Forget that the latest adaptation of Leo Tolstoy's sweeping romance novel comes from the man who brought us the slick-but-stuffy Pride and Prejudice and Atonement. Every frame of director Joe Wright's Anna Karenina is a wonder to behold overflowing with visual spectacle and roaring performances. Keira Knightley Jude Law Aaron Taylor-Johnson and the rest of the cast fit perfectly in the high drama epic but it's really Wright's playground. Following Hanna an artful spin on the action movie Wright returns to the period drama but injects it with dazzling daring choices. A book like Anna Karenina could once fit in reality but its larger-than-life legacy precedes it. Wright acknowledges that from frame one approaching the film like a grand ballet or opera where grand gestures broad emotions and overt theatrics are commonplace. That vision clicks transforming Anna Karenina into an exhilarating moviegoing experience.
The storyline of Anna Karenina isn't far off from a daytime soap: It's 1874 and Anna (Knightley) is floating through existence as the wife of influential government player Karenin (Law). But when her brother Oblonsky (Matthew Macfadyen) summons her to Moscow to save his marriage Anna's entire world is shaken up. She meets Vronsky (Taylor-Johnson) a cavalry hunk who finds himself smitten with the taken lady. She's in the same boat: The two strike up a flirtatious relationship that evolves into one of sexual passion. A scandalous affair would incite trouble in the preset day but in the 19th century it's the ultimate crime. Quickly Anna's life comes crumbling down.
The intertwining melodrama of Anna Karenina earned the novel its classic status but Wright uses the material as a launching pad for imagination rather than a tome to translate to screen. Many of the scenes are staged in a theater creating an instant awareness of the production. Sets shift and are reconstructed into new rooms; actors costume change in the span of single shots; action sequences like a thrilling horse race are conducted on stage with special effects you might see on Broadway. Wright works this sort of stylization in the other direction too; a character could walk an empty stage open a door and suddenly be on a snow-covered hill. Anna Karenina isn't the first film to use the effect but in Wright's hands it's exhilarating.
The movie is Wright's third collaboration with Knightley and easily their most successful. Knightley never struggles to stay on the same page as the heightened material whether she's nailing a dance sequence or breaking down in a flood of tears. Casting an ensemble around Knightley is no easy task but Taylor-Johnson gives his best work yet as the debonair love interest and Macfadyen steals the show with moments of physical comedy.
We have expectations of the texture and structure of period romances. Anna Karenina defies them. Masterpiece Theater it is not.
Rexxx is a superstar dog in Hollywood with movies such as Jurassic Bark and The Fast and the Furrious on his plate. On the set of his latest movie he is being a diva refusing to come to the set because one of the spotted coats in his trailer reminds him of a snooty Dalmation who broke his heart. Eventually Rexxx’s people convince him he can outlive the Taco Bell Chihuahua dog's legacy if he performs this one great stunt. But while diving out of an airplane Rexxx forgets his parachute and lands in a truck full of tomatoes. He ends up running into a boy Shane (Josh Hutcherson) who’s really not into dogs. Shane’s dad is a fire captain (Bruce Greenwood) and the boy’s extended family is a group of well-meaning misfit firefighters at the Dogpatch Station. They're in constant competition with their rival fire station and the city manager (Steven Culp) is warning the Dogpatch Station that they will soon be closing down. On top of it all there are lots of mysterious fires breaking out around Dogpatch. Can Rexxx help save the day? Hutcherson is an amiable child star. After his recent dramatic role in Bridge to Terabithia and as the older brother in Zathura it's clear he's got a long career ahead of him. He comes across as clever and sensible while the world around him is often going haywire. And the young actor has a superb connection with Greenwood as his distant father. Also doing a fine job is Culp as the city manager and Greenwood’s best friend. The last time these two veteran character actors starred together was in Thirteen Days. Teddy Sears (TV’s Ugly Betty) is particularly funny and charming as the fireman who keeps sliding on top of his fellow firefighters when going down the pole. But of course this is a dog's movie and the four Irish setters used to play the lead pup do some pretty cool stunts and reaction shots. Rexxx comes across as delightfully personable even though he smells bad. Director Todd Holland certainly knows how to direct family stories after winning three Emmys for Malcolm in the Middle. This father-son story centers on a recent tragedy and neither of them deal well with it instead becoming more and more distant from each other. Of course the dog’s intrusion brings them together but the storyline cleverly dances a fine line between the stereotypical genres. Firehouse Dog has both laugh-out-loud moments as well as warm fuzzy teary-eyed moments that feel very real. Of course some of the absurd facial expressions and Matrix-like moves by the dog are computer generated but it's not distracting--and not too obvious. The movie is fun for kids and parents to see together especially if they have a dog at home.
