Oz the Great and Powerful (2013) – Review

Review: Oz the Great and Powerful is a pleasant mix of wondrous, scary, funny, and exciting elements and moments. The film is a prequel to The Wizard of Oz, detailing how the Wizard came to Oz and became the man Dorothy encounters (which is sort of weird, as The Wizard of Oz is presented as all being Dorothy’s dream – also, Oz in this is not Mr. Marvel right? Or is he?). More specifically, Oz is a contemptible carnival magician/con-man who finds himself in The Land of Oz after being caught in a Tornado. Now in this strange land, Oz is tempted by the promise of riches to go off on a mission to stop the Wicked Witch and free the people – but things are not quite what they seem.

Oz the Great and Powerful reminds me of the great films I loved as a kid – full of adventure, humor, frightening moments, and great characters – and in that way it has a nice nostalgic feel. In a way, this nostalgic feel rooted in how the film has a classic adventure quality to it is sort of the point – why director Sam Raimi wanted to make this film. As a kid, I can imagine being scared of the Wicked Witch, amused by the silly humor, and enthralled by the action/adventure – now as an adult, I enjoyed the sleazy façade of Oz as a con-man, the surprisingly strong supporting characters, and the emotional spectrum that the film touches on. It has a good heartfelt message without the modern skepticism and cynicism (which is probably why it has a classic/nostalgic quality to it), and this is also why Raimi was maybe the perfect person to make this film.

Raimi’s style certainly seems to meld well with the tone and material. His kinetic camera theatrically emphasizes moments, while his somewhat goofy yet sweet sense of humor fits the world well and is one of the strongest aspects of the film. And, for fans of Raimi there are a lot of references to his work and cameos (like Bill Cobbs, Ted Raimi, John Paxton, and of course Bruce Campbell).

Visually, the film is both fantastic and problematic. Most of the film’s sets seem to be created digitally giving the film a very clean and colorfully bold palate which pops and does fit the aesthetic of the world. Additionally, there are a lot of visual and thematic references to The Wizard of Oz that fans will appreciate. However, the artifice of it all also seems to make the film feel a bit soulless. The cast is very strong and their great performances and energy brings a lot of the heart back into the film, and with Raimi’s direction saves the film from feeling overly cold and emotionally detached (Disney’s misguided need to create their fantastical live-action worlds digitally puts presentation over substance, which is never good – Alice in Wonderland had the same problem – they might as well just make these films as fully animated). That said, it is interesting to note that two of the best characters in the film are animated, but that is due to the great voice acting and character moments given to them.

These fantastic supporting characters are Finley and China Girl (who does not have a proper name), Oz’s two traveling companions. They bring humor and compassion to the film and Oz (as they allow him to right some of the wrongs he left behind in Kansas – at least thematically), and their character moments are almost always superb tonally. They are very much a vital part of the film’s overall success.

While the characters are mostly well done, the narrative and characterizations sort of feel a bit outdated as well. Specifically, why do the three Witches need the Wizard at all? They seem all very capable of handling things within the Land of Oz without any help, yet they appear somewhat lost without the aid of a male character. Though, the story can be taken (and maybe should be) as a journey in which Oz is to become a good person – a hero – rather than the selfish, greedy, cowardly, and shallow con-man he is. Thus, the narrative is seen through his perspective. And, since he sees woman as somewhat weak-willed (as seen in his manipulation of May in Kansas), it is only right that the women in the Land of Oz would be projections of his own opinion of women.  Plus, it seems as if Glinda could fight her own battles, but is taking a conscious backseat to Oz so that he can learn from his journey and become the man he needs to be (and maybe she does need his help a little too). Evanora never feels like she needs or even respects the Wizard, and is merely playing along (like Glinda to an extent) to get what she wants. However, Theodora comes off the worst. She is completely naïve and easily falls victim to the Wizard’s false charms (but again, in doing so she helps teach him a lesson he needs to learn). Thus, the female leads do feel outdated, but this serves a specific role in the narrative (good or bad). But, the whole affair has sort of ‘it’s a man’s world’ vibe to it.

Oz the Great and Powerful, despite a few minor issues, is a great film for kids – it mixes all its elements with the right balance. It also works for adults (I found myself smiling quite a bit while watching the film – pesky adventure film nostalgia and love of Sam Raimi’s style and past work), as it has good characters and a tonally adept sense of humor making it very entertaining.

Technical, aesthetic & acting achievements: As said in the review, Sam Raimi may have been the best choice to helm this project. His sort of classic sense of how an adventure film should be made fits this film very well (and his natural goofy humor worked really well here too). Plus, his background in horror, made the scary moments much more effective than they probably would have been in lesser hands adding to the overall power of the emotional connection that the audience has with the characters and narrative. I am interested to see where Disney takes the story from here in their proposed sequel (Raimi has said he is not interested yet in doing it) – will they remake Dorothy’s story? How will that work? And, I look forward to Raimi’s next project.

Danny Elfman’s score both fits the tone and style of the film very well and also feels and sounds like a typical Elfman score (which is great too – for fans of his). Here is his theme for the film (I think it is one of his better scores in a while). Like Elfman, cinematographer Peter Deming is also a frequent collaborator of Raimi’s. With this film, his work is very good. While the overall look is very clean with bright solid colors, Deming’s work amplifies the dark moments wonderfully. Production designer Robert Stromberg also designed the Disney’s live-action Alice in Wonderland and brought a similar feel and look to this film (only without the added Tim Burton stylistic elements). On a side note this is his third film as production designer, and he won Oscars for the first two. His work here is very good, but again it also feels very soulless which ultimately hurts the film (though, he may indeed be nominated for yet another Oscar).

The performances are very good throughout the film, and one of its strongest attributes. Joey King and Zach Braff’s voice work for China Girl and Finley respectively is exceptional creating maybe the two best characters in the film. Rachel Weisz is good as Evanora. She plays the part as almost the polar opposite to Mila Kunis’s Theodora. Weisz keeps her emotions and schemes hidden while Kunis is completely all-in and exposed emotionally. Michelle Williams’s Glinda is wholeheartedly good, but a bit mischievous as well. All three actresses bring their witches to life charmingly for the tone of the narrative (and seem to be having fun with them too). James Franco is excellent as well playing Oz. He is completely cheesy skating by on charm, which works marvelously because he is a two-bit sleazy con-man and carnival magician (of course he is cheesy), but it works so well because under all the showmanship and façade is a lost soul. Franco plays this remarkably well.

