As an adult the idea of going to see an animated film mixed with live action starring the Easter Bunny and a bunch of yellow chicks was pretty low down on my to do list. But after seeing Universal Studios’ Hop I’m ready to jump on the bandwagon and tell you, you must see this film. Hop is terrific. With a smart script, witty dialogue, charming performances and a Willy Wonka-esque atmosphere, Hop is going to become a perennial Easter favorite.
Beginning on Easter Island, E.B. voiced by Russell Brand is poised to inherit the title of Easter Bunny succeeding his father played by Hugh Laurie. But E.B. has other plans. His dream is to be a drummer so he runs away and heads for Hollywood. Here he is destined to cross paths with Fred O’Hare (James Marsden) who is being pressured by his father (Gary Cole) to live up to his expectations. After a rocky start, Fred agrees to help E.B. and these two kindred spirits learn a lesson in responsibility.
Director Tim Hill has done a wonderful job guiding the delicate balance between the animation and live action sequences. With James Marsden’s commitment to the process you believe the relationship between these two. Russell Brand’s voice work is equally important and when you add in the rest of the cast, you have a truly delightful film.
Every good film needs a good villain and in Hop we have Carlos, the Easter Bunny’s second in command. Tired of being number two, Carlos, voiced by Hank Azaria, wants to be number one. When E.B. runs away he plots to take his place, if not by persuasion, then by force. Imagine a fat diabolical chick with hundreds of chick minions and you’ll get the idea. This film is funny and refreshingly original.
Rounding out the cast of Hop is Kaley Cuoco as Fred’s sister, Elizabeth Perkins as Fred’s mom and Tiffany Espersen as Fred’s adopted little sister. The entire cast is rising to the occasion on this one and even David Hasselhoff puts in a wonderful performance satirizing himself. But the real star here is James Marsden. His reactions and connection to the animated E.B. make the entire film. Like his role in Enchanted his innocence allows you to follow him down this rabbit hole. We believe because he does. And I believe that James is a treasure.
Rating: Must See You must hop on down and see it
About Me
- Melanie Wilson
- My Reviewer's Philosophy: I believe that every film has its audience. One man’s Citizen Kane is another man’s Texas Chain Saw Massacre. My purpose is to help you spend your entertainment dollars wisely. A bad review never kept me from going to a film I wanted to see, but a good review will sometimes get me to a film I never considered. As a movie lover I want you to go to the movies. When more people go to the movies, the more movies get made. But, I also believe that if you enjoy the films you see, you naturally will be inclined to go more often. So join me in supporting our film industry by going to a movie today. Hopefully I can steer you towards a good one. See you at the movies. Melanie Wilson
Monday, March 28, 2011
Paul
I think that Shaun of the Dead is brilliant and I loved Hot Fuzz so I went to see Paul full of eager anticipation, but I have to say that I was a little disappointed. The relationship between Pegg and Frost, that we’ve grown to love was reduced to a running Gay joke. Also, there was an underlying bitterness in the film that I’ve never seen in their other work. I was perplexed why they were bashing rednecks and fundamental Christians. I am going to blame the tone on the director Greg Mottola. Their films with Edgar Wright were much more sweeter.
Paul tells the story of two British pals who take a dream vacation to visit Comic-Con and then drive cross-country visiting famous alien hot spots. The Comic-Con sequences were kind of fun, but there is so much comedic gold there that you feel cheated when they move on so quickly. When they take to the road their first stop is at Vasquez Rocks and then they head east to Nevada. By the time they reach New Mexico they have met Paul, a true alien who has made a break from Area 51 and is trying to get home.
Graeme and Clive react to Paul with shock and disbelief, but when Paul helps Graeme carry his unconscious friend back into the RV, Paul confides in Graeme and he consents to help him. The trick now is to persuade Clive. As far as aliens go, Paul is a bit of a jerk. He smokes, swears, drops trou and is overall very arrogant. But like all road trips, everyone learns to appreciate each other and becomes a little more tolerant by the end.
Along the road, the guys are being chased by a man in black (Jason Bateman), two F.B.I. agents, (Bill Hader and Joe Lo Truglio) and the father of a girl they took with them (John Carroll Lynch). The girl, portrayed by Kristin Wiig, has grown up in the middle of nowhere and thinks that Paul is a demon. When Paul releases her from her sheltered religious up bringing by filling her brain with the knowledge of the world, her first act is to take up swearing, a strange choice considering the options.
The rest of the film is evading capture and trying to get Paul home, but I feel that this film missed the mark. There is so much comic material that was thrown away to concentrate on car chases and blowing things up. The American road, especially the Southwest is full of bizarre tourist spots and roadside attractions. The film barely touches on those and as far as film references go, there is so much that was left out. If I were doing this film I would have waited a little longer before finding Paul. As funny as Seth Rogen is as the voice of Paul I think the film would have been better with more Frost and Pegg. Nice try, but this film goes on the bottom of my list, it is now my 3rd favorite Frost and Pegg film.
Rating: Bargain Matinee Not my favorite Frost and Pegg film
Paul tells the story of two British pals who take a dream vacation to visit Comic-Con and then drive cross-country visiting famous alien hot spots. The Comic-Con sequences were kind of fun, but there is so much comedic gold there that you feel cheated when they move on so quickly. When they take to the road their first stop is at Vasquez Rocks and then they head east to Nevada. By the time they reach New Mexico they have met Paul, a true alien who has made a break from Area 51 and is trying to get home.
Graeme and Clive react to Paul with shock and disbelief, but when Paul helps Graeme carry his unconscious friend back into the RV, Paul confides in Graeme and he consents to help him. The trick now is to persuade Clive. As far as aliens go, Paul is a bit of a jerk. He smokes, swears, drops trou and is overall very arrogant. But like all road trips, everyone learns to appreciate each other and becomes a little more tolerant by the end.
Along the road, the guys are being chased by a man in black (Jason Bateman), two F.B.I. agents, (Bill Hader and Joe Lo Truglio) and the father of a girl they took with them (John Carroll Lynch). The girl, portrayed by Kristin Wiig, has grown up in the middle of nowhere and thinks that Paul is a demon. When Paul releases her from her sheltered religious up bringing by filling her brain with the knowledge of the world, her first act is to take up swearing, a strange choice considering the options.
