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Digimon Adventure 02: The Beginning (2023)
A Potential Death Knell for the Original Storyline
Where to begin with this one? As a movie following the second-generation team, "The Beginning" is the type of Digimon project that I have wanted for nearly two decades. The reasoning behind such a suggestion is fairly straightforward: "Digmon 02" is the season of the anime with the most untapped potential. A number of plot and character points, while well established, ultimately weren't followed through with, the reasons for which I can only speculate on. Given the sheer outrage fans have voiced on this since discussion on the internet gained traction, one would presume that the filmmakers would take the opportunity to amend these issues; the fact that they don't is the least of their infractions. The latest entry in the near decade long production of Digimon movies signifies that the franchise has reached a dark place on almost every conceivable level.
People will give any number of definitions for what the abhorrent deconstruction approach entails. Really, it's nothing more than an attempt to "expose" the disturbing undercurrent of whatever the selected subject or genre. Not only are the results an exercise in vanity, positing themselves as better and wiser than anything that came before, but they all make essentially the same points: popular genre conventions are dangerous or deceptive and naturally lead to lots of people's lives ruined or ended. Thus, we have grave consequences from teenage girls' emotional instability in "Puella Magika Madoka", the history of the Star Wars universe twisted into a macabre joke in "Knights of the Old Republic 2", and a seemingly endless number of superheroes turned into self-serving, violent sociopaths. Not only do these show a gross misunderstanding of how mythologies work but, through shock value and a patina of intellectualism, they bully people into abandoning the tried-and-true elements of said mythologies.
With "The Beginning", the Digimon franchise has finally fallen victim to this poisonous trend, taking the core conceit of partnerships between humans and friendly monsters and transforming it into the premise for a horror story. Said partnerships have traditionally served as a source of encouragement and personal growth for the human characters (something acknowledged in the script). While these would occasionally veer into dark territory, such darkness was understood as being rooted in the characters' personal flaws and weaknesses, not in the concept of partnership itself. "The Beginning" presents the human/digimon relationship as an unpredictable, consuming devotion where even the smallest misunderstanding can have chilling, far-ranging results. Combine this with some overt rewriting of the lore, and what you have is nothing short of a desecration.
Gone are the days when people behind these stories actually cared about the series' integrity. To some extent, this is not new. It has been in evidence since the days of "Data Squad", which made franchise conventions feel perfunctory while emphasizing that season's more distinct elements. "Digimon Tri" showed a similar pattern but maintained enough of a connection to its roots to be an overall worthwhile addition. Now, that connection is threadbare, as the writers treat this franchise as a mere vehicle for the types of stories they actually do want to tell, hence the inclusion of new characters who end up sucking all the oxygen out of the room. With Lui, the latest in this trend, the objectives are not even remotely hidden. This is unequivocally his movie, relegating the characters we actually DO care about to mere window dressing.
Clearly, no one thought to take advantage of this new period in the lives of the 02 heroes. No insights into the thought processes behind any key decisions, no building upon promising character points, and scarcely a nod to the memorable quirks from the series. We all know Davis spontaneously decided that his life goal was to start a ramen business, but that hardly justifies about 90% of his dialogue (and his entire dynamic with Veemon) revolving around that one subject. Remember how he often struggled to be taken seriously, nonetheless stepping up to the plate at critical moments? What about his hopeless crush on Kari, which never saw a proper resolution? No mention of Kari and Yolie's rapport, T. K.'s family situation, Kari's vulnerability to darkness, or Ken's gratitude for being accepted by his teammates. Perhaps the only true character point on display is Yolie's romantic interest in Ken, nicely implied in a few understated moments that convey the former's maturation since her younger days.
But if anything confirms that Digimon is now on the precipice of death, it's the action. How in the world anyone could conceive, let alone approve, an idea as indefensible as a Digimon project with no proper monster battles is beyond me. It's a catastrophic decision and makes the climax a bold-faced insult after trying our patience with Luri and his baggage. The movie only worsens the sting by teasing us with what could have been. The animation, art style, and music are all impressive, with faithfully recreated evolution sequences and fleeting moments of excitement as the partner digimon travel to the final location. And, thankfully, no new evolution is brought in to steal everyone's thunder.
As a fan of Digimon 02, watching "The Beginning" was reminiscent of seeing "The Last Jedi" in theaters. But I would argue that what has been done here is significantly worse than what Rian Johnson did with his infamous Star Wars entry. That movie at least had the courtesy of giving characters we did care about something substantial to do and furthering their stories (the insulting creative choices notwithstanding). "The Beginning", on the other hand, left me with an unexpected personal resolution. Should another sequel be announced, if the premise includes a new character on the heroes' side, I won't watch it; simple as that. If the people running the franchise cannot even recognize that critical error, there is no helping them.
...the after-credits scene sucks, too.
Gamera daikaijû kuchu kessen (1994)
An ambitious, but ultimately standard monster romp
It's displeasing to watch the recent coverage of the 1990's Gamera films. Rarely content to uphold it as excellent in and of itself, people nowadays act obligated to explicitly posit Shusuke Kaneko's trilogy as the triumphant, superior answer to the Hesei series of Godzilla films. While hardly a new comparison, pushing a measly franchise rivalry more than 20 years after the fact comes across as a haughty challenge while offering little of consequence. Yet, people continually include this context on the basis of the Gamera films representing the gold standard of the genre, and as the matter has become increasingly lopsided a certain degree of leveling is in order.
That's not to say I don't like these movies. During my foray into film criticism I was very open to the possibility of them being as excellent as their reputations indicated. All three are ambitious monster flicks with a number of noteworthy qualities. But these attributes opened them up to their own failings, and that began with "Gamera: Guardian of the Universe".
I remain nonplussed by the plaudits heaped upon the writing and storytelling, as these are precisely the areas in which the film stumbles most. Following a too brisk set-up that culminates in Gamera's advancement on the domed stadium (an impressive sequence and the film's high point), the narrative continues as an inelegant series of developments that is inconducive to momentum. There's a mechanical feel to the bulk of the film, as if it's bluntly telling the audience "look at this, now that" rather than drawing us in properly. Resultingly, many important moments or chapters, such as the first appearance of the Gyaos and the military operation at the aforementioned stadium, aren't afforded the weight they need; they just happen. More scenes in the vein of the investigation atop the atoll might have been beneficial.
One thing that really disappointed me on my initial viewing of "Guardian of the Universe" was the mythology. While reinventing Gamera as a creature specifically created to oppose the Gyaos was an inspired decision, his heroic status isn't treated with much weight and his connection with Asagi (who is mystifyingly unperturbed by what is happening to her) never develops beyond an outline. No less perfunctory is the "discovery" of the monsters' origins, dully delivered through minor research and a more than fair amount of speculation. Without the aid of some visual representation, such as flashbacks or a prologue, the dramatic impact of the characters' conclusions is limited. What we get instead is a connection to mankind's negative impact on the environment that is simultaneously underdeveloped and heavy-handed. And that brings me to the issue with screenwriter Kazunori Ito's approach to this trilogy: Ito is so preoccupied with inserting any concept that distinguishes his take on the genre that he often forgets to do anything significant with it. It's an irksome habit, especially in the case of verisimilitude, and lends the film a slight air of speciousness.
Deservedly praised, on the other hand, is the film's technical aptitude. During its initial release, "Gamera: Guardian of the Universe" set itself apart in its convincing presentation of monster scenes, with nearly every technique available applied to create the illusion of size, the most significant contributions coming from the camerawork and miniatures. The latter have aged extraordinarily well and serve as a true testament to the craft, especially in a dark setting. "Guardian of the Universe" is also notable for being the first member of the genre to make extensive use of relatively new CGI effects. The results are mixed, ranging from the embarrassing bombs to Gamera's exquisitely animated plasma shots, although it's ironic that the best flying scene (Gamera's take-off at the domed stadium) was done on a computer; the flying scenes done with practical effects look primitive. Enhancing all of this is the sound work. Whether it's the distinct footfalls of Gamera, the military assaults, or the collapsing buildings, the auditory experience is immersive. Even Gamera's roar, which could have been irritating, is given just the right pitch and resonating effect to sound natural. Such investment in sound effects is something the modern era of Godzilla films should take note of. The one blotch is the crunching sound that accompanies the Gyaos' eating; around the third time this happens it becomes more obnoxious than unsettling.
The battle between Gamera and Super Gyaos, an intended climactic struggle between equals, is strangely out of key with the rest of the movie's action. It's not a bad fight, but this dissonance in style (it feels more like something out of a bigger budget Ultraman episode), combined with the fast pacing, always leaves me feeling as if it hardly happened at all. Kaneko's handling of this type of sequence was unsure at this point in his career, with a prioritization of dynamism over engagement. It's telling that during the ground phase an inordinate amount of time is spent on snarling, charging, and building smashing, while the actual fighting is largely reduced to bouts of awkward shoving. And when things move to an incredibly jarring flight into the stratosphere, Kaneko's objectives run away with him. Only at the oil refinery is solid ground reached, and by then the affair is almost over.
Then there's the matter of the villain. Super Gyaos isn't an effective lone opponent because, aside from a disappointingly straightforward transformation, the rest of the film makes no effort to set this one apart from the others. It isn't shown to be exceptionally ferocious, the dominant member, or the "queen"; it just happens to survive longer. Its positioning as the final opponent is just as mechanical as the story, which diminishes the rivalry between the two combatants. Thankfully, learning is evident, and these drawbacks were largely remedied in the two sequels.
For me, "Gamera: Guardian of the Universe" remains entertaining, but curiously standard. While the production values are outstanding, the movie fails to achieve escape velocity in virtually every other facet.
Digimon: The Movie (2000)
A cherished time-capsule for this Digimon fan
Going to the movies has always been a beloved pastime for me. I can still vividly recall regularly attending a small local theater in California. It was no Harkins or AMC in term of size, but at that age there's a magical quality to any such place, and it is a sad fact of life that we lose sight of that as the years pass. But that's a topic for another day. I believe everyone has those seminal theater experiences that set the standard for such visits and help shape their attitude about the medium. To date, there have been 5 for me: Matilda, A Goofy Movie, Attack of the Clones, The Dark Knight, and "Digimon: The Movie".
"Digimon" is one of my favorite movies of all time for wholly special reasons. It's not one I recommend to people in general, it clearly wasn't conceived as a full-length feature, and is widely dismissive of usual critical standards. If one really wants to make the case that this is a bad movie, they've got a goldmine to work with. But, for someone like me, who happens to fall squarely within the target demographic, this movie delivers everything hoped for: the joy of being reacquainted with people and creatures who get to do what they do best. It's the perfect subject for a quality of film criticism that has become something of an endangered species amongst all the self-aggrandizing "objective" analyses that have flooded the internet.
