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Harry Potter and the Goblet of Fire

July 25th, 2009

gobletJ.K. Rowling’s universe furthers its limitless boundaries, and with ‘Harry Potter and the Goblet of Fire’, the series’ translation to film continues to impress.  Harry’s world represents endless possibilities, part of the series’ undeniable fun and excitement.

This time, the schools of magic are apparently international, spanning other nations and bringing these different institutions together for one slam-bang tournament known as the ‘Triwizard’, in which three 17-year-0ld students are chosen by the Goblet of Fire (much like the magic hat that selects students’ housing) to compete in a Battle Royale of Magic sort-to-speak; not battling each other, but against tumultuous threats, a competition I can’t wrap my brain around. These kids are put in life-and-death situations that test every ounce of their capabilities in the world of magic. With this knowledge, the school has an uproar when Harry Potter’s name spits out of the Goblet as an illegal fourteen-year-old fourth contestant.  He is shunned by his classmates, especially his best friend Ron, which really made no sense to me. Hermione tries to reach out to him, but Harry keeps his distance. His nightmares of the Dark Lord are getting to him again, and whoever or whatever rigged his name into the goblet seems to spell doom for Harry.  It doesn’t help that the Yule Ball is approaching for the youngsters either, forcing the kids to learn to dance and for the boys to ask out at a date. This could prove more complicating for Harry than anything he faces in the Triwizard Tournament.

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This installment finally reaches a pivotal point in this remarkably rich saga. The story in particular finally revolving around the character of Lord Voldemort, which was briskly touched on in ‘The Sorcerer’s Stone’, gets into the thick of the encompassing story.  With the Triwizard tournament, and another new director in the british Mike Newell, the movie has a lot more action than the previous films, lending this particular film a much swifter pace, and more exciting and scary threats for Harry. I could’ve done without the snotty Ron Weasley all up-in-arms over his suspicion of Harry somehow sneaking his own name into the cup. So what if he did? I also can’t quite comprehend how these competing international schools would allow such a tournament to go on. I suppose a lot of the magic performed at Hogwarts, including the fast-paced games of Quidditch, could prove about as dangerous. But Harry has to take on giant dragons, save his own classmates from an underwater obstacle course filled with evil creatures, and then has to wander through an endless, isolated maze that apparently can drive its occupants completely mad. This school takes the threats in the previous films quite seriously, so I guess I can’t understand why they would promote such a dangerous tournament where students could easily be killed.  I also wondered what would happen to the students placed at the bottom of the lake in the second challenge. Harry finds Ron and Hermione among others down there, and wants to save more than one student when his task is to save only the sole selected. Would the remaining student(s) die if left there? Such questions puzzled me, but sort of became a bit irrelevant amidst the film’s excitement and proceedings.

The action here is a doozy. And the darker tone and return of Voldemort (played by a deliciously serpentine Ralph Fiennes) really help the series take a great leap forward. The cast again, redundant as it may sound, continue to take the reigns of their characters, though at times I felt a bit annoyed with Rupert Grint this time around. I think that’s solely because of how whiny his character is in this particular film.  Otherwise, Daniel Radcliffe and Emma Watson continue to impress.  Brendan Gleeson is a welcome new addition to Hogwarts as a Professor of Defense Against the Dark Arts.  Maggie Smith and Alan Rickman (my favorite supporting character) may be getting a bit shortchanged, but that is to be expected.  All in all, the film is a marvelously fun accomplishment.  ‘Harry Potter and the Goblet of Fire’ is a dazzler, an action-packed installment that continues a thrilling series that miraculously dodges audience fatigue with endless surprise and invention.


-MJV & the Movies

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The Proposal

July 24th, 2009

the-proposal-movie

Synopsis: A pushy boss (Sandra Bullock) forces her young assistant to marry her (Ryan Reynolds) in order to keep her Visa status in the U.S. and avoid deportation to Canada.  (IMDB)

Review in short: Yuck. Pure formula, top to bottom. It’s without a hint of originality at any point in the film. The two leads are fine, but they aren’t engaging ever. The plot is about as science-fiction as the new ‘Transformers’ sequel, and if there was even a dash of winning humor or a single hearty moment – it would’ve been better. As is, it’s mediocre as can be, and worst of all, not funny.


-MJV & the Movies.

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Comedy, Romance

Fired Up!

July 24th, 2009

firedUp_poster_s600LSynopsis: The two most popular guys in high school decide to ditch football camp for cheerleader camp. For the girls and for the glory. (IMDB)

Review in short: Truthfully, this movie was painful from start to finish. Once the characters came onscreen, I instantly hated them. Credit that possibly to the terrible script or its complete lack of originality and ambition in its jokes. I hate to say it’s the worst movie ever – I’m sure there’s far worse. It didn’t strive to be much obviously, nor did I expect it to, but it wasn’t so terrible I admired it either. It was just a terrible viewing experience, boring, and deprived of any redeeming qualities.

Zero of four stars.

