Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.
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.
On the surface Kevin Smith has crafted a clever concept a ragtag group attempts to make a porno film in order to get some quick cash. The underlying story is the platonic relationship between roommates Zack (Seth Rogen) and Miri (Elizabeth Banks) whose friendship goes to a whole new level once they find themselves out of cash and decide to cast themselves in their own triple XXX film. After meeting a gay adult film actor at a party Zack comes up with the get-rich quick idea to make a porn movie enlisting Miri’s help and convincing her that it will not affect their friendship. They set about casting the rest of the film with a disparate group of participants including the very self confident sex maniac Lester (Jason Mewes) superstud Barry (Ricky Mabe) gorgeous blonde bombshell Stacey (adult film icon Katie Morgan) and daring kinky Bubbles (legendary Traci Lords). What seemed like a simple proposition turns complicated when Zack and Miri in the heat of simulated lovemaking and in front of the whole crew discover they may be more than just friends. Even considering his great work in Knocked Up Zack is Rogen’s most accomplished character to date a lovable loser who uses last-ditch initiative to turn his life around and in the process discovers more than he ever bargained for. Chemistry is a tricky thing but Rogen certainly has it in spades with co-star Banks who takes what could have been a broadly sketched role and turns Miri into a three-dimensional woman who doesn’t even realize her true soul mate may be right under her nose --literally. You root for these two all the way. The wonderful supporting cast is unique to say the least including adult film star Katie Morgan making her mainstream debut as the ditzy Stacey. After some 200 “real” XXX films she graduates to the big leagues in style and shows she may have a future outside of her niche. Lords who made that leap some time ago niftily sends up her own former image and shows fine comic chops and a willingness to dress deliciously inappropriately. As for the guys Mabe is very funny but Jason Mewes (Jay of Jay and Silent Bob) lets loose with a hilarious and totally uninhibited portrayal of a sex addicted tattooed dude willing and able to do anything on camera. Also nearly stealing the show is The Office’s Craig Robinson a married crew member who is excited to help out buddy Zack because he wants to see “titties.” And in extended cameos Justin Long as a gay porn star and Superman Brandon Routh have a great time sending up their straight movie images playing bickering boyfriends. Kevin Smith has always gone for the jugular challenging the ratings boards and pushing the envelope in his films ever since the classic “dirty movie” Clerks made him famous. But not since his early films such as Chasing Amy has he showed such style and maturity as a filmmaker as he does in Zack and Miri his most outrageously hilarious and accomplished movie to date. Yes he does continue going for shock value (there’s a laugh-out-loud moment involving a certain bodily function natch) but his story is grounded in reality recognizably human and engaging. He milks this genius comic premise for all its worth but gives it an extra dimension that makes it different unexpected and finally memorable. Mostly though it’s just plain fun.
Nice guy Jerry (Matthew Lillard) is the same numbingly trite character we've seen in hundreds of other movies. He faces 30 with uncertainty. He doesn't know if he should propose to his beautiful girlfriend Denise (Bonnie Somerville). He just can't commit darn it! Oh life is so confusing! Meeting up with his best buds Tom "the rebel" (Dax Shepard) and Dan "the runt" (Seth Green) at the funeral of their dead friend Billy they reunite in the-what else?--tree house of their youth. There they discover a map of Billy's longtime obsession: The disappearance of hijacker D.B. Cooper with $200 000 cash. (Never mind that the real Cooper's flight took off in 1971 well before any of these characters would be born.) So these three friends set out on an expedition from the heart and learn a few valuable life lessons along the way. They embark on a canoe trip in the Pacific Northwest in search of Cooper's lost treasure with a very large bear and two even larger hillbillies in hot pursuit. Which is of course just a big excuse for some crazy hijinks in the woods the obligatory stoner sequence gorgeous but unshaven tree-huggers living atop a redwood a crazed mountain man the usual.
