My thoughts on: Sicario (2015)

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I was inspired to watch Sicario after seeing the trailer for Sicario: Day of the Soldado (scheduled to be released on June 29th). I’d been warned by multiple friends and fellow bloggers that the film had some exceptionally violent moments in it, but I decided it was worth the risk to my psyche to see what this film was all about (it would also help me determine if the sequel was really worth seeing).

And my first thought after the credits rolled was “Oh yeah! That sequel is DEFINITELY worth seeing!”

I would be completely lying if I said parts of Sicario didn’t shock me to the core (I literally jumped at the beginning when that explosion happened and the “house of horrors” before that nearly did me in) but the story pulled me in deep enough that I needed to see where it was going despite my initial discomfort.

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If you haven’t seen it, Sicario was directed by Denis Villeneuve (Blade Runner 2049, Arrival) and follows FBI agent Kate Macer (Emily Blunt) as she is suddenly sucked into the dark world of the Mexican drug cartels and the forces working to take them down by any means necessary. Her boss recommends her to a task force led by Matt Graver (Josh Brolin) and his partner Alejandro (Benicio del Toro). The assignment, she’s told, is to apprehend Manuel Diaz (Bernardo Saracino), a top lieutenant in the Sonora cartel. The truth, however, of what is really going on, is far more complicated.

An ongoing trope in Sicario is that things are not as they appear to be, there is something very dark and ugly at work and if you keep digging you’re going to find some very uncomfortable truths. Kate learns this the hardest way possible, even though she questions the assignment from the beginning, her desire for justice leads her along until she is in way over her head (and it nearly gets her killed several times). Kate is obviously the audience surrogate for this story (though she handles it way better than I would’ve).

My favorite character in the film is actually Alejandro Gillick, Graver’s “bird dog.” He doesn’t talk much, but once he’s introduced he’s a near-constant presence on the screen. And when he does talk, or really, when he does anything at all, it’s usually something of consequence to the story. Alejandro is initially presented as an assassin/enforcer type who is only doing this because he is ordered to/wants to. But it eventually comes out that everything he’s done for the last number of years is all part of his plan to get revenge on the cartel for murdering his wife and daughter. I think deep, deep down, Alejandro doesn’t like what he’s become, but now that his family is gone he doesn’t care anymore, he just wants revenge. Benicio del Toro blew me away with his performance and he is why I’m excited to watch the sequel this summer. Knowing that he lost a young daughter, it makes sense why (in the trailer) he’s so unwilling to kill this young girl (but I digress…).

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Besides the “house of horrors” at the beginning of the film (I’m talking dead bodies literally stuffed into the walls), there are some truly shocking moments throughout the film. For instance, when Kate is headed into Ciudad Juarez with the task force, there’s a shocking moment when we see several dismembered bodies hanging from a bridge. Then there’s a moment where a would-be love scene between Kate and a new acquaintance turns into an almost-murder scene in a matter of seconds (I admit I was not prepared for how vicious that scene got). The scene that bothered me the most though, was near the end when Alejandro confronted the boss of the cartel who was at dinner with his family. I knew he was going to kill them all, and I even understood why (they took his family, so he’ll take away this family to get even) but I still really didn’t like it. I mean after all, what did the kids do? They didn’t do anything, but then again that’s the point. In the world of Sicario, you don’t have to have done anything wrong to wind up dead. Simply being in the wrong place at the wrong time is reason enough.

Before I forget, there is one scene that bothered me and that’s what happened at the border crossing. As the team is escorting a prisoner into the United States from Mexico, they’re caught up in traffic just over the border and note several cars tailing them (armed to the teeth with guns). In short order, a lot of cartel members wind up dead surrounded by cars full of regular civilians, yet I never hear anyone reacting to what happened (no screams, no one else gets out, etc.) Yes I know the team is armed with military grade weapons, but shouldn’t someone have reacted to what happened besides Kate? Maybe I’m missing the point, but that part bothered me.

I did enjoy Sicario; it’s a thought provoking film about the lengths people are willing to go to get justice or control certain situations and what that does to certain people in the meantime. I mean, from a certain point of view, Matt Graver and his team are just as bad as the cartel (in terms of killing and violence). I can’t wait to see what happens to Alejandro in the sequel.

What did you think of Sicario? Let me know your thoughts in the comments below and have a great day!