At the time of the movie's release, my obsession with the series was at its peak. The second season was in full swing and the news of a theatrical project launched my excitement into the stratosphere. It was unthinkable; the opportunity to see the fantastical antics of the show on the big screen with improved animation. My expectations were general in nature, and the results were satisfying. Sequences and images from this film stayed with me long after leaving the theater, and I waited with great anticipation for the video release.
While there's not much depth to the portrayal of the characters, the strong voice-work from the series carries over. The cast had grown into their roles at this point, effortlessly conveying the vivid, distinct personalities of the team. They never seem to be phoning it in, even during the cameos. The second-generation team hadn't quite settled in yet, though Brian Donovan is amusing as Davis and Cody remains in the sidelines...where he belongs.
It's impossible to miss the fact that the movie is essentially a compilation of three shorts that were forcibly connected. The results: newcomer Willis is awkwardly shoehorned into the first two episodes and the story of Kokomon eviscerated. The movie would have worked fine as three distinct tales that happen to take place in the same universe. Nonetheless, this inelegant melding, while creating some confusion, doesn't make it impossible to be drawn into the individual episodes.
One may find it surprising how strong "Digimon: The Movie" is in two areas. First, all three segments boast an effective atmosphere. Consider the night-time depiction of Highton View Terrace in the first segment, or the entirety of "Our War Game" that takes place within a surreal physical interpretation of the internet (the progenitor for OZ in "Summer Wars"). Even "Hurricane Landing" excels in this respect, with numerous tense, nightmarish encounters with the villain. Second, the soundtrack is forceful and ubiquitous. Udi Harpaz and Amotz Plessner did a terrific job crafting certain themes to bolster the action or set the mood, in some cases even re-mixing themes from the television series to give them a more "theatrical" quality. The new rendition of the widely reviled English Digimon theme song, for example, actually works very well with the brawl between Greymon and Parrotmon. The random insertion of pop songs, however, is hit-or-miss at best.
One fascinating thing about certain intellectual properties is how they work with their apparent limitations, or, as Ebert might put it, "finding inspiration in their limitations". "Digimon" has never been known for pushing the envelope in animation, and the movie is no exception; the human characters have a rough look that is far removed from the livelier aesthetic of the anime. But, in its best moments, one gets the impression of an uneven product that nonetheless aspires to set itself apart. The terrific sense of scale in the confrontation with the Diaboromon army, the forceful rendering of "Big Agumon's" flame breath, the fighting maneuvers of Flamedramon and Antylamon, and many others demonstrate commendable use of visuals, sound, and timing.
"Digimon: The Movie" was and remains an important part of my affinity for the Digimon franchise. The conclusion of "Digimon Tamers" commenced the decline of the series, which would soon be replaced by Star Wars on my list of priorities. It was not an easy thing to move on from, despite the arrival of something new to fill the void. Yet, even during this waning, "Digimon: The Movie" kept my fondness for the series alive, even if for brief moments. Today, there is no shortage of resources to fulfill that want. The anime is readily available in all its incarnations, and the Tri movie series has recently concluded, with a new film set for release in 2020. But, on a very personal level, "Digimon: The Movie" is different. Like a true event, its impact endures the years and revisiting it "is to revisit a place in the mind" (Ebert). Some may call it a nostalgia trip, a term that has taken a largely derisive meaning in the current pop-culture context. But there's no reason to be ashamed of occasionally looking to the past for solace. I appreciate innovative material as much as the next person, but when I re-watch this film, part of me is always back in that California theater, when Digimon meant the world and there was no obligation to prove it to anyone. I think we all need something like that from time to time.
Digimon: Digital Monsters: Cody Takes a Stand (2001)
Cody's concerns finally see some pay-off
"Cody Takes a Stand" is a notable episode in my book, more than anything because it marks the first time that Cody's ponderings and concerns are used to produce actual results. Ever since "If I Had a Tail Hammer" and "Spirit Needle", the writing staff has been content to mostly revisit or acknowledge this kid's misgivings, which grew stale very quickly. This, along with several underdeveloped matters, indicates that, contrary to popular belief, the writing staff for "Digimon 02" wasn't incapable of producing strong material. For one reason or another, they just had a hard time following through with their ideas, and at some point decided to merely fall back on Cody's character points. But, about the episode.
The weightiest scenes concern Cody and his continuing efforts to understand the fits of anger T.K. has been recently prone to. This leads to an inquiry to Matt, who provides a surprisingly well-written run-down on the matter, leading both kids to make some comparisons between the experiences of T.K. and Ken. It's still a little murky how this is supposed to resolve Cody's reluctance to forgive Ken, but I suppose it has something to do with how the demeanors of both the latter and T.K. visibly changed as a result of experiences with darkness. The best thing is that Cody ends up acting on this in the end fight, perhaps the first moment in the series when I was actually rooting for the kid.
Room is also made for matters surrounding Ken, as Davis invites him to his house for family dinner and a sleepover (a small, but meaningful gesture), after which Kari and Yolei suggest they tag along for a group meeting. Truth be told, I wish more of the episode was devoted to this. Not only does it provide an excellent opportunity to further integrate Ken into the group on a personal level, but, considering the 4 characters involved, there was potential for all kinds of entertaining interactions, ranging from discussions on being in a DNA digivolution team-up to quasi-double-date mishaps. Unfortunate as it is, even at his best Cody still just steals attention away from better stuff. The scenes in Davis' home, though occasionally silly, show a relatability that the show badly needs at this point. Of course, I cannot place the full blame for this on Cody, since the filler appearances of the villains don't help much.
The end fight is above-par. It's really exciting to see the underwater allies assemble beforehand (except for the giggling/shrieking Dolphmon), and once BlackWarGreymon shows up and everyone unloads on him, it's quite a ride. As Chris Mcfeely put it, "it's a great showcase for BlackWarGreymon's power and determination". Other things worth mentioning. The voice actors must have had an off-day recording this one. Steve Blum sounds unusually raspy, while Doug Erholtz injects an uncalled-for tone of sarcasm during Matt's phone call to T.K. Production values are wobbly, with BlackWarGreymon looking rather awkward while running or jumping, in addition to frequently being drawn out of proportion. Overall, this is a recommendable episode that finally does something worthwhile with Cody but should have had the courage to favor things that were more worthwhile.
Digimon Adventure tri. 6: Bokura no mirai (2018)
Manages enough strong scenes to work as a viewing experience, but largely fails in context with the series
With its premiere in 2015, "Digimon Adventure Tri" set itself apart from other franchise revivals by continuing a story many would contend lacks a proper conclusion. But, over the course of five rapidly produced sequels, it became clear the priority lay elsewhere. Now in "Future", the sixth and final entry in the series, nearly all care is seemingly thrown out the window as the writers scramble to fill a quota. With the burden of two time-squandering chapters preceding it, falling short of expectations was a virtual guarantee. A good deal of the problem, however, is intrinsic to the movie itself.
Digimon's history of mishandling final battles reasserts itself here. Having initiated the conflict at the end of "Co-Existence", the writing staff created an unenviable situation and clearly wasn't willing to have the movie be one big battle with Ordinemon. Thus, they opted to stretch out the scenario to feature-length, giving rise to an inordinate amount of talking and a plodding narrative with little sense of progression. What cements these issues is the focus on the Ordinemon crisis, which not only steals time that would have better served to resolve other subplots but also fills that time with repetitive dialogue (although there are a few strong dramatic exchanges). Hackmon and Dark Genai are largely relegated to delivering aimless pseudo-philosophical drivel on the sidelines, no real closure is given on Namikawa's story, Homeostasis and Yggdrasil are only spoken of, and Alphamon isn't involved at all.
One gets the impression that the writing staff was scrambling to give everyone on the team a moment in the spotlight, the result being a scene or two with little to no follow-through. Tai and Kari's truncated subplots are particularly bewildering. These two provided tremendous hooks for this movie at the end of "Co-Existence" and seemed primed to (rightfully) take center-stage. Instead, Tai is largely reduced to an off-screen presence, and Kari's eerie self-loathing and vulnerability dismissed in favor of saving Meicoomon. It's also disappointing that Matt's effort to lead the team in Tai's absence is phased out after the first half hour.
Overall production values are arguably the worst of all six features. It's evident that the animators were cutting corners at this point, such as with numerous flashbacks and at least one jarring instance of recycled footage. The aesthetic is more dull than sobering, the result of a lazy muted-color scheme and a distracting "shimmering" effect in the sky. It's remarkable that every segment of the nearly two-decade old "Digimon: The Movie" did a better job in creating a tense, foreboding atmosphere. This slip in quality doesn't extend to the soundtrack, however, which is well matched with numerous scenes and features effective new renditions of old tracks.
The combination of these issues has an adverse effect on the action sequences, which are choppy and frequently interrupted. That being said, the action we do get is of good quality, and constitutes some of the movie's most riveting material. The scene where Ordinemon knocks most of the mega-level digimon out of commission is startling; you can really feel the force of them hitting the pavement. I was also surprised how much I enjoyed the team efforts of the champion digimon in the harbor, particularly Birdramon and Togemon. Had more effort been devoted to this aspect of the movie, "Future" might have achieved a climactic quality and diminished its narrative shortcomings.
"Future" makes some bold decisions over the course of its story. The notion of fighting the corrupted digimon partner of a friend has been done several times in this franchise. "Future" does a fairly good job of sustaining suspense over the final course of action, and, unlike some past cases, it doesn't cop out at the end. Additionally, the final scene between Tai and Daigo is a real gut-punch, further affirming how criminally underutilized the latter had been in the most recent installments. Tri has largely been about the challenges of growing-up, and "Future" ultimately makes its own contributions to this theme, though, again, not before wading through a bunch of padding. The denouement is appropriately understated and contemplative.
One aspect of Tri that I'm sure everyone can applaud is the portrayal of Omnimon. Following an ill-advised defeat in "Revenge of Diaboromon", the character suffered a long period of being little more than the failing progenitor to some new hero (especially in the manga series). His return in "Reunion" was triumphant, re-establishing him as the unstoppable fighting machine and "ace in the hole" he originally was. "Future" furthers this by giving him center-stage in the film's culmination, and the way he finishes off Ordinemon, with the accompanying soundtrack and resolution of the team, is nothing short of astounding.
I have to admit, at this point I'm more interested in the story of this series' production than anything else. With enthusiasm for the so-called "15th Anniversary Project" dwindling with each installment, one can't help but wonder if the decline in quality in the second half of the series was due to pressure to succeed, haphazard planning, or a gradual onset of apathy. Whatever the case, the Digimon Tri series has finally reached its conclusion. There are enough strong moments to prevent me from labeling "Future" an outright failure, but enough missteps to leave one questioning the integrity of the whole series.