The rest of the film is evading capture and trying to get Paul home, but I feel that this film missed the mark. There is so much comic material that was thrown away to concentrate on car chases and blowing things up. The American road, especially the Southwest is full of bizarre tourist spots and roadside attractions. The film barely touches on those and as far as film references go, there is so much that was left out. If I were doing this film I would have waited a little longer before finding Paul. As funny as Seth Rogen is as the voice of Paul I think the film would have been better with more Frost and Pegg. Nice try, but this film goes on the bottom of my list, it is now my 3rd favorite Frost and Pegg film.
Rating: Bargain Matinee Not my favorite Frost and Pegg film
Potiche
In a small provincial town in 1970’s France, a factory owner’s trophy wife must take over the business when her husband has a heart attack. Her family laughs when the idea is suggested; mom has never worked a day in her life. But as the daughter of the factory founder, Suzanne (Catherine Deneuve) has been visiting the umbrella factory since she was a little girl. Cheerful, bright and extremely observant, Suzanne has paid close attention.
The source of Robert’s frustration (Fabrice Luchini) and the cause of his heart attack was a general strike, and struggling finances. Whenever Suzanne attempted to offer advice she was quickly shot down and put in her place. But now in the driver’s seat Suzanne takes charge, introduces new products, brings her children in as employees, and settles the strike. In three months she completely turns the company around winning the confidence of the board and earning the trust of the workers.
When her ungrateful husband returns from a convalescent cruise to reclaim his position he becomes jealous of Suzanne’s success and plots to kick her out. But she is not the same woman she was before. Suzanne fights to maintain control and prove that she is more than just a housewife. She refuses to go back to the way things were and she is hoping that everyone else will support her.
Presented with humor, Potiche tells the story of the women’s movement and highlights the worker’s plight at the same time. Gerard Depardieu plays the mayor and a union sympathizer and he and Suzanne have a past. In his youth, he worked for Suzanne’s father, and he and Suzanne have an intimate connection. He is excited about Suzanne’s new outlook but she isn’t ready to go from serving one man to serving another. It is her time and she is going to take it, for once she is ahead of her time.
Rating: First Run Catherine Deneuve as a woman ahead of her time
The source of Robert’s frustration (Fabrice Luchini) and the cause of his heart attack was a general strike, and struggling finances. Whenever Suzanne attempted to offer advice she was quickly shot down and put in her place. But now in the driver’s seat Suzanne takes charge, introduces new products, brings her children in as employees, and settles the strike. In three months she completely turns the company around winning the confidence of the board and earning the trust of the workers.
When her ungrateful husband returns from a convalescent cruise to reclaim his position he becomes jealous of Suzanne’s success and plots to kick her out. But she is not the same woman she was before. Suzanne fights to maintain control and prove that she is more than just a housewife. She refuses to go back to the way things were and she is hoping that everyone else will support her.
Presented with humor, Potiche tells the story of the women’s movement and highlights the worker’s plight at the same time. Gerard Depardieu plays the mayor and a union sympathizer and he and Suzanne have a past. In his youth, he worked for Suzanne’s father, and he and Suzanne have an intimate connection. He is excited about Suzanne’s new outlook but she isn’t ready to go from serving one man to serving another. It is her time and she is going to take it, for once she is ahead of her time.
Rating: First Run Catherine Deneuve as a woman ahead of her time
Queen To Play
A sultry couple sits on the balcony playing chess under the morning Corsican sun. Not hearing the knock, the chambermaid enters and is surprised to discover them there. The lady is wearing a negligee and she shows no signs of modesty. The gentleman is dressed and encourages the maid to go ahead and clean the room. As they continue to play they hold hands, drink wine, and gaze loving at each other. Then the lady beats him while the gentleman crosses to the railing to take in the view and contemplate his loss. The lady enters inside and helps herself to a cigarette. She is beautiful, sexy and very alluring.
Helene, the maid (Sandrine Bonnaire) is intrigued by this mysterious woman, but even more so she is fascinated by the game of chess. Having come to this island as a young woman in marriage she now finds her life very dull. Her teenage daughter is embarrassed by her occupation and her husband is taking her for granted. He often leaves her home alone while he goes off to play backgammon with a friend. Helene is looking for something to wake her up.
As a second job Helene cleans house for an expatriate American (Kevin Kline). While dusting she discovers his chess set and cannot resist the urge to examine it. When her employer catches her with the set she boldly asks him to teach her the game. Reluctantly he agrees and their weekly lessons turn into a friendship.
As Helene spends more and more time at the Kroger house the village suspects that she is having an affair, little do they know that she has fallen in love with the game of chess. It permeates her entire life as she tries to understand the intricacies of the game. Queen to Play is a story about female empowerment. It shows how even housewives need intellectual stimulation and that every woman, no matter who she is, needs some little passion to call her own.
I loved this quiet film. Sandrine Bonnaire is exquisite as an unobtrusive housewife slowly evolving into a confident woman of her own. It is feminist, but not in a brash audacious way. It is a personal film about a woman discovering her worth and the people who love her coming to terms with it. Kevin Kline is also lovely as a widower who has locked him self away in grief. In his first French-speaking role, Kevin displays a layered performance which contains melancholy, sorrow, disdain, and a touch of paternal pride. The two of them together are touching. Add in the lovely location and this film is like a vacation for the mind, restful, yet still challenging. This is a mature love story and one you won’t want to miss.
Rating: First Run Your best move is to see this film
Helene, the maid (Sandrine Bonnaire) is intrigued by this mysterious woman, but even more so she is fascinated by the game of chess. Having come to this island as a young woman in marriage she now finds her life very dull. Her teenage daughter is embarrassed by her occupation and her husband is taking her for granted. He often leaves her home alone while he goes off to play backgammon with a friend. Helene is looking for something to wake her up.
As a second job Helene cleans house for an expatriate American (Kevin Kline). While dusting she discovers his chess set and cannot resist the urge to examine it. When her employer catches her with the set she boldly asks him to teach her the game. Reluctantly he agrees and their weekly lessons turn into a friendship.
