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.
The Recruit wants us to believe the film's main thrust revolves around the Central Intelligence Agency's old maxim "nothing is what it seems." Had they stuck with this framework perhaps the film would have been more compelling. Instead it lapses into the expected and the implausible where you can pretty much guess exactly what's going to happen even if it really makes no sense. Our hapless protagonist James Clayton (Colin Farrell) is hustled by CIA recruiter Walter Burke (Al Pacino) who believes himself to be a "scary judge of talent" and sees James as prime CIA meat. When James hesitantly accepts the offer to come to The Farm he does so motivated less by helping his country and more by trying to find out what happened to his father who died mysteriously several years before and whom Burke alleges he knew. Once at The Farm James proves his mettle and is told again and again "it's in his blood." Ah then should we believe James' father who supposedly worked for Shell Oil really worked for the CIA as an NOC or Non-Official Cover agent one of the Agency's more prestigious--and dangerous--positions? The plot thickens. James also falls for fellow recruit Layla (Bridget Moynahan) but during an intense interrogation set-up he makes a serious error trying to save her and "washes out" of the program. Just when he thinks he's out forever James gets pulled back in by Burke who tells him all his trials and tribulations were just a test and that he is really NOC material and needed to root out a mole. Is it what it seems? Heavens no.
You'll be seeing a lot of Farrell in the coming months. Along with The Recruit this year alone he'll be in three major feature films including the upcoming comic-book actioner Daredevil; S.W.A.T. yet another feature based on a TV series; and the sniper movie Phone Booth. How has this 26-year-old Irish hunk risen so quickly in the ranks you might ask? Maybe it's because he has an uncanny ability to make the parts he plays completely believable. He slips easily into the Clayton character the quintessential CIA recruit with a daddy complex and fuels the film with the right amount of acting skills and smoldering good looks. Unfortunately his co-star the high and mighty Mr. Pacino is becoming a caricature of himself. Playing Burke is certainly no stretch for the actor and the film would not be complete without the requisite ranting scene where CIA veteran Burke tells the world all about it--voice booming words punctuated. It seems this has become the standard in any Pacino performance and frankly it's getting tiresome. Where's the quiet but powerful Michael Corleone when you need him? Moynahan (The Sum of All Fears) is somewhat bland as Clayton's love interest Layla. Word of advice: if Colin Farrell is making eyes at you go for it immediately. Don't waste any time.
For all its obviousness The Recruit does some things right. No stranger to the inner workings of our government agencies director Roger Donaldson who directed the Cuban Missile Crisis drama Thirteen Days and the Pentagon thriller No Way Out gives us access to the CIA training program or The Farm as its lovingly referred to--and it's one scary place. Obviously when making the film things had to be handled delicately as not to divulge too much so the film does take some creative liberties in showing the intense training the eager recruits have to face. That's fine with us--if we can't rely on death-defying stunts and car chases then outrageous mind games are generally good enough. But once The Recruit takes leave of The Farm the movie begins to fall apart. The inherent action set up for us in the first part--James finding out about his father the blossoming relationship between Layla and James who will be the NOC and the whole mole plot--just isn't as convincing to carry the film through its fruition. And being able to guess the next move isn't much fun either.