Star Wars: Episode VIII - The Last Jedi (2017)
Thematically misguided sequel that works better on its own terms than as part of a larger tale.
"The Last Jedi" is a surprising film, and a disheartening one. Surprising for its willingness to shake the status quo, and disheartening for how it nearly turns Star Wars into a series at war with itself. Surprising for the poignancy it clearly aspires to, and disheartening for casually discarding the goodwill garnered by its predecessor. It doesn't destroy Star Wars, contrary to some reports, and manages to avoid a far worse trajectory towards the end, but nonetheless left me with the dashed hope that we would ever get a non-polarizing installment. "The Last Jedi" essentially sapped my enthusiasm for the sequel trilogy.
Episode VIII doesn't feel very much like a Star Wars movie. The dominant feeling of hopelessness and despair isn't inappropriate, but it is excessive and, frankly, premature. No room is allowed for build-up before we are thrust into a dire situation. Purely in terms of the action, this is unquestionably the franchise's weakest outing; none of the scant fights or battles are exceptionally exciting. Even the much lauded duel between two primary characters and a bunch of First Order lackeys feels more disorganized than thrilling. What's more, the inordinately widespread notion on the true worth of one-on-one confrontations may have also gotten to the director; apparently, the least important aspect of a fight here is the actual fighting. How else to explain the dramatic and unexpected, but anticlimactic, climax?
Rian Johnson was clearly more concerned with giving the series a thematic overhaul than crafting a compelling narrative, and it's this prioritization that nearly defeats the film. "The Last Jedi" is carefully constructed to affirm or voice the numerous complaints fans, authors, and online commentators have thrown about for years; resultingly the film denounces or rejects aspects of the mythos from previous entries rather than expand the horizons of the franchise. Why Lucasfilm assigned the director his own trilogy following the sheer cynicism on display here is beyond me.
Consider Luke's heavy-handed criticism of the Jedi, with his use of words such as "hypocrisy", "hubris", and "romanticized". Admittedly, the subsequent themes on his personal legacy, the impact of legends, and dealing with errors are worthy ones that lead to some strong developments. But, their faults in the films notwithstanding, the Jedi are a cornerstone of the Star Wars narrative, and the film's unabashedly negative stance towards them is a strident misstep. Never mind the irony on display. For a film that practically boasts of getting the series to grow-up, it has no problem making the immature claim that a millennia old religion's worth is defined by the (generalized) failings of one generation. Rian Johnson had the opportunity to better define and examine this fictional group's history and practices, imperfections and merit. Not only would this have been a bolder route, it might have decreased the gulf in the fandom. Instead, he opted for an approach that sustains some inflammatory commentaries while scolding prequel fans for having become invested at all, delivering some collateral damage to the original trilogy as well (try re-watching those movies knowing THIS is where it's all headed). This isn't just poor business-sense, it's an affront.
Another criticism worked into the narrative is that Star Wars has devolved into an elitist fantasy that promotes "royal bloodlines" and "disdain for common folk", which, for reasons beyond the scope of this essay, is a gross exaggeration. But Johnson seems to agree with it, and thus we have Luke talking derisively about "Skywalker blood", the idealistic Rey having an insignificant lineage, and several self-conscious, yet perfunctory, scenes focusing on loyal/heroic Resistance fighters just before dying. Unfortunately, much of this comes across as shallow overcompensation. For example, the notion that the Force "doesn't belong to the Jedi", which should be clear from earlier descriptions and moments, isn't expanded upon in any meaningful way beyond stern lecturing. It's also ironic that, despite the clear aim of highlighting the downsides of "demigods" and heroism of "common folk", the most consistently compelling individuals in the movie are all "demigods"; it's the "common folk" that water down the experience, plagued by drabness and half-baked characterization. And the less said about that groan-inducing epilogue, the better.
Gripes on the thematic level aside, the movie fares decently as an entertainment, something I conceded to on the second viewing. First and foremost, Mark Hamill's performance as an aged Luke is excellent, capturing the right mix of world-weariness, remorse, and, surprisingly, humor. He's actually the funniest person in the movie, and the recollection of a key action serves as one of the dramatic high-points. It's also appreciable that someone found a good niche for Kylo Ren as a direct foil for Rey. Their interplay is consistently engaging, though when left to his own devices it's a different story. True to his word, Rian Johnson included several unexpected turns. While there are no Earth-shattering revelations on par with that of Episode V, the legitimate surprises provide a good jolt when needed.
Adherents of "The Last Jedi" will no doubt sustain Johnson's vision as a necessary course-correction, an antidote to Lucas' approach to mythmaking. But in my experience there's a significant dissonance between the disturbing implications people have extracted from the setting and the actual effects of the movies themselves (a pattern depressingly similar to the nigh-worthless genre deconstructions that have gained traction since the work of Alan Moore). Addressing a few straw-man arguments is a poor reason for casting a gloomy cloud over elements that function finely within the fairy tale parameters of the series. Star Wars will not become greater by mechanically subverting or criticizing its own conventions. Disney seems to have made a habit of this to modernize its latest animations, but have any of these even approached the likes of "Snow White and the Seven Dwarfs"? Whatever missteps Star Wars has seen during its history, it has achieved greatness through its original direction, and I hazard that it will never reach that caliber again.
Digimon Adventure tri. 5: Kyôsei (2017)
Merely Adequate Set-Up With a Fantastic Cliffhanger
After watching the penultimate chapter of "Digimon Adventure Tri", any enthusiasm that remains for the series can best be described as reserved. Thankfully, it's a marked improvement over "Loss", but not much else. With the exception of a thrilling climax and shocking denouement, "Co-Existence" is a merely adequate installment that continues to exhibit the biggest blemishes of this series.
The first half of "Co-Existence" has the expected task of setting the stage for the final conflict. The sense of crisis is uneven. Too many promising story elements, such as persecution from other people, are given short shrift and even the intended "calm before the storm" feel is never truly achieved. There are some great moments, such as the surprisingly attentive sequence of the kids calling their families, and the partner digimon have an uplifting presence throughout. Yet, this situation is perfect for evoking introspection and a strengthened sense of comradery, and very little of that is realized due to preoccupation with one unwelcome matter.
By now it has become abundantly clear that the people behind these movies are stubbornly insistent on the significance of newcomer Meiko, and for seasoned fans, which this production is clearly targeted at, tolerance of this has reached its limit. Back when she was introduced in "Reunion", I was already skeptical. That movie already showed difficulty with balancing a large group of characters, and adding another face to the mix is a bafflingly bone-headed decision. How is it that the writers didn't realize that the primary anticipation for this series was catching up with beloved characters, and instead took a route that would naturally conflict with this obvious objective? So, with Meiko and her concerns sucking all the oxygen out of the room, very little room is made to allow the other members of the group to contribute anything substantial. This makes two movies in a row that have essentially been hijacked by her. Meiko is, quite simply, the single biggest misstep the film series has made thus far. It's no coincidence that "Reunion" and "Confession", the two best entries so far, are also the ones where she was least intrusive.
Additionally, "Co-Existence" continues the series' trend of putting a more unsettling spin on familiar genre traits. The notion of a digidestined serving as a stabilizing influence for a digimon partner is an interesting one, but the calling into question of the integrity and motives of the "forces" that chose them in the first place is less than stellar. "Tri" has had much more success in exploring the question of what happens to child heroes when they grow up, so seeing it devote more time to the overplayed deconstruction thesis of "nothing is trustworthy!" is disheartening. However, this does call into question who the real villain is in this story, which hopefully will see real payoff in the finale.
Daigo and Maki consistently arrest the attention, but "Co-Existence" makes criminal underuse of the revelations from the previous episode. Imagine how much more powerful the movie could have been had it focused on the group contemplating advice and warnings from Daigo based on his obviously pertinent experiences, rather than continuously pressing the audience into feeling bad for Meiko.
Yet, for all this frustration, "Co-Existence" manages to sprint to the finish with a 4-way battle royale, where there are no real allies and everyone clashes with everyone. Omnimon gets thrown into the fray (and it's really about dang time!), though it's disappointing to see the other mega-level digimon get so casually knocked out of commission. Then again, the animators probably weren't up to the task of handling that many combatants. There's great tension throughout this battle, and I found myself consistently concerned about the outcome. Everything concludes with two big shockers, although I only found the second one truly effective. It kicks off the grand-scale crisis that the rest of the movie perfunctorily establishes and gets the audience primed for the climax. Other positive points include some creepy moments from Dark Genai, solid humor from Joe, and a pleasant, contemplative closing theme that perfectly captures the feel that the previous installment failed to.
Full judgment of "Co-Existence" is probably best reserved for after the final chapter, though by now it's all but confirmed that "Tri" will never achieve its full potential. It would be a minor miracle for everyone to get proper closure to whatever character points they've been allowed along the way, and it's clear that some longstanding questions, such as Kari's connection to the World of Darkness, were never going to be resolved. From a franchise infamous for dangling plot threads and untapped possibilities, this is saddening. All that can be hoped for now is an appropriately climactic finish with a moderate amount of emotional appeal, but to achieve even that the writing staff will have to swallow their pride, relegate Meiko to a peripheral presence, and focus on at least two members of the original team. Frankly, I'm not holding my breath.
Power Rangers (2017)
A Surprisingly Encouraging Upgrade
For those that knew it as their first big franchise, Power Rangers will always hold some appeal. I happen to fall into this camp. Though a lapsed fan at best and fully aware of the series' constant dismissal of conventional critical standards, it brings a distinct, Saturday morning feeling that perhaps we'd all like to rekindle on occasion. With numerous old properties being re-launched, and often being botched, it really is about time this one got a shot at the modern age. The result is the first worthwhile adaptation of its type in a long time, and perhaps a little more.
It's important to keep in mind that this film was made primarily for those at least passingly familiar with the series. I don't see it drawing in too many new, serious-minded followers; it won't serve as the crown-pleasing introduction that Star Trek (2009) was. But this should in no way denounce what the movie has accomplished. Admittedly, there are many bothersome things scattered throughout. I'm not a fan of Dean Isrealite's semi-hand-held camera-work and multiple plot elements don't add up, but these things don't significantly mar the proceedings. Compared to the stuff in the original series, this is a notable step in the right direction.
