Movie reviews: The Grand Seduction and The Birder

Thought it appropriate, on Canada Day, to comment on two recently seen Canadian movies. While Canada sometimes has a reputation for making po-faced, off-beat dramas, these were both comedies.

*** The Grand Seduction (May 2014) – Theatre

Brendan Gleeson, Gordon Pinsent, Taylor Kitsch. A small Newfoundland town’s bid for a new factory depends on their enticing a doctor to move to the community.

She says: I loved the Québecois version of this movie and was curious to see how the English one would turn out. The setting was switched from Gaspé to Newfoundland here, which seemed a propos, and allowed them to hire almost the entire cast of 22 Minutes: Mark Critch, Cathy Jones, Mary Walsh. They’re all good, though, as is the lead, Irishman Brendan Gleeson and, of course, Mr. Gordon Pinsent, as he always. Liane Balaban’s part is almost too small to comment on, which is too bad.

As for the doctor, it took me a few minutes to recognize him as having played the hunky Tim Riggins in Friday Night Lights. So that’s what happened to him, in case you were wondering! He’s probably not the strongest actor in this comic piece, but he’s just as hunky as ever.

I enjoyed the new movie. Perhaps not as much as I enjoyed the original, but then, I knew certain jokes were coming this time. While I would have missed those jokes if they weren’t in this movie also, it’s hard to be quite as delighted the second time out. Fortunately, as is common with me, I did forget some details of the original plot, so wasn’t entirely certain how this one would play out. (Or if it played out differently than in the original, for that matter.) Always better to be caught up in the story.

He says: I enjoyed that, too. It was funny, they did a good job adapting it.

**½ The Birder (May 2014) – Theatre

Tom Cavanagh, Mark Rendall, Jamie Spilchuk. In the midst of his marriage ending, teacher and bird enthusiast Ron Spencer loses out on a much-desired job as head of ornithology to Floyd Hawkins. He embarks on a revenge campaign with Ben, the young school janitor, who has his own reasons for disliking Hawkins.

She says: Largely set at Point Pelee Park, featuring a main character who swears by saying “F” (literally, F), and a “villain” who is anything but, this movie flirts with the hokey. It is, undeniably, very funny at times, though, as Ron and Ben’s revenge schemes go terribly awry. And the acting, particularly by lead Tom Cavanagh, elevates the characters to more than cartoons. It’s light, it’s not terribly original, but you won’t hate yourself for watching it and laughing along.

He says: It was pretty predictable, but it did keep my interest.

And, just for the record, some other Canadian movies that I think are terrific. (Even though a number are po-faced, off-beat dramas.)

Les Invasions Barbares (Barbarian Invasions) – One of the best movies ever, period
Last Night – It’s the last night on earth… by Don McKellar (who directed The Grand Seduction)
The New Waterford Girl – To really see what Liane Balaban can do
A History of Violence – Cronenberg!
Bon Cop, Bad Cop – This is a funny one!
Café de Flore – A love story (C.R.A.Z.Y, by the same directory, is also very good)
Take This Waltz – directed by Sarah Polley; Away from Her is also recommended
Monsieur Lazhar – Yep, another Quéecois one…
Atanarjuat (The Fast Runner) – Very long, though
Saint Ralph – Quite enjoyable

It’s not television. It’s HBO. (Unfortunately, it’s also Rogers.)

Calling Rogers support is a bit of a crapshoot. You sometimes get a very informed, very helpful employee. Other times… Not so much.

When I last called to make changes to my Rogers services, I hit it lucky. The support person clearly and carefully walked me through the options, helped me pick the right one, and explained exactly what it would mean for my bill. Not only that, but he gave me another number to call, saying I should insist on at least a 20% reduction in my bill. “You’ve been with Rogers a long time,” he said. “And we haven’t done much for you lately.”

And for the past couple years, I have indeed been getting a 20% reduction on my cable and Internet bill. But that discount just expired, making for some serious cable bill sticker shock. Time to reconsider what I’m subscribing to.

The list of cable package prices on the Rogers website shows a big difference between basic cable and the other tiers. And fact is that most of what I watch is on the big networks, not the specialty channels. If I get a real craving for Chopped Canada, it is available to stream from the Food Network website.

And at the whole other end of the Rogers cable package spectrum, at prices so absurdly high that I’d never considered subscribing, is package of all specialty channels + the movie networks.

