Category: Adaptations

Rod Lurie To Direct Adaption of Jake Tapper’s The Outpost: An Untold Story Of American Valor

Millennium Films announced today that Rod Lurie (Straw Dogs, Nothing but the Truth) has been tapped to direct Paul Tamasy and Eric Johnson’s (The Fighter) adaption of Jake Tapper’s The Outpost: An Untold Story Of American Valor.

Paul Merryman developed the script, which Tamasy and Johnson co-wrote, and will produce alongside Tamasy and Marc Frydman under their Battle Plan Productions banner. Jeffrey Greenstein, Jonathan Yunger, Les Weldon, and Matt O’Toole are also producing for Millennium Films, with John Thompson, Avi Lerner, Trevor Short, and Yariv Lerner executive producing.

Based on CNN news correspondent Jake Tapper’s bestselling book, The Outpost tells the epic true story of the 50 soldiers who battled a force of over 400 Taliban in Northeastern Afghanistan during Operation Enduring Freedom. Originally built to engage the locals in community development projects and help the spread of democracy, Outpost Keating faced a constant threat of being attacked by the Taliban, putting the U.S. army soldiers stationed there at unbelievable risk. When the brass finally decided to close the base, the Taliban found out and decided to make a statement.

CNN’s Jake Tapper said, “Having a director who graduated from West Point and served in the Army, as Rod Lurie did, provides rare opportunity for the men and women of Combat Outpost Keating to have their story told the way they deserve. I’m excited about this project, and hope we soon see a spectacular, compelling and moving tribute to these incredible American heroes in a theater near you. They deserve the best, and I’m confident that Rod and screenwriters Eric Johnson and Paul Tamasy will make that happen.”

Rod Lurie from National Geographic Channel’s ‘Killing Reagan’ (Photo by Maarten de Boer/Contour by Getty Images)

Rod Lurie added, “The Battle of Kamdesh was the Thermopylae of our time, but with the heroes actually winning the devastating event. Two Soldiers earned the Medal of Honor for this one – which is more or less unheard of. You can bet that as a former American soldier myself, I’m fully invested in this film – which I kind of feel is more a destination for me than a job.”

“It is an incredible honor to be a part of the team bringing The Outpost to the big screen,” says writers Eric Johnson & Paul Tamasy. “Jake’s book is an amazing work of journalism that tells not only the story of an important piece of our history in Afghanistan that is both tragic and triumphant, but also shows us the true meaning of the words “uncommon valor.” The extraordinary courage of the men who defended Outpost Keating is a lesson and an inspiration to us all, and it is on us to do them justice.”

Jeffrey Greenstein, Jonathan Yunger and Lonnie Ramati negotiated the deal on behalf of Millennium Films, with Joel VanderKloot on behalf of Jake Tapper, George Davis on behalf of Paul Tamasy and Eric Johnson, and Peter Nelson on behalf of Paul Merryman, Marc Frydman and director Rod Lurie, all out of Nelson Davis LLP.

“This is a project we’re extremely passionate about and have been actively pursuing for over three years now,” said Millennium Film’s Jeffrey Greenstein and Jonathan Yunger. “We’re excited to finally bring this film to life and pay homage to our service men and women, who put their lives on the line every day.”

Millennium Films is best known for The Expendables series (more than half a billion dollars in worldwide box office) and the recent hits Olympus Has Fallen and London Has Fallen.

Lurie directed the critically acclaimed Straw Dogs, starring James Marsden and Kate Bosworth and Alexander Skarsgård, for Screen Gems. He is currently in pre-production on TNT’s upcoming action adventure series “Monsters of God.”

Paul Tamasy and Eric Johnson most recently wrote Churchill’s Secret Warriors for Jerry Bruckheimer and Paramount, and just completed a drama pilot script for Legendary and Lorenzo Bonaventura. Tamasy and Johnson were nominated for an Academy Award for David O’Russell’s The Fighter.

Rod Lurie is represented by CAA and Peter Nelson of Nelson Davis. Eric Johnson and Paul Tamasy are represented by WME, The Gotham Group, and George Davis of Nelson Davis. Jake Tapper, Paul Merryman and Marc Frydman are also represented by Nelson Davis.

