Hidden Figures

Year: 2017

Director: Theodore Melfi

Starring: Taraji P. Henson, Octavia Spencer, Janelle Monae, Kevin Costner, Kirsten Dunst, and Jim Parsons
Tagline: Meet the women you don't know behind the mission you do.
Synopsis: During the dawn of the space race, three black women helped NASA put America into orbit.

Review

It takes quite a movie to unseat Rogue One from the top of the box office.  Hidden Figures is quite a movie and deserving of that honor.  It's inspiring, fun, engrossing, and all around well made.

Films like this are really interesting in that they take what to me is history and make it come alive.  For me, Sputnik as the first satellite and Yuri Gagarin as the first man in space are facts recorded in history books.  I also know about Neil Armstrong setting foot on the moon, thus "winning" the space race with Russia.  To me there's nothing dramatic about those things.  They're a historical given.  Not so in the world of the film, where there is very much a "How could we let this happen?!" mentality as the Russians send first Sputnik then Gagarin into space while NASA sputters.  Adding to my mentality shift, I saw the movie with mom who was in college during the time portrayed in the film.  She remembers listening to the radio and watching the television as these events unfolded.

Any film that can make history come to life in an exciting and fresh way gets points from me.

Of course Hidden Figures is about more than the space race.  The film strikes a good balance in terms of its portrayal of the segregated realities of l960s Virginia.  It never feels heavy handed.  But it also doesn't feel like it pulls any punches.  While there were plenty of times when I could only shake my head in frustration at some of the idiotic actions and words of some people, overall the film has a sense of hope and of moving forward with unified purpose.

The growing movement led by Martin Luther King is mentioned a few times during the film.  But the underlying message of the story is that the world isn't changed just by men like Doctor King.  It's changed by the "hidden figures" who live their lives and do their jobs with not only character and decency, but with purpose, gumption, and brilliance.  The more Katherine shines, the more other characters are forced to recognize her efforts and contributions.  The same is true of Dorothy and Mary.

It is the characters that make Hidden Figures shine.  Katherine, Dorothy, and Mary are all inspiring women.  They are intelligent, hardworking, tell-it-like-it-is women who also each have a good sense of humor.  I suppose you'd have to have a good sense of humor to put up with some of the nonsense they deal with.  The supporting characters also do a good job, especially the oft-exasperated Al Harrison (Kevin Costner) whose head is in space and can't always fathom the division going on here on earth.

My only critique of the film is that it felt a bit slow during the scenes with Colonel Jim Johnson and Katherine's courtship.  As part of Katherine's story, it makes sense to include it.  But it sometimes felt as though the film-makers weren't entirely sure what to do with those scenes other than fit them in.

Hidden Figures is rated PG and has some mild swearing.  There were moments of injustice where I wanted to shout "C'mon!" at the screen.  But there were more moments where I wanted to cheer at the triumphs.  Do yourself a favor and go see this excellent film.

*** Spoiler Section ***

As I said above, Hidden Figures never feels heavy handed, including in its resolutions.  For example, for most of the film Paul Stafford (Jim Parsons) has been standoffish (at best) toward Katherine.  Rather than end their arc with some forced apology, we see two small yet meaningful actions.  First he lets her add her name next to his on a report (something he adamantly refuses during previous attempts).  Second, he brings her a cup of coffee.  We see that his views have changed.  That is more powerful than a trite speech.

I have two favorite scenes in the movie.  The first is when Dorothy triumphantly marches all her "West Area" ladies from their segregated building to across the campus and into the shiny new IBM computer room.  The other is when Al Harrison throws open a door, shouts Katherine's name as she dejectedly heads down a hall, and holds up a security badge to her.  Those moments deserve far more cheers than any superhero saving a city.  Those moments -- or at least similar moments -- actually happened.  Those moments change lives.  And slowly but surely, they change the world.

