Alita: Battle Angel

First Hit: The integration of human CG characters and humans in film reached a new level here.

In the past, computer graphic (CG) characters have not, visually or emotionally, felt human enough to engage the emotional or deep feeling part of the audience. Despite the action-oriented basis of this film and the main character, Alita: Battle Angel effectively makes this leap and crosses this border.

We begin with Dr. Dyson Ido (Christoph Waltz) is wandering through a massive pile of debris which is being created by Zalem, a tethered city floating about a mile above the earth’s surface. The waste pile is the discard of Zalem.

Ido finds and picks up the remnants of an android that has a human face, but without a body and an engaged brain that appears undamaged. Taking it home, he attaches a body that he’d built for his now deceased daughter and names the girl Alita, after his dead daughter.

He and his ex-wife Chiren (Jennifer Connelly) had a daughter whom they called Alita. She didn’t have use of her body, and Dr. Ido was building a mechanical body to attach to her head so that she would survive. The daughter died too before he could finish. Bitterness between Ido and Chiren developed, and Chiren joined Vector (Mahershala Ali) to control the earth’s inhabitants. Vector gets his direction and commands from Nova (Edward Norton) who is the supreme being on Zalem.

The new Alita has no previous memories of where she came from and who she is so when she tries an orange for the first time, is blown away by the flavor. Although later she tries chocolate and thinks this taste is far better than the orange.

Alita soon learns she has skills as a fighter and after meeting Hugo (Keean Johnson) begins to show signs of being able to have and show deep feelings. Hugo wants to go up to Zalem that is dumping the garbage on earth because he thinks his life will be better there. Alita is not so sure that this is a good thing as she begins to understand that Zalem is where she came from, she was a weapon.

Where the film excels is watching Alita grow into her emotions and having some emotional intelligence as a young teenage looking girl is impressive. Showing her love for Hugo and her father is so well done that often I didn’t think of Alita as a robot but as an odd looking human with amazingly expressive eyes and facial features even though she had a body made of Nanotechnology components.

The script also gives Alita plenty of opportunities to show her fighting skills. She becomes a Hunter-Warrior. Hunter-Warriors kill enemies of the people and are paid by representatives of Zalem. All the other Hunter-Warriors think Alita is incapable of fighting until they challenge her. Throughout the film, she proves them wrong about her abilities. Through these battles, Alita proves she’s the best warrior on the planet when she wins the famous Motorball game in which the winner gets a free pass to Zalem. The fights are fun to watch, but they are typical CG in that most of the movements are humanly impossible. However, it is her humanness that makes this better than your standard CG fighter film.

Rosa Salazar as Alita was used as the model to develop the facial features and movements for the CG personnel. Waltz is excellent as Dr. Ido, Alita’s creator and father. He does so much with his facial expressions which help us to believe that Alita is real. Connelly is good as Ido’s ex-wife and right-hand person to Vector. Ali was outstanding as Vector the being who controls earth for Nova. Johnson was excellent as Hugo, the young man who has misguided ideas and falls in love with Alita. James Cameron, Laeta Kalogridis, and Robert Rodriguez wrote the complicated screenplay that also indicates follow-up films will be made. Rodriguez did a great job of using CG technology to bridge the human/machine gap.

Overall: The enjoyment is in the emotional context of the film as the action scenes are typical.

Only the Brave

First Hit: Inspiring true story about the Granite Mountain Hot Shots.

With the recent fires in northern California, this true story about the brave men who fight these fires on the ground with hoes and back fires was poignant.

Eric Marsh (James Brolin) is the committed “Supe” of a team of municipal level 2 firefighters. They’ve been training for years to become certified “Hot Shots.” Hot Shots are federally funded and government developed, trained and paid for firefighters. However, with the number of fires, expertise of the team, and history of success, this municipally trained and developed group of firefighters want a chance to be evaluated and hopefully certified as Hot Shots.

Brendan McDonough (Miles Teller) is a screw up. He spends most of his time getting high, but when confronted with his old casual girlfriend Natalie Johnson (Natalie Hall) saying she’s pregnant with his child, a switch flips and he wants to be a responsible parent. He hears of a job opening at the firefighting center and he goes into an interview.

In a wonderful scene, Marsh comes right out and asks Brendan when was the last time he used. Then when Brendan also explains that he’s going to be a father and wants to be there for his child. Marsh takes a chance on him despite other members of the crew disliking Brendan having had some history with him.

The film’s story is about redemption; the hard work of Marsh and his firefighting team along with Brendan learning to become a father.

