Creed

Year: 2015

Director: Ryan Coogler

Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Tony Bellew, and Phylicia Rashad
Tagline: Your legacy is more than a name.
Synopsis: Adonis Johnson, son of famed boxer Apollo Creed, enlists Rocky Balboa to train him to follow in his father's footsteps.

Review

If you saw the title of this film and wondered what on earth it was, Creed is the seventh entry in the Rocky franchise.  This time, instead of Rocky Balboa (Sylvester Stallone) being inside the ring, he is on the outside, training a new hopeful.  That new hopeful just so happens to be the (illegitimate) son of Apollo Creed, Rocky's former opponent turned trainer/friend.  As the unknown son of a famed boxer, Adonis feels the need to prove himself, to prove that he is his own man.

Creed is every ounce a Rocky film.  It mostly takes place in Philadelphia, Rocky's hometown.  There's the usual underdog story.  There's the requisite training montages.  There's the fitting doses of humor, heart, and humanity.  Rocky even still has a pet turtle.

The film is certainly nostalgic, hearkening back to the original Rocky on numerous occasions.  (It may reference the other films as well, but I'm only familiar with the first Rocky).  The filmmakers understood what made the first film so endearing and enduring and decided if it ain't broke, don't fix it.  It's a tactic that works for the story.  Adonis is following in his father's footsteps while also trying to be his own man.  The film follows the same path.

At this point I should probably confess that Creed is not the type of film I would normally see.  I saw it with my division at work.  While I didn't vote for it, I was also not opposed to seeing it.  It did get very good reviews after all.  I think nearly all my coworkers (male and female) enjoyed the movie.  As for me ... I was completely bored and checking my watch.  The only character that was remotely intriguing to me was Mary Anne Creed, Apollo's widow and Adonis' adoptive mother.  Her part was minimal and underused.  As for Adonis, I simply don't know how to cheer for a character whose dream/ambition is to beat another human being into submission.

Creed is a good film.  I'll give it that.  It's nostalgic and well-crafted.  If you like sports films in general or Rocky films in particular, then you will likely enjoy Creed.

*** Spoiler Section ***

How to end the film was probably a quandary.  With this kind of film, you couldn't have the hero simply lose.  That's not how Rocky movies play out.  But it would have been a stretch to have Adonis win against such a formidable opponent.  That leaves the "split decision" loss where he loses the fight but "wins the night."  It worked for the original Rocky and it works for Creed, but it does feel a little bit like a copy/paste.

Quotable Quotes

• "Time takes everybody out.  Time's undefeated." -- Rocky
• "I fight.  You fight." -- Adonis to Rocky
• "How many fingers" [Rocky taps the number on Adonis' neck] "Four." -- Fight official and Adonis

ISFS

Merry Christmas: Dashing through the Season

There's no movie review here, just a Christmas message:

It’s Christmastime.  And with it comes a season filled with decking the halls, “dashing through the snow,” “rockin’ around the Christmas tree,” and “shoppers rush[ing] home with their treasures.”  There’s always so much to do, so much to buy, and so much to eat.  Sure, “it hasn’t snowed a single flurry.  But Santa, dear, we’re in a hurry.”  To cram everything into the season requires a lot of hustling and bustling, and – as the 25th draws ever closer – hurrying and scurrying.  “There’ll be parties for hosting” and “much mistletoeing” and a great deal of hoping “Santa Baby” would just “hurry down the chimney tonight.”

Even Frosty is in a hurry, “running here and there ... sayin’ ‘Catch me if you can.’” Who has time to catch their breath, let alone a snowman?  There are gifts to wrap, cookies to bake, messages to write, service projects to organize, dinners to prepare, musical numbers to practice, choir programs to rehearse, and a myriad of traditions to keep.  Hurry as the hours and days slip away.  But as we hurry about our many good things, let us first remember to make haste to that which is best.  In the words of the final verse of “Whence Is That Goodly Fragrance?”:

Bethlehem! There in manger lying, find your Redeemer, haste away.

Run ye with eager footsteps vieing! Worship the Savior, born this day.

Bethlehem! There in manger lying, find your Redeemer, haste away.

The shepherds of old knew the right order of things.  They first received the glad tidings, then they “came with haste” to the newborn Savior.  With Christ in their hearts and praises on their lips, then they returned to their lives, their friends, and their families, sharing the gift.

And somewhere, amid all our hurrying and hastening, may we also find a moment to do as Mary, who “kept all these things, and pondered them in her heart”  (Luke 2:19).

Merry Christmas!

ISFS

The Good Dinosaur

Year: 2015

Director: Peter Sohn

Starring: Raymond Ochoa, Jack Bright, Jeffrey Wright, Sam Elliott, and Steve Zahn
Synopsis: In a world where dinosaurs never went extinct, one dinosaur must discover what he's made of while making an unlikely friendship.

Review

First off: like all Pixar film's, there was a short to begin with.  This one was entitled Sanjay's Super Team and was based on the experiences of Sanjay Patel, who directed it.  As is to be expected, the animation was gorgeous and colorful.  But it was the message of the short that was so compelling.

The story is of a little boy, Sanjay, who wants to watch a superhero cartoon show.  His father comes in, turns off the television, and invites his son to join him in Hindu meditation.  Sanjay's reluctance gives way to an exciting daydream with Vishnu, Durga, and Hanuman becoming the heroes.  In the end, Sanjay finds meaning in his father's traditions and religion and the two are able to bond.  What also stood out to me is that children often understand more than parents give them credit.

On to the feature film.

The Good Dinosaur builds on the premise of what would happen if the dinosaurs had never gone extinct.  There are lots of directions you could take a story like that.  Perhaps that is why the film had all sorts of production issues and even had a change in director partway through.  Sadly, the film suffers some for that.  It's a good movie.  But I was disappointed it wasn't a great movie.  It could have done so much more.

The story is likable, about young, fearful Arlo who wants very much to prove himself.  There is much that is familiar about The Good Dinosaur: there's some Finding Nemo in it and quite a bit of The Lion King.  It's also a classic boy and his pet story.  It just so happens that the boy is a dinosaur and the "pet" is a feral human.  It's an interesting twist.  And the bond Arlo and Spot develop helps drive the story onward.

The humor of the film is different from most Pixar films.  The part that made me laugh the hardest was Forrest Woodbush, the "pet collector."  He has some great comedic timing and is simply a fun character I'd have liked to have seen more of.  Some of the other humor was more low brow than my taste, but it wasn't excessive.  It didn't bother me, I just don't find that type of thing as funny.  The film was also a bit darker in places.  It might be scary for young audiences.  There are predators and they do what predators do.

While the story may not be groundbreaking, the animation in The Good Dinosaur is.  The film is gorgeous. The setting for the story is the area around the Tetons, which is beautiful scenery to begin with.  The way the filmmakers have captured and rendered the landscape is simply incredible.  There were times when the scenery was so good, the water so perfect, that it pulled me out of the story for a moment.  This was also Pixar's first film to render clouds, rather than "paint" them on to the sets.  The dinosaurs themselves certainly look animated.  But the world they live in is big, detailed, and more realistic than I've seen in any other animated film.

I enjoyed The Good Dinosaur.  It is beautifully animated and has humor and heart.  In the Pixar pantheon, I'd put it just below Brave (which had similar story struggles).  While it has its flaws and weaknesses, it is a movie with heart and a good message about overcoming fear.  It may not be great, but The Good Dinosaur is still good.

Quotable Quotes

• "If you ain't scared, you ain't alive." -- Butch
• "This is Debbie ..." -- Forrest Woodbush
• "He'll make his mark, you'll see." -- Poppa

ISFS

The Hunger Games: Mockingjay Part 2

Year: 2015

Director: Francis Lawrence

Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Donald Sutherland, Philip Seymour Hoffman, Julianne Moore, and Sam Claflin
Tagline: The fire will burn forever
Synopsis: As the rebels march on the Capitol, Katniss and a small squad steal forward with one mission in mind: kill President Snow.

Review

Do you ever eat something that tastes good in the moment but then leaves a bitter aftertaste?  That's how Mockingjay Part 2 was for me.

At this point, if you've seen the other movies, you're going to see Mockingjay Part 2, if you haven't already.  If you haven't seen the other movies, you shouldn't start here.  This is very much a part 2 and makes no sense without part 1.  It really doesn't even make much sense without the other movies as well.  It's all one story.

The trouble is, it's not a story I like.  It's grim; from Hunger Games to Mockingjay, it is a grim world and a grim story.  In terms of the films (I haven't read the books) this is the grimmest of the four.  Aside from the epilogue, there's only one point in the film that is hopeful: Finnick and Annie's wedding.  Even that is brought down by Katniss' angst.  Shouldn't that liveliness, that hope for the future be played up more?  Isn't that what everyone is ultimately fighting for: a return to joy and living, rather than war and survival?

To make a story truly epic, you pit good versus evil, where good sacrifices and falls but ultimately triumphs over evil.  This isn't good versus evil.  It's more right versus wrong or (some form of) justice versus tyranny.  The trouble with Mockingjay Part 2 is that it is all about defeating tyranny, getting revenge on Snow, and toppling the Capitol.  It takes the overcoming evil part but uncouples it from the triumph of good.  The good characters either die, are tainted, or are sidelined.  Katniss' final speech rings hollow.  She says she counts the good things people did.  By the time I left the theater I was trying to remember any of those moments.  They weren't emphasized or recollected.  Even if she had just listed a few examples, it would have helped.

In addition to being grim, the movie was slow.  It felt like the film simmered and simmered, but when the time came for a rolling boil ... it simmered then splashed and then simmered its way to the end.

