After 19 long years, Indiana Jones is back and better than ever. Well, maybe not. But he’s in a much better shape than pretty much everyone expected in INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL. Creative forces George Lucas and Steven Spielberg reunite with star Harrison Ford and other familiar faces and images to bring Indy into the Cold War years and the 21st century world of filmmaking. While the adjustment is not an easy one to make, all the old-fashioned action and humor that made the old films so enduring is still mostly intact.
The year is 1957, and Indy finds himself caught up with the Soviets. They are led by ruthless Communist Irina Spalko (Cate Blanchett), who demands that Indiana help them locate an artifact known as a crystal skull- a mythic object that holds unknown powers. To say more about the plot would ruin the film’s many twist and turns. Suffice it to say has enough moments of humor, action and suspense to appease all of Indy’s loyal followers with a decidedly 1950s and early Spielberg mixed into the proceedings.
Thanks to the change in setting, the film contains quite a bit more apparent CGI work than the earlier films. It examines multiple forms of American culture in the 1950s, most notably the Red Scare and the weapons being developed to fight it. But Spielberg wisely balances the fake stuff with exhilaratingly real action that reminds us of what good movies used to be. A chase sequence featuring Ford and co-star Shia LaBoeuf on motorcycle outrunning a car of KGB agents is a particular standout, as is a fencing match between LaBoeuf and Blanchett across two speeding cars in the jungle. Spielberg once again proves that he is the master of action set pieces, eschewing modern trends and returning to what worked so well for him in the 1970s and 80s. And surprise, surprise- it’s just as exciting now as it was back then. As expected, every inch of the film is expertly constructed. This is Spielberg’s brightest and purely exhilarating film in at least ten years. The final moments of the climax are particularly stunning – it’s an ending only Spielberg could pull off. It’s his entire career come full circle.
Returning as the titular hero, Harrison Ford gives a more invigorated performance than he has in years. It’s peculiar that Ford’s freshest performance this decade comes from a character he created over 25 years ago, but here he proves once again why he is who he is. Balancing the heroic action with a surprisingly sharp sense of humor and some good-natured ribbing at his age, Ford is just as capable if not more so than he was in the first film. Karen Allen makes a delightful return as Marion after a four-year absence from the screen, even if she is a bit more wishy-washy than we remember. The supporting cast, including John Hurt, Ray Winstone and Jim Broadbent, are all in fine form as well.
As with the technology, the film is just as much about the new as the old. This is most clearly shown with the presence of Shia LaBoeuf. From the moment he rolls on screen (literally) LaBoeuf’s infectiously likable performance as the greaser Mutt further solidifies his position as Hollywood’s new it actor. He proves himself as an able action star, pulling off the film’s most complex stunts and action sequences with charismatic goofiness. Spielberg and Lucas clearly wanted to shape Mutt into the next Indiana Jones – heroic but flawed. And they mostly succeeded.
There are only a few setbacks in the film; remarkable, considering how wrong things could have gone after nearly two decades of waiting. And aside from a CGI overload in the film’s finale, it superbly reconstructs the realistic, B-movie serial feeling that the original three films excelled at. In some cases, it even surpasses the other two sequels in its ability to create suspense through action and humor. In INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, Spielberg, Lucas and Ford prove they haven’t lost any of their magic and could easily continue the series without ruining a thing. Let’s just hope is doesn’t take 19 years next time.
***1/2/****
Thursday, May 22, 2008
Friday, May 16, 2008
Prince Caspian
“You may find Narnia a more savage place than you remember.” Never have truer words been spoken. Fans of the 2005 blockbuster hit THE LION, THE WITCH AND THE WARDROBE will doubtlessly be surprised if they come into PRINCE CASPIAN expecting the same kind of fun and wonder that enchanted millions three years ago. Incessantly dark and serious, the film is a worthy successor even if it ultimately proves too downtrodden and frightening for its audiences.
