Posted in Film Review

‘Coming 2 America’ (2021) – movie review

The jubilant fanfare is blasting, the majestic elephants are trumpeting, and the sensual dancers are sprinkling rose petals on the ways to herald the emergence of the royal celebrity. It is no other person than Eddie Murphy’s Akeem Joffer himself after thirty-three halcyon years in his kingdom. He is back from the past and in America. Will the king’s festivity have the same level of brilliance it once radiated thirty-three years ago?

King Akeem has got it all, and he envies nothing: the beautiful, thoughtful wife, wonderful daughters, the loyal friend and aides, and the kingdom of his that nothing is wanting. But alas, as it is our human nature wanting something, we think needful or must-have, so is our king who is egged on to bring out-of-wedlock son now living in Queens, New York. Akeem goes to New York and meets his old acquaintances, all of whom look immortalized in the abeyance of time because they are still alive and kicking with a little bit more gray streaks and a few more inches in their midriff circumferences. And yes, Akeem meets his young, intelligent, and brave son because, after all, it’s his son with the good genes in the blood, while the maternal line is the working-class heroine of a good sort. And yes, the storyline is all over but the shouting with introductions of a few more new faces.

Coming 2 America is one of the recent Eddie Murphy’s big ambitious movies that he hopes to resurrect the glory of his days as the awesome, the one and only Eddie Murphy, one of the funniest comedians in the world. His sharp tongue offended no one because it wasn’t out of malice or tension to purge out his angst-ridden self. Even his pejorative language and slang were likable and genuine because he had a natural wit to make the words coming out of his mouth funny. Also, he had self-confidence in every scene he was, but it wasn’t hubris or warrior-like belligerence. People loved him for that and his movies, of course. But to be honest, when I watched this movie with enthusiasm mixed with nostalgia like meeting an old friend, I saw a different Murphy, who seemed to have lost that brilliant luster of the perk that signified him. Maybe that is why the movie’s story is mainly centered in his kingdom, for, in his kingdom, Murphy needed no quirky ad-ribs, no fast actions, no more youthful adventures of city life that would have required horse-whips of energy.

However, the movie is not a failure because it brings fans of everywhere a nostalgia for their days of youth (mainly in the 80s) and gives them PG-13 appropriate entertainment, free of gratuitous sex and violence that movies nowadays automatically opt for. The thematic elements of family value, love, and will to meaning in life metastasize in the narrative, which we so much want in this crazy era of history. Nevertheless, I still miss Eddie Murphy when he was bolder, wilder, and funnier. For those who agree with me, I suggest another recent movie, Dolemite Is My Name, a biopic movie about the eponymous movie star because in the movie Murphy is funny with soul. It is good to see him that way.

Posted in Film Review

‘Tom and Jerry’ (2021) – film review

The cartoons of the olden days always had partners in acts. Wile E Coyote and the Road Runner, Tweedy and Sylvester, the Red-Beard and Bugs Bunny, etc., in the simulation of Laelaps’ eternal chase of the Teumessian fox in the constellation. But none of them are equal to Tom and Jerry in amicability of the characters and the epiphany of our human characteristics mirrored in the figures. Now the likable duo continues the natural chase one after another and together in the bustling and rustling Big Apple with their human accomplice.

Tom and Jerry foray into a cinematic excursion from a classic television show I used to watch as a child. The new cinema platform gives Tom and Jerry more room to chase and opportunities to mingle with different animal kingdom species, from humans of all kinds to high-class elephants. Thanks to the incredible 21-century technology, the lovable duo shakes hands with their human friends, blows raspberries to bullies, and skateboards through the bumper-to-bumper traffic to stop farewell. We see cute Jerry with a rucksack on his shoulders meeting his arch-friend-or-foe Tom, who’s thrilled to see the likewise at liberty park by the Hudson River overlooking the Statue of Liberty and the Manhattan Skyline. Usually, the combined features of animated figures and live actors and actresses appear to be incongruent and buffoonish, not least because of the live performers’ exaggerated gestures out of synch with the animated choreography. But not Tom and Jerry. The result is the wondrous alchemy of the living and the animated, bringing the fictional characters, both humans and beasts, into a reality that blurs boundaries between the screen and the audience. What an experience!

