Posts tagged as:

Fantasy

The BBC today announced the identity of the eleventh actor to carry on as Doctor Who’s title character, The Doctor. Their choice, made public by Who Executive Producer Piers Wenger, is the twenty-six year old Matt Smith.

**THIS IMAGE IS UNDER STRICT EMBARGO UNTIL 18:10 HOURS SATURDAY 3RD JANUARY 2009**  Picture Shows: MATT SMITH - the eleventh DOCTOR WHO

Smith has appeared in the two Sally Lockhart mysteries The Ruby in the Smoke and The Shadow in the North, which starred former Who companion Billy Piper in the title role. He got the role of The Doctor because, as Wenger puts it, “It was abundantly clear that he had that ‘Doctor-ness’ about him. You are either the Doctor or you are not.”

Smith begins shooting for the next season of Doctor Who later this spring. The final special being shot with David Tennant is expected to air in early 2010 – to be followed later in the year by Smith’s debut in the role.

No Comments

Dexter

There was an overwhelming amount of great TV, this year [and, as you’ll see not too much later, an almost equally overwhelming amount of excessively bad TV]. Given the truly amazing amount of quality to be found between the networks and the various cable outlets, I’ve decided to list my favorite fifteen shows of the year.

[click to continue…]

No Comments

One of the strangest – and yet most normal – films of the year is The Curious Case of Benjamin Button. Even you’ve not been paying attention to pop culture for the last six months, it would hard not to have heard about the movie about the guy who ages backwards while living forwards. Directed by David Fincher [Fight Club, Zodiac], Button stars Brad Pitt as the titular button – a man who is born an eighty-five year old baby whose every breath rasps and rails as if it might be his last and grows physically younger with each passing day. Whether this odd journey through life is supposed to mean something specific, in terms of metaphor, will no doubt be the subject of much debate.

Button 02

For Benjamin, though, life is the same puzzle as it is for the rest of, though he views it from a unique perspective. When he first sees Daisy [Elle Fanning], they are seven – but he is, physically, seventy-eight. This makes their relationship, which would otherwise be completely normal, something else entirely. Even so, his first love, first drink, first sex, first affair [and so forth], all happen in pretty much the conventional order – only Benjamin’s de-aging is different.

Perhaps the point of the movie is that “normal” is strictly a point-of-view, not a definitive quantity; maybe, it’s a tone poem on the idea of youth being wasted on the young; it’s even possible to see the film as an argument for the idea that the beginning and ending of life are the same thing seen from different perspectives – and what happens in the middle will be much the same no matter which way we progress, physically.

When Benjamin and Daisy [now played by a luminous Cate Blanchett] finally come together in the middle of their lives – when they both look their age – they do the expected things, like move in together and have a child. Benjamin’s de-aging means that he will appear to be teenager when his daughter hits puberty, which leads to his having to deal with being unable to be a father to his child – again, an ordinary thing that happens to many men but here because of a unique reason.

In the context of The Curious Case of Benjamin Button, the importance of the ordinary… the normal… is brought home in a new way. Pitt’s performance [including the CG grafting of his face onto older and younger actors’ bodies] is perfect because Benjamin is, in spite of his unique manner of aging, an ordinary man whose life is except for brief moments, pretty ordinary. The film winds up showing us that even the ordinary is wondrous. That’s a pretty heady achievement.

Final Grade: A+

No Comments

Adam Sandler in a Disney movie… what’s wrong with this picture? Nothing, as it happens. Well, nothing major. Adam Shankman [Hairspray] directs Bedtime Stories and – except for the usual Rob Schneider cameo [which sucks the life out of the film for a few moments] – gets a solid performance out of Sandler as handyman Skeeter Bronson, who works in a towering hotel that sits on property where his father [Jonathan Pryce, who also narrates] once had a charming little hotel. The terms of the sale to future hotel magnate Barry Nottingham [Richard Griffiths] included a verbal promise that Skeeter would one day run the new hotel [and verbal promises are worth the paper they’re printed on].