The fire scenes were intensely striking. It was interesting and engaging to learn more about how Hot Shots work. I really enjoyed the camaraderie shown by the men as they worked together for a common goal. One of the best scenes in the film had nothing to do with a fire. It was Eric arguing with his wife Amanda (Jennifer Connelly) in their truck while driving home one night. It felt real, deep and powerful.

There were two downsides to this film for me. One was the role and or performance of Fire Chief Duane Steinbrink (Jeff Bridges). He seemed to not take this role seriously or created more of a characterization than being a helpful friend and strong fire chief. The second downside was the role of the chief’s wife Marvel (Andie McDowell). Her role was very limited and was clearly a scripting and direction issue. It was almost if it would have been a better if Duane was single because there was only one scene that I recall she had where she states something like the men are more married to the fire than their wives. On a more minor note, the whole symbolism of the burning bear didn’t quite work for me.

Teller was fantastic. His portrayal of a druggie and then his transformation to being a sober father was sublime. He continues to be an actor that deserves recognition for doing solid strong work. Brolin was very strong as the intense man who made fighting fires his drug of choice. Connelly was brilliant as Brolin’s wife. Her clear strength as a woman wanting to chart her course was wonderful. Bridges was wasted in this role and I felt bad that his performance brought this film down. McDowell was wasted in another way, she wasn’t given enough of a role to improve the film. Hall was very good in this minor but very important role. Ken Nolan and Eric Warren Singer wrote a strong screenplay except for the role of the fire chief’s wife. Joseph Kosinski did an excellent job of portraying the fire and how firefighting teams fight them; I was entranced during those scenes.

Overall: A powerful reminder of the power of fire and the amazing abilities of firefighters.

American Pastoral

First Hit:  Interesting look back into the 1960s and, although it was confusing at times, it did make me think about a powerful time in America.

If you grew up in the 1950s and 60s, you probably knew or had heard of “the guy” who was the most popular guy in school, was on all the high school teams, was a letterman on all those teams, and married the prettiest girl in class. They led the idyllic lives.

Here we have Seymour “Swede” Levov (Ewan McGregor) as that man. We are introduced to his legend through the 45th high school reunion where his the Swede’s brother Jerry Levov (Rupert Evans) speaks with Nathan Zuckerman (David Strathairn), a friend of his and Seymour’s. It is through Jerry telling Nathan the story that this film unfolds.

Swede marries Dawn (Jennifer Connelly) a New Jersey beauty queen. Because she is Catholic and Swede is Jewish, the Swede’s father Lou (Peter Riegert) wants to meet and question Dawn prior to their marriage. The Swede tells her to be strong during the meeting because this is what Lou admires. This discussion is well done and a strong scene in the film.

Swede ends up running the family business in Newark and is easily in the upper middle class. He and his wife move to a small rural town where they begin to raise their daughter Merry (Dakota Fanning). The film sets the ideal life with family dinners, mother and daughter working their cows, and even the birth of calves.

However, this pastoral scene starts to get darker as Merry begins to show her independence and anger towards the US Government’s involvement in the war of Vietnam and societies’ bent towards making money. I recall this attitude in many people including myself and the protest movements during this time. What complicates her internal struggle is that she also stutters. The psychologist they have tells Dawn and Swede that it is because she is struggling with her mom’s beauty and perfectness.

Merry runs away and is accused of blowing up the local rural post office (government facility) and killing the proprietor, whom the whole family knows. She disappears and Swede is distraught and beside himself and cannot let go that his daughter might have become part of an underground movement. Dawn begins to disappear from living, sells her cows and begins to slip into a deep depression.

From a filming standpoint, if feels over controlled and directed. The film is longer than needed to tell the story and this is a director issue as well.  To know what I mean watch a Clint Eastwood directed film and this one, Eastwood’s films are crisp, sometimes almost too crisp, and he gets the story told. In this film we have some long and languished scenes that supported the idyllic life they were living but some could have been cut or made shorter and made the film better. I also didn't believe the reasons for Merry’s stuttering and I don’t know if this was a screenplay issue or a directional issue.

McGregor was good as Swede but I also think his directing of himself got in the way of his performance. I did think, as a director, many of the scenes were well presented and setup well. Connelly was fantastic. I was mesmerized by her ability to put together a wonderful series of transitions as Dawn went from beauty queen romanced by the absolute best guy available, to a mother who cared, to cow farmer, to concerned and troubled mother, to depressed wife, and to remade wife through plastic surgery. Fanning was very strong in this very difficult and complex role. Although I didn’t fully buy her scripted logic for her actions, I bought how she made it work. Riegert was particularly good as Swede’s opinionated and robust father. John Romano wrote the screenplay from the Philip Roth novel. I do think there were some weaknesses in the script, and McGregor didn’t help this much.