As a film, it was well-made.  The production values were top-notch as ever and the actors did a great job, especially Josh Hutcherson as the tormented Peeta.  The music was good, but mostly in that it echoed a powerful scene from Mockingjay Part 1.

Put simply Mockingjay Part 2 was a good movie.  I'll give it that.  But it wasn't a great movie.  Compared to its predecessor Catching Fire, it was a fizzle.  I had expected more from the Girl on Fire.

*** Spoiler Section ***

A lot of characters die in these books/films.  That's not a spoiler.  Plenty of characters, including main characters die in Mockingjay.  Boggs' death is sad.  It felt like the film handled it well.  Finnick's death is tragic (of all the characters, I found him most intriguing and likable).  I prefer how he dies in the film to how I know he dies in the book.  Still, part of me would have liked a little more closure with his death.

But the death that felt robbed of its power was Prim's.  In the film, the aftermath is all about Katniss' grief for her sister.  She's understandably upset.  But it felt all about Katniss and less about Prim and what she stood for individually and symbolically.  Prim is why Katniss volunteered in the first place.  Prim is the embodiment of everything good worth fighting for in Panem.  That Coin's Machiavellian tactic to end the war killed Prim is hugely symbolic.  For me, the film portrayed it as another death and another reason for Katniss to be angry and move the story forward.

Maybe it's because she didn't get much screen time in Part 2, but Prim's death didn't have any emotional impact.  She was just one more death in a grim movie filled with deaths.  Yes, I knew she was going to die.  But I also knew Dobby and Dumbledore were going to die; that didn't stop those deaths from hitting me in the feels when I watched Harry Potter.

Quotable Quotes

• "Ladies and gentlemen, welcome to the 76th Hunger Games." -- Finnick Odair
• "Miss Everdeen, I thought we agreed never to lie to one another." -- President Snow to Katniss
• "Mockingjay, may your aim be as true as your heart is pure." -- President Coin
• "You always have to make everything difficult." -- Haymitch to Katniss

ISFS

The Peanuts Movie

Year: 2015

Director: Steve Martino

Starring: Noah Schnapp, Bill Melendez, Alexander Garfin, Hadley Belle Miller, and Mariel Sheets
Tagline: The story of an underdog.  And his dog.
Synopsis: Charlie Brown tries to impress the Little Red-Haired Girl while Snoopy does battle with his nemesis, the Red Baron.

Review

Like many, I grew up always knowing who Snoopy, Woodstock, Charlie Brown, Linus, and Lucy were.  The holiday season included watching It's the Great Pumpkin, Charlie Brown, A Charlie Brown Thanksgiving, and of course, A Charlie Brown Christmas.  When I saw that there would be a new movie starring the Peanuts gang, I was nervous how a wonderful element of my childhood would be treated.  Have no fear.  Charles Schulz might well have personally handed the filmmakers a box with all his comic strips labelled "Handle with Care," for that is how the movie was made.  It helped that Schulz's son and grandson were the writers.

There's a line in The Incredibles: "There's no school like the old school."  The Peanuts Movie is an old school treasure.  This isn't a slick, modernized Charlie Brown shoehorned into 21st century pop culture.  Watching the film was a 90-minute helping of nostalgia.  Charlie Brown still has a rotary phone (and gets tangled in the cord).  Lucy still charges a nickle for her psychiatric counsel.  Snoopy still taps out his novel on a typewriter.  And it is a world where all the neighborhood kids get together to play baseball, go ice skating, or fly kites.

Peanuts is also (relatively) free from gimmicks.  Bucking the celebrity voice trend, all the kids are voiced by actual kids.  The biggest celebrity in the cast list is Kristin Chenoweth (Glinda from the original Broadway cast of Wicked) as Fifi, Snoopy's love interest.  And she doesn't even have dialogue.  Just like Snoopy, she is limited to conversation-like sounds.  Speaking of the famed Beagle, he and pal Woodstock are both voiced by Bill Melendez, who voiced them in the original TV specials.  The filmmakers used archived voice recordings to have Melendez bring Snoopy to life once more.  Oh, and if you are wondering, all adults in the film are "voiced" by a trombone, just as they should be.

The only touch of modernization was in the form of a few pop songs worked into the story.  Even that was low key.  Most of the music is the familiar melodies kids like me grew up with, including the inimitable "Linus and Lucy" theme.

One of the elements that made me, and others, nervous about Peanuts was the animation style.  How do you take something as fundamentally two-dimensional as a comic strip and make it using modern 3D computer animation?  Very carefully and lovingly.  And it works.  The artists were painstakingly faithful to the pencil sketch source material.  Though made in a computer, there's still a hand drawn feel to the film.  There are even some two-dimensional elements woven in as part of the style.  The result is something beautiful, both familiar and new, like a classic car that has been dusted off, fine-tuned, and given a fresh coat of shiny paint.

Peanuts is about as kid friendly a movie as I know of.  It is rated G.  Yes, G.  The Peanuts gang are as clean, wholesome, and fun as the TV specials and comic strips.  There was not a crass or boorish joke to be found (although there were plenty in the movie trailers that preceded the film).  There were no adult jokes slipped in.  The only things that will go over little kids' heads are who the Red Baron is and why the telephone has a cord attached.

If all the above were not enough reason to see The Peanuts Movie, see it for its good message.  Charlie Brown is an everyman.  He's not a "winner" in the worldly sense.  His baseball team never wins.  His kite never soars.  And he can never kick the football.  Time and time again he gets knocked down by life.  And yet he always gets back up, dusts himself off, and tries again.  He perseveres.  Throughout the story, he demonstrates the truthfulness of the Broadway play's title: You're a Good Man, Charlie Brown.  He is good.  And being good is better than being a "winner."

I completely enjoyed The Peanuts Movie.  Did I mention it's funny?  Because it is really funny.  I think there was a grin on my face the entire film.  If you love Charlie Brown, Snoopy, and the gang, do yourself a favor and check out The Peanuts Movie.  And stay through the comics-strewn credits for one final chuckle.

Quotable Quotes

• "It was a dark and stormy night ... " -- Snoopy's novel
• "Good grief." -- Charlie Brown
• "I can't afford a mortgage!  What if I'm put into escrow?" -- Charlie Brown
• "Wah wah-wah." -- All adults

ISFS

The Martian

Year: 2015

Director: Ridley Scott

Starring: Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Sean Bean, Chiwetel Ejiofor, Michael Pena, Kate Mara, and Sebastian Stan
Tagline: Bring Him Home
Synopsis: During a manned mission to Mars, Astronaut Mark Watney is presumed killed in a storm and is left behind.  Watney must figure out how to survive while NASA figures out how to rescue him.

Review

First off: no, I have not read the book.  So I can't compare the two.  But I can say that The Martian is a fantastic movie that I recommend, whether you have read the book or not.

The two strongest selling points for the film are the story and the main character.  While the basic plot is straightforward -- a man gets stranded in a desolate place and must learn to survive until he can be rescued -- the plot still feels fresh.  This is Cast Away ... but on Mars.  Mars.  Freezing cold.  Air you can't breath.  No water.  No food.  The stakes are so much higher, which means Watney has to rely on more than just survival instincts.  He has to use all his ingenuity and scientific/engineering know-how to keep himself alive and produce what he needs.

What really helps the story is how grounded in reality it is.  Sure, the film (and the book) took some scientific liberties for the sake of a compelling story.  But so much of the story is rooted in actual science.  The film might be described as a two-hour recruitment ad for engineering and botany.

Mark Watney is also a terrific character.  Despite his situation and setback after setback, he maintains a positive attitude.  He simply refuses to give up or feel sorry for himself.  Everything that happens is just one more problem to solve.  To keep himself sane, he uses video logs to document his time on Mars.  Basically it feels like he's narrating his own story to the audience, which works really well.  It keeps him up close and personal, allowing his humor and unflagging optimism to drive the film.

You might expect The Martian to be a serious drama.  It certainly has lots of drama and is a gripping story from start to finish.  But it is also a very humorous film.  It doesn't go out of its way to be funny.  This isn't trying to be a comedy.  The humor comes as a natural outgrowth of the characters, primarily Watney.  Rather than get discouraged, he sees the humor in (most) every situation.  It helps him keep his sanity and lightens the tension of the film.

While this is primarily Mark Watney/Matt Damon's film, the rest of the cast do an outstanding job as well.  I especially liked Commander Lewis, as portrayed by Jessica Chastain.  The film mirrors the story.  Watney/Damon does his part, but it is all the other characters/actors coming together to do their parts that leads to a rescue/film being possible.

One other thing that stood out in The Martian is the visual look of the film.  Obviously, filming on location wouldn't work out so well and wasn't within the budget.  But to look at the finished product, you might think they really did set up filming on Mars.  The country of Jordan was the actual stand-in, with some CGI assistance.  The Hermes -- the spacecraft used to take the crew between Earth and Mars -- is also a beautiful set.  I also liked the use of Watney's video logs to show/tell most of his experience.  It's visually different and pulls the audience in.

As much as I enjoyed the film, I should mention a few caveats.  The chiefest of which is swearing.  I've heard the book swears quite a bit.  The film keeps the swearing within PG-13 boundaries.  There are two explicit f-words and a handful of implied ones.  The s-word is also used a number of times.  I wish they'd found a better way to express themselves.  While there is no violence, there is a scene where Watney is injured and must tend to his own wound.  If you are squeamish, that might be a good time to take interest in that bit of spilled popcorn on the floor.  There is also a bare backside shot which is used to establish how much weight Watney has lost during his ordeal.  Again, there were probably other ways to show that.

