PREVIEW: Cowboy Bebop

As part of the Michigan Theater’s Late Nights Series, Cowboy Bebop: The Movie is playing tomorrow at 10pm. The film, alternatively known as Cowboy Bebop: Knockin’ on Heaven’s Door, is set between two episodes of the 1998 anime series, though it was released in 2001 after the completion of the series. The film follows Spike Spiegel and his crew of bounty hunters as their spaceship, Bebop, land on Mars in 2071 chasing after an ex-military officer turned biological terrorist. 

Several staff members of the original series returned to work on the film, including director Shinichiro Watanabe, writer Keiko Nobumoto, character designer/animation director Toshihiro Kawamoto, composer Yoko Kanno, as well as the voice actors. The film received some mixed but generally positive reviews from critics when it premiered, with the most praise for the score. It is interesting to compare the reception to the film compared to the recent Netflix live-action series, which was helmed by different creators but did bring back Yoko Kanno. As someone who has not watched the original series, it seems that there is generally more encouragement to watch the film instead of the live-action series in order to watch a continuation of the original that actually preserves its spirit and quality. 

Tickets are on sale for Cowboy Bebop: The Movie on Friday, Jan. 7 at 10pm!

PREVIEW: Licorice Pizza

 

The trailer for Licorice Pizza is one of the best movie trailers I’ve ever seen.

I make this sweeping claim because even after watching it five or more times during the previews of Spiderman: No Way Home in theaters, I couldn’t tell you much about the movie other than it’s a coming-of-age film with a messy love story and Bradley Cooper involved. I think that’s what a good trailer does: it gives you just enough details to get you curious, while providing visuals that set the tone and era of the film. Give it a watch and let me know what you think!

I’m excited for a good story packed with messy, drama-filled teen angst. The last movie I watched that fit that bill was probably Lady Bird and I loved it. Watching these coming-of-age films can sometimes be painful – they have their cringey moments that remind me of similar cringey moments in my past – but that’s the reason why I love the experience. Nothing compares to that feeling when you read a book or listen to a song or watch a movie and something happens that makes you think “I’ve been there.”

You can catch Licorice Pizza at the Michigan Theater at various showings over the next few weeks! Get tickets here: https://secure.michtheater.org/websales/pages/info.aspx?epguid=83683564-3500-4e9a-8221-b074c769a042&evtinfo=717535~c76be4f4-22b5-4bed-a89c-7def863b8c53

Stay tuned for my attempts to figure out the meaning of the movie’s title after I watch it. Until then, please let me know if you’ve personally tried pizza with licorice on it and if you would recommend.

REVIEW: DUNE

Dune has topped the box office for the second week in a row, and its success has greenlit a sequel. Dune (part 1) is based on the first half of Dune, the first novel in a series of the same name by Frank Herbert. The film has opened to positive reviews, with praise for the scale of the film, director Denis Villeneuve’s ambition, and the technical aspects such as cinematography and score. However, some reviews argue that the film is too slow, and therefore it fails to resonate with certain audiences. 

I read Dune in anticipation of the film, and I was a little let down by the source material. I went into the film with low expectations, but I really enjoyed it. However, a lot of the criticism I have of the novel has yet to be addressed – the film is a hundred percent a set-up for Part 2, and I think its success relies heavily on how Part 2 turns out. If Part 2 is underwhelming, then I think that looking back, both parts will not be as spectacular as Part 1 seems in the present moment. 

My reasoning is that I have never been particularly drawn to the protagonist, Paul (played by Timothée Chalamet). In the novel, I found that Paul’s character was defined by the fact that he was good at everything that he needed to do, but I would have liked to see more of his struggle. Paul was raised to be a killer, so he falls under the kind of gravely-serious-assassin vibe a lot of female characters in action films possess. It makes sense that Paul would not be the most humorous character – that is not my critique at all. I believe this kind of characterization should not make Paul immune to internal conflict when considering his place in his family, as a politician, etc. In the film, Paul and his father, Duke Leto (played by Oscar Isaac) have a discussion about falling into power/it being forced upon him. This comes back to mind when considering where the position Paul ends up in at the end of the film. I am interested to see how his character is written in Part 2 as he juggles the new position, and where he is both physically and emotionally. There is a decent amount of development for several characters that needs to be furthered in Part 2, and I hope that we are able to see it come to fruition.

That being said, I am very much looking forward to Part 2 as I thought Villeneuve handled the adaptation process with an evident amount of care and grace. I am a huge fan of his work – I love Arrival, Blade Runner 2049, and Prisoners – and it was very interesting to see how he would handle something that could potentially turn into a franchise. The film did feel much bigger than his previous work and I am unsure if I feel 100% positive about that at all times, and I prefer the more concise, intimate nature of his other films, but I think Villeneuve did a truly great job at adapting Dune. He was able to fit so much plot context and world building into 2.5 hours in a way that made sense to audiences that were new to the world (as I have heard from my peers who have not read Dune). I am apprehensive about the handling of the few female characters, as their minimal role in the novels are primarily tied to bearing children despite the many facets of their characters. But, I do have a lot of faith in Villeneuve, and I am excited to see his world of Dune expand in Part 2.

