WHAT IT’S ABOUT?
Kicking off the new label DisneyNature Earth represents a return to the kind of filmmaking that won eight Oscars for Walt Disney between 1948 and 1960 under the umbrella name True Life Adventures. This time the focus is on three different animal families as cameras follow their remarkable migrations across the planet — literally — as the film was reportedly shot in 68 countries over seven continents. There’s the polar bear mother trying to protect her cubs from melting ice caps and overbearing sun as the father desperately searches for food; there’s the elephant and her calf trying to keep up with the rest of the herd through a stormy Kalahari Desert in search of water while fending off dangerous nighttime attacks by predatory lion packs; and finally there’s the mother whale and her calf traveling 4 000 miles from the tropics all the way to Antarctica.
WHO’S IN IT?
Beautifully narrated by James Earl Jones Earth avoids the hokey cutesy antics some nature films and television shows succumb to in their scripting. Jones’ distinctive elegant storytelling adds a moving layer to the overwhelmingly powerful images we see on screen. No cute talking animals in this film folks.
New technologies and more sophisticated cameras have energized this kind of filmmaking since the more primitive days when Walt Disney was regularly turning these movies out. Directors Alastair Fothergill and Mark Linfield (Discovery’s Planet Earth) take their cameras into places no one has seen before and get incredible footage some of it heartbreaking some of it thrilling some of it funny. But with brilliant editing and a stunning musical score by George Fenton it all adds up to a breathtaking motion picture achievement adults will enjoy just as much as the kids.
Only that we have to wait another year for the next installment of the series Oceans from the talented filmmakers who gave us the equally amazing Winged Migration.
Just in terms of its haunting effect the richly-detailed sequence in which the slowly-starving father polar bear tries to get food by infiltrating a large pack of crafty walruses is both fascinating to watch and unforgettable in its impact. It’s that unstinting realism and sense that we are watching nature as it really unfolds that gives Earth its gravitas. Another grainy nighttime scene — captured on hidden cameras — shows determined lions out to kill a baby elephant as his mom and her pack try to protect him. Incredible stuff.
INTERESTED IN TRIVIA?
If this seems familiar Earth originally opened in several countries around the world in 2007 and had Patrick Stewart as narrator. Disney eventually picked up the film retooled it and now launches its U.S. premiere on Earth Day. This is the first of six annual films all also intended for release around Earth Day including the aforementioned Oceans.
NETFLIX OR MULTIPLEX?
Although the BBC and the Discovery Channel are partners in this venture this is a MUST on the big screen.
WHAT IT’S ABOUT?
Like hundreds of others in the mad-for-baseball Dominican Republic Miguel Santos (aka Sugar) struggles to try to make it in the local major leagues which would help pull his family out of poverty. His big break comes when U.S. scouts transfer the pitcher to a minor league team in Iowa giving him the opportunity to succeed in America. But when his game goes bad on the mound and an injury occurs he must decide what he really wants to become.
WHO’S IN IT?
Writer/directors Anna Boden and Ryan Fleck (Half Nelson) spent months scouting teams in the Dominican Republic to find a ball player capable of acting the leading role finally settling on Algenis Perez Soto who had never been in front of a movie camera. He’s authentic and mesmerizing to watch as Sugar — his performance owing a great deal to his own similar background. He nails it and is completely convincing as a pitcher even though he wasn’t initially comfortable on the mound (his own position was really second base). Many of the other roles are also cast with amateur actors adding to the realistic tone of the film.
Boden and Nelson clearly show the love they have for the game but their film is really a striking document of the immigrant’s journey reminiscent in many ways of Elia Kazan’s Oscar nominated America America (1963). We usually only hear about the superstar players but these filmmakers put the emphasis on the great majority that never make it past the minors.
Many scenes are long and drawn out but despite the fact that the film could have used some tighter editing (particularly in the baseball segments) there is still a nice rhythm established.
Due to its desire to be as authentic as possible much of the film is not in English; so those who don’t like to read subtitles might be advised to steer clear.
WHAT IT’S ABOUT?
For real estate broker Peter Klaven the bride wasn’t hard to land; it’s finding a best man that’s proving the real challenge. After he gets engaged to sweet Zooey he realizes he has no close male friendships so he sets off on a series of “man dates” to rectify the situation until he finally stumbles upon Sydney Fife a care-free bachelor and Peter’s polar opposite. An immediate best-buddy connection is formed as the two bond to Rush music and engage in honest mano et mano conversation. But when the bromance gets a little too intense it causes ripples in his relationship with Zooey and threatens the wedding.
WHO’S IN IT?
