Posts Tagged ‘magic’

Penn and Teller Get Killed

Penn and Teller Get Killed

Monday, August 9th, 2010

I guess I was on a roll with “movies I’d intended to watch for ages” by the time I got to this one, lol. I was kinda crazy for Penn and Teller when I was a teenager and they were first becoming popular on UK television. I even bought their book, I seem to recall, but then they seemed to vanish for years until their recent newfound popularity with the “Bullsh*t” series and now back to doing stage magic around the world.

The reviews I’d read for this were overall so-so, even those coming from apparent fellow fans of the duo, and despite there being a decent director at the helm (Arthur Penn, of Alice’s Restaurant, Bonnie and Clyde, and The Miracle Worker, albethey years before this) I guess this is why I’d passed on it for so long (in addition to its being widely unavailable outside of pricey imports).

So to the movie, and I have to start with the brilliant tagline (as seen on this poster)… “What more do you want?” with which I couldn’t agree more. This movie within minutes took me back to my excitement as a teenager whenever these guys were on TV. It opens with them on a late night talk show doing their “upside down” gravity-defying table trick, after which Penn idly comments to the host that he wishes someone were trying to kill him. In the scenes that follow it is entertainingly set up that Penn and Teller are fond of pranking one another (and not just small pranks either; early in the game Teller sets Penn up at airport security getting through the metal scanner). The stakes get higher as the movie progresses, the pranks escalating to the point where the line between fake and real begins to blur, and, without trying to spoil anything too much, let’s just say this movie really does deliver what it promises, lol.

The final scenes had me laughing so much, actually out of shock I think more than anything, that I really couldn’t believe my eyes when I read so many disappointed opinions on the IMDb message board and comments. As the tagline suggests, I really don’t know what more anybody could expect from a Penn and Teller movie. It’s brisk at 90 minutes, it has a few magic tricks, a lot of fake blood, a healthy lesson in skepticism, and finally an all-out f**k you in its finale. It really is worth checking out.



Inkheart

Inkheart

Friday, May 21st, 2010

First of all, this definitely forms as good a double bill as expected with Bedtime Stories. Secondly, I have to say, I was watching this at very end of the night going into the early hours, so if I say I was kind of falling asleep towards the end, it is by no means solely the fault of the movie. But I will start by saying, I’m kind of astonished that of the two, this turned out to be the one that turned me off most.

On the surface Inkheart seems very similar to Bedtime Stories – the central character is a man able to make stories come into the real world just by reading them… and that man is played by Brendan Fraser, an actor known even more than Sandler for some pretty goofy and questionable comedy in the past. But really the similarities end there. This is a much darker, refined and frankly more ambitious story, and that’s kind of why I was so amazed to find it so lacking in comparison to Bedtime Stories. Also, in this one, the stories really come to life.

So how can such a movie with a supporting cast including Paul Bettany, Andy Serkis, Helen Mirren and Jim Broadbent be so much less than an Adam Sandler comedy with Keri Russell, Russell Brand, and Courtney Cox? I’m genuinely not sure. All I can say is though Inkheart has some great ideas, even beyond the basic set-up (I’m sure the book trilogy it is based on is far more engrossing), rather than run with them it seems to just plod. Not one character seems particular changed or even on the verge of changing at the end, or even particularly in need of change at the start – there are even characters, like the one from Arabian Nights, whose purpose in the story I’m at a real loss to justify. I’m afraid I really can’t think of anything else to say of it.



The Princess and the Frog

The Princess and the Frog

Tuesday, January 19th, 2010

This is not a movie I expected to wind up liking anywhere near as much as I did as the end credits rolled… those who know me will know I have been a pretty huge fan of Disney in my time and even in those times when I mightn’t have liked the product, I always found them to be a fascinating company, in the way they’re perceived both positive/negatively, in the way they change (or try to change) with the times, and yet the way they seem to (most of the time) retain the spirit of Uncle Walt all the way.

I was one of those who never quite understood the decision to quit 2D animation. Yes: Home on the Range was a disappointment that seemed to confirm whatever reasoning lay behind it, but I was never one of those who considered the likes of Atlantis, Treasure Planet, and most of all Lilo & Stitch (which gets better every year, I swear), to be so much worse than the most average of their earlier output (Robin Hood, *The Great Mouse Detective*… they haven’t always been classics, is what I’m saying); and while it’s true they weren’t living up to the heights of Pixar’s CGI work, or constantly doing their best, they were for the most part easily still better than the output of Dreamworks etc.

