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The Librarian: Quest for the Spear (2004)
Trust No One
Yet another of my guilty pleasures, I really like the "Librarian" series. For me, the best part is Bob Newhart in the role of Judson. His deadpan delivery, which he's perfected, just brings such a casual approach to the most menacing predicaments that you can't help but smile. The main "theme" music just has such a goofy lilt to it (and for some reason, reminds me of the "Benny Hill" theme) that it draws you along gracefully. Granted, as some others have noted, this is "Indiana Jones" on the cheap. But it strikes me that it was made with tongue firmly in cheek. The humor isn't forced, and helps to remind the viewer that this isn't your dead-serious "save the world" epic. I'd recommend it for casual viewing.
What's Opera, Doc? (1957)
Magic... Helmet...
Want to enjoy Wagner's "Ring Cycle", but just don't have the time? Why not kick back, and watch Bugs and Elmer condense it down to under seven minutes. Though I don't know the background of Wagner's opera(s), my current idea is totally drawn from this excellent cartoon. With a mix of classical music (with modernized vaudevillian lyrics), and outstanding visuals, plus the bonus of the interplay between Bugs and Elmer makes for a very enjoyable experience. Also, in my opinion, this might be an excellent way of introducing classical music to young children (along with "Rabbit of Seville"). I really can't add much more without recapping every wacky second of this production. Still, I'm obligated to mention two highlights: Elmer's repeatedly vicious "Kill da Wabbit!", and the dialog involving Elmer's "Spear and Magic Helmet". Another MUST SEE for your bucket list.
Rabbit of Seville (1950)
Welcome to my Shop
An extremely close second place finish behind the outstanding "What's Opera, Doc?", this is yet another excellent musical production featuring the 'talents' of Bugs and Elmer. The lyrics are some of the most memorable (including Bugs' "Welcome to My Shop"). Though this review may be short, that's only because it's hard to come up with ideas which others haven't brought up before. So, all I can say is: See It!.
Godzilla (2014)
Gives the requisite Kaiju-on-Kaiju Action
OK...bottom line...I liked the movie... Next, overall ratings (subject to change): 4 out of 5 stars (80%), 7.5 on 0-10 scale. Compared with other Godzilla films: I'd still have to put the original (1954) and "Mothra vs. Godzilla" (1964) above it. And, though I have lately fallen in love with Godzilla: Final Wars, I'd place the new movie above that. So, overall for the "G" franchise, this current edition would be a solid #3 in my book. Ok - from here on, there may be a few spoilers, though I'll try to keep them to a minimum, or so as to cause minimum 'damage.' What I liked most: Godzilla vs. MUTO(s) battles Initial MUTO reveal A cute reference/homage to "Mothra" Doctor Serizawa - a nice reference to 1954 Gojira What I hated most: Human character build-up (though it was kept at a minimum, so this wasn't even close to being a deal-breaker). The typical trope involving family separation (probably a necessity for widening the movie's appeal, but which wasn't really interesting to myself). The title screens, where information appeared next to the main credits, then was redacted/blanked out. I was able to catch some of it, and I know that it was probably intended simply to supply subliminal information, but I wish some of it had been left on screen just slightly longer before being blanked out. When I finally get a copy of the movie, I'll probably spend some time just going through those title screens and using freeze-frame to see what was there. So, I can't really say I 'hated' it so much as it was annoying. The scene involving the unhatched young of the MUTO, which sadly brings up memories of the '98 movie One side note: I am so grateful that use of color tinting was kept to a minimum. There were a few scenes where 'orange' coloration seemed to be used, but it fit with the actual mood. Also, it was used in a quick segment of the title screens. Sound-wise, I really didn't pay much attention to once Godzilla started to mix it up with the MUTO(s). But such being the case, it must have been effective, since I really didn't have cause to wonder "what is THAT?", except when that was intended. Music-wise, it seemed like the cues were a little confusing. Still, when the ominous "Uh, oh - something's up" theme played, it did indeed seem to set the table for expectations. I'm not going to try and recap the storyline (I've tried, unsuccessfully, about four times). So, I'll mention that it did take a while before Godzilla finally made an entrance. Though the human interest portion was mildly important to establish the overall plot, it still seemed to take up an inordinate amount of time. Also (and this may be contrary to what many people may say), I feel there was overexposure of the MUTO entities - their screen-time seemed almost twice that of the title monster. And, I had believed prior to seeing the movie that the MUTO were in fact much smaller - but if they had been, then the battle scenes with Godzilla wouldn't have been so dramatic. Interesting during the first match-ups, it looks like Godzilla is, bottom line, getting his ass kicked by both MUTO, but "G" finally gets pissed off enough to use his atomic breath. I had been waiting seemingly forever for that moment, and as the spines (and, a friend mentioned, his tail - though I didn't really notice it's onset) started glowing, my anticipation rose to a climax as "G" finally blasts one of the MUTO. The attack on the second MUTO was even cooler, and brough up memories of the old-fashioned Kaiju monster battles I grew up to love. The finale, as Godzilla is leaving the city is (in my opinion) marred by a shot of a television report, with a news-ticker line mentioning "King of the Monsters" (egad...homage is nice, but downright kissing the original movie's ass gets old), as well as the questioning "Savior of the city" tag-line. So much had been made about how Godzilla would be a neutral-style creature, but that last bit seemed to be establishing him as a "good" monster. Though it doesn't ruin the movie for me, it does indeed cause me to shake my head, sigh a little (like "G" does), and just ask myself "why?" Anyways, that's my basic take-away from the movie.