Summary & score: Oz the Great and Powerful is an adventure film rich with style, great characters, and fantastic moments – and best of all, it is enjoyable for both kids and adults. 7/10 

Movie of the Week – Centurion

This week’s movie: Centurion (2010).

In Britain, A.D. 117, the legendary Ninth Legion of Rome under General Vitilus’s command journeys north of Hadrian’s Wall under orders to destroy the Picts and their leader Gorlacon. This is the story of Quintus Dias, one of the few survivors, after the Picts decimate the Romans in a sneak attack.

Writer-director Neil Marshall had a strong background in thriller/horror films (having directed The Decent) as he entered production on Centurion giving him a good grasp on employing tension and shooting action. After Centurion, he directed maybe the best episode of Game of Thrones to date – Blackwater. He worked with composer Ilan Eshkeri, cinematographer Sam McCurdy (who does impressive work), and production designer Simon Bowles on this film.

The cast is fantastic. The film stars Michael Fassbender, and features Dominic West, JJ Field, David Morrissey, Ulrich Thomsen, Olga Kurylenko, Liam Cunningham, Noel Clarke, Riz Ahmed, and Imogen Poots in support.

Centurion has a bad rap (at least with critics when it came out). For a low budget British action thriller/drama, it is fantastic. It is among the best recent films regarding Rome’s occupation of Britain (and it makes a decent companion piece to The Eagle and the fictional King Arthur – though, it is the best of the three). Fassbender gives a good performance, and it has a ‘trapped behind enemy lines with a small group’ plot that works well. The action scenes are also quite compelling, outshining many big budget films. While Centurion is not a classic, it is a great underrated/under-seen film and well worth checking out for fans of Roman Empire period action films.

Trailer: Here

Available on: Blu-ray, DVD, and Streaming

TV Series of the Month – Sports Night

This month’s TV series: Sports Night (1998-2000).

The drama comedy is about the making of a nightly sports show (like ESPN’s Sports Center), but more so it is about its characters.

It is the first series from phenomenal writer Aaron Sorkin – his other TV credits include The West Wing, Studio 60 on the Sunset Strip (a strong one-season show), and his new HBO series The Newsroom. He also has written the films A Few Good Men, Charlie Wilson’s War, The Social Network, and Moneyball. Suffice to say, he is among the best writers on television.

The cast is also fantastic, starring Josh Charles (now on The Good Wife), Peter Krause (who went on to be incredible in Six Feet Under – he is now on Parenthood), Felicity Huffman (went on to Desperate Housewives), Joshua Malina (went on to The West Wing – now on Scandal), Sabrina Lloyd (you may also know her from Sliders), and Robert Guillaume (from Benson).

Sorkin’s witty, snappy dialog is what makes Sports Night great, especially with it wonderfully deep characters. It is one of the shows that directly contributed to the Golden Age of TV we now enjoy. It is a must-see for fans of Sorkin and great drama/comedy series. It only lasted two seasons (as many great shows lead short lives on network television).

Trailer: Here

Available on: DVD and Streaming

Sam Raimi – Movies Spotlight – March 2013

Sam Raimi, 53, is best known for his two film trilogies: The Evil Dead and Spider-Man, but for his fans his filmmaking style also stands out. Raimi employs many stylistically iconic trademarks like Dutch angles, whip pans, kinetic camera movement, references to The Three Stooges, and even tries to include his yellow 1973 Oldsmobile Delta 88 in all his films (to name a few). In March his new film Oz the Great and Powerful is set for release. It sees Raimi reteaming with frequent collaborators composer Danny Elfman (who he has worked with six times) and cinematographer Peter Deming (who he has worked with four times). It stars James Franco (who also starred in the Spider-Man Trilogy), Michelle Williams, Mila Kunis, Rachel Weisz, and Zach Braff. The film is a prequel to the classic The Wizard of Oz. The trailer for Oz the Great and Powerful: Here.

Early Career:

Raimi got his start making Super 8 films with his friends (including Bruce Campbell – who has appeared in most of Raimi’s work) and brothers (Ivan and Ted Raimi – both also continue to be frequent collaborators) in high school. He then attended Michigan State University with long-time friend and producing partner Robert Tapert (his roommate). With Tapert and Campbell, Raimi made his first two short films Within the Woods and It’s Murder! Their successes directly lead to his feature debut The Evil Dead (see paragraph below).

Raimi also developed a good friendship with writer-directors the Coen Brothers (who helped edit and raise money for The Evil Dead). The brothers, Campbell, Kathy Bates, Holly Hunter, Frances McDormand, and Raimi all shared an apartment together. For his second feature, Raimi directed Crimewave (intended as a live-action comic book), which he co-wrote with the Coen Brothers. Originally, he wanted Campbell to star, but the film’s producers wanted someone else so Campbell was left with a small supporting role. Raimi was unhappy with the end result and complained about the producers interfering too much in the making of the film. Early in their careers, Raimi and the Coen Brothers worked together frequently (the brothers employing a few of Raimi’s directing trademarks in their own films): Raimi helped them raise money for their first film Blood Simple., he has a funny cameo in Miller’s Crossing, and he co-wrote and directed the second-unit on The Hudsucker Proxy (and he also has a cameo). Joel Coen and Raimi also have a cameo in John Landis’s Spies Like Us (and Landis has cameos in Raimi’s Darkman and Spider-Man 2).

As a precursor to entering Hollywood, Raimi wanted to make a film adaptation of The Shadow, but was denied. So, he created his own similar original character and made Darkman. Again, Raimi wanted Campbell in the lead, and again the film’s producers objected. Liam Neeson was eventually cast opposite McDormand, but Campbell still has a cameo in the film (this is also the first film Elfman worked with Raimi on).

The Evil Dead Trilogy:

With the shorts It’s Murder! and Within the Woods under his belt, writer-director Raimi, producer Tapert, and star Campbell were able to secure financing for The Evil Dead, which went into production in 1979. Principal photography took place in Tennessee, after Raimi could not find a cabin in Michigan. The making of the film was an arduous experience for all involved, and ran out of money halfway through. Raimi, Tapert, Campbell vowed to do whatever it took to raise the remaining money needed to finish the film (taking out high interest loans, borrowing money from friends and family, cold calling local businesses for donations, and even putting up family land as collateral). The film finally came out in 1981 and was rated X, being banned in a few countries. However, he became a cult hit launching Raimi’s career.

