Mercury 13 (2018) ☆☆☆(3/4): Female pilots who could have been astronauts

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Documentary film “Mercury 13”, which is currently available on Netflix, presents a hidden story about a group of remarkable women who could have been astronauts in the 1960s. While they demonstrated well that they were as skillful and experienced as their male counterparts, they were unfairly underestimated and then ignored due to the prevalent sexism of that era, and the documentary makes a sharp point on how things could have been different if they had been allowed to follow their dream and ambition.

After the opening scene which imagines an alternative version of that historical moment on July 20th, 1969, the documentary moves forward to the present and then shows us a meeting among three old women who were the members of Mercury 13, which refers to 13 woman who were selected as candidate astronauts for Project Mercury in April 1959. Although almost 60 years have passed since that time, these three old ladies are still full of spirit, and they and other interviewees in the documentary have each own interesting tale to tell us.

At first, these three old women, Wally Funk, Sarah Ratley, and Rhea Woltman, talk about how they respectively became passionate about aviation. Funk reminisces when she had her first flying experience at the age of 9, and Ratley and Woltman also remember well how exciting and liberating it was to fly high in the sky. Although they faced a gender bias on aviation, they and many other female aviators in US did not care much about that while looking up to their idol Jacqueline Cochran, a trailblazer whose distinguished aviation career surely set a shining example for every aspiring female aviator in the country.

After US went into the World War II in 1941, Cochran founded the Women Airforce Service Pilots (WASP), and that was a major breakthrough moment for female aviators in the country. Although they did not fight in the war as officially having no military standing, those female pilots flied newly manufactured fighter planes to military bases, and they were all proud of doing that modest but significant job well for their country. Even after the war was eventually over, most of them were determined to go further with their career, and nothing could stop them.

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And then there came a very good opportunity around the late 1950s. As the Cold War era went on, the rivalry between US and USSR became intense in many fields including space, and then USSR surprised the world in October 1957 with its successful launch of a small communication satellite named Sputnik. Of course, the American government became more motivated to beat USSR in their ongoing space race, and NASA soon began Mercury Program in 1958.

After 8 male astronauts including John Glenn were by NASA selected after a series of physical and psychological tests, Dr. Randy Lovelace, who was the chairman of the NASA Special Advisory Committee on Life Science, came to have an idea which felt rather unconventional at that time. As a close friend of Cochran, he was well aware of how female aviators can be as good as their male counterparts, so he soon embarked on a small independent research project to see whether female aviators can also be good astronauts.

After gathering 25 women at the beginning, Dr. Lovelace began the phase I of his project, and his female subjects had to go through numerous arduous tests. At one point, the subjects got their inner ear injected with icy water just for checking whether they could endure an extreme condition of low temperature, and that was certainly not a pleasant experience at all.

Around the point where 13 women was selected for the next phase to be executed in Oklahoma, the result of the phase I impressed Lovelace more than expected. The female subjects turned out to be on a par with their male counterparts, and it also looked possible that they were actually more qualified than their male counterparts in several aspects. For example, when one of these women was put into a sensory deprivation tank, she could stay alone inside the tank for no less than 9 hours, and that was surely impressive to say the least.

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However, they soon found themselves blocked by gender bias around the time when Lovelace was ready to begin the Phase III of his study in Pensacola, Florida. As focusing more on the male astronauts of Mercury Program, NASA instructed Lovelace to abort his study, and the female subjects of his study naturally became exasperated and frustrated because of this sudden change. Some of them eventually lobbied the White House and Congress for inclusion of women in the astronaut program, and that resulted in the public hearings before a special Subcommittee of the House Committee on Science and Astronautics in July 1962, but, sadly, that only led to more frustration for them.

Nevertheless, the members of Mercury 13 did not give up at all as going their way as before, and they later witnessed how their struggle became the basis for their juniors including Eileen Collins, who was the first female pilot and first female commander of a Space Shuttle. When she was in front of many reporters, Collins did not forget to mention the members of Mercury 13 and their overlooked contribution, and several members of Mercury 13 were even invited to the launch of a Space Shuttle to be piloted by Collins.

Although I think directors David Sington and Heather Walsh could delve deeper into their human subjects, “Mercury 13” did its job as well as intended within its rather short running time (79 minutes), and it will surely make you reflect on how much things have changed – and why we need more of gender equality even at present. As many people say these days, girls can do anything, and we all should remove their obstacles at least for a better world to come.

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Mom and Dad (2017) ☆☆1/2(2.5/4): Moms and dads get very mad

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Suburban life has been always a fertile ground for satire, and “Mom and Dad” is one of such morbid cases exemplifying that aspect. The movie wants to have a vicious nutty fun with its outrageously disturbing premise, and it blatantly wields its dark humor while occasionally jolting us with shocking moments of violence. Although its wild attempt is not wholly successful, it is sometimes hilarious at least, and I sort of admire how much its two lead performers are willing to go overboard for laughs along with it.

Nicholas Cage and Selma Blair play Brent and Kendall Ryan, your typical middle-class suburban couple who gradually turns out to be not as happy as they seem on the surface. When they begin another mundane day of their monotonous life with their two children in a cozy house located in some suburban area, everything looks fine and ordinary, but we soon see that they do not get along very well with their children. As your typical adolescent girl, their daughter Carly (Anne Winters) clashes with her father over her boyfriend Damon (Robert T. Cunningham), and Kendall does not know what to do with her daughter as feeling more of the gap between her and her daughter. In case of Josh (Zackary Arthur), he is less troublesome in comparison, but, as shown from one brief tense moment, he inadvertently annoys his parents at times.

