What do you call a bunch of Australians tossed down a hole? A good start. I kid of course – “a mediocre movie” is more like it. And that’s precisely what you get with Alister Grierson’s Sanctum a 3D thriller in which a crew of cave divers struggle to survive after a monsoon-driven flood pins them thousands of feet underground.
Sanctum is set in Papua New Guinea but was mostly shot in the sprawling caves of South Australia. The cast is dominated by local actors many of whom will prove unrecognizable to moviegoers residing above the equator – which frankly isn’t all that much of a hindrance since the lot of them will be killed off long before the closing credits roll.
The cast’s lone non-Aussie – and the film’s most familiar face – is Welshman Ioan Gruffudd who plays Carl a gratingly cocky American industrialist whose wealth funds the whole caving (the word “spelunking” is never used much to my chagrin) expedition and whose extreme-tourist bent compels him to come along for the ride. He also brings his girlfriend Victoria (Alice Parkinson) whose strong-mindedness you just know is going to become a liability when the sh*t hits the fan.
The sh*t in the case of Sanctum is an apocalyptic storm that arrives days before it’s supposed to triggering an avalanche of boulders that effectively seals off all possible exits. With the water level rising and a near-zero chance of rescue the group’s hardened no-nonsense leader Frank (Richard Roxburgh) decrees that their best hope of survival lies in finding an alternate means of escape via an unexplored stretch of tunnels thought to lead to the ocean.
The situation grows gradually more desperate and characters succumb one by one to the hazards of the deep in fairly predictable disaster-flick order. (The aging female is first to go followed by the ethnic guy etc.) Sanctum cycles through a series of grisly fatalities – including one delightful bit in which a shock of hair caught in a climbing apparatus results in an impromptu scalping – until finally the last man standing is Frank’s son Josh (Rhys Wakefield) a moody 17-year-old who has heretofore spent most of the film acting out with childish spite toward his neglectful dad. Out of supplies exhausted but with his exquisite surfer-dude haircut thankfully still intact Josh must complete the remainder of the harrowing journey alone.
Director Grierson packs Sanctum with some truly breathtaking visuals. The underwater cinematography shot with 3D cameras Grierson spent six-plus years developing is particularly stunning. But the film’s script clearly didn’t receive as much care and attention as its cameras. The action is occasionally gripping but the story lacks suspense and its tone largely fails to evoke the gnawing claustrophobia that presumably festers in such a dark musty subterranean labyrinth. Moreover it’s littered with truly execrable dialogue made worse by ADR that sounds as if it were recorded in a cozy basement studio.
Executive producer James Cameron is featured prominently in Sanctum’s advertising campaign but the film itself bears scant evidence of his involvement save perhaps for the splendid underwater scenes. I half-suspect he viewed the project as a tool to develop and test his 3D technology in preparation for his amphibious Avatar sequel. He certainly didn’t use it to brush up on his storytelling skills.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.
WHAT IT’S ABOUT?
Set in a seaside English town in the '80s this small heartfelt tale centers on the relationship between Edward a 10-year-old boy whose parents run a retirement home and Clarence an aging magician and recent widower who is one of the new residents. Lonely and curious Edward has a habit of befriending the old folks only to search for their ghosts after they die. When Clarence comes in both learn new life lessons as the older one comes to terms with his past while the younger boy finds reason for optimism as he faces the future.
WHO’S IN IT?
Michael Caine is wonderful in a startling character role in which the 76-year-old movie icon allows himself to look older drawn and beaten in parts of the film. Although the career of the two-time Oscar winner has been full of memorable performances ranging from Alfie in 1966 to The Dark Knight last year it’s this kind of realistic and moving portrayal that has marked the best of his work. and he’s never been better than in this memorable portrait of a forgotten magician who still manages to discover a couple of new tricks late in life. Matching him every step of the way is the engaging Bill Milner (Son of Rambow) who manages to go toe-to-toe with a screen legend without coming off as a too precocious of a child actor. He’s haunting and extremely natural in a pivotal three-dimensional role that never seems forced. Helping matters immensely is a great ensemble of splendid British stars who play the other residents including the great Rosemary Harris Leslie Phillips Sylvia Syms and Peter Vaughan.