For Evil Dead II, Raimi never intended in remaking The Evil Dead, but some fans think that it is a remake because Raimi had to reshoot the backstory that opens the film depicting events from the first film, as he was denied the rights to use footage from it. While The Evil Dead was intended as a straight horror film (in the vein of Wes Craven’s early work), Evil Dead II saw Raimi’s silly sense of humor and love of the Three Stooges become a major factor in the film, as much of it is filled with slapstick comedy. It is both scary/gory and hilarious (and my personal favorite of the trilogy – it is also Raimi’s first collaboration with Peter Deming).

The third film in the series Army of Darkness is pretty much a straight fantasy comedy with most of the horror elements left behind. It also has a much more epic scale (and even has famous names appear in the credits like Embeth Davidtz and Bridget Fonda, though both were just starting their careers at the time). Campbell is great in the film, completely playing up Ash as sort a boorish brute who only cares about himself. He also has many very funny moments. The film features work from composer Joseph LoDuca (who scored the whole trilogy, and has worked on most of the Raimi/Tapert produced TV series), composer Elfman contributes a piece of music as well, and cinematographer Bill Pope shot it (he would work again with Raimi shooting Spider-Man 2 and 3). It was a box office flop, but is now also considered a cult classic finding a life on video.

Hollywood Films (A Mixed-Bag):

In 1995 Raimi released his first Hollywood film for TriStar Pictures, a western called The Quick and the Dead. The film has a star-studded cast with Sharon Stone (a big star in the 1990s), Gene Hackman, Russell Crowe, and Leonardo DiCaprio (the latter two were somewhat early in their Hollywood careers, but still known actors). However despite its stars, the film is very campy (much like Raimi’s earlier work) and failed to connect with audiences. It is among his weakest films – though it does have a few good moments and ideas.

Next Raimi made a great crime drama/thriller with A Simple Plan (probably his best film that no one has seen). The film was critically acclaimed (Roger Ebert even gave it a perfect score), but no one went to see it. Bill Paxton (whose father has a cameo in the Spider-Man Trilogy), Billy Bob Thornton, and Bridget Fonda star in a tale about three small-town friends that discover a large sum of money – however the money breeds mistrust and distain between them with tragic consequences. It is a great little gem and well worth checking out. Raimi also got advice from the Coen Brothers on how to shoot in the snow (the Coens having just made Fargo).

For his third consecutive film, Raimi made another box office flop with For Love of the Game, which stars Kevin Costner and Kelly Preston. The romantic sports drama is about an a washed up star baseball pitcher and the girl he loves, shown through flashbacks of his career and relationship with her as he pitches what could be his last game. While it is also considered a critical failure as well, the film deserves a second look. The baseball stuff in the film is brilliant. It is clear that Raimi understands the game and has a love for it. The romantic stuff, on the other hand, is a little clichéd. Personally, I like the film (but mostly due to its baseball stuff – if it had only been a movie about Billy Chapel’s career, it would have been really good).

With The Gift, Raimi had his first Hollywood success (though, this is due to the film’s low budget and international appeal, as critically it played to mixed reviews). The film is probably best remembered for its cast, as it stars Cate Blanchett, Giovanni Ribisi, Keanu Reeves, Katie Holmes, Greg Kinnear, and Hilary Swank. It is a decent crime drama. Raimi would next be hired by Sony to direct Spider-Man, which is all the more shocking considering his output to date in Hollywood.

After finishing his Spider-Man Trilogy, Raimi decided to return to his horror roots writing Drag Me to Hell with his brother Ivan and directing. The film very much feels like an Evil Dead film (specifically Evil Dead II as it mixes horror and strange slapstick comedy). It has some very thrilling moments (like the scene where star Alison Lohman is assaulted in her car) and a great score from Christopher Young (who also scored Spider-Man 3, after Elfman left the series due to creative differences with Raimi). It is a fun horror film, especially for Raimi fans that do not mind his campy style.

The Spider-Man Trilogy:

Raimi very much wanted to make a super hero movie. He has been a lifelong comic book fan (with reportedly over 25,000 comics in his collection). First he tried with The Shadow, then he actively campaigned to direct Batman Forever after Warner Bros. decided not to bring Tim Burton back, but Joel Schumacher was chosen instead (and we all know how that worked out). Thus, when Sony was ready to move forward with Spider-Man, Raimi again vigorously crusaded for the job. He was not Sony’s first (or even second) choice, but eventually won the job due to his love and enthusiasm for the characters and comics. Raimi also benefited from the growing trend in Hollywood to give fantasy/adventure genre films to cult cinema auteurs (like Peter Jackson being hired to direct The Lord of the Rings and Bryan Singer to direct X-Men), a movement that Warner Bros. started hiring Burton to direct Batman.

Suddenly, Raimi was at the helm of a film with a budget of $139,000 when the biggest budget he had ever worked with was $50,000 on For Love of the Game (and most of that went to Costner’s salary). However, he proved himself to be very capable, directing a very fun action/adventure film setting a new standard for comic book films. Spider-Man stars Tobey Maguire, Kirsten Dunst, James Franco, and Willem Dafoe (playing Green Goblin).

With Spider-Man 2, Raimi made the quintessential comic book film (and in my opinion, the best comic book film still to date). It has a flawless narrative structure as each scene builds into the next and the characters have well defined and developed arcs. Novelist Michael Chabon was brought in by Raimi to help craft the story, and it really pays off. Alfred Molina is also very good as Dr. Octopus, giving a memorable villain performance. What also works very well about the film is that Raimi allows his style to find its place (the operating room scene where Octavius’s metal tentacles attack the doctors is a fantastic example and scene) but balances it nicely so it does not take over and make the tone campy. 2004 was a very good year for films, but the level of storytelling on display in Spider-Man 2 is a notch above anything else released that year. It is Raimi’s best work. However, with the utter disappointment that was Spider-Man 3 (once the initial happiness of a new Spider-Man film wore off – remember, it is still the most financially successful in the franchise) has somewhat soured people’s memory of the trilogy and Spider-Man 2, but taken alone it is a magnificent film (comic book movie or any other kind of film).

