Based on the first of Philip Pullman’s bestselling fantasy trilogy The Golden Compass follows along the same lines as the Harry Potter series. It is set in a parallel universe very much like our own but not quite in which there are witches who fly the skies armored ice bears who rule the north and individual animal spirits called "daemons" who are intricately joined to their human counterparts. And of course there is also the whole good vs. evil milieu. The bad guys in this scenario are the Magisterium a group of high-minded intellectuals running the joint who want to control all of humanity by basically eliminating free will. Our heroine is 12-year-old Lyra Belacqua (Dakota Blue Richards) who turns out to be the Magisterium’s greatest threat because she is the child destined to possess the last remaining Golden Compass a truth-telling device. Still with me? Her uncle the scientist Lord Asriel (Daniel Craig) is captured by the Magisterium while a benefactress Mrs. Coulter (Nicole Kidman) takes Lyra under her wing--mind you not for benevolent reasons. Escaping Mrs. Coulter’s clutches Lyra sets out to find her loyal friend who has mysteriously joined the hundreds of children currently disappearing without a trace. Her adventure takes her over sky and ocean to the north and with her band of friends and allies--and the power of the Golden Compass--Lyra will need all her skill and courage to stop the war that’s coming. Whew that’s a tall order to fill for one little girl. But don’t let the little-girl act fool you. As played by the lovely Richards in her debut performance Lyra is one tough cookie seemingly unafraid of the challenges she faces including confronting a 12-foot-tall polar bear charging at her among other things. Much like Daniel Radcliffe before her the plucky actress is quite a find and should The Golden Compass trilogy continue she’ll be an indelible part of it. As will Kidman and Craig as the yin-and-yang parental figures in Lyra’s life--particularly Kidman who doesn’t stretch much but is effective as Mrs. Coulter. The enchanting lady whose daemon is a nasty golden monkey that doesn’t talk (fits the character perfectly) really does have ice water flowing through her veins. Also good are Sam Elliott as Texan aeronaut Lee Scoresby and Eva Green as the ethereal witch Serafina Pekkala. But the character who makes the biggest impression both literally and figuratively is the armored ice bear Iorek Byrnison an exiled prince from his homeland of Svalbard who is looking for a little retribution. As voiced by Ian McKellen (who else?) Iorek is definitely a force to be reckoned with every time he is on screen. His bear-on-bear battle with the reigning Svalbardian king who kicked him out is one of the film’s best moments. Love the character names too. There’s a lot going on in The Golden Compass which might confuse the smaller ones in the audience. Pullman's books are dense much like the Harry Potter series and one must stay pretty focused to follow all the film's plot points--some of which will with any luck make more sense further down the line. And it is also at times hard to stay emotionally involved in the spectacle of it all (the exception is definitely the ice bears). But still if you allow yourself to be immersed in this fantastical purely make-believe world of gadgetry grandeur and austerity much like the worlds of Harry Potter Lord of the Rings and Chronicles of Narnia then you shouldn’t be too disappointed with Golden Compass. Even more amazing is the director who came up with the film’s vision: Chris Weitz best known for helming the little British dramedy About a Boy. Maybe not the first choice but it’s clear the director is passionate about the material as he covers as much ground as possible in the first installment. Probably the most fascinating part are the daemons who are the animal manifestations of their human counterparts interconnected in all ways. Some have smaller domestic animals such as dogs cats mice; some like Lord Asriel have big animals such as snow leopard; some even have insects. It gets your mind wandering about what yours might be.
