After decades of moviemaking years spent honing his craft and sifting through the industry's best collaborators to form a cinematic dream team Steven Spielberg is one of the few directors whose films routinely hit a bar of high quality. Even his more haphazard efforts are competently constructed and executed with unbridled passion reeling in audiences with drama adventure and big screen fun. There really isn't a "bad" Spielberg movie. His latest War Horse isn't in the top tier of the grandmaster's filmography but as a work of pure sentimentality and spectacle the film delivers rousing entertainment. Makes sense: a horse's heart is about eight times the size of a human's and War Horse's is approximately that much bigger than every other movie in 2011.
The titular equine is Joey a horse born in the English countryside in 1914 who triumphantly navigates the ravished European landscape during the first World War. A good hour of the 146 minute film is spent establishing the savvy creature's friendship with his first owner Albert (Jeremy Irvine). A farmer boy with a penchant for animal training Albert copes with his alcoholic father Ted (Peter Mullan) and their homestead's dwindling funds but finds much needed hope in the sprite Joey. After blessing Albert and company with a few miracles Ted makes the wise decision of selling Joey off to the war and the real adventure begins.
Like Forrest Gump of the animal kingdom the lucky stallion finds himself intertwined with an eclectic handful of persons. He encoutners the owner of a British Captain preparing a surprise attack. He becomes the ride for two German army runaways the prized possession of young French girl and her grandfather and the unifier of two warring soldiers in the battlefield's No Man's Land. From the beginning to the end of the war Joey miraculously sees it all all in hopes of one day crossing Albert's path again.
Spielberg avoids any over-the-top Mr. Ed techniques in War Horse but amazingly the horses employed to play Joey deliver a riveting muted "performance" that's alive on screen. The animal is the lead of the movie his human co-stars (including Thor's Tom Hiddleston The Reader's David Kross and Toby Kebbell of Prince of Persia) sprinkled around Joey to complicate his (and our) experience of war.
But even with a stellar cast working at full capacity War Horse falters thanks to its episodic nature. It is a movie of moments—awe-inspiring breathtaking and heartfelt—stuffed with long stretches of underdeveloped characters guiding us through meandering action. Spielberg's longtime cinematographer Janusz Kaminski makes the varying environments visually enthralling—from the dark blue hues of war to rolling green hills backdropped with stunning sunsets—and John Williams' score matches the film's epic scope but without Albert in the picture's second half War Horse simply gallops around in circles.
Spielberg is a master craftsman and War Horse a masterful craft but the movie lacks a necessary intimacy to hook us into the story's bigger picture. The ensemble's devotion and affection for Joey sporadically resonates—how could it not? Look at that adorable horse!—but even those emotional beats border on goofy (at one point Hiddleston's character decides to sketch Joey a moment I found eerily reminiscent of Jack sketching Rose in Titanic). War Horse really hits its stride when Spielberg pulls back the camera and lets his keen eye for picturesque composition do the talking. Or from Joey's perspective neighing.
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.
WHAT IT’S ABOUT?
Disney takes another whack at “Witch Mountain” having found success more than three decades ago with Escape to Witch Mountain and its sequel. Now the story has been contemporized and Bourne-ified to create what is essentially a nonstop breathless race across long winding roads and two worlds competing for superiority. As in the original two children with extraordinary powers seek to save Earth and their own planet from evil forces. They waste no time jumping into a hapless Las Vegas taxi driver’s cab ordering him to put the pedal to the metal. It soon becomes clear the secret to their quest lies somewhere in Witch Mountain a place where top-secret government activity has been going on for years. With their own alien military leaders in favor of a violent takeover and the U.S. leaders ready for confrontation these two teens Sara and Seth plus their cabbie Jack Bruno race against time to find a better solution for both of their worlds.
WHO’S IN IT?
Fast becoming Disney’s go-to guy Dwayne Johnson (formerly known as The Rock) follows up his hit football comedy The Game Plan with another family-oriented tale in which he again gets upstaged by kids. His Jack Bruno proves the perfect foil this time as he gets to be funny cynical commanding and heroic all in the course of about 97 minutes. As events careen out of his control Johnson grows increasingly exasperated and that’s part of the fun. As Sara a smart extraterrestrial teen Anna-Sophia Robb (Bridge to Terabithia) is ideally cast bringing a nice believability to the role without falling into stereotypes. Seth is well played but with one-note earnestness by Alexander Ludwig who still comes off a little too robotic at times. As an astrophysicist who gets caught up in the trio’s predicament Carla Gugino is a delight. Lead among the antagonists is Irish actor Ciaran Hinds who is properly mean and heartless when it comes to aliens of any stripe. Director Garry Marshall has an amusing cameo as a self-styled UFO expert and there are brief but welcome appearances by the all-grown-up Kim Richards and Ike Eisenmann who played the ‘70s incarnation of the alien kids in the earlier films. Richards’ face-to-face meeting with Robb is especially sweet.
The filmmakers wisely keep the retro tone of the book and earlier films while using state-of-the-art visual effects and movie magic. A lot of sci-fi movies have come along since Escape to Witch Mountain premiered in 1975 – see Star Wars Close Encounters and E.T. And while Witch Mountain circa 2009 won’t do anything to make us forget those classics it’s good fun -- like welcoming back an old friend.
There’s no complexity in sight and the story isn’t given a lot of time to breathe. We barely get to know Jack Bruno before the kids have hijacked his cab and the whirlwind begins. A little more exposition and plot development would have been welcomed for those with an attention span beyond two minutes.
There are lots of first-rate action set pieces including a collision with a train and a chase through a Vegas casino but the climactic spaceship battle can’t be topped. Kids are going to eat this sequence up.
After showing Jack her alien prowess for the first time by making various items in his cab float in mid-air Sara says “you humans don’t move objects because you don’t develop your full brain capacity”. Bruno replies “No I don’t do it because it’s kind of creepy.”