August 12th, 2013
MEOW!
Director: Ryan Coogler
Writer: Ryan Coogler
Starring: Michael B. Jordan, Octavia Spencer, Melonie Diaz
Rating: 9.5/10
The Good: Wow. I mean...Holy Moses. Writing that it's so far one of the year's best films would honestly sound like faint praise. How Coogler presents Oscar Grant's story feels extraordinary yet real: there's a consistently authentic and believable tone, absolutely phenomenal performances from the entire ensemble, and a final act that will leave many heartbroken and spellbound simultaneously. So far, it's one of the most rewarding cinematic experiences I've had this year.
The Bad: As much as I believe it's one of the best films of the year so far, I wouldn't watch it casually unlike other films of great artistic ambition. However, if a couple of my friends asked if I wanted to watch it with them, I would certainly watch it again.
The Ugly: None.
THE EVALUATION:
Every once in a while, you come across a film with one scene that takes you back to a memory, whether it is good, bad, or incredibly personal. In the case of one scene in Fruitvale Station's extraordinary and heartbreaking final act, it brought me back to an evening that has remained in my heart to this day. It revolves around a man who, throughout most of my existence, taught me to find humanity in everyone that I meet, which is the main theme surrounding what I consider to be one of the most rewarding cinematic experiences I've ever had at the movies.
Written below is that memory...
On the evening of November 11th, 2011, I was waiting with my mother, sister, a few of my relatives and my former church pastor in a room at Rockville Hospital, praying that my father, Joseph Michael Connolly, would get better as the hours slowly pass us by. As 11:11 came around--the time when everyone would be making a wish on 11/11/11--there was nothing that we would've wished for more than for Dad to get better just in time for the holidays. Within the early morning hours of November 12th, despite praying as hard as we could, he never made it through the night. Although I didn't know what to feel at the time, I witnessed everyone around me bawling over the loss of someone that made an astonishing impact in their lives (It wasn't until late into the night of November 13th when I was crying in my bedroom; I was thinking heavily about the last number in You're A Good Man, Charlie Brown--the last production that my father was partially responsible for--and how it was exceptionally performed by veterans of the East Hartford Summer Youth Festival. It was an emotionally draining weekend that eventually led me to what I now perceive life to be, and all it took was a little happiness to figure that out...)
With the exception of a few differences (my father died around 2 A.M. in the morning while Oscar Grant died a little after sunrise), what is depicted near the end of Fruitvale Station is ninety-eight percent similar to what everyone was going through the night my father passed away. The waiting? Same. The feeling of eternity is successfully captured despite everyone in the audience knowing the outcome within the first minute. The praying? Same. What is being said are almost the exact words that we prayed for my father that night. The pain? Same. Some don't express it as much as others, while it's obvious everyone feels it inside their broken hearts. There are no sugar-coated moments, no melodramatic cheese, no performance that feels flashy or forced, no overly emotional score that demands you to feel the correct emotions--just a few members of his family and a couple of his friends doing everything they could for the person that they love to get better, until they receive the news that would inevitably send them into a prolonged state of grief. There's no doubt that I've been where they've been; it's the most authentic account I've ever seen of keeping the faith alive, only to eventually be shot in the chest by reality's worst nightmare.
As for the rest of the film, if there ever was something to successfully raise its voice on equality, Fruitvale Station has raised its own on a universal scale. Whether everything presented is one-hundred percent accurate remains to be entirely known (it probably isn't. Nowadays, it's the amount of believability, dedication and respect you give to its subject matter that...well...matters). What I can open up to is that Coogler presents Oscar in a manner where it allows many to feel as if he's the equivalent to one of their own, which makes the message of equality all the more strong-hearted. As much as Oscar is yearning to do good for the rest of his life, he still has anger issues that he's attempting to control, he tries to recover from getting fired after making too many mistakes, and he has inner demons that force him to think about his own troubled past. All of that certainly sounds like cliches that were taken from past true stories, but the details Coogler provides in Oscar's tale make all the difference in the world. Some include when Oscar is picking up his daughter at school, when he and his family are at his mother's house for her birthday party, and especially any moment during the final act. It's a testament to Coogler's eye for detail as both a writer and director; we're able to open ourselves up to Grant as if we knew him like one of our own.
It's also a testament to the outstanding ensemble cast, where everyone involved supports the believable and realistic tone Coogler is going for. There are two stand-outs that instantly come to mind: I enjoyed Michael B. Jordan's performance greatly in the under-appreciated Chronicle, but with this film, his performance will leave one blown away. He not only gives the performance of his career so far, but he also gives one of the most natural performances I've ever seen in a film. He treats Oscar with the utmost respect in every scene he's in, and leaves an exceptional impression once the final act is over. If the word 'justice' was in my movies + entertainment dictionary, it would be followed by "Michael B. Jordan will receive a nomination and possibly win come Oscar time" as one of the definitions. Then there's Octavia Spencer as Oscar's mother Wanda, who is partially responsible for gracefully bringing me back to that night almost a couple of years ago. If another definition was to link with the word 'justice,' it would be "Octavia Spencer will win another Oscar. The end." The amount of heartbreak that is expressed on her face when she sees her son dead in the emergency room will have people feeling emotional and spellbound simultaneously. It's a masterful performance that is, without question, the best performance of the year so far, and one of the best performances within the past decade.
As exceptional as Fruitvale Station is, and while I believe it's one of the most rewarding cinematic experiences I've had in years, I'll admit that it's not a film I would watch casually; it's the equivalent of someone you hold close to your heart being taken away from you much too soon (I'm not sure how my mother would handle the final act, especially since Wanda's reaction to her son passing away is as similar to hers when my father died). That being said, if a couple of my friends hadn't seen it yet, and asked if I wanted to watch it with them, I'd certainly watch it again without any reservations. That way, as soon as the credits have officially reached their end, I'd strike up a conversation about how my father was able to make more than sixteen years of my life one extraordinary journey. And perhaps, after watching it for the first time, they will be able to share their past experiences about someone who had changed their lives for the better as well. Who knows?
Yeah...who really knows, anyway?
THE VERDICT
A life is filled with many stories that are worth sharing to others. Fruitvale Station is, of all things, a story, and this particular story--no matter how tragic the outcome is at the end--could help others cope with their own personal losses if they are open to reminiscing about them. Then they'd come to realize that, while life is a road of occasional anger and sadness, it can also be a road of occasional hope and understanding as well. For my money, there's no greater lesson in life than that. This is a film that deserves to be seen, and in my opinion, it deserves to be one of the year's best films.
R.I.P. Oscar Grant. And as always, R.I.P. Joseph Michael Connolly.
Until next time,
MEOW!
August 4th, 2013
MEOW!
I am a sucker for any coming-of-age story set in the summertime, because while there is the inevitable heartache as summer reaches its end, any positive memory that you make has a lasting power for the rest of your life. None of that can be more evident when I'm with the East Hartford Summer Youth Festival. I know, some of you who read my posts have heard it time and time again, but oh, the stories I can tell surrounding my adventures with some involved. I can talk in detail about those who made my first summer as an EHSYF member one for the ages, or I could talk about the events that occurred before and during the midnight screening of Harry Potter and the Deathly Hallows--Part Two. Those stories I could tell--and I assure you that this next comment is not of arrogance but of genuine honesty--would probably be more exciting, heartfelt and realistic than anything I saw in The Way, Way Back, a cliched, shallow and unbelievably unlikable coming-of-age story that has a ton of electrons and a shortage of protons.
