Air America

Roger Spottiswoode’s 1990 war film, “Air America,” is half glorious, half bad, but sadly not in equal amounts.

The movie is set in Laos in 1969 in a war that hasn’t really happened, at an airship that never existed. The protagonists are renegade pilots working for the CIA who love to fly the cargo they are asked to fly (rice, pigs, guns, cocaine) take their money and not ask a lot of questions.

Their employer (allegedly) is Air America, and they live by its motto, “Anything, Anywhere, Anytime.” The work they do is offensively dangerous, done under odd conditions, which looks like it’s what they like best. “The berserker the better.” Trouble junkies is how Gene, played by Mel Gibson, the group’s supposed leader, describes them. “We’ve been mainlining danger for so long, nothing else gets us off.”

Hal Hinson said in his review, “Working from a script by Richard Rush and John Eskow, Spottiswoode builds his community of head-case misfits on a Howard Hawksian model -- they're cooled-out, '60s updates of the daredevil pilots who flew headlong in raging storms in "Only Angels Have Wings."” Most of these guys are no good. For example, Billy, played by Robert Downy Jr., is a former traffic helicopter pilot for a Los Angeles radio station who did a low-flying stunt that took away his license. Hinson said, “Nobody told him that in joining up with Air America he was signing up for a private war, and being the new kid and still politically idealistic, the moral tightrope walking makes him uncomfortable.”

Gene, who’s been doing his own private scam for years, buying up guns for huge amounts, is more realistic. His politics aren’t based simply on suitability, but he accepts as part of the bargain that their company sells cocaine for General Lu Sung, played by Burt Kwouk, who wants to save up enough money to buy a Holiday Inn back in the states, in exchange for help from Laotian soldiers. “We’re not drug smugglers, “Gene says. “We’re pack mules.”

Hinson said, “Spottiswoode navigates these treacherous moral shoals without moralizing or stacking the deck. As he showed in "Under Fire," he understands the gray areas of international politics in the modern age, and where his movie excels is in its grasp of the absurdity that governs the life of the pilots and binds them together.”

However, a lot of times the movie dissolves into formulaic action nonsense. There are a lot of close shaves, too much crashing and burning. Hinson noted, “The scenes involving the visit of a Bible-thumping U.S. senator (Lane Smith) and the attempts by the American brass to keep him in the dark are tedious and unfunny, and it doesn't help that in playing the senator Lane seems to be mimicking his own astounding performance as Richard Nixon on television in "The Final Days."”

What lets anyone watch this movie is the funny banter between the two stars. Hinson noted, “As an unpredictable gambling wild man, Gibson seems to be mostly coasting, running variations on the characters he played in the "Lethal Weapon" films and "Bird on a Wire." Still, he's playing a kind of masculine ideal here (as Cary Grant did in the Hawks film) and there's grace and assurance in his laid-back style.” Gibson is perfectly matching with Downey, who’s crazier and more youthfully kinetic. This is a powerful young actor, which doesn’t matter of the material. It’s fun watching him think things through on screen. These two have spirit, and Spottiswoode gives them areas to interact. They give the movie its power.

This is a very entertaining movie about the Vietnam War. If you have not seen it, then definitely check it out, but if you don’t like it, I understand. People probably didn’t like how it must have been over exaggerated in areas, like the humor and the senator. People probably wanted more of a focus on the war, but I think it was all about the funny interactions between the characters. Watch it and give it a chance.

Now we have come to the conclusion of “Vietnam War Movie Month.” I hope everyone enjoyed this month, and hopefully I have made good recommendations. Stay tuned next month to see what I end this year off with. I’m really looking forward to it because it’s going to be a series of films that I really love. Stay tuned because I know I’m excited.

Coco

Dia de los Muertos, the many days Mexican-originated holiday celebrating the deceased family members and friends, proves to have an outstandingly stimulating effect on Pixar, as you can see by the really splendid “Coco,” which came out yesterday.

Not only does the Disney setup’s 19^th film, co-directed by Lee Unkrich and Adrian Molina, shine as Pixar’s most original effort since “Inside Out,” it’s also among its really emotionally deep, pressing on themes of who they are common to “Finding Dory” and the one Unkrich directed, “Toy Story 3.”

Michael Rechtshaffen said in his review, “Delivering a universal message about family bonds while adhering to folkloric traditions free of the watering down or whitewashing that have often typified Americanized appropriations of cultural heritage, the gorgeous production also boasts vibrant visuals and a peerless voice cast populated almost entirely by Mexican and Latino actors.”

Although this was not released in North America until Thanksgiving, the film had its release last month at the Morelia International Film Festival in Mexico and opened there just close to the Dia de los Muertos holidays.

It’s right to say that audiences all over the planet will love “Coco.”

Despite the title, the main character is, in fact, Miguel (Anthony Gonzalez), a 12-year-old citizen of the town of Santa Cecilia who want to become a famous musician just like his inspiration, the late, famous Ernesto de la Cruz (Benjamin Bratt).

Only problem is Miguel’s family has banned any type of music from their house for about four generations – ever since his great-great-grandfather was said to have abandoned his family to pursue his singing career.

Despite the high disapproval of his grandmother Abuelita, voiced by Renee Victor, Miguel runs away to follow his idol, and, along the way, finds himself transported to another world that causes him to only be visible to those who have come from the Land of the Dead to be in the Dia de los Muertos celebrations.

