Category: Fantasy

CIRQUE DU SOLEIL WORLDS AWAY 3D – The Review

Well, it looks like Hollywood’s marketers are pulling a bit of a fast one this holiday season (not quite a lump of coal in your stocking). Many news pieces and commercials are touting this as a new work from James Cameron (with many references to AVATAR) with direction by Andrew Adamson (of SHREK and NARNIA film fame). The two men are involved (lots of Cameron interviews are used in publicity TV-ready sound bites), but this film is almost a glorified “infomercial”. CIRQUE DU SOLEIL WORLDS AWAY 3D is a “best of” the company’s Las Vegas house shows strung together with a fairly flimsy story/plot. As the film opens a wide-eyed young girl walks past the railroad tracks of her small town and enters a low-rent circus that’s setting up in a vacant field. She catches the eye of a handsome young man helping to set up the big top. Later a sad-faced clown gives the girl a flyer touting their main attraction, the Aerialist. In the main tent the girl recognizes him as the worker with whom she exchanged glances earlier. An accident occurs and both are plunged into a strange otherworldly dimension. The rest of the film concerns their efforts to re-unite while navigating through the odd settings and inhabitants.

And while they try to find each other they take time to watch all manner of gymnastics culled from all the Cirque shows. Skilled athletes perform gravity defying stunts on trampolines, intricate mechanical contraptions, and inclines. And in water. The first third includes lots of precision diving in pools and elevated glass tubs. All in unusual costuming that accents their straining, contorted muscles ( some of theses outfits veer almost into the fetish arena). Most of the music would be at home with a big sci-fi blockbuster while other tunes are from a top 40 jukebox. There’s a piece from the recently closed Elvis-themed show (with bouncing superheroes) and many classic Beatles songs from the Vegas “Love” show. James Cameron’s crew are able to zoom in on the performers and slow down some of the action to better present the grace of the acrobats. Unfortunately much of the immediacy (and danger) of the live show is lost in a cinema adaptation. Everything’s very colorful and should delight the youngest viewers (the preK set), while some of the preteens may get a tad squirmy, unless they have a penchant for performance and gymnastics. The 3D works best in the film’s opening scenes, but it’s not close to the wonder of HUGO or LIFE OF PI. If you can’t afford to go to one of their permanent shows or the traveling troupe, then this film should satisfy your curiosity about Cirque. But as a film this is more of a tossed together buffet than a banquet. Speaking of meals, you may be better off saving your money in order to hit Sin City, have a great Dinner, and attend, say, “Mystere” as your dessert. Now there’s an evening that’s truly worlds away!

2.5 Out of 5

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

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

Fee-Fi-Fo-Fum: Here’s Comes The New JACK THE GIANT SLAYER Trailer And Poster

Giants! Beanstalks! Magic Beans! Ready for a epic adventure? Watch the Ian McKellen narrated, fantasy-filled trailer for director Bryan Singer’s JACK THE GIANT SLAYER.

JACK THE GIANT KILLER tells the story of an ancient war that is reignited when a young farmhand unwittingly opens a gateway between our world and a fearsome race of giants. Unleashed on the Earth for the first time in centuries, the giants strive to reclaim the land they once lost, forcing the young man, Jack, into the battle of his life to stop them. Fighting for a kingdom, its people, and the love of a brave princess, he comes face to face with the unstoppable warriors he thought only existed in legend – and gets the chance to become a legend himself.

A vast improvement over the teaser trailer we showed you last December when the film was scheduled for a June 2012 release. I really like the tailor-made cast. Nicholas Hoult (X-MEN: FIRST CLASS) as Jack, Eleanor Tomlinson as Princess Isabelle, Stanley Tucci (JULIE & JULIA) as the deceitful Lord Roderick, Ian McShane (PIRATES OF THE CARIBBEAN: ON STRANGER TIDES) as the besieged King Brahmwell, Bill Nighy (HARRY POTTER AND THE DEATHLY HALLOWS) as the giants’ leader General Fallon and Ewan McGregor (THE IMPOSSIBLE) as palace guard Elmont.

Singer reassembled some of the people he likes to work with best for this 3D movie. The screenplay comes from Singer’s long-time collaborator Christopher McQuarrie. The two previously worked on THE USUAL SUSPECTS and VALKYRIE, while the creative filmmaking team includes director of photography Newton Thomas Sigel (X-MEN, SUPERMAN RETURNS) and editor John Ottman (X2, SUPERMAN RETURNS).