Outside their house, Brent and Kendall continue to feel more of ennui and frustration accumulated inside them. It is clear that Brent hates his job, but he has no choice as the breadwinner of his family, and we later see how he usually spends his numbing working hour. Kendall has yearned to go back to her old job, but it has been almost 15 years since she quitted her old job, and it looks like she will be stuck in her suburban neighborhood for the rest of her life just like other housewives including her best friend.

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And then, as announced to us in advance via the disturbing opening scene, a very weird thing begins to happen. Probably due to some electromagnetic wave generated from electronic devices, millions of parents are suddenly swept into mass derangement around the country, and they all come to be driven by an inexplicable urge to kill their own children. At one point, we see many school kids attacked by their own parents who come to their school in group, and then we get a disturbing scene where a bunch of guys intensely stare at their newborn babies from the distance at a local hospital.

Perplexed and scared by this terrible chaotic circumstance, both Brent and Kendall hurriedly drive back to their home for protecting their children, but, of course, they also come to feel that murderous urge in the end. As Carly and Josh desperately try to protect themselves from their homicidal parents, the movie attempts to be a little more serious amid its insane moments of sound and fury. Through a number of sudden flashback scenes, it tries to bring some emotional depth to what is going on between its mad couple and their children, and it also gives us a twisted moment of irony as observing how Brent and Selma become closer to each other than ever through their madness. As their old resentment and frustration are ventilated through their madness, Brent and Selma somehow feel better than before, and they even come to have a sweet talk while zealously waiting for any chance to kill their children.

The movie sometimes falters in its deranged dance between horror and comedy. For example, I instantly noticed that one particularly sequence during its second half basically copies a similar one in “Panic Room” (2002), and I was a bit disappointed with its predictable payoff moment. While I did laugh hard during several good moments including an uproariously loony climatic scene, they are handled in rather rote and predictable ways, and the final scene of the movie is not as comically impactful as intended.

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Nevertheless, the movie works whenever Cage and Blair hurl themselves into their roles with considerable gusto. Although he has wasted his talent in numerous bad films during recent years, Cage is still a wonderful performer who is especially good at playing edgy and intense characters as shown from “Wild at Heart” (1990) and “Leaving Las Vegas” (1995), and it is certainly entertaining to watch him going berserk along with his character on the screen. While more restrained in comparison, Blair is also solid in her equally compelling performance, and I enjoyed her haywire comic chemistry with Cage.

In case of other main performers of the film, they are under-utilized due to their underdeveloped characters. Anne Winters, Zachary Arthur, and Robert T. Cunningham are adequate in their roles, but there are not many things they can do with their cardboard characters, so we come to observe their plight from the distance. While it is nice to see Lance Henriksen again, there is not much surprise from his supporting role, and that is another disappointment in the film.

“Mom and Dad” is written and directed by Brian Taylor, who previously directed “Crank” (2006) and “Gamer” (2009). Compared to the unpleasant boredom of “Gamer”, “Mom and Dad” is far more entertaining on the whole, but it feels like a one-joke stretched a little too long, and the overall result is a mixed bag which is not crazy or smart enough to engage and surprise me. I would rather recommend “Mayhem” (2017) because that movie did a better job of mixing laugh and violence, but, considering its morbid B-movie spirit, I will not be surprised if “Mom and Dad” becomes a cult favorite later.

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Mayhem (2017) ☆☆☆(3/4): Things become quite rough in his workplace….

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Mean, savage, and hilarious at every point, “Mayhem” is willing to go all the way for making you cringe and then laugh for its literally brutal horror satire on corporate culture. You may be bothered by its remorselessly graphic depiction of violence, but then you will also be amused by its loony moments of edgy satire, and you will probably come to enjoy considerable humor and energy packed inside this very violent comedy action film.

At first, the movie opens with a rather miserable situation of its young hero. When he started to work in some prestigious consulting firm, Derek (Steven Yeun) was full of ambition and confidence as hoping to be an executive of the firm someday, and it looks like everything has been fine for him because he has steadily climbed up the corporate ladder step by step, but, as he tells us via his sarcastic opening narration, he is not that happy as still being an expendable corporate lackey just like many others in the firm.

And then something disastrous happens. Not long after he flatly rejects a sincere plea from a lawyer named Melanie (Samara Weaving) during their meeting on the imminent foreclosure on some real estate property, Derek is notified of a serious problem involved with one of the biggest clients of the company, and it soon becomes apparent that he is going to be a scapegoat as demanded by John Towers (Steven Brand), the arrogant and merciless CEO of the company. Derek tries to avoid this circumstance as much as he can, but, alas, his fate is already sealed, and he is soon visited by the grim director of human resource department, who is ready to take care of Derek as soon as possible along with a couple of security guards.

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However, right before Derek is taken out of the company building, a bunch of SWAT guys and medical experts suddenly arrive, and then they immediately quarantine the whole building for the outbreak of a very contagious virus in the building. Although it does not kill the infected, the virus in question makes the infected very impulsive and violent, and, not so surprisingly, pandemonium soon reigns inside the building as numerous infected people throw themselves into their irresistible impulses.

While he is shaken and rattled by bulging impulses inside him just like many others, Derek comes to have an idea about how he going to utilize this extremely dangerous circumstance for himself. As told to us during the opening scene of the movie, it was ruled during a famous trial that the infected do not take any responsibility for whatever they committed due to their uncontrollable mental state, and that means Derek can get away with killing Towers. Before the police get the situation under control 8 hours later, he must go up to the top floor of the building and then confront Towers, and Melanie, who also happens to be stuck inside the building, is willing to help Derek because, well, she is as mad about the company and Towers as him.

