For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
Saturday was a big day for the TV world as the 2012 Creative Emmys took place. Hollywood.com was both backstage and on the carpet, bringing you the scoop direct from the source. HBO and its epic hit Game of Thrones were the night's biggest winners, with the network taking home 17 statues — six of them for GoT. CBS wasn't far behind with 13 wins, followed by PBS with 11. Frozen Planet, Great Expectations, and Saturday Night Live each took home four awards, resulting in a three-way-tie for second place after Game of Thrones. See below for the list of winners:
Outstanding Casting for a Drama Series: Junie Lowry Johnson, Libby Goldstein, Judy Henderson, Craig Fincannon, Lisa Mae Fincannon for Homeland
Outstanding Casting for a Miniseries, Movie, or a Special: David Rubin, Richard Hicks, Pat Moran, Kathleen Chopin for Game Change
Outstanding Casting for a Comedy Series: Jennifer Euston for Girls
Outstanding Guest Actress in a Comedy Series: Kathy Bates for Two and A Half Men
Outstanding Prosthetic Makeup for a Series, Miniseries, Movie, or a Special: Greg Nicotero, Jake Garber, Andy Schoneberg, Kevin Wasner, Gino Crognale, Carey Jonse, Garrett Immel for The Walking Dead
Outstanding Makeup for a Miniseries or a Movie (Non-Prosthetic): Mario Michisanti, Francesca Tampieri for Hatfields & McCoys
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic): Paul Engelen, Melissa Lackersteen for Game of Thrones
Outstanding Makeup for a Multi-Camera Series or Special (Non-Prosthetic): Zena Shteysel, Angela Moos, Patti Ramsey Bortoli, Barbara Fonte, Sarah Woolf, Nadege Schoenfeld for Dancing With the Stars
Outstanding Costumes for a Series: Michele Clapton, Alexander Fordham, Chloe Aubry for Game of Thrones
Outstanding Costumes for a Miniseries, Movie or a Special: Annie Symons, Yvonne Duckett for Great Expectations
Outstanding Hairstyling for a Miniseries or a Movie: Monte C. Haught, Samantha Wade, Melanie Verkins, Natalie Driscoll, Michelle Ceglia for American Horror Story
Outstanding Hairstyling for a Multi-Camera Series or Special: Bettie O. Rogers, Jodi Mancuso, Inga Thrasher, Jennifer Stauffer, Cara Hannah Sullivan, Christal Schanes for Saturday Night Live
Outstanding Hairstyling for a Single-Camera Series: Anne "Nosh" Oldham, Christine Greenwood for Downton Abbey
Outstanding Guest Actor in a Drama Series: Jeremy Davies for Justified
Outstanding Choreography: Joshua Bergasse for Smash ("National Pastime", "Let's Be Bad", "Never Met A Wolf")
Outstanding Music Direction: Rob Berman, Rob Mathes for The Kennedy Center Honors
Outstanding Music Composition for a Series (Original Dramatic Score): John Lunn for Downton Abbey
Outstanding Music Composition for a Miniseries, Movie, or a Special (Original Dramatic Score): Javier Navarrete for Hemingway & Gellhorn
Outstanding Original Music and Lyrics: Adam Schlesinger, David Javerbaum for the 65th Annual Tony Awards ("It's Not Just for Gays Anymore")
Outstanding Art Direction for a Multi-Camera Series: Glenda Rovello, Amy Feldman for 2 Broke Girls ("And The Rich People Problems", "And The Reality Check", And The Pop Up Sale")
Outstanding Art Direction for Variety or Nonfiction Programming: Brian Stonestreet, Alana Billingsley, Matt Steinbrenner for The 54th Annual Grammy Awards, and Steve Bass, Seth Easter for The 65th Annual Tony Awards
Outstanding Art Direction for a Miniseries or Movie: David Roger, Paul Ghirardani, Jo Kornstein for Great Expectations
Outstanding Art Direction for a Single-Camera Series: Bill Groom, Adam Scher, Carol Silverman for Boardwalk Empire, and Gemma Jackson, Frank Walsh, Tina Jones for Game of Thrones
Outstanding Single-Camera Picture Editing for a Drama Series: Jordan Goldman, David Latham for Homeland
Outstanding Single-Camera Picture Editing for a Comedy Series: Steven A. Rasch for Curb Your Enthusiasm ("Palestinian Chicken")
