Do the Bourne movies make any sense? Enough. The first three films — The Bourne Identity Supremacy and Ultimatum — throw in just enough detail into the covert ops babble and high-speed action that by the end Jason Bourne comes out an emotional character with an evident mission. That's where Bourne Legacy drops the ball. A "sidequel" to the original trilogy Legacy follows super soldier Aaron Cross (Jeremy Renner) as he runs jumps and shoots his way out of the hands of his government captors. The film is identical to its predecessors; political intrigue chase scenes morally ambiguous CIA agents monitoring their man-on-the-run from a computer-filled HQ — a Bourne movie through and through. But Legacy has to dig deeper to find new ground to cover introducing elements of sci-fi into the equation. The result is surprisingly limp and even more incomprehensible.
Damon's Bourne spent three blockbusters uncovering his past erased by the assassin training program Treadstone. Renner's Alex Cross has a similar do-or-die mission: after Bourne's antics send Washington into a tizzy Cross' own training program Outcome is terminated. Unlike Bourne Cross is enhanced by "chems" (essentially steroid drugs) that keep him alive and kicking ass. When Outcome is ended Cross goes rogue to stay alive and find more pills.
Steeped heavily in the plot lines of the established mythology Bourne Legacy jumps back and forth between Cross and the clean up job of the movie's big bad (Edward Norton) and his elite squad of suits. The movie balances a lot of moving parts but the adventure never feels sprawling or all that exciting. Actress Rachel Weisz vibrant in nearly every role she takes on plays a chemist who is key to Cross' chemical woes. The two are forced into partnership Weisz limited to screaming cowering and sneaking past the occasional airport x-ray machine while her partner aggressively fistfights his way through any hurdle in his path. Renner is equally underserved. Cross is tailored to the actor's strengths — a darker more aggressive character than Damon's Bourne but with one out of every five of the character's lines being "CHEMS!" shouted at the top of his lungs Renner never has the time or the material to develop him.
Writer/director Tony Gilroy (Michael Clayton Duplicity and the screenwriter of the previous three movies) is a master of dense language but his style choices can't breath life into the 21st century epic speak. In the film's necessary car chase Gilroy mimics the loose camera style of Ultimatum director Paul Greengrass without fully embracing it. The wishy washy approach sucks the life out of large-scale set pieces. The final 30 minutes of Bourne Legacy is a shaky cam naysayer's worst nightmare.
The Bourne Legacy demonstrates potential without ever kicking into high gear. One scene when Gilroy finally slows down and unleashes absolute terror on screen is striking. Unfortunately the moment doesn't involve our hero and its implications never explained. That sums up Legacy; by the film's conclusion it only feels like the first hour has played out. The movie crawls — which would be much more forgivable if the intense banter between its large ensemble carried weight. Instead Legacy packs the thrills of an airport thriller: sporadically entertaining and instantly forgettable.
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.
Cooked up in the head of Oscar-winning screenwriter Charlie Kaufman (Being John Malkovich) comes the movie in which he makes his directorial debut. Without Michel Gondry or Spike Jonze sifting through the maze this time Kaufman himself weaves this crazy quilt with consummate skill. In other words Synecdoche New York is just as successfully quirky humane and head scratching as all the others in the Kaufman ouerve. To sum up the plot succinctly is impossible but it centers on a stage director and hypochondriac Caden Cotard (Philip Seymour Hoffman) who trades in his suburban life with wife Adele (Catherine Keener) daughter Olive (Sadie Goldstein) and regional theatrical work in Schenectady for a chance at Broadway. He puts together a cast (resembling those in his own dream world) and brings them to a Manhattan warehouse being designed as a replica of the city outside. As the world he is creating inside these walls expands so does the focus of his own life and relationships. As the years literally fly by he gets deeper into his theatrical self which soon starts to merge with his own increasingly pathetic reality. Whatever you make of the tale Kaufman is telling here the casting could not be better or more suited to the quirky material. Philip Seymour Hoffman offers up a tour-de-force and is simply superb playing all the tics and foibles of the deeply disturbed Caden. His early scenes in his “normal” home are wonderfully alive with all his phobias and