Darkest Hour

Year: 2017

Director: Joe Wright

Starring: Gary Oldman, Lily James, Kristin Scott Thomas, Ben Mendelsohn, and Stephen Dillane
Tagline: Never, never, never surrender
Synopsis: Winston Churchill's tumultuous first weeks as prime minister during WWII.

Review

If you haven't heard of Joe Wright's Darkest Hour, that's unfortunate.  The film is brilliant and already getting awards buzz.

The story follows the first few weeks of Winston Churchill's first term as Prime Minister of the United Kingdom.  Neville Chamberlain has resigned after a vote of no confidence.  Hitler's armies are steadily taking over all of Europe.  British and French troops are retreating to Dunkirk.  Some parties in the government believe a treaty with Germany is Britain's only hope of survival.  Into this scene strides fiery and tenacious Winston Churchill: the right man, in the right place, at the right time.

The story primarily rests on Winston Churchill, portrayed by (a completely unrecognizable) Gary Oldman.  I will be stunned if Oldman is not nominated for Best Actor.  He fully embodies the role.  His intellect, charisma, temerity, vulnerability, and wit carry the film from start to finish.  For a film entitled Darkest Hour, there is a surprising amount of humor, much of which emanates from Churchill's keen wit.

As some of the characters freely admit, Churchill is a somewhat fearsome, offputting individual.  His wife regrets that others don't see him as she does or love him as she does.  This is where Lily James' character, Elizabeth Layton, comes in.  Elizabeth was one of Churchill's personal secretaries.  In the film, she not only serves to typewrite his speeches, she serves to be his link to the common people.  She provides his first glimpse at the strength and resolve of the British people.  She also provides a way for us as the audience to approach the seemingly unapproachable Churchill.

It's always interesting to watch a story like this from the safe side of history.  We know the outcome.  That the film remains engaging and gripping is a tribute to the filmmakers and actors.

I'll admit, there were times when I wanted to take Neville Chamberlain and Lord Halifax (both proponents for negotiations) by the lapels and shout at them that a treaty with Hitler and Nazi Germany would be ludicrous, dangerous, and ultimately disastrous.  They had no idea what Hitler and the Nazis were truly up to.  And they didn't know.  But we know from this side of history.  WWII was not a repeat of WWI.  Our modern perspective can make some characters' reasoning appear baffling.

Although the events of Darkest Hour took place almost 80 years ago, the story is ever relevant.  It is a story about leadership, true leadership.  It is a story about standing up for what is right, rather than what is easy.  It is a story about raising a light in the darkness.  And it is inspiring.

One random note: director Joe Wright clearly loves the visual nature of typewriters.  There were many extreme closeups for dramatic emphasis.  Typewriters and Winston Churchill were both about words and the placement thereof.  It works well.  (It's a bit sad how visually boring modern technology is by comparison.)

The film is rated PG-13 for thematic material and some swearing.  It also shouldn't come as much of a surprise that Churchill spends large portions of the film smoking and/or drinking.

Darkest Hour is a really good film that turns into a great film by the third act.  It deserves the awards buzz it is getting.  And it deserves a view.  It also pairs nicely with another of my favorite films from this year: Dunkirk.  (Operation Dynamo -- the code name for the evacuation of Dunkirk -- was a crucial part of Churchill's first few weeks in office and helped him gain the approval he needed.)  If you enjoy WWII dramas or good dramas in general, don't miss Darkest Hour.


*** Spoiler Section ***
There are two scenes in the film which turned it from being a really good film I was glad I was watching into a great film I look forward to owning and watching again.

The first scene may very well have happened.  It starts with Churchill -- who battled with depression -- being comforted and encouraged by his wife.  She then lets in a visitor: none other than King George VI.  What follows is a terrific, honest exchange.

The second scene probably didn't occur in reality.  But it works brilliantly in the film.  On his way to meet with the War Cabinet, Churchill goes rogue, leaves his chauffeured car, and takes the Underground instead.  What follows is a humorous but stirring scene between Churchill and common Londoners, all of whom are ready to fight on and never surrender.  Fictitious it may be, but it is great nonetheless.  It's the kind of scene we wish had really happened.

