E.R. Torre's Blog, page 4

Football…

Today, Sunday the 7th, marks the 18th and last week of the regular season of Football and the final game (I don’t believe there is a Monday night game, no?) of the season which will be aired features my Miami Dolphins against the Buffalo Bills, starting at 8:20pm Eastern time.

The Dolphins are already in the post-season but the Buffalo Bills need to win this game to get into the post-season and I expect they’re come in and play as hard as they can.

My Dolphins have been such a roller coaster of a team to watch. When they’re good they’re so damn good but when they’re bad…

Part of it has to do with the amount of injuries the team has sustained. It has been, frankly, ridiculous. There was also at least one game, the one they played against the Philadelphia Eagles, where the referees and the penalties they laid out (all against the Dolphins, none against the Eagles) that was IMHO very questionable.

Understand: I’ve been watching Football since the early 1980’s. There are going to be games where calls go against you and there are going to be games where you get the calls. I get that.

But that was the first game where I have to say I think the Refs were blind to the actions of one team.

Either way, it happened and its done and now we’ve got this one game to either show we’re tough against the “hard” teams (that’s been the story it seems all year: We take care of the “weak” teams but have trouble against the “good” ones).

Let’s see what happens…

Please let karma be real…

…because after the last two weeks, I’m in need of some good stuff happening.

First though: Sorry for the dearth of posts. It’s been unreal how busy I’ve been the last few weeks and, in particular the last couple of weeks starting from just before Christmas. I’ll get to that in a moment.

But its just been unreal busy for me. I’ve finished up the 4th draft of my latest novel and finally feel like I’m seeing the proverbial light at the end of the tunnel. The novel is solid and feels like what I was hoping it would be.

There is a second work I’m involved in though that one features less of a day to day input on my part. The hardest stuff I’ve already done and when I do work on it, it’s after my partner has done his part. Don’t mean to sound all cryptic about it but when the time approaches, I’ll give more information.

Suffice to say, I believe in the first half of this new year there will be not one but two pretty cool works released, my latest novel and the first part of this secondary project.

Now then, what happened from just before Christmas:

I have another job (yet another) and this one decided to take the proverbial shit in the bed the Thursday before I was heading out to see my daughter in another state.

I got a call at 1:00 am that Thursday super early in the morning of a strange power failure. I headed out there and spent from 1:30 am to 12 noon dealing with electrical issues. In time I finally found out that a transformer a building over had blown and caused a power failure through 1/2 our building… as well as the other buildings on the block.

Our power company sure did take its time time finally arrive by close to noon and work on it and get things going again. But in our building, the elevator was out and I had to call the elevator company to get it rebooted… even as I discovered one of our employees had gotten themselves trapped in the elevator (thank the gods it wasn’t a client…!).

Thinking that was it, I finally headed home.

Morgan Freeman voice: That wasn’t it.

For the next week plus while on “vacation” I was literally on the phone each day dealing with the repercussions of this transformer’s failure. Our phone system? Half-fried. Our internet modem? Fried as well.

From a distance I made calls and dealt with all those problems plus the fact that we were at the cusp of Christmas and finding people to fix these problems, I feared, would be really hard.

So now another week passes and finally I had one day without having to call the business. Then another.

My daughter, who was sick the week before, started feeling better. Then, just as we were about to fly out and back home, she took a turn for the worse.

So bad she wanted to stay at her house and have us take a taxi or Uber to the airport.

However, it was too late for either and I drove us there with the intention of letting her rest then she could drive her car back home. We get to the airport and she’s feeling really bad. So bad that we tell her to immediately go to Urgent Care to get looked at.

She takes off and for the next hour plus we’re seriously considering having one of us turn around, not take the flight back home, and go taxi ourselves to the Urgent Care.

My daughter, it turned out, had Influenza. We think she was first sick with a cold, got better, then somehow caught the influenza.

Urgent Care gave her fluids and drugs and sent her home and we flew back, not totally content with the situation but knowing we had to get back to deal with our home, pets, and jobs.

This was December 31st.

We get home and I’m exhausted.

I think its just exhaustion from dealing with the problems due to the transformer blowing throughout my “vacation” and then the last minute issues with my daughter.

It turned out to be something else.

