Tadanobu Asano. Foreign action/bio from Russian director Sergei Bodrov.
FILM SYNOPSIS: Recounts the early life of Genghis Khan who was a slave before going on to conquer half the world, including Russia, in 1206.
Based on scholarly accounts and written by Sergei Bodrov and Arif Aliyev, Mongol delves into the dramatic and harrowing early years of the Mongolian ruler. As it follows Temudgin from his perilous childhood to the battle that sealed his destiny, the film paints a multidimensional portrait of the future conqueror. The film shows us the foundation on which so much of his greatness rested: his relationship with his wife, Borte, his lifelong love and most trusted advisor.
PREVIEW REVIEW: For such a long film (126 min.) it leaves out such details as how Temudgin (later dubbed Genghis Kahn) became a warrior with the combined skill of Bruce Lee and Patton. Much of the film he is seen as a captured slave, often with a yoke around his neck. Suddenly we see him in battle behaving like a Marvel superhero. Then there’s the slow pacing, so out of step with the sensibilities of today’s targeted audience, and the slow-mo battle sequences containing blood spraying and bodies twisting ala Sam Peckinpah’s The Wild Bunch. These are turnoffs and setbacks which may cause a quick death at the American box office. A shame, because despite these shortcomings, it’s the best film I’ve seen so far this year. Reason: the visceral and poetic nature of Sergei Bodrov and Arif Aliyev’s storytelling. It’s simply mesmerizing, and fascinating to look at, with its Doctor Zhivago-like cinematography.
The technical and artistic achievements are award-worthy, filmed in the very lands where the world conqueror became legend. Director Sergei Bodrov, who won Oscar and Golden Globe nominations for his acclaimed drama Kavkazsky Plennik/Prisoner of the Mountains in 1996, transports us to an exotic locale and period in world history, filming what reportedly is to be the first in a Genghis Kahn trilogy.
DVD Alternatives: El Cid. Charlton Heston as the legendary hero who drove the Moors from Spain. Great spectacle (without being too gruesome), with a literate script and lovely score. A newly remastered edition features commentaries and featurettes.
Or:
Spartacus. Kirk Douglas stars as a slave who heads a rebellion against the tyranny of Rome. It contains terrific acting, score and theme, and in Spartacus, when you see legions of soldiers on the battlefield – they are real, not computer generated.
Distributor: Picturehouse
William Moseley, Georgie Henley, Anna Popplewell, Skandar Keynes, Ben Barnes as Caspian, and Tilda Swinton as the evil witch. Fantasy/adventure. Written by Andrew Adamson, Christopher Markus, Stephen McFeely. Directed by Andrew Adamson.
FILM SYNOPSIS: One year after the incredible events of The Lion, The Witch and The Wardrobe, the kings and queens of Narnia find themselves back in that faraway wondrous realm, only to discover that more than 1300 years have passed in Narnian time. During their absence, the Golden Age of Narnia has become extinct, and Narnia has been conquered by the Telmarines and is now under the control of the evil King Miraz. Narnia's rightful heir to the throne, the young Prince Caspian, has been forced into hiding as his uncle Miraz plots to kill him in order to place his own newborn son on the throne.
PREVIEW REVIEW: I object when fantasy films such as the Harry Potter series require you to first study the novels in order to comprehend the movie. A film should stand on its own. So, I’m pleased to tell you that although reading the classic series by C. S. Lewis would add to the enjoyment of this cinematic adaptation, it is not required. And where the Harry Potter series is dark, muddled and stale, the Narnia tales are vibrant, clear and fresh. Wardrobe’s follow-up offers witty dialogue and doses of clever humor, swashbuckling derring-do, a magical spellbinding look, and lessons reminding of the spiritual and practical need for a Christ-centered life.
Co-writer/director Andrew Adamson (who helmed the first installment, as well as Shrek and Shrek 2) has constructed a well-told good-vs.-evil parable that is enhanced by computer-generated effects rather than overshadowed by them. The atmosphere and look of the production are reminiscent of the magic good old Walt himself brought to his best screen stories. Indeed, there’s an optimism hovering around every allusion the adolescent leads face.
Though this sequel is more action driven than the first episode, character development has by no means been abandoned. Between the many arm-chair-grabbing battle sequences, the intricate plot and the growth of the main characters will likely serve to open a rewarding dialogue between parent and child. The Christ-like symbolism found in the pivotal character Aslan and the meaning of God’s seeming silence at times in our lives are addressed with transparency.