Tom and Jerry are still in theaters and on HBO Max, through which I watched and enjoyed to my heart’s content with my tabby Toro, who looks more like Jerry than his kin Tom. It is a vibrant act of comedy on the foundation of humanity, which requires to be rekindled in our current time. Also, for those who grew up watching the classic Tom and Jerry on TV, the movie is a welcome nostalgia to wallow themselves in the memories, hopefully good, of the childhood when life seemed a little bit fun with ice cream in one hand before a TV set. Or for those born post-internet revolutions, the movie will spawn more fans of Tom and Jerry, the Great Comedians. What more can I say? It’s a feel-good movie with actions and romance that children of all ages can entertain and embrace with smiles.

Posted in Film Review

Stephen King’s ‘Cat’s Eye’ (1985 Film) – Film Essay

When I saw the movie poster of ‘Cat’s Eye’ (1985) on Amazon prime, I was at first hesitant to watch it because it showed the stereotypical association of the cat as a witch’s familiar or something to that nature of foregone horror repertoire. But perhaps I was more afraid of what I would see and reconcile to the stereotype that the cat could not be the dog. Despite all of the phantasmagorial display of the flights of thought, the cat of the poster’s uncanny resemblance to my seven-month-old tabby Toro won me over the resistance. I rented it for Saturday Afternoon Home Cinema with the expectation which was akin to curious Alice in Wonderland.  Be it ever magical or bewitching in a softly purring way, the result is one big wonder conflated with doses of warmth and mirth, whimsically betraying the genre classification as horror and the writer’s Craft of Gothic Fantasy like you never knew.



‘Cat’s Eye’ is a threefold anthology film based on Stephen King’s short stories, the first two from his “Night Shift.” King wrote the last story, especially for the movie. It tells a story of a traveling cat who comes upon three separate incidents during his search of the mission to save a life from danger, as annunciated by a spectral girl. In the first two stories, in which the cat takes an incidental role of witnessing human frailty and duality of evil and good, he goes by the names of “The Kitty” and “Sebastian,” showing the characters of the name doners per se. And who says that the cat is a harbinger of destruction as witch’s familiar? He is the judge of the character as if taking in the sun God Ra’s appearance, who was said to be meowing during what he was doing, representing the sun’s benefits for life on Earth in the Book of the Dead. Kitty and Sebastian do not directly intervene in the characters’ fates in the first two stories. It is the third story in which the cat takes charge of the narrative as the main actor with the name “General” on the stage.


Stephen King is known for his excellent story-telling skills combined with supernatural and psychological elements of lonely and misunderstood characters with wounded hearts dealing with their enemies in extraordinary situations. In the tradition of Washington Irving, Nathaniel Hawthorne, and Ernest Hemingway, King’s narratives are always free from a baroque figure of speech with florid adjectives and complex sentences that flaunt the ego of an unapproachable writer on the mighty throne of English Literature. That is why King’s stories are attractive and widely acclaimed because they deal with the ordinary lives that are not ordinary when seen in close-up. That alchemical ingredient gleams through this movie, showing how our lives are vicariously interrelated, weaved by multiple strands of contemporary life that we all live now through the cat’s eye. Herodotus, the father of western narrative history, knew the connectedness of separate human lives and combined them into one vast story of humanity employing parataxis, individual narrative accounts’ integrity. King’s “Cat’s Eye” follows Herodotus’s narrative trail.

The movie’s real star that brought the fiction into reality is undoubtedly the tabby, whose performance is so wonderfully natural and deeply impressive that it eclipses the human cast’s performance. And yet, there is no credit for the feline star without his real name and a shred of information. He is now long gone, but then I see my tabby Toro at home and wonder if the actor cat might have been his great-grandfather because of the striking physical resemblance and reflective demeanor. But then I think anyone who has a tabby may be delighted to feel that way because otherwise, King might not have written for this film charmingly, which is unusually lovely with high paws. 

My Toro
Posted in book review, Film Review, Miscellany

Roger Ebert’s Cinema Paradiso

A critic, according to Abraham Lincoln, has a right to criticize, but has a heart to help. Being a critic requires erudition drown upon a wealth of reading combined with a natural sagacity grown from enriched humanity wielded into an alchemy of words. A good critic with a poet’s heart guides the public with a lantern lighting the artist’s labyrinth in his world and helps us see the unseen in the far corner of a maze with a wealth of knowledge, sans arrogance of intelligence as Roger Ebert.

