The history of cinema has had many long-running actor/director partnerships. What first springs to my mind is the long collaboration between actor John Wayne and director John Ford, which has inspired several film books and documentaries. More recently we’ve had the Martin Scorsese and Robert DeNiro team-ups ( although Leonardo DiCaprio may just catch up to Mr. D ). And now we have the eighth film that actor Johnny Depp has done with director Tim Burton since they first paired all the way back in 1990 for EDWARD SCISSORHANDS ( Wow! ). After films based on children’s books, a low-budget filmmaker’s life, and a Broadway musical what have the duo decided to tackle now? Why, it’s a classic cult TV show from the late 1960′s : DARK SHADOWS. What’s their take on this supernatural soap opera?.

Time for a bit of disclosure here. During its original run on ABC television, I was mad for this weird little show! My grade school was almost in my back yard, so I literally ran out those exit doors when the last bell rang in order to plant myself in front of the bulky console TV and get creeped out Monday through Friday. ” Dark Shadows ” was the brainchild of the late Dan Curtis, who went on to produce the original TV movies, ” The Night Stalker ” starring Darren McGavin as reporter Carl Kolchak and ” Trilogy of Terror ” with Karen Black fighting those vicious little dolls, in addition to the acclaimed mini-series ” The Winds of War ‘ and its sequel ” War and Remembrance “, and he also directed two feature films based on ” Shadows ‘ along with BURNT OFFERINGS. This daytime drama with elements of gothic romance was about to be cancelled when Curtis had a desperate, brilliant idea :  Let’s put a vampire into the show ! Unknown ( to US TV audiences ) actor Jonathan Frid was a sensation as the lovesick bloodsucker Barnabas Collins. The program became must-see viewing for young people everywhere ( it’s odd to recall that the fortysomething Frid was cover featured on teen fan magazines alongside the Monkees and Bobby Sherman ). And that canny Curtis helped unleash an avalanche of merchandising. Barnabas was the star of a daily newspaper comic strip, monthly Gold Key comic books, board games, model kits, record albums, and a long-running series of original paperback novels. And I had as many of them that I could lay my grubby little hands on! But these bright star burned briefly. Dark Shadows ended it’s five-year run in 1971, but like Mr. Collins it’s not been completely dead. Curtis spearheaded an NBC prime time remake in the early 1990′s and a TV movie in 2005. The original series has played om cable, been released on home video, and inspired fan conventions ( though not as many as ” Star Trek” ). Talk of a new big screen version has been kicking around for years. I was intrigued by Depp and Burton’s involvement and, like many fans of the original, were taken aback by the comedic tone of the trailer. But I must keep an open mind. This is intended for modern movie audiences who have probably never heard of the series. Ya’ know, this may work!

And then I finally viewed the new film. The plot tries to incorporate several storylines from the show’s early season. Prior to the opening titles, we are introduced to Barnabas as a young boy in Liverpool as he and his parents are about to begin their voyage to America. Also headed across the pond is young Angelique Bouchard and her mother , who will work as a servant to the Collins family. The young lass is already smitten with the dark-haired boy. Upon their arrival in Maine, the prosperous family begins a successful fishing business, establishes the city of Collinsport, and starts construction on the opulent Collinwood estate. Years later Barnabas ( Johnny Depp ) gives his heart to the lovely Josette ( Bella Heathcote ) and spurns the affections of Angelique ( Eva Green ). You know what they say about a woman scorned. Ms. A turns to witchcraft to end their romance and turn Barnabas into a vampire. Later she leads a group of torch wielding villagers to trap him in his coffin, bind it with heavy chains, and bury him in the deep woods. The film then jumps to hip, happenin’ 1972. Victoria Winters arrives in the town in answer to a  child care help wanted ad. She finds Collinwood a dark, gloomy shell of its former glories. Victoria first encounters Willie ( Jackie Earle Haley ) who is the estate’s main caretaker along with the doting, elderly Mrs. Johnson. Seems only four Collins family members occupy the great mansion:  matriarch Elizabeth Collins Stoddard ( Michelle Pfieffer ), her rebellious teenage daughter Carolyn ( Chloe Grace Moretz ), Elizabeth’s brother Roger Collins ( Jonny Lee Miller ) and his pre-teen son David ( Gulliver McGrath ). Also living there in order to treat David’s emotional issues ( he sees his deceased mother ) is the hard-drinking Dr. Julia Hoffman ( Helena Bonham Carter ). Later that evening a construction crew working in the woods outside Collinwood unearths a coffin wrapped in chains. To their regret, they sever the bonds and release a famished Barnabas. After a culture shock stroll through town, he returns to his ancestral home. He makes Willie his hypnotized servant, strikes a deal with Elizabeth, and vows to restore both the estate and the family fishing business. Only one thing stands in his way ( besides that nasty thirst ) – a rival seafood cannery run by the still youthful and gorgeous Angelique, who has convinced the town that she’s just the latest in a long line of family moguls. Oh, and it turns out that Victoria is the spitting image of the vamp’s long-lost love Josette. Can Barnabas Collins turns things around for the family while romancing a new/old flame and staying a step ahead of his spell casting nemesis?

I may have made this flick sound more exciting than it really is. At two full hours, you’ll feel as though you’ve been chained inside a buried casket. Perhaps it needed a merciless editor, or, more likely, a couple more passes at this unwieldy script. Much is made of the Barnabas/Victoria romantic subplot, but she seems to vanish for a good half hour while more time is devoted to the tiresome antics of Angelique. There’s not one, but two big confrontation scenes in her company boardroom. This affords the filmmakers a chance to indulge in some juvenile sex jokes, as seen in the trailer when the two enemies give in to passion ( with a nod to the Catwoman lick from Burton’s BATMAN RETURNS ). There’s even more coarse sex gag ( literally ! ) with the doctor. Really guys? Seems the ladies find the bloodsucker irresistible even with pounds of clown white covering his mug ( in the TV show Frid looks like an average Joe till he bared his fangs ), and a dark airbrushed streak down his cheekbones. The seventies era is reconstructed well, although items like lava lamps and troll dolls appear in order to garner easy laughs. As does a TV performance by the Carpenters on an old-fashioned color TV. Speaking of music, I was let down by the usually reliable Danny Elfman. He uses a few music cues from Robert Colbert’s classic TV score, but the show’s main theme is never heard. Instead we get lots of FM-style classic rock ( ” Nights in White Satin ” over the main titles? Okaaay ). However I did enjoy seeing the real Alice Cooper recreating his early performances.

Speaking of performances, the actors make a valiant effort with the meager source material. Depp seems to be enjoying his role immensely, although at times he seems to be doing mix of his James Barrie and Sweeney Todd while strutting about in his odd costume choices ( at least he kept the wolf’s head cane ). Pfeiffer has little to do until the messy finale. It’s hard to accept her in this matronly part.Moretz is one of our most promising young actors, but here she’s trapped as a sullen, surly teenager. Miller and Carter are there to model funny 70′s fashions and be funny, sleazy types while mugging at the camera. Heathcote is a lovely ingenue, but sets off no real sparks with Depp. Neither does the usually engaging Green whose witch character becomes a campy, cartoon villainess who’s more tedious than menacing. When it comes to screen menace, few actors are greater than 60′s and 70′s vampire movie icon Christopher Lee, who graces the screen in an all too brief cameo. But the best cameo may be that of cast members from the original TV series : Kathryn Leigh Scott ( Victoria ), David Selby ( Quentin ), Lara Parker ( Angelique ) and Barnabas himself, the late great Jonathan Frid who passed away just weeks ago. Kudos for including this brief nod.

Tim Burton has always been stronger with visuals than narrative, so it should come as no surprise that the big finale is so disjointed. One big reveal of a family member’s secret pounces in from left field. The film’s opening scenes seem to have the proper dramatic tone, but once Mr. B returns home, everything is jokes- the 70′s decade kitsch , sex patter, and whoosing cartoon sound effects. That’s not to say that the original TV show wasn’t funny. Rewatching the series on DVD, you’re struck by the cheesy effects, flimsy sets, often hammy acting, and overwrought dialogue ( the show was shot live on tape, so many flubs are preserved ), but the producers were striving for more than cheap laughs. Sometimes a dramatic TV show can be transformed into an enjoyable big screen comedy, like 1987′s DRAGNET and the recent 21 JUMP STREET. Here everything seems forced. A friend recently asked, ” Fans of the original won’t appreciate the comic tone, young moviegoers don’t know of the old show, so who did Johnny and Tim make this for? “. I believe they really made it for themselves and only their most hardcore fans may join them. For the rest of us…well, uh, at least Barnabas isn’t sparkly!

Overall Rating: 1.5 Out of 5 Stars

*** Fair warning, this review may contain some very, very MINOR spoilers. ***

It’s a rare thing that a sequel surpasses it’s predecessor, and in the case of WRATH OF THE TITANS, the theory wavers slightly. CLASH OF THE TITANS (2010) was a remake of the 1981 Ray Harryhausen classic that had action and lots of CGI special effects but did little to honor the original, nor did it compare to the thrill and excitement the 1981 original still offers fans. With this sequel, loosely based on the the 1981 screenplay written by Beverley Cross, who also wrote the 1981 original CLASH OF THE TITANS, the film ponies up a more fluid story with better special effects, but the pacing differs greatly from the 2010 CLASH OF THE TITANS.