Miguel’s only hope of going back to the Land of the Living is to be blessed with a magical marigold petal by his great-great-grandmother, Mama Imedla, voiced by Alanna Noel Ubach, but she’ll only do that under the rule that he’ll forever ban any and all musical dreams.

Rechtshaffen said, “At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre and vivid, beautifully textured visuals.”

Rechtshaffen continues, “There’s dazzling work on display in the inventively delineated lands of the Living and Dead, connected by a bridge constructed entirely out of thousands of those brilliant, shimmering marigold petals.” Behind the scenes, the voice cast team also is great. Ana Ofelia Murguia charms some well-earned tears as Miguel’s dying great-grandmother Mama Coco (the actual title character). Over in the Land of the Dead, Gael Garcia Bernal is funny as the really fancy-free Hector, who is Miguel’s helpful tour guide.

Rechtshaffen ended his review by saying, “Equally affecting is the film’s musical palette, with resident Disney-Pixar composer Michael Giacchino delivering yet another stirring score that blends seamlessly with traditional source music and tunes contributed by Molina and Germaine Franco, all topped off with the film’s soulful signature song, “Remember Me,” penned by Frozen twosome Kristen Anderson-Lopez and Robert Lopez.”

Overall, this is a great Pixar movie and I highly suggest everyone to go see this. If you were not happy with “Cars 3” this past summer, then you will absolutely love “Coco,” I promise you. Definitely see this one because it’s a must see for the whole family. I would probably say this is another one of my favorite Pixar movies.

Now I would end the review here, but I want to talk about the short before the film started, “Olaf’s Frozen Adventure.”

If “Frozen Fever” wasn’t enough to excite you for “Frozen 2,” “Olaf’s Frozen Adventure” should definitely do that. The 22-minute short that plays before “Coco” and it is important enough to talk about the themes of the famous animated movie. Plus, it’s a Christmas classic that could become a lasting, like “Die Hard.”

Anna (Kristen Bell) and Elsa (Idina Menzel) prepare for the Yule Bell ceremony which hasn’t happened since their parents passed. They’re excited to celebrate with the town, but it’s only for a short while, as every citizen of the city goes right home to celebrate their own family traditions. Fred Topel said in his review, “I gather they all developed their own traditions in the absence of a town tradition for decades but I may be reading more into that than intended.” What’s everyone supposed to do while Elsa is alone in the palace, not celebrate Christmas? Obviously they came up with their own.

What is positive is that Anna and Elsa have missed having a Christmas tradition while Elsa was locked up in her room. Olaf, voiced by Josh Gad, tries to fix this with Sven with him. They go around town collecting everyone’s traditions to bring back to the palace. The moral of “Olaf’s Frozen Adventure” is great. Topel said, “The importance of tradition is not the superficial trappings of it, although Olaf makes an astute point about hanging stockings over a fire hazard.” However, traditions are important because of who you share them with.

It’s important that the holiday brings up some past scars that have never gone away. Anna and Elsa reunited in “Frozen” but they’ve still missed out on years of bonding together. This is a nice way to notice there’s still room for more healing. On top of connecting to Elsa’s time alone, the story connects to Do You Want to Build a Snowman in a nice way, as well.

The four new songs of “Olaf’s Frozen Adventure” come quick in the first act. There’s no Let It Go. Topel mentioned, “They’re surely saving that for the feature sequel but the Yule Bell song is a catchy chorus a la “Belle” from Beauty and the Beast.” Kristoff, voiced by Jonathan Groff, has a funny solo about a disgusting troll called Ballad of Flemingrod. Olaf sings That Time of Year and When We’re Together is another good song. Topel noted, “Two songs reprise at the end so there is a consistent bookend of music and touch on the same memory of sisterly activities that the movie’s songs do.”

Topel goes on to say, “While Olaf explores all the holiday traditions, there is some funny commentary on the commercialized holidays. It’s all in the spirit of Frozen, twisting the traditional. The movie twisted the traditional Disney Princesses and this twists Christmas specials. There is an interlude animated via a knit scarf that’s really beautiful.”

It’s great that “Olaf’s Frozen Adventure” is playing in theaters. It can definitely play on TV every year as well, but don’t we know the truth? It’ll come out on DVD every Christmas, but the first time seeing it is in “Coco.”

This is definitely another great “Frozen” short that fans of the film will absolutely love. It might be better than “Frozen Fever,” and is right for this time of year. It leaves you with a good feeling once you have finished watching it.

My brother said that the Surround Sound in the theater was not very good, so he went and complained to the usher outside. He doesn’t want to go to this theater again, but I’ll go since I don’t worry about those things. Only thing I say is go to the theater to watch “Coco.” Everyone will like that, as they will with the short before the film starts.

Thank you for joining in on today’s review, look out tomorrow for the conclusion of “Vietnam War Movie Month.”

Grumpy Old Men

Alright everyone, it’s time for another Thanksgiving movie. I got a classic for us today, which is “Grumpy Old Men,” released in 1993. I remember my brother watching this movie when I was a child, but I only remember a few funny parts. Now that I have seen it entirely, I thoroughly loved it and will let everyone my thoughts.

