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.
Spike Lee's remake of the Korean cult hit Oldboy may have finally landed its female lead. THR reports that Elizabeth Olsen, breakout star of the Sundance chiller Martha Marcy May Marlene and younger sister of Mary-Kate and Ashley, is in "early talks" to star in the film alongside Josh Brolin, who signed on last August to play the main character, a kidnapping victim who escapes after 15 years of captivity and seeks revenge against his captors.
Olsen would be playing Marie, a caseworker who investigates Brolin's character, delving into his dark past. News surfaced last September that Rooney Mara had been offered the role, but the Girl With the Dragon Tattoo star apparently turned it down. Alice in Wonderland star Mia Wasikowska reportedly passed as well.
THR claims that a deal for Olsen to star is "likely," but should it somehow fall through, Oldboy's producers will be heartened to know that there are still eight more women from the cover of Vanity Fair's recent "Hollywood Issue" for them to pursue.
Elizabeth Olsen can next be seen in the real-time home-invasion thriller Silent House, which opens March 9, 2012. Click on the above photo for more images of her.
Source: The Hollywood Reporter
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After attempting to promote Elizabeth Olsen’s performance in Martha Marcy May Marlene on Twitter but missing the mark a bit after misspelling her name, Alec Baldwin got the urge to go down to Zuccotti Park and interact with some of the people at Occupy Wall Street. He tweeted at around midnight EST that he was headed downtown, and then tweeted two hours later to thank an Andrew from Brooklyn and a Sean from Winnipeg for helping him get acclimated to the environment down there.
But even after he left the event, Baldwin’s night wasn’t over. The gathering must have left him feeling rather charged because he spent another hour on Twitter expressing his views and interacting with his followers regarding the protests. He first wrote, “OWS needs to coalesce around some legislative policy. The “occupy” strategy may be an effective one. But what can each entity agree on?” Then he added, “Campaign finance reform remains the linchpin of our democracy’s many problems.” And when one of his followers insinuated he would have stayed longer if he wasn't a famous actor, Baldwin responded with, “Your ill-considered class baiting is a very real part of the problem.” Then we learned he donated the money he earned from being in that Capital One commercial to arts charities, and he finally closed the night with stressing the importance of “a healthy banking system” and “strong capital markets.” Man, let the countdown to Jack Donaghy teaming up with Beeper King Dennis Duffy officially begin.
Click the photo below to view more pictures of Alec Baldwin!
Sources: Buzzfeed, Twitter
Sundance Film Festival: one of the few places a person can see over thirty movies in ten days and still walkaway with a lengthy list of regretful misses. This year was full of positive buzz, from rabid studio purchasing to the general thumbs-up public reactions to Park City's packed slate.
While many of the screened movies have their theatrical destinies set before the final night, the Sundance award ceremony often gives a much needed boost to films across the spectrum. Of course, like any "Best of," they also manage to overlook the true gems.
Here were the big winners of the festival along with a guide to who really should have taken home the awards:
Audience Award: Documentary - Buck, directed by Cindy Meeh
Buck has a special place in Sundance founder Robert Redford's heart - the film chronicles the true life story of Buck Brannaman, the real life Horse Whisperer (the basis for Redford's film). Buck is a heartwarming crowd-pleaser, but we're surprised the even gooier Being Elmo, a look behind one man's quest to become a Muppeteer, didn't sweep up this category. Both are must-sees.
Audience Award: Dramatic - Circumstance, directed and written by Maryam Keshavarz
The Iranian lesbian romance drama debuted to positive reviews and we're all for the win - the subject matter will be a tough enough sell for any distributor consdering picking up the film. We expected Sundance veteran Miranda July to pick this award up for her second feature, The Future, an adorable and emotional tale of a couple on the brink of splitting. While we enjoy July's brand of comedy, spreading the love to Circumstance will certainly help that picture's chances at being seen by a wide audience.