WRATH OF THE TITANS takes place a decade after Perseus (Sam Worthington) defeated the Kraken. Having turned down his god-father Zeus’ offer to rule by his side from Olympus, the demi-god [half human/half god] Perseus now attempts to live a normal, human life with his son in a small village. Perseus devotes his life to his son now, but when Zeus returns asking for Perseus to fight once more to save the world, Perseus sticks to his guns and stays with his son… at first. Perseus doesn’t realize the severity of his father’s need for his help.

Meanwhile, in the realm of the gods, Hades (Ralph Fiennes) has something up his cloak and is secretly plotting to dethrone Zeus (Liam Neeson) and free their father Kronos from the prison within which Zeus and Hades once confined him. The key to this story is that the gods are growing weaker as humanity no longer prays to them, which means the safeguards they have placed in the world to protect humanity weaken along with their power, threatening to unleash the Titans on the world. This is bad news, but it takes nearly losing his father to bring Perseus around once more and step into his big boy shoes to save the day for all mankind.

WRATH OF THE TITANS is directed by Jonathan Liebesman, who’s last outing was in last years BATTLE LOS ANGELES, a film I would describe as great looking but story lacking. While the story itself was a plus in WRATH OF THE TITANS — and it did look great, with cinematography from Ben Davis — I do see some pacing similarities between the two films. Both have some extremely intense action sequences that are well constructed, but the time spent between these high-octane moments tends to falter a bit, losing some of the momentum, requiring a fresh buildup to the next round of excitement, acting as a slow, unnecessary buffer.

Sam Worthington has hair this time around, which I consider a good thing. His quasi-miliatry buzz cut from CLASH OF THE TITANS always bothered me, as if he just came off the set of AVATAR to shoot CLASH. Leading man aside, the cast was one of the high points in this sequel. Neeson and Fiennes aside, both of whom were naturally enjoyable, Danny Huston returns for a short time as Poseidon and Edgar Ramirez plays Ares, the god of war. Queen Andromeda features a new face, played this time around by Rosamund Pike, replacing Alexa Davalos.

However, the real acting treat in WRATH OF THE TITANS comes from Bill Nighy, who plays the “fallen one” Hephaestus and whom serves a vital role in the quest of Perseus. Nighy, a veteran actor not unaccustomed to fantasy and genre films, is usually a fan favorite, from his roles in SHAUN OF THE DEAD to the UNDERWORLD franchise. Covered in long, gray hair and a ratty beard, it’s difficult at first to recognize the actor, especially when he attempts to disguise his voice, but the tell-tale vocal trademarks and mannerisms do still shine through, resulting in a pleasant “hey, I know him” epiphany. Nighy delivers a fun time in the middle of a movie that mostly takes itself very seriously.

As I mentioned, the special effects are better in WRATH OF THE TITANS than in the CLASH remake. From the monstrous double-bodied soldiers called the Makhai, wielding a relentless onslaught of death and destruction onto the human army, to the fire-breathing bat-dog things and the Chimera, a small band of giant Cyclops, the creature design and effects are the true stars of the film. In this way, WRATH feels like a Harryhausen film, but not it’s equal. Kronos, in particular — albeit lumbering and slow — is quite the eyeful of coolness and scary to boot when you consider what he is and what it would be like in real life. The one creature design I was disappointed in was during the labyrinth segment — a very well designed segment, I might add — when Perseus confronts the minotaur, which I felt lacked greatly, resembling little more than THE GOONIES’ Sloth with horns stuck to his head.

Overall, WRATH OF THE TITANS is a solid film, a true summer blockbuster that will draw crowds and makes lots of money. WRATH is slightly more accomplished than the CLASH remake, enough so to be noticeable and enjoyable. Perhaps it was just me, but beware the down time between the action sequences. These would be good times to sip freely from your caffeine tank, nestled closely in your cup holder. Finally, I suppose I’ll mention the ever present 3D, which is a far cry better than the virtually non-existent 3D of CLASH OF THE TITANS, rendered pointlessly in post-production. The 3D is there in WRATH, visible and effective, if you’re into the blatantly self-conscious, somewhat gimmicky style of 3D in film. My recommendation — as usual — go old school and see the film in 2D.

Overall Rating: 3 0ut of 5 stars

Last year it seemed that Hollywood was taking a short break from adaptations of toys, video games, comic books, and TV shows when two films were announced that would be live-action versions of classic fairy tales. Well, actually both would be based the same tale ” Snow White and the Seven Dwarves ” by the Brothers Grimm. The entertainment news magazines, blogs, and TV programs were all a flutter. Remember the dueling big asteroid and volcano movies from a decade ago! Would the movie-going public be interested in two versions of that raven-haired heroine? And more importantly, who would make it to the multiplex first?  Slowly photos and trailers hit the internet and it became clear that the films were quite different in tone. The darker, action-heavy SNOW WHITE AND THE HUNTSMAN would fit better, perhaps, amid the big, blockbuster thrill-rides of the Summer. Spring was deemed a better time for a more lighter, irreverent, frothy retelling and so MIRROR, MIRROR is the first to hit the screens. Will this Snowy be the fairest flick of the two?

Most of us are pretty familiar with the basic story thanks to Disney’s ground-breaking first animated feature film. The MIRROR team has re-worked the plot and added bits and pieces from other fables and fairy stories. As it begins, the wicked stepmother queen herself ( Julia Roberts ) brings us up to speed with a prologue acted out by shiny porcelain puppets ( CGI, no doubt ). After the King disappeared into the dark forest many years ago, she’s ruled the kingdom ( plunging it into a constant dreary winter ) and kept lovely Snow White ( Lilly Collins ) locked away in the castle. The queen’s running out of funds and may have to marry the frumpy, older, much richer Baron ( Michael Lerner ). The villagers of the kingdom are almost taxed to starvation (shades of Robin Hood ). But then she meets the handsome Prince Alcott ( Armie Hammer ) after he and his valet are robbed by a pack of seven ( ! ) bandits in the nearby woods. Her plans go askew when he meets… guess who at the big animal-themed costume ball ( a bit of Cinderella there ). Banishment, deception, sorcery, reunions, and new friendships occur as the film hurtles towards several big reveals and the ( hopefully! ) happy ending.

This marks the fourth film of director Tarsem Singh ( he made THE IMMORTALS last year ). He gives us many of the same visual tricks ( slow and fast motion, extreme color palettes, wire-work acrobatics, rapid cutting ), but doesn’t have a light touch that this material demands. There’s no THE PRINCESS BRIDE subtlety on display here. There are opulent palace sets, outrageous over the top gowns ( hey Costume Design Oscar nominators! ), and an overly busy Allan Menkin score to capitalize every wink and grimace. And Singh seems to just be moving the cast like chess pieces ( as the queen does in an early scene ) toward the big action set-ups. Julia Robert’s drag-queen villainy and vanity, perhaps a riff on Tallulah Bankhead ( Google her kids! ), quickly becomes tedious. She’s also the mirror reflection/ witch who stares blankly, wears all white, delivers cryptic warnings, and sends killer marionettes ( huh? ) after the heroes. Collins’s Snow is a fairly vacant princess who looks lovely ( even with Peter Gallagher eyebrows ), but tends to be overshadowed in many scenes. She finally gets a bit more interesting after meeting the dwarves and gets a training montage ( surprised I didn’t hear ” Eye of the Tiger’! ) and a makeover ( ?! ) by the metro sexual member of the gang. Speaking of the seven, they’re played by actual diminutive actors ( as opposed to being “hobbit-ized” ) and are not the jewel-miners from the 37′ classic. After taking off their accordian-legs ( really !) we find that each has a name reflective of a trait or habit ( ” Grub ” loves to eat! ” Chuck” likes to laugh or chuckle! Sooo cuuute! And clever! ). One’s got a little crush on Snow and comes off a tad creepy. Hammer is pretty and prince-ly as Alcott ( should make the ladies’ hearts flutter ), but is too pompous and comes off as a teasing older brother in scenes with ” kid sister ” Snow. There’s very few sparks between the two. The very talented Nathan Lane is wasted as the queen’s put-upon aide who looks fearful as he scurries about ( literally after getting hexed! ) and peppers his royal compliments with a sarcastic snark. I was delighted to see a couple of great screen vets. Lerner get delightfully frustrated in his pursuit of the queen, while former ” brat packer” Mare Winningham as the head of castle cleaning and kitchens tries to nurture Snow while placating the queen. Most of the sets are imaginative except for the overused white-blanketed forest. Even in bare feet nobody seems cold there. The very small kiddies may find this amusing, but the pacing and tiresome attempts at wit should have the elders glancing at the time. For a wise cracking jab at story books I’ll take the first SHREK or PRINCESS BRIDE over this ( and I’ll take Jay Ward’s still fresh and hilarious ” Fractured Fairy Tales” from TV’s “The Bullwinkle Show” over all of them). I hope Charlize, Bella Swan, and Thor have a better flick with their take on this timeless tale in a few months.

