There's a wealth of material for filmmakers to pry out of the troubles that America has faced in the past decade. The depressed economy, the plight of the returning soldier, and the loss of American industry have all informed the plots of many of the best films written in the past couple years. In his second directorial effort, Out of the Furnace, filmmaker Scott Cooper attempts to turn the myriad of America’s most pressing issues into a story set in the backdrop of the country’s hard suffering Rust Belt, but he comes away with a merely competent dramatic thriller that clearly aspired to be something grander.
In the film, Christian Bale plays the hardworking and upstanding Russell Baze, an almost impossibly good-natured man who has worked in the local steel mill his entire life, and had planned, just like his ailing father, to do so until the day he died. But when the steel mill is scheduled to close, Baze's way of life as well as the town itself is crippled. Casey Affleck plays Russell's sensitive brother Rodney, whose tours in Iraq have left him emotionally eruptive and dissatisfied with his brother’s working man existence; Rodney would rather spend his time competing in underground fighting rings where he can still feel something. Rodney soon finds himself wrapped up in violent and reactionary crime ring that doesn't take kindly to strangers. It’s up to Russell to save his brother from the grips of the areas most terrifying criminals
Out of the Furnace is appealingly glum. Cooper finds beauty in the rolling hills and crumbling infrastructure of small town Pennsylvania, and the film fully embraces the derelict beauty of its settings, down to even the homes and the cars that the characters own. The film clearly prides itself on feeling authentic and it reaches its goals visually — at the very least.
The relationship between the brothers Baze also feels remarkably authentic. Both Bale and Affleck sell the relationship deftly, and have an almost tangible amount of on-screen chemistry that expresses their bond for each other in a way that no script could. This chemistry makes the scenes where Rodney has gone missing burn with terrific dramatic intensity.
There’s a quiet desperation in these people. Though they may be hopeful and happy in their set paths, there’s a feeling that they’re all walking along streets heading nowhere. America isn’t the land of opportunity anymore, not for the soldiers or the factory workers. The only thriving ones seem to be the criminals like Woody Harrelson’s Curtis Degroat, who is so overarchingly villainous that the only thing the character is missing is a dastardly moustache to twirl.
And this is the big issue with Out of the Furnace. While Harrelson’s performance is at times chilling, the script often dovetails Degroat into an overdone cartoon bad guy, and this weak characterization flows through a lot of the characters and seriously undermines a lot of the authenticity that the film believes itself to be built upon. There's a particularly groan-inducing scene where Degroat decries the human race in the gruffest voice he can muster. Woody’s Degroat character, and most of the others in the film, aren’t so much developed characters, but act more like clichéd archetypes in Cooper’s parable about a broken America. Degroat is simply the bad guy, and not characterized beyond that one-dimensional role in this story. Affleck’s wounded war veteran feels overwrought as well, with many of his scenes laying down the melodrama in thick sheets, particularly when he’s discussing the terrors he’s faced in the war oversees.
Out of the Furnace has a lot of things on its mind about the state of America’s small towns and working class heroes, but it doesn’t know the best way to express itself, and while some of it’s sentiments ring true others clank harshly like an off-note. The remarkable cast does its best to prop up a film that wants to tell a great American story, but it only manages to tell a fairly middling one.
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
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.