In Red Riding Hood the age-old fairytale of a little girl who learns the perils of talking to strangers has been turned into a sort of supernatural harlequin murder mystery by Catherine Hardwicke director of the 2008 teen vampire flick Twilight. Though nominally a horror film its dearth of scares and potent strain of adolescent melodrama will inspire more comparisons to Stephenie Meyer’s bestselling saga than its director would probably care to acknowledge.
In this version the titular red-cloaked heroine played by doe-eyed Amanda Seyfried is given a name – Valerie – and cast not as the disobedient naïf we remember from the original fable but a headstrong and independent-minded young lady who would never fall for the tricks of some hairy beast masquerading as her grandmother. Although betrothed by parental arrangement to Henry (Max Irons) the respectable scion of a wealthy blacksmithing family her heart really belongs to Peter (Shiloh Fernandez) the darkly handsome town badboy whose chosen occupation woodworker apparently ranks far below blacksmith in the social hierarchy.
Valerie is inclined to run off with Peter but soon such inclinations must be shelved when her sister turns up dead the apparent victim of a wolf that has terrorized the residents of Daggerhorn the rustic medieval-ish mountain village in which the film is set (the exact setting and time period are kept weirdly indeterminate) for decades. The men of Daggerhorn resolve to avenge the girl’s death and slay the murderous animal once and for all but they appear hopelessly outmatched until Father Solomon (Gary Oldman) a blustery hunter/inquisitor with dubious religious credentials arrives on the scene. Solomon informs the beleaguered Daggerhornians that the wolf they are dealing with is no mere wolf but a shape-shifting werewolf with powers far greater than any of them had anticipated.
Even worse when the moon isn’t full he (or she) walks among them unnoticed in human form. Everyone is a suspect Solomon declares and soon Red Riding Hood evolves into a hokey whodunit filled with all sorts of unconvincing feints and red herrings. At the center of the mystery is poor Valerie in whom the werewolf seems inordinately interested. “Ohmigod you can talk!” she gasps when the werewolf first speaks to her telepathically – a line that got some of the loudest laughs in a film that is far too often inadvertently comedic.
Such is the danger of a film that treats such a subject as ridiculous as Red Riding Hood’s with such unrelenting gravity – melodrama curdles into gooey processed cheese. And this film is slathered with it. Which wouldn't be so bad if the subject matters were at least a little suspenseful but Hardwicke is unable to exact much terror or fright out of David Leslie Johnson’s too-tame script. (The film’s PG-13 rating doesn’t help.) What we’re left with is a gauzy romance that might have even ardent Twi-hard types rolling their eyes.
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Before the main feature begins audiences are treated to an added bonus--The Flight of the Osiris a really cool $5 million computer-animated short film created by Matrix writer-director brothers Andy and Larry Wachowski that connects the story to the next installment The Matrix Reloaded. Taking place after The Matrix left off it's a wild ride showing one rebel ship trying to fight off the evil machines--and unfortunately losing the battle. Done in the animated futuristic style of last year's Final Fantasy: The Spirits Within the film will certainly whet Matrix fans' appetites. Moving on....As with any good King tale Dreamcatcher begins with relationships. This time the action centers on four best friends--the agreeable Jonsey (Damian Lewis) the tortured Henry (Thomas Jane) the flippant Beaver (Jason Lee) and the lovelorn Pete (Timothy Olyphant)--who as kids 20 years ago saved a mentally challenged kid named Duddits (Donnie Wahlberg) from some bullies and somehow were bestowed with uncanny powers of telepathy by the eerie little kid that bonded them all beyond ordinary friendship. Now as adults they feel burdened by their powers but soon find out how glad they are they still have them. When the guys head to a hunting cabin in the woods for their annual blowing-off-steam session the happy reunion is cut short by a deadly alien force which has invaded their snowy surroundings. While the U.S. military lead by Colonel Abraham Curtis (Morgan Freeman) and Capt. Owen Underhill (Tom Sizemore) quarantines the area to get rid of the infectious alien presence known as the "Ripley" (named after the main character in Alien) the foursome are haplessly drawn into the aliens' evil plan finding themselves once again inexplicably linked to their old friend the now cancer-stricken Duddits. It's a race against time to stop the invasion but the four men use all their strength to stand together--one last time.
The natural rapport and strong bond between the four main characters needs to be believable to make Dreamcatcher palatable. Fortunately the actors playing them live up to the task and when they are all on screen at one time it works; unfortunately scenes featuring all of them are few and far between. The British Lewis who was so damn good in HBO's Band of Brothers as leader Richard Winters gets his first starring role in a feature film and brings the same level of quiet intensity to his Jonesy as he did to Brothers. Olyphant (Go) and Jane (The Sweetest Thing) play Pete and Henry like they've been lifelong pals offscreen while Wahlberg is almost unrecognizable as Duddits proving he can get rid of those good looks and put in a nice performance. And finally Jason Lee who's been suppressing his witty sarcastic self far too long in stinkers such as A Guy Thing steals the show as the curse-word lovin'--and incredibly brave--Beaver. The plot line revolving around Freeman's and Sizemore's characters is far less interesting with Freeman turning in his usual steady performance but somehow missing the mark as Curtis a military man who has seen way too much.
The talent behind Dreamcatcher is clearly evident. Director/co-writer Lawrence Kasdan and co-writer William Goldman do a wonderful job setting up the action with the quick back and forth dialogue between the four men. It gives you an immediate intimacy with the main characters something King likes to do in his writing as well. Kasdan also uses interesting imagery of a large and dusty library that represents the inside of Jonesy's mind where he hangs out and shuffles old boxes full of memories around to make room for new ones. When the alien takes over Jonesy's body Kasdan frames the action by showing Jonesy trapped inside this library watching what is happening to his friends and trying desperately to keep the invading menace at bay. Ultimately though just when it should jump on the horrific momentum it's built up the film begins to fall apart as we move away from the four main characters and start dealing with the military operation. Perhaps the main problem lies in the fact it is too derivative--of other alien movies (Independence Day meets Alien meets The Thing) and worse of other Stephen King movies (Stand By Me meets It meets The Tommyknockers). In other words it ends up being a highly anticlimactic rehash.