on the lives of Captain Sullenberger and his First Officer Jeffery Skiles was heavy indeed.

The National Transportation and Safety Board always has the unenviable task of investigating any such event, and in this case, in the face of a media onslaught, they strive for answers to the questions no one wants to ask. For the sake of dramatic effect I imagine, the NTSB plays the role of the antagonist as they attempt to prove the flight could have returned to the airport for the emergency landing rather than the Hudson River.

Aaron Eckhart breathes life and personality into Jeffery Skiles, who is not only Sully’s co-pilot but his staunch supporter every step of the way. Laura Linney has the small role of Sully’s wife, but she pours overwhelming emotion into every phone conversation with her husband as she faces her own battles on the home front. The every day lives of both her and their children are badgered by the press at every turn, raising the stress level to near boiling.

Many other smaller roles are filled as the members of New York’s Finest, and I do mean finest because the NYPD scuba team along with the Port Authority Ferry Boat crews responded to the downed aircraft with heroic speed. They were on site and rescued all 155 passengers and crew in a scant 24 minutes. Not enough can be said for their life-saving reaction time, especially in the light of river water at a deathly 36 degrees.

As the hearing for the loss of Flight 1549 draws to a close, all members involved don headsets to listen to the full cockpit/tower recording, and in those fateful moments we re-live the entire event as it happened. In this brilliant piece of film-making, we see all of the hallmark traits and moments that prove the experience and skill of Captain Sullenberger.

Aircraft don’t pull over and correct problems, and when things go wrong, cool heads, steady hands, and split second evaluation drive decision making under duress. In this high risk world of rapidly decreasing choices, Captain Sullenberger made command decisions and exercised all his ability for the best chance to survive.

We all know his gamble paid off in the best way possible, but you owe it to yourself to let Tom Hanks and Clint Eastwood tell you this story as you’ve never seen it before. Make sure to stay through the end credits for special visit from the passengers of Flight 1549 and their incredible Captain. Bravo, to one and all!

T. August Green

Pete’s Dragon (2016)

When you were a kid, did you ever have a pet dog who was your best friend in the world? Were they forever by your side, playing or resting, missed you when you weren’t home, and would instantly defend you from anything they thought was a threat? Now imagine that dog was 20 ft tall, had wings to fly, and could camouflage itself in any surrounding…and you’ve got the basis for “Pete’s Dragon.”

Young Pete’s discovery of a new friend in the northwest woods is as charming as it is simplistic, but great fairy tales come to life need not be complex. Robert Redford’s character says it all when he tells his daughter, “Sometimes, you just have to feel the magic.”

Director David Lowery gets the best from Redford and Bryce Dallas Howard as the classic father/daughter duo, as well as Wes Bentley and Karl Urban in the roles of diverse brothers. Everyone fills their piece of the story around young Oakes Fegley, who shines the innocent love of a little boy for his best friend. Each human is just relevant enough to make Elliot the Dragon believable. (Because you catch yourself wishing you could be Pete.)

All too often, remakes of classic films tend to fizzle or lose that original spark that made them great, but “Pete’s Dragon” takes a step into the modern world. Not only does it benefit from current CG technology, it brings a truckload of heart along with it, in many ways surpassing the original.

This film is a delight for all ages, and if you happen to be on the higher end of the age range, just remember that pet from your youth, how much you loved them, and how hard it was when it was time to say goodbye. (Kleenex may be required)

But fear not, “Pete’s Dragon” finds the Disney silver lining in the mountain mists. All you have to do is reach back for that child-like moment when you still believed in magic, and the pet you still love to this day.

• T. August Green

Zootopia (Home Video)

“Zootopia” is one of the best efforts from Disney in a long dry spell. Armed with lots of punchy comedy, great sight gags, and plenty of pop-culture barbs, the film about human-like mammals touches on many social issues and sends a strong message in all the right places.

Funny and fun to watch, the voice talents of its stellar cast bring life to each character in relevant ways with just enough animal behavior to keep you in stitches. Jason Bateman pours his best smooth and snarky attitude into Nick Wilde, the ultimate sly fox con-man who falls under the watchful eye of Judy Hopps, the first bunny on the city police force.

Ginnifer Goodwin delivers a hyper-dose of perky over-achiever that is perfect for Judy, who leaves the carrot farm for the job in the big city. The unlikely pair are forced to help each other solve a larger wave of crime plaguing the city as the learn trust and friendship along the way.

