Although most Holocaust-themed works present the Jews as victims this true story shows there were small bands who did manage to fight back no matter how difficult the challenge. Starting near the beginning of World War II the film focuses on three Jewish brothers who lead a small but effective resistance against the surging Nazi presence in the forests of Belarussia. Eldest brother Tuvia Bielski (Daniel Craig) returns home to find most of his family murdered. His only surviving siblings are his wild quick-tempered brother Zus (Liev Schreiber) prone to shoot first and ask questions later and his youngest brother Asael (Jamie Bell) whose gentle nature allows to him to act as a buffer between his two older siblings. Crux of the film is the conflict between Zus’ quest for revenge at any cost and Tuvia’s more measured desire to save lives. As they round up more and more Jewish outcasts the Bielskis form a community deep in the woods. But soon Tuvia must rise to the occasion and lead the 1 200 strong group deeper into hiding in order to survive the winter and the lurking Nazi threat. Daniel Craig gets back to his acting roots after two high-profile outings as 007. He’s strong resilient and complex as a man with a criminal past whose mettle is tested when he chooses to become an advocate for life over the prospect of turning into a killing machine. Schreiber is superb as well as the toughest of the brothers -- at least on the outside. His primal urge to survive at all costs by using whatever preemptive force is necessary is apparent throughout his well-detailed portrayal. And finally Bell who more than holds his own as the most innocent of the bunch and the one with the most to learn. Alexa Davalos Iben Hjejle and Mia Wasikowska add needed warmth and emotion as the three very different women or “forest wives ” with whom the brothers romantically bond during their years in hiding. Stand out in the enormous meticulously chosen cast is Mark Feuerstein as an intellectual and Viktor Panchenko as Isyyanov the leader of the People’s Army. Edward Zwick is known for intelligent historically based films like Glory The Last Samurai and Blood Diamond. Defiance follows suit shot on a rather large scale with lots of impressive action sequences buffering an intimate story. Zwick’s co-writer Clayton Frohman stumbled upon the Bielskis’ story while reading a newspaper obituary on one of them. Armed with exhaustive research and an unerring eye for authenticity the director does not present any of these characters as saints. They were flawed conflicted human beings caught up in a extraordinary situation which only highlights their indomitable determination and fortitude to walk out of that forest alive. James Newton Howard’s brilliant score with haunting violin solos from Joshua Bell deserve special mention among the talented artists who made Defiance come to life. This is a must-see movie and another towering cinematic achievement for Zwick his best since Glory.
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.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.