Twilight’s contentious “Edward vs. Jacob” debate was finally settled at the close of 2009‘s New Moon the second episode of Stephenie Meyers’ supernatural teen harlequin saga when plaintive emo hottie Bella Swan (Kristen Stewart) definitively rejected the advances of Taylor Lautner’s musclebound man-wolf in favor of Robert Pattinson’s brooding vampire.
Or so we thought. Twilight’s fateful love triangle is revived in earnest by Eclipse part three of the series and this time the implications are serious -- relatively speaking of course. Taking over the helm from New Moon director Chris Weitz is David Slade (30 Days of Night Hard Candy) who adds a hefty dose of action to Twilight’s trademark mix of soaring romance and manic melodrama making Eclipse the first film in the saga in which -- get this -- something actually happens.
Indeed action is a primary theme of Eclipse. Like most high school seniors Bella wants some; her pasty paramour Edward Cullen however remains stubbornly chaste and not just because the briefest exposure to his unbridled vampire lust would almost certainly kill his all-too-human sweetheart. You see chivalrous Edward hails “from a different era ” one in which the institution of marriage meant everything and a man took care to mount a proper courtship before marrying a girl nearly a century his junior. (He’s 109 years old.) He asks her to marry him; she agrees but only if he’ll turn her into a vampire first; he hesitates pondering the unalterable consequences; the matter is tabled and heavy petting resumes. (This exchange is repeated ad nauseam throughout the remainder of the film.)
The constant fawning and unwavering devotion from impossibly beautiful Edward aren’t enough to sate Bella’s thirst -- she needs validation like a vampire needs blood -- and so she uses the flimsiest of pretexts to re-insert herself into the life of Jacob Black the sensitive werewolf she previously shunned who dutifully plies her with his own declarations of undying love. (Jacob to his credit has developed enough game since we last saw him to qualify as a serious contender for Bella’s affections and is no longer the devoted doormat we saw in New Moon. He’s still a tool though.) Game on.
But Edward and Jacob aren’t the only ones with designs on Bella. (Seriously are there no other hot emo chicks in the greater Pacific Northwest?) A ginger-haired menace (Bryce Dallas Howard) has emerged one that will require Edward’s vampire clan and Jacob’s wolfpack tribe longtime enemies forever on the verge of a climactic battle (in which Bella will serve as the jeans-and-hoodie-clad Helen of Troy no doubt) to put aside their differences and unite against a common enemy. In order to ensure Bella’s safety Edward and Jacob must form an uneasy tag-team (no not that kind of tag team much as it would likely better serve to resolve matters) to keep Bella safe from harm.
With its amped-up action sharpened wit and darker horror flick-inspired atmospherics Eclipse boasts the broadest appeal of all the Twilight films thus far. But that doesn’t mean it’s good. Director Slade’s grasp of plot development borders on amateurish in this film; Eclipse often feels less like a movie than a weighty discourse on the pros and cons of vampiredom laid out in lengthy exhaustingly repetitive chunks of exposition and awkward campy flashbacks as just about every character in the film including Edward attempts to dissuade Bella from joining the ranks of the bloodsuckers.
But alas no force no matter how utterly rational its arguments will keep Bella from her destiny. Which obviously is Edward. Or is it? Eclipse goes to great pains to invent ways to perpetuate the film’s romantic rivalry inserting scenes like the one in which Bella on the verge of freezing to death in a tent high up in the mountains is saved when Jacob arrives to heroically spoon her body temperature back to its proper level. (Eclipse is being hyped as the first “guy-friendly” Twilight flick but no film which includes a climactic spooning scene can rightly claim such a distinction.) Edward meanwhile with his poor vampire circulation is powerless to help.
Who will win in the end? Will it be abs over eyes? Obviously it will take two more movies (at least!) to solve this kind of wrenching dilemma.
