Movie Review – Dumbo (2019)

By: Allison UpChurch, Staff Reporter

There’s the age-old question of “if a tree falls in a forest, and there’s no one around, does it make a sound?” Today, that question can be turned into “if a baby elephant has big ears, and there’s no mother to help him grow, can he fly?” While this might seem like a weird question to ask, the latest live-action remake from the Walt Disney Company lets audiences reexperience the story of Dumbo told through the lens of filmmaker Tim Burton.

This version of Dumbo diverges significantly from its original 1941 production. In terms of Dumbo’s story arc, it stays genuinely the same as Dumbo is born to an elephant named Mrs. Jumbo who lives and performs in a circus. Then, Mrs. Jumbo and Dumbo are separated after Mrs. Jumbo causes trouble for the circus while trying to protect Dumbo from the ridicule he faces because of his big ears.

Where the overall story diverges in this new version is that Mrs. Jumbo is sold off to another circus production, and Dumbo is left behind in the care of the circus’ new elephant caretakers, Holt (played by Colin Farrell) and his two kids Milly (played by Nico Parker) and Joe (played by Finley Hobbins). It is Milly and Joe who discover that Dumbo can fly when he is given a feather, and who give Dumbo the opportunity to show his talent off to the rest of the circus. They also work to keep a promise they made to Dumbo that performing will help raise the money to buy back Mrs. Jumbo.

This movie makes a clear balance of telling a new story about Dumbo and harking back to the original through references in the songs, visuals, and dialogue. Some of these references are framed in a way so that anyone who knows the original very well can point them out, and someone who does not know the original well will not get lost all of a sudden. Some notable references include the Casey Junior train theme song playing throughout the score, pink elephants conjured up in a bubble showcase, and one particular mouse that is always dressed up in a ringmaster’s hat and red suit that harkens back to Dumbo’s original friend of Timothy Q. Mouse.

The human characters that are featured in this movie sometimes get more screen time than Dumbo himself. Characters range from zany and over the top to mellow and unexpressive - even though the sight of a flying elephant would garner some wonderous reactions from anyone. All the animal themselves and most of the landscapes and locations are constructed through CGI that sometimes blends with the practical sets; most notably in close-ups of the characters. Other times it becomes a distraction, especially in group shots or wide-angle shots where the line between real and make-believe becomes more obvious.

In trying to answer the question posed at the beginning of this article, Dumbo as a movie may not be ready to fly yet, but he is in the process of getting his feet off the ground and staying up for as long as he can.

Movie Review – Captain Marvel

By: Allison UpChurch, Staff Reporter

Captain Marvel, the latest in the Marvel Cinematic Universe lineup, bridges together introductions of new characters while also showcasing old characters and reliving a nostalgic time period of the early 90’s. Captain Marvel herself is only the second female Marvel character to have a title movie (the first was The Wasp in Ant-Man and the Wasp last year), but she and her fellow companions and rivals bring another superhero adventure to the big screen.

At the movie’s start, Captain Marvel is introduced as Vers (played by Brie Larson). She is a soldier for the militia of an alien species called the Kree, and she has no memory of her past. During a mission to stop a species of shapeshifters called the Skrulls, Vers ends up stranded on Earth in 1995 and realizes that a team of Skrulls has extracted a memory from her past that will lead them to a hyperspace weapon. To stop them, Vers teams up with SHIELD agent Nick Fury (played by Samuel L. Jackson) to get to the weapon before the Skrulls do.

The storytelling of this movie mostly gets lost in the great big mix of already established Marvel canon. Without some prior knowledge of the Kree alien species (look first into Guardians of the Galaxy) or a general familiarity to Fury, then a moviegoer can easily be confused for most of this movie. However, there is no need to be alone in that confusion as Vers herself does not know who she truly is either, so moviegoers get to go and uncover her identity in the same sympathetic manner that she does.

If a person is up to relieve the past, then there are plenty of nostalgic nods to lifestyles and brands of the 90’s that can be sure to bring delight. This movie is also not shy of taking both expected and unexpected turns with the characters and adds in that comic relief that Marvel movies are known to include. The action scenes in this movie tend to be a little too well choreographed, making the impression that the steaks are not as high as they should be, but overall those scenes are cool as Vers takes on most of those scenes by herself.

In connecting this movie with a Jesuit values that is exemplified here at Regis, Captain Marvel would be labeled under “Cura Personalis” – the care of the whole person. Vers shows the audience that it takes time to develop a true sense of identity, and that it only comes from realizing that every living thing on Earth deserves dignity with regard to mind, body, and spirit. She also goes through both supportive and deceitful relationships that lead her to the values of dignity she wants to exemplify which shows how her spirit has grown and how she turns those values into real life actions.  