James Berardinelli started his review out by saying, “Sometimes the films I enjoy the most aren't the ones that get four stars. For example, while Farewell My Concubine is an example of superior, powerful film making, it isn't the sort of movie you embrace for the pure magic of the entertainment it offers. Grumpy Old Men, on the other hand, is such a film, and while it won't come close to my top 10 best list for 1993, it will be right up there among the pictures that I had the most fun watching.”

John Gustafson (Jack Lemmon) and Max Goldman (Walter Matthau) have been neighbors since they were kids, and the fight between them has been going on just as long. A sense of not liking to see one another is in place, with insults and set of traps being the main thing that starts the fights. However, their bitterness is now really serious when both of them have fallen in love with the new neighbor across the street. Ariel, played by Ann-Margaret, is lively, beautiful and charming, and both John and Max are interested.

While not without its problems (some of which are really noticeable), “Grumpy Old Men” works a lot of the times. Berardinelli said, “It's an example of a frothy, good-natured holiday picture that adults can relax and enjoy.” As a comedy, the movie has enough great humor to keep you laughing. Dramatically, however, it’s really delicate. Berardinelli said, “There are formulas at work here, and anyone admitting to be surprised by the "plot twists" should hang his or her head in shame.”

Thankfully, drama always plays second note to comedy, and this is a completely funny motion picture. There’s everything from slapstick to puns, with a lot of smart references and jokes. Berardinelli notes, “Witness Jack Lemmon and Walter Matthau's "performances" to the famous Right Said Fred song, Lemmon's send-up of Macaulay Culkin's aftershave scream from "Home Alone", and the little dance number Lemmon does in his underwear.” The end credit bloopers have got to be the comedy highlight of the movie.

Lemmon and Matthau are perfect for their roles as lifelong fighting enemies. Berardinelli said, “Of course, these two are no strangers to this sort of interplay, having done it several times before, most memorably in The Odd Couple.” This is an example of perfect casting, as is the casting of Burgess Meredith as the tough-talking, dirty-minded head of the Gustafson family.

Ann-Margaret is fine as the medium of the newest fight in the Gustafson/Goldman feud, giving an energetic but not really memorable performance. Kevin Pollack and Daryl Hannah stay in the background. Ossie Davis, complete performance that he is, has a minor role and makes in something special.

Most watching “Grumpy Old Men” will finish the movie with a smile, and that’s basically what the movie wants. Berardinelli said, “The overly-sentimental melodramatic elements don't appreciably degrade the movie-going experience. I can't think of many better ways to spend the holiday season than with John Gustafson and Max Goldman.” They may be grumpy and stubborn, but they’re a lot of fun – as long as you don’t have any holiday dinners with them.

This is a must watch every year around the Thanksgiving time. You will have a great, laughing time watching this, and you will not stop laughing until the movie is done. I personally am happy that I have seen the movie and will watch this again the next chance I get. Just watch the film and see it for yourself, if you’re a Meredith, Matthau and/or a Lemmon fan.

Once again I would like to wish everyone a Happy Thanksgiving. Enjoy the turkey dinner tonight, because I know I will. Stay tuned later today for a review on the new Pixar movie. I’m really looking forward to seeing that because I think it will be a good movie, as the trailer is showing it to be one of Pixar’s best.

Justice League

Well everyone, I came back from seeing the much anticipated “Justice League,” which came out yesterday. This is a movie that every DC fan has wanted to see ever since the Marvel Cinematic Universe came out with “The Avengers.” Maybe long before that. However, I will share with everyone what I thought of this film that every DC fan has requested for years.

Maybe everyone had really low expectations after “Batman v Superman: Dawn of Justice,” but “Justice League” is good. It’s nowhere near as amazing as “Wonder Woman,” but “Wonder Woman” also had the smart idea of being a standalone story that was trying to do something different than the previous huge superhero combination movies. I agree with Katey Stoetzel when she stated in her review, “Justice League takes what was bad about Batman V Superman and fixes some of it, which leaves us with a film that, to be kind, didn’t feel like a complete waste of my time or money.”

The cities are in danger after the death of Superman, having criminals do so much crime they want and for aliens to enter in Earth now that they have no savior. To stop the madness, Bruce Wayne/Batman (Ben Affleck) brings together a team of superheroes that consist of Barry Allen/The Flash (Ezra Miller), Arthur Curry/Aquaman (Jason Momoa), Diana Prince/Wonder Woman (Gal Gadot) and Victor Stone/Cyborg (Ray Fisher). Together, they form the beginning of the Justice League and are the best part of the film, hands down. They work off each other so well, with enough comedy that feels on par with the Marvel films, but also enough drama to not feel just like a copy of the Marvel formula.

Individually, they’re just as interesting. Gal Gadot’s return as Wonder Woman is just perfect after the five month break since we last saw her. Stoetzel admitted, “Jason Momoa as Aquaman kills it, although if you’re not familiar with the character, you might be a little lost on some of his story (like me). Ezra Miller as The Flash, who I was the most concerned about due to my affection for Grant Gustin’s turn on the CW series, ultimately impressed with his charm.” It’s the completely unknown Ray Fisher who is the best part here. Victor Stone may be mostly robotic, but Fisher fills humanity and warmth through only his facial expressions and voice. It’s also good that Victor has the most convincing character arc out of all of them.