If you thought the Viking Age was uninteresting in that old history textbook Pathfinder does it one better by actually upping the boring ante. In fact even ye Old World buffs out there will be disoriented. It’s set “600 years before Columbus ” when “people had to guard America’s shores from marauders.” One of those most noble guardsmen was Ghost (Karl Urban). Native Americans happened upon him as a young orphan boy and decided to raise him as one of their own--even though he was never truly accepted due to his unknown ancestry. Fifteen years pass and Ghost once a frail child has blossomed into a beast-sized man capable of warding off almost anyone. His size and skill set come in handy when Norse invaders look to raise hell in his village. Armed with horses swords and thorny helmets they kill and maim everyone in sight and mostly get away with it. That is until they mess with the object of Ghost’s affection Starfire (Moon Bloodgood) thereby seriously messing with Ghost. You don’t put Ghost in a corner! Beefcake actors are apparently a dime a dozen these days and Pathfinder lead Urban does nothing to separate himself from the supporting actors of his own movie let alone from the aforementioned Hollywood stereotype. Looking like a runway model on steroids the Lord of the Rings and Bourne Ultimatum star only stands out aesthetically here and is in danger of being pigeonholed and typecast for a long time to come. Unless he can somehow show a different side Urban will wind up on a long list with the likes of wrestlers-turned-actors who can’t act. Thing is in Pathfinder he can’t even manage the uber-virility his character is meant to project. Bloodgood (Eight Below) meanwhile owner of the best non-porn name in showbiz holds her own and softens things up in a movie otherwise completely dominated by males. And finally there's veteran Native American actor Russell Means (Natural Born Killers) who as the Pathfinder himself at least lends some desperately needed credibility. Looking up a director’s name and past work isn’t a fair way to pre-judge his or her movie but it may sometimes hint at what you’re in for. Take Pathfinder for example: Director Marcus Nispel's past work includes Texas Chainsaw Massacre and music videos. Massacre was terrible and music videos are stylized; thus we arrive upon Pathfinder which is terrible and stylized. When parents complain about violence in the movies this should be their focal point. Nispel like other offenders is unable to ever refrain and beheadings and such in all their slow-motion glory resemble fun video games. Not that his lack of morality makes Pathfinder the crap it is however. That blame rests on his apparent decision that such violence is all moviegoers want to see. And it is perhaps the sheer lack of a story that accentuates how mediocre the violent scenes really are--scenes that are meant to leave us agape in amazement as if we’ve never seen a loose eyeball on the screen before. On a (lone) positive note though the set design seems up-to-snuff.
Alpha Dog has been in the headlines quite a bit ever since last year’s Sundance Film Festival and not coincidentally the headlines actually spawned Alpha Dog. The true story concerns a drug dealer named Jesse James Hollywood who would become one of the youngest people ever on the FBI’s most-wanted list; Alpha Dog for the most part and rather glossily tells the rest of the story. Johnny Truelove (Emile Hirsch)—the Jesse James Hollywood character—is a hothead drug dealer well respected in his suburbanite posse which includes sycophant Elvis (Shawn Hatosy) and burnout Frankie (Justin Timberlake). After speed freak Jake Marzursky (Ben Foster) shorts him in a pot deal and vandalizes his house Johnny exacts revenge by kidnapping Jake’s young brother Zack (Anton Yelchin). To Zack the kidnapping is a blessing an intro to the party lifestyle he’s always wondered about and Johnny and co. aren’t sweating what they think is a scare tactic. But when they learn they’re looking at (long) hard time for the kidnapping the guys realize that simply returning Zack to his house might not be an option. Even though the only real difference between Timberlake and his Frankie may lie in the number of tattoos his (for all intents and purposes) debut performance is a genuine eye-opener and further proof that when you’ve got “it ” the medium just doesn’t matter. Throughout much of the movie Timberlake’s best work is simply making you forget he’s the world’s biggest pop star but he shines most during the movie’s dramatic climax. Yelchin (TV’s Huff) also excels. He’s blessed—or perhaps in Hollywood cursed—with a face that will probably always look younger than it is and that along with his accompanying expressions makes you feel a number of things for his character. Rising star Hirsch (Lords of Dogtown) plays Truelove—in real life the central figure—with equal parts cool and A.J. Soprano hissy fits while Foster (Hostage) is his archenemy and antithesis simmering or exploding in every scene. Audiences will laugh at Foster’s over-the-top turn but it suits the absurdity of his character. Bruce Willis and Sharon Stone as parents thrown into the ordeal don’t add much beyond their names but Stone’s botched fat suit in one scene kills an otherwise raw moment. Writer/director Nick Cassavetes turned The Notebook into a surprise box office hit (with a little help from Rachel McAdams and Ryan Gosling of course) and unfortunately that’s what he tries for with Alpha Dog. It’s a movie that should be more along the lines of Larry Clark’s uncompromising Bully instead of a cross between that film and say Malibu's Most Wanted. Furthermore it seems the Timberlake Effect swayed the director into MTV territory as he apparently tries to reel in some of the pop star’s contingency when this is certainly no kids’ tale even though it’s about kids. But despite the movie’s often ambiguous tone and frequent testosterone injections Cassavetes manages to engage us and take us along for the roller coaster ride. He captures with great accuracy the reckless abandon and invincibility complex with which these specific people operate (and party)—it’s pure hedonism for them and the audience. Until he sets reality into place at which point it inches closer to the aforementioned Bully.