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.
Built from comic book auteur Frank Miller’s (Sin City) rock solid foundations 300 is based on his vision on the 1962 film The 300 Spartans filtered through the same tough-as-nails pulp sensibility that populates most of his comics work. Leaving such leaden wannabe sword-and-sandal epics like Troy and Alexander in the historical dust 300 reworks the real-life legendary tale of the Battle of Thermopylae in which a battalion of 300 elite Spartan soldiers heroically hold the line to protect ancient Greece from the invading Persian hordes. The story focuses on the Spartan King Leonidas (Gerard Butler) who must not only lead his small cadre of troops--each one honored since childhood into a razor-sharp battle-relishing warrior—into a battle they are unlikely to survive but he must also fight for the fate of Greece and its democratic ideals. As the bizarre seemingly endless marauding legions of the tyrant Xerxes (Rodrigo Santoro) descend upon the Hot Gates—a narrow passageway into Greece that Leonidas’ miniscule band can most ably defend—the soldiers take up arms without the usual post-modern anti-war hand-wringing that most war epics indulge in. These soldiers are both bred for battle and fighting a good fight and the film focuses squarely on the highly charged action. Meanwhile in a new plotline created specifically for the movie his equally noble and faithful queen Gorgo (Lena Headey) takes up arms in a more symbolic way as she also tries to keep democracy alive by taking on the political warlords of Sparta to secure relief for her husband’s troops. Butler has become a familiar and welcome on-screen presence in such films as The Phantom of the Opera and Reign of Fire but there has been little on his mainstream movie resume to suggest the kind of bravura fire he brings to the role of Leonidas. This is the stuff of an actor announcing himself to the audience in a major way akin to Daniel Craig’s star-making turn as James Bond. In a big bold performance that could have gone awry in any number of ways Butler plays even the highest pitched notes like a concerto perfectly capturing the king’s bravado bombast cunning compassion and passion each step of the way. Headey is his ideal match imbuing the queen with more steel and nobility in a handful of scenes than most actresses can summon to carry entire films. Fans of Lost and Brazilian cinema will be hard-pressed to even recognize Santoro whose earnest pretty handsomeness is radically transformed into Xerxes’ exotic borderline freakish form personifying a terrifying yet seductive force of corruption and evil that spreads like a cancer across the earth. And don’t forget to add in the most impressive array of rock-hard abs on cinematic display since well ever (think Brad Pitt in Troy times 300). Even bolstered by canny casting choices and their washboard stomachs helmer Zack Snyder (Dawn of the Dead) is the true undisputable star of 300 establishing himself firmly as a director whose work demands to be watched. With a kinetic sensibility that’s akin to Quentin Tarantino and John Woo and using CGI technology to its utmost effects both subtle and dynamic Snyder creates a compelling fully formed world that the audience is eager to explore. Snyder doesn’t literally match Miller’s signature artwork as meticulously as director Robert Rodriguez did with Sin City. Instead Snyder captures Miller’s essence be it raw brutality majestic size and scope the exotic and otherworldly carnal physicality or hideous deformity--even seemingly antiquated and potentially off-putting techniques like the repeated use of slow-motion are put to fresh effect making every blow and cut seem crucial. Yet even in the visual glorification of some of the most bloody and violent conflicts ever put to film Snyder infuses the tale—which ultimately is one big glorious testosterone-soaked fight sequence—with the sense of honor and sacrifice which characterizes the most noble of war efforts. Yes war can be hell but this is a case where some like it hot.
A dead body with a smashed-in face and cut-off hands is uncovered at a Montreal construction site. The local authorities are all over it but police inspector Hugo Leclair (Tcheky Karyo) thinks it might be bigger than just a random murder and decides to bring in his good friend Special Agent Illeana Scott (Angelina Jolie) an FBI profiler who relies on her intuition rather than conventional crime-solving techniques. She proves it by immediately lying in the victim's grave to get a "sense" of what happened to him. (Wow we've never seen that before.) The Montreal detectives on the case Paquette (Olivier Martinez) and Duval (Jean-Hugues Anglade) are skeptical of her ways especially Paquette who thinks she's just plain nuts (we're with ya Paquette) and resents her involvement. The investigative team catches a lucky break when witness James Costa (Ethan Hawke) pops up claiming he stumbled upon the killer mid-murder (but not in time to save the victim) and can identify him. With Costa's help Illeana gets a clearer picture of her "profile " discovering he is a chameleon-like serial killer who "life-jacks" his victims assuming their lives and identities. At first she's hot on his tracks but the usually detached Illeana is thrown for a loop when an unexpected attraction develops between her and James. She suddenly feels like she is losing her touch; and surrounded by what could be a bevy of potential suspects things get chillingly personal.
Jolie has done this before sort of in the 1999 The Bone Collector in which she played a homicide detective who works with a quadriplegic partner to catch a serial killer so inhabiting Agent Scott is not new territory for her. Neither is acting in the steamy love scene she gets to share with Hawke which as we all know is something Jolie can do well. What is surprising for a movie of this type however is the fact the uptight emotionless FBI profiler actually gets to have sex which brings out Scott's more human qualities. The ultra-smooth Hawke whom we haven't seen since his Oscar-nominated turn in the 2001 Training Day also does some intriguing things with his character who may or may not be the bad guy (see below). The rest of the cast however falls into conventional psycho thriller compartments--the good cop (Anglade) the bad cop (Martinez) the concerned confidante (Karyo) and the person who provides key information about the serial killer's background (his mother played by Gena Rowlands)--without shedding anything new on the proceedings.
If you've seen one big-budget psychological serial killer movie you've seen them all. You know that the one guy they want you to think is the killer really isn't. You know that the other more unlikely guy probably is. You know somehow the hero--a smart cop FBI agent etc.--will eventually find his or her life in mortal danger. And finally you know the killer rarely dies on the first attempt; he always comes back. What you hope is that at some point the filmmaker will throw a wrench in the works. Something you couldn't predict even if given all the clues. Taking Lives director D.J. Caruso tries his best to do this. Through his camerawork he sets up Illeana's hyper-sensitive skills of observation as she notices everything around her only to see those skills fail on her later--and aided by composer Phillip Glass' haunting musical score the film reaches the predictable high points fulfilling its thriller quota. Montreal also provides a change of pace from the usual grimy Big Apple or other such gritty American locales prominently feature in such films. But what keeps Taking Lives in the running is its curveball at the end. If you don't mind wading through the rest of the movie's obviousness the wait is worth it.