I thoroughly enjoyed The Martian.  It is one of the most well-crafted films and gripping stories I've seen in quite a while.  It's a movie about the triumph of optimism, ingenuity, and persistence.  Botany has never seemed so cool.

*** Spoiler Section ***

One of the most humorous parts of the film (for me) was watching Sean Bean's character explaining about the Council of Elrond after another character is confused about "Project Elrond."  Sean Bean portrays Boromir, who is of course present at the Council of Elrond in The Fellowship of the Ring.  I was really hoping he'd follow up with something along the lines of: "One does not simply slingshot to Mars."  Alas.  Missed nerd opportunity.

The other part I chuckled heartily at was Watney explaining how Mars is technically under maritime law.  So when he commandeers a vehicle/vessel without permission, that makes him a pirate.  Mark Watney: Space Pirate.

Apparently the book ends with Watney being rescued and pulled aboard the Hermes.  I thought the film's addition of an epilogue worked quite well.  As a viewer, I wanted to know how Watney dealt with what he'd been through.  And I was curious about the repercussions the crew would face after their mutiny.  Putting it against the backdrop of the next Ares mission worked well.

Quotable Quotes

• "This is Mark Watney ... and I'm still alive.  Obviously." -- Watney
• "I'm the best botanist on this planet." -- Watney
• "I'm really excited to not die here." -- Watney to NASA
• "You have terrible taste in music." -- Watney to Lewis

ISFS

The Man from U.N.C.L.E.

Year: 2015

Director: Guy Ritchie

Starring: Henry Cavill, Armie Hammer, Alica Vikander, Elizabeth Debicki, and Hugh Grant
Tagline: Saving the world never goes out of style
Synopsis: When a criminal organization gets its hands on a atomic bomb, CIA agent Napoleon Solo and KGB agent Illya Kuryakin must team up to stop them.

Review

Although I watched many a 60s TV show as a kid, The Man from U.N.C.L.E. was not one of them.  I'd heard of it.  That is all.  So I went into the film with no preconceived notions.

It is unfortunate that The Man from U.N.C.L.E. came out on the heels of Mission: Impossible - Rogue Nation.  It thus fell under the radar and has fallen victim to comparison.  Of the two, M:I5 wins. Hands down.  No question.  But that doesn't make U.N.C.L.E. any less fun to watch.

One of the best things The Man from U.N.C.L.E. has going for it is its setting.  Rather than contemporize it, the film takes place in the 1960s, at the height of the Cold War.  The nostalgic, retro feel helps set it apart from all the other spy movies this year.  It also necessitates that the film not rely heavily on the espionage trope of gadgets.  There is probably more technological wizardry in 5 minutes of M:I5 than in all of U.N.C.L.E.  As much as I love geek-out gadgets, it is a welcome change to see special agents not relying on them.

Although not as edge of your seat as M:I5, U.N.C.L.E. does deliver in the thrills department, with all the requisite car chases, shootouts, and explosions.  Much of the film is also set against the gorgeous backdrop of Italy.  Director Guy Ritchie has a very visual style.  If you've seen either of his Sherlock Holmes films, you know what I mean.  It's hard to describe, but quite fun to watch.

As stylish as the movie is, there's not a lot beneath it.  The plot could well be an extended TV episode.  It brings nothing new to the espionage table.  And all the style in the world can't cover the plot holes.  Style is great, but there should be more substance to go with it.

The two main characters are Napoleon Solo of the CIA and Illya Kuryakin of the KGB (or "Cowboy" and "Red Peril" as they dub each other).  The two are complete opposites and thus make for an enjoyable duo to watch.  Solo is a dashing, suave, womanizing, semi-reformed thief (basically the 60s spy version of Neal Caffrey from TV's White Collar).  Kuryakin is quiet, stern, intense, and given to lashing out when provoked.  Watching the two of them go from foes to reluctant partners to allies is one of the most fun parts of the film.

The Man from U.N.C.L.E. has a good share of humor, though some of it is a darker humor than you'd find in Mission:Impossible.  U.N.C.L.E. is also a bit risque.  As mentioned, Solo is a womanizer.  I haven't seen a James Bond film in a very long time, so I can't compare.  If you've seen other Guy Ritchie films, you can probably guess the level of risque, and also the level of violence.

The Man from U.N.C.L.E. is by no means a film for everyone, due to some of its darker elements.  But I found it to be a very fun, very stylish film.  It's too bad it favors style over substance.  If you want to see a first rate spy film, see Mission: Impossible - Rogue Nation.  If you want to also see a second rate but still fun spy film, see The Man from U.N.C.L.E.

Quotable Quotes

• "For a special agent, you're not having a very special day, are you?" -- Waverly
• "What does that [a statement in Russian] mean?"  "He said, 'Don't kill your new partner on the first day.'"  "I know what he said.  What does it mean?" -- Napoleon Solo and Sanders
• "Did you disable the alarm?"  "There's no alarm on [this model of safe]." [An alarm starts to blare]  "Loving your work, Cowboy." -- Illya Kuryakin and Napoleon Solo

ISFS

Mission: Impossible - Rogue Nation

Year: 2015

Director: Christopher McQuarrie

Starring: Tom Cruise, Simon Pegg, Jeremy Renner, Rebecca Ferguson, Alec Baldwin, and Sean Harris
Tagline: Desperate Times.  Desperate Measures
Synopsis: When the IMF (Impossible Mission Force) is disbanded, Ethan Hunt and a few loyal colleagues are left on their own to bring down a deadly rogue organization known as the Syndicate.

Review

Hands down, Rogue Nation is the best action movie I've seen in quite a while.  It is certainly the best I've seen this year (sorry Marvel).  From start to finish, all I could think was, "Wow."  It's everything I want in an action movie.

The highly publicized airplane stunt -- where Tom Cruise is hanging from an airplane that is taking off and flying away -- is how the movie starts.  And the action and thrills don't let up from there.  The pacing is terrific, giving the audience just enough time to catch their breaths and keep up with where the plot is headed before the next heart-thumping action sequence kicks into gear.  I don't want to give anything away; it's just too much fun.

If there were plot holes, I didn't notice them.  I was having too much fun keeping up with where things were going, who was loyal to whom, what was actually going on, and how on earth they were going to set everything right by the end.  I love a film that can keep me guessing.  It's one thing to be on the edge of your seat for the action.  It's another to be on the edge of your seat for the story.  It's an exciting ride when you get both.

I really like Ethan Hunt (Tom Cruise's character).  He's an incredible spy who does things no normal person would even think of doing (like hanging from a plane that is taking off).  But unlike a certain other spy who always seems so suave and stoic, Ethan feels more relatable.  More often than not he has his back against the wall and you can see the flash of panic as he tries to figure out what to do.  He's about to dive into a swirling vortex of potential death, and for one brief moment you can see the "what the heck am I about to do?" look in his eyes.  Plus, Ethan is loads more fun and has infinitely higher moral standards than that other spy.

There's one bit of cleverness I'd like to point out.  One sequence of the film takes place during a performance of Puccini's opera Turandot.  That story features riddles to be solved and the final act has a "ticking clock" where one character must figure out the identity of another character before sunrise.  The well-known song from Turandot is "Nessun Dorma," which means "none shall sleep."  All of that is very apropos for a spy film and this film in particular.

On top of all its action, plot twisting, and geek-out gadgetry, Rogue Nation is also humorous.  And it's the best kind of humorous, the kind that comes naturally from the characters and the situations.  Saving the world from the Syndicate is serious business.  But that's no reason to take everything so straight-faced and dour.  By all means, poke fun at the fact you brought a huge four-wheel drive vehicle to a motorcycle chase through a city with narrow streets.

The violence in Rogue Nation is similar to the previous installment.  There's a lot of punching and shooting.  But there is almost no blood.  There might have been some mild language; at this point I don't recall.  There was one mildly risque moment.  But it is risque by Mission: Impossible standards.  I've seen movie trailers for that other spy that were more risque than this film.

Your mission, should you choose to accept it, is to go see Mission: Impossible - Rogue Nation.  If you enjoy pulse-pounding action, incredible stunts, and spiffy spy gadgetry, you won't be disappointed.  This review will [likely not] self-destruct in five seconds ...

*** Spoiler Section ***

The whole sequence with Director Hunley and the British prime minister was simply well played.  Bravo IMF.  Bravo.

That's as spoilery as I'm going to get.  Just see the film.

Quotable Quotes

• "I can neither confirm nor deny any details about any operation without the permission of the Secretary." -- William Brandt (repeated line)
• "Join IMF they said.  See the world....  On a screen.  In a closet." -- Benji Dunn
• "Whoa, whoa, whoa!  Are you sure you wanna drive?  A minute ago you were dead."  "What are you talking about?"  "This isn't gonna end well." -- Benji Dunn and Ethan Hunt

ISFS

Ant-Man

Year: 2015

Director: Peyton Reed

Starring: Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Michael Pena, and lots and lots of CGI ants
Tagline: This July, heroes don't come any bigger.
Synopsis: With dangerous technology about to be in the wrong hands, Dr. Hank Pym enlists semi-reformed cat-burglar Scott Lang to become the Ant-Man.

Review

If I had to sum Marvel's Ant-Man up in one word, it would be "refreshing."  I wasn't particularly excited for this film.  And frankly, a bit of superhero ennui has been setting in.  Ant-Man was just what the proverbial doctor ordered.

First up, the movie is simply fun.  There were plenty of witty moments and chuckle-worthy gags throughout the film.  Paul Rudd has great charisma.  The whole thing was a joy to watch.

