WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.