Film Review: The Sheep Detectives

 

Sexuality/Nudity Acceptable

Violence Acceptable

Vulgarity Acceptable

Anti-Catholic Philosophy Acceptable

This movie is a surprise in a good way.  It's a children's movie with a surprisingly dark center that is both funny and touching.

The Sheep Detectives follows the lives of the sheep in the care of George (Hugh Jackman), who loves and cares for his flock.  The smartest of the sheep is Lily (Julia-Louis Dreyfus) who is able to figure out the ending to the mystery stories that George reads to the sheep at the end of every day.  Most of the sheep live simple, pleasant lives.  One of them, Sebastian (Bryan Cranston) lives a more solitary and foreboding existence mostly away from the community.  When George is murdered, Lily takes it upon herself with the help of her friend Mopple (Chris O'Dowd) to go into the local town and solve the murder.  Seeing as how the town's only policeman, Tim (Nicholas Braun), seems a bit of a fool, Lily and her friend have their work cut out for them.

First of all, what the movie gets right is that it plays out like a traditional British murder/mystery.  Lily knows the tropes and so does the audience.  In that sense, the story is a bit meta, but not in a way that overwhelms to the narrative.  Fans of the genre will enjoy watching Lily apply what she has learned to the evidence.  The colorful list of suspects is a hodge-podge of small-town personalities that could be the source of potential dangers.  Behind every polite smile could be a dagger.

The second thing the movie does really well is that it hits the proper emotional beats.  Part of the movie is Lily's journey to heroism.  In the story, sheep have the ability to force themselves to forget things that they don't want to remember (except for Mopple who does not have this ability).  At first Lily and all the sheep want to forget George because it is too painful to remember him.  But as Lily goes deeper into the mystery, she learns things that cause her even more fear, stress, and pain.  The temptation to bury those memories becomes overwhelming and it only takes a heroic act of the will and her love of George and her friends that pushes her onward.

The third thing that surprised me was that they allowed their characters to have depth and growth.  It seems silly that you should find such a strong character arc in CGI sheep.  But they do the same thing with the human characters.  Tim the cop could have easily been a one-note stereotype of an idiot.  But unexpectedly, he develops as a character.  He isn't the smartest, but he knows he's not the smartest and works to think through the problem for the sake of justice.  This puts him in some precarious moral and relational dilemma's where he, like Lily, has to learn to trust himself.

Director Kyle Balda shots the film beautifully, making you yearn for the pastoral peace found in Geroge's pasture.  Some of the shots are downright beautiful, almost too beautiful for a movie like this.  There is one particularly, where George is carrying Sebastian on his shoulders that is such a moving homage to Jesus the Good Shepherd that hit just the right note.  Balda also knows how to use the visuals to bring about his emotional moments.  There is one scene where the sheep enter an unfamiliar barn and with some simple visual items shot in just the right way, the sense of danger and terror hit very hard.

The Church and Christianity are brought up, but the movie's attitude towards them seems more ambivalent than antagonistic.  George is not a churchgoer, but he does make a dramatic entrance one day and give a large sum of money to Reverend Hillcoate (Kobna Holdbrook-Smith).  The clergyman isn't a saint, but the movie also doesn't paint him as an outright villain the way they did in last year's Wonka.  There is also a funny line where Sebastian tries to explain who God is to the other sheep which is a little irreverent but not insulting.  My only caution is that since this is a movie aimed at children, parents might want to be aware that it does not portray the faith with reverence, though it doesn't explicitly attack it either.

That also gets to one of my criticisms of the movie: it's a children's movie that is also a murder mystery.  There is something about the darkness of the subject and the innocence of the target audience that doesn't quite jibe with me.  Because of this, the movie is almost in almost a no man's land of who it's made for.

