47 Ronin (2013)

Japan’s historical story of “47 Ronin” is as sacred there as George Washington crossing the Delaware is here: A samurai army who wait more than a year living in excommunication before taking revenge and the head of their enemy after their master is dishonored and forced to commit suicide. Hollywood? Not impressed. Reaction: Let’s Tolkeinize it with dragons and a witch with a snake fetish, and Keanu Reeves. Because Keanu knows kung fu. And everyone loves CGI dragons. Did I mention the magical Voldermort doppelganger? Yeah. They did it. While never dull, “47 Ronin” is a mess of pop culture hits reheated into a mess. Reeves’ heroic Kai -– mostly seen in cut/paste reaction shots -– is an American raised in Japan, having been found as a starved, wounded child by the same sensei who later will be dishonored. As Kai is central, that not only slides Japanese hero Oishi (Hiroyuki Sanada) to the role of second fiddle, but racist asshole. See, Oishi constantly derides Kai as “half breed” until he needs Kai’s fighting skills, then it’s all, “We’re pals!” So, opportunistic second fiddle racist asshole. Imagine Washington treated like that. C-

Apartment 3013 (2013)

“Apartment 3013” is a horror flick with one worthy scene. It comes in the middle with a sick thud, and it is a welcome jolt. I won’t spill details. It’s the only highlight of a remake of a Japanese horror with every genre cliché. We open as 24-year-old Janet (Julianne Michelle) bolts home to move into her own sweet flat at $700 per month. Uh-oh. By her first night the gal is so scared -– ghosts, noises, perv super -– she screams exposition such as “I’m so scared!” This comes before a cop grimly tells Janet’s sister (Mischa Barton), “Apartments don’t kill people, people kill people.” Not mentioned: “The only way to kill a bad apartment with a ghost is a good apartment with a ghost.” This film is that awful. The bad actors try. But “3013” looks ugly and is boring. Continuity/editing errors abound. Hammer to skull: Faded star Rebecca De Mornay plays the alcoholic mom, a washed-up rocker who dresses like a demented Stevie Nicks, swinging her martini glass around like a community theater actress trying too hard. Tone it down, sweetie. D

Godzilla (2014)

Let 1998’s “Godzilla” stay dead. Jump 16 years and add director Gareth Edwards (“Monsters”) and the King of the Monsters is back in “A” shape. From the conspiracy-churning opening credits, this “Godzilla” sets a dark path while looking back to the Japanese original and riffing strong on Spielberg: Watch for “Jaws” and “Close Encounters” homages. Edwards proves he’s not joking with an upfront scene that left me awed with anticipation. Bryan Cranston is a scientist convinced a disaster years prior was not natural, yet no one believes him, least of all his soldier son (Aaron Taylor-Johnson). A visit to a fallen nuclear plant proves Cranston right as a beast -- not Godzilla -- emerges. The lizard king soon surfaces. And he’s a rare CGI thrill. Yes, we get the ordinary, plucky staple of disaster-movie heroes, and some great actors get lost (sorry, Sally Hawkins), but the city-crushing monster fights and ways Edwards keeps us trapped just out of view of his beasts is a marvel. The serious tone recalls those so-called “B”-grade originals were grimly paranoid, despite the models and zippers. In a superhero top-heavy summer, it’s cool to see a classic wisely reborn, breathing fire and roaring loud. A-

The Wind Rises (2014)

Animation legend Hayao Miyazaki has called –- only to retract the statement -- “The Wind Rises” his final film. Thank goodness. We need Miyazaki. “Wind” is unlike anything in Miyazaki’s past, eschewing pure fantasy, it’s a dream-heavy dramatic take on engineer Jiro Horikoshi (Hideaki Anno) who would design for the prototype fighter jet that would spawn the infamous Zero plane of World War II. Horikoshi -– an innocent whose dreams of piloting are mooted by poor eye sight and haunted by a devastating earthquake –- knows his designs will be used in war. His childhood dreams of flight were marked by scenes of war early on and as he grows older, the darkness only increases until a massive group of glimmering planes become a graveyard of wreckage. He proceeds anyway, despite his desire to build aircraft to improve, not dominate lives. “Wind” stops far short of calling Horikoshi’s work criminal. Could he have refused the work? Miyazaki introduces empirical reality as Horikoshi’s “patriotism” is questioned, and his romantic marriage is put to the side for work. Put aside politics and nationalism, this is great unequaled work of art, of a dreamer by one of our greatest dreamers. The animation here is breathtaking, unparalleled. A

