First Impressions | Digimon Tri Reunion

As a child of the nineties, I was partially swept up in the late decade's anime boom.  While I didn’t watch Dragonball Z until the Buu Saga, I was enamoured by Pokemon, Medabots, and Mon-Coli Knights.  Of the Saturday Morning Dubs, Digimon was my favourite.  Even if my family had weekend plans, I had to watch the show if a new episode aired.  Live or taped, I tuned.    While I fell off the fan wagon following Frontier—a show lag tends to do that—my interest was raised when Digimon Tri was announced.  While catering to nostalgia, Tri promised to continue the story of the original group of DigiDestined.  If episode one is any indication, Tri is delivering on that promise.

                Picking up several years later, the audience is reintroduced to the DigiDestined on an average day:  Tai plays soccer, Matt rocks out, and Joe worries about academics.  The tranquillity is soon interrupted by the appearance of Wild Digimon.  Unlike last time, the monsters are glitching in and out of existence.  The government is aware of the problem—partially in thanks to Genai—and enlist the group's aid by the end, but something seems off.  Could they know more?  Is Genai the one holding out?

                In addition to familiar faces, we get two new ones in the form of Meiko and her partner, Meicoomon.  While only seen sporadically in the first two acts, by the third their presence becomes important, as the film’s main antagonist is after them.  Without giving away spoilers, the gang saves them and the pair become friends.  I wonder if we’ll see a new Digivolution in the next film.

                One complaint I’ve read about Reunion is that it’s paced slow.  After watching the film, I concur, but it isn’t a problem for me.  While Tri is marketed as a film series, Reunion is written and paced like an opening arc, only the focus is on re-introducing familiar character’s and updating the stories premise.  While slow, it succeeds as an opening salvo.

                One thing that has me perplexed is Adventure 02’s canon status.  I’ve read mixed reports online before and since the film’s release, and one viewing hasn’t cleared anything up.  If two is still canon, why weren’t Davis, Ken and the other’s reference by name?  Omnimon’s appearance could throw another monkey wrench into the equation, but his appearance in Revenge of Diaboromon balances things out.  If anything it makes one wonder when Gabumon reachieved Mega.  The only plot indication that any of season two happened is Kari and T.K’s D3’s. Perhaps a later episode will clear this element up.  If not, this is bad form on Toei’s part.

                The animation is beautiful.  Anime films are allocated higher budgets than network shows, and this is evident on screen.  While stylistically similar to Adventure’s previous films—although my knowledge of this mainly stems from the American hybridization—the art is updated, allowing Tri’s art design to stand alone.  Tai’s protagonist hair is reigned in as a result.

                The voice work was excellent.  Most of the original cast returned for the dub, which helped further my enjoyment.  I was smiling off and on constantly as the film played.   Joshua Seth, Tai’s actor, even came out of retirement for the project, as he enjoyed the role.  That is fandom dedication.   Kari and TK’s new voices will take several viewings to get used to, but since the latter is dubbed by Johnny Yong Bosch it’s not all bad.

                All things considered, Reunion is a decent reintroduction to the Adventure timeline.  It looks and sounds great, and while slow, the story has me drawn in.  Hopefully, I’ll be able to watch two and three sometime soon.

Theater Experience | Teenage Mutant Ninja Turtles 1990

                As a child of the 90’s, the words Teenage Mutant Ninja Turtles are sacred to me, oozing nostalgia and fondness.  When I heard that the Frida Cinema was holding a screening of the 1990 live-action film, I knew that had to attend.  While some might find it weird to drive over thirty-miles just to see an older film, we cinephiles know better.  It’s not the distance, it’s the moment.  Besides, it’s no different than driving long-distance to see a band or attend a convention.  From where I live, at least Frida is a shorter round trip (sixtyish-miles compared to the One-hundred and sixty for New Beverly).

                Nostalgic Nebula hosted the event.  Before attending I hadn’t heard of them, but after this I’ll have to check their site every now and then for more showings.  The coordinators and host did an excellent job.  The Foot Clan Merchandise was cool—the headband completes my cosplay—and the Lord Krang video was unexpected but pleasant.  Havin a band play a medley of the theme was the perfect way to set the evenings mood.  Bonus points for the use of a keytar. John Du Prez was a treat to listen to.  Having not researched his career before this, most of his stories were new.  His Golden Harvest story I found the most interesting, as it gave an insiders perspective on why the series began to decline (short summary: cheap bastards).  I had only one question—will the complete score ever be released--but I didn’t need to ask, as John volunteered the answer during one story.  Once it’s released, hopefully I’ll be able to track down a copy.

                The audience was lively.  While not many shouted out lines, enough did to liven the mood.  Every now and then a pair in front of me conversed mildly about what was occurring on screen, but it didn’t bother me; the talk was topical, and in good fun.  While not at the same level as the crowds I watched The Blob or Pulp Fiction with (hard to be close when those were sell-outs), it was infinitely better than Kill Bill Volume 1.

