In this film an Asian American teenager is tired of being treated differently than all the other kids. Because of this she decides to get a surgery that will turn her white.
This movie has important messages about identity, racism, the American Dream and the immigrant experience. However, it is the execution that is completely lacking. For a film that is willing to talk about such brave subject matter, the actual film is much too safe and conventional. This film follows every cliche in the book when it comes to teenage coming of age stories. Every scene in this movie feels overly familiar. There was not a single twist or dramatic moment that I could not see coming from a mile away. The ending completely lacks the emotional punch it needs because of its predictability. Even the characters themselves are complete cliches. There is nothing about these characters that feels real for a second because they all conform to common movie archetypes without adding anything fresh or new added.
Like many films that try to make a social commentary, Slanted often tries to convey its message through satire. Unfortunately, the satire is incredibly weak here. Most of the jokes seem too easy and obvious. Even the best of these jokes didn't even raise a smile from me. Once more, the satire is often too on the nose to the point where I felt like I was being beat over the head with the messaging. The satire and the more serious moments also often feel at odds with each other creating a tonally uneven film.
I appreciate what this film was trying to do but it still simply isn't that good of a movie.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing In the Sweet By and By. This song came about because of a friendship between composer, Joseph Webster and poet, Dr. Sanford Fillmore Bennett. One day Webster was depressed and Dr. Bennett recognized this. Dr. Bennett asked his friend what was wrong. Webster replied, "Oh nothing. Everything will be alright by and by." These words brought up an idea in Bennett and he wrote down three verses and a chorus to this song as soon as he could. He handed it to his friend saying, “Here is your prescription, Joe.” Webster loved the lyrics and wrote music for them in practically no time at all. Dr. Bennett later said, “It was not over thirty minutes from the time I took my pen to write the words before two friends with Webster and myself were singing the hymn.” The hymn was first published in 1868 and went on to great fame since. This version of the song comes from Roy and Dale's 1973 gospel album, In the Sweet By and By.
This is followed by Susan Raye with This World is Not My Home. This recording comes from Susan's 1973 gospel album, Hymns by Susan Raye.
Next comes Johnny Cash with Nazarene. This self-penned song comes from John's 1968 album, The Holy Land. This album was inspired by a trip to Israel that he and his wife, June Carter Cash took. As well songs, this album also included spoken word recordings that John made as he visited some of these places.
Afterwards is Ricky Skaggs with God Holds the Future in His Hands. This comes from Ricky's 2009 gospel album, Songs My Dad Loved.
This is followed by The Chuck Wagon Gang with their 1936 recording of Kneel at the Cross. This is the original Chuck Wagon Gang here which consist of father, D.P. Carter, son, Jim (Ernest) Carter and daughters, Rose (Lola) Carter Karnes and Anna (Effie) Carter Gordon Davis. Since they share this last name with another country music family, they have often been referred to as "the other Carter Family." This recording comes from the group's first studio recording session. It was recorded at the Gunter Hotel in San Antonio, TX on November 25, 1936.
Then comes The Sons of the Pioneers with their 1937 recording of Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887.
Today's musical selection ends with George Jones and Tammy Wynette with He is My Everything. This comes from the King and Queen of country music's 1972 gospel album; We Love to Sing About Jesus.
Now for the third episode of The Lone Ranger TV show.
Now for a message from the reverend Billy Graham.
Psalm 76
For the director of music. With stringed instruments. A psalm of Asaph. A song.
1 God is renowned in Judah;
in Israel his name is great.
2 His tent is in Salem,
his dwelling place in Zion.
3 There he broke the flashing arrows,
the shields and the swords, the weapons of war.
4 You are radiant with light,
more majestic than mountains rich with game.
5 The valiant lie plundered,
they sleep their last sleep;
not one of the warriors
can lift his hands.
6 At your rebuke, God of Jacob,
both horse and chariot lie still.
7 It is you alone who are to be feared.
Who can stand before you when you are angry?
8 From heaven you pronounced judgment,
and the land feared and was quiet—
9 when you, God, rose up to judge,
to save all the afflicted of the land.
10 Surely your wrath against mankind brings you praise,
and the survivors of your wrath are restrained.
11 Make vows to the Lord your God and fulfill them;
let all the neighboring lands
bring gifts to the One to be feared.
12 He breaks the spirit of rulers;
he is feared by the kings of the earth.
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
On March 13th, two beloved family movies (both in their 30's) will return to movie theaters. Making this even greater news is that both have been restored in 4K and will look better than they ever had before. I have March 13th off of work and am thinking that I might spend that day at the movies doing a double feature.
Kiki's Delivery Service (1989) Hayao Miyazaki is one of the greatest filmmakers of all time and his movies continue to amaze and charm audiences, even those who don't normally watch anime. When one of his most charming movies finds its way back in theaters, it is reason to celebrate. When that movie is being presented in 4K and IMAX, it is a wonderful event. This film is the story of a 13-year-old witch, who for the first time leaves home with her parents and starts off (with her cat Jiji) to create a life for herself in a new town. Beneath its fantasy elements, this is a slice of life coming of age story that is instantly relatable and moving. Don't miss this.
Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991) The turtles are back and so is their archenemy Shredder, who is assisted by the new villains Tokka and Rahzar. After last year's box-office success of the re-release of the turtles' first big screen adventure, it is only natural that its sequel would also get a rerelease. This is pure early 90's style fun. It may be corny at times but that is part of its charm and is one of the reasons so many of us love this movie. Only in theaters March 13-19, this is a most bodacious watch for us turtle fans.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a black and white Looney Tunes short that I have always had a real fondness for, Porky's Bear Facts (1941). This cartoon was directed by Friz Freleng and while it is not as completely crazy as the black and white Looney Tunes directed by Tex Avery, Bob Clampett or Frank Tashlin it does certainly have moments that show what was quickly becoming the studio's signature sense of humor. Characters break the fourth wall and silly visual gags certainly find their way in at times. Yet at the same time the film feels more grounded, and story driven than some of the studio's other efforts at this time. The story itself is somewhat of a takeoff on The Grasshopper and the Ants (which Disney had made a Silly Symphony based around in 1934). In typical Warner style the ending here goes completely against the moral of the story. Like many Porky cartoons of this era, Porky's role is very minimized. The truth was most of the directors were getting tired of working with the pig and this made him become a supporting character in his own cartoons for a while. A reviewer in The Film Daily was not that impressed with this cartoon stating, "Rate it just as fair." A reviewer in the Motion Picture Daily found the true main character of the film quite likable stating, "An engaging character that shiftless bear." The following is an exhibitor's review from The Motion Picture Herald, "PORKY'S BEAR FACTS: Looney Tunes — Fine. Vitaphone is our best bet for good cartoon fare. Running time, nine minutes. —Fred C. Allen, Princess Theatre, Piedmont, Ala. Small town patronage."
Next comes the Terry Toons cartoon, Saw Mill Mystery (1937).
Next comes the New 3 Stooges cartoon, The Bigger They Are the Harder They Hit (1965). Unfortunately, this series of TV cartoon did little for the Stooges finically. Cambria Studio's distributor was supposed to forward quarterly statements to the Stooges' production company Normandy Productions (owned by Moe's son-in-law and the team's manager Norman Maurer). They did not receive these statements and The Stooges sued but the judge ruled in favor of Cambria. The decision was appealed in 1975 but by that time Moe and Larry had passed away.
Today's cartoon selection begins with a classic Mickey Mouse film, Mickey's Rival (1936). The titular character is a mouse named Mortimer. Those of you who know your Disney history will know that Mortimer was a name that was considered for Mickey. This was Mortimer's first appearance though he bared more than a little resemblance to Mr. Slicker a character that appeared in the Micky Mouse comic strip. Though Mickey's Rival was his only appearance in a theatrically released short film, it was not his only appearance in animation. He became a reoccurring character in the television shows, Mickey Mouse Works (1999-2000) and House of Mouse (2001-2003). He also has a role in the direct to video movie, Mickey's Once Upon a Christmas (1999) and has appeared briefly in Mickey Mouse Clubhouse (2006-2016) and Mickey and the Roadster Races (2017-present). Outside of animation he has been used very often in the Disney comic strips and began to appear in them around the same time he made his debut in movie theaters. Mortimer's design is said to be based off of Walt Disney and those who have seen pictures of a young Walt, will find this easy to believe. The ending to Mickey's Rival has Mickey and Minnie simply shaking hands. However, it was originally planned for Mickey to have a buzzer on his hand to play a Mortimer type prank on Minnie. Though this would have been out of character for Mickey at this time it would have fit perfectly in with the Mickey Mouse of the late 1920's. A review in The Motion Picture Herald stated, "The subject is less complex than many of the recent Disney fabrications but wholly entertaining." The following is an exhibitor's review from The Motion Picture Herald, "Mickey's Rival: Mickey Mouse - We find that the bad characters often frighten our small children and they go out into the foyer until it is passed over. - Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada, General Patronage." The following is another exhibitor's review from the Motion Picture Herald, "Mickey's Rival: Mickey Mouse—Played this the second time as it is one of the best of the Mickeys.— C. L. Niles, Niles Theatre, Anamosa, Iowa. General patronage." A review in The Motion Picture Daily stated, "Clever animation and fast-moving, but there have been better Mickey's. For instance, 'Alpine Climbers.'" The following is from a 1936 issue of The Film Daily, "United Artists' latest Walt Disney release, 'Mickey's Rival', introducing Mortimer Mouse, will open at the Radio City Music Hall with 'Swing Time' on Thursday, and at the Rivoii Theater with 'The Last of the Mohicans.'"
Now it is time for a commercial break.
Now for the Fleischer Screen Songs cartoon, Chinatown, My Chinatown (1929). The title song was written by William Jerome (lyrics) and Jean Schwartz (music). This team also wrote the songs My Irish Molly-O, Handle Me With Care, Over the Hills and Far Away, Meet Me in Rose Time, Rosie, Shooting the Bull Around the Bulletin Board and I'm Going Back Home and Have a Wonderful Time. Other songs Jean Schartz worked on include Tell That to the Marines and Rock-a-Bye Your Baby with a Dixie Melody, both hits for Al Jolson. Chinatown, My Chinatown was first published in 1910. A 1915 recording by the American Quartet with Billy Murray was the number one record in its day. Artists that recorded this song over the years include Fletcher Henderson, Louis Armstrong, Louis Prima, and Lionel Hampton. The song is considered an early jazz standard.
