Reel Critics: Lots of vitality in ‘Life’

“The Book of Life” is a rip-roaring animated adventure. Producer Guillermo Del Toro also directed the unconventional fantasy “Pan’s Labyrinth,” which got Oscar attention in 2006.

Here he borrows technical aspects from Pixar while adding Tim Burton oddities to the plot. But the offbeat screenplay has just enough Disney-style elements to give it mainstream appeal.

Maria, the young woman at the center of the tale, is no damsel in distress. She is a resourceful heroine ready to fight anyone who threatens her. Her village is under attack by local bandits. At the same time, two young men protecting the town seek her hand in marriage. This friendly rivalry leads to several plot turns with a supernatural twist and Hispanic flavor.

The story plays off legends of the afterlife popular in Mexico. It gently infuses the idea that life and love never end in a way that children can understand. The eye-popping visuals will entertain kids, parents and grandparents. But the timeless virtues of honor, justice and self-sacrifice evident in the tale make this worthy family fare.

—John Depko

*

Plenty of sound and ‘Fury’

I went into “Fury” expecting lots of gritty World War II action but I also a plot.

With its focus on realistic violence, there’s little time left for character study or even battle strategies: Arrive at point X and shoot anything in a German helmet. Smoke, cuss, repeat.

It’s 1945, the Allies are in Germany and Hitler’s army is down but not yet out. “Fury” is the name of a U.S. army tank led by Sgt. Don Collier (Brad Pitt, suitably grim and grimy).

This band of brothers includes a crude Southerner (Jon Bernthal of “The Walking Dead”), a Latino (Michael Peña), and a soldier given to quoting scripture (Shia LaBeouf). A green replacement (Logan Lerman) joins them, and much of the ensuing action is seen through his shocked eyes.

There’s a brief interlude intended to reflect humanity on both sides, but the actors’ posturing was almost as nightmarish as the bloody battle scenes.

*

Instilling tempo and terror

A different war is going on in “Whiplash” that is much more thrilling. This story of a young jazz drummer and his mentor is a literal bloody battle of wills with all the bravura of a great prizefight.

It’s obvious from the start that Juilliard-type conservatory student Andrew (Miles Teller) is a talented drummer. His driving ambition is to not just play his best, but be one of the best.

His first encounter with the much-feared Fletcher, the school’s imposing music director, sends his confidence into a tailspin. But when Fletcher invites him to be an alternate in his prestigious jazz band, it seems that Andrew is destined for greatness.

Fletcher (in a role J.K. Simmons was born to play) turns out to be a ruthless, cruel perfectionist. As much as he instills terror, he also makes us listen for nuances in rhythm and tone as musicians must hear them — or strive to hear them.

“Whiplash” gets its title from a jazz tune. Listening to the same bars repeated builds our anxiety as Andrew attempts to master its complicated tempo.

Teller’s acting is as impressive as his drumming, although I’m sure some may have been enhanced by a double and the skillful photography.

Andrew’s final scene seems like a great, improbable movie cliché, but I defy viewers not to be awed, energized and ready to jump to their feet by the end.

—Susanne Perez

JOHN DEPKO is a retired senior investigator for the Orange County public defender’s office. He lives in Costa Mesa and works as a licensed private investigator. SUSANNE PEREZ lives in Costa Mesa and is an executive assistant for a company in Irvine.