Having vividly revitalized arguably the most successful comic book franchise in film history with 2005’s BATMAN BEGINS, director Christopher Nolan now gives us the full extent of his abilities with THE DARK KNIGHT, a thrilling and momentous achievement that takes succeeds in taking itself seriously and becoming something much more than a mere superhero movie.
The mysterious Batman (Christian Bale) has been guarding the streets of Gotham City for some time now. Combined with his efforts and a new sense of hope, courtesy of charismatic District Attorney Harvey Dent (Aaron Eckhart), the city is far from the crime-infested cesspool it once was. Gangsters and criminals are now afraid to go out at night, instead holding their meetings in the safety of broad daylight. But for some people, such cowardice is unforgivable. Enter The Joker (Heath Ledger), a maniac for whom crime is fun regardless of the financial possibilities. As he begins his reign of terror on Gotham, Batman/Bruce Wayne must decide how far he must take his quest and what he must do to protect Gotham and its newfound sense of hope.
Nolan has set the film in a world that seems almost too-real, and therein lies its greatest strengths. Gone is the CGI aboveground subway that pervaded every block of the city in the first film, and the villains with mystical flowers and water vaporizers. In its place is a man who is referred to as a terrorist on more than one occasion. Ledger’s astonishing performance is a testament to this. For once, the villain manages to be truly terrifying. With his cackling giggle and magic disappearing tricks, The Joker is supremely effective because he’s so real. He is the type of madman who could easily be living in any large city around the world, waiting to strike. Ledger completely disappears into the role – unknowing viewers would never have guessed this was the guy from BROKEBACK MOUNTAIN or 10 THINGS I HATE ABOUT YOU. He creates a completely different monster than Jack Nicholson’s iconic Joker in 1989’s BATMAN. With his wild swagger and make-up that appears to have been applied by gunshot, Ledger gives a performance for the ages and gives his life and career a lasting legacy.
While Bale once again proves that he is the first actor to completely pull off both Batman (albeit his Batman voice, which sounds more gravely and incomprehensible than before) and Bruce Wayne, he doesn’t make as much of an impression as in the first film. This isn’t necessarily a deterrent; if anything, this is as close to an ensemble piece that an action film is ever going to get. Everyone gets their time to shine, from Morgan Freeman’s wry Lucius Fox (who gets the biggest laugh in the film) to Gary Oldman’s James Gordon, who continues to prove that he is one of today’s most versatile actors. Maggie Gyllenhaal makes a wonderful replacement for the bland and whiny Katie Holmes, toning down her indie quirkiness for a more serious role without seeming shallow or out of place. Eckhart’s performance, while not nearly as dynamic and mesmerizing as Ledger, is totally compelling; kudos should be given to him and Nolan for masterfully introducing his dual identities without seeming overtly obvious.
Nolan has taken his already-solid directorial skills on BATMAN BEGINS and improved them ten-fold. Where the action was muddled and confusing before, it is now crisp and thrillingly clear. Cinematographer Wally Pfister switches the first film’s black and brown canvas for a bright and cold blue without losing any of the underlying darkness. Hans Zimmer and James Newton Howard’s score has now captured this Gotham City as well as Danny Elfman captured Tim Burton’s Gothic nightmare. All of these elements combine in the film’s breathtaking final moments, where Batman’s mission becomes clear and everything he is about makes sense to him and the world.
Snootier filmgoers will be hesitant to even label THE DARK KNIGHT a comic book movie. Nolan has done what few (if any) other filmmakers have successfully done; take an out-of-this-world premise and make it so totally real. THE DARK KNIGHT is just as much a crime thriller and psychological drama as it is a superhero movie. To say it may be the best superhero movie ever could be an understatement. To say it is one of the best movies of any kind in years? That’s more like it.
****/****
Friday, July 18, 2008
Monday, June 30, 2008
Wall-E
It seems that with every new release from Pixar, critics hail a new breakthrough in the world of animated features. Pixar’s can be called “entertaining” in the least, and in many cases they are truly something special. But from time to time, the endless admiration can be a bit much. This time around, the praise is completely justified. WALL-E, the story of a brave little robot with a little more personality than intended, is nothing short of a masterpiece. Showing a remarkable display of risk and bravery for a company sitting on top of the world, director Andrew Stanton and the folks at Pixar have ultimately crafted a simple moralistic tale that at its core is one of the most touching love stories seen in years.
