We've all heard the tale: In 1836 a motley group of brave Texan soldiers aided by American legend Davy Crockett (Billy Bob Thornton) defended The Alamo to their bloody deaths at the hands of Mexican General Santa Anna's well-trained army. That's pretty much the same ground covered by the film so don't expect any surprises. What you can expect early on is some fairly convoluted political back story centering on aspiring nation-builder Sam Houston (Dennis Quaid) plenty of soap opera-quality bickering between leading characters Lt. Col. William Travis (Patrick Wilson) and knife aficionado Jim Bowie (Jason Patric) and a good amount of pompous preening on the part of Santa Anna (Emilio Echevarria). Like Glory The Alamo takes its time (about 90 minutes) to lead up to the pivotal battle using the rest of the time to introduce major characters and conflicts; unlike Edward Zwick's masterful Civil War drama Hancock's epic wanna-be loses the audience's attention in the process.
Poor Dennis Quaid -- all of the good subtle work he's put in over the last couple of years in smaller movies like The Rookie (also directed by Hancock) and Far From Heaven could well be swept from filmgoers' minds in an instant if enough of them remember The Alamo instead. As Houston one of Texas' almost-mythic heroes he blusters orates and generally overacts his way into becoming a living cartoon. Meanwhile Wilson Patric and Thornton are all given one-note characters: Col. Travis is an uptight by-the-book goody-two-shoes (until naturally he gets his one big chance to redeem himself) Bowie is a hard-drinkin' hard-livin' man's man and Crockett is the consummate good ol' boy relying on his aw-shucks demeanor to make friends -- and disguise the true depth of his pithy insights -- wherever he goes. (Thornton does what he can with Crockett but subtlety is lost in this movie.) On the other side of the trenches Echevarria's Santa Anna might as well be Dr. Evil for all of the sense he makes or the respect he earns from his lieutenants. Screenwriters Hancock Stephen Gaghan (an Oscar winner for Traffic) and Leslie Bohem must have taken the general's "Napoleon of the West" nickname literally when it came time to craft his petulant volatile character.
Hancock -- who stepped up to helm The Alamo after original director Ron Howard wisely bowed out -- is a newbie in the realm of historical epics and it shows. For all the time and money that obviously went into the film's costumes sets and effects (the re-created fort is wholly convincing and some of the nighttime battle sequences are pretty impressive) too little was spent developing characters that were equally realistic. Just because people like Davy Crockett and Jim Bowie have become larger than life in the American pop mythology doesn't mean they didn't have their faults (as presented in the movie Bowie's resolutely dissolute lifestyle is almost as trite as the rest of his character). And just because these martyred heroes were so colorful doesn't mean that watching them slouch around a dry dusty fort for an hour before anything really happens can be considered entertainment--even the best true stories can use a little help from the editing fairy now and then. Carter Burwell's heavy-handed Braveheart-meets-Glory score (Crockett's catchy fiddling notwithstanding) just underscores the fact that the movie is trying to bully you into feeling certain ways at certain times; when the music swells you gear up for something exciting only to be left hanging again and again. Looks like the suits at Touchstone Pictures knew what they were doing when they delayed The Alamo's release date from Oscar-bait December to dead-zone April.
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.
From the creators of the TNT miniseries Gettysburg including executive producer Ted Turner and writer/director Ronald F. Maxwell Gods chronicles the Civil War from its beginnings when the South rises up. Confederate General Robert E. Lee (Robert Duvall) a distinguished military man but also a loyal native Virginian chooses to fight for his home rather than his country while Thomas "Stonewall" Jackson (Stephen Lang) a devoutly religious man becomes Lee's most trusted lieutenant. On the other side we have Colonel Joshua Chamberlain (Jeff Daniels) a professor from Maine who ends up one of the Union's finest military leaders. In between there are glimpses of the wives and families left behind. Stories of this magnitude with their dramatic bloody battles and tragic endings usually leave you numb or crying for those lives lost and destroyed. Instead Gods and Generals holds no resonance whatsoever meticulously plotting out the details and making this decisive moment in American history interminable at three and a half hours. It's like wading through a textbook--or worse watching Civil War fanatics carefully reenact the famous battle scenes on the very ground they were fought over and over again--while the players stand around quoting long-winded verse from the Bible or Shakespeare's Julius Caesar. Blech.
The actors in Gods and Generals must have honestly thought they were making something important when they signed up. Main players Lang (who played Major Gen. George Pickett in Gettysburg) and Daniels (who reprises his Gettysburg role as Chamberlain) have their moments but after hearing them recite one speech after another especially Lang's Jackson who says more prayers to God than anything else you start to wonder if they ever realized they made a mistake. (Or have we for sitting through it?) One of the more superfluous scenes is when Jackson and his black cook Jim played by Frankie Faison are standing outside in the freezing cold night for about 15 minutes both looking up at the stars and praying to God. It seems like the actors are trying to make such sermonizing poignant meaningful but all this pontification simply drags the movie further down. These speeches aren't just Lang's and Daniels' territory--Mira Sorvino as Chamberlain's wife and Kali Rocha as Jackson's wife get their own personal moments in the sun too. If you count the cast of thousands each with their own things to say well you get the point. Thankfully Duvall who is the only good thing about the movie gets to keep the talking to a minimum.
If you want to see a Civil War melodrama at its best where watching the heroes race through a sacked city makes you hold your breath and witnessing horrific hospital scenes makes you squirm then watch Gone With the Wind. If you want gut-wrenching Civil War battles or more understanding of how slaves truly felt then watch Glory. If you want a heartening history lesson about the Civil War that not only teaches you about the era's political machinations but also shares the insights and thoughts of the men and women who experienced it then watch Ken Burns' documentary series The Civil War. Gods and Generals offers none of that in its dry textbook version of the Civil War which uses the same shots are used over and over again (how many times does the camera pan up to the night sky or show the panoramic view of Fredericksburg Virginia? I lost count) features more actors waxing prophetic than real drama and actually makes you yawn during what should be intense battle scenes.