Author: AllieHanley

Hey Catherine, Warner Bros is on the phone. They were wondering if you could gross $195 million for them like you did for Summit with Twilight in 2008?  Here’s the catch, you need to do it with a young beautiful girl, that’s being pursued by two equally hot guys, incorporate a supernatural baddie, throw in a PG 13 sex scene, and have some stupid dialogue.  Interested?

Can I have a vampire? 

No, that’s been done to death, but you can have a werewolf and we’ll even throw in your pal Billy Burke as the protective Dad.

Red Riding Hood stars Amanda Seyfried (Letters to Juliet, Mamma Mia!) who plays Valerie, a beautiful young woman torn between two young men.  One is her childhood friend Peter (Shiloh Fernandez) the lowly woodcutter, and the other, her parent’s choice, who have arranged for her to marry the wealthy blacksmith Henry (Max Irons).

Valerie and Peter decide to run off with each other but just before they leave a cry is taken up in the village, and they learn that Valerie’s older sister has been killed by the werewolf.   Hungry for revenge, the people call on religious zealot and werewolf hunter, Father Solomon (Gary Oldman), to help kill the wolf.  Solomon’s grandiose arrival with big metal elephant contraption in tow brings new knowledge, that the werewolf is actually a human living amongst them, and that any one of them could be it including Valerie’s lover Peter.
 
With an interesting cast that includes already mentioned Amanda Seyfried, and Gary Oldman, there is also Academy Award winner Julie Christie (Harry Potter, Troy) as the mysterious and loving Grandma, Billy Burke (Drive Angry 3D, Twilight Series) as what else – the protective dad, Michael Shanks (Stargate SG1, Smallville) plays the other Dad, the perpetual cranky looking Michael Hogan (Battlestar Gallatica, Smallville) and Academy Award Nominee Virginia Madsen (Sideways, Candyman).  When combined you’d think they would make for a good cast – but how wrong I was in the expectation.

The two wet noodles of the Red Riding Hood – Max Irons & Shiloh Fernandez

I’m usually positive and forgiving in my reviews especially when it comes to science fiction and or fantasy but there’s not much of anything to say positive about Red Riding Hood.  The story seems sort of interesting, in at least it had potential (me trying to be positive). 

Gary Oldman stars as Solomon the werewolf hunter who has a take no prisoners’ attitude.  His acting is a bit over the top with none of the subtlety he exhibited back in the day when he played Count Dracula in Dracula (1992) and only as much horror as a PG13 will allow (so not much).   He’s usually really good in everything he performs in (recent Batman movies) and this time, he is still the best part of this complete disaster (me trying to be positive again).

Seyfried and Oldman wearing the only coats in the perpetually snowing film.

There are a few moments when you could forgive the camera being out of focus, or the dollar store flowers that were strewn over the very fake and always snowing set, yet the cast was dressed for spring.  The only “coat” in the movie is Valerie’s red cape, and Gary Oldman’s purple cape he wears in his opening sequence yet it’s snowing like 90% of the time in the film. 

The suspense and story that leads up to the great reveal of exactly who is the werewolf,  wasn’t all bad, and not entirely predictable but other than that, the entire movie was a hot mess.

The dialogue is stunted and comical and laugh out loud stupid.  The writers went so far as to include, “Grandma,… what big teeth you have… what big ears you have…”  Blahhhh, puke!
They had this dance-scene (yes – a medieval village celebration), I don’t even know what to call it, where   three people were dancing with pig masks on, and a person with a wolf mask ran by and “blows” them down, -utterly beyond stupidity.  They could have made it a musical and that wouldn’t have made it worse.

Still I wanted to like this film as I am a glutton for punishment and give it every opportunity to redeem itself, in someway.

The beginning of their passionate make-out session.

Seyfried has a pseudo sex scene where she is dry humping Fernandez and I thought I was watching really bad soft-porn.  The scene is absolutely ridiculous.  It’s like director Hardwicke said, time to do your big love scene.  This is your star crossed lover that you may never see again.  You have to marry this other guy you don’t love… now act it out.  They basically fall on each other in a barn in front of a fire (ya right) and make-out atop the “soft granary hay.”  Seyfried spreads her legs like she’s taking in an elephant.  Sorry to be so graphic – but I mean it’s really terrible acting and I had to double check that PG13 rating, as they remain fully clothed but were totally going for it!

No, it’s not Bella with a bad dye job – it’s Valerie and Peter.

There are shots of sun light filtering through the trees that look exactly like shots in the first Twilight movie as well as numerous landscape shots.  There are blue colored flowers throughout the film that are exactly the same shade of blue flowers in the Twilight movie’s meadow scene… which may sound asinine listing here, but item after item – this film is a bad rip off of Twilight except that it’s technically not a rip off since many key departments worked on both films so they are just repeating themselves and instead of doing something original they stay unimaginative and safe.

Perhaps Hardwicke had some sort of flash back and thought she was still working on Twilight, that’s how similar the films are visually and technically.  One way that they do differ, is that Twilight had a cool soundtrack, this film not so much.

Even though this film has countless similarities to Twilight – it fails to capture that same magic – and any fan of Twilight that goes to Red Riding Hood hoping for that will be disappointed.  Yet despite my words of warning, I know that many will go anyway just hoping for some semblance to Edward, Bella, and Jacob, but you’ll just be wasting your money and time.  And finally, if you hated Twilight – you will doubly hate this one!

Why did I let my agent talk me into doing this film?

Adjustment Bureau is based on a story by Phillip K. Dick (Minority Report, Blade Runner, Total Recall), that stars Matt Damon as a politician named David Norris.  When David discovers what’s “behind the curtain,” by accident or mysterious intervention, he’s allowed a behind the scenes view of his life plan and learns that Fate has manufactured a future that includes the opportunity to make a real difference in the world, possibly as a future President of the U.S.  The technologically superior organization (The Adjustment Bureau), headed up by an all knowing and fate designing committee Chairman (unseen in the movie) has a plan for each and every one of us.

After a chance meeting with an enigmatic and beautiful dancer, Elise (Emily Blunt), David must choose between what feels like a life filled with love, or the opportunity to follow his dreams of a political life.  The Adjustment Bureau, in charge of all of mankind’s endeavors is determined to rein David in and threaten him with dire consequences if he does not follow their wishes.

Ultimately the film’s essence is about free will, and the importance of love.

Matt Damon’s acting career has included a wide range of varied and colorful characters since his Oscar win in Good Will Hunting 15 years ago which was his eleventh film.  He’s been in 59+ movies (as I counted them on the IMDB website), and that’s a lot of work to his credit.

Damon as David in The Adjustment Bureau is not just another version of Jason Bourne or a version of what we saw in his previous two films in which he played an insecure lawman (True Grit) and worn out psychic (Hereafter).

