Retro Review - The Ninth Gate

Have you ever found a movie in your collection that you enjoy but can't fully articulate why that is? Yes, you could point to the craftsmanship of the director, the cast, and the writers, but there is still an underlying aspect that seems to speak to you in some way that you can't explain just yet. Incidentally, that is also an apt description of the story presented in Roman Polanski's gothic mystery thriller, The Ninth Gate. Where the protagonist's initial search for a rare and ominous book turns into a quest for something greater than he imagined. Yet, it's never made clear as to why. Not unlike how I can't thoroughly explain why I enjoy this film so much. So, let's take a closer look. 

The story follows a rare book specialist named Dean Corso (Johnny Depp), who is offered a hefty paying job by a wealthy businessman named Boris Balkin (Frank Langella). Mr. Balkin has spent a lifetime collecting ancient books about one specific subject, The Devil. He recently came across a book which he considers to be the supreme masterpiece known as The Nine Gates of The Kingdom of Shadows. This book, in particular, features engravings which, according to Mr. Balkin, are "reputed to conjure The Prince of Darkness in person." 

Boris Balkin has acquired one of three copies that are listed in private ownership, but he is convinced that only one is authentic. So, Balkin hires Mr. Corso to visit the other owners of the book and determine which one is genuine. However, upon inspecting the additional copies, Mr. Corso not only discovers strange aspects of each print (which I will not spoil here), but he also has found himself in over his head. Being chased and nearly killed by total strangers. Despite the unwanted danger of the job, Mr. Corso continues his investigation. Almost as if he is being drawn to unravel the mystery. To what end, only he can say. 

On the surface, there is a great deal about this film to enjoy. A treasure hunt with an intriguing mystery, exotic locations, and just the right amount of cheese to be silly without being a comedy. There is also a lot to be appreciated on a technical level. The cinematography is well-composed, the cast provides a significant amount of conviction to their roles, and the editing is fluid with well-timed cuts. Probably the only technical aspect I have to criticize a bit is some of the special-effects shots. Mainly, the driving scenes. Whenever there is a close up of someone driving or riding a vehicle, It's super obvious that it's a green screen...or is it rear projection? Point is, it's a little distracting. 

Setting aside some of the less-than-stellar composite shots, another aspect I have some difficulty with is the writing. Technically speaking, it's just fine. The dialogue is natural and sings well, the pacing is perfectly balanced, and the characters have plenty of texture to them. My main issue with the writing, sort of, is the amount of ambiguity. Usually, I don't mind being left to draw my own conclusions based on what the story has presented. I like it when I have the freedom to speculate and discern for myself. Even so, I do believe that there is such a thing as too much. Without spoiling exact details for those who have not yet seen the film, there are specific character motivations and conclusions to story beats that almost feel abandoned. While it never feels as though the writers got lazy or weren't capable of coming up with a creative answer, it does feel as if there should have been more of a concrete resolution than what was presented. 

On the other hand, it could be argued that, given the subject matter at play, as well as the time in which it was released, it needed to be left more open to harbor the very nature of the material at hand. While the script wisely places more emphasis on the mystery, it also prioritizes its subject matter, the concept of The Devil, almost exclusively. The film never even mentions any tangential connection to Christianity or any other spiritual ideology that has traditionally been at odds with the concept of Lucifer, a.k.a Satan. To the point that it makes you wonder if there is an underlying message to the whole film, and most likely, a positive one. 

To investigate this possibility, I decided to have a chat with one of my good friends, Devon. He's a fellow actor whom I've done a few shows with and a Satanist. Since we are both fans of The Ninth Gate as a film, I was curious to know if he, as a Satanist, had any kind of alternative take on the film. 

For those of you who don't know, Satanism is a religion that centers around the character of Satan, a.k.a Lucifer, a.k.a, the guy who rejected God's authority and ran off to do his own thing. Believe it or not, there are officially two different organizations related to Satanism: The Church of Satan founded in 1966, and The Satanic Temple,  founded in 2013. The main difference between the two is that The Church of Satan is an authoritarian theistic oriented group that believes in the supernatural. In contrast, The Satanic Temple is more akin to The Knights of the Round Table. In that, they practice compassion & empathy, defend civil liberties, and prefer scientific reason over superstition. Funny enough, neither organization believes in an ACTUAL Satan (technically). 

Anyway, my conversation with my friend Devon proved to be a fascinating one. Besides enjoying each other's company, we had a lot to say about The Ninth Gate. We both enjoyed the film's emphasis on the mystery, the conviction of the cast, and especially the loveable cheesiness of certain scenes. When it came to his take on the film as a Satanist, it got a little more interesting. Devon is a member of The Satanic Temple, so most of the film's presentation is not quite aligned with their tenets. It's more appropriate to akin The Ninth Gate to The Church of Satan, due to the desire for a supernatural event by the villains. While Devon enjoyed the imagery and symbolism used in the film, he does not believe that it is an excellent introduction to The Satanic Temple. To which I agree. 

While I, like Devon, would not point to The Ninth Gate as an introduction to The Satanic Temple, I would, however, argue that it could potentially function as a decent companion piece. Mostly because, upon further examination of the movie, you find that it does have at least one underlying message, which I think coincides with one of their tenets: The Ninth Gate is, in my opinion, anti-fundamentalist. 

