Tag: blogathon

Take 3: The Naked Jungle (1954) Review

On By 18cinemalaneLeave a comment

This is my third time participating in the Luso World Cinema Blogathon. Back in 2021, I wrote about the 2005 film, Ladies in Lavender, which I thought was just ok. Then last year, I reviewed Jasmine Guy’s episodes of Touched by An Angel. While the episodes, “Sympathy for the Devil” and “Lost and Found”, were fine, “Clipped Wings” became my least favorite Touched by An Angel episode reviewed on 18 Cinema Lane, so far. But these previous entries for the Luso World Cinema Blogathon were chosen based on a particular actor’s or actress’s involvement in a project. For this year’s event, I decided to select a movie based on its location. Therefore, I picked the 1954 film, The Naked Jungle! According to the criteria for the Luso World Cinema Blogathon, The Naked Jungle takes place in Brazil. The movie was also recommended to me by Maddy (from Maddy Loves Her Classic Films). Both Charlton Heston and Eleanor Parker are no strangers to 18 Cinema Lane. Not only have I covered 1959’s Ben-Hur, I’ve also written about Interrupted Melody, The Man with the Golden Arm, and Return to Peyton Place!

The Naked Jungle (1954) poster created by Paramount Pictures

Things I liked about the film:

The acting: In this review’s introduction, I stated how both Charlton Heston and Eleanor Parker are no strangers to 18 Cinema Lane. After reviewing three of Eleanor’s movies, what I’ve noticed is how Eleanor uses emotion to her advantage. Despite only writing about one of Charlton’s films, Ben-Hur, I can appreciate the consistency of his acting strengths. These compliments can be applied to Eleanor’s and Charlton’s portrayal of Joanna and Christopher in The Naked Jungle! Throughout the 1954 picture, Christopher is a stoic man who prioritizes his plantation. So, when Joanna comes into his life, he carries frustration, pride, and even entitlement in his eyes, through his voice, as well as his body language. Meanwhile, Joanna is a sweet and gentle woman who is open-minded to her new life with Christopher. But when Christopher becomes argumentative with her, Joanna shows little to no fear, effortlessly replacing sweetness with fierce confidence. Because of how strong both Charlton’s and Eleanor’s performance was, their characters were interesting to watch! One of my favorite scenes in The Naked Jungle is when Joanna meets a Commissioner who happened to board the same boat as her. Portrayed by William Conrad, the Commissioner had the charisma and friendly personality to brighten up a room. I could even sense nice on-screen chemistry between William and Eleanor. These factors made me look forward to scenes featuring the Commissioner!

The set design: When it comes to set design, sometimes less is more. This was definitely the case for The Naked Jungle! My favorite set was Joanna’s room because of how pops of color were incorporated into the space. Standing out against the white walls and shutters were gold sconces, dark wood furniture, and bright hued chairs. The vanity area was, in my opinion, the most impressive! An ornate, gold mirror proudly hung on the wall. Right underneath the mirror was a dark wood vanity table, nicely complimenting the mirror’s shiny frame. A chair with green cushions provided a visually appealing bridge between the darker and brighter hues. Though all the pieces of décor were simplistic in design, the overall room presented an elegant, classy, and timeless space!

The dialogue: I sometimes come across films where some of the dialogue is so clever, it sticks in my memory. The Naked Jungle happens to be one of those films! An example of memorably clever dialogue is when Joanna arrives in Brazil for the first time. As Christopher’s “number one man”, Incacha, introduces himself, even bringing up his title, Joanna addresses herself as Christopher’s “number one wife”, as she desperately wants to know where her husband is. The quick response and the immediate play on words makes this response cordial and somewhat hilarious. Another great example arrives after Joanna and Christopher meet. When Christopher tells Joanna how the tropics have their own schedule, Joanna asks, “What time is bedtime”? Christopher replies by saying, “Whenever you wish, madam”. Joanna then tells Christopher with a hint of playful sarcasm, “I wouldn’t want to upset your schedule”. This comeback works because of the screenwriting and Eleanor’s performance!

6th Luso World Cinema Blogathon banner created by Le from Crítica Retro and Beth Ann from Spellbound With Beth Ann

What I didn’t like about the film:

Lack of on-screen chemistry: As I previously talked about in this review, I liked the acting performances of Charlton Heston and Eleanor Parker. But what I didn’t like about their portrayals of Christopher and Joanna was their lack of on-screen chemistry. In this case, the fault lies in the screenwriters. Not only was the relationship between Joanna and Christopher tense, this tension between them lasted the majority of the movie. By the time Christopher and Joanna finally got around to appreciating the other’s company, this renewal of chemistry came too little too late. That writing choice made it difficult, for me, to determine if Charlton and Eleanor truly possessed any on-screen chemistry.

The “locals” as background characters: “Locals” of the story’s Brazilian setting make appearances throughout The Naked Jungle. But these “locals” aren’t given much to do in the story. Among them was a gentleman who not only possessed Mayan ancestry within his family tree, he also carried around a small head known as his “treasure”. Because of these details, I thought he’d make a fascinating addition to The Naked Jungle’s script, using his family history and maybe even his “treasure” to help resolve the film’s overarching conflict. Unfortunately, this gentleman barely said anything in the one scene he was featured in. Even Incacha, the “number one man” of Christopher, receives a smaller role within the script. Despite dealing with a personal conflict of his own, that conflict has little bearing over the movie’s plot. I was disappointed by the creative decision to turn the “locals” into background characters. This is because their inclusion in the film made me want to learn more about their culture and perspective.

A somewhat misleading title and synopsis: According to The Naked Jungle’s synopsis on IMDB, “a 2-mile-wide, 20-mile-long column of army ants” plan to destroy anything in their path, including Christopher’s plantation. With a movie titled, The Naked Jungle, one would think the titular jungle would play a significant role in the story. But the jungle doesn’t actually appear in the movie until about the last forty minutes. Meanwhile, the “army ants” I previously brought up aren’t shown on screen until about the last thirty minutes of the movie. Keeping in mind The Naked Jungle has a run-time of an hour and thirty-five minutes, this means the majority of the script prioritizes the tension between Christopher and Joanna. These creative choices I talked about make the title and synopsis seem kind of misleading.

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My overall impression:

Have you ever seen a movie where it wasn’t bad, but it just didn’t meet or exceed your expectations? That’s how I felt after watching The Naked Jungle. Before reviewing the 1954 film, I expected a story where a husband and wife worked together to solve the problem of an ant infestation. But what I got instead was a movie that prioritized the tense relationship of Joanna and Christopher, the aforementioned husband and wife. While there was an ant infestation and the titular jungle did play a role in the story, these parts of the script didn’t arrive until toward the end of the movie. But as I waited for these arrivals, I came to appreciate certain aspects of The Naked Jungle. Not only did I like the “less is more” approach to the set design, I also liked how clever some of the dialogue was. I even liked the acting performances, including those from Eleanor and Charlton. When it comes to The Naked Jungle, however, I was left desiring more. Maybe I’ll review a film where the “locals” are given center stage.