Along with scribe McQuarrie, the screenplay is also by Darren Lemke (SHREK FOREVER AFTER) and Dan Studney, with a story by Darren Lemke & David Dobkin. I’m absolutely mad over the look of the film too – the production designer is Gavin Bocquet (STAR WARS: EPISODE III – REVENGE OF THE SITH). Singer filmed his new take on the fairytale on location in and around London.

From Warner Bros Pictures, JACK THE GIANT KILLER stomps into theaters in RealD 3D and IMAX 3D on March 1st.

Visit the film’s official site: http://jackthegiantslayer.warnerbros.com/

“Like” it on facebook:  www.facebook.com/jackthegiantkillermovie 

Follow on Twitter: @wbpictures #JacktheGiantSlayer

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

Advance Tickets On Sale For THE HOBBIT MOVIE Wednesday, Nov 7th; LORD OF THE RINGS Trilogy Back In Theaters Dec 8-9

Moviegoers who are eagerly anticipating the December 14 release of the epic fantasy adventure THE HOBBIT: AN UNEXPECTED JOURNEY, will be able to secure their seats over a month in advance when tickets go on sale, online and in theaters across North America, at 12:00pm Eastern Time, on Wednesday, November 7. See the 17 new posters HERE.

The film, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), is the first in Peter Jackson’s highly anticipated trilogy adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien. Being released domestically by Warner Bros. Pictures, all three films in THE HOBBIT Trilogy tell a continuous story set in Middle-earth 60 years before THE LORD OF THE RINGS, which Jackson and his filmmaking team brought to the big screen in the blockbuster trilogy that culminated with the Oscar-winning THE LORD OF THE RINGS: THE RETURN OF THE KING.

As part of the celebration, moviegoers will have the opportunity to re-experience Middle-earth in big screen marathons of THE LORD OF THE RINGS Trilogy in their Extended Cut editions on Saturday, December 8, and Sunday, December 9. Tickets for these all-day events will also go on sale, online and in theaters throughout the U.S., at noon Eastern time on Wednesday, November 7.

THE HOBBIT: AN UNEXPECTED JOURNEY follows the journey of title character Bilbo Baggins, who joins the Wizard Gandalf and 13 Dwarves, led by the legendary warrior Thorin Oakenshield, on an epic quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug.

Ian McKellen returns as Gandalf the Grey, the character he played in “The Lord of the Rings” Trilogy, with Martin Freeman in the central role of Bilbo Baggins, and Richard Armitage as Thorin Oakenshield. Also reprising their roles from “The Lord of the Rings” in “The Hobbit” Trilogy are: Cate Blanchett as Galadriel; Ian Holm as the elder Bilbo; Christopher Lee as Saruman; Hugo Weaving as Elrond; Elijah Wood as Frodo; and Andy Serkis as Gollum. The international ensemble cast of the trilogy also includes (in alphabetical order) Manu Bennett, Jed Brophy, Adam Brown, John Callen, Mark Hadlow, Peter Hambleton, Barry Humphries, Stephen Hunter, William Kircher, Sylvester McCoy, Bret McKenzie, Graham McTavish, James Nesbitt, Dean O’Gorman, Conan Stevens, Ken Stott and Aidan Turner.

The screenplay for THE HOBBIT: AN UNEXPECTED JOURNEY is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro. Jackson is also producing the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh. The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Boyens and Eileen Moran serving as co-producers.

Under Jackson’s direction, “The Hobbit” Trilogy has been shot in 3D 48 frames-per-second and will be released in High Frame Rate 3D (HFR 3D), other 3D formats, IMAX and 2D. Production has taken place at Jackson’s own facilities in Miramar, Wellington, and on location around New Zealand.

Among the creative behind-the-scenes team returning to Jackson’s crew were director of photography Andrew Lesnie, production designer Dan Hennah, conceptual designers Alan Lee and John Howe, composer Howard Shore and make-up and hair designer Peter King. The film is edited by Jabez Olssen. The costumes were designed by Ann Maskrey, Richard Taylor and Bob Buck.

Taylor also oversaw the design and production of weaponry, armor and prosthetics, which were once again being made by the award-winning Weta Workshop. Weta Digital took on the visual effects for the films, led by the film’s visual effects supervisor, Joe Letteri. Post production is taking place at Park Road Post Production in Wellington.

THE HOBBIT: AN UNEXPECTED JOURNEY and the second and third films of the trilogy are productions of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), with New Line managing production. Warner Bros. Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM.