All the villains of the movie, especially Frank Langella's character, embody fundamentalism. They insist that the supernatural is real, they are entitled to power for their allegiance, and that it is all intended to be interpreted as literal and not metaphorical. As such, they continue to cause harm to the protagonist and others and refuse to stop and reevaluate their situation. In contrast, Johnny Depp's character, Mr. Corso, while not entirely altruistic, is at least not motivated by a superstition. He is more interested in the truth and is driven by curiosity. Sure, the hefty paycheck that came with the job was a grand motivator, but the true nature of The Nine Gates quickly becomes more important. Which, incidentally, coincides with the fifth tenet of The Satanic Temple. Which states, "Beliefs should conform to one's best scientific understanding of the world. One should take care never to distort scientific facts to fit one's beliefs." Now, it should be noted that one of the film's supporting characters does appear to have supernatural abilities. However, the movie never makes it abundantly clear, nor does the story expect you to care. It's similar to the agnostic notion of not choosing one or the other but prefers to slide down the middle, thereby allowing personal interpretation. So while The Ninth Gate is not a prime example of what The Satanic Temple is all about, it does, at the very least, seem to coincide with an essential aspect of their creed. 

The Ninth Gate is a fascinating film for many reasons, and its level of ambiguity might be one of them. While I still might have preferred that it had at least a few more concrete answers to some parts of the story, I suppose it actually has to be more open to interpretation. Otherwise, it might come off as too preachy or insistent on any given side of the argument. It's a perfect example of an agnostic story. It doesn't have a definite answer, but it is fascinated with the mystery. It's about the journey and not the destination. 

I highly recommend you check out this film for yourself. At the time of this writing, it is available for streaming on Amazon Prime. Regardless of your personal beliefs on the subject matter at hand, it is still a fun and slightly cheesy mystery thriller with entertainment value to spare. It's the kind of movie that playfully invites you to ask questions and explore. Something I always appreciate in my entertainment. 

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

Nausicaä of the Valley of the Wind - Disney's Bad-Ass Princess

When discussing Anime, it is impossible to do so without eventually bringing up one of its most prominent and influential directors, Hayao Miyazaki, the Steven Spielberg of Anime. Creator and owner of Studio Ghibli and director of some of the most famous and enduring Anime films. Many of his movies were able to get theatrical releases here in the US, thanks in large part to Disney. In fact, John Lassater, one of the founders of PIXAR, is close friends with Miyazaki. Most folks who are familiar with Miyazaki's name usually think of films such as Kiki's Delivery Service, Princess Mononoke, and Spirited Away (which won the Oscar for Best Animated Feature in 2001). Personally, I know him best from my favorite film in his repertoire, Nausicaä of the Valley of the Wind.

Set in a post-apocalyptic future, the story follows a young woman named Nausicaä, who is the daughter of her village chief. She is also a capable fighter, explorer, engineer, pacifist, and has an adorable Fox-Squirrel friend named Teto.

Anyway, the world has been overtaken by a strange new species of fungus, which can be toxic to humans. The survivors have lived in relative peace with most of the other settlements. That is until one day when a neighboring village is set on conquering the known world. Nausicaä tries her best to prevent a war that could devastate the entire planet and render all humans extinct in the process. If only they could see the world the way she does. 

Nausicaä is, hands down, one of my favorite examples of a compelling female character. As I mentioned in my Ghost in the Shell review some time back, I commented on my disdain for films and television shows that continuously draw attention to their female leads. In many cases, it feels as though they are trying too hard to show off how progressive they believe themselves to be. Other times, it's almost as though they are perpetuating an impractical idea of feminism. A perfect example of feminism done wrong, at least in my opinion, is the recent Charlie's Angels movie co-written and directed by Elizabeth Banks. 

How NOT to feminism

For the record, I like Elizabeth Banks, and I completely understand and appreciate her intentions with the film. I have no doubt that her heart was in the right place. Unfortunately, her execution was a complete failure. See, if you were to use her version of Charlie's Angels as a guide to feminism, which I highly discourage you from doing, it basically comes down to this: All women are good and competent, whereas all men are stupid and selfish. While I do not deny that it can feel like that a lot in the real world, this notion does not reflect what feminism is about. At least, not to me, personally. In my mind, feminism is, among other things, about tearing down the old and dangerous assumption that women are less capable of certain things. It's about not being thought of as a separate entity that needs to be treated differently or is more complicated than expected. This is why whenever someone claims that it's too challenging to write women characters, especially protagonists, what I'm hearing is, "I'm under the delusion that women are not human and therefore cannot have any relatable conflicts outside of motherhood." 

This is why I find Nausicaä to be a shining example of true feminism. When she does something incredible in the film, the fact that she is a woman is never brought up. She, like everyone else around her, is a person. She has talents, skills, and a personality that her people admire and appreciate. Absolutely none of these qualities have anything to do with her gender. In other words, too many Hollywood writers spend too much time trying to understand how to write women characters, whereas Miyazaki just writes characters who happen to be female. It's not rocket science, it's simple humanity. 