Overall score: 6 out of 10

Have you seen The Naked Jungle? Is there a movie from Charlton Heston’s and/or Eleanor Parker’s filmography you’d like to see me review next? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

We Now Conclude Commencements of The “Eddie’s Year” Blogathon

On By 18cinemalane1 Comment

Hello everyone! Like any graduation ceremony, it’s time to conclude The “Eddie’s Year” Blogathon. This year’s event was a success, as it had a similar turn-out to last year’s Food & Film Blogathon. I apologize for not publishing my book review of Stranger Things: Flight of Icarus by Caitlin Schneiderhan. I actually didn’t get to completely read the book, as I had other blogging projects to write and publish around the time of The “Eddie’s Year” Blogathon. However, I was able to deliver my Comparing with the Critics reviews of King Kong Lives and The Fly. Those reviews, as well as the event’s other entries, showcased the creative storytelling 1986 had to offer. Through reading these entries, I was introduced to films that are new to me. I also learned something new and discovered interesting points about Eddie Munson I never thought of before. There will be a new blogathon on 18 Cinema Lane in 2027! The event’s details won’t be revealed yet, as I haven’t even chosen a theme. Until then, you can check out my upcoming reviews, editorials, and lists! To everyone who participated in The “Eddie’s Year” Blogathon, thank you so much for your contribution.

The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.

Have fun at the movies!

Sally Silverscreen

Take 3: The Children’s Hour Review

On By 18cinemalane5 Comments

Audrey Hepburn is no stranger to 18 Cinema Lane. In the eight years I’ve been blogging, I have reviewed The Nun’s Story (which I liked), Funny Face (which I also liked), and Roman Holiday (which was, in my opinion, ok). For Classic Film And TV Corner’s Audrey Hepburn Blogathon, I decided to pick a movie I don’t often hear in the discussion of Audrey’s films. Over the years, I’ve heard 1961’s The Children’s Hour has been considered “controversial”. Though I wasn’t sure if the movie still carried that title today or if it once held that title when the film was originally released. Wanting to find an answer to that question, I selected The Children’s Hour to write about for the event. Another actor who’s no stranger to 18 Cinema Lane is James Garner. Despite only reviewing one of his films, Hallmark Hall of Fame’s Promise, I have seen other projects from his filmography, such as Atlantis: The Lost Empire, The Notebook, and Hallmark Hall of Fame’s Decoration Day. So, I was pleasantly surprised to discover James starred in The Children’s Hour.

The Children’s Hour poster created by The Mirisch Corporation and United Artists

Things I liked about the film:

The acting: As I said in this review’s introduction, I’ve written about three of Audrey Hepburn’s films; The Nun’s Story, Funny Face, and Roman Holiday. Through her roles in these films, Audrey has proven to be a very expressive actress who allows her characters to adapt to any situation. This sentiment holds true in The Children’s Hour, as Audrey portrays a teacher named Karen. One great example of Audrey’s expressiveness takes place during a conversation Karen shares with a doctor named Joe (portrayed by James Garner). Throughout their conversation, Karen shares her desire to get married. As soon as Joe agrees to marry Karen, her face lights up, complete with wide eyes and a big ear-to-ear smile. It also helps how this reaction from Karen appears genuine. Speaking of James Garner, I also want to talk about his portrayal of Joe. During his and Karen’s aforementioned conversation, Joe is frustrated by lack of funds and resources at the hospital where he works. As he takes Karen for a car ride, Joe carries that frustration on his face, from a narrowed stare to his mouth turning in a scowl. The look on Joe’s face is consistent from a previous conversation he shared with Karen’s friend, Martha (portrayed by Shirley MacLaine). In his and Martha’s conversation, Joe expressed his frustration through his facial expressions and tone of voice. This consistency, as well as his versatility, showed just how strong of a performance James gave in The Children’s Hour!

Like I mentioned earlier, Audrey portrays a teacher named Karen. This means throughout The Children’s Hour, Karen’s students appear in the story from time to time. Out of the young actresses who received lines in the movie, two of the strongest performances came from Karen Balkin and Veronica Cartwright! In The Children’s Hour, Karen portrays Mary, a manipulative girl who never takes ‘no’ for an answer. Meanwhile, Veronica portrays Rosalie, a fellow student of Mary’s who is terrified of Mary. Whenever Mary tries to control Rosalie into following a plan of hers, Rosalie’s terror for Mary is visibly displayed through her wide eyes and appearance of fear on the rest of her face. Even when she’s questioned about the rumor about Martha and Karen, Rosalie bursts into tears as Mary’s figurative grip on her is just too powerful. On the other hand, Mary’s mood changes depending on the situation. One moment, as she’s presenting flowers to another teacher named Lily, Mary displays a sweet demeanor with a smile on her face. But when Karen catches Mary in a lie about those flowers, Mary’s attitude immediately changes to being defensive, complete with a sharp tone of voice and an angry look in her eyes. The strong execution of Karen’s and Veronica’s performance made me, as a viewer, effectively empathize with Rosalie and despise Mary.

The dialogue: I brought up earlier in this review how Shirley MacLaine portrayed Karen’s friend, Martha. One of the reasons why I liked her performance was her execution of the dialogue. To add to this, some of the dialogue in The Children’s Hour was cleverly written. A great example takes place during a conversation between Martha and Karen. While bringing up the subject of money, Karen addresses her concern for Martha’s wardrobe. Martha casually and confidently responds to Karen’s concern by saying, “I’m a skirt-and-blouse character. We’re always in style”. Later in The Children’s Hour, Martha and Lily have a disagreement. During this disagreement, Martha suggests Lily leave to pursue her Broadway dreams, even offering to give her money. Lily refuses to accept Martha’s offer and says she’d “rather scrub floors first”. Martha, her voice fueled with sarcasm, replies “You’ll change your mind after the first floor”. The cleverness of the dialogue’s writing, as well as the dialogue’s delivery, was such a pleasant surprise!

The mise-en-scène: While watching The Children’s Hour, I noticed interesting mise-en-scène that was sometimes utilized during the movie. One example shows Mary spying on Karen and Martha as they share a conversation in Martha’s room. The door to Martha’s room is in the background near the left-hand side of the frame. In the foreground near the right-hand side of the frame is Mary’s face hiding behind the door of her room. Shots like the one I described present the illusion of putting the audience in a scene alongside the characters. This creative decision was, for me, an unexpected yet memorable aspect of the movie!

