Rated R for language, some violence and sexual content
In one of Parasite’s most memorable scenes, writer/director Bong Joon-Ho visually shows the discrepancies between the upper and lower-class families of his film.
As one family sleeps peacefully in their luxury home high on a hill during a thundering rainstorm, another family descends down winding streets and stairways, soaked to the bone…only to find their basement apartment (and the street it’s on) flooded. There will be no peace for this family tonight: only the struggle to salvage what belongings they can, and find a dry shelter soon afterwards.
Bong Joon-Ho is no stranger to class struggles. His 2013 science-fiction film Snowpiercer, showed a number of people at the rear of a futuristic train pushed into action, when the wealthier patrons from the front take several of their children away against their will. With Parasite, the director moves the examinations of class distinction to modern-day South Korea, in a story that is more subtle, but still quite intriguing to the senses.
Our main focus is on the Kim family, who currently eek out a meager existence being paid to fold pizza boxes, and struggling to find a stray wi-fi signal in their area. Opportunity comes knocking when the family’s son Ki-woo (Woo-sik Choi) finds that his friend wants him to continue tutoring a wealthy high school student, while he goes abroad.
Thanks to the friend’s recommendation and some forged documents Photoshopped by Ki-woo’s sister Ki-Jung (So-Dam Park), he enters into the gated, upper-class world of the Park family. After winning the trust of the family’s naive matriarch Yeon-kyo (Yeo-jeong Jo), he hatches a bold plan. Soon, the rest of the Kim family have assumed alternate identities, taking on roles that support the Park family in their daily lives.
Unlike most films that would probably have one family “good” and the other “evil,” the two families here (while caricatured at times) exist in a very real “grey area.” Of the two, the Kim family is definitely the more “cunning,” with the skills they’ve acquired over the years helping them in a big way. The Park family on the other hand, seems to live comfortably without a care in the world, and seemingly oblivious to the world outside their narrow scope.
Most of Joon-Ho’s films have stories that don’t fit into a standard formula, and Parasite is no different. Just when you think you may know just where he’s taking us, he swerves down a side-path that takes the audience completely by surprise. It is this way of storytelling that often makes his films interesting conversation pieces once the lights come up.
Much like the director’s 2006 film The Host, we find ourselves bemused by the comedic antics of the main family, including Joon-Ho alumni, Kang-ho Song. Song has played the father-figure in a number of the filmmaker’s stories, though here he takes more of a supporting (but still important) role. It is the younger family members Ki-Woo and Ki-Jung who we follow through most of the film, as we see them speak with a confidence that easily subdues Yeon-kyo Park to give in to their requests.
This year has given us several films about people in the lower echelons of society, wanting respect or acknowledgement in a world that seems to think they are invisible. Some films are made as a reflection of the times we are in, and along with Jordan Peele’s recent film Us, Parasite feels like a story that has something important to say, even if it is a work of fiction.
To tell more about the film would be to spoil many of the surprises Joon-ho has hidden within it’s walls. While it seems to struggle to find it’s ending, the rest of the film leads us on a journey that truly has to be seen to be believed. Be prepared to run through a number of emotions while watching Parasite…and possibly question some of the people you yourself work with on a daily basis.
Final Grade: B+
Many of us have encountered Charles Addams’ creepy-and-kooky family in some form or another over the years, and now they have found themselves in the world of computer animation, courtesy of MGM and Cinesite Studios.
After moving to their dream residence and living in seclusion for 13 years, the Addams find the community of Assimilation has been built close by. While Gomez (Oscar Issacs) and Morticia (Charlize Theron) are a little apprehensive about their new neighbors, their daughter Wednesday (Chloe Grace-Moretz) grows curious about the world beyond the house she’s known all her life.
A highlight of the Addams family has often been their twisted take on family and society, and when the film focuses on those areas, it can get rather fun. The designs follow the original comic imagery pretty closely, and we even see a number of additional Addams characters brought to life.
When it comes to the film’s storyline, it feels like it borrows from “the best of the mediocre” in recent years. If you’ve seen Hotel Transylvania or a number of Illumination Entertainment films, there are a number of similarities to be found here.