Aside from the distinct visual style, there are many traits associated with Miyazaki. Fascination with flight, the wonders of nature, and robust female characters. All of which can be found in this film. Along with his usual sense of whimsy. One of the most fascinating aspects of Miyazaki's work is his talent for creating universally appreciated stories. He is one of those rare filmmakers who can present a story that can be enjoyed by just about anyone. Some may describe it as being "family-friendly" while I would prefer to think of it as being "conscientious." Miyazaki puts a tremendous amount of thought into his stories to tell them in a manner that reflects genuine maturity without ever talking down to the audience or undermining their intelligence. Even when Miyazaki is making a story intended mainly for kids, his mature convictions still shines through. If only more animation film studios would take a hint from Miyazaki. 

DON'T GET ME STARTED!!!

Something else I find to be so fascinating is the lack of a villain. Yes, there is an antagonistic force that provides the necessary narrative conflict, but none of the characters in this film are necessarily evil per se. Everyone is driven by the same desire to survive and maintain a peaceful existence with the new natural world. Only for that peace to be disrupted by fear and the illusion of control. Only by understanding the way nature works and learning to coexist with it can we hope to provide ourselves with a peaceful existence. Many other films have tackled this notion, but few have ever hit the nail on the head like this one. 

Nausicaä of the Valley of the Wind is a beautiful and heartfelt film that, in my opinion, best showcases the fantastic talents of Hayao Miyazaki. This is a perfect film for introducing newcomers to Miyazaki, and indeed to Anime itself. I highly encourage you to seek out this movie and give it a watch. It will take you on a journey like no other. 

And that concludes this year's theme month, Anie-May. I hope I have sparked your interest in the art form of Anime. Thank you all for joining me on this journey. Maybe we will go down this road again sometime. Until then, stay safe and take care as we return to our regularly scheduled program. 

Well, maybe not just yet. I mean, movie theaters are still closed at the moment but don't worry. There is still plenty of content to explore on Netflix and Amazon. Also, I recently added Hulu to my Disney+ subscription. So I've got a whole world of stuff to check out. Don't know if I should be excited or afraid, so let's find out together. 

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

The Lovebirds - Genuinely Funny

Finding a modern comedy film that is genuinely funny is like trying to find the one flavor of Jelly Bean you really like amidst a giant bowl of other Jelly Benas. You know it's there, but it's difficult to find because of how similar it looks to some of the others. Plus, the ones you do try thinking it's your favorite only to discover that it tastes like something awful. You wind up looking for so long that you eventually give up and stop caring. Only for that one little Jelly Bean bursting with your favorite flavor at the end of your search. The Lovebirds may not be my new favorite comedy, but it is, in all honesty, the best modern comedy film I have seen in quite a while. This is great because, let's face it, we all need a good laugh right now.

The story follows a young couple, Leilani (Issa Rae) and Jibran (Kumail Nanjiani). They've been dating for four years but have hit a rough patch in their relationship and are considering breaking up. That is until, on their way to a friend's party, they accidentally hit a bicyclist who rides off shortly after the event. Only to immediately have their car commandeered by someone claiming to be a cop chasing a criminal. Which seems legit, right up until the "cop" corners the guy and runs him over with the car while Leilani and Jibran are still there. Fortunately, the "cop" runs off, leaving our couple holding the bag. Afraid of being wrongfully convicted of the crime, they run off together and decide that the best course of action is to figure out what just happened and bring evidence to the authorities. That is if they can work together without arguing the whole time.

This set up is a bit of a, shall we say, traditional one, and has mostly been used well in the past. In fact, The Lovebirds reminded me of another good comedy film titled Date Night. Which is basically the same idea and also equally well executed. What makes The Lovebirds work, and indeed what makes any variation of this situation work, is the chemistry between the two leads. These two are amazing together. They feed off each other's energy, have pitch-perfect comedic timing, and seem to be having an absolute blast with this material.

The comedy is absolutely genuine. Most of the time, modern comedic movies seem to think that gross-out humor, or sophomoric potty jokes, is enough to last an entire feature-length runtime. Needless to say, it is not! The Lovebirds seems to have some genuine comedic talent behind it. Not just in the cast but the writers as well. The jokes land, the mystery is intriguing, and the dialogue feels natural and is well delivered. All of which makes for a well-penned script that should put many other Hollywood comedy writers to shame.

The Lovebirds is the kind of comedy film we need more of. If you need something for a lot of laughs, check this one out. At the moment, it is available on Netflix.

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

The Garden of Words - Short and Sweet

In my previous review of Children Who Chase Lost Voices, I commented on how annoying it is when artists attempt to use spectacle to distract the audience from a poorly constructed narrative. As pretty as the presentation of that film was, it could not escape its sadly overly flawed script, well-intended though it was. However, let it never be said that director Makoto Shinkai doesn't learn from his experience. As evidenced by his follow-up feature, The Garden of Words. This is not only one of the most beautiful anime films I've ever seen, especially with all the water and rain effects, but it's also a much better script. Granted, it's still a little clunky and awkward at times, but at least it has a better sense of direction. Also, this time around, the spectacle of the animation on display is indeed the primary focus of the film. One YouTube personality, CellSpex, who reviews animated media of all kinds, once described it as "a great background for your Aquarium." Though I am confident that she meant that in the best way possible. 