Let's see if you've heard this concept a-ways back, shall we? A depressed teenager (Liam James) heads to an unknown setting for the summer with his family. His jerk of a step-father (Steve Carell) is all "you know what you are, son? A three out of ten, which is close to the score of some reviewer's opinion on the film that we're coincidentally in." His loving but inattentive mother (Toni Collette) is all "you should get out of the house and get to know where you'll be living for the summer. As Charles Muntz says, 'adventure is out there!'" His witch of a sister (Zoe Levin) reluctantly takes him to the beach, and is all "Ugh. You're such a loser. Why can't you be a snot like me and everyone else in this stereotypical-to-the-point-of-unrealistic universe? Hmph." Then Sylvia, the owner of what used to be a honky-tonk, is all "you know what you need, Jim? A new wife. Or a dog."
Wait a suede...that's not in the film; that's me still recovering from All Shook Up withdrawal. Well, it would be more interesting than what we have here.
{Side-note: There are ton of overt EHSYF references in this film, especially when the Water Wizz-ard (Sam Rockwell) references "Holding Out For A Hero" from Footloose.}
But I digress. The depressed teenager finds sanctuary with two people. One is a blonde soul surfer (AnnaSophia Robb, who was charming in Bridge to Terabithia but insultingly wasted here) who is all "you know, I relate to you. I'm going to fall in love with you as I'm supposed to in a contrived and predictable manner." Then there is the Water-Wizzard, who is all "Son, I'm going to take you under my wing just like what Drillbit Taylor did with those three high schoolers. Please tell me you know the reference to the film I made just now. No? Well...um....c'mon kid, I'll show you around." As the depressed teenager is taken under the Water-Wizzard's wing, he finally figures out what his purpose in the world is. Spoiler alert: Unlike Hugo Cabret, he doesn't come across the great George Meiles for guidance.
If the word 'shallow' was in a "movies + entertainment dictionary" created by yours truly, it would eventually be followed by "literally see The Way, Way Back." The characters in this script behave as either contrived plot devices (the blonde Soul Surfer), jarring caricatures (the Water-Wizzard), or one-dimensional stereotypes (the depressed teenager...oh-ho-ho, we shall get to him in a minute) with little to no depth whatsoever, and all of them are contained in an environment that is inappropriate for their stories to be told. If this was a hyper-realistic animated film created by a studio like PIXAR, I can see their stories being told predictably but appropriately well. Yet, this is a live-action film that aspires to be raw and believable throughout the entirety of its running time, and as is, it plays out like something that would be more suited as episodes for television, whether it is a sit-com on Comedy Central, or a nighttime drama on FOX. Either way, I wouldn't give a half-an-hour of my time for characters that are either shallow or confusingly unlikable.
Ah yes, another word to add to my dictionary: unlikable. Along with the surprisingly mean-spirited Pitch Perfect, this film is populated with characters that I personally couldn't stand once I had officially reached the fifteen-minute mark. I could go on about the jerk of a step-father, or even the witch of a sister, but no, I'm here to discuss about our main character: the depressed teenager. Wow...just...wow. In my opinion, I found him to be one of the most unintentionally unlikable protagonists ever to be committed on paper. What's worse? I understand his pain. His biological father left the family in order to hook up with another woman. That's an incredibly difficult thing to deal with, and I would be surprised if people tried to find happiness in under a couple of weeks. But what do we get instead of him trying to find happiness with what he already has? We get him whining about "Ugh, I wanna be with Dad. Waaaah" while he sings about he "can't fight this feeling anymore (which is such an overused song to the point that it was actually used before the end credits of Horton Hears A Who!)" and sneaks away to a water park without his mother's permission in order to avoid the one who gave birth to him.
And this is where I kind of get a little R-rated....
R. YOU. F---IN'. KIDDING. ME?
First of all, I know his mother is not the most well-written of characters, but at least she tries to find happiness in her life. Even when she's with the jerk of a step-father, and sometimes ignores her son constantly, she moves on like a mature, responsible adult should, even if it can lead her down a bitter, conflicted path occasionally. Her son...not even close. He always tries to find a way out of the predicament instead of coping with a difficult situation. If he actually learned what his mother was going through, and maybe watched a couple of flicks that showed him how precious life can be, then maybe it could allow him to come of age in that direction rather than the one he goes through in this film. Nope, he NEVER sees through her eyes at any point in this film, which is one of the worst traits that can ever be given to not only a character, but an actual human being, which is EXACTLY WHAT HE IS BEING PORTRAYED AS IN THE SCRIPT. And the ending....oh my god. Don't get me started on the ending. It ends on such a smug note that I almost wanted to rip my hair out and become bald like Daddy Warbucks. Characters like him frustrate the dickens out of me because the script is saying "see, he has troubles. He has problems that any teen can relate to. YOU SEE?" NO, SCRIPT. I DON'T SEE YOUR PRETENTIOUS REASONINGS. Real problems are something like having your father pass away, and trying to cope with your heartbroken mother and sibling. Yet, with every day that a heart breaks, there is always a day where the heart aches with joy. Oh, he finds joy alright, but he finds it in the most despicable way possible: betraying your broken family and fixing it by saying "HA! I'M ALWAYS RIGHT!" No kid, you're not always right. You have wrongs as well. But hey, I guess you're too ignorant to see that, eh? You know what? I'm done with you for now, but I will have more for you when I announce my least favorite films of 2013. Until then, I'll see you later, you selfish fishbowl of unholy shallowness. Say hi to Bella Swan for me, will ya?
2013 in film hasn't been an excellent year for film (films like Man of Steel and Spring Breakers are one-of-a-kind exceptions), but there hasn't been a film that managed to make me feel genuinely angry than The Way, Way Back. The more I think about it, the more sour both the film and I become. There is no creativity in its filmmaking or screenwriting, no passion from any of the actors involved, and no depth given to any of the characters, especially when talking about that selfish fishbowl of unholy shallowness himself. It personally affected me in the wrong way as a film-lover and a person overall. You want realism? Go watch Before Midnight. You want an absolutely wonderful coming-of-age story? Please, please, pleeeeeeease try to find The Perks of Being A Wallflower. And you want to hear a good story about my adventures with EHSYF? I'll be happy to write one and save you a few bucks. You want to see a good film? In my opinion, this is not it. The Way, Way Back is, sadly, my least favorite film of the year so far, and unlike its title and despicable main character, I intend to keep moving forward and try to find meaning in everyone I can possibly meet.
My overall rating: three out of ten. YOU LOSE. GOOD DAY, SIR!
Until next time,
MEOW!
July 26th, 2013
MEOW!
Let's get started with this surprisingly brief list!
MAMA (**1/2)--Despite a Burton-esque ending that almost tarnishes anything solid that came before it, this is a well-crafted horror flick directed by Argentine Muschietti, who was also responsible for a short of the same name that was released in 2008, and caught del Toro's attention in the process.
WARM BODIES (**)--An absurd but lively premise that disappointingly fails to live up to its true potential, Warm Bodies left me cold on a rather nice day in February.
SIDE EFFECTS (**)--Soderbergh's final project as a film director is not a bad way to go out, although it could have been improved by keeping the twists and turns to a minimum.