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Hercules “One Last Hope” (1997)

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After learning he’s the son of Zeus, Pegasus takes Hercules to a mysterious island to meet the legendary trainer of heroes Philoctetes. And who is this mysterious character? Well…

It turns out that Philoctetes or “Phil” is a past-his-prime satyr (half man, half goat) with a passion for flirting with any beautiful woman he sees. Phil is highly upset to find Hercules and Pegasus intruding into his retirement. As far as he’s concerned, he’s long since out of the hero-training business, as he’s seen far too many heroes fall flat without “going the distance.” Apparently he’s trained them all: Odysseus, Perseus, Theseus…and the greatest of them all, Achilles! The satyr can’t bear to be disappointed again but Hercules isn’t giving up: he proudly proclaims himself to be the son of Zeus but Phil is not impressed. In fact, he finds the situation hysterical, as “One Last Hope” begins…

So, ya wanna be a hero, kid?
Well, whoop-dee-doo!
I have been around the block before with blockheads just like you
Each and everyone a disappointment
Pain, for which there ain’t no ointment
So much for excuses
Though a kid of Zeus’, asking me to jump into the fray
My answer is two words….(before Phil can turn Hercules away he’s struck by a bolt of lightning presumably “encouragement” from Zeus)….O.K

In a similar vein to “I’ll Make a Man Out of You,” “Son of Man,” and “Something There;” “One Last Hope” is a montage song, that is it uses a series of short moments to cover the passage of a lengthy period of time (in this case, several years of training). Initially, as one might expect, the training does not go well:

I’d given up hope that someone would come along
A fellow who’d ring the bell for once
Not the gong
The kind who wins trophies
Won’t settle for low fees
At least semi-pro fees
But no – I get the greenhorn

Part of Hercules’ training involves cleaning up the old training course and making it usable again. Along the way, Phil begins listing off his “hero rules” of which there are 101. A notable example includes: “Rule 95: Concentrate! (Hercules throw goes wide) Rule 96: AIM!!!”

I’ve been out to pasture pal, my ambition gone
Content to spend lazy days and to graze my lawn
But you need an advisor
A satyr, but wiser
A good merchandiser
And whoa! There goes my ulcer!

I love Danny DeVito’s sarcasm throughout much of this song; he’s so skeptical about Hercules ever completing the training and yet he persists!

I’m down to one last hope and I hope it’s you
Though, kid, you’re not exactly a dream come true
I’ve trained enough turkeys
Who never came through
You’re my one last hope so you’ll have to do

Finally though, the long years of training (how many isn’t made clear) begin to pay off and finally the scene transitions to an adult Hercules that’s mastered all of Phil’s training courses, including a doozy of a finale. In short order, Hercules defeats or evades every obstacle and rescues the “damsel in distress.”

Demigods have faced the odds
And ended up a mockery
Don’t believe the stories that you read on all the crockery
To be a true hero, kid, is a dying art
Like painting a masterpiece, it’s a work of heart
It takes more than sinew
Comes down to what’s in you
You have to continue to grow
Now that’s more like it!

I’m down to one last shot and my last high note
Before that blasted Underworld gets my goat
My dreams are on you, kid
Go make ’em come true
Climb that uphill slope
Keep pushing that envelope
You’re my one last hope and, kid, it’s up to you!

It’s taken years but Hercules has finally finished his basic training with Phil and he is beyond ready to get off the island so he can become a true hero and return to Mount Olympus! Phil isn’t sure that Hercules is ready, but after a little more begging the satyr decides to take the fledgling hero on a “test run” and go to Thebes, a city with a lot of problems, problems that only a hero could fix.

Those are my thoughts on “One Last Hope,” another great song from composer Alan Menken. Let me know what you thought of this song in the comments below and as always, thank you for supporting the blog, it means everything to me. Have a great day!

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See also:

Hercules “Gospel Truth” (1997)

Hercules “Gospel Truth II & III” (1997)

Hercules “Go the Distance” (1997)

Hercules “Zero to Hero” (1997)

Hercules “I Won’t Say I’m in Love” (1997)

Disney Soundtracks A-Z

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Hercules “Go the Distance” (1997)

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Fifteen year old Hercules is having a really hard time fitting in, even more so than most teenagers. The gangly teen possesses the strength of an immortal god and has no idea how to control it. And while his mortal parents love him dearly, they have no idea how to help their son control his strength either. Things come to a head when Hercules attempts to insert himself into a discus game, loses control and inadvertently destroys the entire market. This incident (apparently the last of many) is the final straw for the other residents of the town, who warn Amphitryon (Hercules’ adoptive father) to “keep that FREAK away from here!”

Hercules can’t help wanting to agree with that assessment: what is he if not a freak? All he wants is to find a place where he belongs and is welcomed by all. This is the basis for “Go the Distance,” and it is a song that is very close to my heart. See, like Hercules, I had a very hard time fitting in too, and so I’d spend hours and hours daydreaming of finding a place where I really belonged. In Hercules’ mind, if he can find this place of ultimate welcome, he will have “gone the distance.” Like most songs in the Disney Renaissance, “Go the Distance” was composed by Alan Menken with lyrics provided by David Zippel. Roger Bart is the singing voice of Hercules.