Set in Tokyo, the story follows a high school student named Takao, who has aspirations of becoming a shoe designer & maker. On rainy days, he cuts school for a bit to draw his designs in the park under his favorite pergola. One day, he stumbles upon a young woman there named Yukino drinking beer and eating chocolate. Breakfast of champions. Anyway, the two of them form a friendship. While they enjoy their small talk and sharing each other's dreams and thoughts on life, they never really open up to each other completely. Over time, however, events begin to unfold that reveal their own struggles to each other. Only time will tell what their relationship may evolve into. 

Visually, the film is absolutely astonishing! The biggest highlight is the water effects, most notably the rain. Each and every single drop of water in this movie feels alive and tangible. To the point that it feels as though you could almost touch it. Not to mention the near-perfect melding of hand drawing and CGI effects. Very few times, I was able to distinguish what was CGI and what wasn't. It's a visual experience I have yet to see matched. 

The narrative is where the film feels a bit...purple prose-ish. There is a story with characters, and they do feel like human beings with flaws. However, I can't help but feel as though they all lack texture. Most of the time, the narrative feels as though it is only there to transition to the next set-piece. Under any other circumstance, this would be an issue, but I find myself not as troubled with it here. Mainly because it is the kind of story that can be told in a little over forty minutes. Which, incidentally, is the runtime of the whole film. So even though the narrative doesn't feel essential, at least it doesn't overstay its welcome. 

Also, I have to get this off my chest. I know that the main character has dreams of becoming a shoe designer, but I fail to understand how that justifies countless shots of people's feet. How many, you may ask? Enough to make one suspect that Quentin Tarantino was involved in the production somehow. Let's just say it would not surprise me if he had a copy of this film in his closet. 

The Garden of Words is a film that deserves to be seen at least once. If only for it's incredible accomplishments in animation, as well as a sign of progress on the director's storytelling ability, for the most part. At the time of this writing, it is available on Netflix. If you need something pretty to look at for under an hour, give this one a shot. You will never be able to look at rain the same way ever again. 

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

Children Who Chase Lost Voices - You can't rush art, but they tried

One of the things that can be annoying about some anime is how some of them try to make audiences overlook lackluster writing with gorgeous visuals. This phenomenon is not exclusive to anime, but when it happens there, it becomes more noticeable. While there is no denying that Children Who Chase Lost Voices is visually breathtaking, it suffers from a script that feels like two halves of two completely different stories smashed together with little to no forethought. There is the potential of a neat and impactful story within this movie, but it can't seem to find its own way. It's the cinematic equivalent of baking two completely different cakes in the same oven. It looks like a great idea, but it's likely going to result in two underbaked piles of dough with nothing but tons of pretty sprinkles covering up their lack of texture. 

Taking place in a small town in rural Japan, the story follows a young girl named Asuna. She spends her days in school, hanging out with her friends, and playing with her little animal friend, Mimi. Sometimes, she ventures off to a secret spot in the woods close to her home where she enjoys the sunset and listens to strange music she picks up on her crystal radio. One day, on her way home from school, she encounters a peculiar boy facing off against an even stranger creature. The boy wins but not without sustaining a severe injury. Soon after, Asuna finds the boy at her secret spot. The boy reveals to her that he is from another world hidden just beneath their feet. A legendary land that has been hidden away from the surface people. She soon discovers that her teacher, Ryuji,  has been searching for this very place, as legend tells of a magical being who can bring back people from the dead. Almost immediately, Asuna and Ryuji find themselves traveling to this legendary land together. Where they encounter many fantastical and dangerous things on their journey. 

The film describes itself as a fantastical coming-of-age story. Asuna is dealing with the loss of her father, while Ryuji is seeking to reunite with his wife. Both of these are fine enough stories on their own. However, the script seems to want to include at least three other narratives that don't come into play until much later into the film. The first half builds up the main plot and seems to be moving along sure of its direction. Then, as soon as the main characters enter the underworld, there's a sudden bombardment of additional plotlines and characters with little to no establishment. It was like watching an improv show where new ideas are coming out of nowhere, yet we're expected to accept everything coming our way, despite how rushed the whole proceedings feel. Except where this would be acceptable in an actual improv show, I find it hard to accept in this film. 

Now, I admit, this is just my personal perception of the whole experience, and I don't doubt there are likely some cultural aspects to this story that I am not yet aware of. As much as I liked the ideas presented in the second half of the film, I couldn't help but feel as though it was all rushed with little development and only happened the way it did because...reasons. 

Despite this apparent lack of narrative cohesion, the visuals for the film are undeniably breathtaking. Director Makoto Shinkai, whose later works I will eventually cover on this blog, is a genuine tour de force when it comes to visuals. Especially when it comes to his depiction of the sky. Lots of his scenes feature beautiful skies that are loaded with so many colors and minute details. Of course, many other parts of his animation style are equally impressive, but his images of the sky often stand out. This would become a staple of Makoto Shinkai, and as I said earlier, I will be covering a few more of his works in the future. 

I cannot say that Children Who Chase Lost Voices is a satisfying narrative, but I can say that it is a visual spectacle that can be enjoyed on its own. At the very least, it is a decent introduction to the kind of works that would eventually come from this talented director. If you're at all curious about this one, you can find it on Amazon Prime to rent or on YouTube for free. If you need a pretty spectacle to look at and admire for a little over an hour, give this one a look. 

