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Load Master and Sorcerer's Apprentice
Bushmaster 06, and US Army Veteran
Reviews
Rebel Moon - Part Two: The Scargiver (2024)
Not an action movie- but a story of redemption
Let's get the hard part out of the way. I liked it!
It's not Shogun, but then it shouldn't be. Or should it have been several long episodes? Who knows? Now it stands alone. The characters are interesting, and I think an episodic series would let us know more about their wounds.
As is, there is a bucolic but endearing long harvest scene. The land is the star: the land anchors this disparate set of orphans in a single set piece, a goal of choice. Isn't that Freedom?
The cinematography is really gorgeous, especially on the practicals. The village, over watched by Jimmy, is a beacon that draws friend and foe. To the imperium, it represents dissent. To the fighters, it represent all they've lost in other places. The sense of place is very strong. The even show highlights each protagonist in a wonderful pre-industrial way, while the antagonists are intent on delivering hellish destruction with atomics and weapons that destroy with magma.
Kora is a lightly drawn character, and Sofia draws her out in deft touches and intensity. Admiral Noble isn't, and the character is over the top, maybe the only mismatch on the film's delivery. General Titus has the same nobility that Djimon Hounsou always carries. He sings a haunting song after dinner in another language, making it all the more longing. The young girl steals everyone's heart with her hopeful naivety. And it works.
I'll leave the rest of the story to your watching. It drew me in, I think because I listened as intently as I watched. The movie deserves a nuanced watch, looking for connections and unspoken communications.
There's enough criticism to go around. I watched it for the storytelling, and I got it. I hope you do too.
PS- embrace the Buck Rogers/Flash Gordon appearances. They're almost quaint, like steam punk!
The Ministry of Ungentlemanly Warfare (2024)
Good show, old chap!
And lass!
This is light: neither historical fiction nor docudrama. But it is great fun, and the cast keep us in stitches or on edge while getting us easily through 2h of storytelling. Except for the dour and evil Nazi, of course. Take the win!
The raffish characters provide good movement to the film, and some of the dialogue is as sharp as a Fairbairn-Sykes stiletto. All throughout, there is good tension between the characters, and Marjorie and Gus start their story well, yet with a nice light touch. Anders is a force of nature: beware! Stay for the epilogue.
Operation Postmaster is a classic movie raid, with distractions, local support by an eminent bowler and his crew, and some dicey moments between Nazi U-boats and Royal Navy troublemakers. YET: Viewers would do well to remember the real cost of SOE operations against the Nazis, and regard this as an homage to heroes-in-the-making. I enjoyed the story immensely!
Sherlock: The Lying Detective (2017)
Simply stunning
Well, I didn't see that coming. But the reveals are epic, and the acting/character development are just so rich and deep. Perhaps one of the best-ever episodes, and certainly Watson and Mary come to the fore. I specially enjoyed her soliloquy, John's reckoning a it were. Sherlock's descent is so logical, I'm surprised that it wasn't obvious to John. But the linchpin to the whole series is certainly Mary, more cunning and vulnerable than all of them together, and stronger too. She knew all her actions had consequences, and yet she knew she enact them.
This episode might be the nes plus ultra, but I've not seen The Final Problem. It certainly puts a spin on their relationships, the meaning of good and evil, and being "all too human".
Bravo.
Blue Eye Samurai (2023)
Excellence abounds in everything- the cinematography, the human stories, and the plot twists
No doubt about it, I am a convert. I've studied the Edo era some, and also spent time in Japan on business. As an American, I tried to learn about the culture and myths that shaped Japan (aka Nijon) for a thousand years. This set of stories brings a rich depth to that specific part of the Empire, and the political infighting that was a back story to the period.
Visually, this is a master work in animation and style. The sweep of colors highlights or pinpoints a scene, and makes for an immersive experience. The slight twists to pronunciation also also feel light an homage to the original language that evolved from Sino and Korean influence. It is an educational and entertaining work, and I felt like every scene had a story-within that was insightful to the broader brush.