I caught the influenza from my daughter. And I was really, really freaking sick from it. Like barely-able-to-get-out-of-the-bed sick. But I had to. You see, there were still things to be dealt with regarding that blown transformer and burnt out equipment…!

I, like my wife, was vaccinated for the flu but I think the stress of dealing with all this shit got to me and on Monday the 1st of January I was feeling bad and by Tuesday even worse. That day it was my turn to go to Urgent Care and get medications.

Today, Sunday the 7th, I feel like I’m over most of it.

As I said above, I hope there is such a thing as karma because truly I could not have ended 2023 and entered 2024 in too much worse shape than I have.

Let’s see if the rest of 2024 treats me a little kinder…!

Otherwise, let me very belatedly say: Hope everyone has had a great holiday and New Years!

No such luck for me but c’est la vie!

Superhero fatigue…?

Last Friday the latest Marvel Comics Universe film, The Marvels, was released and its opening box office numbers were, to put it kindly, quite abysmal.

I wasn’t shocked, frankly.

This is the 33rd MCU film and while the movies released recently haven’t had the super (pardon the pun) success of the films released during the MCU’s golden age, neither did they appear to be “flops”. That seems to have changed with this film.

There are those who say it isn’t about superhero fatigue but I’m firmly of the belief it is just that.

Of late, the DC movies, including Black Adam, The Flash, and Shazam! Fury of the Gods didn’t have spectacular box office numbers. I found it interesting how many comic book nerds (of which I am one!) gloated that the DCU films were such a dumpster fire and how they were doing so badly… yet The Marvels has underperformed even those films.

Which brings me back to the idea there may be some kind of superhero fatigue going on.

Let’s face it, the movie industry is still trying to get its legs. COVID really messed up the way movies were both made and released and once people got used to not going to theaters and seeing things via streaming and in the comfort of their homes, things certainly had at least the possibility of changing.

I’ve noted this before: The older I get the more I realize just how things can change and radically from one moment to the other. I’ve lived through many different music eras and have seen styles come and go -and return! I’ve also seen how the digital industry has changed my own shopping habits. Things change and sometimes we do not go back to how it was before.

The MCU films have been a truly staggering success. A lot of money has been made since Iron Man was first released in 2008 and the success of superhero films has been something a comic book fan like myself has enjoyed.

However, even a comic book fan like myself can get tired of things… especially when it feels like we’re getting retreads of concepts and stories.

Frankly, I’ve been bored with the MCU since the dual release of the first Dr. Strange film as well as the first Guardians of the Galaxy. The later was a huge success but when I saw the film it didn’t work for me at all. Dr. Strange, I felt, was little more than a reworked Iron Man, only with magic instead of the Military Industrial Complex.

And shock yourself: I have yet to see the final two Avengers films.

This is coming from someone who feels Captain America: The Winter Soldier is my second favorite superhero film of all time. (To those curious, my favorite remains the Richard Donner/Christopher Reeve Superman)

Now, I do wonder if maybe things can turn around and people give these types of movies another go. There’s no reason to think they don’t but I do feel like maybe it’s time to stomp on the brakes a little and perhaps not flood the market with so much superhero stuff, both in movies and on TV.

Either way, it is what it is and it wouldn’t surprise me if a few months down the road Hollywood discovers something else that’s a big success for them… not unlike the recent Barbie and Oppenheimer releases.

Now and Then… Redux

Shortly after posting my thoughts on The Beatles release of “Now and Then”, I came across this curious article by Russell Root and published on Salon.com:

“Now and Then” is a beautiful Fab Four reunion. Too bad it’s not a Beatles song

The crux of Mr. Root’s argument is…

…the song lacks the real-time collaboration that defined the Beatles’ style, despite the deliberate attempt to include all four members on the track. The drive to finish this song seems to have been spearheaded by McCartney.

Further:

Sonically, the song bears much more resemblance to recent Paul McCartney works than to other pieces from the Beatles’ repertoire. The song’s jaunty rhythm, guided by heavy piano and acoustic guitar, would fit much better on McCartney’s 2018 “Egypt Station” than on any Beatles album.

