Hellboy 2: the Golden Army

Posted on November 9, 2008 at 6:00 pm

hellboy2.jpg“Hellboy” is the “US Weekly” of comic book sagas. Superheroes are just like us! They squabble with their loved ones! They smoke cigars! They take pregnancy tests! When their hearts are broken they get drunk and sing along to Barry Manilow!
And then there are the other things they do, like confronting a kitten-eating a bag lady who is really a troll and battling a building-sized elemental plant guy who is trying to eat everything. And bursting into flames. And shooting people with very, very big guns and punching people very, very hard with a really, really big hand.
Hellboy (“Red” to his friends) is the big devil-looking red guy with one very large brick-like hand, two sawed-off horns, and a tail. Bad guys do not fluster him. He chews on a cigar, pulls out a gun with bullets bigger than a breadbox, lets out a sigh or a wisecrack, and goes after whatever it is, from a thousand bone-munching spidery-looking little creature to a large, slobbering, boar-shaped monster, and that plant guy. When Hellboy showers, clutching a beer can, we hear the Eels’ “Beautiful Freak,” and the warm acceptance of that song, similar to the “just like us” moments, is a nicely understated theme of the movie.
The creatures and CGI effects are a wonderfully inventive, with the exception of the flames that engulf Hellboy’s true love, Liz (Selma Blair), as lackluster as the “when will she tell him the real reason she is so upset” plotline they’ve given her. She needs to get some flame on pointers from Johnny Storm. But this is not a movie that takes females or their powers very seriously. The other leading lady is Princess Nuala (Anna Walton), a typically Stevie Nicks-type of ethereal beauty with intuitive palm-sensing ability who pretty much stands around when all the fighting is going on.
And what fighting it is. The visuals are sensationally imaginative. Director Guillermo del Toro is every bit as excited about the creatures in this comic-book saga as he was in his grown-up fairy tale “Pan’s Labyrinth.” Wonderfully imagined and intricately constructed, they often reflect the sensibility of a steampunk cracked version of “Lord of the Rings.” Hellboy’s new boss, reported to have an “open face,” turns out to be a clanking robot with a glass dome who speaks through an apparatus that looks like the workings of a Victorian typewriter. The clash and contrast of styles adds a lot of visual flair. A bad guy Prince has long blonde hair and seamed cheeks that make him look like the spawn of Legolas from “Lord of the Rings” and Sally from “A Nightmare Before Christmas.”
The fight scenes are inventively set up and staged. As Hellboy battles the plant guy he has to have one arm around a swaddled infant he is in the process of rescuing. He takes on Victorian typewriter-guy at one point and finds himself battling a barrage of swinging locker doors. When he fights the Prince, he has to be careful to defeat him without hurting him because of the psychic connection that imposes any injuries to him on his twin sister as well. The plot may not be much and the Golden Army of the title is the least interesting of his foes, but even the silly stuff is so imaginatively realized that Hellboy has a bit of a touch of comic book movie heaven.

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Comic book/Comic Strip/Graphic Novel Fantasy Series/Sequel

The Perfect Holiday

Posted on November 9, 2008 at 8:00 am

perfect%20holiday.jpg
This sugarplum of a movie is held together with good intentions and paperclips, but its appealing cast and seasonal sweetness make it — if not the perfect holiday treat, a pleasantly enjoyable one, especially welcome because there are so few Christmas stories about African-American families.

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Comedy Family Issues Genre , Themes, and Features Reviews Romance

Edison, the Man

Posted on December 13, 2002 at 5:17 am

“Plot: The movie begins with a dinner in 1929 honoring the “”Golden Jubilee of Light,”” the anniversary of the invention of the electric light bulb. But the guest of honor has not yet left home. He is being interviewed by two high school students, telling them that success is ninety-nine percent perspiration and one percent inspiration, and that the most valuable thing in the world is time, because all the money in the world won’t buy one minute of it.

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Based on a true story Biography

Mr. Smith Goes to Washington

Posted on December 13, 2002 at 5:17 am

Plot: Naive Jefferson Smith (Jimmy Stewart) is sent to Washington to serve the remaining term of a Senator who has died. The governor (Guy Kibbee), and businessman Jim Taylor (Edward Arnold) believe that Smith, the leader of a Boy Scouts-type organization called the Boy Rangers, will do whatever he is told by senior senator Joseph Paine (Claude Rains), a friend of his late father, who was an idealistic newspaper editor. Paine approves of the appointment: “A young patriot turned loose in our nation’s capital — I can handle him.”

At first, Smith is such a hopeless rube that he is an embarassment. The cynical press ridicules him. He is daunted by jaded staffers Diz Moore (Thomas Mitchell) and Saunders (Jean Arthur), and reduced to stumbling incoherence by Paine’s sophisticated daughter (Astrid Allwyn). But a visit to the Lincoln memorial reminds him of what he hopes to accomplish, and he returns to the Senate to promote his dream, a national camp for boys. Saunders begins to soften when he tells her what he believes: “Liberty is too precious a thing to be buried in books.” She acknowledges her own idealistic roots as the daughter of a doctor who treated patients who could not pay, that idealism now buried under the practicality that resulted from her having to go to work at 16 because her family had no money. “Why don’t you go home?” she asks. “You’re halfway decent.”

Saunders warns him that Paine is corrupt, that he is promoting unnecessary legislation that will benefit Taylor. Smith goes to see Paine, and is crushed to learn that Saunders was right. Paine tries to explain that it is just a compromise. “It’s a question of give and take – – you have to play by the rules — compromise — you have to leave your ideals outside the door with your rubbers.” Smith promises to expose Paine, but Paine moves quickly and makes it appear that it is Smith who is corrupt. He presents a forged deed showing that Smith is the owner of the land for the proposed camp, and will therefore profit from the legislation.