                As for the film itself, it’s still one of my favorite comic book films and the best film in the series.  Some might say nostalgia’s blinding me with that, but even with an adult mind I can back up my reasons.  However, to paraphrase Master Splinter, that must wait.  The only analysis I’ll give here is that with this viewing it was obvious where certain deleted scenes were cut and how other moments were rearranged in the editing room.  Hopefully I’m not alone, but in addition to a North American special edition, I’d love to see an extended cut.  Shout Factory, work on this please.  I want my angry Mikey arc, damn it!

First Impressions | War for the Planet of the Apes

I’ve loved the Planet of the Apes series since childhood.  First catching the films on AMC, I was drawn into the depicted world, where Ape has usurped Man for dominance.  Since then, Fox has rebooted the series twice.  Tim Burton’s attempt was flawed, but fun.  Rise of the Planet of the Apes was a decent starter, but it possessed several problems—how do you not know a female ape is pregnant!  Dawn of the Planet of the Apes is where the series caught fire again, as it was the best entry in the series since Escape.  A third film had much to follow, especially if was going to be the concluding entry in a trilogy.  While not perfect, the film succeeded in its purpose, and I’m still debating whether I like it or Dawn better overall. 

                Following in its predecessor’s wake, War for the Planet of the Apes picks up several years later. Ceaser’s troop has managed to avoid the Human military, although there have been engagements—the film opens with one.  Ceaser wants his people to live in peace, which puts him at odds with the Colonel (Woody Harrelson).  Our antagonist, the Colonel’s goal is to wipe the Apes out to ensure humanities survival, but not for the expected reason.  His reason is the Simian Flu.  While mentioned only in passing in the previous film, here it becomes important, almost a McGuffin.  The Flu not only increases the intelligence of Apes—which we see with Ceaser’s group and a new character called Bad Ape, who can also speak—but it decreases intelligence in Humans, robbing the infected of speech and higher cognitive functions.  This alone would be enough motivation, but it’s personal for the Colonel, as his son was affected and he euthanized him.

                While I wasn’t a fan of the flu concept when Rise was originally released—it came off as unnecessary—it’s grown on me, mainly in the context of a trilogy.  It’s a better explanation for why Human’s revert to a primitive state than the one given in Boule’s novel, which can be summed up as “The Ape took my house…I feel…odd now…banana good.” 

                A handful of Apes side with the Humans to ensure their survival.  Labeled Donkeys—a reference so obvious I don’t even have to spell it out—they are looked down upon by their masters, but are treated far better than Ape prisoners.  While I don’t see it as such, it wouldn’t surprise me if others viewed this as a comment on “Race Traitors.”  The Apes series has commented openly on real world issues before, so it wouldn’t be new.  If it was intentional, the payoff was expected.

Although War is in the title, there isn’t many fighting scenes as one would expect; most of the shooting is contained in two battle scenes, one during the opening and one in the third act.  While disappointing—I know one of my contemporaries was—it didn’t bother me.  Perhaps my friends review tempered my expectations, softening the blow when I finally viewed the film.  The film is short on action, but there is conflict, a struggle for survival between the Apes and Humans. One side wishes to exist in peace while the other strives to maintain the Evolutionary Status Quo.  The virus McGuffin heightens and presses the issue.  Like Rise, this makes the title metaphorical, but the execution is improved.

Part of the third act reminds me of The Great Escape.  Like the pow’s, the Apes are trapped in a camp, and their escape method involves a tunnel.  While they succeed where the Human’s failed, upon reflection it did seem too easy.  While the ending battle allows for some leeway, before that how did they manage to keep it hush hush?  One would think sentries would be keener.

                Ceaser’s arc concludes with this film.  We witnessed his birth and uprising, followed by his attempt to bridge interspecies peace.  He continues that goal to an extent here, but with age Ceaser’s has grown a slightly nihilistic view.  While he isn’t entirely without hope, it is fading.  Even though he is dead, Koba haunts Ceaser; in several scenes, hallucinations taught the Ape leader, showing the audience how Ceaser has fallen since we last saw him.  In the end, the past cannot be fully forgotten.  He has encountered well-meaning Humans, but he cannot forgive Mankind’s collective actions, even if he will not hold it against everyone.  In a way, Koba won.