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

Capone (2020) - It's just okay

We interrupt our ongoing Anie-May theme month to bring you a traditional recent release review. 

Back in 2012, a young up-and-coming filmmaker named Josh Trank released his debut film titled Chronicle. A sci-fi found-footage style story about a trio of teenagers who inexplicably gain superpowers. It was a surprise success and put director Josh Trank on the map. Gaining the attention of the big wigs over at 20th Century Fox (before Disney bought them). So, in their then ongoing attempt to compete with Marvel Studios, and to retain the movie rights to the Marvel properties they still owned at the time, Fox hired Josh Trank to make a brand new movie based on The Fantastic Four. Sadly, this would prove to be an enormous mistake. See, Josh Trank had initially been given free rein to do what he wanted with his first film, Chronicle, because it was a new property with little to no expectations. Therefore, he assumed it would be the same case for his next project with The Fantastic Four. Unfortunately, that would not be the case at all. For reasons that would become clear later on, Trank decided to make this new Fantastic Four movie (unofficially titled Fan4stic) into a dark and unsettling body-horror film. Eventually, this would lead to Trank budding heads with the executives at Fox because, while they did want to stand out from Marvel Studios, they still wanted a more-or-less "traditional" superhero movie. After many unfortunate events, including extensive studio interference as well as unprofessional behavior from Trank himself, he was fired from the project while in post-production. This caused the film to undergo many reshoots and last-minute editing changes that ultimately destroyed any semblance of cohesion the film may have once had. Needless to say, Fan4stick bombed hard, both financially and especially critically. Further damaging the audience's confidence in Fox to properly handle their Marvel properties and nearly destroying Josh Trank's future career.

Now, five years later, Josh Trank has found his way out of purgatory and is aiming for a comeback with his latest outing, Capone. A psychological thriller chronicling the last year in the life of the notorious gangster as he struggles with his debilitating memory and sanity. While I can say that it is a competently acted and directed film, I wouldn't know if it is as incredible of a comeback as Josh Trank would probably like it to be. There is no denying that the man has talent, but he may still have a few lessons to learn from his prior experiences.

As mentioned earlier, the story follows Al "Fonse" Capone (Tom Hardy) during the last year of his life. Having served his time in prison and no longer deemed a threat, he is living his early golden years in his mansion down in Florida under surveillance. Suffering from a severe case of Syphilis and having already had one stroke so far, his mental state is slowly debilitating. When he's not struggling to retain his grip on reality, he's haunted by his darker memories. On top of that, a rumor is spreading of a hidden fortune somewhere on his estate. Which his struggling family, as well as the FBI, would love to get their hands on. It's a dark and unsettling tale of internal horror and many forms of loss.

First, let me go over what I liked about the film.

Tom Hardy delivers his usual excellent talent and ability. Putting out a performance that is both nuanced yet expected. It's starting to become a staple of Tom Hardy that he always performs with a strange voice while wearing a mask or face-altering make-up. It makes me wonder why they haven't talked to him about playing Richard III yet.

Josh Trank's direction showcases where his inspiration comes from. It becomes clear that Josh Trank is heavily influenced by past legends such as David Cronenberg and Paul Verhoeven. He seems to be most interested in the more disturbing aspects of the human condition. In the case of Capone, the inherent horrors of a slow and uncomfortable death. For the most part, Josh Trank shows his talent for dark and unsettling stories, and with the right script, I have no doubt that he can turn in a genuinely perfect film.

Speaking of the script, it's probably one of the weaker aspects of the film, second only to the editing (more on that in a minute). The dialogue is okay, but the structure and expectations made of the viewer by the script are questionable. It's relatively clear that we are expected to sympathize, or at least empathize, with Capone as a character. As if to imply that he regretted his actions and was seeking redemption. While the script does a decent job in keeping the debate of if he deserves it or not as an open-ended question, it feels clear what Josh Trank believes to be the right answer; and I'm not sure I agree with it.

However, while the screenplay seems to walk a tightrope between well-intended and seemingly arrogant relatively well, the editing, on the other hand, is downright terrible. Josh Trank wrote, directed, and edited this film. While I do believe he is a talented director and a passible writer at best, he is by no stretch of the imagination a good editor. It feels incredibly reminiscent of the editing in Bohemian Rhapsody, where random quick cuts flash about in the middle of a scene with no rhyme or reason to them. The kind of editing that gives the impression that they tried to cut around a line of dialogue or a shot they didn't have. It's so jarring and random that it betrays Josh Trank's otherwise decent shot compositions. His shooting style does not call for the kind of editing he felt compelled to implement. Maybe the intention was to convey the rapid loss of Capone's grip on reality, but if that was the case, there are many different techniques he could have used to accomplish the same goal. As far as I am concerned, the only director who should be allowed to edit his own films is Mike Flannigan.

While I cannot say for sure that Capone is a great film, let alone a perfect comeback for Josh Trank, I can say that, at the very least, it is a better showcase of the kinds of films that he wants to make. It also shows that Trank still has a ways to go before he becomes a better filmmaker. I get the impression that his arrogance is still holding him back. So until he works out whatever baggage he may be lugging around, we won't be seeing him at his absolute best just yet. As for the movie itself, I would say, if you're the least bit curious, check it out for yourself. Though, I would also recommend you wait until its price of admission drops, as it is not worth the ten dollars I paid for a rental.

