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.
Considered the most popular of Austen’s novels Pride and Prejudice examines the class struggles of England’s 19th century. It revolves around the spirited Bennet family: the headstrong and intelligent Elizabeth (Keira Knightley); her older and more serene sister Jane (Rosamund Pike); their three younger sisters (Jena Malone Talulah Riley Carey Mulligan); their doting father (Donald Sutherland); and their mother (Brenda Blethyn) who’s obsessed with finding the girls suitable husbands. When Lizzie finally meets her match in the aloof Mr. Darcy (Matthew MacFayden) she immediately dismisses him as an arrogant ass. But ever so slowly it dawns on Lizzie she may be entirely wrong about Darcy. Is it too late to tell him? An Austen adaptation naturally lends itself to a gathering of fine British actors (or actors who can pretend to be British). Leading the pack is the very lovely Keira Knightley. A far cry from the shotgun-totin’ bounty hunter in Domino the actress certainly gives her most layered performance as Elizabeth. But she’s once again playing a spirited woman who doesn’t adhere to the rules. Guess nobody’s gonna ever put Keira in a corner. As her Mr. Darcy MacFayden plays one of literature’s more enduring romantic figures with style. He gives Colin Firth--who’s considered one of the better Darcys after playing him in a 1995 TV miniseries--a run for his money. The rest of the stellar cast is just as refreshing as ever including Pike (Doom) as the modest beauty Jane and Sutherland as the elder Bennet who is the reason Elizabeth is as independent as she is. This feature film adaptation of Pride and Prejudice is entirely different from the last one--the 1940 glossy production starring Greer Garson and Laurence Olivier. Newcomer Joe Wright gives Pride and Prejudice a definitive indie feel by using the camera in very intimate ways as we watch the fun-loving Bennets interact. Of course filming in the flourishing English countryside doesn’t hurt either. Wright delivers amazing displays of breathtaking beauty from Elizabeth standing on a cliff in Brighton to watching Darcy stride across a field at sunrise to claim his love once and for all. Pride and Prejudice does move a little slowly and it isn’t as rich as the 1995 Oscar-winning Sense and Sensibility but it’s been awhile since we’ve had Austen done in such a wonderfully romantic way. And who couldn’t use a little 19th-century romance?
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.