Outstanding Multi-Camera Picture Editing for a Comedy Series: Sue Federman for How I Met Your Mother ("Trilogy Time")
Outstanding Single-Camera Picture Editing for a Miniseries or a Movie: Don Cassidy for Hatfields & McCoys - Part 2
Outstanding Picture Editing for Short-Form Segments and Variety Specials: Bill DeRonde, Chris Lovett, Mark Stepp, Pi Ware, John Zimmer, Ben Folts for 2012 Rock and Roll Hall of Fame Induction Ceremony
Outstanding Picture Editing for Nonfiction Programming: Andy Netley, Sharon Gillooly for Frozen Planet ("Ends of the Earth")
Outstanding Picture Editing for Reality Programming: Josh Earl, Alex Durham for Deadliest Catch ("I Don't Wanna Die")
Outstanding Animated Program: Bob Schooley, Mark McCorkle, Bret Haaland, Nick Filippi, Chris Neuhahn, Ant Ward, Andrew Heubner, David Knott, Shaun Cashman, Steve Loter, Christo Stamboliev for The Penguins of Madagascar: The Return of the Revenge of Dr. Blowhole
Outstanding Short-Format Animated Program: Brian A. Miller, Jennifer Pelphrey, Curtis Lelash, Rob Sorcher, JG Quintel, Mike Roth, Janet Dimon, Matt Price, Jack Thomas, John Infantino, Robert Alvarez for Regular Show ("Eggscellent")
Outstanding Voice-Over Performance: Maurice LaMarche for Futurama
Syd Cassyd Founders Award: Dick Askin
Governors Award: Dan Savage, Terry Miller for "It Gets Better"
Outstanding Special Visual Effects: Rainer Gombos, Juri Stanossek, Sven Martin, Steve Kullback, Jan Fielder, Chris Stenner, Tobias Mannewitz, Thilo Ewers, Adam Chazen for Game of Thrones ("Valar Morghulis")
Outstanding Special Visual Effects in a Supporting Role: Dave Taritero, Robert Stromberg, Richard Friedlander, Eran Dinur, David W. Reynolds, Matthew Conner, Austin Meyers, Jonathan Dorfman, Steve Kirshoff for Boardwalk Empire ("Georgia Peaches")
Outstanding Stunt Coordination: Peewee Piemonte for Southland
Outstanding Main Title Design: Nic Benns, Rodi Kaya, Tom Bromwich for Great Expectations
Outstanding Original Main Title Theme Music: Paul Englishby for Page Eight
Outstanding Commercial: "Best Job" (Procter & Gamble Corporate Brand) – Wieden + Kennedy, Ad Agency; Anonymous Content, Production Company
Outstanding Sound Mixing For Nonfiction Programming: Tom Paul for Paul Simon’s Graceland Journey: Under African Skies
Outstanding Sound Mixing for a Comedy or Drama Series (One Hour): Matthew Waters, Onnalee Blank, Ronan Hill, Mervyn Moore for Game Of Thrones ("Blackwater")
Outstanding Sound Mixing for a Miniseries or a Movie: Stanomir Dragos, Christian Cooke, Brad Zoern for Hatfields & McCoys — Part 1
Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation: Stephen A. Tibbo, Dean Okrand, Brian R. Harman for Modern Family ("Dude Ranch")
Outstanding Sound Mixing for a Variety Series or Special: Paul Sandweiss, Tommy Vicari, Pablo Munguia, Kristian Pedregon for 84th Annual Academy Awards
Outstanding Sound Editing for a Miniseries, Movie, or a Special: Douglas Murray, Peter Horner, Kim Foscato, Steve Boeddeker, Casey Langfelder, Andrea Gard, Pat Jackson, Daniel Laurie, Goro Koyama, Andy Malcolm, Joanie Diener for Hemingway & Gellhorn
Outstanding Sound Editing for Nonfiction Programming (Single or Multi-Camera): Kate Hopkins, Tim Owens, Paul Fisher for Frozen Planet — Ends of the Earth
Outstanding Sound Editing For a Series: Peter Brown, Kira Roessler, Tim Hands, Paul Aulicino, Stephen P. Robinson, Vanessa Lapato, Brett Voss, James Moriana, Jeffrey Wilhoit, David Klotz for Game of Thrones ("Blackwater")
Outstanding Cinematography for a Multi-Camera Series: Steven V. Silver for Two and a Half Men ("Sips, Sonnets, and Sodomy")
Outstanding Cinematography for a Single-Camera Series: Jonathan Freeman for Boardwalk Empire ("21")
Outstanding Cinematography for a Miniseries or Movie: Florian Hoffmeister for Great Expectations