JACK REACHER – The Review

Looks like Tom Cruise has begun another big screen franchise. After starring as Ethan Hunt in four hit films based on the classic 1960’s TV show “Mission: Impossible”, he’s turned to the literary world for the first film based on the long-running (17 books and counting) hero created by author Lee Childs, JACK REACHER. For this adaptation of “One Shot”, Cruise (also the film’s producer) has brought a long a frequent script collaborator Christopher McQuarrie (VALKYRIE, but perhaps best known for THE USUAL SUSPECTS) to direct also (his first feature since 2000’s THE DAY OF THE GUN). Robert Downey,Jr bounces back and forth between Iron Man and Sherlock Holmes, so why can’t Cruise be a part of a super spy team and a loner ex-military cop? It all depends on whether this initial outing is worthy of a follow-up.

This first screen thriller/mystery begins with a lone sniper expertly killing five people in a peaceful Pittsburgh park. After collecting the evidence, police detective Emerson (David Oyelowo) arrests a war vet/ army sniper named Barr. Emerson and public defender Rodin (Richard Jenkins) interrogate Barr and pass him a legal pad to write out his confession. Instead, he writes, “Get Jack Reacher”. But how to find him? Reacher, an ex Army police investigator, has no permanent address, no car (he travels by bus), no cell phone, and no charge cards (he pays cash for everything, including new clothes from Goodwill, via wire transfer from his military pension). After Barr is beaten into a coma during a botched prisoner transfer, Reacher arrives at Barr’s hospital. Seems that Reacher had helped convict Barr of a shooting incident overseas (the conviction later kicked out). Before he can leave, Reacher is hired by Barr’s pro-bono defense attorney Helen Rodin (Rosamund Pike), the PD’s daughter, to exonerate Barr. Reacher’s investigation unearths an intricate vast conspiracy and puts him and Helen on a collision course with a shadowy mastermind, The Zec (Werner Herzog).

Cruise brings his usual intensity to this combination of Sherlock Holmes (the guy really observes) and the Punisher (do not lean on him). Reacher has that “steel trap” brain and needs no notepads. His stoic confidence provides this often grim thriller with some very funny moments. He can also be kind as when he offers some much-needed advice to a young girl on the wrong path. Reacher’s boss/partner Helen is usually regulated to the “damsel-in-distress” particularly in the finale. Pike seems to spend most of the time indignant, angry, or wide-eyed with fear. At about the midway point the costumers (or more likely the producers) decided she should dress more like a cocktail waitress than lawyer, so that she’s nearly bouncing out of her top while escaping the bad guys. Pike’s a talented actress, but this choice distracts from her character. Jenkins and Oyelowo are a great team as they try to deal with Reacher’s quirks and talents (with Oyelowo a determined pursuer of him later). Cruise’s old DAYS OF THUNDER co-star Robert Duvall shows up late in the film to steal scenes as the helpful owner of a gun range. The two are a terrific team in the film’s big showdown. The most inspired casting may be acclaimed director Herzog as the shadowy, sinister mastermind . His cool, calming German accent brings an extra bit of creepy menace to the proceedings.

McQuarrie keeps things moving at a brisk pace that makes the 130 minutes almost breeze by. He puts a new spin on the downtown car chase that concludes with perhaps the film’s funniest moment. There’s also a couple of great sequences that show off Reacher’s considerable hand-to-hand combat skills. You can almost feel every bit of punishment he dishes out the pain to these unlucky thugs (there goes another fracture-crunch! snap!). There’s expert use of the Pittsburgh locations too (and I just knew it as the home of George A Romero’s zombie epics). JACK REACHER is a gritty, brutal thriller that’s a great alternative to December’s family fare and high drama Oscar-bait. Let’s hope Cruise and company are able to revisit this new movie action hero/sleuth in the near future.