hypochondria in view. Later we literally watch this man disintegrate as his master creation overwhelms him. Hoffman seems to fully understand the mental trauma of a man running as far from his own realities as he possibly can. Catherine Keener as always is right on target as his wife Adele. She has a knack for taking what seems like tiny moments and making them define exactly who this woman is. Jennifer Jason Leigh as a mentor to Caden’s daughter is always fascinating to watch and plays Maria with an ounce of irony. Tom Noonan playing the actor portraying Caden in the play is the perfect doppelganger and delightfully adds to Caden’s confused state. The all-pro trio of Michelle Williams as Caden’s new wife Claire; Samantha Morton as the irresistible assistant Hazel; and Hope Davis as Caden’s self-absorbed therapist add greatly to the merry mix. It’s nice to watch Charlie Kaufman seize control of his own work. In this instance he’s really the only one who can deliver us his Fellini-esque vision. Centering it all on the theatrical director’s weird universe Synecdoche does seem like it might be Kaufman’s own take on Fellini’s 8 ½ or even Woody Allen’s paean to that film Stardust Memories. Let’s just say we know most of it must exist somewhere inside Kaufman. Early domestic scenes could have been played flat but the novice director moves the camera around skillfully enough to make us immediately engaged in Caden’s world. Second half of the film set in the phantasmagoric warehouse is a stunning tapestry of scenes from Kaufman’s singularly fertile imagination. It’s nice to note he’s well equipped with the basic tools a director needs for this type of challenging material. Overall his film is a surprising confounding visual feast -- a dream/nightmare come to life and then spinning out of control.
Based on a 1943 short story “Mimsy Were the Borogroves” by Henry Kuttner and his wife C.L. Moore (who wrote under the pseudonym Lewis Padgett) The Last Mimzy makes reference to Lewis Carroll’s famous nonsensical poem “Jabberwocky” which appeared in his novel Through the Looking Glass and What Alice Found There. Kuttner and Moore believed the poem may have actually been a communication with hidden meaning from the future so the movie expands on this idea. We meet 10-year-old Noah Wilder (Chris O'Neil) and his younger sister Emma (Rhiannon Leigh Wryn) who find a mysterious box on the beach that contains some strange devices they think are toys including a beat-up stuffed toy rabbit who Emma calls Mimzy. As Noah and Emma start exhibiting paranormal behavior--including blacking out their city for a few minutes—their parents (Joely Richardson and Timothy Hutton) grow more concerned especially when Mimzy turns out to be more than just a toy armed with a serious warning about mankind’s future. Slapping on an environmental message IS the latest craze after all. Part of Mimzy’s problem unfortunately stems from the stiff performances especially from the young actors. We’ve become accustomed to super-kids who can genuinely act their way out of a paper bag. But newbies O'Neil and Wryn really don’t have those innate acting skills even if they exhibit moments of valid emotions. Their cutesy affectations could be as much director Robert Shaye’s fault as anything else since kids need guidance—but more on that later. As for the adults Richardson and Hutton are also fairly nondescript as the hapless parents while Michael Clarke Duncan looks utterly lost as the big bad government guy who just wants to get to the bottom of what he perceives as a possible terrorist threat. The only actors who look like they are having any fun are Rainn Wilson (The Office) as Noah’s quirky science teacher and Kathryn Hahn (Crossing Jordan) as Larry’s New-Age-y fiancé who is able to shed some light on what’s happening to the kids. These two should definitely play more on-screen couples. As Alice in Through the Looking Glass puts it "Somehow [‘Jabberwocky’] seems to fill my head with ideas—only I don't exactly know what they are!" Apparently neither does director Robert Shaye. You see his job up to this point has been running New Line Cinema as its co-founder. Now while I’ve always suspected studio heads are all frustrated filmmakers shelling out the big bucks does not a director make. Shaye even enlisted New Line-contracted executive producer Toby Emmerich to co-write the script with Bruce Joel Rubin who has really never risen above his claim-to-fame Ghost. Obviously The Last Mimzy is a New Line frat party but certainly these guys are not the strongest of talents either with the camera or the pen. They take what seems to be a fairly compelling premise and simply turn into Hollywood schlock stealing elements from several other films of Mimzy’s Spielberg-ian/Carl Sagan-ian ilk including A.I. E.T. and yes Contact. Too bad.