Maintaining the fantastical but dropping any semblance of whimsy Snow White and the Huntsman transforms the classic fairy tale into a bleak Lord of the Rings-esque hero's tale full of sword fights monsters and forces of evil bent on wiping out humanity. Instead of creating a unique world or conflict for its revamped characters to explore SWATH plays it safe and sticks to the familiar beats coming off like an amalgamation of every fantasy film that's ever graced the silver screen. Director Rupert Sanders sticks to flashy special effects (some of which are truly stunning) over his greatest asset: the charismatic cast. Kristen Stewart Charlize Theron Chris Hemsworth and eight familiar-faced dwarves try their best to elevate the thin material on display but the film is under a sleeping spell — and no one steps in to wake it up.
Once again an evil queen manipulates her way into the castle and heart of a widower king only to cut his throat and throw his beautiful young daughter Snow into the tower to rot. Years later a magic mirror reveals to the wicked Ravenna (Theron) that the now-of-age Snow White (Stewart) is the answer to her waning magic and wrinkly skin. But as Ravenna's slimy brother Finn comes knocking at Snow's door the imprisoned princess pulls a fast one escaping and opening the door for a large-scale adventure through the forests mountains and swamps of the mystical kingdom.
SWATH's action feel particularly shoehorned in each set piece drifting by without any weight or purpose. After fleeing the tower Snow takes shelter in The Dark Forest (there wasn't a better name? or a name at all?) where she's tracked by the Queen's freelancer The Huntsman (Hemsworth). A few fleeting character moments later the two are on the run together duking it out with otherworldly trolls and joining forces with a group of pint-sized ex-gold miners who believe Snow White is "the one." The epic speak commonplace in fantasy films plagues SWATH — without any details as to how or why the world works the way it does most of the dialogue amounts to characters screaming about "destiny." The lack of specifics filters into the journey too: at one point Snow White stumbles upon a forbidden forest bustling with fairies moss-covered turtles and an antlered creature that's never been seen by humans. The beast is a sign that Snow is savior of their world. Why? Anyone's guess.
The generic quality brings down the talent on screen namely Theron's delightfully wicked Ravenna who goes full on Joan Crawford/Mommie Dearest as she pulls strings to entrap Snow White. Naysayers of Kristen Stewart will have plenty of fuel after SWATH but it's the material that fails to serve the actress in this case. The actors in the film barely get to smile — the drab overcast look of the movie clouding even the performances — but the moments when Stewart's Snow brightens up things suddenly come alive. Hemsworth lightens the mood too showing off a sliver of his comedic prowess from Thor. Between the movie's instance for doom and gloom the patchwork script and Sanders' overuse of up-close-and-personal shakycam there's rarely a moment for the actors to do their thing. It's barely worth mentioning the handful of British character actors who pop up as the Dwarves who hobble around mumbling unintelligible quips. They quickly form a bond with Snow White — or so the movie strong-arms us into believing.
Snow White and the Huntsman is stuffed with imaginative spectacle but the artistry is lost on a hollow story. Crystalline mirror shard warriors the Queen's youth-sucking powers or landscapes that look like live-action Miyazaki animation — it all looks amazing but they're never more than spiffy special effects. The movie wants to be above the visuals teasing a smart tough Snow White but the potential is squandered by never allowing the heroine to stride beyond the conventional world. If Snow White's tale is a shiny red apple then modern tropes of fantasy are the poison.
The Raven takes a solid foundation (the works of Edgar Allan Poe) gives it an interesting twist (a Se7en-esque crime riff on Poe's existing works) and squanders the opportunity into an unwatchable 111-minute film fit for no audience. One part CSI one part Saw the thriller plods its way through bloody setup after bloody setup as Poe (John Cusack) accompanies Detective Fields (Luke Evans) in search of the author's fiancee Emily (Alice Eve). She's been kidnapped by a murderous literary-inclined madman prompting Poe to put on his Sherlock hat and scream a lot.
Turns out the inventive demises of Poe's characters recreated by the faceless serial killer aren't that exciting — at least in the hands of director James McTeigue (V for Vendetta Ninja Assassin). The Raven is a straightforward procedural souped up with Victorian era production design but the unique setting doesn't forgive any of the ineptitude on display in the other aspects of the film. Poe is forced by the murder to chronicle his villainous exploits for the Baltimore newspaper — the perfect way to torture an entitled author and a dramatic hook to draw us into the antics. But McTeigue abandons the slow burn quality that could have been in favor of buckets of blood. The grisliness of the killings is one of the film's obsession red splashing across the screen as a pendulum guts a random victim. The Raven's gore earns the film's R but it's out of place.
Cusack's performance as Poe is befuddling. At times he's an egomaniac a wise thinker an action hero — he's completely in flux and every ounce of the movie's attempted seriousness vanishes. Never before has a part cried out for Nicolas Cage's signature brand of crazy-eyed manic heightened realism. Late in the film Poe and a team of police frantically search for his wife-to-be in a crypt. He calls out "EMILLLLLLLLYYYYYYY" in what sounds like the actor's best Ron Burgandy impression. Cusack doesn't know what movie he's in and there's no one around to help him.
There's little to enjoy in The Raven even on the surface. The muddy and dull cinematography looks like it was shot with a pea soup filter drab period-costuming and production design making squinting even more imperative. There's a strong core idea that dimly flickers under the bland mess of ideas flopping around in the movie — one Cusack and McTeigue even seem capable of pulling off. But The Raven is a spilled quill of ink sopped up with scare tactics and over-the-top performances. Less nevermore than never began.