Over 700 years from now, mankind has so trashed the Earth that they have left. A small envoy of robots was left behind to clean up and purify the planet while humans are gone. Those robots have all shut down – all save one. Wall-E continues his task day after day, stacking piles of compacted garbage that stretch higher than skyscrapers. And aside from a friendly cockroach and an old VHS copy of his favorite movie, he spends his days in isolation. That is until an aggressive probe robot named EVE (no doubt the newest Apple product) lands on Earth and Wall-E is smitten at first sight. He follows EVE back to the enormous ship holding the rest of mankind to fulfill his quest for love. And in the meantime, he may just save the world.
The film takes a page from the beginning of cinema, emphasizing its visuals over any kind of dialogue. While Wall-E and EVE are constantly making sounds, few words are ever shaped. And the film is all the better for it; the bleeps and squeaks become far more endearing than if Wall-E actually spoke. Extended coherent dialogue isn’t even introduced until well into the film when the humans actually appear, and everything that comes before it is sheer genius. Wall-E wheels across the deserted planet with his cockroach friend and with a single raise of the eyes, we know everything about him. His romance with EVE is the purest film romance since Charlie Chaplin gazed at the blind girl in CITY LIGHTS. The climax of the film (an emotional climax, rather than action-oriented) rightfully deserved such lofty comparisons. Filled with enough honesty and genuine feeling to melt even the hardest of hearts and draw tears from anyone, the filmmakers have accomplished something extraordinary; they’ve made the world fall in love with two of HAL’s cousins.
Not that there aren’t robots closer to our favorite red-eyed villainous PC to be found. The ship’s autopilot is basically HAL 2.0, complete with monotonous voice and unblinking red beam. But instead of being a rip-off, the grandfather of all sci-fis is lovingly paid homage throughout the film, including snippets of the Blue Danube and Also Spach Zarathustra in the soundtrack. But even a menacingly distant autopilot computer cannot be adequately described as a villain, nor can any of the other characters in the film. Like the beloved Wall-E and EVE, everyone has a flaw. From the endearing personality flaws of the main characters to the passivity of the humans to the relentless loyalty of the film’s supposed villains. This is another brave step; though the film is set far in the future, Stanton has crafted a story much more realistic than most narratives. Add in a surprising amount of social commentary (including a shocking inclusion of today’s “stay the course” mantra) and the filmmakers must be saluted for their achievement. Yes, there are environment and anti-corporation themes, but that doesn't make the film political at all. It's a love story, first and foremost.
Rather than churning out an easy fluff exercise, Pixar has made something truly special. Risking a lot in telling a story about a robot who cannot speak and setting it in a serious-minded dystopian future isn’t exactly the key to success in a G-rated family film. But WALL-E is a film that should be ranked alongside SNOW WHITE, FANTASIA, THE LITTLE MERMAID, BEAUTY AND THE BEAST and TOY STORY as a milestone in animation storytelling. And more than that, it deserves to be included among all the other love stories that will last forever.
****/****
Over 700 years from now, mankind has so trashed the Earth that they have left. A small envoy of robots was left behind to clean up and purify the planet while humans are gone. Those robots have all shut down – all save one. Wall-E continues his task day after day, stacking piles of compacted garbage that stretch higher than skyscrapers. And aside from a friendly cockroach and an old VHS copy of his favorite movie, he spends his days in isolation. That is until an aggressive probe robot named EVE (no doubt the newest Apple product) lands on Earth and Wall-E is smitten at first sight. He follows EVE back to the enormous ship holding the rest of mankind to fulfill his quest for love. And in the meantime, he may just save the world.
The film takes a page from the beginning of cinema, emphasizing its visuals over any kind of dialogue. While Wall-E and EVE are constantly making sounds, few words are ever shaped. And the film is all the better for it; the bleeps and squeaks become far more endearing than if Wall-E actually spoke. Extended coherent dialogue isn’t even introduced until well into the film when the humans actually appear, and everything that comes before it is sheer genius. Wall-E wheels across the deserted planet with his cockroach friend and with a single raise of the eyes, we know everything about him. His romance with EVE is the purest film romance since Charlie Chaplin gazed at the blind girl in CITY LIGHTS. The climax of the film (an emotional climax, rather than action-oriented) rightfully deserved such lofty comparisons. Filled with enough honesty and genuine feeling to melt even the hardest of hearts and draw tears from anyone, the filmmakers have accomplished something extraordinary; they’ve made the world fall in love with two of HAL’s cousins.