Bring the kids and prepare to feel like one yourself along with the toe-tapping, dance-in-the-aisles soundtrack. Two big human thumbs way up!

Concussion (theatrical release)

The dictionary definition of Drama is; any situation or series of events having vivid, emotional, conflicting, or striking interests and results.

 

To call Concussion a drama is a massive understatement, especially if you’re a fan of the game of football. There is no other game that captures the hearts and minds of this country the way football does, and every year as summer wanes to the crisp nights of autumn our tribal instincts are tapped. We dress ourselves with loyal colors and proudly proclaim our allegiance to chosen teams. We cheer with elation in victory and suffer bitterness in defeat, yet with each passing week we raise our spirits once again on any given Sunday.

The players are often referred to as warriors, gladiators, or heroes, but we console ourselves that the game is only a game and not a ruthless bloodsport. We reinforce those thoughts by watching former players as sports commentators, successful businessmen, or those who stand to receive the golden jacket of the Hall of Fame.

Little do we know how much we are shielded from the slow, painful death of the once proud giants of the gridiron. Dr. Bennet Omalu was not a football fan, but a forensic pathologist working for the Allegheny County Coroner’s office. He was considered odd by his peers as he spoke personally to the deceased patients as he performed autopsies, asking for their help in determining the cause of death. To say that Dr. Omalu was thorough would be selling him short. Instead, he was passionate about details until all the information finally added up to a conclusive explanation.

I could spill many superlatives about the performance of Will Smith as Dr. Omalu, but the highest praise would be that after a short time, you forget you’re looking at Will Smith as he struggles at each step to be heard under the barrage of unpopular rebuttal. This becomes all the more potent since the audience knows this isn’t fiction, but hard, brutal truth.

There are thought-provoking dramas, and there are dramas with enormous impact. There are David and Goliath stories, and those about how one man stands against unbelievable odds, refusing to give up the fight no matter the cost. Dr. Bennet Omalu was still a Nigerian immigrant at the time he stood tall against the behemoth we know as the National Football League. At every turn he was told to back down and be silent, but for him, the broken players cried out from beyond the grave, begging and demanding to be heard.

Veteran character actor Robert Morse breathes painful life into the last days of Pittsburgh Steeler center Mike Webster, putting a harrowing face on the pro football legend that fell into the pit of poverty and despair. Reduced to living in his pickup truck, suffering from massive chronic headaches and complete loss of the ability to maintain cognitive thought, he tumbled into agonizing self-abuse that cost him his home, family, and ultimately his life. Other former team-mates watched as they suffered similar symptoms in various degrees, but cat-scan technology of the time revealed no obvious disorder.

Albert Brooks lends his dry, sarcastic wit to the role of Dr. Cyril Wecht, supervisor of the Allegheny County Coroner’s Office. Wecht trusts the judgment of his quirky pathologist and stands by him while delivering the sober warning, “The NFL is so big they own a day of the week. People used to go to church on Sunday, now they watch football.”

Trapped in an antagonizing purgatory, Alec Baldwin delivers pure, heartfelt emotion to the role of Dr. Julian Bailes, a former NFL team doctor now in private practice. Like so many of us, Bailes grew up on the passion for football and to become a team doctor was a dream come true. However, the reality became bittersweet beyond imagination as he watched the players he loved beg him to use any means available to keep them in the game. The vicious cycle of pain-killing that ultimately reduced them to a shadow of themselves was more than he could live with, forcing him to leave his broken dream behind. Mike Webster was his personal friend, and he desperately tried to help but was at a loss on how to proceed.

Gugu Mbatha-Raw shines as Prema, the strong but soft-spoken wife of Omalu that stands beside him through his inner struggles, as well as the onslaught of threats and counter-attacks on his work and findings. They epitomize the example of young people who come to America filled with enormous aspirations only to find how truly difficult acceptance and respect can be to obtain.

An impressive cast list fills out the remaining roles of players and executives, combining to show the long reach and muscle of the National Football League. The double-edged sword of all the positive things football brings to our society and lifestyle are well showcased, but Omalu is unrelenting in his quest to bring the truth to light. Within his own home, he lives with the irony that his wife admires the grace and power of the pro football player, watching and shouting at the television as so many of us do. Yet in these moments of awe and elation, she sees the pressing, vital need of her husband’s research.