OZ THE GREAT AND POWERFUL (***)--A few flaws aside (Oscar may have been a fan of Thomas Edison, but is he that ignorant to never know about the history of him and George Melies? Whatever, I'll go back and watch HUGO again), this is one beautifully visualized picture that may bring out the child inside of you. Michelle Williams' portrayal as Glinda is a delight!
THE CROODS (**1/2)--Apart from its wonderfully visualized animation (with a little help from good ol' Roger Deakins), and one of the most energetic opening sequences to an animated film I've come across in quite some time, most of the script consists of an uneven mixture of unfunny banter, slapstick, and noise. I do, however, wish I had a belt that could go "dun dun duuuuuuuuuuuuun!"
SPRING BREAKERS (***1/2)--The most misunderstood film of the year so far will not be for everyone's tastes, but this is a film with brilliant artistry under the direction of Harmony Korine. As for Franco...well...let's just say you will never look at Harry Ozborne the same way again (you see what I did there?).
42 (**1/2)--There's enough respect for the material to earn a recommendation (Boseman as Robinson is excellent here), and yet it's impossible to shake that feeling based on how it could have been so much more.
IRON MAN 3 (**)--The climax is fun, and has a couple of surprises in store. But good god, it takes forever. I felt more invested in the anxiety the Goodman family felt in Next to Normal than what Stark goes through in this film. If you didn't have an emotional connection in the last ten minutes of The Avengers, chances are you won't have one at all in the whole of Iron Man 3.
THE GREAT GATSBY (**)--You see, ol' sport, the first half of this film has an interesting (if head-ache inducing) visual style, and Dicaprio is a wise choice for Gatsby, ol' sport. But you see, ol' sport, it becomes rather boring in the second half with uninteresting moments and a lack of magic, ol' sport. You get it, ol' sport? Good, ol' sport. Talk to ya later.
...ol' sport.
STAR TREK INTO DARKNESS (***1/2)--Star Trek Into Darkness is an excellent summer entertainment; wonderful direction by J.J. Abrams, wonderful turns by everyone in the ensemble (the stand-outs are Benedict Cumberbatch as "John Harrison" and Zachary Quinto as Spock), wonderful score by Michael Giacchino--just a wonderful film overall.
FAST AND FURIOUS 6 (**)--Fast, furious, and forgettable summer entertainment. But the quote "HELP ME! I'VE GOT A TANK ON MY A**" is flat-out hilarious!
BEFORE MIDNIGHT (***1/2)--This is not a film to be enjoyed casually; it's too much of a downer during the film's.,.um...realistic climax. But thanks to fantastic direction by Richard Linklater, raw performances by Julie Delpy and Ethan Hawke, plus a terrific script of depth and insight, Before Midnight will make you appreciate the medium of film more than ever before.
THIS IS THE END (****)--Here's a perfect example of how I felt that this film was going to be a comedy classic: an opening shot shows Seth Rogen waiting for his best friend Jay Baruchel to get off his flight. Somebody off-screen yells "Oh, Seth, how ya doin' man?" How Seth waves made me laugh with the most ridiculous grin on my face. And that grin, along with my laughter, never stops for the next couple of hours, with jokes and references to films that are absolutely ingenious. Flat-out brilliant.
MAN OF STEEL (****)--I'll keep this one short and sweet: Emotional. Epic. Euphoric. Exhilarating. MAN OF STEEL is the absolute best film of the year so far, and one of the best (superhero) films I've ever seen in my life. Simply put: WOW. JUST. WOW!
MONSTERS UNIVERSITY (***1/2)--While I wouldn't rank it among the very best of PIXAR's filmography, to see PIXAR create a prequel with such craft and passion is incredibly more than welcoming after the frustratingly underwhelming efforts of Cars 2 and Brave.
DESPICABLE ME 2 (**1/2)--It's a ton of fun while watching it, and if that's what you're looking for, you will definitely get your money's worth (I, for one, am excited for the Minions spin-off coming out in 2014. My gosh, I can't wait for the line-up of animated films coming out next year). However, it's not going to be something to remember by the time the credits roll.
PACIFIC RIM (***1/2)--The most anticipated release of 2013, for me anyways, doesn't quite reach the level of unabashed speechlessness achieved with MAN OF STEEL when it comes to telling a story, and I---wait, is that a giant robot using an oceanliner to defeat a Godzilla-like monster? THIS. IS. AWESOME.
1.) Man of Steel
2.) This Is The End
3.) Before Midnight
4.) Spring Breakers
5.) Star Trek Into Darkness
6.) Pacific Rim
7.) Monsters University
8.) OZ The Great and Powerful
9.) Despicable Me 2
10.) 42
11.) The Croods
12.) Mama
13.) Iron Man 3
14.) The Great Gatsby
15.) Side Effects
16.) Fast & Furious 6
17.) Warm Bodies
Until next time,
MEOW!
July 25th, 2013
MEOW!
This weekend, the East Hartford Summer Youth Festival will be putting on its 49th production: ALL SHOOK UP, a jukebox musical with Elvis Presley songs and a story inspired by William Shakespeare's Twelfth Night. It will be performed at East Hartford Middle School in East Hartford, CT; tickets will be $12 for adults and $10 for children, and the show's performance dates are July 26th (7:30pm), 27th (7:30pm), and 28th (2pm). One of the best parts about the experience? The auditorium is air-conditioned (unless, of course, you get a case of burnin' love comin' from the stage, in which case, you will definitely feel the heat)!
So why, oh reader, should you come see this production of ALL SHOOK UP? Or if you happen to be a cast/crew member of whom I randomly tagged on Facebook, why should you convince people to go see this show? Well, I have some reasons down below to help, starting with:
WE'VE GOT A ROCKIN'-THE-JAIL-ROCK-ROCKIN'-THE-JAILHOUSE CAST AND CREW!
No doubt about it. Those who are involved in the cast and crew of ALL SHOOK UP are absolutely--hahahahapuntime---rockin' during rehearsals, and I can't wait for all of us to present what we have in store for you. Also, if you've been to any of the past forty-eight productions the EHSYF have been able to provide, be on the look out for any references to them (For example: without giving too much away, there's a sneaky little nod to The Wiz that is spoken near the end of Act One. And funny enough, it was in the script to begin with!). Overall, everyone involved is inviting you to a party that you will not want to leave any time soon, and hopefully, make you come back for more!
DO YOU HEAR THAT? IT'S MUSIC! REALLY AWESOME MUSIC!
Be prepared to get--hahahahapuntimeagain---All Shook Up any day/night you go. Elvis fanatics out there are going to get a kick out of the songs arranged in the show; the big ensemble numbers include "Jailhouse Rock," "C'mon Everybody," "Can't Help Falling In Love," "All Shook Up (of course)," "Burning Love" and so forth. We also have solo/duet/min-group numbers such as a mash-up of "Teddy Bear" and "Hound Dog," "Don't Be Cruel," "It Hurts Me," "There's Always Me," and again, so forth. All of the songs are accompanied by an awesome orchestra conducted by Jim Kirshmier (Hopefully I spelled that name correctly). Even if you don't know these songs by heart, chances are you will know some of them by the time the curtain call ends!
THE SHOW CONSISTS OF EXCITING, HILARIOUS AND TENDER MOMENTS OVERALL!
