Just as surely as the hippos and gazelles that populate the African savannah in Disney’s 1994 hand-drawn classic The Lion King must take their place in the grand cosmic scheme of things the best Disney animated movies have their own roles in the “circle of life” that the movie’s opening song of the same name written by Elton John and Tim Rice refers to. The films open in theatres and delight kids and adults alike before heading to the home-entertainment sphere where they find everlasting life by being passed down to future generations.
However every once in a while a beloved Disney title gets reincarnated on the big screen in a newer spiffier form. Such is the case with The Lion King itself which arrives in theatres for the first time in 3D in a limited run beginning September 16 before its release on shelves as a special Diamond Edition Blu-ray on October 4.
An audience of Mouse House devotees were treated to the first public screening of The Lion King in 3D at the Anaheim Convention Center’s multi-tiered arena on Saturday August 20 2011 as part of Disney’s fanboy-nirvana D23 Expo. Directors Rob Minkoff and Roger Allers took to the stage to introduce the screening at one point even offering a spirited rendition of the miniature musical number in which the comedy team of wisenheimer meerkat Timon (voiced by Nathan Lane) and gaseous warthog Pumbaa (Ernie Sabella) distract a band of evil minions by launching into a rapid-fire Hawaiian-themed ditty. One of the co-directors even kept the rhythm going by banging on the makeshift drum of an upside-down water jug.
Then the movie began and it’s gratifying to report that Disney’s 3D conversion of The Lion King is an excellent fittingly majestic bit of post-production wizardry. Of course part of what makes the 3D so enveloping is that Minkoff and Allers have already done such an expert job of creating visually layered 2D compositions that the addition of the third dimension is able to stagger those layers in a striking manner. For example the last shot of malicious Uncle Scar’s (Jeremy Irons miraculously delivering the best vocal performance in a cast that also includes the booming baritone of James Earl Jones) “Be Prepared” musical number features an elephant’s skeleton in the foreground and the sight of Scar and his hyena underlings bellowing the song’s final notes atop a craggy mountain in the background. In 3D the viewer can get happily lost in the amplified depth between the shot’s foreground and background action.
Naturally there are also more gimmicky less subtle uses of 3D. Pumbaa’s snout and two horns are repeatedly lunging right at the spectator and the smoke and dust kicked up in the wake of the wildebeest stampede that (spoiler alert for those who have been living under a rock for the past 17 years!) claims King Mufasa’s (Jones) life seemed to hover in the Anaheim arena’s air. Since perhaps the most eye-catching use of 3D is when a flying character seems to soar in the space between the screen and the audience (think of that fuzzy-butterfly-type creature that stole the show in Disneyland’s 3D attraction Captain EO) the winged movements of Mufasa’s avian adviser Zazu (Rowan Atkinson) make for some of the movie’s showiest 3D touches. But they also lead to my one quibble with the 3D here: because the “you can seemingly reach out and touch Zazu” effects are so attention-grabbing scenes that aren’t even dramatically centered on Zazu end up inevitably and distractingly being all about the snooty beaked majordomo.
As fans would expect though the film’s stirring hero’s-quest narrative arc and emotional grace notes register just as strongly in this new format. When young hero Simba (voiced as a cub by Jonathan Taylor Thomas) devastated by father Mufasa’s death crawls under the giant paw of his dad’s corpse a few D23 attendees behind me could be heard blowing loudly into their tissues. That’s another benefit of having this film in 3D: those dark glasses do a great job of hiding your tears.
Don’t let the previews fool you—Terabithia isn’t anything like Chronicles of Narnia. Based on the Newbery-Award winning children’s novel by Katharine Paterson the story is more about childhood friendships and the way imagination can quite literally open new worlds. Jess Aarons (Josh Hutcherson) sees himself as an outsider at school—and at home. He really only feels himself when he’s drawing. Then he meets the new kid Leslie Burke (AnnaSophia Robb) who has just moved from the big city. Despite their differences—she’s rich he’s poor—they become fast friends. Leslie who likes to spin magical stories opens Jess’ eyes to the possibilities and together they create the secret kingdom of Terabithia a mystical place accessible by swinging on an old rope over a stream in the woods near their homes. Interacting with the Terabithian denizens they’ve imagined both evil and good Jess and Leslie learn to deal with the pressures of their young pre-adolescent lives—and learn what the power of real friendship truly means. The young fresh cast really make Bridge to Terabithia work. Robb and Hutcherson are already veteran kid actors: Robb is best known for stealing hearts in Because of Winn-Dixie (another kid novel adaptation) and popping chewing gum as Violet in Charlie and the Chocolate Factory while Hutcherson played the tough older brother in Zathura as well as Robin Williams’ kid in R.V. Their acting experience clearly shows as they make the friendship between Jess and Leslie both genuine and heartfelt. There isn’t a false moment in their performances especially from Hutcherson who at first sends off an I-could-care-less vibe but through his soulful eyes becomes more attached to Leslie and their secret place. And as Jess’ little sister 7 year-old Bailee Madison plays the moppet without any cutesy affectations. As far as the adults are concerned stand outs include Robert Patrick as Jess’ stern dad just trying to make ends meet for his family and Zooey Deschanel as the kids’ music teacher who Jess has a crush on. In 1978 author Katharine Paterson wrote Bridge to Terabithia for her then 11 year-old son David Paterson about a special friendship he had. It was an instant hit. Now David all grown up is able to bring his mom’s touching story to life as one of the writers. Talk about a family effort backed by Walden Media--the geniuses behind Holes and Chronicles of Narnia. Directed by Rugrats creator Gabor Csupo Terabithia truly captures the essence of childhood imagination even I dare say more so than Narnia. Maybe it’s because the idea of Terabithia comes from the minds’ of very real children who are going through very real emotions as they enter into adolescence. Csupo keeps the imagery simple allowing audiences to create a fantasy world filled with mythical creatures right along with the film’s main characters. And if you haven’t read the book you might be surprised by the story’s poignancy. In a saturated field of animated duds and kid films better suited as after-school TV specials Bridge to Terabithia stands out as a one of the better family movies to come around in a long time.