The inspirational real-life story of Seabiscuit is a history lesson worth being taught. During the height of the Depression this too-small unruly glue factory-bound racehorse triumphed over great odds to win races--and the heart of a nation. He eventually beat the Triple Crown winner of the day War Admiral in a 1938 match race heard by millions nationwide on the radio. Yet in addition to the horse itself Seabiscuit revolves around the three men who groom train and care for the animal--three men who are each wounded souls in their own right. There's owner Charles Howard (Jeff Bridges) a born salesman with a kind heart who makes a fortune selling Buicks in Northern Calif. but it means nothing after he loses his son in a tragic accident; there's trainer Tom Smith (Chris Cooper) an obsolete cowboy whose world of wide open plains is slowly vanishing under barbed wire train tracks and roads; and jockey John "Red" Pollard (Tobey Maguire) a young man who is torn from his impoverished family at the beginning of the Depression and lives a hard life as a part-time jockey part-time boxer. They're all beaten but somehow when the four come together--it's magic. Even though the film suffers from the you-know-how-this-is-going-to-turn-out syndrome as well as venturing a bit much into the melodramatic Seabiscuit still lifts your spirit and shows how despite a time of great suffering the underdogs gave hope that the American Dream could be possible again.
The talented trio handles their tasks admirably. Bridges harkens back to his performance as the idealistic car inventor Preston Tucker in the 1988 film Tucker; Howard like Tucker is a dreamer successful in his endeavors great at public relations but perhaps a little too trusting of others. Bridges fits comfortably into this role but digs deeper this time showing Howard's pain--and his ultimate salvation in his winning horse. Maguire is also well suited as the lanky Red but the poor guy sure takes a beating playing the role. It's gut-wrenching watching the downtrodden Red starve himself so he can still be considered for jockey jobs or getting the snot kicked out of him in a boxing match which ultimately results in him losing sight in one eye. Then to top it off Red shatters his leg in a riding accident weeks away from the big race against War Admiral. It's tough being Red but Maguire doesn't shy away. As for Cooper he shines once again. After winning an Oscar for his turn in Adaptation the underrated actor shows how good he really is by giving another exquisite performance as the horse whisperer-like trainer. It's the quiet moments that work best; when Smith is sitting whittling outside Seabiscuit's stall letting the horse get some rest--with barely a trace of a smile on his lips as he ignores the swarm of reporters around the stable. And in wonderful moments of hilarity William H. Macy gives a great performance as "Tick-Tock" McGlaughlin a conglomerate of those colorful radio announcers who gave the craving public blow-by-blow accounts of the horse races during the Depression. Macy gets out-loud laughs every time he shows up.
Seabiscuit is a labor of love--a love for anything to do with horses and horse racing which may not necessarily be exciting to all although the movie's message will speak to everyone. Based on Lauren Hillenbrand's best-selling novel of the same name writer/director Gary Ross (Pleasantville) plunges headlong into the story of this inspirational horse carefully setting up the history surrounding his rise to stardom. The cinematography is extraordinary. Ross expertly blends archive footage within in the movie where at times you feel like you are watching another well-made documentary á la Ken Burns. One particular moment where this works best is when at the start of the race between War Admiral and Seabiscuit Ross switches to archive images of real folk listening to the race on the radio as you hear the real-life commentators giving the details. Of course showing the final stretch of the race is the payoff and though you know who is going to win you're on the edge of your seat anyway. It's after this however where the film begins to lose its momentum and lapses into clichéd sap. Seabiscuit hurts his leg too and is deemed never to race again. He convalesces with Red on Howard's farm until they both miraculously heal well enough to race one more time. It's almost too much to believe even though it is still a true story. Seriously how much can one man and his horse take?