There isn't much of a twist to The Woman in Black's haunted house tale: man goes to a creepy old house runs into an angry ghost and mayhem ensues. That standard horror plot would be fine if the execution were thrilling every scare sending a chill down the spine. But star Daniel Radcliffe's first post-Potter outing has less life than its spectral inhabitants with impressive early 20th century production design sharp cinematography and solid performances barely keeping it breathing. Much like the film's titular spirit The Woman in Black hangs in limbo haunting the quality divide.
Arthur Kipps (Radcliffe) is barely holding on in life having lost his wife during the birth of their child and struggling to stay employed as a lawyer. To stay afloat Kipps reluctantly takes on the job of settling the legal affairs of a recently deceased widow. Living in her home the you-should-have-known-this-house-was-haunted-by-the-name Eel Marsh House Kipps quickly realizes there's more to the woman's life than he realized unraveling her mysterious connections to a string of child deaths and a ghostly presence in the home. Even with pressure from the townspeople Kipps continues his investigation hoping to right any wrongs he's accidentally caused by putting the violent Woman in Black to rest.
Radcliffe bounces back and forth between the dusty mansion made even more forbidding by the high tides that routinely cut it off from civilization and a town full of wide-eyed psychos who live in fear of the kid-killing Woman in Black. Even after losing his own son Kipps' neighbor Daily (Ciarán Hinds) is convinced the "ghost" is a fairy tales while Daily's wife (Oscar nominee Janet McTeer) finds herself occasionally possessed by her dead son scribbling forbidding message to Arthur about future murders. Arthur wrestles with the two extreme points of view but Woman in Black doesn't spend much time exploring the hardships of a skeptic quickly slipping back into standard horror mode at every opportunity. When they have time to play around with the twisted scenario all three actors are top-notch but rarely are they asked to do anything but gasp and react in a terrified manner.
Director James Watkins (Eden Lake) conjures up some legitimately spooky imagery leaving the space behind Arthur empty or cutting to an object in the room that could potentially come back to haunt our befuddled hero all in an effort to tickle our imaginations. But like so many "jump scare" horror flicks Woman in Black relies heavily on the "Bah-BAAAAAAH" music cues obtrusively orchestrated by composer Marco Beltrami. A rocking chair a swinging door and the reveal of a decomposing zombie ghost lady could work on their own especially in such a well-designed environment as Eel Marsh House but Woman in Black insists on zapping a charge of musical electricity straight into our brain forcing us to shiver in the least graceful way possible.
The script by Jane Goldman (Kick-Ass X-Men: First Class) tries to throw back to the slow burn character-first horror films of classic cinema while injecting the sensibilities modern filmmaking. The combination turns Woman in Black into visually appealing dramatically bland ghost story. Radcliffe still has a long career ahead of him as Woman in Black does suggest but this isn't the movie that get people thinking there's life after Potter.
Normally when a film about a historical figure finds its way into “awards watch” season you expect a certain level of intrigue from its content.So My Week With Marilyn should by all accounts deliver a little bite. Marilyn Monroe is a staple of American culture. We all know her face her voice her classic lines her wardrobe “malfunctions ” her tumultuous relationship history her power over men and of course that ugly little truth we like to brush under the carpet: the pill addiction that eventually cost her her life. This film purports to give us a look at the “real” Marilyn – the one the millions of representations of her haven’t already shown us. The problem is that by the time the film attempts to explore the darker corners of Monroe’s (Michelle Williams) existence we like our protagonist Colin Clark (Eddie Redmayne) are already under her spell. Just as we start to condemn her or look at her problems without the biased nostalgic eye most of us are afflicted with the film waves its magic Marilyn wand and quickly abolishes those less glamous notions. The result is a splendid yet decidely indecisive journey with a very complicated and often misunderstood woman
We meet plucky young Colin as he embarks on his first foray into feature films. It’s his dream and thanks to a connection to Sir Lawrence Olivier (Kenneth Branagh) he’s got a shot at working on a film. But it’s not just any movie; it’s The Prince and Showgirl a marriage of American and English sensibilities starring Olivier and Monroe. When Colin arrives he’s just a third assistant director to Olivier – essentially a go-fer – and can do little but admire Marilyn without hope. He takes up with a wardrobe girl named Lucy (Emma Watson) and goes about his duties. Of course things don’t stay this simple. His newness lends itself to a bit more flexibility so when Olivier’s rigid practices clash with Marilyn’s laissez-faire style and the production begins to slow to a glacial pace Colin is a natural fit to become Marilyn’s willing ally. Their friendship grows as Olivier’s temper comes to a boiling point and the result makes Marilyn a film tinged with a choice number of harsh realities – but as soon as they rear their ugly heads Monroe’s ever-present spell casts itself over them.
Of course this isn’t so much a criticism of the film as it is criticism of the weight given to the content. My Week With Marilyn is beautifully shot allowing the nostalgic air of London and Monroe in the 50s to take the lead with a few contemporary flairs to help keep us along for the ride. Every detail is impeccable from the music to the settings to the dialog. There isn’t a single weak link in the cast. Redmayne displays all the youth and earnest vigor demanded by his young character. Though her character teeters between a layered enigma and the girl the entire world knows Williams handles each angle as easily as Marilyn handles the men around her. Supporting cast members Julia Ormond (as Vivien Leigh) Judi Dench (as Dame Sybil Thorndike) and Branagh put their wealth of experience to tremendous use. Lesser known actors like Dougray Scott and Dominic Cooper take on American accents with minimal issues and handle their supporting characters with ease – and Watson delivers her usual (but welcome) lovely precocious act.
