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.
As the fifth year at Hogwarts begins most of the wizardry world is having a hard time believing Voldemort (Ralph Fiennes) has returned further propagated by the Ministry of Magic who refuses to recognize anything evil is brewing and blames all the hullabaloo on Harry (Daniel Radcliffe) and Dumbledore (Michael Gambon). The Ministry even interferes with Hogwarts business by making Ministry employee Dolores Umbridge (Imelda Staunton) the new Defense Against the Dark Arts professor whose outwardly sweet demeanor hides a sadistic streak a mile wide. She thinks the children should only learn about the Dark Arts “theoretically” and tortures all those who disagree. But the Voldemort threat is a reality and Dumbledore has re-formed the Order of the Phoenix a group of witches and wizards that prepares to battle the Dark Lord. Harry is unfortunately being kept in the dark for his protection of course even as his connection to Voldemort grows stronger and he’s royally peeved at being ignored. Urged on by Hermione (Emma Watson) and Ron (Rupert Grint) he forms his own order of Hogwarts students called Dumbledore’s Army to teach them what defenses against the Dark Arts he has already learned. Oh yeah Harry also shares his first kiss but make no bones about it—love is the furthest thing on Harry’s mind when the crap hits the fan. War is imminent. Everyone steps up their game in Order of the Phoenix. Radcliffe Watson and Grint have shed their adolescent whininess and aw-shucks goofiness to give their characters the greatest depth so far. They are forced to grow up pretty quickly in Order with little time for any playfulness and the three actors handle the seriousness with aplomb. Of course both Radcliffe and Grint have already ventured out of the Potter world—Radcliffe shed more than just adolescence on stage in a production of Equus while Grint lost his virginity in the indie Driving Lessons--and their extra experience shows in Order. Also good are Matthew Lewis as the usually clumsy Neville Longbottom who shows his mettle in more ways than one and newcomer Evanna Lynch as the slightly off-kilter Luna Lovegood who proves to be a loyal member of Dumbledore’s Army. But the kids have to keep up with the talented adult cast especially Oscar-nominated Staunton (Vera Drake) as Umbridge. The veteran actress’ interpretation of one of J.K. Rowling’s nastiest characters so far in the Potter lore is spot-on down to the pink wool suits and irritating twitter “ahem” she uses when she wants your undivided attention. Helena Bonham Carter also makes an impression however over the top it is as the evil Voldemort follower Bellatrix Lestrange. Does she ever want to look pretty onscreen? Then there’s the laundry list of Brits whose time onscreen may be short but is nonetheless memorable including Alan Rickman as the sneering Prof. Snape; Gambon as the wise but flawed Dumbledore; Gary Oldman as the kindly Sirius Black Harry’s only real family; and of course Fiennes as He-Who-Must-Not-Be-Named. His late-in-the-game appearance once again throws you for a loop. It stands to reason that at five movies in moviegoers would have a favorite Harry Potter flick by now. Those who love those Triwizard Tournament special effects might feel The Goblet of Fire was the best; or Prisoner of Azkaban for its time-bending action. Yet The Order of the Phoenix may be the one movie that speaks directly to the fans of the books. Without as much wide-eyed wonderment or wizardry flash the story is still chockfull of compelling details that are absolutely pivotal to the continuing Harry Potter saga. Screenwriter Michael Goldenberg (Peter Pan) and director David Yates (HBO’s The Girl in the Café) manage to wade through this volume of information and cut successfully to the chase with great effect. Yates who has signed on to do the sixth movie Harry Potter and the Half-Blood Prince even shows an affinity for action in the final dramatic confrontation between good witches and wizards and bad ones. But overall Order of the Phoenix may leave audiences not as well-versed in the novels a little itchy for some good old-fashioned wand-waving and Disney special effects. Thing is it’s just going to keep getting darker and darker for Harry and his crew. The days of happy fun playtime are over.
In the beginning of the Dark Ages the warlords of England are brutally kept in line by the Irish King Donnchadh (David O'Hara). Tristan (James Franco) has grown up hating the Irish for killing his family and has made a strong allegiance to father figure Lord Marke (Rufus Sewell) while Isolde (Sophia Myles) Donnchadh's daughter has grown up under her father’s thumb. After a fierce battle that leaves Tristan near death he washes up on Irish soil and is nursed secretly back to health by Isolde who tells him she’s someone else. The two fall madly in love but Tristan must return to England before he’s discovered. Meanwhile Donnchadh decides to stage a tournament between all the champions of England with his daughter as the prize. Tristan ends up winning the princess' hand for Lord Marke but is horrified to find out she’s his own true love. Tristan and Isolde now must suppress their love for the sake of peace and the future of England. But despite their best efforts to stay apart the lovers are driven inexorably together. Despite the fact that Franco (Spider-Man) and Myles (Underworld) look lovely rolling around on the ground in romantic trysts and gazing forlornly at one another you don’t necessarily feel any heat between them. That seems to be mostly the fault of Franco who plays the young Tristan far too stoically. We understand he’s a tortured soul torn between duty and love with his eyes perpetually half-filled with tears. But couldn’t he have shown a little more passion (and while he’s at it washed his hair)? The luminous Myles is better at showing her burning desire but she too is left many times sad and weepy. Only Sewell (Legend of Zorro) who is usually delegated to playing bad guys shows any kind of raw emotion as he first falls genuinely in love with his bride--and then is betrayed by her and the only son he ever knew. He’d probably make a great King Arthur. As the Celtic myth of Tristan and Isolde predates the Arthurian legend as well as Shakespeare’s Romeo and Juliet you can easily see how those two more famous stories were possibly formed. Tristan & Isolde is a classic story of forbidden passion set against political upheaval as well as a tale about a tragic love triangle. Producers Ridley and Tony Scott had been fascinated with the legend for many years and finally got the opportunity to bring it to the big screen. Ridley however who directed last summer’s medieval fare Kingdom of Heaven wisely chose to hand over the directing reins to Kevin Reynolds (Robin Hood: Prince of Thieves) who adequately paints a picture of a time when chaos reigned. Maybe Tristan & Isolde is not as compelling or romantic as the king of them all Braveheart but it is certainly far more accessible than say Kingdom of Heaven. Sorry Ridley.