Skyfall is the perfect film to accompany the 50th Anniversary of the first big screen Bond movie Dr. No. The movie is a crossroads for 007; the spy is an old soul with unconventional archaic methods struggling to exist in a high-tech world with enemies who swap laser beams and nukes for Internet viruses and data infiltration. This conflict is the core of Skyfall — perfect for director Sam Mendes (American Beauty Revolutionary Road) — and the human drama gives every moment of the espionage thriller additional weight. Sure there are the grandiose set pieces we've come to expect from the series. But like the older films Mendes keeps most of the action contained the focus always on star Daniel Craig as he evades and confronts danger. He even pushes further allowing the evildoers into MI-6's home and through the magic of performance the audience into the mind of Bond.
After a botched mission sends him off the grid James Bond returns to his homebase in London to discover the MI-6 in disarray. The target of system attacks seemingly designed to screw with M (Judi Dench) MI-6 calls upon a noticeably shaken (not stirred) Bond to get back on his feet and track down the nefarious face behind the online terrorism. While politico Gareth Mallory (Ralph Fiennes) would prefer to use the magic of computers and drones to dig up the bad guy M knows even Bond at 50% is unlike any machine in the world. A few training sessions and a weapon upgrade from Q (Ben Whishaw) later Bond hits the road.
In pure Bond fashion Skyfall traverses some beautiful landscapes. From China's glowing waterside gambling epicenter Macau to the remains of a South Pacific isle to the foggy country side of Scotland. Departing from action movie aesthetics and embracing shadows atmosphere and imperfection Bond's journey feels even more tangible than the "realistic" approach of Casino Royale. The haunting locations reflect his deeply personal mission. It helps too that Bond is faced by one of his best villains yet: Javier Bardem as the charming psychopathic Raul Silva. Silva acts as another mirror for Bond albeit a version completely off the rails. Like a mix of Hannibal Lecter and Heath Ledger's Joker in The Dark Knight Silva is determined to burn his opponents in any fashion possible. Bardem plays it all with a sinister smirk — a twist on the maniacally-laughing Bond villains of yesteryear.
Skyfall's concentration is on the dramatic but continuously delivers in the action department. Mendes finds innovative new ways to stage classic Bond moments; a one-shot fist fight in the windows of skyscraper bubbles over with intensity while another in the Chinese casino tips its hat to the campier side of the franchise. And the movie goes big with an opening sequence on par with any of Bond's past outings and a foot chase through London's Tube that tests Craig's limits as a physical performer. He never misses a beat.
Impressively Skyfall is a movie pulled from this moment in history while encompassing everything that made James Bond a long-lasting character. It's one of the best Bond entries of all time a heart-pounding action flick from start to finish (with a rousing conclusion evoking everything from Terence Young to Sam Peckinpah) and one of the best movies of the year.
Well if the title doesn’t say it all…Picking up where Alien vs. Predator left off those pesky aliens cause the Predator ship to crash on Earth setting them free near a Colorado town. A lone Predator (Ian Whyte encoring from AvP) comes to Earth to clean up the mess and what the hell maybe pick up a few human trophies too. Needless to say the town’s human residents are completely unprepared for this sort of inter-galactic free-for-all on their streets. This is after all the sort of town where everybody knows everybody but no one seems to notice when a spaceship crashes in the woods outside of town or when the self-same spaceship blows up the next day. In short you could say that they get what’s coming to them--and they sure do. Pretty dreadful all around. Then again Shane Salerno’s script is pointless to begin with. Steven Pasquale (TV’s Rescue Me) plays the ex-con hero Dallas (a nod to the original Alien). Reiko Aylesworth (TV’s 24) plays a veteran of the Gulf War who returns stateside just in time to engage in another one--a pretty pale homage to Sigourney Weaver’s Ripley character. John Ortiz plays the local sheriff one of the dullest (and dumbest) screen lawmen in recent memory. Veteran Robert Joy drops in briefly as a weasely U.S. Army colonel who would just as soon nuke the town as try to save it. Every time this film focuses on the (one-dimensional) human characters it stops cold. Unfortunately this happens a lot. There’s no reason to root for them because you simply don’t care. True to form most of them are sliced diced chopped lasered exploded from within and otherwise treated in a shabby fashion. They are simply fodder. Just for the record this is the sixth Alien film and the fourth Predator film and it holds the dubious distinction of being the worst of any of them. The special effects are just dandy but not much else is. This also marks the inauspicious feature directorial debut of noted visual effects artists Colin and Greg Strause (billed as “The Brothers Strause”). They clearly have an affinity for this sort of thing--and for the Alien and Predator franchises--but are just as clearly content to simply let the special effects run away with the story. The first Alien vs. Predator movie was no great shakes but it was better than it had any right to be. This one is not. Responding to the fans who wanted this film to be R-rated the Brothers Strause have delivered on that--and absolutely nothing more. It’s a pointless exercise.