Overall Rating : 1.5 Out of 5 Stars

Well, those sneaky Hollywood studios are trying to mess with the calendar once again! Or to be more specific, the start of the seasons. For several decades they’ve wheeled out their big budget, youth-oriented tentpole/ franchise blockbusters at the start of Summer ( although a few of these sneak between Thanksgiving and Christmas ). Summer movie time had started with Memorial day weekend , but slowly it has crept up to the first weekend in May ( hey the school year’s not over yet! ). Well now it looks like Lionsgate may be trying to stretch things into Spring ( or Spring break ). And what better way to test these still a bit chilly waters than adapting a popular Young Adult ( YA ) novel. After all, Harry Potter waved his wand for the last time this past year and another YA series ( which I’ll discuss later ) is sending out its last flick in a few months. And so the first of author Suzanne Collins’s trilogy, THE HUNGER GAMES directed by Gary Ross, opens everywhere ( nearly ) today. Is this the start of another money-making movie machine that will fill up multiplexes in the future?

Speaking of the future, the film is set in a near distant one. The story focuses in on Panem, a totalitarian society built up on the ashes of a postapocalyptic North America. It’s composed of 12 very poor districts governed over by the glitzy, opulent Capitol. After a failed rebellion many years ago, the Capitol established the Hunger Games as punishment to these districts ( and entertainment for the swells ). At a ceremony called the Reaping a teenage boy and girl ( 12 to 18 years old )are chosen from each of the districts to compete in a televised battle to the death. The sole winner. besides surviving, is awarded ” untold riches “.  In the impoverished District 12 lives Katniss Everdeen ( Jennifer Lawrence ) who runs the house she shares with her shy, skittish kid sister Prim and her emotionally shattered mother ( father was killed in the mines-the district’s main industry ). Times are tough, so Katniss climbs through the surrounding fences into the forest preserve where she hunts with her trusty bow and arrow. She’s often joined by her childhood pal Gale ( Liam Hemsworth ), who longs to escape the tyrannical government. Back home Prim is filled with worry that she’ll be picked for the upcoming games ( having just reached the proper age ). Sure enough when Capitol rep Effie Trinket arrives for the Reaping, she draws Prim’s name. As the Safety Patrol drags the hysterical girl away, Katniss steps forward and volunteers to take her sister’s place. She’s accepted and Prim is spared. A boy’s name is also drawn. It is Peeta Mellark ( Josh Hutcherson ) the baker’s son and an acquaintance of Katniss. The two are soon whisked away via a high-speed train to the Capitol and made ready to compete in the 74th Hunger Games. ” Games ” with the highest stakes imaginable-win or die!

One of the film’s great strengths is its futuristic look which is striking after the bleak opening scenes in District 12. The place looks like a Depression ravaged podunk ( shades of COAL MINER’S DAUGHTER! ) with its grey looking clothes and homes. But with the arrival of Effie we get a taste of the ultra-modern Capitol styles. The well-to-do folks wear bright neon 40′s and 50′s retro creations. The men and women favor extensive, detailed face makeup and their punk hairstyles are dyed in fluorescent colors ( Effie herself almost looks like a kabuki actor ). The gleaming Capitol domes and skyscrapers would not look out-of-place in LOGAN’S RUN. This is a future that looks great in the main city, but is really an oppressive 1984/ BLADE RUNNER nightmare. Many are comparing GAMES to the 2000 Asian thriller BATTLE ROYALE ( but no firepower here-it’s blades, spears, and arrows! ), while I was reminded of the campy Arnold classic THE RUNNING MAN and even back to WESTWORLD ( in the almost all white GAMES TV control center ). Hopefully the art direction team will get some recognition in the next award season.

Another of the film’s strengths is its large diverse cast. For the adult roles, it’s great to see Wes Bentley back in a high-profile blockbuster, although he’s saddled with some unsubtle, ‘El Diablo’ facial hair as Crane the Gamesmaster. I wanted to know a bit more about the stylist, Cinna played with great warmth ( and a lot of cool ) by Lenny Kravitz. Stanley Tucci  rocked some great blue hair and a huge set of choppers as the Games commentator/ interviewer, but seems to stuck in smarmy, condescending mode. We’re treated to way too few scenes of screen vet Donald Sutherland as the conniving, scheming President Snow. He projects an image of a kindly grandpa’ on TV while he plots and finangle ( almost like Nixon or Emporer Palpatine ) in his lush garden with Crane. Elizabeth Banks get to flit about as Effie while modeling many unflattering outfits and makeups ( the lovely Banks usually pops off the screen ). The most interesting of the screen pros may be Woody Harrelson as mentor, coach, and former Games champ Haymitch Abernathy. With his mop of stringy long hair ( like a blond Shemp Howard ), he spends most of his screen time boozing it up, calling Katniss ” sweetheart “, and acting as her fairy godfather. Could it be the horror he witnessed ( and perhaps committed ) during his competition that has him self-medicating?

Most of the young actors portray the other district’s Game players. Many are grimacing, growling villains like a well armed version of MEAN GIRLS’s Plastiques and THE KARATE KID’s blond rivals ( including a second generation star- Meg Ryan and Dennis Quaid’s son Jack as “Marvel” ). Amanda Stenberg is affecting as the sweet, pint-sized Rue. But, let’s face it, this is the story of Katniss and Lawrence commands the screen as a terrific teen heroine ( as opposed to that other YA series heroine, Twilight’s Bella Swain, she’s not a damsel in distress to be rescued. Told you I’d get to that series! ), right up there with Buffy Summers and THE MATRIX’s Trinity. I had enjoyed her work in X-MEN: FIRST CLASS, THE BEAVER, and LIKE CRAZY, but this is a real showcase. Katniss is almost a futuristic version of her WINTER’S BONE character. And here lies one of the film’s problems, her male co-stars ( and love interests ) are just not as engaging as her. There’s no heat between her and Hutcherson ( so good in THE KIDS ARE ALL RIGHT, but not very believable here ). Perhaps she and Hemsworth could connect, but their only scene together is in the film’s first few minutes. During the games we get shots of him staring at TV screens. Perhaps the author was going for a Bella-Edward-Jacob triangle, but it’s not coming together in this installment.

Which may be another of the film’s problems. Too many things are unanswered, although there’s no big THE EMPIRE STRIKES BACK cliffhanger here. A film should work without having read the source material, and this seemed lacking. Ross works well with these actors and tries to keep the wilder aspects of the story grounded. He is not exploitive with the violence, although some scenes were needlessly chaotic, perhaps in order to not got slapped with the dreaded ‘R” rating. Most of the science fiction aspects are handled with subtlety ( killer wasps work, the crude CGI pit bull/ panther hybrids need to stay in the darkness and the shadows ). Their game of deadly hide and seek lasted too long ( forest fatigue ). Fans of the books will likely be pleased with the reverent treatment. The rest of us should be happy to enjoy the great star making performance of Lawrence. Perhaps the next film will serve her considerable skills better.

Overall Rating; 3.5 Out of 5 Stars

Wow. It seems only yesterday that I was bemoaning having to don the big glasses and watch another film in 3D. It seemed that it was turning into a tired gimmick. It was an extra cost for films that needed an extra push. And then there’s the films converted to 3D after being shot with standard cameras. I couldn’t recall all the 3D movies I’d seen this past year. And then a master shows us how it’s done. Martin Scorsese’s HUGO (based on the children’s book ” The Invention of Hugo Chabret” by Brian Selznick ) truly utilizes the format to its full potential. With most films, I’ve told friends that the 3D wasn’t necessary. With this film I hope people will make the extra effort ( and spend a bit more ) in order to experience it’s eye-popping wonders. A friend was complaining that Scorsese was slumming by stooping to shoot in 3D. I remembered that Alfred Hitchcock shot DIAL M FOR MURDER at the height of the 3D movie craze of the 1950′s ( after the big box office of HOUSE OF WAX and B’WANA DEVIL ). If Hitch could work with the format, why shouldn’t Scorsese get a crack at it? I think movie goers will be glad he did. 

At the film’s start we’re high above Paris. The camera swoops into the train station. The year is 1930. We meet a pre-teen boy named Hugo ( Asa Butterfield ). It’s revealed that Hugo worked alongside his inventor father ( Jude Law ) who was the custodian of a large museum. They both attempt to activate a small robot called an automaton. It appears that it writes with pen and ink. Their work comes to a halt when the father is killed and Hugo must live with his lush of an uncle,Claude ( Ray Winstone ) who is the clock maintenance man at the station. When Claude goes missing after a bender, Hugo assumes his duties at the station. As he scrambles to survive while servicing the clocks, Hugo must keep two steps ahead of the determined station inspector ( Sasha Baron Cohen ) and his Doberman. The inspector believes that Hugo is a thieving child of the streets. In his adventures Hugo works with a sullen toy shop owner ( Ben Kingsley ) and befriends the man’s god-daughter Isabelle ( Chloe Grace Moretz ). As the two kids explore the city they soon discover the mystery surrounding her Papa Georges.