After fully equipped with various hardware tools they luckily acquire from a basement room, Derek and Melanie hurl themselves into a series of violent moments not so far from “The Raid: Redemption” (2011). The closer they get to the top floor of the building, the more violent they have to be as fighting with many obstacles on their way, and the movie gives us plenty of violence to jolt and shock us. At one point, we see our characters ruthlessly shooting nails to their latest opponent, and then we are served with a cringe-inducing moment involved with a pair of scissors and a certain sharp hardware tool.

The main reason why I could tolerate these violent moments more than “The Raid: Redemption” is that the movie puts not only humor but also context into them. Whenever we think it goes too far with violence, it always amuses us with nice satiric moments, and it also makes sharp points on that cutthroat aspect of corporate environment as cheerfully depicting how willingly its corporate characters go further as driven by each own irresistible impulse.

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Of course, the screenplay by Matias Caruso throws lots of barbed jokes at Towers and his board members, who do not look that different even while being clearly infected. While Towers becomes enraged and uninhibited more and more, those board members remain surprisingly calm and collected as your typical corporate humanoids, and one of the funniest moments in the movie comes from how spineless they turn out to be.

Playing straight even when things get more absurd and violent for their characters, the main cast members of the movie are all effective in their comic performance. Steven Yeun, who recently became more notable thanks to his supporting turn in TV series “The Walking Dead”, shows here that he is an engaging performer to watch, and he and his co-performer Samara Weaving are constantly amusing as accidental killing partners. As the chief villain of the movie, Steven Brand delightfully chews every scene of his, and Caroline Chikezie, Kerry Fox, and Dallas Roberts are suitably despicable in their respective supporting roles.

“Mayhem” is basically a one-joke film, but its director Joe Lynch, who is incidentally not related to David Lynch, maintains well its narrative momentum during its short running time (87 minutes), and he did a good job of balancing his film well between black humor and extreme violence. The movie is surely not for everyone, but you may enjoy it if you can appreciate its bloody and vicious sense of humor like me, so I recommend it to you with some caution. Just please don’t tell me that I did not warn you.

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Cargo (2017) ☆☆☆(3/4): For saving his child

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While being your average zombie movie on the surface, Australian film “Cargo” deserves some praise for several reasons. Although we are often served with those flesh-craving zombies as expected, it is mostly driven by its hero’s desperate attempt to save his only child, and it is also firmly anchored by the strong performance from its reliable lead performer. Yes, I clearly saw where its story was heading right from the very beginning, but the movie is fairly engaging on the whole, and I was entertained to some degrees even while noticing its several glaring weak aspects.

During its first act, the movie gradually establishes its apocalyptic background as focusing on the ongoing situation of its hero and his two family members. Due a sudden virus epidemic, civilization was collapsed in Australia as many people were turned into zombies, and the opening scene shows Andy (Martin Freeman) and his wife Kay (Susie Porter) going through their another uncertain day on a small boat along with their baby daughter. They have been trying to go to a military base located far from where they are at present, but there is no guarantee on whether that place is safe or not, and they are also running out of their food supply.

And then they come across something which seems fortunate for them at first and then turns out to be more dangerous than expected. I will not go into details here, but I can tell you instead that Andy becomes helpless as watching his dear wife being turned into a zombie step by step. Although this ghastly progress of the disease usually takes around 48 hours, his wife’s condition quickly becomes worse and worse due to her severely injured condition, and there eventually comes a point where nothing can be done on her except mercy killing.

Now Andy becomes the only one to take care of their infant child, but, alas, he happens to be beaten by his zombie wife, and he must do anything for getting his child to any possible safe place before it is too late for his child. After activating his timer (how convenient it is!), he continues the journey with his child on his back, and the movie often accentuates his isolated desperation via the occasional wide shots showing the wide, stark landscapes of Australian outback.

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It is not much of a spoiler to tell you that Andy comes across a few characters one by one while going here and there around in this vast wasteland region. In case of a middle-aged school teacher who gives him a temporary spot to stay, she has a thoughtful night conversation with him later, and I like a small poignant moment which silently reveals to him and us why she is not suitable for taking care of his child. In case of a guy who has maintained his own shelter for a while, he is your typical survivalist who casually shows his vicious streaks to Andy, and we are not so surprised when a woman living with this guy asks for help from Andy later.

And there are also a group of Aborigine characters, who freely move around here and there in their territory as hunting and killing zombies. As mentioned at one point, many Aborigine people came back to their old way of life after the collapse of civilization, and the movie accordingly makes an indirect point on their painful historical past resulted from the advance of white civilization during the 19-20th century.

The movie pays considerable attention to a young Aborigine girl named Thoomie (newcomer Simone Landers), who happens to come across Andy early in the story and then comes across him again via sheer coincidence. She has been trying to take care of her zombie father, but, of course, that is not an easy task at all, and she hopes that her father will be cured by an old Aborigine guy nicknamed “Cleverman”.

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Although it is a little too heavy-handed in its storytelling, the movie mostly maintains well its level of tension, and Ben Howling and his co-director/writer Yolanda Ramke did a good job of setting a vivid, realistic mood for their story and characters. Based on their 2013 short film of the same name, the movie shows its seams from time to time, but its vivid local atmosphere compensates for that and other weak aspects including several contrived moments, and their cinematographer Geoffrey Simpson provides a number of bleakly beautiful landscape shots to remember.

Above all, the movie is steadily carried by the committed performance from Martin Freeman, who has been more prominent since his solid acting in BBC TV series “Sherlock” and Peter Jackson’s unnecessary Hobbit trilogy. While never overstating his character’s accumulating despair, he ably conveys to us his character’s dogged determination, and that is why the expected finale works on emotional level.

