New Theme Month - Anie-May

Hello everyone,

I hope you are all safe and healthy. 

I might have mentioned once or twice here on this blog that I am a fan of Anime. In case you don't know or need a refresher, Anime is animated media from Japan, which accommodates a wide variety of genres and stories. While I consider myself a fan of the medium, I would not call myself an Otaku, which is basically a term for obsession. Even so, as a proud nerd and cinephile, I feel compelled to spend a little bit of my spare time to talk a bit of this beautiful art form.

A huge part of why I wanted to start this new theme month is personal. Usually, every Memorial Day Weekend, there is a massive convention in San Jose known as Fanime. It is an annual event where nerds of all kinds get together and have fun. We get to show off our cosplays, talk about our favorite nerdy things, play video games, and generally have a blast together. Sadly, due to the COVD-19 pandemic, Fanime was canceled and diverted to next year. Given the gravity of the situation, I realize that the loss of Fanime this year is not the worst thing that has happened so far. There are indeed many more important things to worry about and take care of, which I am. Even thus, I do not deny that I am pained by the loss of one of my favorite annual events. Though I take comfort that it will be twice as much fun next year.

Therefore, in honor of this proud tradition, I have decided to dedicate the entire month of May to watching and reviewing all things Anime. As you saw in the title for this blog entry, I shall dub it "Anie-May."

Now, allow me to lay down a few ground rules.

1.
All Anime I shall review here will be ones I have in my personal collection or those which can be found on Netflix and/or Amazon Prime Video.

2.
While I will mostly be looking at Anime movies, I will occasionally check out an episodic series. When doing so, I will judge the series on a "Three Episode Basis." If I am still hooked into the series after three episodes, I will continue watching it and provide my thoughts on it ASAP. If it fails to grab me within three chapters, I will report why.

3.
My beautiful readers are welcome to submit suggestions of Anime for me to check if they would like. However, just know that I cannot guarantee that I will get to all requests.

Special note: I will be watching all Anime's dubbed. While I am a huge advocate for enjoying foreign language films with subtitles, I tend to prefer the dub when it comes to Anime.

With that, I hope you will join me on this journey, as I spend part of May bringing my own take on one of the most gorgeous artistic mediums out there. I look forward to seeing what I find.

Ladies & gentlemen, I am TheNorm, thank you all for reading, and I hope you will join me for Anie-May.

Retro Review - Double Feature

This time, we're kicking things up a notch. Last night (as of this writing), I decided to check out some older movies available on Amazon Prime. In my search, I found many films I was always interested in seeing but was either too young to watch at the time, or had forgotten about it as I got older. Having just gotten over the disappointing awfulness of Netflix's most recent release, Extraction, I think this is the perfect time to look back at some cheesy classics we almost forgot about. Ladies & gentlemen, this is TheNorm's first-ever Double Feature Retro Review. Let's get started. 

This is one that you have likely seen the poster for in the window of your local Blockbuster. That is when they were still around. Some of you may be familiar with the director, Russell Mulcahy, as he also made the cult classic Highlander. While Silent Trigger has the same amount of bombast as that great 80s classic, this relic from the 90s doesn't have the same level of narrative texture. Which, I realize, is an odd thing to nitpick, but part of what makes Highlander so remarkable, aside from the swords and Sean Connery, is its rich story and profound mythology. Whereas this bit of 90s schlock seems to think it can get by just as much with the poor man's Arnold Schwarzenegger. Spoilers, it could not. 

Dolph Lundgren plays a professional sniper hired to take out a target. His employers have had some robust experience with him in the past, but apparently really need him, because he is just that good. His spotter (Gina Bellman) also has a history with him. Which they continuously discuss in-between flashbacks of their prior mission together after it went south. 

While there is a great deal of cheesy 90s action movie schlock to be enjoyed, what keeps it from being as memorable as Highlander is the lackluster script. It feels less like a screenplay with characters and story elements and more like a checklist of cool & awesome things that need to happen to meet a quota. Don't get me wrong. I'm not saying that all silly action movies need scripts on-par with the likes of Sam Fuller. I'm just saying that even if your film is mainly about breathtaking set pieces and action heroes handling massive guns, you could at least give me a more narratively sound reason to care. 

Which brings me to the second feature of this particular review. 

In August of 1989, legendary filmmaker James Cameron released his underwater epic called The Abyss. The story followed deep-sea team divers trapped in their marine facility after a complication from assisting the military in retrieving data and parts from a lost Nuclear Submarine. Not to mention having the occasional encounter with a mysterious lifeform never seen before. It is regarded as one of the best science fiction films of James Cameron's career and has spawned a whole sub-genre of submerged situations gone horribly wrong. However, in January of the same year, another movie similar to The Abyss hit theaters. It was called Deepstar Six. Much like James Cameron's flick, it was about a deep-sea diving team trying to survive a series of unfortunate events. The only difference is the enemy. 