As Helene spends more and more time at the Kroger house the village suspects that she is having an affair, little do they know that she has fallen in love with the game of chess. It permeates her entire life as she tries to understand the intricacies of the game. Queen to Play is a story about female empowerment. It shows how even housewives need intellectual stimulation and that every woman, no matter who she is, needs some little passion to call her own.
I loved this quiet film. Sandrine Bonnaire is exquisite as an unobtrusive housewife slowly evolving into a confident woman of her own. It is feminist, but not in a brash audacious way. It is a personal film about a woman discovering her worth and the people who love her coming to terms with it. Kevin Kline is also lovely as a widower who has locked him self away in grief. In his first French-speaking role, Kevin displays a layered performance which contains melancholy, sorrow, disdain, and a touch of paternal pride. The two of them together are touching. Add in the lovely location and this film is like a vacation for the mind, restful, yet still challenging. This is a mature love story and one you won’t want to miss.
Rating: First Run Your best move is to see this film
Diary of a Wimpy Kid: Roderick Rules
If you are a teenage boy, in a band, and trying to look cool for the ladies, the last thing you need is to be seen with your middle school age younger brother, or worse yet, your parents. In Diary of a Wimpy Kid: Roderick Rules, this is exactly Roderick’s problem. Greg (Zachary Gordon) has survived 6th grade and he, Rowley, Fregley, Patty, and Chirag are all being reunited at a “Welcome to Middle School” skating party. The whole Heffley family is going and Roderick (Devon Bostick) is not pleased. He intends on sharing his embarrassment by tormenting his little brother.
At the skating party Greg sees Holly Hills (Peyton List) for the very first time and for him it is love at first sight. But according to Chirag, who has “Googled her”, she is totally out of his league. Greg doesn’t care though. If he is going to have a chance it’s got to be now before the new pecking order of 7th grade is determined. Too bad Roderick has noticed the attraction; his plan is to make Greg as miserable as he is.
When the boys begin bickering, to the point of an actual fistfight, Mom (Rachel Harris) and Dad (Steve Zahn) lay down the law. Susan Heffley has been writing an advice column for mothers and she can’t very well continue with her own house in disorder. So, she forces Greg and Roderick to spend time together and through the process things escalate. But this is a family movie so things work out in the end. The fun is watching what goes wrong in the meantime.
I really enjoyed the chemistry between Zachary Gordon and Devon Bostick. They display that brotherly dynamic and illustrate how a few years can really make a difference. Their relationship is the heart of the film and it’s nice to see two brothers grow, change, and learn how to appreciate each other. As far as Greg’s friends, they get less screen time in this sequel, but once again Rowley turns out to be the hero. When he decides to take up magic for the local talent show, Greg is mortified and tries to distance himself. But Rowley, always true to himself, perseveres and in a pinch he turns out to be the real party animal. Greg can learn a lot from Rowley.
The other thing that I like about these films is that they are age appropriate. The crush between Greg and Holly Hills is sweet and chaste, and the sibling rivalry between Roderick and Greg is believable. In this world Greg can still have a sleep over and have it not be weird. And when the boys throw a party when their parents aren’t home, they are still serving cola with no signs of cigarettes or drugs. This is a sanitized world, one that is nice to escape to. Not the world I live in, but one that is nice to visit. Diary of a Wimpy Kid is good for the entire family. Even adults will like this one.
Rating: First Run The gang’s all here and in 7th grade
At the skating party Greg sees Holly Hills (Peyton List) for the very first time and for him it is love at first sight. But according to Chirag, who has “Googled her”, she is totally out of his league. Greg doesn’t care though. If he is going to have a chance it’s got to be now before the new pecking order of 7th grade is determined. Too bad Roderick has noticed the attraction; his plan is to make Greg as miserable as he is.
When the boys begin bickering, to the point of an actual fistfight, Mom (Rachel Harris) and Dad (Steve Zahn) lay down the law. Susan Heffley has been writing an advice column for mothers and she can’t very well continue with her own house in disorder. So, she forces Greg and Roderick to spend time together and through the process things escalate. But this is a family movie so things work out in the end. The fun is watching what goes wrong in the meantime.
I really enjoyed the chemistry between Zachary Gordon and Devon Bostick. They display that brotherly dynamic and illustrate how a few years can really make a difference. Their relationship is the heart of the film and it’s nice to see two brothers grow, change, and learn how to appreciate each other. As far as Greg’s friends, they get less screen time in this sequel, but once again Rowley turns out to be the hero. When he decides to take up magic for the local talent show, Greg is mortified and tries to distance himself. But Rowley, always true to himself, perseveres and in a pinch he turns out to be the real party animal. Greg can learn a lot from Rowley.
The other thing that I like about these films is that they are age appropriate. The crush between Greg and Holly Hills is sweet and chaste, and the sibling rivalry between Roderick and Greg is believable. In this world Greg can still have a sleep over and have it not be weird. And when the boys throw a party when their parents aren’t home, they are still serving cola with no signs of cigarettes or drugs. This is a sanitized world, one that is nice to escape to. Not the world I live in, but one that is nice to visit. Diary of a Wimpy Kid is good for the entire family. Even adults will like this one.
Rating: First Run The gang’s all here and in 7th grade
Wednesday, March 23, 2011
The Lincoln Lawyer
Matthew McConaughey is back as a slick, fast-talking, honey-voiced officer of the court in The Lincoln Lawyer. This is the persona that made him a star, although this time around his lawyer is a bit of a player. Since the majority of his clients are guilty he has no problem taking advantage of them financially, but he draws the line legally. What lets him sleep at night, representing the underbelly of society, is his belief in the justice system. If the law is doing their job, his clients will get the best possible defense, but if they are convicted, it is because they are guilty and all the rules were followed. When Mick Haller represents you and the cops or the D.A. makes a mistake, Mick Haller will find it and set you free. It’s all about the law.
Losing his driver’s license due to a D.U.I. Mick Haller has been doing business out of the back seat of a classic Lincoln Continental. He, and his discreet driver (Laurence Mason) make quite a sight when they pull up to take meetings with their less than upstanding clients. This arrangement has become so advantageous for Mick that he’s really starting to like it. He has become a multi-tasker and with the help of his private investigator (William H. Macy) he can cover a lot of territory while he rides in style.
