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mysticseasons · 7 years

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VIRTUE AND MOIR: THE SHOW MUST GO ON

Tessa Virtue and Scott Moir came back after a two-year sojourn last year because they wanted to skate. And they felt they had more to give.

“We felt like we could be better,” Moir said.

(Above: Youngsters)

No doubt, an Olympic gold medal is on their minds. But it’s not all and it’s not enough.

There are so many days in which they smile the whole time. They wake up wanting to go to the rink. As they said a year ago, they didn’t come back to be who they were – which wasn’t bad, mind you: all those great edges; the intertwining of one movement which unfolds to the next; the novel lifts, new each year; the passion to express.

They spent last year revamping their technique and their style of skating, believe it or not: working on basics and mechanics, shifting the patterns in which their bodies moved. They spent time in the gym. They never fail to mention B2Ten, the group that gives them multi-faceted off-ice support, some of it rather scientific. Their goal was not necessarily to set the world afire last year as they set the groundwork for their second year back: this year.

But they did set the world afire in 2016-2017. They set two world records, for the short dance (82.43) and total score (198.62). And they were undefeated last season against the world’s best, the lone bobble to the exquisite French dancers Gabriella Papadakis and Guillaume Cizeron, who edged them in the free dance at the world championships, but not overall.

Virtue and Moir admitted their free dance wasn’t their best skate. “That kind of stung us a little bit,” Moir said. “And we were trained. We wanted to perform at the level we thought we should have.”

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Even so, they are coming into this season with all sorts of momentum. There should be no surprise if they have taken their skills and their expressive work yet a step further. It’s what they do. It’s the fire that lights them from within. They will be better this year than last. And experience is on their side, too. Last year they had to learn to compete again. They passed that test with flying flags.

”We’re so grateful to have had last year to set us up, schedule-wise especially, just to optimize our training this season and solidify our choreography and give our off-ice team a bit of a chance to home in on our mechanics once again,” Virtue said. “Things have just been rolling along as planned. I think in an Olympic season, you have to be adaptable, but part of that is just giving ourselves a buffer in case anything comes up through the year. I feel like we’ve done that.”

Mostly, they are excited about their material. It’s not a secret that they are skating to Rolling Stones and the Eagles and a bit of Carlos Santana for their short dance and “Moulin Rouge” for the free dance. What is a secret is just what and how they are using the music.

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They did say that the music from their “Moulin Rouge” is coming from the Oscar-winning movie version, starring Nicole Kidman and Ewan McGregor, a wonderfully dark, grandiose film that became the first musical in 10 years to be nominated for Best Picture back in 2001.

It took its producers two years to clear the rights for all of the music, since all but one song – “Come What May” – were covers of music from artists such as David Bowie (“Nature Boy”) and Elton John (“Your Song.”)

Virtue and Moir have always loved the movie and know that “Moulin Rouge” has been used time and again by international figure skaters (especially “Tango de Roxanne” for ice dancers).

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“But we try, as we always do, to put our own stamp on it, and make it unique,” Moir said. “Hopefully, it’s successful. We don’t want to give it exactly too much of where we drew things from. We want people to experience that for themselves,” Moir said.

Skaters have only a few minutes to tell a story, he added, and he doesn’t want to ruin the experience for spectators by revealing the specifics.

So will it be that riveting Roxanne tango, perfect for an ice dancer to pluck? Or the winsomely beautiful “Nature Boy,” by Bowie – perhaps the most beautiful song of the movie? Or perhaps “Come What May,” the ultimate love song – which would play well with ice dancers.

The public won’t know until their first competition: next week at Autumn Classic in Montreal, where Virtue and Moir will go up against two-time world medalists Kaitlyn Weaver and Andrew Poje and Canadian innovators Piper Gilles and Paul Poirier. Former world champions Anna Cappellini and Luca Lanotte of Italy are also in the field. And so are Maia and Alex Shibutani, world medalists from the United States.

It’s not easy keeping secrets in this social media world. But Autumn Classic will represent an unveiling, before Virtue and Moir get serious at Skate Canada in Regina in October.

There is an excitement when they talk about their “Moulin Rouge.” It was their idea. They presented it to coaches in Montreal. There has always been a collaboration in choosing music with coaches and choreographers.

“But this just felt like ours,” Virtue said.

“We are super proud of our 2017 programs for sure,” Moir said. “But the one thing we could have improved upon is picking something that we really connect with. We had a piece of music in 2014 that we couldn’t skate to, because people before us had made it special already.”

But “Moulin Rouge” is different.

“It comes from within us,” Moir said. “Skating to it feels special. I don’t know what it will look like. It might be a complete mess. But I can tell you, we are having a blast doing it. And we feel we have a special connection to it.” It’s high theatre, for sure.

So “Moulin Rouge” has become their standard piece.

“We just didn’t find anything that spoke to us and that we connected with like that,” Moir said. “And Marie [France Dubreuil ) and Patch [Patrice Lauzon] let us play with it a bit. And once they saw our passion and our connection to it, they started to come around a little bit more.”

When they began to create, things fell into place naturally. David Wilson came in to help, as well as their hip-hop man Sam Chouinard.

“We give credit to our coaches to not only let us have the opportunity to do something, but also getting on board and making it more special than we could ever believe,” Moir said.

This season, Latin is the prescribed rhythm for the short dance – and it’s not new to Virtue and Moir who have been together two decades. In fact, they danced a fiery flamenco at the Vancouver Olympics enroute to a gold medal. There will be nothing simple about this Latin piece.

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“We want to do something a little bit different,” said Moir. Dubreuil designed the routine for them and it’s a mix of modern rock. “It’s a bit of a party,” Moir said. “But we love the material and we get a chance to dance. It’s what we love to do.”

It starts with “Sympathy for the Devil,” and moves on to “Hotel California,” but it’s a novel arrangement. “It’s kind of a neat way to do Latin differently,” Virtue said.

Behind it all is a lot of training. They know what it is like to win and to defend – and they know how hard it is to defend. They are very motivated. They don’t have to look for it.

“We are just trying to control our emotions more than find motivation,” Moir said. “We think about it every day. That’s already started. It’s so funny how quick you’re going to be every night, dreaming about the Olympics. You can’t get away from it almost.”

The nice thing is that their Olympic record sets us them up nicely, said Virtue, speaking of winning the Vancouver Olympics and finishing second in the Sochi Olympics four years ago.

“I think we are the underdogs!” Moir said, jokingly.

-Beverley Smith

#Tessa and Scott #2017 #HPC17 #So ready for ACI now!#Beyond ready #Especially for the Free Dance #I just bloody love Moulin Rouge #I hope Tessa goes for red :)

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thesffcorner · 4 years

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The Mandalorian: Season 1

The Mandolorian is an 8 episode series on Disney+, written and produced by John Favreau. It stars Pedro Pascal as the titular Mandolorian who I will be referring to as his actual name, Din Djarin for the rest of this review, rather than the fan-name Mando.

Djarin is a bounty hunter, working for the Guild in the early days of the New Republic. His story starts as he takes on an under the table job to retrieve a package; however as things tend to go in this situation neither the package nor the people who are after it are what they seem, and Djarin must decide if it’s worth risking his life and reputation to protect it.