4 Out of 5 Stars

THE HOBBIT: AN UNEXPECTED JOURNEY – The Review

They say you can’t go home again. But what if the home in question is that fabled land called Middle Earth. That’s the speculation surrounding celebrated film maker Peter Jackson. His LORD OF THE RINGS trilogy broke box offices records around the globe while collecting a chest full of awards (including the Best Picture Oscar for the final entry RETURN OF THE KING). Much like Bond fans, Rings devotees have had to wait several years for all the legal and financial battles to be settled. For a time it looked like Guillermo del Toro (PAN’S LABYRINTH) would be directing this Rings prequel, but as the negotiations dragged, del Toro had to move on. When the dust cleared, Jackson decided that he would not only produce but also direct this new Tolkein screen adaptation. Is the magic back? Film goers will finally find out with the release of THE HOBBIT: AN UNEXPECTED JOURNEY.

This tale beings with a history of Lonely Mountain, the realm of the dwarves. After surviving a brutal attack from the gruesome orcs, their treasure is seized by the dragon Smaug. The kingdom is in ruin and the dwarves are scattered through the lands. But all is peaceful in the Shire, especially at the home of a hobbit named Bilbo Baggins (played by Ian Holm in the Rings trilogy here his sixty years younger version is Martin Freeman). That tranquility is shattered with the arrival of Gandalf the Gray (Ian McKellen). The wizard wants Bilbo to join him and thirteen dwarves on a journey back to reclaim their home and treasure. Bilbo will have none of this adventure nonsense. That night his quiet home is invaded by those warrior dwarves led by the fearless Thorin (Richard Armitage). When Bilbo awakes the next morning, the rowdy dwarves and the wizard are gone. But the hobbit has a change of heart and catches up with them. On the long journey they encounter elves, orcs, trolls, rock giants, and a cave-dwelling, ring-loving, raspy voiced creature as they near closer to the land ruled by a brutal fire-breather.

Although this is set sixty years prior to the Rings trilogy, many familiar faces do pop up (including one very welcome surprise). But it’s McKellen as Gandalf that’s the most dominant. He’s slips into this character like he’s easing into a pair of comfy old slippers. He’s funny, wise, and a forbidding conjurer. And Sir Ian plays very well against this film’s most inspired addition of TV star Freeman (“The Office” “Sherlock”) as the timid title character. Their initial meeting is a delightful bit of whimsical wordplay and banter. For most of the initial scenes Bilbo goes from exasperated to worried panic. Once he commits to the quest he truly comes alive even as he flails about with his new sword, Stinger. There’s not enough time for each of the dwarves to stake out much in the way of personality, but Armitage makes a quite impressive small-sized swashbuckler.

But what really impresses here are the breathtaking visuals. As in the previous trilogy, the main characters trudge through all manner of majestic scenery. I’m sure this film will give New Zealand another nice tourism bump. The sets are epic and grand particularly a visit to the Elf kingdom. And the special effects are state of the art, especially in an encounter with three ravenous trolls (frightening and funny). But the most spectacular sequence doesn’t involve multiple beasties and battles, but a quiet quiz between Bilbo and the glorious Gollum, who continues to be one of filmdom’s most amazing creations. He’s more expressive than ever thanks to advanced CGI technology and the wonderful acting of Andy Serkis, the maestro of motion-capture. Speaking of tech, a lot has been written about the use of HFR (High Frame Rate in select theatres). Supposedly the projection of 48 frames per second instead of the standard 24 has caused some queasiness in audiences. My eyes adjusted fairly quickly, but I noticed that any movement (by the camera or actors) zipped by very fast. As a friend pointed out, you get no blurs at 48 so your brain has less to fill in (all the details are there). It is a sharper image, but nothing like live TV as was earlier reported (oh, and the 3D’s nice, but not essential as with LIFE OF PI). Much has also been made about the decision to make three films out of this single Tolkein story. Nothing seems padded here to warrant those accusing the producers of a “money grab”. After the frenetic slapstick of the dwarves trashing Bilbo’s home, the film almost resembles an old Saturday morning serial with one unsurvivable cliff-hanger after another. Sometimes the spectacle is overwhelming with endless nasties popping up to be sliced and speared, but Jackson really makes everything work. It’ll be fun to have that holiday tradition from nearly ten years ago once again. If you enjoyed the Rings then you’ll look forward to spending the next couple of Christmases with this unlikely furry-footed hero.