Deepstar Six follows a team of underwater workers installing a missile launch site for the military. Just before they're ready to go home, they discover a cavern underneath their intended spot. Because they're under a tight schedule, they decide to blast the area to make room for the missiles. However, in doing so, they have unleashed something old, gigantic, and furious. Now they must find a way to get back to the surface before the water, or something worse, claims them for itself. 

As I said, there are a lot of movies that match this Alien but underwater concept. Just this past January, there was another one with Kristine Steward simply titled Underwater. Which, much like Netflix's Extraction, is lousy and forgettable, but I digress. 

Of all the films I have seen in this sub-genre, Deepstar Six is actually one of the better ones, mainly for three reasons. First, it does a fantastic job introducing all the characters with relatable personalities. You get to know them just well enough to genuinely care about their situation. You want them all to survive. Second, the special effects are incredible. From the miniatures to the creature, everything looks on-point. Third, the pacing is varied with a great balance between character development and suspenseful action. 

Deepstar Six is my kind of movie. The type that reiterates the philosophy that just because you don't have to do a good job, that does not mean you shouldn't. It's silly in all the right places and tense when it needs to be. If you're looking for a quick fix of classic 80s style monster movies, and you've already seen the essentials, give this one a shot. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Extraction - Forgettable

It's awful. There's really not much else I can say about it. The action is lame and repetitive, none of the characters have any depth to them beyond standard action movie archetypes, and the script offers nothing substantial or anything new to this overly done routine. The only thing I can say that I liked about it, or at least was the most impressed with, is an action scene about halfway through the film involving gunfights, chases, stealth, and hand-to-hand combat all in one seemingly single take, for at least fifteen minutes. Other than that technical achievement, there is literally nothing else to say about this movie, other than I do not recommend it. If you want to watch a great film about rescuing kidnapped people from a foreign land, watch Proof of Life with Russell Crowe. At least that one has a competent director instead of a stunt coordinator in way over his head. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Love, Death + Robots - Mature animation done right

In 1977, a little magazine titled Heavy Metal hit store shelves. It was a regular publication of an anthology comic book style stories that centered around science fiction, steampunk, and the erotic. While parts of it are a little extreme, to put it mildly, I personally find most of it to be fascinating. Mostly for the imagination and creativity put into the stories and art design, and yes, partially for the sexuality. Then, in 1981, an animated feature film was produced, which followed the same anthology-style, consisting of around five different stories. While it was creative and memorable in its own right (not just for the reasons you think), it didn't really feel like it had the same level of passionate imagination. Mostly because it played up the sexuality of its source material a bit too much. Which, under any other circumstances, would not be a problem. However, in the case of the Heavy Metal film, it could have had a better sense of balance, at least in my opinion. 

There was a sequel, Heavy Metal 2000, which was a single feature-length story. Honestly, it's not worth it. While it retains the same style and tone you would expect from the series, it doesn't have the same level of over-the-top imagination as anything else baring the Heavy Metal name. Then, sometime later, renowned filmmaker David Fincher, director of classics such as Seven and The Social Network, expressed interest in producing a new Heavy Metal film. A few years later, it morphed into the Netflix series Love, Death + Robots. Which is not only as imaginative as Heavy Metal, it's surprisingly better. It retains the mature and insane style you would expect, but it goes further with more profound stories and incredible visuals. 

What I find most appealing about Love, Death + Robots is that it is one of the few western animation projects to really showcase animation as a medium and not a genre. Here in the west, animation, in general, is often seen as strictly for children. This perception is wrong for many reasons. Not the least of which is the only reason it became popular was so television studios could make more money with toys related to kid's shows. This false idea that animation is only for children has poisoned the medium, to the point where any attempt to make an animated story for mature audiences is practically ridiculed. Granted, some of the efforts made in the past were less-than-stellar (to put it mildly), but at least they tried. 

Love, Death + Robots takes the idea that animation is only for children, and tosses it out the window. Make no mistake: this series is not for kids at all, but it is also not for immature adolescents. Much like the masterpiece Spider-Man: Into the Spiderverse, this show brings together a bunch of different animation styles with profound and mature stories. Some are photo-realistic, some are more stylized, and others are insane yet believable. It is something I wish we could see more of in every area of storytelling and filmmaking. 

Now, here's the thing. This is an 18 episode anthology series. While I have watched and enjoyed every single one for various reasons, I recognize that not all episodes are for everyone. So, what I am going to do here is make a list of five chapters, which are my favorites and the ones I highly recommend you try out. I will provide a quick synopsis of each episode and briefly explain why I like it, as well as why I recommend it to you. 

And now, TheNorm's Top 5 Recommended episodes of Love, Death + Robots.

#5 

Beyond The Aquila Rift 

The story follows a group of space travelers who use lightspeed to jump to the outer reaches of the Galaxy. Unfortunately, they were accidentally taken off course and find themselves farther out than planned. Luckily, they are picked up by an old flame of the captain. The two of them rekindle their spark and contemplate what to do next. However, it slowly becomes clear that somethings are not as they appear to be. As the captain becomes more inquisitive, the real question is, does he really want to know the truth of is situation? I won't spoil what the twist is, but I will give a kind warning to my friends who may have a fear of Spiders. 

