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.
WHAT IT’S ABOUT?
The uber-anticipated sequel Transformers: Revenge of the Fallen picks up shortly after the events of the blockbuster first film. With evil Megatron’s carcass buried at the bottom of the ocean Optimus Prime and his Autobot comrades working together with an elite group of human soldiers are now focused on hunting the remaining Decepticons scattered across the globe. Sam Witwicky hero of the 2007 movie is busy preparing for his first year at college while his unlikely girlfriend Mikaela Barnes stays behind to tend to her father’s auto-repair shop. Little do they know however that back on Cybertron a Decepticon elder known as “The Fallen” is hatching a scheme to invade Earth where hidden somewhere on the planet is the last known source of energon the life-blood of all Transformers. If he succeeds the devastation left in his wake will no doubt spell the end of the human race. With the fate of Earth hanging in the balance Sam and Mikaela must once again have to team up with Optimus and the Autobots to defeat this powerful new foe.
WHO’S IN IT?
All the major human players from the first Transformers film are back for the sequel including Shia LaBeouf Megan Fox Tyrese Gibson Josh Duhamel and John Turturro. Newcomers include Ramon Rodriguez who plays Sam’s conspiracy-obsessed college roommate Leo and The Office’s Rainn Wilson who enjoys a notable cameo as a pompous physics professor.
Of course the actors merely serve as background filler for the real stars of the show: those titular talking-alien robots. And director Michael Bay fills up the screen with enough mechanical eye candy to dazzle even the most skeptical gearhead. Returning characters include Optimus Prime Bumblebee Ratchet Ironhide Barricade Jazz (don’t act surprised) Starscream Frenzy and Megatron (again don’t act surprised).
Several new Autobots are introduced to the mix: Mudflap and Skids a pair of jive-talking ceaselessly annoying hatchbacks; Jolt a Chevy Volt; Sideswipe a silver Corvette; and Jetfire an elderly Decepticon turncoat who walks with a cane speaks with an English accent and transforms into an SR-71 Blackbird. Additions to Decepticon side include: The Fallen who we learn is the Decepticons’ real head honcho (consider him the Emperor Palpatine to Megatron’s Darth Vader); Soundwave a communications specialist who sinks his tentacles into a satellite and spies on us from above; Ravage a panther-like creature; Wheelie a radio-controlled truck who talks like Joe Pesci; “the Doctor ” a sort of mad scientist who speaks with a German accent (naturally); and the Constructicons a group of construction vehicles that fuse together to form a massive four-legged beast.
No director does over-the-top explosion-laded action better than Michael Bay and Transformers: Revenge of the Fallen features several staggering set pieces. The CGI work on this film makes the last one look like it was designed on a Commodore 64.
Any scene in which people talk — and several of the ones in which robots talk too. Just as the action and visual effects are beefed up for the sequel the bad jokes and cringe-worthy dialogue are as well. Highlights include two dogs humping John Turturro in a thong a robot humping Megan Fox’s leg a sequence involving Sam’s stoned mom and a glimpse of a very large pair of testicles on one very large Decepticon. The latter will likely go down as the “nipples-on-the-Batsuit” moment for the Transformers franchise.
The show-stopping climax set in the Egyptian desert is one extended riotous battle royale packed with so much robot-on-robot action you’ll feel overwhelmed at times.
NETFLIX OR MULTIPLEX?
This big-budget spectacle begs to be seen at the multiplex — IMAX if possible. Just bring a pair of earplugs for the dialogue sequences. You might want to bring some Dramamine as well as Mr. Bay went a little overboard with his trademark circling-camera sequences this time around.
Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.