Before the show aired, I wasn’t very interested in seeing it; I hadn’t seen any trailers or buzz and I was still under the impression that it would follow Bobba Fett. Seeing the first episode I wasn’t sold on it either; I was disappointed that we were not following Fett, and that we were stationed after the events of ROTJ. However, I pushed through, and my opinions evolved significantly over the course of the show’s 8 episodes.

Overall, I enjoyed the show. There were some issues, and I can definitely see areas where Favreau can improve for next season, but I think season 1 was a solid starting point. My main complaint is that the season was too short, and even at 8 episodes, it still felt like it spent a lot of time on unnecessary filler. We’ll talk more about this, and other specific issues in the episode breakdown, but if you just want my opinion on if you should see it or not with no spoilers it’s this: If you like the Clone Wars, Rebels or the Solo film, you will like this. If you don’t, you probably won’t. Take that as you will.

So let’s get into this episodes, and I’ll end with some general thoughts and desires for season 2.

Episode 1: The Mandalorian

This episode is written by John Favreau and directed by Dave Filloni, the show-runner for my personal favorite Star Wars series, Star Wars Rebels.

We start with Djarin looking for more work from his Guild leader, Greef Karga, who offers him an extremely well paid, unsanctioned job, to track down a valuable package for some former Imperials. The man, just called the Client, strongly hints that he wants the package dead, and in return he is paying in Beskar, metal important to the Mandalorians.

The package is located on Arvala 7 (yes, I did look that up), and Djarin gets some help on his way, from a vapor farmer named Kuili, and another contractor, assassination droid IG-11. Djarin ends up shooting IG, after the droid attempts to kill the package, which turns out to be a child, the same race as or very loved Yoda.

If you have seen Rebels, than I think you will be very familiar with Filloni’s direction and style; unfortunately, for me this felt like one of the weaker episodes in Rebels. Even when Rebels was great, it suffered from an uneven tone; it could never quite decide if it was a kids or adult show, and as such the tone could fluctuate between really dumb and cringey comedy to serious and violent death in the span of a few minutes.

This is no different; there is some goofy humor, some characters that straddle the line between funny and annoying, but also some darkness, and good, subtle characterization.

The biggest issue this episode has (and it’s an issue the entire show never overcomes) is the pacing. It’s at once very slow, meticulously showing the loneliness and drudgery of being a bounty hunter and extremely fast, covering important character development and plot points in single montage.

Perhaps this is a flaw of Filloni, because what works in animation, doesn’t always work in live action. In Rebels, we could tolerate characters like Honda, we could swallow that characters teleport around and solve season ending issues in a conversation. Live action has a lot more constraints, suspension of disbelief is easier to break, so having character relationships develop at unnaturally fast paces or condensing what should be days if not weeks in a single 30 sec montage is a bit much.

I don’t want to make it sound like Filloni is a terrible director and this is some insurmountable flaw; Star Wars as a rule tends to not do well in developing its characters. Ever since a New Hope, where Luke was more distressed at Obi Wan dying, than his own aunt and uncle, or Leia losing her entire planet, the franchise has glossed over really important bits of storytelling (ahem, somehow Palpatine has returned).There is nothing as drastic in this episode, but it was still frustrating to have the first half of the episode so meticulously follow Djarin capturing the bounty and taking the job, and having the important parts like deciding to save the child or befriending Kuili take up 5 minutes.

On the positives, in a short time we get a really good idea of what kind of person we are following; Djarin is impatient, headstrong, a loner, someone who is very honorable, but doesn’t like showing it. We also get a good sense of the villain; Werner Herzog as the Client is a mix of a staunch and imperial like Tarkin, while also being fascinated by cultures like Thrawn.

An ok start the show, but definitely one of the weaker episodes in the season.

Episode 2: The Child

Episode 2 is written by John Favreau and directed by Rick Famuyiwa. After rescuing the child from the compound, Djarin finds his ship being stripped for parts by the Jawa. He goes after them, but when he manages to get to the top of their ship he gets blasted away. He has a dream about the day his parents died, and is rescued again by Kuili who offers to help him get his parts back. To do so, he must steal an egg from a mudhorn, and almost dies, except the child, using the force creates enough of an opening for Djarin to finish the animal off.

This episode is a vast improvement over episode 1; it has more action, more character development, more intrigue and a much more even pace. It’s still a slow episode, and we don’t learn much about any of the characters, but enough of what happens kept me engaged and interested.

However, this was the first episode where I noticed a bit of an issue with Dij Djarin’s characterization, an issue the show never really resolves.

I think, Pedro Pascal is too old to be playing Djarin. Alternatively, the writing of Djarin doesn’t match the age and gravitas of Pascal. Let me explain.

In episode 1 we learn that Djarin is impatient. This is fine. What is less fine is for Djarin to be brash and impatient enough to think he can a) take on an entire moving castle of Jawa by himself, b) threaten and shoot at the Jawa who already beat him once, c) tret the Jawa like pests even though Kuili and the Jawa themselves already demonstrated that they are intelligent and perfectly capable of negotiating.

These are not the actions of a man in his 40’s who is impatient; this comes off as someone who is too big for his birches, someone young and inexperienced and full of prejudice. A Luke Skywalker or Ezra Bridger, not Pedro Pascal at the same age as Qui Gon Jinn. It’s fine that Djarin is close minded and biased against Imperials and droids; it doesn’t make any sense that an experienced Mandlorin bounty hunter could speak Jawa and yet somehow not know anything about them.

This gets worse in the next episode where the other Mandalorians pick on Djarin and treat him like this young man who got lucky to be paid instead of an experienced warrior of decades. Even the Armorer treats him like a newbie; he doesn’t have a signet, he doesn’t have a jet-pack, and yet he’s in his mid 40’s!

Again, this isn’t just a problem of Favreau; he tends to write immature men after all, seeing as his biggest success to date is Tony Stark. It was also a problem in the prequels where I constantly got the sense that Ewan McGregor was playing a very different character from the one Lucas had written and Sir Alex Guinness portrayed. I just wish we would have gotten more reasons for why Djarin acts so inconsistently and why he’s only impatient and inconsiderate when the plot needs him to be.

The rest of the episode is fine. I liked the dynamic between him and Kuili; Kuili himself is great character, a world weary man who has worked a lifetime for his freedom and has a deep understanding of the value of life, peace and even money. I honestly wish he was in the show more; the best scenes are the ones of him and Djarin interacting. The child was also adorable; trying to heal Djarin, protecting him from the mudhorn. It was a slow build to Djarin increasingly caring more and more about it, even though he has no idea what he’s doing.

A vast improvement over episode one, even though it’s not perfect.

Episode 3: The Sin

Episode 3 is written by John Favreau and directed by Deborah Chow. Djarin returns to Navaro and hands the child to the Imperials, getting a full payment of Beskar for his troubles. He asks what is to happen to the child, which is a violation of the Guild’s rules, and draws the suspicion of Karga and all the other bounty hunters. Djarin gets a new set of armour from the Armourer, as well as a new job from Karga. However he can’t make himself leave, and he returns to rescue the child just in time, as it is being experimented on. Every bounty hunter in Navaro attacks him, but the Tribe of Mandalorians come to his aid, and he shoots Karga before getting away.

This is probably my second favorite episode of the show; it was the point where things finally clicked and I got an idea of what the stakes and the story would be. It’s a little unfortunate that it took 3 episodes for that to happen, but it’s better late than never.