4.5 Out of 5

See Sparks Fly Between Julianne Hough And Josh Duhamel In Six New Photos From SAFE HAVEN

Check out six new photos from Relativity Media’s upcoming romantic thriller SAFE HAVEN. While not my type of film, these new images capture the heart of this one-of-a-kind romance from director Lasse Hallström’s highly anticipated adaptation of the best-selling Nicholas Sparks novel.

An affirming and suspenseful story about a young woman’s struggle to love again, Safe Haven is based on the novel from Nicholas Sparks, the best-selling author behind the hit films The Notebook and Dear John. When a mysterious young woman arrives in a small North Carolina town, her reluctance to join the tight knit community raises questions about her past. Slowly, she begins putting down roots, and gains the courage to start a relationship with Alex, a widowed store owner with two young children. But dark secrets intrude on her new life with such terror that she is forced to rediscover the meaning of sacrifice and rely on the power of love in this deeply moving romantic thriller.

Also starring David Lyons and Cobie Smulders, SAFE HAVEN opens in theaters everywhere February 14th, 2013 – just in time for the perfect Valentine’s Day date with that special someone or with the girls!

Facebook Page: http://www.facebook.com/safehavenmovie
Twitter Page: https://twitter.com/safehavenmovie

Photos © 2012 Safe Haven Productions. All Rights Reserved. Photo Credit: James Bridges

RISE OF THE GUARDIANS – The Review

It’s such a great idea you wonder why someone didn’t think of it sooner! Well children’s’ book creator did think of it (sparked by a question posed by his young daughter) and put out a book last year, “The Guardians of Childhood”. The great idea was teaming up all the magical entities that surround kids. It would seem a natural movie since there have been team-ups of monsters (from FRANKENSTEIN MEETS THE WOLFMAN through DESTROY ALL MONSTERS with Godzilla and his destructive buddies) and, most recently, super-heroes with MARVEL’S THE AVENGERS. So, combining that book series with an animated short “The Man in the Moon”, Dreamworks has produced the full-length CGI 3D animated fantasy adventure RISE OF THE GUARDIANS. So in adapting these works for the big screen, have the film makers retained all the magic and wonder of these iconic kid idols?

The film begins with the first few moments of the origin of Jack Frost (Chris Pine), several hundred years ago. He learns how to use his powers and acquires a magic ice-producing staff. Jump to today in the Arctic. The Guardians-Sandman, The Tooth Fairy (Isla Fisher), and the Easter Bunny (Hugh Jackman) meet at the workshop home of North AKA Santa Claus (Alec Baldwin). It seems that Pitch AKA The Boogeyman (Jude Law) is threatening to darken the lives of the world’s kids. Via North’s special telescope The Man in the Moon tells them to enlist Jack Frost. Frost is reluctant to join the group at first, but after Pitch attacks and loots the Tooth Fairy’s castle, he joins them to prevent Pitch from destroying the children’s innocent belief in the existence of the Guardians.

The film makers have brought together a great group of actors who bring some inspired vocal interpretations of these classic characters. The most fun may be Baldwin’s spirited work as Santa (or North). This is not the cuddly, warm grandpa’ St. Nick harkening to Edmund Gwen in the original MIRACLE ON 34TH STREET. This Kringle is a gregarious Russian bear of a man ready to wield his twin swords when needed. Baldwin hits the correct deep bass tones and the accent sounds perfect (you can imagine that his breath smells of borscht). This Santa might enjoy his hot chocolate spiked with a bit of vodka. Speaking of accents, Jackman’s Australian expressions make that egg-delivering bunny a terrific action star (at times we can even hear a bit of a favorite mutant). Fisher’s fairy is a delightful flitty, flirty sprite as she admires everyone’s oral hygiene. Pine’s Frost has some of the cockiness of an extreme sports champ or a surfer dude. His bravado hides his desire to be appreciated by the world’s kids (“Hey, I make snow days!’). As Pitch, Law is a sneering gentleman villain similar to George Sanders, Basil Rathbone, or Vincent Price. He’s an educated eloquent fellow who delights in his wickedness. It’s quite an impressive talented roster.