I have often dreamed
Of a far off place
Where a great, warm welcome will be waiting for me
Where the crowds will cheer
When they see my face
And a voice keeps saying
This is where I’m meant to be

I will find my way
I can go the distance
I’ll be there some day
If I can be strong
I know every mile will be worth my while
I would go most anywhere to feel like I belong

But where to start? Well, upon returning home, Hercules’ finds his parents have some news for him: he’s not actually their son. They found him as a baby wearing a medallion with the symbol of the gods on it. This gives Hercules an idea: he can go to the Temple of Zeus and ask the gods for the answers! This leads to the following reprise as Hercules travels on his way:

I am on my way
I can go the distance
I don’t care how far
Somehow I’ll be strong
I know every mile
Will be worth my while
I would go most anywhere to find where I belong

And in the immense Temple of Zeus Hercules does indeed find his answers: he’s FAR from normal, in fact, he’s actually a god (what a thing to find out when you’re 15)! The long lost son of Zeus and Hera to be exact! There IS a way that Hercules can come home to Mount Olympus however: he must become a true hero to regain his godhood. And to become a hero…he must seek out Philoctetes, a legendary trainer of heroes.

But before Hercules leaves, Zeus has a gift for his son: Pegasus, now a fully-grown winged horse! The pair bond instantly, as they did before and now Hercules has a plan: find Philoctetes, become a hero and rejoin the gods on Mount Olympus! The teenager has a final reprise as he flies off on Pegasus into parts unknown:

I will beat the odds

I can go the distance

I will face the world

Fearless, proud and strong

I will please the gods

I can go the distance

Till I find my hero’s welcome

Right where I belong!

Just as the moment ends, the camera pans up to show how close the planets are to alignment (something that will be revisited periodically until the climax of the story). Next time: Hercules and Pegasus meet Philoctetes, who is not quite what they expected.

And that’s “Go the Distance”! I really love this song and I hope you enjoyed it as well.

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See also:

Hercules “Gospel Truth” (1997)

Hercules “Gospel Truth II & III” (1997)

Hercules “One Last Hope” (1997)

Hercules “Zero to Hero” (1997)

Hercules “I Won’t Say I’m in Love” (1997)

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Hercules “Gospel Truth II & III” (1997)

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At the end of “Gospel Truth I,” we’re taken into Mount Olympus where all the gods have gathered to celebrate the birth of Hercules to head god Zeus and his wife Hera (which is nothing like the actual Greek myth but this is Disney we’re talking about so I can live with it). On top of the amazing gifts the other gods have brought, Zeus creates an infant Pegasus out of a combination of clouds just for Hercules. The touching moment is soured however, when Hades, god of the Underworld (James Woods) makes an unexpected entrance.

Hades isn’t banned from Olympus per se, in fact Zeus goes so far as to invite the flame-haired god to join the celebration. The thing with Hades is…he’s very bitter over having to “work” as god of the Underworld while the rest of the gods get to lounge about all day on Mount Olympus. And because he’s so bitter, none of the other gods really like him (in fact they use one of Zeus’ jokes as an excuse to laugh him out of Mount Olympus). But if Hades has his way, they won’t be laughing for long, as the Muses return to narrate in “Gospel Truth II”

If there’s one God you don’t want to get steamed up
It’s Hades, ’cause he had an evil plan
He ran the Underworld
But thought the dead were dull and uncouth

He was as mean as he was ruthless
And that’s the Gospel truth
He had a plan to shake things up
And that’s the Gospel truth

Yes, Hades is Lord of the Underworld but he hates the job and he despises the unending stream of dead souls who flow into his domain. To that end, he’s working on a plan to free the Titans from their prison during a planetary alignment (in 18 years time) and use them as an army to eliminate Zeus and take power. He consults the three Fates to see if this will indeed occur and they assure him: in 18 years his plans will succeed HOWEVER., they caution: “should Hercules fight, you will fail.”

What the fates have done here is given a prophecy in the style of the famed oracle of Delphi which was famous for a number of reasons but one in particular that I wish to point out: the Oracle had a habit of phrasing it’s predictions in such a way that there was a hidden meaning in the statement. So the Fates have said that if Hercules fights (against Hades), then the plan will fail. To Hades, the solution is obvious: the infant god must be eliminated. However, if one looks deeper, there’s another route that Hades could have gone and it would have worked so much better.