This episode brought in some more mystery about the child; we still know nothing about what it is or where it came from, other than it being around 50 years old. The Client very clearly wants the child dead, while Dr. Pershing, the collaborator wants it alive for some kind of experiment. The child really isn’t the focus in this story, even if it is what everyone wants and around which the plot revolves; the real focus is Djarin’s evolving relationship to the child and himself.

I think this was the best development Djarin got in the season (outside of the finale); we see his slow bonding to the child, feeling guilty and upset over handing it over. His relationship to the child mirrors his own past; he was a founding, the Mandalorians saved him from the Great Purge, and he already has a history of caring for foundlings, making sure all of his extra Beskar is given to them, and essentially following the Way so he can help more foundlings. Him giving the child away is a direct betrayal to his own sense of self, even if he is a loner who has no idea how to take care of another being, let alone a baby.

We learn too, in the scene I mentioned before that Djarin is an outsider even among the other Mandalorians. He isn’t liked or respected; he is made fun of and challenged by others who consider him a traitor or weak. Whether this is because he’s a foundling and thereby not a ‘true’ Mandalorian (which doesn’t really make much sense considering what we find out later) or his vocation/personality, it clearly affects him enough to act and live the way he does. His constant pretending that he is heartless is challenged both by Kuili and especially by the child, for which he’s willing to risk his life and the secrecy of the Tribe.

This is all basic stuff; none of this is groundbreaking, but it was still nice to see Djarin evolve as a character. If there is one theme in this show it’s fatherhood and community; Djarin needs people around him, he needs a clan, and this episode is the first step for him to accept that.

The rest of the episode was great; it had a nice pace, it was full of tension, I liked the Armourer who gets a bit more personality as well as Greef Karga, who I have a soft spot for, even if he betrays Djarin twice in this episode. The action scenes were well shot and choreographed, I loved the Mandalorians at the end and overall it’s a big step up from the previous 2 episodes, and definitely one of the better ones in the season.

Episode 4: Sanctuary

Episode 4 is written by John Favreau and directed by Bryce Dallas Howard. It’s also my favorite episode in the show.

In an attempt to get some heat off of him after Navaro, Djarin lands on Sorgan, a sparsely populated forest planet. He runs into an ex-rebel shocktrooper, Cara Dune, and gets approached by 2 farmers who need help in dealing with a gang of Klatoonian raiders. What the farmers neglect to mention is that the raiders have an AT-ST fighter, and Cara and Djarin have to quickly train the farmers to learn how to fight the raiders. After freeing the village, Djarin contemplates leaving the child with Omera, whom he has some chemistry with, but a bounty hunter tracking the child arrives and tries to murder it, at the last moment stopped by Cara. Realizing that as long as the Client is hiring bounty hunters, the child will never be safe, Djarin leaves the planet.

I love this episode; it’s the perfect mix of humor and serious action, it has excellent character writing and pacing and it’s a complete story. It’s up there with some of the best Rebels and Clone Wars episodes and I wish the rest of the series was of this calibre.

One issue that I haven’t yet mentioned, was that many people didn’t like that in episodes 1-3, the only female speaking roles was the Armourer, and there were few to no female characters even as extras in the background. I could somewhat excuse that in 1 and 2, since a lot of those episodes were following Djarin alone in deserts and caves, but in 3 I was starting to get annoyed too. The Armourer is cool and important as a character, but she is a tertiary supporting character at best. So it took 4 episodes to get some women in this show, and thank god they are all great.

Cara Dune is absolutely flawless; I loved that she was a rebel shocktrooper, I loved her relationship with Djarin and sparring partners and quick friends who shared a lot of experiences by virtue of living through the war. She is competent, looks powerful, is noble and stoic while still having a lot of personality in her limited dialogue. It takes her no time to start making fun of Djarin’s dumb decisions, and I love that for her.

Omera is the opposite; she is quiet, kind and secretive. She has a lot of knowledge and understanding and clearly has a past involving trauma, but we never have to see it; it’s her acting and dialogue that captures it perfectly. She is intuitive, picks up on Djarin’s insecurities and worries about the child and his choices, and the chemistry between them felt natural, even if they don’t spend a lot of time together.

Unfortunately, this episode also starts my second big problem with Djarin, which I’ll call, wait were Mandalorians always like this?

First off, I had no idea Mandalorians can’t take their helmet off. The characters in both Rebels and Clone Wars take their helmets off all the time, especially when they are around family and friends; they only really keep them on when in battle or around enemies. Even in the prequels Jango takes the helmet off.

At first I thought they aren’t supposed to let anyone take the helmet off, as in without their consent like in battle. That’s when they get disgraced and can never put it back on. But no, apparently it’s ever, under any circumstances. Really? Like they can never let their loved ones see their face? How does that make any sense?

I saw people comparing the helmets to head scarves, like hijabs or nqabs, but people can take those off you know? When women are at home, and in front of their partners and families and female friends. They don’t wear the scarves forever, even at their own house!

Which makes me wonder, do Mandalorians not have partners or kids? Even if we follow the stupid retcon (which we’ll talk about) from this show, and Mandalore isn’t a people but a creed, that would imply that all the Mandalorians are foundlings. But if that’s true, than why is Djarin treated like an outsider, and so insistent on helping the foundlings if all Mandalorians are foundlings? And even if that’s the case, there’s no mention of Mandalorians being like Jedi, and being banned from having partners and children.

If they can have partners and children how does that work? Outside of the obvious, how do you have sex in armour (unless it’s just the helmet and the rest of the armour is irrelevant), do their partners and kids never see their face? Or is it that once you find a partner you take the helmet off and never put it back on? Or do not all Mandalorians follow the Way and the ones who don’t are the ones who marry and have kids?

None of that makes ANY sense, and I hope that they explain it at least a little in season 2, because as is, it’s not only dumb, but it also contradicts everything we know about Mandalorians from other Star Wars properties.

Outside of that, everything else this episode was great. The action was fun, the dialogue was funny, I liked the training montage, I liked Cara and Djarin’s fight, I liked the child being a child, the conclusion to the story, everything. It’s the best episode of the season, and unfortunately, only the season finale comes close to it.

Episode 5: The Gunslinger

Episode 5 is written and directed by Dave Filoni. While leaving Sorgan, Djarin is attacked by a bounty hunter and during their battle, Djarin’s ship gets damaged. He’s forced to make a pit-stop on Tatooine, where he leaves his ship for repairs with Peli Moto. To pay for the repairs he takes a job with Toro Calican, an aspiring bounty hunter who is tracking Fennec Shard, a notorious assassin. If he catches her he can enter the Guild and Djarin can keep all the money. However, things aren’t ever easy, especially after Toro learns that Djarin and the child are worth a lot more to the Guild than Fennec herself.

This episode is about the same quality as episode 1, but it suffers from a different kind of issues. The pacing is much better, and there is some actual tension while Toro and Djarin try to find and catch Fennec. However, after everything in 3 and 4 this feels like pure and simple filler. In an 8 episode season, that’s inexcusable. Making a pitstop on Tatooine accomplishes nothing, it’s just fan-service; there isn’t even character development for Djarin; he ends the episode exactly as he started it.