Set in a world inhabited only by motor vehicles Cars is sort of a cross between Michael J. Fox's Doc Hollywood and NASCAR. The main hero is a hotshot rookie race car named Lightning McQueen (Owen Wilson)--an obvious homage to the late fast-driving Steve McQueen--whose one goal in life is to win the Piston Cup and bask in fame and glory. Yet on his cross-country trip to the Piston Cup Championship in California to compete against two seasoned pros (real-life legendary racer Richard Petty voices the reigning champion The King) Lightning finds himself unexpectedly detoured in the sleepy--and forgotten--Route 66 town of Radiator Springs. There he meets its colorful denizens--including Sally (Bonnie Hunt) a snazzy 2002 Porsche who owns the local “rest” stop; Mater (Larry the Cable Guy) the town’s rusty but trusty tow truck; and Doc Hudson (Paul Newman) a 1951 Hudson Hornet who rules the town with a steady hand er wheel. Together they all help the cocksure Lightning realize that there are more important things than trophies fame and sponsorship. If Pixar calls you come running so it isn’t at all surprising how impressive the Cars vocal line-up is starting with legendary screen icon Newman as the Doc. Come on being the race car driving nut that he is you think the 81-year-old actor would say no to voicing a 1951 Hudson Hornet who has his own mysterious past in the racing world? Hell no. The rest of the cast also seem to have a good time channeling their inner car from Wilson’s snarky speedster to Hunt’s cute and sexy Porsche a big-city lawyer who decides to get out of the fast lane. Supporting voices include Cheech Marin and Tony Shalhoub as Radiator Springs’ low-riding body shop and Italian Fiat tire shop owners respectively. Even George Carlin gets into the act as a groovy ‘60s VW wagon who sells “organic” fuel. Good stuff. Of course what Pixar flick would be complete without its comic relief? Although he’s no Ellen DeGeneres as a short-term memory impaired fish Larry the Cable Guy fills in nicely as the dim but sweet Mater the ultimate hick tow truck. Having been out of the directing loop since his 1999 sequel Toy Story 2 Cars marks Pixar’s golden boy John Lasseter return--and this is his big love letter to the splendor that is the automobile. Of course his demand for perfection took its toll. The animators had to come up with a new technique called “ray tracing ” which allows the car stars--that are metallic and heavily contoured--to credibly reflect their environments. Even with a sophisticated network of 3 000 computers and state-of-the-art lightning-fast processors that operate up to four times faster than they did on The Incredibles the average time to render a single frame of film was 17 hours. Still all that time spent pays off. Cars is a real visual treat with another firm grasp in storytelling. Sure it’s a bit of a vanity project and may shoot way over the kiddies’ heads making them squirm a little during the “slow” parts. But as one of the recently appointed top guns at Disney Lasseter can do just about anything he wants these days--and we are going to love it dammit.
Set in 1984 Josey Aimes (Charlize Theron) returns to her ice-cold hometown in Northern Minnesota after fleeing from an abusive husband. In order to care for her two young kids she needs a job--and for most of the townsfolk including her distant dad (Richard Jenkins) that means working in the local iron mines. Problem is not too many women work there and those who do are subjected to continual harassment by their male coworkers. Josey lands a job anyway and starts to get her fair share of sexual innuendos. One day her former high-school sweetheart also a mine employee takes it way too far with her. Although met with strong resistance of course a lawsuit ensues that results in a groundbreaking decision for women’s rights in the workplace. Ah what an Oscar can do for a career. It wasn't that long ago Theron wouldn’t even have been considered for such a dramatic role. But with deserved recognition she gets to strut her stuff in North Country. She's no Monster but she's no supermodel either--and while it's impossible to erase her beauty its glare has been reduced. A second-consecutive Oscar win? Maybe not but a nomination wouldn't be out of the place. Co-star Frances McDormand might also be in line for a nod of her own. She plays Glory a woman who gets Josey the job and encourages her to fight the good fight something that seems visceral for McDormand. Woody Harrelson is also solid as Josey's attorney though his Midwest-stoner drawl gets in the way of the northern accent he's supposed to be selling. New Zealand director Niki Caro mightily impressed us with Whale Rider a poignant mixture of grief and vigor and with North Country she continues to impress. As more an observer than anything else Caro lets the true story tell itself--of what happened in this small town with its frigid denizens and sexist behavior. And the film is definitely a period piece á la Norma Rae in that it's from a specific period albeit a recent one and pertains to a specific region. But it's kind of slow going. There’s a lot of weeping and dramatic speeches. Still Caro makes up for it by including several Bob Dylan songs who rarely grants the use of his songs in films. Perhaps he felt a certain a kinship to this film since it takes place in the desolate cold Northern Minnesota where he comes from--and so resents.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.