Burke and Hare


Burke and Hare

Andy Serkis and Simon Pegg find out it’s tuna casserole for lunch again.

(2010) Horror Comedy (IFC) Simon Pegg, Andy Serkis, Isla Fisher, Tom Wilkinson, Tim Curry, Christopher Lee, Ronnie Corbett, Hugh Bonneville, Jenny Agutter, Bill Bailey, Jessica Hynes, Stuart McQuarrie, Michael Smiley, David Hayman. Directed by John Landis

 

New York Times critic Neil Genzlinger characterized this movie, loosely based on real life murders committed in Edinburgh in the 19th century, as an American director using English actors to portray Irish immigrants committing murders in Scotland (I’m paraphrasing here) which, as Genzlinger opines, leads to a bit of schizophrenia of tone.

William Burke (Pegg) and his associate William Hare (Serkis) are having a spectacular run of bad luck. Times are hard in 19th century Edinburgh; while the best medical universities in the world are here, most of the city is stuck in squalor as the citizens of Edinburgh try to meet ends meet, most with the same lack of success that Burke and Hare are experiencing.

At the same time there is a rivalry going on in the medical schools. Doctors Robert Knox (Wilkinson) and Alexander Monro (Curry) have been going at it tooth and nail as they use cadavers to teach students the wonders of the human body. However, cadavers aren’t easy to come by and Knox is paying top dollar for fresh corpses and thus Burke and Hare discover a wonderful business opportunity for themselves.

At first they pretty much stick to grave robbing but the problem is that people aren’t dying fast enough to keep Knox properly supplied, so Burke and Hare, being entrepreneurial sorts, decide to help them out a bit. Soon the money is rolling in and Hare’s wife Lucky (Hynes), a sensible sort, helps her husband and his partner out with the business. Burke, in the meantime, has become smitten by actress – or prostitute, which Hare points out isn’t much of a distinction at the time – Ginny Hawkins (Fisher) who yearns to put on an all woman version of Macbeth and Burke is determined to finance the show in order to win the heart of his new beloved.

Still, murdering people for their cadavers is sort of frowned upon and the law is soon on their tails. You can imagine what happened next – or you can look it up in Wikipedia. The movie is kind of close to what actually occurred in the end.

This is the product of Ealing Studios which produced some of the most well-known comedies in the history of British films between 1947 and 1957 (including Kind Hearts and Coronets and The Lavender Hill Mob). This isn’t, strictly speaking, a comedy although it is funny in places (although the movie relies on slapstick a good deal for its humor which is fairly lowbrow for Ealing). It isn’t, strictly speaking, a horror film either although there are some grisly images. Hammer Films has nothing to worry about in other words.

Landis who in his prime directed some classic films like An American Werewolf in London, The Blues Brothers and National Lampoon’s Animal House hasn’t directed a feature since 1998. This isn’t by any means going to be remembered as one of his better efforts but it actually isn’t one of his worst either.

Casting Pegg and Serkis (although at one time Ewan McGregor and Colin Farrell were rumored to have been cast in their roles) is a good reason why. The two are perfect for the parts. Their byplay is natural and unforced. It’s what you might expect from a couple of men who have been friends and partners for years; they’re almost like an old married couple in places.

It helps that each of them has a romantic foil that keeps up with them. Fisher, a beautiful woman who has some pretty impressive acting chops, takes a quirky role and makes it believable. Too often these kinds of parts are written to be eccentric for their own sake and I think that to a certain extent that’s the case here (just ask yourself – does having Burke fall for an actress with Ginny’s aspirations add anything to the story that wouldn’t have been there if she was “normal”?) and only Fisher’s performance keeps it from being irritating. Hynes, whose work I hadn’t been familiar with, also does some impressive work here.

There are some mystifying changes to the historical facts which I understand often has to be done for dramatic purposes. However, Burke and Hare were notorious for smothering their victims, which was their preferred modus operandi. I don’t understand why that was glossed over other than to create slapstick opportunities having to do with the murders themselves. Ah well.

I do like the tone of the movie which isn’t overly serious despite its somewhat grisly subject matter. This isn’t a movie people are going to be rushing right out to rent but by the same token it isn’t one that should be ignored either. I would have liked a little more consistency and a few more laughs. However, this is worth a look if you’re out to check something you haven’t seen before.

WHY RENT THIS: Pegg and Serkis are fun to watch. Fisher is gorgeous and there’s a certain sly wink about the film.

WHY RENT SOMETHING ELSE: Lacks consistency. Plays fast and loose with the real story of the murders, some of which seems unnecessary.

FAMILY VALUES: There are plenty of disturbing images as you might imagine. There’s also a little bit of sex and a smattering of foul language.

TRIVIAL PURSUIT: Actors David Schofield, John Woodvine and Agutter all appeared in An American Werewolf in London which was directed by Landis back in 1981.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $4.4M on an unreported production budget; sounds like it made a tidy profit.

COMPARISON SHOPPING: I Sell the Dead

FINAL RATING: 6/10

NEXT: Out of Africa

Lord of the Rings: The Return of the King


 

Lord of the Rings: The Return of the King

An olliphant never forgets.

(2003) Fantasy (New Line) Elijah Wood, Sean Astin, Andy Serkis, Ian McKellen, Viggo Mortensen, Orlando Bloom, John Rhys-Davies, David Wenham, Karl Urban, Dominic Monaghan, Billy Boyd, Liv Tyler, Miranda Otto, Bernard Hill, John Noble, Sean Bean, Christopher Lee,Thomas Robins, Hugo Weaving, Paul Norrell, Lawrence Makoare. Directed by Peter Jackson

 

After a long wait at long last the conclusion of Peter Jackson’s version of the epic J.R.R. Tolkein-penned trilogy The Lord of the Rings came upon us, and it was everything we hoped it would be – although had it come out 10 years later it would have been split into two movies in order to maximize profits although in this case I wouldn’t have minded so much.

The movie opens with a flashback, as we see how Smeagol (Serkis) took possession of the ring (or vice versa), murdering his friend Deagol (Robins) for it. Smeagol slinks into the wilderness, gradually losing his soul and becoming the creature known as Gollum.

Frodo (Wood) and Sam (Astin) are being led for a secret way into Mordor by Gollum unaware that the wicked creature intends to lead them into a trap. The lembas bread which has sustained them is running low, and Sam is rationing it. They need to climb a nearly vertical rock face in order to enter the tunnels that will take them into Mordor. However, Gollum displays his treachery, using the ring’s hold on Frodo and some strategically placed lembas crumbs to drive a wedge between Frodo and Sam, which leads to Frodo telling the weeping Sam to go home.