The action sequences, and the Noh in particular, serve to provide mirrors and space to understand the characters' journeys. Mizu is way more complex than just a vengeance-inspired user of the sword. And the supporting cast includes works that bring a gravitas I did not expect. The Swordmaster (as you might expect) is pithy but still delivers deep insights to his craft and culture. The Madame, and the tutor, along with their retinues and observers, highlight the deep loayalties and fissures that can exist in a complex world.
Although feudal, the Edo era is a balance of semi-autonomous Daimyo under an increasingly powerful Shogun. Interestingly, the Emperor is absent in the stories. Perhaps he will appear in the next cycle, since the times were tumultuous! Oh, and Mizu has a surprise!
The Wheel of Time: Blood Calls Blood (2021)
The silence of it reveals
SPOILER ALERT
I especially loved Stepin's eulogy. Well delivered, and the cross-cutting riposte is well-played.
All in all, the pace of this allowed reflection while putting it all into a plot.
The White Tower is sufficiently magnificent and prosperous. It's clear it's the center, but it still has some explaining to do. What purpose does the Tar serve, and why!
The gypsies are an interesting counterpoint. I expected pacifism, but not resistance. It'll be interesting to see how they shape the experience of a new Aes Sedai, or the new Dragon. Clearly there's more to them than meets the eye.
I liked this as an interlude, a lacing together. I too thought the burial scene was a bit lacking in details, e en for a battlefield burial. But altogether, this is good plot development.
Arukimedesu no taisen (2019)
Fascinating, and eerie in a sense of foreboding
Watching this made me think of the movie Oppenheimer, for many reasons. The cinematography is excellent, and the sets and exteriors are done quite well. Having worked with Japanese counterparts on extraordinary technical projects, I can see the interplay behind the scenes and at "the final conference" looking and sounding exactly as-portrayed in the movie. I even upgraded my rating because the whole is greater than the sum of the parts.
Now, why Oppenheimer? Think of the subject. This is Imperial Japan's super-weapon. It was built under tremendous secrecy. The yard and slip were camouflaged to prevent enemies, especially the USN, from observing the ship. The IJN (Imperial Japanese Navy) had developed and pushed a form of the Kantai Kessen (or Decisive Battle Doctrine), a naval strategy adopted prior to the Second World War, in which the Japanese navy would win a war by fighting and winning a single, decisive naval action. The designers (whomever they were) sought to build this ultimate war-winning weapon, and hoped to force the USN to cede control of the Pacific as far east as Midway. This was no less a National priority than the Manhattan Project, whereby all of Japan's security interests would take shape in this "beautiful" ship. The Japanese designers and gun Admirals believed that the Yamato-class BB would handily defeat several capital ships in a single engagement. Having three of these (yes, three were ordered) would be a powerful deterrent to interference by the USN.
Unfortunately, the gun Admirals under-estimated the power of the the aircraft carrier as an OTH (over-the-horizon) strike weapon. So badly did they do so, that on the day she died Yamaha fell under the guns, bombs, and torpedoes of nearly 400 American aircraft. In three separate attacks, the agony of her death left few surviving crewmen.
The actual cost of the IJN Yamato exceeded 250 Million Japanese Yen (more than 5 BILLION yen today, but revaluation of the Yen makes comparisons difficult). The movie states that the initial false estimate was a fraction of that, and it accurately forecasts the final cost. On the eve of the Allies' occupation of Japan, special-service officers of the Imperial Japanese Navy destroyed virtually all records, drawings, and photographs of or relating to the Yamato-class battleships, leaving only fragmentary records of the design characteristics and other technical matters. The destruction of these documents was so efficient that until 1948 the only known images of Yamato and Musashi were those taken by United States Navy aircraft involved in the attacks on the two battleships. Although some additional photographs and information, from documents that were not destroyed, have come to light over the years, the loss of the majority of written records for the class has made extensive research into the Yamato class somewhat difficult. Because of the lack of written records, information on the class largely came from interviews of Japanese officers following Japan's surrender.