Okay, my third favorite scene is the IBM people having to explain that the brand new computers they are delivering don't fit through the doors to the room.  All Al Harrison can come up with is "use the big hammer" to tear down the doorframe. #ProblemsofProgress

Quotable Quotes

• "We can't justify a space program that doesn't put anything in space." -- NASA big wig
• "Use whatever bathroom you want, preferably one close to your desk" -- Al Harrison to Katherine after he has torn down the "colored" ladies room sign
• "Yes, they let women do some things at NASA, Mr. Johnson.  And it's not because we wear skirts.  It's because we wear glasses." -- Katherine to Jim
• "There is no protocol for women attending."  "There's no protocol for a man circling the Earth either, sir." -- Paul and Katherine

ISFS

A Monster Calls

Year: 2016

Director: J.A. Bayona

Starring: Lewis MacDougall, Felicity Jones, Sigourney Weaver, Toby Kebbell, and Liam Neeson
Tagline: Stories are wild creatures.
Synopsis: A tree monster visits young Connor to help him cope with his mother's terminal illness. 

Review

A Monster Calls is an interesting film in that it deals with very real, very human problems, but it does so with an element of the fantastical.  The titular monster comes to Connor one night and explains that he's going to tell him three stories on different days.  After he has told the third story, it will then be Connor's turn.  He must tell the monster a story, the story of his recurring nightmare.  As the monster terms it, Connor must tell the monster his "truth."

When not being told stories by a tree monster, Connor must continue going about his normal life.  This includes distracting himself with drawing late into the night, being bullied at school, arguing with his strict grandmother, seeing his partly estranged father, and watching as treatment after treatment fails to heal his mum.  Over and over he tries to tell others he's "fine" only to have things unravel more and more.  Connor is scared, angry, and in pain.  And odd as it may seem, he needs a monster to help him through it.

The visuals in A Monster Calls are stunning.  It was amazing to watch the monster first come to life.  Even more beautiful are the first two stories the monster tells.  As he narrates, the stories are brought to life through animation that is stylized to look like watercolor paintings.  They are mesmerizing to watch.  [The closest comparison I can come up with is "The Tale of the Three Brothers" from Harry Potter and the Deathly Hallows.]  The tales themselves are also interesting.  They play out not as one would expect.  "Humans are messy creatures," the monster observes as he tries to teach Connor a few lessons.

As much as I enjoyed the film, it did have a few flaws.  The scenes with the bullies felt a bit overemphasized.  Nor did they quite convey what I believe they were supposed to: that Connor is almost seeking out their abuse as a way for him to deal with his own anger and pain.

Another weak spot was Sigourney Weaver.  For most of the film she seemed not quite the right fit for her role.  That said, she did an excellent job during the scenes where her own grief surfaces.

For their parts, Felicity Jones was perfect as the ailing young mum and Lewis MacDougall was completely believable in the wide range of emotions he was called to convey.  The two of them really grounded the film.  Liam Neeson was also perfect as the voice of the monster.  [I'm reminded of his work as Aslan in the Chronicles of Narnia films.]

A Monster Calls is rated PG-13 for some scary images and mature themes.  While it has fantastical elements, it's not a fantasy for kiddos.  What it is is a beautiful, honest look at the messiness and healing that can be found through the grieving process.  It's a film that reminds there is power in stories and there is power in the honest truth, no matter how painful.

*** Spoiler Section ***

As Connor is looking through old pictures of his mum, there is one of her as a girl with her father (who apparently passed away at some point before Connor's birth).  The father is portrayed by Liam Neeson.  Is the monster her father, come to help his grandson heal?  Later, as Connor looks through his mum's book of watercolors, he finds pictures from the monster's stories and a final picture of the monster himself.  Perhaps the stories were ones her father told her before his death.  Or perhaps the monster came to help her through her own grief at her father's death.  I love that it is left unexplained.

The last third (or so) of the movie is the most powerful and poignant.  Though he would almost rather die than tell his secret -- his truth -- Connor does finally tell the monster of his nightmare.  In doing so, he admits the truth he is ashamed of: that he wants it to be over.  He is ashamed of that truth.  He hates himself for that truth.  Because he knows the only "over" is his mum's death.