Mr. Root then compares “Now and Then” with “Real Love” and “Free as a Bird”, the previous two songs McCartney/Harrison/Starr finished up from Lennon’s demos:

Unlike “Now and Then,” however, the studio versions of (“Free as a Bird” and “Real Love”) stay truer to both the original demos and the Beatles’ own sound. Neither “Free as a Bird” nor “Real Love” tamper with the structure of Lennon’s original compositions, as the only real changes to the songs themselves are finishing touches to some incomplete lyrics in the chorus of “Free as a Bird.”

Hmmmmm….

I have to admit, I’m rather confused by Mr. Root’s argument. He’s saying that because “Free as a Bird” and “Real Love” remained closer to Lennon’s demo they are therefore more like “real” Beatles songs? Further, the fact that Paul McCartney seemed to be the force behind the release of “Now and Then” and obviously worked on it more than the other two songs therefore it’s more of a… I don’t know? More of a McCartney song (modern vintage) versus a Beatles song?

Of the three demos given to McCartney by Yoko Ono to work on, clearly “Now and Then” was the one that was in the “roughest” shape. Had it not been, I strongly suspect it would have appeared on one of the Anthology Albums, where it was originally intended to go. As it was, “Free as a Bird” and “Real Love” were the songs that technology allowed at the time for the then three remaining Beatles to work on and finish up while “Now and Then” had to be put aside.

In listening to the John Lennon demo (which can be found on YouTube though I believe it is being knocked out wherever found) I very much hear a “rougher” version of the “Now and Then” we eventually got, for good or ill. Yes, there are flourishes in it that weren’t in the demo and I know at this point in time, with both Lennon and Harrison having passed, it was very likely worked on more by McCartney than anyone else but, again, it was a very rough work and someone had to do that. My understanding is that Ringo had to be convinced to come in and do some drum work, so clearly of the two Beatles left things had to fall more to McCartney.

In the demo, Lennon at times sings gibberish words, an obvious placeholder for later on when he would try to come up with “proper” lyrics. Obviously he never got to that point and unless this song was released with the gibberish placeholder lyrics and/or a seance managed to get Lennon and Harrison to work on it from the beyond, someone had to be there to fix it up, no? And why not McCartney?

Which brings us to Mr. Root’s complaint that this is more of a Paul McCartney work.

I don’t know Mr. Root’s age. I don’t know how much he knows about The Beatles so I’ll give him the benefit of the doubt here: The Beatles worked both as a collaborative band as well as individual artists on their songs.

For example, one of The Beatles most famous songs, “Yesterday” was created and recorded entirely by Paul McCartney. No other member of the band was involved in its making or recording… perhaps other than sitting around while it was being made. There are no Ringo drums nor any Lennon or Harrison guitars. McCartney plays the acoustic guitar and an Orchestra -led by producer George Martin, I suspect- backs him up.

Similarly, “The Ballad of John and Yoko” was recorded solely with Lennon and McCartney present. Neither George Harrison nor Ringo Starr were involved in that song. It, like “Yesterday” is still listed as a Beatles song even though not every Beatle was involved.

And get this: The most streamed Beatles song ever, the George Harrison composition “Here Comes The Sun”, perhaps the pinnacle of Harrison’s musical output (though one could argue “While My Guitar Gently Sleeps” is damn near) was recorded without John Lennon’s participation.

Yes kids, “Here Comes The Sun” featured George Harrison, Paul McCartney, and Ringo Starr but, because he was recovering from a car crash, no John Lennon.

Yet it too, like the others I mention above, is very much a Beatles song.

I’ve written a lot here and I’m wondering why at this point.

If you don’t feel “Now and Then” is a “proper” Beatles song, so be it… but at least come up with a reason that doesn’t feel like you’re upset because there’s too much –gasp!– McCartney in the song -as if he’s somehow not a “real” Beatles bandmate- and not enough of everyone else.

To me, all three post-breakup Beatles songs taken from Lennon’s demos are interesting curios. I don’t feel any of them are as “strong” as the best of the Beatles stuff but neither do I feel they are failures.

It’s incredibly hard to go back to your most successful era of creativity and knock out stuff that sounds like that but neither do I feel the remaining Beatles did themselves a disservice going back to these Lennon demos and “finishing them up”.

Or, to put it another way… lighten up, my man!