The Audrey Hepburn Blogathon banner created by Maddy from Classic Film And TV Corner

What I didn’t like about the film:

Telling instead of showing: Throughout The Children’s Hour, Martha and Karen recount how Mary’s rumor negatively impacted their lives and careers. They planned on filing a libel and slander lawsuit, but ended up losing that lawsuit. The rumor became national news, as Martha mentions it made the front page. But none of these events are shown in the film. No newspapers are presented with that rumor as headline news. There’s no courtroom scenes either, so the audience is forced to take Karen and Martha’s word for it. Because of the script’s reliance on telling instead of showing, the severity of the situation isn’t fully felt. The closest The Children’s Hour gets to addressing the severity is when the students actively leave the school.

Not addressing Mary’s accountability: Karen, Martha, and even Joe are hated by Mary because they do what Mary’s grandmother failed to do: hold Mary accountable for her bad decisions. This hatred is what caused Mary to start the rumor about Martha and Karen in the first place. But The Children’s Hour spends so much time focusing on the fallout from the rumor, Mary isn’t shown facing any accountability for creating the rumor. Sure, the rumor is debunked and Mary’s grandmother discovers the truth. However, the script never addresses what happened to Mary when the truth came to light. As a viewer who was waiting for Mary to face her comeuppance, I was disappointed.

Drawn-out scenes: There were a few times within The Children’s Hour where scenes were drawn out longer than necessary. One example is when Joe confronts Karen about the rumor. While I understand this scene was intended for Karen to debunk the rumor and re-confirm the status of her and Joe’s relationship, the scene itself felt like it lasted between five to ten minutes. Because there’s only so much story you can tell in an hour and forty-eight minutes, I believe scenes like the one I described should have been trimmed a bit.

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My overall impression:

In the world of cinema, there are three types of movies: those that stand the test of time, those that were ahead of its time, and those that are a product of its time. Personally, I think The Children’s Hour fits in the latter category, primarily due to how the dialogue tries to skirt around the rumor instead of being straightforward about it. However, I don’t believe this makes The Children’s Hour a bad movie. In fact, the 1961 picture has its merits. The acting was solid, from Audrey’s portrayal of Karen and James’ portrayal of Joe to the performances from the younger actresses like Veronica and Karen. I also liked how clever some of the dialogue was and how the mise-en-scène was utilized. But the creative team behind The Children’s Hour didn’t take the opportunity to expand the story beyond the stage it was adapted from. The script relied on telling instead of showing, which prevented the severity of the situation from being fully felt. Some scenes were drawn out longer than necessary and Mary’s accountability for starting the rumor isn’t addressed in the story. Therefore, I like Funny Face and The Nun’s Story over The Children’s Hour.

Overall score: 6.1 out of 10

Have you seen The Children’s Hour? Which movie from Audrey Hepburn’s filmography would you like to see me review next? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Comparing with the Critics – Best of 1986 – The Fly

On By 18cinemalane4 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

Out of the movies Roger Ebert and Gene Siskel picked in Siskel & Ebert & the Movies’ ‘Best of 1986’ episode, I believe Eddie Munson would choose The Fly. As I explained in my 1986 introduction of Comparing with the Critics, Eddie’s story teaches that, sometimes, there’s more than meets the eye. Plus, Eddie’s imagination and creativity not only works in his favor as a Dungeon Master, it’s also helped his friends during their time in the Upside Down. From the way Gene and Roger described The Fly in the aforementioned ‘Best of 1986’ episode, it seemed like a different kind of horror and sci-fi film. Roger claims “the poignancy” of The Fly “is interesting in a horror film”. Meanwhile Gene not only states “there was, if you think about it, a certain nobility to The Fly”, he also says “the movie is beautifully made”. Films from the horror and sci-fi genre are infrequently covered on 18 Cinema Lane. In fact, the only sci-fi and/or horror movies included in the Comparing with the Critics series, so far, are The Bride and Mad Max Beyond Thunderdome, which were both released in 1985. But what can be appreciated is the creativity and imagination woven into those two genres, whether it’s how the duel in the Thunderdome was filmed in Mad Max Beyond Thunderdome or giving Viktor a “hero’s journey” in The Bride. Though The Fly ended up on Roger’s top twenty best films of the year list, it did earn a place on Gene’s ten best films of ’86 list at number ten. However, despite not seeing every or most of the movies from 1986, The Fly would not be on my list of the top ten best films of that year. I also don’t think the film would be on Eddie’s top ten best films list either.

The Fly (1986) poster created by 20th Century Fox, Brooksfilms, Province of British Columbia Production Services Tax Credit, and SLM Production Group

While sharing his thoughts on The Fly, Roger tells Gene, “Goldblum, I think, deserves an Academy Award nomination”. While I agree with Roger’s sentiments on Jeff Goldblum’s portrayal of Seth Brundle, I also believe Geena Davis (who portrayed Veronica “Ronnie” Quaife) deserved a nomination from the Academy. Individually, Geena’s and Jeff’s performance was solid. From the tearful heartbreak Ronnie displays as Seth becomes unrecognizable to Seth’s erratic behavior over the course of the story, Jeff and Geena made their characters interesting to watch. But together, Geena and Jeff share very nice on-screen chemistry! In The Fly’s very first scene, Seth and Ronnie meet at a scientific event. Their interaction contains a sense of awkwardness, as they don’t yet know how they feel about the other person. But because Ronnie and Seth appear comfortable with who they are as individuals, the conversation isn’t embarrassing or cringey. Instead, it kind of comes across as flirty. Incorporating smiles, Seth’s widening eyes, and Ronnie’s glances away from Seth add to their growing feelings for each other. Even tilts of the head indicate how equally engaged they are in their interaction. The more I saw Seth and Ronnie together, the more I wished Jeff and Geena starred in another movie together portraying a couple!

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Gene tells Roger during their discussion of The Fly how he doesn’t believe science fiction movies, but was able to believe The Fly. One of the reasons why, according to Gene, is “it has to do with makeup”. The Academy certainly agreed with Gene, as The Fly won the Best Makeup category at the 59th Academy Awards. I also agree with Gene and the Academy. The idea of a human transforming into a fly sounds pretty disturbing and grotesque. Through the makeup design of Stephan Dupuis and Chris Walas, that aforementioned transformation was brought to life on screen in a believably horrifying way. At the start of Seth’s transformation, he develops little hairs on his back and his face appears discolored. But as the story progresses, so does his transformation. Seth’s teeth become pointy before falling out. His fingers morph together as his hands turn into the feet of a fly. Seth’s body even develops lumpy growths that make him look like a complete stranger. What adds to the horrifying nature of the makeup design is not just how believable the transformation itself appears, but also how realistic the effects look.