Second, appropriately for a movie about a hero who can shrink to the size of an ant, Ant-Man is a welcome change of scope.  Recent films like Age of Ultron or Guardians of the Galaxy have the superheros saving entire cities and worlds.  Everything is on a massive scale.  Ant-Man features a (terrific) fight in a briefcase that then ends in the suburbs.  Yes, the stakes are high.  But it manages to be more personal because it is scaled back.  We are allowed to feel more invested in Scott's character and his relationship with his daughter (and Hank's relationship with his daughter).

Third, the visuals are fantastic as always.  So many of the Marvel heroes either punch or throw things as their skill.  Yes, Ant-Man punches, but he does so in a visually new way as he bounces back and forth between normal and ant-sized.  It's different.  And different is good.  Oh, and did I mention he rides on ants, including a flying ant he dubs "Antony"?  One of the most visually impressive parts of the film is Ant-Man riding Antony through an exploding server room.

From beginning to end (and post-credits end), Ant-Man makes sure you know this film is in the Marvel Cinematic Universe.  There are a few subtle references and some not-so-subtle references.  And there are a handful of well-placed cameos as well.

Is Ant-Man brilliant cinema?  Well, no.  But it is one of the most fun and enjoyable films I've seen this year.  It really was refreshing, even more so because it was unexpected.  If you haven't taken the time to see it yet, I highly recommend Ant-Man.

Quotable Quotes

• "Baskin-Robbins always finds out." -- Baskin-Robbins Manager
• "It's not about saving our world.  It's about saving theirs." -- Dr. Hank Pym
• "I just ruined the moment, didn't I?"  "Yes, you did." -- Scott Lang and Dr. Hank Pym
• "It's not a keychain." -- Dr. Hank Pym
• "We've got multiple shots fired.... And there's a tank." -- Paxton

ISFS

Inside Out

Year: 2015

Director: Pete Doctor & Ronaldo Del Carmen

Starring: Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, and Richard Kind
Tagline: Meet the little voices inside your head.
Synopsis: Joy, Sadness, Disgust, Fear, and Anger are 11-year-old Riley's emotions.  Their job is to keep Riley going, a job that gets more difficult when she and her family move from Minnesota to San Francisco.

Review

Before I dive into Inside Out, I should mention the short film that precedes it: "Lava."  The short film tells the story of a volcanic island that just wants someone to "lava" (wordplay on "love").  It's a nice little story with the beautiful animation we've come to expect from Pixar.  The song the volcano sings is also lovely ("lavaly"?).  It's a nice short, though perhaps not the brilliance of "Geri's Game" or "Boundin'."

On to our feature presentation ...

Inside Out is fantastic!  I've liked their last few films, but this is truly a return to the Pixar we know and love.  It's such a crazy idea that could only be brought to life through animation.  Much of the movie takes place inside Riley's brain, which is the most colorful, zany, and yet psychologically sound place you could imagine.  The world the animators have created is so rich and detailed, you'll likely be finding new things on the 5th and 10th viewings (and it is worth that many viewings).  And longtime Pixar collaborator Michael Giacchino does his usual fabulous job with the score.

Pixar is known for being outstanding in its animation.  And Inside Out lives up to that.  It is visually stunning.  If you look at the different emotions, they appear sort of fuzzy.  They are described as being made up of energy, which gives them a fun and unique look that totally works for personified emotions.

While Pixar always excels visually, what makes Pixar Pixar is its dedication to story, stories that are honest, humorous, and heartfelt.  Inside Out is pure Pixar.  This isn't a story about the goofy antics of personified emotions interacting, although there is plenty of that.  This is a film that has the courage to say emotions can be good, they can be bad, they are sometimes hard, but they are always necessary.  When's the last time a movie or television show -- aimed at kids or adults -- showed the importance and need for sadness in our lives?  Beneath all the sight gags and stunning visuals, Inside Out is about what it means to be human and what it means to grow up.

There is no villain in Inside Out, which in and of itself is unusual for a movie aimed at children.  Although the five emotions are very different, they work together.  None of the emotions are presented as negative.  They each have a purpose in Riley's life.  We tend to view fear and anger as negative things that are bad.  But those emotions really do have purposes in our lives and the task of life is to bridle them, not pretend they don't exist.  As the story shows, while feeling certain emotions is hard and unpleasant, it is far worse to feel nothing.  Numbness is worse than any emotion.

Fear, as shown in the movie, is tasked with keeping Riley safe.  Fear is the voice saying, "Wear your seatbelt because you never know what might happen."  A little fear is good, unless you let it paralyze you.  Likewise, Anger is all about what is right and fair.  Anger is the one saying, "That's not how things should be" or "I should stand up for myself."  It's when anger consumes that it becomes bad.  Disgust is important too ... but I haven't figured that one out as much.  But she'll save you from broccoli pizza.

The film is primarily about Joy and Sadness, both as characters and emotions.  Disgust is green with green eyes and green hair.  Fear is purple with purple eyes.  Anger is red with red eyes.  And Sadness is blue with blue eyes and blue hair.  But Joy is yellow with blue eyes and blue hair.  Those features may in part be because it makes for a stunning contrast (and they didn't want her to look jaundiced), but it also visually shows the connection between Joy and Sadness.  That connection is at the heart of the story.  That connection is what makes Inside Out not only an excellent film, but also an important film.

Joy just wants Riley to be happy, so she doesn't understand Sadness or her purpose.  She doesn't understand that you can't have one without the other.  You can't understand one without the other.  Learning the interwoven balance between joy and sadness is a fundamental part of life.  Yes, "men are, that they might have joy" (2 Nephi 2:25).  But that very same chapter states that there must be "opposition in all things" (2 Nephi 2:11).  During His life, Jesus Christ had perfect faith and a perfect perspective, so we might think He was perfectly happy.  Yet He is described as "a man of sorrows, and acquainted with grief" (Isaiah 53:3).  There are times for joy and there are times for sadness.  And there are times for both, because we're human and wonderfully complicated like that.

Did I mention that Inside Out is also incredibly funny?  Because it is.

If you haven't already seen Inside Out, go see it.  If you have seen it, go see it again.  I plan to.  And I expect to find even more brilliant nuances and insights.

Quotable Quotes

• "We did not die today.  I call that an unqualified success!" -- Fear
• "Crying helps me slow down and obsess over the weight of life's problems." -- Sadness
• "Well, I just saved our lives.  Yeah, you're welcome." -- Disgust (after "saving" Riley from broccoli)
• "Oooh airplane.  We've got an airplane, everybody." -- Anger
• "Can I say that curse word now?" -- Anger

*** Spoiler Section ***

I put things in the spoiler section hoping you won't read them until after you've seen the film.  Obviously whether or not you follow that is your decision.  But in this instance, I strongly encourage seeing the film first (I even moved this section below the quotes to avoid accidental reading).  What follows isn't some huge plot twist a la The Sixth Sense.  But it is a pretty touching point in the film.  It gave me a case of the sniffles.  And I heard the adult behind me in the theater get a case of the sniffles too.

When Bing Bong and Joy are trying to escape from the Memory Dump, I was surprised they didn't make it the first time.  And then they failed again and I was wondering if there was something more for Joy to learn before they could reach the surface again.  And then on the third time Bing Bong jumped quietly out of the rocket and my heart kinda broke.

It's not that Bing Bong is the most brilliant character ever* whom we absolutely adored (like Ellie in Up).  What makes his sacrifice and fading from memory sad is what he represents.  He's not just an imaginary friend, he's a part of childhood: a goofy and joyous innocence.  Bing Bong fading away isn't painful because it is unexpected.  It's painful because as an adult looking back, I realize it was inevitable.  Imaginary friends are ephemeral by nature.  And some aspects of childhood are simply lost as we grow up.  It's a little heartbreaking, looking back and realizing what we lose as we grow up, or what our children lose as they grow up.

I may also have gotten a bit choked up when that first new mixed memory rolled out.  It wasn't yellow; it wasn't blue.  It was both.  It was both sadness and joy together, which rings so emotionally true.

* In retrospect, my fondness for Bing Bong has grown incredibly.  Initially I distrusted him in the film (which was the filmmakers' intention).  I wondered if this was another Stinky Pete or Lotso who would do anything to forward his own agenda.  Once he loses his sled and has his moment with Sadness, I knew Bing Bong was trustworthy.  And now, as I look at all he represents -- childhood, innocence, imagination, dreams -- I think he is one of the great characters in Pixar's who's who.  So thank you, Bing Bong, for loving Riley enough.  "Take her to the moon for me, Joy."

ISFS

Far from the Madding Crowd

Year: 2015

Director: Thomas Vinterberg

Starring: Carey Mulligan, Matthias Schoenaerts, Tom Sturridge, and Michael Sheen
Synopsis: Bathsheba Everdene is a young, independent, and headstrong woman courted by three very different men as she faces not only choices but the consequences of her actions.

Review

I happened to see a trailer for Far from the Madding Crowd and was intrigued.  It was not one of the Thomas Hardy novels I'd read either in high school or college.  But the reviews were positive and I thought I'd give it a chance.  I'm very glad I did, as I enjoyed the film even more than expected.

AP English was my favorite high school class, and I was an English minor at BYU, so it was quite enjoyable to get in touch with that literary side again.  While superhero movies are fun, they don't often deal with matters of consequence: issues faced by normal, non-super people.  Far from the Madding Crowd is a love story.  But it also deals with matters like bad luck and good fortune, and how we deal with each.  It is about the choices we make and the consequences of making them flippantly.

