#216. Pokémon Detective Pikachu (2019)

 

 

Yeah, I was a Pokémon kid. I collected the cards, watched the show, and played the video games. For a good three or four years there, it was pretty much the center of my entertainment universe. So the prospect of a big-budget live-action Pokémon movie absolutely appeals to the inner child - and, who am I kidding, adult - in me.

 

And, honestly, I thought this one was pretty good. The plot's extremely predictable (especially if you're at all familiar with Ditto), most of the characters are cutouts, and the jokes don't have a great hit rate, but there's a sense of livable, vicarious plausibility to the whole thing that basically renders those elements moot for me. Frankly, when I'm watching these real people interact with Bulbasaurs and Mr. Mimes, I can't pretend to care about depth or nuance or whatever.

 

If you do, though, the movie wisely takes the Roger Rabbit route of attempting to balance the silly cartoon stuff with a grounded, noirish story involving the protagonist's family. Again, it's not as successful as Roger Rabbit, mostly because said story's nowhere near as interesting, but it nevertheless provides a decent amount of heart, a cool neon aesthetic, and some fantastic worldbuilding, all of which I appreciated.

 

What I didn't appreciate, though was the fact that Poliwhirl doesn't make a single appearance. What the hell, guys?

 

Grade: B+

 

P.S. A lot of these Pokémon were much furrier than I was expecting. Like, in my mind, Jigglypuff's always had the texture of one of those squeaky bouncy balls that you'd find in a Toys "R" Us bin.

 

P.P.S. Loved the Angels with Filthy Souls reference, especially because it fits right in with the whole '90s nostalgia thing.

 

#215. The Heartbreak Kid (1972)

 

 

It's a testament to Charles Grodin's abilities as a comedian/actor that Lenny Cantrow isn't the single most despicable character ever put to film. I mean, maybe he still is (the guy's a spineless, inconsiderate, self-centered jerk who never learns a single thing), but Grodin has this subdued, almost endearing awkwardness about him that makes Lenny's desperate insincerity more watchable than it should be.

 

I have to also credit Elaine May, though, for not letting this guy off the hook. In just about every major scene, she locks the camera down, John Cassavetes-style, and lets the drama play out in the most sweaty, uncomfortable, claustrophobic way possible. It's the kind of subtly agonizing presentation that smacks of both emotional intelligence and a creative point of view, and it ultimately makes for an damning depiction of male self-destruction.

 

Still, I'd be lying if I said that I didn't find the conflicts a bit monotonous, and the comedy only mildly funny. But I guess both of those qualms are slightly soothed by the presence of Eddie Albert, whose stern indignation largely balances much the queasiness at play. I especially love his barely-contained rage at the restaurant, as well as his baffled delivery of "There's no deceit in the cauliflower?"

 

Grade: B+

 

P.S. Holy shit, does this movie need a remaster. Every version I could find made me feel like I was watching a 480p YouTube video from 2006.

#214. The Uninvited (1944)

 

 

This has to be one of the most approachable and, ironically, inviting haunted house movies ever made. It has an unusually light and jaunty tone (which, aside from keeping the material fun, is perfect for establishing some investment in the horror elements and dramatic backstories), and a familiar-yet-unearthly presentation that ensures a certain warmth and coziness throughout.

 

Of course, a lot of that also has to do with the dark and elegant beauty of the house itself. When I see this place, with its enormous staircase (I was kinda hoping to see Ray Milland slide down that banister at some point, but I digress), open rooms, and stunning views, I can understand why these characters would take such a risk. And the gorgeous use of light and shadow only adds to its allure.

 

Even zooming out from the setting, though, nearly everything about this movie delighted me. I'm sure a lot of people find it slow and quaint, but I thought it was cute, funny, and spooky in equal measure. My only issue is that it gets a bit plot-heavy down the stretch, but even that doesn't really detract from the bouncy pacing, colourful moods, and adorable effects.

 

Grade: A

#213. Dark City (1998)

 

 

Prior Viewings: 1

 

A few weeks ago, if you had pointed a gun at my head and said that you'd shoot me unless I could tell you a single thing that happens in this movie, I would've been a goner. Literally all I could recall was the nighttime aesthetic, the towering production design, and Kiefer Sutherland being a weird little freak.