Ultimately, as more players fell, the results of Omalu’s findings could not be denied.

This is a powerful and moving film about the human condition of those we too often view as super-human, and the impact of life off the field. The people tasked with the health of football players face the monumental dilemma of providing care for gladiators who want nothing more than to return to the fight. Their mindset in most cases is all they have ever known, and a goal they have pursued with a fiery strength of will.

Dr. Bennet Omalu reached out with gentle, caring hands to embrace a fallen giant, and with fierce loyalty to the spirit of his patient, he provided the humane immortality Mike Webster could not communicate to the world.

Not only is Concussion Will Smith’s finest hour, it is the revelation of a painful reality that cannot be spoken loud enough. This is a MUST-SEE film for any fan of pro football, if only to showcase that for all the thrills these magnificent athletes display in the hundred-yard arena, at end of the day they are as human as any of us. The sunset of their lives deserves the dignity of what they sacrificed for the game, and the entertainment of the millions of fans who watched them.

-T. August Green

Star Wars: The Force Awakens

George Lucas gambled all he had to turn the bedtime stories he created for his children into a fantastic film experience for the world to enjoy. To say he was successful would the understatement of all time, and in the summer of 1977, he lit a flame that burns brightly to this day.

Those of us who belong to the charter group of fans that were there for the first film, Episode IV, A New Hope, scratched our head at the introduction but all became clear in the months that followed. I can’t recall greater anticipation or speculation over a sequel but Lucas didn’t disappoint when The Empire Strikes Back brought new characters, more story depth, thrilling action, and a cliffhanger ending that left everyone filled with angst.

The events that followed are well known, including three prequel films that shed light on the history behind the sci-fi fairy tale, showed us that Obi-Wan’s legend was well deserved, and left us all feeling that some of the magic had escaped this phenomenon that reached across generations. We collectively held our breath when Lucas sold the rights to his closely guarded creation to media giant Disney, and feared the worst from the wheels of the corporate machine.

On the heels of a rebooted Star Trek, Disney announced that J.J. Abrams had been handed the monumental project of the next Star Wars film. Was it possible that the man who “boldly went where no man had gone before” possessed the talent to reach back to a “long time ago in a galaxy far, far away?”

Banish any fears that may remain as the answer to that question is a resounding, “YES.”

J.J. Abrams is the Hollywood equivalent of a Super Bowl winning football coach. He not only brings his personal passion to a project but surrounds himself with those who aren’t just capable, but share in his vision. I’ll venture to say he didn’t have to look far to find an abundance of souls eager to take part in the revival of a legendary film experience. George Lucas created much of the technology that powers modern film-making, so for many in the industry this was a chance to pay fitting homage to the story that created many of their jobs.

Star Wars: The Force Awakens bridges a gap with style and grace in more ways than one. The film takes elements of the original and expounds on them in beautiful scale to tell the story of history repeating itself without looking like a shameless rip-off. The introduction of new characters is at the core of the film as we see events unfolding through their eyes. With perfect reflection, Abrams sets the story 38 years after the events of Return of The Jedi, not coincidently the same length of time since the opening of the first film. Bravo!

Daisy Ridley stars as Rey, a young woman cut from the same mold as Luke and Anakin Skywalker. She grinds out a meager existence on desert planet, scavenging parts from derelict starship wrecks that stand as relics of a battle that to her, is little more than a myth. Just like Luke, her life takes a startling turn of events with the arrival of a little droid.

John Boyega brings the role of Finn to life, formerly FN-2187, his designation as a Stormtrooper in the First Order. Like all the other First Order troops, he was taken as a child, probably a survivor of one of many Empire massacres, trained and conditioned his entire life to fight and serve the Supreme Leader. When finally faced with the brutality of a village raid, he finds himself unable to kill in cold blood. Called to be questioned by his captain, knowing he will be found lacking, FN-2187 deserts the First Order by setting a prisoner free and aiding in his escape.

The original trilogy cast a rebel pilot in a somewhat minor role, but by the time Return of The Jedi concluded, everybody knew Wedge Antilles was the most bad-ass, seat-of-the-pants star pilot in the galaxy. Wedge saved Luke’s skin on multiple occasions, downed Imperial Walkers, and delivered the kill shot on the second Death Star. Many regarded him as an unappreciated hero, but Abrams was having none of that.