Hundreds of years have passed since viewers last saw Narnia, and much has changed. The familiar Narnians have been pushed into the woods and the vicious Itali- er, the Telmarines- have taken control. When the self-proclaimed King Miraz (Sergio Castellito) discovers his wife has given birth to a son and heir, he realizes that the only thing that stands in the way of unending power is his young nephew Caspian (Ben Barnes). Caspian escapes into the vast woods with a magic horn in his possession. Suddenly, the four Pevensie children (Georgie Henley, Skandar Keynes, William Moseley and Anna Popplewell) find themselves transported back to Narnia. They soon realize that they must help Caspian rally the Narnians to fight for their very survival.
Where the first film was concerned mainly with the tight bonds the siblings felt for each other, PRINCE CASPIAN is concerned with battles. Much of the first film’s humor is gone; this sequel is a mostly serious affair. The lighter moments are only passing, quickly taken up by scenes of the oncoming enemy or questions about mortality that are surprisingly earnest for a family film. The sense of wonder has also been replaced by a large amount of violence. It is rather disconcerting to see the young stars of the film kill so many people without a second thought, especially when it is presented in such a straightforward manner. It is quite surprising that the film was only given a PG rating; it’s easily the most violent PG-rated film in decades.
There is also a lack of magic in the characters. While they are actually supporting characters, the Pevensie children are not nearly as compelling as they were before. While Peter (Moseley) and Susan (Popplewell) are given interesting subplots, Edmund (Keynes) and Lucy (Henley) are left to lurk more or less in the background. Lucy still is the series’ most likeable and innocent face, thanks to Henley’s easygoing charm; unfortunately, this means she is entirely absent for long portions of the film when the other characters go off to battle. As Caspian, newcomer Barnes makes a fitting and sympathetic hero. The film also suffers in its lack of a strong villain. Miraz is nothing more than a stereotypical evil warrior king – a far cry from the spellbinding figure Tilda Swinton crafted in the first film. When she appears midway through the film, it suddenly kicks into high-gear; her all too short appearance gives the film the edge it was trying to get at all the while.
Still, the film is more than a worthy successor. While lacking in magic, it reflects the maturation of its characters and audiences. It may have taken a step too far and become too serious and frightening to recapture moviegoers as the filmmakers did three years ago, but those that follow it adamantly will likely appreciate the higher stakes and wider scope. While solid, the film takes another step towards LORD OF THE RINGS rather than attempting to create its own style and voice.
**1/2/****
Hundreds of years have passed since viewers last saw Narnia, and much has changed. The familiar Narnians have been pushed into the woods and the vicious Itali- er, the Telmarines- have taken control. When the self-proclaimed King Miraz (Sergio Castellito) discovers his wife has given birth to a son and heir, he realizes that the only thing that stands in the way of unending power is his young nephew Caspian (Ben Barnes). Caspian escapes into the vast woods with a magic horn in his possession. Suddenly, the four Pevensie children (Georgie Henley, Skandar Keynes, William Moseley and Anna Popplewell) find themselves transported back to Narnia. They soon realize that they must help Caspian rally the Narnians to fight for their very survival.
Where the first film was concerned mainly with the tight bonds the siblings felt for each other, PRINCE CASPIAN is concerned with battles. Much of the first film’s humor is gone; this sequel is a mostly serious affair. The lighter moments are only passing, quickly taken up by scenes of the oncoming enemy or questions about mortality that are surprisingly earnest for a family film. The sense of wonder has also been replaced by a large amount of violence. It is rather disconcerting to see the young stars of the film kill so many people without a second thought, especially when it is presented in such a straightforward manner. It is quite surprising that the film was only given a PG rating; it’s easily the most violent PG-rated film in decades.
There is also a lack of magic in the characters. While they are actually supporting characters, the Pevensie children are not nearly as compelling as they were before. While Peter (Moseley) and Susan (Popplewell) are given interesting subplots, Edmund (Keynes) and Lucy (Henley) are left to lurk more or less in the background. Lucy still is the series’ most likeable and innocent face, thanks to Henley’s easygoing charm; unfortunately, this means she is entirely absent for long portions of the film when the other characters go off to battle. As Caspian, newcomer Barnes makes a fitting and sympathetic hero. The film also suffers in its lack of a strong villain. Miraz is nothing more than a stereotypical evil warrior king – a far cry from the spellbinding figure Tilda Swinton crafted in the first film. When she appears midway through the film, it suddenly kicks into high-gear; her all too short appearance gives the film the edge it was trying to get at all the while.
