RATCHET & CLANK

Voices of:  James Arnold Taylor   David Kaye   Jim Ward   Rosario Dawson  

Paul Giamatti   Armin Shimeman   John Goodman   Sylvester Stallone

          Ratchet and Clank are two entertaining characters in this beautifully animated movie based on a videogame—not usually one of my favorite activities.  But this one has some good messages for children having to do with loyalty, hubris, and ambition.  Betrayal, vainglorious boasting, and impulsivity are boldly displayed and then shown to be mistakes, and it becomes clear how one becomes a true hero.

          Ratchet (Taylor) is the only one of his kind (his planet was destroyed and he is the only survivor), called a “lombax”, and embodies classic ADHD qualities—attention deficit and impulsivity.  He is brave, and despite his small size, longs to be a ranger like Quark (Ward), captain of the Galactic Rangers.  Ratchet shows that sometimes it’s possible to achieve great feats with enough grit and determination, but other times it is simply risky behavior.  He’s a good model for children with ADHD, because he pulls it all together in the end.

          Suddenly, Clank (Kaye), a robot, appears in Ratchet’s world, and the two become a working pair, realizing that there is a dangerous weapon set up and already in motion to destroy whole planets.  This “Planet Destroyer” is commanded by Drek (Diamatti), and is the brainchild of Dr. Nefarious (Shimeman). 

          The games about Ratchet and Clank are known for the fancy, exotic weapons, which are explained in detail and demonstrated in rapid succession in the movie, including the one that pixilates a man into a sheep.  Viewers fascinated with weapons will be caught up in the excitement of them.

          The story is a familiar one about evil men with inordinate greed and lust for power and control.  Here, it’s taken to a galactic level, with some coming off as surprising heroes and some being brought to their knees.  In the process, some learn a valuable lesson:  “To be a hero you don’t have to do big things; just the right ones.”

The graphic animation and CGI effects are colorful and impressive, and the voices of Taylor, Kaye are excellently rendered; those of Giamatti, Goodman, and Stallone—whose voices are usually highly recognizable—are disguised enough to make them sound different from their usual. 

       I would think the film is not for very young children, although those who play videogames may easily follow it.  Most likely children ten+ years will enjoy it.  Save your money; the extra for 3-D is probably not worth it.

Surprisingly good entertainment based on a videogame. 

Grade:  B                              By Donna R. Copeland

SAN ANDREAS

Dwayne Johnson   Carla Gugino   Alexandra Daddario   Paul Giamatti   Hugo Johnstone-Burt

It’s not a matter of if; it’s when…In reality, seismologists have expressed that in reference to the San Andreas fault and a big earthquake in California for some time now, and San Andreas the movie brings home this point most chillingly.  Actually, I came out of the film with teeth sore from clenching my jaw for pretty much the whole two hours. 

     It’s not all about special effects.  The film does a good job in weaving back and forth between the small dramas of normal everyday life and disaster scenes.  It gives us enough information about the main characters to make us care about them.  Right from the start is a hair-raising scene in which Ray (Johnson) of the LA Fire Department’s search and rescue squad is in a helicopter being challenged to rescue a driver whose car went off the road over a steep cliff and lodged in a vertical position between boulders.  Then we learn a bit about Ray’s personal life; he’s looking forward to spending the weekend with his daughter Blake (Daddario) before she goes back to school.  However, those plans are interrupted by an earthquake in Nevada, where he is called to for rescue work, and at the same time, receives disappointing news from his estranged wife Emma (Gugino). 

      Ray, Emma, and Blake are all going their separate ways, and how they get back together when disaster hits is some fine story telling.  Along her way, Blake picks up two brothers from London who add interest and acts of bravery, which is then contrasted with the wimping out of someone else.

      Another story line related to the earthquakes involves Cal Tech seismologists who are excited to learn that their research is heightening their ability to predict earthquakes in advance.  Lawrence (Giamatti) and his team are just on the verge of warning the citizens of Nevada about an impending quake, when it actually starts occurring.  When he narrowly escapes, makes it back to his lab, and begins looking at the data, Lawrence begins to figure out that the Nevada quake is related to the San Andreas fault, and will be spreading to California; and this time he has a chance to warn everyone.