Stoetzel said, “The nicest thing to say about Ben Affleck’s Batman this time around is that he isn’t a distraction while Superman played by Henry Cavill remaining the dark mark on the DC Universe.  Delivering a wooden performance, his relationship with Lois Lane (Amy Adams) remains cringe-worthy. Cavill’s turn as Superman has been around since 2013, but I couldn’t find it in myself to care about his return, despite how much the film wants you to.”

The plot is less messy than the over-packed mess of “Batman v Superman,” but there’s still some questions that will be asked and will make it hard to follow sometimes. Stoetzel admitted, “While some feel that Steppenwolf (Ciaran Hinds) is just another CGI villain, I found him to be a worthy opponent for our heroes.” The flashbacks of the first fights with him put “Justice League” and the DC Extended Universe on a larger, epic scale. The action is engaging, most notably when we have a part in Themiscyra, home of the Amazons. Its here we first see Steppenwolf when one of the three Mother Boxes power up and Steppenwolf appears to steal it. The Amazons try to keep the box from being stolen; throwing it between each other like they are playing “Monkey in the Middle” with Steppenwolf. The larger story about the three boxes is a little vague – something to do with remaking Steppenwolf’s home planet, but it only tells as much as that it would destroy humanity, rather than explaining further on why, exactly.

Stoetzel said, “The film also suffers tonally. The comedy fits well with the drama between the characters, but it also flits between Lord of the Rings-type mythical battles, sci-fi alien invasions, and a gritty dystopia that can only be healed when their hero returns.”

“Justice League” brings light to the DC Extended Universe, so at least this time; there is some enjoyment to have. I agree with Stoetzel when she said, “It’s definitely a step up from BvS, not quite as remarkable as Wonder Woman, but a good popcorn film that doesn’t have me losing faith just yet.” Be sure to stay for the two mid-credit (where Flash and Superman agree to race one another) and post credit scenes (where Lex Luthor (Jesse Eisenberg) escape from Arkham Asylum and recruits Slade Wilson/Deathstroke (Joe Manganiello) to create a team), though, because that’s what comic book movies do nowadays.

After seeing this movie, I have to admit that it’s better than all the movies in the DC Extended Universe, except for “Wonder Woman.” That’s still the best, but that’s probably because it was a standalone, solo film about one character, rather than about a team. Those seem to cram too much in, but “Justice League” doesn’t really do it that much. The action was great, the comedy was funny, and it was about the team coming together, learning about one another, and learning teamwork. This movie did what “The Avengers” did, but not at the same level. Even though there isn’t as much action, it was still a good movie because it was more about the characters coming together, learning from one another, and learning to work together as a unit. I would probably say this is one of my favorite comic book films. My only complaint is that Steppenwolf is not a good villain. I know that he was never a villain in the Justice League and it should have been their main villain, but I don't know Justice League that well. Maybe DC needs to work on their villains a bit, but Marvel had that problem for a long time as well.

My advice is to not listen to the critics, since Rotten Tomatoes is showing critics hating this movie, but audiences love it. Go and see the movie for yourself. I seriously think all of you will like it, agreeing that it’s the second best installment in the DC Extended Universe. I give this a recommendation and tell you to go check it out.

Thank you for joining in on my review, stay tuned next Thursday when I review a Thanksgiving movie.

Forrest Gump

“Forrest Gump,” released in 1994, is an emotional movie of eccentric fun and surprising beauty. There was talk of another Oscar for Tom Hanks, who is unforgettable as the nice man, poorly treated simpleton of the title. Peter Travers is right when he said in his review, “The Academy is a sucker for honoring afflicted heroes. In Hollywood, it's always raining rain men. Credit Hanks for not overplaying his hand.” He brings an amazing weight to the role of a low-level IQ man from the South who finds strength in God, country, his childhood love, Jenny (Robin Wright), and his amazing mother (Sally Field). When Forrest is shown that his is a few IQ points below the minimum school requirements, his mother knows how she can get around that. Her son has a gift. As Forrest goes through everything that happens from the 50s to the 80s, he becomes a college football star, a Vietnam veteran, a shrimp magnate and even a father.

Travers noted, “Taking a cue from Zelig, director Robert Zemeckis places Forrest in a vivid historical context — he talks with JFK, LBJ and Nixon, among other luminaries. The effects dazzle, though never at the expense of the story. Winston Groom, who wrote the 1986 novel, saw Forrest as a modern Candide, an optimist in the face of strong opposing evidence. But Groom is no Voltaire, and neither is screenwriter Eric Roth (Mr. Jones, Memories of Me), who blunts his satire with choking sentiment. It's Hanks who brings humor and unforced humanity to the literary conceit of Forrest, though the slim actor scarcely resembles the 6-foot-6-inch, 240-pound bruiser of the book.”

In a college dorm with Jenny, who lets him touch her chest, Forrest gets instantly attracted to it, losing her interest and his self-respect. In the Army, Forrest saves hi captain, played by Gary Sinise, whose lets are later amputated, and the captain hates him. Forrest is everything we love in the American character – honest, brave, loyal – and the film’s intense irony is that nobody can be with him for very long.