                While I prefer practical effect, the Motion Capture was excellent.  While good before, the computer rendering has been taken further, perfected in comparison to the previous films.  I was blown away by how realistic the rendering has become.  If this is the future of Motion Capture, I might not mind its further use, even if my preference for makeup and suits remains.  Andy Serkis, Steve Zahn, and the rest of the cast gave great performances, complimenting the post rendering.  There’s talk in the film community of Serkis receiving an Academy Award nomination for Acting.  Some might argue that his work is more effect than acting—especially considering it can be tweaked in post even more than a normal performance can—I wouldn’t have an issue if it happened.  Even with post rendering, it is still a performance, as Serkis works off the other actors on set.  If given, hopefully it allows for the creation of a new awards category, one that honors Motion Capture and Voice Work. 

                The human cast is decent to meh.  Woody Harrelson is the lone exception.  He has a presence, holding the audience’s attention whenever he’s on screen, even if he’s not speaking.  The Colonel’s backstory monologue is the zenith of Harrelson’s performance.  The audience believes in every word he speaks.  Even though we don’t condone his methods, we understand his twisted logic.  I haven’t seen much of Harrelson’s past work, but if this is any indication I must dig into his filmography.   

                Matt Reeves returned to the director’s chair, handling the job well and allowing for technical and visionary continuity.  He handled the technical elements with care, and got decent performances from the actors.  His direction is one of the reasons I find it difficult to pick between Dawn and War.  I’m familiar with the two films he directed prior to entering the Apes series—Let Me in and Cloverfield respectively—but I haven’t watched them.  I will correct that sometime in future. 

                While not for everyone, War for the Planet of the Apes is a well-made film.  The story is engaging, the villain is relatable yet cruel, Motion Capture is perfected, and it concludes Ceaser’s story on a somber note.

MAR Talks Cinema | Poltergeist (1984)

“Carol Anne, the Beast is calling; Carol Anne, Carol Anne, she can hear songs sing. Carol Anne, the Beast it needs you. Here it comes, here it comes, reaching out somewhere from inside your TV.”
--The Misfits, 1997

The afterlife is a subject that has held human interest for as long as civilization has existed. What happens to us when we die? Does human consciousness simply vanish into the void, or do we linger, wanting more? Those are questions that today's film deals with. Poltergeist is a 1982 supernatural thriller directed by Tobe Hooper, and co-written and produced by Steven Spielberg. The plot focuses on a suburban family whose home is invaded by spirits, and things take a dark turn when one of them abducts the youngest child and takes her back to the spirit realm. The family soon enlists the help of a group of parapsychologists and a medium to rescue the daughter from the malevolent spirit, which the medium dubs the Beast.

The films idea originated in Night Skies, an unproduced follow-up to Spielberg’s Close Encounters of the Third Kind. Since Close Encounters was a hit, Columbia Pictures wanted to follow up with a sequel. Like he had with Jaws, Spielberg had no interest in directing a second film, but at the same time he did not want a sequel made without his input. He quickly came up with a sci-fi horror treatment based on the Kelly-Hopkinsville encounter, which Spielberg had heard of while conducting research for Close Encounters. In this UFO incident, a Kentucky farm family claimed they had been terrorized by a group of gremlin-like aliens. In Spielberg’s treatment, aliens communicated with animals in an attempt to figure out if Earth contained any sentient life. They soon come across a farm family and begin to dissect their animals.


Lawrence Kasdan was Spielberg’s first choice to flesh his treatment out into a full-fledged script, but he was already at work writing The Empire Strike's Back; in his place Spielberg hired John Sayles, who had previously written Piranha. Sayles inspiration to write his script was the 1939 western Drums Along the Mohawk, and he went so far as to name one of the aliens Scar, after a Comanche in a John Wayne film. His draft also included an alien who killed animals by touching them with its glowing fingers, and an alien who befriended an autistic boy. Sadly this was to be Sayles only crack at the story, as he and Spielberg parted amicably over creative differences in mid-1980.


While Sayles worked on his script, Spielberg consulted with special effects master—and Oscar winner—Rick Baker to design the alien effects. Baker was beginning work on An American Werewolf in London at the time, but managed to build a prototype alien for about $70,000. Spielberg—who by this time was filming Raiders of the Lost Ark on location—was thrilled when he saw a video of the creature effect, but was beginning to have second thoughts about the Night Skies concept. As he put it, “'I've got to get back to the tranquility, or at least the spirituality, of Close Encounters.”


While on the Raider's set, Spielberg read the script to Melissa Mathison, Harrison Ford's then fiance, and the boy-alien friendship supposedly brought her to tears. This finalized Spielberg’s decision, and once Raider's shooting wrapped he closed the door on Night Skies, but not before getting into a fight with Rick Baker in his effects shop; Spielberg had wanted Baker to follow him to his revamped alien idea—which became E.T.—and was angered by Baker's lack of enthusiasm. Baker soon founded himself locked out of his own shop and his Night Skies designs were confiscated; looking at pictures of the designs that Baker published on his twitter, it's obvious that some of them were used. While I respect Spielberg as a director, I have to call him out on his disrespectful and distasteful move. Its one thing if you were unable to reach a work agreement with the man, but stealing his work and modifying it so another can take the credit is low.