The monster wisely points out that what Connor wants -- what he really wants -- is for his pain to be over.  He points out the dichotomy of pain and grief: we want it to end while not wanting it to end because of what it means.  It's a powerful and difficult truth, and one that applies to more than the death of a loved one.  But it is only in finally facing that truth -- those fears, that pain -- that Connor can begin to heal.  Thus he is ready (as ready as a breaking heart can ever be) to tell his dying mother "I don't want you to go" while also being able to let her go.

Grief is hard.  It is messy.  A Monster Calls does an excellent job portraying that.

[As a side note, earlier in the week I saw Rogue One again.  That's two films in one week where Felicity Jones' character dies.]

Quotable Quotes

• "Sometimes there's just messily ever after." -- Dad
• "What should I destroy next?  It is most satisfying." -- The Monster
• "It will be hard, very hard.  But you will get through it." -- The Monster
• "I want it to be over!" -- Connor
• "It starts with a boy: too old to be a kid, not old enough to be a man." -- The Monster

ISFS

La La Land

Year: 2016

Director: Damien Chazelle

Starring: Ryan Gosling, Emma Stone, and John Legend
Tagline: Here's to the fools who dream.
Synopsis: Aspiring actress Mia and jazz pianist Sebastian pursue their dreams.

Review

My previous review was of a "let's put on a show!" musical.  La La Land on the other hand is the kind of musical where there's a definite story to tell and the characters burst into song and dance because that's where their emotions lead them.  The former will entertain the kiddos, the latter is a fantastic movie.

With the exception of a couple of 80s songs during an embarrassing gig (even serious musicians have to pay the rent), the music of La La Land is original.  And I thoroughly enjoyed it.  Since seeing it, the various songs have been stuck in my head and I don't even mind.  "City of Stars" and "Audition" are both haunting melodies that stick with you.  And the "A Lovely Night" song and dance number will put a grin on your face.  Oh, and the film starts with a musical number set during a traffic jam.  Because Los Angeles.

But La La Land is more than a string of song and dance numbers.  There's a story to tell.  Part of it is a love story between Mia and Sebastian.  The other part is a love story between them and their individual dreams.  And the bittersweet thing is, those dreams aren't always compatible.  Emma Stone and Ryan Gosling both give it their all to create believable, passionate, and vulnerable characters.  They carry the film with grace and toe-tapping glee.

The film is rated PG-13 for some language.  The language isn't excessive, but there is one F-bomb.  There is nothing else.

La La Land is a terrific film.  It's upbeat and bittersweet, original and breathtaking.  I'm not sure it entirely lives up to the hype surrounding it, but it is still a beautiful film worth seeing, especially if you love musicals, and even if you don't.

*** Spoiler Section ***

The epilogue, that's what got to me.  Seeing what might have been through Sebastian's eyes and music as he seemingly asks himself, "Could I have had it all?"  I don't know if that sequence is what would have been or is simply what he wishes could have been.  Near as I can tell, the dream sequence differed from how things actually played out based on choices Sebastian made (it is his fantasy after all).  Instead of following success, he follows his heart and Mia.

Even before the sequence, I was wondering why on earth Sebastian didn't go with Mia to France.  Dude, they have jazz in France!

As I've thought about La La Land, I think it was trying to pay homage to Casablanca.  In one scene, Mia notes a studio lot window that was used in the classic film.  That theory certainly fits with the final sequence where two former lovers meet by chance in a club and the piano player (in this instance Sebastian) plays "their" song.  The irony is that one of the famous lines from Casablanca is "We'll always have Paris" when in this instance, they could have had Paris.

Also, while it seemed like Mia got all she wanted, it was hard to be happy for her when we know nothing of this "David" fellow she's suddenly married to.  Hopefully he is more interesting than Greg (the guy she was dating before Sebastian).