Meanwhile, the other heroes of the fellowship have no time to rest on their laurels after the events which crowned The Two Towers. Gandalf (McKellen), Aragorn (Mortensen), Legolas (Bloom) and Gimli (John Rhys-Davies) ride for Isengard to take on Saruman (Lee), only to find out that the Ents have done it for them. They discover the hobbits Merry (Monaghan) and Pippin (Boyd), happily smoking their beloved South Farthing pipeweed and munching away on the spoils of Isengard’s larder.

Once again, the group separates, with Gandalf and Pippin going to the city of Minas Tirith to assist Gondor in the battle to come. Aragorn, Legolas, Merry and Gimli return to Rohan to await word from Gandalf and also convince King Theoden (Hill) to aid Gondor in their time of need, although he is loathe to do so since Gondor provided him with no assistance when his people needed it. When Gandalf and Pippin arrive at Gondor, Gandalf warns Pippin not to tell Denethor (Noble), the Steward of Gondor, of the death of his son Boromir (Bean) which Pippin witnessed.

However it turns out that Denethor already knows and the news has unhinged him. Pippin offers up his services to placate the half-mad ruler. Denethor refuses Gandalf’s plea to light the signal fires to call on aid from Rohan, but Pippin lights the fire anyway, and Theoden determines to go to Gondor’s aid. Eowyn (Otto) pleads to go with her uncle, but he refuses, asking her to stay behind to lead Rohan if he doesn’t return (he doesn’t expect to, knowing the numbers of warriors he brings will be inadequate). She disguises herself as a man and goes anyway, as does Merry, whom she pledges to look after.

Boromir’s brother Faramir (David Wenham) can do no right in the eyes of his father, which is further complicated when Osgiliath, the fort he is charged to defend, is overrun by a numerically superior force of Orcs. Denethor orders Faramir and his company back to retake the fortress, even though Faramir knows that neither he nor his men will survive the attempt. That proves to be the case, as Faramir’s body is returned to Minas Tirith and Denethor completely loses it, extolling his men to abandon their posts and flee for their lives as an enormous army of orcs and mercenaries riding elephantine war beasts reach the gates of the city and begin to knock on the gates. To Pippin’s further horror, Denethor becomes determined to cremate Faramir’s body, even though as Pippin discovers, Faramir is still alive.

In the mountains of Mordor, Gollum springs his trap on Frodo leading the defenseless hobbit into the lair of a giant spider named Shelob, who attacks Frodo and at last, poisons him with her venom, wrapping the hapless hobbit in web for eventual dining. Fortunately Sam arrives in the nick of time to fight off Shelob, but can’t stop a small band of Orcs from taking Frodo’s inert but still-living body. Sam manages yet another dramatic rescue and the two emerge from the mountains, only to find that there are at least 10,000 Orcs encamped between them and Mount Doom.

As the force from Rohan encamps in the mountains, Elrond (Weaving) appears, bearing the re-forged sword of the King that had once defeated Sauron and gives it to Aragorn, urging him to take up the role he had been born to play: King of Gondor, heir to Isildur and the great kings of legend. Knowing that his love Arwen (Tyler), daughter of Elrond, is dying as Sauron grows stronger, having refused to leave Middle Earth with the rest of elvenkind, Aragorn reluctantly accepts the mantle he has avoided all his life. He, Gimli and Legolas go into the mountain to persuade an army of the dead to assist them. This army, led by the King of the Undead (Norrell), once broke oaths to the King of Gondor and were cursed for it. They will respond only to the King of Gondor, and when Aragorn reveals his sword, he has the allies he seeks.

Not a minute too soon, either. Minas Tirith is in the process of falling, despite the heroics of Gandalf. The mercenaries, orcs and nazghul are in danger of overrunning the city when Theoden and the Rohirrim arrive. They are able to hold off the hordes, but at great cost. Aragorn’s arrival with the army of the dead, however, saves the city. Once this is done, Aragorn releases the dead to their final rest.

All is not over, however. Aragorn knows that Frodo cannot hope to succeed with all the Orcs still encamped in Mordor. The forces of the Fellowship must make a desperate attempt to give Frodo and Sam the time they need to make it to Mount Doom and destroy the Ring in the fires that it was forged in. But Frodo may not want to destroy the Ring after all and Gollum is still lurking about with a part to play in the final dénouement.

As with the first two movies, The Lord of the Rings: The Return of the King is absolutely breathtaking visually. The city of Minas Tirith is like a wedding cake in concrete, beautiful and imposing. On the flip side, the computer-generated Shelob is terrifyingly realistic; you could almost imagine her crawling around the dark places in your home town. A lot of sensitive people are going to have some nasty nightmares as a result of her.

The battle scenes are impressive in their scope. Thousands of computer-generated warriors move in tandem with the real actors and extras that were employed in the battles of Pelennor Field and of the Black Gate. Even the most jaded of moviegoers will be amazed and enthralled by what Peter Jackson has brought to life onscreen.

Mortensen gives a performance for the ages; his charisma and rugged good looks would earn him further starring roles, although I daresay he’ll probably always be remembered as Aragorn. Still, in many ways this movie is Sam’s story more than anyone else’s. He shows growth as a character, becoming the equal of any of the heroes who have garnered more press. It is Sam who provides the movie’s emotional payoff.

Elijah Wood’s Frodo is a curious case. Although ostensibly the focus of the movie, Wood is curiously detached. It’s very hard at times to fathom who Frodo is, although, to be fair, Frodo is undergoing drastic changes at the hands of the Ring. It’s hard to imagine being less interested in Frodo than you are in Merry or Pippin, but that is the case here. Wood does a pretty good job, but that’s not good enough to stand out in a cast that performs so magnificently.

Orlando Bloom also showed the makings of a big star, although Legolas is not really at the fore much in the trilogy; when Legolas is given the spotlight, however, Bloom shines. Andy Serkis provides Smeagol and Gollum both with humanity; although treacherous and conniving, you wind up feeling the pity for the character as both Frodo and Bilbo had, which is crucial for the story. The supporting cast of Wenham, Otto, Urban, McKellen, Monaghan and Boyd in particular all added luster to their résumés here.