Freeman is also surrounded by a number of good supporting performers. While Susie Porter is effective in her scenes with Freeman, Anthony Hayes, Kris McQuade, and Simone Landers are also fine in their respective supporting roles, and it is surely nice to see David Gulpilil again, who was unforgettable in Nicholas Roeg’s great film “Walkabout” (1971).

Overall, “Cargo”, which is currently available on Netflix, is not exactly fresh, but it is equipped with strong elements including Freeman’s commendable performance. Although it does not break any new ground in its genre territory, it does its job as well as intended with some local flavor, and I had a good time thanks to that.

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The Cured (2017) ☆☆☆(3/4): After a zombie epidemic

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Bringing some fresh and interesting ideas to its horror genre. “The Cured” rises a bit above many other zombie movies. Yes, zombie movies are dime a dozen these days, but the movie presents a compelling social/political drama to engage us while also giving us a fair share of raging zombies as required, and I was constantly entertained by its mood and ideas as gradually being unnerved by what may happen to its weary hero and a few people he cares about.

The main background of the movie is Dublin, Ireland, which has recovered bit by bit from a global zombie virus epidemic at the beginning of the story. Unlike many other countries in the world, Ireland was hit very hard by this epidemic, but, fortunately, the cure for the virus was developed in time, and many of cured people have been released since that point.

However, as shown from the early scenes of the movie, things have not been that easy for “the Cured”. While the public opinion on them is not very positive due to what they did while they were infected, and they also remember that too well even after being completely cured. When Senan (Sam Keeley) is about to be released, he is still haunted by what he committed while he was in that rabid sate beyond his control, and his only comfort comes from Conor (Tom Vaughan-Lawlor), a fellow Cured who also feels nervous and uncertain about what he is going to do with his changed status.

At least, they are lucky compared to the remaining infected people somehow resistant to the cure. These infected people are all incarcerated in maximum security prisons, and the government has considered eliminating them all for public security and health despite the protest from Dr. Lyons (Paula Malcomson), who has tried to develop a better cure because of a personal reason to be revealed later.

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As a part of his rehabilitation process, Senan begins to work under Dr. Lyons, and he comes to learn that he is safe with the infected, who instinctively recognize the Cured and do not attack them. As this reminds him more of his former state, he feels more guilt and trauma while remembering again and again when he killed his older brother not long after getting infected. Sure, he was helpless in that uncontrollable madness, but that terrible moment remains stuck somewhere in his brain, and that is another burden he may deal with for the rest of his life besides the continuing hostility toward to him and many other cured people.

In case of Abbie (Ellen Page), the wife of Senan’s brother, she is sympathetic to Senan’s ongoing struggle, and she even allows him to stay with her and her young son. As being grateful to her kindness, Senan gets closer to her and her young son, and we see a certain possibility among them, but there remains one problem; he has not told her yet that he was responsible for her husband’s death, and he is understandably reluctant to confess that to her.

Meanwhile, the movie also pays some attention to Conor’s own struggle – and how he comes to be more radical and extreme. He was once a promising barrister who was elected as a new councilman right before the epidemic, but now he is stuck in his pariah status with no bright future, and there is a hurtful moment when he is flatly rejected by his own father. As getting more frustrated and exasperated, he comes to decide to do something about the current status of him and many other cured people, and he soon begins to form an underground group along with them.

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As Conor and his group resort to more violence while clashing with policemen and soldiers, the movie clearly evokes that violent period which shook Northern Ireland for years, and it gives us several tense moments later in the story. There is a brief but intense scene where the incarcerated infected people get driven into their tantrums, and then there is a disturbing flashback moment which reveals more about the relationship between Senan and Conor. While pulled toward Conor’s extremism, Senan also feels more conflict as caring more about Abbie and her young son, and the movie later presents an unsettling moment when its three main characters happen to be together at one point.

Of course, everything eventually culminates to a climactic part which throws lots of zombie people into the screen, but director/writer David Freyen keeps holding our attention as focusing on his characters as before, and its somber finale is effective on the whole. He and cinematographer Piers McGrail did a good job of establishing the palpable sense of uncertainty and nervousness around the characters in the film, and I also enjoyed myriad details reflecting that chaotic time caused by the epidemic.

The performers are convincing in their respective roles. Sam Keeley is quietly harrowing whenever his character struggles with his memories of violence, and Ellen Page, who also participated in the production of the film, appropriately dials down her perky presence. Tom Vaughan-Lawlor is increasingly menacing with his tightly wounded attitude which weirdly reminded me of Dr. Hannibal Lector during his first scene in “The Silence of the Lambs” (1991), and Paula Malcomson and Stuart Graham are also solid in their supporting performance.

As I said many times before, I have been tired of zombie movies during recent years, but I am ready to enjoy good ones nonetheless whenever I come across them, and “The Cured” is certainly one of such nice cases. Some of you may complain that there are not enough zombies in the film, but the result is more engaging than expected as coupled with interesting elements, and I think you should give a chance to this modest but satisfying zombie movie.

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Mary and the Witch’s Flower (2017) ☆☆☆(3/4): A girl’s wondrous magic adventure

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Right from its very first shot, Japanese animation feature film “Mary and the Witch’s Flower”, the first work from Studio Ponoc, tries to follow the footsteps of Studio Ghibli, and the result is successful to some degrees. While its artistic and technical achievement is not exactly on a par with what was achieved in many notable works of Studio Ghibli, it does provide some wonder and excitement as required, and you will probably come to have some expectation on what may come next from Studio Ponoc.

Based on Mary Stewart’s “The Little Broomstick”, the movie is about the unexpected adventure of Mary Smith (voiced by Hana Sugisaki), a young girl who comes to live in some rural town in England. Although her parents are absent for a while, she is being taken care of well by her great aunt Charlotte (voiced by Shinobu Otake) and Charlotte’s housekeeper Mrs. Banks (voiced by Eriko Watanabe), and she is eager to be nice and useful to everyone in the house although, as shown from several moments of broad humor, she is often as clumsy as I am in my miserable life.

