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.
Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.