Roger Ebert criticized Return of the King and the trilogy overall as having a “silly story,” which is one of the few times I have disagreed with him quite this vehemently. The story of the trilogy is the story of man’s own ability to grow and change. Written at the dawn of the atomic era, it ascribed hope that we could overcome the desire to use an awesome weapon, and conquer the forces of darkness and despair. Not silly at all, I find it a powerful story that has as much meaning in my everyday life as do some of the smaller films Ebert prefers.

The Lord of the Rings trilogy has an honored place in cinematic history for groundbreaking visuals, and passionate vision. Return of the King is the best of these movies, not only because it should be, as the payoff of the trilogy, but because it also is so well-made and the performances well-given. Once you get past the eye candy, all you are left with is the performances and in that, you will not find a better ensemble than this one. It is to date the only movie nominated for more than ten Oscars (eleven to be exact) to win every award it was nominated for, and deservedly so. It is one of three films to win eleven Oscars, the most in the history of the award. I don’t know how much more honored a film can get.

I viewed the conclusion of this beloved trilogy with a mixture of awe, wonder, sadness and satisfaction. I am sorry the trilogy is now complete, but look forward to the works of Peter Jackson, Viggo Mortensen and the rest of the cast. There is an emotional epilogue in which some of the main characters of the trilogy take their leaves – not only from the tale, but from those of us who have followed the story from day one. It is a most satisfying ending.

WHY RENT THIS: An amazing piece of film-making; it earned every Oscar it got and more. It will stand as one of the first true classics of the 21st century.

WHY RENT SOMETHING ELSE: You find this a “silly story.” Roger Ebert, shame on you!

FAMILY MATTERS: The battle sequences are pretty grisly in places but I cannot emphasize enough just how frightening Shelob is as a creature. If you have a fear of spiders or are particularly sensitive to monsters, be warned that Shelob is as scary a creature that has ever been put to film.

TRIVIAL PURSUITS: Peter Jackson has an irrational fear of spiders and modeled Shelob on two of the species he fears the most.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $1.1B on a $94M production budget; the movie made ten times what it cost, easily a blockbuster.

COMPARISON SHOPPING: Gone With the Wind

FINAL RATING: 10/10

NEXT: Iron Man

Lord of the Rings: The Two Towers


 

Lord of the Rings: The Two Towers

Gandalf sure knows how to make an enterence.

(2002) Fantasy (New Line) Elijah Wood, Sean Astin, Viggo Mortensen, Ian McKellen, Andy Serkis, Dominic Monaghan, Billy Boyd, Orlando Bloom, John Rhys-Davies, Karl Urban, Christopher Lee, Bernard Hill, Brad Dourif, Miranda Otto, David Wenham, Liv Tyler, Hugo Weaving, Craig Parker. Directed by Peter Jackson

 

The second installment of the Lord of the Rings trilogy picks up where the first left off, with the Fellowship broken and the quest very much in peril. Frodo (Wood) and Sam (Astin) have struck out on their own, knowing that the evil of the Ring would eventually corrupt all of them. They are heading for Mordor, but quickly become lost. Apparently nobody thought to call the Triple A.

They are ambushed by the creature that has been stalking them all along, Gollum (Serkis). They manage to subdue him, but Frodo feels pity for the creature, who offers his services as a guide. Although Sam has misgivings, they allow the creature to lead them to the Black Gate of Mordor, which turns out to be heavily guarded. It’s obvious they won’t be able to get to Mount Doom that way. Gollum offers to lead them to a secret way into Mordor, one even the Orcs don’t know.

Merry (Monaghan) and Pippin (Boyd) have been taken captive by the nasty Uruk-hai, who mistakenly believe that these two are the Ring Bearers. The Uruk-hai turn out to be testier than anybody thought, with a faction all for killing and eating the two hobbits, which was expressly forbidden by their creator, Saruman (Christopher Lee). A fight breaks out and things look bad for the hobbits.

Meanwhile, Aragorn (Mortensen), Legolas (Bloom) and Gimli (Rhys-Davies) have pursued the Uruk-hai who kidnapped the Hobbits relentlessly for days. They run into the Rohirrim, who are led by the valorous Eomer (Karl Urban) who tells them that they have in fact massacred the entire band of Uruk-hai. The trio reach the site of the battle, only to discover through Aragorn’s tracking skills that the two hobbits escaped into the forest. They follow the tracks into the reputedly-haunted Fangorn Forest where they are met by a wizard in white — Gandalf (McKellen).

Merry and Pippin had indeed escaped into the Fangorn Forest in the confusion of the fight. There, they meet Treebeard (voiced by Rhys-Davies), an Ent – a walking, talking, sentient creature that looks like a tree. Treebeard rescues the two hobbits from a stray Uruk-hai, then takes the two of them deeper into the forest.

As for the astonishing appearance of Gandalf, there was something of an explanation; having fallen into shadow in the mines of Moria, Gandalf has somehow been reborn and made more powerful. Now clad in white, Gandalf is a formidable wizard indeed. He somehow knows that the kingdom of Rohan is in dire peril, both from within and without. Gandalf leaves Merry and Pippin with Treebeard, and rides the king of horses, Shadowfax, with Aragorn, Legolas and Gimli to reach Rohan.

Theoden (Bernard Hill), king of Rohan, is ill. Weak and feeble, most of the governance of his kingdom has fallen to an advisor, Grima Wormtongue (Brad Dourif). His niece Eowyn (Miranda Otto), sister to Eomer, is powerless to help and moreover is the object of the sleazy affections of Grima. Theoden has become so bewitched that even when his son dies while out on patrol, he is unable to react.

Eomer is banished from the realm by Grima, who sees Eomer as a threat. Eomer takes loyal warriors into the wilderness to protect Rohan as best he can, but things look dark for the kingdom of the horseclans. The arrival of Gandalf changes all this. The white wizard breaks the spell and restores the king to full vigor. Grima is sent packing with a boot to the behind and a warning for Saruman.

Frodo, Sam and Gollum make their way back for Gollum’s hidden entry into Mordor when they stumble onto a battle of Mordor-allied mercenaries and soldiers from Gondor, who capture the three of them. Their leader, Captain Faramir (David Wenham) is brother to the slain Boromir, and wants details of his brother’s death. Frodo, suspicious of everyone, is loathe to tell Faramir much. A battle occurs in which they are attacked by nazghul on terrible dragon-like creatures. Eventually, Farmair is convinced to let Frodo, Sam and Gollum continue on their way.

