Based on Chris Van Allsburg's enchanting award winning children's book the story begins on a snowy Christmas Eve where a doubting young boy lies in his bed waiting to hear the sound he doesn't know if he believes in anymore: the tinkle of Santa's sleigh bells. What he hears instead however is the thunderous roar of an approaching train where no train should be: it's the Polar Express. Rushing outside in only a robe and slippers the incredulous boy meets the train's conductor who urges him to come onboard. Suddenly the boy finds himself embarking on an extraordinary journey to the North Pole with a number of other children--including a girl who has the tools to be a good leader but lacks confidence; a know-it-all boy who lacks humility; and a lonely boy who just needs to have a little faith in other people to make his dreams come true. Together the children discover that the wonder of Christmas never fades for those who believe. As the conductor wisely advises "It doesn't matter where the train is going. What matters is deciding to get on." Gives ya goose bumps doesn't it?
Talk about a vanity project for Tom Hanks. He portrays several of the characters in the film--the conductor the hobo who mysteriously appears and disappears on the Polar Express the boy's father. Wait isn't that Hanks playing Santa Claus as well? But if anyone can pull off some cheesy dialogue about the spirit of Christmas this Oscar-winning actor can. Interestingly the film also incorporates adults to play the children (none of the characters have names actually) with Hanks as the Hero Boy; Hanks' Bosom Buddies pal Peter Scolari as the Lonely Boy; The Matrix Revolutions Nona Gaye as the Hero Girl; and veteran voice actor Eddie Deezen as the Know-It-All Boy. Everyone does a good job but trying to make CGI-created people seem real is a difficult undertaking. With
The Polar Express director Robert Zemeckis has created an entirely new way to do computer animation called "performance capture." "[It's a process that] offers a vivid rendering of the Van Allsburg world while infusing a sense of heightened realism into the performances. It's like putting the soul of a live person into a virtual character " visual effects wizard and longtime Zemeckis collaborator Ken Ralston explains. Oh is that all? Problem is no matter how hard they try it doesn't work--not completely. Similar to flaws in the 2001 Final Fantasy: The Spirits Within virtual characters just can't convey human emotion as well as real-life actors plain and simple. And with a touching story like Polar Express that real-life connection is missed at times.
Of course like the images in the book it's still an exceptionally beautiful film to watch. Zemeckis enjoys being a filmmaking innovator. He charmed audiences with a lively blend of live action and manic animation in the 1988 classic action comedy Who Framed
Roger Rabbit? and then wowed them with the 1994 Oscar-winning Forrest Gump blending authentic archival footage of historic figures with the actors. Now with The Polar Express it's this performance capture which gives Zemeckis unlimited freedom in creating the world he wants. And boy does he make use of it. True the story is a classic but the director knows he has to make The Polar Express exciting for the tykes-- simply riding around in a train to North Pole without any thrills certainly wouldn't be enough for the ADD world we live in. To accomplish this the film is padded with exhilarating scenes such as the train going on a giant roller coaster ride through the mountains and across frozen lakes (too bad Warner Bros. doesn't have a theme park) and the boy's race across the top of the snowy Polar Express. Even the North Pole is a booming magical Mecca filled with some pretty boisterous (and weird looking) elves who like to send Santa off in style Christmas Eve--watch out for Aerosmith's Steven Tyler making a cameo as a jammin' elf. Ho-ho-ho!
A dead body with a smashed-in face and cut-off hands is uncovered at a Montreal construction site. The local authorities are all over it but police inspector Hugo Leclair (Tcheky Karyo) thinks it might be bigger than just a random murder and decides to bring in his good friend Special Agent Illeana Scott (Angelina Jolie) an FBI profiler who relies on her intuition rather than conventional crime-solving techniques. She proves it by immediately lying in the victim's grave to get a "sense" of what happened to him. (Wow we've never seen that before.) The Montreal detectives on the case Paquette (Olivier Martinez) and Duval (Jean-Hugues Anglade) are skeptical of her ways especially Paquette who thinks she's just plain nuts (we're with ya Paquette) and resents her involvement. The investigative team catches a lucky break when witness James Costa (Ethan Hawke) pops up claiming he stumbled upon the killer mid-murder (but not in time to save the victim) and can identify him. With Costa's help Illeana gets a clearer picture of her "profile " discovering he is a chameleon-like serial killer who "life-jacks" his victims assuming their lives and identities. At first she's hot on his tracks but the usually detached Illeana is thrown for a loop when an unexpected attraction develops between her and James. She suddenly feels like she is losing her touch; and surrounded by what could be a bevy of potential suspects things get chillingly personal.