Damon as an actor never plays “Matt Damon” playing a character.  Rather, he’s always the character played by Matt Damon.  Some actors like George Clooney and Al Pacino always seem to bring the same guy to just about every role and though they are celebrated actors they just don’t demonstrate the range that Damon does.

Over the many years of his career with 1988’s Mystic Pizza being his first, Damon’s done an excellent job in picking and creating roles that allow him to play up to his strengths.  Once again, he’s demonstrated his acting skill in his portrayal of David as he manages it with just the right balance of ambition, charisma, and believable wit that you could actually envision him as the over-achieving young senator. 

Paired with Emily Blunt (The Young Victoria, and The Devil Wears Prada) as his love interest, their chemistry just boils off the screen.  The performance is so natural when you first see them meet in the Men’s bathroom early in the film that it draws you in.  I think that aspect of the film will appeal to both men and women.

While Emily Blunt doesn’t have Damon’s resume she does play up to him very well early in the film.  Whether it’s her skill as an actor, or sharing the screen with Damon, she portrays Elise so charmingly that you almost wonder what would be between them if Damon wasn’t married with 3 daughters.  Both on screen, instill timely and believable character motivation, that draws you in to the story right off.

Blunt as Elise is enigmatic while being approachable.  She’s attractive without force, and talented not only as an actor, but also as a dancer.  She has a wonderful scene performing a modern dance in which Damon’s character watches her intently.

Unfortunately, near the end of the film, her character and her acting both fall flat.  Everything that made it work early on, fades, and another version manifests.  There is a scene where she is required to look amazed and scared, yet still be determined because of her love of David.  She does a poor job with a strange smirk on her face, and her body language doesn’t match what she is saying.  The story and mostly her acting became awkward after what had been a pretty good performance up until that point.  It didn’t ruin the picture, but did contribute to an overall average opinion of her acting, which in turn contributed to a jerkiness of the last third of the film.

As with all of Phillip K. Dick’s work, there is always a deeper meaning to be had and worked through.  This version of his story has been Hollywood-ized for the big screen, and though there are still some moments there for you to contemplate, most people won’t and that’s OK.  This movie isn’t about achieving a high state of conscience or challenging who you are, though the original short story is.  Like most films shot to appeal to the masses, The Adjustment Bureau is just a fun piece of entertainment with a cool story, and decent performances from its stars that I enjoyed.  Die hard Sci-Fi fans will appreciate the effort, but feel like Hollywood missed the mark.

Hall Pass is the latest movie from The Farrelly Brothers (Me, Myself, & Irene, Stuck On You).  Bobby Farrelly and his elder brother by two years, Peter Farrelly are both well known for incorporating ludicrous and nearly obscene story lines into contemporary film.  The infamous zipper scene in There’s Something About Mary with Ben Stiller comes to mind.  They give you a glimpse of something that totally catches you off guard, and it’s sort of gross, but still manages to be laugh out loud funny.

The Brothers continue along the same lines in Hall Pass in which they try to out-do themselves with outrageous glimpses of married life, portrayed in comedic and sometimes disgustingly hilarious ways on the screen.  The Farrelly Brothers have a track record, some 15 films that they have either written, directed, and or produced since the early 1990’s with their break out movie, Dumb and Dumber.

Two everyday family guys, Rick (Owen Wilson) and Fred (Jason Sudeikis) are best friends who have each been married for many years and are described in the movie by Rick’s wife, Maggie (Jenna Fischer) as “two domesticated cats scratching at the door to go out,” after she catches her husband blatantly checking out another woman’s booty on a date night.  Fred’s wife, Grace (Christina Applegate), thinks that their husbands are more like dogs wanting to spread their seed about town.

When the two men begin to show ever increasing signs of restlessness and relationship boredom, their wives take a bold approach to revitalizing their individual marriages: granting them a “hall pass,” as in, one week of freedom to do whatever they want…no questions asked.

Why would the wives agree to such a thing as a hall pass?  Well, that’s what The Farrelly Brothers set out to explore.

Owen Wilson (Wedding Crashers) gets caught checking out another lady’s booty in front of his wife, and in return she fakes being asleep rather than getting-it-on later that night.  The seed is literally not planted and even though they love each other,  you can see the marriage is going through a rough patch.  Hall Pass explores from a comedic stance that while there can be genuine love in a marriage, it can gradually lose it’s way amongst domestication, kids, and responsibilities. 

Joy Bahar, from The View, plays a minor character who lets the wives in on how she makes her marriage work.  She gives her husband a hall pass, and explains how it’s all about reverse psychology. Let them have what they want, and the bored hubby’s will no longer want it.

Christina Applegate (Going The Distance, Anchor Man) and Jason Sudeikis (Going The Distance, What Happens In Vegas) play the other married couple with complimentary marriage issues.  After the ladies take off on their own week of discovery away from home, the guys check in to the local Comfort Suites Hotel, because in the words of Fred, “it just wouldn’t be cool to bring the hot models [that they are going to hook up with] back to their homes…” with family pictures and kids toys strewn about; and besides, “they might become stalkers.” 

Their delusions of grandeur begin out at the local Applebees, along side their buddies who want to live vicariously through them, but is this a place that they will find “hot models” that want to get laid?

Hall Pass has a healthy amount of laugh out loud moments and plenty of wise cracks to share around the water cooler as the guys discover that they got no game.  I consider Hall Pass to be in the same spirit as 2003’s Old School, in which Owen Wilson’s younger brother, Luke Wilson starred, but not quite as funny.

Also playing a key role in the film, Richard Jenkins (Let Me In, Step Brothers), as Coakley, the old guy with game and apparently the skill to divine which ladies are desperate enough to give it up.  His character adds just the right touch of comical desperation and insight into people as to why they do, what they do.  He comes across as likable even though he’s praying upon people’s weaknesses a bit like the character’s from Wedding Crashers and very much like Chaz (Will Farrell) who had come up with the rules in that film.

The Farrelly Brothers are extremely talented in creating stories that hit on important issues that everyone can empathize with while telling it in a funny way, often with memorable scenes illustrating physical comedy.
Hall Pass fills a tall order by basically being what appears on the surface as a guy film, but is also part chic-flick.  Their movie appeals to both sexes, but the cost in doing so, is that they have to spend more time on character motivation and less on the ridiculous which is what they do so well.

On the other hand, that could be a good thing, as it gives us more insight to the wives plight, but less screen time for a large load of gross out, comedy.  It’s a precarious balance that finds its way somewhere along the lines of average with highlights of insanity like the sick, drunk girl and her blow out.  Which was my favorite part of the film (that still gets me to chuckling as I write this).

