Warner Bros Pictures via Everett Collection
Even without having read Mark Helprin's novel Winter's Tale, I have the unshakable feeling that Akiva Goldsman's film adaptation does not do the story justice. Speckled throughout the moreover colorless movie are hints of an intriguing idea — a fantasy epic about an angel-demon bureaucracy coexisting with the human race throughout the span of 20th century New York City, operating within the parameters of a didactic miracle-granting system — an idea that doesn't come close to its full potential. In 118 minutes, we barely scratch the surface of the world in which an apparently immortal Colin Farrell finds himself. We see him cavort with Russell Crowe, a malicious gang-leader with netherworld origins, seek guidance from a mystical Pegasus, and carry out his destiny as the savior to a mysterious red-haired girl. But we never truly understand why any of this is happening. Not that it gets particularly confusing; on a plot level, it's all quite simple. But that's the problem — it shouldn't be.
The central conceit of the film is that everyone is put on this Earth with a divine "mission" to uphold. Farrell's gives us the narrative of Winter's Tale, introducing the various rules and officers of the supernatural regime along the way. Abandoned as a baby and brought up under the criminal regime of a Manhattanite from Hell (Crowe), Farrell ascends from orphan to petty thief to horse whispering renegade to whimsical lover of a dying Jessica Brown Findlay to ageless messiah... all without much clarity on the nature of the story (or stories) he's occupying, save for two ham-fisted scenes of exposition — one with Graham Greene (not the dead author) and one with Jennifer Connelly, who shows up halfway through the movie for some reason.
Warner Bros Pictures via Everett Collection
The world that Farrell is woven into has so many bright spots: we're on board for miracle quests, a magic-laden New York City, flying horses, and one of the biggest stars in Hollywood giving a cameo as the epitome of evil. Everything we see is fun, but it all flutters away as quickly as it arrives. We don't want quick bites of the way angels and demons do business with one another on the streets of Manhattan, we want the whole meal. A more thorough exploration of Helprin's world wouldn't just be doubly as interesting as the thin alternative we're offered in Goldsman's adaptation, it'd also fill in all the comprehensive gaps in Farrell's emotional throughline
We don't really understand so much of what happens to Farrell. Even when we're offered tangible explanations, we have no reason to understand why the Winter's Tale world works in such a way that Farrell might survive a 300-foot fall, develop amnesia, or sustain youth for a full century. What's more, we don't understand why Farrell's tale as a cog in this mystical machine is any more important than anyone else's. Or, if it's not, and we're simply asked to watch him carry out his quest as a glimpse into the vast, enigmatic system that Winter's Tale is ostensibly founded upon, we ... we don't understand enough of that world itself.
Warner Bros Pictures via Everett Collection
We're never invited close enough to any of the movie's attractive features for them to matter. So even when the movie does offer entertaining bits — in its fantastical elements, its detail of New Yorks old and new, or Farrell's admittedly charming romance with Findlay — we're not engaged enough to really connect with any of them.
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Still, the flying horse is pretty cool.
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When you're in high school it feels like the whole world is against you. In writer/director Stephen Chbosky's high school-set The Perks of Being a Wallflower the whole world may actually be against Charlie (Logan Lerman) whose freshman year of high school should be listed in the dictionary under "Murphy's Law." Plagued by memories of two significant deaths as well as general social anxiety Charlie takes a passive approach to ninth grade. A few days of general bullying later he falls into a friendship with two misfit seniors Patrick (Ezra Miller) and Sam (Emma Watson) who teach him how to live life without fear. Perks starts off with a disadvantage: introverts aren't terribly engaging but Chbosky surrounds Charlie with a vivid cast of characters who help him blossom and inject the coming-of-age tale with a necessary energy.
Set in a timeless version of the '90s Charlie's world is full of handwritten journals mixtapes and a just-tolerable amount of tweed. He writes letters to a nameless recipient as a way of venting a preventative measure to keep the teen from repeating a vague incident that previously left him hospitalized. The drab background of Pittsburgh fits perfectly with Charlie's blank existence. And when he finally comes to life as part of Patrick and Sam's off-beat clique so does the city. Like the archaic vinyl records Sam lusters over (The Smiths of course!) Chbosky visualizes Charlie's journey through the underbelly of suburban Pennsylvania with a raw emotion blooming lights and film grit at every turn. Michael Brook's score and an adeptly curated soundtrack accompanies the episodic affair which centers on Charlie's search for a song he hears during the most important moment of his life.
The charm that keeps The Perks of Being a Wallflower from collapsing under its own super seriousness come from Chbosky's perfectly cast ensemble. Lerman has a thankless job playing Charlie; often constrained to a half-smile and shy shrug Lerman is never allowed to grapple with Charlie's greatest fears and problems until (too) late in the film. Watson nails the spunky object-of-everyone's-affection but she's outshined by Mae Whitman as Mary Elizabeth another rebellious friend in the pack who takes a liking to Charlie. The real star turn is Miller riding high from We Need to Talk About Kevin and taking a complete 180 with Patrick a rambunctious wiseass who struggles to have an openly gay relationship with the football captain but covers his pain with humor. A scene of confrontation — at where else the cafeteria — is one of the best scenes of the year.
Chbosky adapted Perks of Being a Wallflower from his own book and the movie feels stifled by a looming structure. But it nails the emotional beats — there is no obvious path to surviving high school. It's messy shocking and occasionally beautiful. That about sums up Perks.
The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.