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.
In today’s “Say Whaaaaat?” news segment, we bring you word that the director of American Psycho, Mary Harron, is in talks to direct an adaptation of the teen fantasy series Wicked Lovely by Melissa Marr. To add more head scratching to the confusion fire, Vince Vaughn will be producing. Also, Caroline Thompson (who wrote a lot of Tim Burton's stuff like Edward Scissorhands) will pen the script.
I’m fairly excited about this project. There’s some really good talent working on it and the premise doesn’t sound totally horrible. It follows a girl who discovers that she can see into the faery world, but things get complicated when the faeries, in turn, discover her and their king wants her as his bride. This is a teen fantasy series after all, we shouldn’t expect Proust or anything.
Source: Hollywood Reporter
Well, this is kind of weird.
Kimberly Peirce, who's known for her emotionally charged dramas Boys Don't Cry and Stop-Loss, is set to direct Wicked Lovely -- an upcoming fantasy flick based on the novel by Melissa Marr.
Lovely's plot revolves around a teenage girl with a special power -- the ability to see the hidden fairy world. But she encounters danger when the fairies learn of her ability, and their king decides he wants her as his wife! Bwah ha ha ha!
The book is also the first of four, so this adaptation -- if successful -- has room to flourish into a franchise (although that's total speculation at this point).
So, yeah. This movie is a little different than Peirce's previous work that was heavy in realistic drama and struggle (considering there's fairies and all). It'll be interesting to see how she handles the vastly different world of fantasy, but, considering the fact that she pulled an Oscar winning performance from Hilary Swank in Boys Don't Cry, maybe she's up for a different kind of challenge? And maybe Julia Roberts could reprise her role as a fairy and make me feel like a kid again. Eh? Whaddaya say?
Source: Hollywood Reporter
Nora (Olympia Dukakis) is bonkers enough to jackhammer tunnels beneath her suburban home while her three adults daughters (Deborah Hedwall Catherine Corpeny and Wendy Hoopes) are only marginally more stable. Then patriarch Tom (Roy Scheider) shows up after a 15-year absence with wild ideas about fortifying the homestead against attacks from the world's unfortunate. Who will triumph in the resulting battle for family domination?
Dukakis ("Moonstruck") is always a joy to see digging into a role as idiosyncratic as this one but even she starts to look a little foolish as the storyline grows increasingly ridiculous in the second half. The other members of the ensemble suffer more grievously from the uneven script though Hedwell (NBCs "Law and Order") gets in some good licks as a hard-bitten public defender prone to shouting her opinions. Veteran character actor Edward Herrmann ("Richie Rich") gives delightful deadpan as Nora's morose priest brother.
Adapted from George F. Walker's stage play Max Mayer's well-meaning debut feature generates some amusingly unpredictable moments early on. But things go horribly wrong when Tom arrives with his scheme to remake the family as a disciplined home-defense unit. The idea of the characters building a barricade around their house isn't believable for a second - worse it isn't funny. Inhabiting an uncomfortable area between drama and black comedy the piece disintegrates into a series of embarrassingly ineffective episodes.