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.
Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.