In addition to providing recognizable new iterations of old faces, "Power Rangers" shows effort in bringing substance and dimension to its key players and a distinct visual flair for its fantastical elements. For a film tasked with establishing five key players, it does a commendable job of distinguishing each one, and the cast infuses them with more than enough humanity to keep us engaged; redefining them as misfits and screw-ups was an inspired decision. The story of how they become heroes is fraught with clichés and conventions of the superhero genre, but the good news is that this is one of the better applications of the formula. The team building segments are better than those from "The Avengers" or "Guardians of the Galaxy", possibly because the group is actively working towards a goal rather than just waiting around for the big push at the end. Simple actions like speedily passing notes during detention or sparring over the last café pastry add much.
There seemed to be much fuss over the film's take on Rita. While Elizabeth Banks does go over-the-top in some scenes and there are multiple hints at a backstory that is never explored, the villainess serves her purpose adequately. She lacks substance, but she's intimidating and formidable, two qualities that the original version of the character badly needed. I was actually surprised by how much I enjoyed Bill Hader's take on Alpha 5. While the robot's new CGI look is not very appealing, has some genuinely funny lines, and even delivers some brief action. Bryan Cranston provides a suitably sullener take on Zordon, though his voice is a little too recognizable.
Action is mostly limited to the final half-hour or so, which may understandably irk some viewers. The ground combat sequence with the Rangers taking on the golem-like putties includes a cool skirmish through a suspended lake, but leaves one wishing for more. Initially, I found the designs for the Zords to be off-putting, but I've gotten used to them, and actually found the scenes of them in action to be more enjoyable on repeat viewings. However, those machine-gun weapons are uninspired. As for the suits, they've got a nice alien quality, particularly from those galaxy-like displays and lights. Angel Grove provides an unusually small backdrop for the climax, but this was probably a conscious decision to avoid collateral damage based criticisms. Regardless, the sequel needs a bigger setting. That's where these types of characters can truly thrive.
This is a time of franchise reboots and resurgences. While that's often not the best thing, it's always exciting to see the return of a beloved property. For the longest time, projects such as "Digimon Adventure Tri" seemed like an impossibility, and certainly no one expected another Power Rangers feature. This upgrade leaves me optimistic for once.
Digimon Adventure tri. 4: Sôshitsu (2017)
Unfocused and Shallow, this is an unwelcome downgrade so late in the series
It may have been unreasonable to expect "Loss" to equal the excellence of "Confession", but I wasn't prepared for such a sloppy product. The fourth chapter in the surprisingly edgy Digimon film series fulfills some personal, long-held fears and saps a good deal of confidence for future installments. "Determination" may have been moderately disappointing, but this installment falls short of it in every way.
Far and away, the most severe letdown of the film is Sora. Marketed as the focus of the episode and receiving a solid foundation from her role in the previous chapter, Sora seemed primed to evolve as a character. Considering her sparse involvement, this was exceedingly welcome, and a something I personally anticipated greatly. Unfortunately, shallowness, contrivance, and obviousness all pervade her story, with nearly every development and action occurring out of necessity rather than thoughtfulness. The mending of her relationship with Biyomon is consistently artificial, and the trigger to the latter's new evolution utterly perfunctory. Sora had the makings of a caring, compassionate individual that often neglects her own needs, and this may have allowed the character's true concerns and desires to show through were it not for the scattershot narrative. Furthermore, despite hints of a proper exploration, the dynamic between her, Tai and Matt is shortchanged, which, at least for now, is a colossal slap in the face to everyone who wanted proper closure on the matter after watching "Digimon 02".
Beyond that, there's a lot going on. I wrote concerning the second film that "the numerous subplots never manage to cohere into a streamlined narrative". Such an issue resurges here, full force. The early sequences of the kids reconnecting with the in-training digimon contain some expectedly cute moments, such as Tanemon's initial reaction to being picked up, but lose steam very quickly. Subsequently, everything devolves into a string of haphazard events and broken conversations. Interesting moments do sporadically come about. For example, Kari's comments on accepting the new condition of the digimon partners, while a little inconsiderate, creates the possibility in the audience's minds that this loss of memory may not be reversed.
It would be an understatement to say that the film is largely saved by revelations on the larger scheme. Not only are the purposes of recent events clarified and Hackmon given his first speaking role, but light is shed on Namikawa's history and motivations. The opening flashback, though done in an odd silent newsreel style, is intriguing, and the scene of Namikawa reuniting with an amnesia afflicted Tapirmon is arguably the best one in the film. Here is an individual so consumed by obsession that she cannot accept the reality in front of her; it's poignant as well as it is frightening.
With the advertised inclusion of Machinedramon, MetalSeadramon, WarGreymon and MetalGarurumon, as well as the introduction of Phoenixmon, one might at least expect the action to thrill. Sadly, such a gathering of heavyweights only makes the resultant dud of a climax truly perplexing. MetalSeadramon gets dispatched without much resistance (his final fight in the show is better), and Seraphimon is greeted with a whimper. Phoenixmon suffers most perceptibly, with a "puffy" looking rendition that is notably inferior to the detailed depictions from the promotional poster and card game artwork. The only combatant that manages to impress on some level is Machinedramon. Though reduced in size, the animation quality for this version is impressive, and he even shows off a nifty new "laser tail" ability.
Two-thirds of the way through the series is an unacceptable point for such a misstep to occur. "Loss" provided the opportunity for progress on character points introduced in the first two entries, and looking back at the series' irritating habit of hastily dismissing these only exacerbates the frustration. When will we see actual coverage for Tai and Matt's concerns, or Izzy's crush on Mimi? Four episodes in and the writing staff, for all its affection for the franchise, still hasn't figured out how to balance such a large roster of characters within the given format, and with only two chapters left the margin for error has all but disappeared. In the end, the title "Loss" only refers to the squandered opportunities to truly give this much anticipated project momentum.
Rogue One (2016)
Satisfying, But With a Pervasive Sense of Untapped Potential
After two viewings, I remain uncertain how to feel about "Rogue One". Originally, I was prepared to label it a depreciation from "The Force Awakens", but the second round was notably more enjoyable, and leaves me regarding it, for the time being, as more or less on the same level as the 2015 feature. Whatever the case, this is an unorthodox, sometimes frustrating and sometimes poignant addition to the Star Wars canon.
On the level of functionality as a prequel, "Rogue One" is adequate. It reveals the events that led up to the beginning of "A New Hope", much of which is entertaining, but little of which enhances the pertinent conflict. Too much of the runtime is devoted to either gathering the main group or shallow attempts at a typical war movie moral ambiguity; it's a needless complication that further affirms that the people behind these movies are all too insistent on bowing down to fan demands. Keeping track of numerous individuals and agendas can be moderately difficult, but this problem is significantly reduced in subsequent viewings, after one understands where everything is headed. Strangely, substantial numbers have objected to the film's dependence on the context provided by "A New Hope". Oh my, the EIGHTH entry in an iconic, long established film series assumes familiarity with that series? What an outrage! How dare they make a Star Wars movie specifically geared towards Star Wars fans?
As has been trumpeted in most circles, the large cast of characters is underdeveloped. It is notable, however, that most everyone is given a personal reason for being involved. These aren't fully capitalized on, but they are there, and bring just enough substance to the key players to make their endeavors engaging. Jyn Erso, despite some good fighting scenes, doesn't resonate for most of the runtime. Her ideally solid motivations aren't given weight until the mission at Skarif, when she gets to act upon them. More interesting aspects of her character, such as her family's belief in the Force and her ability to lift morale, are underutilized. Cassian Andor is notably better, and the only member of the group convincingly molded by war. "Rogue One" should have devoted much more effort to this angle of exploring how the war effected people on a personal level, rather than shoehorning an overly clamored for moral grayness.
The villains are overall better, primarily because of familiar faces. Krennic is a letdown. Though he certainly stands out with his distinctive white uniform, he falls victim to the bewildering new trend of turning Star Wars villains into pathetic pretenders in a cheap attempt to elicit sympathy. Plus, his attempts at humor are out of place.
Some were quick to criticize Vader's final scene as intrusive, unnecessary and inappropriate, claiming that it overrides the impact of the climax. Considering the greater context and the villain's purpose in the movie, I would say different. Vader's inclusion here (essentially an extended cameo) is preparatory to his role in "A New Hope", and his final scene builds momentum and anticipation as "Rogue One" segues into the conflict of the succeeding chapter. Additionally, the transmissions, the fruits of the main characters' efforts, are also followed during these final scenes, keeping the significance of the climax alive.
Gareth Edwards once again shows a talent for impressive sights, and "Rogue One" is filled with great looking settings and excellent cinematography. While this is yet another instance of answering fan complaints, specifically the abundant use of green-screen in the prequel trilogy, it brings a sense of scope that helps set this entry apart from its immediate predecessors. Nevertheless, most of these places work better as sights (and very good ones, to be sure) than supplements to the story. Jedha, for example, feels less like a city ravaged by war than a settlement that has simply always been harsh. Any undercurrent of suffering or struggle fails to manifest itself. As is, the visuals mostly amount to the "used future" concept dialed up to 11. "Rogue One" needed more moments like the scene aboard Andor's ship after the escape from Jedha, where one can feel how shaken the group is by recent events.
The end battle is an ambitious application of the multi-faceted climax structure first seen in Episode VI. The space engagement is top notch, while the ground battle is a definite improvement over its Endor counterpart. At times, it is easy to lose track of the proceedings, but if one pays attention it is impressive how everything is planned. Furthermore, this is the primary segment of the film to carry narrative weight in the larger context (although the stakes are clear even when only considering this film). The actual procedure of stealing the technical readouts is a little protracted and could have used more involvement by the main group, but it does what it has to. It creates a sense of challenge and commitment, and gives the heroes opportunity to contribute to something critical. My only issue with this sequence is the palm tree filled setting. It's disconnected from the style seen in the rest of the film, and makes the battle seem more like it takes place in Malibu. Regardless, the closing scenes are terrific.
"Rogue One" is a reasonably entertaining and at times bold addition to the film series. It provides further background on the original story, gives us a few good actions sequences and memorable moments. Nevertheless, it's high time the series broke away from the Galactic Civil War. Filmmakers are going to have to move past the restrictions imposed upon them by fan complaints if they intend to expand the horizons of this franchise. Otherwise, the day will not be far off when the great Roger Ebert's comment on Star Trek in 2002 will also apply here: "
gradually it occurs to me that "Star Trek" is over for me. I've been looking at these stories for half a lifetime, and, let's face it, they're out of gas".
Shin Gojira (2016)
An imperfect, but bold direction for the iconic monster that hearkens back to the series' thoughtful roots
"Shin Godzilla" is two thirds of a great giant monster film. The set-up and crisis escalation contain some of the finest work the series has churned out since Shusuke Kaneko's 2001 feature, exhibiting a degree of depth and thoughtfulness that hearkens back to the original feature. Thus, it is unfortunate that the final act stumbles so perceptibly. Nonetheless, this latest Godzilla feature gets more than enough right to earn a hearty recommendation.