Next comes the first Daffy Duck cartoon directed by Chuck Jones, Daffy Duck and the Dinosaur (1939). Today many cartoon fans associate Chuck with being one of the main people who changed Daffy from his early high energy crazy self into a more vain, jealous and greedy character. This film however features Daffy in his early crazy high energy mode. A review in The Motion Picture Herald even stated, "The gags and situations are appropriately matched to the zany personality of the duck." Another review in The Motion Picture Daily stated, "Leon Schlesinger delivers good color cartoon work in this "Merrie Melody," but the striving for whimsy hits only in spots." The following is an exhibitors' review also from The Motion Picture Herald, "Daffy Duck and the Dinosaur: Merrie Melodies—Very few laughs in this one. Not up to standard of most cartoons in this series. Running time seven minutes. - Don Bloxham, Place Theatre, Exira, Iowa, General and rural patronage."
Now for Mutt and Jeff in Ups and Downs (1926).
Now to close with a song.
Thank you for joining me. Be sure to come back next week for more classic cartoons. Until then may all your tunes be looney and your melodies merry.
Resources Used
Walt Disney’s Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
With how hard it is to find movies today that feel truly original (admittedly not an easy task when cinema has been around for over a century), it is amazing that a reimagining of James Whale's 1936 classic, Bride of Frankenstein manages to be just that. This film may borrow quite a bit from films from the past, but it does so with twists that make even these moments feel completely fresh. This movie has a very stylish look and feel to it. The film's use of color and sets simply creates an atmosphere that invokes a bit of the feel of the old monster movies, while still feeling like a film from the 21st century. The soundtrack similarly blends elements of the 1930's along with modern pop elements, which perfectly matches a film like this. Even at its most tragic the movie features a quirky sense of humor with a willingness to go as strange and bizarre as it can for a laugh. While not every one of these comedic moments land but the ones that do are truly hilarious. Even when the humor does miss though, you have to respect director/writer Maggie Gyllenhaal for not holding back from her very creative and singular vision.
Yet despite all of this film's unique style it does not overlook the story in favor of this. The story is a classic tragic romance. I was amazed at how moved I was by many of the romantic moments here. While the characters may be revived from the dead and appear monstrous, there is a real sweetness to many of the scenes between these characters. Because of this we grow to care about them and want nothing more than for them to live happily ever after. Much of this is due to the wonderful chemistry of Jessie Buckley (one of my favorite current actresses) and Christian Bale, both of whom convince us that these characters are truly in love. If this movie simply relied on gimmicks and stylish moments, it would be fun but instantly forgettable. It is that underneath all of this there is a real sense of heart that makes this so successful.
This film has its flaws as well. For instance, I am not sure that the inclusion of Mary Shelly as a character, ever completely worked from a narrative standpoint, though it did provide some fun moments. Though I know it seems silly to complain about believability in a monster movie, I found things like a modern-day dance club with strobe lights and a 3-D zombie movie existing in 1936 to feel more than a little distracting. I also found the detectives to be less interesting than the "monsters" and the film could drag when they were on screen.
Despite its flaws though this is an excellent film.
What actually worked surprisingly well here was the relationship between Sidney and her daughter. While this relationship falls into clichés, it is also quite well fleshed out and kind of touching. This is helped by Neve Campbell and Isabel May, simply having great chemistry. While the teenage daughter at first comes off as a brat, she actually grows into a really likable character as the film goes on. Sidney herself is the great character that fans of this franchise have loved since 1996. The film also benefits heavily from some excellently executed suspense scenes, the gory but creative kills the franchise is known for and some effective meta humor.
Unfortunately, despite all this the movie is never actually scary. You can see each jump scare coming from a mile away. I am usually someone is quite startled by jump scares. However not a single one of them worked on me in this movie full of them. This movie also suffers from some rather bland new supporting characters. I can guarantee you that even diehard fans of this franchise will forget most of these supporting characters exist in a year from now.
However, the biggest flaw of this movie is the reveal of who is behind the ghost face mask. At first it doesn't make much sense at all. Then the character explains the motives behind the killing. The problem is that this is the first time we are hearing of any of these motives. As much as this is a horror franchise, it has also become a murder mystery franchise, where we try to guess who this Ghostface's identity is and what the motives are. Trying to guess the who and why is an important part of movies like this. While you may be able to guess who, simply from a process of elimination, you cannot guess the why because you are not given specific clues. The reveal also makes one of the kills make no sense. The filmmakers try to explain this kill with a very brief line of dialogue. However, this reasoning feels completely forced and comes out of nowhere. This reveal will certainly ruin the whole movie for many people, even if they enjoyed what came before.
Despite its flaws including a truly horrible ending, this is still a fun little horror flick.
