Thanks to a slow start and faithfulness to the navel-gazing source material, Stephenie Meyer and the film adaptations of her Twilight series became a whipping boy for self-respecting moviegoers. It's too bad — anyone who turned their noses at the later entries of the mega-succesful franchise missed some of the craziest camp since John Waters. That gave us hope when it came to the first non-Twilight Meyer adaptation: The Host, a romantic twist on Invasion of the Body Snatchers. Hope is quickly dashed only minutes into the latest from director Andrew Niccols (GATTACA, In Time), as The Host struggles with the same on-the-nose, emotional dizziness that plagued the pre-Breaking Dawn movies in the vampire saga.
Actually, it might be worse.
Whereas Twilight relied on dead-eyed gazing to convey the courtship between Bella and Edward, The Host actively works to externalize the inner monologue, spending most of the movie inside the head of its split-personality main character. Melanie (Saoirse Ronan) was a regular Southern belle before Earth was invaded by a parasitic race of aliens known as "Souls." The planet is quickly taken over by the amoeba-like critters, who inhabit the bodies of humans in hopes of correcting their imperfect tendencies. No luck, though — when Melanie is eventually captured by "Seekers," a jumpsuit-wearing police force who help new arrivals find host bodies and crack down on the rebellious few without aliens in their skulls, she goes down fighting. A Soul known as "Wanderer" is placed inside of her, but against all odds, Melanie's consciousness remains.
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The two get off to a bumpy start, but before too long, Melanie has Wanderer empathizing with the human Resistance. She also feels guilty for taking over her host's life, and decides to right the wrong by trekking out into the desert to reunite Melanie with the ones she loves. Like his past films, Niccols intricately builds the world of The Host. As Melanie and Wanderer hit the road like a Jekkyl and Hyde version of Thelma & Louise, we get a taste for the new Earth designed by the Souls. It's basically communism: everything is shared, everything is free, and everyone lives in harmony (minus the pesky humans who refuse to share their headspace with a glowing amoeba from outer space). The world of the Souls is perfect, and Wanderer's awakening to the idea that even utopias have their downsides is an intriguing arc.
But as Niccols and Meyer are both familiar with, a well-constructed setting and concept only goes so far. Ronan is an actress with broad range (see: Hanna) and elegant delivery. Here, her subtle work is bogged down by grating voiceover and a demand to react like a deer in headlights. The two personalities spend most of the film bickering at one another, Ronan's rage-filled Southern twang blaring over her wide-eyed, observational approach to Wanderer. When they arrive at the desert cave retreat of the Resistance, The Host's voiceover problem reaches crippling levels. Turns out, Melanie had a boyfriend, Jared (Max Irons), before being captured by Seekers. He's hanging with her uncle Jeb (William Hurt) in the caves, and less than enthused by Melanie's extraterrestrial companion. Wanderer — renamed "Wanda" to fit in with the normals — is chastised by Melanie for even speaking to Jared, so she retreats into the arms of Ian (Jake Abel). Yes, when Earth is overrun with alien beings and the last of the human race struggles to stay hidden from Seekers, there is still room for a romantic quadrangle... between two interchangeable hunks, an alien impersonating a human, and a disconnected voice.
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The movie is littered with missed opportunities, seemingly uninterested in diving into the character-driven side of the elaborate science fiction ideas it is built upon. Hurt does an impressive job turning the leader of the Resistance into a broken down survivor of the massacre, but his willingness to accept Wanderer into his society is just lazy storytelling. Likewise, the Seekers have their own conflicted figurehead: Diane Kruger's nameless hunter. Unlike her Soul coworkers, she has a thirst for human blood. She wants to wipe them out instead of aid them. It's a lively twist that's only addressed two-thirds into the movie, after Kruger has spent most of her screentime driving a shiny sports car and scanning mouton vistas with her bright blue Seeker eyes.
There are moments that impress. Niccols briefly opens up the scope of the movie by throwing in an adeptly shot car chase. The designs of the Resistance's hideout and the Seeker technology are all precise and culled from logic. An intricate mirror system that directs sunlight down to an underground field of wheat — brilliant! But in the end, The Host is like its central character: a vacant husk, completely bewildered inside and out, with the faint sound of a good idea trying to scream its way through. Niccols and Meyer's team up isn't a terrible movie, it's a meandering one. The Souls might be right to invade us — we could use a bit of direction.
What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes!
[Photo Credit: Open Roads Films]
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The Cannes Film Festival lineup was announced Thursday morning in Paris with a relatively un-starry group of titles making up the as-yet incomplete competition slate.
Among the highest-profile films out of competition are Ridley Scott’s Robin Hood, which will see Russell Crowe and Cate Blanchett swathe up the red carpet on May 12, and Oliver Stone’s Wall Street: Money Never Sleeps.
Michael Douglas, Shia LaBeouf (who first came to Cannes a couple of years ago for the fourth Indiana Jones) and Carey Mulligan are also thus likely to put in an appearance on the Croisette.
Doug Liman’s CIA/political thriller Fair Game will bring Sean Penn and Naomi Watts to the Riviera while Woody Allen’s You Will Meet a Tall Dark Stranger is set to screen out of competition. Watts also stars in that film as do Anthony Hopkins, Josh Brolin (also in Wall Street), Antonio Banderas and Freida Pinto.