Because the semester of her new school has not begun yet, Mary does not have anyone around her age except a young town boy named Peter (voiced by Ryunosuke Kamiki), who comes across her during a rather embarrassing moment of hers. She is not so pleased when he makes fun of her red hair, but it goes without saying that something clicks between them during their encounter, and she later acquaints herself with a pair of cats belonging to him.

And then something happens. After led into a nearby forest by Peter’s two cats, Mary happens to find a mysterious flower in the middle of the forest. When she shows that flower in question to the gardener working for her great aunt, the gardener tells her that it is a very rare flower which, according to a folk legend, is coveted by witches for its magical power.

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Mary does not think seriously about what the gardener told her, but then she finds herself thrown into a very extraordinary circumstance. Shortly after doing an errand for her great aunt, Mary is led by one of Peter’s cats into the forest again, and she finds an old broomstick hidden behind the roots of a big tree. When she happens to burst the bulb of that mysterious flower and its content is spilt on her hands and the broomstick, the broomstick is suddenly animated and then begins to fly high in the sky, and she is astonished to see that she can ride it well as if she were, yes, a witch.

The broomstick eventually takes her to a hidden place far away from the town, and she becomes more amazed as realizing that the place is a college for witches. As soon as she is escorted to the front gate of the college by a talking fox named Flanagan (voiced by Jiro Sato), she encounters its headmistress Madame Mumblechook (voiced by Yūki Amami), and Madame Mumblechook, whose name instantly reminded me of Mr. Pumblechook in Charles Dickens’ “Great Expectations”, is eager to show everything to Mary mainly because she hastily assumes that Mary is a prodigious young witch to enter her college.

Mary goes along with that assumption because she is understandably afraid and perplexed as facing this new alien world, and she comes to see lots of awesome sights while going here and there in the college along with Madame Mumblechook and Doctor Dee (voiced by Fumiyo Kohinata), who is your average mad scientist. In this wondrous place, they teach not only the magic arts but also science, and that interesting aspect is reflected well by several interesting things including a big walking machine for Doctor Dee.

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Now many of you are reminded of those Harry Potter movies, but the story takes a left turn as Mary comes to realize something sinister about Madame Mumblechook and Doctor Dee, and the film gives us several striking visual moments to remember. There is a rather grotesque moment when Mary encounters what Madame Mumblechook and Doctor Dee have been hiding behind their back, and there are also a couple of good flying sequences which will probably remind you of “Kiki’s Delivery Service” (1989). Often reminiscent of Joe Hisaishi’s scores for the works of Studio Ghibli, the score by Takatsugu Muramatsu works well during these exciting sequences, and it certainly contributes a lot to the overall lyrical mood of the film.

“Mary and the Witch’s Flower” is the third animation feature film by director/co-adaptor Hiromasa Yonebayashi, who previously made “The Secret World of Arrietty” (2010) and “When Marnie Was There” (2014) for Studio Ghibli. Like “When Marnie Was There” and other notable works from Studio Ghibli, the film is simply beautiful to watch for its lovely cell animation style and bountiful details, and I particularly admire the considerable efforts shown from the scenes set in the college for witches, which are constantly filled with small and big things to be noticed and appreciated.

However, I must also point out that “Mary and the Witch’s Flower” did not amaze or enchant me as much as Hayao Miyazaki’s “Spirited Away” (2001) or Isao Takahata’s “The Tale of the Princess Kaguya” (2013). It is not exactly fantastic in my inconsequential opinion, but it shows some potentials at least along with enough entertainment, and I sincerely hope that it will be regarded as the opening of a new era after the recent unfortunate hiatus of Studio Ghibli.

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Early Man (2018) ☆☆☆(3/4): A minor work from Aardman Animations

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“Early Man”, the latest animation film from Aardman Animations, is enjoyable but surprisingly slight in many aspects. While I liked some of its good moments, I somehow came to be rather distant to its story and characters instead of fully engaged in its narrative, and that is the main reason why I feel some reservation toward the film.

After the amusing prologue scene shows how prehistoric men came to play soccer, the movie moves forward to several ages later and then introduces us to Dug (voiced by Eddie Redmayne), an earnest lad who has lived with a bunch of fellow Stone Age cavemen led by Chief Bobnar (voiced by Timothy Spall). For many years, these cavemen have lived in a small but bountiful valley surrounded by a vast wasteland full of volcanic activities, and it looks like they will continue to be all right as long as they just stick to their isolated area.

However, there comes a sudden unexpected threat from the outside. It turns out that there is a civilization of the Bronze Age somewhere outside the valley, and these Bronze Age people, led by Lord Nooth (voiced by Tom Hiddleston), want to mine precious bronze buried in the ground of the valley. Once the Bronze Age people invade into the habitat of Dug and other cavemen, the cavemen are swiftly driven out of their valley, and they soon face the grim reality of living in the wasteland for the rest of their life.

However, Dug finds that there is a small change for regaining their valley. Not long after accidentally brought to the city of the Bronze Age people, he finds himself in its big soccer stadium, and that is when he comes to realize what his ancestors depicted in their old murals. Although neither he nor his fellow cavemen knows anything about soccer at present, Dug believes that they will be able to play soccer just like their ancestors did, so he declares the challenge against the mighty soccer team of the Bronze Age people, and Lord Nooth accepts it without any hesitation.

