Set during the Spanish Civil War of the 1940s—a favorite area of exploration for writer-director Guillermo del Toro—the story follows dreamy 11-year-old Ofelia (Ivana Baquero) as she’s uprooted and relocated to a remote military outpost when her sickly mother (Ariadna Gil) marries the wantonly cruel camp commander Captain Vidal (Sergei Lopez). With the compassionate but secretive housekeeper Mercedes (Maribel Verdu) as the closest thing to a friend she has in the oppressive environment Ofelia escapes into a richly textured fantasy world. She follows a dragonfly she believes is a fairy into a landscaped but neglected garden maze she recasts as the lair of the goatish godling Pan (Doug Jones). He tells her she’s the last heir to a magical otherworldly kingdom and charges her with several tasks to help her reclaim her birthright. As her personal world grows more and more grim—the impending birth of her half-brother threatens her mother’s health her step-father grows colder and colder in his bid to crush the resistance and Mercedes’ hidden agenda places her in jeopardy as well—Ofelia soon finds herself tangling with hideous monsters both imagined and all too real often having difficulty distinguishing which is the more dangerous. The astonishingly real performance of the amazing young Spanish actress Baquero as Ofelia anchors the film firmly in both its real world and fantasy environments as only the convincing imagination of a child could. Lopez is an equally compelling discovery as the callous Vidal pitiless vicious and malevolent while still remaining believably human throughout. He’s unblinking in his depiction of a thoroughly vile and cruel man but avoids any aspect of cartoonish evil. And Verdu (Y Tu Mama Tambien) as Mercedes is a wonder as well with her remarkably expressive face unlimited by the film’s Spanish language barriers. Kudos too to Doug Jones a whisper-thin actor who specializes in “creature” roles (he’s played Abe Sapien in del Toro’s Hellboy and will be the Silver Surfer in the Fantastic Four sequel) who somehow magically delivers fully-formed performances as both the faun Pan and the freakish Pale Man through layers and layers of latex. Pan's Labyrinth is unquestionably Guillermo del Toro’s finest film work to date as pure an artistic vision as is likely to be committed to celluloid. He wisely worked outside the Hollywood system in his native Spain to bring his dark tale to life. The story exists in that shadowy netherworld between childhood and adulthood innocence and awareness of the world’s more sinister nature and its characters and themes are explored in ways that no mainstream film would ever allow. On the surface the trappings are Tim Burton-esque but the dark corners Pan's Labyrinth peers into are grim and gloomy indeed; del Toro is never afraid to delve into the murkiest of directions that to audiences used to more conventional movies are heart-wrenching even gut-churning but ultimately emotionally honest and in unexpected ways as immensely satisfying as they are haunting. The film is the announcement of the complete arrival of a major filmmaker and we can only hope that the qualities del Toro brings to this work do not get lost in the maze of Hollywood for future films.
Painfully estranged from his daughter old-school boxing trainer Frankie Dunn (Clint Eastwood) hasn't let anyone get too close to him in a very long time. Even his best friend and former trainee Scrap (Morgan Freeman) who manages Frankie's rundown boxing gym has a tough time getting through. Everything changes however when Maggie Fitzgerald (Hilary Swank) walks into the gym. A spitfire looking for someone to believe in her Maggie also has a painful past. But with unshakable willpower along with some tremendous raw talent Maggie has found that her love for boxing could be her ticket to a happy life--and she wants Frankie to turn her into a champion. Naturally he doesn't want to have anything to do with her and doesn't want to take that risk especially with a girl.Yet Frankie is soon won over by the young boxer's dogged resolve to be the best. The road to glory isn't easily paved for these two stubborn mules but Maggie and Frankie rediscover a sense of family they both thought they'd lost long ago. Theirs is a bond that will carry them through one of the hardest journeys either one of them will ever take. Oh yeah you're going to need a wad of tissues for this one.
Swank once again sheds her girlishness to tackle the roughhouse world of female boxing and she delivers another Oscar-caliber performance as Maggie. Not only does the actress embody the physicality of such a role--achieved after months of hard training--she also captures the spirit of a woman who defies the odds by breaking away from her dirt-poor trailer-trash upbringing to become a champion. Some may liken the plain no-nonsense Maggie to Swank's Oscar-winning role as the girl-turned-boy Brandon in Boys Don't Cry but Swank has matured in her acting abilities giving Maggie a very definite feminine edge. Still Swank might consider a nice romantic comedy for her next project. As for the men of Baby Eastwood and Freeman have never been more on top of their game. Frankie is tailored-made for Eastwood who plays a man tortured by his past and reluctant to let anyone in. It's a persona he has adopted many times but as the boxing trainer the craggy face gravel-voiced actor-director truly gives one of the better performances of his career. The same goes for Freeman as the soft-spoken but oh-so-wise Scrap. And watching the two Unforgiven veterans bicker and banter in Baby is like watching an old married couple.
Like a fine wine Clint Eastwood's movies just keep getting better and better the older the director gets. Following last year's intense Mystic River which some saw as a bit heavy handed Eastwood seems to have gone back to a quieter simpler more personal tone with Million Dollar Baby. The film starts out along the lines of such great boxing films as Raging Bull and the recent Girlfight as it highlights the competitive world of female boxing. It's in your face and gritty showing the punches the blood and the pain in glorious Technicolor. But just as it starts to turn into Rocky-style sap when Maggie rises to the top against all the odds the film subtly shifts into a love story about two people hurt by their pasts only to find each other and decide to hold on in a deeply familial way. Then just when you think how sweet that all is Baby throws you for an even bigger albeit darker loop. Eastwood expertly and gently guides you through the film's wondrous maze of revelations. Baby could very well creep in as a surprise Oscar contender.
Variety says Jason Priestly has signed to star in FX's drug drama pilot Dope, set to begin production this month. This will be Priestly's first series commitment since he left Beverly Hills, 90210 over two years ago. The show will also star Jacqueline Obradors, Keith David and Grayson McCouch. FX plans to air the series alongside The Barn, a new police drama with Michael Chiklis, CCH Pounder, Jay Karnes, Michael Jace, Catherine Dent and Benito Martinez.