WHAT IT’S ABOUT?
With a built-in rabid fan base from its five seasons on the Disney Channel it was only natural that Hannah Montana would find her way to theaters. And for the faithful it doesn’t disappoint. The plot for the movie version has Miley Stewart in over her head because her secret pop persona Hannah Montana is overwhelming every part of her life. When her father decides enough is enough and takes her back to their home town of Crowley Corners Tenn. she finds that it's not so easy to adjust again to country life. But with the help of some just plain folks and a budding romance Miley discovers there’s more to being successful than just show business fame and fortune.
WHO’S IN IT?
Miley Cyrus takes her wildly successful Hannah Montana persona to the movies fills it with heart and scores on the big screen. She’s sweet funny and beguiling in a role that of course fits her like a glove. With all or part of 13 songs and musical numbers she also proves her hit-making abilities are no fluke with standouts like a hip-hop hoedown and the emotive “The Climb ” which she socks home in a concert sequence near the end. Father Billy Ray Cyrus pretty much plays himself and seems comfortable in the role if nothing more. As her grandmother Margo Martindale is warm and always dispensing nuggets of advice. Lucas Till makes an awkwardly offbeat romantic interest as her childhood friend who sees the real Miley behind the Hannah mask and there’s nice support from Jason Earles as her brother and Emily Osment as a best friend. Vanessa Williams is also around bookending the film as Miley’s trusted protector and publicist. And look for quick cameos from Taylor Swift and Tyra Banks.
No one is going to win any Oscars but the Hannah Montana movie version goes down easy and makes a natural theatrical transition smartly returning the star to her country roots and giving the film a different flavor than the sitcom from which it emerged.
Like any homogenized Disney product it all seems a little too contrived and too pat at times but the enormous kid audience to whom it's aimed won’t care a bit.
They may be stealing one of the oldest gags in comedy but the dueling-dinners scene in which Miley and Hannah keep switching personas is amusingly played out and perfectly timed. Cyrus really gets to show her comic chops here.
NETFLIX OR MULTIPLEX?
If you have a daughter it’s inevitably gonna be both.
A movie supposedly based on a true story and definitely custom-made for horse lovers Hidalgo ambles along at a leisurely pace taking a full two hours and 20 minutes to tell the story of a man Frank T. Hopkins (Viggo Mortensen); his horse Hidalgo (T.J.); and their attempt to win the famed 3000-mile "Ocean of Fire" endurance race across the Arabian Desert in the 1890s. (We use the phrase "supposedly" true because although the filmmakers claim the story is meticulously researched certain Arab groups claim no such race ever existed. Certainly Hopkins himself lived but the rest is up for debate. Ah Hollywood can we not have one film this season that doesn't stir up controversy with someone?) At any rate Hopkins' reasons for entering the alleged race are many but mainly he's running from himself. The son of a Native American woman and a white man he's never been able to come to terms with his mixed heritage. Since the Ocean of Fire race has always been exclusively open only to a) men b) Arabs and c) purebred Arabian horses Hopkins' efforts to prove himself--and his mustang--form the movie's underlying theme which is typical Disney fare: It's not about who you are or where you came from; it's all about heart.
With his standout turn as Aragorn in the Lord of the Rings trilogy Mortensen achieved heartthrob status but the big question everyone's asking about Hidalgo is whether or not he can carry a movie on his own. The answer is a resounding yes. When there's action to be had Mortensen looks like a real pro. He's got the cowboy drawl down pat; shoots a Colt .45 with confidence; delivers sharp one-liners like a kinder gentler Clint Eastwood; and has a great seat on a horse. Even when the movie gets a little slow--and it does a 3000-mile desert race will do that to a movie--Mortensen's onscreen appeal saves the day. There is of course a supporting cast of characters who either help our hero in his quest: Sheikh Riyadh (Omar Sharif) who challenges Hopkins to enter the race but ultimately becomes his friend and the Sheikh's daughter Jazira (Zuleikha Robinson) a rider herself but prohibited from entering because she's a woman. Obstacles of course also abound: There's Lady Anne Davenport (Louise Lombard) who needs her mare to win the race so she can breed her to the Sheikh's Arabian stud El Attal the purest stud of the purest bloodline in the world. She wouldn't mind if Hopkins dropped out of the race--or into her bed.
