December 14, 2011 12:53pm EST
Let’s put the cards on the table: I have not read Steig Larsson’s best-selling “Millennium Trilogy” and therefore cannot comment on whether or not Columbia Pictures’ big-budget (American) adaptation of its first novel is a spot-on transfer of the shocking story or if Rooney Mara has lived up to the punk-goth-genius of an anti-heroine he created. This review is about director David Fincher’s craft and the dream cast he has assembled to make The Girl with the Dragon Tattoo one of the most brutal and engrossing films of 2011.
Right from lustrous sexy title sequence evoking torturous S&M imagery to the ultra-cool Karen O/Trent Reznor rendition of Led Zepplin’s “Immigrant Song” the Oscar-nominated filmmaker plunges his audience into a very specific experience. This is not to say that the story itself is notably inventive; Dragon Tattoo is more or less a standard serial killer thriller wherein a pair of investigators attempts to solve a decades-old murder that has ties to other gruesome mysteries and a wealthy Swedish family. It’s the sinister atmosphere and tone he cultivates using color music and lighting that makes this tale so unique and highly watchable in spite of the terrible events that occur throughout.
Perhaps most compelling though is its mixed bag of characters from different walks of life including Mikael Blomkvist (Daniel Craig) a recently disgraced financial journalist in need of an assignment Martin Vanger (Stellan Skarsgard) a yuppie-ish corporate tycoon charged with running the family business started by his uncle Henrik (Christopher Plummer) and Lisbeth Salander (Mara) the alpha-outsider and titular character of this eerie epic. All are emotionally scarred and the actors charged with portraying them go the darkest corners of their own souls to make them their own. Mara in particular must be praised for her ghoulish and extreme embodiment of Salander who suffers physical and emotional torment unlike anything we’ve seen in cinema this year. This more than her scene-stealing presence in Fincher’s The Social Network is no doubt her star-making turn; expect to see her name on a marquee soon. Though she and Craig at times struggle with the Swedish diction (the latter’s native British accent slips through more times than I can count) they more than make up for it with their physical personifications facial expressions etc. Yet it’s Skarsgard who is most impressive as the younger Vanger (he’s of Swedish descent) and delivers a stunning and chilling performance that will rival Mara’s in defining this film in years to come.
Still this is a Fincher film through and through and I cannot think of source material better suited for the maker of Se7en and Zodiac than this disturbing chronicle. Visually he’s given the opportunity to create damp decaying interiors familiar to fans of his work but contrasts them with beautifully filmed exteriors including some terrifying whiteout conditions that are sure to lower your body temperature. In terms of form he and editors Kirk Baxter and Angus Wall effectively lay out dual character arcs (that of Salander and Blomkvist) that run parallel but connect in uncanny ways until their eventual convergence resulting in a highly literary feel. Both Baxter and Wall won Oscars for cutting The Social Network and I’m afraid that their penchant for quick transitions between shots has a decreasing effect on the terror; for a film that so closely treads the line between horror-thriller I felt that letting certain shots play out a bit longer could’ve had more dreadful results.
Still in no way I am saying that The Girl with the Dragon Tattoo doesn’t come with its share of nail-biting suspense. Fincher takes tense situations to the next level using unconventional camera angles and Reznor’s unnerving score making many sequences in the movie hard to watch. It’s a tiring but entertaining task; one that is a pleasure and pain to endure but the auteur’s masterful methods are quite magical even when being used to tell a story as menacing as this one.
There’s nothing else playing at the multiplex this season that’s quite like it and should you choose to view it you’ll carry its shocks with you for days after.
Early on in No Country for Old Men there is a wide-angle shot of an open field in border-town Texas. Gorgeous but menacing it is the very snapshot of “calm before the storm.” One of the men who will momentarily be in the storm’s epicenter Llewelyn Moss (Josh Brolin) is actually providing us with this view through the scope of his rifle as he stalks the unsuspecting antelope. Even further in the distance a cluster of bullet-ridden trucks catches his eye and so he walks that distance for a closer look. What he finds is a drug deal gone awry and $2 million with his name on it. He scurries away with the cash and without the knowledge he has just turned the devil onto him. Enter Anton Chigurh (Javier Bardem) who some know as the devil or as a ghost or as the bogeyman or not at all and whose blood money Llewelyn just intercepted. There are crazy-serial-killer types and then there is Anton a murderer whose blood is so cold that he derives only apathy from taking a life—which has afforded him a very successful career as a hitman. Once word gets out that Anton is after Llewelyn a third man enters the fray—an aging policeman (Tommy Lee Jones) loath to draw his gun in the small town he has manned for years let alone hunt down a lunatic. So the tango begins with Llewelyn unwittingly carrying a transponder through which Anton can track him and Anton wittingly leaving a path of bodies through which the lawman can track him. It takes a cast like the one in No Country to pull off what the Coen brothers demand of their actors—which is to say acting that transcends dialogue delivery. Take Bardem’s villain for example a man(iac) of few words. The Oscar nominee whose Anton is fear-inspiring on first look says as much with his impassive demeanor and lack of swagger as he does with his terse literal dialogue. But when he does speak it makes the words stick that much more; a scene in which he introduces the word “Friend-o” into the cinephile lexicon will have you sweating and chuckling—nervously. His is the type of psycho that’s as entrancing and potentially iconic as Hannibal Lecter. As the guy on the run so to speak Brolin is this movie’s version of the good guy though that doesn’t exactly compel you to root for him. Brolin instead like Bardem conveys what isn’t spoken--in his case logical fear that is stupefied by virility and money hunger. It marks another great performance for Brolin whose 2007 has been full of them. Jones meanwhile could not have been a more perfect casting choice to provide No Country’s voice of reality its Mr. Righteous. His aging overmatched cop doesn’t even get harmed but still might be the movie’s lone true victim thanks to the eloquent but stoic performance of Jones who also serves as narrator. And Woody Harrelson in a small speedy role shows zest we haven’t seen in a long time. Joel and Ethan Coen have always worked best in the dark be it comedy or drama. With No Country they’ve reached their peak darkness in both genres. The movie is often something of an exercise in subtle pitch-black comedy—perhaps the only way in which it strays from its source material a wildly beloved novel by Pulitzer Prize winner Cormac McCarthy—detectable only by those who pay close attention to and/or are familiar with the Coens. But it’s the suspense here that differs from their entire oeuvre and all of their contemporaries. With virtually no music long periods of silence and positively nothing extraneous the directors create tension via minimalism: Chase sequences are done mostly on foot and conclude intimately and gruesomely with one scene featuring Brolin and Bardem separated by a hotel-room door proving especially suspenseful damn near Hitchcockian. But No Country isn’t all about the chase; in fact it's about the Coens' originality and how they inject it to keep this from being a “chase” movie. It's an instant classic—a horrifying funny suspenseful masterpiece that could only have come from these two filmmakers.
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.