This chapter delivers a good mystery, gorgeous animation, and staggering voice acting. It is a perfect demonstration of how to tell a mature story without being juvenile. If a mystery in space sounds up your alley, give this episode a look. 

#4 

Fish Night 

This one is less of a story and more of a pretty tableau in motion. Two guys are driving through the Desert until their car breaks down, leaving them stranded. Once nighttime comes, colorful ghostly fishes begin swimming all around them. This chapter uses a combination of roto-scoping (animation painted over live-action footage) and cell shading (a digital style reminiscent of traditional watercolor paintings). It's visually stunning and leaves enough of an impact to make it worth your time. Unlike other mood pieces, this one does not overstay its welcome. It shows up, gives you something pretty to look at for a moment, and gracefully exits the stage. Check out this one first if you want the gentlest introduction for what lies ahead with the whole series. 

#3 

Three Robots 

Of all the chapters in this series, Three Robots is, arguably, the funniest. It follows a trio of Robots walking through a dilapidated Earth (devoid of Humans) as tourists. Imagine a team of archaeologists exploring the remains of an ancient civilization, but instead of taking down notes, they're cracking jokes. It has a little bit of everything. Social commentary, beautifully rendered animation, and above all, witty humor. Check out this episode if you need a good laugh. Which, honestly, we all could use right now. 

#2 

Lucky 13 

The story follows a military pilot as she chronicles her experience of tremendous luck with an unlucky ship. That's really all I can say about this one without spoiling it. What makes this chapter one of the better stories, at least in my opinion, is how it tells a simple tale of the importance of friendship and acceptance delivered in a totally visceral way. In some ways, it reminded me of The Iron Giant. Although I would not dare proclaim it is better than that beautiful film, I will say that I can gladly call it a spiritual cousin. It has the same amount of heart and carries a similar well-delivered message. If you need a bit of inspiration, check this one out. 

#1 

Good Hunting 

This is hands down, my absolute favorite episode of the whole series. The story can best be described as a Chinese fantasy folk tale but with steampunk. A young hunter makes friends with a Fox spirit who can transform between human and animal at will. However, after decades of magic fading away from the world, she loses her ability to change. Trapping her inside a human body forever. Then, after a horrifying trauma, her hunter friend helps her. Using new magic to give her back what was wrongfully taken from her. 

This episode uses old fashioned style animation in tandem with computer imaging. A perfect union of the two formats. Fair warning, this one features assault, but it does so in a way that gets the point across without dwelling on it, nor is it narratively exploited in any way. Above all else, it's probably one of my favorite stories about female empowerment and the treatment of women in general. In other words, it takes what Zack Snyder's Sucker Punch tried to do and actually succeeds with flying colors. If you only watch one episode of this show, I implore you, choose Good Hunting. I promise you, there is almost nothing like it. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Togo - A True Underdog Story

In 1995, Universal Pictures released an animated feature film called Balto. The story of a half Wolf half Dog who became the savior of a small Alaskan town by leading a team of sled dogs through a massive winter storm to deliver medicine to dying children. The only problem is that Balto was not the actual hero of this historical event. He was the last dog out of twenty Mushers who carried the medicine, so he got the majority of the credit. The real heroes who ran the vast majority of the journey (well over 200 miles) was a dog named Togo lead by a Musher named Seppala. Despite Balto taking most of the glory, including from then-President Calvin Coolidge, Togo is the most beloved hero in all of Alaska. Siring many puppies creating a new breed known as Seppala Siberians. Known for, among other things, their incredible bond with humans. Then, in 2011, Time Magazine named Togo as "the most heroic animal of all time." When I first learned about this, I was upset that there wasn't a proper film made about this truth, as it genuinely deserves such a treatment. Fortunately, someone took on the challenge and made it happen. Even better, the film itself is just as fantastic as its story. 

Set in the small town of Nome Alaska in 1925, a massive Diphtheria pandemic sweeps across the area, hitting most of the children. Making matters worse is an incredible snowstorm that has severely limited delivery options for medicine. Their only course of action is to send a Sleddog team to Nenana to retrieve the medication and deliver it to Nome. A journey spanning well over 600 miles. Seppala and his dog team, lead by his best dog Togo, were the ones who left Nome to retrieve the antitoxin. With all the elements against them, it is not a question of "when" they get back, but "if." 

While the main plot revolves around the historical event and Togo's accomplishments, It is not the entire film. The screenplay, penned by Tom Flynn, makes the intelligent move of dividing the film into two stories: the serum run event and Togo's early life as a puppy. While the latter part of the story is unsurprisingly adorable, it serves the essential purpose of showcasing the bond between Togo and Seppala. Not only does this move provide a better sense of narrative variation, but it also allows the audience to better sympathize with Togo and Seppala. The script does a beautiful job of balancing between tension and levity. Not at all surprising from the guy who wrote the underrated gem Gifted. 