This barely scratches the surface of all the wonders of the film. The Paris of 1930 is almost another character in the film. HUGO makes a nice companion piece to Woody Allan’s film from earlier this year MIDNIGHT IN PARIS. Both films are meticulous in their recreation of the era and both feature real artists of the time, although there’s more historical cameos in the Allen film. HUGO has yet another cinema brother in the soon to be released THE ARTIST. In one scene Hugo sneaks Isabelle into a cinema where she is dazzled by an American silent film ( kudos to Scorsese for the excellent choice ), while THE ARTIST  is a silent film set around the same period in Hollywood. In this film Scorsese is really able to display and share his passion for the history of cinema. While dazzling us with the sumptuous visuals, Scorsese has not neglected the actors. The film rests on the very capable shoulders of young Butterfield, His Hugo is a smart, resourceful, daring young man. Moretz continues to build a great body of film work as Hugo’s sympathetic sidekick ( and perhaps love interest ). Cohen aptly displays his considerable comic skills ( almost a slapstick silent film clown ) as the comic villain . But the inspector’s not all bad. He pines for the train station flower seller ( Emily Mortimer ), but is embarrassed by the brace on his left leg ( a war injury ). Kingsley gives a very moving performance as the toy peddler who is more than he seems, although his interplay with Hugo makes for some great comedy. Bravo  to the producers for populating the station with some great veteran actors like Richard Griffiths and the great Christopher Lee as a kindly book seller. The film may be a tad too long for the very young ( some were getting a bit fidgety at the screening ), but older kids will be thrilled by Hugo’s daring escapes and adventures. With HUGO Scorsese has wrapped up a delightful cinema gift to us this holiday season and proves that any movie format can work when an artist with passion is behind the lens.

Overall Rating: Four and a Half Out of Five Stars

Well, Harold and Kumar have already taken their 3D shot at Christmas, so it’s time for another 3D flick that hopes to become a holiday viewing tradition. Unlike those two ‘buds’, this one is made for all ages. And it’s animated, but ARTHUR CHRISTMAS is a co-production between Sony Animation and those fine folks from across the pond, Aardman Studios ( the Wallace and Grommit folks ), so it’s got some of that dry British humor which will appeal to the grown-ups . This film follows in the tradition of many holiday flick in that it wants to give you the real low-down on how Saint Nick makes his rounds ( this what THE SANTA CLAUSE , SANTA CLAUS THE MOVIE, and FRED CLAUS all purported to reveal ).

The film opens up on the Claus family’s busiest night of the year. We get to see an entire village serviced by Santa and countless elves. They zip in on a spaceship ( the massive S-1 ) and, like a cross between super-secret agents and wily ninjas they enter homes, disable alarms, and distribute the presents, all without getting detected ( they collect the snacks left for Santa and his reindeer and turn them into bio-fuel for the S-1 ). The slighty befuddled Santa ( Jim Broadbent ) wouldn’t get the job done without the high-tech mission control back at the North Pole  run with precision by the next in line to be Santa, oldest son Steve ( Hugh Laurie ). Oh, and in his own tiny office ( decorated with all manner of Santa stuff ) is his younger brother Arthur ( James McAvoy ), who’s in charge of answering all the letters to Santa. The big man in the big spaceship finally returns ro home base : mission accomplished. Everyone is pleased except Arthur! It turns out that a present didn’t make it on to the ship. Santa and Steve shrug it off-they’ll just ship the gift to the little girl and she’ll get it in a few days. Arthur will not stand for this. There’s a few hours before dawn breaks on the girl’s Cornwall village, so Arthur, with the aid of the retired Grandsanta ( Bill Nighy ) and his old sled Evie ( and reindeer ) embarks on a race against the clock to insure that every child has a very merry Christmas.

The film begins with a bang with the history of the Santa line ( the current one is seventeen ) , then quickly cuts to the elves leaving the S-1 I ( in invisible stealth mode ) and zipping down ropes onto the homes. This sequence is like Bond or Mission: Impossible times a hundred! McAvoy is wonderfully innocent and ernest as the son that just wants to make sure that all the kids are happy. In this film Laurie sounds closer to one of his upper-class twits in ” Black Adder” than Dr. Gregory House. Steve is quite full of himself and has his own Santa suit already whipped up ( a great gag ). Broadbent is terrific as the slightly out of it Santa. It’s a good thing Mrs. Claus ( Imelda Staunton ) is there to keep him focused. The best present here is Nighy as the crotchety, surly Grandsanta he really dislikes all these new fangled gizmos.  Some of his lines are true politically incorrect gems. The character designs are very pleasant and creative ( all those elves! ) and the 3D works well with the bright designs and backgrounds. The film tends to sag a bit when Arhtur’s on his journey, but everything leads up to a rousing and sentimental finale.  A warning : the film is preceeded by a music video of Justin Biebers version of a classic holiday tune. Talk about your lump of coal! Ah, back to the main event-ARTHUR CHRISTMAS  is a tasty holiday treat that has a smart funny script that will keep parents amused while the tykes are enthralled.

Overall Rating : Three and a Half Out of Five Stars

Face front, True Believers! According to our calenders, officially  the first day of Summer is June 21, but movie Summer really starts with the first weekend in May ( sorry FAST FIVE ) especially with the release of a big comic book superhero movie. For the last few years this has featured a hero from the fabled House of Ideas-Marvel. With 2008′s IRON MAN the comic company has been producing their film properties through Marvel Studios ( along with Paramount ). After two Iron Man movie adventures the studio is now tackling another Marvel hero. While Tony Stark was thought of as a second tier character, this big guy has been one of their comic superstars since his introduction in 1962′s Journey Into Mystery number 83-the mighty Thor. The Norse god had primarily been adapted in animation. First in the ( very ) limited animation TV series The Marvel Superheroes by Gantry Lawrence in 1966. He later made appearances on Spider-Man and His Amazing Friends and most recently on the Superhero Squad and Marvel Avengers: Earth’s Mightiest Heroes. The only live action attempt was in the 1988 made-for TV movie The Incredible Hulk Returns. In that a former student of David Banner, Donald Blake, was able to channel and materialize an ancient warrior through a battle hammer. This Thor was a viking party animal interested in carousing with very little in common with the comic book character. Growing up, reading of his exploits I didn’t think this updated Norse mythology could be translated to a big live action big screen epic. Like Jon Favreau with Iron Man, an actor has stepped behind the camera to guide him to the muti-plexes : Kenneth Branagh. Would he be able to go from Shakespeare to Stan”the man’ Lee and Jack ‘king’ Kirby. After viewing the end result, THOR, I can only say, “Excelsior!”

This Norse mythology saga starts, oddly enough, in the deserts of New Mexico, USA. A van containing researchers Jane Foster ( Natalie Portman ), Darcy Lewis ( Kat Dennings ), and Dr. Erik Selvig (Stellan Skarsgard ) races through the night in order to take readings of the strange atmospheric disturbances. Suddenly the dark skies open and a weird light shines on the desert floor. Driving to the spot, they bump against something-a man. The film then goes back many hundreds of years to a primitive Norwegian village suddenly under attack by the fearsome Frost Giants. Soon a bursting bright light sets forth hundreds of viking warriors to the rescue. They are Asgardians lead by their king, Odin ( Anthony Hopkins ). After a brutal battle ( Odin loses his right eye ), Asgard prevails and Odin takes the Frost Giants’ power source the Casket of Ancient Winters. The years pass. Odin and his beautiful wife Frigga ( Rene Russo ) raise two sons: Thor and Loki. Reaching adulthood, Thor ( Chris Hemsworth ) is chosen by Odin to secede him as king/ ruler of Asgard. The ceremony is interrupted by Frost Giants who attempt to retrieve the casket, until they are thwarted by an enchanted walking armored weapon, the Destroyer. Going against his father’s wishes, Thor along with his brother Loki ( Tom Hiddleston ) and friends the Lady Sif ( Jamie Alexander ) and the Warriors Three: Hogun  ( Tadanobu Asano ), Fandral ( Joshua Dallas ), and Volstagg ( Ray Stevenson ) get the Rainbow Bridge’s guardian Heimdall ( Idris Elba ) to open the portal/ wormhole to the Front Giants’ world of Jotunheim. The fight is stopped when Odin and his guards arrive to take the Asgardians back home. After a heated argument Odin strips Thor of his powers and send him to Earth. Casting a spell on his hammer, Odin sends it to Earth as well. And so we’re caught up as Thor is taken to a hospital by the research team. After he’s released the scientists take him in, although Selvig believes him to be delusional. Meanwhile the hammer’s arrival has attracted many locals who attempt to free it from a rock that where it is embedded. But it can only be retrieved and used by someone worthy of the power of Thor. The hammer has also attracted Agent Phil Coulson ( Clark Gregg reprising his role from the Iron Man films ) and the forces of S.H.IE.L.D., who set up operations around it. Back in Asgard, Odin collapses after an altercation with Loki. The aged ruler is taken to the healing room where he enters the Odin-sleep ( an almost comatose state). Loki assumes the throne. Can he make Thor’s banishment permanent? Will Thor be able to retrieve his hammer and regain his powers? And what will happen to his friends back in Asgard? And what of his new friends on Earth- especially the lovely Ms. Foster?