*** Other Spoiler Section ***

Initially, I didn't enjoy La La Land as much as I had hoped to.  Part of that is the bittersweet ending.  The hopeless romantic in me wanted the fantasy finale to be the real ending.  But really, the bittersweet of the film stems from the fact that I am a fool who dreams.  I've had many dreams throughout my years, and yes, many of them were Hollywood dreams.  At some point, however, every dreamer has to count the costs and make a decision.  Some dreams pan out.  Some dreams get placed gently, reluctantly, on a shelf.  C'est la vie.

Quotable Quotes

• "Will you grab my keys?"  "What kind?"  "It's a Prius."  [There are a dozen such keys.]  "That doesn't help me." -- Mia and Sebastian
• "City of stars, are you shining just for me?  City of stars, there's so much that I can't see." -- Sebastian
• "Here's to the ones who dream, foolish as they may seem.  Here's to the hearts that ache.  Here's to the mess we make." -- Mia 

ISFS

Sing

Year: 2016

Director: Christophe Lourdelet and Garth Jennings

Starring: Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Seth MacFarlane, Taron Egerton, and Tori Kelly
Tagline: Auditions begin 2016
Synopsis: To save his theater, Buster Moon (a koala) puts on a singing competition.  Singing and hijinks ensue.

Review

Sing was simply a movie to see with my mom during Christmas break.  Was it a terrible film?  No.  Did it have moments that entertained me?  Yes.  Did it have cringe-worthy moments that made me roll my eyes and groan?  Yes.  Was it the worst movie I've seen this year?  No.

It's probably wise this film was slated about as far from Zootopia as possible.  As anthropomorphic animal movies go, there is no comparison.  Not in story.  Not in characters.  And not even remotely in animation.  I suppose in Sing's defense, it was never trying to compete and thus it is unfair to compare.  Moving on.

As a film student, I learned there are two types of musicals.  There's the kind that has a definite plot with a story to tell and the characters simply break into song from time to time in order to express their emotions.  And then there's the "Hey, guys, let's put on a show!" variety which inexorably leads to a "The show must go on!" finale.  As the latter, Sing is a paint by musical numbers film.  There's some plot and a few character arcs.  But the outcome is as inevitable as it is predictable.

Then again, the reason that second kind of musical exists is to showcase talented singers and dancers.  In Sing's case, the singers and dancers happen to be animals.  So, we get an array of animals performing 2016's "Now That's What I Call a Soundtrack!"  There is a good deal of variety to the film's music, I'll give it that.  There's a mouse who sings Frank Sinatra (of the Rat Pack, get it?), pigs doing Taylor Swift, a gorilla performing John Legend, and the list goes on.  There's also "Hallelujah," "Venus," "Gimme Some Lovin'," and "Lollipop," to name a few more songs.  Most of the songs are catchy and the animals are amusing.

On the low end, the film had a flatulence gag.  I don't recall anything else questionable.  But I had a hard time liking Buster Moon (the main character).  Hard-working, do-anything-to-succeed is one thing.  Not paying employees, dodging creditors, and stealing electricity and water is another.  [Somebody report this koala to Officer Judy Hopps ...]

There were a few highlights though.  Rosita's housework machine is ingenious and fun.  And her "Bamboleo" routine in the supermarket is entertaining.  I was also amused by the car wash.  The colorful squid are also neat and I'd have liked to have seen more of them.

Overall, Sing brings nothing original to the table.  But if you've got kids dying to see animals singing pop tunes, it's not a horrible way to spend 108 minutes.

*** Spoiler Section ***

There's seriously nothing to spoil.  Sing is like one of those road trip tourist stops.  "30 miles to Buster's Burger Bonanza!"  "20 miles to Buster's Burger Bonanza!"  "10 miles to Buster's Burger Bonanza!"  "Two plot points to Sing's inevitable wrap up!"  "You have reached the happy ending."