Visually, the film is gorgeous and creative. In addition to the beautiful landscapes and colorful images (even in the snowstorm scenes), the film boasts a specific artistic choice, which gives it a more distinct look. Though the film was captured on digital cameras, the movie features a unique filter that produces a subtle yet distinct effect. It creates a slight amount of degradation, mostly around the edge of the frame, often found in metallic photographs taken from the time in which the story takes place. It is a very subtle effect that can easily be overlooked, but it has an impact on the images that give them a more lively feel. It's a creative choice I would not mind seeing more of in future films. 

The MVP award has to go to all the dogs who portrayed Togo and their trainer, Thomas Gunderson. Not only are they all adorable and fun, but they also carry the movie. Yes, Willam Dafoe does a great job with his role, and he has incredible chemistry with the dogs, but damn it, this is not his movie. Not to mention, they were all real dogs. I bring this up because of Disney's most recent theatrical outing, The Call of the Wild. Which was an okay movie, but most if not all of the dogs featured, especially the protagonist dog Buck, was entirely CGI. While I understand that it was likely necessary for that story, I can't help but think that it made the film feel...disingenuous in some way. As opposed to Togo, which utilizes real-life dogs. There's just something about how an animal moves and behaves that cannot be replicated well. Not to mention the usual superior results of giving an actor something or someone to interact with onset, as opposed to directing them to act against air. Sure, it can be used correctly in a different medium like animation, for example, The Lion King (the good one and not the remake). Even so, except for the new Planet of the Apes films, I have rarely seen CGI animals presented well in live-action. Let it be said that practicality is usually better than pixels. 

Togo is a beautiful film that brings to light a real animal hero. It has a ton of heart, creative visuals, and a relevant story. At the time of this writing, the film is available on Disney's streaming service, Disney+. However you can see this film, I highly recommend you do so. I assure you, it is well worth your time. 

Oh, and in case you're wondering, yes, I cried. Though not for the reasons you may think.  

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Code 8 - X-Men meets District 9

Code 8 is the kind of generic film that only stands out of the crowd by its choice of a gimmick. In this case, an uber-masculine crime drama featuring people with superpowers, because that's what is popular. This is not in any way meant to diss superhero movies, but no one can deny that everyone is trying to ride off of their coattails right now. Even so, I can say there is at least one aspect of this film I can appreciate, which I will get to in a moment. 

The story takes place in an alternative present where people are born with unique abilities. Such as electrical powers, super strength, fire, and mind-reading powers. Once these people were valued in the workforce until technology eventually took over. This left many superpowered people out of work with nowhere to turn. So many of them resorted to crime. This causes a rise in fear of superpowered individuals, encouraging government legislation against them, as well as fear-mongering peddled by the media. Our hero is a young mand with electrical powers named Connor (Robbie Amell), who is trying to find work to take care of his sick mother. Connor is approached by a crime boss who offers him a huge payday. Reluctantly, Connor accepts as his mother's health is getting worse. From there, the film becomes the generic gritty heist/crime drama that, once again, only stands out because of the superpowers. 

I know I sound like I am repeating myself, but there really isn't much else to say about this movie. It's not necessarily dull or annoying, it's just everything that happens has been done better in other films. It is a literal representation of the phrase "not bad," which more or less sums it all up. 

Even so, I will say that there is one part of this film I do appreciate. The social commentary it makes on harmful government legislation and how poverty is the most significant cause of crime is something that should always be addressed whenever possible. While I can name a few movies that have handled this commentary better, I can, at the very least, say that Code 8 does a decent job at delivering it. 

Code 8 is the kind of action schlock you watch while you wait for the better stuff to arrive on Netflix. If you need something to kill an hour and a half, there is really no harm in this one if you can't find anything that tickles your fancy more. Otherwise, I'm sure there are better sci-fi crime dramas out there somewhere. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Hunters - Almost a home run

The first 85% of Amazon Prime's Hunters is probably some of the best television I have seen in a long time. A show about hunting down former Nazi's should be celebrated all throughout, no matter how silly it may get. And yet, once you enter the final two episodes, it does the unthinkable. It suddenly gets too ridiculous and too convoluted for its own good. It's like watching Shakespeare with a terrible M. Night Shyamalan style twist in the final quarter of the show. It is really a shame because, before that point, Hunters is a damn good show with great acting, gorgeous cinematography, and cathartically satisfying stories about taking down Nazi's with textured and sympathetic characters. Only for all of it to be ruined at the last minute for no justifiable reason. The bases were loaded, and the pitcher was hot, but when he needed it the most, his arm was not in the game. 

Created by David Weil, the main story of the show follows a young Jewish boy named Jonah (Logan Lerman), who lives with his grandmother (a Holocaust survivor) in New York. One night, Jonah's grandmother is murdered by what appears to be a masked burglar. At her funeral, Jonah is approached by an old family friend named Meyer Offerman (Al Pacino), who reveals to Johan that his grandmother was part of a secret vigilante team known as The Hunters. A group of like-minded people who hunt down former Nazis hiding in plain sight. Meyer offers to bring Jonah into the group as he seeks justice for his grandmother. Soon after signing on, the team discovers that the Nazis are planning something huge that can potentially wipe out thousands of innocent people. Now they must solve the mystery while seeking justice for six million people. 