Our story starts when an associate of Mick’s, bail-bondsman Val Valenzuela (John Leguizamo) tips off Mick to a big money client. Val is hoping for a kickback and the chance to post the lucrative bond. Mick meets the client, gets him bail and agrees to take the case, much against the advice of his prosecuting lawyer ex-wife (Marisa Tomei). The client is a rich, Beverly Hills pretty boy (Ryan Phillippe) who works for his mom’s real estate business. Frances Fisher plays his mother and she turns out to be rich and very connected.
Mick has already done wonders with the case, getting him bail on a violent crime was actually impressive, but he’s a little unsure why the family’s lawyer is not handling the case. Mick knows how good he is, but his clients are not usually the rich and famous. These questions begin to nag at him and the more he discovers, the more questions are raised. Mick is beginning to think that his client is really guilty.
Since innocence has never been a prerequisite for Mick he continues with the case, but his entire belief system is being put to the test. Ryan Phillippe gets the chance to play a real sociopath here and as the truth becomes known, Mick finds himself trapped by the very law he has sworn to uphold. The question is, who is smarter, a sick game playing murderer, or a manipulative, street-smart lawyer? This is a character that could spawn a franchise; the question is will this case change his ways and will he continue to be the Lincoln lawyer?
Rating: First Run Matthew McConaughey is back as a slick, fast-talking, honey-voiced lawyer.
Losing his driver’s license due to a D.U.I. Mick Haller has been doing business out of the back seat of a classic Lincoln Continental. He, and his discreet driver (Laurence Mason) make quite a sight when they pull up to take meetings with their less than upstanding clients. This arrangement has become so advantageous for Mick that he’s really starting to like it. He has become a multi-tasker and with the help of his private investigator (William H. Macy) he can cover a lot of territory while he rides in style.
Our story starts when an associate of Mick’s, bail-bondsman Val Valenzuela (John Leguizamo) tips off Mick to a big money client. Val is hoping for a kickback and the chance to post the lucrative bond. Mick meets the client, gets him bail and agrees to take the case, much against the advice of his prosecuting lawyer ex-wife (Marisa Tomei). The client is a rich, Beverly Hills pretty boy (Ryan Phillippe) who works for his mom’s real estate business. Frances Fisher plays his mother and she turns out to be rich and very connected.
Mick has already done wonders with the case, getting him bail on a violent crime was actually impressive, but he’s a little unsure why the family’s lawyer is not handling the case. Mick knows how good he is, but his clients are not usually the rich and famous. These questions begin to nag at him and the more he discovers, the more questions are raised. Mick is beginning to think that his client is really guilty.
Since innocence has never been a prerequisite for Mick he continues with the case, but his entire belief system is being put to the test. Ryan Phillippe gets the chance to play a real sociopath here and as the truth becomes known, Mick finds himself trapped by the very law he has sworn to uphold. The question is, who is smarter, a sick game playing murderer, or a manipulative, street-smart lawyer? This is a character that could spawn a franchise; the question is will this case change his ways and will he continue to be the Lincoln lawyer?
Rating: First Run Matthew McConaughey is back as a slick, fast-talking, honey-voiced lawyer.
Thursday, March 17, 2011
Monogamy
A wedding photographer who makes just enough to get by, creates a second job in order to make more money. He has always been fascinated by the real stories that pictures tell by the studying the background, body language and expressions of the subjects in them. His new business, called Gumshoot, is a service where people contract him to photograph them in public places without his presence being known. The idea is to see what you look like in candid moments, to see yourself in your own environment and how others in that environment react to you.
Theo’s (Chris Messina) new business is picking up, and as he and his live-in girlfriend get ready for their own impending wedding, Theo begins to fixate over other people’s wedding photos and how they relate to each other. He is looking for that certain something that shows when a couple is truly in love. Meanwhile, Nat (Rashinda Jones) is having her own fixations. She begins reading into everything that Theo does.
In his Gumshoot business, clients contact Theo via the Internet with a time and place to meet and what they are wearing. Theo will then photograph them in secret and process a series of proof sheets. Next they will meet in person and Theo will help the subject pick their best photos and point out things that the background says about them. When a new client contacts him, Subgirl (Meital Dohan) shocks Theo by doing some very private things in very public places.
This bold, daring blonde mystifies Theo. While entranced in her photographic shots, Nat walks in behind him and he blushes. Nat knew about the shoot upfront, but neither she nor Theo knew that the subject would be so titillating. Both try to be cool, but seeds of doubt arise. Nat wonders why Theo is so obsessed with this woman and Theo wonders why Nat keeps pulling away.
Monogamy focuses on how our bodies always tell the truth. Our words may say one thing, while our faces, eyes and body language may say another. The problem is we don’t always know why, so reading into things may get us into trouble. This film is about truth, lies and photography. It is also about communication and what makes a couple work. It is a fascinating character study and brings up some interesting ideas. How much do we really know about each other?
Rating: First Run Our bodies always tell the truth
Theo’s (Chris Messina) new business is picking up, and as he and his live-in girlfriend get ready for their own impending wedding, Theo begins to fixate over other people’s wedding photos and how they relate to each other. He is looking for that certain something that shows when a couple is truly in love. Meanwhile, Nat (Rashinda Jones) is having her own fixations. She begins reading into everything that Theo does.
In his Gumshoot business, clients contact Theo via the Internet with a time and place to meet and what they are wearing. Theo will then photograph them in secret and process a series of proof sheets. Next they will meet in person and Theo will help the subject pick their best photos and point out things that the background says about them. When a new client contacts him, Subgirl (Meital Dohan) shocks Theo by doing some very private things in very public places.
This bold, daring blonde mystifies Theo. While entranced in her photographic shots, Nat walks in behind him and he blushes. Nat knew about the shoot upfront, but neither she nor Theo knew that the subject would be so titillating. Both try to be cool, but seeds of doubt arise. Nat wonders why Theo is so obsessed with this woman and Theo wonders why Nat keeps pulling away.