THE HOBBIT: AN UNEXPECTED JOURNEY will be released in the U.S. on December 14, 2012, with the second film, THE HOBBIT: THE DESOLATION OF SMAUG, releasing December 13, 2013, and the third film, THE HOBBIT: THERE AND BACK AGAIN slated for July 18, 2014.

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BRANDED ( 2012 ) – The Review

BRANDED slithered ( like the flick’s CGI beasties ) last Friday with very, very little fanfare. Kind of appropriate since it’s a film about the evil of marketing…and advertising…and consumerism…the list trudges on and on. And it wants to be a satire / mind-blowing thriller, perhaps like the original ROBOCOP. I doubt if that classic’s director, Paul Verhoeven, could have done anything with this garbled mess of a script. Well, believe it or not, BRANDED had two directors! The best thing I can say about this new flick is that it’s something that Edward D. Wood, Jr. might have had a hand in making if he were still around. That may not be a fair comparison since Wood’s Grade-Z flicks are still pretty entertaining, while BRANDED is a real cinematic endurance test.

The bulk of the film is set in the new Russia. But first we start with a flashback to the 1980’s and the evil ole’ USSR. Young lad Misha is waiting in one of those long, winding lines we always heard about ( usually for one roll of bathroom tissue ), when he’s struck by lightning! Cut to a Polynesian island retreat where the legendary old Marketing Guru ( Max Von Sydow ) meets the heads of the world’s fast food chains. Seems the eateries are floundering and they need the master’s help. Jump to present day Russia where adult Misha ( Ed Stoppard ) is an award-winning advertising wiz working alongside American Bob Gibbons ( Jeffrey Tambor ), who just might be an intelligence agent. Misha catches the eye of Bob’s ambitious niece, Abby ( Leelee Sobieski ). They join forces ( in business and the bedroom ) to produce a big makeover reality TV show. When things go horribly wrong, the Guru swoops in with his master plan while Misha and Abby are separated when he’s thrown in the slammer. Years later she tracks him down. After doing his time, Misha  now tends to a herd of cattle far, far from the urban sprawl. After a ritual involving a red cow ( ?! ), he returns to the big city. Seems that now Misha can see things other folks can’t. The desires for products create weird monsters that threaten civilization. Can Misha stop these consumer critters before they destroy all mankind?

Or something like that. It’s all so pompous and ludicrous. The monsters seen in the poster art and a few TV spots are bulbous, floating amoebas and snails with elements of several artist styles, a bit of Dr. Seuss, Ralph Steadman, and the Chiodo Brothers ( one prominent floatie has a big red nose and a white face like those alien killer clowns ). And they don’t do much besides bounce into each other and burst apart or form bigger, uglier mutant parade-type balloons. An attack from green dragons doesn’t liven things up any. And you’ve got to slog through an hour of heavy-handed satire of burger chains and reality TV before you see them! What did these actors get from this script? My affection for Tambor was truly tested, but his lifetime pass thanks to TV’s ” The Larry Sanders Show ” and ” Arrested Development ” remains intact. Von Sydow has a couple of scenes, but he’s basically doing an extended cameo as he wears different track suits while he lectures in front of some tacky green screen effects. Sobieski is a wild-eyed sexpot ( nearly bursting out of her wardrobe ) for the first half and has strained scenes with a badly dubbed child actor in the second half. For most of his screen time, Stoppard alternates between bored and hysterical. A scene on the dance floor with Sobieski looming over Stoppard overwhelmed the dialogue ( something about how Lenin was a good marketer ).  hmmm, maybe that was a good thing. All the while the film makers are hammering their themes. Yeah, we know fast food’s not good for us! And we shouldn’t trust ads! Mad magazine’s been saying that for nearly 60 years. BRANDED is a colossal, pretentious train wreck of a film that will test any bad movie aficionado. I should just be grateful I didn’t have to pony up a few extra bucks to see the evil marketing monsters in the miracle of 3D! Now if this had been a remake of the classic Chuck Conners TV western, well…

