Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.
Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.
With a diverse range extending from bubblegum early rock 'n' roll hits like "Splish Splash" to American pop standards like "Mack the Knife" to Vegas show-stoppers like "Hello Young Lovers" to self-penned war-protesting folk tunes like "Simple Song of Freedom " Darin certainly has a compelling story arc chasing fame and fortune from a young age because of a serious heart condition that makes an early demise inevitable. Darin manages to defy the fatal odds against him and emerges as a top-selling singing sensation and even an Oscar-nominated actor while his hard-driving never-say-die odyssey through celebrity includes romance with the gorgeous young matinee idol Sandra Dee (Kate Bosworth) and surprising revelations about his past. Yet like the title of one of his hits "More " nothing ever seems to be enough for the singer who must learn how to truly live in the midst of his seemingly packed life until he finally succumbs to his heart disease at the age of 37.
We know what you're thinking: didn't Bobby Darin hit it big in his early 20s? How the heck in his mid-forties is even Mr. Two-Time-Oscar-Winner going to pull that off? Well Spacey does and he doesn't. Sure he's too old to be literally believed as the early Darin but the film's clever framing sequence and fourth-wall-breaking techniques tell the story as though Darin is looking back at his life and "plugging in" the more mature version of Spacey-as-Darin throughout--and it helps that Darin is not as recognizable an icon to today's audiences as say Elvis or Sinatra. With that nifty feat accomplished Spacey is more than up to the task of capturing the singer's "I want it all yesterday" temperament as well as his distinctive vocals. Darin purists may have preferred that the film used the singer's actual tracks but given that Spacey insisted on singing the songs himself his vocal mimicry is as convincing as can be imagined. Bosworth (Win a Date With Tad
Hamilton) is as poodle-skirt-cute as Sandra Dee should be and adds a nice touch of Hollywood actress insecurity as well. However the vast age difference between Bosworth and Spacey is a tad creepy and their chemistry as both lovers and fighters doesn't really combust on screen. Supporting players Caroline Aaron and Bob Hoskins come close to stealing scenes even from the likes of Spacey--and that's as high a compliment as can be bestowed.
Even if you are a fan of Spacey or not his cinematic execution while not entirely razzle-dazzle in the non-musical sequences is quite competent making the most of the era's settings--especially old Hollywood and the lush lounge environs Darin prowled. Nods also go to the film conventions of the time. His deft direction combined with his always-engrossing performance manages to overcome and liven up the screenplay's often considerably lame dialogue. And those musical sequences! Whenever the story starts to meander Spacey cleverly slides in a 50s-style song-and-dance number or swinging lounge lizard set to goose up the proceedings.