Monogamy focuses on how our bodies always tell the truth. Our words may say one thing, while our faces, eyes and body language may say another. The problem is we don’t always know why, so reading into things may get us into trouble. This film is about truth, lies and photography. It is also about communication and what makes a couple work. It is a fascinating character study and brings up some interesting ideas. How much do we really know about each other?
Rating: First Run Our bodies always tell the truth
Jane Eyre
There are countless interpretations of Jane Eyre; the first silent film was shot in 1915. Yet, it fascinates me how each director picks and chooses what scenes they want to include and what chapters they feel are expendable. With the exception of some television series, each one must trim this epic story to make it fit in theatrical length. Up and coming director Cary Kukunaga chose to shorten Jane’s growing up period and he spent the largest amount of time at Thronwood.
What I liked the most about this Jane Eyre was the articulate script by Moira Buffini and the way that the environment became another character. Between the cinematography of Adriano Goldman, and the wonderfully authentic locations, this Jane Eyre had a decidedly Gothic feel and a elegant solitary essence. The light and shadow enhanced the emotional tone of what was happening in the scene and the original score completed the experience.
Many young actors have taken on the roles of Jane and Rochester over the years and it’s difficult to make these characters your own especially when so many adaptations have been done. However, Mia Wasikowska has done a fine job with Jane and Michael Fassbinder is sure to break out soon as a major star. But for me the actor that made the biggest impression was Jamie Bell. I loved the nuances he had in his character, upright and pious on one hand, yet smoldering underneath. When his sisters go off and leave him alone with Jane Eyre, there exists an air of danger; will his religious convictions stay his obvious attraction? And when he offers his hand in marriage it is hard to know which side of him is speaking, the kind generous benefactor, or the husbandly tyrant. I really think that Jamie Bell captured this Victorian man beautifully.
If I have any complaints about this film is that the romantic element was not as prevalent as other versions. You feel Rochester’s need to connect with Jane, and you feel Jane’s reluctance to open her heart. But when a rival appears Jane’s jealously is so tamped down that she looks like she is in pain instead of heartbroken. I also felt that the attraction-repulsion emotion that Jane feels is too constrained. I would have like to have seen more chinks in her armor and more turmoil within her spiritual self.
I don’t know why I’m so attracted to this story; every time a new film or television version comes out I’m the first in line to see it. Yet, sometimes you wish you could take this Jane and pair her with that Rochester and put them in that castle, with those costumes, each film as it’s own strength and weaknesses. In this Jane Eyre the look and feel is just right and what it needs is more romance. But overall, it’s an excellent version.
Rating: First Run Overall, it’s an excellent version.
What I liked the most about this Jane Eyre was the articulate script by Moira Buffini and the way that the environment became another character. Between the cinematography of Adriano Goldman, and the wonderfully authentic locations, this Jane Eyre had a decidedly Gothic feel and a elegant solitary essence. The light and shadow enhanced the emotional tone of what was happening in the scene and the original score completed the experience.
Many young actors have taken on the roles of Jane and Rochester over the years and it’s difficult to make these characters your own especially when so many adaptations have been done. However, Mia Wasikowska has done a fine job with Jane and Michael Fassbinder is sure to break out soon as a major star. But for me the actor that made the biggest impression was Jamie Bell. I loved the nuances he had in his character, upright and pious on one hand, yet smoldering underneath. When his sisters go off and leave him alone with Jane Eyre, there exists an air of danger; will his religious convictions stay his obvious attraction? And when he offers his hand in marriage it is hard to know which side of him is speaking, the kind generous benefactor, or the husbandly tyrant. I really think that Jamie Bell captured this Victorian man beautifully.
If I have any complaints about this film is that the romantic element was not as prevalent as other versions. You feel Rochester’s need to connect with Jane, and you feel Jane’s reluctance to open her heart. But when a rival appears Jane’s jealously is so tamped down that she looks like she is in pain instead of heartbroken. I also felt that the attraction-repulsion emotion that Jane feels is too constrained. I would have like to have seen more chinks in her armor and more turmoil within her spiritual self.
I don’t know why I’m so attracted to this story; every time a new film or television version comes out I’m the first in line to see it. Yet, sometimes you wish you could take this Jane and pair her with that Rochester and put them in that castle, with those costumes, each film as it’s own strength and weaknesses. In this Jane Eyre the look and feel is just right and what it needs is more romance. But overall, it’s an excellent version.
Rating: First Run Overall, it’s an excellent version.
Tuesday, March 15, 2011
The Music Never Stopped
A young music-loving father is teaching his son all about his favorite music. With each melody comes the artist, composer, and where he was and what he was doing when he first heard the song. Like a game, young Gabriel knows all about his father’s passion, but when he grows up and develops a musical taste of his own, father and son no longer see eye to eye. One night, Gabriel (Lou Taylor Pucci) and his father (J.K. Simmons) have a terrible row and as Gabriel is storming out of the house his father yells after him, “And never come back again!” It is now twenty years later and Henry has yet to see his boy.
Flash forward to the 80’s and Henry is sitting in his living room listening to his precious music. His wife (Cara Seymour) is glaring at him for not answering the telephone. As Henry continues to be transfixed in song, we see Helen’s face change from frustration to grief. Her sorrow is so profound that it gets Henry’s attention. Gabriel has been found.
The next scene takes place in a hospital. While Gabriel has been living on the streets, a slow growing tumor has been invading his brain. With its removal, Gabriel has lost a big portion of his memory and the ability to form new ones. Henry is devastated. He finally has his son back and he can’t even remember the last thing he said.
When Henry is forced into early retirement, Helen decides to get a job. This means that Henry can no longer avoid visiting his son at the hospital. One of them has to be there. Henry is in torment. He really wants to connect with his son but he can’t stand seeing him in his current state. So after he resigns himself to the painful duty of spending time with Gabriel, Henry begins to notice certain promising behaviors. These behaviors start Henry doing research on his own and this him to Diane Daley (Julia Ormond). Diane Daley is a musical therapist. In her research she is developing protocols to reach different parts of the brain through music. She agrees to meet Gabriel and with their meetings she discovers something wonderful, Gabriel has memories that have survived.