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During their coverage of The Fly in the ‘Best of 1986’ episode of Siskel & Ebert & the Movies, Roger comments on the believability of the movie. He tells Gene how “the screenplay was written and acted smart”. Roger also appreciated how Seth wasn’t a scientist “who speaks in cliches out of the thirties”. To add to Roger’s compliments, I’ll say that I liked how the story’s scientific ideas were woven into the script. Throughout The Fly, the topic of teleportation is discussed by Ronnie and Seth. What started as a magazine interview turns into a collaborative book. Over time, the focused topic changes to genetic fusion between Seth and a fly. Ronnie’s discovery and Seth’s computer lead to this specific topic being brought up. The way these scientific subjects were written into the story, as well as the dialogue, sounded intelligent enough to make the characters seem like they knew what they were talking about. As a viewer, I wasn’t confused by these concepts or didn’t feel like homework before watching the movie was required.

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As Gene sings the praises of The Fly, he refers to the movie as “a great adventure”. In my experience watching adventure stories unfold on screen, there’s usually a sense of urgency. This urgency can be the reason for reaching a particular destination, exploring a specific location, or finding a person or object. A featured scene from The Fly on Siskel & Ebert & the Movies’ ‘Best of 1986’ episode shows Seth revealing to Ronnie his continual transformation toward becoming a fly. That scene made me believe there would be a race against the clock to either slow down or reverse Seth’s transformation process. Sadly, the script did not provide a race against the clock because the movie lacked a sense of urgency. In fact, The Fly contains a slow-burn story where Seth slowly becomes a fly over the course of most of the film. The 1986 movie is one of those movies where the audience waits for the inevitable to happen. Because the title of the film, The Fly, gives the inevitable away, it makes the film itself predictable. This predictability removes some of the story’s suspense and intrigue.

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In the introduction of this review, I stated how The Fly would not be on my list of the top ten best films of 1986. I also said I didn’t think the film would be on Eddie’s top ten best films list either. The reasons are the movie’s lack of urgency and predictability. I could honestly picture Eddie either falling asleep during the movie or leaving the theater during the film. As I said in my review, The Fly is a slow-burn story and its predictability removes some of the story’s suspense and intrigue. But I don’t believe The Fly is a bad movie. The individual and combined performances of Jeff Goldblum and Geena Davis made their characters interesting to watch, as well as gave their characters nice on-screen chemistry. Chris and Stephan’s makeup effects effectively elaborated on the horrifying concept of a human becoming a fly. I also liked how the story’s scientific ideas were woven into the script. But despite all that praise, I didn’t like or love The Fly as much as Gene or Roger did.

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Sally Silverscreen

Comparing with the Critics – Worst of 1986 – King Kong Lives

On By 18cinemalane5 Comments

This review is from my series, Comparing with the Critics. If you’d like to learn more about the series, click on the link below.

Introducing my new series, Comparing with the Critics!

In the 1986 introduction of Comparing with the Critics, I said Eddie Munson would see Roger Ebert’s and Gene Siskel’s warnings about King Kong Lives as a challenge. That’s because this movie was deemed so bad, no clips from it were featured on ‘The Worst Movies of 1986’ episode of Siskel & Ebert & the Movies. According to Roger and Gene, they received letters from King Kong Lives’ film company stating no clips of the movie were allowed to be shown on Gene and Roger’s national show, yet could be shown on their local show in Chicago. Wikipedia states the film company, DEG (De Laurentiis Entertainment Group), forbade the critics from showing clips on Siskel & Ebert & the Movies “unless they promised to give positive reviews”. Because neither Roger or Gene complied with DEG’s request, they used the experience as a warning to their audience not to see King Kong Lives, with Gene saying, “If you don’t believe me or Roger, believe the film company that, think about it, couldn’t find a single scene that it wanted you to see”. From my experience watching the “Best of” and “Worst of” episodes of Gene and Roger’s show, a featured movie with no clips presented for it is extremely rare. That’s why King Kong Lives not only became so memorable to me, but why I wanted to review the movie, wondering if it was truly that bad. But now that I’ve seen King Kong Lives, saying it’s so bad it justified the refusal of featuring clips on Siskel & Ebert & the Movies is a stretch.

King Kong Lives poster created by De Laurentiis Entertainment Group (DEG)

Gene claims King Kong Lives, which is a sequel to King Kong from 1976, “should have been a classy production”. I’m not sure “classy” is the right word to describe this film. What I will say is King Kong Lives is interesting. One of the factors that made the movie interesting was the use of suits to bring King Kong and Lady Kong to life. In order for King Kong to be saved, Lady Kong is incorporated into the story to provide a blood transfusion for King Kong. Over the course of the film, Lady Kong and King Kong develop a romantic relationship. Through the performances of Peter Elliott and George Antoni/Yiasoumi, King Kong and Lady Kong’s interactions became such a pleasant surprise! The blend of body language, tilts of the head, and movements of the eyes and mouth effectively expressed emotions, thoughts, and feelings without any dialogue. The actual construction of the suits allowed King Kong and Lady Kong to appear believably realistic. With all that said, I found Lady Kong and King Kong’s relationship adorable!

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When Hank “Mitch” Mitchell (portrayed by Brian Kerwin) is introduced in King Kong Lives, he gives the impression of being hungry for money and fame. This is because Mitch agreed to give Lady Kong to the Atlantic Institute. But as the movie goes on, Mitch subverts expectations by showing how he genuinely cares about Lady Kong’s wellbeing. One example is Mitch’s observation of how King Kong appeared to be treated better than Lady Kong. He’s even concerned about the wellbeing of Dr. Amy Franklin (portrayed by Linda Hamilton). When Amy tells Mitch how she’s spent her evening keeping an eye on King Kong after his heart surgery, Mitch encourages Amy to get some sleep. Mitch’s empathy and compassion toward Lady Kong, Amy, and even King Kong made him such a likeable character!

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Speaking of Brian Kerwin and Linda Hamilton, I’d like to take some time to talk about their performance. Over the course of King Kong Lives, Amy and Mitch’s attraction for one another grows. The on-screen chemistry between Linda and Brian was, in my opinion, very sweet. The relationship between Mitch and Amy felt genuine because of the combined performance of Brian and Linda. But, individually, they gave solid performances as well. When Lady Kong arrives at the Atlantic Institute through a plane trip, some photographers attempt to break into the plane to take Lady Kong’s picture. Mitch pulls those photographers out of the plane, taking note of how stressed Lady Kong appears. In that moment, Amy gains respect for Mitch as he puts Lady Kong’s needs before his own desires. When Mitch looks at Amy, she nods toward him, a look of understanding in her eyes. Later in King Kong Lives, Amy performs heart surgery on King Kong. As Mitch watches the operation unfold, he is consistently shown grimacing or appearing worried. From the look in his eyes to the movements of his mouth, Mitch’s reactions throughout the surgery appear believable. The examples I provided illustrate how both Linda and Brian put genuine effort into their performances!

The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.