As a final thought on the characters, all are never portrayed as bad or even permanently flawed.  They are ordinary, loving, average people.  So often, when a man (or woman) goes outside of the marriage in a story they are portrayed as this terrible, cheating dog.  Adding to the mix, the person that comes between them, is portrayed as a conniving home wrecker.  In this film, all of the characters, including the very sexy “home wrecker,” Leigh (Nicky Whelan) are all so like-able.  Rather than create some stereotypical characters, with a bitter and ugly wife (or hubby) The Brothers did a fantastic job keeping all of their creations as good, honest people, doing the best that they are capable of in their marriages.  Taking that route and staying away from stereotypes is just another reason to like the film.

The Farrelly Brothers love them some shock value, and Hall Pass certainly has that.  They prove once again that crude and ludicrous can be funny.  Under 30’s won’t get this film entirely and teenagers would do better to wait for the DVD and a lonely Saturday night to view.  The rest, who are happily married or just pretending, will find some joy in this.

Look for The Farrelly Brothers next project, The Three Stooges, in 2012 set to star Richard Jenkins.

As one pissed off and determined father escapes from prison hellbent to avenge the death of his daughter, seat belt yourself in, as you’re in for one helluva ride, Drive Angry 3D has slammed up to the curb.

The film opens with a surreal view of a bridge and a hellish sky making you wonder; “What is this,” while looking through your 3D glasses?

Its director Patrick Lussier’s (Scream, My Bloody Valentine) newest film shot in 3D (not converted) that stars Nicolas Cage (Kick Ass, Ghostrider) as Milton, the vengeful father with a penchant for American muscle cars and weapons that go BOOM! 

Milton’s daughter has been brutally murdered by a satanic cult leader, Jonah King, played by Billy Burke (Twilight, New Moon, Eclipse), his infant grand daughter kidnapped, and up for most desired baby sacrifice of the year, come the next full moon. 

Jonah King believes it’s his destiny to unleash Hell on Earth as the next messiah and alongside his loyal and trashy-hick followers he’s determined to kill whomever stands in his way.  To accomplish this endeavor apparently you need the right wardrobe for the job, which includes stylish clothes, a pendant necklace, and the femur bone of Milton’s daughter which accessorizes his outfit nicely as his pimp cane that sometimes doubles as beat down stick.

To add to the revenge seeking plot, Milton’s being hunted as well, and this guy isn’t messing around. The Accountant, portrayed by William Fichter (The Dark Knight, Prison Break) as a hellish agent for the big guy whom he describes as a “quiet man, that likes to read, and doesn’t approve of babies being sacrificed in his name,” and we aren’t talking about Jesus.  The Accountant, with a keen nose and a super-natural way with flipping coins don’t let much stand in his way including foul mouthed red necks.

Hell hath no fury like a woman scorned.

When Milton meets Piper, she says to him after agreeing to give him a ride for fixing her 69 Challenger R/T, “I don’t pick up hitch hikers.”  He replies, “I wasn’t holding out my thumb.”

Amber Heard (Zombieland, Pineapple Express) plays Piper, the girl in the wrong place at the wrong time or vice verse depending on how you view cop killing, crotch kicking, foul mouth cussing and general all around seriously pissed off-ness when she catches her fiance in her bed with a naked, well endowed woman! 

I was a little skeptical with the dialogue in the beginning of the film.  I thought it might be some newbie writer… but if so, why would Nic Cage be in it?  Then I figured out that it was purposely set to be corny and filled with one-liners and snappy dialogue which by the way, improve, as the movie goes on.  Actually I think this film might gain some cult status when it comes out on DVD as I wouldn’t mind seeing it again just for that.

Drive Angry 3D is grind-house throwback that features Cage doing what he does best, and that’s becoming unhinged and certifiably bad ass on the screen.  As an actor, he’s had an impressive career in more than 66 films playing every type of character under the sun, including two Oscar Nominations and a win for Best Actor in 1995 for Leaving Las Vegas.  There really is no actor that comes to mind that could do a better job of playing Milton. This role embodies what I love about Cage’s acting antics.

After a long day of escaping prison and beating some ass, Cage settles down  with a cigar, some Jack Daniels, and some one on one time with a lucky lady he met at the honky-tonk,  Bull By The Balls.  While getting to know each other intimately, 10 weapon carrying good ole’ boys break in, and Cage takes them on whilst getting it on.  Not just any actor could pull this kind of story and action off.  I loved every sequence of bullets shooting out, legs a flying across the room, boobs a flapping, and blood splaying against the wall, in this grind house flick.

The movie moves from fight scene to chase scene keeping the screen lit up continuously for 104 minutes – the perfect amount of time for this film to run.  With so much action, gore, cool cars, hot women, snappy dialogue, my cheeks are hurting from smiling so much, geek-joy instilled film, that I can’t wait to see it again when it comes out on DVD.

 Drive Angry 3D is not out there to stimulate a deep thought, or try to instill morality in you.  It’s all about loosing yourself for a bit, alongside a good friend and a big bowl of greasy, buttery popcorn for some mindless entertainment.  Strap in your seat belt, as this car goes 0 to 60 in 4 seconds.

“Number 1 was killed in Malaysia. Number 2 was murdered in England. Number 3 was hunted down in Kenya. Before they come for the others, they’ll come for me. I Am Number 4.”

Based on the first novel of a planned six-part series from an author named Pittacus Lore, I Am Number Four is being hailed as the next Twilight. But we’ll get to that.

John Smith is a high school student who is masking his true identity on Earth as a Loric from another planet. He is forced to move around constantly to avoid another group of nasty aliens called Magadorians that are out to destroy him and the remaining 6 Loriens. He’s got a father-like guardian, who protects him until his powers mature.

D.J. Caruso (Eagle Eye, Disturbia) directed Number Four and it was co-produced by Michael Bay and Steven Spielberg, which speaks volumes of the story’s potential.

What’s sort of interesting, is that the book was published in 2010 by a writer named Pittacus Lore, who is supposedly an alien from another planet. We love that but it gets better.  It’s actually written by James Frey, remember him?  Oprah. Now remember?  He wrote A Million Little Pieces (2003) about his drug addiction and then had to recant the whole thing.  What a mess that was back in 2006 when he had to take a beat down from the Lady O. 

BUT it gets even better. He didn’t even actually write I Am Number Four.  He edited and polished up the final version that was written by a broke and desperate college student named Hughes, whom Frey contracted to create the concept, pen the novel, and who by his own error of not reading the fine print, gets no writer’s credit. However, at least he didn’t get totally screwed, he does earn 30 percent of the profit from the project. Hughes and Frey have a four-book deal. 

And though the young adult novel seems to be a “love it” or “hate it” by critics, Spielberg saw something in it and grabbed up the rights in a bidding war with J.J. Abrams that is rumored to have been over six figures.

“Smallville” alum Alfred Gough and Miles Millar penned the adaption as there are a lot of similarities between I Am Number Four and their version of Superman on their TV show.