As mentioned above, Spider-Man 3 is remembered as a disappointment (probably too harshly, as there is still a lot of good stuff in it – Raimi’s campy side just had too big a role, among other issues). The film is also a classic example of a studio not trusting their director (a director who had just delivered too massive hits with the first two films in the series), overreaching, and ruining a film. Sony/Marvel wanted Venom in the film and Raimi did not. He had cast Ben Kingsley as the Vulture and was well underway into production, but Sony/Marvel would have their way no matter what and the script was reworked (even though production had already begun!) to include Venom in  addition to Sandman (played by Thomas Haden Church coming off his Oscar win for Sideways). Topher Grace was (mis)cast as Venom and Bryce Dallas Howard as Gwen Stacy (a competing love interest). Screenwriter Alvin Sargent knew there was a big issue, and tried to structure the film into two parts but could not get it to work. The film was over-packed with villains and characters (two new villain origin stories, Parker’s new relationship with Gwen, his continuing relationship with Mary Jane, and his friendship/feud with Harry all needed to find a place in the narrative) – a lesson apparently not learned by Sony/Marvel as The Amazing Spider-Man 2 sure seems like it has a lot of new characters and villains. All things considered, the film is actually not half bad.

Feeling that he was not allowed to make ‘his’ Spider-Man film due to Sony/Marvel’s gross interference on Spider-Man 3, Raimi signed a deal to direct Spider-Man 4, but only if he was creatively left alone, with the potential for a fifth and sixth part. Everyone was onboard for another film, and production seemed to be ready to get underway – there were even negotiations with John Malkovich and Anne Hathaway to play characters. But, then Sony demanded that Raimi finish the film in a timeframe that Raimi felt would hurt the overall quality of the film (due to scripting issues). Thus, Sony fired Raimi, only to delay the film by a year, deciding rather to reboot the franchise in 3D: giving us The Amazing Spider-Man (which is the third best film in the combined Spider-Man franchises to date).

Despite the rocky finish, Raimi’s Spider-Man Trilogy is still overall a critically acclaimed and hugely financially successful franchise – only second to Christopher Nolan’s The Dark Knight Trilogy (in terms of comic book film series).

Producing Projects:

Sam Raimi and producing partner Robert Tapert have also produced a number of films and TV projects. They started with Raimi’s The Evil Dead, Cimewave, and Darkman (and its subsequent terrible sequels – which Raimi did not direct). But, from there they branched out producing the Jean-Claude Van Damme 1990s action films Hard Target and Timecop (yeah, I know, super random).

However, on television, Raimi and Tapert found a niche in cheaply made (filming in New Zealand to save production costs – something Peter Jackson would later do with his big budget films) adventure series. Their first hit was Hercules: The Legendary Journeys, followed by the spin-off Xena: Warrior Princess. While they are fairly cheesy, they are actually very entertaining and were quite successful. More recently, they have produced two new adventure series: Legend of the Seeker (which is essentially the same as Hercules and Xena, but better – I actually think it is one of better adventure series made) and the highly stylized and graphic Spartacus (which is also very good – their best TV series to date).

In the 2000s they started Ghost House Pictures to make low-to-moderately budgeted horror films, the first of which was The Grudge in 2004. Ghost House Pictures has produced ten feature films to date.

Upcoming Projects:

Next on Ghost House Pictures’s slate is the Raimi, Tapert, and Campbell produced Evil Dead remake. It is co-written and directed by Fede Alvarez, co-written by Diablo Cody, and stars Jane Levy, Jessica Lucas, Shiloh Fernandez, Lou Taylor Pucci, and Elizabeth Blackmore. It is supposed to be extreme, and the most terrifying film ever made (or so says the marketing – the trailer is pretty intense).

Raimi is also attached to produce a remake of Poltergeist (the 1982 film is a horror classic) with Gil Kenan directing, but it is still early in the production cycle.

Career Highlights:

1)      The Evil Dead (1981) – writer, director (Blu-ray, Streaming, Trailer)

2)      Evil Dead II (1987)* – writer, director (Blu-ray, Streaming, Trailer)

3)      Army of Darkness (1992)* – writer, director (Blu-ray, Streaming, Trailer)

4)      The Hudsucker Proxy (1994)* – writer, second-unit director (Blu-ray, Streaming, Trailer)

5)      A Simple Plan (1998)* – director (DVD, Streaming, Trailer)

6)      Spider-Man (2002) – director (Blu-ray – Full Trilogy Blu-ray, Streaming, Trailer)

7)      Spider-Man 2 (2004)* – director (Blu-ray, Streaming, Trailer)

8)      Legend of the Seeker (2008-2010) – executive producer (DVD, Streaming, Trailer)

9)      Drag Me to Hell (2009) – writer, director (Blu-ray, Streaming, Trailer)

10)   Spartacus (2010-2013) – executive producer (Blu-ray, Streaming, Trailer)

*Editor’s picks

Jack the Giant Slayer (2013) – Review

Review: Jack the Giant Slayer is a fairytale adventure film that is not sure exactly who its audience is – children or young adults. The film is a somewhat new take on the classic story of Jack and the Beanstalk. Here, Jack is a farm boy who dreams of more. Jack sets off to town to sell his house and wagon for supplies to help his uncle manage the farm, but ends up returning with only bean, whereby he is berated by his uncle. Meanwhile, a young princess Isabelle also longs for more in her life. She runs away from her castle home. Caught in the rain, she takes shelter in a small farm house, running into Jack. His beans, not fully accounted for, get wet and a massive beanstalk grows into the heavens, taking the princess with it – though, Jack falls from the soaring house in the calamity. Awakening to find the King and his guard looking for the princess, Jack and a few of the King’s finest men scale the beanstalk to find Isabelle. However, they discover a land ruled by man-eating giants – giants that have longed to leave their kingdom to feed on the world of men. This is now a rescue mission.