Quotable Quotes

• "When you've reached rock bottom, there's only one way to go, and that's up!" -- Buster Moon
• "Has anyone seen my glass eye?" -- Miss Crawly

ISFS

Rogue One: A Star Wars Story

Year: 2016

Director: Gareth Edwards

Starring: Felicity Jones, Diego Luna, Alan Tudyk, Donnie Yen, Ben Mendelsohn, and Mads Mikkelsen
Tagline: A rebellion built on hope
Synopsis: "Rebel spies [manage] to steal secret plans to the Empire's ultimate weapon, the Death Star."

Review

Rogue One is awesome!  I've always enjoyed Star Wars, but I didn't realize how big my inner Star Wars nerd was until I was watching the film and grinning ear to ear with each new tie-in to the other films.  I geeked out quite a bit and enjoyed every minute of it.

It helps that Rogue One is also a solid film.  In fact, I'd say it's better than The Force Awakens.  I'd put it right after A New Hope and Empire Strikes Back.

I can't really think of how to say more about this film without going into spoilers.  So I'm not going to try.  If you haven't seen Rogue One, stop reading and go see it.

*** Spoiler Section ***

I love R2-D2 and am usually amused by C-3PO.  BB-8 is adorable.  But K-2SO may be my new favorite droid.  As a reprogrammed imperial droid, there's nothing cute or fun about his look.  He's tall, dark, and intimidating.  But he adds humor throughout the film: a droll humor that fits with the film and other characters.  He's a no-nonsense droid.  Just about everything out of his voice box could be in the quotes section.

K2's dry humor is needed; Rogue One has a darker tone, stressing the "war" in Star Wars.  The final third of the film feels a bit like a WWII film, just in space with droids, aliens, and star cruisers.  And the rest of the film shows a Rebellion that is divided, struggling, and not as morally tidy as A New Hope portrays.  Trust and hope are ideals being thrown about by the leaders, but in the trenches things are muddier and those ideals aren't as readily embraced.

One of the great things Rogue One does is it gives that context to A New Hope.  Princess Leia's urgent petulance makes sense.  Han Solo's desire to steer clear of the Rebellion seems sensible.  Luke's naivete is all the more clear.  Moreover, the sacrifice of the Rogue One team makes the Death Star plans all the more valuable.  The film also neatly (and I believe logically) explains why there was a weakness in the Death Star's fortifications to begin with.

When the third act came around, I was surprised just how tense it felt.  There was a sense of urgency throughout the final battle and moments of the film.  That's quite the feat for a film like this.  No matter how many things go wrong or how many people die, we know they'll succeed in getting the plans to the Death Star to Princess Leia.  Yet I still found myself on the edge of my seat, rooting for the characters and internally yelling "C'mon!" and "Just hand off the disk!"  When you are still engaged even when you know the outcome, that's the sign of a well-crafted story.

Although not one of the main saga films, Rogue One feels every bit like a Star Wars film (even without the title crawl).  The music is excellent as always.  While there are new themes, the familiar themes show up as well.  The visual effects was another area that hearkened back to the originals. The film uses miniatures!  There's also plenty of CGI, but the fact they went back to Star Wars roots and used miniatures form some of the spaceships made me quite happy and made it feel more tied to A New Hope.  The film also has plenty of "Easter eggs," cameos, and appearances by familiar characters.  I was especially happy to see Bail Organa appear.  Not only does it make sense, given he is Leia's adoptive father, it connects the prequel trilogy as well.  (There is much that is wrong with the prequels, but I don't recall any problems with Senator Organa's role, which makes it a safe tie-in point.)

Based on A New Hope, it would be improbable to tell the Rogue One story without Governor Tarkin.  I'm sure there were lengthy discussions about whether or not to recast Peter Cushing.  The first scene he is "in," I'll admit it was a little jarring.  But it was also neat to see Governor Tarkin as I remember him.  So I accepted that it was (imperfect) CGI and rolled with it whatever scene he was in.  I'm glad they went that route.  As for Princess Leia, I found her to be a little more jarring.  Perhaps that is because I've seen Carrie Fisher (may she rest in peace) grow older over the years.  It worked, and I liked ending where they did, but it might also have worked if we had cut away before the white-clad princess ever turned around.