Smith is ready to quit, but Saunders explains that he can filibuster — take the floor of the Senate and keep speaking — while his mother and friends get out the real story. While Smith holds the floor, his Boy Rangers print up and try to distribute their own newspaper. But Taylor’s henchmen stop them. After speaking for 23 hours, Smith sees that all of the letters and telegrams are against him. He looks over at Paine. “I guess this is just another lost cause, Mr. Paine. All you people don’t know about the lost causes. Mr. Paine does. He said once that they were the only causes worth fighting for. And he fought for them once, for the only reason that any man ever fights for them. Because of just one plain simple rule, ‘Love thy neighbor.’ And in this world today, full of hatred, a man who knows that one rule has a great trust.”

He vows to go on, but collapses from fatigue. Paine, overwhelmed with shame, runs into the cloakroom and tries to kill himself, confessing that he was the one who was corrupt.

Discussion: Frank Capra was to movies what Norman Rockwell was to illustration; he gave us a vision of our national identity that never ignored the challenges we face, although it was idealistic about our ability to meet them. This movie, made on the brink of World War II, was criticized for its portrayal of dishonesty and cynicism in Washington. But ultimately, it was recognized for the very patriotic and loyal statement that it is.

Questions for Kids:

· Paine tells Smith he has to learn to compromise. Is that wrong? How could Smith tell that this was not compromise, but corruption?

· Watch the scene where the press meets the new Senator for the first time.

· People today often criticize the press for being unfair or too mean to politicians. Do you think they were unfair? Were they too mean? Why does the press like to make fun of politicians?

· What makes Saunders change her mind about Smith?

Connections: It is hard to imagine a time when Jimmy Stewart was not a major star, but this is the movie that made him one. He was a perfect choice for the shy young idealist. Capra selected cowboy actor Harry Carey to play the Vice President, who presides over the Senate during Smith’s filibuster. His look of weatherbeaten integrity perfectly suited the part, and contrasted well with Rains’ suave urbanity.

Activities: Those families who visit the Washington locations featured in the movie, the Lincoln Memorial and the U.S. Capitol building, might also want to stop by the local Planet Hollywood, which features the desk Smith stood at during his filibuster, autographed by Stewart. Those who can’t get to Washington might enjoy taking a look at today’s Congressional proceedings on C-SPAN and comparing them to those portrayed in the movie.

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Drama Epic/Historical

The Maltese Falcon

Posted on December 13, 2002 at 5:17 am

Plot: Sam Spade (Humphrey Bogart) is a private detective. A woman who says her name is Ruth Wonderly (Mary Astor) comes to see him, asking for help in finding her sister. Sam sends his partner, Miles Archer (Jerome Cowan) to follow her when she meets Floyd Thursby, the man she thinks her sister is with, and both Archer and Thursby are killed. It turns out that the woman has given him a false name. She is really Brigid O’Shaughnessy, and it turns out it is not her sister she is seeking, but a small, jeweled statue of a falcon, and she is mixed up with some people who will do anything to get it.

One of those people is Joel Cairo (Peter Lorre), who comes to see Sam to insist — with a gun — that he be allowed to search Sam’s office to see if it is there. Sam is not at all intimidated by Joel, but allows him to search. Also after the statue is Mr. Gutman, “the fat man” (Sidney Greenstreet), with his “gunsel,” Wilmer. They alternately threaten and attempt to bribe Sam, while Brigid appeals to his protective nature and his heart. But Sam turns them all over to the police, including Brigid, whom he loves.

Discussion: One of the most interesting aspects of this classic movie is the way that Sam Spade thinks though the moral dilemmas. When he is deciding whether to tell the police about Brigid, he is very explicit about weighing every aspect of his choices. It is not an easy decision for him; he has no moral absolutes. On one hand, he loves her, and he did not think much of his partner. On the other, he does not trust her, he does not think she trusts him, and he knows that they could not go on together, each waiting to betray or be betrayed. And he has some pride; he says that when your partner is killed, you are supposed to “do something.” While it may be good for business not to appear too ethical, it is bad for business to allow a partner in a detective firm to get killed without responding. If he turns her over to the police, he loses her. But if he does not, he loses a part of himself, his own kind of integrity.

When this movie was made, moviegoers were used to cool, debonair detectives (like Philo Vance and Nick Charles, both played by William Powell), a sort of cross between Sherlock Holmes and Fred Astaire. But Sam Spade, created by Dashiell Hammett based on his experiences as a detective, was a modern day version of the cowboy, a loner with his own sense of honor.

This was the first movie directed by John Huston, who also wrote the screenplay, but he was already a master. Watch the two scenes where Sam goes to talk to Gutman, and see how the camera angles in the first scene lead the viewer to suspect that Sam’s drink is spiked (it isn’t), and then how different angles are used in the second one to make the viewer confident that it won’t be (it is).

Questions for Kids:

· What does Sam mean when he says the statue is “the stuff dreams are made of”?

· Where is Sam faced with moral conflicts? How does he resolve them? What are his reasons?

Connections: Bogart appeared as a similarly tough detective, Philip Marlowe, in “The Big Sleep,” based on the novel by Raymond Chandler. The books by Hammett and Raymond Chandler are well worth reading. Note the director’s father, Walter Huston, in an uncredited brief appearance as Captain Jacobi. Jerome Cowan, who appears briefly as Miles Archer, plays the prosecuting attorney who tries to prove that Kris Kringle is not Santa Claus in “Miracle on 34th Street.”

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Based on a book Classic Crime Thriller
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