Director John Crowley (Boy A Intermission) wisely lets his actors off the leash to create a chemistry that makes the modest story work its own kind of movie magic. Reminiscent in certain ways of the kind of British kitchen-sink dramas popular in the '60s Crowley resists any opportunity to let directorial flash overwhelm this poignant character-driven tale thereby letting it thrive on its own terms.
With such a superlative cast of British-acting royalty in the supporting roles you almost wish there were a few more scenes showcasing these characters in the film’s trim 91-minute running time.
Clarence rallies his talents to put on a magic show for the home’s residents. Caine pulls this off seamlessly and the sequence is pure delight.
NETFLIX OR MULTIPLEX?
This quaint film won’t lose anything on TV screens and may be hard to find in wide release so take the opportunity to see it any way you can.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
Steve and Terri Irwin are crocodile relocators in Far North Queensland Australia. They spend a lot of time well relocating crocs--saving a baby kangaroo and charming a few snakes along the way. But all that's about to change. A U.S. satellite has exploded in space and its black box has re-entered the atmosphere and ended up in the gut of a nasty 12-foot croc the Irwins are about to relocate. The FBI CIA and goodness knows what other agencies are out to find the box at any cost because it contains data that could change the world's power structure. When the agents cross paths with the Irwins they become convinced that the two croc hunters are actually spies mainly because as one agent says toward the end of the film "You don't make that kind of money in cable television." That's for sure and that's probably the reason the producers turned The Crocodile Hunter cable show into a movie. It definitely wasn't because the script was irresistible: The plot is as transparent as shed snakeskin and the acting (if it can be called that) is as stiff as the spikes on a croc's back. I'm sure this is the kind of movie that a critic shouldn't take seriously but from its lizard-pooh opening to its crocodile-pooh finish The Crocodile Hunter: Collision Course really stinks.
Director/story writer/producer John Stainton was working with Irwin long before The Crocodile Hunter TV show became an international hit. In fact he wrote a movie script for Irwin in the mid-1990s that was scrapped because he didn't think Irwin should be acting. It's a shame he didn't take that thought process one step further; we'd all have been spared an agonizing guided tour of a good idea gone very very bad. The film's stars while appealing enough in the one-hour documentary format simply can't sustain a full-length motion picture and Mr. Irwin would have done well to heed his own advice--"Don't muck with it." Granted at least Stainton was smart enough to present the Irwins doing what they do best--enthusiastically working with wild animals while talking straight into the camera. The task of plot development is left to the other cast members--mainly Australian actors doing caricatures of Americans--who overdramatically play out the goofy spy plot in scenes that are completely separate from the Irwins' animal antics until the last 10 minutes of the film. The Irwin family dog Sui is probably the best actor of the bunch--and the smartest too. Most of the time she looks like she'd rather be just about anywhere else which is the most intelligent thing anybody in this film does.
As if anybody needed it The Crocodile Hunter: Collision Course is proof that what works on TV doesn't necessarily make a good movie; the Crocodile Hunter documentary routine quickly grows frustrating in the film because the Irwin scenes do nothing to further what little plot the movie actually has. Plus the reason why the Irwins continually talk into the camera goes unexplained until the very end of the film--and when someone finally mentions the fact that the Irwins have been "filming" their show throughout the movie it's so offhand that it's easily missed. At the same time the spy storyline that drives the plot is trite and because of the movie's bizarre structure it's played out by actors the audience couldn't care less about rather than by the ones they came to see. The spy scenes separate the Irwin segments like commercials--and like commercials when they come on you just want to get up and go to the bathroom grab a snack or feed the dog. The best thing that can be said for Stainton's direction is that at least he's not afraid of the film's ridiculousness. Bad though the movie is in every way Stainton puts it all out there as enthusiastically as Steve Irwin wrestles crocs and that's saying something. The film also gets across the Irwins' admittedly important message about conservation loud and clear but that probably won't be enough to keep its audience from becoming extinct.