While it was exorcised from its alien roots, the family being terrorized idea did not go to waste, as it was revamped into Poltergeist. Spielberg was unable to direct because of a clause in his contract with Universal over E.T. Tobe Hooper of Texas Chainsaw Massacre fame stepped into the director's chair; Hooper had been under consideration to direct Night Skies, so it is fitting that he helmed one of its successor projects. Despite having sole credit, to this day various members of the cast and crew claim that Spielberg ghost-directed the film, using Hooper as a front to get around his contract. The Director's Guild of America probed into the matter, but found no reason why Spielberg should receive co-directing credit. When asked about the matter, Spielberg said “"Tobe isn't... a take-charge sort of guy. If a question was asked and an answer wasn't immediately forthcoming, I'd jump in and say what we could do. Tobe would nod agreement, and that became the process of our collaboration." Considering what had happened with Baker I wouldn't put it passed Spielberg to lie about how much control he had over the film, but at the end of the day I don't think it matters.


Spielberg and Hooper wanted virtually unknown actors for the cast, to help give the film a sense of realism to off-balance the ghost story. If the audience saw well-known actors in the roles, it might take away the realistic feeling. Craig T Nelson and JoBeth Williams played the parents, and and they were perfectly cast; they had chemistry, and were believable as parents. The only surprise regarding their characters is that there is a scene of them rolling a joint while talking in their bedroom, but I chalk that up to modern political correctness; if a scene like that was filmed today some people would automatically give the Freeling's the “Bad Parent” label.


Heather O'Rourke played Carol Anne, and she brought the right amount of childhood innosence to the film. She failed her first screen test for the role because she kept laughing when she was supposed to be afraid. Despite this, Spielberg recognized there was something special about Heather, so he asked her mother to bring her back, this time with a scary storybook; he also asked her to scream. This second audition secured Heather the part. Sadly she passed away in 1988 from intestinal stenosis.


Dominique Dunne played Dana, the teenage daughter. While there is not much to her character, I felt she played the part fine. Tragically she was murdered by her ex-boyfriend four months after the film's release, the first victim of the Poltergeist Curse.


Oliver Robbin played Robbie, and he was very relatable. We've all been afraid of something in the dark or outside our window at one point in our childhood, and his character personified that childhood fear. The scenes where he's looking at the clown are filled with tension. The audience knows the clown is going to move at some point; the only question is when. During the later scene there was one part where Oliver was really being strangled by the clowns arms; he cried out “I can't breath,” but both Spielberg and Hooper thought he was ad-libbing. It was only when his face began to turn purple that Spielberg ran over to pull the arms off. He gave up acting after 1986.


Zelda Rubinstein played medium Tanginia, and she was perfect in the role, her voice and height setting her apart from other “this is how we defeat evil” characters. She and Heather O'Rourke were the only actors to appear in all three Poltergeist films. She passed away in 2010 at the age of 76.


Academy and Tony Award winner Beatrice Straight played parapsychologist Dr Leash, and she brought the right about of educated grace to the role. She passed away from pneumonia in 2001.


While a few of the film's ghost effects are jarring, a majority of the special effects still hold up after thirty-years. The flesh-removal scene in particular is extremely creepy and atmospheric; if I had first watched this film as a kid it would have scared the crap out of me. It was the last scene shot during principal photography, and the hands were Steven Spielberg's. The skeletons used in the climax were real, as it was cheaper to purchase them instead of producing plastic ones. For the finale actress Jobeth Williams wasn't worried about being in the water with them, but she was worried about being electrocuted because of the amount of eclectic lights on set. Spielberg comforted Williams by being in the water with her during the scenes, quipping that if a light felling into the pool they'd both fry. The film was nominated for an Academy Award, but lost out to its more family friendly brother.


Legendary film composer Jerry Goldsmith handled the music. His score masterfully captured both Spielberg’s sense of wonder, and Hooper's sense of horror; the main theme, which is written like a lullaby, is a perfect example of this contrast. The score garnered Goldsmith an Academy Award nomination, but he lost to John Williams.



Poltergeist is the textbook definition of a cinematic classic. It has characters you care about played by competent actors, the special effects and score are executed wonderfully, and its contrasting tone is directed excellently. Other than a few aged moments and the behind the scenes drama, I don't have any problems with the film. Some might have an issue with the Beast not having a clear identity , but to me it's scarier not to have a clear idea of who or what the evil is. Some might also have an issue with the cemetery. I will concede that Steven shouldn't have been the first person to take issue with it, but it wouldn't be the first time in human history that some detail was ignored in order for someone to make a profit, plus it makes for an excellent climax. I give it 4.5 out of 5 stars.