Since Edgar Rice Burroughs' novel A Princess of Mars was published nearly 100 years ago his otherworldly tale story has been subsequently been reworked and riffed on by nearly every sci-fi book or movie to follow. Star Wars Dune Avatar—sift through filmmaker interviews and it's easy to find threads tying their inspiration back to Burroughs. Which makes John Carter the big screen adaptation of Princess of Mars particularly surprising. The film's epic presentation of Martian races colliding in battle could feel stale but instead blossoms with color imagination and fun. Director Andrew Stanton (Finding Nemo Wall-E) has a strong sense of what makes "adventure" adventurous helping John Carter encapsulate everything about a great time at the movies.
John Carter (Taylor Kitsch) a Civil War veteran with the entire Confederate army on his tail finds himself mysteriously transported via a magic cave (or alien technology? If you get caught up in these details John Carter may not be for you) to smack dab in the middle of a Martian desert. As Carter overcomes the planet's gravity a physical difference that allows him to leap tall structures in a single bound (sound familiar?) he runs into one of Mars' many races: the eight-foot tall four-armed green Tharks. As their prisoner/friend/specimen John Carter takes a back seat to the unique world of the Thark world full of clockwork architecture and airships archaic customs and political strife. The Tharks are in the midst of a 1 000 year battle with the humanoids of Zodanga led by the villainous Sab Than (Dominic West) who is in turn manipulated by the occasionally-invisible shapeshifter Matai Shang (Mark Strong). The Tharks have teamed up with the residents of Helium including the stunning scientist warrior Dejah Thoris (Lynn Collins) but doom is impending and quickly the Spartacus-esque Thark fighter Tars Tarkas turns to Carter for help.
Unlike Avatar which introduced its fantastical world using the safety net of a simple archetypical story John Carter has no reservations bombarding its audience with plot and intrigue. At times the specifics of the world's complex societies and strifes are complicated and confusing but similarly to info-heavy scripts—think the recent Michael Clayton or Margin Call or heck Shakespeare—Stanton Mark Andrew and Michael Chabon's screenplay feels assured of its own drama confident that no matter your understanding the theatrics will sway you. The human element of John Carter exists behind even the most CG-ified alien creature and that's what keeps us on board.
If there's any misstep it's in the casting of Kitsch a fully capable action hero unconvincing as survivor of the Civil War. Kitsch feels pulled from present day but John Carter needs to be a Confederate soldier in more than name. Kitsch is up to the task of ripping up white apes with giant steel blades or jumping over armies of raging Tharks but in scenes of introspection or humorous back-and-forths he loses footing. The real star is Collins as Dejah Thoris who nails the epic qualities of reciting enjoyably ridiculous Martian-speak. She stands out even in the blinding desert sun and even when decked out in over-the-top boobage costuming manages to deliver a compelling and rousing performance. Doesn't hurt that she knows her way around a swordfight or two.
With John Carter moving at lightning speed investing in the film's handful of characters becomes a difficult task but talented folk like Willem Dafoe and Samantha Morton bring zest to characters on par with James Cameron's Avatar creations. And with such a strong background in animation it's no surprise that Woola John Carter's scrappy space dog sidekick is as realized and tangible as the rest of the gang. The scrappy six-legged critter adds humor to John Carter born completely out of the moment. Don't confuse this with the Star Wars prequels—nothing cutesy or ham-fisted here.
A streamlined John Carter would have really popped but as a first live-action effort for Stanton the fill is still something to behold. With breathtaking design sweeping action and a score by Lost Star Trek and Pixar vet Michael Giacchino that finds perfect balance between Lawrence of Arabia and Indiana Jones the film works as an immersive cinematic experience that will have you "ooo-ing" and "aaa-ing." If you step into John Carter you'll likely find yourself transported to another world—it beats trying to find a magic cave.
You may have heard critics and advertisers tout The Social Network David Fincher’s finger-pointing film about how Facebook was harvested from the halls of Harvard and turned into a billion dollar business as “the movie of the decade” or “a generation-defining film.” This kind of praise has led the entertainment journalism collective to liken it to true staples of cinema like Citizen Kane and The Graduate. In terms of relevance to its audience those are fair if overreaching statements. The film depicts its teenage characters with unflinching pragmatism as it weaves the nasty web of deception and betrayal that is the story of the social media juggernaut. In terms of its protagonist’s journey however I couldn’t help but compare it to another landmark film: 1974’s Death Wish.
Like Michael Winner’s divisive and controversial revenge flick the action in The Social Network as with so many stories kicks off when anti-hero Mark Zuckerberg loses the leading lady in his life. Luckily she’s not slaughtered by a pack of petty thugs but instead liberates herself from her pretentious and pessimistic beau in the crushing opening scene of the film which sets into motion a chain of events that will change his life – and the world.
