Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
When we last saw the armed-to-the-teeth vigilante Frank Castle he was fleeing Tampa after exacting his revenge upon the money launderer responsible for murdering his son wife parents aunts and uncles third cousin twice removed … But that was the old Punisher. Meet the new Punisher. Like Incredible Hulk Punisher: War Zone reboots a franchise by assuming we know enough about the Punisher without having go into excruciating detail about why he became judge jury and executioner. Another good sign: Ray Stevenson’s Punisher is back where he belongs in a dirty grimy New York not sun-kissed Florida. And he’s got his sights set on comic-book nemesis Jigsaw the alias of mobster Billy “the Beaut” Russoti (The Wire’s Dominic West). While trying to assassinate Russoti the Punisher accidentally kills an undercover FBI agent compelling him to hang up his guns. Russoti escapes but his face is torn to shreds by glass. With his once-handsome face stitched up like a 12-piece puzzle the rechristened Jigsaw springs his brother Loony Bin Jim (Doug Hutchison) from -- of course -- a loony bin to help him punish the Punisher. So much for the Punisher locking up his war journal for good … No disrespect but Jane’s too much of a pretty boy to pass himself off as the Punisher. The big burly Ray Stevenson (HBO’s Rome) looks every bit the cold-blooded dispenser of justice fanboys know and adore. And the Northern Irish hard man possesses an intimidating physical presence something Jane inherently lacks. Jane though received significant leeway to explore the anguish resulting from the loss of Castle’s family. Stevenson wears nothing but a scowl as the taciturn and psychologically scarred human weapon which admittedly is in keeping with the comic-book character’s stony disposition. Then again the out-of-control West does enough emoting for an army of Punishers. With his exaggerated gestures dancing eyebrows and thicker-than-Italian-cheesecake Noo Yawk accent the Brit blasts through War Zone with the destructive force of a rocket-propelled grenade. This is a money gig for West and damnit if he isn’t going to have fun earning his paycheck. The Green Mile’s Hutchinson as Jigsaw’s organ-chewing sibling almost keeps pace with West. Seinfeld’s Wayne Knight does his usual shtick as weapons supplier Microchip. Colin Salmon fills space as a by-the-book lawman pursuing the Punisher. Rambo and Saw V’s Julie Benz -- who obviously can’t say to any sequel or reboot she’s offered -- is wasted as the FBI agent’s widow and the voice of Castle’s conscience. Try counting the ways the Punisher dispatches of his foes. He hangs from a spinning chandelier and sprays a roomful of mobsters with bullets blows up a man leaping between buildings punches his fist through a bad guy’s face sets another on fire and … well we could be here all day. Fair to say director Lexi Alexander’s blood lust drives her to come up with one grisly laugh-inducing death after another. With its Empire State Building-high body count Alexander’s does the impossible and out-Rambos Rambo. And quite frankly it’s everything a Punisher quest for vengeance should be. The 2004 Punisher seemed too disconnected from its source material. Why relocate from New York to Tampa? Or pit the Punisher against a villain from not from the comic book? Or have the Punisher setup Travolta for his fall when he lives by the gun? Jane’s departure paved the way for a reboot that’s closer to the spirit of the comic book and wants nothing more than to be an old-school shoot ’em up like Commando or Lethal Weapon. There isn’t a moment that goes by when you’re not howling at the disgracefully bad dialogue gasping in shock at each and every execution or wondering at just how much more dumb and fun things can get. Alexander the German director who turned sweet little Elijah Wood into a soccer thug in Green Street Hooligans isn’t trying to transcend the comic-book genre á la The Dark Knight. Instead she’s just wants to give us one hell of an adrenaline rush. “This is just the beginning ” Stevenson growls after taking care of business. Let the bodies continue to hit the floor.
There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.