The performances are fine, but they are broad in the way that you would expect from most children's movies.  Cranston does bring a great deal of gravitas to the character of Sebastian with some fantastic voice work.  Everyone else does their level-best I'm sure, but because the sheep are photo-realistic, it has the same problem as The Lion King remake had with range of emotion.

Thematically, there are some beautiful messages about love, courage, loyalty, and memory.  There is also a nice sub-plot about overcoming prejudices that is a bit on the nose, but it works in a movie like this.  And while the explicitly Christian elements are not very strong, there is a lot of Christological imagery, especially in how the sheep see George.

I was charmed by the characters and drawn into the mystery.  I would be happy to see another adventure of The Sheep Detectives.  If you are looking for a fun time at the movies, you can count on these sheep.

Film Review: The Devil Wears Prada 2

 

Sexuality/Nudity Mature

Violence Acceptable

Vulgarity Acceptable

Anti-Catholic Philosophy Mature

Even after 20 years, the original The Devil Wears Prada is still popular among fans.  

And those same fans will thoroughly enjoy the sequel.

The Devil Wears Prada 2  takes place two decades after the original.  Andy (Anne Hathaway), is an award-winning New York journalist whose paper gets unceremoniously shuttered suddenly.  At the same time Miranda Priestly (Meryl Streep) and her brand "Runway" have just been hit by a scandal.  In order to bring back integrity to the publication, Andy is hired without Miranda's consultation.  At the offices, Andy reuintes with her old friend and mentor Nigel (Stanley Tucci).  She also eventually encounters her old posh co-worker Emily (Emily Blunt), who left "Runway" and is working for Dior.  The movie shows Andy re-adapting to the changed world of fashion while at the same time trying to bring journalistic idealism and integrity to the brand, all the while struggling for Miranda's elusive approval.

Part of the strength of a movie like this is that it makes me fascinated about a subject I would normally ignore: fashion.  I am not someone who keeps up with the latest trends and fancies.  I think my own fashion sense ended in the early 1990's.  So it is a credit to this movie and the original that I found myself deeply invested in the ins and outs of the industry.  Since the original, print magazines have become obsolete.  "Runway" is a style brand that seeks to move the needle with its online presence and its large, splashy events.  Miranda herself has had to pivot not only her business model, but also her style.  No longer can she throw around coat and abusive comments.  She is caged by modern HR practices.  This feels like a mixed bag: the enviorment is less unpleasant, but crucible that forged Andy into the competent person she became seems to be missing.  Like most Gen-Xer's, it is almost sad to see the adversity disappear because we know that as much as it hurt, it also helped build character (if it didn't crush us completely).

The studio was incredibly smart to bring back the entire main cast and crew together.  Original director David Frankel and original screenwriter Aline Brosh McKenna returned, which gives such a great continuity of tone, character, and look.  Sometimes when a legacy sequel like this happens, there is a bit of disjointedness between the first and the second.  But with exception of the age of the actors, this movie could have been filmed almost immediately after the first and I would have believed it.  

Much of the movie follows many of the same story beats from the original: Andy gets the job, Andy tries to do a good job, Miranda criticizes her, Andy gets upset, Andy pushes herself harder, Andy does something excellent... etc.  Some may see this is a deficit, but with such a time difference since the first one, I see it more as a comfort.  They remembered what people enjoyed about the first and tried to give them the same experience.  It reminds me of how Rocky II also hit a lot of the same beats as the original for the same reason.

What the story does do as an improvement is that it allows for more catharsis.  The first film had everyone at a slightly professional distance from each other.  But in this movie, with the characters older, it allows for them to be a bit more reflective about the relationships in their lives.  Kenneth Branagh, one of my favorite actors, has a nice turn as Miranda's husband.  Unlike her previous spouse, he brings out her softer side with his gentle encouragement.  There is one moment towards the end, where a character finally gets a much-desired cathartic moment that I could not helped but be touched.