Hardy -- at least in this novel -- carefully chose his characters' names.  Protagonist Bathsheba Everdene's three suitors are Sgt. Francis Troy, Mr. Boldwood, and Gabriel Oak.  I don't know if it was Hardy's intent, but Sgt. Troy reminds me of the Greek Troy, or more specifically, the Trojan Horse.  He's dashing and flashy on the outside, but full of deceit and misery.  Mr. Boldwood is a more mature gentleman, safe, secure, and deep-rooted.  He is also quite bold in his ardor.

And then there is Gabriel Oak, who is as good as his name implies.  "Gabriel" means "God is my strength."  While religion isn't prominent in the film, Gabriel is nonetheless a good, upright, honest, and kindhearted man.  He is also like an oak: steadfast, sturdy, and strong.  He takes all his setbacks in stride, relying on hard work and doing the right thing because it is right.  Seriously, he could give Mr. Darcy a run for his money in terms of most eligible literary bachelor.

Bathsheba's circumstances are to a degree similar to the Bible narrative in that she is married to one man and pursued by another.  And it gets messy.  That is the extent of the the similarities.  But the name also has an exotic flare to it, which suits the strong-willed, independent Miss Everdene (and yes, she is apparently the namesake of Katniss Everdeen from The Hunger Games).  Unlike the Bible Bathsheba, Bathsheba Everdene is in part to blame for some of her misfortunes and struggles.  On more than one occasion, she acts unwisely, with no thought of consequences.  With Troy she follows passion rather than reason.  With Boldwood she acts flippantly then indecisively, further leading him on.

Despite her faults, Bathsheba is a sympathetic, understandable, and even admirable character.  She learns from her follies.  And though she is often slow to take counsel or advice, she does eventually take it.  The same stubborn, strong-willed spirit that gets her into trouble also makes her an excellent mistress of the farm she inherits.  She's not content to sit in her study or let others oversee things.  She manages the farm herself, rolls up her sleeves and works alongside her hired hands, and stands up for herself as a woman in a man's world of commerce.

Among other things, it was immensely refreshing to watch a movie with virtually no visual effects (which made for surprisingly short credits).  I read that 2/3 of the film is shot outdoors, on location in England.  And that is one of the film's greatest strengths.  It's not about a bunch of people talking indoors.  It's people going about real life and real work in the great outdoors.  And it just so happens that those great outdoors are absolutely gorgeous.

The music for the film is also beautiful and well suited.  Carey Mulligan and Martin Sheen even sing a duet at one point, a melancholy English folk song called "Let No Man Steal Your Thyme."  It works perfectly within the story.

The only criticism I have of the film is that it at times felt condensed.  Some scenes felt like they were part of a slightly longer story, and we were getting the abbreviated version.  I was left wondering what additional material was in the novel.  That's not necessarily a bad thing.  It wasn't that anything felt particularly missing or that parts didn't make sense.  But it felt like there was more to it and the film didn't have time to go into those details.  Such is the nature of cinema.

Sadly, this film was only in limited release.  So you may have to wait and hunt it down on Netflix or Redbox.  But I highly recommend it.  Far from the Madding Crowd is a beautiful and worthwhile film.

*** Spoiler Section ***

Poor Mr. Boldwood.  He's a very likable fellow.  But he plays David to this Bathsheba and lets his ardor turn to obsession and finally to a fit of insanity and rage.  In the end, I felt more pity than anything else for him.  Michael Sheen does an excellent job portraying the layered gentleman.

I even felt a little bad for Sgt. Troy.  He's not a villain.  He's kind of a jerk and a greedy player.  But he genuinely loves (and mourns) Fanny.  The scene where he is outside swordfighting a post and then chasing chickens tells a lot about the man.  He doesn't know how to do anything but be a soldier.  What's more, he has realized he's made a mistake and will never find happiness on the path he has chosen.

My two favorite scenes both involve Gabriel.  The first is when, after having just fired him, Bathsheba realizes Gabriel is the only one who can save her sheep from sickness.  She sends for him, but he makes her swallow her pride and come ask him herself.  She had it coming.

The other moment is when Gabriel must (again) swallow his own disappointment.  Bathsheba (whom he loves) has just married Troy and on the night of their wedding celebration the farm is threatened by a storm.  When Gabriel asks for a few men to help cover and protect the grain harvest, Troy rebuffs him and refuses.  Gabriel has every reason in the world to throw his hands up in the air and get drunk like all the other men on the farm.  Instead, he goes out alone and starts covering the grain stacks by himself before the rain hits.  Seriously, such a good guy.

Quotable Quotes

• "Miss Bathsheba Everdeen, I have brought you a lamb." -- Gabriel
• "I intend to astonish you." -- Bathsheba
• "He said you'd say that.  His reply is: 'Beggars can't be choosers.'" -- Joseph, relaying Gabriel's message to Bathsheba

ISFS

Tomorrowland

Year: 2015

Director: Brad Bird

Starring: Britt Robertson, George Clooney, Raffey Cassidy, and Hugh Laurie
Tagline: Remember the Future
Synopsis: An optimistic teenager teams up with a jaded former boy-genius in order to find Tomorrowland and save the future.

Review

I wanted to like this movie.  I really, really, really wanted to like this movie.  It's directed by Brad Bird.  It's original.  It's visually stunning.  It's buoyantly optimistic.  It's ... kind of a mess.

The plot starts out like a mystery, as we follow Casey who finds a pin that "transports" her to Tomorrowland, a place where anything is possible.  But what she sees is only a sort of vision, and eventually the timer runs out.  Casey, and the audience, are then left to unravel where the pin came from, why, and how to get to Tomorrowland.  As a mystery, it does a relatively good job.  But then things start to fall apart.

The more we learn the more questions arise, many of which are simply never answered.  What really happened to Tomorrowland?  Where did all the robots come from?  Are there other people living in Tomorrowland, or is Governor Nix there by himself with a few guards that may or may not have been robots?  And those are just a few questions that don't spoil anything.

Also, why do all the robots in the film have such violent self-destruct protocols?  Once they are damaged to a certain degree ... BOOM!  I understand not wanting to leave behind evidence or sensitive information.  But why do they have to turn into bombs capable of leveling a building?

The framing device used at the start and end of the movie is also a bit problematic.  Yes, framing scenes can be a fun way to tell a story.  But in this case, it eliminated any actual worry about the main characters.  No matter what peril they were in, we already knew they'd survive to the end because they were telling the story.

I could have been more forgiving of the various plot holes had the characters been more likable.  Frank -- both old and young -- is likable and relatable enough.  But the rest of the characters were rather bland.  Athena was too distant and ... well, robotic.  Casey was just shy of being annoying.  Yes, she's optimistic.  But she's rather arrogant in her tactics.  She's like the film itself: heavy-handed.

I will say this, the visuals for Tomorrowland are superb.  And the world that is shown to Casey when she touches the pin is richly imagined and beautifully detailed.  The actual Tomorrowland Casey visits is a far cry from that utopia.  That was the problem with the film itself: big, beautiful promises but a disappointing, bland reality.

I didn't hate Tomorrowland.  It's not a bad movie.  But I had such high hopes and expectations for it, and it failed to deliver.  The visuals are terrific.  And it is imaginative.  My recommendation would be to give it a chance once it comes to Redbox or Netflix.

*** Spoiler Section ***

I'm still not entirely sure what Governor Nix was doing to "feed the wrong wolf."  Supposedly Frank was the only person in the real world who knew about and was watching the clock tick down until doomsday.  Was the tachyon machine thinger somehow going to cause the end of the world?  Seriously, I'm so confused.

Nix himself is confusing.  In the real world, various robots have been authorized by Nix to kill Frank and destroy Athena.  Yet when Frank, Casey, and Athena arrive in Tomorrowland, Nix greets them civilly, listens to them (well, kind of), and then offers to banish them with a cheery "good to see you."  It doesn't mesh.

While I'm still puzzling over how Frank had the "Edison tube" in his possession, watching the Eiffel Tower move apart to make way for a rocket was pretty darn cool.  Just how were they going to explain that in the real world?

One more nitpick.  Did Frank really spend the rest of his life pining over his childhood crush on a robot?

Quotable Quotes

• "All around you the coal mine canaries are dropping dead and you won't take the hint!" -- Governor Nix
• "Dreamers need to stick together." -- Athena
• "There are two wolves who are always fighting.  One is darkness and despair.  The other is light and hope.  The question is ... which wolf wins?"  "The one you feed." -- Casey and her father

ISFS

Avengers: Age of Ultron

Year: 2015

Director: Joss Whedon

Starring: Robert Downey Jr., Chris Evans, Chris Hemsworth, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Samuel L. Jackson, Paul Bettany, James Spader, etc.
Tagline: A new age begins.
Synopsis: In an attempt to create a peace-keeping robot, Tony Stark and Bruce Banner accidentally create a murder-bot: Ultron.  Mayhem and robot-smashing ensues.

Review

Blockbuster season has arrived, and with it, the latest Marvel film.  The season certainly starts off with a bang.  Age of Ultron is a fun movie.  It's got amazing visuals, more witty banter and one-liners than I could possibly include in my quotes section, and all the action and explosions you'd expect in a superhero movie.  It's a fun movie.  Is it a good film?  Well, no.  Not really.

The more I think about the movie, the more disappointed I feel.  The story just wasn't strong and the pieces felt cobbled together.  As fun, witty, and action packed as it was, Age of Ultron sort of feels like what would happen if a 9-year-old playing with their action figures was given a few hundred million dollars and told to come up with a story.  The climax features all the heroes together in one place fighting against all the robots.  There is much smashing of robots.  Civilians are jeopardized and saved.  There's even a great deus ex machina save at one point.