The talents away from the microphones also impress. The character designs are wondrous. North’s look matches his booming voice. He’s a broad shouldered, bushy-eyebrowed hulk whose red coat always exposes his massive tattooed (one says ‘naught’, the other “nice’) forearms. The bunny’s large feet support his muscled torso. Tooth Fairy is hummingbird-like with bright, nearly fluorescent color (the same is true for her fleet of tiny helpers). Sandman is a sweet, bouncy elf with a constant golden glow. Jack, Pitch, and the human kids (led by Jamie, the last believer) have the right touch of exaggerated features. My only complaint is with Santa’s elves. The tiny triangles bumble, stumble, and try to emulate the much-funnier Minions of DESPICABLE ME. More inspired are the furry, gruff Yetis. They’re Santa’s back-up muscle and really make the toys (“Don’t tell the elves!”). The homes of the Guardians are spectacular (especially the Tooth Fairy’s banks). Some of the action scenes zip across the screen so quickly you may have some difficulty in taking everything in. This hinders the generally excellent 3D work somewhat (I think this film would work just as well flat). RISE is paced closer to the classic Disney fairy tales. It doesn’t have the manic zaniness of recent animated fare like WRECK-IT RALPH or the last MADAGASCAR. This is a soothing bedtime story that should entrance the little ones while the art and voice work should charm the adults. Sweet dreams, or as three of the Guardians say as they dash away, “Merry Christmas! Happy Easter! Don’t forget to floss!”.

4 Out of 5

ANNA KARENINA (2012) – The Review

How do you breathe new life into a 100 plus year old story that’s known by mullions worldwide? First you cast one of the most popular young actresses in the title role. And so Keira Knightley stars as Leo Tolstoy’s ANNA KARENINA. But that’s not quite enough for director Joe Wright (ATONEMENT) working from Tom Stoppard’s (SHAKESPEARE IN LOVE) screen adaptation. Wright doesn’t change the time period (the 1880’s) or the setting (Russia), but he uses several modern technology film tricks to make a version that is like no other. But will all these bells and whistles really enhance this new telling of romance and scandal?

The plot primarily centers on Anna (Knightley), the wife of older statesman Count Alexei Karenin (Jude Law) and mother to their 8 or 9 year-old son Sergei. She travels to visit her brother Stepan (Matthew Macfadyen) in order to mend the rift when his wife Dolly (Kelly Macdonald) learns of his affair with their children’s nanny. On the train Anna meets the dashing young cavalry officer Count Vronsky (Aaron Taylor-Johnson), a suitor of Dolly’s younger sister Kitty (Alicia Vikander). Vronsky is immediately smitten with the older Anna, and at a party for Kitty he lavishes all his attention on Anna. Kitty then turns to another suitor, Levin (Domhall Gleeson). In a subplot the two marry and return to his expansive country estate and farm. Meanwhile the affair between Anna and Vronsky causes a scandal in Moscow society circles. When Anna tries to leave her husband, Karenin threatens to cut her off from their son. Soon Anna is shunned by the aristocracy. Will she follow her passion with Vronsky or return to her former dull life?

For this new version we must believe in the passionate romance at the story’s center. Unfortunately Ms. Knightley and Mr. Taylor-Johnson just never seem to really click on screen. I’ve enjoyed much of her work (particularly in A DANGEROUS METHOD) and he was very strong in NOWHERE BOY and KICK-ASS, but there’s no real screen sparks here. She seems much too young to be the mother of a nine year-old (and too close to Vronsky’s age) and doesn’t possess the worldliness the character demands. Her infatuation with the young officer is too manic and her final desperate act reeks of selfishness. That same selfishness emanates from Vronsky also. With his impeccable fashions and preening (no hair is ever out of place) he comes across as a 19th teen pin-up. His immediate fixation on the married Anna remains a mystery. Her husband Count Karenin isn’t a cruel monster who would drive his wife into the arms of another. The film makes try to de-glamorize him, but Law’s handsome features are only slightly dulled by a poor haircut, spectacles, and scratchy beard. Sure the guy’s a bit of a cold fish, but he’s got more patience for his wife’s histrionics that most men would have. A great supporting cast can’t make up for the film’s problems with the central love triangle.