And so, back to the movie. Is it factual? We might never know, and I doubt anyone alive can say with any degree of accuracy. Like Michael and Jeff Shaara of Civil War novel fame, the storytelling imagines a reality that is all too probable. At the time, the early 30s, the IJA (Imperial Japanese Army) was in heated competition with the IJN for funding. Japan's actions already had drawn the ire of the international community, and senior Japanese politicians were looking for a way to guarantee access to materials and labor in the region. Their GDP was about a tenth that of the US, and yet they wished to establish a hegemony over Asia, much like a modern China is doing. The IJN staff certainly felt the pressure. It is likely that Yamamoto, a proponent of the aircraft carrier, knew of corruption within military procurement circles, and of improprieties by senior Naval officers and Admirals. He himself had a mistress. One scene even throws those improprieties on the table, and the manic laughter tells the tale as well as it could be told. Having observed and participated in meetings between executives of Japanese companies and western companies, I don't see any melodrama.
Did the protagonist LTCDR save Japan? No spoiler there. But this movie portrays an interesting period in Japan as well as I have seen. That odd cross between medieval hierarchy, back-room deals, and more modern attitudes by subordinates is still evident in some parts of Japanese business. Step away from your sense of whatever, and enjoy a movie well-made. Stop looking at it with western eyes, and give homage to the notion that even in Japan, there were honorable men who questioned the ethics and conduct of their esteemed elders.
We might never know. Enjoy the movie.
Ahsoka: Part Two: Toil and Trouble (2023)
Relationships matter
I've not followed any of the animated series, so I am pleased that the backstories are revealed, carefully. This also means that instead of light/speed storytelling, I can keep up with the material and reflect on it real time.
The stories are crafted to allow an appreciation for the (perhaps best) graphics, while forcing you to hear all the dialogue and follow the rhythm of the stories. Even the personal combat scenes seem to flow a bit differently from previous material, perhaps there is some Zen in Filoni's writing.
In any case, the first two episodes let me fill in a lot of blanks, without either losing momentum in the characters' silences, or losing track in piecing together the canon with this new set of characters brought to life.
Think of this as more a Shakespearean experience than a spaghetti western. Enjoy the discoveries if you're not strong on cannon. And be patient.
Star Trek: Strange New Worlds: Subspace Rhapsody (2023)
Priceless, and entertaining on several levels
ST-SNW has a musical? WHAT were they thinking? (Psst- no spoilers below!)
Until I watched I, I wouldn't have believed it was 1) possible, and 2) effective. Yet, it is both. The characters are clearly engaged in this unique production. People seem to move with energy, even when they are not moving. And no matter who really sings, they all leapt and pirouetted as if it was the most natural thing for them to have done. There were no half efforts!
How does it work as an episode? It's almost as if it was a magical but not flimsy expulsion of many daemons: how many Kirk's will we kill, will Pike find prescient redemption, is Spock human enough? All these are "but a stage", and nearly all the central players seem to come to a resolution or a next step of their great questions.
The lyrics are fun, and the stage (the starship Enterprise herself) is more than adequate for all the motion you expect of a musical. And the stories (keep up!) really provide some fun insights about each characters' fears, hopes, and a few dreams. Classic stuff. Have patience, and have fun!
Oppenheimer (2023)
A tour de force!
The intensity with which this film and the actors deliver is nearly off the chart in every scene. From the back-and-forth in time, to the studied nakedness of some characters, to the outright hostility sometimes shown: this is great film-making and great acting. The pace changes, but does not languish. The nuance of self-doubt is played epically by Cillian Murphy, and the suffering Mrs. Oppenheimer is played brilliantly by Emily Blunt. Nearly all the cast are engaging, with hidden sides or fears, faults, and even valor.
The juxtaposition of the celebration at the detonation of the bomb, and the Japanese surrender, against the agony of Oppenheimer's descent into an emotional hell is well done, excruciating to watch as a man who set Duty ahead of personal preferences is so evident. And the final scene is so poignant as to make you see how, indeed, "patriotism is the last refuge of a scoundrel."