The talented Oscar Issac wears the role of Poe Dameron, a rebel pilot that procures information vital to the resistance fighters. Captured and tortured, he survives to fight another day, and does so with the kind of daring skill that borders on reckless abandon. Poe brings the fight to the First Order with the weapons of his black X-Wing blazing, and never backs down no matter the odds. I would personally love to see a scene in a future film that has Poe being decorated by Air Marshal Wedge Antilles, proving they both have the goods to finish the mission and make it back home.

The involvement of the new characters is blended nicely with the return of the sage scoundrel Han Solo and his faithful friend, Chewbacca. The vaunted pair spin the yarns of ages gone by, lighting the eyes and wonder of the newfound elements in the struggle against the First Order and the evil, growing Sith apprentice, Kylo Ren.

Star Wars: The Force Awakens lives up to its title and billing, containing all of the classic good vs. evil struggles of the original. There is newborn friendship, heartfelt emotion, strained family ties trying to overcome daunting obstacles, tragic loss, and the never-ending quest to find the hope to survive.

This trilogy is destined to finish out the original story as penned by Lucas, and he should be proud of the bedtime tales that have taken on a life of their own. Star Wars: The Force Awakens is not just the continuation of a movie franchise, no, its something far greater. The legacy handed down from Lucas to Abrams represents a fantastical world that has captured the imagination of children and adults alike for over three decades. I was caught up in the beginning, I took my children to the theater re-release films, the prequel films, and the magic has yet to fade. I was happy to view this new experience with my son, and all the thoughts it has given us to share.

Thank you, George Lucas for the invention of a dream. Thank you, Disney for becoming the caretaker of that dream in the original spirit of your founder. And thank you, J.J. Abrams for nurturing that dream for the generations to come.

How long until Episode VIII ?

-T. August Green

James Bond 007 in “Spectre”

James Bond 007 has been around for as long as I can remember, and he has evolved in interesting ways as Hollywood trends have changed.

Sean Connery immortalized Bond on the silver screen with his dashing looks and dry, pointed wit, while those who followed him tread different paths.

Roger Moore was easily the most comedic, Timothy Dalton only served a short term but was gritty and brutal in all the ways that distanced the role from his predecessor. By the time Pierce Brosnan slid into the tuxedo, the franchise seemed to be in disarray as it groped for a middle ground between all who came before.

When Daniel Craig was tapped, the character got a full-on reboot with Casino Royale, and it was all the better for the clean sheet of paper. The subsequent films have showcased 007 as more of a highly skilled and resourceful agent rather than one who relies on a never-ending stream of gadgets. Granted, Craig still gets his share of toys, but they tend to be a touch more down-to-earth.

Director Sam Mendes (Road to Perdition/ Skyfall) once again gets the goods from his excellent cast, and the pacing is such that you don’t feel as if you’ve been in the theater for 2.5 hours. I can’t think of a higher compliment than that for the person holding the reigns. Yes, there are crazy action sequences, this is James Bond after all, but there are also refreshing improvements like when he pulls the trigger, somebody goes down, and not in an unreal fashion. This is the kind of thing that sells the point of an agent who is “licensed to kill.”

Craig also gets his share of hand-to-hand combat, and Dave Bautista brings an ominous shade of “Odd Job” to his role of Mr. Hinx. Bond is overmatched in size, strength, and endurance, forcing him to get creative in ways to defeat this nemesis that keeps coming back like a bad habit.

Every Bond film needs a shadowy villain, and Christoph Waltz brings his menacing and sinister demeanor as the leader of Spectre, a worldwide organization of crime and infiltration bent on global control. Once again, this is James Bond, and the world must be hanging in the balance while he dons his next tailored suit.

Few actors today bring the kind of gravitas to a villain like Waltz, and here he is truly on an equal level with Bond.

Naomie Harris as Moneypenny has never been as sexy while she stays loyal to her James in his times of need, and Ralph Fiennes delivers his classic British stiff upper lip as the new “M.”  Ben Whishaw keeps the youthful twist to “Q” that will make geeks and nerds the world over proud as he gets a short but perilous taste of field work.