Second ‘Fantastic Beasts’ Lives Up to its Fantastic Predecessor

By: Sarah Kate Dhom, Practicum Reporter

J.K. Rowling's critically acclaimed 2016 film “Fantastic Beasts and Where to Find Them” was two hours of action-packed magic as Rowling brought the mystical power of wizards and beasts to the real world. Her sequel, “Fantastic Beasts: The Crimes of Grindelwald,” is also very well done and takes place about 80 years before Harry Potter himself comes into the world. 

 Coming from the series of Harry Potter, a beloved franchise, the “Fantastic Beasts” movies have a lot to live up to. “Grindelwald” brims with battles, mythical creatures, eye-catching locations and tragedy. The movie unleashes a lot of great graphics that bring the magic to life and pulls the audience into the storytelling. It’s spellbinding, keeping the audience intrigued with different plot points and spells. 

This second movie is centered around Newt Scamander, magizoologist who studies and rescues magical creatures. Though Scamander is not a character from the Harry Potter series, he engages with several of the original series’ characters ancestors. 

Johnny Depp plays Grindelwald, an evil wizard who plans to bring dark magic into not only the wizard world but the muggle, or real world, too. Throughout the movie he recruits wizards to follow his malicious plan to take over the world. 

The opening scenes create some foreshadowing of how violent the rest of the movie will be. Grindelwald escapes from prison chaotically. It’s dark and very mysterious. This alludes to how evil Grindelwald really is. This sequel to the first Fantastic Beasts movie is much darker and action packed than its predecessor. 

The rest of the movie keeps up the excitement while incorporating the mythical creatures that Newt pulls out of his suitcase. They all have a purpose in helping Newt battle other wizards. Along with the fantastical creatures, the movie incorporates a handful of amusing characters to offset the dark, mysterious battles. These characters – including Newt’s beast, Pick, who is silly but helps Newt save the world – bring humor light to an otherwise dark movie. 

The side characters do not derail the movie, which remains well paced and exciting. For example, the Ministry of Magic, the lawyers of the wizard world, are searching for the same person – the mysterious Credence – as Newt as they also race to help save both worlds. The Credence, relatively unknown in the wizarding world, can help stop Grindelwald. If the movies heroes can reach the Credence before he sides with Grindelwald, they will stop the evil wizard. 

Harry Potter fans who are now being immersed in the “Fantastic Beasts” series may recognize similarities throughout the two series. This movie has many references to Azkaban, the prison for wizards, and the Sorcerer's Stone, a source of power for powerful wizards, which were first introduced during the Harry Potter movies.  

If you love movies with action and magic, this is a movie you should go see. 

The Western Netflix that Needed

By: Joshua Lenahan, Practicum Reporter

The short attention-spanned, bingeaholic, audiences of 2018 are tough to produce movies for, but if anyone can pull it off, would it not be the Coen brothers? 

“The Ballad of Buster Scruggs” is the Coen brother’s elegant response to a changing cinema audience. With six distinct chapters, The Ballad keeps viewers interested by telling a new story every 20 minutes or so, appealing to the short attention span of today’s Netflix-gorging viewers. An interesting platform for a Coen brothers release, Netflix’s decision to work with the duo resonates with its attempts to bring not only more, but higher quality, original TV shows and movies to the site, which is under the stress of new competition in the streaming world. 

The richest part of the movie is hands down the characters. While we only get to know them for a short period, they leave deeper impressions in 20 minutes than most characters in feature length films. Add in an all-star cast, and the characters become increasingly memorable. Rich, unique characters are combined with carefully scripted dialogue (and monologues), then paired with beautiful shots filmed all over the West. It all adds up to a satisfying viewing experience that’s becoming increasingly rare. 

An emotional rollercoaster, the plot twists and turns throughout each story while playing with viewers’ emotions. Drawn out, but intricate dialogue is complemented by quick plot twists that rapidly move the film along. They mix in tragedy with laughter and put depressing moments next to silly ones – a new concept for a Western. Hopefully, this movie sparks a wave of new Western films.  

The choice to release the film both in theaters and on Netflix is an interesting one for sure but emphasizes the actual experience of going to the movies. Directors of “Fargo,” “The Big Lebowski,” “No Country for Old Men,” among others, it isn’t surprising the Coen brothers have produced a hit like this. In today’s cinematic landscape, it’s refreshing nonetheless. 

The last tale in the movie ends with a long section of back-and-forth dialogue, songs and philosophical thought; it’s a deep reminder of the kind of movie the Coen brothers can produce. The story even ends with a conversation about death, a lesser friendly reminder of how harsh the West was years ago.

Every story is a struggle with death in one way or another, but many are watered down with laughter and wittiness. The last story ends the movie on a solemn note, but it respectively ties up the golden thread of the movie’s many scenarios, proving again that the Coen brothers rarely disappoint. 