In my opinion, the joy of experiencing theater magic is feeling genuine emotion, whether you're being tickled in the funnybone ("They're not drunks; they're alcohol enthusiasts."), feeling a bit heartbroken or moved by the characters' arcs (That is, to a point. As Joss Whedon says, "Make it dark, make it grim, make it tough, but then, for the love of God, tell a joke"), or surrendering to an overwhelming sense of adrenaline rush (I will not dare spoil "C'mon Everybody" for you; it's one of my favorite numbers in the show!). ALL SHOOK UP has all three of those elements in spades; by the time you leave the theater, you may have a ridiculous grin on your face and, if you're lucky, a dance in your step!
And last, but absolutely not least...
EVERYONE'S A STAR HERE.
At EHSYF, we live by a philosophy that goes like this: "The East Hartford Summer Youth Festival: Where Everyone's A Star." We pride on giving ANYONE a chance to shine on/off that stage like a blue shooting star in those enchantin' summer skies, whether it is the cast, choreographer (CONGRATS GREER ONCE AGAIN!), director, parents, president, tech crew, you get, the jist. I took that philosophy to heart every summer I was involved with an EHSYF production, and this summer is no exception. If you come see ALL SHOOK UP sometime this weekend, you will see all of that energy, hard work and talent up on that stage over the course of two hours. I guarantee one wonderful evening to be had by all!
If you read all of that, all I can say now is: -cue Elvis voice- Thank you. Thank you very much.
Until next time,
MEOW!
July 24th, 2013
MEOW!
Wellp...here you go...Maestro....
Aladdin--One Jump Ahead
Aladdin--Friend Like Me
Aladdin--Prince Ali
Aladdin--A Whole New World
All Shook Up--C'mon Everybody
All Shook Up--Don't Be Cruel
All Shook Up--Can't Help Falling In Love
All Shook Up--All Shook Up
All Shook Up--It Hurts Me
All Shook Up--The Power of My Love
All Shook Up--There's Always Me
Anastasia--A Rumor In St. Petersburg
Anastasia--At the Beginning
Anastasia--In the Dark of the Night
Anastasia--Journey to the Past
Anastasia--Learn to Do It + Waltz Reprise
Anastasia--Once Upon A December
Anastasia--Paris Holds The Key (To Your Heart)
Annie--Easy Street
Annie--Hard Knock Life
Annie--Maybe
Annie--NYC
Annie--Something Was Missing
Annie--Tomorrow
Avenue Q--If You Were Gay
Avenue Q--It Sucks to be Me
Avenue Q--The Internet Is For Porn
Bambi--Little April Shower
Beauty and the Beast--Prologue (The Enchantress)
Beauty and the Beast--Belle + Reprise
Beauty and the Beast--No Matter What
Beauty and the Beast--Home
Beauty and the Beast--Gaston + Reprise
Beauty and the Beast--Be Our Guest
Beauty and the Beast--If I Can't Love Her + Reprise
Beauty and the Beast--Something There
Beauty and the Beast--Human Again
Beauty and the Beast--Beauty and the Beast
Beauty and the Beast--A Change In Me
Beauty and the Beast--The Mob Song
Beauty and the Beast--End Duet/Transformation
Billy Elliot the Musical--Electricity
The Book of Mormon--Hello
The Book of Mormon--Two By Two
The Book of Mormon--You and Me (But Mostly Me)
The Book of Mormon--Hasa Diga Eebowai
The Book of Mormon--Spooky Mormon Hell Dream
The Book of Mormon--I Believe
The Book of Mormon--Tomorrow Is A Latter Day
Brother Bear--Great Spirits
Brother Bear--Transformation
Brother Bear--No Way Out
Brother Bear--Look Through My Eyes
Cabaret--Why Should I Wake Up?
Carousel--If I Loved You + Reprise
Carousel--Soliloquy
Catch Me If You Can--Live In Living Color
Catch Me If You Can--Don't Break The Rules
Cats Don't Dance--Our Time Has Come
Chaplin the Musical--This Man
Chicago--And All That Jazz
Chicago--Cell Block Tango
Chicago--Mister Cellophane
Chicago--We Both Reached The Gun
Children of Eden--Let There Be
Children of Eden--The Naming
Children of Eden--Father's Day
Children of Eden--The Spark of Creation
Children of Eden--A World Without You
Children of Eden--Lost In The Wilderness
Children of Eden--Close to Home
Children of Eden--The Mark of Cain
Children of Eden--Children of Eden
Children of Eden--Generations
Children of Eden--In Whatever Time We Have
Children of Eden--The Hardest Part Of Love
Children of Eden--Ain't It Good?
Children of Eden--Precious Children/In The Beginning
Cinderella--In My Own Little Corner
Cinderella--It's Possible
Cinderella--Ten Minutes Ago
Cinderella--Do I Love You Because You're Beautiful?
Cinderella--Loneliness of Evening
Cinderella--There's Music In You
Company--Marry Me A Little
Company--Being Alive
Corpse Bride--Remains of the Day
Dirty Rotten Scoundrels--Great Big Stuff
Dirty Rotten Scoundrels--Love Is My Legs
Dreamgirls--Move
Dreamgirls--Fake Your Way To The Top
Dreamgirls--Cadillac Car
Dreamgirls--Steppin' To The Bad Side
Dreamgirls--Family
Dreamgirls--Dreamgirls
Dreamgirls--It's All Over
Dreamgirls--And I Am Tellin' You I'm Not Going
Dreamgirls--When I First Saw You
Dreamgirls--Patience
Dreamgirls--I Am Changing
Dreamgirls--I Meant You No Harm/Jimmy's Rap
Dreamgirls--One Night Only (both versions)
Dreamgirls--Listen
Enchanted--True Love's Kiss
Enchanted--Happy Working Song
Enchanted--That's How You Know
Enchanted--So Close
Evita--Oh, What A Circus
Evita--A New Argentina
Evita--Don't Cry For Me Argentina
Evita--Waltz For Eva And Che
Fiddler on the Roof--Tradition
Footloose--Footloose/On Any Sunday
Footloose--I Can't Stand Still
Footloose--Somebody's Eyes
Footloose--I'm Free/Heaven Help me
Footloose--Let's Hear It For The Boy
Footloose--Mama Says (You Can't Back Down)
Footloose--Almost Paradise
Godspell--Prepare Ye
Godspell--Save The People
Godspell--Day By Day
Godspell--Bless The Lord
Godspell--All For The Best
Godspell--All Good Gifts
Godspell--Light Of The World
Godspell--Turn Back, O Man
Godspell--By My Side
Godspell--We Beseech Thee
Godspell--Beautiful City
Godspell--On The Willows
Godspell--Finale
Grease--Summer Nights
Grease--You're The One That I Want
Hair--Aquarius
Hair--Hair
Hair--Where Do I Go?
