Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
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.
February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.