Alex Petyfer stars in I Am Number Four as John Smith.  You may know him for his role in Alex Rider: Operation Storm Breaker (2006) and interestingly, he has another film coming out next week called Beastly, which looks like its going to be big in the young adult market as well.  As for his acting in this film, he comes across well. It’s not the kind of role that he will when awards for, but being the role has got drama, action, and romance, I think he pulled it off. His good looks are going to be a hit with all of the teen ladies, especially when his other film hits next week. I predict he’s going to be the next “It” guy for 2011.

Diana Agron of Glee fame stars as the love interest.  She’s nice to look at on the screen but other than that she doesn’t add a whole lot to what I liked about this movie. Agron’s acting isn’t bad or terrible, but because the story lags when her character’s background is being flushed out, the I dumped the High School football star because he was a jerk – story line is not that attractive. Her story line is played out and I wanted to get to the good stuff.  I didn’t need to be reminded of her role on Glee.

I Am Number Four has lots of elements that are going to be loved by teenagers, and carry over to the older crowd and lovers of sci-fi and fantasy stories.  As for the marketability of this film, you’ve got a cute guy for the teen girls, you’ve got a hot guy for us older ladies (Timothy Olyphant), and you’ve got two gorgeous girls, all combined in one entertaining and action packed story that doesn’t take to many short cuts in the character motivation department. 

For this film to go the distance (i.e. all 6 films in the planned series) you better spend some time letting the audience in on why the characters are doing what they are doing.  Unlike so many films of this nature, Number Four does just that. Kudos to the director and screen writers.

In the first act, we get the characters established and see some foreshadowing.  The second act explores what we’ve learned in the first, as well as some of the lovey-dovey stuff that all the teens and Twi-moms will love. 

One complaint I do have, is the second act is a little slow. I was worried that I was going to have to write a bad review. Its hard to balance character depth and motivation with moving the story forward, and though this film isn’t a perfect example of achieving that, it still does a decent enough job.

Now we get to the good stuff.  Suddenly act 3 kicks in.  We’ve got a new character, Number Six (Melissa Palmer, Sorcerer’s Apprentice) who’s gorgeous, has that trendy Australian accent, and apparently, she’s here to kicks ass.  From the moment she appears on the screen, the movie shifts into sixth gear.

The fight scenes are nearly perfect and combined with the special effects gets your heart beating.  The final fight sequence does lag just a bit, but all is forgiven when a certain favorite character reappears!

I previewed this movie in a theater full of sorority girls and their frat brothers, so there was a lot of wise cracks being leveled at the screen early on, but they settled down.  What was surprising was how many of them cheered and clapped at the end, guys included.  If this is any indicator, the film is going to be super successful. Or maybe the students were a little buzzed? 

Nonetheless, the film is really going to have mass appeal, but don’t be surprised if more serious critics pick at it as forgettable science fiction.

No teen-like movie would be complete without an awesome soundtrack.  Four features songs by The Black Keys, Kings of Leon, Jimmy Eat World, Adelle, Zac Brown Band, and Beck but is not yet available for purchase.

Now you may have heard that this film is the new Twilight.  It’s not really, but I can see how some might think so because it will attract some of those fans.  Unlike Twilight, this film will play well with the male audience, where as Twilight gets beaten up by every straight guy out there that I know, and even by few gay fellas.

Where Twilight is corny (and forgiven by Twi-hards who just love experiencing that feeling of first love) this film doesn’t go there. It has some of the first love stuff but not enough to turn off the dudes. Secondly, it has the you-are-the-only-one-for-me stuff that you find in the vampire story too, but that’s where the comparison ends. 

I Am Number Four has some other worthy aspects that I will leave for you to explore when you see this film and are part of why I think this franchise will get the green light for at least one sequel.

There are a lot of young adult books being adapted into films thanks to Harry Potter and Stephanie Meyer’s Twilight Series.  Another worthy title to keep a look out for is the upcoming Hunger Games (three books by Suzanne Collins) that is being developed into films as well.  In comparison to those stories, I Am Number Four is not of that caliber, but just the same, it is super fun, and I found it worthwhile.

Did I mention there’s also a cute dog in it?  Aw shucks.  Who doesn’t love a film with a cute dog?

 James Cameron’s name figures prominently as part of the title for what seems like his latest film, Sanctum.  Pay attention to the small print as he’s actually one of several Executive Producers and shares credit along with 8 others.  It’s not clear just how much of a role he had in the overall finished product, but one thing is for sure, a lot of people want to see the film just because his name is attached.

Cameron’s title as an executive producer may seem a bit ambiguous.   In a broad sense, it means he’s the money behind the movie and obviously, if he didn’t believe in the story or concept he wouldn’t have attached his name or cash. 

The trailer for Sanctum brings to mind movies like Touching the Void, North Face, and 127 Hours.  Unfortunately, this film only resembles those fine films on the surface.

Master diver Frank McGuire (Richard Roxburgh ) is a caver/adventurer hired by financier Carl Hurley, played by Ioan Gruffudd (Fantastic Four films) to explore and map the South Pacific’s Esa-ala Caves.  Amidst stunning visuals that were filmed in the air, above ground, under ground, and in the water (all shot in 3D), a story enfolds based on real life experiences from writer/producer and experienced caver Andrew Wight, about what happens to a group of under ground explorers when their exit is cut off while being deep underground in a labyrinth of dead-end caves.  The search for an exit and how they react under dire circumstances is the driving force behind this adventure story.

The writers would like us to think the main focus of the film is about a relationship between a father and his son, and their fight to survive, but the main character of the film is not actually an actor.  Rather, it’s the scenery and the visuals shot with the same technology developed by Cameron for his blockbuster Avatar and his underwater Titantic-esque Documentaries, Aliens of the Deep and Ghosts of the Abyss. 

So, don’t expect to be wowed by the story as it plays second fiddle to the jungle, the cave entrance, caverns, and under water scenes which all come alive in a stunning, palette of colors and dimension.   As the story unfolds via one accident/catastrophe after another, all of it is easily understood by the exceptional camera work. 

Even when the camera takes us under water, or along a zip line, you can’t help but feel the water spraying, or when heads knock together.  Remember those fun point of view films where you were pulled into the action and you’d catch yourself swaying to the camera motion?  The 3D is realistic and I would think that less sophisticated moviegoers will really like it.  Unlike most recent 3D fare, this one brings it.  Traditionalist filmers won’t be too impressed though, as there is a valid point, that it is possible to see similar work on a National Geographic episode of Life or similar right at home, on your TV.

The wondrous thing about this film is that it transports you to a world that really exists and few have ever seen.  As part of a fast paced, know it all, seen it all culture, I had to take a deep breath, step out of my world, and just appreciate what the film represents.  It’s all too easy to tear into a film and rip it piece from piece, when the story isn’t so strong, but this one has more positives than negatives.