Instead of eliminating the young god and inadvertently putting him on the path of becoming a hero when Pain and Panic bungle the job, Hades could have spent the next 18 years ingratiating himself to his young nephew and turning him against the rest of the gods (Hades is slick enough that you know he could’ve pulled it off) and when the time came, Hercules wouldn’t have fought against him. It’s an interesting what-if scenario but we all know Hades didn’t go this way.

Hades plan to eliminate Hercules by having him turned mortal and then killed halfway works: Pain and Panic (the traditional bumbling henchmen) do succeed in turning the infant god mortal. However, because he didn’t drink the last drop of a magic formula that made him mortal, the infant retains his immortal strength (but is otherwise like a normal baby). But because Hercules is now a mortal, even though Zeus and Hera know where he is, they can’t bring him home (why Zeus as king of the gods can’t just make his son a god again I’m really not sure). As the Muses narrate for the final time in “Gospel Truth III” :

Young Herc was mortal now
But since he did not drink the last drop
He still retained his godlike strength
So thank his lucky star

But Zeus and Hera wept
Because their son could never come home
They’d have to watch their precious baby
Grow up from afar

Though Hades’ horrid plan
Was hatched before Herc cut his first tooth
The boy grew stronger every day
And that’s the gospel truth

The gospel truth

This is the last we see and hear of the Muses until they narrate Hercules’ rise to fame in “Zero to Hero.” From this point on until then we get to follow Hercules as a teenager struggling to fit in with his abnormal strength. I like these segments of “Gospel Truth,” they move the action along and provide exposition without boring the audience. And the soul music style sets Hercules apart from other Disney films.

And those are my thoughts on “Gospel Truth II & III.” Let me know what you think about these two sequences in the comments below!

You can become a patron of the blog at: patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

See also:

Hercules “Gospel Truth” (1997)

Hercules “Go the Distance” (1997)

Hercules “One Last Hope” (1997)

Hercules “Zero to Hero” (1997)

Hercules “I Won’t Say I’m in Love” (1997)

And for more Disney songs see also: Disney/Dreamworks/Pixar/etc. Soundtracks A-Z

Don’t forget to like Film Music Central on Facebook 🙂

My thoughts on: Red Sparrow (2018)

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*warning, spoilers follow! You have been warned!

Given the wide range of reviews this film has gotten, I wasn’t sure what to expect going in to see Red Sparrow last night. Would this be a clone of Black Widow’s origin story as many accused it of being? Was the story as messy as some led me to believe? The answer, I believe, is no (to Black Widow) and not quite (as to the messiness of the plot). Actually, I found myself enjoying the movie for the most part. It follows Dominika Egorova (Jennifer Lawrence) as she goes from being the prima ballerina of the Bolshoi Ballet to a “Sparrow,” a spy trained in the art of seducing targets to retrieve information.

Dominika’s story intersects with that of American CIA agent Nate Nash (Joel Edgerton). Nash is the handler for a high-ranking Russian mole code-named “Marble.” Russian intelligence is aware of Marble’s existence, though not his true identity and Dominika is assigned the task of getting close to Nash and worming the secret of Marble’s identity out of him. Failure will result in Dominika’s execution.

That in essence is the bulk of the plot, though the film takes far too many turns for my liking to reach its conclusion. In fact, I think the biggest weakness of the film is the would-be romantic sub-plot between Dominika and Nate. Sometimes it worked, but most of the time the story stuttered to a stop every time they got together. Cut out the possibility of romance blossoming between Nate and Dominika (as well as the filmmaker’s attempt at “is she or is she not in love”) and the story would have flowed much better I think.

Another weakness is the length of the story. I think most of us can agree that the film ran at least 30 minutes too long. There were several points that I felt the end of the story was at hand only to move on to another scene (I actually caught myself thinking “What, are we still going?” not long before the climax). Of course once we actually got to the climax the payoff was enormous, but I still think the last portion of the film before that scene was mostly unnecessary.

Now for what I liked about the film:

One of my favorite parts of Red Sparrow is Jennifer Lawrence’s performance as Dominika. She absolutely owns this role and you literally can’t take your eyes off her. Lawrence runs a huge gamut of emotions: despair, seduction, flattery, love (for her mother), it’s a very impressive performance. Another highlight is the all too brief role played by Jeremy Irons. I’ve been a fan of his work for years and he didn’t disappoint here, I actually wanted to see more of him!

