DC League of Super-Pets (2022)

I didn't expect to see another movie that begins with the last day of Krypton so soon, but Netflix announced that it would stop streaming this month. (I get Max now; it just takes me a little longer to set up.) DCLoSP didn't tempt me when it was in theaters, if only because nobody I knew was talking about it, but it does get decent ratings across sites, along with a number of minor award nominations and one win. It seemed apt for light fare to pass the time.

Krypto (Dwayne Johnson), the last dog of Krypton, likes saving the day with owner Superman (John Krasinski) but becomes overly jealous of the attention Supes lavishes on Lois Lane (Olivia Wilde). In his sulking, he's late to notice Superman's abduction by Lulu (Kate McKinnon), a hairless guinea pig who'd been a like-minded lab subject to Lex Luthor (Marc Maron). Lulu has gotten her paws on orange kryptonite, which bestows random superpowers -- in her case, strong telekinesis -- on nonhuman animals, and tricked Krypto into swallowing just enough green kryptonite to depower him for most of the 105-minute runtime. Her platoon of guinea pigs with other powers apprehends the rest of the Justice League in a bid to take over the world. Fortunately, she has betrayed four other critters in the pet shop, who are now willing to use their incidental powers to team up on Krypto's rescue mission. They just have to get the hang of it fast, because Lulu will wait only so long to kill the Justice League.

Animal Crackers (2017)

No, that year is not an error; despite U.S. production, this movie was first released in France three years ago, followed by China two years ago, before finally reaching American eyes via Netflix last week. I had heard about it while it was in production, because auteur Scott Christian Sava put his now-concluded webcomic, The Dreamland Chronicles, on hiatus for that purpose. (You can see TDC characters in the Blue Dream Studios logo sequence.) For the same reason, along with a recommendation from a friend, I took interest in AC, which has had probably the poorest overall reception of anything reviewed on this blog but is still getting a lot of Netflix views.

Owen (John Krasinski), nephew of circus owner Buffalo Bob (James Arnold Taylor), sees little choice but to take a lousy factory job in order to appease a CEO (Wallace Shawn) before marrying his daughter Zoe (Emily Blunt, still John's beloved on and off screen). When tragedy strikes the circus, Owen receives a box of what he first takes to be ordinary animal crackers, but eating one magically turns him into the depicted animal and, thankfully, generates his personal human-form cracker to change back. Now he is urged, not least by Zoe and their young daughter (Lydia Rose Taylor), to drum up business for the circus again by performing various animal acts himself. But his other uncle, Horatio (Ian McKellen), who left Bob on bad terms, will stop at nothing to reclaim that success for himself.

A Quiet Place (2018)

This was one of those times that I felt like I knew enough just from the trailer, with a couple extra details from a review or two. It's certainly simple in concept. I also postponed my viewing in the off chance that I found it too scary for comfort. But one of the few genuinely promising horrors on my queue could not be ignored all month.

The cast is quite small, because few people or animals are left alive by late 2020. For months, a blind but excellently hearing species has been annihilating and, I assume, devouring them. Our focus is on a single family living in a rural area, making trips to an abandoned town as needed. So great is their dread of attracting monsters that they rarely even whisper, opting for sign language and going barefoot everywhere. And lest you think that the plot amounts to a now-typical couple of days in their lives, the mother (Emily Blunt, actual wife of costar and director John Krasinski) is heavily pregnant....

The Prophet (2014)

I read the Kahlil Gibran book long enough ago that I don't remember much of it, but I know I liked it. It presents some pretty unusual takes on philosophy, and even in the few places where I disagreed with title character Al Mustafa, I could enjoy the poetic presentation. Of course, there isn't much of a plot to the book, so any screen adaptation would have to add to it.

Indeed, Mustafa (Liam Neeson) isn't even the primary focal character in this movie. That honor goes to Almitra (Quvenzhané Wallis), a prepubescent girl who has said nothing in the two years since her father's death. Feeling unwelcome at school, she stubbornly follows her mother, Kamila (Salma Hayek, also a producer), whose job is to care for Mustafa during his house arrest. It's fortunate that Almitra didn't wait any longer to make his friendly acquaintance, because a surly sergeant (Alfred Molina, again with Hayek) shows up to usher him to a ship to his homeland, essentially changing the sentence to exile from his present environs. Many villagers slow their travel to the harbor, expressing gratitude to Mustafa and listening to any wisdom he has to offer. But Almitra overhears that the sergeant has a nastier plan for him....

The Wind Rises (2013)

Finally, I've seen every Best Animated Feature nominee from that year and, more importantly for myself, every feature ever directed by Hayao Miyazaki! Funny thing, tho: I kept swinging between eagerness to see it and trepidation. It seemed odd that his farewell piece would be his only non-fantasy (not counting The Castle of Cagliostro, which is fantasy only in the typical James Bond sense). In fact, it's based loosely on the life of real WWII plane engineer Jiro Horikoshi, whose vision prevented him from flying but whose "vision" let him excel at what he considered the next best thing.

Nevertheless, I detect enough commonalities to accept it as somewhat representative of Miyazaki's work. He showed a penchant for flight in Castle in the Sky, Kiki's Delivery Service, and Porco Rosso. He expressed interest in serious illness within families in My Neighbor Totoro. Several of his stories take place a while back. His penultimate co-writing, From Up on Poppy Hill, presents a similar level of realism and Japanese identity. The occasional desolate landscape does not detract from Studio Ghibli's signature background beauty, with that odd anime combination of modern crispness and old-fashioned low frame rates. And if you really demand a touch of whimsy, the protagonist does have quite a few dreams and daydreams, albeit less bizarre than mine.