There is a lot about this show to appreciate. The characters who make up The Hunters are all three dimensional and sympathetic. Each one has their own reasons for wanting to help track down Nazis. The story does a tremendous job of providing symbolic justice against Nazism and provides relevant commentary. It is worth noting that David Weil's grandparents were Holocaust survivors themselves. His grandmother's stories, in particular, inspired the concept of the show. There is no doubt that he had good intentions with this story, and it shows. Well, at least for the first three-quarters. 

Without spoiling anything, the last two episodes of the show suddenly and drastically drag down any and all goodwill built up by the story. Among other things, they fail to provide a satisfactory conclusion to the main story, refuses to offer any kind of closure, and builds up a ton of loose threads in preparation for another season. Which, given the terrible execution of the first season's conclusion, if there is going to be another season, I will sadly not likely bother watching it. I was wholeheartedly engrossed in the story, only to have the rug pulled out from underneath me, resulting in a massive disappointment. 

Despite the shows unfortunate lackluster conclusion, there is still a great deal of quality to be enjoyed. 

As I said, the cast is spectacular. Al Pacino delivers his usual professional-quality performance. Walking a fine line between being the wise sage and the proficient Nazi killer. Logan Lerman is adequate as the main character, and it's nice to see him getting work after suffering through the failed Percy Jackson franchise. However, his character suffers from being too back & forth with his growth. Granted, part of that can be chalked up to his youth, but that is still cliche and not as interesting as some may want it to be. All of the Nazi characters are effectively terrifying, and the actors succeed in making us want to root for their demise. Speaking personally, my favorite characters are Murray and Mindy, an old married couple who work as the team's tech specialists. Their chemistry is adorable, and their motivations for joining The Hunters will tug at your heartstrings the most. I'm not ashamed to admit it...I cried. 

Were it not for the last two episodes, I would have gladly and wholeheartedly recommended this show. There is too much quality here for it to be unappreciated and discarded. Sadly, the show's conclusion, or lack thereof, demolishes any hope of a future for this story. Hunters, and by extension, the audience, deserves so much better. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Resistance - Anyone can be a hero

There is no denying that movies about World War II are generally not pleasant to watch. While some are easier to swallow than others, it is a subject matter that, for many understandable reasons, doesn't make for an entertaining (for want of a better word) experience. Not to mention, many of the films centered around this part of history tend to be nothing more than "Oscar Bait," as in movies that cater to the audience most likely to give them awards. Today's film, Resistance, is wholly separated from such association. Because even though it does not shy away from the horrors of WWII history, it delivers an important and, surprisingly, entertaining story about one man's mission to do what's right the best way he can. While the film does not shy away from the atrocities committed at that time, the story mainly showcases how anyone can defeat evil with laughter and a little imagination. 

The story follows a French performance artist named Marcel (Jesse Eisenberg) who works at his father's butcher shop. His brother is a French Army Soldier stationed at the Nazi border and ask's Marcel for his help with an important task. Marcel soon discovers that they are taking in over a hundred orphaned Jewish children and are setting them up in a temporary home. Marcel, being a performer, utilizes his talent to soothe and relieve the children of their stress by being their unofficial Class Clown. Over time, as things become more dire and dangerous, Marcel becomes more involved with helping the children by teaching them how to survive. Later on, he joins the French Resistance Movement to smuggle the kids to Switzerland. The question is, can it really be done? 

Despite the film's subject matter, it never falls into complete doom & gloom. Sure, it has some unpleasant dark moments here and there, as it should, but it never dwells on them for longer than the movie needs to. Also, when it does present crimes against humanity, it does so in a way that showcases the terror of the act without presenting detailed graphic images. It's a classic example of the power of implication over direct presentation. Much like how not seeing the ghost is often more visceral than actually seeing one. For me, that is a sign of genuine talent and competent storytelling. I wish more filmmakers took the time to practice this method. 

The cast, especially the children, is remarkable. Jesse Eisenberg gets the opportunity to present his range as an actor. Going from total goofball to focused Resistance agent smoothly. Although, the scenes when he is utilizing his performance art for the children are some of the best moments. 

Unlike most other well-crafted films about WWII, this is one that I think can be seen more than once. Maybe not regularly, but it is something that can be enjoyed every few months rather than years. It is a heartfelt and vital story about how anyone can fight against evil with whatever talent they possess. If I was teaching a history class on the importance of the arts, I would play this film. 

At the time of this writing, Resistance is available on Comcast On-Demand and for rent on Amazon. However you can see this film, I recommend you do so. It just might be that little ray of hope you've been looking for. 

Ladies & gentlemen, I am TheNorm, thank you all for reading.

Resist

Self Made - An important story indeed

Madam C.J. Walker is listed in the Guinness Book of World Records as the first self-made woman millionaire in American history. She became a household name with a line of hair care products and salons specifically tailored for black hair treatment. Through countless struggles, denied opportunities, and a ton of determination, Madam C.J. Walker is a name that deserves to be remembered. I, for one, am ashamed to admit that I had not even heard her story until this limited Netflix series. Having watched it, I am glad to now know why her story is so important. Not to mention, this presentation of her story, in particular, is well delivered. 