"Shin Godzilla" leaves little room for actual characterization and is primarily about people, plainly, doing their jobs. But the screenplay (arguably the sharpest in the series) doesn't approach this in a rote or perfunctory fashion. It's primarily concerned with the approach of officials and experts in the face of a crisis, critiquing a disabling government protocol and commending the determination of those who pull through with a solution. This subplot is executed with uncommon confidence, and the abundance of meetings and discussions lends an urgency to the proceedings (for the most part). We don't learn much of these peoples' lives outside of this episode, but the weight of the situation is never lost on them and their actions are infused with a sense of commitment and professionalism. This, combined with the amount of detail with which this subplot unfolds, goes a long way towards making the narrative engaging. Though the satirical aspects are not as well considered as they could have been, the accompanying premise elevates the film in other ways, most notably in the sense of verisimilitude.
It's always impressive to see thought go into the possible ramifications of the existence of giant monsters, and while the results can't quite be called "realistic", sufficient effort is made to lend credibility to the situation. For example, the screenplay's definitions of Godzilla provide quasi-reasonable explanations for the monster's retreats and pauses between attacks, something other "solo" entries in the series have struggled with. Even seemingly throwaway moments are interesting, such as the gathering of protesters who seem to worship Godzilla and the two surviving soldiers voicing their resolve to hasten evacuations. The latter scene draws more sympathy to the military than the entirety of "Godzilla (2014)".
However, a sharp depreciation occurs during the final act. In addition to the discussions becoming tedious, the urgency of the situation largely dissipates. This is most evident during the climax, where the smoothly executed plan defuses everything; the denouement is actually more interesting. It's an ingenious plan, to be sure, though the technicalities are murky. Social relevance from earlier proceeds by conveying the Japanese nation's sentiments concerning its geopolitical standing, and the dissatisfaction with imposition from other countries. It's an interesting point, but unfortunately redefines the conflict and distances the monster.
Overall, this is the most polished Godzilla production from Toho. Camera work is varied and dramatic, and scenes of conferences and meetings are lit to complement the film's mood, a far cry from the comparatively flat work in most earlier entries. Shots of Godzilla looming in the distance grant a foreboding quality (one of him glowing red at night like some infernal entity is particularly stunning) and the point of view shots of the military vehicles lend a dire immediacy to the battles. His movements are limited during the attacks, but, again, the approach makes such a trait an asset. The portrayal of his durability during the clash with the SDF, combined with the actors' reactions, creates genuine tension. Consider when the government officials realize Godzilla is impervious to the full force of their weaponry. Rather than coming across as an obligatory development, the shock of the discovery is felt. It's impressive that such an obvious feature of these films can be affecting even after more than two dozen entries.
CGI work is uneven. Some examples are darn near flawless, while others are embarrassing, such as the artificial way Godzilla lurches forward before becoming dormant. Sound work, I think, is more interesting and consistent. For example, Godzilla's early form (possibly inspired by Namazu of Japanese lore) looks outlandish, but the sound effects of its footfalls lend weight and presence. Also, in a surprisingly chilling moment, when the creature first stands upright and lets out the iconic roar from the original film, the truth of its nature snaps into focus. Also, that one practical effects shot everyone is so quick to praise sucks. It's impressive from a technical standpoint, but is too abrupt and lacks context and scope, diminishing its impact. If anything moved me, it was the screams of the victims, and these are irrelevant to the special effects work. Watch similar scenes from "Giant Monsters All-Out Attack", "Gamera 3" and "Mothra vs. Godzilla" and consider the difference.
I was VERY disappointed by Alexandre Desplat's music for the 2014 flick, so one can imagine how happy I was to hear a soundtrack that complements the gravity of the story. The piece "Persecution of the Masses" is undeniably the crown jewel in this respect. In contrast, there are some unnecessary callbacks. The lazy insertion of an Akira Ifukube theme as Godzilla undergoes his first transformation should have been properly updated; it's a solid bit of music, but feels antiquated here. Many have grumbled over the insertion of an "Evangelion" theme during preparations for the final battle, but I would argue the real issue is that it isn't a very good piece of music. Other than that, the auditory experience is solid.
With an unusually strong interdependency between its human and monster elements and a thematic focus that hearkens back to the monster's roots, "Shin Godzilla" can rightfully be called a return to form. Though I would have preferred more scenes of the eponymous monster and a more personal human element, if the series continues to take chances like this, consider me optimistic for once. Just, please, quit limiting the eponymous monster's screen time.
Digimon: Digital Monsters: Ikkakumon's Harpoon Torpedo (1999)
The best formal introduction from the original group
The first noteworthy thing about this episode is how the situation is beginning to highlight the group dynamics. There's been some sporadic tension, most notably between Tai and Matt in "Garurumon", but for the most part the show has been sticking to a routine instead of having these kids deal with their predicament in a thoughtful manner. This episode, until the end, isn't preoccupied with some danger of the week, instead opting to have the kids simply try to adapt to their circumstances.
The campfire dinner scene has a refreshing feeling of safety and relief, and unlike in, say, "Garurumon" or "The Birth of Greymon", there's an actual sense that they are trying to make the best of everything. That being said, I kind of wish more effort was devoted to emphasizing that these guys are aware that they are lost in a strange land with only each other to depend on. Take Sora, for instance. She tries to lighten the mood when everyone becomes homesick and breaks up the argument between Tai, Matt and Joe. This role, as the emotional center of the group, shows up occasionally but is never fully capitalized on, which is a shame because it would have brought much needed momentum to the group dynamics.
The best material concerns Joe and Gomamon. Up until now, it would be easy to construe the former as the awkward bookworm that simply lacks the grit of the stronger characters, but this episode brings a different perspective. His concern for everyone's safety and sense of responsibility steadily grow more apparent (as does his irritation with the fact that no one seems to take him seriously), and it's hard not to root for him as he goes to great lengths to live up to these. In one swift stroke, Joe has gone from being the nuisance in the background complaining about everything to the most fleshed out and promising character in the group. His relationship with Gomamon is, in my opinion, developed better than the other human/digimon ones, with the two of them initially being at odds and Gomamon making excuses to cover up his concern for Joe's safety. I was happy to see them establish a rapport at the end. This double act will remain successful (and funny) for the rest of the series.
The end fight between Unimon and the champion digimon is great, with lots of swift maneuvers and cool moments. Maybe it's because she doesn't get much opportunity to be useful, but I really like when Birdramon slams the flying horse against the cliff side. Unimon doesn't seem too intimidating at first, but that vicious toothed maw and his flying speed change that quickly. As for Ikakkumon himself...he's a large, white-furred walrus with a replicating horn that houses missiles. You won't find anything like that in other cartoons.
The Incredibles (2004)
Relatively edgy and violent, but also smart and observant, this is an excellent family feature
As Roger Ebert once pointed out, "On the surface, 'The Incredibles' is a goof on superhero comics. Underneath, it's a critique of modern American uniformity". That it is, a double-objective accomplished by emphasizing the incompatibility between the fantasy antics of the superhero world, and our own. The result is a marked attempt to broaden the Pixar audience, and a stand-out action flick.
Given the central group, it should come as no surprise that family dynamics are the best asset. Of course, to one degree or another, all the Pixar films are about families; the "Toy Story" trilogy made this a progressively emphasized component. What sets "The Incredibles" apart is how observant it is about the subject. Some of the best scenes in the movie simply show the interplay amongst the family members, and throughout we witness marital dissonance, sibling rivalry, parental concern, etc. It's all portrayed convincingly and makes the characters come alive in a down to Earth way rarely achieved in the Pixar movies. More importantly, we care about these guys, because they clearly care about each other, even if they sometimes have a difficult time showing it. Nothing quite like thwarting a villainous plot for bonding time.
Concerning the individual characters, Bob and Helen are the standouts. The former is actually a pretty complex creation for this genre, and the screenplay quite cleverly adapts the whole mid-life crisis element to his circumstances. He has a desire to help people, and tries to do so with what life has allowed him. The problem is that he doesn't feel valued for his efforts. More importantly, he doesn't value his line of work, which he believes wastes his capabilities (that last point serves as an interesting running theme also evident in the kids and Edna), and such a lack of motivation follows him home. A call for parents to draw a more stark line between work and home, perhaps? Helen, I believe, is the stronger character, and one of my personal favorites from the Pixar canon. She's the more level-headed of the two and throughout the movie has to keep everyone else in check. It's a great demonstration of the importance of her role in her family and greatly endears us to her. Not to mention, she's got a real knack for quick thinking.
The other characters serve their purposes adequately. Syndrome is an amusing spoof of megalomaniacal bad guys (e.g. Lex Luthor), while Edna (a delightful nod to Q from the James Bond series), with her seemingly endless resources, dismissive attitude about her height and exacting attitude, may be my favorite supporting character in these movies. Violet and Dash aren't defined much beyond basic attributes, but their presence reinforces certain themes (notice how much more confident they seem after using their abilities in fulfilling ways) and their subplots are resolved well. I particularly liked how Dash's school race at the end was more an exercise in self-control than "being the best by a tiny bit". At that point, his relatives' opinions were the only ones that mattered. How nice.
On the visual level, this one is not quite as fanciful as, say, "Toy Story 2" or "Finding Nemo". There's a good variety of locations and the costumes really pop on screen, largely due to the combination of black with bright red, but overall this movie has a relatively subdued look. Even so, it gets major points for the actions of its key players. Every major member of the Parr family has a pretty standard superpower, but these are all utilized in a wide variety of dynamic and interesting ways. I still remember feeling surprised at Elastigirl's first display of speed and agility, a good indicator of the energy with which these powers are portrayed. Beyond that, it's also worth noting how the characters use their powers for expression (notice Violet hiding from her crush and Helen increasing in height as she yells) or for ordinary, everyday actions. It makes certain scenes that much more interesting to watch. Beyond that, I love the sense of scale. Bob staring up at an absurdly large computer screen almost gives the impression of being in an IMAX theater, while the Omnidroids both look and feel big, thanks to both the quality of animation and camera angles.
All this being said, "The Incredibles" is not perfect. For one, it does take longer to kick off than others in its own line. The first act, while necessary to set-up the main story, doesn't really cut loose in a way one would expect. This is supposed to be the golden age of superheroes; shouldn't there be more seen in action? Once we get to the family dinner scene, things start to get good. What's more, I would have preferred more interaction within the Parr family, which is sparse for a considerable chunk of the running length. The way that Bob comes to appreciate Helen and the kids could have had more thought put into it, but at least, as shown in the prelude to the climax, it's a development treated with weight when it could have easily been perfunctory. But my biggest reservation is how Syndrome is dispatched. I, for one, would have found it more satisfying for the Parrs to coordinate their powers to defeat this guy in a direct fight, rather than just having him undone by an (admittedly funny) wardrobe malfunction.