There are also a number of elements that just don't quite make sense.  Thor has a side story that was whittled down to the bare minimum.  What remains is solely to help tie the Marvel Cinematic Universe together.  They wouldn't want us to forget about all those Infinity Stones on the loose in every other film.

The film does do some things right.  Vision is a fascinating new character who I look forward to seeing more of.  And Quicksilver and Scarlet Witch are also nice additions to the lineup.  Until now, the Avengers were mostly good at shooting things, throwing things, or hitting things.  Having characters with completely different abilities is a welcome change.  For one thing, they bring new visual elements to the story.

One of the early trailers for the film shows the various Avengers trying -- unsuccessfully -- to lift Thor's hammer.  It's a fun, laid back scene in and of itself.  But it works even better within the story because there is a payoff later in the film.  It wasn't just there for fun, it became interwoven into the plot.  I only wish more elements were so well done.

I also appreciated how many of the characters were at a place they ought to be, psychologically, by this film.  Tony Stark is still shell-shocked from the first Avengers story line and wants to be able to "go home" and not always have to be a superhero.  That is why he creates Ultron ... which is, of course, an epic fail.  Maria Hill (who I always wish got more screen time) is clearly doing her somewhat frazzled best to keep everything together in a post-S.H.I.E.L.D. world.  Black Widow is trying to figure out her place in life.  And Nick Fury clearly can't give up his love for making a good entrance.

The best part of the film, though, was Ultron himself.  James Spader does a fantastic job as the voice of Ultron.  As much as I enjoy Loki, Ultron feels like a much stronger villain.  He's intelligent yet somehow lacks understanding.  He feels very broken, in a way, which makes him almost sympathetic until you realize how completely insane he is.

Everything else will have to go in the spoiler section.

I really, really wanted to love Avengers: Age of Ultron.  I certainly enjoyed the movie.  I laughed, or at least chuckled, quite frequently.  And I marveled at the visual effects and the fun action scenes.  It's a lot like cotton candy: colorful and fun, but lacking any real substance.

*** Spoiler Section ***

I'm not opposed to the budding romance between Bruce Banner and Natasha (aka Black Widow).  But it felt like it came out of nowhere.  Maybe I need to go back to the first Avengers movie and see if they did something to lay the groundwork.  But it just felt a bit thrown together.

I do have to give Marvel kudos for one thing though.  The big reveal for Black Widow is that as part of her assassin training program she was sterilized.  This is shown to be a pretty big deal for her.  By this time in her life, she mourns the fact she cannot be a mother.  I never thought I'd see the importance of family and motherhood stressed in a live action* superhero movie. The terrific irony is that Scarlett Johansson, the actress who plays Black Widow, was actually pregnant during filming.

There have been rumors for quite a while that someone would die in this movie: and actually stay dead (as opposed to Agent Coulson, Loki, or Nick Fury).  Hawkeye (aka Clint Barton) was certainly one of the most obvious choices.  The film proceeds to throw out every typical setup that he's going to be killed: he has a wife, she's pregnant and worried for his safety, he's got all these remodeling plans for when he comes home.  It was such a blatant, heavy-handed setup that I knew it had to be a bluff, which it was.  Right when you think Hawkeye is done for (saving a child no less), Quicksilver comes to the rescue and is killed instead.  While I didn't quite see that coming, it still failed emotionally.  After all the buildup, all I felt was "ha, I knew it was a bluff" rather than "gah, they killed the interesting new guy."

*But thank you The Incredibles.

Quotable Quotes

• "The most powerful element on earth ... and they used it to make a Frisbee." -- Ultron, talking about vibranium which was used to make Captain America's shield
• "All set up boss."  "Actually he's the boss.  I just pay for everything.  And design everything.  And make everyone look cooler."  Maria Hill and Tony Stark (who indicates Steve Rogers is the "boss")
• "Please be a secret door.  Please be a secret door.  Please be a secret door. [Finds a secret door.] Yay." -- Tony Stark
• "The city is flying.  We're fighting an army of robots.  And I have a bow and arrow.  Nothing makes sense." -- Clint Barton
• "You're unbelievably naive."  "Well, I was born yesterday." -- Ultron and Vision

ISFS

The Age of Adaline

Year: 2015

Director: Lee Toland Krieger

Starring: Blake Lively, Michiel Huisman, Ellen Burstyn, and Harrison Ford
Tagline: The world has changed in the last century.  Adaline has not.
Synopsis: A freak accident prevents Adaline from aging.  Almost 80 years of hiding her secret is a lonely way to live.

Review

Romances are not normally my thing.  Honestly, I tend to avoid them and react to their previews with eye-rolling and groans.  But the premise of The Age of Adaline caught my attention.  The fact Harrison Ford was in it didn't hurt either.  And frankly, sometimes its just nice to see something that isn't action, fantasy, or animated.  Still, I went in with low expectations.

I can't quite say I was pleasantly surprised, but I was at least pleasantly diverted during the course of the film.

The film is what it is.  It's a romance with a fantastical premise where a freak accident leaves a woman ageless, perennially 29 years old.  If you can accept that premise, you can enjoy the ride.

The film's most glaring mistake was that it seemed incapable of accepting its own nature.  The Age of Adaline is essentially a modern fairy tale.  So when a narrator starts doing his thing during the opening scenes, it's not too unexpected or strange.  Narrators are a familiar trope in fairy tales (see pretty much any Disney fairy tale for an example).  But instead of embracing that fairy tale/fantasy nature, the narrator seems to think he was hired to do a documentary on the Science Channel.  The film feels the need to offer a "scientific" explanation for Adaline's condition.  They even give it some theoretical name, explaining how the scientific principles of the "physiological reaction" will be "discovered" in the year 2035.

I suppose it is a sad commentary of our modern era that the film feels the need to rely on "science" rather than allowing for a magical or miraculous occurrence.  Who even needs an explanation?  Groundhog Day never offered one, and was a stronger film for it.  Honestly, the more "science" this film spewed the sillier it seemed.  Nothing says "romance" like a clinical breakdown of how the body reacts during hypothermia, right?

Even without the narration, The Age of Adaline is hardly groundbreaking cinema.  And it probably could have done more to delve into Adaline's character.  It feels as if we only see a few glimpses into the life of a clearly fascinating woman who has more stories to tell than could ever fit in a two-hour time slot.  But while the film isn't fantastic, it was on the whole enjoyable and it did some things quite right.

The film itself is beautiful.  And it is bolstered by an excellent cast.  Blake Lively is Adaline.  It is no small feat to portray a 106-year-old woman in an unchanging 29-year-old body.  But she does an admirable job of it.  Adaline embodies the adage "still waters run deep."  She is calm, reserved, somewhat aloof, but fascinating and mysterious at the same time.  She catches the eye of her love interest, Ellis, when she is sitting outdoors reading braille, because apparently during her 80 years of being stuck, she decided to learn braille.  Why not?  She also speaks fluent Portuguese and is not someone to play Trivial Pursuit against.  Adaline is likable and intriguing.  And as she is conflicted between having a relationship and hiding her secret, she is even relatable.

The film uses a number of means to offer glimpses into the life that Adaline has led over the decades.  Some worked better than others.  At least for me, the most poignant involved her dog, and watching her flip through a photo album filled with pictures of previous dogs.  Although she has a daughter, Flemming, for various reasons you realize those beloved dogs have been Adaline's only companions in her solitary existence.

Watching Adaline interact with her daughter -- who looks as though she were Adaline's grandmother -- is quite interesting.  I wished there had been more to their story.  But aside from a few flashbacks, we only see Flemming as an older woman who has long ago accepted her mother's condition and its ramifications on their relationship.

Although he doesn't have a lot of screen time, Harrison Ford's character, William, plays a pivotal role in the story.  Although it is a far cry from the brash smuggler or intrepid archaeologist characters that made him famous, Ford fills the role perfectly.  His character, Ellis' father, helps to ground the film (which it very much needs by the time he shows up) and bring perspective.

As I said, The Age of Adaline is what it is.  It's a charming, romantic fairy-tale that takes a few missteps and falls short of its potential.  But it is still likable (aside from the ridiculous narration) and beautiful.  It manages to have sentiment without turning into schmaltz.  If having read this you think it sounds interesting, go see it; you'll probably enjoy it.  If The Age of Adaline is not for you ... The Age of Ultron is almost here.

*** Spoiler Section ***

The story wraps up tidily and rather predictably.  It's a romance.  That's what they do.  You knew she'd run away and that something would stop her and bring about the final change of heart, allowing her to share her secret with Ellis.  I was glad the film showed restraint and skipped from "My name isn't Jenny" to telling Flemming (hours later), "He knows."  Thank you for not indulging in what would likely have been a sappy, over-the-top scene.

Quotable Quotes

• "That's the last picture I have of you."  "If you've seen one you've seen them all."  "That's true." -- Flemming and Adaline
• "Don't get sloppy.  It's the little things that trip you up." -- Adaline
• "She said she can't ... change." -- William to Ellis

ISFS

Freetown

Credible Credits

Year: 2015

Director: Garrett Batty

Starring: Henry Adofo, Michael Attram, Phillip Adekunle Michael, and Clement Amegayie
Synopsis: A group of LDS missionaries must flee from war-torn Liberia to the safety of Freetown, Sierra Leone.

Review

Director Garret Batty's previous film was The Saratov Approach, which I very much enjoyed.  So I was highly intrigued when I heard about his next based-on-a-true story film.  Freetown is a very good follow-up.