I think growing up in the 1980s with films like The Princess Bride, Labyrinth, The Adventures of Baron Munchausen, The Secret of NIMH, Time Bandits, The Witches (though, this did come out in 1990), Legend, The Dark Crystal, The NeverEnding Story, and the Disney animated features (among others – like George Lucas’s adventure trilogies: Star Wars and Indiana Jones) has preconditioned me to love adventure fantasy films (or at least have some sort of nostalgic reaction to them). Thus, Jack the Giant Slayer was something I actually wanted to see (despite my complete lack of trust in director Bryan Singer and the poor job that New Line Cinema did marketing the film). Watching the film, however, I noticed that it has a very uneven tone. It is not sure if it wants to be a kids’ movie (action, but with mild violence and nothing too scary and a silly sense of humor) or something for young adults (more intense action and violence, more mature relationships and sense of humor – to some extent). The film sorted wanted to be both, and thus did not really work for either. It is too violent and scary for kids, and tonally too geared towards kids for young adults. It seems like it wanted to be this generation’s The Princess Bride (although, lacking the charm and magic of that film) but also made for fans that grew up with The Princess Bride.

The film, originally titled Jack the Giant Killer, was initially intended to be R-rated, but then New Line Cinema decide to rework it for a broader audience (as is often the case with big budget films). The problem is that the tone just does not work now, as it still has elements of that initial R-rated film mashed together with more kid-friendly stuff. In some moments the film is silly with goofy characters and jokes (like Roderick’s – the film’s villain – sidekick Wicke or the main giant General Fallon having a second head that is only there for comical effect, as it speaks and acts in a goofy manner), while in other moments the film has characters being eaten, murdered, and engaged in violent situations – often these moments happen within the same scene. In an attempt to appeal to everyone, the film (generally speaking) appeals to no one.

However, getting back to my un-bashful love of adventure fantasy, there is still a lot to like in the film. And, Singer keeps the film moving forward with decent pacing. Singer also develops the lead characters well. Jack and Isabelle are easy to root for, because their story is relatable to the audience, or at least very familiar in its narrative language. The supporting characters fall mostly into genre archetypes, but that is fine for this sort of light entertainment. Singer’s action is also entertaining (just, probably not suitable for kids). Overall, I did enjoy the film – but its issues do limit it considerably.

In addition to its uneven tone, the film’s narrative structure felt a bit strange in terms of the villain’s arc. Roderick is presented as the film’s main antagonist in the first act. Isabelle is being forced to marry him, even though she does not love him (which is one of the reasons she runs away, if not the main one). And, he is presented as an overall bad guy (in sort of a kid’s movie way – he just looks like a bad guy). His plan is to use the magic beans and a magic crown to not only bring the giants down from their kingdom, but also rule over them – using them to take over the world. He is clearly the character to root against. Yet, once the narrative gets up to the world of the giants, the main giant General Fallon is presented as the actual main antagonist and Roderick is merely only a catalyst to introduce the giants. But if that was the case, Roderick should have done his business in the first act so the audience could invest sooner in the struggle between Jack and Fallon. As it is, this antagonistic relationship does not really come about until about halfway through the film (and by then, the audience does not really care anymore).

The film also feels inauthentic in the way it treats Jack’s relationship with Isabelle. It goes out of its way to express that a princess can never marry a commoner (which Jack is), yet none of the characters frown upon the blatant budding of a relationship between them – even her father the King. Sure, he is grateful that he rescued her, but his seeming indifference to the complete collapsing of the governing social convention regarding his daughter feels off. Though, at this point, the narrative is so rushed that there is not really time to address barriers to Jack and Isabelle’s relationship.

The narrative is paced well enough, as Singer again keeps things moving forward and the film never feels like it is dragging. But, the structure of the story is the films weakest attribute. It has an overly long first act and rushed second and third acts. The characters and their relationships are not used to their full dramatic potential as well. This ultimately leaves the film unfulfilling both narratively and from a character perspective. Plus, the tacky add-on that ends the film is also laughable.

Jack the Giant Slayer is fun and entertaining, especially for fans of adventure fantasy films. However, it is encumbered by a multitude of narrative issues, holding it back from being among the genre’s better films.

Technical, aesthetic & acting achievements: Bryan Singer has now made eight feature films – some loved like The Usual Suspects and X2 (though, I would argue both are vastly overrated), but most disappointing. He continually makes films that have great potential and are indeed great in moments, but never come together as wholes. His next project is X-Men: Days of Future Past. As someone that really liked X-Men: First Class, I hope he finally reaches his potential (assuming it is there at all).

Singer works again with his frequent collaborators composer (and editor) John Ottman and cinematographer Newton Thomas Sigel on Jack the Giant Slayer. Ottman delivers a good score that fits the adventure fantasy genre well, while Sigel’s photography is also strong. However, it is production designer Gavin Bocquet’s sets that really bring the world together. The overall look of the film is very much rooted in the classic genre pieces of the past. However, the animation (the film uses motion capture to create the giants) feels a bit out of place at times – but not enough to hurt the overall experience.

The cast is also a strong component of the film – maybe even the best part as the performances are good, and feel aligned with the genre (despite the uneven tone). Warwick Davis, Ewen Bremner (who is pretty funny), and Eddie Marsan are great in small supporting roles. Bill Nighy, as he always seems to, elevates General Fallon with his measured delivery in his voice-only role.  Ewan McGregor is a lot of fun as Elmont – the best of the King’s guard. He somewhat steals the film with his enthusiastic energy. Newcomer Eleanor Tomlinson is also a bright spot. She certainly has screen presence as Isabelle. It might have been more interesting to just see her adventure sans Jack. Nicholas Hoult is good in the film, but the character does not play to his strengths as an actor – playing characters with charisma, wit, some narcissism, and mischievousness to them. Here, Jack is too simple and good (and thus not that interesting).

Summary & score: Jack the Giant Slayer has a lot of grave narrative problem, yet still manages to be fun and entertaining (but only superficially). 6/10

Movie of the Week – Assassination of a High School President

This week’s movie: Assassination of a High School President (2008).

Bobby Funke is a dorky high school sophomore who wants to be a journalist. He is given a tip regarding stolen SAT exams and runs with it taking down the school’s president in the process. But, as he begins to revisit the case, he sees a deeper conspiracy.

It is director Brett Simon’s only feature film. He worked with composer Daniele Luppi, cinematographer M. David Mullen, and production designer Sharon Lomofsky.