But poking around revealed that you could get just the movie networks added to your TV line up. That is, you can get the various flavors of HBO Canada and TMN, without all the channels in between (those past 28). It’s not especially cheap, but did appear to be cheaper than what I was paying to add all those specialty channels I barely watched. Also on offer: a 50% discount on that package for the first four months.

I decided to go for it.

Unfortunately, I did not get quite the same quality of phone support this time out. Quite honestly, I now have no idea what this is going to mean for my bill. For one thing, based on past experience, the prices on the website seem to be only an approximation of the actual prices charged. (I have no idea why.) I’m still not sure whether activation or deactivation fees come into. Apparently an extra outlet fee applies to people who have only basic cable but more than one TV (even they get the movie networks, too). And I had to tell the Rogers person that I should qualify for a 50% discount for the first four months, which wasn’t really comforting.

But, dude. There sure is a lot of fantastic programming on those movie networks. In high definition, and commercial free.

Options on TMN

And I don’t even mean the Hollywood movies, though they do have a great selection of those. It’s the series, right? All the ones everyone torrents?

I’m too late for Game of Thrones. It’s in season 4; not jumping in on that now. I’ve read that Girls isn’t quite as good anymore. And I’ve kind of given up on True Blood (which I’d seen on DVD).

But I’m just in time to start with Silicon Valley, a very funny new show about a tech start-up company. Veep is just restarting Season 3, and it doesn’t appear to be necessary to have seen the earlier seasons to enjoy this one. It is a bit confusing jumping into Masters of Sex—a series about Masters and Johnson—mid-season, but enjoyable nonetheless. Then there’s new one called The Leftovers starting soon, that looks really interesting.

And with Real Time with Bill Maher and Last Week Tonight with John Oliver added to my viewing of The Daily Show with Jon Stewart on CTV, my American political satire cup truly runneth over.

Then there’s the specials and documentaries (like the upcoming David Bowie: Five Years), the original movies (like The Normal Heart, replaying the first week of July)…

And all of this is also available on demand (~~though not at high def, for some reason?~~) [Edit: On demand is available at high definition; you just have to pick the right channel.] And everything plays many times “live”. So you don’t really have to worry about missing an episode or special, or arrange your schedule around the TV, or even remember to set the PVR (though I still do, because I’m just in that habit).

So I sure hope I can afford to keep this.

Movie review-lets, with bonus thoughts on Muppet gender

We recently watched the 2011 movie, The Muppets, which “rebooted” the characters from The Muppet Show, which ran from 1976 to 1981, and then launched a series of movies. It was fun, especially if you do remember the show. (If you don’t, as with most kids, a lot of the references would go over your head). It’s a musical, with catchy original songs and some hilarious covers, such as a barbershop quartet versions of “Smells like Teen Spirit” and chicken-clucking version of C Lo Green’s “F(orget) You”.

But I became super-distracted by something I’d never really noticed before: Almost all the freakin’ muppets are boys. You have Miss Piggy, of course, and then… Janice, in the band, who rarely says anything, and then… The chickens? Who also don’t talk. So one speaking female Muppet character.

This, my friends, would be your Smurfette principle in action: the tendency of movies for children to have only one female character amongst an ensemble of male characters.

And speaking of sexism, we also saw It Happened One Night recently. This romantic comedy, starring Clarke Gable and Claudette Colbert, maybe didn’t always have the most enlightened view of the role of women? It does have the excuse, though, that it was made in 1934.

I don’t watch a whole lot of 1934 movies, but some movies are classics for a reason. The two stars have chemistry, the script is lively, and it’s enjoyable watching them play out the romantic comedy pattern of meet, repel, attract, obstacle, reunion.

Not really sure about the title, though, since it doesn’t all happen in one night; it takes places over a few weeks. Unless that’s a reference to the night the walls of Jericho came down? In which case, naughty, naughty!

Speaking of naughty, naughty, I also saw The Libertine, 2006, starring Johnny Depp as John Wilmot, notorious for writing bawdy poems and plays. The movie wasn’t a hit with audiences or critics, but it’s not that it was badly made. It just took a rather dark view of this character, and that made the movie rather less fun that it might have been. It particularly didn’t shy away from the effects of alcoholism and venereal disease in the last third of the film.

Jean’s review? “Remind me not to get syphilis.”

Movie review: Fed Up

*** Fed Up (May 2014) – Theatre

Documentary about the obesity epidemic, linking it to changes in the food industry, particularly increased use of sugar.

He says: That was depressing.