Theoden thinks that Rohan cannot stand against the army Saruman is sending against them. He orders his city evacuated and the people are taken to Helm’s Deep, a fortress that has never been breached in thousands of years. Gandalf leaves to gather allies to defend Rohan. As the Rohirrim begin the journey to Helm’s Deep, it becomes obvious that Eowyn is developing deep feelings for Aragorn, who continues to harbor a great love for Arwen (Tyler). The elves are almost gone from Middle Earth, leaving for the Grey Havens to travel by ship to the far shores. Elrond (Weaving) urges Arwen to go as well, but she is torn between her love for her father and her love for Aragorn. At last, knowing that should she stay she would only see her love age, wither and die before her eyes, she agrees to leave.

The Rohirrim meet up with an orc patrol, traveling on bestial wargs, and a battle ensues. Gimli and Legolas begin a friendly competition to see who kills more of the enemy, and their friendship begins to deepen. However, disaster strikes when Aragorn is swept over a precipice and into a swift-flowing river. Saddened, the Rohirrim complete their journey to Helm’s Deep without him.

Like Gandalf before him, Aragorn survives and manages to limp back to the fortress. As the fortress prepares for siege, elves under Haldir (Parker) arrive from Rivendell to assist, and the defenders of Helm’s Deep need every one of them, for the army that faces them is vast and merciless. Despite the heroism of its defenders, the walls of Helm’s Deep are breached and it looks like there will be a massacre the likes of which Middle Earth has never known.

Gollum leads Sam and Frodo on the way back to Mordor, but his mind, already twisted and demented by the influence of the Ring, has become further warped at the perceived betrayal by Frodo that led to his capture. He means to do away with both of the hobbits, but knows he cannot do it himself. However, there is a way…

The Lord of the Rings: The Two Towers, The second part of the trilogy is visually magnificent, as was the first. Of particular note is the character Gollum, who was build of Andy Serkis’ physical performance and some brilliant computer imaging on top of that. Gollum is as real and lifelike as any one of the flesh-and-blood actors (in fact, Gollum has more expression and range than Keanu Reeves, but that’s another story), but the nasty wargs and the magnificent Ents (partially real, partially computer-generated) are nearly as good.

Viggo Mortensen shows flashes of major stardom here. His charisma carries much of The Two Towers. Sean Astin also gives a riveting performance; his speech that is meant to inspire Frodo when his friend despairs of surviving the journey is one of the best you will ever see. It’s a memorable moment, and one you should have handy the next time you are depressed.

The problem with The Two Towers is that it feels like there really isn’t a beginning, middle and end; it’s all middle. Of course, that’s a function of the fact that it is the middle chapter in an epic story, but seen on its own it’s not quite as satisfying as The Fellowship of the Ring. It is also much darker in tone. Still, the performances are excellent from top to bottom; in addition to those previously mentioned, Legolas is a swashbuckling hero as portrayed by Orlando Bloom, and John Rhys-Davies brings gruff humor to the part of Gimli. Ian McKellen brings great presence to Gandalf, and Wood does a nice job bringing the torment of Frodo to the fore.

Howard Shore’s score was one of the critical attributes to the success of the first film of the trilogy for me; he continues his impressive work, but none of the various vocalists who contribute to the soundtrack (including Liz Frasier, formerly of the Cocteau Twins) really add up to Enya’s impressive work on the first soundtrack.

Despite its minor flaws, “The Two Towers” is still a classic. The battle scene of Helm’s Deep is beautifully done, and overwhelming in scope. The siege of Isengard by the Ents is an astonishing visual, and although I was a bit disappointed by the Congress of Trees, it is still a feast for the eyes throughout. This is not a disappointing work; quite the contrary. It leaves the viewer champing at the bit for the trilogy’s conclusion. More importantly, it is a tremendous movie in its own right, regardless of what came before or what is to come. The Two Towers, quite frankly, shouldn’t be overlooked as a movie.

WHY RENT IT: The themes of the trilogy become much more developed here. Mortensen and Astin shine. Great visuals.

WHY RENT SOMETHING ELSE: Lacks beginning and end; those unfamiliar with the first movie will most likely be lost.

FAMILY MATTERS: The Battle of Helms Deep has plenty of battle savagery. There are some pretty frightening images and the very young or those who are sensitive should be warned.

TRIVIAL PURSUITS: As the Orcs have black blood, it was thought the inside of their mouths should also be black. All extras who played Orcs had to swill a licorice-based mouthwash in their mouths before filming in order to achieve the effect.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $926.1M on a $94M production budget; the film was another massive blockbuster.

COMPARISON SHOPPING: Eragon

FINAL RATING: 9.5/10

NEXT: The Beaver

Lord of the Rings: The Fellowship of the Ring


 

The Lord of the Rings; Fellowship of the Ring

Now there’s an idea for the Kentucky Derby – arm the jockeys with swords.

(2001) Fantasy (New Line) Elijah Wood, Sean Astin, Ian McKellen, Viggo Mortensen, Dominic Monaghan, Billy Boyd, Sean Bean, John Rhys-Davies, Orlando Bloom, Cate Blanchett, Liv Tyler, Hugo Weaving, Christopher Lee, Ian Holm, Marton Csokas, Andy Serkis, Sarah McLeod, Peter McKenzie, Harry Sinclair, Sala Baker. Directed by Peter Jackson

 

There was much concern when it was announced that the classic Lord of the Rings trilogy was going to be made into movies that it be done right. Anything less than a classic movie would be heartbreaking to the millions of readers who love Tolkein’s work, let alone the smaller but very vocal crowd of the Middle Earth-obsessed.

Middle Earth is threatened by a grave power. A prologue shows us how, thousands of years prior to this story, a wizard king named Sauron (Baker) crafted a ring to dominate all the races of the land – human, elf and dwarf – and give Sauron ultimate power over Middle Earth. The bravery of Isildur (Sinclair), a human king, defeats Sauron’s plans; Isildur’s greed, however, causes the ring to escape destruction and allow Sauron to eventually return. The ring ultimately falls into the hands of an adventuresome hobbit named Bilbo Baggins (Holm) who brings it home to Bag End, in the village of Hobbiton, where it remained dormant.

Now, it is many years later and Bilbo is readying for a massive party to celebrate his 111th birthday. His old friend Gandalf the Grey (McKellen), a powerful wizard, arrives to celebrate with a wagon chock full of wonderful fireworks, and is greeted by Bilbo’s nephew, the bookish Frodo (Wood). Bilbo is worn out, although he looks much younger than his years would indicate. He wants to see the Misty Mountain again, and dwell among the elves in peace so he might finish the book he is writing of his adventures, “There and Back Again.”