The story follows the life and accomplishments of Madam C.J. Walker (Octavia Spencer), a laundrywoman whose life is in shambles. The stress has caused her to lose most of her hair, and with it, her sense of self-worth. That is until she meets a woman named Addie (Carmen Ejogo), who offers a special hair treatment to bring it back, more beautiful than ever before. The product works, and C.J. Walker's confidence thrives again. So much so that she wants to work for Addie by helping her sell the product. However, Addie refuses, as she finds Walker to be too ugly and incapable of understanding business. C.J. Walker decides to prove Addie wrong by making her own hair product, and in doing so, offer freedom and empowerment to all women. From there, Madame C.J. Walker would build an everlasting legacy of beauty, success, and female empowerment. 

The series succeeds in providing great entertainment value while also acting as a history lesson. What makes this particular historical drama stand out, at least to me, is the way it occasionally plays with visual storytelling. Minor spoiler, one example is in the first episode, where the relationship between Walker and Addie is represented by an imaginary boxing match. Bits like this are sprinkled throughout the story creating a striking visual representation of character's thoughts and feelings. It is the kind of thing you would typically expect to see in live theater, but it works surprisingly well in this series. I would not mind seeing more films and shows utilize this kind of tactic. 

The entire cast shines throughout the series. Octavia Spencer delivers a performance that keeps you hooked. Octavia Spencer is pretty much stellar in whatever she does. Though the real stand out, at least to me, is Tiffany Haddish as Madam C.J. Walker's daughter Lelia. Usually, Tiffany Haddish would be found in comedies, and while she is indeed tremendous at it, it is nice to see her get the opportunity to present her range as an actress. While she still retains her usual sense of charm, which is always appreciated, she succeeds in displaying a more extensive range of talent and ability. Which further compliments the entertainment value of the series. 

This is an excellent series through and through. It's entertaining, informative, and relevant for these strange and challenging times. All episodes are available on Netflix right now, so be sure to check this one out soon. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Retro Review: The Mask of Zorro

Every filmmaker and cinephile has a point in time when they fell in love with movies. An apex of the time cinema reached out to us and touched our hearts, enriching our lives in many ways. For me, that time was the year 1998. Two movies came out that year, which contributed to my passion for the silver screen. In September was Ronin, which I have already written a review about, describing it as my favorite film of all time. However, before that, July, to be precise, saw the release of one of the greatest adventure films ever made, The Mask of Zorro. A modern yet classical take on an old fashioned hero that proves certain things never go out of style. It is a film that always makes me smile and fills me with boundless joy. Something we all need now more than ever. 

For those of you who may not know, Zorro is a fictional character created by Johnston McCulley. A wealthy and progressive Spanish nobleman named Don Diego de la Vega living in Mexico decides to take action against the tyranny of the oppressed people. He creates a persona dressed in black, complete with a mask, and raises his sword in the name of justice. The people, in recognition of his deeds, dub him Zorro, which is Spanish for Fox, because of the wise and cunning nature associated with that particular animal. Zorro would live on in countless forms of media, from books to cartoons, films, television shows, and so on. One of his most famous outings was The Mark of Zorro from 1920, starring Douglass Fairbanks. Which was later remade in 1940 with Tyrone Power in the lead role. 

Zorro has also influenced many other hero characters throughout history, most notably Batman. In fact, in most iterations of Batman's origin, Batman's inciting incident happens the night he and his parents are leaving the theaters after seeing, you guessed it, The Mark of Zorro. 

At its heart, The Mask of Zorro is an old fashioned adventure film with a modern flair and charm. Anyone can watch this film regardless of prior knowledge or history with the character. It stands on its own as a beautiful adventure full of literally everything you could ask for in a movie. It is yet another one of those films that make people say, "They don't make them like that anymore!" Few other films of the genre in recent years, at least in my opinion, have ever come close to matching its tenacity. If I have sparked your interest, and I hope I have, then I shall gladly tell you why. 

Taking place in the 1800s, the story follows a young thief named Alejandro (Antonio Banderas) who's older brother was murdered by a sadistic Military leader called Captain Love (Matt Letscher). Before Alejandro can take his vengeance on the Captain, he is stopped by a mysterious old man who offers to help him by training him on how to fight and take his revenge with honor. When Alejandro asks the old man why he was willing to help, the old man replies, "Because once, a long time ago, you did the same for me." It turns out that the old man is none other than Diego de la Vega (Anthony Hopkins), the original Zorro, who had been missing for the past twenty years. See, when Alejandro and his brother were boys, they saved Zorro's life by thwarting a trap set up by his arch-nemesis, Don Rafael Montero (Stuart Wilson). However, shortly afterward, Rafael discovered Zorro's true identity and had him arrested. In the process, Rafael accidentally kills Zorro's wife, burns down his home, and takes Zorro's baby daughter, Elena (Catherine Zeta-Jones), to raise as his own. Now, Diego must train Alejandro to become the new Zorro before he can take his personal revenge on Rafael and reclaim his daughter. 

