Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Frank Abagnale Jr. (Leonardo DiCaprio) never aspires to become one of the youngest people ever to make the FBI's 10 Most Wanted List--it just kind of turns out that way. His adventures begin in 1967 when he runs away from home at 16 just as his parents are divorcing. He finds himself alone in the Big Apple unsuccessfully trying to cash fake $20 checks. One day Frank notices how much respect is given to two airline pilots and he decides impersonating a Pan Am co-pilot might be just the ticket so to speak. Thus begins his brilliant three-year run as a master of deception. After infiltrating Pan Am he changes careers--he's a pediatrician then a lawyer--all the while perfecting his forgery skills. Cashing fake checks all over the country Abagnale amasses millions and quite literally becomes a kid in a candy store buying sports cars and fancy suits losing his virginity and pretending he is James Bond. Still the fact remains Frank is just a kid. Even after all these adult experiences his main objective is to get his father Frank Sr. (Christopher Walken) a down-on-his-luck store owner hounded by the IRS back together with his now-remarried mother (Nathalie Baye). Frank's nefarious activities eventually catch the authorities' attention and Carl Hanratty (Tom Hanks) a no-nonsense FBI agent in charge of the bank fraud division is soon hot on Frank's tail. But Frank doesn't mind. Part of him wants to get caught and he baits Hanratty to never give up the chase. Hanratty never does and finally brings his man to justice.
Catch Me's acting ensemble shines. Given the fact DiCaprio is in two high-profile movies this holiday season--this one and Gangs of New York--puts the actor back on the radar after a hiatus (perhaps he was licking his wounds after starring in the disastrous 2001 The Beach). Yet if you were to match the performances DiCaprio's stellar turn as Abagnale definitely stands out as the better of the two (the Golden Globes feel the same recently giving DiCaprio a nod for best actor in a drama). He fits the part like a glove--all at once charismatic childish vulnerable and deadly intelligent. DiCaprio easily shows how Frank isn't necessarily a sociopath but more a needy kid looking for acceptance. Say what you will about DiCaprio's movie star qualities he still has the acting chops to make it work. Walken as Frank Sr. also gives one of the better performances of his career playing a sad man who knows the apple doesn't fall from the tree but who is too proud to admit his mistakes--even to his son. Hanks is superb as well (is there anything this man can't do?) playing the by-the-book Hanratty completely devoid of emotion--but making us laugh anyway every time he comes on the screen. He doesn't mean to of course but to see Hanks play something so obviously straight somehow brings out the humor in the situation even more. Just don't ask Hanratty to tell you a joke. TV's Alias honey Jennifer Garner also makes a nice cameo as a prostitute--watch out folks she's heading for the big screen.
Based on the real-life memoirs of Frank W. Abagnale Jr. Catch Me If You Can is a fascinating study of a brilliant mind which isn't by nature criminal--just slightly misguided (ironically the real Abagnale now in his 50s is a legitimate businessman who also acts as an consultant for the FBI's bank fraud division). Under the skillful hands of director Steven Spielberg Catch Me has a great deal of fun going for a very '60s tongue-in-cheek Pink Panther feel from the opening credits to the ease at which Frank goes about his merry way conning everyone including himself. The motto of the film has to be "never deny." Frank accepts everything and things just fall into his lap. Even when Frank tries to tell the truth to the father (played by Martin Sheen) of a woman he wants to marry it works to his advantage. Yet the meat of the film is Frank's inner turmoil at the breakup of his parents of wanting his family back together again and of his need to come clean. Frank secretly wants to be disciplined told what to do and that's why Hanratty becomes so important almost a fatherly figure to him. The film probably plays about a half hour too long especially in explaining what happens to Abagnale after he gets caught but otherwise it totally engages you.