From an overly-colorful town presided over by a smiling-but-controlling figure, and the blatantly-obvious “it’s okay to be different” theme, there’s nothing really new the film has to offer regarding messages or storylines.
The film is also quite busy juggling a number of storylines (which pushes it’s run-time past the standard 90-minute average for animated features). When the film strives to find a focal point, it zeroes in on Wednesday, who soon finds herself hanging out with an ostracized teenager named Parker (Elsie Fisher). Sadly, just when it seems things might be getting interesting with this story thread, we are zipped back to a number of less-interesting ones.
What’s shocking is that even with all that stuff I mentioned…The Addams Family is still a pretty okay film!
While animation from the likes of Disney or Pixar may feel like a fine meal, Addams comes across like animated fast food. It’s okay and a little enjoyable, but a few hours later, it’s an experience that is only faintly remembered.
The voice cast does a decent-enough job, with Isaacs disappearing vocally into Gomez, and Theron vamping it up as Morticia. They can’t all be perfect however, as Finn Wolfhard sounds a little too old to play Pugsley, and…what was the point of hiring Snoop Dogg for Cousin It if he’s just going to be speaking in gibberish?
Most films have some nods to pop-culture, and surprisingly, Addams keeps it on the down-low. They end up making a number of quips in relation to certain horror films, with a few references that will probably make the adults chuckle (aside from the It-related gag spoiled in the early previews).
The Addams Family could have really crashed-and-burned, but has enough life within it that it manages to eek by as a passable film experience. It’s doubtful this will get nominated for Best Animated Feature come awards season, but it’s enjoyable and harmless enough to take the family to on a weekend matinee.
Final Grade: B-
I was originally dragged into the series Stranger Things, by some friends who claimed it was right up my alley. What I had thought was maybe some cheaply-made rip on Steven Spieberg’s Amblin Entertainment productions of the 1980’s, soon had me enamored with the mysterious story unfolding around it’s characters.
Four years later, the series is back for it’s third season, this time moving us out of the chill of late fall, and into the sun-drenched world of summer in Hawkins, Indiana.
As the Fourth of July approaches, Mike Wheeler (Finn Wolfhard) and Eleven (Millie Bobbi Brown) are in the throes of young love, much to the ire of her adoptive father-figure, Police Chief Jim Hopper (David Harbour).
Lucas Sinclair (Caleb McLaughlin) and Max Mayfield (Sadie Sink) are also continuing their relationship, and Dustin Henderson (Gaten Matarazzo) has returned from camp, with news that he too has joined the dating scene (however, with no proof of this mystery girl to be had).
Will Byers (Noah Schnapp) meanwhile, struggles to feel included in his friend’s activities, as they each seem to have grown beyond the simple pleasures of Dungeons and Dragons.
As for the older kids, Nancy Wheeler (Natalia Dyer) and Jonathan Byers (Charlie Heaton) are interning at The Hawkins Post, with Nancy struggling to prove her worth to the uncouth men in high places.
Steve Harrington (Joe Keery) has taken a job at the new Starcourt Mall, scooping ice cream while fending off snide remarks from his co-worker, Robin (Maya Hawke).
For this season, the Duffer Brothers seem to have decided that the two themes to focus on, are “relationships,” and “change.”
We see this in a big way with our younger cast, but not just in regards to romantic relationships. We also see relationships in regards to family and friends, and how sometimes it can be a struggle to keep connections with those close to you. This is also notable in regards to Dustin, who chooses to spend more time with Steve than his old friends.
For the adults, the theme of relationships snares Jim Hopper, and Joyce Byers (Winona Ryder). With Joyce no longer frantically looking around for her son (though still mourning the loss of former boyfriend Bob Newby (Sean Astin)), she is given the chance to be more of a person this time around, as she tries to help Hopper with his fatherly ups-and-downs.
Hopper also gets the chance to move outside of his comfort zone, and we see him doing (and wearing) things that are quite unnatural. David Harbour really gets to chew the scenery in a number of scenes, and I was quite amused by some of his reactions.
