Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
At least Bewitched has the smarts to reinvent itself contemporizing rather than going for a straight remake. First we meet Isabel (Nicole Kidman) a naïve good-natured witch who wants to give up her supernatural powers to lead a "normal" life--much to the chagrin of her warlock father Nigel (Michael Caine). He doesn't believe she can do it. Neither do we. Then on the other side of town we meet Jack Wyatt (Will Ferrell) a nearly washed-up actor who's done one too many bad films. To get back on track he decides to do an updated version of the beloved 1960s sitcom Bewitched. As the mere-mortal Darrin Wyatt would be the star of the show not the actress cast as Samantha. In order for that to happen a nobody must play the witch. Lo and behold Jack runs into Isabel who can manipulate her dainty nose in just the right wriggle. He persuades her to take the part while she sees Jack as the quintessential mortal man with whom she can settle down and lead the normal life she so desires. Think it'll work out? (Cue the Bewitched theme song).
We all know Kidman can play complicated and romantic and Ferrell can do comedy. But in Bewitched they each try to do something beyond those skill sets. Unfortunately they can't quite pull it off. Kidman of course is a consummate actress. She can take on just about any character and make it her own including the slightly ditzy eternally cute Isabel. And so she taps into her inner witch once again (like she did in Practical Magic). But trying to remake comedies (like The Stepford Wives) especially something as balls-out as Bewitched doesn't really suit the Oscar winner all that well. And in Ferrell's case he hilariously handles all of Bewitched's improvisational comedic moments as expected. But watching him try to be a romantic leading man is a bit cringe-worthy. I mean if you can make smooching on Nicole Kidman look uncomfortable you certainly aren't doing the job. As far as the rest of the cast everyone is pretty much wasted in one form or another. Caine as Isabel's debonair roué of a father and Shirley MacLaine as the diva-esque actress who plays Bewitched's wonderful Endora have a couple of bright moments but don't get nearly enough to do. The same goes for Jason Schwartzman (Rushmore) as Jack's unctuous agent and Kristin Chenoweth (from the Broadway musical Wicked) as Isabel's spirited neighbor. Even Steve Carrell (TV's The Office) as the irascible Uncle Arthur can't offer the right spontaneity. What a shame.
One of Bewitched's saving graces however is writer-director Nora Ephron. She knows romantic comedies having helmed such hits as Sleepless in Seattle and You've Got Mail as well as writing the quintessential romantic comedy When Harry Met Sally…. Bewitched is right up her alley and she fluffs it up like a pro. Yet overall the film is just too darn silly for its own good. Maybe Bewitched suffers from the whole TV-turned-film phenomena in general. The idea of taking such classic TV favorites and adapting them into feature films continues to prove there isn't a shred of originality left in the studio system. But sometimes the concept works (Starsky & Hutch is one that comes to mind). Fans like me are curious as to how filmmakers will rework the material and are especially interested in who they decide to cast to play those beloved icons. We end up giving each one of these big-screen treatment iterations a chance--and are usually disappointed. Bewitched is no exception. Besides being only mildly entertaining to diehard fans Bewitched's inside jokes will most likely go over the heads of those who can't tell Samantha Darrin Endora Aunt Clara Uncle Arthur or Mrs. Kravitz from the characters on I Dream of Jeannie. Probably best just to own the sitcom's DVD collection instead.
Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
October 12, 2001 1:27pm EST
Smokey Robinson, Sheryl Crowe, Mary J. Blige, Melissa Etheridge and Johnny Lang were among some of the performers at Thursday's Motown industry bash, Reuters reports. The event raised more than $1.5 million for the medical research and treatment organization City of Hope. Canadian media mogul Edgar Bronfman Jr., executive vice-chairman of Vivendi Universal, was the evening's honoree.
A man arrested in the Netherlands by Dutch authorities is being held over alleged death threats sent to Spice Girl Melanie Chislom, the BBC reports. The singer started receiving threatening and sexually explicit letters last year and received a menacing message on a cassette tape at her London home last week.
An antiques dealer who burglarized actress/ model Jerry Hall's London home on Sept. 27 has been sentenced to three years in jail, Reuters reports. David Bryce, 32, was convicted Friday of stealing a computer, candlestick and jewelry.
CNN is trying to win the right to film the inquiry into the deaths of hundreds of Dr. Harold Shipman's patients in Britain, Reuters reports. Shipman, dubbed "Dr. Death," is connected to the deaths of 466 people.
Dagmar, who appeared on the NBC late-night show Broadway Open House and wasone of television's first sex symbols, died Tuesday at her home in Ceredo, W. Va., Reuters reports. She was 79. Dagmar also played a nurse on Milton Berle's Texaco Star Theater, briefly hosted her own TV show, Dagmar's Canteen on NBC, and was a regular panelist on ABC's Masquarade Party.
The Screen Actors Guild will present actor Edward Asner with the Lifetime Achievement Award on March 10 during the SAG awards, Reuters reports. TNT will broadcast the event.
The Federal Communications Commission ruled Thursday that public broadcasters can run ads and earn revenues directly from programming, Reuters reports. The order allows public broadcasters to use the advent of digital TV for subsription services. The decision sparked concern that the ruling could open the door to commercialism at the publicly funded stations.
Producer John Wells is in talks to take over producer duties on the Sally Field legal drama The Court. According to Variety, the ABC show is expected to focus on Field's character outside her job rather than inside the court room.
The Beirut Film Festival, which wrapped Wednesday, suffered many cancellations from film directors, journalists and guests, Variety reports. U.S.-led attacks on Afghanistan frightened many industry insiders who worried they would be unable to get flights out of Beirut.