There's no question that director Joe Johnston's (Jurassic Park III) production of Hidalgo was a massive undertaking: Eight hundred horses plus camels vultures falcons rabbits goats dogs donkeys leopards and buffalo are featured in the film along with a re-creation of a Wild West show the massacre at Wounded Knee a locust swarm and a desert sandstorm. The locations spanned the globe from the Arabian Desert (shot in Morocco) to the sprawling ranchlands of the American West to the New York City docks. All in all it's a well put together visual display and like its star it feels authentic. The dialogue from scribe John Fusco (Young Guns I and II Spirit: Stallion of the Cimarron) is engaging if occasionally a little sappy; the relationships (especially between Hopkins and Hidalgo) are meaningful and well presented; and the action scenes are fast-paced and exciting. Trouble is interspersed are somewhat long expanses of time during which too little actually happens which makes the film seem longer than it needed to be.
Frida Kahlo (Salma Hayek) is a mischievous and sexually liberated student and aspiring painter in Mexico City when she first spies the much older prominent muralist Diego Rivera (Alfred Molina) cavorting with one of his models. Frida lives with her loving parents--Mexican mother German-Jewish father--and is intimately involved with her boyfriend. Tragedy strikes when Frida is gravely injured in a trolley crash and she never fully recovers. When her boyfriend takes off for Europe Kahlo focuses more on her paintings and boldly approaches Rivera for an honest appraisal of her work. Rivera well known for his marital infidelity and womanizing immediately recognizes Kahlo's talent and takes her under his wing as a protégée rather than a lover. An ardent Communist with a zest for socializing he introduces her to his artsy and progressive circles where Kahlo easily fits in. The pair soon become lovers and believing they have a special understanding of each other decide to marry. The union is immediately threatened when Kahlo learns that the hotheaded Lupe (Valeria Golino) one of Rivera's ex-wives occupies the apartment above theirs. After Rivera is awarded several commissions in the U.S. he and Kahlo begin their tour in New York and enjoy life as minor celebrities. Kahlo exercises her promiscuity by carrying on with one of Rivera's lovers and Rivera exercises his political intransigence with a fateful confrontation with Nelson Rockefeller (Edward Norton) who hired the artist to paint a mural in the Rockefeller Center lobby. The dust-up causes the loss of another commission and the couple returns to Mexico where they become hosts to fugitive Communist Leon Trotsky (Geoffrey Rush) and his wife. Kahlo has an affair with the legendary figure but when it threatens his marriage they move away and Trotsky is assassinated soon after. Rivera and Kahlo divorce but remarry when Rivera returns to his partner who is now impoverished and desperately ill.
The acting here is outstanding. Salma Hayek as the wild and quietly creative Kahlo is in practically every frame and dazzles in a variety of moods and situations. Alfred Molina in the more subtle role of Rivera is every bit as marvelous managing to charm and delight as a character who is essentially dissolute yet warm and lovable. Valeria Golino is another standout in the lesser role of the fiery Lupe. Geoffrey Rush makes a credible Trotsky and Ashley Judd pleases as a jovial Mexican party girl with a taste for mischief. Antonio Banderas does a neat cameo as a heated Communist and Edward Norton plays a very decent Rockefeller not shy about saying who pays the bills. Brits Roger Rees convincing as Kahlo's loving father and Saffron Burrows as Kahlo's loving diversion add heft to their supporting roles.
Julie Taymor best known for some very showy previous works like Broadway's The Lion King her feature debut Titus and a number of critically acclaimed operas proves again with Frida that she's an incomparable visual stylist. Taymor engages the eyes with a dazzling palette of Mexican colors and iconography and episodes of magical realism and mixed media invention that convey the intoxicating world of her subjects and the dramatic signature events of their lives. But Taymor (who also delivers a seductive majestic soundtrack) never loses sight of the fact that it is her beguiling characters who matter most.