Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
Did Hollywood have anything to do with the emergence of the Occupy Wall Street movement? The whole thing seems a little bit convenient. Last month saw the behind-the-meltdown docudrama Margin Call and the sci-fi metaphor In Time. Now we have Tower Heist a comedy that pits the blue collar staff of the Trump Tower against a thieving Bernie Madoff-esque tenant. The movie's an Ocean's 11 for the 99% with a sense of timeliness that makes the simple plotting and wisecracking that much more effective.
Ben Stiller stars as Josh Kovacs overseer of all the goings-on at the Tower. He wakes up before dawn and heads home after sunset spending his day catering to the occupants of the ritzy apartment complex and managing his eclectic crew—including former Burger King cook Enrique (Michael Peña) Jamaican maid Odessa (Gabourey Sidibe) and his slacker brother-in-law Charlie (Casey Affleck). The crew's greatest concern is multi-billionaire Arthur Shaw (Alan Alda) the penthouse resident Tower board member and thanks to attention paid trusted friend of Josh.
Trusted...until the FBI busts Shaw for stealing millions including the Tower employees' pensions.
Like all good tower heists Josh's titular harebrained scheme is prompted by a drunken night out with lead investigator Claire (Téa Leoni) who tips the irked manager off to Shaw's hidden stash: a possible eight-figure sum hidden somewhere in his apartment. In pursuing the American dream of revenge Josh recruits his slighted co-workers along with distraught former-millionaire Fitzhugh (Matthew Broderick) and Josh's childhood friend-turned-thief Slide (Eddie Murphy). Together the motley crew concocts a plan to retrieve what's rightfully theirs—all while sinking Shaw in the process.
Tower Heist isn't as slick or intricate as the Ocean movies but its straightforward take on the crime genre is strengthened by Stiller Murphy and the rest of the cast's ability to inject ridiculous humor into sympathetic characters. When Josh realizes his decade spent commanding the operations of the Tower were for naught he wigs out marching up to the top floor to beat the crap out of Shaw's priceless convertible (it was owned by Steve McQueen in case you were wondering why anyone would keep an antique car on the top floor of a building). Not entirely realistic but relatable which sums up every over-the-top satisfying scenario these characters find themselves throughout the film.
Most importantly Tower Heist delivers on the funny. Playing the straight man is an art and Stiller's one of the masters (although you'd never know it from his Night at the Museum shtick or wackier roles like Zoolander) riffing off his co-stars while giving them ample time to be complete weirdos. The movie is being touted as a comeback for Murphy but he wisely steps into a supporting role delivering on his character's manic charm while never trying to steal the spotlight. The one who really steals the show is Broderick whose clueless neurotic Fitzhugh can't help relapsing mid-heist into memories of luxurious trips to Greece.
Credit goes to director Brett Ratner who cranked out three Rush Hour movies and an X-Men threequel while never really nailing down what it takes to make a group dynamic work. Here he pulls it off finding the right beats to make Tower Heist funny and thrilling. There are moments during the actual heist scene set during the Macy's Thanksgiving Day parade that cause quite a stir—a rarity in today's run-of-the-mill thrill rides.
Tower Heist is the definition of a cinematic softball avoiding risky choices and utilizing each actor to their previously known (and successful) traits without feeling lazy. As the holidays roll in and families look for something they all can enjoy Tower Heist delivers a little something for everyone. Except maybe Bernie Madoff.