Still, the film is more than a worthy successor. While lacking in magic, it reflects the maturation of its characters and audiences. It may have taken a step too far and become too serious and frightening to recapture moviegoers as the filmmakers did three years ago, but those that follow it adamantly will likely appreciate the higher stakes and wider scope. While solid, the film takes another step towards LORD OF THE RINGS rather than attempting to create its own style and voice.
**1/2/****
Friday, May 9, 2008
Speed Racer
Perennially popular anime SPEED RACER makes the jump from cartoon to live action, courtesy of the Wachowski Brothers. Unfortunately, these once-heralded directors showed signs of being a one-hit wonder with their preposterous MATRIX sequels, and this film pushes even further towards that description. Using a dizzying visual style that can only be compared to exploding paint cans, the film vainly tries to revolutionize “cool.” And in doing this, they forgot to add in the fun that would seem obvious when adapting a kid’s cartoon show.
Speed Racer (Emile Hirsch) is a young hot-rod making history on the racetrack. Driven to succeed by the memory of his dead brother Rex, Speed only knows how to race and he does it well. But when he refuses a deal from a monopolistic CEO (Roger Allam), he finds himself and his entire family (including father John Goodman and mother Susan Sarandon) in the mercy of the powerful company. Determined to destroy the corporations’ hold on the world of racing, Speed teams with the mysterious Racer X (Matthew Fox) and girlfriend Trixie (Christina Ricci) to defeat the corporate-sponsored drivers race by race, starting with the same treacherous rally that took the life of his brother.
There’s a lot of drama in a movie supposedly aimed toward children; hardly surprising, looking at who’s responsible for the film. The Wachowskis seem to forget they were making a fun action movie; most of the film is spent on long dramatic scenes surrounding each member of the Racer family that slows momentum to a complete standstill. There is so much time spent on studying the inner working of Mom and Pops Racer that Speed seems a mere afterthought until well into the film. As a result, the film is easily a half hour too long and the action sequences never quite rouse the viewer out of the distant stupor the rest of the film puts them into.
Not that any inkling of sense or understanding can be gotten from the action sequences. The film’s color scheme, obviously the filmmakers’ attempt to create a real-life anime is even more dizzying and headache-inducing than their 2D counterpart. The editing is so fast and the movement so mind-boggling (in the worst way possible) that we are forced to wait until the race ends to get a semblance of what happened. The only sequence that elicits any real excitement is one of the few hand-to-hand combat scenes in the film, and also one of the few that are devoid of extensive special effects. Even if that sequence does start off with an act that is either a strangely-placed homage to James Bond or evidence that the Wachowskis have simply run out of ideas.
The cast certainly doesn’t do any favors, though they aren’t given much to begin with. As Speed, Hirsch clearly looks the part but looks and sounds awkward when forced to deliver the stereotypical “let’s see what I can do” lines to his competing racers. Sarandon and Goodman invest into their characters far too much, with their teary-eyed performances out of place in the bright colors and flashing lights. And as Speed’s younger brother Spritle, Paul Litowsky finds himself stuck with some of the least funny comedic relief dialogue seen in quite some time and gives the worst child performance this side of Spencer Breslin. Only Ricci makes a positive impression, mostly due to the fact that she is the only element of the movie that looks like an anime convincingly brought to life.
If the Wachowskis wanted to make a serious action drama about racing, they shouldn’t have chosen SPEED RACER as their inspiration. Their heavy melodramatics conflict wildly with the Candyland/Japanese infused world they set the film in. While some will likely see this film as the next phase in the evolution of cool, thanks to its bloated script and completely incorrect sense of self importance, there’s only one thing to say: SPEED RACER drags.
*1/2/****
Speed Racer (Emile Hirsch) is a young hot-rod making history on the racetrack. Driven to succeed by the memory of his dead brother Rex, Speed only knows how to race and he does it well. But when he refuses a deal from a monopolistic CEO (Roger Allam), he finds himself and his entire family (including father John Goodman and mother Susan Sarandon) in the mercy of the powerful company. Determined to destroy the corporations’ hold on the world of racing, Speed teams with the mysterious Racer X (Matthew Fox) and girlfriend Trixie (Christina Ricci) to defeat the corporate-sponsored drivers race by race, starting with the same treacherous rally that took the life of his brother.