.5 Out of 5 Stars

PARANORMAN – The Review

For many years most of the movie going public has associated animation with the hand drawn features of  Walt Disney, like FANTASIA and DUMBO. Younger audiences may think more of the computer-generated features started by Pixar with TOY STORY almost 20 years ago. But there’s another type of animation that’s occasionally used in features, stop-motion animation. Instead of drawing, the artists move a figure ( sometimes a puppet, sometimes clay ) one frame at a time to simulate motion. In Hollywood’s Golden age, this technique was used in the special effects department, first by Willis O’Brien with the original 1933 KING KONG and later by film wizard Ray Harryhausen with his Sinbad series and JASON AND THE ARGONAUTS. Several foreign film makers used this method for short films along with George Pal producing the Puppettoons short series here for Paramount. TV entered with the Gumby shorts and later the Rankin/Bass company produced several popular holiday specials starting with ” Rudolph the Red-Nosed Reindeer”. Eventually RB branched out into feature motion pictures, most notably with MAD MONSTER PARTY. Certainly that film inspired Tim Burton’s hit ( with animator Henry Sellick ) THE NIGHTMARE BEFORE CHRISTMAS in 1993. Since then England’s Aardman Studio released a few features starting with CHICKEN RUN and Sellick followed up with JAMES AND THE GIANT PEACH and CORALINE. Well, the studio that helped produce that last film, Laika Entertainament, has made PARANORMAN, which is another leap forward in the art of stop-motion feature animation. And it’s really, really funny.

The film’s title refers to Norman Babcock ( voiced by Kodi Smit-McPhee ), a pre teen lad with Eraserhead-like hair who has an unusual gift, although sometimes he thinks it’s a curse. It’s not his vertical follicles. Seems he can see and talk to dead people. These spirits just aren’t ready to move on to the next level-they’ve got unfinished business, including Norman’s Grandma’ ( Elaine Stritch ). This causes no end of concern for Norman’s Mom and Dad ( Leslie Mann and Jeff Garlin ) and embarrassment for his older sister, cheerleader Courtney ( Anna Kendrick ). It’s not much better at school where he’s mercilessly picked on by Alvin (Christopher Mintz-Plasse ), although Norman has an ally with chunky outcast Neil ( Tucker Albrizzi ). Their little New England town of Blythe Hollow is preparing for its tri-centennial when its forefathers tried and hanged a woman for witchcraft ( the standard old crone witch icon becomes the town mascot ). One day, outside the school, Norman is approached by his eccentric Uncle Prenderghast ( John Goodman ), who knows about the boy’s gift. He explains that unless Norman reads from a mystical book at the witch’s grave at sunset, her curse will make the dead rise and destroy the town. Can Norman, aided by Courtney, Alvin, Neil, and his jock older brother Mitch ( Casey Affleck ) thwart these supernatural forces ?

To say anything else might spoil the wonderful surprises in this inspired romp. I will say that this is a visual treat from the character design ( so expressive ) to the look of Blythe Hollow ( the witch adorned signage ). You’ll find yourself chuckling even before you hear the witty dialogue. The film begins with a hysterical tribute to low-budget late night TV horror flicks that puts us right in the proper ” spirit ‘ for the ensuing hijinks. Those include a clunky school pageant / play about the witch trial directed by an overbearing drama coach ( Alex Borstein ). A later sequence with Norman trying to retrieve the mystical book is superb slapstick that would make Buster Keaton proud. All this before the kids unite to stop the walking dead ( these klutzes are more the walking doofus ) like a junior Scooby Doo gang ( or better yet, THE MONSTER SQUAD ). The action and laughs never let up till the final face-off ( which may be just a tad too serious and confusing ). The last scenes may hammer home the films plea for tolerance of the different tooheavy a hand ( especially when a character’s orientation is revealed ). These are minor quibbles with what is one of this Summer’s very best films ( this has to be a Best Animated Feature Oscar nominee along with BRAVE and, perhaps, the upcoming FRANKENWEENIE ). Like many kid flicks, the adults may enjoy it for the subtle humor that may be over the heads of tykes. So is it okay for the little ones? The smallest may be skittish about the zombies, who look gnarly but are pretty benign ( no muching and noshing ). It all depends on the young individual. At seven I was monster crazy, with my room decorated almost like Norman’s ( another visual treat with posters, toys, toothbrushes, and slippers- I almost expected to see a copy of Famous Monsters of Filmland magazine ). Oh, and the 3D works very well with these stop-motion marvels. So, if your kids can handle some mild scares, take them to movies and share a wild,spooky adventure with Norman and his gang. PARANORMAN is inspired cinema artistry and one of the year’s best comedies.