This sounds like a hokey premise for a movie, but The Music Never Stopped is based on a true story. When a song released between 1958 through 1970 was played, especially The Beatles, Dylan or the Grateful Dead, Gabriel would light up, become engaged, and recall memories from that period. In order to understand his son and his music more Henry trades in his beloved vinyl and exchanges them for albums from Gabriel’s era. As Gabriel becomes radiant and starts to share with his father what the music means and where he was when he heard it, Henry is now the pupil and Gabriel is the teacher. The scenes between J.K Simmons and Lou Taylor Pucci are magical.
Through Gabriel’s recollections, Henry is convicted and shamed by the mistakes that he made as a father. But now that he has a chance to know his son again he is pouring his entire self into the process. The psychological part of the story is interesting but it is the father-son dynamic that really makes this film. Their scenes are so moving that when you add in the music, they become unforgettable. And that is what makes this movie special, it speaks to the power of music and love.
Rating: First Run The scenes between J.K Simmons and Lou Taylor Pucci are magical.
Flash forward to the 80’s and Henry is sitting in his living room listening to his precious music. His wife (Cara Seymour) is glaring at him for not answering the telephone. As Henry continues to be transfixed in song, we see Helen’s face change from frustration to grief. Her sorrow is so profound that it gets Henry’s attention. Gabriel has been found.
The next scene takes place in a hospital. While Gabriel has been living on the streets, a slow growing tumor has been invading his brain. With its removal, Gabriel has lost a big portion of his memory and the ability to form new ones. Henry is devastated. He finally has his son back and he can’t even remember the last thing he said.
When Henry is forced into early retirement, Helen decides to get a job. This means that Henry can no longer avoid visiting his son at the hospital. One of them has to be there. Henry is in torment. He really wants to connect with his son but he can’t stand seeing him in his current state. So after he resigns himself to the painful duty of spending time with Gabriel, Henry begins to notice certain promising behaviors. These behaviors start Henry doing research on his own and this him to Diane Daley (Julia Ormond). Diane Daley is a musical therapist. In her research she is developing protocols to reach different parts of the brain through music. She agrees to meet Gabriel and with their meetings she discovers something wonderful, Gabriel has memories that have survived.
This sounds like a hokey premise for a movie, but The Music Never Stopped is based on a true story. When a song released between 1958 through 1970 was played, especially The Beatles, Dylan or the Grateful Dead, Gabriel would light up, become engaged, and recall memories from that period. In order to understand his son and his music more Henry trades in his beloved vinyl and exchanges them for albums from Gabriel’s era. As Gabriel becomes radiant and starts to share with his father what the music means and where he was when he heard it, Henry is now the pupil and Gabriel is the teacher. The scenes between J.K Simmons and Lou Taylor Pucci are magical.
Through Gabriel’s recollections, Henry is convicted and shamed by the mistakes that he made as a father. But now that he has a chance to know his son again he is pouring his entire self into the process. The psychological part of the story is interesting but it is the father-son dynamic that really makes this film. Their scenes are so moving that when you add in the music, they become unforgettable. And that is what makes this movie special, it speaks to the power of music and love.
Rating: First Run The scenes between J.K Simmons and Lou Taylor Pucci are magical.
Saturday, March 12, 2011
Red Riding Hood
Folklore, Myths and Fairy-tales are all rooted in reality. They have grown out of our collective fears, insecurities and sub-conscience. Yet in Catherine Hardwicke’s take on Red Riding Hood, the film is so disconnected from any real place or time that it has all the depth of a fashion magazine photo spread. Amanda Seyfried is beautiful to look at with her pale skin, blue eyes and blonde hair set against a velvety red cape and hood, but you can’t build an entire movie around around a woman’s beauty, there needs to be something more.
The thing that bothered me the most about this film was the contemporary behaviors set in a medieval time. It is never clear where we are and what the time period is because there is such an eclectic mix of styles and crafts, but it is an unenlightened time and with such a small close-knit community, they probably would not have allowed Valerie (Red Riding Hood) to act so wayward and independent.
When I looked up to see what else Catherine Hardwicke has directed I wasn’t surprised at all to see that she was an production designer first and had directed the teen sensation film Twilight. Although I’ve never seen any the Twilight films you can’t escape the parodies and pop culture references, and its stamp is all over this film. Like Twilight, Valerie must decide between two men, Peter (Shiloh Fernandez) her childhood love or Henry (Max Irons) the man she has been promised to. But since either one of them may be the village werewolf, she is taking the stance of wait and see.
The film does have a little mystery going since we didn’t know if the wolf is a man or a woman. It looked very masculine to me, but when Gary Oldman shows up as a werewolf hunting priest he admits that his own wife was a werewolf which put everyone, including the women under suspicion.
Although beautiful to look at, I became quickly bored with this movie and when the girls started dancing like teenage seductresses it completely took me out of the film. There needed to be more darkness, more angst and more suspicion. I found the werewolf out of sync with the look of the film and as far as tension I found film’s like The Crucible far more scary. If you are not a 14 year old girl this film really misses its mark. Maybe the next fairy tale inspired film will do better.
Rating: Rent It This film has all the depth of a fashion magazine photo spread
The thing that bothered me the most about this film was the contemporary behaviors set in a medieval time. It is never clear where we are and what the time period is because there is such an eclectic mix of styles and crafts, but it is an unenlightened time and with such a small close-knit community, they probably would not have allowed Valerie (Red Riding Hood) to act so wayward and independent.
When I looked up to see what else Catherine Hardwicke has directed I wasn’t surprised at all to see that she was an production designer first and had directed the teen sensation film Twilight. Although I’ve never seen any the Twilight films you can’t escape the parodies and pop culture references, and its stamp is all over this film. Like Twilight, Valerie must decide between two men, Peter (Shiloh Fernandez) her childhood love or Henry (Max Irons) the man she has been promised to. But since either one of them may be the village werewolf, she is taking the stance of wait and see.
The film does have a little mystery going since we didn’t know if the wolf is a man or a woman. It looked very masculine to me, but when Gary Oldman shows up as a werewolf hunting priest he admits that his own wife was a werewolf which put everyone, including the women under suspicion.