She says: Fed Up gives the stats on the increasing obesity rates, particularly among children, and includes interviews with several such young people and teenagers. You can’t help but feel for how miserable their weight makes them, and how tough is it to lose.

Various experts than give their views that just saying “kids need to exercise more” is misguided, because the amount of calories burnt during exercise is so limited. (This is further bolstered by showing that one of the obese teens profiled is very active, every day, yet can’t seem to get the weight off.) Instead, they point to the changes in the food industry in the past 40 years, and how these track with increasing rates of obesity in America—and increasingly, around the world. This has had terrible and unprecedented effects on health, such as teenagers developing Type 2 diabetes.

The problematic changes include greatly increased amounts of sugar, greater use of cheese, and making conveniences food available everywhere—like at the checkout counters of stores that sell other things. Several examples are shown of governments trying to make changes to the food supply to make it healthier, and the food industry resisting them. This started with the McGovern Report in 1977 and continues to this day with Michelle Obama’s “Let’s Move” campaign which started as a call to action to change the actual food supply, but now seems to be more about getting kids to exercise. (Ms. Obama refused to be interviewed for the documentary.)

It’s an interesting movie, and a compelling argument. It ends with some tips for what you can do while waiting for a better world :-), but I got to say, until that happens, it really is difficult.

For instance. In talking about the problem with sugar, the movie emphasizes that it’s not naturally occurring sugar in fruit, for example, that’s a problem. It’s added sugar. The movie also points out that in ingredient lists, sugar can be listed under many different names (corn syrup, malodrexin, sucrose, fructose, etc. — it was a huge list).

But what the movie doesn’t cover is that nutrition labels don’t distinguish naturally occurring and and added sugar. They just say Sugar. (This is the same in the US and Canada.) So if you look at a nutrition label on frozen peas, for example—just peas, now, no added anything—it says Sugar: 4g.

Well OK, you know it’s only peas, so you won’t worry about that “sugar”. But what if you buy a frozen dinner or something else with multiple ingredients? How much of that is naturally occurring and how much added on? Unless you understand absolutely every item in the ingredients list and can confidently recognize it all as real food, you have no way to know.

Michelle Obama proposed changing nutrition labels to spell out the two types of sugar – video link: http://fw.to/KXR6e3W

The food industry is “considering” it. They say it would be expensive, and change would not be possible for several years.

Legally Blonde: Feminism made fun

We somehow ended up with quite a few cultural activities booked in May, the most recent of which was an outing to see the Drayton Festival production of Legally Blonde: The Musical.

And it was heck-a enjoyable. Sure, as in the movie, the perky cheeriness of Elle and her sorority sisters can be a little too much at times, but overall it was really funny, the story moved along well, it still had that satisfying arc of female strength and friendship, all with catchy songs and great choreography mixed in. Not too mention two very cute dogs (one of whom nearly stole the show). What’s not to love?

(Jean quote: “I enjoyed that way more than I thought I would. I’m shocked how much I enjoyed that.”)

But it reminded me just how bad I am at remembering plots of movies (books, too). All I could remember about the movie (apart from the fact that I’d liked it, and that it wasn’t a musical) was that it was about a blonde sorority girl who gets into Harvard Law to try to win her boyfriend back, but who then discovers she’s way more intellectually capable than anyone had given her credit for.

All of which happens in the musical as well, only with more songs. But the hairdresser character? The internship program? The exercise video queen on trial for murder? I had no recollection whatsoever of any of those plot details.

So yesterday I watched the movie again, courtesy iTunes. (By the way, it’s not on Netflix, not available on redbox rental, nor at zip.ca. And iTunes / Google Play / Rogers on Demand all charge the same $5 to stream it, which seems a bit expensive, given you can buy the DVD for the same price. Anyway…) I quite liked it, again. And it turns out that an awful lot of the movie did make it into the musical. But the differences were interesting.

The hairdresser, Paulette, is a more major character

In the movie, her part is pretty small and a bit sad. In the musical she’s one of the best characters, the center point of a couple very fun numbers. And it’s clearer that Elle helping her get custody of her dog back is motivation for Elle to become sincerely interested in the law.

The new love interest, Emmett, is a more major character

This one is a bit more of a hmm. In the movie Emmett’s part is really quite small, and their entire relationship takes place in the dying seconds of the movie, via “Where are they now?” captions. So I can see why they wanted more of a budding romance within the musical. Emmett is definitely fleshed out into an appealing and interesting character. Their subtextual shopping expedition is another highlight of the musical, one that wasn’t in the film at all.

