Maintaining the fantastical but dropping any semblance of whimsy Snow White and the Huntsman transforms the classic fairy tale into a bleak Lord of the Rings-esque hero's tale full of sword fights monsters and forces of evil bent on wiping out humanity. Instead of creating a unique world or conflict for its revamped characters to explore SWATH plays it safe and sticks to the familiar beats coming off like an amalgamation of every fantasy film that's ever graced the silver screen. Director Rupert Sanders sticks to flashy special effects (some of which are truly stunning) over his greatest asset: the charismatic cast. Kristen Stewart Charlize Theron Chris Hemsworth and eight familiar-faced dwarves try their best to elevate the thin material on display but the film is under a sleeping spell — and no one steps in to wake it up.
Once again an evil queen manipulates her way into the castle and heart of a widower king only to cut his throat and throw his beautiful young daughter Snow into the tower to rot. Years later a magic mirror reveals to the wicked Ravenna (Theron) that the now-of-age Snow White (Stewart) is the answer to her waning magic and wrinkly skin. But as Ravenna's slimy brother Finn comes knocking at Snow's door the imprisoned princess pulls a fast one escaping and opening the door for a large-scale adventure through the forests mountains and swamps of the mystical kingdom.
SWATH's action feel particularly shoehorned in each set piece drifting by without any weight or purpose. After fleeing the tower Snow takes shelter in The Dark Forest (there wasn't a better name? or a name at all?) where she's tracked by the Queen's freelancer The Huntsman (Hemsworth). A few fleeting character moments later the two are on the run together duking it out with otherworldly trolls and joining forces with a group of pint-sized ex-gold miners who believe Snow White is "the one." The epic speak commonplace in fantasy films plagues SWATH — without any details as to how or why the world works the way it does most of the dialogue amounts to characters screaming about "destiny." The lack of specifics filters into the journey too: at one point Snow White stumbles upon a forbidden forest bustling with fairies moss-covered turtles and an antlered creature that's never been seen by humans. The beast is a sign that Snow is savior of their world. Why? Anyone's guess.
The generic quality brings down the talent on screen namely Theron's delightfully wicked Ravenna who goes full on Joan Crawford/Mommie Dearest as she pulls strings to entrap Snow White. Naysayers of Kristen Stewart will have plenty of fuel after SWATH but it's the material that fails to serve the actress in this case. The actors in the film barely get to smile — the drab overcast look of the movie clouding even the performances — but the moments when Stewart's Snow brightens up things suddenly come alive. Hemsworth lightens the mood too showing off a sliver of his comedic prowess from Thor. Between the movie's instance for doom and gloom the patchwork script and Sanders' overuse of up-close-and-personal shakycam there's rarely a moment for the actors to do their thing. It's barely worth mentioning the handful of British character actors who pop up as the Dwarves who hobble around mumbling unintelligible quips. They quickly form a bond with Snow White — or so the movie strong-arms us into believing.
Snow White and the Huntsman is stuffed with imaginative spectacle but the artistry is lost on a hollow story. Crystalline mirror shard warriors the Queen's youth-sucking powers or landscapes that look like live-action Miyazaki animation — it all looks amazing but they're never more than spiffy special effects. The movie wants to be above the visuals teasing a smart tough Snow White but the potential is squandered by never allowing the heroine to stride beyond the conventional world. If Snow White's tale is a shiny red apple then modern tropes of fantasy are the poison.
In the final days of the Iraq War members of an elite commando unit were sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from four maximum security prisons to take revenge on the man who framed them. If you are having a boring summer at the movies if Sex and the City 2 left a bad taste in your mouth and if you can find a theater playing it you need to see The A-Team.
It’s no overstatement to declare that The A-Team is the first great action film of the summer. Say what you will about Iron Man 2 but the degree and multitude of insane sequences in The A-Team trump the more narcissistic Marvel sequel -- at least in that particular category. It is no innovation that a summer blockbuster would employ action as its primary tool for separating you from your cash but The A-Team does so with an entirely different mindset than most brain-dead popcorn fare.