Hairspray--Good Morning Baltimore
Hairspray--The Nicest Kids In Town
Hairspray--(The Legend of) Miss Baltimore Crabs
Hairspray--I Can Hear The Bells
Hairspray--Ladies' Choice
Hairspray--It Takes Two
Hairspray--Welcome to the '60s
Hairspray--Run And Tell That
Hairspray--Big, Blonde and Beautiful
Hairspray--You're Timeless To Me
Hairspray--I Know Where I've Been
Hairspray--Without Love
Hairspray--(It's) Hairspray
Hairspray--You Can't Stop The Beat
Hercules--ALL of the Gospel Truths
Hercules--Go the Distance + Reprise
Hercules--One Last Hope
Hercules--Zero to Hero
Hercules--I Won't Say (I'm In Love)
Hercules--A Star Is Born
High School Musical--Stick to the Status Quo
High School Musical 2--I Don't Dance
High School Musical 2--Everyday
The Hunchback of Notre Dame--The Bells of Notre Dame + Reprise
The Hunchback of Notre Dame--Out There
The Hunchback of Notre Dame--Topsy Turvy
The Hunchback of Notre Dame--God Help The Outcasts
The Hunchback of Notre Dame--Heaven's Light/Hellfire
The Hunchback of Notre Dame--A Guy Like You
The Hunchback of Notre Dame--The Court of Miracles
The Hunchback of Notre Dame--Someday
In the Heights--In the Heights
In the Heights--Breathe
In the Heights--Benny's Dispatch
In the Heights--It Won't Be Long You
In the Heights--Piragua
In the Heights--96,000
In the Heights--When You're Home
In the Heights--Blackout
In the Heights--Sunrise
In the Heights--Everything I Know
In the Heights--Champagne
In the Heights--When The Sun Goes Down
In the Heights--Finale
Into the Woods--Prologue
Into the Woods--I Know Things Now
Into the Woods--Agony
Into the Woods--It Takes Two
Into the Woods--Stay With Me
Into the Woods--On The Steps Of The Palace
Into the Woods--Ever After
Into the Woods--Your Fault/Last Midnight
Into the Woods--No More
Into the Woods--No One Is Alone
Into the Woods--Finale
Jersey Boys--Cry For Me
Jersey Boys--Sherry
Jersey Boys--Big Girls Don't Cry
Jersey Boys--Walk Like A Man
Jersey Boys--December, 1963 [Oh, What A Night]
Jersey Boys--Beggin'
Jersey Boys--Can't Take My Eyes Off You
Jersey Boys--Fallen Angel
Jersey Boys--Who Loves You
The Jungle Book--The Bare Necessities
The Jungle Book--I Wan'na Be Like You
The Jungle Book 2--Jungle Rhythm
Kiss Me Kate--Another Openin', Another Show
Kiss Me Kate--So In Love + Reprise
Kiss Me Kate--Tom, Dick Or Harry
Kiss Me Kate--Too Darn Hot
Kiss Me Kate--Brush Up Your Shakespeare
Legally Blonde--So Much Better
Legally Blonde--There Right There!
Legally Blonde--Legally Blonde (+ Remix)
Les Miserables--Look Down
Les Miserables--The Bishop
Les Miserables--Valjean's Soliloquy
Les Miserables--At The End Of The Day
Les Miserables--I Dreamed A Dream
Les Miserables--Lovely Ladies
Les Miserables--Fantine's Arrest
Les Miserables--Who Am I?
Les Miserables--The Confrontation
Les Miserables--Castle On A Cloud
Les Miserables--Master Of The House
Les Miserables--Stars
Les Miserables--ABC Cafe/Red And Black
Les Miserables--Do You Hear The People Sing?
Les Miserables--In My Life/A Heart Full Of Love (+ Reprise)
Les Miserables--One Day More
Les Miserables--On My Own
Les Miserables--Drink With Me
Les Miserables--Bring Him Home
Les Miserables--Javert's Suicide
Les Miserables--Empty Chairs At Empty Tables
Les Miserables--Epilogue
The Lion King--Circle of Life
The Lion King--Grasslands Chant
The Lion King--They Live In You
The Lion King--Be Prepared
The Lion King--Rafiki Mourns
The Lion King--Hakuna Matata
The Lion King--One By One
The Lion King--Shadowland
The Lion King--Endless Night
The Lion King--Can You Feel The Love Tonight
The Lion King--He Lives In You (Reprise)
The Lion King--Simba Confronts Scar
The Lion King--King of Pride Rock
The Little Mermaid--Part Of Your World (+ Reprise)
The Little Mermaid--Under the Sea
The Little Mermaid--Poor Unfortunate Souls
The Little Mermaid--Kiss The Girl
Man of La Mancha--The Impossible Dream
Mary Poppins--Chim Chim Cher-ee
Mary Poppins--Practically Perfect
Mary Poppins--Jolly Holiday
Mary Poppins--A Spoonful of Sugar
Mary Poppins--Feed the Birds
Mary Poppins--Supercalifragilisticexpialidocious
Mary Poppins--Let's Go Fly A Kite
Mary Poppins--Step In Time
Mary Poppins--A Man Has Dreams/A Spoonful of Sugar (Reprise)
Mary Poppins--Anything Can Happen
Mary Poppins--A Spoonful of Sugar (Reprise)/Shooting Star
Matilda--Naughty
Matilda--Bruce
Matilda--When I Grow Up
Matilda--Quiet
Matilda--My House
Matilda--Revolting Children
Meet the Robinsons--Little Wonders
MEMPHIS--Underground
MEMPHIS--The Music of My Soul
MEMPHIS--Scratch My Itch
MEMPHIS--Ain't Nothin' But A Kiss
MEMPHIS--Make Me Stronger
MEMPHIS--Colored Woman
MEMPHIS--Someday
MEMPHIS--She's My Sister
MEMPHIS--Radio
MEMPHIS--Say A Prayer
MEMPHIS--Crazy Little Huey
MEMPHIS--Big Love
MEMPHIS--Love Will Stand When All Else Falls
MEMPHIS--Stand Up
MEMPHIS--Change Don't Come Easy
MEMPHIS--Tear Down The House
MEMPHIS--Memphis Lives In Me
MEMPHIS--Steal Your Rock 'n' Roll
Monty Python's Spamalot--Find Your Grail
Monty Python's Spamalot--Always Look on the Bright Side of Life
Monty Python's Spamalot--You Won't Succeed On Broadway
Mulan--Honor to Us All
Mulan--Reflection
Mulan--I'll Make A Man Out Of You
The Muppets--Life's A Happy Song
The Muppets--Pictures In My Head
The Muppet Movie--The Rainbow Connection
The Muppet Movie--Movin' Right Along
The Music Man--'Til There Was You
My Fair Lady--On The Street Where You Live
Newsies--Carryin' The Banner
Newsies--The World Will Know
Newsies--Seize The Day
Newsies--Santa Fe (Prologue + Act One Finale)
Newsies--King Of New York
Next to Normal--Just Another Day
Next to Normal--Everything Else
Next to Normal--Perfect For You
Next to Normal--I Miss The Mountains
Next to Normal--He's Not Here
Next to Normal--You Don't Know
Next to Normal--I Am The One
Next to Normal--Superboy and the Invisible Girl
Next to Normal--I'm Alive
Next to Normal--Make Up Your Mind/Catch Me I'm Falling
Next to Normal--I Dreamed A Dance
Next to Normal--There's A World
Next to Normal--I've Been
Next to Normal--Didn't I See This Movie?
Next to Normal--A Light In The Dark
Next to Normal--Wish I Were Here
Next to Normal--Song Of Forgetting
Next to Normal--How Could I Ever Forget?
Next to Normal--Why Stay?/A Promise
Next to Normal--I'm Alive (Reprise)
Next to Normal--Maybe
Next to Normal--Hey #3/Perfect For You (Reprise)
Next to Normal--So Anyway
Next to Normal--I Am The One (Reprise)
Next to Normal--Light
The Nightmare Before Christmas--This Is Halloween
The Nightmare Before Christmas--Jack's Lament
The Nightmare Before Christmas--What's This?