Not that there aren’t robots closer to our favorite red-eyed villainous PC to be found. The ship’s autopilot is basically HAL 2.0, complete with monotonous voice and unblinking red beam. But instead of being a rip-off, the grandfather of all sci-fis is lovingly paid homage throughout the film, including snippets of the Blue Danube and Also Spach Zarathustra in the soundtrack. But even a menacingly distant autopilot computer cannot be adequately described as a villain, nor can any of the other characters in the film. Like the beloved Wall-E and EVE, everyone has a flaw. From the endearing personality flaws of the main characters to the passivity of the humans to the relentless loyalty of the film’s supposed villains. This is another brave step; though the film is set far in the future, Stanton has crafted a story much more realistic than most narratives. Add in a surprising amount of social commentary (including a shocking inclusion of today’s “stay the course” mantra) and the filmmakers must be saluted for their achievement. Yes, there are environment and anti-corporation themes, but that doesn't make the film political at all. It's a love story, first and foremost.
Rather than churning out an easy fluff exercise, Pixar has made something truly special. Risking a lot in telling a story about a robot who cannot speak and setting it in a serious-minded dystopian future isn’t exactly the key to success in a G-rated family film. But WALL-E is a film that should be ranked alongside SNOW WHITE, FANTASIA, THE LITTLE MERMAID, BEAUTY AND THE BEAST and TOY STORY as a milestone in animation storytelling. And more than that, it deserves to be included among all the other love stories that will last forever.
****/****
Friday, June 27, 2008
Wanted
It will probably be proclaimed as the coolest thing since THE MATRIX. With a visual style and kinetic energy never before seen, WANTED is one of the few films nowadays that can truly be called an experience. Tense and violent enough to make almost anyone squeamish, the film’s unflinching nature will repulse as many as it will impress. But for those willing to go along, they’re in for one hell of a ride.
Wesley Gibson (James McAvoy) is a small, anxiety-ridden accountant going nowhere in life. When an alluring and mysterious woman (Angelina Jolie) appears beside him one night, telling him that his father was an assassin murdered by the man now hunting him, Wesley is literally thrown into the world of The Fraternity – an age-old organization of assassins driven by fate to their hits. Wesley immerses himself into intense training to transform him into the kind of assassin needed to avenge his father’s death.
The entire film can be summed up in two words: sheer insanity. How insane are we talking? Think exploding rats and looms of fate. Director Timur Bekmambetov has taken a breath – albeit a very short one – between now and in 2004 when his too-frenetic-to-comprehend NIGHT WATCH was unleashed on the world. The film features some of the most mind-bending action seen on screen in years; people are thrust inside moving cars and bullets bend around obtrusive objects, but Bekmambetov is quite successful in taking all these wild elements and combining them into something even vaguely understandable. Even the most ridiculous occurrences – say, a person jumping out a skyscraper window and making it to the building opposite – are acceptable in Bekmambetov’s abnormal vision of Chicago.
Wesley is an unusual hero, and so it only makes sense for an unusual action star to appear. Coming off his acclaimed turn in last year’s ATONMENT, McAvoy adds another diverse credit to his resume. Just as Wesley molds himself, McAvoy molds himself into a small bottle of fury, dorky and passive at first but intimidating when he unleashes himself. The amount of pain Wesley goes through during training is so extensive and genuine that even the hardest of viewers cannot help but cringe. McAvoy keeps the film grounded; without such an atypical performer coming into his prime, WANTED would become too ridiculous and far-fetched to be a success.
WANTED is definitely unlike anything we’ve seen before. The exhilaration and suspense is such that cannot be adequately described. Walking the fine line between frenetic and nonsensical, the film is a roller coaster ride from start to finish with little time to let up or take a breath. Without a doubt, some will find it too much; too violent, too ridiculous and over-the-top, too nonsensical. But this exercise in over-the-top filmmaking is not without merit. It’s insane, yes. But it’s damn fun.
***/****
Wesley Gibson (James McAvoy) is a small, anxiety-ridden accountant going nowhere in life. When an alluring and mysterious woman (Angelina Jolie) appears beside him one night, telling him that his father was an assassin murdered by the man now hunting him, Wesley is literally thrown into the world of The Fraternity – an age-old organization of assassins driven by fate to their hits. Wesley immerses himself into intense training to transform him into the kind of assassin needed to avenge his father’s death.
