Having recently moved to England from America with his large family young Will Stanton (Alexander Ludwig) is finding it difficult to adapt. But it isn’t so much the culture shock or calling his mom “mum” that’s giving him trouble—it’s the fact that he is a warrior and doesn’t yet know it. He is tipped off to the weirdness after witnessing two policemen hot on his trail for purchasing what he thought was a pendant for his sister (Emma Lockhart) morph into black crows. That pendant turns out to be one of six crucial “signs” in need of finding and Will turns out to be the last of the Old Ones fit for the job—as he is informed by fellow Old Ones Merriman Lyon (Ian McShane) and Miss Greythorne (Frances Conroy). Will’s success is mankind’s only hope of warding off the evil Dark whose goal is to defeat the Light and steal their free will; it’s your classic battle of Dark vs. Light. With each passing day Will becomes more adept at sensing new signs but he only has five days to do so before the nefarious Rider’s (Christopher Eccleston) skills reach their peak which will be bad news for everyone. If there were never a Daniel Radcliffe by whom all fantasy-protagonist performances are now measured youngster Alexander Ludwig (of The Sandlot 3 fame) might not seem so stiff—fine inept. But in The Seeker Ludwig struggles with the already tenuous special-effects sequences let alone with trying to carry the movie to franchise-dom. While it’s rare to find the young actor whose charisma trumps his inexperience—a la Radcliffe or even Macaulay Culkin circa 1990—Ludwig comes off more like a kid in a candy store than on a movie set and no editing-room fixes can help. Elsewhere the actors’ stakes are lower and the results mixed. McShane utterly incapable of a bad performance is leaps and bounds above all of his numerous costars. It’s too bad the former Deadwood actor starring as the most vocal of the Old Ones didn’t rub off on any of his younger costars; it’s also too bad he accepted a role well beneath him much like August’s Hot Rod was. McShane’s fellow Old One and HBO casualty Conroy (Six Feet Under) shares a similar venerability but she ditches it the second she wields a sword in a vain attempt to go medieval on our collective heiny. We could’ve used more of Eccleston (28 Days Later) as his wry alter-ego doctor but he spends most of his scenes obscured as the villainous Rider. In most modern fantasy flicks the grand-scale action scenes are where the magic’s at with their bank-breaking special effects and/or productions; in The Seeker such scenes expose the movie as a thrift-shop version of its more deep-pocketed genre brethren (i.e. Narnia Potter Lord of the Rings). It’s not only that the look of the action is less imaginative but also its conception: Each time Will must retrieve one of the signs there is seemingly no difficulty in doing so and thus zero suspense—like a bad video game. That could be because director David L. Cunningham (TV movie The Path to 9/11) seemingly wants the movie to play out like a video game instead of like Susan Cooper’s beloved novel The Dark Is Rising whose story was somewhat tweaked by screenwriter John Hodge (Trainspotting). On the bright side the lush snow-covered English village in which the movie is set is rich and evocative. In fact everything looks great and will keep viewers’ attention throughout the early part of The Seeker. But unlike its aforementioned contemporaries the movie takes a nosedive when it’s supposed to most enthrall us.
Based on the prize-winning novel by Zoe Heller Notes on a Scandal is a case study in obsessive relationships. When Sheba Hart (Cate Blanchett) joins a London secondary school as the new art teacher fellow teacher Barbara Covett (Judi Dench) who rules her young charges with an iron fist senses a kindred spirit—and perhaps salvation to her lonely existence. But as Barbara notes in her acerbic diary she is not the only one drawn to the luminous Sheba. She soon begins an illicit affair with one of her high school students (Andrew Simpson) and Barbara suddenly becomes the keeper of Sheba’s secret. Barbara could expose Sheba to both her husband (Bill Nighy) and the world but instead Barbara manipulates it for her own nefarious and selfish reasons. And in playing this dangerously compulsive game Barbara’s own secrets come tumbling to the fore exposing the deceptions at the core of each of the women's lives. Dench and Blanchett give tour-de-force performances yet again. Blanchett’s natural effervescence provides the beacon for all the wanted—and unwanted—attention Sheba receives but it’s her fragile emotional state that draws you in. Played like a wounded butterfly Sheba is too weak to either stave off a dalliance with the young gent—played with convincing lustfulness by newcomer Simpson—or tell the stifling Barbara to bugger off despite the consequences. Then there’s Dench as Barbara representing the opposite end of the spectrum as Notes’ driving force. She’s a bull dog whose withering glares stop her students in their tracks and cutting remarks slice her fellow colleagues to bits all punctuated by her caustic running commentary. Still when Barbara turns madly obsessive with her soft underbelly eventually exposed she crumbles with the best of them. And the best part of Notes is watching these two brilliant actress go toe-to-toe for the first time on film. The underrated Nighy also does a fine job ditching his Pirates of the Caribbean’s tentacles to play Sheba’s down-to-earth yet hapless husband. A top-notch cast all around. Director Richard Eyre is no stranger to crafting intimate pro-actor dramas having helmed such films as Stage Beauty and the Oscar-nominated Iris. He understands where to move the camera to best frame his players as they pour their hearts out on screen. And with Notes on a Scandal Eyre knows that besides his two leading ladies the real star of the film is playwright/screenwriter Patrick Marber’s superb adaptation of Heller’s introspective novel. Voice-over narration is always a tricky film device but for Notes on a Scandal it’s absolutely essential and Marber faithfully captures the inner-workings of Barbara’s skewed thoughts which she fervently writes down in her diary in such delectable ways. Then he entwines the twisty events around these two women. Much like his other work including the exquisite Closer Marber hands in another true gem. Combined with all this is another haunting pulse-pounding score from Philip Glass (The Hours) who sets the tone so perfectly. Notes on a Scandal is definitely one for the Academy Awards’ books.
Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.