This all makes for a whole lot of fun at the movies. It turns out that Branagh’s an excellent match for this material. The royal family intrigue is very similar to much of Shakespeare’s work. He also handles the many action scenes with skill as we see this magical hammer in action. Bo Welch does an admirable job of emulating Jack Kirby’s spiralling, shining castles and towers in Asgard. While Krypton has been portrayed in the recent Superman films as jutting, icy stalagmite towers, Thor’s home has a warm golden glow. Relative newcomer Hemsworth does a great job of anchoring the film. He makes Thor’s journey from arrogant brawler to humble, compassionate hero very compelling. If Lawrence Oliver could be the Greek god Zeus in the original CLASH OF THE TITANS, then who better to play his Norse counterpart Odin than Hopkins ( now that Sean Connery’s retired ). And a big welcome back to Ms. Russo in her first movie in over five years.You’ve been missed . I look forward to seeing  you fighting side by side with Hopkins in future adventures. Hiddleston’s a great conniving plotter as the duplicitous Loki. Kudos to the rest of Thor’s Asgardian friends particularly Alexander and Dallas who look like they stepped right out of the comics along with Stevenson ( PUNISHER: WAR ZONE ) as ( the not so-voluminous ) Vostagg and Elba as the imposing Heimdall. On Earth, Denning provides great comic relief as Darcy while Skarsgard brings scholarly gravitas and humor to Dr. Selvig. Portman’s believable as the compassionate scientist, but stumbles a bit while almost swooning over the hunky heroin several scenes. As in previous films, Gregg is a treat as the all-business ( but very funny ) government agent. As mentioned on this sight, another Marvel character makes an appearance here.  And of course like the Iron Man films, be sure to stick around through the end credits for a bonus scene that sets the wheels in place for a future film. I’ve only a couple problems with the film. The switch between Earth and Asgard can be abrupt. The scenes of Loki’s treachery sometimes stop the momentum of Thor’s New Mexico saga. Also the ending does evoke the conclusions of THE EMPIRE STRIKES BACK and the first Spider-Man film. And of course there’s the old 3D situation. Thor was not shot in 3D ( there’s not even a shot of the hammer zooming toward the camera ), so the scene set on the Frost Giant world is very dark and murky. I hope to catch it again in good ole 2D. So, how does this stack up against the other Marvel movies? Well, with SPIDER-MAN 2 being the sublime and ELEKTRA on the other end of the spectrum , I’d place this in the top third, right between the first Iron Man and the Ed Norton Incredible Hulk. Just think only a few weeks till we re-visit those X-Men and a few weeks after that we’ll cheer on that  shield slingin’ first Avenger. This bodes well for a great movie Summer. For Asgard!

Overall Rating: Four and a Half Out of Five Stars

Scientists are constantly exploring the wonders of the human brain, particularly the subconscious. One of the discoveries is that in times of extreme trauma the brain can shut down responses to it’s surroundings and can either erase the experience or retreat into an alternate reality. This is one of the main themes of Zack Snyder’s new film SUCKER PUNCH. Unlike his previous movies, this is not a remake ( DAWN OF THE DEAD ) nor an adaptation of a graphic novel ( 300, WATCHMEN ) although much of the imagery here is inspired by other films, TV shows, animation, and comic books. In PUNCH, Synder’s main heroine enters another reality in her mind. And then another reality within that one( similar to the dream levels in INCEPTION ). Once again Snyder uses state of the art effects to create these different worlds.

The film begins after two theatrical curtains lift to reveal a simple bedroom backdrop. Atop the bed, crying, is a young blond woman of 17 or 18 named Baby Doll ( Emily Browning ). A doctor leaves her mother’s bedroom, shaking his head at Baby Doll’s step father. Baby Doll runs to console her kid sister as the sheet is pulled over their mother’s face. Later the step father seethes with anger as he reads the mother’s will. Everything will go to the daughters. Grabbing his bottle of booze, he storms into Baby Doll’s room. Rebuffing his advances, Baby Doll scratches his face, forces him out of her room, and locks the door. Gazing through the keyhole, she sees him lurching toward the locked closet where her kid sister hides. Baby Doll climbs out her bedroom window and scampers across the ledge to the window of the study. Inside she locates the pistol in a desk drawer. Racing down the hallway, she confronts her step father as he kicks in the closet door. She shakily points the gun at him and fires. The bullet whizzes past him and fatally strikes her sister. At the grave site, the stepfather signs the papers committing Baby Doll to a mental institution. After sedating her, they take her into the asylum where the director Blue Jones ( Oscar Isaac ) assures the step father that she will be lobotomized by the visiting doctor who will arrive in five days. Baby Doll is introduced to Dr. Gorski ( Carla Gugino )  who uses the auditorium stage for her therapy sessions. She encourages the inmates to act out their histories. Here Baby Doll’s mind transforms the stage into a nightclub/brothel. The other inmates, Rocket ( Jena Malone ), her sister Sweet Pea ( Abbie Cornish ), Blondie ( Vanessa Hudgins ), and Amber ( Jamie Chung ) are entertainers, Gorski is their choreographer/director/madame and Blue Jones is the club owner/pimp. Jones wants Baby Doll trained and ready for the arrival of the High Roller ( the lobotomist ) in five days. When Gorski instructs her to dance to some music, Baby Doll goes into a trance. Her mind enters a fantasy where she meets the mysterious Wise Man ( Scott Glenn ) . Before using a samurai sword to defeat three hulking shogun warriors, he explains that in order to gain her freedom she will need five things: a map, the key, fire, a knife, and something she will have to discover. She then awakes back on the dance floor. Everyone is astonished at her skills. Later in the dressing room, Baby Doll lays out her plan and tries to unite them as a team. Sweet Pea hesitates, but soon  reluctantly agrees to help. Working together can these ladies gather the items and bust out of the nightclub/bordello before the High Roller arrives? Or should I say- can they escape the hospital before lobotomy day?

The first scenes that set up Baby Doll’s entrance to the mental institution are played out almost as an old silent movie. Snyder uses a dark, greyed down color palette similar to 300. The hospital and the dance hall are both dreary places ( until the gals are entertaining ). The fantasy battle fields are gritty and grimy also. Each time an item is acquired the ladies go into another mission after getting orders from the Wise Man. After Baby Doll’s Asian themed first outing, they are all plunged into a steam punk version of World War I. Later they storm a medieval castle were Orc-like creatures serve a huge fire-breathing dragon and her offspring. Finally they must board a high speed train and stop a pack of faceless androids from detonating a bomb within a futuristic metropolis. These scenarios should be thrilling, but they become terribly repetitive after the first couple. It’s the ladies making impossible leaps while hacking, slashing, and gunning down endless hordes. In the backstage scenes between the mayhem, the woman are saddled with lots of ridiculous, forced dialogue as they alternately argue with and encourage each other.  The characters other than Baby Doll and Sweet Pea are almost interchangeable. Cornish does her best to be the cynical hard case, but her fights with Browning have very little spark. Gugino is saddled with a clunky Polish accent and has little to do besides tapping her cane. Isaac makes Jones a completely hiss-able , irredeemable thug who’s written like a mustache-twirling villain. You may have read that Jon Hamm is in the film. Be warned, Don Draper fans, that his role is almost a cameo. I’ve admired much of Snyder’s work in the past, but the slow motion suddenly becoming fast speed, the wire work, CGI creatures, and swirling, zooming camerawork quickly became tiresome. As the old saying goes, “full of sound and fury signifying nothing”. Still, I’m looking forward to Snyder’s take on the last son of Krypton. We’ll see if he can create characters that are as interesting as his visual imagination. The ending aspires to be a tribute to “girl power”. That deserves to be lauded and explored in something more substantial than this noisy, overdone video game of a movie.

Overall Rating: Three Out of Five Stars

There’s a reason why many classic fairy tales have stood the test of time. From one century to the next, children find comfort in these stories which often include life lessons-don’t stray from the path, listen to your elders,and so on. Since the beginnings of cinema, filmmakers have used these tales for motion pictures. Most were adapted into short films until Walt Disney made his feature length animated film debut in 1937 with SNOW WHITE AND THE SEVEN DWARVES. This opened the floodgates for other studios (and Disney himself) to bring these fables to theatres in full-length films. Aside from a 1963 Mexican live action version and a part of the animated HOODWINKED, Red has not gotten the full big budget screen treatment until now. But Red is not ” little ” this time out. The makers of RED RIDING HOOD have decided to explore more fully the sexual subtext of the tale and so the heroine is now a girl in her late teens on the cusp of womanhood. The big question is whether this simple story can be stretched over ninety minutes.

This fable begins many years ago in the village of Daggerhorn, tucked away in a snowy mountain range. The heroine, Valerie, is off to fetch water when she is surprised by her young friend Peter. They romp away into the forest where they find a rabbit that has been caged in their wooden trap. The two then dare each other to be the one to slit the bunny’s throat! Cut to the townspeople tying up a piglet to a tree stump in the town square. It is an offering to the wolf that haunts them during the time of the full moon. The story then picks up many years later when now teenage Valerie (Amanda Seyfried) surprises Peter (Shiloh Fernandez) as he takes a lunch break at his woodcutting  job. It seems that their childhood friendship has blossomed into love. Unfortunately Valerie’s parents (Billy Burke and Virginia Madsen) have promised her to Henry (Max Irons), the son of a wealthy family. Later Valerie discusses this with her grandmother (Julie Christie) at her home away from the village, deep in the forest. Grandmother then gives her a bright crimson, hooded cloak. The next morning after the first full moon the villagers discover the wolf’s human victim: Valerie’s older sister! The young, jittery village priest, Father Auguste (Lukas Haas) announces that he has sent for an expert in destroying beasts. The men of the village will not wait. They will venture into the woods and kill the creature. Entering a dark, deep cave, the men are separated when the wolf appears. The next day at the tavern the men proudly display the wolf’s head on a spear. But their victory has come at a price - Henry’s father was killed by the beast. The celebrations are soon ended by the arrival of the “expert”, Father Solomon (Gary Oldman) along with his soldiers. He explains that the wolf is not the guilty party. A werewolf has been the cause of their troubles. When killed the wolf reverts back to it’s human form. Solomon then shows them the human hand of a werewolf  he killed-his own wife! It turns out that the next few days is a particularly dangerous time. Every thirteen years the planets align to produce a red, or “blood”, moon. During this time anyone bitten will share the werewolf curse. Solomon believes that the werewolf lives among them in the village. The men brush off his claims and decide to have their big celebratory festival in the village square that night. Of course, there’s no way anything terrible will occur during their party!