Although beautiful to look at, I became quickly bored with this movie and when the girls started dancing like teenage seductresses it completely took me out of the film. There needed to be more darkness, more angst and more suspicion. I found the werewolf out of sync with the look of the film and as far as tension I found film’s like The Crucible far more scary. If you are not a 14 year old girl this film really misses its mark. Maybe the next fairy tale inspired film will do better.
Rating: Rent It This film has all the depth of a fashion magazine photo spread
Thursday, March 10, 2011
The Mechanic
I never imagined that I would be nostalgic for a Charles Bronson movie made in the seventies, but after watching The Mechanic with Jason Statham, I kind of am. It has nothing to do with Jason Statham, I love this guy and think he makes an excellent Mechanic. He’s already proven himself with a similar role in the Transporter series. I think the disconnect for me is in the Bishop-McKenna relationship. In the 2011 version of The Mechanic, Steve McKenna is played by Ben Foster and he portrays Steve as a brooding loose canon. Arthur Bishop is supposed to be a precisionist who is drawn to fine things and who is meticulous with every detail in his life. I found it difficult to believe that he would put up with this self-destructive, shortsighted young man, even if he had the need to connect with another human being.
Now it’s hard to remember nearly forty years ago to how I felt about the original Mechanic, but I remember having a huge crush on Jan Michael Vincent and I also remember being very disturbed by Death Wish, which is the Charles Bronson movie that followed The Mechanic. That type of extreme violence was new to the movies then and at 14 years old it made quite an impression. To draw us away from our television sets in the seventies, the movies were getting more and more graphic in order to provide us with something that we couldn’t get on our television screens. Today, unfortunately, we are not safe anywhere.
As a remake I think that The Mechanic holds up, but I found the ending far less satisfying. I recall being blown away and titillated by the original. Maybe it was due to my age back then or maybe they just handled it better, I’m not sure. But I definitely preferred the Jan Michael Vincent interpretation of Steve. Ben Foster’s Steve lacked the self-control to be a contract killer. I think that Jan Michael Vincent’s narcissistic Steve was a much better choice. I also believe that the slower pace of the original film gave us more time to get to know Bishop and to watch their relationship grow. Bishop was considered very cool to a 1970’s teenager. As an adult now I see so much more.
Rating: Second Run A worthy successor to the Charles Bronson film
Now it’s hard to remember nearly forty years ago to how I felt about the original Mechanic, but I remember having a huge crush on Jan Michael Vincent and I also remember being very disturbed by Death Wish, which is the Charles Bronson movie that followed The Mechanic. That type of extreme violence was new to the movies then and at 14 years old it made quite an impression. To draw us away from our television sets in the seventies, the movies were getting more and more graphic in order to provide us with something that we couldn’t get on our television screens. Today, unfortunately, we are not safe anywhere.
As a remake I think that The Mechanic holds up, but I found the ending far less satisfying. I recall being blown away and titillated by the original. Maybe it was due to my age back then or maybe they just handled it better, I’m not sure. But I definitely preferred the Jan Michael Vincent interpretation of Steve. Ben Foster’s Steve lacked the self-control to be a contract killer. I think that Jan Michael Vincent’s narcissistic Steve was a much better choice. I also believe that the slower pace of the original film gave us more time to get to know Bishop and to watch their relationship grow. Bishop was considered very cool to a 1970’s teenager. As an adult now I see so much more.
Rating: Second Run A worthy successor to the Charles Bronson film
Monday, March 7, 2011
The Adjustment Bureau
Many of us like to believe that there is someone or something out there watching over us and guiding our lives. In The Adjustment Bureau, Matt Damon has just discovered who they are. Carrying our book of life with them, these hat-wearing guardians watch over us ensuring that our path of destiny stays the course. When New York senatorial candidate David Norris (Damon) meets a modern dancer named Elise (Emily Blunt) they instantly hit it off and sparks fly. But according to the plan, Elise is intended to inspire David only; by design they are never to meet again. But David has never felt this way about a girl before. For three years he has continued to look for her riding the same bus at the same time every day. His handlers must get creative to keep David and Elise apart. David Norris is a persistent man.
When David accidentally discovers these fedora-wearing watchers he also learns about their time-saving portals. When entered, these secret doors instantly transport you to another part of the city. This way the watchers can cover many areas in a short amount of time. David learns that each person is assigned to a watcher who becomes their own personal case manager, but since there are more people than agents, they can’t watch everyone all the time. Therefore they may cover more than one person and can only be present for life-changing events.
Anthony Mackie plays David’s case manager Harry Mitchell. He answers to Richardson played by John Slattery. Harry Mitchell has been following David and his family for a very long time. He is weary and has grown too sympathetic and attached to his client. His error leads David to the discovery of the Adjustment Bureau and Richardson has been sent by the Chairman to clean things up. It is only through Harry’s intervention that David hasn’t been re-set. To be re-set means having your memory wiped and this would be a tragedy for anyone.
This story has the feel of an earlier time and may remind you of something like the Twilight Zone. For me it reminded me of the kind of science-fiction short stories that I read in my youth. This film has a definite retro feel, but what makes this film work overall is the interesting idea and the enchanting chemistry between Matt Damon and Emily Blunt. This dynamic propels the story and if their relationship weren’t believable then the film would have no lasting power. Also it is nice to have a sci-fi film that is a little more cerebral and doesn’t consist solely of monsters and explosions. The action in this film is more like a political thriller and the special effects enhance the film and do not overwhelm it.
I found The Adjustment Bureau different and refreshing and Matt Damon and Emily Blunt really suited each other well. Their relationship sustains the film throughout and they’re the main reason you should see this one. If The Adjustment Bureau doesn’t make you suspicious of men in hats at least it will make you think the next time you spill coffee or miss a bus. If it’s in your plan, go see it, but if you find it sold out, it wasn’t meant to be.
Rating: First Run A cerebral film to hang your hat on
When David accidentally discovers these fedora-wearing watchers he also learns about their time-saving portals. When entered, these secret doors instantly transport you to another part of the city. This way the watchers can cover many areas in a short amount of time. David learns that each person is assigned to a watcher who becomes their own personal case manager, but since there are more people than agents, they can’t watch everyone all the time. Therefore they may cover more than one person and can only be present for life-changing events.