A compelling factor, is that the story takes place in the real world albeit, alien to anything most are familiar with.  The caves and underwater locations are all shot in the real world, and are not some far fetched computer generated, re-enactment that has been drastically enhanced. 

This film evokes a lot of visual authenticity that you don’t get from many action/adventure films nowadays.  It’s important that sanctum not be compared to Avatar, as that was a CGI fantastical story and anyone trying to take what Cameron did in that, and apply it to Sanctum is going to be drastically unsatisfied.  Both films are completely different and not even in the same ball park (nor planet).

Unfortunately, the character development takes a back seat to the stunning scenery and we don’t get much background as to why Frank, the explorer, is willing to put up with the jerky Carl character, or why he even wants to finance this adventure.  Character motivation is sorely lacking throughout, but it wasn’t the end all, be all of the entire project.  The film still has enough weight to be enjoyable.

Unlike so many other films out there pretending to be based on actual events, this story is fantastic while being believable.  The overall problem is that the story seems incomplete and critical movie goers won’t go for that. 

 Everyone else, who just wants to have a good time, will like Sanctum, which by the way means sacred inner place, and usually inside of a church.  There’s some good make-you-jump scenes that get the heart pounding and the audience flaying about.

Character and story incompleteness draws to mind an earlier work by Cameron that suffered the same flaw, The Abyss.   The original version ends suddenly and I remember telling my father (I think I was in high school back then) that they must have run out of money or something, as the story just up and ends with the Alien like creatures rising to the surface. Those familiar with the original film may recall how terrible and what a let down that was.  Later, Cameron re-cut the film and added an additional 15 minutes (or so) enhancing the story and giving up a much better ending.   Again, though, Cameron did not direct Sanctum, but it did remind me of that.

Even with the errors of story, the cinematography is worthy, and though you may be able to see similar scenes at home on the Travel Channel, you certainly won’t get to see it in all it’s glory, up on the big screen or Imax for those lucky enough to have it nearby.

“Do you think God gives a rats ass about us down here?… We are just specks of dust floating by on the wind.”

The story moves along too quick trying to establish that the main adventurer Frank, is a total bad ass, his son in typical teenage fashion is rebellious, the billionaire is just a bit to gung-ho bordering on obnoxious, his girl friend isn’t much better, and all the hired help (porters) are expendable yet somehow also, good friends.  The last may seem a bit hypocritical but so is a lot of the movie with numerous mercy killings.  Yes you read that right, mercy killings and I won’t give anything else away.

A new face, Rhys Wakefield who plays frank’s son, Josh, doesn’t have much of a film resume in the US, but based on his performance here, and Hollywood’s infatuation with Australian accents, we will be seeing more of him.   He’s widely known for a show called Home and Away that takes place in Australia.

If you approach this film with an open mind, avoid comparing it to Avatar, and not look for a deep emotional connection with the characters you will like it.  The cinematography is breath taking but it definitely will not be winning any nominations for story or acting.  I know that many will be ripping this film, and even giving it some less than desirable nicknames, but I say to them, take a chill pill, and just go with it.

The Rite stars Anthony Hopkins as a priest who lives in Italy performing exorcisms for the Roman Catholic Church using unorthodox means.  He is charged with demonstrating his ability to an unsure seminary student (a priest who has not taken vows) and hopes of resolving his lack of faith in the Devil and ultimately, God.  Lending some credibility to the movie, it’s based supposedly on real life situations from a book by similar title, “The Rite: The Making of a Modern Exorcist,” written by Matt Baglio (2009).

Anthony Hopkins (The Wolfman and upcoming Thor) seems like the perfect candidate to bring star power and experience to a genre story like this and who incidentally, I love for his many roles in cinema including , Meet Jooe Black.  Just seeing him in the trailer, made me excited to see this film.  Unfortunately, The Rite is a perfect example of casting an A List Star and former Oscar Winner to star in a movie, and hopefully by his affiliation will somehow make it great.  After all, his resume includes winning the Oscar for his role in the horror film, Silence of the Lambs.  He plays Father Lucas Trevant, and since the film has no depth, and lags in the middle for what seems like hours, it leaves no room for the actor to shine.   He does what he can with the role but due to poor editing choices and a story that strays from what made the book interesting and different, it fails to deliver anything that you would expect from Hopkins.   

The young and uninitiated priest Michael Kovak, played by Colin O’Donoghue (The Tudors) , and newcomer to the big screen,  has lots of time to demonstrate his acting ability, due in fact, that the director Mikael Håfström (1408 and Derailed), gives us plenty of back story detailing Kovak’s lack of faith and what brought him to the priesthood.  But by act two we know all about it, and want to get to the creepy, tension filled scenes that never materialize.  A certain frustration occurs when the story just keeps lagging on and on and becomes so predictable you just want to get up and leave.  When you get so borred with a film that you start noticing the audience you know that your are in trouble.  I was surrounded by people that looked uninterested, and the guy next to me even closed his eyes for extended bouts of time.  I might have even left if I hadn’t been in the middle of an aisle and felt a certain responsibility to Geekscape to give this film a chance to redeem itself in the finale which it never does. 

In the supporting role of biased reporter Angeline, played by Alice Braga (I am Legend and Predators) is well done.  

 It was too bad that the movie wasn’t a better opportunity for her.  Luckily at this stage in her career, the film will be a positive for her, unlike Hopkins, whom we expect more from.

In addition, Rutger Hauer (Blade Runner) plays Kovaks’ father in a small, but key role in establishing where Kovak gets his initial faith from.

Unlike most who will be reviewing this film I have actually read the book.  I picked it up recently and didn’t realize it was going to be a film.   The movie really differs from the original work and rightly so, for the book to work on the screen you would need to make some changes as adapted to a movie by Michael Patroni (and original book writer Baglio) as the story works well in a book but would not captivate as is for a movie audience.

It’s just to bad that the changes they made were the wrong ones.  Some of the examples of possession in the book would have made for great cinema which they neglected to include.  I am not naming them here as some of it would be shocking and best left to those who want to read more.

Incidentally, the book is not presented in a way that in intentionally scary but each facet is presented matter of factly, and those simple facts are what made it scary…. And why the film could have been good.   If you are drawn to the movie The Rite because it says it’s based on fact, I recommend that you skip the film and pick up the book.

As for the film, the ultra slow pacing made for an extremely predictable ending, which when all piled together, lay steaming on the ground, and something you avoid at all costs, even when you love the pet who left it.  Maybe wait for it on DVD, but even then there may be better choices for how you spend your time.

So you think this another Jason Statham blow-em up film?  You saw the trailer, and made up your opinion?  So why you reading this review?

Maybe there’s a part of you that wants it to be more than just another Transporter or Crank film?  Sure you love the crazy chase scenes, the explosions, the impossible stunts that defy belief, but wouldn’t it be so much more satisfying if the story was good too? 

What if I told you, it was?