While there is much to enjoy about Rogue One, the standout scene is when Darth Vader walks down a hall.  When the original trilogy came out, Darth Vader became one of the best cinematic villains ever.  If the prequels tarnished some of that image, Rogue One polishes and reinstates him.  His lair -- on Mustafar of all places -- puts Syndrome's lava fortress (from The Incredibles) to shame.  Vader is calm and collected and a force to be reckoned with.  And when he walks down that hall filled with cowering Rebel soldiers, we remember why he is such an awesome and enduring villain.

If you can't tell, I thoroughly enjoyed Rogue One.  I look forward to seeing it again.  And it makes me look forward to watching A New Hope again.  May the Force be with you ... always.

Quotable Quotes

• "Be careful not to choke on your aspirations, Director." -- Darth Vader to Director Krennic
• "I'll be there for you, Jyn ... Cassian says I have to." -- K-2SO
• "I am one with the Force.  The Force is with me." -- Chirrut Imwe
• "There were a lot of explosions for two people blending in." -- K-2SO to Cassian and Jyn
• "I've got a bad feeling about --" "K!" "Quiet!" -- K-2SO, Cassian, and Jyn

ISFS

The Music of Christmas

In the Dr. Seuss Christmas classic, the Grinch attempts to stop Christmas from coming to the Whos down in Whoville.  He steals their presents.  He steals their lights and their trees.  He even steals the food for their feast, taking every roast beast.  Though he has stolen every tangible sign he could get his green hands on, the Grinch finds that Christmas comes anyway.  This discovery comes to him because of one of the things he could not steal: the music of Christmas.  Without drums, without trumpets, without harps, horns, or bells, the music of Christmas still filled the air.

Just as the Whos down in Whoville, Christmas and music go hand in hand.  No other holiday has music so intrinsically a part of it.  Music is so ingrained into the season that we even sing about singing.  When we “need a little Christmas” we also “need a little singing, ringing through the rafters.”  When we are “dashing through the snow” we can’t help but “ride and sing a sleighing song tonight.”  Whether we are “caroling, caroling through the snow” or “rockin’ around the Christmas tree,” the music of the season fills the air and fills our hearts.

Of course not all Christmas music is created equal.  Those songs which testify of the birth of our Savior traditionally bear the label “carols.”  One such carol, “Carol to the King,” has become a personal favorite.  It invites: “Tune your heart to hear His music / feel the glory of His love.”  Just as Christ is at the heart of Christmas, so too is He at the heart of Christmas music.  That is why it is so near and dear to our own hearts and brings us closer to Him each season.

As wonderful as it is to have a “holly, jolly Christmas” and do the “Jingle Bell Rock,” may we make time this season and always to turn our minds to Christ and tune our hearts to His music.  In life, we will likely still have to go “dashing through the snow,” but first and last let us “hasten to the manger, that we too may join the song.”  After all, the song we sing is not of sleigh rides or snowmen, reindeer or gifts.  Rather, we “sing the song of redeeming love” (Alma 5:26), a song which is “joyful and triumphant.”  Filled with such a song, our hearts – like the Grinch’s – can’t help but grow.

“We all rejoice, with songs we sing, to bring the world a newborn King.”

Merry Christmas!
Jennifer A. Henderson

Fantastic Beasts and Where to Find Them

Year: 2016

Director: David Yates

Starring: Eddie Redmayne, Katherine Waterston, Colin Farrell, Dan Fogler, Ezra Miller, Alison Sudol and a number of truly fantastic beasts
Tagline: Explore a new era of J.K. Rowling's wizarding world
Synopsis: When some of his magical beasts get loose in New York City, Newt Scamander must hurry to recapture them before they get hurt ... or before they get blamed for the destruction being wreaked by something else.

Review

I love Harry Potter.  His movie series ended, though, before I started this blog.  My love for that world began with the film  Harry Potter and the Sorcerer's Stone and has grown ever stronger since then.  From the moment we briefly hear "Hedwig's Theme" during the Warner Bros. logo, I was happily sucked into Fantastic Beasts.  I was even more happy as the credits finished rolling.

