Since Edgar Rice Burroughs' novel A Princess of Mars was published nearly 100 years ago his otherworldly tale story has been subsequently been reworked and riffed on by nearly every sci-fi book or movie to follow. Star Wars Dune Avatar—sift through filmmaker interviews and it's easy to find threads tying their inspiration back to Burroughs. Which makes John Carter the big screen adaptation of Princess of Mars particularly surprising. The film's epic presentation of Martian races colliding in battle could feel stale but instead blossoms with color imagination and fun. Director Andrew Stanton (Finding Nemo Wall-E) has a strong sense of what makes "adventure" adventurous helping John Carter encapsulate everything about a great time at the movies.
John Carter (Taylor Kitsch) a Civil War veteran with the entire Confederate army on his tail finds himself mysteriously transported via a magic cave (or alien technology? If you get caught up in these details John Carter may not be for you) to smack dab in the middle of a Martian desert. As Carter overcomes the planet's gravity a physical difference that allows him to leap tall structures in a single bound (sound familiar?) he runs into one of Mars' many races: the eight-foot tall four-armed green Tharks. As their prisoner/friend/specimen John Carter takes a back seat to the unique world of the Thark world full of clockwork architecture and airships archaic customs and political strife. The Tharks are in the midst of a 1 000 year battle with the humanoids of Zodanga led by the villainous Sab Than (Dominic West) who is in turn manipulated by the occasionally-invisible shapeshifter Matai Shang (Mark Strong). The Tharks have teamed up with the residents of Helium including the stunning scientist warrior Dejah Thoris (Lynn Collins) but doom is impending and quickly the Spartacus-esque Thark fighter Tars Tarkas turns to Carter for help.
Unlike Avatar which introduced its fantastical world using the safety net of a simple archetypical story John Carter has no reservations bombarding its audience with plot and intrigue. At times the specifics of the world's complex societies and strifes are complicated and confusing but similarly to info-heavy scripts—think the recent Michael Clayton or Margin Call or heck Shakespeare—Stanton Mark Andrew and Michael Chabon's screenplay feels assured of its own drama confident that no matter your understanding the theatrics will sway you. The human element of John Carter exists behind even the most CG-ified alien creature and that's what keeps us on board.
If there's any misstep it's in the casting of Kitsch a fully capable action hero unconvincing as survivor of the Civil War. Kitsch feels pulled from present day but John Carter needs to be a Confederate soldier in more than name. Kitsch is up to the task of ripping up white apes with giant steel blades or jumping over armies of raging Tharks but in scenes of introspection or humorous back-and-forths he loses footing. The real star is Collins as Dejah Thoris who nails the epic qualities of reciting enjoyably ridiculous Martian-speak. She stands out even in the blinding desert sun and even when decked out in over-the-top boobage costuming manages to deliver a compelling and rousing performance. Doesn't hurt that she knows her way around a swordfight or two.
With John Carter moving at lightning speed investing in the film's handful of characters becomes a difficult task but talented folk like Willem Dafoe and Samantha Morton bring zest to characters on par with James Cameron's Avatar creations. And with such a strong background in animation it's no surprise that Woola John Carter's scrappy space dog sidekick is as realized and tangible as the rest of the gang. The scrappy six-legged critter adds humor to John Carter born completely out of the moment. Don't confuse this with the Star Wars prequels—nothing cutesy or ham-fisted here.
A streamlined John Carter would have really popped but as a first live-action effort for Stanton the fill is still something to behold. With breathtaking design sweeping action and a score by Lost Star Trek and Pixar vet Michael Giacchino that finds perfect balance between Lawrence of Arabia and Indiana Jones the film works as an immersive cinematic experience that will have you "ooo-ing" and "aaa-ing." If you step into John Carter you'll likely find yourself transported to another world—it beats trying to find a magic cave.
In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
As Phone Booth not-so-subtly points out most folks these days spend a great deal of time on the phone--so much so that the compulsion to answer even a random ringing phone is sometimes just too hard to pass up. Such is the fate of one Stu Shepard (Colin Farrell) a smooth-talking PR rep who revels in his self-serving unethical existence. He prefers to wheel and deal on his cell phone while pacing the streets of New York but uses a public phone booth for the calls he doesn't want wife Kelly (Radha Mitchell) to find out about like the special one he wants to make to Pam (Katie Holmes) a wannabe actress he's trying to get in the sack. Yet on this particular afternoon the pay phone rings--and being the phone junkie he is Stu answers it. Biiiig mistake. The caller turns out to be a serial killer with a sniper rifle who tells Stu he'll be shot dead if he hangs up the phone. Of course Stu thinks it's a sick joke at first but after the sniper kills someone near the booth Stu is suddenly thrust into a hellish game of cat and mouse with the unseen gunman. Eventually the police arrive led by senior officer Captain Ramey (Forest Whitaker) who first mistake Stu for the crazy shooter. Soon however Ramey his team Kelly and even Pam become ensnared in the sniper's web--and only Stu can save them by digging deep into his soul and coming clean ultimately outwitting the killer at his own game.
That this is pretty much a one-man show is a given--and Farrell bears the weight of it on his shoulders quite well. The Irish actor has a certain reckless-yet-oh-so-vulnerable approach towards his craft which he uses to full benefit in Phone Booth. Stu goes from cocky bravado to gut-wrenching defenselessness in one fell swoop and even though his character's dialogue gets heavy-handed about what a schmuck he has been Farrell manages to make it all believable. As the sniper Kiefer Sutherland is menacing and sardonic as he goads Stu into his confessions but the baddie never comes off as evil as you would like him to be. Of the supporting players only Whitaker stands out as the police captain who is thankfully a lot smarter than he first appears to be. Holmes and Mitchell on the other hand have the tedious tasks of playing "the women" and neither are able to rise above their thankless parts.
Phone Booth had some difficulties making it to the big screen. Originally From Hell's Allan and Albert Hughes were attached to direct with a varying list of A-list actors attached to star at different times including Will Smith and Jim Carrey. Eventually the film fell into director Joel Schumacher's lap in 2000 and (after Carrey dropped out) he cast newcomer Farrell with whom the director had just worked in Tigerland. Twentieth Century Fox at last was able to set a November 2002 release date--but then came the horrifying real-life events last October where two snipers in the Washington D.C. area randomly killed several people and the studio decided to postpone the release due to those sensitive circumstances. Now that the film is finally coming out the wait seems to have paid off since a) Farrell has become a bona-fide star in the meantime with The Recruit and Daredevil under his belt and b) Phone Booth is just as fresh and visually stimulating as if it was made yesterday. Schumacher shot the film in 10 days because he knew he had to pull out all the stops to sell the concept of having the action revolve around one guy standing in a phone booth. The result is an excellent fast-paced film which uses a split-screen style to tell the story--and keep the movie's--and the audience's--adrenaline pumping throughout.