The troublesome part, to me, is that in the musical Emmett is the one who coaches and encourages Elle to buckle down once at Harvard. In the movie, she’s completely self-motivated to do so at the same point: already suspecting it will never be enough to win back Warner, her ex, but wanting to prove herself capable anyway.

So it’s a bit of a dilution of her empowerment, I think.

Though I did like that, in the musical, she’s the one who proposes to him, at the end.

The musical is more gay-positive

Maybe that’s just the difference 13 years makes? Certainly the lesbian law student is much more likable in the musical, no longer seeming as militant and angry as she does in the movie. And the stereotypical gay pool boy earns an entire, completely hilarious, song about those stereotypes: Gay, or European?

Gay or European? Musical number from Legally Blonde on YouTube

Professor Stromwell is gone

The musical has only the one law professor character, Callahan—the one whose sexual harassment makes Elle doubt anyone will ever see her as more than a “piece of ass”. But the movie has another professor character, a woman, who meets Elle after this incident and motivates her to fight back with: “If you’re going to let one stupid prick ruin your life, you’re not the girl I thought you were.”

In the musical, Vivian, Warner’s fiancee is the one who talks her into fighting back. In both movie and musical, it’s great that the two rivals for Warner’s affection become friends, though this is given more time in the movie. And, it’s not that it doesn’t work for Vivian to be the motivator here; it’s just that Professor Stromwell was a great character also (albeit in another very small part).

In conclusion

Basically, Legally Blonde, musical and movie, is just meant to be fun, and it is. But behind that is a decent message about female power and independence. It’s not perfect feminism, but it’s feminism nonetheless. (Notably, original novel, film script, and musical book were all written by women.)

A guilty pleasure, only without the guilt. Oh, my God, oh my God, you guys!

Movie review: The Grand Budapest Hotel

***½ The Grand Budapest Hotel (March 2014) – Theatre

Ralph Fiennes, Tony Revolori, Saoirse Ronan. Story of the friendship that develops between concierge Gustav H. and Zero Moustafa, lobby boy, as they become entangled with a wealthy family battling over an inheritance.

She says: Well, that was an unusual movie.

He says: I’d say so.

She says: Did you like it?

He says: [Long pause] Yes, I did. It held my interest.

She says: The Grand Budapest Hotel is the story of a man telling a story of man telling the story of how he came to own the Grand Budapest Hotel, even though that’s really just the side story to his real story, the love story, which is just too painful to tell in detail. So instead he talks of his relationship with Gustav, the eccentric concierge of the Grand Budapest Hotel.

While it seems a bit complicated, it’s all quite enjoyable to watch, because while very quirky, it’s also very funny, and fast-moving, and interestingly staged and filmed. And there is a fair amount of intrigue around the family, and a priceless painting, and which will is really the final one—all in the backdrop of war. I’m not sure I’ve ever seen anything like this movies, including other Wes Anderson movies.

Part of the fun, too, is that it’s so chock-full of stars. It seems every few minutes a new one appears: Look, there’s Jude Law. And Eward Norton. And Bill Murry. And Tilda Swinton. And Jeff Goldblum, Adrian Brody, Jason Shwartzman, Harvey Keitel, OwenWilson, Willem Dafoe…

Movie review: The Beggar’s Opera (1983)

*** The Beggar’s Opera (1983) – Rental

Roger Daltrey, Janet Baker, Carol Hall. BBC adaptation of John Gay’s 18th century opera about greed, lust, and corruption among the working class of London.

She says: Sometimes, when I get a new movie from zip.ca, I can’t even recall why I wanted to see it in the first place, but with this one it was obvious: It stars Roger Daltrey. Furthermore, unlike many movies featuring Mr. Daltrey, it was supposed to be decent.

Still, it is an opera, and it does run 2 hours 15 minutes. I didn’t actually watch it all at once, but in segments, over a weekend.

Though he’s the lead character, MacHeath, Daltrey doesn’t appear for the first 50 minutes of the movie. His character is being discussed (or sung about) that whole time, but in a way that just left me baffled: First, Polly’s parents are upset she’s married MacHeath—they see it as a wasted opportunity. But then she sings about how much she loves him, and they’re OK with it. Briefly. But next thing you know, they want him dead. They suggest Polly kill him, but she’s not down with that idea, so the parents conclude they’ll have to do it themselves.