One of the stand-outs from the series, has been Millie Bobby-Brown’s character of Eleven. While she has slowly emerged into the world from her isolation, this season gives her the biggest shove yet.
This also comes in the form of Max taking a sisterly-approach towards Eleven, and helping her expand her world-view. While Mike gives her plenty of attention and Hopper gives familial care and discipline, Eleven is still struggling to create her own identity, and it’s nice to see a character like Max help Eleven figure out who she is, and wants to be.
We also see the world of our characters expanded upon, with the addition of Starcourt Mall, along with the introduction of Mayor Larry Kline (Cary Elwes). It’s a big new world that we’re seeing, and in that sense, that enlarged atmosphere feels like it causes the story to trip up in places.
We’ve been no stranger to multiple story threads weaving their way through the show, but there are times season 3’s overall storyline feels a bit too cumbersome. From Dustin building a radio tower that intercepts a secret code, to some rather mysterious business-dealings happening around town, I found myself almost having to keep a scorecard regarding what was going on, let alone a number of new characters the show was trying to make me believe were important to the plot. Heck, the show even tries to cram in characters that I didn’t even think we’d need from previous seasons (though one does have a pretty fun introduction)!
This season is also the first time that the cameras feel like they’re angling for product-placement dollars. From Eleven and Max gallivanting around the mall, to almost everyone in Hawkins having jumped aboard the New Coke craze, I could easily have sided with Will Byers, longing for a return to the simpler times of the first season.
When it comes to the supernatural element of the show, the ante (and budget) has been upped significantly. The new menace in question, hearkens back to the likes of The Thing or The Blob, while also dealing with some elements from last season. It was definitely not what I expected, and ended up taking the “horror” tones of the show, into some areas that may make some viewers feel uncomfortable.
There is also an added human menace in the background for much of the show too, that almost comes off feeling a little…cliched. Then again, given we are dealing with the 1980’s, it was probably to be expected, but it really pushed against the believability factor for me…and that’s in a show with a girl that has psychic abilities.
Aside from an overstuffed story and my gripes here-and-there, I was happy to see that the handling of the evolution of our main characters, is still a key priority in the series.
The show creators have said they could see the show lasting for 4-5 seasons, and if it can continue to grow character-wise like we’ve seen in the last seasons, it makes one wonder what will become of our characters…and, how many of them will live to see the end of the series.
Final Grade: B+
Nine years ago, PIXAR Animation Studios seemed to have wrapped up the adventures of Woody, Buzz, and their toy pals in a nice, emotionally-charged little package…or so we thought.
Toy Story 4 catches up with Woody (Tom Hanks) and the gang shortly after the events of the last film. While Woody struggles to help his new owner Bonnie (Madeleine McGraw), things get weird when a craft project Bonnie dubs Forky (Tony Hale), suddenly comes to life!
It is during a road trip that the manic creation wanders off, leaving Woody to try and return the new “toy” back to it’s owner. During the journey, they encounter some new toys…and a familiar face or two.
In watching the Toy Story films over the years, it has felt like their plots mirror human life, but in “toy terms.” If the last film was about Woody learning to let go of his owner Andy, then this film is him dealing with his retirement years. In that sense, Woody’s part in the storyline will probably go over the heads of the younger crowd, but for those getting on in years, they will probably see something of themselves in the cowboy doll’s struggles.
Compared to it’s predecessors, this film definitely feels like it’s trying to pay homage to it’s past stories, but also trying to embrace these characters with new eyes. Much of the original crew that created the first film have moved on, making this an effort largely created by a newer generation.
For a portion of the film, the character of Forky becomes our Buzz Lightyear: a toy that can’t quite accept what it is, and thinks it is something else entirely. I had hoped there would be a bit more interaction between Woody and Forky, but while Forky’s antics are quite entertaining, he soon seems to become little more than our macguffin for the story.
For those expecting to see some of their favorite toys in action, most of them are shuffled to the sidelines. Even Buzz feels quite under-utilized here. At one point, the story “equips” him with a running gag, but it quickly peters out after the first few uses.
