Archive for June, 2022

rambling

Thursday, June 23rd, 2022

Just realized today’s three months since my dad’s gone. Coincidentally, for the last couple of nights I’ve had dreams where he was and we talked. Nothing special, the kind of everyday stuff when I visited my parents, except in one where they wanted to sell the house. I didn’t want them to sell the house. I think I’m afraid my mom might want to sell the house at some point, I was gutted when they sold my grandpa’s house in Spain a few years back, I keep dreaming of buying it back some day. I’m very attached to things I guess. Anyway in the haze of semi-wakeness, where the dream continues but it starts to break down because I know it’s a dream… I was glad I could see him again.

Mini-review: a double feature

Monday, June 20th, 2022

Here’s something for a change: Yesterday’s movie yield was a double feature 😎

(mild spoilers ahead)

Let’s start with Tenet: I finally saw it after noticing that it had landed on HBOMax. I went into it without knowing anything more than it being about a cop and some kind of time travel… I liked it a lot, and that feeling was from the get go, not from analyzing it afterwards, and it makes it probably my favorite Nolan flick after Inception. I liked the twist on time travel and the way it goes about narration, reminded me of Memento in several ways. (Incidentally, it also completely ruins one of my WIPs called Tempus Fugit that had very similar time travel elements with a cop investigating crimes then traveling in time and realizing it was him doing it, leading to interesting confrontations, thank you so much Nolan for showing me I’m not that original…) It’s well thought and runs on other proven time travel tropes that tie everything together neatly, and of course being a Nolan movie the cinematography and SFX are exceptional.

Later that day, I had scheduled a showing of Everything Everywhere All At Once: I also went in blind, only knowing it was a comedy with multiverse stuff and it had Michelle Yeoh in it. This thing is absolutely bonkers, I loved it. It’s fresh, full of inventiveness and so well written, it’s hilarious and it’s emotional, and it’s also so profoundly human at its core, putting its characters first and letting them deal with the increasing absurdities of the premise. It’s a breath of fresh air and what cinema always aspired to be: a mirror, a dream, a glimpse of magic, a window through which we watch reflections of ourselves do what we can’t… Pure joy.

It’s funny that I ended up seeing both of those on the same day because they’re so diametrically opposed, and somewhat complementary, visions of sci-fi. Both deal with EOTWAWKI but one is frantically world-spanning, serious and heavy with big speeches and moral conflicts and secret organizations, while the other remains centered around a single family that doesn’t quite know how it got into this mess but just rolls with it. One deals with humanity as a whole, more a concept that needs to be saved than actual people (Kat and her son excepted, I suppose, giving the Protagonist a moral anchor of sorts), while the other deals with the human, bending genres to play with more intimate themes so universal that anyone can relate: the greener grass just beyond one’s grasp, the roads not taken, regrets, and love. And, for some reason, hot dogs and googly eyes.

Yesterday was a very good day.

Mini-review: Top Gun: Maverick (2022)

Wednesday, June 8th, 2022

This review contains spoilers

Oh boy, that was a ride, and a fun one.

Of course, I had to see it because, hello, it’s got planes in it so that was a given, but I will admit I was intrigued by the number of positive reviews before I went. And I can say, this is absolutely the most unlikely case of a sequel being better than the original that I could ever have expected. The story’s tighter, the action scenes are spectacular, the characters are well developed and distinctive enough from each other… I would also say that it’s definitely one of these movies where it’s really worth watching it in theaters if you can, because the editing and photography are top notch.

The main draw of course is that the planes are real, and it’s really the actors in them (with the exception of the F-14 obviously). The enemy is unnamed, and probably the same “rogue nation” as in the first one, a mix of Soviet Russia (they have Mi-35 helos and the latest Sukhoi Su-57 fighters) and Iran (they also somehow have obsolete F-14s… and an “unsanctioned” nuclear program). The flight scenes are visceral, and you can see the Gs pile up on the actors’ faces in a way no CGI could reproduce. They used real F/A-18s and the actors had to learn to manage their own camera setup for flight scenes! The main action set piece is pretty much the Death Star run on Earth and it’s TENSE. It really works, to the extent you completely forget they’re pretty much starting a war as the “rogue country” hasn’t attacked the US at any point. But then again, they did that in the first one too…

Story-wise, you really have to give it up to Cruise for managing to play the same character convincingly some 35 years after the first film… But the emotional weight and really for me what made the story work, is Val Kilmer’s cameo, reprising his role as Tom “Iceman” Kazansky. The character’s only there for two scenes and it’s really heartbreaking to see his ordeal knowing his illness isn’t an act (his few spoken lines are actually computer generated). I was glad to read after that unlike his character, Kilmer seems to have recovered for now. His scenes are the pivotal moment of the movie, the moment Mav finally learns to let go. The central conflict, once you understand where everyone’s coming from, is grounded and mostly believable, if you get past how old everyone is.

They lay it thick with the nostalgia bit, with an opening that’s a complete remake of the original with updated planes, and a whole lot of subtle (and not-so-subtle) nods to the first movie. Spotting those is a lot of fun.

On the disappointing side, it’s a shame that Jennifer Connelly is so underutilized as Penny, Mav’s love interest. It feels like there was a whole lot of backstory or moments that stayed on the cutting room floor. She’s such a fine actress and she and Cruise have the right sort of chemistry together for it to work, but she’s just in the background.

As Cruise said, TGM is a love letter to aviation. It’s also a recruitment piece for naval aviation, we can’t ignore that, but it’s interesting because it doesn’t shy away from showing that, while being a fighter pilot is neat, it’s also fraught with danger, and not just from enemy fire: equipment failure, bird strikes, blackouts, these folks take off knowing there’s a chance they won’t come back. But it’s all worth it, because cloud dancing is the only thing that counts.

As an aviation nerd, will definitely see it again. 4.5/5