I also like that the film has something to say about modern life.  I don't always agree with it, but it has a voice.  Benji (Justin Theroux) is Emily's dopey billionaire boyfriend.  But even he has a moment in the third act where he talks about how technology bears down on us like the fires of Pompeii and we cannot stop the change.  The world is changing and the question becomes how much do you adapt to it before you lose what you value.  There is a scene where Andy goes into a recently renovated apartment building and complains to a man there Peter (Patrick Bramwell) that the gentrification was everything wrong with the world: taking something beautiful and gutting it for a profit.  Peter turns out to be the renovator and he says that the building was vacant and in disuse and would have been lost anyone unless he brought it into the 21st Century.  There is a constant give and take in the movie about its relationship to the changing world.  This is something that the Catholic Church is constantly wrestling with especially post-Vatican II.

The performances are as good as the original, if not better.  Time and the layering of the relationships gives the actors a lot more to do.  Hathaway is as good as always.  Here Andy is complicated and flawed.  In an argument she has with Peter, her self-centered side comes out and there is something ugly about it.  Hathaway does not try to embrace this selfishness like a girl-boss, but allows the audience to see the downside to her ambition.  Streep steps back into the role of Miranda very well.  Though I would imagine that some people my be disappointed at the slightly less ferocious lioness from the first one.  I remember my wife did not like seeing Miranda having to hang up her own coat.  I think this disappointment would be the same that people felt at the aged Michael Corleone in The Godfather Part III.  Blunt still plays Emily as shallow, but she does it with great comedic timing.  But the standout is Tucci, who really is the heart of the film.  He carries a quiet grace, always tinged with a sense of sadness that time has passed him by, so he is content to enjoy his time in this art.  He never goes for big, maudlin emotional beats.  Instead, he shows incredible restraint in a way that seems almost paternal.

My biggest head-scratcher is why Andy is so desperate for Miranda's approval.  Nothing about it feels false, but I could not find an explanation other than, like most over-achievers, she is in need of constant validation.  The movie also seems to celebrate divorce in some areas as something empowering of women and their independent identity.  As a child of divorce, this was not a particularly pallatble theme to me.  Children also seem to be pushed to the sidelines.  Miranda's twins are barely seen.  Emily has children that she pawns off on her ex-husband so she can globe-trot.  And Andy mentions that she has her eggs frozen because she chose not to start a family.  It just seemed like children were more of a luxury or a burden to the main goal of fame and success.

However, this does not ruin the good aspects of the movie.  In the second half there are a few twists, some I saw coming and some I did not.  The overall effect was surprisingly cathartic experience.  I didn't realize how much I missed these characters and how much I would hope to see them again for a third film.

Sunday Best: Top 5 Karl Urban Performances

 In honor of Mortal Kombat II coming out, I thought I would take a look back at Karl Urban's career and talk about his best performances.

Urban is an excellent actor who I don't think has ever really gotten his due.  He should be an A-lister with his talent and charisma.  I find that he elevates everything that he is in, especially his most recent work.

So here are his top 5 performances.  To be clear, I am not saying that these movies or shows are good or bad.  Some of them are amazing and some are awful.  But Urban is fantastic in all of them.  

5. Eomer - The Lord of the Rings: The Two Towers, The Lord of the Rings: The Return of the King

While he does not have nearly as much screen time as much of the cast, he carries with him a seething anger at the injustice happening to Rohan while maintaining a powerful presence and strength.  In the extended edition, it was very powerful to see how that stoic exterior broke down at the sight of his injured sister.  

4. Johnny Cage - Mortal Kombat II

He is the heart of this film.  A reviewer recently said that his Johnny Cage is the Jack Burton of this movie and that fits perfectly.  He is funny and charming in every scene, using all of his charisma to light up the scenes he is in.

3. Butcher - The Boys

I really don't like this show at all.  I dropped out in season 1 because of the content.  But that is not a reflection of Urban's performance which is excellent.  He is ostensibly a protagonast, but he has all the characteristics of a villain.  And that edge is something he constantly plays with so that the audience doesn't quite know what to make of him.