Travers said, “Zemeckis doesn't fall into the trap of using Forrest as an ad for arrested development. He knows the limits of a holy fool who can't understand the hypocrisy of postwar America that this picaresque epic so powerfully reveals.” The peace-love affectations of the 60s are pierced as nicely as the greed decades that come after. However, there is something of Forrest that Zemeckis would like to see his audience get: his capacity for hope. It’s a determined goal in this age of extensive pessimism.

You shouldn’t even be reading this review if you have not even seen the movie. Go out and see it, even though I do think it was wrong that Forrest is such a nice man, but Jenny treats him like dirt, but then again, what person that doesn’t have a low IQ that is a good-natured person doesn’t? I don’t mistreat those people because I was taught never to judge anyone. Also, this movie has some of the best quotes ever, like “My name is Forrest Gump, people call me Forrest Gump,” “Mama always said life was like a box of chocolates. You never know what you’re going to get” and “I may not be a smart man, but I know what love is Jenny.” Check this movie out because it is an entertaining, feel good, slice of life movie. There are some emotional moments, but in the end, you’ll absolutely love it, I promise you.

Alright everyone, check in tomorrow night when I review one of the latest movies that was just recently released. It’s another movie that I have been wanting to see, not excited for as much, but one that I have been looking forward to forever. You might know what I’m talking about, but just stay tuned tomorrow night to find out.

You're Not Elected, Charlie Brown

Guys, sometime last month, “It’s the Great Pumpkin, Charlie Brown” aired again, and after that came a special that I had never seen before, “You’re Not Elected, Charlie Brown,” released in 1972. Tonight, my brother and I saw that special, so I think I will let everyone know what I thought about it.

I just found that that this was adapted from a past Peanuts comic strip that had a similar story. In the strip, Linus runs for Student Body President with Charlie Brown as his running mate, and he ruins his campaign after he talks about the Great Pumpkin in his speech. Even though this special changes a few things from the strip, it does extend the story into a 25-minute special. It starts out with Charlie Brown, voiced by Chad Webber, finding out about the upcoming Student Body President Election. His friends tell him he should run, but he doesn’t think he has a chance at winning. This is soon proved true, as Lucy, voiced by Robin Kohn, shows him he has a zero chance at getting any votes. Still interested in having one of their friends run, the team convinces Linus, voiced by Stephen Shea, to run for Student Body President. He actually does get a great chance of winning, until it is almost ruined during the final debate, when he talks about the Great Pumpkin in his campaign speech. The funniest part is when Charlie Brown (not his running mate in the special, as none of the candidates have one) and Lucy both have a rare moment of agreeing when they go “AAUGH!” at Linus’s Great Pumpkin Speech.

Warren Mitchell actually noted in his review, “What’s truly interesting about this special is the time period it came out in. The airing of this special coincided with the upcoming 1972 US Presidential Election. Richard Nixon ended up getting elected for a second term, which was publicly plagued by the Watergate scandals. Though there are no actions of illegal taping in the story, there are some moments of political satire that play out cleverly, especially in the end. Overall, it’s a great political-themed special and one of my favorites.”

You know what is strange? Charles Schultz probably didn’t realize that politics would still be the same to this very day. Actually, it has gotten worse, and this special actually does a good portrayal at showing how the human population reacts to politics. We think we got the right person, but it turns out that they end up being a liar, as it is all the time. Politicians look like they will never change this about themselves, sadly.

If you have never seen this special, then see it. I think that you’ll have a great time when watching this, as it is pretty funny. I think you’ll be laughing from first minute to last, seeing how short it is.

Well, thank you for joining in on this review, stay tuned tomorrow for the continuation on “Vietnam War Movie Month.”

Good Morning, Vietnam

Scott Weinberg started his review out by saying, “Last night was my first revisit with Barry Levinson's Good Morning, Vietnam since the late 80s, and while I distinctly remember enjoying the film because of Robin Williams' wild antics and surprisingly warm performance, it was last night's screening that made me realize the movie's got a whole lot more than just its leading man.”

The setting of the comedy classic “Good Morning, Vietnam” released in 1987, is Vietnam in the mid 1960s, when the situation was still known as “military police action,” and wasn’t really known as a full-blown and dangerous “war.” Coming straight off from his service in Greece is radio DJ Adrian Cronauer, played by the late Robin Williams, whose broadcasts is loved by the right officer and predicated his transfer to Saigon. Cronauer quickly rises to the top by way of his rough rock and comedy broadcasts, his effortlessly likable personality, and his soon-to-be famous catchphrase: “Goooooooood Morning Vietnaaaaam!”

I don’t think it comes as a surprise that there are those who don’t like Cronauer’s method of being a DJ, most notably a 2^nd Lt. Steven Hauk (Bruno Kirby) and a Sergeant Major Dickerson (JT Walsh). On the other end are Adrian’s friends and supporters: Brigadier General Taylor (Noble Willingham), PFC Ed Garlick (Forest Whitaker) and Sgt. Marty Dreiwitz (Robert Wuhl). (Throw in some great supporting performances from Richard Edson as a clueless private and Richard Portnow as Dan “The Man” Levitan, and you’re looking at a memorable ensemble cast.)

Weinberg noted, “Aside from the main story of Cronauer's inspired brand of insanity, his conflicts with the brass, and the fanbase he slowly starts to build, Good Morning, Vietnam branches off into quite a few unpredictable paths.” One bittersweet subplot is Adrian gently flirting with a lovely Vietnamese girl (Chintara Shukapatana), however they both know it’s a pointless relationship. Another is Cronauer’s friendship with a Vietnamese teen (Tung Thanh Tran)… who may or may not be a Viet Cong terrorist.

