The Painted Veil is based on W. Somerset Maugham’s 1925 novel about British colonialism in China. The film's cohesion is largely helped by a user-friendly script from Ron Nyswaner (Philadelphia) who tackles amorphous movie-unfriendly themes like emotional longing. We meet Walter Fane (Edward Norton) a lovesick middle-class bacteriologist who spots Kitty (Naomi Watts) an upper-class socialite approaching the upper limits of marrying age at a party. Walter not smooth with women woos Kitty with his intensity and persuades her to join him in cholera-stricken China. With a wandering eye Kitty is soon caught in a lusty affair with a local British diplomat Charlie Townsend (Liev Schreiber) but Walter eventually forgives her but imprisons her in the desolate green south China countryside. The film's crucial problem is its setting of a Western-centric love story on top of a palette of Chinese human death and disease albeit framed beautifully and exotically. Norton and Watts take producers' credits as well. The actor pushed for years to get The Painted Veil made painstakingly and authentically co-produced with the China Film Board. These facts hint at the commitment and intelligence Oscar nominees Norton and Watts bring. Norton always impresses and surprises. Each role in his resume is tasty in its own way a wholly new creation and never derivative. In Norton's previous film The Illusionist he was a similarly powerful opaque character from a far away time and place. Although sometimes seeming she’s on autopilot Watts is also brilliantly underrated as the conflicted Kitty who doesn't love the man she married even though he loves her as much as she loves herself. Her tricky darting eyes mixed with uneasy body language tells us we don't know what to expect other than that she'll probably sabotage herself. Toby Jones--who played Truman Capote to critics' acclaim in Infamous--does a provocative turn as the mysterious opium-smoking neighbor. The Painted Veil falls short of greatness when the second half crumbles into laziness right when the emotional impact should be the strongest. Director John Curran is relatively untested ( We Don't Live Here Anymore) especially with difficult material and he stumbles a bit in this ambitious drama. Veil's storytelling meanders with a few unnecessary scenes. Lame mini-montages lapse into TV movie territory. Attention to detail however (minus Norton's highlighted hair) is superb. Four exquisite wisely picked Chinese locations were used in concert with local actors and crew to produce an internationally representative work of Chinese/American art. Interior sets are post-WWI prudish and upper-class underlying the movie's "painted " hidden ideas. Old-world rickshaws and water systems are true to the time. The haunting soundtrack feels postmodern and contemporary. But overall like last year's disappointing Memoirs of a Geisha the mish-mash of American and Asian story themes doesn't quite work.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.
The vampire Lestat de Lioncourt (Stuart Townsend) wakes from a hundred-year sleep to the rock 'n' roll present day and likes what he sees and hears. Tired of the vampire's solitary life he becomes the frontman for an unknown rock band and transforms it into the latest greatest thing gaining the adulation of millions. He also decides to disregard the unspoken rule that vampires must hide away from the rest of world and writes songs encoded with specifics of the secret life of vampires. As expected Lestat's lyrics draw the attention of both the bloodsuckers who want to destroy him and the human vampire scholars (called the Talamasca) who want to study him. One young Talamascan student Jesse Reeves (Marguerite Moreau) becomes obsessed with Lestat after reading his journal from the 1800s. She learns that Lestat had a brief encounter with Queen Akasha (Aaliyah) the most ancient and dangerous vampire to ever exist and the mother of all who walk the Earth in search of blood. He gets his chance to meet Akasha again when his music awakens her from an ancient slumber. She rises and seeks out Lestat to become her king and join her in ruling the world.
The film truly belongs to Townsend and fans of the Anne Rice's novels will be happy to know he completely embodies the charismatic vampire Lestat. The little-known Irish actor who starred in last year's indie About Adam with Kate Hudson rules the screen whenever he is on it and luckily he's on it quite a lot. He's especially powerful when he is in rock star mode. Although Moreau's Jesse is fairly one dimensional she comes alive in her scenes with Townsend. Let's hope they keep asking him to play Lestat (when and if they make any more films from Rice's vampire novels) and next time give him an actress he can have some real chemistry with. The late R&B singer Aaliyah made her second film appearance in Damned as the queen. Even though she is only in the film a short time she possesses a certain charm as the ancient and evil Queen Akasha and makes a great first impression by destroying a vampire coven. Yet her acting skills are just not up to par with the rest of the cast including the charismatic Vincent Perez as the vampire Marius and Lena Olin as the kind-hearted vampire Maharet.
Damned was set to be released in the fall of last year but word of mouth had the film destined for the video shelf before it even made it to the big screen. Then tragedy struck and as the news of Aaliyah's untimely death echoed throughout the world of entertainment Warner Bros. wisely decided to hold onto it and release it in theaters at a more favorable time knowing there would be an audience who'd want to see the singer's last film. Yet for all the bad press surrounding it Damned actually pleasantly surprises you due largely in part to Townsend's mesmerizing performance. Michael Rymer's direction is not a masterpiece of filmmaking by any stretch of the imagination but it has a certain MTV quality about it which makes it appealing. That same quality however also makes it too slick glossing over the meatier parts of Rice's novel making the dialogue and action trite and sometimes downright silly. Come to think of it the 1994 Interview With the Vampire also suffered from the same thing. Maybe translating Rice's words is harder than it looks.