The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
The final months of the Civil War a time when President Abraham Lincoln struggled to end slavery and bring the Confederate States of America back into the fold of the Union are among the most important moments in Unites States history. They're also the murkiest. Eleventh grade American History tried to teach us — war four scores Emancipation Proclamation the 13th Amendment and a fateful night at the theater — but with a few hundred years' worth of events to process most people leave school knowing that Lincoln made a couple of important moves that turned the world what it is today.
Thankfully we now have a film courtesy of the legendary Steven Spielberg that brings the 16th President's amazing uphill battle to cinematic life. The cold hard facts could not be more impressive.
For Lincoln an adaptation of the Doris Kearns Goodwin's biography Team of Rivals: The Political Genius of Abraham Lincoln Spielberg scales down his usual blockbuster sensibilities (last seen in 2011's World War I melodrama War Horse) to craft an intimate portrait of an iconic political figure. To pull it off writer Tony Kushner (Munich and the two-part Angels in America) constructs the film like a play relying on the soothing chameleon presence of Daniel Day-Lewis to breath life into Lincoln's poetic waxing. The president hits roadblock after roadblock on his quest to free the slaves and end the war Kushner and Spielberg weaving in handfuls of characters to pull him in various directions (and accurately represent the real life events). Each time Day-Lewis' Lincoln gracefully dances the dance solving every problem with action and words. Today Lincoln is held in high regard as an inspirational figure. Spielberg shows us why.
Lincoln isn't a full-blown birth-to-death biopic of the Great Emancipator and is all the better for it. Picking up in January of 1865 years into the Civil War Lincoln summons his Secretary of State William Seward (David Strathairn) to say enough is enough — the time is ripe for the abolishing of slavery. Against the vocal naysayers of the Union and even his personal confidants Lincoln attempts to rally the congressmen he needs to make his bill an amendment. He hires three men (John Hawkes Tim Blake Nelson and the wonderfully outrageous James Spader) to use whatever nonviolent means possible to swing the vote. All the while well-spoken adversaries (like Lee Pace's Fernando Wood) take to the House of Representatives floor to discredit Lincoln and dissuade congressmen. Keeping the progressive foot in the door is Thaddeus Stevens (Tommy Lee Jones) a foul-mouthed powerhouse who shares Lincoln's ambitious dreams of equality.
The story is simple but Kushner doesn't shy away from laying down lengthy passages of political discussion in order to show the importance of Lincoln's task. It's dense material spruced up with Kushner's ear for dialogue. But even so it occasionally meanders into Ken Burns documentary territory. Case in point: there are so many characters with beards in Lincoln Spielberg even flashes title cards underneath their opening scenes just so we're not lost. The fact-heavy approach takes getting used to but Spielberg and Kushner adeptly dig deep beyond the political gabfest to find a human side to Lincoln. He's a gentle man a warm man and a hilarious man. The duo's Honest Abe never shies away from a good story — at times he's like Grandpa from The Simpsons lost in his own anecdotes (much to the dismay of his cabinet). Day-Lewis chews scenery as hinted at in the trailers but with absolute restraint. That makes his sudden outbursts really pop. When Lincoln becomes fed up with pussyfooting politicians like the quivering representatives played by Walton Goggins and Michael Stuhlbarg Day-Lewis cranks the high-pitched president up to 10. He never falters.
There's a great deal of humor and heart in Lincoln — partially because the circus-like antics of Washington D.C. feel all too close-to-home in this day and age — and Spielberg paces it all with expert camera work. The drama is iffier: a side story involving Lincoln's son Robert (Joseph Gordon-Levitt) teases an interesting family dynamic that is never fully explored and is clunky when dropped to the wayside in favor of larger issues. Same goes for Lincoln's wife Mary Todd (Sally Field) who continues to grieve for the couple's lost child. They are important issues but they don't quite work in the fabric of this specific narrative.
The larger world outside the offices of the White House and Congress is often forgotten too — we hear a lot of war talk without seeing a whole lot of war. Instances where Lincoln ventures out into fields of the dead have emotional impact but we feel disconnected from it. Where Spielberg really gets it right is in the chaos of the presidential occupation. There is no easy task for Lincoln. "I may have been wrong about that " says Abe referencing his issuing of the Emancipation Proclamation "but I wanted the people to tell me if I was." Day-Lewis understands Lincoln's complex internal thought and brings it forward in each scene: humble confident deadly and compassionate.
Spielberg's technical team once again wows and echoes the lead performance. Director of Photography Janusz Kaminski's contrasting photography near chiaroscuro makes the beautiful set and production design hyper real and highlights the actors' aging faces. Composer John Williams returns once again but with a score as low-key as Day-Lewis' character — a change of pace when compared to War Horse. It's all up to par with Spielberg's past work without turning Lincoln into a flashy period drama.
Day-Lewis was the talk of the town when the first Lincoln trailers made their way on the web. Surprisingly however Lincoln wows because it's a well-balanced ensemble drama. Lee Jones delivers his best work in a decade as the grouchy idealist Spader delivers the comedic performance of the fall season and every scene introduces another familiar face to add additional gravitas to the picture (as opposed to being a distracting cameo fest). S. Epatha Merkerson's late-in-the-game scene opens up the tear ducts in a way that none of her male costars can.
