I_Ailurophile

I'm not specifically a theater nerd, but I do enjoy live theater; I've seen 'Wicked' twice on the stage, and it's a wonderful show. Movie musicals, meanwhile, are I think more variable than their live counterparts. What works in one medium won't necessarily work in another, especially when it comes to the level of visuals that are considered appropriately splendiferous; the production has to satisfy two different audiences, and the legacy of the genre is a mixed bag. How do you inspire the same or greater awe in cinema that stage productions achieve while bringing all the minutiae and little nods to life, while adding little touches to make the new iteration worthwhile on its own merits, and while riding the razor's edge between ham-handed whimsy, grand spectacle, and meaningful storytelling? Jon M. Chu had enormous expectations to live up to while also quelling doubters, with much to accomplish all at once. Happily - I think he handily succeeded.

There are details, familiar to fans of the musical, which have notably been changed for this adaptation, sometimes as small as the precise notes, key, meter, or lyrics in select moments, and for select songs, with some beats allowed to linger so that more can be spotlighted within the space of a few seconds. Sometimes it comes across that these changes were made to help the feature distinguish itself, and sometimes to better suit the vocal range and dexterity of one of the stars - or, in the case of no few sequences, to expand upon a beat to better fit the natural storytelling arc of a single picture, or to accentuate a beat for much the same purposes. It can be a smidgen jarring, especially if one is accustomed to, say, Idina Menzel and Kristen Chenoweth, but even with some arguable pacing troubles, I think these changes nevertheless suit this rendition very well. Speaking of details, though, Chu's work is absolutely overflowing with them, and only in the best of ways. The advantage that cinema carries over live theater is that through tight editing and direction, let alone the budgets of major studios and the unrestricted space of expansive sets and filming locations (not limited to the dimensions of a stage), the camera can allow the audience to see things that a live production very literally cannot, and that a live audience may not have an opportunity to see even if something is represented live. In turn, from the enchanting way Glinda tosses her hair, to the nuances of Cynthia Erivo or Jonathan Bailey's acting, to the full breadth of any choreography, nevermind the broader imagery, through Chu's vision and cinematographer Alice Brooks' eyes we get to see every last trace of what the title has to offer.

And it truly cannot be overstated how much tremendous care went into this 'Wicked.' It's only reasonable to fear that a Hollywood adaptation of any beloved source material will only be an empty cash grab, hitting all the right notes on paper but lacking the earnest heart and weight that make that material matter. Yet no sooner than this flick begins we can discern how much love went into it, a huge credit to all involved, and not just co-writer Winnie Holzman who had also co-written the Broadway show. It's easy enough to point to the intricacies and vibrant color of every last iota in the gorgeous production design and art direction, the incredible sets and filming locations, the lovingly crafted props and practical effects, the sharp stunts and post-production additions, and certainly not least the outstanding costume design, hair, and makeup; from top to bottom this is unfailingly eye-catching and stunningly beautiful even on a superficial level. Yet as Holzman adapted the first act of the show to the screen with Dana Fox, it's immediately evident that the writing benefited from just as much mindful consideration as those visuals, and does just as much to bring the world of Oz to life. We're treated to complex characters of depth and personality, and fabulous flourishes of humor; giddily distinct Ozian words amidst the recognizable dialogue that helps to give shape to the saga, and strong, vivid scene writing, with each passing sequence sufficient to tell a short story all its own. Above all, in telling the tale of a unique outcast making friends with a social enemy and learning the dark truth about her world, Holzman and Fox do a terrific job of accentuating the essential, gravely important themes on hand. Unmistakable racism, ableism, and otherwise prejudice and privilege are capitalized upon before Elphaba, Glinda, and Fiyero start to learn to see who people are under the surface, further discovering not just self-confidence, deeper friendship, and courage to stand up for empathy, justice, and diversity, but also the masks that people wear, the ugliness that lies underneath popularity, prosperity, or congenial facades, and the cruel scapegoating that allows the wealthy and powerful to freely exercise their will by encouraging the masses to trample innocents. At this moment in real life these notions are all too desperately, infuriatingly relevant, and they rise to the fore in the screenplay here with stark zest that makes the viewing experience even more engrossing through every mood.