Quotable Quotes

• "How do you drink during the day?"  "Practice." -- King George VI and Winston Churchill
• "Will you stop interrupting me when I'm interrupting you!" -- Winston Churchill to Lord Halifax
• "What just happened?"  "He mobilized the English language and sent it off to war." -- Parliamentarian and Lord Halifax
• "We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender!" -- Winston Churchill

Ferdinand

Year: 2017

Directors: Carlos Saldanha

Starring: John Cena, Kate McKinnon, Bobby Cannavale, Lily Day, David Tennant, and Jerrod Carmichael
Tagline: Built to fight.  Born to love.
Synopsis: Ferdinand the bull just wants to enjoy the flowers, but the world sees him as a fighter.

Review

I've always sort of known the character of Ferdinand the bull.  I probably saw the Disney animated short as a kid.  But all I remembered through the years was the image of a bull, sitting under a tree and smelling the wildflowers.  I didn't know how well the short story would transition to feature length.  The answer is: tolerably well.

Ferdinand is one of those likable animated movies that entertains you in the moment but is largely forgotten soon thereafter.  It didn't feel long, but there were certainly scenes thrown in to expand the run time and to appeal to the kiddos.  But overall the story is straightforward and true to the source material.  It's enjoyable.

Ferdinand himself, voiced by wrestler-turned-actor John Cena, is the best part of the film.  He's a great character and Cena really brings him to life.  He's charming, lovable, and funny.  Ferdinand carries the weight of the movie and keeps it on track.

As for the rest of the characters, well, they seemed like the stock characters you get in most kid's movies.  Lupe the goat actually got on my nerves pretty quickly.  The only unexpected character was Angus, a Scottish hairy coo who can't see well because his hair is in his eyes.  (I suppose I liked him simply because he's a Scottish hairy coo.)

Ferdinand is sweet and funny, but sometimes it tries too hard in the latter category.  The horses (with stereotypical German male model accents) were unnecessary and there only for added humor.  Ditto for the random "dance off" between the horses and the bulls.  Mildly amusing, but mostly filler.

The biggest problem with Ferdinand is that all the best parts of the movie were in the trailers.  There were very few surprises and even fewer additional jokes.  If you've seen the trailers, you've basically seen the movie.

That said, Ferdinand was enjoyable enough and kids will like it.  The message of being true to yourself comes out without feeling forced.  If the kids need a movie and they've already seen Coco, by all means, see Ferdinand.

*** Spoiler Section ***
I'm not sure it's much of a spoiler, since the scene is hinted at in the trailer, but the scene in the arena with El Primero is pretty good.  Ferdinand is poked and prodded to fight but ultimately refuses, choosing instead to sit down and face the matador's sword.  That scene was well done and hit the right emotional notes.

Quotable Quotes

• "If this rock moves before I count to three ... [a bird swoops in and takes the rock]  What could you possibly need that for?!" -- Ferdinand
• "Your turn!" -- Ferdinand to the other bulls about resuscitating the rabbit
• "Face on fire!" -- Ferdinand

Approaching the Manger with Confidence

In the classic Christmas film Mr. Krueger’s Christmas, the titular character has a dream that finds him as a visitor to the Nativity scene.  As he approaches the Christ child – the only one aware of his presence – he notes his own humble attire and lack of any gift.  Still, he approaches.  He approaches with expressions of gratitude and love.  But he also approaches the manger with confidence.  As he kneels at the manger, Willie Krueger kneels before not only his Savior and King, but also his trusted and beloved Friend.

A few years ago, Elder Jorg Klebingat taught us ways to approach the throne of God with confidence.  At this Christmas season, can we not also think on ways to approach the manger of Christ with confidence?  In doing so, we can take guidance from those who were there.

Mary approached with deep reverence as she “kept all these things, and pondered them in her heart.”  Joseph approached with obedience as he “did as the angel of the Lord had bidden him” and protected both Mary and the Christ child.  The shepherds approached with gratitude, “glorifying and praising God for all the things that they had heard and seen.”  The wise men approached with sacrifice, traveling far and bearing treasures to offer a King.  Moreover, they each approached Christ and the manger with humility.

Reverence, obedience, gratitude, sacrifice, and humility: these were the gifts they brought to lay before the manger.  In doing so, shepherds and magi, handmaid and carpenter could also approach with confidence.