But, these defects are ultimately of little consequence. "The Incredibles" is a fine and intelligent animated feature, and one of the few from the pertinent animation studio that is fruitful for a continuation.
Kaijû daisensô (1965)
Quite lopsided for a Godzilla flick. Too much set-up with too little pay-off.
A couple of moments in "Invasion of Astro-Monster" show great promise. The first comes during the first appearance of King Ghidorah, with a cascade of gravity beams shown on the screen behind the Xien leader as he explains the situation. The second comes when the Xien spacecraft transport Godzilla and Rodan into space. Both of these show the two intended genre elements working in harmony, and had the rest of the movie followed suit this might have been a seminal entry in the series. Unfortunately, the results are too lopsided to work. Complementary genre elements are of little use if they supplant what unique things are brought by the giant monster genre, especially when said elements have been done much better in past films.
Simply put, "Invasion of Astro-Monster" does not feel like a Godzilla movie. Too much of the running time is devoted to the human/alien conflict, and while this does lend more substance to the human portion of the narrative, it's still clumsily constructed as in any entry of the series. Various ideas are either truncated or plumb never capitalized on, such as the Xiliens' deception, which is made blatant both to the audience and some of the heroes, and explorations of the Xiliens' culture are mostly limited to throwaway details. The pacing is nothing to emulate. Scenes on Planet X seem to go on forever for the sake of imitating "Forbidden Planet", and the multiple trips between Earth and Planet X seem unnecessary.
The point is, "Invasion of Astro-Monster" never gives us an alien invasion plot capable of carrying an entire film on its own, and this issue magnifies the already fundamentally disappointing decision of reduced monster action. If one is to endure the downplaying of the monsters in a monster movie, it's only fair to demand something superb. But, it's difficult to not make comparisons with other alien/space exploration features (e.g. Forbidden Planet, War of the Worlds, Earth vs. the Flying Saucers). The conflict with the Xiliens, with its lack of outstanding qualities, needs the monster element to stand out, and that is unfortunately what the film fails to capitalize on.
Treatment of the monsters is, on the whole, poorer than in the previous entry. While their destruction scenes are adequate, if repetitive, these guys always feel like mere appendages to the plot rather than focal points of concern; they're regarded as assets rather than creatures. Say what you will about the incipient goofiness from "Ghidrah, the Three Headed Monster", but at least these guys had an established presence in that movie, with actual signs of personality. Here, they don't even get a proper send-off, instead suffering from that head-scratchingly unceremonious ending.
There are some good moments, though. Namikawa's sacrifice is moving, and the self-destruction of the Xiliens is certainly dramatic. Additionally, Akira Ifukube delivers a great new rendition of one of his themes from Godzilla (1954), which can be heard over the opening credits. Even so, as far as I'm concerned, this is a pretty middle of the road effort for the Godzilla timeline spanning the 50's, 60's and 70's. It's strengths elevate it above utterly disposable products, like "Godzilla vs. Megalon" and "Godzilla's Revenge", but time has not been very kind to it; later films would incorporate aliens in more ingenious and entertaining ways.
Hook (1991)
It could have been so much more
When asked who I consider the best American filmmaker, an admitted rookie like myself might consider Martin Scorsese, Orson Welles and Steven Spielberg to be fair contenders. In any case, it's not Stanley Kubrick, who, while undeniably skilled in his craft, is primarily remembered for messing with people's heads. Those who denounce Spielberg on his proclivity for crowd pleasers or family flicks take his versatility for granted (Munich and Lincoln come to mind), as well as his gift for reminding us why we go to the movies in the first place. Nevertheless, he's not immune to misfires, a fact eternally reinforced by "Hook".
One thing that most, the director himself included, seem to be in agreement on is that the section of the movie that precedes the Neverland sequences shows good promise. It effectively establishes the life that Peter has made for himself, as well as the disconnect between himself and his family, and we are drawn into the mystery of the story by the surprisingly solemn Wendy. Furthermore, the scene of the kids prior to being kidnapped is frightening, something I can attest to having seen it at an early age.
Unfortunately, the rest of the movie is a dull affair. Much of it is devoted to Peter's attempts to rediscover the spirit of youth within himself, but there's no sense of wonderment, fun or wit to this, thanks in no small part to the embarrassing settings. What's more, the objectives behind this (to battle Hook and rescue the kids) are obligatory and not utilized very well. Hook's plan to sway Peter's kids is fruitless and its excisement would have mostly strengthened the movie. I say "mostly" because the daughter is rather endearing and actually manages some rather funny moments. Her reaction to getting an "F" is priceless in context.
The real shame about "Hook" is that it has the raw material for an insightful extension of the messages from the original Peter Pan tale, but it derails itself by giving the central character objectives that detract from each other. The idea is that Peter learns to reconnect with his kids through this new adventure, even though (a) he's separated from them for the majority of the run time and (b) he never draws any insights from his earlier adventures that allow him to do this (unless you want to count the embarrassing dinner scene that devolves into a series of insults too childish for even this type of movie). Such missteps rob this aspect of the story of substance and momentum, and in the end, despite the ending saying otherwise, the whole thing just feels like an excuse to get an adult Pan to fight Hook.
In the one truly interesting scene from the latter two thirds, Peter realizes that his motivation for growing up was the desire to become a father. Again, the idea behind this is very promising, and could have been the other side of the coin. The original tale showed the tragedy of running away from adulthood, while this one wants to say that through all the challenges there are wonderful things waiting in adulthood. But "Hook" largely doesn't focus on Peter's relationship with his family or his dissatisfaction with adulthood. Not to mention, why not focus on Peter's marriage? Isn't such an undertaking a more intriguing aspect of adulthood from kids' perspective? From the flashback itself, it seems that he was more concerned about companionship. This would have been a more direct and poignant direction to take, especially considering the aging of Wendy.
That's another thing. Unlike the all-around superior 2003 adaptation, there's no strong ally or opponent for the hero to play off of. Sure, there's Tinker Bell, played in that awkward "adult acting kiddish" style that I hate so much, but her relationship with Peter doesn't evolve beyond an outline. And, while there are a few well-done moments with some of the Lost Boys, they don't amount to much.
By far the best aspect of the production is John Williams' soundtrack, which occasionally elicits the feelings that the everything else fails to. The track "Flight to Neverland" is particularly good. Much less can be said about the special effects, which make Neverland look artificial and flat rather than expansive and lively. The only exception I can think of is the fun scene of Peter soaring above the clouds. Whatever bits are done right, far better (non-CG) efforts were produced before and since. Just three years later, "The Flintstones" would give us a real treat in set design (though, admittedly, little else).
Despite its cult following, "Hook" remains amongst the lower echelons of Spielberg's filmography. Not abysmal, but, with uncapitalized ideas and a distinct lack of enchantment, it's bound to disappoint.
Star Trek Into Darkness (2013)
Feels more like an extended TV episode, which is the mark of a lesser installment
One of the many eternally pointless disputes of the last few decades is the rivalry between the Star Trek and Star Wars franchises. It's a topic I prefer to avoid because there really is little to discuss beyond a few points. Aside from the obvious difference in objectives and style, both franchises have a different dominant medium; it is utter folly to compare a television series to film. However, purely as a film series, Star Wars is the clear winner. Despite varying opinions on the quality of the individual Lucas-helmed movies, the Star Trek film series' episodic nature prevents it from achieving the scope and flow of its rival. Most of the individual movies don't complement each other, leaving half of them feeling more like bloated episodes of the television series' than big theatrical events.
Why do I start on this brief point? I was originally let down by the fact that "Into Darkness" doesn't lend itself to a larger tale, but have since come to accept that that's a given with these movies. What really cements this potential problem is that the plot lacks the momentum of a feature length production. The first half is too splintered, shamelessly dropping in elements that weren't present in the previous movie and not exploring them fully. Wouldn't the big machination by Admiral Marcus have had greater impact if we had gotten to know this guy earlier, or actually explored the nature of the Klingons from this timeline? Because so many things are shortchanged (like the Spock/Uhura relationship), the movie feels like it's scrambling about to find its footing, until the second half that features a drawn out jaunt into space. For a better example of this type of narrative, watch "Godzilla X Mechagodzilla: Tokyo S.O.S.".
The second big problem with "Into Darkness" is that it is premature. Clearly, it was intended to be the "Empire Strikes Back" in its own line, with everyone thrown into a desperate hour. But we haven't become sufficiently familiar with this group for such an event to have weight, nor is anyone's personal journey taken in a direction of particular interest (success in the latter is one of the reasons "The Dark Knight" and "Spider-Man 2" are excellent sequels). The lack of scope, an established threat and sense of consequences doesn't help. All things considered, the affair has all the symptoms of acting significant when it clearly isn't. The promising ending didn't necessitate anything that preceded it.
It's a shame that all the focus on the stagnant story detracts from the cast of characters. As was the case in the previous movie, Kirk and Spock receive the lion's share of attention; no other member of the crew ever amounts to more than a prop for the story. Unfortunately, some of this is rushed in context, adding to the premature or hollow feel. Kirk temporarily loses command of his ship even though we've hardly witnessed his exploits as captain, Scotty's dismissal is virtually impossible to care about for similar reasons, while Pike's death, though well shot and acted, comes too early into the proceedings. Spock's concerns with fear and death are criminally underutilized, and one of the few elements that carry over from the previous movie. Benedict Cumberbatch is the sole standout as this timeline's version of Khan, and the only true reason to watch the movie; the confrontations between him and Spock are intense and vastly more interesting than those between the former and Kirk.
As with its predecessor, the style favors action over protracted philosophical commentaries. But, as has been made very clear before, the Star Trek franchise does not lend itself very well to this sort of thing (and I'm sick of those phasers). Too much of the running length concerns multiple parties talking each other down, sizing each other up or SLOWLY progressing towards critical points with minimal payoff. The abundance of scenes within the Enterprise grow stale very quickly, and those lens flares reach a new level of irritating. Subtitling the movie "Into Darkness" was very deliberate, since there is an exorbitant amount of shaded scenes, but this makes everything less pleasant to look at rather than infusing them with a somber quality; just another example of trying too hard for a dark tone. The best fight in the movie is Khan's ground skirmish with a bunch of Klingons, which, in addition to boasting several unique weapons, is a good mix of armed and unarmed combat.