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

Kino's Journey - Three Episode Test - Pass

One of my favorite forms of media is the anthology series. An anthology series is a television show or movie that is comprised of a collection of short stories usually centered around a specific theme or idea. For example, there's the television classic, The Twilight Zone, where each and every episode is an entirely new story, but they all center around vital aspects of the human condition. Also, there are films such as Wild Tales and Creepshow. The former is a collection of short movies with stories about revenge, and the later is a feature-length homage to horror comics of the 1950s like Tales from the Crypt and The Vault of Horror. Today's subject, Kino's Journey, is an anime fantasy anthology with striking visuals and profound stories. Many of which serves as an allegory for things like religion, love, and perception. If Rod Serling were to produce an anime series, I think it would have been a lot like this. 

Taking place in a fantasy world, the story follows a young woman named Kino, and her companion, Hermes, the talking Motorcycle (yes, you read that correctly). Together, they travel to various medieval-style cities, referred to as Countries in the show. Kino only spends three days in any given location before packing up and heading to the next Country. While there, she will explore the place and learn of their unique culture. Each country Kino visits represents a different aspect of the human condition. Acting as a commentary on any given element of humanity and our very nature. Again, not unlike The Twilight Zone, as mentioned earlier. The only significant difference being the setting and tone, as well as featuring the same protagonist. 

As an example, let me summarize part of an episode (minor spoilers). One Country that Kino travels to is under the impression that their existence will soon come to an end. As it was written in their book of prophecy. The writing is vague and poetic, but it has been interpreted by their Chief Priest, and everyone is convinced his interpretation is accurate. Then, the fateful moment arrives, and nothing happens. Except, rather than admit that the prophecy is likely invalid, they return to the book and begin coming up with different interpretations of how their world is going to end. I will not spoil the twist about what the writing actually is, but I will say that it is absolutely ingenious. 

As characters, Kino and Hermes are rather fascinating, because they're less like characters and more audience proxies. Usually, this would bother me, because the vast majority of stories using audience proxies tend to be boring and bland. However, because of the way it is handled in this show, I find it acceptable for a few reasons. For one, Kino and Hermes are good characters, in that they are decent people with relatable personalities. Also, their back and forth dialogue when commentating on any given situation is, at the very least, engaging enough to contemplate. In that way, they remind me of Calvin & Hobbes, though maybe not as funny but just as insightful. In any case, given that the show is mainly about the various Countries and their own allegorical stories, it makes sense that Kino and Hermes serve as characters with just enough texture. Mostly because they're not the focus of the show.

Upon your first glance of the animation style, which I would describe as elegantly simplistic, you might be forgiven for assuming it was intended for kids. As the general aesthetic is, at times, reminiscent of children's anime such as Pokemon or Night on the Galactic Railroad. Make no mistake: this is not, I repeat, not intended for children. While the show never becomes excessively explicit with its mature content (most of the time), it is still made for older audiences nonetheless. It has a level of taste and creative restraint rarely seen in other media. Even when an episode dives into a dark subject matter, and there are a few of those here, it does a fantastic job of utilizing the power of implication rather than graphic display. It is made for genuine adults and not teenagers pretending to be adults. 

Speaking of the animation, while I stand by my earlier assessment of it being elegantly simplistic, there are occasional artistic choices that sometimes baffle me. On the BluRay disc in my personal collection, the video is layered with thin lines all throughout the image. They are not so apparent as to be distracting, nor does it negatively affect the overall image quality. It's merely baffling as I cannot figure out what purpose it serves, if any. Maybe it was a less-than-ideal video transfer, or perhaps a deliberate artistic choice. In any case, while mysterious, it does not detract from the quality of the show as a whole. 

Kino's Journey is a great watch. A delightful reminder of how life is not about the destination, but of the trip itself. It's smart, beautiful, insightful, well presented, and has a great deal of charm. If you're looking for a new series to pass the time, give this one a shot. 

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

Ghost in the Shell - The mother of cyberpunk

If you were to ask what science fiction film has had the most profound influence on the genre as a whole, the most likely answer would be Blade Runner from 1982. Many other sci-fi works since then have taken inspiration or paid homage to that great masterpiece. Nowhere is this more prominent than in Japan. Where the Blade Runner style has been utilized in many forms of media, ranging from movies to commercials for contact lenses and clothing lines. Needless to say, this influence also made its way into Anime, and what is arguably the best showcase of this phenomenon is the equally classic masterpiece, Ghost in the Shell. Which not only wears its Blade Runner influence on its sleeve with pride, it also distinguishes itself as its own entity by delving deeper into the philosophical ideology of what it means to be human. While Ghost in the Shell has become a massive franchise, spawning tons of sequels, television shows, reboots, and an American produced live-action remake with Scarlett Johansson (although the less said about that atrocity, the better), the 1995 film will always reign supreme. 

Based on the manga by Shirow Masamune, the story takes place in the year 2029. Cyborg technology has advanced exponentially. Civilization has infused itself with computers in every way. People can directly connect their brains to a series of networks for just about anything. Needless to say, they are still susceptible to hackers, who can infiltrate your mind and not only steal information but also implant false memories, turning you into a puppet. To combat this form of crime, the police force has a particular unit known as Section 9, which specializes in counter-cyber criminal activity. Most of their time is spent taking down cyber terrorists and tracking down other such digital criminals. All the while, having friendly debates with each other about their individuality and their level of humanity. 