13 Assassins (2011)

I saw “13 Assassins” smack dab in the middle of this summer, and suddenly every rote dish of super heroes and fighting robots fell away. This is what an action/thriller is supposed to be – a sense of living in the moment, where anything can happen, and yet the filmmaker ups the ante. Director Takashi Miike’s kick-ass film is a bloody violent and smart return to the samurai genre, worthy of Kurosawa’s “Ran” and “Throne of Blood.” The plot is a classic staple: An aging warrior (Kōji Yakusho) is given a suicidal task he welcomes for he will die in battle. His target: Lord Naritsugu (Gorô Inagaki), a sadistic Shogun who zealously enjoys murder and rape. The massive end battle is a brilliant game of chess: Every grisly move and horrifying trap is a planned strategy to dismantle the enemy. The title’s 13 warriors give as good as they take, and in a wild card act, Naritsugu enjoys the chaos. There’s wit abounding, and the supernatural acts of gods and spirits if you’re looking. In a summer of mostly underwhelming calculated hits, Miike stands tall, sword in hand, splattered with the blood of lesser films, ready for more challengers. I doubt there will be any this year. A

Howl’s Moving Castle (2005)

The 2005 release “Howl’s Moving Castle” is my third Hayao Miyazaki film in as many months, and it’s as out-of-this-world magical as its sister films (“Spirited Away“ and “Ponyo”). A girl who works in her late father’s hat shop encounters in a single day a kindly but eccentric wizard named Howl and a self-fawning, cruel witch. The former saves Sophie’s life, while the latter sets a spell that turns lass into old lady. The stricken Sophie flees home, only to encounter the titular structure, a (literally) roaming mishmash of dozens of castles, houses and cottages. "Howl" casts its own spell with a surreal plot, shifting character loyalties and -- hands down -- some of the best animation I’ve ever laid eyes on. Miyazaki’s films have become my favorite film fantasy outlets of recent, and “Howl” delivers: The sites, images and many places see here have never been done before. The American dub has Christian Bale as Howl, Emily Mortimer as (young) Sophie and Billy Crystal as a fireplace demon. The last thankfully low key. A

Spirited Away (2002) and Ponyo (2009)

Until just recently, I had not yet seen a Hayao Miyazaki film. Shame on me. This brilliant animator is a reminder that hand-drawn can out ‘wow’ even Pixar’s best computer effects. Plus, his films have deep themes and wonderful characters to match the visuals. Wow.

“Spirited Away” is intricate, imaginative and beautifully bizarre, and even two viewings don’t do its themes justice. That the plot can’t be summed up in a movie poster tagline is a treat onto itself. Long story short: Whiny pre-teen Chihiro must grow up fast after she and her parents become trapped at a derelict supernatural theme park that is anchored by a mysterious bathhouse. The kicker: Chihiro’s parents have been turned into pigs, and she alone must save them. The animation is pure magic: Every scene has depth – rooms look full and packed, as do stairs and even a rail car, and when characters collide into each other or into walls, you can feel the impact. There’s blood, and it looks sinewy and real. As Chihiro becomes the hero, it’s a pleasure to be by her side. Hell, Miyazaki’s fascinating world made me want to be inside the action. The voice cast, even in the American dub, is flawless. An absolute gem of animation. A+

“Ponyo” is geared toward a younger crowd, but has such a joyful surreal bounce to it, that the ride is equally enjoyable for adults. Here, a young boy finds a fish by his ocean island home. But, this is no ordinary fish. Ponyo, once she tastes bloods, can turn into a human girl. The film follows the boy, his mother, toddler Ponyo, her father – a protector of the water, and her mother – a goddess of the ocean. Bold colors, wide eyes and “monstrous” waves with scowling eyes all sparkle like the best children’s picture book ever given life. It’s not a homerun, though. Two of the major celebrity voices in the English dub don’t work. Mainly, Liam Neeson as the fatherly protector of oceans. With an unmistakable sound of stern male authority, I never once believed his was the voice of such an oddball, clumsy antagonist. Equally, Cate Blanchett is playing off her “LOTR” elf while voicing the goddess. The effect distracts. A-

Empire of the Sun (1987)

"Empire of the Sun" is Steven Spielberg's first war-time masterpiece. Based on a true story, it follows an English boy named Jim (a young Christian Bale)ripped from his plush, white life in Shanghai and placed in a concentration camp run by Japanese during World War II. Jim grows up fast, from innocent wide-eyed choirboy to a tradesman who knows the value of a dying man's golf shoes. There is so much death.

Bale is phenomenal, showing a huge talent in playing a boy becoming a man, still young enough to cry because he can't remember what his parents look like. "Sun" is built entirely around Jim's perspective -- no politics, grandstanding or war room scenes. If Jim doesn't directly see and experience it, we don't either. A scene of Jim finding his mother's bedroom ransacked, with footprints and finger scratches in talcum powder is startling -- he has no idea what has happened. He's too young to get it. We do. That's the beautiful horror of this film.

This is Spielberg's first great film about a child losing his innocence, and there's no cute alien here to save him. So what if the film has one too many wet-dream cinematic shots of flaming planes. Spielberg is firing on every cylinder here, testing out his mettle before diving into far darker, more adult far in 1993. And as "Schindler's List" is my favorite film of 1993, this is my favorite film of 1987. A