Zuckerberg played with sardonic wit by rising star Jesse Eisenberg retreats to his Kirkland Hall haven seeking retribution (see where I’m going with this?). He gets drunk blogs unfavorably about his ex and creates a program that places female students’ headshots side by side so that inebriated undergrads can anonymously rate them. The site called Facemash accumulates so many hits that it crashes the University’s servers which gets the attention of the school’s cyber-security squad as well as a group of aspiring entrepreneurs. Twins Cameron and Tyler Winklevoss (both played by Armie Hammer) well-to-do all-American future Olympians approach Zuckerberg with an opportunity to design a website that they’ve been quietly developing: a social network exclusive to Harvard students. Mark likes the idea but doesn’t want to be a part of it: he wants the whole thing. If greed is good then Zuckerberg (though not exactly financially motivated) is great.
The connections between Charles Bronson’s career defining film and Fincher’s soon-to-be-classic movie are of course hypothetical. My point is that like Paul Kersey Zuckerberg paints a target on his head with his vengeful actions as he breaks the rules of business ethics and leaves his mark on the world. Only after the storm has begun brewing does he realize that he’s in way over his head.
The Social Network is more a meditation on right vs. wrong than a chronicle of the birth of Facebook and it is a more affecting film because of that. The courtroom drama that ensues through Fincher’s two-hour masterpiece pulls no punches and asks the questions that we the audience are most curious about: Who really started Facebook? How much is the company worth? Fincher explores the historic and meteoric rise of this digital domain delicately building the tension organically as each chapter gives way to a new series of inquiries during the legal proceedings. Rather than provide a definitive answer he leaves the audience responsible for drawing its own conclusions.
Though it’s quite different from many of the grim stories Fincher’s told before The Social Network still conforms to the technical style that defines his work. The dank college dorms and dingy frat houses bring to mind the dreary environments of Panic Room and Fight Club especially in terms of lighting and color. Quick cuts convey the lightening fast pace in which we consume information in the digital age. The ominous music composed by Trent Reznor aids the auteur in expressing the enormity of the situation. Most noteworthy however is Aaron Sorkin’s stinging script which uses tech-speak legal lingo and slang to tell the tale of sex lies and limitless fortunes. He brilliantly combines multiple points of view (that of Zuckerberg his partner Eduardo Saverin and the Winklevosses) of the same events to bring his audience a well-rounded and unbiased account of the events that turned best friends into bitter enemies and bookworms into billionaires.
I believe that while it will certainly garner numerous award nominations come January The Social Network’s full impact will not be felt until the generation that it portrays can look back at it in retrospect. It is a very contemporary piece of thought provoking entertainment but we can’t assume that it defines who we are as a collective community because like Zuckerberg says of his digital society we don’t really know what it is yet.
Everything is just oh-so-dramatic for 15-year-old Mary aka Lola (Lindsay Lohan) who is uprooted from her beloved New York City by her artist mother (Glenne Headly) and forced to live in what she thinks is the dregs of New Jersey suburbia. Once there however the wanna-be actress decides she'll make a difference in her high school and stand out among the common folk and show them what true art is all about. Of course with an attitude like that Lola immediately gets on the bad side of the school's most popular--and mean-spirited--girl Carla (Megan Fox) but makes fast friends with the meek Ella (Alison Pill) when they both discover they worship the same rock band called Sidarthur. Lola soon proves with unstoppable determination that whatever Lola wants Lola gets; she stands up to the evil Carla wins the lead role in the school musical and has the adventure of a lifetime trying to see a Sidarthur concert in New York with Ella. Yet Lola comes to realize that while being the premiere drama queen she sometimes has to come back down to earth to see what really matters in life.
Lindsay Lohan a Disney favorite who has truly become the Hayley Mills of this generation has the same bebop freshness she displayed in other Disney fare including last year's mega hit Freaky Friday and is the best choice to play the ultimate Teenage Drama Queen. Yet if you strip away all the sparkle and showmanship could Lohan hold her own playing a real honest-to-goodness dramatic role? At least the actress has far more potential than say that other teen fave Hilary Duff (who supposedly has a real-life feud going on with Lohan. Talk about drama). Alison Pill on the other hand who did a nice job playing the forgotten sister in the indie film Pieces of April is the one to watch out for. She illustrates far more depth as best friend Ella who is transformed from a mouse to a lion under Lola's influence. The scenes where Ella and Lola moon over Sidarthur--and the subsequent misadventure to see them in concert--gives the film its most realistic insight to a teenage girl's psyche--and the girls seem to have a great time connecting to one another. In the supporting roles character actress Headly does a quiet down-to-earth turn as Lola's mother while in comparison Carol Kane really hams it up as the drama teacher Ms. Baggoli with the wacky hair lispy speech and hyperactive personality.
Teenage Drama Queen is a Disney specialty. It's the kind of movie the studio is been known for and can execute the best--cutesy over-produced teen fare with a wholesome message tied up in a brightly colored and oftentimes zany package. Back in the day Kurt Russell and Hayley Mills were the favorites in films such as Russell's The Computer Wore Tennis Shoes and the sequel Now You See Him Now You Don't (takes you back doesn't it?) as well as Mills' original The Parent Trap (which Lohan went on to remake in 1998). For Teenage Drama Queen the studio picked the up-and-coming Welsh director Sara Sugarman (Very Annie Mary) a self-proclaimed recovering drama queen herself who infuses the film with right amount of joie de vivre while keeping things in vogue for the MTV generation especially with the musical numbers and Lola's dream sequences. Plus the character's wardrobes are terminally hip; even the Sex and the City gals would be impressed. But while the film is certainly not as scary as the very dark Thirteen or dull as Catch That Kid Teenage Drama Queen doesn't offer anything poignant or remarkable beyond its glittering production value.