The 16 films in competition will be augmented in coming days as festival director Thierry Fremaux intends to add extra titles. For the moment, fanboys will be happy to see Takeshi Kitano return to competition with Outrage while art-house lovers have Mike Leigh (Another Year), Nikita Mikhalkov (Burnt By the Sun 2) and Alejandro Gonzalez Inarritu (Biutiful) to ponder. A full lineup of films across the main competition, special screenings and Un Certain Regard sections can be found here.
On the jury side of things, Tim Burton will be joined by such luminaries as Kate Beckinsale and Benicio Del Toro.
The jury, however, is still out as to whether Brad Pitt will once again grace the red carpet as it has yet to be determined if a film he’s starring in, Terrence Malick’s Tree of Life, will be ready in time for the festival.
For more Cannes coverage, click here.
The Indian actress launched her career as a model and later turned to acting, making her film debut in Danny Boyle's Oscar-winning drama.
She has been flooded with work offers since starring in Slumdog Millionaire, and she has signed up to star in Woody Allen's latest film alongside Antonio Banderas, Sir Anthony Hopkins, Josh Brolin and Naomi Watts.
But Pinto is determined to give up her acting career in the next few years so she can concentrate on becoming a singer.
She tells Britain's OK! magazine, "I used to sing a lot when I was a child. Once everything settles I'm thinking about going back and training in singing because I love it."
Source: Sony Pictures Classics
Sony Pictures Classics announced today that they've acquired the North American distribution rights to Woody Allen's new London-set drama 'You Will Meet a Tall Dark Stranger', starring Antonio Banderas, Josh Brolin, Anthony Hopkins, Freida Pinto and Naomi Watts, with plans to release it in the fall. This will be the second Woody Allen release through Sony Pictures Classics who distributed his comedy Whatever Works last summer.
Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Still living with his immigrant family in Brighton Beach Yuri Orlov (Nicolas Cage) has had enough--the family restaurant has no customers his cook brother Vitaly (Jared Leto) can't cook and his mother nags his devout Jewish father who is anything but Jewish. So instead of getting sucked into a go-nowhere life Yuri naturally gets into arms dealing. After selling a local hood an Uzi Yuri discovers that he might actually have the knack. He recruits his younger brother--more for moral support than business acumen--and begins to soar up the arms dealing food chain attaining wealth luxury and an exciting lifestyle along the way. The only thing he lacks is his dream girl--Ava Fontaine (Bridget Moynahan) a Brighton Beach beauty queen-turned-supermodel. But Yuri finally wins her heart too by posing as a legitimate businessman with more money than he actually has. Ava senses he's not legit but just as long as they have their penthouse overlooking Central Park and a chauffeured limo she'd rather not know what he does. Meanwhile Yuri's interests clash with his chief rival Simeon Weisz (Ian Holm) an old-school gun runner coming to terms with the end of the Cold War. Backed into a corner Yuri is given a choice between continued competition or none at all and his decision sends Yuri into a spiral of rapid moral decay despite ever-increasing profits. His greatest struggle through it all has been with himself. In the end he learns to accept the Golden Rule of arms dealing: Never wage war with anybody especially yourself.
The highlight of Niccol's biting satire is undoubtedly Cage's performance as the amoral but charming Yuri. How is it that we root for this loathsome character when he deserves our scorn? Perhaps the answer lies in Cage himself who is adept at playing scoundrels with humor and aplomb. Not many other actors come to mind who can pull off a frantic matter-of-factness quite like Cage a crucial quality needed to disarm the audience into rooting for a guy who gets stinking rich by selling guns to murderers. Equally likeable is Yuri's best customer Baptiste Senior (Eamonn Walker) the president of Liberia whose only competition for the prize of Most Ruthless Killer is his own son (Sammi Rotibi). Meanwhile Ethan Hawke shows up every now and then as Jack Valentine a by-the-book Interpol agent hot on Yuri's trail. Valentine's adherence to the law allows him to routinely miss opportunities to nab his foe. He won't yield an inch and at one point even keeps Yuri in custody without charges for the full maximum of twenty-four hours but not a second more. Bridget Moynahan's performance as Yuri's wife is serviceable though she does effectively convey the hurt and sorrow of a wife deceived. Leto's turn as Yuri's drug-addicted brother has both its comedic and tragic moments--his character has the most defined arc and the young actor makes the most of it. Only Ian Holm as Yuri's chief foil seems out of place. Half the time he looks bored to be there the other half he doesn't seem to care. Any old British actor with a smudge of charm could have filled this character's small shoes.
The film opens with Yuri speaking to the camera (his narration runs throughout) but it's the following sequence that pulls us in. Starting at a munitions factory in the Soviet Union we follow a bullet from its creation as it travels through various ports on its way to an African country where it's loaded into an AK-47 and shot into a child's head--a powerful and stylish way to show us the tragedy of the arms business without being dogmatic. From there the film settles down into a standard narrative which is where Cage's impressive performance kicks in. Niccol who also wrote the screenplay offers no apologies for Yuri's detachment from his business dealings though it's tough to pinpoint what thematically he's trying to say. Perhaps it's that the arms trade is a fact of life something all governments partake in--particularly the United States the biggest arms dealer in the world. As we watch Yuri grow in wealth while losing everything else most people consider important--family friends morality--Niccol seems content showing us the world as is without offering solutions. The last we see of Yuri is in some war-torn part of the world standing among thousands of spent bullet casings. He has accepted his fate with a casual shrug telling us that so too should we.