That long intro is a way of saying, I was never going to be saying in this review, as so many have, “at last, Disney return to form!” because I honestly don’t think they ever lost it. Mis-steps, yes; total betrayal of their roots? No. The only time I feared they had lost it, as a matter of fact, was much more recently than their closing of the 2D department. If you’ve read my reviews before, you might have seen my semi-rant about Enchanted… another movie which people embraced with strangely deluded arms which seemed to think Disney hadn’t been doing 2D Princess stories for half a century let alone half a decade. I thought the animated sequences in that movie were honestly just embarrassing – and I thought its message, its way of taking the whole “love at first sight and happily ever after” thing of old and treating it “responsibly”, was plain depressing and couldn’t be further removed from what I (and I’m sure many others) turn to Disney for.

I mention that because (finally we can get to the movie!) this was what I really worried for a while would be repeated here. I’ve been following this movie (and the next big 2D from Disney, Rapunzel, about which I at least had the same reservations) since it was announced and especially after Enchanted I really thought my time for loving Disney was coming to an end with the changes I kept hearing. I won’t get started on the other embracing comments about this being Disney “finally” having a black Princess (wow, it only took ‘em 80 years, amazing), despite that princess turning into a bright green amphibian 30 minutes in…

There’s a moment very early here when the heroine’s father informs her, “you can wish on a star but the star can only take you part o’ the way…” The heroine in this scene is still a very young girl. It brought me right back to that scene in Enchanted when the little girl’s father says something similar to her, to which she replies astutely, “I’m only six!” to which he retaliates, “You won’t always be.”

Luckily, The Princess and the Frog has this moment for a better reason.

What this movie does for much of its first hour is similar to what Disney tried to do with Enchanted, this new “responsible” approach, telling kids you can’t just dream your life away or rely on daddy’s credit card to get you out of trouble or, indeed, just wish upon a star which (among many things) are all things Disney have been criticised for doing for decades now. I understand these criticisms and the well-meaning behind them, but I can’t agree with them. Disney is dreaming. In any case: here it isn’t, as was the case in Enchanted, the whole message. The responsible approach to magical thinking – the “having a fall-back plan in case your dreams don’t come true” thing – here is a starting point from which the film makers then work towards delivering the old Disney message in a way that works better than ever in a world where that former message is all too hopelessly prevalent.

I cannot find the words to express the relief I felt and how astonished I was when the final act of this movie came out of nowhere to make all my pent-up frustrations with the run-up to it completely blow away. Like I said, I’m not gonna go all out and say it’s their best since Beauty and the Beast or Lady and the Tramp or god forbid further back (really would you believe there are people on this earth who completely dismiss the 90s resurgence stuff as “not really Disney”?), but it is certainly for me their best since Lilo & Stitch, and there are elements, particularly in the last half hour, that really did take my breath away like nothing from the studio has since Tarzan. I haven’t even talked about the quality of the animation itself or Randy Newman’s songs etc, but it’s probably been covered plenty elsewhere. I really cannot wait to see it again without all the fears I came to it with this time around, and my hopes for Rapunzel are beginning to crawl their way back too a pretty frenzied peak.



One Magic Christmas

One Magic Christmas

Wednesday, January 6th, 2010

At last, my “good, new (to me), Christmas movie” for the year :) How come they always come to me at the last minute?

At the heart of this movie is a practically flawless performance by Mary Steenburgen. An angel, played by Harry Dean Stanton, is sent to her with a mission basically to get her back into the Christmas spirit, as she never says “Merry Christmas” to anyone anymore (“Nobody ever means it when they say it anyway,” she tells her 6 year old daughter). Like the best grinchy characters, she’s not a total Scrooge (okay, obviously he wasn’t either, but I like that sentence anyway). We get a sense that she’s “worth” saving despite her current opposition to the Christmas season when we meet her. We see her happily singing in the shower early on, and singing again later on in the street at night in what turns out to be an important scene. We discover a different side of her, this side worth saving, in these private moments shown in harsh contrast alongside her difficult and very real public life. She remembers better times and knows what happiness is … but like a lot of us, she just doesn’t get much.