The entire film can be summed up in two words: sheer insanity. How insane are we talking? Think exploding rats and looms of fate. Director Timur Bekmambetov has taken a breath – albeit a very short one – between now and in 2004 when his too-frenetic-to-comprehend NIGHT WATCH was unleashed on the world. The film features some of the most mind-bending action seen on screen in years; people are thrust inside moving cars and bullets bend around obtrusive objects, but Bekmambetov is quite successful in taking all these wild elements and combining them into something even vaguely understandable. Even the most ridiculous occurrences – say, a person jumping out a skyscraper window and making it to the building opposite – are acceptable in Bekmambetov’s abnormal vision of Chicago.
Wesley is an unusual hero, and so it only makes sense for an unusual action star to appear. Coming off his acclaimed turn in last year’s ATONMENT, McAvoy adds another diverse credit to his resume. Just as Wesley molds himself, McAvoy molds himself into a small bottle of fury, dorky and passive at first but intimidating when he unleashes himself. The amount of pain Wesley goes through during training is so extensive and genuine that even the hardest of viewers cannot help but cringe. McAvoy keeps the film grounded; without such an atypical performer coming into his prime, WANTED would become too ridiculous and far-fetched to be a success.
WANTED is definitely unlike anything we’ve seen before. The exhilaration and suspense is such that cannot be adequately described. Walking the fine line between frenetic and nonsensical, the film is a roller coaster ride from start to finish with little time to let up or take a breath. Without a doubt, some will find it too much; too violent, too ridiculous and over-the-top, too nonsensical. But this exercise in over-the-top filmmaking is not without merit. It’s insane, yes. But it’s damn fun.
***/****
Sunday, June 15, 2008
The Incredible Hulk
In Ang Lee’s 2003 comic book adaptation THE HULK, the titular character was much more likely to grunt “Hulk thinking pensively!” than any of his more well-known sayings. Audiences disagreed with that more internal visioning of the green antihero, and they demanded a change. Well, five years have passed and we’ve gotten something different. THE INCREDIBLE HULK, which may hold the record for fastest franchise reboot in film history, certainly delivers on the action so many missed in the first film. Unfortunately, it doesn’t offer much else.
The film takes place a few years after the first Hulk incidents (though one can safely assume this includes none of the events in the first film). Scientist-turned-anger-management-case Bruce Banner (Edward Norton) as fled to Brazil to try and keep his emotions in check. Unfortunately, the military officials who created the monster (led by a particularly blue-eyed William Hurt) haven’t forgotten about him. After recruiting a small envoy of specialists to track down Banner, he realizes that the only way to get rid of his problem is to find a cure. Tracked by a violent man (Tim Roth) with a desire to capture Banner’s power himself, Banner must travel back to the U.S. and find his old flame Betty Ross (Liv Tyler) and end his rages once and for all.
Since the filmmakers assumed that most audiences will be familiar with the character, they decided to get rid of most of the more psychological problems Banner experiences. Even with Norton as the lead, Banner himself is rather bland. Despite casting a highly respected dramatic actor (and rather unexpected choice) as a superhero, the film is not set apart from your average B-action movie. Couple this in with some poor special effects, especially during Banner’s transformation, and you’ve got a film that plays it too safe in comparison to the first movie. Lee’s film, whose riskiness was flawed but underappreciated, tried to make something more than a guy turning into the Jolly Green Giant. No such explorations are made here. At least they’ve finally realized that pants don’t grow and shrink as one’s body does.
This film was made purely for the fans. It’s chock full of cheeky references to the original comic and the 1970s television show. Yes, the purple pants make an appearance. Yes, there’s a Lou Ferrigno cameo. And yes, that sad walking away music even makes an appearance (although no one’s walking away when its heard). But for those not avid readers/watchers of its previous incarnations, the whole affair is a little boring. Aside from the requisite Stan Lee cameo that makes good on his proclamations during his appearance on THE SIMPSONS, nearly every attempt at humor falls flat. Most of the action sequences are standard chases until the finale, when the subpar CGI work becomes most obvious. And aside from Norton, no one in the cast really registers.