Prior to watching and reviewing King Kong Lives, I had never seen a King Kong movie. Therefore, my knowledge of the King Kong Cinematic Universe is very limited. Based on what I do know about King Kong, he is, sometimes, presented as a threat to humans. This depiction was chosen for the 1976 film, with clips from that film shown at the beginning of King Kong Lives. With that said, I was really confused why the Atlantic Institute would spend the time, energy, and money (seven million dollars to be exact) to keep King Kong alive? I was hoping an explanation would be provided through the dialogue. But, unfortunately, no explanations were included in the script. It seems like the creative team behind King Kong Lives expected their audience to already know why certain events were happening. But when certain things happen, such as a change in attitude toward King Kong, explanations that make sense within the world of that film’s story need to be shared. Lack of explanations in King Kong Lives is my biggest criticism of the movie.

Adhesive bandage image created by aopsan at freepik.com. Background photo created by aopsan – www.freepik.com

During their discussion of King Kong Lives, Roger recounts his experience seeing the movie at a theater. He tells Gene about a swinging door located behind the theater’s back row of seats. The children who attended Roger’s screening of King Kong Lives found that swinging door more entertaining than the film itself because, according to Roger, “there was nothing on the screen that was even slightly entertaining to them”. Though I found the film interesting enough to keep me invested in the story, I can understand why those children would find the movie boring. When someone chooses to watch a King Kong picture, they typically expect King Kong to be destructive. While he was destructive in King Kong Lives, those moments were far and few between. From my limited knowledge of the King Kong Cinematic Universe, King Kong Lives tells a different kind of story from previous films, including its directly connected predecessor from 1976. I appreciate this newer approach to the lore of King Kong instead of repeating the same ideas. On the other hand, however, it seems like King Kong Lives’s creative team may have told a story that felt too different to the audience.

Comparing with the Critics banner created by me, Sally Silverscreen. TV show title cards created by WTTW National Productions, WTTW, Public Broadcasting Service (PBS), Lifetime Television, Tribune Entertainment, Buena Vista Television, and Disney-ABC Domestic Television

As a movie blogger, I totally understand Roger’s and Gene’s decision to refuse DEG’s request of showing clips of King Kong Lives on their Chicago show, but not their national show. In fact, I commend the critics for sticking to their morals and integrity. But DEG’s refusal to have clips of their film shown on Siskel & Ebert & the Movies did more harm to their film than good. Not only did this decision deny Gene’s and Roger’s audience an opportunity to choose for themselves whether they wanted to see the movie, it also made King Kong Lives, in my opinion, seem worse than it was. To me, the 1986 picture is a fine, interesting-enough presentation that kept me invested in the story. It took the King Kong lore in a newer direction than its predecessors, even addressing unique ideas, such as what it would take to save King Kong. But the lack of explanations left me confused why certain events were happening. In fact, the more I think King Kong Lives, the more questions I have about the King Kong Cinematic Universe. Are the King Kongs in the series’ later films a direct descendent of King Kongs from earlier chapters? Is there an overarching story woven into the series? Which events are officially a part of canon? Though these questions won’t get answers in this review, there is one thing I will say. King Kong Lives is another movie I disagree with the critics on.

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Sally Silverscreen

Take 3: Gods and Generals Review

On By 18cinemalane4 Comments

Out of the movies from Robert Duvall’s filmography, I’ve written about To Kill a Mockingbird (which I liked), The Terry Fox Story (which I also liked), and Network (which I wasn’t a fan of). While looking through his filmography for Taking Up Room’s Robert Duvall Tribute Blogathon, I discovered he starred in the 2003 movie, Gods and Generals. I hadn’t seen this film prior to the event. But because of its association with the Movieguide Awards, I had heard of it before. At the 2004 Movieguide Awards, Stephen Lang won an acting award called the ‘Grace Award for Movies’ for his portrayal of General Stonewall Jackson. Gods and Generals also won the ‘Faith & Freedom Award for Movies’ at the 2004 Movieguide Awards. I wasn’t able to find any information about the other nominees for those aforementioned categories. Therefore, I cannot comment on who should or should not have won. But, through my review, I want to determine if, in my opinion, Gods and Generals deserved to be nominated. Selecting the 2003 film also gave me an excuse to review another title of Robert’s.

Gods and Generals poster created by Ted Turner Pictures, Antietam Filmworks, Esparza / Katz Productions, Rehme Productions, Mace Neufeld Productions, and Warner Bros.

Things I liked about the film:

The acting: Since Robert Duvall is the reason why I’m reviewing Gods and Generals, I’ll talk about his acting performance first. In the 2003 movie, Robert portrays General Robert E. Lee. Throughout the movie, I noticed the consistent calmness he brought to his performance. At the beginning of Gods and Generals, General Robert E. Lee turns down an invitation. The tone of voice he adopts is very articulate and matter of fact. There’s a gentleness in his eyes that shows he holds no ill-feelings or disrespect toward receiving the invitation in the first place. Robert’s approach to portraying General Robert E. Lee appeared to have genuine thought and effort put into it. Meanwhile, I liked Jeff Daniels’ portrayal of Lieutenant Colonel Joshua Lawrence Chamberlain! Jeff brought a tenderness that made Lieutenant Colonel Joshua Lawrence Chamberlain interesting to watch. One of the most captivating scenes in Gods and Generals is when Lieutenant Colonel Joshua Lawrence Chamberlain and his wife, Fanny, discuss his upcoming departure to the United States Army. Their interaction is very bittersweet, yet tender. Their gentle tone of voice holds the love they share for each other. Both Fanny (portrayed by Mira Sorvino) and Lieutenant Colonel Joshua Lawrence Chamberlain carry sadness on their faces, especially in their eyes, unsure what their future will hold. Jeff’s and Mira’s acting abilities effectively sold the believability of Lieutenant Colonel Joshua Lawrence Chamberlain and Fanny’s relationship!

I brought up in this review’s introduction how, at the 2004 Movieguide Awards, Stephen Lang won an acting award called the ‘Grace Award for Movies’ for his portrayal of General Stonewall Jackson. Now that I’ve seen his performance for myself, I can, honestly, say his nomination was well deserved! Stephen brought versatility to his portrayal of General Stonewall Jackson, allowing his performance to be well-rounded. Because of Stephen’s acting talents, scenes he (as General Stonewall Jackson) appeared in were emotionally effective. A great example is when General Stonewall Jackson and his wife, Anna, read the Bible together before he leaves for the Battle of Manassas. The gentle, yet loving tone of voice from both General Stonewall Jackson and Anna (portrayed by Kali Rocha) showed how seriously they took their relationship. The look in their eyes was that of longing, longing for more time together as well as longing to be loved by each other. Anna and General Stonewall Jackson’s interaction in that scene showcased a moment of tenderness, reflection, and true love. This was achieved because of the strength of Stephen’s and Kali’s acting abilities!