There’s a lot of drama in a movie supposedly aimed toward children; hardly surprising, looking at who’s responsible for the film. The Wachowskis seem to forget they were making a fun action movie; most of the film is spent on long dramatic scenes surrounding each member of the Racer family that slows momentum to a complete standstill. There is so much time spent on studying the inner working of Mom and Pops Racer that Speed seems a mere afterthought until well into the film. As a result, the film is easily a half hour too long and the action sequences never quite rouse the viewer out of the distant stupor the rest of the film puts them into.
Not that any inkling of sense or understanding can be gotten from the action sequences. The film’s color scheme, obviously the filmmakers’ attempt to create a real-life anime is even more dizzying and headache-inducing than their 2D counterpart. The editing is so fast and the movement so mind-boggling (in the worst way possible) that we are forced to wait until the race ends to get a semblance of what happened. The only sequence that elicits any real excitement is one of the few hand-to-hand combat scenes in the film, and also one of the few that are devoid of extensive special effects. Even if that sequence does start off with an act that is either a strangely-placed homage to James Bond or evidence that the Wachowskis have simply run out of ideas.
The cast certainly doesn’t do any favors, though they aren’t given much to begin with. As Speed, Hirsch clearly looks the part but looks and sounds awkward when forced to deliver the stereotypical “let’s see what I can do” lines to his competing racers. Sarandon and Goodman invest into their characters far too much, with their teary-eyed performances out of place in the bright colors and flashing lights. And as Speed’s younger brother Spritle, Paul Litowsky finds himself stuck with some of the least funny comedic relief dialogue seen in quite some time and gives the worst child performance this side of Spencer Breslin. Only Ricci makes a positive impression, mostly due to the fact that she is the only element of the movie that looks like an anime convincingly brought to life.
If the Wachowskis wanted to make a serious action drama about racing, they shouldn’t have chosen SPEED RACER as their inspiration. Their heavy melodramatics conflict wildly with the Candyland/Japanese infused world they set the film in. While some will likely see this film as the next phase in the evolution of cool, thanks to its bloated script and completely incorrect sense of self importance, there’s only one thing to say: SPEED RACER drags.
*1/2/****
Saturday, May 3, 2008
Iron Man
The summer season starts off with a bang as IRON MAN explodes into theatres everywhere. Thanks in no small part to an invigorated and energetic leading man in Robert Downey, Jr., the film is fast, fun and smart – everything that a successful superhero film should be. Balancing Batman-style dramatics with the sense of humor that made the first Spider-Man films so popular, IRON MAN proves to be a film that comic book haters can enjoy.
Billionaire weapons manufacturer Tony Stark (Downey Jr.) is on a business trip to Afghanistan when he is attacked and kidnapped by a terrorist organization. After installing an arc reactor in his chest to keep shrapnel from entering his heart, the terrorists demand that Stark build them an all-powerful rocket that will wreck havoc all over the country. Stark uses the pretense of working on the rocket to build a seemingly indestructible suit to craft his escape. After witnessing the widespread damage his products are inflicting on both sides of war, Stark uses his newfound technology to transform him into an indestructible flying weapon on legs. All the while, he juggles intrusions from his business partner Obadiah Stone (Jeff Bridges) and the military, embodied by Air Force officer Jim Rhodes (Terrence Howard) and an increasingly personal relationship with his ever-capable assistant Pepper Potts (Gwyneth Paltrow).
Superhero movies have never been more grounded in real life than here. The film’s entire set-up, a weapons manufacturer captured by terrorists in the Middle East to build their weapons, seems like a situation that could easily be seen on the news. Combined with the military presence and the ever-popular “how corrupt are major businesses?” scenario and you’ve got one realistic comic book movie. But thanks to Jon Favreau’s tasteful direction and the smart script, the film is topical without seeming preachy or drawn-out; when a script has two co-writers of Alfonso Cuaron’s CHILDREN OF MEN, it’s a safe assumption that the film is going to be deftly topical. But this doesn’t mean there isn’t plenty of fun to be had. The action scenes, while rather small in number, are intense, exciting and spectacular. And thanks to the strength of Downey’s performance, there’s always fun to be had.