In this film, our attention is given over to a number of “new toys.” From an antique doll named Gabby Gabby (Christina Hendricks) to a pair of carnival toys named Bunny (Jordan Peele) and Ducky (Keegan-Michael Key), the film gives these characters (and several others) a chance to shine.
One thing the film’s advertising has not shied away from, is publicizing the return of a character that was sorely missed from the last film: Bo Peep (played once again by Annie Potts). Her appearance here may be one of the most radical re-imaginings for a character PIXAR has done, as the once soft-spoken porcelain doll, has become quite independent in her time away from the others. One of Woody’s greatest fears is to be a lost toy, but Bo seems to prove that one may not always need a kid to survive in the world.
For most film series, the fourth film is usually the one that ends up crashing-and-burning, leaving people wishing the filmmakers had walked away a long time ago. While Toy Story 4 doesn’t quite top the toys’ last adventure in my book, it proves that PIXAR is still a major talent to be reckoned with.
I will confess that a whirlwind of emotions passed across my face through the course of the film, and while I was rarely ever bored, the flow of the film felt uneven at times. Still, when Toy Story 4 slowed down and took its time, that was where some of it’s most beautiful work “burned brightest,” and showed the company’s next generation of filmmakers may be quite capable of carrying the studios legacy to infinity, and beyond.
Final Grade: B+
Well…here we are. After four seasons and over 76 episodes, it all comes down to this.
With no way to fully take down the Solarian warriors under Mina Loveberry’s control, Star proposes a radical solution: destroy the magic power that controls them. Star reasons that if she can destroy the Realm of Magic, it will undo the spell her mother (Moon Butterfly) used to help Mina bring the warriors to life.
However, such a decision comes with a heavy price: not only will Star and others who wield the magic lose their powers, but the dimensional portals the magic controls, will be closed forever, shutting off all access to the majority of Star’s inter-dimensional friends…including Marco Diaz.
I don’t think any of us thought that when we first saw Star Comes to Earth four years ago, one of the biggest selling-points of the series would end up being the thing that had to be destroyed. At times, Cleaved almost feels on par with season 3’s episode Toffee, given that we’re dealing with the destruction of magic, but in a slightly different context.
While Eclipsa and Moon have parts to play in this story, Star and Marco are front-and-center for the majority of it. We do get to find out what happened to Tom from several episodes ago, though it feels like one of the weaker revelations in this story (almost like the writers needed to get themselves out of a corner, and keep him in the story somehow).
We also get some fan-related callbacks, as well as some unexpected revelations before the end of the episode, including just what “the whispering spell” incantation is (though it’s true purpose still is unrevealed).
For me, these 22-minute episodes have often been a way for the series to give us more emotional stories, and there is plenty of emotion to be had here (with one moment regarding Moon really getting me ‘right in the feels’). However, I also had to focus my attention on this episode’s story as a whole…and in that sense, Cleaved comes across as a good-but-not-great final effort for Star vs the Forces of Evil.
Maybe if the large, final storyline of the series had been packaged as a 2-hour movie, it might have felt more satisfying. Given what we’re dealing with in the 22-minute time-frame here, things feel a tad uneven, like there’s a rushed attempt to tie up a few loose ends before we get drawn into the final conclusion.
Speaking of conclusions, I had some ideas just where the story could end, and I was surprised to find I was…maybe, 35% on-the-nose? The other 65% was definitely something I couldn’t have foreseen, but I do feel that some of the stories following the season 4 Coronation episode, were hinting at what the conclusion would be.
In the end, it’s interesting to think how far Star Butterfly has come as a character after 77 episodes. From a hyperactive girl creating flaming rainbows, to a young woman who is willing to make a major sacrifice if it will help others, it has been quite a journey.
This wasn’t the ending I would have envisioned, but from an emotional and dramatic storypoint, Cleaved manages to do a decent job. It didn’t feel quite as satisfying an ending episode as Toffee from last season (or the conclusion to another great Disney animated series: Gravity Falls), but I doubt there will be many upset with how it all turned out.
