WHAT IT’S ABOUT?
Set in a seaside English town in the '80s this small heartfelt tale centers on the relationship between Edward a 10-year-old boy whose parents run a retirement home and Clarence an aging magician and recent widower who is one of the new residents. Lonely and curious Edward has a habit of befriending the old folks only to search for their ghosts after they die. When Clarence comes in both learn new life lessons as the older one comes to terms with his past while the younger boy finds reason for optimism as he faces the future.
WHO’S IN IT?
Michael Caine is wonderful in a startling character role in which the 76-year-old movie icon allows himself to look older drawn and beaten in parts of the film. Although the career of the two-time Oscar winner has been full of memorable performances ranging from Alfie in 1966 to The Dark Knight last year it’s this kind of realistic and moving portrayal that has marked the best of his work. and he’s never been better than in this memorable portrait of a forgotten magician who still manages to discover a couple of new tricks late in life. Matching him every step of the way is the engaging Bill Milner (Son of Rambow) who manages to go toe-to-toe with a screen legend without coming off as a too precocious of a child actor. He’s haunting and extremely natural in a pivotal three-dimensional role that never seems forced. Helping matters immensely is a great ensemble of splendid British stars who play the other residents including the great Rosemary Harris Leslie Phillips Sylvia Syms and Peter Vaughan.
Director John Crowley (Boy A Intermission) wisely lets his actors off the leash to create a chemistry that makes the modest story work its own kind of movie magic. Reminiscent in certain ways of the kind of British kitchen-sink dramas popular in the '60s Crowley resists any opportunity to let directorial flash overwhelm this poignant character-driven tale thereby letting it thrive on its own terms.
With such a superlative cast of British-acting royalty in the supporting roles you almost wish there were a few more scenes showcasing these characters in the film’s trim 91-minute running time.
Clarence rallies his talents to put on a magic show for the home’s residents. Caine pulls this off seamlessly and the sequence is pure delight.
NETFLIX OR MULTIPLEX?
This quaint film won’t lose anything on TV screens and may be hard to find in wide release so take the opportunity to see it any way you can.
In other words Prada--based on the bestselling novel by Lauren Weisberger--unfortunately plays upon the sitcom-y boss-from-hell scenario in which the young flunky manages to one up her superior in some valiant way. There are no surprises save for the fact that its set in the world of high fashion invoking all the fabulousness that entails and incorporates the amazing Streep as Miranda Priestly editor-in-chief of THE fashion magazine Runway. Oozing contempt and demanding perfection Miranda at first terrorizes her new assistant Andy (Anne Hathaway) an impressionable lass who wants to be a serious journalist and has no desire to be a “Clacker.” But that lasts for all of about 10 seconds. Andy is soon wearing those Jimmy Choo stilettos and clacking across the floor with the best of them--and the better she gets at her job the more her personal life falls apart. Naturally Andy wises up and realizes life isn’t about Dolce Gabbana and the rest of the gang. Still maybe she could keep one Prada handbag. You know just to remember the experience. Streep is having a nice little resurgence this year with two spectacular performances. In Robert Altman’s A Prairie Home Companion she plays the sunny yet heartbroken half of a singing sister act--and in Prada she’s Satan incarnate. Quite a switch but in the ever-so-capable hands of the Oscar winner it’s a flawless transition. The best part of Streep’s Miranda is all the things she doesn’t say. It’s the searing looks the languid move of the hand--and the hushed tones. This isn’t Kevin Spacey’s screaming lunatic producer in Swimming with Sharks; this is about the threatening quiet and the sacrifices Miranda makes to be lonely at the top. Hathaway as a lovely Audrey Hepburn look-a-like manages to keep her head above water but still hasn’t quite gotten rid of her Princess Diaries gee whizzed-ness. But there’s potential. In supporting roles Stanley Tucci makes a memorable appearance as Miranda’s right-hand man at the magazine doling out snarky but sage advice to our heroine while Adrian Grenier (HBO’s Entourage) plays nice as Andy’s patient boyfriend. The only other real standout star of Prada is the clothes. And the shoes. Oh and the handbags hats belts scarves and other accessories. Director David Frankel--a HBO flunky himself having directed several episodes of Entourage Sex and the City and even HBO’s hit mini-series Band of Brothers--captures this high-powered world of trend and style succinctly giving all fashionista wannabes everywhere a brief but meaningful inside peek. But the real kudos go out to costume designer Patricia Field (an Emmy winner for her work on Sex and the City) who must have had a lot of fun with Prada. She magically produces designs from Valentino (who also makes a small cameo) Donna Karan Bill Blass Galliano and of course Prada. It must be like a painter being given permission to recreate a Picasso or a Monet. Prada is predictable it’s true--but with Streep’s streaked white Cruella De Vil and all the great fashion it’s worth its weight in Versace.