The final verse of “In the Bleak Midwinter” reads: “What can I give Him, poor as I am? / If I were a shepherd, I would bring a lamb. / If I were a wise man, I would do my part. / Yet what I can, I give Him – give my heart.”

Before we start rockin’ around the Christmas tree, before we dream at a Yuletide fire, before we assemble for our family feast, let us first remember to gather at the manger.  And may we, like Mary and Joseph, the shepherds and the wise men – and yes, even Willie Krueger – kneel there with gratitude, humility, and confidence.

Merry Christmas!

The Man Who Invented Christmas

Year: 2017

Director: Bharat Nalluri

Starring: Dan Stevens, Christopher Plummer, Jonathan Pryce, Anna Murphy, and Justin Edwards
Tagline: How Charles Dickens wrote A Christmas Carol and created a tradition
Synopsis: After three flops, Charles Dickens decides to write a Christmas story, which leads him on a personal journey as well.

Review

The title of the film is a bit misleading.  The story is more about how Dickens wrote A Christmas Carol than it is about how doing so reshaped the traditions of Christmas in Victorian England.  Some sense of the latter comes across.  But that may be because I've read about Dickens' influence and could read between some of the lines.  Title aside, The Man Who Invented Christmas is an enjoyable holiday film.

I don't know how many liberties the film takes with the truth.  Dickens did write A Christmas Carol in a pinch.  His last three works hadn't sold well, and by the time he had the idea to write a Christmas story, it was about six weeks until Christmas.  It's likely unknown how much inspiration Dickens drew specifically from the world around him or from encounters he had.  But even if fiction strays from the facts, the gist is there.  And it helps bring A Christmas Carol to life in a new way.

The more familiar you are with A Christmas Carol, the more you will enjoy The Man Who Invented Christmas.  I've read the story many a time.  I loved seeing all the details that would show up in the story (like the brass door knocker and the chain-clad safe) and hearing words that would eventually come from Scrooge's mouth.

The story centers on Charles Dickens himself, and Dan Stevens brings the author to life with energetic zeal.  Dickens is almost manic-depressive as he feverishly tries to write the story only to be interrupted left and right.  The chief distraction is his own father: a kind and generous man who is also an incorrigible spendthrift.  Dickens characters also take on lives of their own in his imagination.  Ebenezer Scrooge -- brilliantly portrayed by Christopher Plummer -- follows Dickens around as both inspiration and critic.

The heart of the film is the climax of A Christmas Carol.  It's almost frustrating to watch Dickens wrestle with the ending of his tale, which for us is a foregone conclusion.  Can a "covetous old sinner" like Scrooge really change?  Yes.  He can.  He must.  But Dickens isn't so sure.  And in order to write that redemptive ending, Dickens must first come to terms with his own ghosts of the past and the shadows he can't let go of.  Thus Dickens and Scrooge find their redemption together.

It doesn't entirely work, but it works well enough to be satisfactory in the film.

The film is rated PG for thematic reasons.  I don't remember any swearing.  There are a few dark/scary moments.  Any child who can handle A Christmas Carol can manage this take on it.

Unfortunately, the film didn't get a lot of press.  Nor did it get a very wide release.  You may have to hunt a little in order to see it.

The Man Who Invented Christmas doesn't quite live up to that title.  Nor does the "making of" capture all that makes A Christmas Carol the timeless literary masterpiece it is.  But as a fresh take on a familiar tale, it is an enjoyable film.  It will get you in the holiday spirit, even if it doesn't fully explain how Dickens' work revived that spirit.  I enjoyed it and will likely watch it again next Christmas.  But now I need to go watch Muppet Christmas Carol again.


*** Spoiler Section ***
Dickens gets A Christmas Carol published in time and it becomes a huge success that helps rekindle the spirit of Christmas in Victorian England.  OK, that's not really a spoiler.

Quotable Quotes

• "I'm the author!"  "Allegedly." -- Charles Dickens and Scrooge
• "People will believe anything if you are properly dressed." -- Charles Dickens and John Dickens
• "No life is useless that lifts the burden of another." -- Charles Dickens
• "No!  You can't kill Tiny Tim." -- Tara
• "I knew you and I would make something great together." -- Charles Dickens to Scrooge

Coco

Year: 2017

Directors: Lee Unkrich and Adrian Molina

Starring: Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, and Alanna Ubach
Tagline: The celebration of a lifetime
Synopsis: In following his dream to become a musician, Miguel finds himself in the Land of the Dead where he must uncover the truth behind his family's ban on music.