Weinberg said, “Robin Williams was awarded his very first Oscar nomination for his performance as Adrian Cronauer, and I wouldn't argue that accolade one bit.” The man really was a force to reckon with, making a character that is instantly likable, really funny, and completely the type of guy you’d want to be friends with. (Williams was also nominated for “Dead Poets Society” and “The Fisher King” before winning the Oscar for “Good Will Hunting.”)

Weinberg noted, “Most movies would have been content to have Robin Williams' non-stop shtick, mixed liberally with the whole "misfit vs. military" side-story, but Barry Levinson clearly wanted to bring some sincerity to the flick, which helped to bring a "grass-roots" perspective to the Vietnam war (or at least a part of it) that the average moviegoer would be able to understand and appreciate.” (However, Williams did something right. In the domestic box office, “Good Morning, Vietnam” was one of 1987’s highest-grossing movies, approaching $124.)

Weinberg mentioned, “Based (very) loosely on the experiences of a real man, Good Morning, Vietnam is hardly the finest film ever made about Vietnam, nor is it an entirely flawless one (some of the emotional fare leans on the cornball button just a bit, and an Act III subplot that sees Dickerson do something truly evil is just dumb), but there's a real depth and sincerity to the film that makes it really tough to dismiss as "just another Robin Williams rant-fest."” Also, Vietnam aside, the movie comes with a really nice message, and it’s that humor is important, and that laughter can do a whole lot of good. Hard to be tough on a movie with those types of valuable life lessons.

As far as wartime comedies are, “Good Morning, Vietnam” may not be “Dr. Strangelove” or “M.A.S.H.,” but it’s got a lot of respect for the area it talks about, a solid amount of really strong laughs, and a few lost themes of real heart and insight. If you haven’t seen this one in a while, definitely don’t miss the chance to re-watch this movie. Weinberg ended his review by saying, “I think it's a better film today than it was 18 years ago.”

This is definitely one of the funniest movies ever made, and is a classic. How can you not like a movie where Robin Williams was given free range to do whatever he wanted and go off with his improve genius mind? This is one of those movies where it had to be that way, and I highly recommend everyone to see this as it is one of my favorite Robin Williams films.

Look out next week where we look at another classic in “Vietnam War Movies Month.”

Thor: Ragnaork

Special treat everyone: I came back from seeing “Thor: Ragnarok,” which was released two days ago, and I will let all of you know what I thought about it.

Marvel has a talent for constantly giving its fans what they don’t expect. Who would have thought that Thor, one of their most stoic characters, would be in one of the franchise’s funniest films? “Thor: Ragnarok” starts with Thor (Chris Hemsworth) in danger mode, saying jokes at Surtur (Clancy Brown).

This starts off for a wild and unclear journey that has director’s name, Taika Waititi, all over it. Leonard Martin said in his review, “Eric Pearson, Chris Kyle, and Christopher L. Yost are the credited screenwriters, but the Kiwi filmmaker and performer who made Boy, Hunt for the Wilderpeople, and the hilarious vampire mockumentary What We Do in the Shadows (in which he also starred) is the dominant force behind this singular entry in the Marvel Cinematic Universe.” Waititi has a mocking sense of humor that fills every aspect of this enjoyable film. (He also is the individual voice and personality of a rock-figure named Korg.)

That’s not to misjudge the writers’ work making a multipart story. Thor returns to Asgard and finds his brother Loki (Tom Hiddelston) ruling while watching a play put on by Chris Hemsworth’s brother, Luke Hemsworth, Matt Damon and Sam Neill. Thor seeks the help of Doctor Strange (Benedict Cumberbatch) to help him find his father, Odin (Anthony Hopkins), and when Thor and Loki do; Odin warns them that their sister Hela (Cate Blanchett), the goddess of death, is going to Asgard to take over it. As you might have seen in the trailer, Hela breaks Thor’s mighty hammer and sends to him Sakaar, where he gets his hair cut and has to participate in Gladiator games. How can Thor survive this?

Martin is right when he said, “It’s just like Marvel to give one of its superheroes a potentially crushing challenge like this, forcing him to think his way out of the situation and form new alliances.” Even Loki looks like he is turning a new leaf in this new flick. No one can still trust him, but he and his adopted brother team up to protect the people of Asgard.

There is a wide variety of characters, both returning and new, to add to this enjoyment: Cate Blanchett clearly enjoys her role as Hela. Tessa Thompson is the overconfident warrior Valkyrie, Karl Urban is the tough fighter Kurge and Jeff Goldblum brings his usual interpretation to the role of Grandmaster, who rules over Gladiator games as the Roman emperors did centuries ago. Who is Thor going to fight in this grand arena, with every audience member in the stands? None other than The Hulk. Mark Ruffalo manages to make Hulk before he calms down enough to change back to Bruce Banner. Benedict Cumberbatch makes a brief cameo as Dr. Strange and Idris Elba is the best in his short scenes as Heimdal.