Anthony Mackie plays David’s case manager Harry Mitchell. He answers to Richardson played by John Slattery. Harry Mitchell has been following David and his family for a very long time. He is weary and has grown too sympathetic and attached to his client. His error leads David to the discovery of the Adjustment Bureau and Richardson has been sent by the Chairman to clean things up. It is only through Harry’s intervention that David hasn’t been re-set. To be re-set means having your memory wiped and this would be a tragedy for anyone.
This story has the feel of an earlier time and may remind you of something like the Twilight Zone. For me it reminded me of the kind of science-fiction short stories that I read in my youth. This film has a definite retro feel, but what makes this film work overall is the interesting idea and the enchanting chemistry between Matt Damon and Emily Blunt. This dynamic propels the story and if their relationship weren’t believable then the film would have no lasting power. Also it is nice to have a sci-fi film that is a little more cerebral and doesn’t consist solely of monsters and explosions. The action in this film is more like a political thriller and the special effects enhance the film and do not overwhelm it.
I found The Adjustment Bureau different and refreshing and Matt Damon and Emily Blunt really suited each other well. Their relationship sustains the film throughout and they’re the main reason you should see this one. If The Adjustment Bureau doesn’t make you suspicious of men in hats at least it will make you think the next time you spill coffee or miss a bus. If it’s in your plan, go see it, but if you find it sold out, it wasn’t meant to be.
Rating: First Run A cerebral film to hang your hat on
Rango
Saddle up boys, there’s a new sheriff in town and Rango is his name. Abandoned by fate to the cruelties of the Mojave Desert, Johnny Depp voices Rango, a true chameleon, who meanders into the drought-ridden town of Dirt with its gritty desert dwelling inhabitants. Always prone to the theatrical and with a vivid imagination, our lizard with no name takes on the persona of Rango, a rough tough gunslinger who knows how to maximize a bullet. When Rango solidifies his reputation by taking out the town nemesis, a silver-beaked hawk a la Tim Strawn, the mayor makes Rango sheriff and puts him in charge of protecting the town’s remaining water supply.
As an aficionado of all things western I found Rango a delight. From the Ennio Morricone inspired score by Hans Zimmer, to the Cat Ballou style Greek chorus, Rango borrows from the genre without apology paying tribute to western films of the past and present. As a beautifully rendered animated film, Rango doesn’t rely on kid-centric humor or sight gags, rather its comedy is derived from intricate visual effects, character-driven behaviors and a cleaver malaprop-filled script with plenty of winks and nods.
You will not find these animated characters in the plush aisle at Walmart or gracing a McDonald’s Happy Meal. Some of these creatures are darn right hideous and far from huggable. But Industrial Light and Magic and director Gore Verbinski have done a wonderful job taking ordinary desert dwelling animals and morphing them into iconic western characters. Ned Beatty voices the mayor, a water hoarding turtle akin to John Houston in China Town. His hired gun is a Lee Van Cleef looking rattlesnake voiced by Bill Nighy and for heart we have a female lizard played by Isla Fisher and a possum girl voiced by Abigail Breslin. But I have to say that my favorite spoof is the Spaghetti Western version of Clint Eastwood known as the Spirit of the West complete with golf cart and little golden statues in his basket. Timothy Olyphant nailed the Eastwood cadence to the point that I originally thought that Eastwood had done his own voice. Like this reference the film is full of western jibes and tributes. Even the movie Star Wars gets a nod.
Rango may not be suitable for small children. Many of the plot details will go right over their heads and this film is far from being cute. But for adults the movie is a lot of fun, especially if you enjoy a good western. The animation makes imaginative use of perspective and special effects and for anyone who paid attention in school you’ll get a real chuckle out of the constant misuse of the English language.
Johnny Depp really displays his versatility in this film and his vocal range as well. Like a chameleon his performance delivers many shades and colors. And the music is versatile, too. I liked the score so much that I plan on purchasing the soundtrack. What a wonderful thing when all the elements of a movie come together. So, put on your hat and polish your spurs, in Rango we have a new western hero. Giddy up!
Rating: First Run Rango honors the Spirit of the West
As an aficionado of all things western I found Rango a delight. From the Ennio Morricone inspired score by Hans Zimmer, to the Cat Ballou style Greek chorus, Rango borrows from the genre without apology paying tribute to western films of the past and present. As a beautifully rendered animated film, Rango doesn’t rely on kid-centric humor or sight gags, rather its comedy is derived from intricate visual effects, character-driven behaviors and a cleaver malaprop-filled script with plenty of winks and nods.
You will not find these animated characters in the plush aisle at Walmart or gracing a McDonald’s Happy Meal. Some of these creatures are darn right hideous and far from huggable. But Industrial Light and Magic and director Gore Verbinski have done a wonderful job taking ordinary desert dwelling animals and morphing them into iconic western characters. Ned Beatty voices the mayor, a water hoarding turtle akin to John Houston in China Town. His hired gun is a Lee Van Cleef looking rattlesnake voiced by Bill Nighy and for heart we have a female lizard played by Isla Fisher and a possum girl voiced by Abigail Breslin. But I have to say that my favorite spoof is the Spaghetti Western version of Clint Eastwood known as the Spirit of the West complete with golf cart and little golden statues in his basket. Timothy Olyphant nailed the Eastwood cadence to the point that I originally thought that Eastwood had done his own voice. Like this reference the film is full of western jibes and tributes. Even the movie Star Wars gets a nod.
Rango may not be suitable for small children. Many of the plot details will go right over their heads and this film is far from being cute. But for adults the movie is a lot of fun, especially if you enjoy a good western. The animation makes imaginative use of perspective and special effects and for anyone who paid attention in school you’ll get a real chuckle out of the constant misuse of the English language.
Johnny Depp really displays his versatility in this film and his vocal range as well. Like a chameleon his performance delivers many shades and colors. And the music is versatile, too. I liked the score so much that I plan on purchasing the soundtrack. What a wonderful thing when all the elements of a movie come together. So, put on your hat and polish your spurs, in Rango we have a new western hero. Giddy up!
Rating: First Run Rango honors the Spirit of the West
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