Then the parents leave, MacHeath arrives, Polly tells him he needs to run away, but instead they just make out.

So here I paused the DVD and went to look up a Wikipedia synopsis. And not just to figure out what the heck had just happened; I decided I might as well look ahead at what was to come as well. Plot, after all, isn’t really the point of opera.

So from that point on, I was able to follow along despite the thick Cockney accents, and found it be a pretty enjoyable piece.

My raison d’être for watching the movie, Mr. Daltrey, looked very fine indeed, all long curly very blonde hair, blue eyes, and tanned—definitely the prettiest thing in the movie. He sounded good, too. Now, I don’t what MacHeath’s songs were supposed to sound like, and Daltrey certainly doesn’t have the “traditional” operatic voice that some of his co-stars do, but he is one those rock stars who actually can sing, on-key and with power and control. His acting also seemed just fine; one of MacHeath’s major problems is balancing the many, many women who find him irresistible (and that he, in turn, also can’t resist), and perhaps, just perhaps, Daltrey was able to draw on his own rock-star life to depict what that’s like.

And as opera’s go, it all moved along pretty quickly, and was quite entertaining, with its plot of lust and deceit, with crimes and lies a-plenty. Though none of the characters were that sympathetic, in the end, except, perhaps, Polly.

The only disappointment was that, having read the synopsis, I was looking forward to seeing the opera’s trick ending played out. Only, this movie had a trick ending to the trick ending.

He says: Thanks for not making me watch that one.

Movie review: American Hustle

***½ American Hustle (December 2013) – Theatre

Christian Bale, Amy Adams, Bradley Cooper. Set in the 1970s, it tells of a couple of scam artists who, following an arrest, make a deal with an FBI agent to help lure other white collar criminals. The agent’s eagerness for bigger targets—politicians, the mafia—puts everyone at risk.

She says: I knew this was set in the 1970s and was supposed to be really good, but didn’t go in with a very clear picture what it was actually about. It starts with Christian Bale as Irving forming a romantic and business partnership with Sydney, played by Amy Adams. Their scheme involves charging fees for pretending to try to get loans for high-risk clients. All is going swimmingly until Sydney, now calling herself Edith and pretending to be British, is arrested by FBI agent Richie DiMaso (Bradley Cooper). He offers them an immunity deal in return for using their skills to capture other white collar criminals.

But that’s just the first half hour or so. More and more characters and complications come into play as the movie proceeds: Irving’s wife (played by Jennifer Lawrence) and son, the governor of New Jersey (Jeremy Remmer), Bradley’s boss (Louis C.K.), and so on. Despite their numbers, the characters are all vibrant and compelling, and it’s not always clear who’s the good guy, who’s the bad guy. Despite the somewhat dark subject matter, it’s definitely all played on the lighter, more absurd side; the movie is really funny at times. But it still feels grounded in something that could have happened, and you do care what happens to these people.

It demands your attention, but it is indeed a good movie.

He says: That was too much plot for my cold medication-addled brain.

Jordan Catalano does good

Not sure how many people are just learning about Jared Leto now that he’s scooping up every acting award going for his role as Rayon in Dallas Buyer’s Club, but he’s been at least semi-famous for a while.

Woman on street of New York: Are you someone famous?

Jared Leto: Sort of.

— Scene from “Artifact”

He first drew my attention back in 1994 (20 years ago!) for his role as Jordan Catalano, object of Angela Chase’s obsession, in the wonderful ABC series My So-Called Life. And who can blame her—or me? Look at this guy:

Jared himself is embarrassed by his work on this series, feeling that while the show was great, he was not. (He therefore did not participate in the DVD release of this series, which is a shame, since most everyone else involved did.)

I think he’s being overly harsh on himself, as I can’t imagine anyone else playing than the part better. From just the script, you’d get a beautiful but shallow dim bulb whose only interest was cars, guitars, and sex. From the acting, you read considerably more going on below the surface: a sensitivity, an intelligence. And you needed that more. Angela Chase intense interest had to be justified by more than just a pretty face.

You’re asking a *man* [to Graham, Brad]—sorry, sorry—to describe someone when I’m sitting here? Here’s what he’s like—fairly—out of it, not unintelligent. Sort of um—stray puppy, you know the type you’re always trying to ease their pain. He may even be a halfway decent person, but let me tell you—*trouble*. *Way* too gorgeous.