Jolie has done this before sort of in the 1999 The Bone Collector in which she played a homicide detective who works with a quadriplegic partner to catch a serial killer so inhabiting Agent Scott is not new territory for her. Neither is acting in the steamy love scene she gets to share with Hawke which as we all know is something Jolie can do well. What is surprising for a movie of this type however is the fact the uptight emotionless FBI profiler actually gets to have sex which brings out Scott's more human qualities. The ultra-smooth Hawke whom we haven't seen since his Oscar-nominated turn in the 2001 Training Day also does some intriguing things with his character who may or may not be the bad guy (see below). The rest of the cast however falls into conventional psycho thriller compartments--the good cop (Anglade) the bad cop (Martinez) the concerned confidante (Karyo) and the person who provides key information about the serial killer's background (his mother played by Gena Rowlands)--without shedding anything new on the proceedings.
If you've seen one big-budget psychological serial killer movie you've seen them all. You know that the one guy they want you to think is the killer really isn't. You know that the other more unlikely guy probably is. You know somehow the hero--a smart cop FBI agent etc.--will eventually find his or her life in mortal danger. And finally you know the killer rarely dies on the first attempt; he always comes back. What you hope is that at some point the filmmaker will throw a wrench in the works. Something you couldn't predict even if given all the clues. Taking Lives director D.J. Caruso tries his best to do this. Through his camerawork he sets up Illeana's hyper-sensitive skills of observation as she notices everything around her only to see those skills fail on her later--and aided by composer Phillip Glass' haunting musical score the film reaches the predictable high points fulfilling its thriller quota. Montreal also provides a change of pace from the usual grimy Big Apple or other such gritty American locales prominently feature in such films. But what keeps Taking Lives in the running is its curveball at the end. If you don't mind wading through the rest of the movie's obviousness the wait is worth it.
In this Britney-and-Beyonce-obsessed age 'tis a wonder anyone other than an art history buff knows who Rembrandt is let alone that other Dutch painter guy--what'shisname Vermeer. In fact very little is known about the 17th-century painter who died in debt at 43 and left most of his works including his most famous of a young girl wearing a pearl earring shrouded in mystery. Girl With a Pearl Earring is director Peter Webber's adaptation of the 1999 Tracy Chevalier novel that spun a gauzy fiction about the painter's unrequited obsession with a young maid who became his muse and the subject of said painting. The maid in question is Griet (Scarlett Johansson) whose tilemaker father's accident forces their family into poverty and her into servitude--and it's no picnic. Morose henpecked Vermeer (Colin Firth) hides in his studio away from the household which includes the puffy and pampered wife (Essie Davis) he keeps eternally pregnant; her tyrannical domineering mother (Judy Parfitt) who brazenly solicits work for Vermeer from patrons like rich lecher Van Ruijven (Tom Wilkinson); and a multitude of Vermeer brats. Full-lipped and nubile the servant Griet becomes the artist's secret obsession--he spies on her cleaning his studio teaches her about painting (or at least how to make his paints) and seduces her while painting her portrait behind his wife's back.
With little dialogue to speak Johansson's Griet is a study in silence. Her wide-eyed earnest stares and Mona Lisa smile do the talking for her proving a picture certainly can say a thousand words. She may get more attention for Lost in Translation but this is her vehicle. Johansson's quiet understated performance makes the others look that much more overstated--Wilkinson's vulgar mustache twirling art patron for example and Davis's jealous and ranting Catharina Vermeer for another although they too are very solid turns. Firth's Vermeer fades into the background surrounded by these big personalities understandably and fittingly so; he's the brooding artist who'd be far happier left alone to gaze upon his subject. Although the master and the servant never do much more than exchange looks the sensual energy between them is palpable.
This movie is beautiful absolutely stunning--it's as if cinematographer Eduardo Serra saw Vermeer's life through the artist's eyes and that vision comes through in exquisitely framed and lit shots. Some scenes--of young lovers walking along a tree-lined canal in fall light beaming across the girl's face as she cleans the studio's beveled windows--are literally breathtaking. Just as an artist's work is tactile so does this film feel--in the sounds of a heavy knife chopping vegetables and a spatula grinding pigment into paste…volumes are spoken in the clean white crispness of Griet's bonnet. First-time helmer Webber occasionally allows the camera to hang too long (a lip-licking scene in extreme close-up for example) but he creates a fully enveloping period and confidently leads his cast through this fairly thin story. You can pretty much guess what you're in for with a movie about a 17th-century Dutch master; knowing that if there's any criticism to be made it's that the pic feels every bit of its 95 minutes long. A lovely score by Alexandre Desplat also deserves a mention although it sometimes overwhelms scenes with unwarranted portentousness.
