Quick takes on 5 films

Trolls World Tour is a sequel to the popular film from a couple years ago, starring Anna Kendrick and Justin Timberlake voicing the leads of Queen Poppy and Branch, a couple of, you guessed it, trolls (the cute kind, like the 80’s toys, not the ugly living-under-a-bridge kind). Having dealt with the bergens in the last film, their new nemesis is one of their own. Turns out Poppy and her village are pop trolls, since they love pop music and sugary-sweet lifestyles. Different trolls who are in to other musical styles inhabit other villages, and the queen of the rock and roll trolls, Queen Barb, is going to other villages stealing their magic string, the source of all their music. She wants to unit all the tribes into a love of one music, rock. Poppy and Branch set off to meet Barb and see what if they can talk her out of her quest. The film lacks some of the catchy songs that the first one had, and with a different director and story team, it has a very different feel. Namely, it suffers a bit from “quick take” syndrome, almost like a Michael Bay fast cutting-like feel. You can tell this picture was made for the Instagram generation, and at times, it was a bit much for me. But it does have a decent story, a good message of inclusion, and while it might not have the same level of charm as the first film, it is still enjoyable. And just like the first go-around, I’m sure they’ll make a killing on merchandise. You can’t go in any store without seeing a Trolls face on something. ★★★½

Little Joe is sort of a modern version of Little Shop of Horrors, unfortunately minus the entertainment. However, it’s not entirely bad. Alice is head scientist researching new plants. Specifically, she’s been trying to breed a plant with a pleasant, endorphin-raising scent which will make people happy. She thinks she’s found just the right blend with “Little Joe,” named after her son. Little Joe requires more care than any other plant, living only in the right environment and needing constant watering and care, but it does indeed some to make people pleasant. Unfortunately it seems to be doing more than that too. Made without the ability to pollinate (so as to not interfere with other indigenous flora), Little Joe starts using its spores to make people take care of it, and since doing so makes them happy, they are more than willing to comply. Anyone who seems to raise fears about what is going on is eventually brought into Little Joe’s posse, until only Alice is left fighting it. I feel the soundtrack really helps this film; it is disjointed and jarring in a way that would fit in a classic horror flick, and manages to ratchet up the tension here, even though we are only talking about a plant. But if you take that soundtrack away, the film is a bit of a bore. Does have solid performances from its co-leads, Emily Beecham and Ben Whishaw. ★★

I finally had a chance to see Parasite, the film that took all of the awards world-over last season. Like many film-goers, I was introduced to director Bong Joon-ho by Snowpiercer, and then later Okja, both of which I loved. Much like Snowpiercer, Parasite is a film about disparity in the social classes, between the haves and the have-nots. The Kim family is dirt poor but have plenty of street smarts. The Park family is wealthy, but Mrs Park is gullible and doesn’t know how to do a thing for herself. Bringing all their conniving and intuition to bear, the Kims are able to infiltrate the Parks, playing the roles of tutor, driver, housemaid, and art therapist. Events go drastically wrong when the Parks come home early one night, in the middle of a drunken party by the Kims, on the same night that the Kims find another hidden, secret guest in the house. This film has it all: darker-than-black comedy, thrills and chills, a lot of suspense, and most importantly, timely themes on the inequality between classes in today’s modern society. In the film, the poor like the Kims literally live in basements, trying to decide between paying the phone bill or buying food, while the Parks live on a hill looking down over everyone else, and throw money away on fake tutors and therapists with no credentials or skill. Brilliantly acted, brilliantly directed, and an engaging plot all come together for last year’s best film. As the director said when accepting his Golden Globe award, “Once you overcome the 1-inch barrier of subtitles, you will be introduced to so many more amazing films.” Parasite is an accessible film that everyone should see. ★★★★★

Sword of Trust is a cute comedy-drama about an adult couple, Cynthia and Mary. They are going through the effects of Cynthia’s recently dead grandfather when they find an old Civil War era sword, with paperwork claiming the sword was surrendered by Union General Sheridan in defeat to the grandfather at the Battle of Chicabauga, and in so doing, the grandfather is claiming the North actually lost to the South. The two women don’t believe it, but they understand it might have value, so they take it to the local pawn shop, run by Mel. Mel scoffs at the story, but later finds online come conspiracy theorists who are hunting for proof that the South won the war, and are offering big money too. Mel brings Cynthia and Mary back in, and the group go on a bizarre adventure to sell the sword to some crazies. Much of the dialogue is obviously improvised, and the film has a very mumblecore-like feel to it, albeit with people closer to their 40’s instead of 20s. I’m not a big fan of the mumblecore subgenre (with a few notable standout exceptions), but this film isn’t bad. It’s quirky and funny, and has enough going on that I could look past some of its faults. It’s a short, sub-90 minute excursion too, so easy to squeeze it in if you want some light comedy. ★★★

Tigertail is a really lovely film on Netflix, but it left me wanting more. It tells the tale of the full life of Pin-Jui. Born in Taiwan, his father died young and was then raised by his strong-willed single mother, who worked in a factory. His life-long love is a girl named Yuan, who he first met as a child living with his grandmother away from the city for a time, but who fate brought back to him as a young man years later. However, Pin-Jui has dreams of moving to America, and as a poor young person, the only way he sees to get there is by marrying the daughter of his mother’s factory boss, who will then fund their move to New York. Pin-Jui takes the chance with nary a goodbye to Yuan, but spends the rest of his life regretting that decision. His marriage to Zhenzhen is cold, and after their children grow and leave the house, she leaves him. Pin-Jui then needs to finally connect to someone again, after years of being closed off, and the person he needs to connect to is his estranged daughter. The film is told in 3 separate time lines, often moving back and forth between the younger Pin-Jui and him as an old man. It is a reflective, moving, contemplative picture, but it felt too short at 90 minutes long. I would love to see like a 2 ½ hour long director’s cut in the future, if one exists. The movie has some wonderful moments, and excellent cinematography, but it feels like a lot was left on the cutting room floor. I would have liked to see more of Pin-Jui’s growth, what made him into the man he became. It is hinted at, but for a touching film like this, I wanted more. Still, it’s a beautiful picture. ★★★½