The staging (emphasis on stage) also hinders our emotional involvement in this tale of doomed, forbidden love. Wright has set the proceedings in an elaborate, fantasy theatre. The action spills from the stage onto the orchestra pit, then goes backstage with flats and scenery tucked into corners. Characters even climb stairs and have dialogue in the theatre’s rafters next to cable and sandbags. These intricate camera tricks just distract us from the plot and make everything seem distant and artificial. Wright does a bit of cheating when dealing with Levin’s country home (we’re trudging through endless fields of snow with him), a horse race, and a fireworks display (the theatre’s roof opens up to allow the rockets to explode in the night sky). I’m reminded of the elaborate Busby Berkley numbers from his thirties musicals. The sequences would end with unintended laughter when the final shot revealed the appreciative theatre audience split screened with the waterfalls and dancing multitudes. The actors are also saddled with outrageously intricate hand gesturing at a formal dance and the rhythmic filing and stamping by the minions at Stepan’s massive office. It’s clever, but they ultimately get in the story’s way. The costumes and hair styles are lovely, but they can’t overcome the film’s forced theatricality. Either make a movie or produce a play for goodness sake!  The decision to do both does no service to Tolstoy’s immortal heroine.

2.5 Out of 5 Stars

THE ASTONISHING X-MEN – The Blu Review

Heads up merry Marvel mutant maniacs! The fine folks at the Shout Factory in conjunction with Marvel Knights Animation have just released The Astonishing X-Men Collection Motion Comic on Blu-Ray. This two disc set includes the Eisner award-winning four story arcs from writer Joss Whedon (MARVEL’S THE AVENGERS) and artist John Cassaday (who has drawn up some great new cover box art for this set). All just in time for Black Friday shopping, or to include on your very own list to Santa.

So, what’s a motion comic (you may ask)? Well, this is unlike the many straight to home video, comics-inspired animated features that have been produced. It’s not something loosely based on the comics story with teams of artists and animators reworking the characters and action. A motion comic takes the original artwork and makes the images move using state of the art computer technology. And everything on screen comes from the art of the talented Mr.Cassaday. Speaking of talent, a group of expert veteran animation voice artists perform the dialogue exactly as written by Mr. Whedon in the original comics series. An original music score along with expect sound effects make for an incredible audio experience. Perhaps this taste of the pulse-pounding action will better illustrate…

So, that’s motion comics! The primary X team consists of Beast, Emma Frost, Shadowcat, Wolverine led by Cyclops. Here’s a run down on the four stories. Each runs roughly an hour ( Unstoppable’s close to 90 minutes) and divided into six to seven chapters…

GIFTED

Seems that a scientist has come up with a serum that will make mutants into normal citizens. These news has divided everyone at the gifted school. But behind this wonder drug is an alien warrior named Ord from Breakworld. SHIELD director Nick Fury guests stars as does SWORD agent Abigal Brand. Joining them is an X teammate thought to be deceased. This story is co-directed by legendary Batman artist Neal Adams (“Green Lantern/Green Arrow”,”Deadman”, and a reamarkable 1960’s run on “The Uncanny X-Men”).

DANGEROUS

The mutant students along with the X-Men are attacked by a synthetic being inside the school. In order to stop it, the team will have to travel to the decimated island country of Genosha and find Professor Xavier! This story opens with a guest appearance from the Fantastic Four nearly recreating their iconic first issue cover along with the X team!

TORN

Emma Frost is tempted to return to her evil ways when the school is invaded by her old pals, Sebastian Shaw and the Hellfire Club (as seen in last year’s hit feature film X-MEN: FIRST CLASS)!

UNSTOPPABLE

Here’s the extra length conclusion to Whedon and Cassaday’s epic run! The X-Men and the agents of SWORD battle on far-off Breakworld. Its inhabitants believe that one of the mutants will cause the destruction of the planet. One X-man must make the ultimate sacrifice to stop a weapon directed at Earth. Back in NYC a quartet of four classic X-Men members team up with several Marvel heroes (including a friendly neighborhood wall-crawler) to defend our home world.

And, of course, there are…

EXTRAS

There’s a trailer for The Astonishing X-Men: Gifted along with the music video “Rise Up”. We get a behind the scenes “making of” featurette that includes interviews with Marvel Entertainment Chief Creative Officer Joe Quesada and comics legend Neal Adams. Another featurette gives a more indepth look (along with a tour) at Marvel Kights animation as they produce motion comics based on the X-Men and Spider-Woman. There’s also trailers and sneak peeks of future motion comics featuring the Black Panther, Thor, Iron Man, and, as mentioned, Spider-Woman.

