Poor Shrek (Mike Myers). The irascible ogre just can’t catch a break. First he has to leave his beloved swamp to rescue Princess Fiona (Cameron Diaz). Then he marries her and has to go meet the in-laws. NOW he’s stuck in Far Far Away as its de facto ruler after the frog king croaks. Oh and he finds out Fiona is pregnant too. All this throws the great green one into a tailspin because 1) impending fatherhood scares the bejeezus out him and 2) he believes he has no business being king. So Shrek sets out with his pals Donkey (Eddie Murphy) and Puss in Boots (Antonio Banderas) to fetch Artie aka Arthur (Justin Timberlake) Fiona’s cousin and next in line for the throne. Thing is Artie’s just a teenager—and kind of a loser one at that; he really doesn’t want to be king either. Meanwhile on the home front Fiona and her merry band of princesses have to defend the castle against the vain Prince Charming (Rupert Everett) who’s hell bent on getting revenge and taking over Far Far Away. And so the high jinks ensure. But it’s OK it all works out in the end. Certainly part of Shrek’s charm is its vocal talent. Myers Diaz and Murphy are all old pros by now—which is actually a good and bad thing. They are definitely more comfortable with their roles but Shrek isn’t nearly as charmingly irritable as he once was and Fiona not as feisty. Guess they are growing up. And Murphy used to get all the best lines as the jittery Donkey. Now that job has been delegated to the likes of Banderas as Puss as well as side characters such as the Gingerbread Man (Conrad Vernon) Pinocchio (Cody Cameron) and the Three Little Pigs (also Cameron). Also adding to the humor are the various princesses especially SNL alums Amy Poehler as the sardonic Snow White and Maya Rudolph as turncoat Rapunzel plus Amy Sedaris as the dimwitted Cinderella. Timberlake is sweetly goofy as Artie while Brit comic legend Eric Idle voices the New Age-y on-the-verge-of-a-nervous-breakdown Merlin the magician with aplomb. It’s these characterizations that make Shrek the Third zing. Much like Shrek 2 this third installment ultimately comes off as a retread. They just haven’t been able to recapture the magic created in the original. Instead the filmmakers regurgitate the same comic set ups and in some cases the same jokes. Maybe they won’t ever be able to reach that same plateau. But you’ve still got to give the Shrek franchise props for being the granddaddy of fairy-tale spoofs. Even if the sequels don’t measure up the Shrek phenomenon on the whole has set the bar creating a certain charisma in the let’s-make-fun-of-traditional-lore milieu. Shrek the Third highlights include: Worcestershire High School where Artie goes to school which is full of John Hughes teenagers talking in medieval oh-thou-di’nt-just-say-that speak; Charming being relegated to doing third-rate dinner theater; Pinocchio trying to talk his way around not lying and more. Oh who cares what us dumb critics say anyway. Kids are going to love Shrek the Third regardless of whether it hits the mark or not.
In the beginning of the Dark Ages the warlords of England are brutally kept in line by the Irish King Donnchadh (David O'Hara). Tristan (James Franco) has grown up hating the Irish for killing his family and has made a strong allegiance to father figure Lord Marke (Rufus Sewell) while Isolde (Sophia Myles) Donnchadh's daughter has grown up under her father’s thumb. After a fierce battle that leaves Tristan near death he washes up on Irish soil and is nursed secretly back to health by Isolde who tells him she’s someone else. The two fall madly in love but Tristan must return to England before he’s discovered. Meanwhile Donnchadh decides to stage a tournament between all the champions of England with his daughter as the prize. Tristan ends up winning the princess' hand for Lord Marke but is horrified to find out she’s his own true love. Tristan and Isolde now must suppress their love for the sake of peace and the future of England. But despite their best efforts to stay apart the lovers are driven inexorably together. Despite the fact that Franco (Spider-Man) and Myles (Underworld) look lovely rolling around on the ground in romantic trysts and gazing forlornly at one another you don’t necessarily feel any heat between them. That seems to be mostly the fault of Franco who plays the young Tristan far too stoically. We understand he’s a tortured soul torn between duty and love with his eyes perpetually half-filled with tears. But couldn’t he have shown a little more passion (and while he’s at it washed his hair)? The luminous Myles is better at showing her burning desire but she too is left many times sad and weepy. Only Sewell (Legend of Zorro) who is usually delegated to playing bad guys shows any kind of raw emotion as he first falls genuinely in love with his bride--and then is betrayed by her and the only son he ever knew. He’d probably make a great King Arthur. As the Celtic myth of Tristan and Isolde predates the Arthurian legend as well as Shakespeare’s Romeo and Juliet you can easily see how those two more famous stories were possibly formed. Tristan & Isolde is a classic story of forbidden passion set against political upheaval as well as a tale about a tragic love triangle. Producers Ridley and Tony Scott had been fascinated with the legend for many years and finally got the opportunity to bring it to the big screen. Ridley however who directed last summer’s medieval fare Kingdom of Heaven wisely chose to hand over the directing reins to Kevin Reynolds (Robin Hood: Prince of Thieves) who adequately paints a picture of a time when chaos reigned. Maybe Tristan & Isolde is not as compelling or romantic as the king of them all Braveheart but it is certainly far more accessible than say Kingdom of Heaven. Sorry Ridley.
