Tag: Amblin

THE LAST VOYAGE OF THE DEMETER – Review

Time to put away the toys, the comics, and even the big WWII history book at the old multiplex for this week’s new (but a tad old) release. I say “old” since it springs from a literary classic, one that has inspired so many cinematic adaptations (actually it has left its “mark” on all manner of media). I seem to recall its main character as a possible game show trivia answer as to which fictitious creation has been played by the greatest number of actors (he’s close behind Sherlock Holmes, I believe). So, what’s the “hook” with this? It’s not just a “straight” retelling. No, the filmmakers have taken one chapter of the original novel and have expanded it into a feature film since it’s often just a minute or two in most versions. And so now we’ll get the full “scoop” of how that “king of the vampires”, Dracula. insured that this was THE LAST VOYAGE OF THE DEMETER.


This terror tale takes us back almost to the beginning of the last century, 1897. as we follow a speeding caravan through a twisty mountain pass on their way to a nearby seaport. That’s where the good ship Demeter is preparing to depart. Captain Eliot (Liam Cunningham) is there with his eight-year-old grandson Toby (Woody Norman) to assign the First Mate Wojchek (David Dastmalchian) the task of acquiring more crew members for the journey to London. Several old salts line up for the chance, but none are more eager than Cambridge grad, Dr. Clemens (Corey Hawkins). Wojchek rejects him (“those smooth hands…he’s not been working on the seas”). Then the wagons arrive via that caravan with massive wooden crates that “spook” some recruits. That and a near accident with Toby. prompts Eliot to hire Clemens. The young lad bonds with the doc as they meet the truly “motley” crew, who have dreams of a big bonus if they arrive in England earlier than agreed upon. Ah, but don’t spend that money yet. As the sun sets, strange things occur. The livestock perish, not from rabies but from something that has ripped them apart. When Clements explores the nearby cargo hold, he finds that the crates are filled mostly with dirt. But that’s not as surprising as the discovery of a near-comatose young woman, Ann (Ainsling Franciosi). Clemons attempts to cleanse her diseased blood through several transfusions. But will this weaken him and his shipmates as they discover that the animals were merely appetizers for the night creature that walks the deck under the moonlight? Can they possibly destroy him before his evil overtakes all of London?

For a vampire flick to truly soar (on bat-wings,’ natch) it requires a formidable force for the light, and here, rather than the ship’s captain, it’s the charismatic Hawkins as Clemens. From his first scenes, gambling near the dock, he projects a fierce, steely intelligence as the doctor fighting ignorance on all fronts. But he also has a real charm and warmth, whether bonding with young Toby (almost like a little brother) to his concern for the tragic Anna. Once she’s regaining her strength, Franciosi proves to be a great ally to Clemens as she pushes past her fears and channels her anger over being her village’s “sacrifice offering” to a monster. Cunningham exudes the proper gravitas as Captain Eliot while giving us a glimpse of his desire to be done with sea life. His weary eyes only brighten when he views his beloved offspring. But his other “ship son” is the surly Dastmalchian as the tough, cagey, and ever-alert Wojchek. Perhaps the most colorful of the crew is the entertaining Jon Jon Briones as the ship’s cook whose zealotry and fanaticism are almost as much a danger as the shadowy predator played with sneering animal savagery by Javier Botet.

As I mentioned earlier, screenwriters Bragi F. Schut and Zak Olkewicz have expanded on the “Captian’s Log” chapter of Bram Stoker’s novel. And they “flesh it out” with great imagination, making their crew more than just a transport for the book’s title character. They also do well with tough tasks as they create suspense even though we’re aware of the outcome, much like prequels in an ongoing movie franchise. Along the way they make the usual vampire story tropes fresh, especially in the sequences involving exposure to the sun. Best of all may be their take on the count himself. He has no need to be “wrapped in human skin”, no seducing or deceiving as he appears as a hellish “bat demon” (with perhaps a hint of the classic NOSFERATU vibe), who blends into the shadows before striking like the speed of a cobra. And be warned, no one is safe from his insatiable thirst. Kudos must also go to the costumers and art directors for transporting us back to the turn of that century and making us feel as though we’re on that grimy “working boat”. Director Andre Overdal gives the story a real sense of urgency in the opening port scenes while creating a heavy tone of impending doom. The mood on deck combines the beauty of the pounding waves with eerie foreboding, especially in the cargo hold as the crates become objects of menace. Unfortunately, after we’ve seen several “meals”, the pace slackens and the film’s focus softens (perhaps tighter editing would help). Still, the final showdown is impressive, though the epilogue seems out of sync with the rest of Stoker’s epic. But fans of the horror classics will enjoy this expansion, though the flood of gore isn’t washed away by the sea foam splashed up by THE LAST VOYAGE OF THE DEMETER.