For all these issues, I cannot in good conscience label "Into Darkness" a bad movie. The acting remains above par for a blockbuster and there are a few moments of genuine poignancy. But with a story too small for a feature length film, it's more a random chapter than a significant leap forward, not exactly the best way to further the reinvigoration of a venerated franchise.
Digimon Adventure tri. 2: Ketsui (2016)
An unfocused storyline punctuated by several standout scenes and very good ending
It seems the writers are already feeling the burden of balancing so many characters and subplots within the typical running length of an animated feature. Whereas "Reunion" was mostly about reintroducing the old gang, with Tai's concerns receiving the most attention, "Determination" is primarily devoted to Mimi and Joe. While giving the spotlight to certain characters for specific chapters seems ideal, the execution fails to lend much traction to the story.
Given that everything is technically still in the setup phase, the story has some of the same limitations as "Reunion", with limited momentum for the actual crisis due to limited information and revelations. "Determination", however, doesn't make much effort to overcome these; the main crisis is rarely at the forefront and the numerous subplots never manage to cohere into a streamlined experience. It seems the writers aimed to fill time before the big shocker by giving these guys one last opportunity to simply be kids (an intention voiced through the two government agents), but why make this such a big point and have so few of the teens show concern for the effects these responsibilities are having on their lives?
Mimi received some of the best treatment in the first chapter, and at least here we become familiar with other aspects of her personality. Her frankness and take charge attitude combine with an egocentric side, leading to some inconsiderate actions. The ingredients are there for vintage "Digimon" material, but rather than have her take action in overcoming weaknesses, much of her time is devoted to a growing (and insipid) friendship with Meiko and the hurtles in planning a school festival. What exactly any of this has to do with the main crisis is unclear, and this disconnect prevents Mimi's dramatic arc from being as compelling as it otherwise might have been. Shouldn't she be actively trying to resolve things with, say, Izzy or Sora or Tai? The only substantial interaction she has with any of her original teammates is an encounter with Joe, and, would you know it, it's one of the strongest scenes in the episode. There's even a brief scene that makes Tai's empathy with Joe clear, which is way more interesting than what Mimi goes through. "Digimon" is at its best when introspection or interplay between characters is at the forefront, and "Determination", despite all the scattered chatter and exposition, is largely misguided with these.
Joe's matters are more interesting and better handled, in my opinion. While I voiced my disappointment in him being relegated to the same role as in every other "movie", it was a pleasant surprise that being a digi-destined is a burden he may not be willing to carry anymore, because it may prevent him from living the adult life he wants. Considering the existence of hundreds of other kids with digimon partners, it's not an unreasonable concern, and hearkens back to his old practicality and cautiousness. It even leads to some nearly heartbreaking interplay with the endearing Gomamon. The resolution to this is rushed, but given the urgency of the situation and the fact that it gives Kari something to do, I'll accept it.
Everyone else is, at best, part of the backdrop, or, at worst, cheapened. Sora and T.K. have next to nothing to do, while the partner digimon mostly just wait around for something important to happen; the joy in seeing them with their counterparts is absent. Meiko fails to define herself beyond tiresome overt bashfulness, which doesn't help that a significant chunk of the story is devoted to integrating her into a group that we know is too colorful for her. None of this compares to what they do to Izzy. His naïve crush on Mimi, rather than have any substantial follow-up, is reduced to being completely sensual in nature. If the intention was to show that these two are not an ideal match, it could have been done in a less uncomfortable manner.
Even the fighting sees a discernible downgrade. While the last episode treated us to two extended action sequences, here we just get a brief skirmish and a curiously subdued introduction for two mega-level forms. The gray backdrop is among the least interesting depiction of cyberspace yet, and the awesome Imperialdramon is a mere shadow of his old self (if it's the same one, that is). Are the writers so appeasing towards fan ire against "Digimon 02" that they would reduce one of its best creations to a punching bag? While it's cool to finally see Vikemon, Rosemon is kind of underwhelming, though that may have been inevitable due to "Data Squad". Overall animation quality is slightly decreased, but there are a few standout moments. Some of the scenes within the hot springs facility are excellent, and the scene of Mimi and Joe contemplating by a river at dusk, with the steady rainfall, is appropriately somber.
Two rather good things that can be said about this installment concern the music and ending. Appreciable effort has been made in expanding the background themes, and while none are particularly great, they're refreshing. An improved soundtrack can go a long way towards adding entertainment value and emotional heft to an anime. The ending, with Meicoomon assuming a dark form and killing(?) Leomon, is very grim and the most gruesome the franchise has gotten since Jeri's twisted flashback. It really draws you in for the next chapter.
While still enjoyable enough, this second installment in the much anticipated film series is a definite step down. It's understandable that balancing so many characters and subplots to complement a larger story is a tall order, but these will have to see improvement to make this project worthwhile. The last thing this series needs is another episode spinning its wheels half the time. Even so, this is only "Part 2", so there's plenty of opportunity to take things in interesting, fruitful new directions. Perhaps there's more setup here than one would think.
Digimon Data Squad: The Ultimate Farewell (2008)
An acceptable, if unremarkable, closer
After an entire series of melodrama and imitation, we finally reach a finale that manages to get enough right to not fall flat on its face, which is really more than can be expected.
In terms of structure, "The Ultimate Farewell" greatly emulates the final episode of the first season. The enemy's defeat is anticlimactic and rushed, and the rest is reserved for "emotional waffling", as Chris Mcfeely would put it. One must give the writers credit for trying to give everyone some role. Marcus and Agumon charge towards King Drasil, displaying their usual brand of perseverance, while everyone else provides distractions, giving the roster of evolutionary forms a sendoff of sorts. While a potentially fun idea it plays out like a desperate attempt at thrills, which doesn't work because, given the failure of their higher forms, there's already a pervasive feeling of futility and thus no reason to care. And, besides, Marcus and Agumon get snatched even with their distractions.
The peripheral stuff is less moving than it wants to be, mostly because the platitudes on strength, human emotion and all that jazz have grown longwinded and stale by now, and they were already trite to begin with. There are only two relevant moments I did like. One is when Marcus and Agumon give a nice, simple summary of how humans and digimon benefit each other: humans make digimon strong and digimon make humans believe anything is possible. The other is when the Royal Knights declare that it's their honor that gives them strength, not the word of a king; it's an effective declaration of their sense of accountability. The way King Drasil is defeated can obviously be passed off as another manifestation of the DNA charge, but it's such a blatant reminder of the DNA charge's place as an all-purpose solution, so rushed and treated so casually that it's ultimately unsatisfying. Marcus and Agumon's quick discussion with King Drasil after the battle resolves everything adequately, but it still doesn't necessitate that 11th hour revelation from the last episode.
The falling resolution provides the mandatory reason for the separation of the human and digimon partners, and is a thorough mix of good and bad. The Marcus/Agumon and Sampson/Kudomon scenes are by far the best ones. When Marcus and Agumon engage in yet another fist fight, it's fitting in several ways. It suits Marcus' character to express his discontent in this manner, and when he says that he regards Agumon like a brother the perspective on their entire relationship really snaps into place. When Kudamon has a subtle laugh with Sampson, it's moving in a way that I'll admit I can't really explain. I guess I'm just convinced that these guys have been through much together. I can't say I felt the same about the moment with Thomas and Gaomon, which is so understated that it reminds us that their relationship hardly had any substance to begin with. Yoshi and Lalamon have an evening of fun and games, which is a refreshing attitude on a predominantly mushy situation. The rest aren't really worth mentioning.
The final scenes are what pose the biggest problem. Never mind the epilogue, which brings adequate closure to various character points. No, what really irks me here is that Marcus, knowing full well that he may never return, decides to stay in the Digital World. Whether it's due to the sense of purpose he gained from his work there, his sincere belief that he is needed for peacekeeping despite the existence of the Royal Knights and the implied existence of the Olympus Twelve, or his inability to say goodbye to Agumon, it's just a bad idea. In the past, experiences with digimon helped various kids grow closer to their families and gain a better perspective on their lives, but not Marcus. Rather than catch up with his long lost father or show newfound appreciation for his other family members, he just up and leaves. One might say that he was no longer needed to make up for Spencer's disappearance, but I don't buy it.
Overall, a satisfactory conclusion to the fifth digimon season, but nothing special.
Digimon Data Squad: A Family Quarrel (2008)
Lacks much of a kick until the end
Much like the previous episode, "A Family Quarrel" reserves its best material for the last few minutes. As is often the case, most of the Data Squad is shoved to the sidelines while Marcus takes center stage, and that is more detrimental than anything else here. His attempts to "knock some sense" into King Drasil are intended to show perseverance, but, being drawn out, come across as obstinate. The conclusion to this matter, which has him focus his will through the D.N.A. charge, echoes numerous other cases in this season and is just as shallow as any of them. The only interesting moment is when Marcus points out that his penchant for fighting came from a desire to live up to Spencer's image, but this is given the minimal attention possible.
The brainless and utterly extraneous subplot with Biyomon facing Craniamon amounts to nothing more than the same old "I must protect Kristy" crud.
Thankfully, the positive points of the episode just barely redeem it. The art style and animation are clearly improved and Craniamon's sacrifice to free BanchoLeomon carries more weight than any other act in the episode. When BanchoLeomon leaps in at the end and drops a huge secret, it really peaks one's interest. Yeah, it's kind of cheap and manipulative, but it works.
Digimon Data Squad: The Data Squad's Final Battle! (2008)
You'd think after 5 seasons we'd get an exceptional final battle
By now it is exceedingly obvious that the Digimon franchise is simply inept when it comes to final battles. For what is supposed to be the beginning of the ultimate clash, "The Data Squad's Final Battle" suffers from a host of defects. However, the biggest problem may be a near constant feeling that the episode is just spinning its wheels. By simplifying this event to a confrontation with a single opponent, the writers saddled themselves with the thankless task of stretching a simple scenario over an entire episode; why else would King Drasil so foolishly float away when he could have easily finished off the group? The resulting blend of preachiness and poor pacing, with only occasional bursts of energy, prevents this episode from achieving the climactic quality expected of a final battle.
This season's habit of drawing upon "Tamers" comes full circle with this non-digimon entity, but I don't think anyone would compare King Drasil to the comparatively complex, imposing D-Reaper. He has been built up for this entire story arc only to be given an insipid battle form that might as well be a floating Cybertronian apron. Despite being tough to destroy, he lacks a strong presence, partially due to uninspired abilities. Seriously, vine-whips? Also, I know his intentions are more pointed now, but it's still definitively unsatisfying to hear him so dramatically cite Kurata's attacks on digimon for the hundredth time. While he made some credible points in the awful "King Drasil's Fatal Decision", at this point I was only hoping someone would just shout, "Ah, get over it already!"
