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The success of Ender's Game rests on the shoulders of one grand assumption: that everybody in the audience, everybody in the world, wishes they could have gone to space camp. And for the most part, that's true. The idea of space camp was, even to those of us stricken with cloying vertigo, heaven. We all wanted to don astronaut suits and float through anti-gravity rooms, blasting away at each other with lasers and learning the tricks of the extraterrestrial warfare trade. Those dazzling dreams are the principal meat of Gavin Hood's adaptation of the controversial classic — the majority of the time we spend with Ender Wiggin (Asa Butterfield), we're alongside him in battle school. We're watching video footage of a battalion laying waste to an army of invaders, and zipping weightlessly along in high-stakes games of space rugby. So, through these chapters, we're having fun.
And it's not entirely untethered fun. Along the way, Ender endures the sort of coming-of-age traumas we've seen in every preteen protagonist from Sean Astin to Daniel Radcliffe. He doesn't fit in. He doesn't know who he is. He doesn't like what he's becoming. It's not difficult material to wrestle with, but it's just enough substance to give us a reason for caring about whether or not he beats the Napoleonic school bully in tactical games, or wins special affection from fellow soldier Hailee Steinfeld.
But this story of a growing boy struggling with his intellectual gifts and emotional curses finds itself planted clumsily in the middle of a movie that wants to be about something else. Even if you've read the book, or heard the "big reveal" from loud-mouthed friends of yours who don't revere spoiler etiquette, you'll be surprised by the ending for Ender. Because it comes out of nowhere.
The character's emotional journey is bound so tenuously to the narrative around him that you'll be confused at exactly what is going on when the two collide. You'll question whether or not you nodded during a scene that might have tied everything together, or challenge your own capacity for picking up subtle signals. Don't be so hard on yourself; Ender's Game wants to conquer two worlds (one inside its hero, the other outside its spaceships), but doesn't dive far enough into either to make it so. The script only scratches the surface of its science-fiction backdrop, and only the broadest of strokes are painted with Ender — he's not a complex enough character to warrant the psychological suspension of disbelief that the film eventually asks of its viewer.
But he doesn't need to be, nor do these tasks really need to be conquered, for Ender's Game to be a good time. With just enough of a sob story to ground the movie, a surprisingly warm performance by the larger-than-life headmaster (Harrison Ford) — that is, when he's not standing up slowly and peering in awe directly through the camera — and, most importantly, all the anti-gravity fun you can ask for, Ender's Game works just fine for anyone looking to float free from the world for two hours.
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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.
Carey Mulligan is in talks to join the Universal action thriller Drive, which already has Ryan Gosling in the frame.
Bryan Cranston is also negotiating to join the cast, the Risky Business blog reported. Nicolas Winding Refn is directing the adaptation of the James Sallis novel.
The story, per BIZ, is about a nameless Hollywood stuntman who moonlights as a freelance getaway driver during robberies. When a bank heist goes wrong, he ends up on the run with a contract on his head and an ex-con's girlfriend in his car.
OddLot Entertainment, Bold Films and Marc Platt Prods. are producing. Shooting is to begin next month around Los Angeles.
Producers include Marc Platt, Gigi Pritzker, Michel Litvak and Adam Siegel. David Lancaster, Gary Michael Walters, Bill Lischak and Linda McDonough will serve as executive producers, said BIZ.
Stylist Patricia Field has quit the film adaptation of bestseller The Girls' Guide to Hunting and Fishing after clashing with the movie's star, Alec Baldwin.
The former Sex and the City costume designer walked out of the Marc Klein-directed comedy on Friday, according to the New York Daily News.
While Field refuses to publicly discuss her feelings for the actor, Baldwin blasts, "When Pat left, virtually everybody on the film was relieved.
"She is a cranky, miserably unhappy woman, and I'm actually one of the few people on the set that actually gave Pat a chance.
"I did my job, which was to say 'yes,' 'no,' 'yes,' 'no.' I never had an argument with Pat."
The film's producer, Linda McDonough, adds, "The situation was strictly one of creative differences, not an unusual aspect of this business, and the producers find Alec Baldwin to be a consummate professional with sophisticated tastes.
"Patricia has outrageously singled out Alec, when the producers and the director found her tastes to be inappropriate for this classy film."
However, Field laments, "I'm not interested in fighting. I don't want to be spending my time on negativity. Working is not a problem. I have a lot of work, thank God. Life is short. You want to enjoy each day."
In April, actress Jan Maxwell quit the New York theatre production of Entertaining Mr. Sloane after clashing with her co-star Baldwin. She is currently suing the actor for creating an "unhealthy and oppressive situation onstage and off."
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