Midway, when I had already pretty much fallen in love with the movie, it takes a turn I will try not to spoil here but feel compelled to discuss. I’m pretty sure there will be reviews out there that criticise the way it deals with death given that many kids, some perhaps without one or both their parents, will see it and be taken in particularly in the Christmas season. I wondered how JK Rowling, who has always been so final about death even in her magical world, would think of this movie. But despite a little unsettlement at one particular point here, I kinda went with it in the end as it’s more a It’s a Wonderful Life type solution in the end and is more about giving Steenburgen’s character a second chance than giving anybody in the world just anything their heart desires, which let’s face it would be the “bad Disney” many people mistakenly perceive. I would just say, if you plan to watch it with young kids, especially if your family has known death, then take a look at it first yourself and then decide whether to go ahead and watch it together.

All this goes towards saying, wow, what a movie. Its early portion has moments in it where Stanton’s character “intervenes” with events that just goshdarnit make you want to believe in angels at the very least. The grounding of all the fantasy elements in this harsh reality is crucial and missing from so many seasonal movies because filmmakers are so afraid of offending anybody this time of year. This one so goes for it, more than I ever imagined. You watch this and Return to Oz and The Black Cauldron and think “who the heck had a bad day at Disney in 1985 and can I shake their hand?” ‘cos they really nailed the tightrope balance between dark and light at that time. If you’re starved for a great new Christmas movie to watch next year (since it’s a bit late now for this Christmas), and haven’t seen this, put it on top of your list. It mightn’t be great great, but it really goes there.



Bedazzled [2000]

Bedazzled [2000]

Monday, April 7th, 2008

I think I may have half-seen this before ‘cos some parts of it I recognised (and not from the original). What can I say … the guy’s wishes suck, the gender divide is too broad (though there really should always be a sex change wish in these things, whether intended by the wisher or not, I have to say LOL), and it makes the terrible, tired, terrible, tired gay musical-lover gag … but I can’t help it. Maybe it’s that you give me a movie like this and it doesn’t matter whether it’s good or bad because I’m happy enough for 90 minutes thinking up my own wishes and how I’d phrase them lol; maybe it’s that Brendan Fraser’s surprisingly good, reminding me at times of Trevor Fehrman in Clerks II when he’s the “real” Elliot; but I found this a surprisingly decent remake of the surprisingly fun Peter Cook/Dudley Moore version – I felt as much right from the “Big Mac and a Coke” version of the “sixpence iced lolly” scene. I really can’t think of a truly bad thing to say of it outside of those personal nitpicks above.



Penelope [2006]

Penelope [2006]

Tuesday, April 1st, 2008

I’m not about to spoil this movie for you. The tagline for this movie is “What Makes Us Different Makes Us Beautiful”. It’s about Christina Ricci born with a snout instead of a nose. By the end of the movie, she has a normal nose. I really think that’s all I need to say but bear with me ‘cos I feel a rant coming on. Now, maybe with The Hottie and the Nottie going around those cinemas that can afford to show it, my nitpicks over movies like this and Enchanted having fairly depressing implications about society seem beyond nitpicky. But hey, if nobody else is gonna say it then I will; if I didn’t just say what came to mind while watching a movie then I wouldn’t write anything at all.

“I know this face repulses you,” Penelope (Christina Ricci) tells Max (James McAvoy complete with pointless US accent) “… And I wouldn’t, I wouldn’t dream of asking you to accept it. But this isn’t me, the real me is inside here somewhere just waiting to get out and you can make that happen and once the curse is broken I’ll be just like anybody else.”

“What if the curse doesn’t get broken? What if the curse can never be broken?” Max replies.

“Then I’ll kill myself. I promise, I promise I will. Marry me, Max. Marry me.”

And there’s the rub. If you happened to like Enchanted, honestly, I couldn’t recommend a better double bill companion than Penelope more whole-heartedly. Personally, my luck amazes me that I resisted seeing both on my birthday in February because either one of them would, to be blunt, have put a damper on my day. Though this movie didn’t upset me quite as much as Enchanted did – duh, it’s Christina Ricci with a snout, frankly that alone is worth my 90 minutes – I spent all those 90 minutes, as I did in Enchanted, dreading how it all would end, hoping the film makers would explain why every man who looked upon The Nose had to jump through glass or cause a scene, why not one of them would even hesitate a moment and consider the rest of her. Is she supposed to look as grotesque as what these guys seem to be reacting to? In which case it’s bad casting and makeup, and I hope that’s the case. Otherwise, it really upsets me that apparently little girls across the land have gone cuckoo for this movie that is telling them this is what they should expect if they don’t look like Reese Witherspoon.