The Nightmare Before Christmas--Oogie Boogie's Song
The Nightmare Before Christmas--Poor Jack
Oklahoma--Oh, What A Beautiful Mornin'!
Oklahoma--Oklahoma!
Oliver & Company--Why Should I Worry?
Once--Leave
Once--Falling Slowly + Reprise
Once--The Moon
Once--If You Want Me
Once--Broken Hearted Hoover Fixer Sucker Guy
Once--Say It To Me Now
Once--Gold
Once--Sleeping
Once--When Your Mind's Made Up
Once--The Hill
Once On This Island--We Dance
Once On This Island--One Small Girl
Once On This Island--Rain
Once On This Island--Forever Yours
The Phantom of the Opera--Overture
The Phantom of the Opera--Think Of Me
The Phantom of the Opera--Angel Of Music
The Phantom of the Opera--The Mirror/Angel Of Music (Reprise)
The Phantom of the Opera--The Phantom of the Opera
The Phantom of the Opera--The Music Of The Night
The Phantom of the Opera--Notes/Prima Donna
The Phantom of the Opera--All I Ask Of You + Reprise
The Phantom of the Opera--Masquerade
The Phantom of the Opera--Wishing You Were Somehow Here Again
The Phantom of the Opera--Wandering Child/The Swordfight
The Phantom of the Opera--The Point Of No Return
Pinocchio--When You Wish Upon A Star
Pippin--Magic To Do
Pippin--Corner of the Sky
Pippin--Simple Joys
Pippin--Morning Glow
Pippin--On The Right Track
Pocahontas--Steady As The Beating Drum
Pocahontas--Just Around The Riverbend
Pocahontas--Mine, Mine, Mine
Pocahontas--Colors of the Wind
Pocahontas--Savages (Both Parts)
The Prince Of Egypt--Deliver Us
The Prince Of Egypt--All I Ever Wanted/Queen's Reprise
The Prince Of Egypt--Through Heaven's Eyes
The Prince Of Egypt--The Plagues
The Prince Of Egypt--When You Believe
The Princess and the Frog--Down In New Orleans (Prologue, Full Song + Finale)
The Princess and the Frog--Almost There
The Princess and the Frog--Friends On The Other Side
The Princess and the Frog--When We're Human
The Princess and the Frog--Gonna Take You There
The Princess and the Frog--Ma Belle Evangeline
The Princess and the Frog--Dig A Little Deeper
The Princess and the Frog--Never Knew I Needed
The Producers--I Wanna Be A Producer
The Producers--Springtime For Hitler
The Producers--Betrayed
The Producers--'Til Him
Quest For Camelot--United We Stand
Ragtime--Your Daddy's Son
Ragtime--New Music
Ragtime--Wheels Of A Dream
Ragtime--'Til We Reach That Day
Ragtime--Coalhouse's Soliloquy
Ragtime--Our Children
Ragtime--Back To Before
Ragtime--Make Them Hear You
Rent--Seasons Of Love
Rent--Rent
Rent--You'll See
Rent--One Song Glory
Rent--Today 4 U
Rent--Tango: Maureen
Rent--Life Support
Rent--Out Tonight
Rent--Another Day
Rent--Will I
Rent--Santa Fe
Rent--La Vie Boheme
Rent--I Should Tell You
Rent--La Vie Boheme B
Rent--Take Me Or Leave Me
Rent--Without You
Rent--I'll Cover You (Reprise)
Rent--Halloween
Rent--Goodbye Love
Rent--What You Own
Rent--Your Eyes
Rent--Finale B
Rio--Real In Rio
Rio--Fly Love
Rio--Telling The World
Seussical--It's Possible (McElligot's Pool)
Seussical--Alone In The Universe + Reprise
Seussical--Amayzing Mayzie
Seussical--Notice Me, Horton
Seussical--Solla Sollew
Shrek--Big Bright Beautiful World + Reprise
Shrek--Don't Let Me Go
Shrek--I Know It's Today
Shrek--What's Up, Duloc?
Shrek--Who I'd Be
Shrek--I Think I Got You Beat
Shrek--When Words Fail
Shrek--Build A Wall
Shrek--Freak Flag
Shrek--This Is Our Story
Singin' In The Rain--Fit As A Fiddle
Singin' In The Rain--Make 'Em Laugh
Singin' In The Rain--Moses Supposes
Singin' In The Rain--Good Mornin'
Singin' In The Rain--Singin' In The Rain
The Sound of Music--The Sound of Music
The Sound of Music--Do Re Mi
The Sound of Music--Climb Ev'ry Mountain
The Sound of Music--Edelweiss
The Sound of Music--So Long, Farewell
South Pacific--Some Enchanted Evening (+ Reprise)
South Pacific--Bloody Mary
South Pacific--There's Nothin' Like A Dame
South Pacific--Bali Ha'i
South Pacific--Younger Than Springtime
South Pacific--You've Got To Be Carefully Taught
South Pacific--This Nearly Was Mine
South Park: Bigger, Longer & Uncut--Blame Canada
South Park: Bigger, Longer & Uncut--Up There
Spring Awakening--Mama Who Bore Me (+ Reprise)
Spirng Awakening--The B**ch Of Living
Spring Awakening--The Word Of Your Body
Spring Awakening--Don't Do Sadness/Blue Wind
Spring Awakening--Whispering
Spring Awakening--Those You've Known
Spring Awakening--The Song Of Purple Summer
Sunday In The Park With George--Move On
Sweeney Todd--The Ballad of Sweeney Todd
Sweeney Todd--No Place Like London
Sweeney Todd--The Worst Pies In London
Sweeney Todd--Poor Thing
Sweeney Todd--My Friends
Sweeney Todd--Green Finch + Linnet Bird
Sweeney Todd--Johanna (+ Quartet version)
Sweeney Todd--God, That's Good
Sweeney Todd--By The Sea
Sweeney Todd--Not While I'm Around
Sweeney Todd--Final Sequence
Tangled--Mother Knows Best (+ Reprise)
Tangled--I've Got A Dream
Tangled--Healing Incantation
Tangled--I See The Light
Tarzan--Two Worlds (Original, Reprise + Finale)
Tarzan--You'll Be In My Heart
Tarzan--Son Of Man
Tarzan--Trashin' The Camp
Tarzan--Strangers Like Me
Tommy--Pinball Wizard
Urinetown--Too Much Exposition
Urinetown--Cop Song
Urinetown--Act One Finale
Urinetown--What Is Urinetown?
Urinetown--Snuff That Girl
Urinetown--Run Freedom Run
Urinetown--I See A River
The Wedding Singer--It's Your Wedding Day
The Wedding Singer--Someday
The Wedding Singer--If I Told You
West Side Story--Something's Coming
West Side Story--Tonight
West Side Story--One Hand, One Heart
Wicked--No One Mourns The Wicked
Wicked--The Wizard And I
Wicked--What Is This Feeling?