At least the film doesn’t take itself too seriously. It’s an entertaining enough film, though one would wish they would try to improve on the intriguing storytelling methods introduced in the first film. But instead of learning from their mistakes, the filmmakers decided to scrap all they had before and start again in a safe-as-safe-can-be style. However, the film is likely to be successful enough to merit sequels, as most potential franchises seem to do nowadays. Maybe the third time will be the charm.
**/****
The film takes place a few years after the first Hulk incidents (though one can safely assume this includes none of the events in the first film). Scientist-turned-anger-management-case Bruce Banner (Edward Norton) as fled to Brazil to try and keep his emotions in check. Unfortunately, the military officials who created the monster (led by a particularly blue-eyed William Hurt) haven’t forgotten about him. After recruiting a small envoy of specialists to track down Banner, he realizes that the only way to get rid of his problem is to find a cure. Tracked by a violent man (Tim Roth) with a desire to capture Banner’s power himself, Banner must travel back to the U.S. and find his old flame Betty Ross (Liv Tyler) and end his rages once and for all.
Since the filmmakers assumed that most audiences will be familiar with the character, they decided to get rid of most of the more psychological problems Banner experiences. Even with Norton as the lead, Banner himself is rather bland. Despite casting a highly respected dramatic actor (and rather unexpected choice) as a superhero, the film is not set apart from your average B-action movie. Couple this in with some poor special effects, especially during Banner’s transformation, and you’ve got a film that plays it too safe in comparison to the first movie. Lee’s film, whose riskiness was flawed but underappreciated, tried to make something more than a guy turning into the Jolly Green Giant. No such explorations are made here. At least they’ve finally realized that pants don’t grow and shrink as one’s body does.
This film was made purely for the fans. It’s chock full of cheeky references to the original comic and the 1970s television show. Yes, the purple pants make an appearance. Yes, there’s a Lou Ferrigno cameo. And yes, that sad walking away music even makes an appearance (although no one’s walking away when its heard). But for those not avid readers/watchers of its previous incarnations, the whole affair is a little boring. Aside from the requisite Stan Lee cameo that makes good on his proclamations during his appearance on THE SIMPSONS, nearly every attempt at humor falls flat. Most of the action sequences are standard chases until the finale, when the subpar CGI work becomes most obvious. And aside from Norton, no one in the cast really registers.
At least the film doesn’t take itself too seriously. It’s an entertaining enough film, though one would wish they would try to improve on the intriguing storytelling methods introduced in the first film. But instead of learning from their mistakes, the filmmakers decided to scrap all they had before and start again in a safe-as-safe-can-be style. However, the film is likely to be successful enough to merit sequels, as most potential franchises seem to do nowadays. Maybe the third time will be the charm.
**/****
Monday, June 9, 2008
Kung Fu Panda
It seemed like animated films were mostly being relegated to one-joke exercises in banality based entirely off of cute animals doing unusual things. Dancing penguins, neurotic zoo animals, etc. The list seemingly goes on and on. For a while, it seemed like any animated film without the Pixar stamp were being churned out solely for the purpose of making money. But with KUNG FU PANDA, DreamWorks has found a perfect balance of cutesiness and genuine artistry. Developing a sharp and funny script alongside an extensive and detailed style, it is set apart from the lame one-joke nature that so many films have become victims of.
Portly panda Po (voiced by Jack Black) is a lowly assistant in his father’s noodle restaurant in a small Chinese village, dreaming of something more. Specifically, to be a kung fu master and be counted among the Furious Five – the masters and defenders of their world. When the ancient turtle Oogway declares that the Dragon Master (the one who will have limitless power and be able to restore peace to the land) will be unveiled soon, the entire village gathers for a demonstration of the Furious Five’s powers. But much to their surprise Oogway declares that Po is the destined warrior, and it is now up to Master Shifu (Dustin Hoffman) to train him. Meanwhile, crazed warrior Tai Lung (Ian McShane) learns of the events and breaks free to track down Po and claim the title that was denied him many years ago.
If the plot is just a slight variation on the hero’s journey, it more than makes up for it with its inventive and fresh humor. Lovingly paying tribute to countless martial arts films while remaining broad enough to attract a wide audience, KUNG FU PANDA is one of those films that have something to offer everyone. There are surprisingly little of the typical martial arts jokes; the quick camera zooms are few and far between and there isn’t any mismatched dialogue in sight. Instead, the most successful gags in the film come from Po’s exaggerated physical comedic style and lovably geeky personality. Po is perfectly brought to life by Black, who proves once again that he deserves to be at the front of the comedy film world, going the lengths and stretching himself in ways that most other comedy actors avoid.