Ape descendant Arthur Dent (Martin Freeman) gets yanked from the Earth by best friend and alien Ford Prefect (Mos Def) seconds before a Vogon constructor fleet destroys it to make way for a hyperspace expressway. Next thing he knows Arthur is aboard the Vogon ship reading the Hitchhiker's Guide to the Galaxy (voiced by Stephen Fry) and wondering where he might get some tea. But he and Ford are not in the clear: the Vogons (some of whom look like the nightmarish drawings of Ralph Steadman come to life in S&M leather) want to throw them into the vacuum of space right after they read some of the third worst poetry in the known universe. Luckily the spaceship Heart of Gold picks up the stranded hitchhikers in the nick of time. Stolen by the dim but groovy President of the Galaxy Zaphod Beeblebrox (Sam Rockwell) the ship has an Improbability Drive that causes certain mischief turning the stowaways into loveseats and later two missiles into a bowl of petunias and a sperm whale. Also onboard is doe-eyed Earth girl Tricia "Trillian" McMillan (Zooey Deschanel) who previously ditched Arthur at a costume party on Earth to satisfy her wanderlust with Zaphod. The crew then embarks on a quest to find the Ultimate Question to Life the Universe and Everything after supercomputer Deep Thought (voiced by Helen Mirren) found the answer: 42. On the run and without a home Arthur discovers that life's true meaning comes from the answers found within.
The slapstick antics and sharp dialogue evoke enough laughs to make one forget that the characters are rather one-note. Rockwell's Zaphod is a riot at first but the cheeky smile and devilish winks soon wear thin. Deschanel has little to work with playing Trillian though it's fun watching her wield a point-of-view gun on Zaphod. Mos Def mumbles some lines but does manage to act like someone from another planet. Freeman does an amiable job playing the fish-out-of-water Earthman but neglects to express the grief and bewilderment of someone who just lost his planet. Even John Malkovich as Humma Kavular--the spiritual leader of a cult awaiting the arrival of the Big Handkerchief--fails to make much of an impression in his brief appearance. Only Alan Rickman as the perpetually glum robot Marvin and Bill Nighy as the stammering planet designer Slartibartfast remain funny without becoming routine--though unfortunately Nighy only appears in the third act. A half-cocked romance between Arthur and Trillian is thrown in for good measure with the couple merely going through the motions.
Directed with considerable flair by first-timer Garth Jennings whose frantic visual style blends well with Adams' ironic wit the film looks as good as can be. CGI is used to display Adams' universe in ways never seen before: The massive concrete slabs of the Vogon fleet surrounding Earth the Heart of Gold tricked out in 1960's Formica kitsch the stark bureaucratic world of Vogosphere and the eye-popping factory floor on Magrathea are all vividly brought to life. Although the graphics of the Guide look more like Internet pop-up ads than stellar entries from the best-selling book in the galaxy the exposition from the Guide is clever and amusing though one should brush up on the material prior to viewing. Even with all the stunning visuals however the plot is still thin. Jennings and screenwriter Karey Kirkpatrick (Chicken Run) have trimmed the story--and witty banter--to its barest essentials leaving out some of the funnier bits to quicken the pace. Memorable exchanges--like the opening battle of wits between Arthur and Mr. Prosser--are reduced to a few meaningless lines while the always hinted-at love affair between Arthur and Trillian gets the full Hollywood treatment. In the past Adams who died of a heart attack in 2001 has allowed the Guide to change and progress with each incarnation so new additions--like the point-of-view gun and the cult of the Big Handkerchief--are welcomed. But the patchwork of wacky vignettes and neutered banter particularly between Arthur and Ford leave one yearning for something more meaningful.