Wicked--Something Bad
Wicked--Dancing Through Life
Wicked--Popular
Wicked--One Short Day
Wicked--Defying Gravity
Wicked--As Long As You're Mine
Wicked--No Good Deed
Wicked--For Good
Willy Wonka & The Chocolate Factory--The Candy Man
Willy Wonka & The Chocolate Factory--Pure Imagination
The Wiz--I Was Born On The Day Before Yesterday
The Wiz--Slide Some Oil To Me
The Wiz--Mean Ol' Lion
The Wiz--So You Wanted To See The Wizard
The Wiz--Everybody Rejoice
The Wiz--Home
The Wizard Of Oz--Over The Rainbow
The Wizard Of Oz--We're Off To See The Wizard
You're A Good Man, Charlie Brown--You're A Good Man, Charlie Brown
You're A Good Man, Charlie Brown--Schroeder
You're A Good Man, Charlie Brown--Snoopy
You're A Good Man, Charlie Brown--Dr. Lucy
You're A Good Man, Charlie Brown--Book Report
You're A Good Man, Charlie Brown--T-E-A-M
You're A Good Man, Charlie Brown--Suppertime
and of course
You're A Good Man, Charlie Brown--Happiness
A thousand thanks, Maestro Mouse.
Until next time,
MEOW!
June 18th, 2013
MEOW!
And I'll rhyme that word with another one: Wow.
No, I need to emphasize that: WOW! WOW! All I can say is....WOW!
As if it were Superman himself, MAN OF STEEL is an otherworldly miracle. Rarely do I feel an enormous amount of euphoria after watching a film, and discover that it's nearly impossible to put my reaction into words from the Merriam-Webster Dictionary (other than WOW! of course), but I will certainly try my hardest here. While 2013 hasn't been a downright terrible year for films in general (Star Trek Into Darkness was absolutely wonderful, and it turns out I'm in the very, very, very small minority regarding my strong admiration for Spring Breakers), it also hasn't been a terribly great one either (Iron Man 3 is one of the few underwhelming disappointments this year, and Fast and Furious 6, while somewhat enjoyable, is so forgettable that I can't remember one line from it. Well, except for "HELP ME! I GOT A TANK ON MY A**!"). Overall, this year in film hasn't gotten off to an enthusiastic start.
But this film?
Oh. My. Zod. It's just...perfection.
Okay, maybe the critical nature inside of me says that it's not perfect, and maybe it's because I was so overwhelmed seeing it for the first time in IMAX (they offer an IMAX-only version if those are opposed to IMAX 3-D in select theaters. Keep in mind that this film was also converted into 3-D during post-production, so I'd suggest saving the money and go for any 2-D version available. It's already immersive and intense as it is anyways). But no matter how divided the amount of opinions are for MAN OF STEEL, it is, for my kryptonite, the absolute best film of the year so far, and one of the best (superhero) films I've ever experienced in the comfort of a movie theater. As an exhilarating, inspirational, and touching sensation, Zack Snyder has crafted a film that serves as a reminder of why I love going to the movies.
It may require a bit of patience to adjust to the style Snyder is attempting here, especially for those who are in love with the Donner films, but the set-up remains the same as it was forty-five years ago (or for any comic book fans, seventy-five years ago). As the planet Krypton is facing eventual doom, a child named Kal-El is born a rare, natural birth, much to the pleasure of Jor-El (the excellent Russell Crowe) and Lara Lor-Van (the lovely Ayelet Zurer). But when Zod (Michael Shannon) and his henchmen are rebelling against the Kryptonians amidst all of the destruction, Jor-El and Lara put Kal-El on a spaceship that would eventually head for Earth. So after that set-up, you'd think you know what to expect, right? Kal-El is raised by a heartfelt couple on a farm, tries to fit in at his school, learns about his true identity years later, eventually becomes Superman/Clark Kent, sparks up a relationship with Lois Lane (AMY ADAMS), and attempts to stop Zod and his henchmen from creating their own Krypton on Earth, right? Eh?
Well, yes, that's actually what happens. But instead of following a straightforward path that was seen in Superman: The Movie or Superman II, we immediately cut to Kal-El (the incredibly effective Henry Cavill) as an adult after he is sent to Earth inside his spacecraft, and a couple of the aforementioned events that happen in his life--Kal-El being raised by Jonathan (wonderfully portrayed by Kevin Costner) and Martha Kent (also wonderfully portrayed by Diane Lane), trying to fit in at his school, discovering his true identity--are told through wonderfully thoughtful flashbacks. In these flashbacks, we get to explore what made Kal-El the man he would became later on. They also allow him to be more human than alien while being instantly relatable, which are a couple of the many qualities that make him not only a great superhero, but a true hero overall. No matter which character stirs your emotions more, MAN OF STEEL is a film that largely focuses on the internal feelings of its protagonist, and the result is one of the most emotionally complex (superhero) films I've come across in a long, long time.
The flashbacks are also a part of how exciting Snyder envisions this story, especially in the glorious first half, which makes the film involving and unpredictable. After the opening sequence, you'd expect the film to re-develop Kal-El's relationship with his Earth-bound parents, but instead, it cuts to when he is an adult on a fisherman's boat. A very bold move, I may say, for people who aren't used to the Superman mythology, but it works brilliantly here. You would also believe immediately after he had officially learned his true identity and finally donned the suit, he would be flying as if it were no problem at all. Instead, he practices his flying techniques first until he gets it absolutely right, which leads to what I believe is one of the greatest flying sequences in cinematic history (not since How to Train Your Dragon have I felt the need to pretend I'm flying in the living room like a ten-year-old). It's those out of the many moments that add on to the exciting, surprising and unconventional nature of its storytelling.
The second half is a visually overwhelming, action-packed exhilaration, so much so that it could very well exhaust a viewer unprepared for such an intense half of the film. Then again, this is Superman we're talking about here. He's going to be flying faster than a speeding bullet, and he is going to fight off Gods who are as powerful as he is, even if he unknowingly causes a higher death rate than any of us could have predicted (Did you honestly think that he was going to entirely perfect his superpowers when Kal-El is fighting off Zod and his henchmen? These events were clearly unexpected of him, and he had to do whatever he can to save Metropolis. It just turned out that, like a tornado, there are things that he can't control. Of course, it's understandable as to why many are bashing his characteristics in this film; "they don't know what they don't understand"). Personally, I don't see the problem of the camera shaking us around as if we are Super-people ourselves trying to save the world from impending doom. You really believe that saving the word from impending doom will have a certain grace to it? There's an internal intensity to the proceedings, which also causes fear in our hearts. But don't take my word for it, take Mr. Wayne's.
As exhilarating (and exhausting) the action set-pieces are, what truly won me over were the little touches that make this film feel inspired. There's one scene when Kal-El is trying to stand up for a woman who gets spanked in the butt by a mean customer at a bar, and the customer mentally and physically abuses him as if he were a vicitm of bullying, almost like how he was when growing up as an adolescent. And what happens? Oh yeah. Two people FROM THE MILITARY sit on their bar-stools, and reluctantly stare at the situation; they do absolutely nothing to solve it at all. It's almost as if they were both in the same shoes as Kal-El: attempting to hide their powers from the people around them, while feeling as if it was a missed opportunity to stop the predicament. I found that to be an intelligent insight on the psychology of human beings without having to make it feel overly forced and obvious. Then there are the visual touches; because Snyder is more of a visual director, it allows him to work wonders by having the images enhance the story and its thematic elements rather than only using them for spectacle. For instance, there's a scene when Zod takes over every television across the world in order to convey a message along the lines of "YOU ARE NOT ALONE. THERE IS SOMEONE WALKING AMONG YOU." A scene like that could have been rushed, and have all of the televisions convey the message in the same native language. What's ingenious about that scene, however, is that on American telvisions, it's their native language, but on Russian televisions, it's THEIR native language, and on Chinese televisions, it's THEIR native language, etc., etc., e.,t.,c. But no matter how different their native languages are, it's the same message being conveyed for one global audience. Pure. Genius.
