Forget that the latest adaptation of Leo Tolstoy's sweeping romance novel comes from the man who brought us the slick-but-stuffy Pride and Prejudice and Atonement. Every frame of director Joe Wright's Anna Karenina is a wonder to behold overflowing with visual spectacle and roaring performances. Keira Knightley Jude Law Aaron Taylor-Johnson and the rest of the cast fit perfectly in the high drama epic but it's really Wright's playground. Following Hanna an artful spin on the action movie Wright returns to the period drama but injects it with dazzling daring choices. A book like Anna Karenina could once fit in reality but its larger-than-life legacy precedes it. Wright acknowledges that from frame one approaching the film like a grand ballet or opera where grand gestures broad emotions and overt theatrics are commonplace. That vision clicks transforming Anna Karenina into an exhilarating moviegoing experience.
The storyline of Anna Karenina isn't far off from a daytime soap: It's 1874 and Anna (Knightley) is floating through existence as the wife of influential government player Karenin (Law). But when her brother Oblonsky (Matthew Macfadyen) summons her to Moscow to save his marriage Anna's entire world is shaken up. She meets Vronsky (Taylor-Johnson) a cavalry hunk who finds himself smitten with the taken lady. She's in the same boat: The two strike up a flirtatious relationship that evolves into one of sexual passion. A scandalous affair would incite trouble in the preset day but in the 19th century it's the ultimate crime. Quickly Anna's life comes crumbling down.
The intertwining melodrama of Anna Karenina earned the novel its classic status but Wright uses the material as a launching pad for imagination rather than a tome to translate to screen. Many of the scenes are staged in a theater creating an instant awareness of the production. Sets shift and are reconstructed into new rooms; actors costume change in the span of single shots; action sequences like a thrilling horse race are conducted on stage with special effects you might see on Broadway. Wright works this sort of stylization in the other direction too; a character could walk an empty stage open a door and suddenly be on a snow-covered hill. Anna Karenina isn't the first film to use the effect but in Wright's hands it's exhilarating.
The movie is Wright's third collaboration with Knightley and easily their most successful. Knightley never struggles to stay on the same page as the heightened material whether she's nailing a dance sequence or breaking down in a flood of tears. Casting an ensemble around Knightley is no easy task but Taylor-Johnson gives his best work yet as the debonair love interest and Macfadyen steals the show with moments of physical comedy.
We have expectations of the texture and structure of period romances. Anna Karenina defies them. Masterpiece Theater it is not.
Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.