3 out of 4

THE LAST VOYAGE OF THE DEMETER is now playing in theatres everywhere

THE GOOD HOUSE – Review

With the temps falling and the leaves slowly changing, lots of folks may be thinking of taking a trip to New England. Perhaps you could “hunker down” in a quaint old house by the water. Hey, if you’ve got the moola, maybe you could just buy the place, and make it your getaway, or permanent “digs”. Oh but most of us would have to do this vicariously, maybe at the movies. But who would you contact about such a fantasy home, say in a rustic lil’ village? And that is answered in this week’s star-powered release. Surely such a spot would be free of worries, “no hassles, no hustles”, right? Not really, as this film’s focus finds out. It seems you’re never safe from those “inner demons”, not even at THE GOOD HOUSE.


That person living in such a primo place is the town’s number one realtor Hildy Good (Sigourney Weaver). Well, former number one, since that title is held by her former assistant Wendy (Kathryn Erbe), who “poached ” the top clients when she went out on her own. This was just after Hildy “went away” for a time, a year ago after an intervention. Hildy was ambushed by her two daughters, Emily and Tess, along with her ex-husband Scott (David Rasche), and trusted aide Wendy. This prompted a stay in a rehab facility and a promise that she’ll attend “meetings” (she bailed after the first couple). Sure the real estate market is tough, but luckily she can call on her childhood crush, surly, grizzled, laid-back Frankie Getchell (Kevin Kline) to send out one of his work crews, or even himself, to make a house more “homey”. Also taking the edge off the “job” is the box of vino that Hildy keeps hidden in her house’s “work shed” (just a glass or two…or three with her two doggies). Of course, she’s slipping into her “old ways”, so when work frustrations are paired with her knowledge of an affair between her new best pal, bored rich housewife and drinking buddy (she’s unaware) Rebecca (Morena Baccarin) and upstairs from her office shrink Peter (Rob Delaney), Hidly runs to the arms of Frankie, after more of “the grape”. Is there any way this rekindled romance can sober up (in more ways than one) Hildy and free her from her family’s cycle of self-medication?

This story of remorse and regret is an engaging showcase for Weaver’s powerful performance. Her steely intelligence shines through, and the decision to have her “break the fourth wall” and talk directly to us through the camera lens lets us relish her superb comic timing. It’s also a better way to “get inside her head” as she engages in near-constant “bargaining” (“I’ll only have a glass or two when I’m home, at night, with the pups”) and her denials, tempered with a “Yankee stubbornness”. She can “handle it” and keeps all the “plates spinning”…until she lets them fall and crash, one after another. In their third screen outing, Weaver has a “chemistry shorthand” with the always charming Kline, whose Frank tries to project an aura of casual coolness, a free-spirited rambler. However, he can’t mask concern about his spiraling former fling. Baccarin excels as the small-town bombshell “trophy wife” whose dazzling smile can’t hide her loneliness. Delaney (so good in “Catastrophe”) is the passive-aggressive intellectual desperate to conceal his wrecked marriage. Plus there are a couple of brief turns by two acting vets. Paul Guilfoyle (“CSI”) is Hildy’s irritating reminder of her family’s deception as he tells her that they miss her at the “meetings”. And Beverly D’Angelo oozes star power as the local beauty queen who’s always around for the part, and to be the lil’ devil on Hildy’s shoulder.

A directing “tag team tackled this film with Maya Forbes and Wally Wolodarsky sharing the reigns and also joining Thomas Bezucha in adapting the novel by Ann Leary. They expertly set up the “picture perfect” town of Wendover, MA (though shot in gorgeous Nova Scotia), then slowly peels back its layers to reveal the sadness and scandals. It’s not PEYTON PLACE, but it’s not what Hildy is trying to sell to the rich “city folk”. They wisely limit her “talks to us” so as to not overdue the whimsy and get precious or cloying. It’s a slow, steady, simmering pot of drama with dashes of comedy and romance before it almost boils over into suspense and tragedy in the final act. Sure, we’ve seen those battling the booze many times before, but Weaver puts a fresh spin on Hildy’s struggles, making us root for her even as the vino flips a switch and she’s in full belligerent b*#l-buster mode. She’s the reason to “close the deal” on THE GOOD HOUSE.