‘Free Solo’

Photo source: s.yimg.com

By: Paul Hunter, Practicum Reporter

Award-winning directors and husband-and-wife team Elizabeth Chai Vasarhelyi and Jimmy Chin have captivated audiences again with their intricate documentary following the journey of world-renowned rock climber, Alex Honnold. The documentary follows Honnold through his life, into a relationship, and up the face of El Capitan in Yosemite National Park … unroped.

While claiming its spot as a transformative movie for climbing enthusiasts, the movie presents non-climbers with a display of what it means to transcend fear and move beyond perceived human capabilities. It also shows what it means to be in a relationship with a man who doesn’t believe in attachments — to location, objects, people, or even to life.

Recalling his early being, Honnold remembers not being hugged as a child. He recalls finding solace in nature and, because he was alone, that meant climbing without gear or a belay partner. He remembers always being asked by his parents why he didn’t do better, something that lead to his experiencing a “bottomless pit of self-loathing.”

This is the childhood that kicked off his record-breaking, 1,000+ free solo climbs and led him to the base of El Capitan on Saturday, June 3, 2017. It is also, possibly, what causes Honnold’s brain not to recognize or process fear like you and I. Some say his brain is super-human, while some say it’s broken.

The cinematography in “Free Solo” is characteristic of the work done by Vasarhelyi and Chin. Each camera angle is equally cunning and terrifying, both more than the last. Captivating and exhilarating footage leave theatergoers sitting on the edge of their seats, wiping the sweat from their palms. Gasps and jumps are close-to-guaranteed in scenes where Honnold hangs from exposed edges with his thumb and forefinger gripped onto a small indentation. These scenes are contrasted with tender moments he shares with Sanni McCandless, his now long-time girlfriend who has tasked herself with bringing the “real Alex” out of his shell by overcoming the obstacles of his attachment-void life. 

The film takes on an eerie feel as cast members recall free-soloist friends who’ve died, some in expeditions they were on. They recall phone calls telling them about long-time climbing partners’ deaths. These stories come between flashes of Honnold’s obsessive training on El Capitan. Journals of his days on the crag contain scribbles that, even if deciphered, are gibberish to laymen. His logs are completely devoid of emotion; they are mechanical memories of the climb up Freerider, the route to the top of El Capitan. They are hundreds of sequential movements, descriptions of rocks, jumbled in the mess of the climbing vernacular. They almost don’t seem like English. 

In an interview with McCandless, she opens up about how hard it is to be in a relationship with Honnold, but her interactions with him show otherwise. Their chemistry is undoubtable, and she holds her ground when Honnold pushes back. He describes their relationship as the longest-standing, most affectionate relationship in his life. When he talks about “the L-word,” Honnold emotionlessly states that he’s never used it before, not even with his parents. It only seems fitting, then, that as he’s descending El Capitan, the biggest feat of his life, he calls McCandless, thanks her for everything and tells her, “I love you.” 

The Hate U Give Movie Review

Photo source: proseandkahn.blogspot.org

By Allison Upchurch, Staff Reporter

The Hate U Give was the fifth movie in the lineup for last week’s Social Justice Film Festival put on by the Regis First Year Experience, the Center for Service Learning, and the Social Justice and Diversity Committee. All movies presented during this festival were focused on topics of race, critical explorations of social justice issues, and dialogue and conflict transformation. 

Based on the number 1 New York Times bestselling young adult novel, The Hate U Give is about 16-year-old Starr (played by Amandla Stenberg) who witnesses the shooting of her childhood friend Khalil (played by Algee Smith) by a policeman after getting pulled over. Dealing with the trauma of that moment and wanting to keep a low profile, Starr struggles with both the portrayal of her friend as a criminal in the media and the outcry from her community that leads to city-wide protests calling for justice. Friendships are questioned, threats are placed upon her, and through it all Starr fights for courage and the chance to have her voice heard. 

Cinematically, this movie is visually well constructed with crisp images of the events and it focuses on the sights through the perspective of Starr. Points of focus are represented in slow-motion capturing and gives the audience a moment to understand what Starr is thinking through her voice over narration. There is a sharp contrast of cultural differences in the set-up and filming locations of Starr’s community and the school that she goes to in the all-white part of town, which creates the tensions and conflicts that Starr deals with in the aftermath of the shooting. 

This movie attempts to open minds and give an equal voice to those in the conversation about police brutality against black people. Both victims and families, media and the police force, have a say about what happens in these situations. Even though the film makers had good intentions in putting these conversations into light, the movie does not give any answers to solving this problem. That needs to come from the audience members themselves who step out of the movie and peacefully discuss the current situations with others and provide and execute answers that can lead to more civilized and less deadly outcomes for the future. 

Overall, The Hate U Give is a promoter of one of the Jesuit value that is valued at this university. It is the value of “contemplatives in action” simply because it matches all the criteria – it thinks about social problems from multiple angles and works in thoughtful ways to actively address social justice issues. If “contemplatives in action” could be put in a movie form that reaches across all races and religious outlooks, The Hate U Give is a pretty good contender for being that movie.