Disney's new movie Mars Needs Moms suffers from a classic mistake: focusing too much on one aspect of a production -- and in this case it's the visuals. The result is an unbalanced mess that looks terrific but doesn't have enough substance to leave the audience with anything more to "ooh" and "ah" at other than all the pretty colors. As we all know from that one really really hot girl/guy in high school who's now overweight and working a dead-end job looks can only go so far.
Adapted from the children's novel by Berkeley Breathed and directed by Simon Wells Mars Needs Moms follows Milo (acted by Seth Green voiced by Seth Robert Dusky) as he chases after his mother who's been stolen by Martians just a few hours after he told her he'd be better off without her. Once he arrives on Mars (by sneaking on the ship) he meets Gribble (Dan Fogler) who informs him of his problem: the Martians are ruled by a ruthless queen-like Supervisor (Mindy Sterling) who's decided that the hatchlings (babies who sprout from the ground like vegetables) must be divided: all males are thrown away into the dump and the females are raised by "nanny-bots" -- robots programmed by the "discipline" energy of good moms like Milo's from Earth. Milo and Gribble buddy-up and with the help of a rebel Martian named Ki (Elisabeth Harnois) the three of them venture to save Milo's mom before it's too late.
And venture on they do. Coming from producer Robert Zemeckis and utilizing the same motion-capture technology as The Polar Express A Christmas Carol and Beowulf Mars Needs Moms rushes forward embracing its visually stunning universe without taking a moment to stop and breathe. The characters never have a chance to do anything significant that would make the audience think they're substantial or important -- especially Gribble whom the filmmakers really really want us to care for. On top of that it relies on a plot line that we've all seen before and instead of diving into the parts that made it interesting (like the question of why men were thrown in the garbage and not women) it skims safely along the surface doing its best to avoid anything deeper than basic themes.
But that may be a little too picky. After all the movie is just supposed to be a fun little child's tale right? In that vein it succeeds. We feel like we're on an amusement park ride thanks to Ki's vibrant '60s flower-power paintings and the adventures on the Red Planet's surface. Even the moments that aren't super fast-paced present environments that are beautiful. Plus Fogler's performance as Gribble (as Jack Black-esque as it was) gives us some fun enjoyable moments and one-liners that kids will no doubt love.
Yet at the same time Mars Needs Moms' visuals aren't all glorious. In fact some hurt the plot because frankly the humans aren't animated very well. There's no life in their eyes. Simple movements like walking look awkward and too often characters facial expressions don't match the urgency found in their voices. Instead the animation just turns all the characters into weird cartoony versions of themselves that look so "almost human" they appear fake. And as always it's difficult to care for fake people.
Children will definitely enjoy Mars Needs Moms but from a filmmaking standpoint Wells really missed an opportunity to deliver something other than neat visuals and one-liners.
Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.
Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.
Based on H.G. "Buzz" Bissinger's bestselling book of the same name Friday Night Lights tells the true story of the dusty West Texas town of Odessa where nothing much happens until September rolls around. That's when the town's 20 000 or so denizens pour into Ratliff Stadium the country's biggest high school football field every Friday night to watch the Permian Panthers Odessa's "boys in black " take to the field. All the town's hope and dreams are pinned on the padded shoulders of these young gridiron heroes--including insecure quarterback Mike Winchell (Lucas Black); cocky self-assured running back Boobie Miles (Derek Luke); headstrong self-destructive tailback Don Billingsley (Garrett Hedlund) who must contend with an overbearing abusive dad (Tim McGraw--yes that Tim McGraw the country singer); and the team's spiritual leader middle linebacker Ivory Christian (newcomer Lee Jackson). The Panthers begin their season with one thing on their minds--winning their fifth straight championship for the first time in the team's 30-year history--but for their coach Gary Gaines (Billy Bob Thornton) it also means instilling a love and joy of the game in the boys' hearts amidst tremendous pressures and expectations. Easier said than done.
There isn't a false note in any of the performances and no one falls back on clichéd versions of their characters as is so easy to do in rah-rah sports movies. Thornton does a particularly good job as Gaines keeping you guessing whether he's going to be a hardass insensitive to his players' emotional needs (like so many movie football coaches before him) or if he truly means to coach his boys in a fair and decent way. Gaines too has to deal with his own pressures especially from the townsfolk who are likely to string him up if the team loses the championship. As for Gaines' players Black (the oh-so-serious kid from Thornton's Sling Blade) is all grown up and buffed out and still very serious. It works for the young actor though as the beleaguered Winchell struggles with the love-hate relationship he has with his chosen sport. Other standouts include Luke (Antwone Fisher) as the star player Boobie whose cocksureness leads him to an injury; Hedlund as the volatile Billingsley trying desperately to please his father; and McGraw making his film debut as the father a former Permian Panther champion who sure hasn't given up his competitive spirit basically beating it into his son. First Faith Hill (McGraw's real-life wife) in The Stepford Wives and now McGraw--who knew country singers could act?