Fennec Shard is a waste of character and a waste of Ming Na Wen. The marketing for this show made it seem like she would play this massive, important role, but all she does here is shoot at Djarin, get her ass kicked, make an incredible rookie mistake in telling Toro all she knows about Djarin and then gets killed. Even if she’s not dead by the time season 2 rolls around, nothing about her character interests me; for a super assassin who worked for the biggest criminal guilds in the galaxy, she gets taken down by a rookie bounty hunter who can’t shoot straight.

Toro likewise was a wasted character. In a way I see what Filoni was maybe trying to do with him; if Djarin had treated him better and with a little more respect, Toro wouldn’t have turned on him, except the way it came off is that Djarin was right to treat him like shit, because Toro betrayed him when he realized he could use Djarin to get into the Guild. So what was the point?

Peli was adorable and actually had the strongest character arc in that she started the show with wanting to charge Djarin extra for the child, only to fall in love with it by the end, and treat it like her own baby. It was cute and funny, but it wasn’t worth a whole episode. If this was an episode in a longer series I’d have no issue with it; as is it just broke the flow of the show and achieved nothing.

Episode 6: The Prisoner

Episode 6 is written by Chris Yost and Rick Famuyiva and directed by Rick Famuyiva. It’s also my least favorite episode of the season.

Needing credits, Djarin accepts a job with a former crew mate, Ran, who wants him, a former Imperial sharpshooter Mayfield, brawler Burg, droid pilot Q9-0 (Zeroes) and his ex-girlfriend Xian to break a prisoner out of a New Republic droid-manned prison transport. Tensions in the crew are high, and escalate after Xian ends up killing a human pilot on board the transport who activates a New Republic beacon. The crew trap Djarin in the prisoner’s cell (the prisoner being Xian’s brother Qin, who Djarin helped put in jail), and Djarin takes the crew members out one by one, until it’s just him and Qin. He gets Qin back to Ren and as Qin is about to go after him, New Republic X-Wings, following the beacon Djarin placed on Qin arrive and destroy the station.

I can see what this episode is going for; it’s a Cowboy Bebop style, space western, and again, in theory, there’s nothing wrong with Djarin joining his old crew for a job and things going south. It could have been a character building moment, to see how far Djarin has come, from associating with dishonest killers and thieves, to hunting bounties for the New Republic. But even more than the previous episode, this one is filler, and it’s made worse by some truly bizarre casting choices and dialogue, as well as a bewildering ‘twist’ at the end.

Let’s start with the twist. Why would Ren PAY Djarin, let him leave, THEN send Qin after him? It’s not a Guild job, clearly, seeing as Djarin has been barred from the Guild and they are breaking into a freaking New Republic prison, so why wouldn’t they just… shot him as he’s on the platform and let his body fall into space? Answer? Because I guess it looked cooler this way.

Second, the crew. God I found most of these people insufferable. Mayfield was a cartoon character; he kept wildly flip flopping between bad-ass villain and incompetent comic relief, and I couldn’t tell if his goading of Djarin to take off his helmet was supposed to sound like he was hitting on Djarin, or they just didn’t realize it? It reminded me of John Cena’s character in Trainwreck, and I don’t think it was supposed to be a callback.

Then we have Zeroes and Burg who are completely nondescript bad guys (although considering how bad of a pilot Djarin is I was glad to see some good piloting for a change). Xian was a can of worms I’m not sure I even want to unpack. First, why give her and Qin Chinese names, but have white actors play them? Second when are we going to stop with the all Twi’leks are sexualized perverts/slaves/are completely insane? I thought the whole point of Disney taking over the SWU was to eliminate this kind of racist and sexist shit, and yet here I am again, in 2019 forced to watch this horribly written fetish-fulfillment on my TV.

I hated Xian as a character more than I’ve hated anything else in a while, and that’s saying something, because I’ve seen TLJ.

There were some good bits in this episode; the child hiding around the ship from Zeroes, and thinking he killed him with the force; Djarin asking the pilot for his name and trying to diffuse the situation; thinking to put the tracker on Qin. Even the concept itself was good, and I wouldn’t mind the same episode just with characters that are actually interesting, instead of all these insufferable stereotypes. The show really drops the ball with these 2 episodes, so I was honestly glad I only had the finale left.

Episode 7: Reckoning

Episode 7 is written by John Favreau and directed by Deborah Chow. Djarin gets a message from Greef who has survived their last encounter; he wants the Client gone so the Imperials who have taken over Navaro leave, and Djarin wants the bounty hunters to stop coming after him, so he accepts, and recruits Cara and Kuili to help. Kuili insist on bringing along the reprogrammed IG-11, who is now a nurse droid.

The group meets Greef and two bounty hunters and as they head back to the town, they get attacked by Mynocks. The child heals a wounded Greef, and he kills the two bounty hunters, who were there to help him betray Djarin. They devise a plan; Cara is to pretend she captured Djarin and the child, while Kuili takes the child back to the Djarin’s ship and barricades himself inside. Unfortunately, the Imperials sense the betrayal, Kuili is killed and the child taken, just as Moff Gideon arrives with a platoon of death troopers and kills everyone inside the compound including the Client.

I liked this episode though it is a bit uneven. The first half is spent with Djarin recruiting Cara and Kuili, while the latter is a rather tense standoff with the Client and subsequently Gideon. I liked that we got Cara and Kuili back, enjoyed the tension between Kuili who used to build Imperial weapons and Cara who fought for the Resistance.

What I didn’t like so much was the child randomly being jealous of Cara? Like he tries to crash the ship when she and Djarin are bonding over weapons, and then tries to choke her?

This is sort of a bigger problem for the show. We are 7 episodes in and we still know nothing about the child; we don’t know it’s species, why it is force sensitive, why the Imperials are after it, or even why it seems to randomly switch personalities. My further question is who exactly are the people after him? By this time, the First Order should already exist, especially if this takes place after the battle of Aquila, so is the Client First Order? Or Palpatine’s goon? Unaffiliated?

There is an extended montage that shows how Kuili reprogrammed and taught IG to be a nurse droid which was sweet, but wasn’t really necessary; I find it funny that this montage is longer than both the training section in ep. 4 and Djarin learning to ride in ep. 1.

The ending was appropriately a cliffhanger and I hate that they ended up killing Kuili’s character off; it was clear it would happen, especially after his fight with Cara, but it still sucks that they did it. I also didn’t like that they wasted the Client; he could have been a really interesting villain and Herzog is an excellent actor, but they never gave him a chance to do anything.

An objectively good episode, but not my favorite. I felt that more time could have been spent on building up Moff Gideon and the Client than Mynock attacks and training montages.

Episode 8: Redemption

Episode 8 is written by John Favreau and directed by Taika Waititi. After being captured by stormtroopers waiting for the order to bring the child into town, IG rescues it and shoots up Moff Gideon’s platoon. Gideon in return threatens the group to surrender, calling each member by name, which shocks Djarin because the only people who know his name would have died or at least been on his home planet during the Great Purge.

Gideon injures Djarin who tells the others to use the underground tunnels to get help and/or escape. IG stays with him, convincing him to remove his helmet to administer bacta to his head injury. In the tunnels the group finds the Armourer alone, as all other Mandalorians have been killed or escaped and she gives Djarin a jet-pack and his signet; a clan of two. She ordains the child a foundling and in accordance with the Way makes Djarin responsible for keeping it safe and returning it to its people.

