This article contains spoilers for this weekend's Oz the Great and Powerful.
Early reports suggest that Sam Raimi's Oz the Great and Powerful is on its way to becoming a massive hit, taking in $2 million in midnight screenings and moving like a tornado towards a predicted $80 million weekend. Even before the dollar figures became apparent, Disney knew they had a hit on their hands — at least, enough to begin developing a sequel to the fantasy flick.
Mitchell Kapner, whose credits include Raimi's Great and Powerful, The Whole Nine Yards, and Into the Blue 2: The Reef, has been hired to pen a sequel to his film. After Kapner completed his version of Great and Powerful, writer David Lindsay-Abaire (Rabbit Hole, Rise of the Guardians) came on board to rewrite the film. There's no word from The Hollywood Reporter's initial report on whether or not the sequel would follow the same process.
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While the conclusion of Oz the Great and Powerful sets up for the events of the much-loved 1939 Wizard of Oz, Kapner has wiggle room to continue on with the established characters in his version. The film ends with Oscar utilizing his con man magician skills to convince Theodora and Evanora that he's been killed, manifesting himself as a talking head with dangerous magical powers. They both flee the scene, escaping unscathed so that they could, theoretically, confront the Wizard at some point down the yellow brick road.
Constructing an Oz sequel to fit between Great and Powerful and The Wizard of Oz would be possible, though challenging. Dramatically, we've already been given the prelude that connects the two movies. If we saw the further adventures of Oscar (presumed dead), the witches, the Munchkins, and the rest of the gang, the events of Oz 2 would have to loop back around by the end of the film so that everything is in working order for Dorothy's arrival. Basically, have the same conclusion as movie one.
That, or it must have some continuity shift that throws Oz into a J.J. Abrams/Star Trek-style tizzy (a time travel headache that fused "sequel" and "reboot" into one monster of a franchise intsallment). The only way for the original cast to return and create real drama again would be to go off course. Maybe Dorothy doesn't make it Oz, maybe a house doesn't fall on the Wicked Witch of the East, and maybe a younger Wizard must come out of hiding to once again battle the evil sisters with some new allies.
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Diehard Oz-enthusiasts may throw up their hands and scream even louder than they did when Great and Powerful was first announced, but the move would effectively shake up the mythology and split Raimi's movies into their own dynamic franchise. Attempting to weave another tale into the tapestry of cinematic Oz movies sounds like a messy operation, regardless of how well Great and Powerful plays with audiences.
Technically, Oz the Great and Powerful is completely disconnected from the original '39 movie (that is owned by Warner Bro. while Great and Powerful is a Disney-owned property). Kapner and Lindsay-Abaire culled from author L. Frank Baum's source material, paying homage to The Wizard of Oz movie as carefully as they could without infringing on WB's rights. They might be smart to go back to that source material for a sequel: Baum wrote 14 Oz and a handful of spin-offs, telling the tales of various characters and moments in Ozian time. The continued adventures of Raimi's Oz could flourish if approached like the Narnia series.
Instead of following The Wizard and attempt something that continues the plot of the original, find a new lead, a new adventure, and new area of the alternate universe to explore. Audiences may agree with critics that the weakest part of Great and Powerful is Franco. He wouldn't be needed if the sequel script brought in a new visitor to the world of Oz and wrangled Mila Kunis and Rachel Weisz to return as the pair of Wicked Witches. Anyone who has seen the 1985 cult favorite Return to Oz knows there are a handful of great characters to pull from — Jack the Pumpkinhead, Ozma of Oz, and Tik Tok to name a few. It's just a matter of weaving them into the light, fluffy world created by Raimi.
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If Oz the Great and Powerful crosses the right box office lines over the weekend, it won't be too long before Disney shifts Oz 2 into high gear. So what do you want out of a new movie? What can they fix about the first movie? What do they need to keep? Don't be cowardly — let your brain and heart go crazy in the comments.