Spectre is faithful to all the essential elements that make a James Bond film without being cliché. The cinematography is amazing with beautiful aerial shots of the global locales as Bond tracks his enemies. The screenplay is rich with Brit humor and Bond’s suave and savvy personality is always ripe for the taking. Exotic sports cars, beautiful women, daring escapes, and ample action keep the tempo flowing without resting too long on any one item.

No Bond movie is complete without a “Bond Girl,” and Lea Seydoux fills that role to overflowing as Dr. Madeline Swann. Every so often a dazzling but capable woman comes along that makes Mr. Bond take pause, and Dr. Swann nails that feat with captivating beauty and deadly skills that belie her stunning appearance.

If you consider Casino Royale to be a worthy reboot, then Spectre stands tall as a modern classic James Bond film. Somewhere, the spirit of Ian Fleming is smiling with blue-blooded British grit.

-T. August Green

Halo: The Fall of Reach (DVD)

 

A couple of things up front, I hate writing a bad review, but for this film I feel like a child robbed on Christmas morning. Why? Let’s back up a little.

First and foremost, I am not a gamer, but I have huge respect for the strides the gaming industry is making as they draw ever closer to film quality products.

Second, I love “The Fall of Reach” novel by Eric Nylund, and while some literary critics might pan the book as gaming fluff, I’ll proudly call it not only a “guilty pleasure” but a damn fine origin story if I’ve ever read one. Nylund put a human heart and soul into Master Chief by detailing the hell he went through to become an elite fighting soldier, and the brutal cost paid by others he valued along the way.

In 2010, 343 Industries released “Halo Legends,” and tickled our imagination with a collection of stylized animated short films, each with their own story to tell about the Halo Universe. I found these shorts incredibly entertaining, especially “The Babysitter,” and “The Prototype,” which displayed some of the most dazzling aerial combat sequences I’ve seen since “Gundam Wing,” but also a heartfelt story of sacrifice and damn-the-torpedoes bravery.

My least favorite of the collection was “The Package,” not for its story material but for the animation that looked ripped from a PC. Facial expressions of these characters are all but wooden, and the power of human emotion is lost along the way. Voice actors can give it their all but it looks like they are speaking through puppets.

Then in 2012, 343 kicked it up a notch with “Forward Unto Dawn,” and teased us with great live-action effects and a larger-than-life Master Chief. If you watched “Forward Unto Dawn” and didn’t come away wanting more then the Halo Universe just isn’t your cup of tea. Personally, I was stoked, dreaming to myself how much I would relish seeing “The Fall of Reach” come to life either in live action or wonderfully crafted animation.

Sadly, when the images rolled across my widescreen HD television, I was greeted with a level of animation that didn’t even seem to equal “The Package,” and quite honestly, I wanted to either cry or turn the show off. But I couldn’t, I just couldn’t, because finally this powerful, moving story was playing out before my eyes, and I owed it 104 minutes of my life at the very least.

Once again, the voice actors gave it their best, and all the valiant, gut-wrenching story elements were there, but the less-than-stellar visuals left it as flat as an amateur watercolor painting.

There have been so many fantastic, emotional, and enthralling animation stories over the years. “Batman: The Animated Series” proved in spades that stylized 2D visuals could knock your socks off. While others like “Star Wars: Clone Wars,” and the more recent “Rebels” have shown that CG animation can be just as expressive. There are many more examples, but Japanese Anime’ alone can field enough potent storytelling to fill a library.

So why, I beg you 343, WHY, did you pass down this most revered origin story to such a level of quality? In modern terms, it almost looks unfinished. Was this some sort of homage to your own roots and the infancy of the Halo gaming world? If that is indeed the case it may make perfect sense to your inner circle of loyal fans that have been there from the start, but for the reading and movie-watching world at large it comes off as you playing far below your capabilities. I’ve seen live action fan films that delivered more visual punch, and it pains me horribly to say that because I’ve waited eagerly for so long to enjoy this tale, and it deserves rendering in all its fiery glory.

With all the incredible visual examples you’ve displayed up to now, why in all the stars did you choose this format?

I told my son the day after I finished reading “The Fall of Reach” that this was a blockbuster feature film waiting to happen, and I can only hope it still might be that someday because the theater will get my ticket money on that night…twice.

Until then, don’t judge the book by this animated film. Read it for yourself and you’ll understand what I mean.

-T. August Green