It’s unusual that a big-budget summer action film these days would star Robert Downey, Jr. and Gwyneth Paltrow, but each prove more than able in their roles. While Pepper doesn’t do much more than the standard superhero love interest, Paltrow successfully sheds the alienating snootiness that’s affected her in the past. And as Stark, Downey may have found his signature role. Tony Stark isn’t merely a character Downey is playing; it’s an extension of the man himself. Imbuing every line with his trademark humor, Downey channels his public perception into Stark’s womanizing and careless lifestyle, making the transformation into Iron Man an examination of what the public doesn’t see. Downey completely embodies the role, finally giving the world a superhero that can truly balance the lightness and darkness of his personality with superb skill.
IRON MAN is a rip-roaring start to the summer. It doesn’t rely on in-jokes that would only be understood by fans, nor is it too broad in a vain attempt to appeal to everyone. Instead, it tells a solid story with a surprising injection of real-world drama and finely-tuned comedy. The film is a thrill ride from beginning to end, never letting up or losing steam. In a day where only bleak action films can be called smart and only dumb action films can be called fun, it’s a breath of fresh air to see something that excels so easily at combining the two.
***/****
Billionaire weapons manufacturer Tony Stark (Downey Jr.) is on a business trip to Afghanistan when he is attacked and kidnapped by a terrorist organization. After installing an arc reactor in his chest to keep shrapnel from entering his heart, the terrorists demand that Stark build them an all-powerful rocket that will wreck havoc all over the country. Stark uses the pretense of working on the rocket to build a seemingly indestructible suit to craft his escape. After witnessing the widespread damage his products are inflicting on both sides of war, Stark uses his newfound technology to transform him into an indestructible flying weapon on legs. All the while, he juggles intrusions from his business partner Obadiah Stone (Jeff Bridges) and the military, embodied by Air Force officer Jim Rhodes (Terrence Howard) and an increasingly personal relationship with his ever-capable assistant Pepper Potts (Gwyneth Paltrow).
Superhero movies have never been more grounded in real life than here. The film’s entire set-up, a weapons manufacturer captured by terrorists in the Middle East to build their weapons, seems like a situation that could easily be seen on the news. Combined with the military presence and the ever-popular “how corrupt are major businesses?” scenario and you’ve got one realistic comic book movie. But thanks to Jon Favreau’s tasteful direction and the smart script, the film is topical without seeming preachy or drawn-out; when a script has two co-writers of Alfonso Cuaron’s CHILDREN OF MEN, it’s a safe assumption that the film is going to be deftly topical. But this doesn’t mean there isn’t plenty of fun to be had. The action scenes, while rather small in number, are intense, exciting and spectacular. And thanks to the strength of Downey’s performance, there’s always fun to be had.
It’s unusual that a big-budget summer action film these days would star Robert Downey, Jr. and Gwyneth Paltrow, but each prove more than able in their roles. While Pepper doesn’t do much more than the standard superhero love interest, Paltrow successfully sheds the alienating snootiness that’s affected her in the past. And as Stark, Downey may have found his signature role. Tony Stark isn’t merely a character Downey is playing; it’s an extension of the man himself. Imbuing every line with his trademark humor, Downey channels his public perception into Stark’s womanizing and careless lifestyle, making the transformation into Iron Man an examination of what the public doesn’t see. Downey completely embodies the role, finally giving the world a superhero that can truly balance the lightness and darkness of his personality with superb skill.
IRON MAN is a rip-roaring start to the summer. It doesn’t rely on in-jokes that would only be understood by fans, nor is it too broad in a vain attempt to appeal to everyone. Instead, it tells a solid story with a surprising injection of real-world drama and finely-tuned comedy. The film is a thrill ride from beginning to end, never letting up or losing steam. In a day where only bleak action films can be called smart and only dumb action films can be called fun, it’s a breath of fresh air to see something that excels so easily at combining the two.
***/****
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