Review

Before the feature film is a (not-so) short film: Olaf's Frozen Adventure.  It was a bit twee at points.  It was much longer than it needed to be.  But by the end, it was better than I'd expected and it made me smile (mostly because of Sven and a hawk).

On to Coco!

In a return to what it does best -- original stories that tug at your heartstrings -- Pixar has crafted yet another winner.  I've seen it twice already and look forward to seeing it again.

Although it didn't strike me immediately, I later realized that Coco is Pixar's first musical.  Others of their movies feature songs in the soundtrack, but they don't have the characters themselves breaking into song.  Well, there is Mike Wazowski's "Put That Thing Back Where It Came From," but that doesn't really make Monsters, Inc. a musical.

Coco is a realistic musical.  By that I mean the characters sing in a way that wouldn't be strange in the real world.  Miguel sings at a talent show.  Ernesto sings in a musical production.  This isn't the kind of musical where a character breaks into song to express their emotions and the entire village joins in with harmony and choreography.  Not that there's anything wrong with that kind of musical, but the realistic approach suits Coco, which has enough non-realistic things going on.

The songs are short and fun and suit the film and the characters.  The main song of the film is "Remember Me," and it has been stuck in my head since I saw the film.  There are actually three versions within Coco, two of which will tug at your heart.

Pixar has raised the bar once again in terms of animation.  Coco is breathtakingly beautiful.  The lights, the colors, the marigold petals, the alebrijes, all are gorgeous to look at.  Think back to what Andy and Sid looked like in Toy Story.  Then look at Miguel and Hector.  Animated humans have come a long way since Pixar's early days.  Even the differences in hair and water textures from The Incredibles to now are amazing.  And if that wasn't enough, I read that the animators took the time and effort to ensure that all guitar playing in the movie is accurate.  Miguel is correctly fingering the music when he plays.  Impressive.

I love the humor of Coco (and, let's be honest, of most Pixar films).  The jokes aren't forced, manic, or crude.  They flow naturally from the characters and the situations.  We chuckle at Miguel's family because we recognize ourselves and our own families.  Dante (the Xolo dog) is also fun.  He has some great facial expressions.

Coco would be a good film if it were simply beautiful and funny.  But it's more than that, which is what has long set Pixar film's apart.  Coco has heart.  It's not about Miguel hanging out with skeletons on the Day of the Dead; it's about Miguel connecting with his family in both the living world and the land of the dead.  Miguel's passion is music.  But as his journey continues, he realizes that family is most important of all.  Coco is about treasuring the family we have and remembering the family that has gone before us and the legacy they left us.  Honestly, Coco is like one brilliant, poignant plug for family history work.

The film is rated PG for thematic reasons.  It is a movie that deals unashamedly with death after all.  If your kiddos were OK with The Incredibles they'll be fine with Coco.

Coco is all about what Pixar does best.  It's not quite up to the same level as Finding Nemo, Up, or WALL-E, but it comes pretty close and is a fitting addition to the Pixar lineup of heart-tugging films that take us where we've never been before.  Go see Coco.  Then go home and call your parents/grandparents.


*** Spoiler Section ***
That Hector is actually Miguel's great great grandfather didn't surprise me.  I'd put that together when Hector first showed himself to be a musician.  The fact that Ernesto never questions that he has a great great grandson, and never asks about his family, says quite a bit about Ernesto's character in life and in death.

I went into the film wondering why it was named "Coco."  As the film unfolds, it becomes clear.  Mama Coco is the link, the link between the living and the dead.  She is the link between Miguel and Hector and between Hector and the world of the living.  Coco is why Hector did some of things he did.  And Coco is why Mama Imelda did some of the things she did.

Quotable Quotes

• "I asked for a shoe shine, not your life's story, kid." -- Mariachi player to Miguel
• "I'm terribly allergic."  "But Dante doesn't have any hair."  "And I don't have a nose, yet here we are." -- Clerk and Miguel
• "We need to borrow your guitar."  "Like how you borrowed my van, and my mini fridge, and my femur?!  Where's my femur, Hector?!" -- Hector and Chicharron
• "Aw, that's such a sweet sentiment.  And such bad timing!" -- Hector to Miguel