I do think it's the case that in a runtime of over two and one-half hours, Chu draws out some beats longer than they should have been, and sometimes the same could be said of the marginally different arrangements of the songs. The film does therefore suffer from some pacing issues, and to the same point, I disagree with some of Chu's direction as some shots or scenes boast embellishments that come across as unnecessary and gauche - applying even to the finale, which to remind is the end of Act I in the stage musical. Partly owing to the division of the saga into two separate works, I also think one facet this picture doesn't do quite as well is to capture the subtleties of the relationships between characters, and the subtle progression in character arcs that we see even over this portion of the course of events. However, while the direction and writing may be a tad imperfect, these subjective rough spots are evened out in some measure through the adept skills of the cast. By all means, Michelle Yeoh and Jeff Goldblum are reliable, Ethan Slater and Marissa Bode have their time to shine, and among others in still smaller supporting parts, it's a minor pleasure to see the cameos of Menzel and Chenoweth. Yet there's no mistaking who the stars are here, neither by their the significance of their characters or by the time they are given. Even in a supporting role Bailey is fantastic as Fiyero, giving a deft performance that speaks to the hidden depths of the stereotypical suave bad boy even before he gains more prominence in the overall saga. And between Grande and Eviro I really don't know who I admire more in this instance. Despite her own successful pop career Grande famously and gratifyingly refused to see Glinda altered from the stage musical, and she absolutely nails the role with sparkling physicality and and bubbly visage that belie the growth Glinda begins to experience over time; I wonder if it's not the case that she steals the show from her co-star. Then again, even as Elphaba is ported just as directly from Broadway, it comes across that Eviro really makes her her own, commanding the difficult emotions with a stern determination befitting a protagonist who has been marginalized and looked down upon all her life, and carrying herself with a resolute poise that only just contains the feelings that swirl in Elfie's head. With acting this good, any perceived slack in the writing and direction is very easily picked up.

It's clear enough that singing is a strength of some cast members more than others, but while it comes very naturally to Grande, everyone else does just as well, and again, the songs are somewhat molded to individual capacities without truly altering them. The choreography, meanwhile, is an outright joy, lending even greater vitality to already excellent, captivating scenes. Thus does even the opening number hit surprisingly hard, and the lighter vibes of "Dancing through life" and "Ozdust duet," let alone the climax of "Defying gravity" that is a true, revelatory showstopper on the stage. And with everything else here being just as stupendous, meeting the very high standards viewers expect in modern cinema - even editor Myron Kerstein surely earns special mention - any possible faults become fairly minor when all is said and done. I had my doubts from the time this adaptation was even announced, to say nothing of the nominations and awards it garnered, but I'm very glad to say that the sum total readily exceeds any such expectations. So much hard work and sincere intentions went into this production, and it really does fire on all proverbial cylinders to deliver not just the outward extravaganza but also the critical substance that the show carries with it. To the same point, from the outside looking in it seems bizarre that an adaptation of half a musical should be longer than the musical in its entirety, but even if we scrutinize some matters of pacing, the fact is that the interpretation in this medium gives characters, scenes, beats, and ideas the chance to open up and be expounded upon in ways that Broadway just isn't able to do. At length, suffice to say that this skeptic has become a believer, and I very much look forward to the conclusion several months from now. Chu's 'Wicked' really is as excellent as all the hype would have one believe, and I'm pleased to give it my hearty recommendation!

By no means is it a perfect film. There's imbalance between the human story and the kaiju action; I like the steady build toward the reveal of cinema's favorite giant lizard, who doesn't show up until the 1-hour mark, but overall we see less of Godzilla (and the other monsters) than we do of Aaron Taylor-Johnson, Elizabeth Olsen, and their co-stars. That's a bit of an issue in and of itself, and it's more of one because the writing leaves a bit to be desired. Don't get me wrong, the plot provides foundations that are solid enough, and it's not bad, but it's also pretty unremarkable or arguably even dull, especially when compared to the most noteworthy entries in the franchise. Olsen isn't exactly given a lot to do as nurse Elle, and a fair bit of time is spent forcing the narrative along, such as when Dr. Serizawa makes big assumptions about the relationship between the MUTOs and Godzilla, or the fact that the action in the flick follows protagonist Ford and his family members like a curse on his bloodline. It's also somewhat grating that filmmaker Gareth Edwards so heavily favors shots that say "wow, look at this!" as the camera looks up, or around a corner, to bear witness to the devastation left in the creatures' wake; judicious, sparing use would have been just swell, but the incidence here becomes distracting, and maybe even somewhat bothersome. Perhaps most glaring of all, the screenplay gives our protagonist the legendary Armor Of The Main Character, ensuring that he survives one deadly scenario after another, and usually alone. Yes, too many titles do much the same thing, giving us one figure who from the start is guaranteed to live through to the end Just Because, but the trope is more troubling and distracting in some examples more than others. Writers David Callaham and Max Borenstein at least take an extra step to sort of fake us out by spotlighting someone else first, but that's about the most that 2014's 'Godzilla' does to momentarily sidestep the conventions and the foibles of genre fare. Through to an ending that's a smidgen ham-fisted, there are elements of this feature that detract in bits and pieces from its overall strength.