The main attraction to the film is, arguably, its visuals. Ghost in the Shell sports some of the most detailed and striking animation ever put to film. Made all the more breathtaking when you remember that the vast majority of Anime is hand-drawn. Even today, when CGI is utilized in Anime, most of the visuals are still done by hand. Making every bit of detail all the more awe-inspiring. While I mentioned before how Ghost in the Shell took many notes from Blade Runner, I must emphasize that it is not, by any stretch of the imagination, a rip-off. It is still very much its own thing and firmly plants its individuality within the first few minutes. 

The other main attraction is the main character: Major Motoko Kusanagi, or The Major for short. When I think of robust and awesome female characters in fiction, The Major is one of the first characters that come to mind. She reminds me of Mary Elizabeth Winstead's character from Gemini Man. To say that she is a "bad-ass" would be a gross understatement. A more appropriate description, at least to me, would be Valkarie. She is confident, capable, intelligent, and above all, engaging. The best part is that neither she nor the film ever draws attention to the fact that she's a woman in the police force. She's just a great cop who happens to be female. As a feminist, it often bothers me when movies and television shows try too hard to draw attention to the fact that they have a woman in the lead. As if they were trying to show off how progressive they are or how awesome it is that there's a "chick" in a lead role. While I do not deny that there is still an unfortunate amount of sexism in the world, especially in the entertainment industry, toating the fact that you have women in bad-ass leading roles does not make you progressive. It just comes off as desperate and insincere. If you're serious about having a strong female character in your story, don't draw attention to it. Needless to say, Ghost in the Shell does not. Unlike the American live-action remake. Again, the less said, the better. 

Last but not least is the script. For the most part, Ghost in the Shell succeeds in delivering a narrative that is profound and intelligent while remaining viscerally entertaining. The balance between being a cyberpunk crime thriller and an existential exploration manages to stay pretty centered. It's a fantastic script...for the most part. 

One of the films most significant flaws is not necessarily with the writing itself, but with the ones who arranged the words. Ghost in the Shell was licensed and localized for the U.S. market by Manga Entertainment. A company that built a reputation of catering primarily to adolescent boys. As such, they tended to take liberties with their localization scripts. Most notably in adding gratuitous, unnecessary cursing. While the English translation of Ghose in the Shell still retains the themes and ideas of the original Japanese screenplay and never goes to extremes with its foul language, it does occasionally have moments of forced cursing that feel out of place. Keep in mind, I have no issue with profanity when it is used appropriately. So when I call out a movie that has is for no apparent reason, other than someone thinks is cool, it bothers me a little bit. In regards to Ghost in the Shell, at the very least, it is not bad enough to take me out of the experience. 

I should also mention that there is an updated version of the film known as Ghost in the Shell 2.0. Which is basically the same film but with large segments replaced with CGI animation, different choices in editing, and unnecessary changes in color-correction. I highly discourage you from watching that version. Not only does the CGI not look all that good, but it is also an insult to the time, dedication, and beauty put into the original film. It's basically similar to the Special Editions of Star Wars. The good news is, even on the DVD & BluRay of Ghost in the Shell 2.0, there is still the option to watch the original film in all it's hand-drawn animated glory. 

If you are a fan of science fiction, cyberpunk, philosophy, mystery, and everything else in between, I recommend you check out this beautiful classic. Despite a few bumps here and there, it is a must-own for any fan of science fiction. 

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

Avatar: The Last Airbender - Yes, it's Anime

In the world of visual media, there is an on-going debate as to what constitutes as Anime. Most would simply describe it as an animation project from Japan. However, this quickly falls flat when you consider the number of Western studios that have adopted Anime styles for their own visuals. Even pointing out specific visual trademarks, characters with more enormous eyes, for example, is not a practical distinction. Mainly because the Anime style was heavily influenced by Western cartoons from the 1930s such as Betty Boop. While there may never be an absolute definition, I have my own idea as to what constitutes Anime. To me, Anime refers to an animated project that is driven by predominantly Eastern themes, settings, and philosophies. Such is the case with the Western animated masterpiece, Avatar: The Last Airbender. A three-season television series which is not only one of my favorite shows, it may very well be the most universally appreciated show ever. Make no mistake: this may have aired on a kids-oriented network, but it is not strictly for children. Yes, they are the target audience, but the show is much more mature and intelligent than you might think. 

The story is set in a world divided into four nations: Water Tribe, Earth Kingdom, Fire Nation, and the Air Nomads. Not to mention the Spirit world. Which, as the name implies, is home to all kinds of mystical and spiritual entities. In this world, some people are born with the ability to telekinetically control and manipulate one of these four elements through various techniques of martial arts, known within the show as Bending.  To maintain peace and balance between them all, there is one with the power to control all four, known as the Avatar, who is regularly reincarnated into a different nation in order. 

