After 2010's CG blowout Alice in Wonderland long-time collaborators Johnny Depp and Tim Burton return to a more realistic realm with their update of the '60s gothic soap opera Dark Shadows. It just so happens that realism in the case of Depp and Burton also involves vampires.
We first meet Barnabas Collins (Depp) in 1752 enjoying the aristocratic lifestyle of his successful father and wooing the female staff employed in the Collins' mansion. The romantic lifestyle is without consequence until Barnabas picks up and drops the wrong servant: Angelique Bouchard (Eva Green) a witch with a nasty case of jealousy. When Barnabas finally discovers true love Bouchard casts a spell on his favored female causing her to jump off a cliff. In the wake of the incident and with nothing left to live for Barnabas hurls himself off the edge — but Bouchard curses him before he hits the ground. He's become a vampire an immortal and Bouchard has just the everlasting punishment in mind. She buries Barnabas in a coffin never to be seen again.
Jump ahead to 1972 where a construction crew in Collinsport resurface the confined bloodsucker. After a quick bite Barnabas heads home to his manor to discover he's a true bat out of water. His family is gone replaced by a new generation of Collinses: Elizabeth Collins Stoddard (Michelle Pfeiffer) the family matriarch; Carolyn (Chloe Grace Moretz) her angsty niece; David (Gulliver McGrath) highly disturbed by memories of his dead mother; Roger (Johnny Lee Miller) the scheming deadbeat dad; and Dr. Julia Hoffman (Helena Bonham Carter) David's constantly intoxicated psychologist; and Victoria (Bella Heathcote) the new recruit hired to school David in his fragile state. Barnabas' learning curve adjusting to his new surroundings is the crux of Dark Shadows' purposefully meandering plot which strikes a few brilliant bits of comedy in between long stretches of lifeless melodrama. Turns out a soap opera adaptation ends up being pretty darn soap opera-y.
Unlike most summer blockbusters Dark Shadows sparingly uses action and large-scale set pieces to tell its story. Burton chooses a lower-key approach in the vein of his earlier films like Beetlejuice or Edward Scissorhands. But the movie differs in its lack of emotional throughline — all the colorful misadventures would be a lot more effective if there was something to care about. Barnabas strikes up a romance with Victoria but it's hamfisted. He becomes a fatherly figure to David but only late in the film. By the third montage set to a classic rock tune it's clear Burton and Depp seem far more interested in the bizarre collision of vampire tropes and '70s decor. A scene in which Barnabas converses with a group of pot-smoking hippies on the ins and outs of youth culture works as a sketch comedy vignette but in the grand scheme of the story is fluffy funny and pointless.
Depp's dedication to keeping things weird helps Dark Shadows stay alive. He loves the theatrics biting into every moment with epic speak lifted from the British thee-aaaay-ter. Green joins in on the fun full force her wicked seductress both playful and unabashedly evil. The rest of the cast makes little splash Pfeiffer playing the straight woman while the rest of the ensemble go toe to toe with the larger than life Depp. They don't seem in on the same joke as Depp and the many dialogue scenes just. Come. Off. As. Slooooow. And. Painful. Deliberate soap opera acting is a tightrope walk — only Depp and Green really make it across without faltering.
Dark Shadows is a mixed bag that feels indebted to a source material. Whether you're familiar with the style or not may will be a deciding factor. Burton's washy aesthetics and plodding pacing don't do the material any favors with Danny Elfman's standard issued score failing to elevate the atmosphere. Kitsch and horrors abound but the witch's brew of elements won't be everyone's cup of tea. Er cup of blood?
Superhero origin stories have been all the rage at the multiplex this summer with Marvel Comics alone accounting for two such films Thor and X-Men: First Class both of which happily surpassed critics’ expectations. Its latest Captain America: The First Avenger – so named as to provide us a helpful link to the Avengers movie coming next year – arguably faces the trickiest task of all three seeing as how Americans have not been in the most patriotic of moods in recent years. Could a flag-waving superhero really find purchase with a moviegoing audience that increasingly looks askance at such notions?
Surprisingly yes. That Captain America succeeds – and resoundingly so – is partly due to the producers’ decision to set the film during World War II a time where patriotism is a much easier sell. (And no viewer is too jaded to not enjoy seeing Nazis eviscerated en masse.) But proper credit must be given to director Joe Johnston who has crafted a breathlessly entertaining popcorn movie that unambiguously embraces its hero’s old-fashioned sensibilities and invites us to embrace them as well.
Chris Evans (The Losers Fantastic Four) plays Steve Rogers an earnest oft-bullied ectomorph whose lone wish is to ship off to Europe and fight on the front lines. But a plethora of physical ailments have combined to render him hopelessly unfit to serve however stiff his resolve. (To pull off the withered look of “Skinny Steve ” the filmmakers pulled off a nifty trick grafting Evans’ head onto the body of another actor Leander Neely.)
Rogers’ chance arrives in the guise of a government scientist the German émigré Dr. Abraham Erskine (Stanley Tucci as avuncular as a German-accented man can hope to be) who witnesses the young man’s idealistic ardor and recruits him to take part in secret military experiment. After proving his mettle in training Rogers is delivered a dose of Super Serum a PED that instantly makes him bigger stronger and faster than just about any other human alive.