The year is 2057 and Al Gore be damned global cooling is threatening mankind: The sun is on the verge of death which would equal the death of the planet. Seven years earlier a space mission Icarus I was shot up to deliver a payload that would reignite the sun; nobody has since heard from those aboard all of whom are assumed dead. Now it’s up to Icarus II comprised of an eight-passenger crew of physicists and astronauts led by Capt. Kaneda (Hiroyuki Sanada) and including pilot Cassie (Rose Byrne) biologist Corazon (Michelle Yeoh) and archrivals Capa (Cillian Murphy) and Mace (Chris Evans). As the ship is floating along a blip shows up on the audible radar ostensibly coming from Icarus I. The crew is faced with a difficult crucial decision only to be compounded when a miscalculation by the navigator (Benedict Wong) takes them slightly off course. If they pursue the signal from Icarus I it could unlock key secrets as to what went wrong the first time and provide an extra payload—or it could be a fatal mistake. Either way it’s nowhere near the toughest decision they’ll be forced to make. As a heartthrob who can act Cillian Murphy is precisely the double threat Chris Evans aspires to be someday soon. Maybe that’ll happen on his next movie The Nanny Diaries because Sunshine finds him miscast—and testosterone-y when he’s supposed to be testy. Evans fresh off the more suitable Fantastic Four sequel isn’t quite cut out for the heady stuff in which he must internalize his inner action star. Murphy to be fair is no great shakes either. Clearly he’s now a Danny Boyle favorite but in their last collaboration 2002’s 28 Days Later the doomsday scenario was different and Murphy’s character would’ve been toast if he were half as sedate as his character Capa is in Sunshine. He comes alive towards the end but that’s when the movie comes undone. A possible future Boyle favorite talented Aussie actress Byrne who starred in this year’s Boyle-produced 28 Weeks Later could’ve benefited from more face time—as could have the film. In other words there’s no true female voice. Talented supporters like Yeoh (Memoirs of a Geisha) and Troy Garity (Barbershop) who stars as the second-in-command are grossly underused but Sunshine does need all the Chris Evans it can muster lest bad box office attacks. Just as his actors in Sunshine are our last great hope to save the dying sun director Danny Boyle may be our last great hope to save the sci-fi genre. Accordingly sci-fi fans will definitely love where Boyle’s head is at but the rest of us will think he’s just got a bad case of ADD. Boyle director of beloved movies Trainspotting and 28 Days Later as well as largely reviled The Beach spends most of the movie with proper pacing messages and themes—only to erase it all from our memories with a spastic final act. He takes the ending in all manner of directions and genres after sucking us in with serious quasi-topical commentary on life in general and life aboard a spaceship. It’s too bad. Ditto writer/frequent collaborator Alex Garland (The Beach 28 Days Later) who touches on some fascinating far regions of sci-fi-dom but winds up leaving them in space dust to co-indulge on the ending. The superb cinematography is on par with that of Boyle’s past work but the simpler shots are more entrancing than the complex ones: When the characters sit on an observation deck to reflect on a close-up of the burning sun it’s more profound and impressive than the frenetic special-effects-heavy camerawork at the end. Which is perhaps the best way to sum up the slow-fast dynamic of the film.
Love means never having to say you're sorry; it's a many splendored thing; it's all you need. But in tennis love means zero; it means you lose. Or does it? For Peter Colt (Paul Bettany) a British pro tennis player seeded near the bottom of the world tennis ranks love actually inspires him. After scoring a wild card to play in the prestigious Wimbledon tournament he meets and falls for the rising and highly competitive American tennis star Lizzie Bradbury (Kirsten Dunst) fueling a winning streak he hasn't had since he began his career. For Lizzie however the love thing doesn't necessarily work out as well. Her feelings for Peter become a distraction throwing her off her game. Hmmm. Can these two crazy kids keep it together long enough so Peter can fulfill his lifelong dream of winning the men's singles title even if it means his muse might have to sacrifice her first Wimbledon title?
Kirsten Dunst may be what draws you in but Paul Bettany is the reason you don't walk out. The British actor who made an impression with American audiences playing the oh-so-witty Chaucer in A Knight's Tale and then wowed them in Oscar winners such as A Beautiful Mind and Master and Commander doesn't disappoint in his first lead role. Bettany's Peter embodies all that charm we've come to love and expect in our British actors--although thankfully not as floppy as Hugh Grant--he stumbles about and apologizes profusely. It's so cute. And he makes a pretty darn believable tennis player to boot (one would hope so after the intense training session the actors apparently had to go through to prepare for the movie). Unfortunately Dunst does not fare as well. Her Lizzie is appealing and she adequately handles the tennis stuff--but she ultimately fails to connect with her male lead making their relationship seem forced. Their beginning sparks are fun but when there's suppose to be a real flame igniting between them you're left scratching your head wondering just when where and why they fell in love so hard so fast. Yep that's a big red flag.
I've said sports movies usually work (see the Mr. 3000 review). To clarify: That is team sports. Sport movies where the action revolves around a single competitor are harder to pull off. It's just not as exciting watching an underdog struggle with himself in order to win. Luckily director Richard Loncraine (HBO's My House in Umbria) seems to know this fact. Even though Peter takes Centre Court (that's the British way of spelling it) Loncraine tries to at least create a more complete picture giving us a glimpse into the world of tennis as well as delving into the traditions of Wimbledon and how the Brits feel about the prestigious tournament where British champions are few and far between. Loncraine also utilizes real-life tennis pros such as John McEnroe and Chris Evert who appear as announcers to liven up the proceedings. Even the action on the court with close-up shots of the ball whizzing over the net gets the blood pumping a little--wish there was a lot more of that. But then of course one could just turn on the TV and watch the real Wimbledon instead watching a silly run-of-the-mill romantic comedy set there.
For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.