The film has a great young cast with Reece Thompson, Mischa Barton, Melonie Diaz, Luke Grimes, Patrick Taylor, Aaron Himelstein, Vincent Piazza, Zoe Kravitz, Adam Pally, Tanya Fischer, Zach Roerig, Emily Meade, and Gabrielle Brennan. The adult cast is also very good with Josh Pais (who is particularly funny), Kathryn Morris, Michael Rapaport, and Bruce Willis (who is great in it).

As part of my ‘Movie of the Week’ series I want to spotlight interesting and good under-seen films and Assassination of a High School President certainly fits the bill. It is pretty much a straight-to-video ‘B’ release, but is surprisingly good. It plays very similarly to Brick – a hardboiled detective story set in high school – but it is much more a comedy with a lighter tone. Reece Thompson gives a breakthrough type performances (but still has not quite found a place outside indie films), and the rest of the cast creates fun and kooky characters – stereotyped to noir film archetypes. For fans of noir style hardboiled detective stories, this is a fun twist on the genre (though, not quite as good as Brick).

Trailer: Here

Available on: Blu-ray, DVD, and Streaming

At the Movies – March 2013 – Part 3: Most Anticipated Films

Must-See of the Month:

The Place Beyond the Pines (Derek Cianfrance) – Crime Drama – Mar 29

Plot Summary: Luke and Avery are on two different paths – but paths set on a collision course. Luke is a motorcycle stunt rider who robs banks to provide for his girlfriend and their child, while Avery is a rookie cop struggling to find his place in a department ruled by corruption. Filmmakers: Writer-director Derek Cianfrance is back with his third feature. His last was Blue Valentine, the acclaimed tragic romance narrative. He is working with excellent people including composer Mike Patton (the noise artist), cinematographer Sean Bobbitt (who shoots all of Steve McQueen’s films), and production designer Inbal Weinberg (The Perks of Being a Wallflower). Cast: The cast is very strong as well. Bradley Cooper and Ryan Gosling star, with Rose Byrne, Eva Mendes, Ray Liotta, Dane DeHaan, Bruce Greenwood, Ben Mendelsohn, and Mahershala Ali in support. Expectations: The Place Beyond the Pines is this month’s must-see because it looks like a masterful drama, ripe with melodrama and despair. It played to excellent reviews during its advanced screenings and many critics have it on their short lists for most anticipated films of 2013. Gosling and Cooper are both coming off fantastic performances (Drive and Silver Linings Playbook respectively) and both are purported to be in top form in this film. Trailer: Here. Review: Here.

Worth Checking Out:

Stoker (Chan-wook Park) – Mystery Thriller – Mar 1

Plot Summary: India Stoker is in a somber and solitary place after her father and best friend Richard dies in a tragic accident. However, the sudden arrival of an uncle she never knew about (Charlie) gives her hope that the void she feels in her life might be filled. Yet, she suspects something is off about Charlie, but instead of being fearful of him she become more infatuated with him. Filmmakers: Stoker marks the American debut for Korean auteur Chan-wook Park, who is known for his fantastic and odd films: J.S.A.: Joint Security Area, Sympathy for Mr. Vengeance, Oldboy, Lady Vengeance, and Thirst. He is working with frequent collaborator cinematographer Chung-hoon Chung, as well as producers Ridley and Tony Scott, composer Clint Mansell (Black Swan), and production designer Terese DePrez (also worked on Black Swan). Cast: Mia Wasikowska stars with Nicole Kidman and Matthew Goode co-starring. Phyllis Somerville, Jacki Weaver, and Dermot Mulroney feature in support. Expectations: Stoker looks aesthetically magnificent and creepy. I half expect the uncle to be a vampire, killer, or some sort of monster. Mia Wasikowska is one of the great young talents with wonderful work in 2011’s Jane Eyre (probably the best film that completely fell under the radar that year). Stoker has played to great reviews during its advanced screening. It looks like a very strong mystery thriller. I am not sure with film I most want to see in March, this or The Place Beyond the Pines – but I am leaning towards this. Trailer: Here. Review: Here.

At the Movies – March 2013 – Part 2: Hollywood Films

Romance and Rom-Coms:

The Host (Andrew Niccol) – Sci-Fi Romance Thriller – Mar 29

Plot Summary: Melanie Stryder is one of the last remaining humans after parasitic aliens have taken command of the Earth. She meets Jared Howe (another human) and they form an intense romantic bond. However, Melanie is captured by the aliens (sacrificing herself to save Jared). But, unlike other human hosts, she forms a bond with the parasite and rebels against the aliens to help the humans (as her love for Jared is too strong). Filmmakers: Writer-director Andrew Niccol has a strong background in sci-fi, having made the 1990s genre classic Gattaca. However, his last film (also within the sci-fi genre) was the very disappointing In Time. He is working with composer Antonio Pinto (who also scored Lord of War for Niccol), cinematographer Roberto Schaefer (who mostly works with Marc Forster), and production designer Andy Nicholson (this is his first film as production designer, but he has a strong background in art design – and is doing the production designer for this year’s Gravity). Cast: Saoirse Ronan stars, with Diane Kruger, Max Irons, Jake Abel, William Hurt, Bokeem Woodbine, Boyd Holbrook, and Frances Fisher in support. Expectations: The Host is yet other potential franchise starter targeted at young women to replace Twilight – and this one also happens to be based on a new novel series by Stephenie Meyers. Based on what I have seen, it looks much better than Twilight and Saoirse Ronan is a fantastic young actress (see: Atonement or Hanna). Plus, Diane Kruger should make for a good villain. While I will probably not see this in theatres, I do look forward to renting it. The romance aspects will likely be overly dramatic (as that is the trend for things aimed at young women), but Niccol will hopefully bring the right mix of action and sci-fi tonal elements to the project as well. Trailer: Here.

Serious Films:

Dead Man Down (Niels Arden Oplev) – Crime Thriller – Mar 8

Plot Summary: Beatrice is assaulted in her home by a local New York City crime boss. She blackmails Victor, a contract killer, to find and kill the man who assaulted her, so that she can have her revenge. The twist is, Victor works for the man he is hired to kill. Filmmakers: Swedish director Niels Arden Oplev makes his Hollywood debut with this film after the breakout success of The Girl with the Dragon Tattoo. He is working again with composer Jacob Groth and production designer Niels Sejer. New to the team is cinematographer Paul Cameron (Total Recall). Cast: Also reuniting with Oplev is star Noomi Rapace. Colin Farrell also stars, while Terrence Howard, Dominic Cooper, Isabelle Huppert, and F. Murray Abraham (who is making a comeback with this, Homeland, Inside Llewyn Davis, and The Grand Budapest Hotel) feature in support. Expectations: Dead Man Down looks like a very entertaining crime thriller, which great action beats. Many filmgoers prefer Oplev’s The Girl with the Dragon Tattoo to David Fincher’s American remake (though, I am not one of them), and thus this should give many fans their first taste of Oplev’s talent with a bigger budget. Many filmmakers do not make the transition to Hollywood very well putting out disappoint work, but this does look potentially quite good. Trailer: Here.