Now, about those arm-chair-grabbing battles; this aspect of the feature does require a warning. The book tells of warfare, but it’s one thing reading about such tumult, while quite another viewing such combativeness in graphic and lengthy detail. The studio and director worked closely with the MPAA folks to ensure a PG rating, the filmmakers carefully avoiding too much blood, gore and guts. But there is a graphic visceral style that bombards the viewer with one video game-like fight scene after another. While I’m no psychologist, it can’t be argued that moviegoers are ensnared in a cinematic culture today that assaults the human psyche. Though we seem capable of adjusting our nervous systems to the amount of aggression special effects departments can produce, is this metamorphosis an evolution God intended?
This is a four-star production, but I would hesitate to subject children under ten to its seamless magical illusions. It can be difficult for little ones to tell what’s real and what isn’t. For instance, seeing a huge bear nearly attack little Lucy may be too disturbing for little ones. That said, for older children and their parents, this is an action-packed, fun and spiritually rewarding addition to the film series.
Lavish, Inspirational and Fun.
Distributor: Disney/Waldon Media
Harrison Ford, Cate Blanchett, Karen Allen, Ray Winstone, John Hurt, Jim Broadbent, Shia LaBeouf. Written by David Koepp. Directed by Steven Spielberg.
FILM SYNOPSIS: Older and slower, our intrepid hero is now on a quest to find a mythical ornament that may contain mystical powers. Of course, there are always others seeking what Indy seeks. Thus begins another Saturday morning action adventure, with some old faces and some new adding to the excitement.
PREVIEW REVIEW: Recently I screened an Indiana Jones-like film coming out later this summer. I gave it a positive review, all the while knowing it didn’t have the same panache as a Spielberg/Lucas treasure exploring adventure. And the reason is not just that Mr. Spielberg’s company has more money or more know-how. That goes without saying. But there’s an added ingredient – a love of film. Oh, I suspect most filmmakers love their work, but George Lucas (here, producing) and Steven Spielberg have an all-consuming love affair with cinematic storytelling. Here’s how they display that affection. Both look at each aspect of the job and fine-tune it. Then they stand back and ask, “Now, how can we make it even better?” Then they do.
There is one small problem with their most recent action love fest. There’s nothing new in it. Indy (Harrison Ford) is now a sexagenarian, so except for the sequences dominated by Mr. Ford’s body double/stunt man, the action is just the teensiest bit slower. He uses that whip a lot and each derring-do feat seems a replay of those already done time and time again.
I’m grateful that the filmmakers have allowed older actors such as Mr. Ford and Ms. Allen to play central characters in a summer blockbuster. But they don’t do anything or say anything they didn’t 25 years ago. That said, the attending audience didn’t seem to mind that it was a mere retread of exploits past. Nor did they object to the convoluted, somewhat silly premise, or the film’s Titanic-like length. They were nostalgic and delighted with the humor and the magic as if seeing it for the first time.
Best scene: Indy finds himself in the middle of an atomic bomb testing site – with seemingly no place to hide before the blast.
Best death-defying stunt: Indy and his young charge are on a motorcycle, having to defend themselves against a carload of Russian spies. The sequence has Indy pulled off the back of the bike into the car, then escaping by exiting the opposite window back onto the fleeting cycle. It drew applause.
Distributor: Paramount Pictures
Chiwetel Ejiofor, Alice Braga, Max Martini, Tim Allen. Written & directed by David Mamet.
FILM SYNOPSIS: Set in the west-side of the Los Angeles fight world, a world inhabited by bouncers, cage-fighters, cops and special forces-types, Redbelt is the story of Mike Terry (Chiwetel Ejiofor), a Jiu-jitsu teacher who has avoided the prize fighting circuit, choosing instead to pursue an honorable life by operating a self-defense studio with a samurai’s code.
Terry and his wife Sondra (Alice Braga), struggle to keep the business running to make ends meet. An accident on a dark, rainy night at the Academy, between an off duty officer (Max Martini) and a distraught lawyer (Emily Mortimer), puts in to motion a series of events that will change Terry’s life dramatically-introducing him to a world of promoters (Ricky Jay, Joe Mantegna) and movie star Chet Frank (Tim Allen). Faced with these challenges, and in order to pay off his debts and regain his honor, Terry must step into the ring for the first time of his life.