Zorro in Training. 

Right off the bat, there are hints of other classic stories of well-intended revenge, such as The Count of Monte Cristo, as well as more modern tales of heroism like Batman Begins. Normally, I would shun at stories about people driven by revenge, as it is the least noble thing to aspire for. However, in this particular case, and indeed in the case of Monte Cristo, it is significantly more justifiable. In both cases, the ones seeking revenge are good-natured people who have been wronged to such an extreme, that we want them to give their wrongdoers their deserved comeuppance. It's when it is motivated by pity reasons or when revenge is tacked on for no narratively sound reason that bothers me the most. I would like to go further into what I mean, but that would require too much time away from discussing this great film. I shall go deeper into this subject in a future blog entry. 

But I digress. Now, back to the movie. 

It is said that a movie is only as good as the script, and The Mask of Zorro has one of the best ever put to screen. Penned primarily by the original writers of Disney's animated classic Aladdin, the screenplay is loaded from top to bottom with top-tier creativity. Three-dimensional characters with sympathetic motivations and relatable personalities. The dialogue is so precisely structured and delivered that it just sings right off the page. Moments of levity that feel earned and adequately timed, unlike Marvel films (yes, I said it). Not to mention, a tasteful amount of sexiness that sizzles just enough to make the movie stand out without coming off as sleazy. In short, it is the kind of writing you would put on par with other legendary scripts such as The Princess Bride. 

Speaking of that other grand classic, The Mask of Zorro shares a significant connection. The swordmaster and fight choreographer was none other than Bob Anderson, a legend in his own right within the world of movie stunts and sword fighting. An accomplished fencer and stunt coordinator, Bob Anderson has been involved in many classic fight scenes. Before training Antonio Banderas for The Mask of Zorro (whom Bob noted was one of his best students), he was one of the trainers and choreographers who put together the greatest swordfight in cinema history. I am, of course, referring to the three and a half minute swordfight from The Princess Bride. Going further back, Anderson played Darth Vader for all the Light Saber duels in the original Star Wars trilogy. In fact, due to the bulkiness of his costume, Anderson had to develop a new fighting style to further enhance the fights' believability. Bob Anderson would continue his work in movies as a stunt person and swordmaster until his untimely death in 2012. 

Bob Anderson training Mark Hamil on set. 

Needless to say, the sword fights in The Mask of Zorro are incredible! Everyone in the cast, including Anthony Hopkins and especially Antonio Banderas, was adamant about doing most of their own stunts and sword fights. Anthony Hopkins almost didn't do the film due to a back pain issue. Fortunately, he managed to have a successful operation, which allowed him to partake in the movie. Another significant factor in the quality of the fight scenes is how they are photographed. For every single fight, the camera is stable and occasionally holds on wide shots for a good fifteen to twenty seconds. This was before shooting everything with shaky-cam, as well as rapid-fire editing, became the industry standard. Granted, not all modern adventure films employ these gimmicks, but it is sadly rare to see adventure movies with this level of commitment to authenticity. 

The cast is remarkable. Anthony Hopkins and Antonio Banderas have incredible chemistry making their back and forth all the more enjoyable. Catherine Zeta-Jones delivers a gripping performance that outshines her beauty. Furthermore, she is more active in the story rather than being relegated to the damsel-in-distress. Also, she gets to have one of the funniest and memorable sword fights in the whole film. If you haven't seen it yet, you'll know what I mean when you do. 

Catherine Zeta-Jones on set. 

Of course, none of this would be nearly as fascinating as it is without the right director. Fortunately, the studio chose the right man for the job, Martin Campbell. Having previously revitalized the James Bond franchise with Goldeneye (and would eventually do so again with Casino Royale), Martin Campbell was tasked with another challenge of bringing a classic character back to life. Campbell is a director whom I would describe as dedicated to narrative texture. A filmmaker who is less concerned with cementing a signature style and more concerned with doing what is best for the material. If you look at his films, not all of which are zingers, I will admit, they all don't have a distinct flair that identifies them as his movies. And yet, because of his commitment to proper storytelling, his films are more memorable than anything by any auteur. If you haven't seen his most recent movie, Thr Forginer, I highly recommend you do so. It is available on Netflix. 

The Mask of Zorro pretty much does everything right. It has a compelling story, fantastic fight scenes, witty writing, a committed cast, and a feeling of catharsis you won't find anywhere else. It's a movie with more heart and love than it may deserve. In these strange and troubling times, we all need a reminder of the better things in life. This is one of them. If you need something to help pick you up, you can't go wrong with this film. If you've seen it already, give it another watch. If you haven't seen it yet, now would be the perfect time to check it out. Not only will you be thoroughly entertained, but you will also have a better understanding as to why so many would proudly wear The Mask of Zorro. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Crouching Tiger, Hidden Dragon: The Green Destiny - Too late for the party

Back in 2000, visionary director Ang Lee releases one of his most significant cinematic accomplishments, Crouching Tiger. Hidden Dragon. A martial-arts drama starring Chow Yun-Fat and Michelle Yeoh as a pair of warriors on the search for an ancient and powerful sword known as The Green Destiny. All the while trying to cope with their own suppressed feelings for each other. It is regarded as one of the best martial-arts films ever made. It earned Ang Lee his first Oscar nomination for Best Director and won for Best Cinematography (rightfully so I might add). It demonstrated a beautiful balance between martial-arts action and character-driven storytelling, the likes of which has rarely been successfully replicated. It stands as one of my favorite films of the genre. 