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Of course, Dug soon sees that it is not so easy at all to teach soccer to his fellow cavemen, and we accordingly get a series of funny slapstick moments as our caveman characters try to learn how to play with a soccer ball. As watching these moments, I was reminded of how disastrously clumsy I was when I tried to play soccer along with my high school colleagues, and I was consoled to know that I was not that bad in comparison.

As some of you already expected, Dug and other cavemen come to get a big help from the outside, and that comes from Goona (voiced by Maisie Williams), a plucky girl from the city of the Bronze Age people. Although she has always wanted to play soccer, she is not allowed just because of her gender, so she decides to play for Dug’s team, and she is certainly willing to teach them everything she knows about soccer.

The rest of the story is predictable to say the least. There is an obligatory montage sequence in which Dug and his team go through a number of difficult training moments under Goona’s guidance, and, this is not a spoiler at all, their soccer skill is significantly improved. As his team’s chance of winning turns out be not as big as he initially thought, Lord Nooth comes to try anything for beating Dug’s team, and there is an absurd moment later in the film when he blatantly and impertinently attempts to fix the game for his team. Around the final act of the story, Dug comes to have some serious doubt about himself and his team as expected, but we all know from the beginning that he and his team surely come to prove themselves well in the end.

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This conventional aspect is rather surprising considering that how many works from Aardman Animations delightfully surprised me a lot. I still love those ingenious comic moments of its acclaimed short films such as “The Wrong Trousers” (1993) and “A Close Shave” (1995), and I absolutely adore the bouncing spirit of “Chicken Run” (2001), “Wallace & Gromit: The Curse of the Were-Rabbit” (2005), and “Shaun the Sheep Movie” (2015). Compared to their strong personality and smart storytelling, what is shown in “Early Man” looks relatively plain and shallow, and I even became a bit impatient despite its short running time (87 minutes).

However, the film is not a total bore at all because it is not entirely devoid of charm and personality. I was often amused by nice humorous details placed here and there in the film, and I also appreciated the painstaking efforts put into its clay animation. Thanks to the spirited voice performance of its main cast members, the characters in the film come to us as likable caricatures, and my personal favorite character is Hognob, Dug’s pet wild boar which reminds me a lot of Gromit in “Wallace & Gromit: The Curse of the Were-Rabbit” and incidentally gives us the funniest moment in the film when it happens to give some service to Lord Nooth at one point.

Overall, “Early Man” is a minor work from Aardman Animations. I think Director/co-writer Nick Park, who directed “Chicken Run” and “Wallace & Gromit: The Curse of the Were-Rabbit”, could do better than this, but you will probably be entertained as much as me if you have admired the works of Aardman Animations. It is conventional and predictable indeed, but it is at least more enjoyable than “Despicable Me 3” (2017), so I recommend it to you despite my reservation.

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Solo: A Star Wars Story (2018) ☆☆1/2(2.5/4): When Han Solo was young…

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Despite its rather troubled production process, “Solo: A Star Wars Story” is fairly watchable on the whole, but it also feels redundant and unnecessary while not that terrific enough for recommendation. Although there are several entertaining moments in the film and we are not that bored thanks to these well-made moments, but it is often deficient in terms of style and personality compared to recent Star Wars movies, and now I became a bit concerned about the ongoing attempt to expand its popular franchise.

As reflected by its title, the movie is about the past of Han Solo, one of the lead characters in the original Star Wars Trilogy, and it begins its story at a point somewhere between “Star Wars: Revenge of the Sith” (2005) and “Star Wars: A New Hope” (1977). As the Empire continues to expand its power and influence over “a galaxy far, far away” after what happened in “Star Wars: Revenge of the Sith”, things become quite harsh in the galaxy along with the rise of several crime syndicates, and these syndicates have amassed considerable wealth via their illegal transaction of valuable resources including food and coaxium, a precious fuel material for spaceships.

When we meet young Han (Alden Ehrenreich) in the beginning, he is in the middle of a serious circumstance which is apparently way over his head. As a lad who has been stuck in his shabby planet for years, Han is determined to get out of the planet along with his girlfriend Qi’ra (Emilia Clarke) through selling a vial of coaxium, but the boss of a criminal organization to which they belong is certainly not going to allow that. Although he manages to escape from the organization as joining the Imperial Navy, he is helpless while watching his girlfriend taken away by the henchmen of the organization, and he promises to himself that he will return to get her back someday.

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Han wants to be a pilot as soon as possible, but he gets kicked out of the Imperial Flight Academy not long after going there, and he eventually becomes a mere infantryman. We see him trying to fight and survive on a rough, chaotic battlefield, and the movie did a good job of vividly establishing the gray atmosphere of fear and desperation around Han and many other soldiers. Not so surprisingly, Han does not hesitate at all when he comes across a chance to get away from this hellhole, though it turns out to be not as easy as he thought at first.

Now I think I should not go further into details for not spoiling your entertainment, but I guess I can tell you a few things at least. After joining a small gang of criminals led by Tobias Beckett (Woody Harrelson), Han finds himself returning to his criminal world, and, of course, that is how he comes to reunite with Qi’ra, who is now a close subordinate of a powerful criminal boss named Dryden Vos (Paul Bettany). Due to the failure of Beckett’s recent criminal operation, Vos is not very pleased to say the least, and that is when Han brings out a risky but tempting idea for solving this problematic circumstance for him and Becket, who is initially reluctant but agrees that there is no good option for them besides that.

And there are two familiar figures from the original Star Wars Trilogy: Chewbacca (Joonas Suotamo) and Lando Calrissian (Donald Glover). Although their first encounter is not very pleasant, Han and Chewbacca quickly form partnership between them, and there later comes a small amusing moment which reveals how old Chewbacca actually is. In case of Lando, he has a certain spaceship which is well-known to many of us, and we also come to learn that he is quite attached to his co-pilot/droid companion L3-37 (voiced by Phoebe Waller-Bridge), who is incidentally very passionate about the civil rights of robots.