I’m sure I’m not just being my strange and kinky self … seriously, Christina Ricci with a snout is almost even cuter than just plain Christina Ricci. I know it’s a story and the movie would end pretty quick if someone just walked in the room and said, “Hey! Cute nose!” … what I’m saying isn’t as simple as that at all and you maybe need to see the whole movie to get the full sweep of how badly I feel it’s handled, I don’t know … it just basically sat badly with me. Maybe it’s as dumb as I’ve a feeling my response to everyone so rapidly believing Briony in Atonement was … but when something doesn’t sit with me, it doesn’t sit with me: all I can do is share the response.

I don’t have as many problems with it as I do with Enchanted – that movie had its wonderful moments and this one has even more on top of the simple fact of the Ricciness who can really do little wrong in my book. Joby Talbot’s music is gorgeous, one of those scores that, if I still bought soundtrack CDs, I’d snap up in a flash. Peter Dinklage is always worth the watch – he has one of the more interesting lines in the movie, perhaps moreso coming from him, when he says, “She’s out there on her own. Declaring her independence.” It even makes me happy enough that Christina Ricci even chose to do a project like this, it’s the kind of thing that made me go psychocrazy over her all those years ago. It’s quirky, it’s silly, it’s particularly indie-spirited even while being particularly appealing to the mainstream by its sheer freakshow nature.

But I’m loathe to sound too enthusiastic about the whole thing, because the overall message of it really makes my tummy squirm – from Grease to She’s All That I’ve always been sick of movies that basically tell people, especially girls and women, “Hey! You don’t have to be beautiful on the outside! But it helps …” and again, even though it comes from character and is a perfectly logical part of the movie, I have to say, the moment at the end here where Catherine O’Hara (being even more loathsome than she was in For Your Consideration) starts suggesting even more “work” on Penelope’s nose even when it’s back to human form, it actually almost made me feel physically sick. Given I’ll take any opportunity to tell people my own insane dreams of magical transformation, I know how this sentiment probably makes me a big hypocrit. I don’t know what to say to that. Maybe we’re all a little hypocritical sometimes, but with me these days honesty overrides everything, and like I said, this just did not sit with me.

As I’ve said on many an occasion: any movie that can get me in such a twist as this has gotta be worth the time somehow … it just depresses me if this is what it takes nowadays. It depresses me almost profoundly. Gimme Elphaba proudly getting in people’s faces with her green skin any day over this kind of thing. She had the good sense to leave the world entirely when it turned its back on her. Nobody should have to change to fit in. That Penelope’s transformation here comes right after and as a result of her own admission that she’s “happy the way she is” just adds insult to injury in my opinion.



Lord of Illusions

Lord of Illusions

Thursday, February 28th, 2008

I don’t know what to say about this one – it’s a horror movie I’ve certainly been meaning to watch for a while, being as its one of Clive Barker’s few post-Hellraiser works as director. But your heart really sinks even as the opening credits roll – Scott Bakula, Famke Jannsen, who? and who?

The magic stuff is good, I guess; though frankly I’d sooner see something entirely unrelated like The Prestige or, a little closer, one of the F/X movies; there’s a noiry Blade Runneriness about the opening, and it winds up a little Temple of Doom like. More than anything, I noticed how easily could’ve simply been another Hellraiser sequel like, say Deader, being as the way that series went. That might have made it, if only slightly, memorable. As it is, it’s just a forgettable disappointment all round, really.



Day Watch: Dnevnoy dozor aka Night Watch 2

Day Watch: Dnevnoy dozor aka Night Watch 2

Tuesday, December 11th, 2007

Even more lavish in the visual department than the first, at first I worried this would be at the expense of continuing what looked like a really nice story in the first movie. The second part in a trilogy is like the worst kind of second act in a regular movie – you’ve really gotta have something to pass the time. What better surprise, then, could I ask for here than a very well done gender-based body-swapping subplot, lol. Sometimes the humour in this part gets in the way of more poignant matters; sometimes, in fact, I fear it’s lost in translation entirely. But this is still a rip-roaring ride, if only for the visuals, and since there’s 2 years to wait for Twilight Watch, it’s mercifully wrapped up neatly in the end, so neatly in fact that I wonder how the story will continue. Can’t wait to find out, though.