QUALITY

The stories are presented in the 1.33:1 aspect ratio. Sound and picture quality are top-notch (the colors really pop!). Speaking of colors, the blood is vivid red (Logan’s healing powers are frequently put to the test), so heads up parents. These stories were produced and published under the Marvel Knights, which used a more adult approach than the Comics Code-approved all-ages tales. It’s definately PG-13 material. There’s no nudity, but a couple of X-teammates do hook up (and Emma’s outfits are low, looow cut). Oh, and all the extreme profantiy is bleeped (in a comic, the word balloon would say,”#%**#!”).

All in all, this is an excellant set that should thrill comics and film fans of these misunderstood mutant heroes. To paraphrase creator Stan”the Man”Lee, “Who says this this isn’t the Marvel age of magnificent Motion Comics?”

4 Out of 5 Stars

THE RABBI’S CAT – SLIFF Review

Like the previously reviewed WRINKLES, this hand drawn French animated feature film is based on a celebrated graphic novel. Here the film makers use the medium to tell more of a whimsical adventure story set a long time ago in a faraway exotic land, 1930’s Algeria to be exact. There resides the simple widowed rabbi Abraham, his blossoming teenage daughter, and his cat. One day the feline suddenly gains the  ability to speak. This astounding feat seems to be the catalyst that sparks a series of escapades. A handsome young Russian artist arrives under unusual circumstances. Soon it’s decided that the young man must find the original tribe of African Jews, They enlist the aid of a displaced Russian aristocrat and his beaten-down vehicle and  they embark, along with a Muslim holy man and his nervous donkey, on a journey into the wilderness. Along  the way they get into spirited religious debates and have to deal with some hot-tempered nomads. Although the story involves a talking feline, this is a not a film for the tiny tots as there’s a scene of bloody violence and a sensual love story involving one of the travelers. The animators have done a remarkable job replicating the style of scratchy pen and ink drawings. The character designs range from exaggerated “bigfoot” types (like the rabbi) to standard semi-realistic (the Russian artist). The movement is smooth and flowing particularly in a couple of sequences done in wild 1930’s “cartoony” style to emphasize the slapstick antics. THE RABBI’S CAT is an engaging colorful comic tale full of compelling characters and surprisingly adult themes.

THE RABBI’S CAT screens as part of the 21st Annual Whitaker St. Louis International Film Festival on Saturday, Nov. 17 at 6:15 PM and Sunday, Nov. 18 at 1:30 PM at the Plaza Frontenac Cinemas

WRINKLES – SLIFF Review

Silver screen icon Bette Davis is generally credited with this adage, “Old age isn’t for sissies.”. This is well illustrated in the Spanish feature-length animated film WRINKLES based on Paco Roica’s award-winning graphic novel. The prime focus of this tale is Emilio, an elderly widower (and former bank manager) residing with his son’s family until he becomes too difficult (tossing his soup seems to be their breaking point). The son and his wife drop him off to live in a cold, sparsely furnished old age home. There the stiff, buttoned-down Emilio is assigned to share a room with the gregarious conman Miguel (“I’ll take care of that for ten Euros!’). As they tour the facility, the men walk near the stairwell and hear the howls emanating from the dreaded second floor. Miguel explains that this is where those with extreme dementia and Alzheimer’s’ Disease reside. As the year slowly passes, Emilio begins to deteriorate physically and mentally as Miguel tries to figure out a way to hide his pal’s condition from the supervising doctor and the staff. The stories of neglect and loneliness are balanced out by some of the home’s eccentric residents and Miguel’s rebel spirit. The animation is put to good use in flashback sequences involving Emilio as a child and a young father and also with several of the residents (we see how one couple met as young children). We also get to go inside some of their fantasies (one lady sees alien kidnappers everywhere while another believes she’s an elegant passenger on the Orient Express). The style of animation is close to the old school, hand-drawn cell animation (I was reminded of the excellent Batman TV cartoons of the 1990’s) as opposed to Pixar-type CGI. This is an expertly told tale that will have you reflecting on how to care for your own family, and what will happen if you need some help yourself when you enter the “golden years”. This film proves that animation can tackle the most challenging subject matter.