New York City detective Mike Reilly (Stephen Dorff) teams up with Department of Health researcher Terry Huston (Natascha McElhone) to investigate five bizarre deaths. Before long they discover that all the victims died exactly 48 hours after visiting the Web site feardotcom.com. The site itself looks amateurish with rapid-fire images of a strange doorway screaming faces torture tools and indiscernible grainy objects. Users log on to watch a twisted doctor perform autopsies on people--while they're still alive torturing his victims until they beg to be killed. The voyeurs must then interact with a mysterious woman who asks things like "Do you want to hurt me?" She challenges users to find her within two days--or die. Those who don't find her end up suffering whatever gruesome fate they fear most and--this is the best bit--it's brought on by some sort of evil force generated through the computer. Of course curiosity gets the better of them and Mike and Terry log on to the site only to find themselves embroiled in a supernatural violent fight for their lives. If this explanation made sense that's more than we can say for the plot of feardotcom.
Dorff is well cast as Mike Reilly a brash young city police detective whose curious nature gets him into trouble. But the character is too simplistic and underdeveloped to give Dorff much to do. Although we get a little more insight into McElhone's character Terry (we know she has a cat name Benny for example) there isn't much to like or dislike about her. Dorff and McElhone's characters strike up a sort of friendship as the film progresses but there isn't much chemistry between the actors. A couple of the creepier roles in the film are much more entertaining to watch especially Stephen Rea and Michael Sarrazin. Rea plays Alistair Pratt the twisted doctor whose torture victims provide feardotcom.com's "entertainment " while Sarrazin plays Frank Sykes a drunk and washed-up author. It's a shame these two didn't have more screen time.
Director William Malone explains in the production notes for the film that feardotcom offers both a scientific and spiritual explanation for what happens in the film and that it is ultimately up to moviegoers to decide which school of thought they subscribe to. But the film's storyline is so convoluted and contradictory that it's difficult to figure out what question the film is asking let alone find the answer. Even if nothing about the story--or the philosophical questions it purports to ask--makes sense the intense look of the film is enough to keep you watching. Malone bathes the film in murky blue tones and sunlight never even trickles in. Offices are dimly lit and apartments are always dank and dilapidated. It rains day and night. The weird flashes of images presented in this setting are graphic and disturbing making feardotcom a film for the strong of heart--and stomach.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."
He won’t be back. Cinemascape.com reports today that director James Cameron has confirmed once again that he will not be involved in any further "Terminator" films. While attending the premiere of "U-571" recently, Cameron was asked about his potential participation in "Terminator 3." Cameron replied, "Not gonna do it."
Additionally, recent comments made by Arnold Schwarzenegger and Linda Hamilton have the pair saying that they have no interest in another sequel unless Cameron is directing.
But the question remains: Will there be a "Titanic II"?
WHAT A SCREAM! Miramax has registered the Web sites www.scream4.com through www.scream10.com in making plans for a new batch of sequels, msnbc.com reports. A Miramax official has no comment, but director Wes Craven is among those who never completely believed that the studio would kill off the successful slasher-flick franchise starring Neve Campbell, David Arquette and Courteney Cox Arquette.
A CALL TO ACTION: Bill Cosby, in Los Angeles on Tuesday to receive the Steven J. Ross/Time Warner award from the University of Southern California’s School of Cinema-Television, called for additional outreach programs that give minority students the chance to prepare for careers in the entertainment industry. According to The Hollywood Reporter, Cosby said that such programs help give an edge to aspiring talents who already face stumbling blocks as they enter film and television.
GOODBYE, OSCAR: Richard D. and Lili Fini Zanuck have said that they will never produce another Oscar telecast, DailyVariety columnist Army Archerd reports today. Richard Zanuck told Archerd, "Although it was one of my greatest experiences, I'll never do it again." Lili said: "We were very happy with the reception ... (but) we have a day job."
COUPLES WATCH: Howard Stern and Angie Everhart have blossomed into something serious. "They have been going out," the model's rep, Shari Goldberg, tells the New York Daily News. "I don't know about Howard, but she's not seeing anyone else." ... Actress Kristin Scott Thomas is expecting her third child. She is married to Francois Oliviennes. ... Joan Lunden, the former host of ABC's "Good Morning America" who reportedly is a contender to replace Kathie Lee Gifford on "Live! With Regis & Kathie Lee," has married Jeff Konigsberg, who operates children's summer camps. It is Lunden's second marriage.
HERE’S LOOKIN’ AT YOU, KID: Robert Evans’ best-seller "The Kid Stays in the Picture," which chronicles the producer’s rise to power in Hollywood, might be brought to the screen as a feature documentary by this year’s DGA documentary feature winners Brett Morgen and Nanette Burstein ("On the Ropes"), the Reporter says. The news first broke March 25 on foxnews.com.