Now and Then and The Beatles…

Officially released a few days ago, the song “Now and Then” is reportedly the last Beatles song…

The song is a melancholy affair and the video, depending on the version you see, is either filled with footage from all Beatles eras or a more Pepper-esq piece.

It’s been interesting seeing/reading the reactions from people, most of which consists of tears and nostalgia as well as a realization that this song’s release is both a monumental accomplishment… and a final one.

While the song started as a John Lennon rough demo created in 1977, well after The Beatles split up, back when the three Anthology albums were released, an attempt was made to make it a proper song not unlike “Free as a Bird” and “Real Love”. Those two songs were also demos John Lennon created but wasn’t able to fashion into a “complete” work and were given to the remaining Beatles, Paul McCartney, George Harrison, and Ringo Starr, to complete.

But “Real Love”, at least back then, was simply in too rough a shape, apparently, to make into a proper release. Supposedly George Harrison ultimately had the others to reject it and that was that…

…until years later and thanks to A.I. programming used by Peter Jackson to take all the Get Back footage and fix it up to make it usable.

Welp, that same program allowed Jackson to isolate John Lennon’s voice in the “Now and Then” demo and that, in turn, allowed the remaining Beatles, McCartney and Starr, to finally finish off the song. I believe there is some Harrison work in this new song, but I’ve also heard that Paul McCartney emulated Harrison’s style of guitar playing so I don’t know how much of Harrison is there in the end (no pun intended).

There’s a further interesting bit of history here: It has been reported, many years before McCartney would receive this demo, that the last time he saw John Lennon the very last thing he said to him was “Think of me every now and then, old friend.”

…chills…

So, yeah, there’s considerable emotional baggage tied into this song and it spills over to the fans and… it’s a wonderful thing, in my opinion.

Paul McCartney is 81 years old now. Ringo Starr is 83.

We won’t have these icons of music around much longer and its wonderful to get another sample of their genius, even if it is via a project that was not originally created as a Beatles work.

Dead Reckoning (1947) an (insanely belated) review

Film noir arguably first began with features released in the 1930’s. Influenced at least visually by the stark -and very stylish!- black and white imagery coming out of some of the great German films, one could look at Fritz Lang’s M (1931) as a prototype of what became the film noir crime feature. The US remake of the film, released in 1951 and also titled M, was a surprisingly good remake and if one doesn’t consider the Lang film noir, there is little doubt the American version is noir through and through.

One of the biggest stars of the noir movement is Humphrey Bogart. He would appear in several noir films, perhaps most famous of them being The Maltese Falcon (1941). Dead Reckoning is another fascinating Bogart starring noir and feels an awful lot like a lighter version of The Big Sleep (1946), which starred Bogart and Lauren Bacall and which was released the year before Dead Reckoning.

The Big Sleep was based on Raymond Chandler’s classic first Phillip Marlowe novel and benefitted tremendously from the charisma between the two stars (who would marry). Dead Reckoning, unfortunately, doesn’t have quite that literary backbone to prop it’s story up and while I thought Lizabeth Scott did a great job as the love interest/possible femme fatale (a role very similar to that of Bacall’s in The Big Sleep). In fact, so similar is Scott to Bacall that there’s at least one sequence where she’s dressed so similarly to something I recall seeing Bacall in that I actually thought they snuck her into the movie somehow…!

Anyway, this would be Scott’s first “big” role and she did well with it. Bogie was also quite good and displayed his usual charisma… though I admit it felt like he wasn’t doing too much heavy lifting in the role. He did well but it wasn’t Bogie in Casablanca or The Big Sleep or The Maltese Falcon… but it was Bogie and that alone is sometimes good enough!

The story? Bogie and an army buddy are escorted post haste following the end of WWII from their hospital (they were injured in combat but to look at both of them they seem mighty healthy to me!) to receive a Congressional Medal of Honor. Bogie says it was all his partner’s actions and that he was just there for the ride, but when his partner realizes he will be photographed and become a media darling, he bails.

Bogie searches for him and tries to unravel the mystery of why his friend would suddenly want to disappear from the face of the earth and that leads him to his partner’s real name and home town… and a mysterious murder which he may have committed and an old flame (guess who) who may or may not hold secrets of her own along with a casino owner who has ties with then modern (now old time) mobsters.