While the true story had been in the Ensign a few months ago, it didn't go into very many details.  Going into the film, I only had a general idea of what the outcome would be.  It is a credit to the film that despite what I did know, the movie had me on the edge of my seat at times.  There were many genuinely tense moments, especially in the start of the film.  The drama -- how it was acted, how it was shot, and how it was relayed -- was gripping.  From the start, I was invested in the film.

The story, however, becomes a road trip movie, as the missionaries flee from Liberia to Sierra Leone.  At that point, the film did start to feel a bit sluggish.  Instead of drama, there was a lot of talking.  Some of the discussions felt natural, but a few felt ... forced, so that certain faith-related topics could be checked off.

The film does address the issue of blacks and the priesthood, and to the film's credit leaves the resolution open.  The character who brings it up has found his internal reconciliation, but offers no pat explanation.  Without saying as much, the film's "answer" is "seek out your own answer" and then moves on.

There is some humor in the film, which stems from the personalities of the various missionaries.  Sometimes the humor felt a bit forced, but that was primarily because it was incredible to believe that anyone could find humor in such circumstances.  The missionaries leave because rebels are killing people, specifically people from a certain tribe.  Some of the missionaries watch helplessly as people are murdered.  The road trip is to preserve their lives, especially since one of the missionaries is a member of the tribe being hunted.  But while such circumstances are unfathomable to me, that was indeed a reality (and is still a reality in many places of the world).  I suppose you'd have to keep your humor to keep your sanity.

Despite a few rough patches with the story, the film itself is extremely well crafted.  I was stunned by the excellent cinematography.  The film was entirely shot in Africa and there is such a realism and beauty to the film because of that.  Also fantastic was the musical score, which felt perfectly suited to the film and never over done.

Freetown is rated PG-13.  It isn't graphic in any way, but it is intense.  Characters may not be killed on screen, but there is no mistaking they are killed off screen.  This certainly isn't a film for younger audiences.  But while it does have its flaws, it is an enjoyable film and a good film.  Freetown is definitely worth seeing.

*** Spoiler Section ***

The missionaries are assisted in their efforts by a man named Abubakar, who is a convert of 5 years.  On the rear windshield of his car, in big letters, is the reference Mark 9:24.  I'm not very good with New Testament references, so I had no idea what that verse was.  During the credits it happily explained.  The verse is: "And straightway the father of the child cried out, and said with tears, Lord, I believe; help thou mine unbelief."

Throughout the film, Abubakar has many doubts.  He fears they will never make it to Sierra Leone and asks the missionaries to simply hide in Liberia.  To his credit, he overcomes his fears and his doubts and moves forward.  Each time his doubts resurface, the missionaries encourage him to trust God.  The film is in some respects about Abubakar's spiritual journey, a fact the film might have done well to emphasize more.

Quotable Quotes

• "I teach by example."  "Example of not talking." -- Elder Nyanforh and Elder Gaye
• "We may not have faith to walk on water ... but we have faith to drive through it." -- Elder Menti
• "Is faith supposed to be so exhausting?" -- Abubakar

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Cinderella

Credible Credits

Year: 2015

Director: Kenneth Branagh

Starring: Lily James, Cate Blanchett, Richard Madden, and Helena Bonham Carter
Tagline: Midnight Is Just the Beginning

Review

Before I get to the feature presentation, I'd be remiss if I didn't mention the short that preceded it, namely Frozen Fever.  I believe I've mentioned before that I'm fully on board with these kind of short films.  It was fun to revisit Arendelle, Elsa, Anna, Olaf, and Kristoff.  It was an enjoyable way to sort of see what "happens" next after the main film is over.  The plot is simple enough: it's Anna's birthday and Elsa wants it to be perfect.  Unfortunately, Elsa gets a cold as only she could get a cold.  The song was catchy and the little story was quite funny.  It made me smile and a couple of the gags even made me laugh out loud.  Well done Disney.

From the time I heard Disney was planning a live action remake of their animated Cinderella, I was leery, to say the least.  I enjoyed the rather revisionist "sequel" Alice in Wonderland from a few years ago.  But I couldn't bring myself to go see the completely revisionist Maleficent, which seemed to ruin all I love about Sleeping Beauty.  This completely traditional Cinderella outshines both of those and more than justifies its existence.

For starters, the film is simply gorgeous.  The quaint settings, the exquisite wardrobe (granted I'm not one for fashion), the CGI magic: all are simply beautiful.  There's so much color and life to the film that it is basically eye candy.  It is a rich imagining of what a live fairy tale ought to be.  In that sense, it is a visual antithesis to Disney's recent Into the Woods.  Both are beautiful in their own way.  But their perspectives on fairy tale worlds are completely opposite.

Importantly, the cast for Cinderella is superb.  Richard Madden is both charming and sincere as the prince.  He has a lot more to do than his animated counterpart and has a good deal more depth and personality.  He's also clever and funny.  For her part, Lily James brings a much-needed sincerity to the role of Cinderella.  She truly comes across as courageous and kind.  But she also rounds out the character with frustration, exhaustion, grief, and at times despair.  It is clear that Cinderella isn't kind or optimistic out of some simple-minded naivete.  Her kindness and courage are her choice.  That is what this adaptation is all about: choosing to be kind and courageous in spite of heartbreak, disappointment, and cruelty.

I was skeptical of Helena Bonham Carter as the Fairy Godmother.  She bares little resemblance to the white-haired grandmotherly Fairy Godmother in the animated version.  But she brings a fun, quirkiness to the role and makes it work.  She is certainly a far cry from her previous wand-waving role, namely as the crazy, murderous Bellatrix Lestrange in the Harry Potter films.

Cate Blanchett is simply perfect as the stepmother.  Rather than "wicked" or "evil" she is jealous, vain, vindictive, and a bit cunning.  But the narrative also shows/explains some of what has led to her coldhearted state.

That is one of the strengths in general of the film: it has more time to explain things.  The first ten minutes of the film (give or take) are dedicated to Cinderella's youth, her mother's death, and her relationship with her father.  Such context adds a good deal of depth to the story.  We also get to see more of Prince Kit and his interactions with both his father and the grand duke.

There is an ongoing argument about the lack of strong female characters in movies.  While that has been changing some in recent years, too often the "strong" female character is a tough, no-nonsense, gun-toting (or bow and arrow toting) woman whose strength comes from an iron will, a sharp tongue, or a roundhouse kick.  I enjoy (some) of those characters.  They are fun and, to an extent, can be good role models.

I'm reminded, however, of Sister Margaret D. Nadauld's quote*: "The world has enough women who are tough; we need women who are tender.  There are enough women who are course; we need women who are kind."  Cinderella is about a woman who is strong because she is kind.  She shows courage not against aliens, monsters, or villains, but against cruelty, despair, and unfairness.  That is admirable.  Cinderella as a character is good, and that makes Cinderella as a movie great.

One more thing.  If you see the film (which you should), stay through the credits.  While there is no scene to watch, you will be treated to Lily James singing "A Dream Is a Wish Your Heart Makes" and Helena Bonham Carter doing her own rendition of "Bibbidi-Bobbidi-Boo."

*** Spoiler Section ***

The moment the stepmother smashes Cinderella's glass slipper, you know the film can't be resolved the same way as the animated version.  And that's a good thing, as it allows this film to distinguish itself and find what works best for itself.

That the prince (well, by that point, the king) has been incognito and tagging along with the search party is a nice touch.  He's not one to just sit back, twiddling his thumbs, idly hoping they find his mystery girl.  I also like that it is still the mice who help Cinderella out.  But really, what ultimately "rescues" Cinderella is her own goodness.  Rather than mope and feel sorry for herself and the unfair situation she is in, she chooses to treasure her memories and find joy in singing on a beautiful day.  It is a Disney movie after all.  Important things happen when characters sing.

The film also does a nice job of explaining the magic.  A touch of magic is why the stepmother and stepsisters can't recognize Cinderella at the ball.  And the magic in the glass slipper prevents it from fitting any other maiden's foot.

Quotable Quotes

• "I can't drive!  I'm a goose." -- the goose
• "I'm a lizard, not a footman.  Enjoy it while it lasts." -- a lizard
• "Have courage and be kind." -- Cinderella's mother
• "Do you have any watermelons?"  "Sorry."  "Cantaloupe?"  "I don't know what that is." -- Fairy Godmother and Cinderella (searching for something to become a coach)

*Sister Margaret D. Nadauld, "The Joy of Womanhood," October 2000

ISFS

Charade

Credible Credits

Year: 1963

Director: Stanley Donen

Starring: Cary Grant, Audrey Hepburn, Walter Matthau, James Coburn, Ned Glass, and George Kennedy
Tagline: You Can Expect the Unexpected When They Play ... "Charade"
Synopsis: After the mysterious death of her husband, a woman finds herself tangled in a web of mystery, danger, and lies ... all in pursuit of a vanished treasure.

Review

This film stars Audrey Hepburn and Cary Grant.  That alone is reason to see this classic film.  Also fabulous is the fact it is both a suspense/thriller and a romantic comedy.  What's not to love?

Charade has been dubbed "the best Hitchcock movie that Hitchcock never made."  The suspense/thriller aspect of it is simply that good.  But while there was often plenty of romance in Hitchcock's films, there wasn't a lot of comedy.  So I'm glad it was actually Stanley Donen who directed the film.  Incidentally, Donen was also the directorial genius behind Singin' in the Rain and Seven Brides for Seven Brothers.  (In case you are now wondering, Charade is not a musical.)

The script for Charade is one of my all-time favorites.  The dialog is terrific from start to finish, especially the banter between Reggie (Hepburn) and Peter (Grant).  They play off each other perfectly, whether it is an intense moment or a frivolous one.  The quips never feel forced and the witty charm is the natural result of casting such witty and charming stars.