WRINKLES screens as part of the 21st Annual Whitaker Saint Louis International Film Festival on Sunday, November 11 at 4 PM and Monday, November 12 at 9 PM at the Plaza Frontenac Cinemas

CLOUD ATLAS – The Review

THE MATRIX trilogy may be their most recognizable work, but I would contend that CLOUD ATLAS is Andy and Lana Wachowski‘s most profound, accomplished film to date. Co-directed with Tom Tykwer (RUN LOLA RUN) and based upon David Mitchell‘s award-winning novel of the same name, this science-fiction film addresses how individual lives can affect others’ lives in the past, present and future. The film contains multiples stories spanning many eras in human history, from centuries ago to centuries into the future, where the setting is a post-apocalyptic society.

CLOUD ATLAS features a line-up of talented stars rarely seen in one film. Leading the cast are Tom Hanks (CASTAWAY) and Halle Berry (MONSTER’S BALL), whose roles form the primary storyline throughout time, but are not the sole focal point of the film. Hugh Grant (ABOUT A BOY) delivers performances far outside his normal wheelhouse, delivering some truly unlikeable characters in addition to the enjoyably villainous characters delivered by Hugo Weaving (CAPTAIN AMERICA: THE FIRST AVENGER). Weaving, who you may remember as the relentless Agent Smith from THE MATRIX, is much more accustomed to these roles, but seeing Hugh Grant take on this new type of role is refreshing, especially given how well he adapts.

The cast also features veterans performing alongside relatively new faces. Jim Broadbent (THE IRON LADY) is splendid and Susan Sarandon (THE LOVELY BONES), while not prevalent in the film, still adds some seasoned texture to the overall film. Newer talent includes Jim Sturgess (ACROSS THE UNIVERSE) and Doona Bae (THE HOST) amongst others, most of whom provide varied performances for multiple characters in different stories set in different stages of time. Not only is this an impressive undertaking, its also impressively effective, if not dauntingly complex.

CLOUD ATLAS is immeasurably satisfying and uplifting, although few are likely to leave the theater having fully understood the massive scope of this enigmatic cinematic puzzle. David Mitchell’s novel followed six story lines through time, but the film takes it further, following several more story lines, attempting to connect many more lives throughout time than the book. The structure of the film jumps forward and backward in time, as does the tone and the genre, making this a truly unique and original work of daring filmmaking.

CLOUD ATLAS can be an intimidating film to take on, but only on the surface. Once engaged, the film flows surprisingly well, leaping in time from one life to another, setting the viewer up to discover one connection after the other. The whole of the film is tied together by a number of things, one being the actors playing multiple roles. I specifically refuse to point out who plays the individual roles, as part of the experience of watching this film is making those discoveries and connections on your own. The other significant element that serves as the most intoxicating adhesive is the original score from Reinhold Heil, Johnny Klimek and especially Tom Tykwer for his Cloud Atlas title piece of classically-inspired music.

For a film that cost an estimated $100 million to make, with such an enormous star-studded cast and as much high-quality CGI special effects work as CLOUD ATLAS, the fact that this is independently produced should compel even more interest. The Wachowski’s and Tykwer have created a philosophical playground on screen. The viewer’s eyes and ears will relish the feast that is CLOUD ATLAS and what the viewer witnesses is likely to stay with them indefinitely, resonating with an endless amount of food for thought as connections continually get made beyond the initial viewing.

For me, the most compelling story line takes place in the distant future, set in the post-apocalyptic society with a hint of BLADE RUNNER meets THE MATRIX, but the most engaging performances come from Tom Hanks, Jim Broadbent and Halle Berry, which should help refuel the fire in her recently faltering career. As much as I am drawn to go on for a few thousand more words, describing every last detail of the film, attempting to convey all the various themes and ideas, I would not be doing justice to CLOUD ATLAS, as much an enlightening event as it is an enjoyable film.

Overall Rating: 4.5 out of 5 stars

CLOUD ATLAS opens in theaters nationwide on Friday, October 26th, 2012.