Somewhere in Time (1980)
Love Transcends Time
To describe it as a *time travel* film, or *science fiction* film is quite a mistake. It's a fantasy, which utilizes 'travel through time' as a minor plot element. Definitely one of those sentimental stories, but still quite fun - and sad - to watch. There is no need to try some fancy scientific explanation or some fancy machine to explain Reeve's time-shift - and that's what really sets this apart from similar attempts at a fantasy/science fiction mash-up. Essentially it's the classic story about how love transcends time. It reminds me of a dialogue sequence (between Ahmad and the Princess) from Alexander Korda's The Thief of Baghdad (1940):
At the pool:
Princess: Who are you?
Ahmad: Your slave.
Princess: Where have you come from?
Ahmad: From the other side of time, to find you.
Princess: How long have you been searching?
Ahmad: Since time began.
Princess: Now that you've found me, how long will you stay?
Ahmad: To the end of time.
The ending may not be quite the 'fairy tale' one - but it does provide closure.
Lower Spirits (2016)
When "Reality" Gets Reel
I've been following this series since episode 1, and it's very impressive. It captures the essence of the standard "ghosthunter" programs, while throwing in an excellent mix of comedy. But, the paranormal portion isn't the real *meat* of the show. It's the behind-the-scenes banter/bickering which truly raises this to a high plateau.
The primary characters, Brandon and Father Adams, are paranormal investigators, checking on reports of incidents ranging from demonic possession to big-foot sightings. Brandon (played by Brandon Guiles) is the high-strung co-star of the show, while his assistant Father Adams (played by Bruce Falcon) is the level-headed co-star. As they conduct their queries and on-the-spot research, it almost reminds me of the old Abbott and Costello Universal "...Meets the..." monster films. Quite often, one is consistently aware of something (much like Lou Costello), while the other is the skeptic (much like Bud Abbott). Throw in a nice mix of their personal lives, as well as the other members of their (in-show) film crew, and you've got comic gold.
One piece of advice I'd give to new viewers. Try to watch in order from episode 1. Though each episode is it's own self-contained story, there are little jabs and references which you'll appreciate more by knowing what's transpired before.
Bambi Meets Godzilla (1969)
This lives up to the hype
Finally, a movie which delivers what it promises. Suspense? Gad...you just know something will happen...but when? Confrontation? This gives re-freshing meaning to the phrase 'truth in advertising.'
It follows the basics: There is the classic beginning, the battle scene, and the final result. What more do you want in a movie.
The Lord of the Rings: The Fellowship of the Ring (2001)
Oscar contender...NOT!
This was an overlong experience. While some (SOME!) of the effects were excellent, the acting seemed stilted to me. Of course, having read the trilogy, the expectations for myself were probably very high. Still, though I did like (not love) the movie, I was disappointed. I'm only hoping the next volume raises the bar a little bit.
The Matrix (1999)
Excellent F/X applied to old Science Fiction plot...GREAT!
This excellent movie had just about everything for me: special effects which were state-of-the-art, fight scenes, an excellent plot. The only thing I didn't like about it was the length, which made me VERY uncomfortable in the theatre (almost went to the bathroom just before final climax). The plot reminded me of a science fiction series I'd read about 15 years ago. The author was Philip Jose Farmer, and the series was "Riverworld." Though changes were made, I immediately thought about this 'connection' (whether real or imagined).