Jason Statham stars as Arthur Bishop, a specialized hitman known as a Mechanic with an expertise for getting the job done.  Sound familiar?  I know… but there’s more.

This film actually has some gravitas and can be described as a character  / action film, something we haven’t seen from Statham except as part of an ensemble cast like Snatch.  Donald Sutherland (The Pillars of the Earth, Invasion of the Body Snatchers) lends his acting skill as the handler, Harry, behind The Mechanic.  Harry coordinates the files that outline who’s to be taken out, and if it’s to look like an accident or send a message.  His role isn’t very big, but plays a strong part in other character motivations which accentuates the film and furthers a stronger story-line.

The actual wet work, of course, is all Bishop, ala Jason Statham, kicking ass.   He’s more than a hired thug.  He exudes business like attitude that’s all strategy and no emotion when it comes to taking out his target.  He’s the go to man when you need a certain finesse or expertise.  When the powers that be, represented by Dean (Tony Goldwyn) need his corrupt mentor Harry taken out, he’s at first unwilling but reluctantly takes the job.  The film is about the consequences of his choice and the fall-out that ensues.

Now here’s when the film achieves more than just another Statham shoot up, action film like you’ve seen from him many times.  It actually has characters that are interesting and posses’ valid motivations albeit morally terrible but it’s a fantasy, so what do you expect.

In comes Ben Foster (30 Days of Night, X-Men; The Last Stand) a main part of why the film works, who plays the   bad news son, Steve McKenna,  who has led an empty life with no real accomplishment.  Director Simon West (Lara Croft Tomb Raider, Con Air, and the recent pilot on tv The Cape) takes his movie in an unusual direction, by having his lead actor and star, Statham take a back seat during act 2 to allow more character development  from Harper as Steve, and in doing so creates a desirable balance of action, story, and character. 

Because we get to see a lot of McKenna and what he’s capable of, you can’t help but wonder how he’s going to interact with the more methodological and unfeeling Bishop.  McKenna is determined to be a hitman one way or another and when he attempts his first target we get to see how he compares, which plays out as one of the most visceral fight scenes I’ve witnessed in a film the last few years.  People in the theater were reacting like it was really happening by swaying and jerking as if they were part of the action.  One character falls off a building and when he hits the ground people all around jumped in the audience making it even more cool and another reason to see it in the theater.

Worth mentioning is that you rarely see a lead actor who is willing to give up so much screen time to a supporting (and less popular) actor.  Wisely Statham by doing so, helped to achieve a much stronger film and deserves credit where you wouldn’t see this normally occur in a big budget, action film.

Bishop feels a certain reluctant responsibility in mentoring Steve (whom he left fatherless).  Ok, again, you think you’ve seen this story, and maybe you did back in the early 70’s starring Charles Bronson but because Harper is so good as the protégé, he makes this movie worthwhile.  It’s a stand out performance that takes this film to a higher level.  Yes, there are lots of action sequences and amazing camera shots that have become a Statham trademark, but Foster takes it to another level.

Tony Goldwyn (Ghost, Sixth Day) plays Dean, the company man and go between that represents paying clients and hitman like Bishop.  We’ve seen him in bit roles for many years but as Dean, he has one of the best lines I’ve heard in awhile… “ I am going to put a price so high on your head, that when you look in the mirror, you are going to want to shoot yourself.”  I’m sure critics who don’t like the movie will have fun using that, but I’m a fan and had a great time seeing this film in a theater and look forward to my friends seeing it this weekend.

Yes, we see Statham kicks some serious ass in this movie (I’ve said that a few times), which is about par for him but The Mechanic is definitely his best one to date.  It’s not that he suddenly becomes a better actor or performs cooler stunts, only that the story is stronger and his supporting cast, especially Harper, round out a better quality of film than we usually see from him.  If you’re already a fan, you will surely enjoy this film.   It’s not going to make a Criterion list, but who cares, it’s fun.

 No Strings Attached stars Natalie Portman and Ashton Kutcher as friends with benefits and the dynamic that happens between a couple who have unmatched romantic expectations.  In a role reversal from what you might be expecting, Ivan Reitman (Ghostbusters, Stripes) directs a story in which the guy wants more, and the girl is only interested in what a man can provide between the sheets.

Romantic Comedies are a dime a dozen in Hollywood and they are usually thrown together with borrowed cash and some masking tape. They usually end with unresolved dynamics between characters that don’t make much sense.  Most leave you with a hollow feeling and the fact that you just wasted 10 bucks and 90 minutes of your life.

Every now and then though, a movie classified as a Romantic Comedy comes along that’s not a piece of Hollywood crud.  Remember When Harry Met Sally or Sleepless in Seattle?  Both films reflected the age they were made in and captured our hearts and minds with well balanced, earnest characters that made sense on the screen and in our hearts.

When I see a movie described as a rom-com, I first cringe and then imagine an A-list star, a dumb and/or confusing plot line, and of course the “happy ending” that makes no sense except to someone with no common sense.  Hollywood thinks we’re dumb and keeps cramming junk down our throats.

Ivan Retiman’s new film, No Strings Attached, is more than just what you’ve come to expect from a modern, romantic comedy;  It has the perfect splash of drama, but I wouldn’t call it a “dramedy.”  Dramedy brings to mind something serious, with a few funny scenes.  Instead, this film is so uniquely blended between the two (it’s a romantic comedy with elements of a drama), that it creates a definite sense of empathy with the characters that doesn’t feel empty, without merit or overly light.  I attribute this to Reitman’s very impressive body of work that began in the late 1960’s as a producer/director.  His expertise in crafting a worthwhile visual story, combined with thoughtful casting, contemporary acting, and cohesive editing all combine to create a worthy film.

 The story is a direct reflection of the world we live in today.  People are busy focusing on careers and the work it takes to create a meaningful sexual relationship often takes a back seat.   The film explores what it’s like to be in an unequal, emotional relationship, complete with  the fun and excitement in the beginning, and the emotional turmoil that evolves from mixed expectations in the end. Part of what makes this movie so endearing is that it captures the delicate essence of romantic happiness, unresolved love, and the angst involved in losing it, all in a very contemporary form.

Natalie Portman, just off a big win for The Black Swan at the Golden Globes, plays a student doctor named Emma, working as much as 80 hours a week.  She doesn’t have time for love and all the gushy, spooning stuff.  She’s asks Kutcher’s character Adam, “Do you want to do this?  Have sex, no strings attached….  This is going to be fun.”

She see’s Kutcher’ character as nothing more than a cute booty call.  Like any stereo typical guy, Adam, is more than willing.  What gives it a nice twist is that he wants more than just the sex.  We’ve seen this before from time to time in other story lines, but not so well or as believably portrayed.  Be it a mix of chemistry between the two, skill, experience, and/or just good writing, the two come together effortlessly on the screen.  Think Tom Hanks and Meg Ryan in You’ve Got Mail but geared for twenty-somethings and up.