The group uses an underground lava river to escape, and IG self-destructs to take out the ambushing stormtroopers. Gideon attacks them in his TIE fighter, and using the jet-pack Djarin manages to knock him down. The group says farewell, with Cara staying behind with Greef to help rebuild Navaro, while Djarin and the child leave. Gideon, having survived the crash uses the Darksaber to cut himself out of the fallen TIE and the season ends.

This is my second favorite episode behind Sanctuary; it’s action packed, tense and full of Waititi’s recognizable humor. The opening scene alone had me in stitches; that is by far the best use of stormtroopers in any Star Wars media, outside of that First Order SNL skit with Adam Driver.

We learn a decent amount in this episode; first that the Empire still has pockets of powerful followers, that Gideon and Djarin have some kind of past, that Gideon wants the child and most importantly that he has darksaber. How he has it we don’t know; he either took it from Kryze or is himself a Mandalorian.

Now, we get to the second wait, were Mandalorians always like this? I thought that the Mandalorians were a warrior race, but according to Waititi, they are a creed. This… doesn’t make sense. Why was there a civil war between the different clans? Why are there foundlings and not? How does one become a member of this creed, do you have to be a foundling? Or do you just have to follow the Way? Do all Mandalorians follow the Way? If anyone can be a Mandalorian if they follow the Way, then why can’t the child? I didn’t realize the foundlings also have to be Spartan-strong or else they don’t count.

Then we get to the helmet thing. Now, no LIVING being can see their face, so this confirms that not even their partner and children can see their face. WHY? What purpose does this serve? Why make it this dramatically ridiculous? I guess cause they liked the line ‘I’m not a living being’.

Waititi really enjoys taking established properties and spinning them on their head; in Thor Asgard was no longer a place, but a people, here Mandalorians aren’t a race they are the followers of a creed. But that doesn’t make sense if this creed has no rules or hs arbitrary rules that keep changing.

The rest of the episode was fine. Jrin completes his arc, but getting attached too IG, enough to be sad when IG self-destructs. I liked how insistent Cara was in saving him; a very soldier thing to do, and in general their friendship is excellent. I really hope this isn’t the last we see of her. The humor was also excellent, as it always is with Waititi and it was a good way to end the season.

Concluding Thoughts:

I feel like I always come off more negative than I mean to in all of my reviews, but it’s just because there are only so many ways I can say I liked this, this was well done, I loved this. I did I really enjoy this season; I can safely say that I love all the characters, Djarin and the child especially, I am very curious to learn more about Moff Gideon and his hipster top knot and I hope Cara Dune and Fennec Shard come back and have more to do.

I don’t have any theories about what the child is; I’ve heard people say that it’s a reincarnation of Yoda, that it’s the Force itself in a body (like Anakin, but double), that it’s a clone of Yoda from either the Clone Wars or even Palpatine’s experiments.

Personally, I’m more interested in learning more about Djarin, and how Bobba Fett ties in with his past considering it was his signet that Djarin gave to the child at the end. I also would like to visit or revisit some more worlds; perhaps see some worlds from the books like Aquila. There are rumours that characters like Lando and Ahsoka Tano might make an appearance, and while that would be neat, I don’t necessarily mind the lack of Jedi in the show.

As for the people working on the show, I think each director brought something to the table. I would love for Deborah Chow, Bryce Dallas Howard and Taika Waititi to return in season 2, though I’ve also heard Waititi is getting his own show.

Them’s my thoughts. If you got to the end, thank you for reading, and I might be back quite soon, because I would like to re-watch the Clone Wars before season 8 comes out later this year.

#the mandolarian #star wars #sw the mandalorian #moni talks #the mandalorian review

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movienotesbyzawmer · 4 years

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Star Wars: Episode II - Attack of the Clones

December 9: Star Wars: Episode II - Attack of the Clones

(previous notes: Star Wars: Episode I - The Phantom Menace)

Source: Blu-ray release, the box set with all six Lucas-era movies (2D)

I feel like in recent years I've seen a lot of rhetoric claiming that this is the worst of all the Star Wars movies. But I've always felt like the prequels improve as they go, at least a little. Like, Hayden Christiensen might not be especially good, but he's an improvement on Jake Lloyd. Is there less of the childish stuff in this movie? Let's press play and find out.

Opening crawl is first mention of Count Dooku; seems like the previous stuff was resolved and a new story is beginning. Maybe that's why it's common for people to recommend skipping Episode I, like it's not actually necessary.

We also at this point in the natural chronology don't know anything about clones. Just the title here.

Another decoy-Amidala, but this one gets blowed up right away. And that's Rose Byrne, right?

0:07:30 - Obi-wan does a "oh… oh yes…. Mm mm mm mm mm mm" thing which is stupid and I don't like it.

Wait, no Rose Byrne is a silent handmaiden lady I guess. Unless they're clonesies. Are they clonesies?

Hey, a glimpse of Coruscant's colorful nightlife scene! Or at least some commercial advertisements. Feels like we don't see much of the lives of regular folk of Coruscant much.

Super pretty imagery of this city at night with its traffic and lights and I know I say that every time but it's great.

0:14:30 - Obi-wan shooting himself through a hole in the window in pursuit of that flying robot villain is exciting! And then he just hangs onto it, and then the sniper snipes him off it and he just falls and falls! This is a good action scene.

Then later, Anakin just jumps and falls and falls on purpose like and it's fun to watch.

0:20:00 - Does the sniper have a weird disguise that goes away when she turns her head? Is that what I saw?

"This weapon is your life" says Ewan McGregor doing his best impression of Alec Guinness. I think it was supposed to be funny. And I think it succeeds. Helps to remember that EG's natural accent is Scottish. And you know what? Maybe a little bit ago when I didn't like EG's hammy delivery, I should respect that he's embracing the need for him to embody a young version of Alec Guiness's character, figuring out what that would look like while honoring the director's vision.

They're in a nightclub, and I think there's some genuinely imaginative vision around what people are doing in there.

Ooh! The sniper got sniped by someone else, and the shot of that second sniper zipping away on a jetpack is I like it.

Senator Amidala gives Jar Jar the important job of substitute senator while she goes and hides. Yeah right. Not very credible.

Now Anakin is venting to Amidala in a way that shows how cocky he is. He does the flirtation stuff so that we'll think he's sexy like Han Solo, but also visibly flawed with impatience. Meh. Okay.

Whoa, Rose Byrne just did some acting! She spontaneously shed a tear in a way that looked authentic! Acting… in a Star Wars prequel!

0:31:50 - A greasy spoon diner! I don't remember this. Obi Wan is doing some intel gathering and George Lucas decided to go all in on having this be a 50's-style neon urban railcar slop counter!

The romance. Anakin and Amidala. GL is also going all in on the overtness of that plot. Maybe it's fine? Anakin seems like a horny and awkward teen with a huge crush on someone out of his league but he's going for it anyway. Maybe we'll be convinced that she'd succumb to his charms?

0:39:00 - We're back on Naboo… this scene is oddly non-CGI-looking. Did they film this in a real place with that actual architecture?

The tension they're setting up between Anakin and Amidala is moving in a direction of NOT growing fonder of each other. She looks irritated, and rightly so. This is a move that experienced romance plot makers make, but will GL pull it off?

Meanwhile Obi-Wan is doing spycraft, going to the clone planet place and pretending he's the one who ordered the whatever. "That's why I'm here!" Kinda funny.