Spring Breakers (Harmony Korine) – Crime Drama – Mar 22

Plot Summary: Four college girls want to have a great Spring Break, but they have no money. They decide to rob a restaurant, and are subsequently caught. A local drug dealer, arms dealer, and aspiring rapper Alien bails them out with big plans for them. Filmmakers: Writer-director Harmony Korine has made a few indie films (probably best known among them is Gummo), but this is his first film to see a wide theatrical release. He is working with maverick producer Megan Ellison (who funded many of the best films of 2012), composers Cliff Martinez (Drive) and Skrillex, cinematographer Benoit Debie (The Runaways), and production designer Elliot Hostetter (A Glimpse Inside the Mind of Charles Swan III). Cast: The film stars James Franco, Selena Gomez, Ashley Benson, Vansessa Hudgens, and Rachel Korine. Heather Morris and Gucci Mane feature in support. Expectations: Spring Breakers has played to mostly positive reviews and buzz during its 2012 festival tour. Personally I am of two minds about it. On one hand, it looks like an entertaining look at the dark side of back-alley contemporary culture, and I appreciate directors that have a unique style. But, on the other hand, it also looks like nothing more than an exercise in depravity, fueled by sort of a stereotyped idea of what contemporary party culture is and how young people tend to be drawn to it. It also looks highly stylized (in a music video-like way), which can often be to a film’s grave disadvantage in the hands of lesser filmmakers. I have a feeling that young people (which are probably its targeted audience) will generally like the film, while older filmgoers will not be as enthralled by the style and plot. Trailer: Here.

Action/Adventure:

Jack the Giant Slayer (Bryan Singer) – Adventure Fantasy – Mar 1

Plot Summary: The live-action telling of the classic tale with a twist – a young farmhand named Jack with magic beans discovers a kingdom in the clouds inhabited by giants. Only, this version is juiced up with big action set pieces. Filmmakers: This is director Bryan Singer’s first film since his disappointing Superman Returns and Valkyrie (and honestly, I think his best films X2 and The Usual Suspects are both vastly overrated). He is working with his frequent collaborators writer Christopher McQuarrie, composer John Ottman, and cinematographer Newton Thomas Sigel. New to the team is production designer Gavin Bocquet (Stardust). Cast: The cast is fairly impressive with star Nicholas Hoult and a supporting group featuring Eleanor Tomlinson, Ewan McGregor, Stanley Tucci, Eddie Marsan, Ewen Bremner, Ian McShane, Warwick Davis, and Bill Nighy. Expectations: Jack the Giant Slayer does look like an entertaining adventure fantasy film, but really it is hard to get my anticipation up too much because I do not fully trust Bryan Singer. For me, he has never made a great film. I do like the cast a lot though (Hoult from Skins, McShane from Deadwood and Kings, Nighy from Dead Man’s Chest , Davis from Life’s Too Short and Deathly Hallows Part 2, and McGregor and Bremner from Trainspotting). That said, I will probably still see this in theatres, because big movies should be seen on big screens. Trailer: Here. Review: Here.

Oz the Great and Powerful (Sam Raimi) – Adventure Fantasy – Mar 8

Plot Summary: A carnival magician named Oz sets off for an adventure that takes an unexpected turn when he is transported by a tornado to a fantasy land where he is thought to be the inhabitants’ savior from an evil witch. He must use his wits and skills as a magician to stay alive. Filmmakers: Director Sam Raimi has a mixed bag of a career to date. Spider-Man 2 is an incredibly well made masterpiece (and in my opinion the best comic book film still). The Evil Dead Trilogy is a cult classic (and a lot of fun). A Simple Plan is an overlooked gem. But, he also has his fair share of forgettable films. With Oz the Great and Powerful, he is making his first film truly aimed at a young audience (or at least that is the impression I get from the trailer). He is working with frequent collaborators composer Danny Elfman and cinematographer Peter Deming. Production designer Robert Stromberg joins the team via Disney to give it that Alice in Wonderland look (which is unfortunate). Cast: Raimi is also reteaming with his Spider-Man star (well Harry Osborn star) James Franco, who is in the lead. The supporting cast features Mila Kunis, Rachel Weisz, Abigail Spencer, Michelle Williams, and Zach Braff. Bruce Campbell probably shows up for a cameo too (along with the 1973 Oldsmobile Delta 88 and Three Stooges references). Expectations: I love Raimi’s best work. He has such a unique style and great understanding of storytelling – he just sometimes lets his pension for silliness to get out of hand. Oz the Great and Powerful both looks good and terrible to me. The Tim Burton Alice in Wonderland was awful, and a perfect example of visuals and style over substance to a reckless degree. Oz the Great and Powerful’s trailer looks and feels just like Alice in Wonderland, as if Disney wanted to just do the same thing again for a new 3D release – and that worries me. But, the character interactions are decent in the trailer, and Raimi has enough goodwill built up to get the benefit of the doubt. Trailer: Here. Review: Here.