What also helps make some of the little touches work more than it should is its excellent ensemble. Although it's difficult to forget Christopher Reeve's portrayal of Superman/Clark Kent/Kal-El/TA-DA, Henry Cavill is a FANTASTIC choice for such an iconic role. His subtle expression when he's trying to stand up to that mean customer in the bar, the amount of joy he gets when he's finally taking flight as Superman, his charisma when he's being interrogated in handcuffs (he has a reason; don't fret), his facial expression of raw, emotional turmoil during one PIVOTAL moment near the end, he brings justice to the role as much as what Reeve brought in 1978. Amy Adams makes for a wonderful Lois Lane; although she does fall into damsel-in-distress territory in the second half of the film, she still maintains her integrity as a woman of curiosity and intrigue, which is exactly the type of person the Daily Planet needs ("You do realize that it's all downhill after the first kiss?" Lois asks Kal-El, which he then responds with "I think that only applies to humans." ZING!)! Although I admittedly haven't been an admirer of Michael Shannon's work, he does a great job as General Zod, especially when he rebels against the Kryptonians in the prologue of the film ("I WILL FIND HIM!"). And Russell Crowe makes for an excellent Jor-El; he has the logical strength to be a fighter and a lover, unlike Dr. Bones McCoy, who is only a doctor. He is also responsible for a little nod to 300 near the beginning of this film. Let's just say in a sarcastic sense that it's pretty hard to find (A little random theory I have about Russell Crowe: I believe that when he committed suicide as Javert, his soul was re-incarnated into a re-booted version of Jor-El on Krypton; when he battled internally about the difference between right and wrong, he decided to believe in the good of everything. Random thought, but you know, Cloud Atlas. You know...that film about...re-incarnation...that really, really, really awesome film about re-incarnever mind).
There are stand-outs to this excellent cast, however. I think Kevin Costner needs to portray more farmers from now on; his portrayal as Jonathan Kent may be brief, but he makes such an impact throughout the rest of the film {SPOILER TERRITORY AGAIN!: There's one pivotal flashback where Jonathan Kent is saving many from a deadly tornado. This has divided the fans since he actually dies of a heart attack in the comics, and while that would have been an intentionally tough scene to sit through, tornadoes are also a natural occurrence, and it shows how the mightiest of people, even with all the powers of another planet, can't save everyone even if they attempted anything of the sort. So, in many respects, it stays true to the comics. I also had to fight back some tears since it made me think about my own father, and how he was a hero in his own way. It was that rare combination of heart-breaking and inspirational at the same time. Kudos to everyone involved in that scene. It was excellently crafted. END OF SPOILERS}. Also adding to the heart of the story is Diane Lane as Martha Kent; she also has a brief amount of screen-time, but sometimes, less is more, and she is also responsible for providing some incredibly touching moments, even when she's not in the shot. There's one moment when she's being threatened by Zod, and eventually Superman attacks him while flying through a cornfield intensely asking "YOU THINK...YOU CAN THREATEN...MY MOTHER???"Awesome. Then you have Cooper Timberline and Dylan Sprayberry portraying the nine-year-old and thirteen-year-old versions of Kal-El; I've always believed that you can get great performances out of young performers ever since I saw HUGO, and this film further solidifies my theory. There's one flashback when the nine-year-old-Kal-El is hiding in a school closet in order to avoid the meticulous sound effects going on in his head, and then there is another flashback when the thirteen-year-old-Kal-El is being bullied for being different from the rest of his age group; those couple of moments show off how exceptional both of these actors are. And while we're at it, I'll praise the rest of the young actors in this film. It's not an easy task to act horrified inside a bus underwater (or...maybe in a water tank?), but they pull it off with ease.
I can't believe I've written so much without even talking about how much of an exhilarating audio-visual experience it is (it must be a rare compliment then; Snyder and company realizes that it still all comes down to great storytelling, albeit done in a unique style). It's a daring and surprisingly balanced vision--one with a muted color palette while still remaining hopeful and vibrant. Let's start off with Krypton; although some of the visuals are a little too reminiscent of the Jedi Council scenes in the Star Wars prequels (There are a couple of shots that are almost literally taken from Star Wars: Episode III-Revenge of the Sith; to MAN OF STEEL's credit, though, the comic-book version of Superman came before any of the Star Wars films did so...moving on), it's creatively envisioned. The Genesis Chamber where Jor-El swims in is wonderfully visualized, even if it is a little disturbing that he's swimming in the middle of babies about to be born, but eh, it was an emergency. There's also one scene when Kal-El meets the holographic version of Jor-El inside the spaceship, and Jor-El tells him the backstory of what happened to Krypton all those years ago. Two things that stuck out to me: 1.) I loved that it was Russell Crowe portraying the holographic version of Jor-El rather than some CGI wizardry that represented it. As much as I am an admirer of visual effects, I found that to be a refreshing change of pace; the relationship between Jor-El and Kal-El needs to feel genuine since this is Kal-El's first introduction to him ever since he was born. So kudos to Crowe for pulling that off. 2.) Through the power of CGI technology, there is a silver mural that comes to life and shows Krypton's backstory through the imagery while Jor-El is telling Kal-El all about it. I won't give away any details as to what it looked like, but it makes the scene all the more beautiful, and one that will possibly get the film nominated for Best Visual Effects come Oscar season. What will also get nominated is Hans Zimmer's cathartic score. I challenge anybody of any age to NOT receive goosebumps in their soul listening to the composition that accompanies Kal-El's first flight. It's one of Hans Zimmer's finest scores, along with Inception, The Lion King, and Spirit: Stallion of the Cimarron; it's a score that perfectly suits (PUN) the man of steel himself.
I mentioned that the critical nature inside of me says it's not perfect, and well, I do have a couple of nitpicks. Much like Legend of the Guardians: The Owls of Ga'hoole, sometimes his visuals can be a little too reminiscent of films that were released in the past. Before the 'world engine' nearly sucks up all the debris of Metropolis, we get shots that are too similar to District 9 (Though once again, to MAN OF STEEL's credit, I didn't like District 9. Elysium does look interesting, however). There is also a scene near the end where soldiers are talking to Kal-El, and I thought that could have been replaced with something more meaningful. One of the soldiers says in the beginning of the scene "Are you effin' stupid?" and then a woman solider later in the scene says "I think he's kind of hot." It's funny, but not entirely necessary to the story.
Aside from that, there honestly isn't that much to nitpick. Even what I just mentioned before wasn't bad; it just didn't thrill me that much when compared to the rest of the film, which is an enthusiastic 99.9% rounding up to a 100%. No matter how divided opinions are for MAN OF STEEL as of this moment, in my eyes, heart, mind and opinion, it is what I like to consider as a perfect film. It's a film that reminds me why I love going to the movies: to enjoy, to feel, to learn and to see. MAN OF STEEL is an exhilarating, inspirational and touching sensation; it's easily the best film of the year so far, and one of the best (superhero) films that I have ever seen.
Until next time,
TO INFINITY AND BEYOND!
Wait...
UP, UP AND AWAY!
Meow, close enough.
