The final months of the Civil War a time when President Abraham Lincoln struggled to end slavery and bring the Confederate States of America back into the fold of the Union are among the most important moments in Unites States history. They're also the murkiest. Eleventh grade American History tried to teach us — war four scores Emancipation Proclamation the 13th Amendment and a fateful night at the theater — but with a few hundred years' worth of events to process most people leave school knowing that Lincoln made a couple of important moves that turned the world what it is today.
Thankfully we now have a film courtesy of the legendary Steven Spielberg that brings the 16th President's amazing uphill battle to cinematic life. The cold hard facts could not be more impressive.
For Lincoln an adaptation of the Doris Kearns Goodwin's biography Team of Rivals: The Political Genius of Abraham Lincoln Spielberg scales down his usual blockbuster sensibilities (last seen in 2011's World War I melodrama War Horse) to craft an intimate portrait of an iconic political figure. To pull it off writer Tony Kushner (Munich and the two-part Angels in America) constructs the film like a play relying on the soothing chameleon presence of Daniel Day-Lewis to breath life into Lincoln's poetic waxing. The president hits roadblock after roadblock on his quest to free the slaves and end the war Kushner and Spielberg weaving in handfuls of characters to pull him in various directions (and accurately represent the real life events). Each time Day-Lewis' Lincoln gracefully dances the dance solving every problem with action and words. Today Lincoln is held in high regard as an inspirational figure. Spielberg shows us why.
Lincoln isn't a full-blown birth-to-death biopic of the Great Emancipator and is all the better for it. Picking up in January of 1865 years into the Civil War Lincoln summons his Secretary of State William Seward (David Strathairn) to say enough is enough — the time is ripe for the abolishing of slavery. Against the vocal naysayers of the Union and even his personal confidants Lincoln attempts to rally the congressmen he needs to make his bill an amendment. He hires three men (John Hawkes Tim Blake Nelson and the wonderfully outrageous James Spader) to use whatever nonviolent means possible to swing the vote. All the while well-spoken adversaries (like Lee Pace's Fernando Wood) take to the House of Representatives floor to discredit Lincoln and dissuade congressmen. Keeping the progressive foot in the door is Thaddeus Stevens (Tommy Lee Jones) a foul-mouthed powerhouse who shares Lincoln's ambitious dreams of equality.
The story is simple but Kushner doesn't shy away from laying down lengthy passages of political discussion in order to show the importance of Lincoln's task. It's dense material spruced up with Kushner's ear for dialogue. But even so it occasionally meanders into Ken Burns documentary territory. Case in point: there are so many characters with beards in Lincoln Spielberg even flashes title cards underneath their opening scenes just so we're not lost. The fact-heavy approach takes getting used to but Spielberg and Kushner adeptly dig deep beyond the political gabfest to find a human side to Lincoln. He's a gentle man a warm man and a hilarious man. The duo's Honest Abe never shies away from a good story — at times he's like Grandpa from The Simpsons lost in his own anecdotes (much to the dismay of his cabinet). Day-Lewis chews scenery as hinted at in the trailers but with absolute restraint. That makes his sudden outbursts really pop. When Lincoln becomes fed up with pussyfooting politicians like the quivering representatives played by Walton Goggins and Michael Stuhlbarg Day-Lewis cranks the high-pitched president up to 10. He never falters.
There's a great deal of humor and heart in Lincoln — partially because the circus-like antics of Washington D.C. feel all too close-to-home in this day and age — and Spielberg paces it all with expert camera work. The drama is iffier: a side story involving Lincoln's son Robert (Joseph Gordon-Levitt) teases an interesting family dynamic that is never fully explored and is clunky when dropped to the wayside in favor of larger issues. Same goes for Lincoln's wife Mary Todd (Sally Field) who continues to grieve for the couple's lost child. They are important issues but they don't quite work in the fabric of this specific narrative.
The larger world outside the offices of the White House and Congress is often forgotten too — we hear a lot of war talk without seeing a whole lot of war. Instances where Lincoln ventures out into fields of the dead have emotional impact but we feel disconnected from it. Where Spielberg really gets it right is in the chaos of the presidential occupation. There is no easy task for Lincoln. "I may have been wrong about that " says Abe referencing his issuing of the Emancipation Proclamation "but I wanted the people to tell me if I was." Day-Lewis understands Lincoln's complex internal thought and brings it forward in each scene: humble confident deadly and compassionate.
Spielberg's technical team once again wows and echoes the lead performance. Director of Photography Janusz Kaminski's contrasting photography near chiaroscuro makes the beautiful set and production design hyper real and highlights the actors' aging faces. Composer John Williams returns once again but with a score as low-key as Day-Lewis' character — a change of pace when compared to War Horse. It's all up to par with Spielberg's past work without turning Lincoln into a flashy period drama.
Day-Lewis was the talk of the town when the first Lincoln trailers made their way on the web. Surprisingly however Lincoln wows because it's a well-balanced ensemble drama. Lee Jones delivers his best work in a decade as the grouchy idealist Spader delivers the comedic performance of the fall season and every scene introduces another familiar face to add additional gravitas to the picture (as opposed to being a distracting cameo fest). S. Epatha Merkerson's late-in-the-game scene opens up the tear ducts in a way that none of her male costars can.
If history isn't one of your interests Lincoln may not rouse you — background reading not required but conversation moves at lightning speed and without much hand-holding. It's a change of pace for Spielberg and a welcome one. With all the bells and whistles that come with being the biggest director of all time Lincoln looks amazing sounds amazing and has enough talent to make it an exhilarating learning experience.
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.
Two orphaned kids Andi (Emma Roberts) and her mechanical whiz of a younger brother Bruce (Jake T. Austin) live in a foster home with a couple of aging wannabe rock stars (Lisa Kudrow Kevin Dillon) who are vehemently anti-pet. Running out of ways to keep their stray pooch Friday hidden in plain sight they stumble on to an abandoned hotel that turns out to be the perfect shelter for Friday – and transform the place into luxury accommodations for all sorts of unwanted pets they spring from the local pound and the streets. But can they stay one step ahead of the law while keeping this United Nations of dogs in line? Human actors don’t have a chance against the gifted assortment of canines. With dogs of every breed from a border collie who loves to herd sheep (don’t ask) to an English bulldog obsessed with chewing stuff the trainers deliver a cast that flawlessly pulls off every dog trick in the book. Fortunately Roberts (Nancy Drew) and Austin are winning and likeable as the two main kids who share a need for family with their four-legged counterparts. Kudrow and Dillon don’t get a whole lot to do in strictly stereotyped roles but Don Cheadle as the kids’ social worker adds a nice touch of dignity and warmth to the story. For his first American feature German director Thor Freudenthal got the supreme challenge: working with kids and animals. Getting this furry menagerie to act on cue could not have been easy but Freundenthal and his talented trainers make it look so. Particularly amusing are the various gadgets and elaborate contraptions Bruce builds to keep the doggies occupied and quiet -- including simulated car windows they can stick their heads out of portable toilets complicated feeding machines and on and on. Just like the current hit Marley & Me it’s a funny and heartwarming family comedy.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.