From All the Right Moves to Varsity Blues to Remember the Titans Friday Night Lights unfortunately doesn't completely distinguish itself from the pack of football movies before it--like those this is all about how the young players--be they underdogs second-string nobodies or stars--rising above the mounting pressure and playing the best they can bless their hearts. Still there's no question the sports genre--particularly football--always gets the juices pumping with FNL being no exception. It might have something to do with our sick fascination with watching bone-crunching hits and body-punishing tackles. It's dangerous out there for these guys; no other sport (besides maybe hockey) can elicit such wince-inducing emotion and actor/director Peter Berg (The Rundown) exploits that. Obviously influenced by Oliver Stone's Any Given Sunday Berg effectively paints his own gritty documentary-style picture of the competitive sport without relying on too many trite gushy over-the-top moments. And to give it credit the film does not necessarily have a feel-good "let's win one for the Gipper" ending; it is based on a true story after all and as we know real life isn't all sunshine and roses especially in the bloodthirsty world of Texas high school football.
November 20, 2002 11:16am EST
The British Academy of Film and Television Arts will honor director Spike Lee with a Special Award, Reuters reports. The Brooklynite, known for his films such as Do the Right Thing and Malcolm X, burst onto the movie scene in 1986, quickly establishing himself as one of the most important young American filmmakers and a controversial figure in black culture. BAFTA President Lord Attenborough will give Lee a silver mask for his consistent body of outstanding work Thursday at the arts organization's London headquarters. Lee is also expected to give an interview about his career to playwright and critic Bonnie Greer before the award ceremony.
Former child star Corey Feldman, who starred in '80s movies including Stand By Me, married his fiancée on the set of his new television series The Surreal Life, The Associated Press reports. Rabbi and rapper MC "U Can't Touch This" Hammer performed the ceremony. The WB network reality show follows the lives of has-been and never-quite-were celebrities living together under one roof including, among others, Webster star Emmanuel Lewis and The Facts of Life's Mindy Cohn.
Pop singer Justin Timberlake broke his foot while rehearsing a dance routine for Sunday's Smash Hits T4 Poll Winners Party, which he was set to co-host with Kelly Osbourne. According to MTV News, Timberlake has had to cancel two weeks of promotional events, but still plans on performing at the Billboard Music Awards on Dec. 9 in Las Vegas.
Maria Shriver, journalist and wife of actor Arnold Schwarzenegger, has obtained a restraining order against a man she claims is stalking her, Reuters reports. Shriver said the man has been calling for about a year, tried to get into the NBC TV news studio in Los Angeles where she works and claimed to have been married to her.
Veteran producer Marvin Mirisch, one of three filmmaking brothers behind '60s films, including The Apartment and West Side Story, died Nov. 17 at the UCLA Medical Center in Los Angeles, Reuters reports. He was 84. Marvin was regarded as the chief business mind among the brothers Mirisch. In the latter part of his career, he served as executive producer of the new Pink Panther cartoon series.
The Annie Awards, the animation industry's annual awards, have been rescheduled from their traditional November date to Feb. 1, the AP reports. The move puts the ceremony closer to the Academy Awards, positioning the Annies to become an award that potentially leads into the Oscars. Founded 30 years ago, the Annie Awards honor outstanding animation in television and film.
Rapper/actor Snoop Dogg has been added to the cast of Warner Bros.' big-screen version of the cult series Starsky and Hutch opposite Ben Stiller and Owen Wilson. According to Variety, Dogg will play the role of Huggy Bear, the jive-talking hustler played on TV by Antonio Fargas. The film has been greenlit for a February start.
R&B singer Ashanti led the 30th annual American Music Award nominations Tuesday with five nods, with rappers Eminem and Nelly close behind with four nominations apiece. The Osbourne family will host this year's show, which will be telecast Jan. 13 on ABC.
Harry Potter author J.K. Rowling is auctioning off clues to the plot of her next book, Harry Potter and the Order of the Phoenix. According to Reuters, Rowling has provided a teaser--93 random words on a card that is up for auction on Dec. 12 at Sotheby's in London. A sample of the literary trailer offered by Sotheby's includes these words: "Thirty-eight chapters…might change…Ron…broom…house elf…new teacher…dies."