Instead of assaulting us with nonstop action and then having the audacity to mask itself as being high art The A-Team embraces just how ludicrous the action sequences are and makes absolutely no apologies for it. That’s not to say though the movie has nothing to offer beyond the explosions and midair collisions. In fact what makes The A-Team such a damn good film is the clever underscore that complements every moment of mesmerizing destruction. Joe Carnahan along with the other writers gives us moments that subtly poke fun at the outlandishness of what we’re seeing that not only makes the absurd action forgivable but immediately elevates the material above the typical summer fodder.
Carnahan recognized that given the tone of both the series and his last film (Smokin' Aces) the action scenes needed to flow uninterrupted and here it's very streamlined only pausing briefly to give us hilarious interactions between the larger-than-life characters before diving head-first back into the explosive fray. Until the very end of the film each plan is carried out before our eyes as it is being hashed out to neutralize any lacking in the pace. It would be easy to then accuse The A-Team of being front-loaded given the slow build to the final sequence but I would argue that is merely a nod to the evolution of Face’s character as a leader and that it never really loses steam.
What really sells this film however is its cast. Like the original quartet of chaos each actor brings something fantastic to the table. Bradley Cooper as Face has that inescapably charming swagger and confidence we’ve come to expect from him; Liam Neeson unsurprisingly is the perfect blend of in-the-trenches badass and cool-as-ice leader. Even Rampage Jackson in the role made famous by a guy donning the entire payload of Ft. Knox around his neck (that'd be Mr. T) turns in a respectably tough performance with a few moments of decent hubris. But it’s Sharlto Copley who really steals the show as Howlin’ Mad Murdock. True to his character's moniker Copley cranks up the lunacy and plays Murdock with a hilariously reckless abandon that mirrors the tone of the entire film.
Though not without fault (the less-than-thrilling CG near the end of the film is amateurish at best and many will find the over-the-top action too silly to appreciate) all in all this movie rocks hard. The interplay between our heroes is at the heart of the film's entertainment value and is what you will probably like the most about it. Personally I can’t remember the last time I had this much fun at the movies. The A-Team is far better than it has any right to be mainly because it is as much a four-sided character piece as it is a balls-out actioner.
On paper Sylvain White’s ensemble thriller The Losers doesn’t display much promise. Its budget (around $25 million) is miniscule by action-movie standards; its cast apart from female lead Zoe Saldana is unexceptional; and its plot about a group of disgraced Special Forces operatives who seek revenge against the shady arms dealer (Jason Patric) who had them framed is hardly original. And yet The Losers makes for a surprisingly entertaining ride an apt prelude to the summer blockbuster season. Call it The B-Team.
Though based on a graphic novel (what Hollywood movie today isn’t?) The Losers boasts no superheroes just a quintet of mercenaries with complementary skills and catchy names like Cougar and Pooch. Presumed dead after being double-crossed during a black ops mission in the Bolivian jungle they languish in a third-world limbo until a mysterious woman named Aisha (Saldana) approaches their leader Clay (Jeffrey Dean Morgan) with an enticing opportunity.
The Losers establishes a lively pace from the outset and with the exception of one appallingly disjointed planning scene director White adroitly handles the challenges of a plus-size cast. Save for a few extraneous twists that mar the film’s second half screenwriters James Vanderbilt and Peter Berg maintain a straightforward storyline keeping the tone determinedly light (always best when dealing with the constraints of a PG-13 rating) but never too cartoonish -- at least not by comic book-movie standards.
Morgan who previously underwhelmed in Zack Snyder’s doomed Watchmen adaptation isn’t the ideal choice to headline the film’s male cast and he appears hopelessly overmatched by Saldana. This wouldn’t be so much of a problem if The Losers didn’t try to sell us on a hastily-hatched romantic subplot between the two which serves only to provide us with a few scantily-clad glimpses of the sultry Avatar star. Needless to say there are worse sins a filmmaker can commit.