First I should give a shout out to the positives of this film- the set direction and costuming are first rate. Daggenhorm is a vaguely Bavarian medieval town and the village square and cottages are right out of classic childrens’ book illustrations as are the clothing (which are not helped by the contemporary hairstyles). The rest of the film is a major misfire. Catherine Hardwicke has made some great modern day films (THIRTEEN  and  LORDS OF DOGTOWN), but really has a difficult time in this ancient setting and with the supernatural elements (as she did with TWILIGHT). She relies heavily on the old horror standbys of things jumping out from out of frame and cranked-up sound effects. David Johnson’s (ORPHAN) script clumsily goes from young lovers pulled apart by their folks to a “who’s the werewolf” mystery straight from the old 70′s B-movie THE BEAST MUST DIE. The many good actors involved here can’t save this disaster. Seyfried’s been an engaging screen presence especially in the adult, thriller CHLOE. Here’s she seems to have taken a couple of steps back in teen scream queen territory. Her large expressive eyes are always on full display here. Fernandez and Irons are the required sensitive bad boy and wimpy rich good boy respectively. Madsen is given little to do as the tough matriarch while Burke’s character is the ineffectual, drunken dad. The still radiant Christie is completely wasted in the role of the wise grandmother who knows more about the best than she admits. Oldman is always interesting to watch. Here he’s the only one in the cast affecting a vaguely German accent. Perhaps that was a way to keep himself interested in this project. He gets to flash his sword and bellow instructions to his crew, but his character is so completely evil as to be a parody. It’s a shame that the producers didn’t try to go for a bit more humor. As the film plays, all the humor is unintentional. Almost like one of Ed Wood’s epics. Unfortunately this film is not nearly as entertaining. What should be a fun riff on a classic story becomes a somber, sluggish march into  teen supernatural romance land.

Overall Rating: 1.5 out of 5 stars

Check out the new, sumptuous poster for RED RIDING HOOD via Apple iTunes. I can really appreciate what the graphic artist did here with the hues, shades and tints surrounding Amanda Seyfried – for me, it’s always about the visuals. Plus, it’s a vast improvement over the original poster the studio released last year. Any thoughts on what or who Seyfried is running from?

Have another look at the trailer…will you be seeing the film in March? Or a little too afraid of the big, bad wolf?

Synopsis:

Valerie (Amanda Seyfried) is a beautiful young woman torn between two men. She is in love with a brooding outsider Peter (Shiloh Fernandez), but her parents have arranged for her to marry the wealthy Henry (Max Irons). Unwilling to lose each other, Valerie and Peter are planning to run away together when they learn that Valerie’s older sister has been killed by the werewolf that prowls the dark forest surrounding their village. For years, the people have maintained an uneasy truce with the beast, offering the creature a monthly animal sacrifice. But under a blood red moon, the wolf has upped the stakes by taking a human life. Hungry for revenge, the people call on famed werewolf hunter, Father Solomon (Gary Oldman), to help them kill the wolf. But Solomon’s arrival brings unintended consequences as he warns that the wolf, who takes human form by day, could be any one of them. As the death toll rises with each moon, Valerie begins to suspect that the werewolf could be someone she loves. Panic grips the town as Valerie discovers that she has a unique connection to the beast–one that inexorably draws them together, making her both suspect…and bait.

Director: Catherine Hardwicke
Writer: David Leslie Johnson
Producers: Jennifer Davisson Killoran, Leonardo DiCaprio, Julie Yorn
Executive Producers: Jim Rowe, Michael Ireland, Catherine Hardwicke

Cast: Amanda Seyfried, Gary Oldman, Billy Burke, Shiloh Fernandez, Max Irons, Virginia Madsen, Julie Christie

Warner Bros. Pictures presents, an Appian Way production, a Catherine Hardwicke film, RED RIDING HOOD. The film will be released March 11, 2011 by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Visit the film’s official site here and on Facebook here.

Prepare to be SUCKER PUNCHed in this new featurette along with the cast of Zack Snyder’s upcoming epic action fantasy.

Synopsis:

Close your eyes. Open your mind. You will be unprepared. “Sucker Punch” is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality. Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, and her incredible adventures blur the lines between what’s real and what is imaginary. She has been locked away against her will, but Babydoll (Emily Browning) has not lost her will to survive. Determined to fight for her freedom, she urges four other young girls–the outspoken Rocket (Jena Malone), the street-smart Blondie (Vanessa Hudgens), the fiercely loyal Amber (Jamie Chung) and the reluctant Sweet Pea (Abbie Cornish)–to band together and try to escape their terrible fate at the hands of their captors, Blue (Oscar Isaac), Madam Gorski (Carla Gugino) and the High Roller (Jon Hamm). Led by Babydoll, the girls engage in fantastical warfare against everything from samurais to serpents, with a virtual arsenal at their disposal. Together, they must decide what they are willing to sacrifice in order to stay alive. But with the help of a Wise Man (Scott Glenn), their unbelievable journey–if they succeed–will set them free

From Warner Bros. Pictures and Zack Snyder (300 and WATCHMEN), SUCKER PUNCH stars Emily Browning, Vanessa Hudgens, Abbie Cornish, Jamie Chung, Jena Malone, Carla Gugino, Jon Hamm, Oscar Isaac, and Scott Glenn. The film will be in theaters next year on March 25, 2011.

Visit the film’s official site here, like the film on Facebook here and on Twitter here.

From Terrence Malick, the acclaimed director of such classic films as BADLANDS, DAYS OF HEAVEN and THE THIN RED LINE, comes the first trailer for THE TREE OF LIFE, the impressionistic story of a Midwestern family in the 1950′s.

What’s everyone think? Another beautiful film from a genius or just more pretentious Malick garbage?

Synopsis:

The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Brad Pitt). Jack (played as an adult by Sean Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith. Through Malick’s signature imagery, we see how both brute nature and spiritual grace shape not only our lives as individuals and families, but all life.

From Fox Searchlight Pictures, THE TREE OF LIFE will be in theaters on May 27th, 2011.

In 2005, Walden Media and Walt Disney Pictures made box office magic with director Andrew Adamson’s feature film adaptation of C.S. Lewis’ THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE. It’s success prompted them to team up again for the next in the series, THE CHRONICLES OF NARNIA:PRINCE CASPIAN in 2008. With the new film, THE CHRONICLES OF NARNIA:THE VOYAGE OF THE DAWN TREADER, several changes have happened with the team behind the scenes . Walden has now teamed up with 20th Century Fox while Michael Apted (COAL MINER’S DAUGHTER) has replaced Adamson as the director. Fortunately for the series fans the changes have not affected the quality of this entry in the fantasy film franchise.

At the film’s start we meet up again with the two youngest of the Pevensie children. Lucy and Edmund are staying with relatives in England while World War II rages (Edmund attempts to enlist) as Susan and Peter go to America. The two Britain based kids are in constant conflict with their obnoxious, selfish cousin Eustace. During a big argument, he pulls a painting from the wall of a ship sailing the ocean waves. Suddenly, water gushes from the picture and engulfs the room. The children swim toward the sunlight and pop up out of the sea in front on the massive ship, the Dawn Treader. On board the Pevensie children are reunited with Prince Caspian and the sword-wielding rodent, Reepicheep. The mouse soon catches Eustace stealing rations and gives the boy a fencing lesson. Caspian and his crew are on a quest to find the lost lords of Narnia. Soon the ship stops at the Lone Islands where they encounter slave traders and a mysterious green mist. Continuing, the Treader crew search for the seven swords of the lost lords and have many adventures along the way.

Like the previous two films, the special effects are state of the art. Reepicheep (last voiced by Eddie Izzard now by Simon Pegg) and Aslan interact seamlessly with their human costars. The mer-peoples that glide along the ship and the green mist that forms faces are very impressive. Of course, I have to mention two marvelous monsters: a gigantic sea serpent that almost crushes the Treader and a winged fire-breathing dragon(who is secretly a transformed human). Some fans may be a bit disappointed that Peter and Susan are relegated to brief cameos, but the funny, spirited performance of Will Poulter as bratty cousin Eustace should delight them. The film is playing at select theatres in 3D, but after seeing some early scenes in regular 2D I can say that the extra dimension is not essential to the story. The film’s a bit long at nearly two hours, but there’s enough adventures and creatures to keep the little tykes interested. I had hoped to be a bit more engaged by the main human characters. We get to see Edmund and Lucy maturing(she envies her older sister), but Caspian seems to be a Sindbad type sea hero in the installment. If you are a fan of the first two Narnia films and enjoy the C.S. Lewis books then you should enjoy this new movie visit to that world of fantasy and adventure.