Historical accuracy: What can ultimately make or break a historical movie is its historical accuracy. If the creative team behind a historical film effectively executes that production’s historical accuracy, the film in question can present the illusion of immersion. This illusion was achieved in Gods and Generals! From the set design to the costume design and even the finest of details, everything looked and felt like the Civil War era. I was impressed how simple items, like a doll or a piano, appeared to have come straight out of that time-period. Other elements, like the dialect, helped bring authenticity to the production. Looking back on Gods and Generals, the creative team’s research into the Civil War era is very evident!

How long shots were utilized: Long shots can be incorporated into a film for a variety of reasons. In “sword & sandal” films, long shots capture the scope of larger set designs. Films featuring armies, teams, or crowds will showcase the size of those groups through long shots. In Gods and Generals, however, long shots were utilized to present establishing shots (shots that establish a story’s location). One example is when Fredericksburg, Virginia is introduced in the story. The long shot used captured an aerial view of the town. Through this perspective, hues of black, white, green, blue, brown, and even purple appeared to nicely blend together. How the town was shown on screen looked like a watercolor painting! Presenting places like Fredericksburg, Virginia with a long shot helped add visually appealing images to Gods and Generals.

The Robert Duvall Tribute Blogathon banner created by Rebecca from Taking Up Room

What I didn’t like about the film:

The run-time: IMDB lists Gods and Generals’s run-time as a little over three-and-a-half-hours. After seeing the movie, however, I felt like I spent three and a half years watching it. I recognize depicting a historical event through film takes time, whether it be battles or certain individuals interacting with one another. For a historical story like Gods and Generals, there are a lot of moving parts involved. But some scenes in the 2003 film were either drawn out too long or seemed unnecessary. One example is a scene where a soldier (who also happened to be a background character) explained to his fellow soldiers what they should do with his belongings if he dies on the battlefield. Personally, I think Gods and Generals should have been presented as a mini-series. Therefore, the story’s key individuals and events would have received their due diligence.

A dialogue-heavy film: In any movie, including historical pictures, dialogue plays an important role in storytelling. Through dialogue, ideas are expressed, emotions are shared, and characters give pieces of their heart to each other and the audience. But if a movie is dialogue-heavy, it forces the audience to actively pay attention to what they’re watching or else they’ll miss important context. Gods and Generals is a dialogue-heavy film, featuring long stretches of time where characters engage in conversations with one another. What also works against Gods and Generals is its little over three-and-a-half-hour run-time I already brought up in this review. While there were battles and action-heavy scenes throughout the movie, they were far and few between compared to the dialogue-heavy scenes. Having an ebb and flow of action and dialogue-heavy scenes would have maintained a steadier pace.

Underutilizing Robert Duvall and Jeff Daniels: Robert Duvall’s involvement in Gods and Generals is the reason why I wanted to review the film. As I mentioned earlier in this review, I liked Jeff Daniels’ portrayal of Lieutenant Colonel Joshua Lawrence Chamberlain. But compared to Stephen Lang and his portrayal of General Stonewall Jackson, it seemed like the acting talents of Jeff and Robert were utilized sparingly. In fact, it got to the point where the movie became ‘The General Stonewall Jackson Show’, with everyone else simply participating in it. Listing Robert, Stephen, and Jeff as Gods and Generals’s top-billed actors feels a bit misleading because of Jeff’s and Robert’s underutilization. This decision also does Robert’s and Jeff’s acting talents a disservice.

Horse with saddle photo created by Topntp26 at freepik.com. <a href=’https://www.freepik.com/free-photo/stallion-black-equine-race-sky_1104246.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background image created by Topntp26 – Freepik.com</a>. Image found at freepik.com.

My overall impression:

The way I feel about Gods and Generals is similar to how I feel about the 1994 film, Scarlett. Both projects were competently made, each respective creative team clearly knowing what they were doing. The acting and historical accuracy were the strengths of each movie. But the screenwriting causes Scarlett and Gods and Generals to be a mixed bag. The 2003 film having a run-time of a little over three-and-a-half-hours is, in my opinion, excessive. Not only is Gods and Generals a dialogue-heavy movie, I also felt Robert Duvall’s and Jeff Daniels’ acting talents were underutilized. But what I will say is, for me, Stephen Lang stole the show! His performance was so solid, his Movieguide Awards nomination was well deserved. I’d honestly recommend just watching his scenes because the versatility Stephen brought to his portrayal of General Stonewall Jackson made his performance worth watching the film.

Overall score: 6 out of 10

Have you seen Gods and Generals? Which movie from Robert Duvall’s filmography would you like to see me review next? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

We Now Commemorate 40 Years of “Eddie Munson’s Year” With The “Eddie’s Year” Blogathon!

On By 18cinemalane12 Comments

Welcome to my “Eddie’s Year” Blogathon! 1986 is the year when Eddie Munson, from Stranger Things, had planned on graduating from Hawkins High School. This is the reason why Eddie’s fans refer to 1986 as “Eddie’s year”. Because 2026 is the 40th anniversary of “Eddie’s year”, this blogathon is commemorating the occasion! Participants of The “Eddie’s Year” Blogathon wrote movie reviews and articles celebrating this special anniversary. So, without further ado, let the The “Eddie’s Year” Blogathon begin!

The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.

18 Cinema Lane – Comparing with the Critics – Worst of 1986 – King Kong Lives, Comparing with the Critics – Best of 1986 – The Fly

Silver Screenings — Joyful Anarchy: Ferris Bueller’s Day Off (1986)

MovieRob –– The Eddie’s Year Blogathon – Clockwise (1986), The Eddie’s Year Blogathon – Beverly Hills Madam (1986), The Eddie’s Year Blogathon – Link (1986), The Eddie’s Year Blogathon – The Whistle Blower (1986)

Moon in Gemini – The Eddie’s Year Blogathon: Ruthless People

The Wonderful World of Cinema – The Many Treasures of ‘True Stories’ (David Byrne, 1986)

Dubsism – Story Time With J-Dub Episode 18: How Some Guy Named Roy Ended Europe’s Longest War

Movies Meet Their Match – Movie Review: Labyrinth (1986)

Taking Up Room – Pretty In Pink

Take 3: The Misfits (1961) Review

On By 18cinemalane8 Comments

Marilyn Monroe is a woman who needs no introduction. One of the most popular actresses of all time, almost everyone knows who Marilyn is, even if they’ve never seen any of her movies. I remember a time when I would go to a store and find memorabilia with Marilyn’s picture or likeness on it, from metal wall signs to Christmas ornaments. I even recall a church named after her in the 1975 movie, Tommy. But when the Marilyn Monroe – 100th Birthday Anniversary Blogathon was announced, I remembered one of her films was recommended to me. That film is 1961’s The Misfits, suggested by Eric Binford (from Diary of a Movie Maniac)! On my blog’s Year-Long Bingo Card, one of the squares is labeled “Review a movie from the Western genre”. This became another reason why I chose to review The Misfits, as the movie is classified as a “contemporary western”. However, I had no idea Marilyn ever starred in a western genre picture until I selected the 1961 title for the blogathon. My aforementioned reasons, including the fact I don’t review western genre movies often, finally gave me an opportunity to write about The Misfits!

