Posts by Gino Sassani

"It's a beautiful day in this neighborhood. A beautiful day for a neighbor. Would you be mine?
Could you be mine?"

Anyone who was a kid from the 1960's to the 1990's and beyond recognizes Mr. Rogers and his neighbor song. The man defined children’s programming for television, and he did so from a small studio tucked away in Pittsburg, Pennsylvania for almost 40 years. There aren't many people living in this country who don't at least know who Fred Rogers was. It would be a complete waste of my space and your time to tell you very much about the man in these lines. Truthfully, you'll make the kinds of discoveries into the nature of who he was by spending a short 90 minutes watching the documentary Won't You Be My Neighbor that appeared last year. It will be time well spent no matter how little or much you think you know about him. But now hot on the heels of that incredible documentary comes a film staring Tom Hanks as the lovable neighbor we all used to wish we had. Recently Ancestry.com confirmed that Tom Hanks and Fred Rogers are related. Of course you have to go back the pre-revolutionary days of 1734 to find this elusive relative. But you won't have to time travel to spend a magical time with Mr. Rogers and Tom Hanks. In 2019 they happen to be the same man.

It's been six years since Frozen became somewhat of a surprise hit out of Walt Disney Studios in 2013. No one was surprised it made a good haul at the box office, but I suspect that even the masterminds at Disney never saw this billion dollar baby when it was first being born. It's become the biggest original hit out of Disney since the original Lion King set animated feature records in the 90's. I'll give the studio credit. They didn't rush out and try to cash in on the momentum as quickly as other studios would have. They took their time and assembled the same team of directors and songwriters and allowed the process to follow a six-year process with the intent of doing it right rather than doing it fast. For the most part I think that strategy paid off, and while this film will never be the classic the original has become, it will fit rather snugly into the franchise and will delight children while possibly cursing the adults who are fated to watch the film over and over again. This is absolutely one of those kinds of movies.

It all starts in the past where we spy young Elsa and Anna playfully getting ready for bed. The King puts them to bed with a story out of the kingdom's past. He regales them with how their grandfather met the people of an enchanted forest who had magical powers over the four elements of land, fire, air and water. They are told of the great gift of peace their grandfather gave these people in the form of a huge dam. It all turns nasty when the story continues to tell of a peaceful gathering where the people of the enchanted forest suddenly attack the people of Arendelle. The elements were so angered by the act of betrayal that they separated the kingdoms and enshrouded the enchanted forest with an impenetrable fog that has isolated the forest ever since.

Director Roland Emmerich is no stranger to big-screen battles. The difference is that up until this year those battles have been against aliens, huge climactic changes, or giant lizards named Godzilla. There's no question that he understands how to shoot epic confrontation. The question I had going in to Midway was, can he deliver a battle that wasn't fiction? After nearly tow and a half hours, the answer came back somewhat mixed. This isn't the first time that the Battle of Midway has been brought to the big screen. In the 1970's Charlton Heston gave us a film that was more renowned for the trendy Sensurround gimmick than it was for the drama that unfolded on the screen. Sensurround was a fancy name for huge subs that would shake the theater, and if you were lucky enough to be seeing the film at a theater with enough money to go all the way, you might have found yourself in a seat that was wired to shake, rattle, and roll. Today the chains call that Dolby. This Midway didn't lend itself to some William Castle hustle. It's all up on the screen. The film bears no relation to that earlier effort except for the legendary battle in the Pacific that turned the tide of the Pacific theater of World War II toward the Allies. The film actually shares more in common with the classic Tora Tora Tora in that we spend a good deal of screen time with the Japanese players in the battle. Not at all like the earlier gimmick film, this movie is intended to place you squarely in the middle of the action. If that's what you came to see, you are certainly in for an immersive experience only without the hot-wired seat.

The film doesn't start with the titular battle. In fact the term Midway might just as easily describe when that famous event would occur in the film as much as it describes the actual battle itself. The film begins in 1937 a full four years before Pearl Harbor. We get a sneak peek inside the Japanese hierarchy and the seeds of what we already know is to come have been planted. From there the film spends about 30-40 minutes on the actual attack on Pearl Harbor. From there we are treated to the Doolittle raids on Tokyo, which were our direct response to the attack. At this point the focus shifts to the intelligence department of the war where intercepted information is gathered and interpreted. That information is passed along to Charles Nimitz, played incredibly by Woody Harrelson, who has to decide what the enemy is up to and the best use of America's limited naval resources to counter that action. All of the big shots think the Japanese are planning one kind of attack, but Nimitz trusts the leader of one of the intelligence teams who believes the target is Midway, a collection of small islands important most notably as a fueling station between Japan and Hawaii. That intelligence officer is Ed Layton, played by Patrick Wilson. The film spends perhaps too much time with these two talking about the intelligence. We know it's Midway. Even if you didn't do quite so well in history class, it's the name of the film, for crying out loud. Instead of the quick mention, Nimitz and Layton spend too much time with: "Are you sure?". "Yes, I'm sure!" "Are you really sure?" "Yes, I'm really sure!" "Are you really, really sure?" and so on.

"There's just more to it than picking the right color. It's the texture, the weight of the material. One wrong choice, it can destroy the look of the entire room."

Film rights can be a tricky and complicated issue. Sometimes these rights aren't quite clear and lead to popular titles never making it to the home video market, or at least suffering long delays as in the 1960's Batman television series situation. Often rights are held for certain periods of time and end up moving from holder to holder. That's been the case with the Terminator franchise. The result has been some sequels that pulled in different directions and failed to provide a nice linear history from film to film. Now those rights have reverted back to a favorable situation for the likes of James Cameron. The result is an attempt to get back to the original course of the first two films. Terminator: Dark Fate picks up from T2 and ignores any of the other films made since then. It's very much like the path taken by the new trilogy of Halloween films we got a taste of last year. There isn't any denying the fact that T2 was the best this franchise has had to offer. Something was always just a little bit off with the rest of the films. There's a texture to all of this that James Cameron has a unique eye for. And while he didn't direct this film, he created the story and produced the film. Like the new Halloween direction, this is also intended to be the first film in a new trilogy. The Terminator franchise appears to be back, and on track to please the legions of fans from the old to the new.