Outstanding Cinematography for Reality Programming: The Deadliest Catch team ("I Don't Want To Die")
Outstanding Cinematography for Nonfiction Programming: The Frozen Planet team ("Ends of the Earth")
Outstanding Technical Direction, Camerawork, Video Control for a Series: Steven Cimino, John Pinto, Paul J. Cangialosi, Len Weschler, Barry Frischer, Eric A. Einstein, Susan Noll, Frank Grisanti for Saturday Night Live (Host Mick Jagger)
Outstanding Technical Direction, Camerawork, Video Control for a Miniseries, Movie or Special: Steven Cimino, Paul J. Cangialosi, John Pinto, Chuck Goslin, Barry Frischer, Jeff Latonero, Len Weschler, Susan Noll, J.M. Hurley for Memphis (Great Performances)
Outstanding Lighting Design/Lighting Direction for a Variety Series: Robert Barnhart, Matt Firestone, Pete Radice, Patrick Boozer for So You Think You Can Dance (Season Eight Finale)
Outstanding Lighting Design/Lighting Direction for a Variety Special: Robert A. Dickinson, Jon Kusner, Travis Hagenbuch, Andy O'Reilly for The 54th Annual Grammy Awards
Outstanding Guest Actor in a Comedy Series: Jimmy Fallon for Saturday Night Live
Outstanding Directing for Nonfiction Programming: Martin Scorsese for George Harrison: Living in the Material World
Outstanding Writing for Nonfiction Programming: Geoffrey C. Ward for Prohibition — A Nation of Hypocrites
Exceptional Merit in Documentary Filmmaking: Connie Field, Lois Vossen, Sally Jo Fifer for Have You Heard From Johannesburg (Independent Lens)
Outstanding Nonfiction Special: Margaret Bodde, Emma Tillinger Koskoff, Blair Foster, Olivia Harrison, Nigel Sinclair, Martin Scorsese for George Harrison: Living in the Material World
Outstanding Nonfiction Series: Alastair Fothergill, Susan Winslow, Vanessa Berlowitz for Frozen Planet
Outstanding Directing for a Variety Series: Don Roy King for Saturday Night Live (Host Mick Jagger)
Outstanding Writing for a Variety Series: Tim Carvell, Rory Albanese, Kevin Bleyer, Rich Blomquist, Steve Bodow, Wyatt Cenac, Hallie Haglund, JR Havlan, Elliott Kalan, Dan McCoy, Jo Miller, John Oliver, Zhubin Parang, Daniel Radosh, Jason Ross, Jon Stewart for The Daily Show With Jon Stewart
Outstanding Variety Special: George Stevens, Jr., Michael M. Stevens for The Kennedy Center Honors
Outstanding Special Class Programs: Ricky Kirshner, Glenn Weiss, Neil Patrick Harris for 65th Annual Tony Awards
Outstanding Special Class: Short-Format Live-Action Entertainment Programs: Rob Corddry, Jonathan Stern, David Wain, Keith Crofford, Nick Weidenfeld, Rich Rosenthal for Children's Hospital
Outstanding Special-Class: Short-Format Nonfiction Programs: Michael M. Stevens for DGA Moments In Time
Outstanding Creative Achievement in Interactive Media — Enhancement to a Television Program or Series: John Wooden, Aaron Bleyaert, Conan O'Brien, Timothy Campbell for The Team Coco Sync App
Outstanding Creative Achievement in Interactive Media — Original Interactive Television Programming: Fourth Wall Studios for Dirty Work
Outstanding Children's Program: Ben Montanio, Vince Cheung, Todd J. Greenwald, Gigi McCreery, Perry Rein, Richard Goodman, Greg A. Hampson for Wizards of Waverly Place
Outstanding Children's Nonfiction, Reality or Reality-Competition Program: Carol-lynn Parente, Melissa Dino, Mason Rather, Kevin Clash for Sesame Street: Growing Hope Against Hunger
Outstanding Reality Program: Eli Holzman, Stephen Lambert, Chris Carlson, Scott Cooper, Sandi Johnson, Rachelle Mendez, Lety Quintanar, Rebekah Fry for Undercover Boss
Outstanding Guest Actress in a Drama Series: Martha Plimpton for The Good Wife
Emmys Idle Threats: Give Bill Hader an Emmy or I'll Sic DJ Baby Bok Choy On You
The First-Ever (Fake) Annual Reality TV Emmy Awards
What Jimmy Kimmel Can Learn From Past Emmy Hosts
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?