The Misfits (1961) poster created by United Artists and Seven Arts Productions

Things I liked about the film:

The acting: Throughout my years of watching and reviewing movies, I’ve heard Marilyn Monroe receive titles like “icon” and “sex symbol”. But as I reflect on her performance in The Misfits, I feel those titles do her acting talents a huge disservice. Toward the beginning of the 1961 film, Marilyn’s character, Roslyn, is questioning what her life will look like after her recent divorce. She’s hunched over her drink and her hands are folded, appearing as if she’s lost in thought. Roslyn’s eyes show how she’s trying to make a thousand decisions in a single moment, but not in a way that makes her look overwhelmed. She’s carefully processing what her new steps will be, coming up with a strategy that will prevent her from repeating her mistakes. As I watched this scene unfold, I was so focused on Roslyn and what decisions she was going to make, I had completely forgotten I was watching an actress portray a character. This is just one example of how Marilyn’s performance was one of the best parts of The Misfits!

Clark Gable is an actor I am definitely familiar with. Not only have I seen Gone with the Wind, I reviewed China Seas back in 2021. His portrayal of Gaylord in The Misfits is quite different from his two previously mentioned roles. That’s because it didn’t feel like Gaylord had something to prove, yet was emotionally versatile. One of the saddest scenes is when Gaylord is trying to find his children. As he drunkenly stumbles throughout and out of the saloon, he calls out his children’s names. A mixture of pain, confusion, and longing can be heard in his voice. Even his eyes were filled to the brim with sadness. In that scene, I, honestly, couldn’t help feeling sorry for Gaylord. Clark’s solid performance certainly contributed to that.

While I’m on the subject of the acting performances in The Misfits, I want to bring up Eli Wallach and Montgomery Clift. As I watched this movie, I was impressed by Eli’s portrayal of Gaylord’s friend, Guido, as well as Montgomery’s portrayal of a rodeo rider named Perce. One stand-out moment was when Guido is talking to Roslyn about his deceased wife. His voice quivers during the conversation and his eyes even appear on the verge of tears. Eli’s performance presents one of those times where a character can say so much as they say very little. In a different conversation with Roslyn, Perce shares his life story with her. Throughout his reflections, his wide eyes look like they’re searching for something. But it’s not because he’s lost, it’s because he’s trying to find something to focus on after a recent head injury. Montgomery’s expressive eyes are one of the reasons why his performance was captivating to watch!

The dialogue: Sometimes, a movie’s dialogue can be so thoughtfully written, it sounds profound without trying too hard to be. That was definitely the case for The Misfits! Honestly, it’s difficult to choose a favorite quote because several quotes were so thought-provoking. But I will provide a few examples to prove my previously stated point. At one moment in the movie, Isabelle, Roslyn’s former landlady and current friend, claims to know Nevada’s slogan. She says it’s “Anything goes, but don’t complain if it went”. Poignant reminders of how unpredictable life is and how some things were or were not meant to be are shared in that one line. During a conversation with Roslyn, Guido tells her, “You have the gift for life, Roslyn. The rest of us, we’re just looking for a place to hide and watch it all go by”. This piece of dialogue simply, yet effectively, differentiates between people who allow life to pass them by and those who fearlessly grab the steering wheel.

Providing creativity to the western genre: When it comes to means of travel within the western genre, horseback riding, horse drawn carriages/wagons, and trains are typically shown on screen. These modes of travel provide a stone in the western genre’s foundation, making the genre itself what it is. But what if I told you there was a plane in The Misfits? In the 1961 movie, Guido says he was a pilot in the war, likely referring to World War II. He uses his piloting skills to not only fly a plane, but to also wrangle a group of wild horses with that same plane. I bring this up because, prior to reviewing The Misfits, I had never seen, let alone heard of, a plane in a western genre film. Incorporating any aircraft into the movie added creativity to the western genre. It also gave The Misfits a unique identity.

Marilyn Monroe – 100th Birthday Anniversary Blogathon banner created by Kristen from Hoofers and Honeys

What I didn’t like about the film:

Guido’s unaddressed jealousy: At Guido’s house, Roslyn and Gaylord share a dance together. When Guido sees Gaylord and Roslyn together, the look on Guido’s face appears to be that of jealousy. But throughout The Misfits, this apparent jealousy wasn’t addressed. I honestly thought it was going to lead to a love triangle or Guido and Gaylord fighting for Roslyn’s love. Looking back on the 1961 movie, I wonder what the purpose was of showing Guido looking jealous if that feeling didn’t play a role in the story? Guido’s apparent jealousy could have led to an interesting conflict within the script had that feeling been acknowledged.

The run-time: IMDB lists The Misfits’ run-time as a little over two hours. Personally, I think that run-time is a bit excessive. Not only is the story pretty straightforward and easier to follow, the cast is smaller, which helps the audience remember who is who. These elements should have led to a tighter script. Plus, some scenes were drawn out too long, such as when Gaylord, Guido, and Perce wrangle the wild horses. If scenes like the one I brought up were trimmed down, the run-time of The Misfits could (and should) have been, at least, an hour and thirty to forty minutes. Important points in the story could have been reached sooner as well.

Perce’s underutilized backstory: In my opinion, Perce was the most interesting character in The Misfits. His backstory, along with his phone conversation with his mother, made him intriguing. I was genuinely curious about where Perce’s part of the story would go. But, unfortunately, his backstory became underutilized. During a conversation with Roslyn, Perce brings up how he was denied inheriting his father’s ranch. This could have provided Perce with a motive to carry his story forward. After his conversation with Roslyn, however, this detail is barely brought up again. In fact, Perce’s backstory becomes an afterthought as the movie progresses.

Joshua Tree National Park in California image created by Welcomia at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/tree”>Tree photo created by welcomia – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Have you ever watched a movie where you didn’t know what the movie’s creative team was trying to say? That was my experience watching The Misfits. I think I know what the film was supposed to tell me. But I don’t know for certain if that’s what The Misfits’ creative team wanted to tell their audience. However, I don’t believe the 1961 movie is bad. In fact, I thought it was just ok. The acting performances, including Marilyn Monroe’s, were certainly worth watching. Not only was the dialogue, at times, thought-provoking, the inclusion of a plane added creativity to the western genre. But there were flaws that held The Misfits back from being a stronger movie. I didn’t like how Perce’s backstory was underutilized and how Guido’s jealousy was unaddressed. Plus, the run-time was, in my opinion, a bit excessive. Despite those flaws, I am thankful to have received an opportunity to finally watch (and review) The Misfits!