What secrets will Bogie uncover and whodunnit?

Watch and find out!

Anyway, I recommend the film to anyone interested in delving into 40’s era film noir. It’s a decent film that certainly tries hard to fit into the Chandler mode and, while it doesn’t quite reach that lofty level, it is an entertaining work.

Yes indeed.

…Yep…

Ok, I can’t stop there. But to talk more about this film I’m going to have to get into SPOILERS so… you’ve been warned!

Still there?

Ok, here goes.

Sometimes it feels like the writer in me is ruining all manner of entertainment that involves a story being told. For example, when I reviewed Indiana Jones and the Dial of Destiny a few days back, I noted that the film felt like it had a story that was being worked on as the film was being made. How else to explain odd bits like Antonio Banderas in what amounts to an almost wordless cameo role and one of the main characters seeming to be originally written as perhaps a femme fatale (just scroll to the previous review and it will all be clear!).

Watching Dead Reckoning, I felt those same issues rearing their head.

Again, I enjoyed the film and felt it was worth recommending even though it felt like the film’s makers were endeavoring to imitate a Raymond Chandler type story and not quite hitting the mark.

The story, as I noted, involves Bogie and his partner being transported like royalty to Washington to receive, they find along the way, a Congressional Medal of Honor for their valor in the battlefield. Bogie’s partner bails because clearly he does not want his face all over the papers and Bogie becomes a detective and pursues his friend, whom he finds had an alias and might have been responsible for a murder in his hometown and before he enlisted and got away from the U.S.

This is all interesting stuff but the main point of the film is to get Bogie and Scott together. Scott’s character, it turns out, was the man’s girlfriend. He loved her but she reveals that she liked him quite a bit but never loved him. She was also married to the man who Bogie’s partner supposedly murdered…!

Anyway, the film introduces us to a few characters, including a casino owner with mob ties and his henchman as well as a Police Detective who is always one step behind Bogie.

But the crux of the movie’s plot is the question of whether Scott’s character is a “good girl” or secretly a “femme fatale”.

Based on the way the film unfolded, I felt those behind the cameras ultimately flipped a coin here and there to alternately make her good and then make her bad.

The fact is the film has no real good logic about Scott’s character. When first introduced Bogie is highly suspicious of her and is constantly “testing” her to see if she is good or bad. She seems to pass the tests… that is until something happens that arouses Bogie’s suspicions and we’re off to the next set piece.

Unfortunately, the film builds up the idea that Bogie has unjustly -and ultimately- accused her of being bad and to “prove” she isn’t, Bogie insists she call the police and tell them what really happened a few years back with her husband’s death. She tearfully picks up the phone, calls the police, and is about to make her confession when Bogie hangs the phone up.

He says something to the effect that he had to push her to the limits to prove she was good.

Only problem is that the film still has some fifteen to twenty minutes to go and we wind up (I told you there were SPOILERS!) find out that Bogie as a detective is pretty bad because she is indeed a femme fatale and -holy whiplash!- proves it in the movie’s final minutes when she takes out the casino owner while thinking it is Bogie’s character.

Her comeuppance is a car crash that leaves her on the verge of dying but still looking awfully beautiful in bed. Bogie gets to see her that one last time and says nice things to her as she passes away.

Again, though, the writer in me felt the conclusion was almost tacked on… that there was never a real commitment to making her good or bad and it almost seemed like a random choice to ultimately make her bad. Which, as I stated, made Bogie’s big scene where he discovers she’s supposedly “good” make him look like an idiot.

It is what it is…!

Oh, and one very fascinating thing about this 1947 film: Bogie’s character is a paratrooper and he talks about saying “Geronimo” before jumping out of the airplane.

The other characters in the film are oblivious to this term and I found it incredibly fascinating that at this point in time, again 1947, the “Geronimo” followed by jumping out of an airplane was something seemingly not known by the general public.

Perhaps this movie was the one that made the public aware of this?

I wonder.

Indiana Jones and the Dial of Destiny (2023) a (mildly) belated review…

First, sorry for the dearth of posts. Been incredibly busy of late with all kinds of things and, if I’m being honest here, I don’t know if in the next few months I’ll be able to post like I did when I was really cooking. I’ll keep trying, though…!