0:44:45 - Okay, another A&A scene. He has that line about sand getting everywhere. She looks really damn fly. They kiss a bit and then she changes her mind. See, this is a weak link in the romance plot. We don't buy it. She's not such a sucker that she'd want to kiss him now. She didn't go, "oh he was so charming when he talked about where sand goes that now I'm not only less annoyed by his churlishness but I'm actually turned on". Or did she.

There's something about Obi-Wan's intel gathering, realizing that this huge army of clones is being put together, that's very James Bond-y. I mean that in a good way.

Naboo countryside is hella pretty.

Oh ick. A very very stupid romance scene just happened. See, Anakin fell off a blob creature and it looked like he was hurt! This worried Amidala! She ran to him but it turned out he was okay! They laughed and laughed at this merry misunderstanding and rolled around together! Oh merry! And…. SCENE.

Now Obi-Wan and Jango Fett are having a fight on a platform place and it's pretty exciting and still kind of like a Bond movie. Even more so because of "gadgets" like the devices on JF's outfit. And a dippy little "this is not good" comment from Obi-Wan that would fit in okay coming out of 007.

A&A go to Tatooine and talk to the salvage dealer who used to own Anakin. I like where that CGI character visibly starts to recognize the grown-up Anakin.

Obi-Wan followed JF & Son to a pretty red planet with an asteroid field and it's fucking beautiful and they do this wicked sound effect with bombs and it looks and sounds mother fucking amazing. Seriously god damn. The SOUND.

1:11:40 - They're at what will be the moisture farm of Luke, et al. "I'm Owen Lars and this is my GIRLFRIEND Beru." See, because this is BEFORE they're married. She's JUST his GIRLFRIEND.

1:14:20 - Okay, they just did a weird thing where A&A have an exchange, then hug. But the camera just shows their SHADOWS. And Anakin's shadow looks like he maybe kind of has some semblance of a VADER HELMET. I'm not even that convinced that that's what they were going for. If it actually conveyed that, it'd be cooler. As is, it's a little awkward. But I wouldn't discourage a director from going for this kind of thing.

Anakin found the Tusken Raider camp where they'd brought his mom and he found her just in time for her to die. Like she was just hanging on long enough for him to witness her death. Melodramatic. Then he goes and slaughters everyone… this turns out to be important because it's the catalyst for him turning dark, but it's sort of a weak explanation for something so important.

So HC just did a rage monologue about how he killed everyone, and okay it's not good, but I really don't think it's HC that isn't good. I think he did his very best with really dumb writing.

1:34:30 - Ooh, we're back in that neat senate hall. Jar Jar was suckered into proposing that Palpatine be given special powers, and it's super easy and it just works, and the Jedi are like "oh, hm, bummer". I'm just not impressed with the story.

A&A have arrived on Geonosis and it's quickly quite actiony and rather like a video game where they have to fight robots and hop on platforms at just the right time. I dig it.

It's a little odd now… so I already forgot how A&A got captured in the video game factory place, but they're quickly hustled to an execution arena to be munched to death by monsters before a delighted audience. With Obi-Wan. Just a little odd, but now it's pretty fun action.

Oh yeah, Mace Windu cut Jango Fett's right head off! Forgot that. Another case of an interesting villain ending disappointingly. Except that it's important because his "son" witnesses it and looks vengeance-y.

1:56:40 - Yoda heroically shows up to save the good guys with a force of soldiers that look kind of like Stormtroopers. Those are clones, right? I guess so, but the movie didn't quite ensure we know that. I mean, if they're going to treat the audience like children with their jokes, maybe they could extend that same expectation to plot explanations.

Okay, so now they're in a much bigger battle. I like the flying thing that delivers a walking tank thing! Lots of exciting things to look at. It's not that clear which side is which, not by looking at the battle, but maybe that doesn’t matter too much.

They shoot down a globe-shaped ship as it's taking off and it's pretty. So is lots of this battle stuff.

How does Anakin have a lightsaber now? His was broken earlier. I'm probably not the first to ask that. I probably overlooked the explanation. Seems like they trimmed stuff out of this part of the movie to improve the pacing.

2:07:50 - This is the part that worked well enough that it's probably the main factor in holding this movie's reputation above that of Episode I: the light saber duel with Yoda! Those of us who had played the Dark Forces PC games were already familiar with how it would look to see a Yoda-type wailing on someone with a light saber, but it was a pleasant surprise for many, and it definitely worked.

Then Dooku escapes on a ship that does a really sweet-looking panel-unfurling thing. Love it. And then he goes to Coruscant. Very visibly. Which is for me to love some more.

The movie ends right after that, with Yoda observing that it's dumb to think of this as a victory because now the Clone War has started. Then we get suitably disturbing imagery of the Clone Army being imposing with, significantly, the Imperial March in the background. It's okay. Then a shot of A&A getting hitched. With, a little less significantly, the new tragic-love theme in the background which John Williams was probably pretty pleased with. And over. Okay.

Yeah, better than Episode I. Less childish. Although it's harder to point to a climax, it somehow seems less anti-climactic than Ep1. No less impressive visually, but with new locales compared with the first one. And it's true that you can get all the information you need by starting here instead of with the first one.

(next: Star Wars: Episode III - Revenge of the Sith)

#star wars #episode 2 #attack of the clones

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND November 8, 2019 – DOCTOR SLEEP, MIDWAY, LAST CHRISTMAS, MARRIAGE STORY and more

Well, last weekend was a thing, wasn’t it? The movie I liked the most didn’t do great, the movie I really wasn’t into did better than expected, and Terminator: Dark Fate? Yeah, that’s the end of that franchise… hopefully?

This week, there’s some good, some bad and some okay to decent. I’m probably under embargo on the two bad movies so you’ll just have to guess which is which.

Actually, I already reviewed Mike Flanagan’s DOCTOR SLEEP (Warner Bros.) over at The Beat, and my review of Roland Emmerich’s MIDWAY (Lionsgate) will probably havegone up over there by the time you’ve read this. That just leaves Universal’s holiday rom-com LAST CHRISTMAS and Paramount’s PLAYING WITH FIRE.

Doctor Sleepis the latest Stephen King adaptation, this one based on his 2013 novel that is a sequel to The Shining, the movie starring Ewan McGregor as the older Danny Torrance, Rebecca Ferguson as “Rose the Hat” and newcomer Kyliegh Curran as Abra Stone, a young girl with powers who turns to Danny to help her face Rose and her gang of roving power vampires. As you can read in my review, this one isn’t so bad, and if you’re a fan of The Shining, there’s stuff for you to enjoy even though it’s not nearly as scary.

Not sure what more I can say about Midway, other than it’s Emmerich’s version of the WWII Pacific battle with a mostly-male cast that includes Woody Harrelson, Patrick Wilson, Aaron Eckhart, Randy Quaid and many more, most of whom have done better work. Basically, I wasn’t a fan, and I’m not sure how well it will do even with Monday being Veterans Day. I’ll be curious to see how others feel about the movie.

Also, not much to say about Playing with Fire other than its John Cena doing a family comedy with director Andy Fickman, Kegan Michael-Key, John Leguizamo, the wonderful Judy Greer, and honestly, I doubt anyone who might read this column would have any interest. Put it this way, it’s no Instant Family, one of my favorite movies from last year.