2. Dr. "Bones" McCoy - Star Trek, Star Trek: Into Darkness, Star Trek Beyond.

His impression of DeForrest Kelly is spot on with his cadence and mannerisms.  But if that is all that it was, it would only be an empty impression.  Instead, Urban gets at the heart of the character so that you really feel how he sees and feels about the world.  My favorite moment is in Star Trek Beyond when he says that at least he won't die alone.  But then Spock gets beamed away and there is this wonderful frustration and sadness and resignation when he responds by saying, "Well, that's just great!"

1. Judge Dredd - Dredd

One of the great things about this performance is its degree of difficulty.  Most of his face is covered for the entire movie.  Some of the most important acting tools are taken out of his arsenal.  But he gives us the best onscreen version of the character with his amazing control of voice and body language.  If it was not for Urban, this movie would not be nearly as good as it is.  After this, I thought he deserved to be a star, and I maintain that I am not wrong.

Thoughts?

Film Flash: Mortal Kombat II

 

15 words or less film review (full review to follow soon)

Kano and Johnny Cage are the coolest, stealing every scene in this fun action film.

 

Film Flash: The Sheep Detectives

   

15 words or less film review (full review to follow soon)

Surprisingly charming, funny, and touching murder mystery.  May be too scary for little kids.

 

Film Flash: The Devil Wears Prada 2

   

15 words or less film review (full review to follow soon)

Fans of the original will love the sequel.  Same story/character beats with more catharsis.

Film Review: Michael (2026)

   

Sexuality/Nudity No Objection

Violence Acceptable

Vulgarity Acceptable

Anti-Catholic Philosophy Acceptable

As a child of the '80's, I can tell you that Michael captures the magic and mystique that was Michael Jackson in his prime.

The movie tells the story of the pop icon from his beginnings as the child lead singer of the Jackson 5.  The patriarch of the family, Joe Jackson (Coleman Domingo) is a beaten-down steel worker in Gary, Indiana.  He has decided that his ticket out his dead end life is to make his children into a hit band.  Young Michael (Juliano Valdi) is full of life and optimism and exudes charisma.  But if he does not follow his domineering father, he is met with physical consequences.  As he grows up, adult Michael (Jafar Jackson) grows up popular but alone, with his mother Katherine (Nia Long), his only real companion.  But as he finds his artistic voice, he yearns to break free from his father and find his destiny as one of the greatest, if not THE greatest pop star of all time.

It is important to understand that this movie is basically a hagiography of Michael Jackson: the main character is a saintly, soulful artist where all the bad things in his life are brought to him from without.  As a character, Michael has very few flaws of character.  Everything in this movie is meant to portray him in a positive light.  If you go in expecting a film to explore his dark side, this isn't for you.  Personally, regardless of whether or not it is historically accurate, it was a bit refreshing.  A number of musical biopics that I've seen lately (e.g. A Complete Unknown or Deliver Me From Nowhere) depict the musician as a jerk with questionable morals, but we are supposed to waive those away as the eccentricities of artistic genius.  Not so with Michael.  It is was a relief to be able to sympathize with the main character for a change.

Director Antoine Fuqua does a great job of bringing Jackson to life.  The most important thing was to capture the feeling of what it was like to experience Michael's talent.  There is a scene in the movie when they are filming the video for "Thriller," where Michael gives a note to the director about how best to shoot the dancing in order to capture choreography.  It is a moment to show how Michael is not only a student of his art, but is in control of how he presents himself.  But the moment also reminds us that there is an art to filming music on camera, which Fuqua does incredibly well.  I would not have thought that a director whose resume is mostly action films like The Equalizer series and The Magnificent Seven remake would have such a knack for this type of film.  But Fuqua is able to make every Michael Jackson song come alive.  Without shame, my feet were tapping to the beat of hit after hit being played out on the screen.