I was correct in thinking that James Newton Howard’s score would be the highlight of this film. In fact the music is part of why I enjoyed Red Sparrow as much as I did. My favorite musical moments are Dominika’s ballet scene at the beginning (before THAT moment, you know the one I mean) and the climactic scene where she’s traded back to the Russians in exchange for the mole (more on that in a moment). In both scenes, I love the way the music swells up and around you, lending gravity and a musical fullness to each moment. Moments like this are why I love film music as much as I do.

The last part I want to discuss is the aforementioned exchange scene. (Again, spoilers follow!) Prior to this scene, Dominika is met at the hospital by General Korchnoi (Jeremy Irons) who reveals that he is Marble. He tells Dominika that the only way she’s getting out of this alive is to turn him in to Russian intelligence which will make her a hero to the state and place her beyond suspicion (and thus allow her to continue feeding intelligence to the Americans in his place). It seems Dominika has no choice, and for a moment I actually thought she was going to commit suicide and thus “take back the power” by making a choice for herself (to end her life). Thankfully they didn’t go that way because what happened is so much better.

The night of the exchange comes and the Russians pull out a hooded figure from a helicopter. When the Americans ask for the hood to be removed so they can confirm Marble’s identity…the hood is taken off to reveal Dominika’s scheming uncle, the man who forced her to be a Sparrow in the first place! In fact, I suspect that up until the end her uncle manipulated the entire story, including the “accident” that broke Dominika’s leg and ended her ballet career (but that’s just my speculation). It turns out that everything Dominika has done since has been to get revenge on her uncle for ruining her life and career. Upon this revelation, everything made sense to me: Dominika had not only gotten revenge on her uncle by falsely outing him as the mole, but she’d also found a way to keep Marble in his place (and alive!) Considering everything her uncle had done (and how sleazy he’d shown himself to be), I found this moment to be very satisfying.

And those are my thoughts on Red Sparrow! Overall I enjoyed the film despite its weaknesses, though I don’t think I liked it enough to get a copy on DVD. Let me know what you thought of Red Sparrow in the comments below! Have a great day!

Soundtrack Review: Molly’s Game (2017)

The Hunchback of Notre Dame “The Court of Miracles” (1996)

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By this point in the story things are looking pretty grim for our heroes: not only does Frollo claim to know exactly where Esmeralda and the rest of the gypsies are hiding, he also plans to “attack at dawn with a thousand men.” After Frollo leaves with a knowing smile on his face, Phoebus (who has heard everything), comes out of hiding and tells Quasimodo that they need to find the Court of Miracles and Esmeralda before Frollo does.

And as it turns out, Quasimodo has a way of finding the hidden refuge in the talisman that Esmeralda gave him. It turns out it’s actually a map of Paris and a certain symbol leads them to the entrance of an old catacomb. As the pair make their way, it quickly becomes obvious that they’re being followed, though Phoebus and Quismodo don’t notice. Phoebus, who has been trying (and failing) to make light of the situation, notes that:

“speaking of trouble we should’ve run into some by now.”

“What do you mean?”

“Oh, you know, a guard…a booby trap…” *the torch is snuffed out* “Or an ambush…”

Torches blaze up and the pair are surrounded by gypsies, exactly who they were hoping to find! Unfortunately for our heroes, Clopin, their leader, isn’t interested in anything they have to say since Phoebus is still recognized as Frollo’s captain of the guard and Quasimodo is mistakenly believed to be a loyal henchman, so they must be spies! This is the start of the all too short “Court of Miracles” where Clopin and the rest of the gypsies taunt their captives with how they keep themselves safe by killing any and all intruders.

You were very clever to have found our hideaway,

unfortunately…you won’t live to tell the tale!

Maybe you’ve heard of a terrible place where the scoundrels of Paris collect in a lair,

Maybe you’ve heard of that mythical place called the Court of Miracles…

Hello! You’re There!

In a bit of a twist, it’s revealed that many of the gypsies are only pretending to be disabled. The disguises come off when they return home, hence the seeming reason why it’s call the court of “miracles” because everyone suddenly becomes normal:

The lame can walk! And the blind can see!

But the dead don’t talk! So you won’t be around to reveal what you’ve found!

We have our methods for spies and intruders, rather like hornets protecting their hive.

Here in the Court of Miracles where it’s a miracle if you get out alive!

With a loud laugh, Phoebus and Quasimodo are dragged into the Court of Miracles where they’re led to a large scaffold, to be mocked and jeered at by the rest of the gypsies before they’re executed (Djali the goat recognizes the pair and runs to get Esmeralda). Clopin is now dressed as a judge and prepares to hold a “trial” for the pair.

Justice is swift in the Court of Miracles,

I am the lawyer and judge all in one!

We like to get the trial over with quickly because it’s the sentence that’s really the fun!