PREVIEW REVIEW: The substantial nature of this martial arts film, a true morality tale, one of the most absorbing I’ve seen in quite some time, is due both to the writing/direction of David Mamet and his formidable cast. Mamet doing a martial arts film? That’s right. He uses the genre to tell a tale of an honorable man surrounded by corrupted people who see little reason for life other than the accruing of money – no matter the destructive nature of their agendas. It may not be a masterpiece, but wisely and interestingly addresses principles that govern the human condition.
Of course, along with his well-structured dialogue, Mamet peppers his story with the f-word, a tradition of this filmmaker. But here, the writer seems to use objectionable language to relay the corruption of those whose pursuit of wealth has indeed become evil. Still, be warned, Mamet never met an obscenity he couldn’t use.
DVD alternative: The Winslow Boy. (1999) Nigel Hawthorne, Rebecca Pidgeon. Writer/director David Mamet (best known for his salty dialogue in most productions) has sensitively adapted Terence Rattigan's play about a barrister defending a youth accused of school theft. Genteel look at a father's determination to see justice done. A superb screenplay by Mr. Mamet, proving a story can be told without bombarding the viewer with profane and offensive material. G (I found nothing objectionable).
Or:
Requiem for a Heavyweight. A solid drama from Rod Serling about a fighter (Anthony Quinn) whose career in the ring is nearing its end as he faces corruption in the sport. Good performances from Jackie Gleason, Mickey Rooney and Julie Harris.
Distributor: Sony Pictures Classics
Tina Fey, Amy Poehler, Greg Kinnear, Dax Shepard, Romany Malco, Maura Tierney, Holland Taylor and Sigourney Weaver. Written and Directed by Michael McCullers.
FILM SYNOPSIS: Successful and single businesswoman Kate Holbrook (Tina Fey) has long put her career ahead of a personal life. Now 37, she’s finally determined to have a kid on her own. But her plan is thrown a curve ball after she discovers she has only a million-to-one chance of getting pregnant. Undaunted, the driven Kate allows South Philly working girl Angie Ostrowiski (Amy Poehler) to become her unlikely surrogate. Simple enough…
After learning from the steely head (Sigourney Weaver) of their surrogacy center that Angie is pregnant, Kate goes into precision nesting mode: reading childcare books, baby-proofing the apartment and researching top pre-schools. But the executive’s well-organized strategy is turned upside down when her Baby Mama shows up at her doorstep with no place to live.
An unstoppable force meets an immovable object as structured Kate tries to turn vibrant Angie into the perfect expectant mom. In a comic battle of wills, they will struggle their way through preparation for the baby’s arrival. And in the middle of this tug-of-war, they’ll discover two kinds of family: the one you’re born to and the one you make.
PREVIEW REVIEW: When attending a screening, the professional film reviewer must remain open, an exponent for the “promise of movies” theory. He must leave all prejudice at the boxoffice. The trailers for upcoming releases are a different matter. That’s when we can go all Addison DeWitt (the cynical critic in All About Eve). And that’s just what I and my colleagues in criticism did when we saw the commercial for Baby Mama. We could see every joke coming and cringed at the bevy of crude visuals, such as Amy Poehler crouched upon the bathroom sink, declaring that the toilet doesn’t work. But I couldn’t take my hastily formed opinion into the screening. Of course, by now, I’d have to be an idiot to think that former members of Saturday Night Live would do a movie comedy sans crude humor.
Tiny Fey is as sharp as a comic writer can come and Amy Poehler astounds with her sketch characterizations. These are two funny women (cynical, coarse and irreverent, but funny). The movie is not. Funny, that is. Cynical, coarse and irreverent, yes, but funny, no. Both Fey and Poehler are overworked, doing everything from credit card commercials to hit TV series to supporting cameos in all their buddies’ movies. They grab every project, knowing their days in the glow of Hollywood’s spotlight are limited. But their choices are not always wise.
Oh, sure, there are some laughs, but the humor never strays far from the bathroom. And when it does, it seems nearly as tired as the expressions on the leads’ faces. But worse yet, Tiny Fey is just not a very good actress. I understand that this time of the year is not yet reserved for Oscar attention. But this one couldn’t even get MTV’s attention.
DVD Alternatives: The Odd Couple. A very funny Neil Simon comedy about two very different men (Jack Lemmon, Walter Matthau) sticking together out of necessity.
or
Enchanted April. A delightful fable about four women in 1920s London escaping inattentive husbands and repressed lifestyles by renting a castle in Portofino. They soon discover the estate has a magical effect on all those who stay there. Witty dialogue, dreamy cinematography, and savory performances from Joan Plowright, Polly Walker and the rest of the cast.
Distributor: Universal