Lillard has an off-kilter charm that works in his supporting roles but not so much as the lead. One imagines the producers offering the role first to Adam Sandler and then to Vince Vaughn or Luke Wilson before finally settling on Lillard after they all refuse. His overbearing earnestness in the role recalls his work in SLC Punk straining for normalcy when something completely off-the-wall would work so much better. Shepard (from MTV's Punk'd) fares better he is amusingly annoying but at least he takes a side. Green is usually funnier than this but he doesn't usually have to lug an inhaler around with him as a prop or constantly stoop for laughs as the token scaredy cat. The three of them do have an easygoing chemistry that makes them good company. Burt Reynolds turns up with a foot-long beard as the mountain man who might know something about the treasure. It is certainly the most vanity free performance of Reynolds' career and while it doesn't amount to much it's a step in the right direction for a guy who could still be a great character actor if he could finally get over the fact that he is no longer Stroker Ace.
Steven Brill is best known as the director of the first Adam Sandler movie that didn't reach nine figures at the box office Little Nicky and he hasn't exactly advanced the art of screen comedy here. Nevertheless the pacing is brisk the timing is crisp and the repartee (credited to five writers) is snappy. Even the action comedy sequences mostly running away from the bear and the hillbillies are convincingly done. But make no mistake this is clearly the work of a man hell-bent on paying homage to The Goonies and for that miniscule target audience that not only saw The Goonies in the theater it can also differentiate the Coreys. Of course '80s music has been back in vogue for several years so it's inevitable that the '80s comedy embodied in this movie The Girl Next Door
Harold & Kumar Go to White Castle and others would return. But somebody had better make a good one soon or it will disappear faster than you can say Kajagoogoo.
Told from the perspective of one innocent maid Mary Macearchran (Kelly MacDonald) the story starts as she arrives at the magnificent country estate of Gosford Park. On this particular weekend host Sir William McCordle (Michael Gambon) and his wife Lady Sylvia (Kristin Scott Thomas) have invited an eclectic group to the house for a shooting party. The guests include Sylvia's two sisters (Geraldine Somerville Natasha Wightman) their respective loser husbands (Charles Dance Tom Hollander) her cantankerous aunt Constance (Maggie Smith) for whom Mary works British matinee idol Ivor Novello (Jeremy Northam) and his American friend Morris Weisman (Bob Balaban) a film producer who makes Charlie Chan movies. As the upper-crust guests bicker about money and power the ranks of house servants personal maids and valets below make sure their charges are well taken care of under the guidance of the head butler Jennings (Alan Bates) head housekeeper Mrs. Wilson (Helen Mirren) and head cook Mrs. Croft (Eileen Atkins). Through Mary's eyes we see that the glamour of the upstairs patrons and the seeming precision downstairs are not all they seem. The two worlds are destined to collide and when they do it leads to only one thing--murder.
One of the joys of an Altman movie is his uncanny ability to take a huge ensemble cast of really good actors and carve out a film from their personal stories. This style can also work to the film's detriment however and in Gosford Park the mostly British cast melds together almost too well. Often you can't even tell who's who. Still with all the talent involved there are at least a few bright moments: Smith as the wisecracking Constance an old lady who's very used to being waited on hand and foot gets all the best lines and delivers them flawlessly and veteran actress Mirren is also brilliant as the staunch Mrs. Wilson. She turns in one of the film's only heartbreaking scenes as her character grieves for the son she gave away long ago in the name of servitude. Also good are MacDonald as the young Mary Clive Owen as the valet Robert Parks who carries more than just a chip on his shoulder and Emily Watson as the headstrong chief housemaid Elsie. Northam too shows off his musical abilities as the suave piano-playing singing Novello. The rest all blend together except unfortunately the two American actors--Balaban comes off as annoying and Ryan Phillippe playing an actor pretending to be Morris' valet is in way over his head.
Interestingly the film is taken from a story idea dreamt up by Altman and Balaban. One wonders if perhaps the two were inspired to create Park after watching an episode of the classic '70s British television drama Upstairs Downstairs which was about a wealthy British household whose servant class had just as many dramas as the people they served (hmm sounds familiar). Sure it's conceivable that two Americans sitting around talking about making a distinctly British movie (and a period piece to boot) could pull it off and with a tremendous talent like Altman attached you'd think it would work. But Park misses the mark. The Altman-esque qualities are all there--the way he interweaves his characters' stories and shows real people with real emotions--but maybe just maybe Altman is simply out of his element. You enjoy the ride but it's not a ride through appealing territory and you're definitely watching from the window as the characters live a life you never really become a part of.