While this movie nails the spectacle of the singer, the movie would not be good unless it also gave us insight into the character.  For me, this is what gives the movie its strength.  Writer John Logan depicts the violence and tyranny of Joe Jackson as the root of Michael's problem.  Because Joe forced his son to torturous rehearsals to prefect his performance, Michael missed out on his childhood.  As a result, he had a permanent arrested development.  He never grew up.  This is seen in his perpetual affinity for Peter Pan and Neverland, where he is Peter and Joe is Captain Hook.

For me, the most important and moving scene in the movie is a small one.  The adult Michael just went on a small shopping spree at a toy store.  He comes home to see his brothers playing basketball.  Michael announces to them with excitement that he has Twister and that they can all play that night.  But his brothers look at him incredulous and say that they all of more adult things to do, leaving Michael dissapointed.  They aren't mean or bullying in any way.  But they grew up when Michael couldn't.  He's stuck as a child, trying to find joy in child-like things.  But in that way he is so incredibly lonely.  But he turns that loneliness into artistic passion.  We see how he finds his musical inspiration and how he develops hit after hit.

The script also does something so incredibly interesting with the character of Joe.  To be sure he is a selfish tyrant.  But that doesn't mean that he doesn't know his son.  Both of these aspects are at play.  In one scene, Joe says to Michael that if he leaves his family then he would be surrounded by "yes men" who will only do what he says and that this would destroy him.  This is heartbreaking, because we know that in the end that is what happens.  In another part of the movie after Michael is injured, Joe asks the doctor how soon until he can perform.  When the doctor is appalled by this question, Joe says that the only thing that will save Michael is getting back on stage.  The thing is, Joe is right, but that doesn't change the fact that he uses that insight for predatory reasons.  

Because of this music becomes Michael's salvation and damnation at the same time.

The performances are excellent, especially Domingo.  He captures the look of Joe, but also that constant bullying stare.  Even in his smile, even when he is affectionate, he is Mr. Hyde ready to attack.  But Domingo lets you feel his weariness and frustration, even as you feel him as a tyrant.  Long does a good job as Katherine, especially as she finds her voice to stand up to Joe.  Valdi is just as charismatic as young Michael.  But Jafar Jackson had the unenviable job of trying to channel one of the greatest performers in history.  And in terms of the singing and dancing, he nails it.  For those who didn't live through Michael's Motown performance or seeing his music videos for the first time, Jafar gives us the closest thing we could get to reliving it.  Outside of the musical numbers, his performance is also good.  Michael Jackson was unique that any performance of him will always feel a bit more like an impersonation than performing a character.  That isn't Jafar's fault.  If you break from any of Michael's mannerisms, the movie would ring false.  But if you know that the actor isn't Michael, there is always a part that rings a little false.  This becomes less of a problem as the movie goes on and you accept Jafar's interpretation.  By the end, there is a shot of Jafar looking at the camera and I could have sworn that it was a shot of Michael himself.

A difficulty with the movie is that outside of Michael and Joe (and a little bit of Katherine), all of the other characters get no depth.  We never get a sense of how Michael's brothers feel about his fame or his success.  Janet Jackson is completely absent from the movie.  To be fair, the movie is not called The Jacksons.  It is called Michael because the entire narrative is about him.

The movie reminded me why godly parents are so important.  We know that Michael's life eventually ends in tragedy, and we can see that he is set on that path because Joe sees his children as means to an end rather than the end itself.  Towards the end of the movie Katherine apologizes to Michael for not protecting him as a child.  You can't help but feel that without Joe's punishing presence, Michael might not have been the world's biggest star, but he might have had a chance to live a normal, happy life.

After the movie, I found myself spending time on YouTube going through Michael Jackson's music catalague.  Michael has given me a renewed appreciation for the man and the music.

And it is a reminder why there will never be another Michael Jackson.