Which is a good thing because on the other side of the Atlantic a renegade Nazi scientist Johann Schmidt aka the Red Skull (Hugo Weaving doing a tremendous Christoph Waltz impression) has happened upon his own supernatural power source and he’s used it to quietly amass a private army dubbed HYDRA that is bent on supplanting Hitler’s world-domination scheme with its own. Soon all that stands between defeat at the hands HYDRA and its arsenal of advanced weaponry is the juiced-up visage of the newly-christened Captain America.
Portraying a stalwart straight-arrow bereft of angst or ambiguity isn’t the easiest of tasks for any actor but Evans does a commendable job of bringing depth and humanity to a character that all too easily could have come across as bland and one-dimensional. Johnston seems to recognize this potentiality as he looks primarily to his supporting cast to supply the personality: Tucci and Weaving stand out as do Tommy Lee Jones and Toby Jones playing an irascible army commander and a timid HYDRA toady respectively. The film’s romantic spark comes courtesy of the principal cast’s lone female representative the excellent Haley Atwell playing Rogers’ military liaison Agent Peggy Carter.
More than anything Captain America is a triumph of tone. A former ILM technician Johnston did visual effects for Raiders of the Lost Ark and Spielberg’s 1981 blockbuster was a conscious touchstone for his film’s throwback feel and aesthetic. (Another less deliberate influence would be a previous Johnston film The Rocketeer.) Captain America embodies the spirit of the old serials melded with a tongue-in-cheek comic sense and punctuated by action sequences that deploy the requisite CGI fireworks with a welcome measure of restraint. The film is decidedly of its era but never feels gratuitously nostalgic. And its production design is gorgeous: Red Skull’s lair in particular is a treasure trove of retro-futurist designs all of which seem directly lifted from 1940s World’s Fair exhibits.
A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
Ape descendant Arthur Dent (Martin Freeman) gets yanked from the Earth by best friend and alien Ford Prefect (Mos Def) seconds before a Vogon constructor fleet destroys it to make way for a hyperspace expressway. Next thing he knows Arthur is aboard the Vogon ship reading the Hitchhiker's Guide to the Galaxy (voiced by Stephen Fry) and wondering where he might get some tea. But he and Ford are not in the clear: the Vogons (some of whom look like the nightmarish drawings of Ralph Steadman come to life in S&M leather) want to throw them into the vacuum of space right after they read some of the third worst poetry in the known universe. Luckily the spaceship Heart of Gold picks up the stranded hitchhikers in the nick of time. Stolen by the dim but groovy President of the Galaxy Zaphod Beeblebrox (Sam Rockwell) the ship has an Improbability Drive that causes certain mischief turning the stowaways into loveseats and later two missiles into a bowl of petunias and a sperm whale. Also onboard is doe-eyed Earth girl Tricia "Trillian" McMillan (Zooey Deschanel) who previously ditched Arthur at a costume party on Earth to satisfy her wanderlust with Zaphod. The crew then embarks on a quest to find the Ultimate Question to Life the Universe and Everything after supercomputer Deep Thought (voiced by Helen Mirren) found the answer: 42. On the run and without a home Arthur discovers that life's true meaning comes from the answers found within.
The slapstick antics and sharp dialogue evoke enough laughs to make one forget that the characters are rather one-note. Rockwell's Zaphod is a riot at first but the cheeky smile and devilish winks soon wear thin. Deschanel has little to work with playing Trillian though it's fun watching her wield a point-of-view gun on Zaphod. Mos Def mumbles some lines but does manage to act like someone from another planet. Freeman does an amiable job playing the fish-out-of-water Earthman but neglects to express the grief and bewilderment of someone who just lost his planet. Even John Malkovich as Humma Kavular--the spiritual leader of a cult awaiting the arrival of the Big Handkerchief--fails to make much of an impression in his brief appearance. Only Alan Rickman as the perpetually glum robot Marvin and Bill Nighy as the stammering planet designer Slartibartfast remain funny without becoming routine--though unfortunately Nighy only appears in the third act. A half-cocked romance between Arthur and Trillian is thrown in for good measure with the couple merely going through the motions.
Directed with considerable flair by first-timer Garth Jennings whose frantic visual style blends well with Adams' ironic wit the film looks as good as can be. CGI is used to display Adams' universe in ways never seen before: The massive concrete slabs of the Vogon fleet surrounding Earth the Heart of Gold tricked out in 1960's Formica kitsch the stark bureaucratic world of Vogosphere and the eye-popping factory floor on Magrathea are all vividly brought to life. Although the graphics of the Guide look more like Internet pop-up ads than stellar entries from the best-selling book in the galaxy the exposition from the Guide is clever and amusing though one should brush up on the material prior to viewing. Even with all the stunning visuals however the plot is still thin. Jennings and screenwriter Karey Kirkpatrick (Chicken Run) have trimmed the story--and witty banter--to its barest essentials leaving out some of the funnier bits to quicken the pace. Memorable exchanges--like the opening battle of wits between Arthur and Mr. Prosser--are reduced to a few meaningless lines while the always hinted-at love affair between Arthur and Trillian gets the full Hollywood treatment. In the past Adams who died of a heart attack in 2001 has allowed the Guide to change and progress with each incarnation so new additions--like the point-of-view gun and the cult of the Big Handkerchief--are welcomed. But the patchwork of wacky vignettes and neutered banter particularly between Arthur and Ford leave one yearning for something more meaningful.