At the party, Frodo’s friends Merry (Monaghan) and Pippin (Boyd), get into mischief involving Gandalf’s fireworks, setting the tone for their roles in the tale. Bilbo makes a sudden and startling departure at the party’s conclusion, using the ring to become invisible. The wizard immediately realizes that there is much more to Bilbo’s ring than even he had realized. He confronts Bilbo and convinces his old friend to leave the ring to Frodo. Gandalf warns Frodo, “Keep it secret; keep it safe,” then rides off to find out the truth of this ring.

When Gandalf returns to Bag End it to urge Frodo to flee. Nine ghastly riders, the nazghul, have been dispatched to retrieve the ring, which by Gandalf has determined to be THE ring. Frodo’s friend, gardener Sam Gamgee (Astin) overhears some of the discussion and is confronted by Gandalf, who asks what he heard. “N-nothing important. That is, I heard a good deal about a ring, and a dark lord, and something about the end of the world, but please, Mr. Gandalf, sir, don’t hurt me. Don’t turn me into anything… unnatural.”

Sam is sent to accompany Frodo. The hobbits run into Merry and Pippin, who are pilfering vegetables from a farmer. The reunion, however, is brief; the hobbits are nearly discovered by one of the terrifying and mysterious riders nazghul.

In the human town of Bree, they meet the ranger Aragorn (Mortensen), who saves them from a disturbing attack from the nazghul, and sets out to lead them for the elven settlement of Rivendell. However, the nazghul catch up to them at Weathertop, an ancient fortress, where Frodo is stabbed with a poisoned blade. Aragorn drives off their foes and steps up the pace to go to Rivendell, desperate to save Frodo. They are met along the way by Arwen (Tyler), an elven princess and daughter of Elrond, who puts Frodo on her horse and rides a thrilling race against the murderous nazghul. Gandalf, in the meantime, has been imprisoned by Saruman (Lee), head of his order, whom he had gone to consult. Saruman, believing that Mordor cannot be defeated this time, has decided to ally himself with Sauron. Gandalf finally manages to escape, using a giant eagle to fly from Isengard, the wizard’s tower which is Saruman’s base, but not before learning that Saruman is breeding an army of Uruk’hai, a crossbreed of orc and goblin that have none of the weaknesses of either race and many of the strengths.

Elrond calls a council to determine the fate of the ring, and after some deliberation, decides to send a small party to Mordor, to Mount Doom itself, to destroy the ring. This despite the objections of Boromir (Bean), son of the Steward of Gondor, the ruler of that land in the stead of a king who is lost – a king who turns out to be Aragorn, who doesn’t want the job.

There is much arguing and distrust among the races as to who will bear the ring, but finally Frodo speaks up and declares that he will carry the ring to Mordor, though he doesn’t know the way. Gandalf pledges to assist him, as does Aragorn and Boromir, as well as an elven prince named Legolas (Bloom) and a warrior dwarf named Gimli (Rhys-Davies). Sam, Merry and Pippin also proclaim that they are going wherever Frodo goes. Thus is formed the Fellowship of the Ring (cue dramatic orchestral music).

On the eve of their departing, Arwen presents Aragorn with a token of her love; Aragorn begs her not to give it to him, knowing she would give up her immortality for his love, but she gives it to him nonetheless. The fellowship then departs for Mordor.

The way is hard. In a snowy mountain pass, Saruman attacks them magically, forcing them to go the one way Gandalf didn’t want to travel; underground, through the mines of Moria, where Gimli’s cousin rules.

After surviving the attack of a hideous kraken at the gates of the mines, the Fellowship travels into Moria, and it becomes obvious that the entire colony of dwarves has been massacred. They are attacked just then by orcs, goblins and a massive cave troll and when it appears they will be surrounded, something frightens the thousands of orcs and goblins off; it turns out to be a balrog, a fire demon from the depths of the earth. Gandalf fights off the balrog, but then is yanked off a precipice, and is lost to the Fellowship.

Disheartened, the survivors of the fellowship make their way into Lothlorien, stronghold of the high elves, where they are greeted by King Celeborn (Csokas) and the ethereal Queen Galadriel (Blanchett), who allow the weary travelers rest. After receiving gifts of elven cloaks, waybread and other items, the Fellowship resumes its journey, now by river.

At camp they are ambushed by the Uruk’hai, Boromir is confronted by his own weakness, and the Fellowship is broken, with one member giving his life in battle.

The Lord of the Ring: The Fellowship of the Ring is a captivating, compelling movie that is only the first step in a journey that will take us to the eventual fate of the ring, of those who bear it and of those who seek it as well. Given the performances here, it is easy to care very much about who gets there and in what shape they are in when they arrive. It is a journey we can all take together.

The visuals are stunning, jaw-dropping at the time this was released. The elven communities of Rivendell and Lothlorien are beautiful in an alien way, blending naturally with their forest environments. Hobbiton in the Shire, where Bilbo and Frodo live, looks exactly as I imagined it, calm, peaceful and rustic but with a hint of the English countryside implicit in every nook and cranny. The ruins of ancient kingdoms, statues of forgotten kings and warriors dot the journey’s landscape, giving the world an old and lived-in appearance. The attention to detail in establishing each individual place in the movie, each with its own specific character and feel, is nothing short of astounding.

Jackson has an epic palette to paint his picture, and he uses every color imaginable. The bright colors of the Shire contrast with the dark, stormy terrain of Mordor; the Elven territories are in a perpetual autumn, as their race prepares to leave Middle Earth, lending a further poignancy to the tale. Jackson obviously holds the source material in high regard, and stays as true to Tolkein’s words as is possible.

Wisely, the various characters are developed slowly, becoming who they are during the course of the movie. There is not a disappointing performance throughout; Mortensen carries a quiet intensity as Aragorn, McKellen a grandfatherly presence as Gandalf. The extras are well-cast, helping set the background tone in each location; folksy and a bit comic in Hobbiton, suspicious and tense in Bree, graceful yet sad in Lorien.

What makes this so successful a movie is what I would call a sense of place throughout; the architecture, scenery and characters all contribute to the overall mood. Middle Earth becomes a living, breathing place because of it, and the rich textures of Tolkein’s world come to life before our very eyes.