Overall score: 6 out of 10

Have you seen The Misfits? Which film from Marilyn Monroe’s filmography would you like to see me review next? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Titan A.E. (2000) Review

On By 18cinemalaneLeave a comment

Participating in this month’s Genre Grandeur feels, to me, like déjà vu. That’s because the theme is “Movies Featuring Reluctant Heroes”, the same theme (and month) when I participated in Genre Grandeur back in 2020. Back then, I reviewed the 2014 film, Captain Sabertooth and the Treasure of Lama Rama. That movie ended up being the most disappointing one I saw that year. For this month’s (and year’s) Genre Grandeur, I decided to select 2000’s Titan A.E., a title I actually have seen before. However, it’s been so long since I’ve seen it, I have vague recollections of the film. On my blog’s Year-Long Bingo Card, there are two squares labeled “Review an animated film” and “Science Fiction”. That, along with how Titan A.E. fits this month’s Genre Grandeur theme, gave me an excuse to revisit the 26-year-old movie!

Titan A.E. (2000) poster created by 20th Century Fox Animation, David Kirschner Productions, Fox Animation Studios, 20th Century Fox, and Walt Disney Studios

Things I liked about the film:

The use of color: As I said in the introduction of this review, I have vague recollections of Titan A.E. because it’s been so long since I’ve seen the film. Because of that, I’d forgotten how colorful this movie is. Using color, as well as understanding how to use color, can contribute to a movie’s visual appeal. With the creative team behind Titan A.E. possessing and executing that understanding, the film’s visual appeal was achieved! In one beautiful example, Cale and his team travel to a planet called Sesharrim. As they sail through the planet, they are greeted by a landscape of rich reds. The deep purple waters are right under bright yellow balloons of light. The combination of hues on Sesharrim created an environment promoting peace and serenity.

Incorporation of clever ideas: At the beginning of Titan A.E., Cale (the film’s protagonist and reluctant hero) receives a gold ring from his father before they part ways. Since that moment, Cale (as well as the audience) believes this ring is, simply, a treasured memento. But when he meets a character named Joseph Korso, Cale learns his ring provides a map to a life-saving spacecraft called Titan. Cale receives another surprise when he discovers his ring also contains a compass. The movie’s “MacGuffin” is Titan, as the characters spend most of the story looking for it. But in stories like Titan A.E., so much focus in placed on the “MacGuffin” itself, the bridge to the “MacGuffin” is usually overlooked. In the 2000 film, however, Cale’s ring becomes a tool used to help the characters reach their goal. The purpose of Cale’s ring was not only such a clever idea for a simple piece of jewelry, it’s just one example of the incorporation of clever ideas in Titan A.E.!

Blend of 2-D and 3-D animation: Titan A.E.’s claim to fame is blending 2-D animation (hand-drawn animation) and 3-D animation (computer created images). This major creative decision brought something unique to the table of animation, as well as film! What it also did was visually complement the story’s conflict. In the world of Titan A.E., the Drejs are a villainous group of aliens who want to control the universe by outnumbering the humans. The Drejs are presented as bright blue, 3-D animated characters, while the human characters were created with 2-D animation. In one example, after Cale meets Korso, the Drejs track Cale down. Because the majority of that scene is presented through 2-D animation, it forces the audience to focus on the Drejs, with their color and animated appearance highlighting their distinctness. But what that scene also shows is how the blend of 2-D and 3-D animation gave Titan A.E. visual depth.

Colorful galaxy image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/lovely-hand-drawn-galaxy-background_2943080.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

What I didn’t like about the film:

The Drejs: Like I already mentioned in my review, the Drejs are a villainous group of aliens who want to outnumber the humans. But while I was watching Titan A.E., I never felt they were a strong threat to Cale and his team. That’s because the Drejs had such a limited presence in the film. In fact, their presence was so limited, it felt like the Drejs appeared in the movie for the sake of plot convenience. These flaws prevented the Drejs from being effective villains.

The run-time: According to IMDB, Titan A.E.’s run-time is an hour and thirty-four minutes. As I watched the movie, however, it felt a bit longer than its run-time. The reason for this is how a few scenes were unnecessarily drawn out. For example, a scene where Cale is driving a spacecraft in a non-dangerous environment seemed to last about five minutes. While the scene contained plot development, most of the scene felt like padding. Had that scene been trimmed down, its intended point could have been reached sooner. The script could have been a bit tighter as well.

Inconsistent character development: In any story, character development is an important component. This part of storytelling allows the audience to truly get to know the characters, which gives them a reason to stay invested in what the characters are doing on screen. When it came to the human characters in Titan A.E., I thought the character development was well done, as I learned more about them as the movie went on. But when it came to the alien characters, like Gune and Stith, I felt like I only became familiar with them. The inconsistent character development in Titan A.E. not only prevented me from truly getting to know every member of Cale’s team, the camaraderie between these characters wasn’t as strong as it could have been.

Movie items image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/flat-modern-cinema-elements_847506.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/frame”>Frame vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

When a movie performs poorly at the box office, one of the potential reasons may be it was “ahead of its time”. If someone wanted to apply this reasoning to Titan A.E., I’d buy that reasoning at full price. As I mentioned in this review, the 2000 presentation is known for blending 2-D animation (hand-drawn animation) and 3-D animation (computer created images). Even though this creative risk hurt the film’s financial earnings, it did show the world the possibilities animation (let alone filmmaking) had to offer. It also showed how 2-D and 3-D animation can complete one another instead of compete against each other. Though looking at how the cinematic landscape has changed in twenty-six years, 3-D animation has become so common, 2-D animation has ended up becoming scarce. As for my opinion of Titan A.E., I thought it was a fine, interesting enough movie. But for all the reasons I brought up, I believe this film deserves more love and appreciation.

Overall score: 7.2 out of 10

Have you seen Titan A.E.? Which underrated animated movie do you wish received more love and appreciation? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

You Still Have Time to Join The “Eddie’s Year” Blogathon!

On By 18cinemalaneLeave a comment

Are you a fan of Eddie Munson from Stranger Things? Would you like to learn more about 1986? Do ’80s movies make you feel nostalgic? Then The “Eddie’s Year” Blogathon is the event for you! Because the blogathon is taking place between June 6th-9th, you still have time to join! There’s also many topics to choose from, as I tried to make the event’s theme as broad as possible. If you’re interested in participating in The “Eddie’s Year” Blogathon, click on the link below to learn more about the blogathon.

Celebrating 40 Years of “Eddie Munson’s Year” With The “Eddie’s Year” Blogathon

The “Eddie’s Year” Blogathon banner created by me, Sally Silverscreen. Original image created by 21 Laps Entertainment, Monkey Massacre, Netflix, and Upside Down Pictures.