Idi Amin was the ruthless dictator of the African nation of Uganda throughout much of the 1970s. He was ultimately blamed for thousands upon thousands of deaths (some estimates place the death toll in the hundreds of thousands) during his tenure. The Last King of Scotland is a fictionalized version of Amin’s (Forest Whitaker) reign of terror. Giddy after graduating from med school in Scotland Nicholas Garrigan (James McAvoy) randomly picks Uganda to be his first post-college destination. When he gets there the locals are abuzz after the new leader has been sworn in and vows to right all that is wrong with the country. After a chance encounter with Amin Garrigan bears witness to his dichotomous personalities as the ruler goes from threatening to charming on a whim. Amin is so taken with the young doctor--and vice versa--that he invites Garrigan to become his personal physician. A doctor-patient relationship leads to close friendship and before long Garrigan is the very center of the dictator’s inner circle. And not long thereafter he learns that there is no worse place to be. For over 20 years now we’ve all bore witness to Whitaker’s mastery of acting. His choices have been eclectic and his performances consistently great but it’s always been a case of “And oh Forest Whitaker’s great too.” Until now. Whitaker makes what can only be described as an earthquake of an entrance. It’s clear in the movie when Amin will first appear and yet the actor still manages to catch us off-guard. Amin’s manic personalities are child’s play for Whitaker but he never has fun with it which is where other actors might have gone overboard. He is now leading the race for the Best Actor Oscar too. Not that the supporting players are too shabby though. McAvoy's (The Chronicles of Narnia) Garrigan is actually the heart of the story allowing for more screen time than Whitaker and the Scotsman soaks up every second. He sticks out like a sore thumb in the film but not only because he’s from the opposite side of the earth; it’s because McAvoy the actor makes sure to react differently to everything. In addition former X-File-r Gillian Anderson turns in a solid if short apperance--and you’ll be surprised how amazingly hot she is! Kerry Washington (Mr. and Mrs. Smith) as one of Amin’s countless neglected ex-wives is superb as well.
The contrast between Last King's first and second half is as night-and-day as Amin's personalities. In the first half director Kevin MacDonald (Touching the Void) allows the story to simmer to the point of perfection; in the second half he gets sloppy as though in a rush to finish a different movie than the one he started. The ending also a mix of truth and fable (plucked from the highly acclaimed book by Giles Foden) quickly spirals towards its conclusion which is tough to watch for very different reasons. But prior to that--even at some points in the uneven second half--MacDonald paints a beautiful monster out of Amin. Maybe more importantly he paints a beautiful picture of African ambiance an indirect thank you to the Ugandan people that allowed unprecedented access to their country for the sake of Last King. Even with MacDonald's occasional blunders it's hard to deny the power of his film.
After being awakened by the echoing of scary sounds and discovering big footprints the gang--including Rabbit Tigger Piglet Eeyore and of course Pooh--decide to find and capture a Heffalump one of the most feared creatures in the Hundred Acre Wood. Little Roo is the only one not allowed to help in their endeavor because he is too small and too young to partake in such a dangerous expedition. But Roo is determined to convince everyone he is big enough to catch a Heffalump and sets out on his own. Luckily he is much more successful than the rest snaring a Heffalump named Lumpy. Roo soon finds out however that the scariest creature in the woods is not really scary at all but kind and gentle and just as scared as he or his friends ever were. Lumpy and Roo become fast friends. It is now up to Roo to get his friends and everyone else in the Hundred Acre Wood to throw away their fears and accept the Heffalumps as one of them.
All the actors portraying the Hundred Acre wood gang do a great job. They include Jim Cummings as friendly Winnie the Pooh and bounce-happy Tigger; Ken Sansom as the know-it-all Rabbit; Kath Soucie as Roo's loving mother Kanga; John Fiedler as little Piglet; Peter Cullen as the endearingly dreary Eeyore; Nikita Hopkins as the effervescent Roo. But it's the voice of Lumpy the Heffalump who steals the show. Eight-year-old Brit Kyle Stanger voices the soft-spoken but happy-go-lucky Lumpy melting your heart at every turn while two-time Oscar nominee Brenda Blethyn as his Mama Heffalump adds just the right touch.
Under the helm of veteran animation director Don MacKinnon and director Frank Nisson Pooh's Heffalump Movie uses the basic pen and ink animation but that suits the gang of the Hundred Acre Wood just fine. In classic Disney form music is also as much a part of the movie as anything else. Award-winning recording artist Carly Simon who also scored the delightful Piglet's Big Movie worked closely with DisneyToon Studios music department's Matt Walker and composer Joel McNeely to introduce several new songs that give the movie added spirit and bounce bringing the old and new characters together harmoniously.
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.