Best of NEXT!: Audience Award - to.get.her, directed and written by Erica Dunton
Critically panned by fest-goers, to.get.her, a drama concerning four teen girls' wild night, took the NEXT! category (designed for projects shot on little to no budget) by surprise. We had two favorites that deserved some the bump from winning this award: Bellflower, an off-beat mix of muscle cars and romance, and The Sound of My Voice, a twisted sci-fi/drama about a documentary team infiltrating an underground cult. Both movies transcended their budget limitations to tell engaging stories - we'll have to see if to.get.her commands that kind of attention.
Directing Award: Documentary - Resurrect Dead: The Mystery of the Toynbee Tiles, directed by Jon Foy.
Resurrect Dead took Jon Foy five years and a significant portion of his own income to complete, but the result is a wild mystery and fun 90-minute ride. It may not be the most expertly directed documentary to play the fest - James Marsh's slick Project Nim or the hilarious Shut Up, Little Man may take that honor - but with so much sweat and blood making its way to the screen (and a thrilling subject matter: the mysterious, sci-fi Toynbee Tiles), Foy is certainly deserved of the prize.
Directing Award: Dramatic - Martha Marcy May Marlene, directed and written by Sean Durkin.
Everyone at the fest thought Sean Durkin's first directorial effort, the terrifying Martha Marcy May Marlene, would take home the top prize, but at this fest the film will have to settle for excellence in directing. There's no doubt Durkin earned it - MMMM is a gracefully paced, unnerving experience, creating a sense of paranoia and dread few of his horror contemporaries could even attempt matching. Thankfully, this one has a distributor and you'll be seeing it soon.
Excellence in Cinematography Award: Dramatic - was presented to Pariah, directed and written by Dee Rees, shot by Bradford Young.
Another fan favorite, Dee Rees' Pariah rejuvenated the tired coming-of-age drama with grounded reality and fully fleshed out characters. Bradford Young's look compliments the feel. Instead of settling for the a gritty, "urban" look of most New York indies, Young's cinematography is diverse and complimentary to the world of the film.
Waldo Salt Screenwriting Award - Another Happy Day, directed and written by Sam Levinson.
Sam Levinson, son of famed director Barry Levinson (Rain Man), debuted with a harrowing feature film centered on a family that just can't get it right. Levinson picked up the screenwriting award for his script chock full of Aaron Sorkin-lite dialogue and Diablo Cody-esque pop culture references. It's not a particularly great film, but there's talent there. We would have loved to see Pariah, The Future, HERE or Terri take the prize, but the world isn't perfect.
Grand Jury Prize: Documentary - How to Die in Oregon, directed by Peter D. Richardson.
Once in awhile, a firm punch to the gut is a necessary wake up call to real world problems and issues. How to Die in Oregon is exactly that, rightfully taking top honors in the documentary category and leaving audiences across the fest bawling soon-to-be-frozen tears. The doc unravels the moral debate over Oregon's law to allow for terminally ill or elderly citizens to terminate their own lives and, as you can imagine, it's a tough one to watch. But for every gasp or sniffle, there's a moment of inspiration of hope - for an hour and a half, you're watching people do exactly what they want to do (legally).
Grand Jury Prize: Dramatic - Like Crazy, directed by Drake Doremus
Like Crazy hit home for many fest-goers, some calling the cross-continent relationship drama the new 500 Days of Summer. That might not be a sell for everyone, but for those who caught the picture, starring Anton Yelchin, Felicity Jones and Jennifer Lawrence, it resonated in a smart, true way. There are a handful of films that would seem fit for a win in this category, but a win for Like Crazy will only help its buzz when Paramount releases it sometime this year.
Keep These Films on Your Radar: Kaboom, Project Nim, Pariah, Martha Mary May Marlene, Win Win, My Idiot Brother, Troll Hunter, The Woman, Life in a Day, HERE, Bellflower, How to Die in Oregon, Take Shelter, Resurrect Dead, Submarine, The Future, Letters from the Big Man, Shut Up, Little Man!
The So-So Bunch: Jess + Moss, Uncle Kent, The Music Never Stopped, Hobo with a Shotgun, The Woods, Knuckle, The Sound of My Voice, The Devil's Double, Cedar Rapids,The Details, Terri, Flypaper
The Disappoints of the Fest: Magic Trip, The Ledge, I Melt with You, Homework, Another Earth, Son of No One, Another Happy Day