Now, on to the latest, and we have to assume last, Indiana Jones film featuring Harrison Ford. Here’s the movie’s trailer:

When it was announced Harrison Ford would return one more time to play what is probably his most iconic role (even above his Han Solo from Star Wars, IMHO of course!) there was excitement, at least from me.

I still recall going to see the original Raiders Of The Lost Ark (before it was retitled to Indiana Jones and the Raiders of the Lost Ark) back when it was originally released back in 1981. It’s hard to recall today, but both Harrison Ford and director Steve Spielberg were not the icons they would become. I firmly believe this movie made Harrison Ford an upper tier actor, which he held for decades and, it seems, only now in his twilight years is relinquishing.

But Steven Spielberg, also, wasn’t as huge a name at that time, either. Sure, he had the hit releases in Jaws and Close Encounters of the Third Kind, but he had just released 1941 which was a box office and critical failure. But the release of Raiders, followed by the mega-hit E.T. The Extra-Terrestial the next year, erased any worry he might be a flash in the pan.

There were three Indiana Jones films that followed the first, and in my opinion none of them were as good as the original. Temple of Doom proved too grim and claustrophobic. The Last Crusade is beloved by many fans but though I feel it has some great sequences, I can’t say I like it as much as others do. Still, I feel it is the second best of the Indiana Jones films, and that includes the one I’m about to talk about. The Kingdom of the Crystal Skulls I felt also had some really good sequences but boy did it have issues with its concluding act. Audiences, however, seemed really turned off by it and, especially, the infamous “nuking the fridge” sequence in the opening act.

Which brings us to Dial of Destiny. Steven Spielberg, who perhaps after four Indiana Jones films had had enough of that particular genre, bowed out and for the first time someone else directing an Indiana Jones film: James Mangold. He’s been a generally good director in my opinion, with some of his most recent films being Ford vs. Ferrari and Logan.

At the very least, and given the theme of Logan dealing with an hero dealing with his twilight years, it appeared the franchise was in good enough hands.

I wanted to see Dial of Destiny in theaters when it was released and even after some of the early reviews were mixed. But, as is unfortunately too usual these days, I simply didn’t find the time to see the film. The film wound up doing very badly at the box office and was one of the bigger flops of the year.

Reviews were generally mixed, as they were early on. There were those who liked the film quite a bit and felt it was a good conclusion to the Indiana Jones saga even though Last Crusade and Crystal Skulls both attempted to be concluding stories. Hell, Last Crusade even had Indiana Jones and his father (played by Sean Connery) quite literally riding off into the sunset!

So, finally, let’s get to Dial of Destiny…

I’ll try not to get into too many SPOILERS but there will be a few here and there and I’ll try to point them out as best as I can.

The movie begins with an extended sequence featuring a younger Indiana Jones on a mission behind Nazi lines. The “de-aging” of Harrison Ford is pretty good for most of the sequences but not spectacular. Hollywood is getting better at the process but there’s still improvement to be made.

The sequence is ok but watching the CGI action effects makes me realize how much I miss the practical effects presented in Raiders. Unfortunately, using these CGI effects seems to make directors go “bolder” with the action sequences but frankly they become cartoonish and not very believable. There’s a bit with Indy riding a motorcycle where this was a little too obvious. There clearly was no motorcycle, no actual Harrison Ford, and the scenery around them was also CGI.

It’s becoming tougher for me to be invested in these action scenes when they’re so clearly computer generated bits.

Anyway, we’re introduced to Indy’s partner Basil Shaw and the two are seeking to retrieve the legendary Spear of Destiny (not to be confused with the Dial of Destiny) which Hitler feels has some mystical power which will, in these waning days of WWII, lead to victory.

In the course of trying to retrieve this relic, Indy and Shaw realize the relic is fake but there is a very real one -or rather one-half of one- among the looted goods: The Dial of Destiny. Another character, Dr. Voller (Mads Mikkelsen), also realizes this is the real deal but at the end of the sequence, Indy and Shaw have the device and we fast forward to…

New York, 1969.

A very old Indiana Jones (Harrison Ford was around 79 when filming this movie. He is now 81) awakens to find the news of the first Moon landing but he doesn’t care all that much. He’s grumpy and his life is apparently unwinding as we get a glimpse of divorce papers between Marion and he.