J.K. Rowling wrote the screenplay to Fantastic Beasts and it is a stronger film/story for it.  The film also benefits from this being an original story and not an adaptation.  Does it set itself up for a sequel?  Yes.  Very much so.  But it can also stand on its own I think.

You don't have to be familiar with Harry Potter's world in order to appreciate Fantastic Beasts.  That is another of the film's strengths.  The film is immersive enough (and self-explanatory enough) that anyone can enjoy its magic.  Of course, if you are well-versed in the Potterverse, you'll find extra tidbits to appreciate and get excited over.  I had quite a few such moments.

Everything about the film is well done: the visuals, the story, the music, the roaring 20s setting, the acting.  I loved all of it.  One thing that I especially enjoyed are all the small details that make the world so immersive.  One example is when Jacob is reading a borrowed book.  The book isn't at all important to the scene.  He just happens to have it on his lap.  But the book is a magic book, so the cat on the dust jacket wanders around.  It's subtle, tiny, and easily missed.  But it brings the wizarding world to life.

In a movie called Fantastic Beasts, you know you've got to have some impressive magical creatures.  The film doesn't let down.  One of the most magical scenes is when Newt gives Jacob (a "No-Maj" or Muggle) a tour inside his briefcase.  As awesome as the bowtruckle, niffler, and occamy are, "Frank" the thunderbird was definitely my favorite.

As for the human characters, I enjoyed them as well.  Newt is a quirky, sometimes awkward character who is clearly far more comfortable around beasts than beings.  I really liked Tina (the American witch who ends up helping Newt).  She's brave and capable, but she also has fears and inadequacies that make her relatable.  And she's compassionate.  Queenie (Tina's sister) is also a fun character.  My favorite though is Jacob Kowalski, the would-be baker who accidentally gets sucked into the wizarding world.  He's a down-to-earth, likable fellow.  And he serves a useful function in the story.  As an outsider to magic, he is the person the audience can latch on to as we are introduced to the wizarding world together.  He receives the explanations the audience needs.

As for the villains and antagonists in the film, I can't say too much without spoiling the story.  But I found them interesting and fitting.  We have a different set of villains than in Harry Potter's stories.  The one character I will mention is Mary Lou Barebones, the leader of the Second Salem movement which is out to expose and stop witches and wizards.  There's a calmness about her.  During one scene where she could have gone off the handle, she remained perfectly calm, collected, polite, and earnestly sincere.  It is elsewhere that her dark streak is seen and you realize she makes Petunia Dursley look like mother/aunt-of-the-year.

In that vein, I should note that Fantastic Beasts has a darker tone.  I'd put it more with the later Harry Potter books.  There is certainly humor.  Quite a bit.  And the closest thing to inappropriate is that one of the beasts is described as "in heat" and "needs to mate."  But there are themes of abuse, repression,  and prejudice, as well as some of the consequences thereof.

I loved Fantastic Beasts and Where to Find Them and was thrilled to be back in the wizarding world again.  I am eagerly on board for all the sequels this film will get (it's currently supposed to be a pentology [5]).  Honestly, I'll happily hand over my money anytime J.K. Rowling wants to invite me into her wizarding world.  As cliche as they may be, the best descriptors I can come up with are "magical" and "fantastic."

*** Spoiler Section ***

The film did leave me with a few questions (which may or may not be answered in the next film): Was there ever a real Percival Graves?  Why did Modesty have a wand?  Did the Obscurus survive?

Not gonna lie, I got very excited when I saw the symbol of the Deathly Hallows.

Also, I really hope that isn't the last of Jacob and Queenie.

Quotable Quotes

• "Your skull is susceptible to breakage under immense force." -- Newt to Jacob after handing him a helmet
• "What did you do today, Jacob?  I was inside a suitcase." -- Jacob, to himself
• "And try very hard not to be predictable." -- Newt to Jacob and Queenie

ISFS