With a cast who mainly cut their teeth in TV sitcoms and improv this is can’t-miss comedy providing the best role Paul Rudd has had to date. Playing Peter as the ultimate female-loving straight guy a potential bride’s dream because he likes to cuddle up on the couch and watch chick flicks like Chocolat Rudd is hilarious especially later on as he tries the male-bonding thing with Sydney -- using hip phrases and non-sequiturs he is incapable of uttering with any level of competence. There’s a grounded sweetness to Rudd in this role and he never loses sight of the character. Rudd and Jason Segel (Forgetting Sarah Marshall) are sensationally funny together -- the best movie buddy team in years. That’s largely because Segel also is down-to-earth in a role that could have soared over the top but never does. The two are always believable and that’s key to making the comedy work as well as it does. Rashida Jones is refreshingly likeable and sweetly understanding if frustrated as Peter’s fiancée. As her BFFs are: Jaime Pressly (My Name Is Earl) who is always battling with her hubby (a riotous Jon Favreau) and Sarah Burns as the awkwardly man-hungry Hailey are highly amusing. SNL’s Andy Samberg is surprisingly understated as Peter’s gay brother and there are nice moments from J.K Simmons (Juno) and Jane Curtin as their parents. And watch out for Thomas Lennon who steals his few scenes as Doug a spurned early “man date” of Peter’s. The original Incredible Hulk Lou Ferrigno also turns up as himself in a wryly amusing running gag.
This is a broad comic premise but it’s never allowed to careen out of control allowing everyone to create three-dimensional human beings despite the hijinks going on around them. The bits with Rudd and Segel jamming on Rush songs are great and so is the endless stream of corny catchphrases such as Rudd’s "we’re just chillaxin’" and Segel’s "Dude Von Dudenstein."
Considering the smart instinctual comic chops that writer/director John Hamburg (Along Came Polly) displays here he could have cut back on the raunch which gets piled on a little thick at times for the film’s own good; although compared to last week’s dreadful buddy bomb Miss March this is Disney stuff.
There are too many to name but the Chinese restaurant engagement dinner is a comic knockout particularly when it comes to Segel’s toast -- full of thinly disguised and totally inappropriate sexual innuendo.
In the ever-changing west of 1882 city marshal Virgil Cole (Ed Harris) and his deputy Everett Hitch (Viggo Mortensen) are two tough dudes out to clean up lawless towns a mission that takes them to Appaloosa. This small mining town has been taken over by a ruthless power-hungry land baron Randall Bragg (Jeremy Irons) who along with his band of thugs has run the place into the ground. Although their initial efforts are met with some success Cole and Hitch run into personal and professional conflict when a pretty mystery lady Allison French (Renee Zellweger) blows into town. She complicates the picture walking on the gray line between good and evil and generally making the Marshal and his No. 2 overcome unwelcome obstacles in their fight to bring Bragg and his boys to justice. The film based on the novel by Robert B. Parker smartly details the unique problems inherent in bringing law and order to an unruly West. Guiding his co-star Marcia Gay Harden in 2000’s Pollock to an Oscar Harris the director once again shows he has a natural affinity for steering his fellow actors at least most of them into superlative performances which includes himself. In fact the actor doesn’t seem to be the least intimidated in playing the leading role in a movie he also co-wrote directed and produced. Harris comes off as the embodiment of a dedicated lawman who quietly goes about his business determined to clean up the wild wild West his way with the help of a loyal deputy. Mortensen is wonderfully authentic as Harris’ partner in stopping sagebrush crime looking like he’s lived in those boots his entire life. Mortensen’s demeanor and style in the role of Everett Hitch evokes a true feel for a place and time long gone. Together these two do not seem fake or awkwardly contemporary but instead come off as the real deal. Irons is slippery and fun to watch as the devious outlaw Bragg proving as he did in his Oscar-winning Reversal of Fortune there’s nobody as good at playing subtle shades of bad. Zellweger on the other hand lets her acting show at every turn. To be fair her character rarely adds up but she does nothing to give any dimension beyond the obvious to a woman courting both sides of the law. In only his second outing behind the camera in a decade Harris shows Pollock was no fluke. Clearly enamored with the era he nobly honors the great American western tradition crafting a film that fits in with some of the best examples Hollywood has turned out. Some may complain that Appaloosa is long on talk and short on action but the time director Harris devotes to letting his characters develop is far more satisfying than a lot of pointless violence that many Westerns wallow in. Like Howard Hawks’ 1959 classic Rio Bravo this is an honest tale of the camaraderie between a pair of lawmen simply trying to do a job. This is a director whose emphasis is focused on his cast and he’s picked them very carefully right down to the smallest roles surrounding himself with a lot of terrific character actors. Just as impressive are the top notch production values including cinematographer Dean Semler’s stunning New Mexico landscapes.