"Strength" is a key word, however. For all the critiques that we can reasonably lay at this movie's feet, they're admittedly no worse than what we see in other modern genre fare. Even more to the point, over the sixty years from the debut of the colossus to the release of this rendition, the series has seen far worse problems, including and not limited to the kind of infamous first run at Godzilla by a Hollywood studio in 1998, and the 1971 train wreck 'Godzilla vs. Hedorah' that was directed by 2014's executive producer, Banno Yoshimitsu. Even taking into account those ways in which Edwards' iteration falters, the fact is that this picture stands quite sturdily on its own titanic legs. This is a good, enjoyable monster flick, and one that I believe can stand proud and tall among the upper middle tier of Toho's signature franchise. It's no revelation or must-see, but among too many immediate brethren that face difficulties, and countless works in cinema broadly that fail more substantially, I'm very pleased with how satisfying the results here are.

I will always, always favor practical effects and tangible creations over computer-generated imagery, which almost invariably ages rapidly and looks worse the more we see of it. When used wisely, however, even outwardly outdated digital wizardry can hold up very well, and I'd be lying if I said that the visuals in this instance weren't gratifyingly sharp. Everything herein looks as realistic as it feasibly could with the knowledge that the tale of enormous beasts is pure fiction; from the destruction that Godzilla and the MUTOs wreak, to the flashier effects including explosions and gunfire, to the entities themselves, all the sights to greet us are characterized by detail and texture that are most welcome. Why, some shots and scenes are downright beautiful! The MUTOs are given a design that takes discernible influences in an original direction, and it's a blast to see what Callaham, Borenstein, and in turn Edwards do with them; this interpretation of Godzilla is shaped with respect for the classic bipedal body plan we know and love from Toho, yet given a beefy, muscular upgrade that in its own way feels more appropriately unnatural than some of the rubber suits that have been worn over the years. I have my own personal favorites among the Godzilla designs cinema has offered, and while 2014's isn't at the top of the list, it's not too terribly far off. To all this add otherwise excellent craftsmanship from those operating behind the scenes - production design, hair and makeup, those stunts and practical effects that we do see - and from a standpoint of the fundamental vision 'Godzilla' has to offer, there's not much going wrong here. Even though I disagree with some choices Edwards made as director, these commendations extend to the cinematography and editing.

The audio is impeccable, and I love the sound effects, above all the vocalizations of the MUTO's and Godzilla's roar. Alexandre Desplat's music isn't so extraordinary as to wholly leap out at us, but it is an excellent complement that moreover lends a great, somber ambience to the proceedings at just the right moments, and is a little more varied than I may have assumed. The story isn't anything to proverbially write home about, and I've noted my criticisms, but the writing is certainly suitable as framework for the monster flick we all came to see. The scene writing is probably the highlight of the screenplay, and given the overarching bent of these two hours, it's safe to say that Borenstein poured the most consideration into sequences of creature violence, of the destruction the creatures bring with them, and of the tension of anticipating their coming. This is why we're here, after all, and even if we could do with more screen time for Godzilla himself, I think the film ably delivers on its promise. Just as much to the point, I'm delighted that this hearkens back to the variable romps of Toho's tenure in which the titular being squares off against other giants. The faults are notable but not so severe as to significantly dampen the entertainment, and that this is generally as well done as it is is just a bonus alongside the fun of the kaiju splendor. When all is said and done the feature isn't essential, not even for Godzilla devotees, but whether you love the gargantuan, are a fan of the genres at hand, or just looking for a good time with something relatively light, this is a pleasant surprise considering what happened the last time Hollywood got its hands on the franchise. I sat to watch with mixed expectations but fair hopes, and I'm happy that Gareth Edwards' 'Godzilla' of 2014 turned out as well as it did. Don't necessarily go out of your way for it, yet I'm glad to give it my warm recommendation.

On the one hand, 'Soldier,' 'Event Horizon,' and 'Resident Evil: Extinction,' not to mention 'The Three Musketeers,' among others. On the other hand, 'Resident Evil' sequels 'Afterlife' and 'Retribution.' At his best Paul W. S. Anderson makes genre larks that are very fun; at his worst and most indulgent, he loses all sense of craftsmanship to a brainworm that requires everything to look heedlessly Slick And Cool, with nothing else mattering. Meanwhile, I know nothing of the 'Monster hunter' game franchise except for the broad descriptions I've read of it. And so we come to the usual questions: How satisfying is this adaptation for game fans, and how satisfying is it for general audiences? How are the visuals and action sequences, on the one hand, and on the other hand, how is the writing, direction, and acting? Is there any substance here, or is it a total romp, and would Anderson put real care into it, or is it just an empty shell of pointless style? Should we be thanking Capcom for handing their franchise over to the filmmaker, or should we be chastising them?