Overall, this can only be called a labor of love, and that love can clearly be seen on the screen in every frame. Jaw-dropping special effects and eye-popping scenery from the wilds of New Zealand dazzle at every turn. Howard Shore’s haunting score serves to enhance the film, and having Enya contribute a pair of vocalizations to the movie is a wise move; her ethereal voice is perfect for it. When this was released back in 2001, it not only met the high expectations of those anticipating (myself included) but exceeded them. It has, with its successors, become a true classic, a movie that I happily watch over and over again and enjoy almost as much as the first time I saw it.

WHY RENT THIS: An amazing spectacle, faithful to the book and exciting and heartwarming all at once. A modern classic that still bears repeated watching.

WHY RENT SOMETHING ELSE: If you’re not into fantasy, you’ll surely hate this.

FAMILY MATTERS: There are some scary images and an epic battle sequence that depicts plenty of hacking and chopping.

TRIVIAL PURSUITS: Most major films have from time to time more than one unit shooting simultaneously, generally just two or three. There were occasions when this production had as many as ten units shooting at once.

NOTABLE HOME VIDEO FEATURES: There have been several different releases of varying size of the film and there are so many different and fascinating features that listing them all for each edition would take up far too much space here.  Suffice to say that you will essentially have a choice of two different versions of the film; the two hour-plus theatrical release and the nearly four hour extended director’s cut. The latter only last month arrived as part of a box set to take advantage of the renewed Middle Earth fervor generated by the Hobbit trilogy, the first film of which arrives at Christmas this year. Even the bare bones DVD editions have plenty of wonderful features so that no matter which version you choose you’ll have plenty of things to occupy many hours of viewing time but the extended edition Blu-Ray has enough special features (some brand new) to make even the hardiest of Frodo fans faint.

BOX OFFICE PERFORMANCE: $871.5M on a $93M production budget. The movie was a gigantic blockbuster.

COMPARISON SHOPPING: Avatar

FINAL RATING: 10/10

NEXT: Straw Dogs (2011)

Dark Shadows


Dark Shadows

You’d be grinning too if you had a sex scene with Johnny Depp that ended up trashing a set.

(2012) Gothic Comedy (Warner Brothers) Johnny Depp, Michelle Pfeiffer, Eva Green, Chloe Grace Moretz, Jackie Earle Haley, Jonny Lee Miller, Helena Bonham Carter, Bella Heathcote, Christopher Lee, Gulliver McGrath, Ray Shirley, Alice Cooper. Directed by Tim Burton

 

Sometimes without meaning to we cause harm to people. We never know exactly who we’ve created an enemy of, or what they’re capable of doing though even if we’re innocent of any real wrongdoing.

Barnabas Collins (Depp) was living the high life, 18th century style. His family owns a wildly successful fishing fleet in Maine; the town built around their enterprise, Collinsport, is thriving; they’ve built an extravagant mansion overlooking the town and the Atlantic that would be the equivalent of a castle. And Barnabas is deeply in love with Josette duPres (Heathcote).

This is bad news to Angelique Bouchard (Green). She and the handsome Barnabas had a fling which meant much more to her than it did to him. She was a maid, he the master of the house; a relationship between them would not be appropriate if it were even possible. Scorned, Angelique resolves to get even and since she happens to be a rather powerful witch, that’s even worse news for Josette. Angelique casts a spell on her, causing her to throw herself off a cliff into the sea despite Barnabas’ desperate attempts to save her. Heartbroken, he throws himself off the same cliff but fails to die. You see, he’s been cursed as well – to become a vampire, a hideous creature of the night.

The implacable Angelique lets the good citizens of Collinsport know they have a monster in their midst and Barnabas is dragged out into a remote field where he is chained up and buried alive. There he remains, deep in the ground in the woods far outside of town.

That is, until he is dug up some 200 years later by contractor. It is now 1972 and two centuries without a meal can make one…peckish as the workers find out to their dismay. He longs to find his estate and get his bearings. When he gets there, he is overjoyed to find that the family still survives (although it’s never explained quite how, since he apparently was the only son – perhaps some other Collins’ emigrated from England to take over the family business). However, they are definitely down at heel. Their fishing business is a shadow of its former self. The mansion is crumbling and what was once a vast army of servants is down to two – the elderly Mrs. Johnson (Shirley) and the booze-addled Willie Loomis (Haley) who does most of the heavy lifting.

The family is down to four members – matriarch Elizabeth Collins Stoddard (Pfeiffer), widowed mother of rebellious teen Carolyn (Moretz). Her brother Roger Collins (Miller) who is also a widower and a womanizer, not to mention somewhat useless. The last is his son David (McGrath) who talks to and sees his dead mother. This tendency to dwell on his late mother has alarmed Elizabeth who has opened her penurious pursestrings and hired Julia Hoffman (Carter), a psychiatrist who seems more interested in drinking and smoking than therapy and Victoria Winters (Heathcote), a governess who bears a remarkable resemblance to Josette.

They welcome Barnabas with mostly open arms although Elizabeth alone is aware that Barnabas is that Barnabas rather than a distant English relation (the cover story they use for Barnabas’ unusual and sudden appearance). Elizabeth wants to regain the family name and glory and she knows that his keen business acumen can only help (it doesn’t hurt that as a vampire he can use his mind to control others to do his will). However, they have a long ways to go to catch up with Angel Bay, the corporate entity that has taken over the fishing business in Collinsport. However, Barnabas is dismayed to find out that at the head of Angel Bay is an old nemesis (emphasis on the old) – Angelique (going by Angie these days) who hasn’t aged a day. Like as not, their old quarrel is going to resurface and there’s going to be fall-out and only one of them will be left standing.

On the surface this seems like a perfect fit – Burton, one of the quirkiest directors in Hollywood but one who knows how to tell a good story and the iconic gothic soap opera from the 60s and 70s. He has chosen to go the cheeseball route, not just by setting the movie (mostly) in the 70s but by changing its original dark, gothic tone to one that is more comedic. In all honesty it doesn’t work as well as I would have hoped.

It’s not Depp’s fault. He takes the late Jonathan Frid’s (who played Barnabas in the series) mannered, courtly vampire and takes that to the extreme, playing up the fish out of water angle a great deal more. In the original, Barnabas seemed to adjust much more quickly and readily to his new time. Frid was a sex symbol in his time albeit not to the same degree Depp is now. Depp’s Barnabas seems sexier more by accident than by artifice; indeed, the original Barnabas was far more evil and dangerous than Depp who is almost apologetic when he feeds. In fact, Frid seems to revel in his undead status more than Depp who would just as soon be rid of his curse.