bedtime_stories

In the kind of sequences of events that exist in a whimsical tale such as this, the hotel is run by an obsequious twit – here called Kendall [Guy Pearce] and his simpering second in command, Aspen [Lucy Lawless] – and the hotelier’s plans for an even bigger hotel are situated on a piece of land upon which sits a school. That school is where Skeeter’s eco-warrior sister, Wendy [Courteney Cox] is vice-principal – not to mention the school attended by his niece and nephew – and where a pretty teacher named Jill [Keri Russell] works. Because of the plans for the hotel, Wendy has to look for work out of state and asks Skeeter to help Jill look after the kids.

When Kendall’s plans for a unique approach for the new hotel turn out to be in use elsewhere, Nottingham gives Skeeter a shot at running the new hotel. All he has to do is come up with a better theme than Kendall. Meanwhile, Skeeter’s bedtime stories for Patrick [Jonathan Morgan Heit] and Bobbi [Laura Ann Kesling] start coming true – though it takes him a while to figure out that it’s the kids’ improvised additions to his stories that are coming to pass.

So, can Skeeter be a good uncle, beat Kendall, and win the fair maid [Jill, of course]? And can he do it without relying overmuch on Sandler’s usual brand of humor. Almost. The humor is kinder, gentler and G-Rated, but the genuine whimsy of the fantasy is, for the most part, winning and well done. Sandler gets to use some of the chops first unearthed by Paul Thomas Anderson in Punch Drunk Love, and the rest of the cast seems to be having a pretty good time.

The effects vary in effectiveness, but by having one story element come true through what looks like a real life coincidence, Shankman gives the more far-fetched bits more punch – and makes Skeeter more relatable. The pacing occasionally falters [and grinds to a sudden halt during Schneider’s two scenes], but overall, Bedtime Stories is a fun diversion that will be enjoyed in theater and mostly forgotten by the time you get to your car.

Final Grade: B-

No Comments

Every so often, you need a little low-budget, B-movie fun. The Librarian: Curse of the Judas Chalice [TNT, Sunday, 8/7C] provides exactly that. This time, Flynn Carson’s [Noah Wyle] New Orleans vacation is interrupted in unique style as it comes to light that the Judas Chalice – the chalice made from the silver of the thirty coins paid to Judas Iscariot for Christ’s betrayal – has come to light. Obviously, The Library would like to add it to their private collection.

Librarian 3

Curse of the Judas Chalice continues to mine the Indiana Jones format to good effect. The movie opens with Carson bidding on a vase from the early Ming Dynasty [circa 1411] and having to destroy it to obtain the real treasure inside. There follows swordplay – and a throw pillow is involved – all of which leads to Carson’s girlfriend breaking up with him.

From there, a serious meltdown and a strange dream lead our hero to take a vacation in New Orleans – where he encounters a statue and a woman that were in said dream. Mix in a former KGB agent and Russian government official named Kubicek [Dirkan Tulaine], who has a lead on the chalice; a decrepit history professor named Professor Lazlo [Bruce Davison], and a legend that suggests that the Judas Chalice can resurrect vampires and you’ve got a potent mix for adventure. Once Carson encounters the woman from his dream, Simone [Stana Katic], singing in a club, the action comes fast and furious.

Curse of the Judas Chalice is a bit of a comeback for the franchise. As with the Indiana Jones films, the second chapter wasn’t quite right [and Gabrielle Anwar was no Sonja Walger – whom we see in the opening credits here for some reason]. Where the second Librarian movie was too silly, Curse is just silly enough. The idea of resurrecting vampires combines well with revelations that make sense of Judson’s [Bob Newhart] appearance in New Orleans to give the series an extra layer of the epic.

Jonathan Frakes keeps things light and breezy and Marco Schnabel’s script is witty and slightly deranged. Add in genial performances and solid effects and the result is an entertaining bit of froth that will provide a cheery couple of hours – which is exactly what it sets out to do.

