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.
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.
When "Mission to Mars" touches down on thousands of screens Friday, the flick about space pioneers will help pioneer a little cinematic history.
Disney has elected to project the sci-fi actioner starring Gary Sinise, Tim Robbins and Don Cheadle, in digital format on 12 screens. This means that in a dozen theaters, good ol' scratch-prone and dust-attracting celluloid won't be running through projectors. Instead, "Mission to Mars" will be fed from DVD disks on players through prototypal digital projectors using Texas Instruments' Digital Light Processing chip.
The participating theaters include four AMC screens in San Francisco, Orlando, Fla., Chicago and (where?) Olathe, Kan., as well as Disney's own El Capitan in Hollywood. Later, "Mission to Mars" will get digital lift-offs in cities such as Boston, Tokyo, London, Paris and Brussels, Belgium.
Digital projection -- using the Texas Instrument and competing Hughes/JVC technologies -- got a big boost in June when the first trials, involving four screens in the New York and Los Angeles areas, projected "Star Wars: Episode I -- The Phantom Menace" digitally. Digital projection of other features, including "An Ideal Husband" and "Toy Story 2," followed. With the planned "Mission to Mars" onslaught, the industry now knows there won't be any turning back.
At the current ShoWest 2000 convention in Las Vegas, look for companies such as Panasonic, IMAX and Barco to announce that they will be manufacturing digital projectors using the TI technology. Even celluloid king Eastman Kodak is going the digital route as it slyly prepares its own A-Z solution for the digitizing and digital delivery of features to theaters.
And Disney, too, will continue the digital mania when both the upcoming "Dinosaur," due this May, and "102 Dalmatians," scheduled for November, pass through more digital projectors on their way to more big screens -- maybe even in theaters near you.
Roman Roamin'? Certain suits at Artisan Entertainment have insisted that Los Angeles County District Attorney Gil Garcetti would be instrumental in getting director Roman Polanski back into the States to promote his upcoming thriller "The Ninth Gate." (Polanski fled these shores in 1978 after pleading guilty to "unlawful sexual intercourse" with a 13-year-old girl.) Well, Garcetti is up for re-election in L.A. today, and Artisan's "The Ninth Gate" opens Friday -- and there's still no sign of Polanski, who now lives in France. Yet another Artisan suit insists that "there's still a 50/50 chance" Polanski will soon make his first trip back to the United States since fleeing. ...
Jungle Heat: Look for a Peruvian sizzler, "Captain Pantoja and the Special Service," to land a well-known U.S. distributor this week. Directed by Francisco J. Lombardi and starring Angie Cepeda, the sensual comedy about sex-starved soldiers stationed deep in the Amazon jungle has generated terrific word of mouth among certain fussy critics at film festivals, most recently in Miami. Those Who Should Know say Cepeda "has the heat and appeal of a Jennifer Lopez."