Any last words? *Phoebus and Quasimodo shout through their gags* That’s what they ALL say…

Now that we’ve seen all the evidence *Puppet “Wait, I object!* Overruled! *”I object!!”*

*QUIET!!!* *…dang…*

We find you totally innocent…which is the worst crime of all…SO YOU’RE GOING TO HANG!!

“STOP!!” And just in the nick of time, here comes Esmeralda to save our heroes’ skins! She informs the incredulous Clopin that Phoebus and Quasimodo aren’t spies, they’re friends.

“Why didn’t they say so?” Clopin sputters, not quite believing what he’s hearing.

“We DID say so!” the disgruntled pair spit back, annoyed at having come all this way only to be nearly executed for trying to do the right thing. Unfortunately, the right thing turned out to be exactly what Frollo wanted them to do…which is lead him directly to the Court of Miracles…

And that’s “The Court of Miracles” from The Hunchback of Notre Dame! It’s a short song, but one of my favorites 🙂 I always thought it was funny that Clopin was so caught up in the moment of catching more spies that he completely missed the pair telling him they weren’t spying at all but were trying to warn them! Let me know what you think of this song in the comments below.

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The Hunchback of Notre Dame “The Bells of Notre Dame” (1996)

The Hunchback of Notre Dame “Out There” (1996)

The Hunchback of Notre Dame “Topsy Turvy” (1996)

The Hunchback of Notre Dame “God Help the Outcasts” (1996)

The Hunchback of Notre Dame “Heaven’s Light/Hellfire” (1996)

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Pinocchio “Hi Diddle Dee Dee (reprise)” (1940)

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what-do-you-see

Having been rescued from Stromboli with the timely assistance of the Blue Fairy (who also warned that this was the last time she could directly help), Pinocchio is heading straight for home, determined to be a good boy and go to school. Jiminy Cricket is very happy too, as this time Pinocchio seems to thoroughly mean what he says. Unfortunately, who does the young puppet run into on the way home but Honest John and Gideon (again!! Honestly those two seem to be everywhere don’t they?) Having received orders from the Coachman to round up every naughty boy they can find (as detailed in the beginning of my Disturbing Disney series), the wily con men see Pinocchio as the perfect target.

Stopping Pinocchio, Honest John insists that the puppet looks deathly ill and that he simply must have an examination (so apparently Honest John is a doctor too, amazing for a talking fox who can’t read).

Pinocchio “Examination and Hi Diddle Dee Dee (reprise)” (1940)

While Gideon literally scribbles down a “report,” Honest John gives Pinocchio a thorough “examination” including this “diagnosis” of his heart:

“Now that heart. Ooh, my goodness! A palpitating syncopation of the killer diller with the wicky wacky stomping of the floy joy.”

i-m-giving-you-my-ticket

Honest John solemnly pronounces the results: “My boy…you are allergic.” It’s hysterical how he pronounces the word like it’s the most terrible disease in the world, when that’s not even close to how it works (as we all know, you’re allergic to something, it’s not just a case of being “allergic.”) Of course Pinocchio has no way of knowing that, but even so, when Honest John pronounces that the only cure is a holiday on Pleasure Island, the puppet weakly insists that he can’t go. But that’s no problem as Honest John gives Pinocchio his very own “ticket” (the Ace of Spades, otherwise known as the Death card) and lead the puppet away with a stirring reprise of “Hi Diddle Dee Dee” :

Hi Diddle Dee Dee, it’s Pleasure Isle for me!

Where every day is a holiday, and kids have nothing to do but play

Hi Diddle Dee Doo, if what I hear is true,

At noon each day there’s a big parade, the river’s flowing with lemonade,

A land of pudding and marmalade, it’s Pleasure Isle for me!

Jiminy Cricket (who had walked on ahead), realizes that Pinocchio is going the wrong way (again) and chases after the group as they lead Pinocchio to the carriage that will be departing at midnight for Pleasure Island!

And that’s the reprise of “Hi Diddle Dee Dee!” Let me know what you thought about it in the comments below!