Overall Rating: 4.5 Out of 5 Stars

THE ODD LIFE OF TIMOTHY GREEN – The Review

In creating his entertainment empire, Walt Disney knew that his company needed to branch out beyond animation. Those hand-drawn classics took a long time to craft, so he first produced adventure flicks out of England before his take on Jules Verne, 20,000 LEAGUES UNDER THE SEA, which was a box office sensation in 1954. Establishing a live-action division, Walt released several family flicks over the next few decades ranging from adventures like SWISS FAMILY ROBINSON to the kids comedies featuring Herbie, the Love Bug and The Apple Dumpling Gang. Oops, almost forgot the tear-jerkers, those warm family flicks like FOLLOW ME BOYS and ( gulp! ) OLD YELLER ( I recall a stand-up comic saying that the flick was a test that parents could give their kids-if the kid cried at the end of YELLER, then he was normal ). Many of the movies would be chopped up and turned into multiple episodes of that Sunday night TV staple, ” Walt Disney’s Wonderful World of Color ” ( ah, TOBY TYLER ! ). In the last few decades Disney Studios have created brands such as Touchstone and Hollywood Pictures to release their more adult fare. But every once in a while a live action film while get the Walt Disney Pictures imprint ( like THE ROCKETEER ). Such is the case with the gentle family fantasy, THE ODD LIFE OF TIMOTHY GREEN. I can imagine it playing over a couple of Sundays on ” The Wonderful World of Disney” ( its last prime-time broadcast network incarnation ). So instead of gathering around the set, will families gather at the multiplex for this timeless tale?

In the openiong scenes, Jim and Cindy Green ( Joel Edgerton and Jennifer Garner ) get some bad news from a fertility specialist. They drive back to their picture-perfect town of Stanleyville USA, ” the pencil capital of the world ” ( probably right down the road from Bedford Falls ). Jim works quality control at the pencil factory while Cindy’s a tour guide at the Stanley Pencil Museum. That night, after many tears ( and a bottle of wine ) the two exchange ideas about what would make a perfect child ( ” He rocks!”  “He has a good heart”, etc. ). Jim jots them down in a small notebook, tears out the sheets, stuffs them in a small wood box, and buries it in the backyard garden. Later that night an intense storm wakes the couple. What’s that noise? Something’s scurrying through the house. Jim and Cindy discover the source : a ten year-old boy, covered in mud. And, around his ankles and feet, he’s sprouting bright green leaves. Jim dashes to the garden to check his recent planting. The hole’s been dug up and the wooden box is shattered. Have their dreams been fulfilled? What will become of this lad that sprung up from the soil?

The rest of the film pretty much concerns Timothy ( CJ Adams ) brightening the lives of friends and family in the town. The script doesn’t tackle any intense questions from others about the boy’s arrival ( kind of like the Kents and their foundling in Smallville, Kansas ) or the miracle itself ( must be the same generous movie gods that turned Henry Limpet into a fish ). Most of the supporting characters are standard kid lit types. Dianne Wiest  has little to do as the up-tight, hard-nosed curator of the museum ( her Timothy encounter seems a bit forced ). Her nephew, Jim’s factory boss ( Ron Livingston ) is a bullying weasel ( weird to see Mr. OFFICE SPACE in management ). M. Emmet Walsh and Lois Smith are jolly, nurturing grandparent types ( actually the aunt and uncle that raised Cindy ). The true grandpa’ here is the distant, surly father of Jim, ” Big ” Jim ( David Morse ) who becomes Jim’s sounding board for his ‘ good parenting’ raps. Rosemarie Dewitt ( fabulous in HER SISTER’S SISTER ) is wasted as Cindy’s condescending, over-achieving sister.  Common clocks in as a stern soccer coach of the Erasers. He’s tough and unbelievably tolerant of the hovering Greens. Timothy’s main pal is Joni ( Odeya Rush ), a scowling pre-teen who warms to the new kid. There’s some confusion about their relationship. Are they buddies or steadies? It’s left hovering ( she towers over him, seeming a bit too mature for the hero ). As for the Greens themselves, I was thankful that Adams made Timothy an engaging, pleasant protagonist. With the wrong actor this could’ve been a very difficult slog ( several recent films had young actors at their center that, to put it delicately, wore out their welcome quickly ). Edgerton, so great in last year’s WARRIOR, makes for a nice, gentle, encouraging sitcom dad. Garner bounces back nicely from the harpy she played in the remake of ARTHUR. Like one of the notes in the box ( ” He should be funny, but not making fun of others funny. Or belch and fart funny” ), the movie has a gentle whimsical air. Most of the set pieces will elicit a couple chuckles ( a music scene is cringe-worthy though ). This film is the  happy flip side of last year’s WE NEED TO TALK ABOUT KEVIN. Here parenting is a constant joy, even when things don’t quite work out as you hoped. An economic subplot about saving the factory is far too simplistic, but this is one flick that’s going for your heart instead of your brain. And some of the time it hits the target.