The supporting roles vary wildly. Pfeiffer is always magnificent and although she seems a bit young to play the matron, she pulls it off here well. Green is the most impressive; with her carefree grin, she sees to be having the most fun of everybody (she does get to have a hot and somewhat violent sex scene with Depp so I suppose she comes by her smile honestly) and it translates into making her character more attractive to audiences. She may be vindictive and cruel but she’s a woman scorned – they’re supposed to be vindictive and cruel.

Personally I think the filmmakers missed an opportunity there. She was supposed to be desperately in love with Barnabas despite his rejection, but as he noted she saw him as more of a possession than a partner. I think if she had shown real love towards Barnabas it would have been much more poignant, but then it might have ruined the comic tone which I also think may have been a misstep – the film rarely achieves more than being amusing which is not what you want in a summer comedy.

The movie looks impressive with Collinswood being an amazing set, full of nautical touches that are gratifying in their detail and fully understandable given the family’s source of income. However, as lavish as the film looks and as well as Green and Depp do, it doesn’t hide the fact that there isn’t really a whole lot of passion displayed by the filmmakers; at least, I never feel inspired by the movie to do much more than smile occasionally. The movie felt to me almost workmanlike which is a shame because I had high hopes for it. Despite a lot of nice little touches it doesn’t add up to a satisfying film overall; but those touches are enough for me to recommend it with the caveat that it isn’t going to remain in your memory as long as the original series did.

REASONS TO GO: Depp inhabits his role well. Green has fun with her part. Nicely Gothic sets.

REASONS TO STAY: Most of the funniest bits are in the trailer. Purists will bemoan the comedic tone.

FAMILY VALUES: There is some comic violence, a fairly bizarre sex scene, some drug use and smoking and a bit of bad language.

TRIVIAL PURSUIT: To prepare for his role as Barnabas, Depp subsisted on a diet of green tea and low-sugar fruits in order to slim down to 140 pounds.

CRITICAL MASS: As of 5/20/12: Rotten Tomatoes: 42% positive reviews. Metacritic: 55/100. The reviews have been mixed although leaning more towards the negative side.

COMPARISON SHOPPING: Vampires Suck

DARK SHADOWS LOVERS: Original series cast members Kathryn Leigh Scott, Lara Parker, David Selby and Jonathan Frid (in his last onscreen role before his death earlier this year) have cameos as guests at a party at Collinswood.

FINAL RATING: 5/10

NEXT:The Pirates! Band of Misfits

New Releases for the Week of May 11, 2012


May 11, 2012

DARK SHADOWS

(Warner Brothers) Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter, Jackie Earle Haley, Eva Green, Chloe Grace Moretz, Jonny Lee Miller, Bella Heathcote, Christopher Lee. Directed by Tim Burton

Young Barnabas Collins, an 18th century wastrel and scion of a wealthy New England family, makes the dreadful mistake of breaking a witch’s heart and is cursed therefore to vampirism and is consequently buried alive to think about the error of his ways. By the time he is released (inadvertently I might add) it is 1972 and the world is a far different place. He returns to his beloved Collinwood manor to discover the family has fallen upon hard times and the house is a ruin. He sets out to restore both, although there are forces conspiring that wish to keep the Collins family low.

See the trailer, featurettes, clips, interviews here.

For more on the movie this is the website.

Release formats: Standard, IMAX

Genre: Gothic Comedy

Rating: PG-13 (for comic horror violence, sexual content, some drug use, language and smoking)

The Best Exotic Marigold Hotel

(Fox Searchlight) Judi Dench, Tom Wilkinson, Bill Nighy, Maggie Smith. A group of English  retirees answer an ad for a resort in India that is meant to cater to the needs of golden age residents with all of the lushest amenities and scintillating service. However when they arrive, they find a hotel and staff with grand ambitions but little else as the resort fails to meet even minimal standards. As the hotel begins to transform around them, the seniors discover that they themselves are being transformed.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy

Rating: PG-13 (for sexual content and language)  

The Cup

(Myriad) Brendan Gleeson, Stephen Curry, Daniel McPherson, Alice Parkinson. The Oliver brothers, sons of a family that is legendary in the Australian horse racing world, are at the top of their game, considered among the favorites to win the upcoming Melbourne Cup – the most prestigious horse race in Oz, the equivalent to the Kentucky Derby. However when one dies in a tragic accident mere days before the Cup, the other is heartbroken and considers leaving horse racing for good. However a respected trainer will encourage him to run the race in his brother’s honor, leading to an event that caused the entire horse racing world to hold it’s breath as one.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: True Sports Drama

Rating: NR

Dangerous ISHHQ

(Reliance Big Picture) Karisma Kapoor, Jimmy Shergill, Rajiniesh Duggall, Divya Dutta.  A business tycoon and a supermodel are one of India’s most celebrated couples. When he is kidnapped, the crime becomes front-page news. But the police believe that even if the extravagant ransom is paid that he will not be returned alive anyway. With time ticking away, the supermodel must put herself in harm’s way to bring home the man she loves.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Thriller

Rating: NR

Girl in Progress

(Pantelion) Eva Mendes, Matthew Modine, Patricia Arquette, Cierra Ramirez. A single mom, robbed of her teen years by pregnancy, is spending all of her focus on her own needs and gives little to none to her daughter who desperately needs a mom. As her daughter becomes engaged in coming-of-age stories, she becomes convinced that the way to adulthood is through sex.

See the trailer here.

For more on the movie this is the website

Release formats: Standard

Genre: Dramedy

Rating: PG-13 (for mature thematic elements, sexual content including crude references, and drinking – all involving teens)  

God Bless America

(Magnet) Joel Murray, Tara Lynne Barr, Mackenzie Brooke Smith, Melinda Page Hamilton  A man, fed up with the venal nature of Americans, the trash quotient of reality TV and the general celebration of rude behavior, goes on a murderous rampage. He is cheered on by a teenage girl who becomes his willing accomplice, although reluctantly on his part. This is the new movie from comedian/director Bobcat Goldthwait and played at the recent Florida Film Festival. You can find the review here.

See the trailer and stream the movie online here.

For more on the movie this is the website.

Release formats: Standard

Genre: Black Comedy

Rating: R (for strong violence and language including some sexual sequences)

Jiro Dreams of Sushi

(Magnolia) Jiro Ono, Yoshikazu Ono, Takashi Ono, Masuhiro Yamamoto. The world’s foremost sushi chef – and the only one in the world to be honored with three Michelin stars – operates from a tiny ten-seat restaurant in a Tokyo subway station. At 85, he works harder than most a quarter of his age. His sons are being prepared to succeed him but can anyone live up to the daunting legacy he has built? Another film screened at this year’s Florida Film Festival; you can read the review here.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Documentary

Rating: NR 

Hugo


Hugo

Time flies when you're making a Scorsese film.