Overall Rating: 3.5 out of 5 stars

Hard to believe but in the mid 1980′s the animation department at the Disney Studios was in danger of being shut down. The recent documentary WAKING SLEEPING BEAUTY shows the  turmoil there after their big release, THE BLACK CAULDRON, tanked at the box office. Luckily the animation division was able to pull itself up by returning to classic fairy tales and hiring the team of Alan Menkin and the late, great Howard Ashman (fresh from their stage truimph “Little Shop of Horrors”) to inject some big show tunes into them. Soon Disney animation was back on top with the hat trick of THE LITTLE MERMAID, BEAUTY AND THE BEAST, and ALADDIN. Now after having great success with Pixar’s films, Disney is making an attempt to revive  the musical fairy tale with TANGLED. Will it be a return to their former glories or will it croak at the box office like THE PRINCESS AND THE FROG.

TANGLED is an expanded version of the classic Grimm fairy tale of Rapunzel. The story starts near an unnamed kingdom(maybe Italy?) when a piece of the sun breaks off and lands on earth. A magical glowing golden flowers sprouts where the bit landed and is found by the ancient Mother Gothel. When Gothel reaches for the flower her wrinkles magically disappear and her youth is restored. She covers the flower with a hollow bush and returns periodically to use it’s power. Meanwhile back at the castle, the pregnant queen ‘s health is fading quickly. The king orders a search for the legendary healing golden flower. One of the soldiers finds it and brings it back to Gothel’s horror. After drinking a potion made from the flower, the queen is restored to health and gives birth to a beautiful girl with shimmering blond hair they name Rapunzel. Late one night Gothel sneaks into the nursery to find the flower. She soon discovers that Rapunzel’s hair has the same rejuvenating powers, but not when the locks are sheared(they turn brown). Gothel takes the baby and disappears into the forest, never to be found. The heartbroken king and queen launch floating lighted lanterns into the sky on her birthday in hope that the girl will see them and return. But the years pass as Rapunzel grows up in a huge tower hidden deep in the forest. The young girl believes that Gothel is her mother and will not venture out after Mother tells her of the terrors of the outside world. That all changes on the eve of her eighteenth birthday as Flynn Rider discovers her alone in the tower while eluding the king’s men( he and the Stabbington brothers have taken a jeweled crown). After knocking him out, Rapunzel hides the crown. When he awakes, she tells him that he will get the crown back if he takes her to the kingdom so she may witness the lantern launch up close. They embark on a journey with the king’s soldiers, the Stabbington brothers, and Mother Gothel in hot pursuit.

The film has a much different look than other recent Disney features. Here they’re trying to combine the lush, modeled look of CGI with the hand drawn character stylings of earlier fairy tale features. The gorgeous, bright look of the film works thanks to directors Nathan Greno and Byron Howard with a big assist from executive producer and master animation artist Glen Keane. The look and movement of many of the characters is reminiscent of Keane’s work on Ariel, the Beast, and Tarzan. Like Ariel, Rapunzel is a bright eyed, plucky young woman that all the young girls in the audience will identifywith.  Mandy Moore is great as her speaking and singing voice. Ryder Flynn is a lovable rascal like Aladdin and is given voice by TV’s Chuck, Zachary Levi. Mother Gothel, voiced by Broadway vet Donna Murphy, is not as strong a villainess as  previous Disney bad girls(particularly Ursula or Maleficent). She’s wicked, but seems to wield control over Rapunzel in a passive aggressive fashion. Great character work is on display with the two mute animals: Pascal the chameleon and Maximus the white stallion. One scenes has our heroes going to a forest eatery and meeting a motley group of thugs who might be related to the HOW TO TRAIN YOUR DRAGON vikings. Although the artwork is great I had problems with the simple story of Rapunzel be stretched to feature length. The   chases  and the flood seemed like padding. The film’s not helped by some unmemorable songs. Of course Rapunzel must sing of her desire to explore the world, “When Will My Life Begin”, but it’s no “Part of Your World”. Mother Gothel’s wannabe showstopper “Mother Knows Best” quickly becomes tedious. Luckily “I’ve Got a Dream” is livened up by some great animation of the forest thugs. I found it distracting that these medieval folks were using modern phrases like “downer” and “freak-out”. Perhaps I’m nitpicking too much. The wee ones should enjoy the frantic action and animal antics. I just hope Disney doesn’t give up on these old classics. I think there’s another timeless masterpiece to be brought to the big screen using that old magic that Walt began over seventy years ago.

Overall Rating: Four out of Five Stars

Warner Bros. Pictures has released this clip featuring Harry and Ron from HARRY POTTER AND THE DEATHLY HALLOWS: PART 1. Enjoy or weep for the film will be in theaters two weeks from today.

Don’t forget to check out and enter WAMG’s MOVIE MAGIC FOR MUGGLES: The Contest where ONE lucky winner will win a Harry Potter and the Deathly Hallows Prize Pack!

Synopsis:

Harry Potter and the Deathly Hallows, the seventh and final adventure in the Harry Potter film series, is a much-anticipated motion picture event to be told in two full-length parts. Part 1 begins as Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort’s immortality and destruction–the Horcruxes. On their own, without the guidance of their professors or the protection of Professor Dumbledore, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart. Meanwhile, the wizarding world has become a dangerous place for all enemies of the Dark Lord. The long-feared war has begun and Voldemort’s Death Eaters seize control of the Ministry of Magic and even Hogwarts, terrorizing and arresting anyone who might oppose them. But the one prize they still seek is the one most valuable to Voldemort: Harry Potter. The Chosen One has become the hunted one as the Death Eaters search for Harry with orders to bring him to Voldemort…alive. Harry’s only hope is to find the Horcruxes before Voldemort finds him. But as he searches for clues, he uncovers an old and almost forgotten tale–the legend of the Deathly Hallows. And if the legend turns out to be true, it could give Voldemort the ultimate power he seeks. Little does Harry know that his future has already been decided by his past when, on that fateful day, he became “the Boy Who Lived.” No longer just a boy, Harry Potter is drawing ever closer to the task for which he has been preparing since the day he first stepped into Hogwarts: the ultimate battle with Voldemort.

Look for HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 in theaters and IMAX on November 19, 2010 followed by PART 2 next summer July 15, 2011.

Click here to see the film’s official website, become a fan on Facebook and follow it on Twitter.

© 2010 Warner Bros. Ent.
Harry Potter Publishing Rights © J.K.R.

Harry Potter characters, names and related indicia are trademarks of and © Warner Bros. Ent.  All Rights Reserved.

Here’s the 2nd trailer for 20th Century Fox’s big holiday film, GULLIVER’S TRAVELS.

Synopsis:

In a contemporary re–imagining of the classic tale, Jack Black stars as Gulliver, a big–talking mailroom clerk who, after he’s mistakenly assigned a travel piece on the Bermuda Triangle, suddenly finds himself a giant among men when he washes ashore on the hidden island of Lilliput, home to a population of very tiny people. At first enslaved by the diminutive and industrious Liliputians, and later declared their hero, Gulliver comes to learn that it’s how big you are on the inside that counts.

From director Rob Letterman (SHARK TALE, MONSTERS VS. ALIENS) and starring Jack Black, Emily Blunt, Amanda Peet, Jason Segel and Billy Connolly, the film will be in theaters in 3D on December 22, 2010.

Recently this reporter got chance to look at several completed scenes from the upcoming release THE CHRONICLES OF NARNIA : THE VOYAGE OF THE DAWN TREADER. From the looks of the half hour of footage screened, this newest installment in the series promises just as much visual splendor and swashbuckling adventure as the previous two films

The opening sequence following the main titles sets the action in England during World War II. Edmund Pevensie tries unsuccessfully in enlist in the military and is lead from the recruitment center by his sister, Lucy. She is on the verge of womanhood and tries to copy the flirtatious looks of an older girl she observes on their way home. We soon learn that the war has separated them from Peter and Susan(who is shown writing a letter in the states). When they return to their cousin Eustace’s house, the spoiled cousin taunts Edmund. While they argue, Lucy notices a strange movement in a hanging painting of a ship at sea. When Eustace rips the art from the wall, water seeps out of it and quickly fills the room. The children swim toward the daylight and emerge from the ocean yards from the massive ship, The Dawn Treader. After the three are brought on board, Lucy and Edmund are reunited with Prince Caspian and the sword wielding mouse Reepicheep. Eustace is intimidated by the strange surroundings and the burly minotaurs that work alongside the sailors.

In the next scene viewed Eustace is caught stealing from the food supply room by Reepicheep  who then gives the boy a lesson is sword fighting. Up next is a scene after Eustace has been transformed into a dragon because of his greed and he and the mouse talk on a moonlight beach. In the next scene the two join forces to fight a sea serpent that attacks the ship. Later Lucy comes upon a magical book that turns her mirror reflection into the image of her older sister Susan. After this we see the group(along with a now human Eustace) in a huge banquet hall where a beautiful princess invites them to dine while three of the lost lords of Narnia are in an enchanted sleep at one end of the long table. Finally we meet up with Aslan on a beach next to constant flowing wall of water as the group bids an emotional farewell to one of their who decides to enter Aslan’s kingdom.

The footage is most impressive. The camerawork is solid, the colors pop, and the CGI mixes very well with the live actors. We did not get to view the scenes in 3D, so I can’t give any opinions on how it will look in that process. Although there have been several changes with this entry(Michael Apted replaces Andrew Adamson as director and Fox takes over from Disney ) this film promises to be another entertaining all ages fantasy film.