He goes to the University for his final lecture before retiring and there a mysterious woman seems to know much of the material he’s lecturing. She also knows about the Dial of Destiny and its maker, Archemides.

Indy heads to a bar after the retirement party, not too keen about his stage in life, and the mystery woman shows up. She states she’s Helena Shaw, daughter of his one-time partner Basil. She also states that she wants to find where Indy and her father threw away the half of the device, which she states they did in a river shortly after they recovered it.

This part of the film, I have to say, shows me that the movie’s script was a work in progress and I‘ll get into that in a moment.

The bottom line is that Indy and Helena wind up forming a very uneasy alliance and travel around the world in search of the second half of the Dial of Destiny while on the run from Dr. Voller, who is still around and determined to get the device.

What does he seek? Is Helena good or bad? Will Indy triumph in the end?

Well, what do you think?!

What we have her is a decent enough action film that unfortunately and as I stated above relies on perhaps too many CGI stunts that simply look like in the real world they could never work.

But the movie’s biggest flaw is that I’m convinced the film was being worked on from a story standpoint up to the very end.

How else to explain the appearance of Antonio Banderas in a role that, frankly, any other actor could have done? He literally has five minutes of screen time and barely says anything memorable before he’s gone. Mads Mikkelson’s Dr. Voller is about as one note as you can get. He is this understated villain who is simply there and never gets any powerful scene to strut his stuff, so to speak.

But perhaps the biggest artifact to find which proves the story was a work in progress is the character of Helena.

When first introduced and as I mentioned above, she tells Indy about how they tossed Dial into a river and Indy asks her if she remembers the last time they were together. I’m convinced at one point Helena’s character was a fake and not the real Helena Shaw and Indy’s question -and a subsequent flashback- proves that she wasn’t the daughter. Shaw’s daughter would know the Dial of Destiny was in her father’s possession well after the war and not thrown away into any river at War’s end.

Therefore, I feel her character was originally a cohort of Dr. Voller but the decision was made to make her a rascal rather than an outright villain and someone who would eventually go over to the side of good.

Anyway, it is what it is. Dial of Destiny is far from terrible but, unfortunately, not much more than decent. I recommend it with reservations but do feel most Indy fans will have a good time with the movie.

I will say this much, though: The final sequence was very sweet and a good way to say goodbye to this movie hero.

Barbie and Oppenheimer (2023)

It’s something of a relief, in a time where it seems all films are either underperforming or outright bombing, that these two films are doing gangbusters in their release.

I have yet to see either of them and have to admit Oppenheimer doesn’t intrigue me all that much… though I am a fan of Christopher Nolan’s movies, but Barbie, at least based on the trailers, sure does look like a blast.

Either way and after potentially bigger releases like Flash, Indiana Jones and the Dial of Destiny, and, yes, the latest Mission: Impossible film seem to have weak openings/legs, its nice to finally get a pair of movies released that seem to have caught the attention of movie goers. This feels like a pre-COVID release box office and its a nice thing to see.

Oh Donald…

Yesterday Special Counsel Jack Smith unveiled his case against Donald Trump for the events leading to, and following, the January 6th insurrection.

This is pretty big deal and it feels like all the major investigations into Trump and his various activities are coming to a head. He’s got cases in Florida, now in Washington, and it appears he’ll be facing indictments in Georgia as well.

…and yet there are still a vocal minority, perhaps some 30% of the country, that would still vote for this man and at least so far he’s leading the Republican field for the nomination to run for President.

As John Lennon sang… strange days indeed.

Mission: Impossible – Dead Reckoning Part 1 (2023), a (right on time) review

Released this past weekend, Mission: Impossible – Dead Reckoning Part 1 is the latest in the Tom Cruise-starring Mission: Impossible films, the first of which was released way back in 1996. The franchise remains quite healthy and, if anything, seems to be finding its proper niche in the world of your James Bond-Ian type films.

Here’s the movie’s trailer:

I’m a fan of the series for the most part and have enjoyed almost all the releases, including this one. It is a slickly made film that never seems to slow down but like some of the other features, it works best when you put your mind into neutral and simply accept what’s being played before you and enjoy the earnestness -and at times hair-raising stunts- Tom Cruise does.