Before the main feature begins audiences are treated to an added bonus--The Flight of the Osiris a really cool $5 million computer-animated short film created by Matrix writer-director brothers Andy and Larry Wachowski that connects the story to the next installment The Matrix Reloaded. Taking place after The Matrix left off it's a wild ride showing one rebel ship trying to fight off the evil machines--and unfortunately losing the battle. Done in the animated futuristic style of last year's Final Fantasy: The Spirits Within the film will certainly whet Matrix fans' appetites. Moving on....As with any good King tale Dreamcatcher begins with relationships. This time the action centers on four best friends--the agreeable Jonsey (Damian Lewis) the tortured Henry (Thomas Jane) the flippant Beaver (Jason Lee) and the lovelorn Pete (Timothy Olyphant)--who as kids 20 years ago saved a mentally challenged kid named Duddits (Donnie Wahlberg) from some bullies and somehow were bestowed with uncanny powers of telepathy by the eerie little kid that bonded them all beyond ordinary friendship. Now as adults they feel burdened by their powers but soon find out how glad they are they still have them. When the guys head to a hunting cabin in the woods for their annual blowing-off-steam session the happy reunion is cut short by a deadly alien force which has invaded their snowy surroundings. While the U.S. military lead by Colonel Abraham Curtis (Morgan Freeman) and Capt. Owen Underhill (Tom Sizemore) quarantines the area to get rid of the infectious alien presence known as the "Ripley" (named after the main character in Alien) the foursome are haplessly drawn into the aliens' evil plan finding themselves once again inexplicably linked to their old friend the now cancer-stricken Duddits. It's a race against time to stop the invasion but the four men use all their strength to stand together--one last time.
The natural rapport and strong bond between the four main characters needs to be believable to make Dreamcatcher palatable. Fortunately the actors playing them live up to the task and when they are all on screen at one time it works; unfortunately scenes featuring all of them are few and far between. The British Lewis who was so damn good in HBO's Band of Brothers as leader Richard Winters gets his first starring role in a feature film and brings the same level of quiet intensity to his Jonesy as he did to Brothers. Olyphant (Go) and Jane (The Sweetest Thing) play Pete and Henry like they've been lifelong pals offscreen while Wahlberg is almost unrecognizable as Duddits proving he can get rid of those good looks and put in a nice performance. And finally Jason Lee who's been suppressing his witty sarcastic self far too long in stinkers such as A Guy Thing steals the show as the curse-word lovin'--and incredibly brave--Beaver. The plot line revolving around Freeman's and Sizemore's characters is far less interesting with Freeman turning in his usual steady performance but somehow missing the mark as Curtis a military man who has seen way too much.
The talent behind Dreamcatcher is clearly evident. Director/co-writer Lawrence Kasdan and co-writer William Goldman do a wonderful job setting up the action with the quick back and forth dialogue between the four men. It gives you an immediate intimacy with the main characters something King likes to do in his writing as well. Kasdan also uses interesting imagery of a large and dusty library that represents the inside of Jonesy's mind where he hangs out and shuffles old boxes full of memories around to make room for new ones. When the alien takes over Jonesy's body Kasdan frames the action by showing Jonesy trapped inside this library watching what is happening to his friends and trying desperately to keep the invading menace at bay. Ultimately though just when it should jump on the horrific momentum it's built up the film begins to fall apart as we move away from the four main characters and start dealing with the military operation. Perhaps the main problem lies in the fact it is too derivative--of other alien movies (Independence Day meets Alien meets The Thing) and worse of other Stephen King movies (Stand By Me meets It meets The Tommyknockers). In other words it ends up being a highly anticlimactic rehash.