There’s no denying that Kutcher and Portman have chemistry.  In an interview with Reitman on Cinemablend.com, he shares his thoughts on casting the two of them.   When he brought them together, and watched them interact, he saw “them startle a little bit.  You saw how lovely that was.   It allowed for the suspension of disbelief that all good movies need to have, especially romantic comedies…”  Too many rom-coms depend upon the big name, A-lister, to carry the story.  This film may have top billing actors, but the story is what captivates.

Part of Kutcher’s appeal is that he’s so in love with Portman that he’s willing to play by her rules in the hopes that if he does, and also hangs in there long enough, she will come around and love him equally.  One pitfall that Reitman and screenwriter Elizabeth Meriwether managed to navigate around with his character is in avoiding him coming across as a puppy dog.  He never seems unattractive or weak, and plays off his feelings for her from a healthy position (because face it, no one likes a door mat).

Kevin Kline (Dave, Fish Called Wanda) plays a Hollywood writer, who’s over the hill, but in impossibly good shape and chasing the young ladies.   He even dates his son’s ex in the film in an attempt to recapture his youth.  Rather than being a parody of an old man with a young woman, he comes off as knowledgeable, and fully aware of his choices.  You can’t hate the guy for wanting his youth.  This character could have been such a dunce or creep but it’s conveyed articulately and well intentioned (even when he makes such an obvious bad choice).  Also, look for the homage to A Fish Called Wanda and Kline’s dog in the film.

If there was one romantic comedy in the last five years as good as this one, I can’t recall.  Most of them only act as fodder for the soul and a way to kill some time.  But these are slot machines that never payout.  Most people just sit there and keep feeding the machine, until they run out of money and good sense.  No Strings Attached is like hitting a jackpot, and walking away with your winnings.

The Green Hornet stars Seth Rogen as perpetual party-boy Britt Reid, the son of powerful and respected newspaper publisher James Reid (Tom Wilkinson).  When the elder Reid is found dead, his irresponsible son begrudgingly steps up to fill his shoes, and soon fails miserably.  In a fit of self indulgence, he discovers his father’s talented mechanic and Barista extraordinaire, Kato, who shares common feelings of unresolved anger with his father.  After bonding over a deliciously prepared espresso, a bright idea forms that they should team up and become super heroes (or at least get into some trouble together). 

With a banging sound track including The White Stripes, Coolio, The Rolling Stones and the film’s own Jay Chau plus some never before seen special effects described as “Kato 3D”, The Green Hornet peals out of the garage, paving the way for a more hip super hero.  Think less dark and flawed, and more lost and self indulgent.

Rather than follow the success of recent super hero story lines, the writers (Seth Rogen and Evan Goldman) and director, Michel Gondry (Be Kind Rewind) chose to take Britt and Kato in a comedic direction while exploring the relationship of hero and sidekick.

 The result is a mix of camp and action that portrays Britt as a thoughtless playboy whose unmatched skills in partying play par to Kato’s kick ass moves.  The relationship works well as both take part in each others strengths and weaknesses in overall storyline and acting.  Some could compare it to Batman and Robin, with George Clooney and Chris O’Donell, except that where that film failed horribly, The Green Hornet succeeds in giving the film just enough depth and charm.

The film includes many notable Rogen one-liners and action-comedy scenes with Rogen bringing his charisma from past roles to his Britt Reid rendition.  Alas, after 108 minutes, he still comes across as the character we’ve seen him play in other movies like Pineapple Express and Super Bad. Rogen missed an opportunity to show us something new.   Instead, we just see more of the guy from Knocked Up – but with lots of money and a friend that moves like Bruce Lee. Thankfully the film wasn’t being carried entirely on his acting (or writing (which isn’t bad although the second act does drag a bit)). And in retrospect, seeing the character from Knocked Up falling into superheroic situations is a pretty cool narrative experiment and it’s fun to watch play out.

Christoph Waltz (Inglourious Basterds) plays Chudnofsky, the campy bad guy with low self esteem hellbent on controlling the LA underworld, who sees himself in need of an image makeover to be a more convincing bad guy. Waltz’s performance is the strongest part of the film.  He creates different personas, outlandish weapons and stylish duds to compete with perceived rival, The Green Hornet.  His character is over the top, but not so much that you become inundated with unnecessary props or dialogue.  His character is the smartest and most entertaining of the film and helps carry the movie when it lags a little or over steps the “limits” of impossibility.

Originally when the film was in casting, the villain role was offered to Nic Cage, who insisted he wanted to play it with a Jamaican accent.  This brings to mind images of Nic Cage wearing a purple cape dressed as Superman from a Tim Burton project that was never thankfully green lit.   I don’t exactly know why they went with Waltz (not any substantiated gossip to share), but after seeing his performance, it’s hard to imagine anyone else, let alone Cage portraying “The Chud.” 

Cameron Diaz plays the love interest, Lenore Case, who is hired to help as a temp secretary but unknowingly helps Rogen and Chau figure out how to plan their new super hero lives.   Predictably Britt has the hots for her, but she’s not interested. Instead, she’s possibly digging Kato and a rivalry soon ensues, creating tension between the two. A fight scene between the two breaks out, bringing the hilariously destructive fight scene in Pineapple Express to mind. 

 Diaz’s performance is over-shadowed, or should I say wrinkled, by her mismatched appearance during her scenes in the film.  She appears to be aged and almost haggard in her first few scenes, and mysteriously, by her fourth one, every wrinkle on her face (there was a shocking amount) disappears.  She goes from 45 to 32 in a matter of three minutes. I found myself looking for her missing wrinkles more than focusing on her performance… which is shallow, I know. I hate to say it, but they needed a younger person (and probably an unknown) to play the role. I chalk this up to another missed opportunity to incorporate a stronger, more appropriate actor. 

The Kato character played by Jay Chau was originally performed by Bruce Lee in the TV show from the late 1960s. Chau cites that one of his motivations to play Kato came from seeing Bruce Lee on the TV show. Like all versions of The Green Hornet, Kato does most of the fighting.  He also creates super hip gadgets that are as important to the film as any character. He makes a beautiful cup of coffee from his customized coffee maker, and has a talent for creating weapons.He builds the ultimate super hero car, nick-named Black Beauty, with all sorts of technological savvy apparatuses that include ejector seats, guns, rockets, and even a fax.

Please note that I viewed this film in 2D but it will be offered in 3D. I had an opportunity to see scenes from it in 3D last year at the San Diego Comic Con, and was sorry to miss out. With so many films incorporating worthless 3D, I imagine that this film will play well in 3D and will be worth the few extra bucks (for once).

