Mission: Impossible -- Dead Reckoning Part 1 (2023)

What a trickily punctuated title. Someone must regret that the original had a colon. Anyway, since the past three sequels had been going strong and Christopher McQuarrie was still directing, I figured it was a worthy way to fill an evening. Kinda surprised there weren't more people in my theater on its U.S. debut.

What can possibly challenge Ethan Hunt (Tom Cruise) anymore, when even age doesn't seem to slow him down? An online AI gone self-aware and rogue, now known only as "the Entity," has been infiltrating all kinds of sensitive information systems. Ethan's mission is to collect the two halves of a key that promises access to the Entity somewhere, but once he understands that the government wants to control rather than destroy the Entity, he himself goes rogue. Not only does he once again have Impossible Missions Force support only from Luther (Ving Rhames) and Benji (Simon Pegg), with the rest of the IMF after them, but they can't rely much on their state-of-the-art equipment with the Entity compromising things. To make matters worse, sadistic terrorist Gabriel (Esai Morales), a personal foe from before Ethan joined the IMF, is serving the Entity's interest.

Flee (2021)

I was not aware that a nearly fully animated feature with voice actors not all playing themselves could be called a documentary, tho some have come close. Waltz with Bashir may have been the first I saw that truly qualified. Anyway, I watched Flee partly to complete another year's worth of Academy Best Animated Feature nominees and partly because, on a flight where I had trouble hearing the dialog through earbuds, subtitles came in handy.

Amin (not his real name) lives in Denmark for quite some time without telling anyone, even his fiancé (not fiancée), what his life was like before. As the trauma interferes with his conviction to marry, he finally opens up to director Jonas Poher Rasmussen about how his family of six had to get away from the rigors of wartime Afghanistan and then Soviet Russia when he was a teen. For most of the story, they were not all together.

Sonic the Hedgehog 2 (2022)

It's a pretty pathetic evening when the most promising showing at the multiplex is a video game adaptation sequel. I never even watched a whole video game movie before, because none had been reputedly better than mediocre. So why'd I go at all? Because my apartment building would have no power until at least 8 p.m., possibly 10, and I could think of no other way to fight boredom that long. Hmm, perhaps I'm pretty pathetic that way.

The teenage anthropomorphic hedgehog (Ben Schwartz) presently lives in a U.S. suburb with two quasi-parental humans, Tom (James Marsden) and Maddie (Tika Sumpter). He wants to use his Flash-like speed for good but accidentally causes about as much trouble as he foils. Not feeling ready for heroic responsibility, he contents himself with partying while Tom and Maddie are attending a distant wedding. That's when his archnemesis, mad engineer Dr. Ivo "Eggman" Robotnik (Jim Carrey), returns from exile with the help of Knuckles the Echidna (Idris Elba), who considers Sonic a tribal enemy and the key to recovering the Master Emerald, an extremely powerful creation. Of course, Robotnik has his own priorities for the emerald. But lest you think that Sonic has to handle them both alone, in comes Miles "Tails" Prower (Colleen O'Shaughnessey), a two-tailed, aerodynamic fox wunderkind with engineering skills rivaling Robotnik's, who's admired Sonic from afar and knows a few things about Knuckles.

White Nights (1985)

The title refers to the far-northern phenomenon of sunlight way into summer nights. Sure enough, the story takes place in that setting, and while the white nights themselves are not important to the plot, they serve as a symbol of confusion and frustration. I had not known this when I saved the DVD for the start of daylight saving time.

Famed first-generation American dancer Nikolai (Mikhail Baryshnikov himself) has a stroke of bad luck when his malfunctioning commercial plane (I assume this was never an in-flight movie) has to make an emergency stop in the USSR, from which he defected. In his unsuccessful haste to hide his identity, he does not brace himself for a rough landing and thus gets injured and knocked out. When he wakes, he's not in prison in the conventional sense, but neither is he allowed to go much of anywhere unless he agrees with the proposal of Col. Chaiko (Jerzy Skolimowski) to dance for Soviets again. In the meantime, in addition to being on camera, he's supervised by roommates Raymond (Gregory Hines), a stage actor and tap dancer who defected in the opposite direction; and Darya (Isabella Rosselini's U.S. debut), Raymond's wife. Can Nikolai persuade them to take the risks needed to let him flee, bearing in mind that the KGB could very well claim he died from his crash injuries?

Black Widow (2021)

While my mom enjoyed Wonder Woman and Black Panther, she was only half-interested in this woman-led superhero feature. If Dad and I had decided to go to the theater instead of using Disney+, she wouldn't have watched. Hey, it has only a marginally better reception than Captain Marvel at present. But I still didn't feel like waiting any longer to see it.