In many ways, my favorite movie of the weekend is Last Christmas, directed by Paul Feig from Bridesmaids and Ghostbusters, which is indeed based loosely on the George Michael song of the same name, but it brings together Emilia Clarke with Henry Golding from Crazy Rich Asians, as well as Michelle Yeoh from Crazy Rich Asians, and Emma Thompson, who co-wrote the film.

I’ll have an interview with Feig over at Next Best Picture very soon, but here’s my short review…

Mini-Review: You know you have to be doing something right if you make a Christmas rom-com that’s able to get a Jew into the Christmas spirit while watching your movie even before Halloween, but that’s the case with this great collaboration between Paul Feig with Emma Thompson.

I’m not sure what I was expecting, but I was definitely surprised by how much I liked Emilia Clarke in the role of a fuck-up who can’t seem to find a regular living place since her roommates keep kicking her out. She works at a Christmas shop in London’s busy market owned by Michelle Yeoh, who is lovingly known as “Santa.” One night, her character Kate encounters a handsome and mysterious young man named Tom (Henry Golding), and the two become friends and then get closer.

It’s pretty amazing to see Clarke doing something we really haven’t seen her do before and that’s being funny, but she also sings in the movie and has a nature that some might deem “Manic Pixie Dream Girl”-ish. In fact, she plays an elf. (rimshot) It’s hard not to think of Zooey Deschanel in Elf as you watch Clarke spend time in her work costume but Kate is very likable and nothing like Clark’s previous roles. Golding is as charming and handsome as ever, making him come across like the new Hugh Grant, but their scenes together propel Last Christmas into a place where you really feel for both of them.

There are aspects to Last Christmas that are predictable, including a twist that’s literally spoiled in the first few minutes of the movie, but the movie is just so enjoyable overall that this can be forgiven. Even if you’re the worst Scrooge about the holidays, it’s hard not to enjoy all of the Christmas spirit permeating this movie, particularly Yeoh’s character, but it also finds a way to make you feel good about helping others during the holidays, something that I hope rubs off on anyone who sees this.

Basically, Last Christmas is a romantic comedy that’s actually romantic and very funny, as well as a great way to kick-off the holiday movie season! It’s taken some time, but Love Actually finally has a worthy successor.

Rating: 8/10

You can read more about the new wide releases over at The Beat.

LOCAL FESTIVALS

The big festival hitting New York this weekend, today in fact, is this year’s installation of DOC-NYC, which boasts 300 films and events circulating around the world of documentary filmmaking, including many World Premieres, as well as screenings of some of the year’s biggest commercial and critical hits in terms of docs.

Oddly, tonight’s Opening Night is Daniel Roher’s Once Were Brothers: Robbie Robertson and the Band, which was also the opening night gala of TIFF this year. I still haven’t seen it. Closing night is the NYC premiere of Ebs Burnough’s The Capote Tapes, which I also haven’t seen. The festival is giving Visionary Tribute Lifetime Achievement awards to Michael Apted, who will screen the latest in his ongoing doc series, 63 Up, as well as to Martin Scorsese, whose Netflix film Rolling Thunder Revue: A Bob Dylan Story will screen. I actually haven’t seen too many movies in this year’s festival just cause I’ve been busy with other things, but I have seen Joe Berlinger’s The Longest Wave about windsurfer icon Robby Naish and Keith Fulton and Lou Pepe’s He Dreams of Giants, a great follow-up to Lost in La Mancha, which follows Terry Gilliam’s efforts to finally make The Man Who Killed Don Quixote. Other movies include the World Premiere of Beth B’s Lydia Lunch: The War is Never Over on Saturday night, the NYC Premieres of Oren Jacoby’s On Broadway, Beth Kopple’s Desert One, Kristof Bilsen’s Mother plus many more. (On top of that, my own group, the Critics Choice Association will be announcing its own Critics Choice Documentary Awards this Sunday.)

LIMITED RELEASES

There are two can’t-miss movies this weekend, the first of them being Noah Baumbach’s latest Marriage Story, which in my opinion is the best film he’s made in his entire career, and that’s saying something. This one stars Adam Driver and Scarlett Johansson as a couple going through a divorce, and if this sounds familiar, it might be since Baumbach’s 2005 movie The Squid and The Whale was also about a divorce, that of his parents. It’s hard not to think that at least some of Marriage Story might be based on Baumbach’s own divorce from actor Jennifer Jason Leigh as Driver plays a theater director and Johansson plays an actor who appears in many of his plays. The real sticking point is their 6-year-old son and the fact that Johansson’s character wants to put him in school in California where she has an upcoming job, but his father, who is about to bring his play to Broadway without his wife, wants him in New York. At first, the couple plan on divorcing without lawyers and remaining friends, but as lawyers are brought on board – played by Laura Dern, Alan Alda and Ray Liotta – things just get more vicious. Not only is this one of Baumbach’s best-realized screenplay but the performances he gets out of his cast are indelible, particularly Driver and Johansson who have a number of highly charged scenes together, including one that’s absolutely unforgettable. It’s easily one of the best movies of the year, and it will be very much in the awards race. Marriage Story opens on Wednesday (today!) in New York – at the City Cinemas (formerly the Paris Theatre) and IFC Center – in L.A. and a few other cities. It won’t debut on Netflix until December 6.

Another movie that definitely needs to be seen is HONEY BOY (NEON), written by and starring Shia LaBeouf and directed by Alma Har’el, who has previously directed documentaries and music videos. It’s loosely based on some of LaBeouf’s own experiences as a child actor dealing with a turbulent relationship with his father with Noah Jupe from A Quiet Place and next week’s Ford vs. Ferrari playing the young actor “Otis Lort” who later in life (played by Lucas Hedges) is dealing with the repercussions of an alcoholic father, played by LaBeaouf, apparently based on his own father? It’s a really amazing film that obviously was extremely cathartic for LaBeouf to write while he was going through his own rehab therapy, plus he also has singer FKA twigs making her feature film debut as an amorous neighbor of Otis who lives at the motel where he stays with his father. I’m not going to say too much more about the film other than it’s extremely powerful and emotional

There are a couple decent docs opening this weekend, the one I recommend first and foremost being Roger Ross Williams’ THE APOLLO, which will open at the Metrographafter opening this year’s Tribeca Film Festival. It’s an amazing look at the landmark Harlem theater that’s made so many careers over the years from performers like Aretha Franklin and James Brown, combining amazing archival footage with new interviews.

I haven’t gotten around to seeing Lauren Greenfield’s new documentaryThe Kingmaker (Showtime), which will open at the Quad Cinema in New York before it airs on Showtime, but this one is about the political career of Imelda Marcos, the Philippines’ first lady who became almost more famous than her President husband Ferdinand, mainly for her collection of shoes.

Samuel Bathrick’s doc 16 Bars opens at New York’s Village East Cinema and in L.A. next Friday. It follows Arrested Development’s “Speech” Thomas as he works with in mates in a Virginia jail to write and record original music as part of their rehabilitation.

Netflix is also releasing Despicable Me co-creator Sergio Pablos’ animated film Klaus in theaters this Friday in advance of its worldwide streaming debut on Netflix on November 15. It features Jason Schwartzmann as the voice of Jesper, a spoiled rich kid son of the postmaster who is sent to a frozen island in the Arctic circle where he finds allies in a local schoolteacher (voiced by Rashida Jones) and meets a mysterious carpenter named Klaus (voiced by J.K. Simmons).