There’s really nothing wrong with My Week With Marilyn. It’s lovely. It’s smart. It’s extremely well-crafted. It’s a good film. But it does little to excite a reaction beyond that. And when you’re dealing with someone we know as well as most of the world knows Marilyn I doubt I’m the only one who expect a little more…va va voom.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.
Finally a brilliantly told fractured fairy tale for children and adults alike that does not feature a grouchy green orge anywhere. Once upon a time a young man sneaks into the mysterious magic kingdom of Stormhold that’s walled off from his quiet English village. He soon meets a lovely young lady who just so happens to be a princess enslaved by a not-so-wicked witch. Nine months later a basket is dropped on his doorstep. Yes this baby boy is the unexpected result of his one-night liasion with the royal lass. The boy grows up blissfully unaware of his regal roots so when he reaches manhood Tristan (Charlie Cox) doesn’t understand why he so drawn to the land on the other side of the Wall. He finally hops over the Wall when a star falls out of the sky and lands deep in the heart of Stormhold. His goal: to bring back the star as proof of his love for Victoria (Sienna Miller). Too bad this scheming temptress doesn’t think too much of the penniless and mild-mannered workingclass stiff. This being a fairy tale the star isn’t just a star. The star’s actually a beautiful celestial being named Yvaine (Claire Danes). And she fell to earth as part of a devious plan by Stormhold’s dying king (Peter O'Toole) to determine his successor. But the king’s scheming sons (Jason Flemying and Mark Strong) are not the only ones seeking Yvaine. The oh-so-wicked witch Lamia (Michelle Pfeiffer) needs Yvaine to help her restore her youth. So that means Tristan must become the hero he’s destined to become—and take on witches princes airbourne pirates (Robert De Niro’s Capt. Shakespeare) and shady black marketeers (The Office’s Ricky Gervais)—so he can return home to Victoria. But Cupid has other plans for Tristran and it’s not hard to guess what those are. If all stars took on the human form of Claire Danes many more of us would probably pursue a career in astronomy. But it doesn’t take a working knowledge of the Hubble telescope to see how relaxed and luminous Danes is when she’s not carrying the weight of the world on her shoulders. And sparks definitely fly between Danes and Charlie Cox even when they’re at hurling hilarious insults at each other. Newcomer Cox makes a smooth transition from ill-at-ease lovesick puppy to swashbuckling hero. He also doesn’t seem to be intimidated at the prospect of staring down Robert De Niro. There’s always concern whenever De Niro takes on a comedic role for a big paycheck. He usually gets by with pure talent and nothing more. And when De Niro’s pirate crosses paths with Cox and Danes you immediately fear that he’s going to offer yet another variation on his tough gruff Alpha males from Analyze This and Meet the Parents. But he blindsides us by instead going all Jack Sparrow on us—that is if the old sea dog had no interest in the ladies—to deliriously campy effect. What with Hairspray and now Stardust Michelle Pfeiffer’s comeback seems to be predicated on getting in touch with her inner bitch. She’s splendidly nasty and scary as Lamia. And the uglier and older she gets the meaner and funnier she gets. Equally cruel—though more cheerfully so—is Sienna Miller. Providing small but amusing cameos are Gervais once again revealing an unparallel mastery of toadying and Peter O'Toole who kicks the bucket quicker than John Cleese’s King Harold does in Shrek the Third. There’s legitimate reason to question whether Layer Cake director Matthew Vaughn has what it takes to direct a big-budget effects-driven summer blockbuster. Remember after making his name producing or directing relatively inexpensive British crime capers Vaughn walked away from X-Men: The Last Stand. Judging by Stardust though Vaughn would have done a masterful job leading those misunderstood mutants into battle. Then again he couldn’t have done worse than Brett Ratner. Based on the graphic novel by Neil Gaiman and Charles Vess Stardust possesses both a big heart and an uncommon adventurous streak. Unlike the recent Pirates of the Caribbean: At World's End which was too long and too cumbersome for its own good Stardust moves nimbly and confidently through a strange and wonderful land populated with noble heroes to cheer for fiendish villains to boo at and gorgeous damsels in distress to sigh over. Vaughn keeps us on the edge of our seats whenever Tristan must think or fight his way out of danger. But he invests as much time in making believe that Tristan and Yvaine are made for each other. He also strikes a fine balance between honoring the sword-and-sorcery genre while playfully sending up its many cliches. The humor’s a lot more risqué than the bedtime story that was The Princess Bride but most of the sexual innuendoes will zoom over the heads of those still too young to pick up on many of Shrek’s pop-cultural references. Clearly Stardust cannot escape all other comparisons to The Princess Bride but Stardust boasts more than enough magic and daring-do to win over those who remained enthralled to this day by Cary Elwes’ brave efforts to rescue a kidnapped Robin Wright Penn. So this is one fairy tale that richly deserves its happily ever after--and for that matter so does Vaughn.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.