Overall Rating: 3 Out of 5 stars

RUBY SPARKS – The Review

Many men spend their whole lives seeking the perfect woman. In the movies it doesn’t take nearly that long. She can’t be stitched together as with THE BRIDE or using more recent technology as in WEIRD SCIENCE. In the new film RUBY SPARKS, the title character emerges in full flesh and blood after a writer describes her on paper ( well, types her up really ). Sounds a bit like something out of TV’s ” The Twilight Zone”, doesn’t it? As a matter of fact, Keenan Wynn was able to do this via a magic reel to reel dictation machine in the 1960 episode ” A World of His Own..” written by Richard Matheson. But this new film delves much further into this fantasy and grounds it in the reality of modern relationships. And it features two of the most interesting young actors working toward ( they were both producers and she wrote it )! This whimsical little tale is a welcome break from the big, bloated action epics that rule the Summer months.

RUBY SPARKS begins with Calvin ( Paul Dano ) the latest of a long line of cinema’s writer heroes doing battle with the dreaded writers; block ( think a much younger, less twitchy BARTON FINK ). At age 19 he wrote his masterpiece novel and can’t seem to really follow up with anything. A few short stories, a novella, but nothing near that first triumph. His brother Harry ( Chris Messina ) thinks Calvin should get back in the dating scene although he’s still stinging from a break-up with his longest love Lila a few years ago. Calvin spends most days staring at a blank sheet of paper in his 70’s era manual typewriter and taking his cute lil’ pup Scotty out to do his business. At night a lovely red-haired lady named Ruby ( Zoe Kazan ) dominates his dreams. In the longest encounter he meets her while taking Scottie to the park. The next day Calvin tells his therapist Dr. Rosenthal ( Elliott Gould ) about her. The doc suggests that he should try to write a page about her. At home that night Calvin starts churning out pages and pages of prose. The block is broken. A call from his agent awakens him at his desk the next morning. As Calvin’s about to head out to a meeting a voice calls out to him from his kitchen. A lady emerges…it’s Ruby! She acts as though they’ve been sharing the place for quite a while. Is this an illusion? Can others see her? If so, can she be changed by his typing? But why bother, since she just might be the perfect girlfriend.

And that’s not even the half of it, but I don’t wish to spoil the film’s many surprises. As with their previous hit, LITTLE MISS SUNSHINE, Jonathon Dayton and Valerie Faris have a deft light touch directing film comedies and, like MISS, they get excellent performances from this great cast ( including great work with the often used Los Angeles locations ). Steve Coogan is his usual hilarious self as Calvin’s conniving, pompous, literary rival. Gould brings a lot of warmth to his role as the patient, wise advisor. Messina has a great rapport with Dano. They play off each other like a great classic comedy team ( with Harry the crude regular Joe to Calvin’s intellectual ). A highlight of the film ( featured very predominately in commercials ) is a family get together where we meet the boys’ mother ( Annette Bening ) and her new hubby Mort ( Antonio Banderas ). These screen vets are quite the scene stealers. Bening beams as a true ” Earth mother “, who’s thrilled with Ruby while Banderas charms as the passionate silver Spanish fox. But the film is really carried by the young couple at its center. After seeing him in heavy dramas like THERE WILL BE BLOOD, it was a delight to see Dano’s comic talents. With his smart-guy glasses he reminded me a bit of Cary Grant in BRINGING UP BABY, while other times I thought of Jimmy Stewart’s Elwood P. Dowd in HARVEY ( referenced in the film ) and  VERTIGO’s Scotty Ferguson  as Calvin tried to mold Ruby into his ideal. The big discovery here is Kazan.  Not only did she write a very clever, original script, she as Ruby truly sparkles on-screen particularly in her street argument with Calvin and later as she flirts with him at a loud dance club ( thanks for the subtitles ). She’s hysterical as she is later turned into a clingy nymph by the writer and powerful as she stands up for herself after a disastrous writers’ party. The film takes a dark turn in the last act, but this treats us to another facet of Ruby ( and Kazan’s acting range ). The drama seems a bit out of balance with the fantasy elements, but it doesn’t take away anything from the film’s considerable charm. Like Calvin you too may fall hard for RUBY SPARKS. Let’s hope her creator, Ms. Kazan will find another film to showcase her considerable talents very soon.

Overall Rating: 4 Out of 5 Stars