3 Out of 4

THE GOOD HOUSE is now playing in theatres everywhere

THE ADVENTURES OF TINTIN – The Review

Motion capture animation and 3D appear to be the rising stars of cinema technology, both of which have the equal shares of supporters and opponents. One thing is for sure, both relatively new technologies are still within their infancy, but there are occasionally examples of the inspiring potential of this trend toward high-tech storytelling. The most current being THE ADVENTURES OF TINTIN, a collaborative effort of gargantuan proportion.

While many audiences may not be aware of the film’s origin, or too young to know better, THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN — which happens to be the film’s official, unofficial full title — is adapted from a comic book series from the ’30s of the same name by the Belgian artist Herge, which also became an animated television series which ran 1991-1992. Sadly, I must report I have no personal knowledge or experience with either, so you will not find me referencing the source material in this review, but, by all means… seek them out as I plan to do.

With all the history behind TINTIN, it’s no wonder the film has such an all-star team of imaginative storytellers working behind the scenes to bring the adventures to a whole new audience. Directed by Steven Spielberg, who also co-produced the film alongside Peter Jackson (LORD OF THE RINGS), THE ADVENTURES OF TINTIN was written by Steven Moffat, a very talented writer behind the popular BBC series SHERLOCK and DOCTOR WHO, with assistance from Edgar Wright (SHAUN OF THE DEAD) and Joe Cornish (ATTACK THE BLOCK). That’s a lot of creative star power, and we haven’t even introduced the cast yet.

THE ADVENTURES F TINTIN follows a clever, young report named Tintin – no, the dog is not names Tintin, that’s an entirely separate franchise – played by Jamie Bell (JUMPER). Tintin has an unquenchable curiosity, so when he happens upon a magnificent model ship, he manages to haggle a good deal. Immediately following, he finds himself the center of an immense mystery regarding that model ship, for which various unsavory and dark figures are seeking for them selves. This is where Tintin’s adventure begins, leading him to the drunken Captain Haddock, played by Andy Serkis (RISE OF THE PLANET OF THE APES), a man with a family history crucial to the mystery of the model ship. Tintin also encounters Ivanovich Sakharine, played by Daniel Craig (CASINO ROYALE), a deviously cunning and dangerous foe seeking the secret of the model ship.

One thing you will certainly not experience during the film is sleep. THE ADVENTURES OF TINTIN is non-stop action and endlessly fun. Tintin is sort of a combination of the Hardy Boys and Indiana Jones wrapped up into a small, scrappy package, always getting into a pickle but always managing to find a way out of trouble. He and his trusty Scottish terrier – I may be off slightly on the breed — are an effective investigative team, as they work with Captain Haddock and his rum-induced amnesia to recover the secret of the model ship before Sakharine figures it out himself.

THE ADVENTURES OF TINTIN takes the audience halfway around the globe to Morocco, where the greatest excitement of the story takes place. Tintin runs into a number of interesting characters along the way, including the bumbling Thompson twin detectives, played unrecognizably by Simon Pegg and Nick Frost (SHAUN OF THE DEAD, HOT FUZZ). Cary Elwes (THE PRINCESS BRIDE, SAW) also makes a welcome vocal cameo as the Pilot. The most awe-inspiring scene in the film occurs in Morocco, one last massive chase sequence that resembles a deadly life-sized Rube Goldberg contraption that spans an entire ancient city. This sequence is bound to have you leaning forward, even partially lifted from your seat, as Tintin repeatedly navigates through the perils of the Moroccan streets and Sakharine’s henchmen.

I’ve never had a personal grudge against motion capture, which seems a logical marriage between live acting and animation, as we move forward into new cinematic frontiers of technology. With that said, THE ADVENTURES OF TINTIN does a splendid job of capturing the energy and excitement of the story using motion capture, but I am also pleased to say that the film gets the 3D right as well, integrating the often intrusive and annoying technology into the entire film, still utilizing the gimmick value of the tool, but without getting in the way. The use of 3D enhances the story without causing hurdles for the film to stumble over, which is rare indeed.

John Williams has been a busy man in 2011, having scored WAR HORSE as well as THE ADVENTURES OF TINTIN, but the difference between the two scores is the music’s presence. In WAR HORSE, Williams’ music n unconventional backseat, but in TINTIN his work stands front and center, making itself known with all its glory and becomes, as is usually the case, a character in and of itself.

THE ADVENTURES OF TINTIN is likely to be the most fun you’ve had in an animated family flick all year, perfectly kid friendly with plenty of visual stimulus to keep the rug rats entertained, while still creative and intelligent enough to keep adults thrilled and engaged. Personally, this is the first animated film in some time I have left the theater with an immediate desire to watch a second time.

Overall Rating: 4 out of 5 stars