Follow Matt Patches on Twitter @misterpatches
[Photo Credit: Walt Disney Pictures]
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Based on the award-winning book by Bernhard Schlink The Reader is an extraordinary provocative and controversial story set in post-World War II Germany. It starts when 15-year-old Michael (David Kross) becomes ill with scarlet fever and is helped home by sympathetic woman named Hanna (Kate Winslet). After his recovery he returns to thank her and is drawn into a clandestine affair with this intriguing woman more than twice his age. Their relationship grows stronger especially when he starts reading to her. But then she suddenly disappears leaving a devastated Michael who now must move on with his life. Little does he know that eight years later while he is in law school he would see Hanna again -- as one of the defendants in a court case against Nazi war criminals. Shocked at revelations about her secret past he also discovers something that will change both their lives forever. Granted Kate Winslet is one of the finest young screen actresses but her range in The Reader will astonish you. It’s an extremely tricky part that could easily lose the audience’s sympathy if done incorrectly but Winslet handles it with aplomb. She runs through the whole gamut of emotions -- aging from her 30s to 60s -- all at once sexy mysterious conflicted contrite as well as many other colors. As Michael newcomer Kross is devastatingly good the most impressive acting discovery in a long time. Although he plays 15 he was 17 at the start of filming and production had to shut down until he turned 18 for the graphic sex scenes. As the story flashes forward Ralph Fiennes takes over the role as the older Michael and does so with a touching sincerity. Lena Olin also has a strong cameo as a Holocaust survivor with definite opinions of Hanna. Although this is only acclaimed stage director Stephen Daldry’s third film he once again shows a mastery of the medium far beyond his limited cinematic resume. Like The Hours and his debut film Billy Elliot he has crafted another film to savor. The Reader isn’t necessarily the most comfortable film to watch but Daldry guides the subject matter with a delicate and steady hand giving us a complex and touching love story between the most unlikely couple. It also delves into how one generation of Germans can come to terms with the horrors of another. Daldry’s directorial restraint and power perfectly serves David Hare’s impressive screenplay and delivers a memorable movie-going experience.
Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
All Daphne Reynolds (Amanda Bynes) has ever really wanted is to meet the dad she's never known. Growing up in New York with her loving and free-spirited musician mother Libby (Kelly Preston) she makes her mom tell the story of her parents' whirlwind romance over and over. How much in love they were but how unbeknownst to him his aristocratic family drove Libby away. Now at 17 Daphne is determined to live the fantasy of the father-daughter relationship she craves. Arriving in London she finds out pop is Lord Henry Dashwood (Colin Firth) a high-profile politician who is about to marry the snooty Glynnis (Anna Chancellor). Needless to say Henry is dumbfounded to discover he has a daughter and together with his regretful mother Lady Jocelyn (Eileen Atkins) they open Dashwood manor to the spirited girl. As Daphne and Henry tentatively test their newfound relationship the teen has a hard time fitting in with stuffy British high society and soon begins to jeopardize her father's political career. She tries to suppress her bubbly personality and turn herself into a respectable debutante but Daphne soon realizes she's giving up too much of herself to be Henry's daughter. The question is will Henry realize it is he who is not made for the suffocating life he's been shoved into and reclaim his daughter and the only woman he has ever loved? Oh stop the suspense is killing us.
The 17-year-old Bynes is already a brand name in comedy--at least to the 'tween set who from the time Bynes was 10 years old have enjoyed her slapstick antics on Nickelodeon's variety show All That her own variety show The Amanda Show and her current WB sitcom What I Like About You. Bynes is all grown up now and as the cute sexy--and klutzy--Daphne she excels at performing pratfalls and infuses as much charm as she can into the character. It is clear however the young comedian has some work to do before becoming a good actress. Thank goodness she is surrounded by talented actors such as Atkins (Gosford Park) and even Preston who does a nice job as the bohemian Libby. Yet it's Firth (Bridget Jones's Diary) who truly elevates the film when on-screen and helps Bynes reach those dramatic highpoints. He has the uncanny ability to turn even the most insipid of parts into something worth watching. His best moment as Henry is when he tries on some old leather pants and dances around in his opulent bedroom pretending to be a rock star. It's very un-British of him--and it's brilliant.
To put it mildly What a Girl Wants really looks bad. TV director Dennie Gordon obviously hasn't mastered the art of filmmaking in any way because not only are many of the shots blurry and poorly lit often times it seems Bynes is shot through an entirely different softer lens than the other actors. Usually that kind of treatment is given to older actresses who want to hide all the little imperfections but for a 17-year-old cutie? Obviously it's a mistake. As well the sugar-pop theme gets out of hand trying way too hard to appeal to the hip and cool 'tweeners. To a rockin' soundtrack look how Daphne can turn a pretentious coming-out ball into a choreographed dance number! Or see how she can try on different '70s outfits and funky glasses while her father amusedly looks on! (Even Firth looks uncomfortable). Sure 11-14-year-old girls are going to love it especially the sweet love story between Daphne and a local London musician Ian (Oliver James). It's only the heart of the story--the father-daughter relationship--that keeps the film from falling into just another Teen Beat tableau.
New York City detective Mike Reilly (Stephen Dorff) teams up with Department of Health researcher Terry Huston (Natascha McElhone) to investigate five bizarre deaths. Before long they discover that all the victims died exactly 48 hours after visiting the Web site feardotcom.com. The site itself looks amateurish with rapid-fire images of a strange doorway screaming faces torture tools and indiscernible grainy objects. Users log on to watch a twisted doctor perform autopsies on people--while they're still alive torturing his victims until they beg to be killed. The voyeurs must then interact with a mysterious woman who asks things like "Do you want to hurt me?" She challenges users to find her within two days--or die. Those who don't find her end up suffering whatever gruesome fate they fear most and--this is the best bit--it's brought on by some sort of evil force generated through the computer. Of course curiosity gets the better of them and Mike and Terry log on to the site only to find themselves embroiled in a supernatural violent fight for their lives. If this explanation made sense that's more than we can say for the plot of feardotcom.