Opening at New York’s Cinema Village is Joel Souza’s CROWN VIC (Screen Media) starring Thomas Jane as a veteran cop with Luke Kleintank (also in Midway) as his rookie cop who are looking for a missing girl and hunting two cop killers in Los Angeles. It also stars Bridge Moynihan.

Nicolas Cage stars in PRIMAL (Lionsgate) as Frank Walsh, a hunter and collector of rare and exotic animals who catches a rare white jaguar, except that the ship taking his cargo also includes a political assassin being sent to the U.S. who breaks free and lets the jaguar loose. So this is like Life of Pi only with more Nicolas Cage? It also stars Famke Janssen, Kevin Durand and Michael Imperioli and opens in select cities asnd On Demand.

Similarly, Danger Close (Saban Films) will be in theatrs, On Demand and Digital, this one starring Travis Fimmel (Warcraft) as Major Harry Smith in Kriv Stenders’ war movie, written by Stuart Beattie. It follows Smith as he takes a group of 108 young soldiers from Australia and New Zealand into the Battle of Long tan against 2,500 Viet Cong soldiers. I guess this is an alternative to Midway for Veterans’ Day?

STREAMING AND CABLE

Debuting on Netflix is Luke Snellin’s holiday rom-com Let It Snow, starring Isabela Moner (Dora and the Lost City of Gold), Odeya Rush, Shameik Moore and Liv Hewson as a group of high school seniors in a Midwestern town who are snowbound on Christmas Eve. It’s based on a book by John Green, Maureen Johnson and Lauren Myracle.

REPERTORY

Let’s get to some old(er) movies, starting with the Metrograph in New York, who begins a series with filmmaker Noah Baumbach in Residence in conjunction with the release of Baumbach’s latest and greatest, Marriage Story. Besides screening Baumbach’s own 1995 film Kicking and Screaming, 2005’s The Squid and the Whale and 2007’s Margot at the Wedding, Baumbach will present screenings of Spike Lee’s Crooklyn (1994) on Saturday, Eric Rohmer’s Pauline at the Beach (1983), which inspired Margot with more movies to come between now and November 22. The Metrograph also continues its Welcome To Metrograph: Redux series with Shunji Iwai’s 2001 film All About Lily Chou-Chouon Thursday and again on Saturday. This weekend’s Playtime: Family Matinees is Steven Spielberg’s 1981 classic Raiders of the Lost Ark, while Late Nites at Metrograph will screen Bong Joon-wo’s The Host on Thursday through Sunday, way too late for this old man. You’ll also have another opportunity to see Hitchcock’s 1971 thriller Frenzy on Thursday night.

TheFilm Forumwill be screening Yasujirô Ozu’s 1957 film Tokyo Twilight in a new 4k restoration starting Friday, as well as bringing back his 1953 film Tokyo Story, as well, continuing from the Shatamachi series which ends Thursday. The Forum is also screening Henry King’s 1949 movie Twelve O’Clock a few more times this weekend, and on Sunday and Monday, it will screen Rowland Brown’s 1933 film Blood Money. This weekend’s Film Forum Jr. is George Lucas’ American Graffiti.

The IFC Center is gonna be pretty busy with Doc-NYC (see above) but its Waverly Midnights: Spy Games offering will be Austin Powers: International Man of Mystery (1997) and Late Night Favorites: Autumn 2019 will screen Kubrick’s A Clockwork Orange (one of my favorites).

Opening at the Quad on Friday is a 4k 20thAnniversary restoration of Joan Micklin Silver’s A Fish in the Bathtub, starring real-life husband-wife comedy duo Jerry Stiller and Anne Meara. The 1999 comedy from the director of Hester Street and Crossing Delancey is about a woman who finally had enough with her stubborn husband so she moves in with her married son (played by Mark Ruffalo!!!), driving him crazy enough to convince his sister (Jane Adams) to try to repair the relationship.

The Roxy Cinema will be screening Valley Girlo n Weds and Alan Parker’s 1984 film Birdy on Thursday, both starring Nicolas Cage, and the 1979 film Draculastarring Frank Langella on Saturday.

Uptown at Film at Lincoln Center, they’re kicking off a short series called Jessica Hausner: The Miracle Worker, including a sneak preview of her sci-fi thriller Little Joe, and showing her earlier films Amour Fou, Hotel,Lourdes, Lovely Ritaand a bunch of shorts.

MOMA continues Modern Matinees: Iris Barry’s History of Film and Vision Statement: Early Directorial Works, the latter showing Sebastian Silva’s The Maidon Wednesday evening, Jane Campion’s The Piano on Thursday, Debra Granik’s Down to the Bone on Friday, John Cassavetes’ Shadows(1959) on Saturday and Kelly Reichardt’s Old Joy (2006) on Sunday, as well as Cristian Mungiu’s 4 Months, 3 Weeks and 2 Days.

The Alamo Drafthouse in Brooklyn will show Tom Hanks’ The ‘Burbs on Thursday night in conjunction with Rotten Tomatoes, then next Monday’s Fist City is America Ninja 2: the Confrontation from 1987, Terror Tuesday is one of my favorites, Final Destination 3 (2006) and Weird Wednesday is the 1984 film Decoder.

Out in Astoria, the Museum of the Moving Image will screen Paul Verhoeven’s Starship Troopers (1997) on Saturday as part of its ongoing “No Joke: Absurd Comedy as Political Reality” series. Friday night, its showing Godfrey Reggio’s 1982 classic Koyaanisqatsi, introduced by Ramell Ross as part of his “Some Other Lives of Time: Subjective Spaces for Nonfiction” series. I have no idea what that means. MOMI is also showing Vassilis Douvilis’ The Homecoming as part of “Always on Sunday: Greek Film Series,” which apparently has returned after a six-month hiatus.

Out in L.A., Tarantino’s New Beverly has been showing double features of Jackie Brown with Lewis Teague’s 1980 film Alligator, and no, I don’t know the connection either. Friday’s horror matinee is David Cronenberg’s The Brood while the midnight movies are Pulp Fiction on Friday night and Maniac Cop 3: Badge of Silence on Saturday night. The Kiddee Matinee is one of my faves, The 7th Voyage of Sinbad and then Monday’s matinee is James Mangold’s Cop Land, starring Sylvester Stallone. Next Tuesday’s wacky triple feature is Stunts, Walking the Edge and The Kinky Coches and the Pom-Pom Pussycats. Now THAT is what I call a triple feature...

The Egyptian Theatre is showing Martin Scorsese’s The Irishman in a limited engagement but on Saturday, it will show Raoul Levy’s Hail, Mafia! (1965) as part of “Joe Dante’s 16mm Spotlight” with Mr. Dante in person. Over at the Aero, they’re having a series called “All the Right Stuff: The Artistry of Phillip Kaufman with the director in person and double features of Raiders of the Lost Arkand The Wanderers on Friday, Invasion of the Body Snatchers/The Great Northfield Minnesota Raid on Saturday and The Unbearable Lightness of Being on Sunday (with Juliette Binoche)!

The Friday midnight at Landmark’s Nuart Theater is the anime classic Akira.

Next week, James Mangold’s Ford vs. Ferrari takes on Elizabeth Banks’ Charlie’s Angels and Bill Condon’s The Good Liar, starring Ian McKellen and Helen Mirren.

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