Previously on Harry Potter: Big bad Voldemort steals the Elder Wand from Dumbledore's grave while Harry mourns the loss of his wee elf friend Dobby and begins his search for the remaining Horcruxes.
If that recap leaves you with hazy memories of last year's Deathly Hallows - Part 1 you may want to pop in the DVD before taking on the Harry Potter franchise's grand finale Deathly Hallows - Part 2. The eighth film in the series doesn't pull any punches demanding your knowledge of the saga's previous events and crescendoing off a foundation of character and connection built over a decade of cinematic excursions. That's not a fault -- Deathly Hallows - Part 2 serves hardcore fans and dedicated patrons of the franchise alike bouncing elegantly back and forth between explosive action and emotional conclusions. At this point that's what matters.
Whereas Deathly Hallows - Part 1 took Harry Hermione and Ron on a gritty race through the real world Part 2 brings the trio back to their home base Hogwarts School of Magic and Child Death where their colleagues and professors find themselves defending it against the empowered Voldemort and his band of Death Eaters. Similarly to Transformers: Dark of the Moon Deathly Hallows - Part 2 spends most of its run time following various established characters as they navigate the epic battle. Unlike the clunky erratic action of TF3 director David Yates manages to execute the sequences in Potter with bravado making sure we give a damn every time Potter discovers a secret from the past blows a Death Eater out a window or glances upon one of his closest friends lying dead on the floor.
For all its otherworldliness Potter is and always has been a human story one that puts its characters before spectacle. But when Yates and his team of FX wizards do unleash their bag of spells on the screen they do it with a very BIG bang. Deathly Hallows - Part 2's scope is on par with the Lord of the Rings trilogy bringing everything from trolls to spiders to animate statues into the wizards' massive assault. The franchise hasn't seen action on this scale before but Yates never misses a beat or opportunity to dazzle with visual eye candy. Turning the crumbling of Hogwarts castle into a riveting poignant experience -- true magic.
Once again Daniel Radcliffe Emma Watson Rupert Grint and a cast of veteran British thespians deliver the necessary gravitas to anchor Potter's fantastical elements in reality. With everything finally on the line in Deathly Hallows - Part 2 each performance is at its best and Radcliffe steps up to the plate to make his final showdown with Voldemort one to remember. He spends most of the movie covered in dirt encrusted blood on his face and a harrowing sense of death behind his eyes. Heavy material but Radcliffe pulls it off.
Few franchises have the chance that Harry Potter has been fortunate enough to receive to follow the same familiar faces through years of ever-complicating story. Thankfully Deathly Hallows - Part 2 doesn't squander the opportunity. The saga swells with a triumphant final act one that never forgets why people love the movies in the first place. The adventure the awe the comedy the thrills the people the places the things -- those are the elements that make Harry Potter grand and they return in perfect form once more to say good-bye.
In 117 AD the famed Ninth Legion of the Roman army inexplicably disappeared. Through the centuries many legends pertaining to the missing squadron have unfurled. Some claim that the harsh elements of northern Britain brought them to their doom while more extraordinary stories suggest that supernatural forces laid waste to the soldiers. Writer-director Neil Marshall sought to set the record straight about the lost faction of fearless Romans with his new film Centurion but his audience receives much more mutilation than explanation.
A highly explosive cocktail of blood sweat and steel the film centers on Michael Fassbender’s Quintus Dias the stoic soldier for whom the film is titled and a captive of the savage Picts who have thwarted Roman subjugation for decades with effective guerrilla tactics. Quintus manages to escape the Picts’ village and regroup with the Ninth Legion led by the brave General Virilus (Dominic West) which happens to be on its way to finally end the devastation at the behest of a pushy Roman governor. Like every failed attempt at conquest the Roman forces are demolished. Quintus manages to survive yet again (cue eye-roll) along with a small group of battered warriors who end up on the run through treacherous terrain trying to stay a step ahead of Etain (Olga Kurylenko) a feared Pict huntress whose only joy in life comes from spilling Roman blood.
Like the movie’s breakneck production pace the story moves incredibly quickly leaving little time for the plot to be fully fleshed out (there’s not much of it anyway). The film would have benefitted from some more character development especially with the supporting cast because it is intended to be an ensemble piece but as each soldier got picked off I began to realize how insignificant most of them were to the narrative. As with all chase films though it’s the thrill of the hunt that keeps you engaged and Centurion delivers in that sense.
Fans of Marshall’s previous films The Descent and Doomsday will be drawn to Centurion’s similarly sadistic depiction of violence which is in no short order. Squeamish moviegoers will likely spend at least half of the movie’s 97-minute runtime with their eyes clenched as heroes and villains hack away at heads and limbs vividly illustrating the less-than-civilized age in which the film is set. Had previous entries into the swords-and-sandals genre like Braveheart and Gladiator not shown audiences and filmmakers alike that blood and story can be successfully balanced Centurion would’ve fared better but the director’s preference of gore over plot points kept me from ever being able to take it seriously.
Marshall’s mind is like an encyclopedia of genre conventions and he puts this knowledge to good use in terms of the movie’s technical components conforming to the visual style that we’ve come to expect from this period. If it’s growth that you’re hoping for don’t expect to find much; the only sign of it that the filmmaker demonstrates is in his at-times surprisingly poetic dialogue which describes the repulsive details of war and gives its deliverer Quintus much-needed depth. Credit is also due to a handful of the actors (namely Fassbender West and Kurylenko) who braved health-hazardous conditions to get the film made and take the on-screen chaos in stride no matter how absurd it gets.