I anticipate that most fans will walk away with a smile on their face, and plenty of one-liners to share with their friends. I found it humorous and enjoyed the action scenes as well as the many gadgets Kato dreamed up that never really fell into deus ex machina territory. They were characters in and of themselves. Maybe I’m getting old, as the music was seriously LOUD; but that may be a good thing. Green Hornet is a fun, fresh popcorn pulp movie best enjoyed while cranked to 11.

When I heard a remake was in the works for “True Grit” I was skeptical.  Was this to be another example of Hollywood cashing in on something that’s already been done… yet again?  Especially when there are so many available, mainstream, stories out there.  Why would anyone want to attempt a remake of a western already made famous by iconic John Wayne?  The whole idea didn’t sound appealing or promising. 

That was, until I heard the name “Coen Brothers” attached.  I instantly became intrigued.

The new version of “True Grit,” starring Jeff Bridges as Rooster Cogburn, isn’t a remake of the 1969 theatrical version, nor the 1978 continuation television movie, as I at first thought.  It’s actually based on the original novel, “True Grit”  written in 1969 by Charles Portis.

Set in Arkansas, assertive 14 year old, Matti (Hailee Steinfeld), has more than justice on her mind when she hires US Marshall, “Rooster” Cogburn, whom she believes displays, “True Grit,”  to hunt down her father’s killer.  Larger than life Texas Ranger, LeBeouf (Matt Damon), joins the hunt for the same outlaw, Tom Chaney (Josh Brolin).  From title roles, to bit parts, every character depicts a seamless casting choice including Barry Pepper as Lucky Ned Pepper and Leon Russom (Prison Break) as a sheriff.

It’s no secret that Ethan and Joel Coen, are master story tellers with movies like Fargo, O Brother, Where Art Thou?, No Country For Old Men, Burn After Reading, and A Serious Man.  Even with their impressive resume, I still didn’t see the appeal of a Western coming from them.  Even so, I headed into the movie with my trusted popcorn and an open mind to see what The Coen Brothers could do for the Western Genre.

Jeff Bridges depiction of Rooster is part old coot, part morally ambiguous US Marshall, is well played and never over-acted.
He shares the screen along side Matt Damon and Hailee Steinfeld so artfully.  Casting him was a perfect move and his acting skill is more evident here than previous works like “Crazy Heart” in which he won the Oscar.   I’d like to say he just gets better, but I just saw him in “Tron” but that’s another review.  Incidentally, his first role was in 1951, in which he played… an infant.

Matt Damon sits well in his saddle as self-loving Texas Ranger LeBeouf, balancing almost annoying, with charm.  It took only a moment for me to drop the Jason Bourne persona that I associate with him.  This film really solidifies his versatility.  I’m looking forward to “The Adjustment Bureau,”  coming out in early March.

Newcomer Hailee Steinfeld, as Mattie, has already been nominated by The Screen Actors Guild for Best Supporting Actress.  I can hardly believe that she has few acting credits to her name as she was as good in her role as Bridges.  She hasn’t really done much considering her acting ability.  I am amazed that her resume includes 3, one-time roles, on 3 different tv shows, including a 30 minute kiddie-comedy entitled, “Summer Camp.”  She may follow in Tatum O’Neil’s footsteps and grab an Oscar. But first, we will have to wait until January 25th for the official 83rd Academy Award Nominees to be announced.  My fingers are crossed for you Hailee, but after that performance, you don’t need luck, because you got talent.

Of the last three big name/big budget, Westerns that have come out in recent years, “3:10 to Yuma,” and “Appaloosa,” this one is my favorite for all the right reasons.  Regardless of your love or lack of, for Westerns, this movie satisfies on all levels. 

Opening this weekend was Walden Media and 20th Century Fox’s, “The Chronicles of Narnia: Voyage of the Dawn Treader,” the third movie in the CS Lewis series of seven.  Say that title three times and make a wish as Walden and Fox are betting big on this film and hope it holds up over the holidays even with a lackluster opening weekend.

After Disney dropped the series, citing any future installment would be a bad investment, Walden/Fox picked up the rights and revamped the story by incorporating characters from “The Lion, The Witch and the Wardrobe,” that were not prominent in the original Dawn Treader/CS Lewis story.
 
“The Voyage of the Dawn Treader,” is fast paced and action filled, which keeps you enthralled enough that you may forget to chomp down on that $10 popcorn. Of the three movies, I found that this one is the strongest to date.

Lucy and Peter return, along with newcomer and quite annoying cousin “Eustace,” brilliantly played by Will Poulter, who is known for “Son of Rambo”.  Poulter was nominated by the British Independent Film Awards as Most Promising Newcomer and plays Eustace so well that I actually found myself getting irritated with him, as if he was a real boy and not a character in a movie.

“Treader” has some fantastic action sequences, opening with Lucy, Peter, and Eustace becoming swallowed by a painting that transports them to Narnia. Though the effects are nothing that I haven’t seen before they are well done and help transport you to the fantasy world of Narnia where ghost-like mermaids swim along side of the Dawn Treader, and Minotaurs muscle the ship through dead waves.  The action sequences are well paced and keep you entertained throughout, but because the movies runs on them there’s a lull in meaningful dialogue which blocks you from having any meaningful connection with the characters.
 
The character of Lucy, played by Georgie Henley, feels inadequate in her looks and wishes for beauty.  I would have liked to see this subject explored in more depth, as it could have given her character a stronger edge.  While all of the characters have viable motivations, the movie still runs on action and the balance between the two, though uneven, makes sense and didn’t leave me totally unfulfilled.

Actual proof that the actors adapted the book to the screen themselves…

 
Cameos from returning Tilda Swinton as “The White Witch” and Liam Neeson as “Aslan”, both key characters from the first two films, package this third installment with A-list talent and maintain that parallel between God and Satan / White Witch and Aslan that Lewis wrote throughout his novels and generated big revenue for Disney in “The Lion, The Witch, and The Wardrobe”.  Christians will be happy to see that the movie follows in the religious overtones that were minimized by Disney’s “Prince Caspian” and incidentally may have resulted in fewer revenue dollars.   As for me, I’d appreciate the less obvious religious overtones, especially at the end, when Aslan explains to Lucy, that “he will always be with her”, even when she is back on our side of the universe.  That line would have been enough for me, but “Aslan” goes on to say that “Lucy knows him in our world”, just as another name.
 
Ding Ding. Yes, I got the picture. Now let me get back to the fantasy and not your religious agenda; aka, let’s make money from the Christian movie-goer. 
 
While CS Lewis fans will forgive some story changes, as they work well and help to create continuity in a franchise that may go the distance, I was glad to see that Ben Barnes, the original Prince Caspian continued his role in this film.  
 
I enjoyed the previous two movies, and find this one filled with more of what works: action and stunning visuals.  Skip the 3D as it was converted after production and not worth the extra $3.
 
I rate this movie a medium popcorn.  You’ll probably have some left over at the end and that’s a good thing.