Olympus Has Fallen (Antoine Fuqua) – Action Thriller – Mar 22

Plot Summary: Mike Banning was one of the best secret service agents protecting the President, but after a tragic accident he has since been disgraced. However, on one fateful day, he might be the President’s only hope after terrorists attack the White House. Trapped inside, Banning uses his skills and knowledge to try and save the President. Filmmakers: It has been awhile since director Antoine Fuqua made a name for himself with Training Day, as he has since had a disappointing series of films (though, most are entertaining, just not at the same level – though, I did enjoy King Arthur). Olympus Has Fallen does not really look like a step in the right direction, as much as merely more of the same from Fuqua. He is working with composer Trevor Morris (The Tudors), cinematographer Conrad W. Hall (Panic Room), and production designer Derek Hill (Hatfields & McCoys). Cast: The film stars Gerard Butler (who is also producing), and features Aaron Eckhart, Dylan McDermott, Rick Yune, Morgan Freeman, Angela Bassett, Melissa Leo, Radha Mitchell, Robert Forster, and Ashley Judd in support. Expectations: Well, at least Olympus Has Fallen (also known as Die Hard in the White House) has Gerard Butler in action hero mode and not romantic comedy mode – though, at this stage, is Gerard Butler in any mode a good thing? 300 might be the last thing anyone actually liked him in and that was 2006 (he was decent in Coriolanus too). The supporting cast is a mixed bag as well. Basically, if you like Die Hard-esque movies then this is probably worth checking out, if not then it probably safe to assume this is just another throwaway action film (entertaining, sure, but nothing special). Also, as everything in Hollywood comes in twos, you can see White House Down in June too and compare. Trailer: Here.

G.I. Joe: Retaliation (Jon Chu) – Action – Mar 29

Summary: Cobra gets the drop on the Joes right off the bat, infiltrating the highest levels of government and declaring the Joes enemies of the State. Most are killed in the initial attack, leaving a few to band together and fight back. Filmmakers: Director Jon Chu does not initially seem like a great fit for the action franchise with a filmography that reads Step Up 2: The Streets, Step Up 3D and Justin Bieber: Never Say Never, but then remember that G.I. Joe: The Rise of Cobra was terrible, so what does it matter? Chu is not going to make it worse. He is working with a good action oriented group with composer Henry Jackman (X-Men: First Class), cinematographer Stephen Windon (Fast Five), and production designer Andrew Menzies (Knight and Day). Cast: The film features Channing Tatum, Bruce Willis, Adrianne Palicki, Dwayne Johnson, Ray Stevenson, Ray Park, Walton Goggins, Joseph Mazzello, Byung-hun Lee, Arnold Vosloo, Jonathan Pryce, and RZA – among others. Expectations: I was a huge G.I. Joe fan as a kid. I loved the TV series, the movie, and the 3 and ¾ inch action figures. Thus, when The Rise of Cobra came out in 2009, I had somewhat of a nostalgic anticipation. That film was bad. Now I know better (well I did then too, but I still rented it). Retaliation looks like a big fun dumb action movie. It was delayed from last June to March reportedly to add 3D, but there have also been rumors that with Channing Tatum’s apparent rise in popularity Paramount wanted more of Tatum in the film and thus reshot some of the scenes (though this has been denied by Chu). In any case, if you want something mindless and superficial, but with stuff that blows up, then this is for you. The rest of us will just rent it (or at least think about renting it). Trailer: Here.

Comedy:

21 and Over (Jon Lucas & Scott Moore) – Comedy – Mar 1

Plot Summary: The night before his important medical school exam and the next step to his bright future, a promising student is taken on a rambunctious night by his two best friends to celebrate his 21^st birthday. Filmmakers: The writers of The Hangover series, Jon Lucas and Scott Moore, make their directorial debut with this film. They are working with composer Lyle Workman (Get Him to the Greek), cinematographer Terry Stacey (50/50), and production designer Jerry Fleming (Crank). Cast: The film features mostly unknown (or lesser known) actors – like Miles Teller, Skylar Astin, Justin Chon, and Sarah Wright. Expectations: 21 and Over looks like a cross between The Hangover and Project X – which is not a bad thing as both those films are very funny. However, it also walks the fine line between exaggerated fun for comedic effect that works and mindless stupidity that makes the viewer feel like they wasted their time. The odd are not on its side. That said, for fans of crazy party comedies, this is probably worth renting and maybe seeing in theatres. Trailer: Here.

The Incredible Burt Wonderstone (Don Scardino) – Comedy – Mar 15

Plot Summary: Magician Burt Wonderstone is having a hard time. He needs to remember what made him love magic as a child. He splits with his longtime partner Anton Marvelton and begins spending time with his boyhood idol Rance Holloway in hopes of recapturing his magic. Also, he must figure out how to one up his rival, a guerrilla street magician named Steve Gray. Filmmakers: Director Don Scardino has spent a lot of time directing episodes of television. His most recent notable work has been on 30 Rock, where he directed about one fourth of the series. He is working with composer Lyle Workman (Win Win), cinematographer Matthew Clark (worked on 30 Rock as well), and production designer Keith Cunningham (The First Time). Cast: The film stars Steve Carell and co-stars Steve Buscemi and Jim Carrey. Olivia Wilde, Alan Arkin, Gillian Jacobs, James Gandolfini, Brad Garrett, and Jay Mohr feature in support. Expectations: The Incredible Burt Wonderstone does have a great comedic cast with Carell, Buscemi, Carrey, and Arkin (and Jacobs is fantastic on Community), and it is the second script from the writing team of Jonathan Goldstein and John Francis Daley who wrote Horrible Bosses which was funny. But, it looks like a typical ‘safe’ Hollywood comedy, full of watered-down recycled jokes and cheap laughs. Maybe I am wrong, but I think this is a rental at best. Trailer: Here.

Admission (Paul Weitz) – Comedy – Mar 22

Plot Summary: Portia Nathan is a Princeton admissions officer. She likes her job and is good at it, but something is missing in her life. However, everything changes when she is introduced to an aspiring Princeton student who might also be her son (who she gave up for adoption as a young mother). Filmmakers: Director Paul Weitz made some good films with his brother Chris early in his career – particularly About a Boy – but has since made a string of disappointing movies on his own (and Chris has not done any better). Maybe this is the film in which he turns things around? He is working with composer Stephen Trask (who Weitz worked with on In Good Company), cinematographer Declan Quinn (who Weitz worked with on Being Flynn), and production designer Sarah Knowles (also worked on Being Flynn). Cast: It stars Tina Fey and co-stars Paul Rudd. Michael Sheen, Wallace Shawn, Lily Tomlin, and Gloria Reuben feature in support. Expectations: I like Tina Fey and Paul Rudd a lot, but Admission does not look all that funny or good. However, it was picked up by Focus Features, which does have a decent track record on average (more so in drama – but still). I hope the trailer is just weak and the film is both better and funnier than it is made out to be, otherwise this will just be other in the line of forgettable films from Weitz. I think it is safe to call this a rental. Trailer: Here.