When we begin our story, the Avatar has been missing for almost a hundred years. In that time, the Fire Nation has embraced Godwin's Law and started trying to conquer the entire world. Colonizing all other nations and enforcing their idea of a perfect world. Our heroes are two young siblings named Katara and Sokka of the Southern Water Tribe. They stumble upon a young Air Nomad named Aang, who turns out to be the long lost Avatar. Unfortunately, not only is he merely a child, he has not yet learned how to master all four elements. He is a master of Air Bending, but the other three...not so much. Realizing his responsibility, Aang and his new friends must set forth on a journey to find masters of the other elements who can train Aang and guide him to become the Avatar and restore balance. That is, right after they make a couple of fun and silly stops along the way. 

There are many aspects of this show I could talk at great lengths about. I could discuss the animation style and how it pays homage not only to Anime but also to Eastern art in general, but I'd rather not. I could talk about how they incorporated four actual techniques of martial arts, such as Tai Chi and Shaolin Kung Fu, into the four forms of elemental Bending, but I'd rather not. I could even mention how this show became so popular and fascinating that it spawned a sequel series titled The Legend of Korra, which is equally excellent in quality, but I'd rather not. What I want to talk about in regards to Avatar: The Last Airbender, is its writing and characters. Both of which are the key elements that make this show the masterpiece that it is. 

At its core, Avatar: The Last Airbender is a show about growth. All the essential characters have journies (both external and internal), which causes them to grow and change as people. Some may have a dark and unfortunate past, which they must confront, while others have to come to terms with their responsibilities, which they must accept. All the while, reinforcing what is arguably the most central message of the entire show: never lose your sense of childlike joy. While the plot of a fantastical world starring kids taking on a massive empire for justice and peace succeeds in drawing your initial attention, it only serves as a means of motivating the characters into their individual growth. Best of all, it is all delivered with the perfect balance of intelligence, weight, and levity. Something rarely found in any other kind of series. 

I have only scratched the surface of what makes this show so incredible. There is so much more texture and entertainment value to be found here, which I haven't even mentioned. If you haven't seen this show yet, I implore you, please get started on it right this second. Whatever other show you happen to be in the middle of right now, stop and get started on Avatar: The Last Airbender. Not only is it one of my favorite Animes, but it is also, quite simply, a beautiful story that deserves to be seen. 

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

Wolf Children - Puppies & Parenthood

Welcome to the first entry of Anie-May. Throughout May, we will be taking a look at some of the many outings of one of Japan's most illustrious artistic mediums. Let's start things off with one of my personal favorites. 

One of the many beautiful things that distinguish PIXAR, the animation studio behind Inside Out, Monsters Inc, and Toy Story, is their unique ability to tell stories from the perspective of parents. That incredible sense of empathy and unconditional love. While Wolf Children is not a PIXAR film, it shares the same level of dedication in its themes, story, and visual presentation you would expect from any PIXAR production. Fantastical elements in an otherwise natural setting, character beats ranging from depression to sheer joy, and all of it wrapped up in an overarching theme of a mother's will and love. Wolf Children is a film that anyone can relate to in some way. 

Set in modern-day Japan, the story follows a young woman named Hana (Colleen Clinkenbeard) who falls in love with a decent guy who happens to change into a Wolf at will magically. The two of them start a life together and have two children. Both of whom constantly change between human and wolf on the fly. Though, as they get older, they will be able to control their transformation better and will eventually have to decide if they want to be mostly human or wolf. Things seem pretty smooth until their father accidentally dies while hunting, leaving his lover alone with their two children. From there, the film becomes a wild tale of single parenting, growing up, finding one's inner strength, and above all, unconditional love. 

There have been many films about single mothers, but this one, in particular, stands out in my mind. Not only because of the gorgeous animation but mainly for the writing and the characters. Hana especially stands as one of the best fictional mothers I have ever seen. Every situation she faces with courage and determination. Even when being thrown into a position as unbelievable as this, she rarely lets it bring her down. Her love for her kids is what ultimately drives her—making her actions all the more sympathetic. Not to mention her voice performance by Colleen Clinkenbeard, a seasoned veteran in the voice acting world, is spot on and delivered with fantastic conviction. 

The animation is remarkably gorgeous. The scenery and landscapes especially are so incredibly detailed and colorful that you could frame almost any of them. The whole presentation is a kind of watercolor style both in the settings and character designs. Being a fan of watercolor, I dig it. Even so, one aspect of the animation, which makes it so beautiful to me, is its feeling of movement. Even in static shots, every single frame feels alive. There is one shot in particular in which the Wolf Man reveals his transformation to his love interest. Even though the scene is static, the fluidity of his change and movement of his clothing through the light gust of wind makes the shot so much more visceral. While you could recreate this level of visual majesty in live-action, it would not likely have the same level of charm or mystique to it.

Wolf Children is, in my opinion, one of the best animes ever made, and probably one of the best films for introducing people to the medium. As far as I know at the moment, there is sadly no way to stream this film. It is not available on Netflix or Amazon Prime. iTunes claims to have it but cannot rent nor sell it due to rights issues not yet clarified. The good news is that this film is available for sale on DVD and BluRay on Amazon. Normally, I would advise renting a movie before buying, but this may very well be one of my few exceptions. This film is enjoyable for adults and kids alike. Therefore, I encourage you to consider adding this film to your collection. It is a beautiful story about love, childhood, and parenthood with gorgeous visuals to boot. It is indeed one of a kind. 

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