Dorff is well cast as Mike Reilly a brash young city police detective whose curious nature gets him into trouble. But the character is too simplistic and underdeveloped to give Dorff much to do. Although we get a little more insight into McElhone's character Terry (we know she has a cat name Benny for example) there isn't much to like or dislike about her. Dorff and McElhone's characters strike up a sort of friendship as the film progresses but there isn't much chemistry between the actors. A couple of the creepier roles in the film are much more entertaining to watch especially Stephen Rea and Michael Sarrazin. Rea plays Alistair Pratt the twisted doctor whose torture victims provide feardotcom.com's "entertainment " while Sarrazin plays Frank Sykes a drunk and washed-up author. It's a shame these two didn't have more screen time.
Director William Malone explains in the production notes for the film that feardotcom offers both a scientific and spiritual explanation for what happens in the film and that it is ultimately up to moviegoers to decide which school of thought they subscribe to. But the film's storyline is so convoluted and contradictory that it's difficult to figure out what question the film is asking let alone find the answer. Even if nothing about the story--or the philosophical questions it purports to ask--makes sense the intense look of the film is enough to keep you watching. Malone bathes the film in murky blue tones and sunlight never even trickles in. Offices are dimly lit and apartments are always dank and dilapidated. It rains day and night. The weird flashes of images presented in this setting are graphic and disturbing making feardotcom a film for the strong of heart--and stomach.
Justine Last (Jennifer Aniston) lives the kind of life that rarely makes the big screen. She spends her days giving makeovers at the Retail Rodeo and her nights watching her house painter husband of seven years Phil (John C. Reilly) and his best friend Bubba (Tim Blake Nelson) sit on her couch and get high. All of that changes though when she meets Holden (Jake Gyllenhaal) the new cashier. The eager yet troubled young poet/screenwriter/novelist-to-be captures her imagination and eventually becomes her lover. In classic moments of small-Southern-town trysting he takes her to his room in his parents' house and arranges meetings outside the Chuck E. Cheese's. They shack up in a motel at the edge of town; they rendezvous at a lake in the country. Throughout the affair though Justine is torn and guilty wanting to be a "good girl " but finding herself a hateful woman--a self-proclaimed adulteress and a liar. This is no whitewashed fantasy of a romantic affair between an older woman and a younger man. This affair is your sister's your brother's your husband's your wife's. It's real it's gritty and it's painful. Ultimately Holden's love for Justine becomes morbid and obsessive causing her to realize that the man she thought would change her life was in fact "at best a child and at worst--a demon." Justine is then forced to choose: this obsessive love and the excitement it brings or a stable--if boring--life with her husband.
Aniston proves her mettle at last in a role that finally allows her to do so; no one who sees this film will ever again accidentally call her "Rachel" (her character on the ubiquitous sitcom Friends). Her performance perfectly captures the tension of wanting to be a "good girl" yet secretly yearning to be selfish. You know she's dueling with herself as she makes decision after decision that leads inexorably to the film's tragic ending and you feel her pain. Justine is flawed like all the rest of us and Aniston brings this humanity to the forefront creating one of the most realistic heroines in recent history. Gyllenhaal too is perfectly cast as the brooding intense Holden. He captures the duality screenwriter Mike White writes into nearly all the characters in this movie: You want to snuggle Holden one minute; the next you wish he'd just go away. Reilly and Nelson also demonstrate a not inconsiderable subtlety in roles that could easily have become caricatures; instead the tension between what these guys wanted from life and what they ultimately ended up with accentuates Justine's turmoil and deepens the film's theme. On the film's lighter side White puts in a hilariously dark turn as Corny the Bible-thumping security guard at Retail Rodeo and Zooey Deschanel is excellent as the classic employee with an attitude hurling insults at Retail Rodeo customers over the loudspeaker as she announces the latest bargain on aisle eight.
The Good Girl doesn't look like much. Darkness and shadows invade every corner of the screen at one point or another the sets are fairly commonplace and the costumes are simple: Lee jeans smocks plaid shirts and painter's pants. Even Aniston's pink bathrobe is dull and washed out. The Good Girl is a smart delicately ironic and insightful partnership between a brilliant screenwriter (White) and a director (Miguel Arteta) who know exactly how to bring words to life on the screen. And The Good Girl does come to life in a well-paced funny quirky package that leaves you thinking that above all what you have seen is a slice of truth in a mixed-up crazy world.