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.
The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
Improving on his last two duds The Village and the dreadful aquatic nymph tale Lady In The Water writer/producer/director M. Night Shyamalan gets back to the kind of eerie paranoid thriller he so successfully mined in early efforts like The Sixth Sense and Signs. The results this time are mixed in this story of a mysterious environmental “happening” on the East Coast that is causing large groups of people to commit suicide. As he does in his most effective films Shyamalan focuses on a core group of people who must find a way to survive these strange events. Elliot (Mark Wahlberg) is a Philadelphia science teacher already dealing with marital problems with his attractive but rather unstable wife Alma (Zooey Deschanel) now thrust into full crisis mode as he his wife a fellow math teacher Julian (John Leguizamo) and Julian’s daughter Jess (Ashlyn Sanchez) hit the road by train then car to escape the unusual plague first thought to be a terrorist attack. The group soon realizes it is more than that perhaps a forceful message from Mother Nature cued by the growing winds and rustling of tree leaves. Joined eventually by two older boys Jared (Robert Bailey Jr.) and Josh (Spencer Breslin) Elliot tries to be the voice of reason as each person begins to meet their own fates on a journey into a heartland of unexplainable terror. Unlike most contemporary horror films in which actors must battle butt-ugly creatures most of the genuine frights in this flick are left to our imagination. Here Shyamalan wants us to experience what the characters are going through the abject fear on their faces. Wahlberg is particularly good at expressing a growing feeling that events are slipping out of his control. He’s amusing in a direct encounter with a house plant he fears may now have the upper hand and in the film’s best sequence where he must convince a batty paranoid old woman (an intense Betty Buckley) to let the group stay in her remote farmhouse. Forced to utter lines like “just when you thought there couldn’t be any more evil invented ” the quirky Deschanel has her work cut out for her but is likeable enough in the end. As a math teacher Leguizamo spends much of his screen time calculating everyone’s odds for survival until his own becomes questionable. As his daughter Sanchez is appealing and handles herself well. Shyamalan is the heir apparent to Alfred Hitchcock--in his own mind at least. Hitch’s The Birds seems to be the template but that 1963 classic is light years ahead in every way. Unfortunately Shyamalan is becoming something of a one-trick pony as The Happening is basically a retread of things we’ve seen him do before. There is no question he has superior skills. He clearly gets the horror genre; he just doesn’t seem to know how to make it fresh anymore and the answer isn’t by ratcheting up the body count. Reportedly 20th Century Fox asked him deliberately to make an R rated film (his first) and its those gore-filled elements which seem superfluous here. Do we really need to see a guy commit suicide by willingly letting some zoo lions rip off his arms? It’s glaring and out of place with the subtler aspects of the director’s style. Plus the use of overbearing and obvious music cues (score is by James Newton Howard) shamelessly telegraphs whatever scares the movie and only serves to emphasize the shortcomings of M. Night’s sketchy screenplay. Still as a summertime time-waster The Happening fills the bill but as an eco-thriller with dire warnings for humankind it drowns in its own promising potential.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?
The Producers Guild of America bestowed its top honors on the musical extravaganza Moulin Rouge Sunday night at the 13th Annual Producers Guild Awards. The wild Rouge--about a turn-of-the-century Parisian nightclub and produced by Martin Brown, director Baz Luhrmann and Fred Baron--is also nominated for an Academy Award. PGA best picture winners have gone on to win the Oscar nine out of 12 times.
Other winners of the evening included NBC's The West Wing, winning best television drama, HBO's Sex and the City, winning best television comedy, and HBO's Band of Brothers, winning best television movie, miniseries or other long-form television.
Grammy winner Alicia Keys, Luther Vandross, Gerald Levert, India.Arie and comedian Cedric the Entertainer will kick off this year's Essence Music Festival at New Orleans' Louisiana Superdome. The three-day event starts July 4, while other performers such as Mary J. Blige, Al Green and comedian Steve Harvey will take the stage over the course of the festival.
Roger Moore, the suave '70s and '80s James Bond, will be taking on a new role in his next film--an over-the-top gay man. The 74-year-old actor will appear in the Cuba Gooding Jr. comedy Boat Trip, about two straight guys who end up on a gay cruise, due out this summer. Moore told the Associated Press he hopes his performance "will make the audience raise their eyebrows a little bit." Sounds like a good bet.
Akira Kurosawa's The Seven Samurai is getting another Hollywood treatment from Miramax Films and MGM, Variety reports. The classic Japanese epic about a small village hiring seven samurai to protect them from thieving bandits was remade into 1960's The Magnificent Seven, starring Charles Bronson, Yul Brynner and Steve McQueen. Miramax Films co-chairman Harvey Weinstein described Samurai as "the mother of all 'guys on a mission' movies."
In the world of celebrity boxing matches (yes, apparently there is one), ice-skating terror Tanya Harding, who had her opponent Nancy Kerrigan's knee smashed prior to the 1994 Olympic trials, will fight Paula Jones, the first woman to accuse former president Clinton of unwanted sexual advances in 1991. Harding was supposed to have fought Amy Fisher, the young girl who shot her lover's wife in 1992. But no can do. It's Jones and Harding all the way. Fox Television will air the match March 13.
After the South African premiere of Ali, South Africa's former president Nelson Mandela praised the legendary boxing champion Muhammad Ali as being one of the people he most admires. Mandela told Reuters, "He (Ali) brought a new kind of legend to boxing, and I am very happy indeed to be here to join you in paying tribute to my hero and the hero of millions right across the seas."
President Bush and leading politicians were treated to an evening of entertainment Sunday to showcase American pop culture. The gala event, held at the legendary Ford's Theater and hosted by Frasier's Kelsey Grammer, had an all-star line-up, including performers such as Stevie Wonder and David Copperfield.
U2 lead singer Bono met with White House National Security Advisor Condoleezza Rice to discuss African debt relief in his ongoing campaign against Third World poverty. He has been trying to get Washington to drop the debt of some of the world's poorest nations for many years and has been using the success of his band's music to help the effort. U2 just won four Grammy awards, including record of the year.
A documentary about the hard-rock band Metallica is looking to be as juicy as Madonna's Truth or Dare. Filmmakers Joe Berlinger and Bruce Sinofsky have been trailing the band since last April, while the band was in the studio cutting a new album. Since filming began, however, traumatic events have shaken the band, including the departure of bassist Jason Newsted after 14 years this past January and lead singer James Hetfield's rehab woes. No release date has been set.
Pop star Will Young, the 23-year-old singer who was discovered on the reality-based TV show Pop Idol, has sold more than a million copies of his first record in a week, making it Britain's fastest-selling single ever. The single "Anything Is Possible/Evergreen" has sold 1,108,269 copies. Who is Will Young, you ask? Guess we'll get to know more about Will soon enough.
In regard to the death of a teenager at a Sydney, Australia, concert Jan. 26, 2001 where Limp Bizkit and other bands were playing, Alexander Murdoch MacLeod, Limp Bizkit's tour manager, blames the concert venue for being understaffed and poorly managed. At an inquest into the death of 15-year-old Jessica Michalik, who was caught in a rush to the stage and suffered a heart attack, he told the court he thought the staff was insufficiently trained for a crowd breakdown.