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.
If you thought the Viking Age was uninteresting in that old history textbook Pathfinder does it one better by actually upping the boring ante. In fact even ye Old World buffs out there will be disoriented. It’s set “600 years before Columbus ” when “people had to guard America’s shores from marauders.” One of those most noble guardsmen was Ghost (Karl Urban). Native Americans happened upon him as a young orphan boy and decided to raise him as one of their own--even though he was never truly accepted due to his unknown ancestry. Fifteen years pass and Ghost once a frail child has blossomed into a beast-sized man capable of warding off almost anyone. His size and skill set come in handy when Norse invaders look to raise hell in his village. Armed with horses swords and thorny helmets they kill and maim everyone in sight and mostly get away with it. That is until they mess with the object of Ghost’s affection Starfire (Moon Bloodgood) thereby seriously messing with Ghost. You don’t put Ghost in a corner! Beefcake actors are apparently a dime a dozen these days and Pathfinder lead Urban does nothing to separate himself from the supporting actors of his own movie let alone from the aforementioned Hollywood stereotype. Looking like a runway model on steroids the Lord of the Rings and Bourne Ultimatum star only stands out aesthetically here and is in danger of being pigeonholed and typecast for a long time to come. Unless he can somehow show a different side Urban will wind up on a long list with the likes of wrestlers-turned-actors who can’t act. Thing is in Pathfinder he can’t even manage the uber-virility his character is meant to project. Bloodgood (Eight Below) meanwhile owner of the best non-porn name in showbiz holds her own and softens things up in a movie otherwise completely dominated by males. And finally there's veteran Native American actor Russell Means (Natural Born Killers) who as the Pathfinder himself at least lends some desperately needed credibility. Looking up a director’s name and past work isn’t a fair way to pre-judge his or her movie but it may sometimes hint at what you’re in for. Take Pathfinder for example: Director Marcus Nispel's past work includes Texas Chainsaw Massacre and music videos. Massacre was terrible and music videos are stylized; thus we arrive upon Pathfinder which is terrible and stylized. When parents complain about violence in the movies this should be their focal point. Nispel like other offenders is unable to ever refrain and beheadings and such in all their slow-motion glory resemble fun video games. Not that his lack of morality makes Pathfinder the crap it is however. That blame rests on his apparent decision that such violence is all moviegoers want to see. And it is perhaps the sheer lack of a story that accentuates how mediocre the violent scenes really are--scenes that are meant to leave us agape in amazement as if we’ve never seen a loose eyeball on the screen before. On a (lone) positive note though the set design seems up-to-snuff.