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Pinocchio “Little Wooden Head” (1940)

Pinocchio “Hi Diddle Dee Dee (An Actor’s Life for Me!)” (1940)

Pinocchio “I’ve Got No Strings” (1940)

For more the more disturbing aspects of Pinocchio, see also:

Disturbing Disney #1: The Coachman in Pinocchio (1940)

Disturbing Disney #2: The truth of Pleasure Island in Pinocchio (1940)

Disturbing Disney #3: Escaping Monstro from Pinocchio (1940)

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Soundtrack Review: Red Sparrow (2018)

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Red Sparrow is an American spy thriller film directed by Francis Lawrence and based on the 2013 novel of the same name by Jason Matthews. The film tells the story of a Russian intelligence officer, Dominika Egorova (Jennifer Lawrence), who is sent to make contact with a CIA agent and possible mole. The film also stars Joel Edgerton, Charlotte Rampling, Mary-Louise Parker and Jeremy Irons. It released to theaters on March 2nd, 2018.
The score for Red Sparrow was composed by James Newton Howard, one of the film industry’s most versatile and honored composers, with a career spanning over thirty years and encompassing more than 130 film and television projects. His myriad film credits include the Oscar®-nominated scores for Defiance, Michael Clayton, The Village, The Fugitive, The Prince of Tides, and My Best Friend’s Wedding, as well as Oscar® nominated songs for Junior and One Fine Day. Howard also received Golden Globe nominations for his scores for Peter Jackson’s blockbuster remake of King Kong and Defiance, as well as the aforementioned songs.

James Newton Howard’s score for Red Sparrow is, in a word, beautiful. Howard’s scores have always been among my favorites, but this one might just be one of his best. For a start, the score begins with a proper overture which came as a very pleasant surprise to me. Overtures in film music are typically, in my experience, associated with the golden age of cinema, when many films contained an overture and an intermission like a stage play or an opera. And like those overtures, Howard’s overture sets the tone for the entire soundtrack: it’s a haunting string melody, mixed with woodwinds, that gently draws you into itself until you’re lost in the rising and falling sounds. Appropriately enough, there are faint overtones of Russian-styled music in the melody, which makes sense given where the film is set. However, this sound does not dominate the overture, it is a hint of “Russian-ness” and nothing more.

Most of the score follows the lyrical example of the overture, especially the last track before the end titles which is listed as “Didn’t I Do Well.” This last piece is more upbeat than the overture and actually put me in mind of a ballet number, which may be deliberate since Jennifer Lawrence’s character is *minor spoiler* a former ballerina. I say it reminds me of ballet because the leaps and quick changes in the melody are reminiscent of the steps a ballet dancer takes.

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However, some of the tracks in the score depart from the style featured in the overture and “Didn’t I Do Well” and lean closer to a more modern feel, with electronic sounds and a faster paced, more “jagged” melody. Examples of this include “Take Off Your Dress” and “The Steam Room.” The latter especially could be considered the most “violent” sounding piece in the entire soundtrack (I have my theories as to why but I’ll need to see the film to know for certain) but I enjoyed listening to it because it stood in marked contrast to the other pieces surrounding it in the score.

In conclusion, Howard’s score for Red Sparrow is a gorgeous listening experience and I can already tell it will be the highlight of the film (even if the rest of the film disappoints, which I hope it doesn’t). I think you will definitely enjoy it.

Let me know what you thought of Red Sparrow’s soundtrack in the comments below. 🙂

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My thoughts on: Jurassic Park (1993)

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Given my well-known aversion to scary films, it often surprises my friends when they find out I enjoy watching Jurassic Park. While it’s true that this film has its own fair share of insanely terrifying moments (including one in particular that still scares me quite a bit), my lifelong love of dinosaurs as well as my appreciation of Spielberg’s storytelling abilities overrides my fear (John William’s excellent score helps as well). I dimly remember seeing advertisements for this film on TV and being super excited that there was a “dinosaur movie” being made.

And given I was all of 5 years old when the film came out, I couldn’t understand why my parents wouldn’t let me see the movie with the dinosaurs in it (dinosaurs were my first obsession, I couldn’t read enough about them). Of course now I understand that they kept me far away from this film because it was full of scenes that were not appropriate for a 5 year old kid, but unfortunately for my psyche, I didn’t know that when I was 9 and finally managed to see the movie for the first time at my best friend’s house.

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“Welcome to Jurassic Park”

If you haven’t seen the film, Jurassic Park is adapted from Michael Crichton’s 1990 novel of the same name and follows the development of a theme park being built on (fictional) Isla Nublar off Costa Rica that is filled with genetically engineered dinosaurs resurrected from ancient DNA samples. After a deadly accident, the park’s creator John Hammond (Richard Attenborough) needs a group of experts to sign off on the park before the investors will fully commit to opening the island to the public. To that end, the following group is invited to the island to tour the facility:

Dr. Alan Grant (Sam Neil): an archaeologist who focuses on velociraptors and also subscribes to the (then-new) belief that dinosaurs were the direct ancestors of modern birds.
Dr. Ellie Sattler (Laura Dern): a graduate student studying with Dr. Grant (and also his girlfriend). She specializes in paleobotany.
Dr. Ian Malcolm (Jeff Goldblum): a mathematician who specializes in chaos theory. He’s firmly against the entire concept of Jurassic Park, correctly predicting that they will be unable to control the dinosaurs they have created, insisting that “life finds a way.”
Donald Gennaro (Martin Ferrero): a lawyer working on behalf of Jurassic Park’s investors. He’s initially skeptical of the project but quickly changes his mind once he first sees the dinosaurs in person.