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As the screenplay by Jonathan Kasdan and Lawrence Kasdan moves from one expected narrative point to another, the movie serves us with a number of action sequences, and they are mostly handled well under the competent direction of director Ron Howard, who replaced Phil Lord and Christopher Miller in the middle of the production of the film. I enjoyed an exciting action sequence rapidly unfolded along a steep train track going around high mountains, and I was also entertained by an action sequence involved with that infamous “Kessel Run”, which was briefly mentioned by Han in “Star Wars: A New Hope”.

Nevertheless, I could help but aware of what the movie lacks. Unlike “Star Wars: The Last Jedi” (2017), it does not try anything new or fresh as just staying inside its familiar territory. Unlike “Rogue One: A Star Wars” (2016), it does not bring out anything unexpected or impactful while moving along its predictable narrative. Although its 135-minute running time passes smoothly, the movie does not leave much impression in the end, and this weak aspect only accentuates its redundant position in the franchise.

At least, the main cast members are mostly well-cast and deserve some praise for their efforts. Alden Ehrenreich, who previously drew our attention via his scene-stealing supporting performance in “Hail, Ceasar!” (2016), wisely does not try to imitate Harrison Ford’s acting in the original Star Wars trilogy, and he ably carries the film while surrounded by a bunch of notable performers including Woody Harrelson, Emilia Clarke, Paul Bettany, Thandie Newton, and Donald Glover, who is flawless in his role which was previously played by Billy Dee Williams in the original Star Wars Trilogy.

Although I was entertained by “Solo: A Star Wars Story” to some degrees, I give it 2.5 stars mainly because I think it is one or two steps below “Rogue One: A Star Wars Story”. That movie engaged me and then surprised me even though I was well aware of its eventual ending from the beginning, and I have considered reevaluating it someday. I cannot recommend “Solo: A Star Wars Story” because it fails to do that, but it is not boring at least, and you may enjoy it more than me if you are more generous to its weak aspects.

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Claire’s Camera (2017) ☆☆(2/4): Hong Sang-soo’s misfire in Cannes

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Several weeks ago, I belatedly read “Two Weeks in the Midday Sun”, which was written by my late friend/mentor Roger Ebert in 1987. The book was about numerous things he observed and experienced during the two weeks of the 1987 Cannes Film Festival, and I frequently snickered while reading this entertaining book full of funny and interesting anecdotes to be savored and appreciated. (My personal favorite one is about a certain obscure South Korean film called “The Castle of the Rose” (1969), by the way)

Compared to what I vividly remember from “Two Weeks in the Midday Sun”, Hong Sang-soo’s recent work “Claire’s Camera”, which was incidentally shot around the 2016 Cannes Film Festival, is not that funny or interesting, and it is all the more disappointing because it somehow fails to generate sharp moments of humor and insight you can expect from Hong’s film. Although there are a few nice moments during its notably short running time (69 minutes), the movie seriously lacks comic momentum in contrast to many of Hong’s better works, and I often found myself becoming quite impatient as it merely trudged along its thin narrative.

The movie begins with the sudden situation of one of its main characters. Man-hee (Kim Min-hee) is a young woman working in some film production company, and the opening scene of the movie shows her working along with others at the Cannes Film Festival. After her boss Yang-hye (Chang Mi-hee) approaches to her for a small talk, we come to learn that Yang-hye fired Man-hee, and, as Man-hee wonders about what caused her unexpected dismissal, the movie goes back to her conversation with Yang-hye at a nearby cafe. While not giving any simple direct answer, Yang-hye keeps emphasizing that Man-hee is inherently dishonest, and Man-hee only comes to be more baffled and frustrated.

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And then the movie moves onto the scene between Yang-hye and a middle-aged filmmaker named Wan-soo (Jung Jin-young), who comes to Cannes because of the official screening of his latest work at the festival. As we listen to their private conversation, it becomes quite clear to us that Yang-hye has been in a relationship with Wan-soo, and Yang-hye is not so pleased with what happened between Wan-soo and Man-hee not so long ago.

While watching this, some of you will probably be reminded of what recently happened between Hong Sang-soo and his frequent actress Kim Min-hee, but the movie does not reflect or reveal anything personal from Hong while just observing its main characters from the distance. Although there is an expected moment of confrontation between Wan-soo and Man-hee later in the story, it feels rather contrived without any particular comic or dramatic effect, and I also think it is unnecessarily mean and cruel to Man-hee as trying to show how petty and unlikable Wan-soo is.

I forgot to tell you about Claire (Isabelle Huppert), a teacher/poet who occasionally photographs people whom she finds interesting. At one point, she spots Man-hee, and she naturally photographs Man-hee after having a short conversation with her. Not long after that, Claire comes across Wan-soo and Yang-hye at a Chinese restaurant, and, of course, she is amazed by this sheer coincidence when she later shows them several photographs including the ones showing Man-hee.

During her conversation with Wan-soo and Yang-hye, Claire explains a bit about why she is particularly interested in photographing people, but I must say that her words feel vague and superficial as we never see her photographs in the movie. Sure, I look a bit different from how I looked about a few seconds ago, but I am not sure whether there is anything profound about that.

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As I felt more dissatisfaction during my viewing, I naturally tried to find good things in the movie, and there are indeed a few good elements including its solid main cast members, who did as much as they can for filling their respective roles. While Chang Mi-hee and Jung Jin-young are suitably unlikable, Kim Min-hee, who was terrific in Hong’s previous film “On the Beach at Night Alone” (2017), brings some sprit and charm to her character, and Isabelle Huppert, who previously collaborated with Hong in “In Another Country” (2012), acquits herself well despite her thankless role. Whenever Huppert and Kim are together on the screen, the movie becomes a little more interesting, but then it is simply content with merely putting them together on the screen, and that is another major letdown in the film.