Despite a strong ensemble cast, Cruise as Ethan Hunt is the show… usually… in each of these movie but often we’re given some great scenes with the other actors. Alas, in the case of Dead Reckoning Part 1, unfortunately Rebecca Ferguson, Ving Rahmes, Vanessa Kirby, and Simon Pegg this time around don’t have a ton of stuff to do. Perhaps Ms. Ferguson fares the best and Simon Pegg the worst (while he gets one exciting scene early on in an airport -no spoilers- he’s otherwise doing not all that much but following Hunt around).

Someone who does get to appear before the camera quite a bit is newcomer to the series Haley Atwell as Grace, a master thief that has gotten in over her head and whom Ethan Hunt is constantly after.

The movie is long, clocking in at two hours and forty three minutes, but the plot is, alas, somewhat underwhelming.

In the movie’s opening minutes we follow a Russian submarine on what will turn out to be its last run. It carries within it a sophisticated artificial intelligence program activated by a pair of interlocking keys. Something goes very wrong and the submarine is sunk and, a short time later, it appears the artificial intelligence is all over the world and is intent on getting the interlocking keys… along with seemingly all intelligence agencies.

Here’s the bad: After we get this setup, the movie goes from scene to scene as Hunt and his team -but mostly Hunt and Grace- get the key, lose the key, lose each other, find each other, get the key and lose the key again, and on and on to the end.

It pains me to say this but that’s what this film boils down to: Who has the key and what crazy ass stunt does Ethan Hunt have to do to try to get it back.

Again, though: At least there’s a great deal of skill in the telling of this admittedly undernourished story and things are exciting as they progress but you’ll forgive me if I’m not as impressed with the story as I wanted to be.

As a writer, and one who has dealt with the idea of artificial intelligence, perhaps I’m a little down on this because I’ve been there and done that, but it feels like the meat of the story was being held back for Dead Reckoning Part 2, which hopefully gets done soon. I don’t know how the current SAG writers and actors strike will impact the making of this film but I imagine like many other works out there, even those in mid-production, they will shut down until those issues are resolved.

Either way, I still recommend this film. It’s a fun, at times preposterous action/adventure film which will entertain you… provided you don’t think to hard about how little plot there actually is.

So, recommended.

I do have a couple of ideas as to where the next film might go and, for the heck of it, I’ll get into them. I could be totally off but here come my thoughts.

After, of course, some…

MAJOR SPOILERS FOLLOW

Mission: Impossible – Dead Reckoning Part 1, as I mentioned above, involves the hunt for a key that supposedly will unlock a powerful artificial intelligence computer within a sunken Russian submarine.

The thing that struck me, however, was that it appeared the artificial intelligence was behind the attack on the submarine itself, which resulted in its sinking.

However, we come to find the A.I. is already spread out through the world and doing all kinds of things, including trying to find that key and a way into the submarine’s computer programming. It is stated this is so that it can get the main programming, I guess, which might deactivate it.

Or does it?

I couldn’t help but think, once the film was done, that the whole attack on the submarine didn’t make a whole lot of sense. Why attack itself? And why do so in such a half-assed way that resulted in the sub -and the program- being potentially intact on the sea floor and ready to be recovered? How exactly did the keys get recovered from the bodies of the submariners and how did they get split up to where two different parties had them (this too is explained in the course of the film… the bodies somehow left the sub and floated to the surface/ice and were there and recovered afterwards).

It just… I dunno. It doesn’t make a lot of sense to me. That the submarine could be knocked out in such a way that the bodies got out so nicely?

If the screenwriters leave it at that, it will leave me with some rather massive things to simply accept.

However… what if there are two artificial intelligence programs out there, fighting against each other? Perhaps one is a United States A.I., the other the Russian one.

What if one of the A.I.s was the one that sabotaged the Russian submarine and got it to attack itself as shown in the opening minutes of the film? What if the other A.I. was the one that managed to get the corpses out, so that its masters could retrieve the key… and then fight off the other A.I. that was responsible for the attack?

I’m obviously just spitballing here but that would be a fascinating twist to find in the second film… if it is something that’s coming.

We’ll see!