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.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
Follow Thomas Leupp on Twitter.
Follow Hollywood.com on Twitter.
Sony Pictures Entertainment has saved James Bond. With MGM, the studio will co-finance, theatrically market and distribute Bond 23 worldwide, announced MGM Co-Chairman and Chief Executive Officers Gary Barber and Roger Birnbaum and Sony Pictures Chairman and CEO Michael Lynton and Co-Chairman Amy Pascal. Bond 23, the next film in the franchise, will release on November 9, 2012. Bond 24 has no specific date, but will be co-financed by Sony and MGM in a similar manner. Great news? Of course. But unfortunately, this news also means that males like myself will have to see Daniel Craig in a swimsuit again, which will undoubtedly make our girlfriends/wives/partners look at us during the film as we sloppily toss greasy popcorn into our mouths and comment about each "sweet-ass" explosion and wonder just what the hell they're doing with our sorry asses.
Sam Mendes will direct this latest installment, with franchise regular Judi Dench reprising her role as M.
Source: Sony Pictures Entertainment, MGM
The Tourist is about as difficult to get through as spotting the vowels in the name of its director. Florian Henckel von Donnersmark was last seen receiving a Best Foreign Film Oscar in 2007 for The Lives of Others which was about a couple living in East Berlin who were being monitored by the police of the German Democratic Republic. Its positive reception made way for the assumption that Donnersmark would continue to populate the USA with films of seemingly otherworldly and underrepresented themes. But his current project is saddening in its superficiality and total implausibility.
The film’s only real upside is its stars: two of our most prized Americans. Johnny Depp plays Frank Tupelo a math teacher from Wisconsin who travels to Europe after his wife leaves him presumably because of his weakness and simplicity. While en route to Venice he meets Elise Clifton-Ward (Angelina Jolie) who situates herself in his company after she receives a letter from her criminal lover Alexander Pearce (who stole some billions from a very wealthy Russian and the British government) with instructions to find someone on a train who looks like him and make the police believe that he is the real Alexander Pearce to throw the authorities and the Russians off his track. Elise picks Frank and after they are photographed kissing each other on the balcony of Elise’s hotel everyone begins to believe Frank is the real Pearce and so begins the chase.
While Donnersmark could not have picked two better looking people to film roaming around Venice his lack of faith in the audience is obvious. Every aspect of the characters is hammed up again and again as if Donnersmark felt burdened with the task of making us see his vision. Doubtful that we’re capable of getting to where he wants us he has crafted a movie completely devoid of subtlety. Elise’s strength and superiority over Frank are portrayed by close-ups and repeated instances of men burping up their lungs upon seeing her (as if her beauty is in any way subjective?). And in case we forgot that Frank is the victim in this story -- even though he’s been tricked chased and shot at - Donnersmark still felt the need to pin him with a lame electronic cigarette to puff on. Frank and Elise somehow manage to lack mystery even though we get very few factual details about each of them.
Nothing extraordinary comes to us in the way of the film’s structural elements either. There is very little of the action that The Tourist’s marketing led us to believe and the dialog is often painful. The plot itself is almost shockingly unbelievable especially when we’re asked to believe that Elise falls in love with Frank after a combination of kissing him once and her disclosed habit of swooning over men she only spent an hour with (yes that was on her CV).
The Tourist is rather empty and cosmetic. It’s worth seeing if you’re a superfan of Jolie or Depp but don’t expect to walk out of the theater with anything more than the stub you came in with.
A modern take on Puccini’s classic opera La Boheme Rent isn’t a complicated story. Set on the brink of the ‘90s we meet a group of er bohemians living in a rundown tenement in New York’s East Village struggling with AIDS eviction and creative ways to express themselves. The denizens include a budding documentary filmmaker Mark (Anthony Rapp); his rock musician roommate Roger (Adam Pascal); the stripper drug addict Mimi (Rosario Dawson) who lives downstairs; Mark’s ex-girlfriend edgy performance artist Maureen (Idina Menzel) and her new lawyer girlfriend Joanne (Tracie Thoms); street-drumming drag queen Angel (Wilson Jermaine Heredia) and his handsome boyfriend philosopher professor Tom Collins (Jesse L. Martin). When their fraught way of life in their beloved ‘hood is threatened by expanding corporate gentrification orchestrated by Mark ’s former roommate Benny (Taye Diggs) the group does what we’d all like to do--sing. And sing and… Non-musical fans may need a breather but at least the songs by Jonathan Larson (the show’s young composer who died suddenly before opening night) are MTV ready and vital to the storytelling. Casting most of Rent’s original Broadway stars is definitely a plus. Menzel Rapp Heredia (who won a Tony for his role) Diggs Martin and Pascal understand what it takes to make this story come alive and how to really belt out those songs. But the fact they are all mostly stage performers you get the feeling watching these talented thespians that they never stop wanting to give 110 percent which may come off over the top for the big screen. A seasoned film actor like Dawson (Sin City 25th Hour) is at an advantage. She understands the requisite subtleties of acting for the camera and gives a tour-de-force performance as Mimi all at once seductive sad and oh-so-tortured. Dawson is certainly one to look out for during this awards season. Wow director Chris Columbus sure is gutsy. Not only did he revive the long-stalled project from years in development limbo but he also had to live up to the high expectations of the Broadway show’s cultish fan base. Of course he isn’t a stranger to appeasing the masses having helmed the first two Harry Potter movies but ultimately with Rent Columbus turns out to be the wrong man for the job. The film is fairly static without much creative flair--and very long. Spike Lee was originally attached for the longest time. Imagine that film for a moment. Still to be fair to Columbus turning Rent into a movie is just plain difficult because it is NOT a cinematic story. It’s an opera--a good opera with lots of great pulse-pounding heart-wrenching songs but an opera nonetheless. Fans of the show or “Rent-Heads” as they are lovingly referred to should be happy with this big-screen version but once again I was left wishing I’d seen it on stage.