Martin ended his review by saying, “Marvel is too smart to completely undermine the serious matters at stake for its stable of characters, but confident enough to play with them a bit. That’s what sets Thor Ragnarok apart in the constantly evolving MCU: it has a personality all its own, and I suspect Marvel fans will love every minute.” 

Spoiler alert: In the mid-credits scene, Thor's ship come across a large spaceship and in the post-credits scene, the Grandmaster's subjects are still fighting the revolution started by the gladiators.

As everyone must have suspected from my review, this is the best of the Thor movies. I was excited to see this movie when I found out last year that Hulk was going to be in it, but got more excited to hear Doctor Strange was going to be in it, and after when I saw the Comic Con trailer to it, I was stoked. This movie did not disappoint. One of my friends said that the Thor movies had nothing going for it, but this is the absolute best, as the early reviews have made it out to be. It was funny, action-packed, enjoyable, and I loved Thor and Loki for as long as they were in there. Even the Hulk did a bang-up job in this film, seeing how we haven’t seen him in a film outside of “The Avengers.” This makes another one of my favorite comic book movies, and I highly recommend everyone to go see it in the theaters. You will absolutely love it if you liked or didn’t like the past Thor movies. This one deserves the payment of the ticket.

Thank you for joining in on my latest “Marvel Cinematic Universe” movie reviews, stay tuned this Friday for the next in “Vietnam War Movie Month.”

Full Metal Jacket

For the month of November, I will be talking about movies based on the Vietnam War. Seeing how November has Veterans Day, it makes sense, doesn’t it? Let’s start off the month with the 1987 classic and one of my favorite films, “Full Metal Jacket.”

Stanley Kubrick, after seven years since filming “The Shining,” returned to filmmaking with this amazingly well-done, profane, dark humored and miserable antiwar Vietnam War film. Dennis Schwartz said in his review, “Though it makes for a fascinating watch, it's steely-eye cold and less about the Vietnam War than about how the Marine Corps turns its recruits into killers. It's based on the novel ''The Short Timers'' by Gustav Hasford, and is written by Kubrick, Hasford and Michael Herr.” The film is split into two parts. The first part is about the newly recruited Marines undergoing a rigorous boot camp in Parris Island, South Carolina, while the second part is about the actual Vietnam War.

In the first part, the aggressive chosen recruits are called maggots by their cruel very lout drill instructor, Gunner Sgt. Hartman, played by R. Lee Ermey (former real-life Marine DI), who prepares them to be murderers, have no fear and give everything to the corps. In his opening speech he clearly states that he thinks everyone is equally worthless. Hartman goes around to each recruit and gives them nicknames, including Private Snowball (Peter Edmund), a Texas recruit is renamed Private Cowboy (Arliss Howard) after being told who actually comes from the state, a comedian who does a John Wayne impression gets punched in his stomach and is renamed Private Joker (Matthew Modine), and the smiling stupid platoon misfit who makes Hartman really annoyed is renamed Private Gomer Pyle (Vincent D’Onofrio). Hartman intimidates Gomer Pyle throughout training for being useless, unintelligent and fat, and gets the other soldiers in the platoon to also hate him by punishing them when Pyle makes a mistake. Under so much antagonizing and humiliation Pyle finally breaks, and what he does is just frightening.

Schwartz said, “In part two, Joker, the film's nominal hero and narrator and the star recruit of basic training, is in Vietnam as a reporter for Stars and Stripes and after confronting his slick CO with sarcastic remarks about the war's progress is shipped out to the combat zone at the height of the Tet Offensive in 1968. Joker, the gutsy humorous humanist, wears a peace symbol on his battle fatigues and, on his helmet, the slogan ''Born to Kill.'' But in the end, the soldier with confusing dual purposes lives up to his Marine indoctrination to kill for the corps, as the combat mission ends in the film in the ruins of the city of Hue (a Kubrick symbol for the useless destructive nature of war, that brings everyone down).”

Nobody’s a hero like John Wayne, as Kubrick’s purpose to show the violence in training soldiers, the madness of any war and how militarism causes the regular dehumanization needed to turn men into heartless killers, are all related to the war-hungry American society and how there can no winners following such a limited faith.

The completely all-male cast (besides a few Vietnamese prostitutes) gets into their roles and gives amazing performances. The military dialogue is filled with vulgarity, which gives the film a heartless power separating it from many others. Schwartz ended his review by saying, “It was filmed in England, where Kubrick used a military barracks outside London to substitute for Parris Island and used a deserted gasworks in London's East End, a plant area that had been bombed-out during WWII, to great effect as the Hue combat area.”

I know that people seem to not like this movie after the training scenes, but I think it was actually nice to see how war can change a man completely. I would say, especially in this day in age, that the whole movie needs to be seen and not just the first part. The second part needs to get a better understanding and needs to be liked, especially since I think it has been wrongfully hated and does show the realism of war. Kubrick really outdid himself with this one, and it’s not the usual traits he has used, which is some scary horror films. He does a war film, and he does an amazing job here. Definitely see this, as it is one of the best war films ever made.

Now, I will need some much deserved rest. I will be taking a whole week off and will not be making another review until next Friday when I continue “Vietnam War Month.”

The Book of Life

Feliz Dia de los Muertos to all my Spanish audiences! In celebration of it today, I will be looking at “The Book of Life,” released in 2014.