Final Grade: B+
When I first started watching Star vs the Forces of Evil over 4 years ago, I noticed a lack of people writing reviews after the first few episodes. That led me to start filling the hole I found online with these reviews of my own. Out of a number of things I’ve written about on this blog, this series is the only one I’ve reviewed from (near) it’s start, all the way to the end.
While Star has not had enough outstanding material to put it up with some of the best animated series I’ve seen, it’s weirdness and acknowledgments of “magical girl” anime, were what kept me watching, and to see what Daron Nefcy could bring to an American-made magical-girl series.
One of my biggest disappointments, was while Star did garner it’s own rampant fanbase online, it seemed that many did not share in a lot of the show’s mysteries that intrigued me. There were not hundreds of people trying to decipher the Mewni alphabet we saw, wonder about the backstory of obscure characters, or try to draw conclusions around the dozens of things we saw that were never given answers to. While the Gravity Falls fandom would have been analyzing everything being thrown at them, the majority of the fandom for Star, seemed more hung up on which of the fanships being shouted about online, was “the one, true faith.”
While I am sad I didn’t really find an all-inclusive community to discuss the show with during it’s run, I was happy that I did have the chance to meet some of the cast and crew.
Along with getting the chance to speak with Daron Nefcy and Dominic Bisignino at The D23 Expo a few years ago, a highlight was running into Adam McArthur outside the convention hall, and getting a one-on-one meeting with him (plus, Marco gave me a Birthday shout-out in one of the show’s livestreams a few years ago too!).
A lot of younger fans have expanded on the series in numerous ways, with all manner of fanart and comics that have shown up online. As for me, I took the ticket and rode the ride as far as the tracks would take me when it came to the series (and the un-finished Joe Books comic series and the two Disney book publications tied into it). Much like how the series Urusei Yatsura and Ranma 1/2 I read in my teens/twenties ended, Star vs the Forces of Evil’s final episode assures us that the adventures will continue, but for us in the visual realms of animation, it seems that the portal has officially closed.
This may not be the end of Star articles for me, as I may do a few more introspection articles on the series, or another Top 10 episode list. For now however, it’s time to wrap up this last episode review for Star vs the Forces of Evil.
Good night, and good luck.
Episode Review: Star vs the Forces of Evil (Season 4, Episode 20) – Pizza Party / The Tavern at the End of the Multiverse
As we move into the final episodes of Star vs the Forces of Evil’s fourth (and final) season, it looks like Mina Loveberry is not going to make things easy.
With a massive army of Solarian warriors and major threats to the monsters of the kingdom, things may be taking a turn for the worse in this latest episode.
In a shocking revelation, Moon reveals that Mina is actually working for her, but promises she can quell Mina’s bloodlust, if Eclipsa surrenders the crown to her, and leaves Mewni, along with Globgor and Meteora.
This story is one where there’s quite a number of revelations and head-butting to be had. It could have easily spiraled out-of-control between several of our characters, and ended up becoming a major shouting match, but I was surprised at how the story managed to weave everything together in a satisfying way. There’s plenty of things going on in this segment, that kept me eager to see what would happen next.
Earlier in the season, I was wondering about Moon’s feelings towards Eclipsa after events in season 3. I had a feeling she might harbor some ill feelings towards Eclipsa, but I definitely didn’t think she was capable of doing what she did. We also see that the Magic High Commission may have also wished Mina to return things to “normalcy,” but it looks like it is more for their benefit, and not that of the kingdom. In a pop-culture sense, it feels like Moon and the Commission, acted like the Mob in The Dark Knight, hiring an unstable individual to take care of their problem…but not realizing just what they were getting themselves into!
One other major surprise is in the opening, where we get a little backstory into who Mina was, before she was drafted into Queen Solaria’s Solarian Warrior program a long time ago. We also get our first animated viewing of Solaria in the flashback as well.
Final Grade: B
Before Mina can attack them, Star, Marco, Moon, and Eclipsa are magicked away by Hekapoo, to the Tavern at the End of the Multiverse. The tavern functions as a neutral zone, and Hekapoo feels she’s saved the group from certain death. However, Eclipsa, Moon, and Star do not want to just sit around doing nothing, while Mewni is in peril.