Wow, the dialogue is abysmal. Like, laughably abhorrent. The characterizations truly aren't significantly better. The scene writing is fine so long as Anderson is whipping up ideas for a sequence of violence, or of gnarly sci-fi horror imagery, and the good news is that this is about 98% of the runtime. There is a plot here, so long as you consider "soldiers led by Milla Jovovich (no, not Natalie, not Artemis, but Jovovich herself) find themselves mystically teleported to a different world populated by enormous, deadly monsters" to be a 100% complete plot from beginning to end. Speaking of those deadly monsters, there was tremendous detail and texture put into their designs, and the artists behind the digital wizardry put in enough work so that the beasts often look fantastic. Then again, I did just say "often" and not "always." The thing about relying on computer-generated imagery over any practical effects or tangible creations is that it almost always looks worse the more we see of it, and ages rapidly. There are times when the creatures look amazing; there are times when they look like more detailed models cut from the same cloth as Goro in Anderson's own 'Mortal Kombat' of, um, twenty-five years earlier; there are times when they look like hyper-detailed action figures inserted into filmed footage and so far removed from the characters before us that the illusion of the danger is thoroughly dispelled.

We know Jovovich can genuinely act when she is required to do so, and we have seen even in her collaborations with husband Anderson that she is quite capable in a physically demanding lead role. I'm not familiar with Tony Jaa, meanwhile, but I'm vaguely aware of him. Not least with their aid, there are scenes in this picture that could have been meaningful and impactful in one way or another if they were treated appropriately. Unfortunately, the writing isn't great, the monsters only sometimes meet our expectations of fanciful behemoths in cinema, and despite working in the medium for many years, here Anderson does not illustrate the necessary skill and intelligence as a director to allow anything to have the intended effect. The action should be thrilling, the monsters should be horrifying, the touches of humor should be funny, the dramatic moments should carry weight, and Jovovich's (not Artemis') moments of discovery, preparation, and triumph should be rousing. None of this is true, however, at least not on a level of any real consequence. Only in irregular, intermittent, sporadic fleeting bursts does a moment of the predominant action hit us as viewers in the way that it should; we care about the monsters and the world they inhabit more than the characters we're supposed to empathize with. Take into account some questionable choices of shot composition and cinematography, dubious dynamics written for Jovovich as a white woman and Jaa as an "alien" man of color, and indeed an excess of flair and fashion over function, and the grand, epic, perilous adventure that 'Monster hunter' should have been sadly feels pretty hollow and frivolous, something that only passively commands any attention.

Please understand, I don't dislike this movie. I admire the production design and art direction, the costume design, the hair and makeup, and the props and weapons. I appreciate the practical stunts and effects that we do get, and the work of the special effects artists, even if the results are variable as we see them. I quite like Paul Haslinger's original music, a score that lends nice flavor throughout the proceedings. The filming locations are gorgeous. And in fairness to Anderson, and to his cast, in the back end of these 100-odd minutes the feature opens up some, and moves beyond "Okay, they're in a desert. Still in a desert. Yep, more desert. Is this all there is?" As Anderson shows us more of Capcom's world through his eyes this actually does become a little fun, and I discern more earnest care to have been exercised in the writing and direction - and therefore with the action, with the monsters, with the humor, with the dramatic beats, and sure enough, with Jovovich's journey, and even with the stylistic flourishes. Even this hardier portion isn't without its faults, as I believe the final stretch falls back to some degree on issues that troubled the flick from the outset, but it distinctly has a leg up and remains an improvement from where we began. I just wish that the same measure of consideration had gone into the totality of this title that went into its latter half, because if that had been the case, I'm certain it would have found more success. It definitely would have left a better impression, anyway.

For what it's worth, troubled as 'Monster hunter' is, when all is said and done it IS a good time. I don't regret watching; I'm glad I took the time. Only, again, I can readily discern where Anderson applied himself and where he did not, and it's not at all surprising that, pandemic or not, this release came and went with little notice. I'm glad for those who get more out of this than I did; I hope it scratches that itch for fans of the games. Maybe some day I'll come back to this and enjoy it even more, and as it is this does offer suitable entertainment. Just keep your expectations low, and don't go in assuming a revelatory experience, and maybe that's the best way to get the most out of 'Monster hunter.'