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.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?
This is one of those stories you want to keep vague for fear of giving away too much. It starts when photographer Matthew (Josh Hartnett) sees dancer Lisa (Diane Kruger) for the first time as she passes by his video shop in the Wicker Park section of Chicago immediately captivating him. He follows her they meet and soon fall deeply in love. All things seem to go perfectly until Matthew asks her to move in with him--and she up and leaves on a dance tour without a word. Two years later Matthew has moved on with his life has a good job even a fiancée (Jessica Pare)--but he still has completely gotten over Lisa and the nagging torment of the "what ifs?" Then suddenly he thinks he catches a glimpse of her in a bar. Not sure if it was she all the feelings come rushing back nonetheless and Matthew begins a twisting obsessive search for the woman who captured his heart years ago. But as Matthew's search intensifies it leads him deeper into a mystery which now includes his best friend Luke (Matthew Lillard) and Luke's newfound paramour Alex (Rose Byrne). Facing deception at every turn Matthew quickly learns that obsession can go both ways--and that indeed you can love someone too much. Fuzzy enough for ya?
Once considered the "It" boy especially after a string of films including Black Hawk Down and Pearl Harbor Hartnett took himself out of the heartthrob equation by slowing down to one film a year. His last two efforts--2002's 40 Days and 40 Nights and 2003's Hollywood Homicide--didn't do so well at the box office so in a way Wicker Park is a coming out party for Hartnett. It deftly brings the actor back into the spotlight as a romantic lead as well as taps into some of that talent we all know he has (remember
The Virgin Suicides?) His Matthew is a rather intense fellow but his emotions about the love that got away ring true even when things turn dangerously towards obsession. In one telling scene after Hartnett finds out he's been played he registers his anger through those penetrating brown eyes. As for his female co-stars Kruger and Byrne (who starred together in the epic Troy) also play well off the situation. Kruger has the easier job of being the sweet object of affection while Byrne turns in the more complex performance as Alex who has hidden agendas of her own. As the best friend Lillard (Without a Paddle) delivers in his usual high energy goofy shtick but at least this time it's with real human beings instead of CGI dogs named Scooby-Doo.
Director Paul McGuigan (The Reckoning) describes Wicker Park as a "love story told in a very non-linear way." Boy he isn't kidding. Although Park is a remake of the French film L'Appartement it takes a wholly original spin on staid themes which in this day and age is getting harder and harder to do (and usually only comes in the form of a Charlie Kaufman script). Through McGuigan's guidance Park toys with your emotions--and your expectations. Jumping back and forth through time and seen through varying perspectives the film starts out very slowly--almost too slowly-- setting up what you think is a sweet love story but then having things quickly turn darker. It's plodding and confusing at first but then it begins to pull back the layers and as you fit the pieces together you're hooked. And as cheesy as it might sound you want to the two lovebirds to find each other; you're on the edge of your seat urging Matthew to hurry up and get to Wicker Park to meet Lisa before she thinks he's never coming and gets on a plane to London forever. Run Matthew run!
Halle Berry stars as Dr. Miranda Grey a well liked and respected psychotherapist happily married to the beloved head of the psychiatric ward at an old damp women's penitentiary (Charles S. Dutton). One stormy night taking a detour on her drive home she's involved in a terrifying encounter with a young girl that causes her car to go off the road and the impact of the crash knocks Miranda out cold. She wakes up on the wrong side of a Plexiglas cell door in the very prison where she and her husband work (apparently this the only prison in the state) to find her husband's been killed and she is the prime suspect in his gruesome murder. With no memory of the past few days she is confined alongside her former patients like the Satan-paranoid Chloe (Penelope Cruz) and scrutinized by her once-flirtatious coworker Dr. Graham (Robert Downey Jr.). Miranda insists she didn't kill her husband but quickly starts to doubt her own sanity when a violent force from the not-so-sweet hereafter turns her into a Spirit World conduit. Meanwhile the good doctor wants desperately to prove her sane and innocent even as unseen forces bizarre sightings and bad lines get in the way.
You can practically see Berry's slight shoulders hunching under the weight of this oppressive wet flapdoodle of a psycho-mystic mystery that has The Ring written all over it. Berry gets the baffled/terrified/uncontrollable prisoner thing right says "Shit!" a lot and gets plenty of screen time to flesh out her character (no not THAT kind of flesh; she's drenched in the shower and submerged in the swimming pool but Berry never once pulls a Swordfish). Still cute after years of hard living Downey Jr. as Miranda's skeptical doctor ably smarms his way in and out of scenes in which he says little but raises much doubt about his true motivations--just one of several intriguing concepts abandoned in the face of a progressively trite storyline and escalating hoo-haw. Where it all just goes wrong--so so wrong--is in Cruz's greasy raving crackbird who shrieks lines like "He opened me like a flower of paaaain!" while trying to convince Miranda the Devil rapes her nightly in her cell.
Auteur Mathieu Kassovitz admirably sets the stage for a spooky thriller in the massive turn-of-the-century St. Vincent-de-Paul Prison an abandoned maximum-security facility near Montreal that serves as his women's prison. The setting is the only part of the film that holds any interest--it almost develops a life of its own which is more than can be said of the characters. Though Kassovitz resorts to Horror 101 (flickering lights suddenly appearing figures things that go bump in the night) these elements inspire dread and trigger a jolt regardless. So if the setting is suitably hair-raising the first few scenes effectively suck you in and the acting is passable what's the problem? Screenwriter Sebastian Gutierrez's script that's what. After an auspicious start the film drowns in nonsense and plot holes the size of which rival Michael Jackson's legal troubles until finally sinking like a stone with a truly pedestrian and ridiculous finale that unravels any interesting question raised in the two hours prior followed by a real howler of a denouement. "I don't believe in ghosts but they believe in me " says Miranda. Sorry we don't believe a bit of Gothika.