(2011) Family (Paramount) Asa Butterfield, Chloe Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Emily Mortimer, Jude Law, Ray Winstone, Christopher Lee, Helen McCrory, Richard Griffiths, Frances de la Tour, Michael Stuhlbarg, Emil Lager. Directed by Martin Scorsese

 

Our dreams guide us, sometimes into odd territories. We can be spirited away to fantastic landscapes or sent hurtling back into our own memories, into our own past. Dreams are the lenses through which we view reality.

Hugo Cabret (Butterfield) lives in the cavernous Montparnasse train station through a set of tragic circumstances. He fixes the clocks and makes sure that they are running on time – important work for a train station, particularly in Paris in the early 1930s.

He didn’t always live this way. He once lived with his father, a clockmaker, who had discovered an automaton (a kind of early robot) while doing some work in a museum. His father had attempted to fix the machine but now it was up to Hugo to get the thing to work. He is convinced that the automaton carries some sort of message from his father and in order to fix it, pilfers parts from a grumpy toymaker named Georges (Kingsley).

Hugo is also trying to stay one step ahead of the station inspector, one Inspector Gustav (Cohen). Gustav, who has an eye on pretty flower girl Lisette (Mortimer), was injured in the War and wears a mechanical leg brace to allow him to walk in a kind of shuffling gait. It freezes up from time to time and Gustav must move it manually, causing him a great deal of humiliation. Gustav relies on a Doberman to help him patrol the station where he regularly catches orphans like Hugo to send them to the orphanage. Hugo knows if Gustav catches him, the automaton will be taken away and he’ll never find out what his father was trying to tell him.

Aiding Hugo in his quest is Isabelle (Moretz), the goddaughter of the toymaker who is being raised by Papa Georges and his wife Jeanne (McCrory). Isabelle is a plucky sort who can relate to the intense and somewhat shell-shocked Hugo. She loves a good mystery and yearns for a good adventure of her own. She spends most of her time reading books lent to her by the kindly bookseller Labisse (Lee).

The automaton has all the parts it needs but lacks a heart-shaped key to fit a heart-shaped lock that will wind up the mechanism and get it working. Hugo must find that key and in the discovery of it will find out that the magic of movies, which he attended with his father, was far more ephemeral than he thought and that fame is even more fleeting than that. He will also discover a key to Papa Georges’ past and a path to his own future.

The movie is based on an illustrated novel by Brian Selznick called The Invention of Hugo Cabret and marks Scorsese’s first foray into family films as well as his first 3D movie. Once again the great director has hit a home run.

The setting is amazing. Much of Hugo’s world revolves around the inner workings of the clocks of the station, so there are gears and cogs aplenty. The train station itself recalls the romance of train travel of the era much as Murder on the Orient Express did. Labisse’s bookshop is a magical repository of imagination and knowledge, much larger than you’d expect to find at a train station.

Much of the movie rests on thin shoulders of Butterfield and Moretz. Moretz is one of the better actresses of her generation, with films like Kick-Ass and (500) Days of Summer to her credit. She has a role that requires her to be the kind of English plucky heroine that have overpopulated film and literary franchises like The Chronicles of Narnia‘s Susan Pevensey and Harry Potter’s Hermione Granger. Moretz gives the role a little bit more soul and humanity than you might expect.

Butterfield has amazing blue eyes and has received some criticism for his role for not expressing a lot of emotion. Personally, I think that was the perfect way to play the part. With all the things Hugo has gone through to this point, I think it would be natural for him to be a bit shell-shocked and plenty wary about expressing his emotions as he’s had so much taken away from him and so many people leave him. In the film’s final scenes he seems to finally be showing some joy and love and for my money it’s a terrific performance. Phooey on the critics who say different.

Ben Kingsley is, well, Ben Kingsley. We all know he is one of the great actors of the past 20 years, going back to his scintillating performance as Gandhi. He inhabits the role of Georges with dignity and a hidden reservoir of pain. I think it’s one of his best performances ever, one that should merit some awards consideration although thus far it hasn’t.

A word about the 3D. Generally I’m not one to recommend 3D to anyone – it rarely enhances the movie and more often than not, detracts from it, forcing viewers to look at a cinema screen through polarized sunglasses which does nothing for the brightness and the color of the film. However, here the movie actually benefits from the 3D which opens up Hugo’s world and makes it more lifelike and real. This is one of those rare times when I’d urge those of you going to see the movie to see it in 3D if you can. It’s well worth the upcharge for once.

The movie obviously has a direct connection to a soft spot in Scorsese’s heart. His passion for the preservation of old films is well-known and you can almost feel the pain in the great filmmaker’s soul when he talks about how the celluloid from old silent film were melted down to make the heels in ladies boots. Through Hugo we get to experience a time when movies were new and nobody quite knew what to do with them. While I won’t reveal the plot point that takes Hugo Cabret from automatons to motion pictures, I will say that film buffs and history buffs will be pleasantly surprised by the turn the movie makes. Be wary though – other reviews tell you precisely what that turn is and since I hadn’t read any before seeing the movie, I found the turn to be more effective.

All in all, this is a delightful motion picture, one full of fantasy and clearly a labor of love. Even the villains of the piece aren’t all bad – they have just had some hard times. It’s a bit on the long side – if your children are fidgety you might want to take that into account – however this is a terrific family movie that the kids may actually enjoy less than their parents; but the kids should like it a lot.

REASONS TO GO: Generally raises an air of wonder and magic. Terrific performances all around. Fantastic sets realistically depict Paris of the early 30s but also lend an air of fantasy.

REASONS TO STAY: Might be a little too long for fidgety sorts.

FAMILY VALUES: There is some mild violence, children put in peril and of course, smoking. Fiendish!

TRIVIAL PURSUIT: The automaton is based on actual machines that draw similarly complex drawings, complete with head movements and eyes following their own drawing except the real ones were built in the 18th century – they can be seen at the Musee D’Art et d’Histoire of Neuchatel in Switzerland.

HOME OR THEATER: I never thought I’d say this but not only do I recommend seeing this in a theater, but it should also be seen in 3D.

FINAL RATING: 8/10

TOMORROW: Agora