Charade also has one of my favorite theme songs.  It was composed by Henry Mancini, who you might say was the John Williams of his day.  It is perfect for the movie and also perfect for the opening credits.  Yes, back in the day the opening credits were the big deal.  And Charade has an awesome animation sequence to start it out.

Lastly, Charade is fabulous because it is simply classy.  Grant is debonair and Hepburn is her usual flawless (and flawlessly dressed) self.  But more than that, it is morally classy as well.  Charade came out a year after the first James Bond film.  I've never been fond of 007 and his habit of going through numerous "Bond girls" in each of his films (Wikipedia lists over 80 over the course of 24 films).  Charade is wonderful in that it is "old-fashioned."  The film doesn't "show" anything because there isn't even anything to show.  Grant's character is ever the gentleman and Hepburn's character keeps her ardent advances within bounds.  It's a lot classier and thus a lot more romantic than anything in a Bond movie or anything in most suspense films of today.

I suppose I should mention that as a suspense/thriller, yes, there is a little violence.  But it is utterly tame compared to anything you'll see today.

I cannot remember a time in my life when I didn't love Charade.  The only sad thing about that is, I don't remember the first time I saw it, and thus don't remember my initial reactions to the twists and turns of the plot.  If you've never seen the film, I highly recommend hunting it down.  It has action, it has romance, it has comedy.  It has Cary Grant and Audrey Hepburn.  Basically, Charade has it all.

Quotable Quotes

• "You're blocking my view."  "Oh.  Which view would you like?"  "The one you're blocking." -- Reggie and Peter
• "I already know an awful lot of people and until one of them dies, I couldn't possibly meet anyone else."  "Well, if anyone goes on the critical list, let me know."  "Quitter." -- Reggie and Peter
• "What are you doing in here?"  "I'm having a nervous breakdown." -- Peter and Reggie
• "I'm beginning to think women make the best spies."  "... Agents." -- Reggie and Bartholomew
• "Of course you won't be able to lie on your back for a while.  But then you can lie from any position, can't you?" -- Reggie

ISFS

Paddington

Credible Credits

Year: 2015

Director: Paul King

Starring: Ben Whishaw, Hugh Bonneville, Sally Hawkins, Nicole Kidman, Peter Capaldi, and Julie Walters
Tagline: Please look after this bear.  Thank you.
Synopsis: A young, all-things-British-and-marmalade loving bear moves to London in search of a new home.

Review

I cannot remember the last time I was so thoroughly delighted at having watched a film.  By the time the credits rolled, I found myself chuckling at how terrific, wonderful, and charming Paddington was.  I do not use those adjectives lightly.

I'm not sure I was ever formally introduced to Paddington Bear (i.e., I don't recall reading the books as a child).  But I certainly knew the name and recognized the bear in the red hat and blue coat.  And tidbits like "Darkest Peru" and "marmalade" seemed to fit in my mental concept of the character.

When I saw the teaser trailer, I was intrigued.  But the main theatrical trailer -- which involved a toothbrush, ear wax, and a major plumbing fiasco -- left me rolling my eyes and expecting this to be another frenetic, low brow, slapstick-riddled debacle, ineptly ruining yet another childhood memory.  When the rave reviews started coming in, I was astounded.  Going into the theatre, I remained skeptical.

The movie trailer is Paddington's only fault.

Oh sure, not all the humor was quite my cup of tea.  But most of the humor was quite delightfully droll and wonderfully British.  Paddington isn't manic or rude.  He is completely charming, polite, and endearing.  And his earnest search for a new home will have you grinning.  Plus, as a bonus, he seems to have his own calypso band that serendipitously shows up on street corners to set the mood.  Where do I sign up for my own calypso band?

Whenever your main character is a CGI character, you need actors who are fully invested.  They are, after all, acting to nothing ... or perhaps a stuffed animal stand in.  The entire cast of Paddington -- which includes four Harry Potter veterans, a Downton Abbey alum, and the current Doctor -- is fully invested.  You get the feeling every one of them is honored to be bringing a cherished character to life and they all want to see it done right.  Nicole Kidman plays quite the over-the-top villain, which is what the story seems to call for (although she might be a bit intense for really young children).  Ben Whishaw rises to the challenge of being voice to Paddington, filling the bear with polite charm and innocent exuberance.

The story, in and of itself, is heartfelt and endearing.  But the film goes beyond that.  Paddington fully and brilliantly embraces its medium to tell the story.  It isn't just a story on film.  It's a story brought to life through the "magic" of cinema.  For instance, as Paddington is describing the Brown family in a letter, we actually pull back and see the house as if it were a doll house, a cutaway where you can see all the goings on at once.  Or there's the moment when Paddington is watching the old black and white newsreel of his home in Darkest Peru.  He walks right up to the screen projection ... and then right through it into his own vibrant memories.  The whole film is a cinematic joy to behold.

If this were a one word review, I would simply say, "Charming." At its heart, Paddington is a story about being a newcomer and finding where you belong. It is about family. If you have children, take them to see Paddington. If you don't have children, take your inner child.

*** Spoiler Section ***

The film had me from the opening sequence when the news reel video of the explorer talks about the "essentials" he took with him to Darkest Peru.  He lists off a "modest timepiece," and you see a hired local carrying a full size grandfather clock.

The film was already endearing long before the climax.  But throwing in both Mission: Impossible and Raiders of the Lost Ark references: perfect.  I laughed aloud at each.

Quotable Quotes

• "It's marmalade day!" -- Paddington
• "I named them after my mother ... and an exotic boxer I met in a bar once." -- the Explorer
• "Mrs. Bird has a hoover [vacuum] for every occasion." -- Paddington in a letter to his Aunt Lucy

ISFS

Unbroken

Credible Credits

Year: 2014

Director: Angelina Jolie

Starring: Jack O'Connell, Domhnall Gleeson, Takamasa Ishihara, and Finn Wittrock
Tagline: Survival. Resilience. Redemption.
Synopsis: The true story of Louis Zamperini: Olympic athlete, WWII bombardier, and prisoner of war.

Review

I got excited when I first heard about this film.  The trailers promised an outstanding, remarkable true story.  From what I've heard, the book is terrific.  And the story of Louis Zamperini's life is remarkable.  But there was nothing outstanding, remarkable, or terrific about this film.

Cinematically, it's not a bad film.  It's not a morally bereft film.  It wasn't shoddily made.  There are no gaping plot holes or failures in logic.  The cinematography was actually quite good.  And I remember thinking a few times that the musical score was quite pretty.  But ultimately, the film felt like a failure.

Honestly, if it weren't based on a true story, this would be a flat out terrible movie.  If it weren't true, it would be unbelievable.  Part of that is the somewhat confusing portrayal of the villain.  And part of that is because the film doesn't delve into the all important why.  Why did Zamperini remain unbroken, despite the unrelenting abuse he received?  The film failed to answer that.  From what we are given, he hung on through sheer grit, strength, and stubbornness.  As the film progressed, I actually felt less and less connected to Zamperini.  The film becomes simply grueling and unrelenting.

The tagline is "Survival. Resilience. Redemption."  Survival?  Check.  He survives the plane crash, survives being adrift, and survives being a POW.  Resilience?  Check.  He stays as positive as one could possibly expect while adrift at sea.  He gets up each time he falls (until no longer physically capable).  He refuses to compromise his integrity.  He perseveres through unrelenting abuse and ultimately triumphs over his abuser.  Redemption? ... Nope.

As portrayed in the film, Zamperini simply managed to not die.  Impressive?  Certainly.  But not necessarily heroic.  Survival, in and of itself, isn't heroic.  Surviving a horrendous ordeal and coming out a better person, learning to heal, and learning to forgive ... that's heroic.  That is Louis Zamperini's story.  That is why Louis Zamperini was "unbroken."  Yet none of that redemption was portrayed within the film.  Instead it was relegated to post film title cards.

Once the title cards appeared, that's when I realized what a complete failure the movie truly was.  I cannot think of another movie where the filmmakers so completely missed the point of the story they were trying to tell.  The movie (and biography) is titled Unbroken, and yet none of the filmmakers seemed to understand just what that meant.  What Zamperini did with his life after he returned home, that was where the story was.  I'm sure there were other POWs who also survived, but sadly returned home as broken men.

The film could have shown half the abuse and then spent the rest of the time focusing on how Zamperini adjusted to life back home.  He did return broken, with struggles, and nightmares, and PTSD.  His finding faith, learning to forgive the Japanese in general and his abusers in particular, and his ability to find healing and redemption should have been the crux of the story, the triumph of the story, not the afterthoughts in title cards.

One final pet peeve.  While the film's score was quite nice, the song that played during the credits was not.  I'm honestly not sure what it even was.  The song was so modern sounding that it felt completely incongruous with what I had just watched.  I tuned it out while watching the credits.

Louis Zamperini's life was an incredible story.  I'll give the film credit for introducing me to it.  But the film didn't do justice to what made his life such an incredible story.  I haven't read the book, but I'd recommend the book over the movie.

*** Spoiler Section ***

I'm not even sure this needs to go in the spoiler section, but I'll put it here any way.

If the filmmakers wanted the whole lifting the beam above the head thing to be the triumphant climax of the film (which it is), they really shouldn't have put it on the movie poster.  The poster spoils the climax.  Having seen the poster, I was basically waiting for that moment.  It was inevitable.  There's not much feeling of triumph in the inevitable.

Quotable Quotes

• "If I can take it, I can make it." -- Zamperini
• "The ground feels weird." -- Phil (after having been adrift at sea for 47 days)

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