      Special effects in San Andreas seem to me to be exceptionally good—spectacular and authentic-looking at the same time (although I hear we can't always trust the science it imparts).  Traumatic crises are practically non-stop, but they don’t seem gratuitous, as is often characteristic of special effects films.  Director Brad Peyton, Cinematographer Steve Yedlin, the actors, and the other filmmakers should be very proud of how well crafted and emotionally satisfying their work is here. 

      In some ways, it feels good to be given a preview of an event that could very well occur.  You’ll feel almost as if you’ve actually been through an earthquake after leaving the theater.  The characters bring home how important practical knowledge (CPR, wound care), problem-solving (innovation and ingenuity in adapting materials at hand), and reasoning through stumbling blocks while remaining calm could very well mean the difference between life and death.  

      Dwayne Johnson is a perfect star for a film like this; you just look at him and feel confidence.  (And he likewise performs just as well in emotional-laden conversations.)  Yes, the movie is a little heavy in depicting his superman qualities.  It was very clever to show how much his character had taught his daughter (i.e., not a son) in responding to emergencies.  When Blake is with her two new companions, each has the opportunity to be smart and helpful in getting through tough situations.  Likewise, Emma (wife and mother) is given the opportunity to be smart and heroic.  Giamatti is always a wondrous actor, and here he restores our faith in scientists to care as well as be smart. 

      The bottom line of all this is that disasters pull for collaboration and trust among those involved, although not everyone responds optimally.  For those who do, it is truly a rewarding human experience.

A must for everyone up to the tension.

Grade:  A-                                   By Donna R. Copeland

LOVE & MERCY

Elizabeth Banks     John Cusack     Paul Dano     Paul Giamatti

 

There is so much good to say about Love & Mercy—from the script (Michael A. Lerner, Oren Moverman), to the direction (Bill Pohlad), to the acting (above), to the music (Atticus Ross) and sound, to the cinematography (Robert D. Yeoman), and the editing (Dino Jonsäter).  It’s a tight production with excellence in every frame.  Normally, I dislike jumping around in time with a story—particularly a bio-pic; but it works here to increase the viewer’s sense of the turbulent inner world of Brian Wilson. 

      Director Bill Pohlad has primarily been involved in producing rather than directing, and when Love & Mercy first started, I was annoyed by the ambiguity of not knowing whether Brian Wilson was talking to himself or to someone else, and by the blank screens with only ambiguous sounds in the background.  Having seen the film, I now think it was a good strategy to heighten the suspense, and give the audience a chance to experience the disorientation and confusion that were so much a part of Wilson’s experience and the often turbulent lives of geniuses.  Also now, after having seen his film, I hope he continues to direct, using his considerable skill in composing quality works. 

      Their roles seem to be career highlights for Banks and Cusack. Banks lovingly portrays Melinda Ledbetter, letting her passion and common sense shine through.  Her eyes can convey so much one has the sense of seeing her soul inside.  Just as probably Brian did, we trust her to be true and genuinely interested in Brian for himself.  And I reveled in a beautiful blonde being characterized as assertive and wise along with her good looks.  AND, would that all our car salespersons had her winning personality and relaxed sell!  Although Dano and Cusack look nothing alike, each is able to get into Brian’s skin so securely, we eventually ignore the differences.  They are particularly good at showing the effects of pain, drugs, and creative inspirations, along with the obvious sincerity of Brian and his ability to see the larger picture, ignoring the doubts and taunts of those surrounding him throughout the early and middle years of his life.  At first I didn’t recognize Giamatti with his 60’s hairdo/hairpiece; but his voice revealed his identity to me.  He is probably one of the greatest character actors in the business.  Here, he is an exploitative, shyster insisting on complete control, a role similar to his attorney/wrestling coach Mike Flaherty in Win Win.  That character was redeemed to some extent, whereas Gene Landy suffered fitting consequences of his actions.

      Music, editing, and sound people achieved a good balance between the music and the drama, which is not always the case with this kind of film.  Here, there are fine musical highlights of Beach Boy songs, and still plenty of intimate, as well as highly dramatic material, which presumably can be credited to composer and soundtrack expert Atticus Ross (Gone Girl).  Cinematographer Robert D. Yeoman (a favorite of Wes Anderson) makes pictures that fit so well with the story and are so artistic many of the scenes are made even more memorable.

Mercy!  Go see this lovely film!

Grade:  A             By Donna R. Copeland