Final Grade: B

No Comments

Maybe it’s because I saw Max Payne yesterday, but I really enjoyed Fire & Ice. It’s a colorful little B-movie that doesn’t really hang together all that well, but as directed by Pitof [Vidcoq, the unfortunate Catwoman], it is an energetic take on a classic theme – dragons and their attending problems.

fire-and-ice

King Augustin’s [Arnold Vosloo] kingdom one of peace and prosperity until it becomes the target of a marauding fire dragon. His daughter, the headstrong Princess Luisa [Amy Acker], decides to enlist the aid of Gabriel [Tom Wisdom], the son of a banished knight who once killed an ice dragon. His plan? To raise an ice dragon to fight the fire dragon – hopefully killing each other. When the ice dragon survives, he must come up with another plan. Complications arise when the corrupt King Quilok [Ovidiu Niculescu] offers to provide sanctuary for Augustin’s people if Augustin surrenders his kingdom. Augustin’s advisor strongly suggests he do just that.

John Rhys-Davies adds a little soul – and humor – to the proceedings as Sangimel, the man who raised Gabriel after his father died. Sangimel is something of an inventor, a plot point which does, indeed, have a payoff.

It seems that every character in Fire & Ice has a different accent, and both the good guys and the guys make some pretty obvious mistakes in their various plans of action. Somehow, though, its panache makes up for a lot. The dragons are very well done for the budget, soaring through the air like super-sized manta rays – though with traditional dragons’ heads – belching fire and ice and generally wreaking havoc.

In fact, unlike the technically superior Max Payne, Fire & Ice has both that panache and more than a little heart – qualities that make it far more of an entertainment. Even so, it’s only marginally above average – but fun is fun, and Fire & Ice is just that.

Final Grade: C+

No Comments

When a movie begins with a narrator intoning, “The day the world ended…” you can be sure that there’s a caveat somewhere. With City of Ember that caveat is that a bunch of the best and brightest built an underground city so mankind could live on. An ingenious device was placed in a box that would open in two hundred years, giving instructions on how to return to the surface to find out if the upper world was once again inhabitable. Unfortunately, the device [which was to be inherited by each succeeding mayor] was lost when the seventh mayor had a heart attack and the box was put away in a closet.

Doon and Lina

Now, two hundred years later, Ember is falling apart. The city’s generator is cranky and blackouts are occurring – each longer than the last. Food supplies are getting low – and what food can be grown in the city’s greenhouse is looking less and less edible. The city is run by the corrupt Mayor Cole [Bill Murray] – the only person in town who is actually fat. Into this situation come Lina Mayfleet [Soairse Ronan] and Doon Harrow [Harry Treadaway] who swap assignments after graduating from whatever school exists there – she to become a messenger, he to become a pipeworks worker.

City of Ember is darkly gorgeous to look at. The actual city looks like a close-packed English village with a central meeting circle, but the machines that keep the city alive are oddly fascinating, clunky Rube Goldberg devices that actually have uses. Though the citizens of Ember are worried about what’s happening their fears are assuaged by the mayor and a group of religious singers [led by Mary Kay Place’s Mrs. Murdo – who takes in Lina and her sister, Poppy when their grandma dies].

Based on the novel by Jeanne Duprau, City of Ember starts slowly, like the city’s generator, and then [unlike the dying generator] picks up steam as it goes – and as Lina and Doon discover that there may be a way back to the surface – all tied into fragments of instruction in a weird little box Lina finds in her gran’s closet. Their characters aren’t all that well developed but both Treadaway and Ronan make us care about them. Other notable actors also make a lot of slenderly written, though pivotal characters like Tim Robbins [as Doon’s inventor father, Loris; Marianne Jean-Baptiste as greenhouse keeper, Clary, and Martin Landau, as pipeworks veteran, Sul].

With its touches of satire, fable-like storytelling and enthralling design, City of Ember manages to engage for its ninety-five minutes – though kids will likely find it vastly more engaging than adults [if Murray hadn’t sleepwalked through the role of Mayor Cole, that might have been different].

Final Grade: B-

No Comments