Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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.
When Professor Utonium (voiced by Tom Kane) creates Bubbles (voiced by Tara Strong) Blossom (voiced by Cathy Cavadini) and Buttercup (voiced by E. G. Daily) he's as excited and proud as any new parent. Then they start to fly around the room. From there we're treated to several scenes of "growing up Powerpuff " from their first peanut butter and jelly sandwiches (crusts cut off using infrared vision) to their first day at the Pokey Oats School (they learn to play tag and destroy the town doing it). When the townspeople see the destruction the girls have wrought they imprison the professor print nasty newspaper headlines ("Freaky Bug-Eyed Weirdo Girls Broke Everything") and vow to get those pesky kids. Disillusioned and depressed the outcast girls find solace and sympathy in an alley with a hobo named Jojo (voiced by Roger L. Jackson) who assures them in no uncertain terms that he is in the same boat. "Alas little ones " he says "I do not rock." But Jojo does have a plan: With a little help from the girls he'll build a machine that will make everything better--and the townspeople will like them again. In a life lesson on why you shouldn't talk to strangers the girls believe him and so they end up using their powers to help him achieve what is actually a diabolical goal--to take over Townsville using an army of mutant simians. Once the girls realize the error of their ways they battle Jojo (who's now calling himself "Mojo Jojo") and his army of monkeys attempting to save the world before bedtime--and to earn the trust of the townspeople.
The squeaky-clean voices of actors playing the Powerpuff Girls seem perfectly suited to the bug-eyed fin-fingered creatures; they're somehow innocent and experienced at the same time especially Daily's Buttercup. Strong's Bubbles certainly does bubble and Cavadini's Blossom imparts the steely resolve that makes her the leader of the pack. For comic punch though the monkeys really steal the show--Jackson's Jojo is supreme evil animated and he lets you know it. Kane's ability to perfectly capture the tone of a 1950s elementary school documentary voiceover should not go unnoticed either.
When Professor Utonium set out to create some little girls he didn't mean for them to have super powers. It just kind of happened when a little "Chemical X" got thrown into the mix. The same could be said of director/screenwriter Craig McCracken's final product: It's not a great film--even by kids' film standards--especially compared to the original TV show. It's slow in key places (the game of tag is interminable and the monkey battles go on and on) and kids will probably lose interest quickly as a result. But there are a few "X" factors that make it interesting for both kids and grownups as long as they can be persuaded to keep watching. First monkey jokes. The monkey army that Mojo Jojo attempts to lead is full of sneaky tricks for obliterating the town and wresting control from Jojo including baboon butt bombs the "sauce of chaos" and a barrel that rolls over things in the street including people and a dog that looks suspiciously like Snoopy. Second Planet of the Apes references. Buttercup rails at one of the chimps to "get your hands off him you darn dirty ape!" Third a mayor with an obsession for large green pickles sold from a cart: he's bizarre and slightly disturbing but nonetheless entertaining.