— Hallie Lowenthal describes Jordan Catalano to Patty, Angela’s mom

If you’ve never seen the series, you should rectify that, but it was low-rated and lasted only one season.

After that, Jared made movies. And at first, I made some effort to track them down, but the ones he starred in often had limited release, making them hard to get hold of back then (Prefontaine, The Last of the High Kinds, both pretty decent once I did see them), and his parts in movies that were distributed were often tiny (How to Make an American Quilt, Thin Red Line, each featuring him for maybe 5 minutes? His Fight Club role wasn’t huge, either.)

And then there were those movies I was just too wimpy to go see, afraid I’d find them too disturbing: Requiem for a Dream, Chapter 27, American Psycho…

Around 1998, he formed a band with his big brother and some other musicians: 30 Seconds to Mars. With their second album, they achieve significant success, which has only continued. But that’s no thanks to me. I was happy to have someone lend me one of their albums, but I just don’t like it all that much. I don’t think their music is terrible or anything, but it doesn’t really speak to me, either.

So the whole Dallas Buyer’s Club thing has been nice for “reuniting” with this artist. He has a good-size part in it; despite the AIDS theme, the movie is not that depressing or disturbing; it’s been successful and well-distributed; and I really liked it. Yes, he plays a woman in it (a very attractive woman), but he’s very much a man in the extensive publicity he’s done around it and while scooping up all those acting awards. At 42, he looks like this:

That’s some great moisturizer he’s using to stay looking so young and gorgeous. But his Oscar speech also demonstrated great depth, integrity, and warmth. Appears Jordan Catalano really is “not unintelligent” and a “halfway decent person”.

Wouldn’t have guessed Jared Leto for the first MSCL alum to win an Oscar.

— Someone on Twitter

I’ve been following Jared on Twitter, despite that fact that he’s clearly not doing his own tweeting (and whoever is might want to tone down the triple exclamation points and all caps that made him sound like a 16-year-old fangirl). But it contains some useful links on what’s doing, and through that, I’ve learned about his award-winning documentary, Artifact.

It’s currently discounted to a 99-cent rental on iTunes, so I watched it last weekend. Directed by Leto under the name Bartholomew Cubbins, it was originally intended to just cover the making of 30 Seconds to Mars’s new album, but became something else when the band entered into a dispute with their record company. The specifics of the band being sued for $30 million for breach of contract are unusual, but bands fighting for better deals from their labels is not. And this documentary focuses more on that.

So, you don’t need to be a 30 Seconds to Mars fan to enjoy it; in fact, there isn’t that much of their music in the film. But I’d say you do have to be a fan of rock music in general, particularly one who may wonder why bands always seem to be getting ripped off by their record companies. And this documentary suggests: Because that’s their business model. Like, it’s routine that labels charge for “packaging” and “breakage” on sales of digital copies of music! The various reductions on artist’ take means they can earn nothing, or even be indebted, even after selling millions of copies of an album.

And why do artists keep signing with labels? Because of the difficulty of coming up with an alternative model, at least for artists that want more than limited, cult success.

30 Seconds to Mars is still with a record company. How they got there, without paying $30 million, makes for some interesting viewing.

Movie review: Flash Gordon (1980)

*** Flash Gordon (December 1980) – Rental

Sam J. Jones, Melody Anderson, Max von Sydow. When Ming the Merciless sets his evil sights on planet Earth, football star Flash Gordon and stewardess Dale Arden are kidnapped into the fight to save it by scientist Dr. Hans Zarkov.

She says: My interest in this movie was musical: I’ve had the soundtrack—music entirely by Queen—for some time, and was curious to see the movie that went along with it. All I really knew about the film was that it hadn’t done very well at the box office, hadn’t been that well-reviewed, and looked kind of cheesy.

And indeed, in the usual measure of these things, it’s not a very good movie. The lead actors are not strong (though many of supporting actors, such as Timothy Dalton, are good). The plot is fairly ridiculous. (On the extras, the screenwriter admits it might help if someone—anyone—had given him any feedback on it.) The science is impossible. The main characters have no depth or nuance.

But damn, it’s an entertaining movie! The silly plot moves along at a brisk pace, with many quite hilarious sequences, such as Flash using a football-shaped ornament to fight off Ming’s soldiers. The lead actors are all quite nice-looking, and frequently (un)dressed to show that off. The absurd planets and landscapes are gorgeous; the whole thing is a feast for the eyes.

And the soundtrack is truly awesome!

He says: That movie is bad in a really good way.

The trailer:

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