If KUNG FU PANDA were to be seriously faulted, it would be the filmmaker’s reliance on Black to deliver all of the jokes. Every member of the Furious Five – which includes the voices of Angelina Jolie, Jackie Chan, Seth Rogen, Lucy Liu and David Cross – are tragically wasted. Chan in particular is left with only a few lines of throwaway dialogue. Hoffman and McShane make an impression, but mostly to provide a skeptical foil to Black’s excited enthusiasm. With the kind of voice cast that was assembled for the film (one that had the potential to be very funny), it’s a bit of a disappointment to see that it’s such a one-man show, no matter how hilarious that one man is.
But the film’s most important achievement is its impeccable design. Detailed to a point that put most other animated films to shame, KUNG FU PANDA is a pure joy to watch. Every image is beautifully rendered with a clear sense of style in mind. It’s been quite a while since the word “art” could be thrown at a non-Pixar, non-Ghibli film, but KUNG FU PANDA’s art is undeniable.
KUNG FU PANDA is a pure joy to watch for nearly every kind of viewer, children and adults alike. It accomplishes a rare feat in actually delivering on its amusing, if gimmicky premise. In a summer that’s relying on darker action epics, parents will be grateful for KUNG FU PANDA – something that will not only enthrall their children, but entertain themselves as well.
***/****
Portly panda Po (voiced by Jack Black) is a lowly assistant in his father’s noodle restaurant in a small Chinese village, dreaming of something more. Specifically, to be a kung fu master and be counted among the Furious Five – the masters and defenders of their world. When the ancient turtle Oogway declares that the Dragon Master (the one who will have limitless power and be able to restore peace to the land) will be unveiled soon, the entire village gathers for a demonstration of the Furious Five’s powers. But much to their surprise Oogway declares that Po is the destined warrior, and it is now up to Master Shifu (Dustin Hoffman) to train him. Meanwhile, crazed warrior Tai Lung (Ian McShane) learns of the events and breaks free to track down Po and claim the title that was denied him many years ago.
If the plot is just a slight variation on the hero’s journey, it more than makes up for it with its inventive and fresh humor. Lovingly paying tribute to countless martial arts films while remaining broad enough to attract a wide audience, KUNG FU PANDA is one of those films that have something to offer everyone. There are surprisingly little of the typical martial arts jokes; the quick camera zooms are few and far between and there isn’t any mismatched dialogue in sight. Instead, the most successful gags in the film come from Po’s exaggerated physical comedic style and lovably geeky personality. Po is perfectly brought to life by Black, who proves once again that he deserves to be at the front of the comedy film world, going the lengths and stretching himself in ways that most other comedy actors avoid.
If KUNG FU PANDA were to be seriously faulted, it would be the filmmaker’s reliance on Black to deliver all of the jokes. Every member of the Furious Five – which includes the voices of Angelina Jolie, Jackie Chan, Seth Rogen, Lucy Liu and David Cross – are tragically wasted. Chan in particular is left with only a few lines of throwaway dialogue. Hoffman and McShane make an impression, but mostly to provide a skeptical foil to Black’s excited enthusiasm. With the kind of voice cast that was assembled for the film (one that had the potential to be very funny), it’s a bit of a disappointment to see that it’s such a one-man show, no matter how hilarious that one man is.
But the film’s most important achievement is its impeccable design. Detailed to a point that put most other animated films to shame, KUNG FU PANDA is a pure joy to watch. Every image is beautifully rendered with a clear sense of style in mind. It’s been quite a while since the word “art” could be thrown at a non-Pixar, non-Ghibli film, but KUNG FU PANDA’s art is undeniable.
KUNG FU PANDA is a pure joy to watch for nearly every kind of viewer, children and adults alike. It accomplishes a rare feat in actually delivering on its amusing, if gimmicky premise. In a summer that’s relying on darker action epics, parents will be grateful for KUNG FU PANDA – something that will not only enthrall their children, but entertain themselves as well.
***/****
Thursday, May 22, 2008
Indiana Jones and the Kingdom of the Crystal Skull
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/****
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/****
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/****
Subscribe to:
Posts (Atom)