 

After a second viewing, I can kinda see why those were the only elements that left much of an impression (the story's a bit muddled and messy, the other main characters are mostly generic, and the noir tropes aren't especially original), but I found Murdoch's conflict to be fairly intriguing and compelling this time, and all the stuff with "tuning" and The Strangers made for more inventive worldbuilding than I'd remembered.

 

So while I still think the exposition could've been doled out a lot better, and some of those plot developments and reveals continue to feel like nonsense to me, the movie is ultimately distinct, ambitious, captivating, and energetic enough that I'd be surprised if it completely left my brain again. But, even if it does, at least I already know that the atmospheric and beautiful (and charming, thanks to some '90s CGI) visuals probably won't.

 

Grade: B+

 

#212. Love & Other Drugs (2010)

 

 

Love & Other Drugs unfortunately suffers from the same problem that I find a lot of romantic comedy dramas have, and that's that it's trying to accomplish far too much at once. The storytelling's kind of jumbled (there's a relationship subplot, a career subplot, and a Parkinson's subplot, and all three are fighting for dominance), as are many of the emotions, which largely results in every element feeling slightly underdeveloped, and therefore a bit surface-level and generic.

 

And it's a shame, because the genre fundamentals are otherwise quite good. Jake Gyllenhaal is a likeable fit for both the lighter and heavier aspects of the script, Anne Hathaway pulls off the tired frustrations of her tricky character fairly well, the two have incredible chemistry with one another (a pair of extremely hot people make for a cute couple; more at eleven), and Josh Gad is used the exact right amount for comedic relief. 

 

This is an agreeable enough watch for the most part, with decent amounts of humour, warmth, and heart. I just think those qualities would've been even more prominent and consistent with the removal, or reduction, of at least one of the storylines (as funny as some of the Viagra stuff was, that's probably the one I'd choose), a less sterile visual palette, and a smoother tonal balance. 

 

Grade: B

 

#211. Project A (1983)

 

 

Okay, I can see that these Hong Kong martial arts movies are going to take some getting used to.

 

Like, obviously I knew better than to expect seamless dubbing, but I wasn't quite as prepared for the borderline-amateur technical aspects (for instance, there are almost zero establishing shots here, so each scene just kind of awkwardly crashes into the next one), bizarre tonal shifts, and weirdly dense plotting. I don't even know if these defects are specific to Project A or if they're simply par for the course with this subgenre, but, either way, it made it really hard for me to get wrapped up in the story, to the point where I was starting to zone out in between all the action.

 

But I guess the action is why we're here, and it doesn't disappoint. Every single fight scene is a striking display of creativity, athleticism, timing, and certifiable recklessness not seen since the days of Buster Keaton, and they consistently took my breath away. In particular, the back-to-back bicycle and clock tower sequences are just spectacular, even if they result in the movie peaking far too early.

 

Now, is the action good (and plentiful) enough to make everything else worth sitting through? It's a pretty close call in my opinion, but I'll go with a tepid "yes". Even when the movie's at its least accessible, you can always tell that Jackie Chan is trying his absolute hardest to entertain, and I admire that level of effort.

 

Grade: B-

 

#210. BUtterfield 8 (1960)

 

 

Another movie from the early '60s that clearly wanted to be riskier than it was actually allowed to be, BUtterfield 8 (that capital U will never not look like a typo to me) is only kept afloat thanks to the Oscar-winning turn from Elizabeth Taylor. This isn't exactly her best work, but she brings a great mix of grace and vulgarity to the role, with enough subtle complexities beneath the surface to keep her character compelling.

 

Otherwise, though, I can't find too many reasons to recommend this one. The presentation's pretty turgid, the dialogue's mostly soapy and artificial, the character dynamics aren't very interesting, the tone is dour in a way that feels tedious and mean-spirited, and the other performances are so unnoteworthy that they all but fade into the background. The production design's visually appealing, I guess, and I enjoyed some of the quieter moments (like the opening scene), but the bulk of it generally left me waiting for something interesting to finally happen.

 

The upside, though, is that it eventually does. Whether or not this direction works is another thing entirely (it certainly doesn't land on an emotional level), but I really have no choice but to respect how audacious it is, especially relative to everything that came before.

 

Grade: C+