The only aspect of The Losers that truly vexed me was the performance of one of its castmembers. I doubt that Joe Johnston director of the upcoming Captain America adaptation caught a screening of this film before he chose to award Chris Evans the coveted starring role in the big-budget comic-book flick. Because if he had I’m certain he’d have chosen differently. Evans’ clownish wiseass routine is instantly and perpetually grating. Even when delivering the most innocuous of line readings he radiates a natural douchiness that no Super Serum can fix.
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Innocent Voices depicts the brutal reality of El Salvador’s 1980 civil war as seen through eyes of an 11 year-old boy who may soon get drafted by the army despite not understanding what the war is about. Though both sides were soldiered with young boys it was the government that actively recruited all 12-year-olds and forced them to fight. Eleven year-old Chava (Carlos Padilla) is about to turn but that doesn’t stop him from trying to enjoy life. Since he’s the man of the house--his father left to earn money in America and never returned--Chava wants a job so he can help his overworked mom (Leonor Varela) who quit her restaurant job to stay home and shield her three children from stray bullets. His first job comes when he stumbles upon an old bus owned by a jovial but careless bus driver (Jesus Ochoa). The two become instant friends as Chava rides the railing and calls out the stops. Meanwhile he discovers love after summoning the courage to ask the teacher’s daughter to fly paper fireflies with his friends. All the while the moment he has dreaded--his 12th birthday--looms large over his days. His Uncle Beto (José María Yazpik) a guerilla fighter on the run tries to convince his mother to let Chava live with him in the hills where it’s safe but she can’t let him go. Once he turns Chava must hide with the other boys when the soldiers come around to recruit. But he grows tired of hiding and takes matters into his own hands running off to join the guerillas where he discovers a fate worse than fighting--that of never seeing his family again. Perhaps the strongest element in the film is the surprisingly mature Padilla. Getting a child actor to perform on any level can sometimes be an exercise in futility but director Luis Mandoki manages to get Padilla able to run the gamut of emotions--joy fear the awkwardness of new love--in a very real and convincing way. While most directors would shy away from placing so young an actor into difficult situations particularly the climactic scene where Chava faces execution and watches his two best friends get shot in the back of the head Mandoki defies conventional wisdom and challenges Padilla who is most worthy of the call. As Kella Varela exudes strength despite her constant worry over her children particularly Chava whose arrival home after curfew causes her to feel rage worry forgiveness and joy in a matter of seconds. Legendary Mexican actress Ofelia Medina has a small but important supporting role as Kella’s mother--she provides her daughter’s family with their last peaceful refuge before their lives are destroyed by the army. Minor characters such as Uncle Beto the Bus Driver and Chava’s classmates all serve their purpose though Xuna Primus the classmate Chava falls in love with handles emotional scenes with Padilla with similar maturity. Innocent Voices marks the first Spanish-language film for Mandoki since the international success of Gaby-A True Story--and he’s back true to form. With Innocent Voices he has crafted a powerful and emotionally gripping film that never shies from the ugly realities of how war destroys families and makes men of boys well before their time. Sharing screenwriting credit with actor Oscar Torres on whom the story is based Mandoki benefits from his strong cast particularly Padilla; a wrong choice in casting Chava could have sunk the film. Mandoki masterfully lulls us into thinking that Chava might have some hope of living a normal life in El Salvador--he plays with friends just like any other kid. But every time it looks as though Chava is experiencing life as he should bombs explode machine guns erupt and soldiers come storming in to remind us that he’s living in the middle of a civil war. Ultimately Chava’s only escape is to America but he must leave behind his family much like his father in the beginning. It’s a nice bookend to Chava’s development: Despite the chaos around him his position as head of the family and the specter of being recruited into the army his real transformation into manhood comes when he finds the courage to strike out on his own.