While Moon and Eclipsa have a heart-to-heart over a game of pool, Star is surprised to find Glossaryck at the tavern, and forces him to have a discussion with her.
We also get some “ticking-clock” imagery from Mewni, regarding the fate of the monsters there, as well as what being attacked by a Solarian warrior’s sword can do to a monster (which is so shocking, it even freaks Janna out!).
This segment continues the trend of shocking revelations that we’ve seen over the last few segments. We get some regarding Moon, and a few regarding Star. Star’s revelations though, might be the most emotionally-charged of this entire segment. We get a return to The Grandma Room as glimpsed all the way back in season 2, to discuss something we saw there…and what it may mean for the future of Mewni.
It is very nice to see the writers didn’t waste their final 11-minute segment for the series. The talking that goes on here is quite revelatory, and it never feels like any of the time is being wasted.
Final Grade: B+
And then…there was one. One episode to go, and Star vs the Forces of Evil, comes to an end.
Join me soon, as I review the final episode: Cleaved. At the end of the first season, Glossaryck of Terms mentioned that something can be cleaved in two ways. It can be cleaved apart…or cleaved together.
Just what could this final title possibly mean?
On the last episode of Star vs the Forces of Evil, our teenage gang returned to Mewni, and Mina Loveberry threw down the gauntlet, trying to take control of Mewni back from Queen Eclipsa.
It looks like a new Battle for Mewni…has begun.
Things look bleak for Eclipsa and the monsters in her palace, until Star, several of her friends, and a number of Mewni warriors come to her aid.
If last episode’s segment was the wind-up, this one is the pitch, as we see Star and her cohorts attempt to do battle with Mina. Sadly, most just end up as little more than cannon-fodder when going up against her. However, there are a few surprises to be had. There also is a moment which might be Ponyhead’s most sincere declaration ever…but then again, she might just be playing it up big for her Ponyhead Show audience that’s watching the battle.
Star is the stand-out here, utilizing her magic in a way we haven’t seen before. Out of all these characters she is definitely the most powerful, and we see her wage a major fight that gets quite intense at times.
Eclipsa does come into play at one point, as well as one of her spells that was hinted at a few episodes ago. I had a feeling we’d see this used before the end of the season, though what the writers and artists conjure up for the damage the spell can do, definitely makes it quite shocking when we see it in action.
While the battle scenes definitely got my blood pumping, and Eclipsa’s use of a major spell was quite shocking, the up-and-down feeling of emotional momentum in this story kept me from really enjoying it like I was hoping to.
Final Grade: B-
It turns out that the giant Solarian warrior that was thought to be Mina…wasn’t. Soon, Mina does show up at Monster Castle, leading a massive army of Solarian-warriors, and giving Eclipsa a time-frame to surrender…or be destroyed.
Things look bleak, until Moon Butterfly, and River Johansen arrive at Eclipsa’s palace, willing to help.
This segment seems to be rife with little ‘group-meetings.’ From Eclipsa and Moon, to Star and Marco, it seems to be a story rife with discussions. There’s even a little bit of discussion between River and Globgor. It’s not much, but it’s rather nice to see that River is still staying the course on giving respect and help to the new King of Mewni.
The writers also choose this segment, to mention some revelations between Star and Marco, from last episode’s Mama Star segment. It may seem a little out-of-place to thrown in such talk with a major battle about to take place, but it feels like this may be the last chance to have a conversation like this one (I won’t lie: my jaw dropped a few times during their conversation).
There also is another major revelation to be had, but like most stories we’ve seen in the series, this happens mere seconds before the story ends, leaving us on a cliffhanger ending.
Final Grade: B
Well, it looks like the battle has begun. Next episode, some of the revelations we’ve seen here will be opened up a bit more, and we’ll see just where Mina is going to go with her threats to wipe out the monster population for good.
See you for my next review, on the second-to-last-episode for Star vs the Forces of Evil’s fourth season.