Overall:  This could have been a stronger film with a crisper screenplay and clearer direction.

Noah

First Hit:  Initially bored, story interpretation unbelievable, and a few minor amazing scenes.

I enjoy watching biblical stories and a director’s interpretation of this book. I was put off by the beginning of the film with the screen captions stating the story of the beginning. Then we were led into an interpretation of the biblical story of Adam and Eve, Cain and Abel, then the story of Seth.

Then we are introduced to angels that ended up as moving rocks which are their prisons for assisting human kind. Director Darren Aronofsky shows the earth as mostly barren because of Cain’s clan mining of glowing rocks. First, I don’t believe for a minute that the Earth would be that barren in that time period by clans of people mining rocks.

There was a hint of technology by showing the audience some of the deserted mines, yet there was a primitiveness to everyone that seemed incongruent. Another item that didn’t work for me was the different accents of the actors. We had Australian/New Zealand (Russell Crowe as Noah), English/Wales (Anthony Hopkins as Methuselah), American (Jennifer Connelly as Naameh – Noah’s wife), English (Emma Watson as Ila), and it goes on.

There was no attempt to change this by the Director or Actors. Some of the highlights were some of the shots. One in particular that took my breath away was a shot of dusk, Noah and Naameh were silhouetted on a slight round hill against the sky – truly one of the most beautiful shots I’ve ever seen on film. I was also very impressed with the scene where Noah tells the story of life on earth because they used evolution and biblical terms and mixed them very well. It was simple and perfect.

I thoroughly enjoyed the full engagement Watson gave in her performance – it was stellar. Crowe also gave his all to his performance and I believed that he believed he was doing “the creator’s word”.

Crowe, as I previously stated was very good. He emanated the strength of the role and story. Connelly seemed like a fish out of water – almost too sophisticated for the part. Hopkins was cute more than anything. I got that he probably enjoyed being a Yoda of sorts. Watson was sublime. Her innocence, beauty, and wisdom were all present and forthcoming in this role. Aronofsky and Ari Handel wrote an uneven script and at times implausible. Aronofsky’s direction followed the unevenness and implausibility of his own script.

Overall:  I was severely disappointed by this film.

Winter's Tale

First Hit:  A wonderful and heartwarming flight of fantasy film that may hold some truth.

This film moves between three periods of time, current time, the early 1900’s and the mid-late 1800’s.

Peter Lake (Colin Farrell) washed up ashore in New York because his newly deported parents wanted him to live in America. So while they were leaving on a boat back to their home country, they put their son into a model boat in New York harbor (the mid-late 1800’s).

Lake is partially brought up by Humpstone John (Graham Green) and then tutored in theft by Pearly Soames (Russell Crowe) who is also an agent for the devil; in this case it’s The Judge (Will Smith). While in the midst of robbing a large home he runs into Beverly Penn (Jessica Brown Findlay), a sick with consumption woman who will be dying soon.

The chemistry between them in this first meeting is palpable and comes through the screen and into your lap. This love transforms him to want to stop being a thief and to open his heart to love for the first time. He thinks he’s there to save her from dying and makes a promise to her young sister Willa (Mckalya Twiggs) that he will kiss her sister and bring her back to life if she dies.

Because Lake was supposed to be the heir apparent to Pearly and Lake crosses him, Soames is out to kill Lake. Peter is fighting to keep himself safe and connected to Beverly and at one point meets her father Issac Penn (William Hurt) who accepts the thief Lake.

The film then moves to current time which has Lake not knowing who he is and trying to understand why he keeps drawing pictures of a girl with red hair on the sidewalk in Central Park. He keeps thinking that his existence is about Beverly, but soon learns that she got him to the current time and it is now about a young girl, Abby (Ripley Sobo), who is sick with cancer. Cutting across these time and generational divides with Lake is his beautiful angel white horse.

This film is about light, love and miracles.

Farrell is excellent. He does scruffy and heart-filled so very well. Findlay is very strong as the consumptive woman and love interest. Crowe is superb as the evil agent of the devil. Smith is an interesting choice as the Judge. Twiggs is sublime and incredibly endearing as the young sister. Hurt is great as the father of these two girls. Sobo is fantastic as the young girl in current time. I enjoyed seeing Green and appreciated his part. Jennifer Connelly as Abby's mother was perfect casting. Akiva Goldsman wrote a wonderful screenplay and knew what he wanted in directing this cast to tell this story.

Overall:  I thoroughly enjoyed watching this romantic film.