This group is also joined by Lex and Tim Murphy (Ariana Richards and Joseph Mazzello respectively), Hammond’s grandchildren. Tim is obsessed with dinosaurs (and is a big fan of Dr. Grant’s work), while Lex is a tomboy and a would-be computer hacker.

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This first part of the film shows the dinosaurs in all of their positive glory: we see a giant herd of dinosaurs gathered around a lake, feeding from the trees, even a triceratops (albeit one that’s in pain). But things start to become menacing almost straight away: we see the velociraptor enclosure and how they have to be fed by lowering whole (Live!!) cows into a brush-filled space, the only sign of their presence being the rustling of the branches. And then there’s the threat of a hurricane moving onto the island that threatens to cut the tour of the park short and oh yes, there’s also the sub-plot of programmer Dennis Nedry (Wayne Knight) plotting to steal various DNA samples for a rival company.

One part of this film I like is how Hammond and most of his staff are in complete denial of how completely in-over-their-heads they are in regards to the dinosaurs they’ve created. The more you hear them talk, the more you just know something is going to go terribly wrong and does it ever! Due to a series of events, the power is cut to the electric fences surrounding each enclosure and the T-Rex is among the first to get out (and did I mention the group touring the park is right in front of that area??)

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“The T-Rex Attacks”

The T-Rex is a masterpiece of early-90s CGI that has held up surprisingly well over the last 25 years. Originally, the dinosaurs were going to be realized with traditional stop-motion animation until a computer test demonstrated that the dinosaurs could be almost fully created with CGI. But what really puts the T-Rex over the top is the real-life component of the creature. For the epic sequence where the dinosaur stalks the human characters, a full-size animatronic head, arm and two feet were created. Shots of these components were interspersed with the CGI creation to create a spine-tingling moment.

But as scary as the T-Rex scene is, it’s nothing compared to the kitchen scene. You know the one I’m talking about: it’s late in the story, most of the surviving characters have made their way back to the main park building…but so have the velociraptors, who begin stalking Tim and Lex as they run and hide in the kitchen. This sequence terrified me as a kid because I was about the same age as Tim and Lex (give or take a few years) so I could completely identify with them as they hid from the velociraptors. Like the earlier T-Rex scene, the footage of the raptors is a combination of animatronics, live-action puppets (with human performers) and CGI. In fact, there were so many wires required to make the puppet and animatronic components work, that Tim and Lex had to repeatedly jump over them to keep from tripping on them (it’s a wonder they filmed that scene without any of that becoming visible). This scene is so well done that, even though I know it’s all part of a movie and no one is in any actual danger, I still feel terrified that the raptors are going to find and eat the kids!

And then there’s John William’s beautiful score for this film. When you run through a list of Williams’ most recognized pieces, the main theme form Jurassic Park is almost always included and rightfully so. It was the composer’s intention to create music that embodied the sense of awe a person would feel if they really did see dinosaurs walking in front of them as the characters in the film do and the score definitely succeeds with this.

And now for some random thoughts and trivia:

Wayne Knight gives an absolutely hysterical performance as Dennis Nedry, it’s almost a shame he gets his comeuppance so early in the story. That being said, his scene with the Dilophosaurus is so funny because he’s talking to a dinosaur and saying “I don’t have any food for you” when it’s patently obvious that the dinosaur considers him to be the food!
The T-Rex animatronic was the biggest creation of its time (even bigger than the Alien Queen created for Aliens which gives you an idea of its size).
When the T-Rex charges through the sunroof of the Jeep, the glass was supposed to come out, but it was NOT supposed to crack (so note carefully how Tim and Lex’s screams jump up about an octave as they suffer a genuine and unexpected scare).
Exactly who was going to die or not changed several times throughout filming. At one point, Mr. Albert (Samuel L. Jackson) was going to live, the lawyer was going to live, but Hammond was going to die (as his counterpart in the book does).
When the group has sat down for lunch after arriving on the island, watch the images playing in the background carefully. One of the “concept art” images is an exact match for the Mosasaurus enclosure seen in Jurassic World (2015)

And those are my thoughts on Jurassic Park! I still like watching it from time to time when I want to have a day to myself (usually during a weekend). What do you think of Jurassic Park? Let me know your thoughts in the comments below!

For more film reviews see also: Film/TV Reviews

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