Worst of all, there is little sense of grandness to this enemy's final actions. Except for the brief scene where the blue beams scatter across several cities, there is no impression of a global threat, no dominant sense of hopelessness; all of the past final conflicts pulled this off more successfully.
The Data Squad's part is no better, merely amounting to the same old run of the mill preaching. As the episode wears on, it becomes evident that they intend to show King Drasil that harmony is possible between humans and digimon, but this was resolved in a more poignant, less heavy-handed manner in "Tamers".
The only thing in this episode I did like is the scene when the Royal Knights confront King Drasil, actually asking a question that is closer to thought provoking than anything else in this arc. For that matter, it's thoroughly disappointing that so few of the Royal Knights have seen any real action, especially when the group contains such icons as Omnimon and Gallantmon (who spends most of his time frozen).
But, this all pales in comparison to the monumentally foolish decision to have Mona Marshall provide King Drasil's mechanized voice. I know Jeff Nimoy really likes working with her and even had an idea to tie Izzy into a big twist ending, but there's no denying that, as the previous season made so abundantly clear, Mona Marshall simply cannot voice male villains.
The big revelation on the nature of King Drasil and his supposed experiments regarding the interactions between humans and digimon is
um
frankly, I don't really have much feeling towards it, aside from the fact that it is completely out of place. What exactly were his goals in doing this, and why did things have to get this bad before anything qualified as a failure, especially considering that he's clearly steamed about Kurata's earlier actions? Something like this should shock and surprise, not to mention change the perspective on the rest of the story, but it doesn't; it's a tacked on, extraneous attempt to emulate the sci-fi aspects of "Tamers", with no weight or ramifications. A motivation closer to the incarnation from "X-Evolution", which sought to decimate the Digital World to ensure its own survival, would have been more interesting. Overall, this is an underwhelming, disappointing penultimate chapter, and definitely not what the series needs.
Digimon Data Squad: The Truth of Bancholeomon (2008)
The last truly interesting revelation of the series
As the title indicates, this is the episode that covers the last big secret of the series, as well as filling in a bunch of narrative holes. Despite fitting in such a large amount of information, it manages to maintain a reasonable pace, only flailing towards the end.
The revelation that BanchoLeomon is actually Marcus' father is surprising. It's one of the few that provides a different spin on earlier events, but this is limited because BanchoLeomon spent too much time on the sidelines. As such, it does not bring the same resonance as the final revelations of "Digimon 02". The flashbacks detailing Spencer's dealings with several key characters are mostly done well. His first meeting with BanchoLeomon could have had more thought put into it than the usual machismo related stuff and I would have done without Craniamon getting a preview of the overly commented on "human potential". I will admit, however, that this mirrors some of Marcus' experiences, which is appropriate for a father/son matter.
Furthermore, his efforts to turn aside King Drasil's outrage over the Kurata's assault provide somewhat of a connection to the rest of the story, but this doesn't undo this arc's place as the oddball because King Drasil and the Royal Knights still have no bearing on earlier events.
BanchoLeomon "storing" Spencer's life-force is a pretty convenient ability, but considering all of the other crazy connections and effects that have characterized human/digimon partnerships up to this point, I do not find it all that difficult to accept. The final few minutes are too rushed for my taste, and undo some of the impact from all of the imparted information, leading me to think that this event would have worked better earlier.
Digimon: Digital Monsters: Dramon Power (2001)
A prelude episode, but a good one sporting one of the series' best monsters
The primary objective of this episode is to serve as a prelude to the much reviled World Tour 3-parter. The story is more straightforward than that of the last episode, with more of an emphasis on action and exposition. Fortunately, (almost) nothing feels shortchanged, and both subplots are intercut well enough that these two characteristics work together to get the audience primed for this next mission.
Much of the situation is established by the kids' side of the story, as the group makes a rundown of the facts. It's neat to see things once again tied to previous events, with references made to "Our War Game" and the final stretch of the first season. The reappearance of Genai is the one part of the episode that, I feel, stands out as problematic. What should feel like a joyful reunion is so unceremonious that it is left bereft of emotion. I think it would have worked far better had Genai appeared at the end of the last episode, leaving us with sort of a cliffhanger. At least an explanation is given for what's kept him preoccupied, his instruction succinctly covers the objectives of the mission, and by the end we know that this scenario is actually purposeful rather than a mere byproduct of the plot. Although, it must be pointed out that Arukenimon being able to simultaneously open ports AROUND THE WORLD is a tough pill to swallow.
The action is notable. First, in function, it renders the overlong brawl at the end of "A Very Digi-Christmas" unnecessary. This episode makes it perfectly clear that wild digimon are being unleashed all over the place, all while providing a sampling of what actions need to be taken. Second, it features a spectacular introduction for Imperialdramon. Not only are both his evolution footage and design impressive, but we get a good demonstration of his abilities, abilities that befit the power of a mega level monster. The scene of him blasting the control spires from space (!) is unforgettable, and great images like this are just one reason why he ranks amongst my favorites.
Characterization is quite scarce, but there are a few good moments inserted, including Mummymon fighting Paildramon as an act of love for Arukenimon (amusing) and Izzy's mom showing her understanding by providing meals for the trip. I must say, the second series kids really got the shaft when it comes to parents, as none of these ever manage to be as endearing as some of the ones from the previous series. Finally, a little detail worth noting is that Tai once again sports the blue headband he used to wear with his goggles, which is pretty cool.
Digimon Data Squad: The Sacred City's Last Stand! (2008)
Another lost opportunity for the main female of the group
"The Sacred City's Last Stand", for me, had little redemptive quality on the first viewing. However, subsequent viewings have allowed me to see that the problem is not across the board ineptitude. It's that some of the best things here have been done far better.
Much of the running length is given over to the confrontation between Yoshi and Ivan. It starts off predictably and overtly annoying, with incessant declarations of love from the musclebound thug, but begins to grow more serious around the half-way point. After he slays a Yasyamon, we get numerous insights into Ivan's character that ultimately only build up to the big reveal at the end. Namely, that he is working for Kurata to support his siblings in Russia. Admittedly, this amounts to a surprising amount of depth for a simple henchman, and the image of him just before passing out is effective, if a little manipulative. Yet, I couldn't help but make some unfavorable comparisons.
Yoshi, as well as the patience testing first half, is what prevent this from reaching a comparable level to the confrontation between Thomas and Nanami. All she does is express outrage at Ivan's behavior, and the resulting preachiness gets old very quickly and robs the sequence of any subtlety. Following the events in "Digivice Meltdown" should she really be all that shocked when the guy destroys a digimon? Unlike in the last episode, the interplay between these two fails to highlight anything interesting concerning the hero, robbing it of weight or consequence.
Compare the "Justice League" episode "Double Date". There, Huntress had an established, deep grudge against Stephen Mandragora, who in the end revealed his efforts to retrieve his threatened son. This twist was so effective because: (a) it undermined Huntress' view of Mandragora as a heartless monster (b) she identified with the frightened son and (c) she suddenly found herself in a position where she could not take her revenge without inflicting her own suffering upon another.
Some of that is present here, as Yoshi's belief of Ivan's heartlessness is dispelled when she learns of his motivations, but this really means nothing to her personally; it only makes her pity the guy. If an established, key tenet of hers was hatred of those who destroy innocent individuals without batting an eyelash, then it would work. But, as it is, her outbursts and exclamations play out without individuality.
Digimon Data Squad: King Drasil's Fatal Decision! (2008)
A particularly meager start for a new story arc
The final story arc of "Data Squad", which chronicles the conflict with King Drasil and the Royal Knights, is somewhat reminiscent of the Dark Masters Saga from the first season. It too has little to do with the rest its own series, save for a couple of revelations that could have been covered earlier. It fits thematically, but the conflict itself is tacked on. The key difference is that the Dark Masters Saga was bolstered by ruthless, memorable bad guys.
The specific problem with this episode is that it is saturated with flashbacks. Too much of it is devoted to King Drasil merely recounting various past conflicts, which doesn't cover any points that weren't made by Merukimon and Saberleomon somewhere up the line. In all fairness, clip shows can be done well, particularly when used to illustrate the frequency that specific types of events occur. It's actually most suited for comedy series. But here, all we get is a lazy compendium, with no insight or sense of humor (obviously). Ironically, King Drasil and Craniamon are introduced well, with the former having a suitable shadowy presence and the latter showing a measure of compassion for humanity, as he pleads on their behalf. Also ironic is that King Drasil is essentially fulfilling a role that Merukimon and Saberleomon could have had they not died so early, but the time for that has passed. The primary villain has been removed, and with him the binding thread between this conflict and the rest of the series. I could also make the rather obvious observations that (a) no attempt is made to account for why the Royal Knights, the security force of the Digital World, did not become involved earlier and (b) considering how easily ShineGreymon Burst Mode defeated a powered up Belphemon, the existence of the Royal Knights nullifies the threat from Kurata's future plans.
Bancholeomon takes the opportunity to be useful for a change. The image of his D.N.A. charge creating a brace between the two worlds is visually impressive, but highly convenient, which doesn't make the D.N.A. charge appealing as a concept.
The part of the Data Squad is nothing to write home about. It's consists of stuff lifted from "The Battle for Earth". Everything from the sight of the Digital World in the sky, to the jumbo jet rescue to the final scene where it is decided to return to the Digital World was originally seen in the first season. I'm willing to give credit to the writers for adjusting the nature of the threat, but the sense of unoriginality cannot be shaken. This is one of the low points of the series.
Digimon Data Squad: The Royal Knights Assemble! (2008)
At least better than the last one
There's not much to the story of this episode beyond confronting Craniamon for the first time. Gotsumon makes a return that derives some humor from the fact that he has lost his memories, though I would have preferred Cherrymon to lead the group to King Drasil. Craniamon is definitely shown to be a powerful opponent, effortlessly repelling the mega level digimon, though I would have done without the image of Marcus repelling him. Perhaps it's a subjective thing, but the thought of a human beating back a huge monster like that just does not ring true. In a superhero comic, maybe, but not in the Digimon franchise.
The Royal Knights all look great at the end, and unlike in "Frontier" we are given a better idea of what their role in the Digital World is. Got to have the surprise ally jump in at the last minute, which mirrors the end of "Enter the Dark Masters", but will be shown to have a twist, one of the better ones of the series.
Of course, one cannot go without mentioning the big revelation: that King Drasil is actually Spencer Damon
or so it seems. It's actually very obvious that King Drasil is possessing him in some fashion, a detail that will be expanded upon later. Maybe it's just me, but Marcus' reaction to seeing Spencer feels off. There isn't sufficient shock, just an awkward blend of disbelief and joy.