Since he makes his first feature film “The Day a Pig Fell into the Well” (1996), Hong Sang-soo has been as diligent as Woody Allen during next 22 years, and watching his latest work has been akin to an annual event for me and many other South Korean audiences. While I did not love his earlier films such as “Woman on the Beach” (2006) and “Night and Day” (2008), I became accustomed to his own human comedy as admiring “Like You Know It All” (2009), “Hahaha” (2010) and “Oki’s Movie” (2010), and I appreciated his storytelling experiments in “In Another Country”, “Our Sunhi” (2013), “Hill of Freedom” (2014), and “Right Now, Wrong Then” (2015).

Although “Claire’s Camera” is a misfire on the whole, we will get another work from Hong sooner or later, and he will probably bounce back from what may be the lowest point in his long, productive career. As a matter of fact, his new film “Grass” (2018) was shown at the Berlin International Film Festival early in this year, and I and other South Korean audiences will soon see whether he is back in his element or not.

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The Trip to Spain (2017) ☆☆☆(3/4): Six days in Spain – with Coogan and Brydon

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“The Trip to Spain” is as fun and amusing as I expected, and that is fine with me. Like two previous films “The Trip” (2011) and “The Trip to Italy” (2014), the movie constantly draws lots of small laughs from the humorous interactions between its two funny and engaging leading performers, and it surely helps that these entertaining moments are accompanied with numerous lovely sights of beautiful locations and tasty restaurant dishes.

Like two previous films, the movie begins with Steve Coogan calling his friend/colleague Rob Brydon. They are going to have a trip together in Spain for restaurant review article, and their travel schedule is pretty much same as before. As they did in “The Trip” and “The Trip to Italy”, they are going to travel around here and there during six days for dropping by several good restaurants, and they both expect that it will be another nice excursion for them.

After Coogan comes to Brydon’s residence for picking him up, they soon get on a ferry ship to Spain, and then they arrive in their first destination on the next day. As they begin to enjoy the dishes of a restaurant located there, they begin to hurl verbal jabs to each other as usual, and I was impressed again by how effortless Coogan and Brydon are in their fluid and dynamic interactions on the screen. I really have no idea on how much they actually improvised on the set or how much they really projected themselves into the movie, but I can say at least that they are indubitably talented and interesting people to watch, and I can easily imagine them doing something equivalent to “My Dinner with Andre” (1981) for hours.

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Their conversations are mostly lightweight compared to that long philosophical conversation in “My Dinner with Andre”, but Coogan and Brydon know how to amuse and entertain us, and I chuckled as watching them trying voice imitation as they did in the two previous films. While the first moment of voice imitation in the film instantly took me back to when they try to imitate Michael Caine’s voice in “The Trip”, they also try to imitate the voices of several other famous figures throughout the film, and my personal favorite moment is when Brydon relentlessly imitates Roger Moore’s voice to the amusement of everybody on the table except Coogan.

Meanwhile, the mood gradually becomes more serious as time goes by. Although frequently boasting of his considerable success with Oscar-nominated film “Philomena” (2013), Coogan feels insecure as his next project, which seems to be another Oscar season movie just like “Philomena”, is not greenlit yet without much progress, and it also looks like he is no longer ‘up-and-coming’ at present. While he has accepted that, as reflected by one brief amusing scene set in La Mancha, he is akin to Sancho Panza whenever he is with Coogan, Brydon later gets a call from Coogan’s former agent, and it looks like he may get career boost he has always wished.

In the meantime, they continue to go around here and there, and we look around several wonderful historical places along with them. I particularly enjoyed the interior of an old church which also owns a very early copy of Shakespeare plays, and that leads to another funny moment between Coogan and Brydon. When they come to Grenada, we see a number of old architectures which clearly show their cultural significance, and we are accordingly served with a conversation revolving around the history of Granada.

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And, of course, we frequently watch how restaurant dishes are prepared and then served to our two heroes. For instance, I enjoyed watching small fishes grilled for being served as appetizer at the first restaurant they drop by, and I also observed with curiosity how several different seafood dishes are prepared one by one at the second restaurant. The overall result is not exactly a food porn, but these and other food scenes in the movie function as nice accessories to Coogan and Brydon’s conversations, and they surely made me hungry to some degrees.

Still, Coogan and Brydon are the center of the movie, and their enjoyable comic performance here in the movie reminds me again of how dependable they have been during recent years. Although he did not impress me much when he appeared “Around the World in 80 Days” (2004), Coogan has given a number of commendable comic performances since that point, and he and Brydon were simply priceless as the comic duo of “Tristram Shandy: A Cock and Bull Story” (2006), an overlooked comic gem which did a nearly impossible job of adapting Laurence Sterne’s amusingly infamous classic novel “The Life and Opinions of Tristram Shandy, Gentleman”. After “The Trip” and “The Trip to Italy”, they are certainly accustomed a lot to their respective roles, but they keep digging something new and fresh from their usual shticks, and that is, I dare to say, a lot more enjoyable than those repetitive Hollywood blockbuster sequels out there.

Overall, “The Trip to Italy” is more or less than what we saw from its two previous films, but Coogan, Brydon, and their director Michael Winterbottom, who previously collaborated with his two actors in not only “The Trip” and “The Trip to Italy” but also “Tristram Shandy: A Cock and Bull Story”, did their job well again, and I am willing to see whatever will come next from them. Considering how its rather long epilogue scene ends, there may be another installment, so now I wonder: will they try South Korea someday?

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