I knew this was a prequel, but I didn't realize that most of the plot took place in the wake of Captain America: Civil War, when Natasha (Scarlett Johansson) is hiding from the U.S. government for being among the rebel Avengers. She's not actually the only "Black Widow," just the most public; there's quite an army of thusly dubbed hitwomen trained from childhood under General Dreykov (Ray Winstone). Yelena (Florence Pugh), a Widow who had basically been Natasha's foster sister for a few years, finally makes contact again out of desperation: Dreykov has been controlling the Widows' actions via a chemical compound, but a special gas in a small supply of vials can counteract the effect instantly, completely, and indefinitely. To distribute the gas as needed, Natasha and Yelena will need to learn the location of the base of operations, known as the Red Room, with help from their past ersatz parents, Melina (Rachel Weisz) and Alexei (David Harbour). Of course, they'll be up against a lot of similarly skilled women, including an intimidatingly armored elite whom Wikipedia identifies as Taskmaster (Olga Kurylenko).

Nicholas and Alexandra (1971)

I think I had two main reasons to put this on my queue: The Academy nominated it for Best Picture, and the early '70s were a good time for dramas. Of course, it wasn't so good if you wanted a happy ending. And once I realized who the title characters were, an unhappy ending was a foregone conclusion.

You don't need to be well versed in history to recall that Nicholas II (Michael Jayston) was the last tsar of Russia. This movie begins in 1904 with him and his wife (Janet Suzman) welcoming a son after four daughters. That may be the last time we see them both happy, and it's not for long, as they learn of little Alexei's hemophilia -- terrible news for anyone and all the worse for an heir apparent to the throne, whom the public should not see as fragile. Little do they know how moot that point is, thanks to growing unrest in the empire. For the next nine years, Alexandra entrusts her son's health to the mysticism of Grigori Rasputin (Tom Baker of Doctor Who fame), without her husband's approval.

Creed II (2018)

I had mentioned that the first Creed made allusions to Rocky IV, being the movie in which Apollo Creed dies in the ring. Apparently, that was just a warm-up. Perhaps writer and producer Ryan Coogler (having turned direction over to lesser-known Steven Caple, Jr.) had this in mind all along.

Right after Adonis Creed (Michael B. Jordan) wins the world heavyweight championship, a blast from the past appears: Ivan Drago (Dolph Lundgren), his father's fatal opponent. Ivan hasn't gotten any kinder with age, nor has he softened his grudge against Adonis' trainer, Rocky Balboa (Sylvester Stallone), for costing Ivan a lot of honor. His idea of settling the score is to have his own son, Viktor (Florian Munteanu), defeat Adonis.

Ivan's Childhood (1962)

Well, what do you know: I saw another Andrei Tarkovsky picture after all. Admittedly, I missed his name when I selected it, but there's no missing the bleak imagery on the poster for what has also been marketed as My Name Is Ivan. You can tell right away that Ivan does not have an enviable childhood.

Ivan is 12 but rarely acts that young, being eager to serve the USSR against invading Germans. His motive: revenge for his family, as we see in flashbacks. His advantage: small stature for spy stealth. His disadvantage: age-based lack of respect as an equal by adult allies, who'd rather send him to a military academy than to the front. He spends a lot of time waiting impatiently for a task, seemingly forgetful that there are much worse things in war than boredom or a sense of futility.

Queen of Katwe (2016)

Ads for this movie jumped out at me because, for the first time to my knowledge, Disney was portraying native sub-Saharan African humans. Specifically set in Uganda, with a number of authentic Ugandans, tho they had to settle for South African backdrops and cast members much of the time. I appreciate that most of the actors, regardless of age, had little to no prior experience, so they probably gained a bit. And we the viewers lose nothing from it.

The story covers in brief the adolescence of real-life Phiona Mutesi (herein played by Madina Nalwanga) from 2007 to 2012. Coming from one of the poorest families in one of the poorest regions of an overall poor country, she doesn't expect to make much of her life. Then missionary Robert Katende (David Oyelowo) discovers her talent for chess and encourages her to compete as far as she can. Of course, in true Disney fashion, her mother (Lupita Nyong'o, evidently employed only by Disney nowadays), not without reason, does not readily see the value in having her stray from her assumed position in the world. And Phiona herself repeatedly doubts her worth.

The Scarlet Empress (1934)

I had known next to nothing about Catherine the Great, and what I had learned of her was not from school. I couldn't have told you that she lived in the 18th century. I might not even have remembered that she ruled Russia. This alone was enough to justify my viewing, but it's not the only justification.

The film starts in her youth as German Princess Sophia and ends with her becoming the Russian empress. In adulthood, she is played by Marlene Dietrich. The focus lies primarily on her disenchanting arranged marriage to unhinged Grand Duke Peter (Sam Jaffe in his silver screen debut), her mother-in-law Empress Elizabeth Petrovna (Louise Dresser) demanding that she be fully dutiful and bear a son, and her unstable adulterous feelings toward Count Alexei (John Lodge). You may well imagine how the tension builds within the royal family -- and what happens after Elizabeth passes away.

Andrei Rublev (1966)

This may be the longest movie I've seen since I started this blog. Running nearly 3.5 hours with no overture or intermission, it feels like it could easily have been edited down to less than half as much. Even for a Russian classic, that's a lot.

It had also been one of the British Film Institute's favorite films that I hadn't seen yet, at #27 on their list of 50 greatest. But that did nothing to get me psyched for it. I have to say, the BFI's taste doesn't appeal to me nearly as much as the AFI's. Perhaps I'm something of an ugly American after all.