Oppenheimer worried about the consequences of the bomb. Rightly so: anyone who develops or uses weapons must always grapple with the reality that war is inhuman. I would have been disappointed had the movie sought to glorify the project. We did a disservice to Oppenheimer's legacy. This movie has done much to reveal the human side of his experience. Well done.
Star Trek: Discovery: Such Sweet Sorrow, Part 2 (2019)
The future is what we make it.
Fast-paced. Fun. Made my nerves tighten, and my eyes pop.
I take the long view. The writers knew exactly what pace to take, and when to change it. They managed to bring 20+ years of emotional chaos to a rather triumphant crescendo. NOT a conclusion. There is a wholeness at the season finale that is in-fact a jumping-off point. It feels as if the first two seasons were written with this end in mind. Well done to the entire team.
Interestingly, I don't feel the gaps/goofs are anything more than minor reflections on a very-complex creation. Discovery really feels like space opera, episodic or not. I'm amazed and satisfied that the practical and special effects STILL don't overwhelm the very good human story-telling. Some have taken issue with S2E13 for the duration of the long goodbye. I feel that the show needed the not-as-simple-as-it-looked sentimentality. It reminded me again that god sci-fi is about human endeavors.
This is some of the best storytelling in a while. Relax and let it soak. You'll enjoy the dichotomies.
Phantom (2013)
Slow- but submarine life is slow until the torpedo tubes get flushed out
This is definitely a parlor mystery, played out mostly within the narrow confines of an early Soviet ballistic missile submarine. To that end, the technical aspects are interesting, and the CGI of underwater scenes is good, if not as good as "Hunt for Red October". Still, the tension in those scenes puts Ed Harris in an interesting counterpoint to scenes from the second movie. Is he as good as Marko? I think so, in classic Ed Harris fashion.
The story telling does go slowly, as I said in the title. Submarines and their crews only do things quickly in emergencies (such as an emergency blow to surface after some sort of casualty). The B-39 certainly contributes to the realism as crews rush to-and-fro for drills and action, and the tight scenes between the protagonists are definitely up-close and personal. If you're OCD about
There is some mythology going on, and the "inspired" marketing is a LONG stretch. The shifting tensions between crew members and other protagonists feels like you're inside a sub, and that everything has to be done precisely. The ending seems a bit melodramatic, but it serves the story well enough. It makes for a lazy afternoon or evening's watch.
Star Trek: Strange New Worlds: Tomorrow and Tomorrow and Tomorrow (2023)
So human and so Trek.
The episode is so short, but covers so much emotional space. La'an is more complete and three dimensional, and delightful as a stranger in a strange land. Combine that with colorful interludes by other characters and we have a really neat and intimate examination of some of the best concepts in sci-fi.
I really like the nuanced acting this episode; it was delicate as actors explored different versions of themselves. It gave them and the stories told and waiting to be told more richness and even future opportunities. Christina Chong really showed a lot of vulnerability, and really stretches her character with questions about the past, the present, and the future.
Time after Time....
The Pale Blue Eye (2022)
Successful suspense, and surprise.
As a graduate of USMA, I found the story compelling and interesting. The slow (great movies often start this way) buildup, and the final reveal caught me off guard. Well done to the ensemble. Mr. Bale delivers a convincing portrayal as a clever but pedestrian pedestrian investigator. Gillian Anderson is absolutely edgy the entire time. Walking through the cemetery reminded me of similar walks. Harry Melling delivers a brilliant, studied performance as a nascent poet and criminologist. Walking through the cemetery reminded me of similar walks, eerie with legends in that part of New York.
The supporting cast were also contributors to the suspension of disbelief. Robert Duvall kept himself in the shadows, none of his soliloquies as so often are written for him. He really anchored a nice storyline.
I found the portrayals of the Adjutant Captain and the Sylvanus Thayer off the mark. But then, I am a fan of the history. They served their roles well, one protecting the institution, and the other protecting that sin qua non of Duty.
If you like intelligent and intriguing work, sit down and let this one build.
Duty. Honor. Country.