If history isn't one of your interests Lincoln may not rouse you — background reading not required but conversation moves at lightning speed and without much hand-holding. It's a change of pace for Spielberg and a welcome one. With all the bells and whistles that come with being the biggest director of all time Lincoln looks amazing sounds amazing and has enough talent to make it an exhilarating learning experience.
The Exes: Chocolate and vanilla bear have been reunited! Former Scrubs stars Zach Braff and Donald Faison will give Sacred Heart fans heart palpitations when the duo reunites on Faison's TV Land sitcom The Exes. Braff will appear on the August 29 episode as a womanizing tennis player and client of Faison's sports agent Phil. [THR]
Duff stuff: The erstwhile Lizzie McGuire is returning to television! Hilary Duff has signed a deal with 20th Century Fox Television to develop a half-hour comedy starring Duff — and should that comedy fall through, the deal includes language that allows for Duff to be cast in one of the company's other running series. The purpose is to find Duff a proper starring vehicle, though, which shouldn't be too tough considering her natural comedic timing (she's the female Shia LaBeouf, in more ways than just their Disney history). [Deadline]
90210: Well, that didn't take long at all! Olympian Ryan Lochte will guest on the fifth season of the CW soap, playing a resort guest who encounters Naomi (AnnaLynne McCord) and Max (Josh Zuckerman). [TV Line]
Modern Family: In the first bout of new Modern Family casting, Bridesmaids funny lady Wendi McLendon-Covey is set to appear on the third episode of the ABC sitcom's third season as a lesbian mother whose son gets into a playground scuffle with Lily. Playing McLendon-Covey's better half is SNL alum Michaela Watkins, whose brief time on the sketch comedy show is best represented by this clip. [EW]
Raising Hope: Another SNL vet, Jenny Slate (famously of the 'Marcel the Shell' web series) is set to join Fox's Raising Hope as a social worker who visits the Chance household to survey the conditions of baby Hope. [TVLine]
Revenge: Declan (Connor Paolo) will be getting a new best friend in the form of young actor Michael Nardelli (CSI:NY), who has been cast as "a preppy misfit who befriends [Declan] and then proceeds to get him in a world of trouble." So... Tyler Barrol? [TVLine]
NCIS: CBS's popular procedural has tapped Star Wars legend Billy Dee Williams as Leroy Jethro, a "World War II veteran and close friend of the Gibbs (Mark Harmon) clan." [TV Guide]
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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.
After a brief flashback prologue where we see how the young lion Alex (Ben Stiller) is separated from his father Zuba (Bernie Mac) inadvertently ending up in the Big Apple the story returns to present day as our favorite New York zoo denizens prepare to take off from Madagascar in a crudely constructed airplane piloted by the penguins and propelled by slingshot. Unfortunately for Alex lovelorn giraffe Melman (David Schwimmer) fast talking zebra Marty (Chris Rock) and svelte hippo Gloria (Jada Pinkett-Smith) instead of landing in NYC the aircraft sputters and crash lands right in the middle of Africa where they run into a world of exotic creatures. This also includes Alex’s long lost dad and mom. Happy reunion? Not quite. Zuba’s nemesis Mukunga (Alec Baldwin) insists they follow lion pride lore which means Alex must go through a rite of passage -- one he is sure to fail if Mukunga has his way. Meanwhile Marty tries to integrate into a pack of zebras; Gloria gets hooked up with a soulful hippo (will.i.am); and Melman is up to his neck looking for love. Oh and they also all have to save the Kenya preserve from a life-threatening water shortage. No biggie! Madagascar: Escape 2 Africa’s witty and hip dialogue provides rich voice over opportunities for a talented crew of actors. Stiller continues to be a riot as the showbiz loving Zooperstar Alex especially in his attempts to earn the pride’s respect. Chris Rock earns his stripes as he tries to hang with a large group of look-a-like sound-a-like zebras. Schwimmer is winning and hysterical as Melman now considered a witchdoctor by his fellow giraffe-ians while Pinkett-Smith continues to shine as hippo Gloria looking for a little action. Among the new voices rapper will.i.am as Moto Moto the last of the red-hot hippos will have you wanting More More while Alec Baldwin gets to play the heavy with Lion King style. The late Bernie Mac playing it relatively straight as Alex’s father proves (as he does in his other new release this week Soul Men) shows us just how much his unique brand of humor will be sorely missed. Stealing the show however and getting king-sized laughs in an expanded role is Sacha Baron Cohen back as King Julien the hard-partying head of the lemurs. With a vast improvement in Madagascar’s state-of-the-art computer graphic work directors Eric Darnell and Tom McGrath take this sequel several notches up in terms of technical savvy including the exciting opening sequence as well as the plane crash. But they really score with the script with new co-writer Etan Cohen adding some crisp comedy. What was mostly just a serviceable script the first time around has gotten a lot more sophisticated and clever a development parents being dragged by their kids will be keenly grateful for. This is the rare animated sequel that actually has a reason for existence other than minting money. It has more heart drama and laughs than the original Madagascar which despite its flaws still made half a billion dollars worldwide. Madagascar: Escape 2 Africa should make even more as it proves to be one of the year’s most entertaining comedy delights.