Based on a true court
case first tried in 1953 Evelyn recounts the story of a man on a mission. Rumpled pub-crawler Desmond Doyle (Pierce Brosnan) has a streak
of bad luck when he loses his wife to another man the day after
Christmas and then loses his three
children Evelyn (Sophie Vavasseur) Maurice (Hugh McDonagh) and Dermot (Niall Beagan) to the Catholic
church and Irish courts. That he's without a wife and a regular job prompts the courts to place the tots in an
orphanage which he unsucessfully tries to steal them from. This of course was not a good move. He
gets caught and the courts see this as a strike
against him. Doyle does not give up--instead he gets his life together. But it
turns out that an obscure law that has never
been tried in the courts before requires that Doyle's estranged spouse give him
custody of the kids so he enlists several lawyers (Alan Bates
Aidan Quinn and Stephen Rea) to help him get
In the end the story ends happy ever
after but not without its up and downs. Doyle must
face the hardship of living without his children and
his children must suffer through living in a miserable
Although this story line is based in predictibility-land the actors
still come out on top. Brosnan's character with his native Irish accent anti-Bond dishevelment and
pitful story is charming. Each time he leaves the
screen he leaves you wanting more. It seems
as though this role was made for him. We are used to seeing
him in the coolly unrealistic role of James Bond and this is a refreshing change. He shows the
true acting skills that he really has as a father in
agony. Julianna Margulies
also surprises with her protrayal of Bernadette
Doyle's love interest. She is charming and feisty as
a bartender who enlists her solicitor brother's help to put the devastated father's family back together again.
He may be a double Oscar nominee but Bruce Beresford's directing here is mediocre. The director whose only decent film in recent years was 1999's Double Jeopardy makes a script that is already too obvious painfully so. Pacing is a little slow some of it is corny (ie: rays of sunshine representing faith) and some of it seems unnecessary (a love-triangle plot). The great acting and chemistry between Doyle and his kids especially daughter Evelyn is the best part about this movie.
A truck carrying hazardous materials accidentally drops one of its containers into a small lake contaminating it and its delicate ecosystem. Trouble arises when the wacky town entomologist feeds his collection of exotic spiders contaminated crickets which act as a sort of spider "steroid." The result is a horde of giant hairy spiders that prey on the town's unsuspecting inhabitants. Sheriff Sam Parker (Kari Wuhrer) doesn't believe her son Mike (Scott Terra) when he tries to warn her about what's going on but blames his "media-induced paranoid delusional nightmare" on too much boob-tube watching. Then when mining engineer Chris McCormick's (David Arquette) aunt gets spun--literally--into one of the spider's webs he enlists the help of Sheriff Parker and paranoid radio announcer Harlan Griffin (Doug E. Doug) to fight off the eight-legged freaks. Armed only with rakes ski poles and chainsaws the townspeople fight off the spiders in a losing battle before Chris comes up with a master plan that will blow the arachnids to smithereens.
Prankster Arquette (See Spot Run) tones down his funnyman routine in Eight Legged Freaks and takes on the role of the humble hero. It's refreshing to see Arquette playing a more subdued character with less of a slapstick edge although I half expected him to start yelling at people to "dial straight down the center." As the sheriff Wuhrer (Berserker) plays her dual role well as a headstrong single mother of two and the town leader. Sure she looks a little too hot to be a chief law enforcement officer but maybe some sheriffs really do look like that in small-town America. While the laughs may not have been coming from Arquette there were enough to be had thanks to Doug whose most memorable role to date has to be Sanka Coffie from the 1993 comedy Cool Runnings. His radio announcer in this film believes the government is conspiratorial and that the spiders are the alien invasion he has been warning people about for decades. Doug delivers some of the movie's funniest lines.
New Zealander Ellory Elkayem (Larger Than Life) wrote and directed Eight Legged Freaks a sort of homage to mid-1950s B-movie sci-fi thrillers like Tarantula or Earth vs. the Spider. But while these cult films were funny merely by accident--Tarantula director Jack Arnold probably wasn't being intentionally campy--Eight Legged Freaks at times seems to try too hard. Packing in one joke after another takes away from the spiders' scariness making them seem more like a practical joke than a potentially annihilating threat. The special effects are extremely slick however and the spiders are well done with techniques approaching those in the 1997 sci-fi actioner Starship Troopers (but none of the gigantic CGI spiders are as scary as the real-life tarantulas caged up in terrariums at the start of the movie). Although at 99 minutes the film moves quickly the final scene in which the townspeople are being chased through a labyrinth of mining tunnels drags on a bit too long.