Distributed by 20th Century Fox and starring Ben Barnes, Skandar Keynes, Georgie Henley, along with the voices of Liam Neeson (Aslan) and Simon Pegg (Reepicheep), NARNIA: THE VOYAGE OF THE DAWN TREADER will be in theaters for this holiday season on December 10, 2010.

For all the latest NARNIA news, visit the film’s official site here and on Facebook here.

One month from today marks the bittersweet beginning of the end with the release of HARRY POTTER AND THE DEATHLY HALLOWS: PART 1. From Warner Bros. Pictures comes a marathon of new tv spots. So fellow muggles, sit back with a cup of pumpkin juice, chocolate frogs and enjoy!

Here’s the first tv spot from September.

Synopsis:

Harry Potter and the Deathly Hallows, the seventh and final adventure in the Harry Potter film series, is a much-anticipated motion picture event to be told in two full-length parts. Part 1 begins as Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort’s immortality and destruction–the Horcruxes. On their own, without the guidance of their professors or the protection of Professor Dumbledore, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart. Meanwhile, the wizarding world has become a dangerous place for all enemies of the Dark Lord. The long-feared war has begun and Voldemort’s Death Eaters seize control of the Ministry of Magic and even Hogwarts, terrorizing and arresting anyone who might oppose them. But the one prize they still seek is the one most valuable to Voldemort: Harry Potter. The Chosen One has become the hunted one as the Death Eaters search for Harry with orders to bring him to Voldemort…alive. Harry’s only hope is to find the Horcruxes before Voldemort finds him. But as he searches for clues, he uncovers an old and almost forgotten tale–the legend of the Deathly Hallows. And if the legend turns out to be true, it could give Voldemort the ultimate power he seeks. Little does Harry know that his future has already been decided by his past when, on that fateful day, he became “the Boy Who Lived.” No longer just a boy, Harry Potter is drawing ever closer to the task for which he has been preparing since the day he first stepped into Hogwarts: the ultimate battle with Voldemort.

Click here to see the film’s official website, become a fan on Facebook and follow it on Twitter.

Look for HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 in theaters and IMAX on November 19, 2010 followed by PART 2 next summer July 15, 2011.

© 2010 Warner Bros. Ent.
Harry Potter Publishing Rights © J.K.R.

Harry Potter characters, names and related indicia are trademarks of and © Warner Bros. Ent.  All Rights Reserved.

Well kids, it official. Here’s the press release from New Line/Warner Bros.

OSCAR WINNER PETER JACKSON TO DIRECT “THE HOBBIT” IN TWO INSTALLMENTS
Peter Jackson Set to Direct J.R.R Tolkien’s “The Hobbit,” In a Two-Part 3D Production of Extraordinary Scope

(Los Angeles, October 15, 2010) The two films based on “The Hobbit” are now greenlit and will begin principal photography in February 2011, under the direction of Peter Jackson, it was jointly announced today by Toby Emmerich, President and Chief Operating Officer, New Line Cinema, Alan Horn, President and Chief Operating Officer, Warner Bros. and Steve Cooper, co-Chief Executive Officer of Metro-Goldwyn-Mayer Inc.

“Exploring Tolkien’s Middle-earth goes way beyond a normal film-making experience” Jackson says, “It’s an all-immersive journey into a very special place of imagination, beauty and drama. We’re looking forward to re-entering this wondrous world with Gandalf and Bilbo – and our friends at New Line Cinema, Warner Brothers and MGM”.

“Peter is a filmmaker of incomparable ability; having him return to Middle-earth to produce and direct is a dream come true. A true original, Peter is a gifted story-teller, visionary director and pioneer in film technology,” said Emmerich. “Reuniting with Peter, Fran and Philippa truly makes it feel like we are going ‘there and back again.’”

“There is no human being on the planet as qualified as Peter Jackson to direct these films,” said Horn. “Peter is incredibly talented and has the creative vision and experience to bring this beloved property to life in a way that no other filmmaker could. And the team of Fran Walsh and Philippa Boyens has proven through their work on the ‘Lord of the Rings’ trilogy that no one is more skilled at transforming Tolkien’s written words into a vibrant, living language that makes the audience believe they are not merely visiting Middle-earth, but actually living in it. We couldn’t be more thrilled and look forward to seeing ‘The Hobbit’ take shape under Peter’s stewardship and the team he is putting together.”

“MGM is excited to move forward and add to the successful ‘Lord of the Rings’ franchise,” said Cooper. “Under Peter’s direction, the films will undoubtedly appeal to fans of the original ‘LOTR’ trilogy and also bring the stories to a new generation of fans.”

Jackson, who directed all three “Lord of the Rings” films, will helm the two films back-to-back, telling the story of “The Hobbit” in two parts. Jackson will utilize groundbreaking visual effects and his incomparable story-telling to bring J.R.R. Tolkien’s novel to the big screen. Both Hobbit movies will be filmed in Digital 3-D, using the latest camera and stereo technology to create a high quality, comfortable viewing experience. Jackson also co-wrote the screenplays with Fran Walsh, Phillipa Boyens and Guillermo del Toro.

“The Hobbit” is being co-produced by New Line Cinema and MGM, with New Line managing production, Warner Bros Pictures handling domestic distribution and MGM distributing internationally. Peter Jackson, Fran Walsh and Carolynne Cunningham are producing the films, with Phillipa Boyens as co-producer and Ken Kamins as executive producer.

The Oscar-winning, critically acclaimed LOTR trilogy grossed nearly $3 billion worldwide at the box office. In 2003, “Return of the King” swept the Academy Awards, winning all of the 11 categories in which it was nominated, including Best Picture – the first ever Best Picture win for a fantasy film. The trilogy’s production was also unprecedented at the time.

ABOUT NEW LINE CINEMA:

New Line Cinema continues to be one of the most successful independent film companies. For more than 40 years, its mission has been to produce innovative, popular, profitable entertainment in the best creative environment. A pioneer in franchise filmmaking, New Line produced the Oscar®-winning “The Lord of the Rings” trilogy, which is a landmark in the history of film franchises. New Line Cinema is a division of Warner Bros.

ABOUT PETER JACKSON/WINGNUT FILMS:

Peter Jackson is one of the world’s most successful filmmakers. His monumental achievement co-writing, co-producing and directing The Lord of the Rings trilogy (with fellow Academy Award winners and frequent collaborators Fran Walsh and Philippa Boyens) earned a total of 30 Academy Award nominations and 17 Academy Awards. Jackson and Walsh received their first Oscar nomination for Best Original Screenplay for their acclaimed film Heavenly Creatures. Jackson, through his New Zealand-based Wingnut Films banner, also was responsible for the globally successful 2005 remake of King Kong which earned over $500 million worldwide and 3 Academy Awards. Jackson most recently directed the Academy Award nominated The Lovely Bones; an adaptation of the acclaimed best-selling novel by Alice Sebold, which to date has earned nearly $100 million worldwide; and produced the global sensation, District 9, which received an Academy Award nomination for Best Picture. He is also developing a trilogy of films with Steven Spielberg based on Tintin, the world renowned comic book series by Herge. In 2010 he received a Knighthood for his services to film.

ABOUT METRO-GOLDWYN-MAYER STUDIOS INC.

Metro-Goldwyn-Mayer Studios Inc. is actively engaged in the worldwide production and distribution of motion pictures, television programming, home video, interactive media, music, and licensed merchandise. The company owns the world’s largest library of modern films, comprising around 4,100 titles. Operating units include Metro-Goldwyn-Mayer Studios Inc., Metro-Goldwyn-Mayer Pictures Inc., United Artists Films Inc., MGM Television Entertainment Inc., MGM Networks Inc., MGM Distribution Co., MGM International Television Distribution Inc., Metro-Goldwyn-Mayer Home Entertainment LLC, MGM ON STAGE, MGM Music, MGM Consumer Products and MGM Interactive. In addition, MGM has ownership interests in domestic and international TV channels reaching over 130 countries. For more information, visit http://www.mgm.com/.

Check out the new international poster and trailer for the third installment of 20th Century Fox’s adaptation of C.S. Lewis’s Narnia series, THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER.

Wow. From the looks of it, I really think this might just be the best of the series! What do you think fellow Narnia fans?

Synopsis:

Return to the magic and wonder of C.S. Lewis’ beloved world, via the fantastic Narnian ship, the Dawn Treader. In this new installment of the blockbuster ‘The Chronicles of Narnia’ motion picture franchise, Edmund and Lucy Pevensie, along with their cousin Eustace and their royal friend King Caspian, find themselves swallowed into a painting and on to the Dawn Treader. As they embark on an incredible adventure of destiny and discovery, they confront obstacles beyond imagination.

Distributed by 20th Century Fox, directed by Michael Apted (COAL MINER’S DAUGHTER,) and starring Ben Barnes, Skandar Keynes, Georgie Henley, along with the voices of Liam Neeson (Aslan) and Bill Nighy (Reepicheep), NARNIA: THE VOYAGE OF THE DAWN TREADER will be in theaters for this holiday season on December 10, 2010.

For all the latest NARNIA news, visit the film’s official site here and on Facebook here.

Source: Collider.com