“The Book of Life” amazes your eyes and maintains your spirits as it depends on themes most commonly associated with the chilling universe of Tim Burton. However, instead of being crazy for ghost-like stuff, this Mexican fiesta of animated amazement is filled with visual enjoyment far more interesting than evil as they come forward as if thrown from an over-packed piñata.

Susan Wloszczyna said in her review, “A collaboration between fledgling Reel FX Creative Studios and 20th Century Fox, “The Book of Life” is a rare cartoon feature that doesn’t just deserve to be seen in 3-D, but practically demands it. Complementing the eye candy is a quirkily eclectic soundtrack, including catchy new songs by award-winning score writer Gustavo Santaolalla and Paul Williams of “The Rainbow Connection” fame, and a wide-ranging voice cast. If you always wanted to hear opera great Placido Domingo sing “Cielto Lindo” and its “ay-yai-yai-yai” refrain as if it were Verdi, here is your chance.”

That said, the essentials of this fantasy story, that has the great puppet-like character designs made on the familiar wooden folk-art figures that are related to the annual celebration of The Day of the Dead, are kind of really familiar despite all the vast cultural references that enlighten the celebration.

There is the famous love triangle that is related to the three childhood friends. Our protagonist, the kind-hearted Manola, voiced by Diego Luna, whose masculine vocals are a continuous source of nostalgic delight, comes from a family of legendary bullfighters and is a master in the ring himself. Wloszczyna said, “But his true calling is that of a guitar-strumming troubadour.” The arrogant Joaquin, voiced by Channing Tatum, who channels into his rich store of hilarious parade, is a man of action, as Wloszczyna describes, “A mucho-macho mustachioed bandit-rustler with a broad chest crammed with medals.”

They both want Maria, the smart and determined daughter of the general who is in charge of the village of San Angel. She has all the usual traits of the typical allowed animated female protagonist – a book reader with martial-arts fighting skills and everything – but is lucky enough to be blessed with the lively voice of Zoe Saldana.

“The Book of Life’s” multi-layered story also deals with a fight of married gods who rule over separate lands in the afterlife and decide to make a bed. La Muerte, played by the famous telenovela actress Kate del Castillo, who overlooks the happy Land of the Remembered and believes in the courtesy of the living, bets the sensitive Manolo will win Maria’s hand. Xiabalba, voiced by the main actor of the film’s producer, Guillermo del Toro, the great Ron Perlman, a tricky person who rules the grim Land of the Forgotten, bets on the futile Joaquin.

Wloszczyna said, “Xiabalba fools Manolo into entering The Land of the Remembered to seek Maria, when it turns out she has only fallen into a “Sleeping Beauty”-style slumber.” So that he can return to The Land of the Living himself, Manolo must take on a series of challenges with his polychromatic ancestors. Meanwhile, San Angel is being threatened by the deadly gangster Chakal, voiced by Dan Navarro (Wloszczyna said, “Whose metallic monster form feels like a del Toro invention”) and his team of heartless thieves.

A three-way romance, many worlds, countless fights, combative gods, a deadly enemy – all of these traits make for a complete thick confection. Wloszczyna said, “But first-time feature director and co-writer Jorge R. Gutierrez (co-creator of Nickelodeon’s “El Tigre: The Adventures of Manny Rivera”) smartly tames his somewhat unwieldy story by cleverly having a modern-day museum guide, voiced by Christina Applegate, transfix a group of rowdy school kids by relating the tale we are watching as if it were a fable of old.”

Where this device becomes useful is when the subject of death is raised and the children think Maria has really passed away. As one distressed boy says, “Maria died? What kind of story is this? We’re just kids.” Gutierrez smartly redirects any parental worries about dealing with a likely dark subject with a refreshing honesty that goes beyond famous animated tragedies as the deaths of Bambi’s mother and Simba’s father, Mufasa, in “The Lion King.”

There is intelligence to be thought up in the smaller details, something that Gutierrez masters at as he nicely combines mythology both real and invented with pop-art standards. Wloszczyna said, “From a chorus of angelic singing nuns and hirsute town elders whose protruding snouts recall the hippie era’s Fabulous Furry Freak Brothers to pigs-gone-wild mayhem and a tipsy mariachi trio who slur their way through Rod Stewart’s “Do Ya Think I’m Sexy” and Biz Markie’s “I’m Just a Friend,” “The Book of Life” isn’t afraid to catch us off guard. When a forlorn Manolo, abandoned by the townsfolk after refusing to kill a bull in the ring, starts to wail Radiohead’s “Creep,” you could hear teen girls at my screening yelp in joyful recognition.”

However, Guiterrez even goes further, as “The Book of Life” characterizes the philosophy the helps The Day of the Dead and encourages a good way to celebrate for the ones we’ve lost. As he says, “As long as you remember those who came before you, and as long as you tell their stories, cook their dishes, and sing their songs…they’re with you. They live inside your heart.”

This filmmaker’s heart sure does beat inside this amazing debut.

If you haven’t seen this film, stop reading the review and go out and watch it. This is one of the most fascinating animated movies that have been released in this past decade. It’s definitely a must and you have to see it. You will absolutely love it, I promise you. Especially with the new Pixar movie that revolves around the Day of the Dead, it makes it right for today. Make it a yearly tradition to watch this on the Day of the Dead.

Look out tomorrow when to see what I will review every Friday in November.