It's Netflix original sequel released back in 2016, on the other hand, is laughably terrible. 

This has no right to bear the name of Crouching Tiger, Hidden Dragon, mainly because aside from featuring one of the original characters and pieces of the music, it is a vastly different movie. It feels just like yet another "In-Name-Only" film where it has just enough familiar elements to bank on fan's goodwill. Only to pull the rug out from underneath you with substanceless cliche-ridden schlock, and not even the enjoyable "so bad it's fun" variety. It may very well be the worst attempt at a sequel I have ever seen. 

Taking place nearly twenty years after the events of the first film, the story follows Yu Shu Lien (Michelle Yeoh) performing her duty as the guardian of The Green Destiny Sword. Things get more challenging as a vicious warlord named Hades Dai (Jason Scott Lee) has plans to steal the sword and use its power to further his devastating rule. In a ploy to fight back, Yu sends out a call for fellow warriors to join the battle in defense of the sword. One fighter named Silent Wolf (Donnie Yen), who happens to be an old flame of Yu's, turns up to join the fight. Now, to protect their future, they must first confront their past. 

Now, this may seem like an okay plot for a sequel to one of the greatest martial-arts films ever made. That is until I mention that this sequel also has a myriad of subplots that do nothing but muddy the waters and utterly destroy and genuine connection to the first film. For starters, one of the antagonists is a blind witch who possesses supernatural abilities that were never even mentioned in the first film. While there was a fictional technique of martial arts in the first film (which allowed for flying effects coining the term "Wire-Fu"), it was never attributed to magic or any other supernatural source. Next, there is another subplot centering around one of the warlord's soldiers, forming an out-or-nowhere relationship with a mysterious woman who is somehow connected to his past. It feels contrived, has no genuine spark, and feels as though it's only there to rehash the love story of the first film. Finally, rather than try to make a story equally as compelling or unique as the first film, this sequel quickly turns into a sloppy rehash of The Seven Samurai but with walking avatars of Kung-Fu movie cliches. The drunk, the brawler, the dart-thrower, the handsome lance-wielder, and the older Monk who can take on an entire room with only his finger. This is an okay idea and can be done well, but you have likely seen it done better somewhere else. 

Oddly enough, the part of this film I found to be the most hilariously mishandled was the sword. In the first film, The Green Destiny is an elegant and uber sword that puts all other weapons to shame. Featuring a gorgeously designed Jade hilt, Dragon etchings all along the blade, and tassels at the end of the handle. It is one of the most beautiful film props ever made and one of my personal favorites. I mention this because I don't know what sword is in the Netflix original sequel, but it's not The Green Destiny. The sword in this movie looks absolutely nothing like the original. If anything, it seems more like a plastic toy from Target. Not to mention, for a film that has the swords name in the title, it barely has any screentime. For 90% of the movie's runtime, the sword is kept locked away in a box with, at most, less than five minutes actual screentime. This is not how you treat film prop royalty. 

The majority of the cast is unbearable. Most of the time, everyone is trying too hard to emote like teenagers attempting Daytime Soap Opera Shakespeare. The only two people who make this trash bearable are Michelle Yeho and Donnie Yen. Not only are they actually acting, but they also have some genuine chemistry despite the weak material they had to work with. Also, while most of the fight scenes are bland, the two of them have some of the better moments to show off their skills. Donnie Yen especially had plenty of opportunities to showcase how much of a genuine bad-ass he is. Not at all surprising coming from the guy who was arguably the best part of Rogue One: A Star Wars Story. 

The cinematography is not terrible but too garish for me personally. Photographed by Newton Thomas Sigel, the images beautiful enough during daytime scenes, but suffer immeasurably in night time sequences. Scenes taking place at night are flooded with overly cranked blues and reds that don't match the more natural(ish) color style seen in the daytime moments. Not to mention the red lighting seems to envelop all the character's skin tones causing everyone to look like they're on fire. I could not figure out if this was due to the photography itself or my televisions setting. Frankly, I think that the former is most likely to blame. 

Crouching Tiger, Hidden Dragon: The Green Destiny is not only disappointing, but it is also lame. It fails to understand what made the first film so memorable, it offers nothing new to the table, and if wastes the time and talent of two genuinely great performers. Whatever they paid Michelle Yeoh to be in this film, it wasn't enough! Do yourself a favor and skip this one. If you have not yet seen the first film, I encourage you to do so. Also, don't forget to check out Michelle Yeoh's more recent film, Crazy Rich Asians. 

Ladies & gentlemen, I am TheNorm, thank you all for reading.