Unlike his other contemporary peers, Ebert was liberal in views, conservative in beliefs, and fair in judgments, the commendable attributes shared by Samuel Johnson, a 17 century English social/cultural critic, essayist, and dictionarian. He wrote a public in his mind and showed no peremptory atmosphere typically attributable to influential critics showing off their mastery of language not accessible to all due to their expensive private high education. Once Ebert trenchantly criticized a specific movie for its crude violence, abject dystopian portrayal of reality, and shuddering absence of humanity. The director of the film remonstrated with him in a public letter that Ebert’s criticism ignored the fact of life, which is akin to earthly circles of hell. Ebert replied to the director that if that was how he looked at the world, then it should not be forced upon the audience’s minds, exerting his raw and one-dimensional creation of reality upon the sentiments and judgments of the audience. Ebert believed that the world was worth living because there’s hope among the odds to sparkle before our eyes with joy flitting at our sides. This belief should be an essence of Arts that gives off beauty, pleasing to our senses that grows into reason. That is the purpose of arts, to which film belongs.

For this reason and my kindred perspectives on films in general, I miss Roger Ebert, although his writings are perennial. He didn’t grandstand with politically charged views on movies. He believed ‘Art is for Art’s Sake’ because films and books and paintings are not to be used as propagandas for a specific party ideology but to be appreciated for the minds’ food. W.H Auden said of his duty as a poet in society was to defend the use of language. I think Roger Ebert as a film critic in society was to defend the use of film as art to give life a shape.

Posted in Film Review

‘The Entity (1982)’ – film essay


“The Entity (1982)” is an American film based on the real-life event of Dorothy Bither, who was habitually raped by evil spirits that followed her everywhere. In the movie, Dorothy is Carla Moran, a young, intelligent single mother of three whose life becomes a Circle of Hell incarnate on earth in which she becomes a sexual slave of the unseen unclean spirits. Despite the physical signs of attacks, her well-meaning but over-zealous psychiatrist Dr. Phill Sneiderman believes that her unhappy childhood and different anfractuous life experience generate the mind’s play. He then forces his belief into her with a superior sense of academic and professional pride, even if her children have witnessed supernatural powers are attacking their mother. Carla catches at straws in the form of parapsychology to set herself free from the demonic forces, even if the help is not entirely altruistic and may turn on a full circle of violation of her body, her heart, and her spirit.


The film agrees to the truth on the supernatural essence of rape by portraying Carla as a woman of diligence, intelligence, and heart who goes to a secretarial school at night for a better future. Her love and affection for children are filled with kisses and smiles, even to her head-strong adolescent son. Her childhood memories and paths she treaded upon thus far might have been labyrinthine, but just because you have past wounds doesn’t mean you are stigmatized for the malady of the heart forever. Dr. Sneiderman’s attitude toward his patient Carla is reminiscent of the late Victorian and early 20th-century institutionalization of women with checkered lives, the victims of violence, into crudely primitive asylums where any sane person was sure to lose a reason before long. However, Carla rejects her telltale testimony to the supernatural terror to be nothing but a tale told by a lunatic woman, full of sound and fury that means nothing.


‘The Entity’ is a classic movie of supernatural phenomena in the ordinary surrounding of Los Angeles, CA. What makes this film classic in its pure literary sense is the absence of gory scenes accompanied by shrill screams of overtly acted characters who know what will happen to them. Nudity is present in the film not as gratuitous scenes of repertories of box-office horror movies but as realistic segments of what and how it happened all. I initially avoided watching this film by its thematic subject of rape and its naturally subsequent psychological narrative analysis as someone craving for a true supernatural story without frequent staccatos of blood splashes and big sharp tooth. It was a low hope for high heaven when the film was impressively indelible in my mind after I watched it last Saturday. If you prefer watching 70s and early 80s supernatural films over slash movies after the golden periods of the genre, ‘The Entity’ will entertain your sentiment and satisfy reason. And remember this: “There are more things in heaven and earth than are dreamt of in your philosophy.” Don’t forget that.