PREVIEW: The French Dispatch

Wes Anderson’s distinctly colorful filmmaking makes an ambitious return to theatres with the release of The French Dispatch. Originally set for release in July of 2020, the film was postponed indefinitely due to coronavirus complications, keeping eager Wes Anderson fans on their toes. One year later, the film makes its long-awaited debut. Boasting the whimsical fast-paced storytelling and rich visual aesthetic of Anderson’s previously celebrated films such as Fantastic Mr. Fox and The Grand Budapest Hotel, The French Dispatch has the potential to become another Wes Anderson classic.

Set in a fictional French town, The French Dispatch tells the story of an American journalism outpost publishing its final travel-oriented issue. The star-studded cast that is semi-consistent throughout Wes Anderson’s films, including Bill Murray and Owen Wilson, is joined by a seemingly endless array of other recognizable names such as Timothée Chalamet and Christoph Waltz. The trailer alone speeds through various visual styles, plotlines, subplots, and complicated relationships that are hard to follow. This is to be expected of Wes Anderson’s films, as his stories move quickly by nature, but it slightly worries me. I am curious to experience how Anderson weaves together the talents with the storyline but I fear that the busy feel could deteriorate or drown out its emotional depth.

Even if the story of The French Dispatch becomes muddled and messy, the film is guaranteed to be a visual feast. About a dozen rewatches of Fantastic Mr. Fox, with its earthy warm tones that are comfortingly autumnal, have solidified my trust in his mastery of visual beauty. Wes Anderson’s signature style is defined by symmetry in every shot and childlike pastel hues that evoke a refined, nostalgic feeling, untouched by the dirtiness and complications of the real world. Every shot from his film Moonrise Kingdom feels torn from the pages of a children’s book. For his more mature films, like The Darjeeling Limited, the childlike innocence is balanced by deadpan humor and ironic violence, creating an entertaining juxtaposition. The French Dispatch seems perfectly capable of spinning all of Anderson’s favorite elements into one, building a world overflowing with picture-book nostalgia and colorful characters. From a cinematographic standpoint, it will not disappoint.

Addicted to the nostalgia and satisfying symmetry of his films, I don’t believe I can truly be let down by Wes Anderson. But, after the long wait, I pray The French Dispatch isn’t trying to accomplish too much in one go. Will The French Dispatch become overwhelmed and oversaturated by its elements, unable to fulfill the artistic prophecy it set for itself?

PREVIEW: DUNE

Dune is the newest film from Denis Villeneuve, known for Blade Runner 2049, Arrival, and Prisoners. Villeneuve is known for partnering with skilled cinematographers and populating his film with impressive visuals and sound. Judging from the trailers, it seems that Dune continues this trend. 

The film follows Paul, the son of Duke Leto Atreides. House Atreides gains control of the planet Arrakis, which is abundant in spice, the most valuable resource in the Dune universe. Tensions rise when House Harkonnen, the previous stewards of Arrakis, hears of Leto’s recent acquisition, and the situation only escalates when the Duke attempts to reach out to the Fremen, the native people of Arrakis. 

I have read the first two Dune novels in anticipation of the film. Dune is a six-book series by Frank Herbert, with the first book having been published in 1965. When reading the books now, it is evident that they were written in the 60s and perhaps more progressive for the time. However there are still lingering white savior-esque tones that underlie the Middle Eastern influences on the world building and the interactions between the Atreides and the Fremen. Furthermore, I am unimpressed with the treatment of the few female characters thus far. And while I do have faith in Villeneuve in updating the source material, I simply have never found Paul to be a particularly exciting character. In the novels, he is more so defined by the fact he suddenly becomes capable of anything and everything rather than having any sort of personality.

Ultimately, Denis Villeneuve is one of my favorite directors, and from recent interviews, it is clear that he cares very deeply for this project, encouraging audiences to see the film in theaters and contribute to the cultural experience of going to a movie theater. And although I am not the biggest fan of the source material, I am above all excited to see another film from Villeneuve and to see what he does with Dune to make it his.

Hidden Life of Trees

PREVIEW: The Hidden Life of Trees

I first picked up Peter Wohlleben’s book The Hidden Life of Trees over the summer of 2019 looking for something different to add to my summer reading selection. The book is a well-written exploration of the surprisingly complex social life of trees and forests and I couldn’t put it down. Even as someone who has spent a lot of time around trees, the notion of trees being able to “talk” to each other with such detail and depth and the concept of each forest acting as a community was surprising to me. Wohlleben did an excellent job conveying the majesty and scale of forests through the written word, but I think the big screen might be an even better medium to convey the awe they deserve.

Peter Wohlleben’s 2015 nonfiction masterpiece The Hidden Life of Trees has arrived for the big screen and will be showing this Tuesday (10/19) at 5pm at the Michigan Theater. This is currently the only showing scheduled in Ann Arbor, so grab your tickets now if you’re interested!