-MJV & the Movies

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Comedy

Killshot

July 24th, 2009

killshotSynopsis: Beautiful Carmen Colson (Diane Lane) and her ironworker husband Wayne (Thomas Jane) are placed in the Federal Witness Protection program after witnessing an “incident”. Thinking they are at last safe, they are targeted by an experienced hit man (Mickey Rourke) and a psychopathic young upstart killer (Joseph Gordon-Levitt). The ensuing struggle will test Carmen to the limit. (IMDB)

Review in short: ‘Killshot’ is consistently interesting and also consistently messy. It has a top-notch cast and a respected director (John Madden, Shakespeare in Love) at the helm, but the troubled production doesn’t allow for a clear vision. The film doesn’t know whether to follow the protagonists or the villains. The performances are decent, although Gordon-Levitt veers a bit over the top. By its finish, the movie is merely okay, better than expected, but not as good as it could be–it feels exactly like a made-for-cable thriller.

-MJV & the Movies

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Enterprise: The Expanse (S02E26)

July 20th, 2009

One thing I appreciate about Enterprise is its level of ambition:  some episodes really reach for the stars (no pun intended), and while most of them don’t end up being all they strive to be, I give them credit for at least trying.  The Star Trek universe is a rich canvas on which an incredible variety of stories may be painted, and I like it when Berman and Braga just go for it and throw caution to the wind.

The Expanse is one of those episodes.  I can’t say that it’s entirely successful at what it sets out to do, but it’s certainly an interesting and entertaining ride along the way.  The show starts out with an attack on earth by an alien probe, reminiscent of Star Trek IV, The Voyage Home.  Except instead of churning the oceans, this probe cuts a swath right out of the planet roughly 300 yards across and 4,000 miles long.  It starts in Florida and goes clear to Venezuela, after which the probe self-destructs and bits of it crash-land on Earth.  Blackout.  Cue opening credits (and, of course, the mute button.  *shudder*  that opening ballad is still terrible.)  This, my friends, is how to open a season finale.

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Enterprise: Bounty (S02E25)

July 19th, 2009

This was a mixed bag if ever one existed.  One one hand there is a strikingly well-written and well-executed plot regarding Archer’s abduction at the hands of a bounty hunter.  It is suspenseful, engaging, and ties into some threads established clear back at the beginning of the series.  Archer  pulls some Picard-style psychological tricks on his captor, busts out with some old-fashioned Kirk-style fisticuffs on some Klingons, and even helps a rather shady character redeem himself.  In short, it was the kind of plot that made Star Trek: TNG so likable in the 1990s.

On the other hand, though, was one of the lamest sub-plots I have seen this season.  Doctor and T’Pol are stuck in the medical quarantine room after contracting some strange microbe on a planet they recently visited (I am weary of this story mechanic.  would that it would change!) and, sure enough, they have to smear that goopy disinfectant gel all over themselves!  Remember that awkward scene in the first episode?  Remember how you nearly ran screaming from the TV?  Yeah, it’s like that…only worse.  As luck would have it, the microbe triggers (what else?) the pon farr.  *sigh*

The rest of the Doctor/T’Pol subplot is a hamfisted attempt at what I can only assume is Berman and Braga’s idea of comedy, as Jolene Blalock makes an idiot out of herself and the Doctor (and all other crew members) try to knock some sense (and a cure) into her.

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The Iron Giant

July 18th, 2009

Before Brad Bird was launched into superstardom (directorially speaking, that is) following the release of The Incredibles, he was a creative talent floating around Hollywood with a penchant for animation and slightly quirky stories.  He was a writer and animator for The Simpsons, a consultant for the oddball animated comedy The Critic, and was even involved in a few projects with Steven Spielberg.  With the release of The Iron Giant, his animation-meets-CGI opus from 1999, he was given a chance to show the world what he and his rich imagination could do given enough time to develop a full-length storyline.  The results were good, but met with a few flaws that keep this film from being among the truly classic works of animation.

At its core, The Iron Giant is a story about a boy and his friend.  This boy, named Hogarth, like the protagonists of so many of these kinds of films, is misunderstood by adults, has few companions at school, and spends too much time lost in his own imagination.  He’s a bit Calvinlike, in some respects, though not as mean-spirited towards authority.  At any rate, it’s no surprise that when an unearthly visitor crash-lands near the boy’s small hometown in Maine, that Hogarth forms an immediate bond with him.  Hogarth and the Iron Giant (voiced rather tenderly by the venerable Vin Diesel) spend much of the film simply existing together:  playing, relaxing, having adventures, and keeping their secret friendship away from adults and authority figures.  Much of the film is a paint-by-numbers exercise in retreading past stories, though:  Hogarth’s mom is too busy to pay attention to her son.  One man, a government investigator, knows something is going on with Hogarth and is determined to find out.  One adult does believe Hogarth and helps him out.  Soon enough the secret is out and the authorities do find out.  Everyone freaks, people panic, the Army gets involved, and…well, you get the point.

The Brad Bird quirkiness comes from the sheer nature of the story: a kid befriends a 100-foot tall metal behemoth.  It’s a bit different from typical Disney fare, you might say.  But I had a hard time buying the friendship and the isolation from all adults.  Early on in the film the giant causes a train to crash, and this should have been a pivotal turning point in the story.  But for the most part people just continue in their daily lives afterwards while Hogarth and his pet giant continue to frolic about in the woods unnoticed, and no one in town (save for the savvy investigator) bothering to ask any questions.  I can give animated films a lot of leeway and wiggle room, but I just wasn’t able to let go of some of these types of plot issues.

Like Titan A.E., I get the feeling that this film started out as a fantastic idea, but something got lost in the translation to celluloid.  It’s entertaining but not engrossing.  Interesting but not engaging.  And the emotional core never really came through to me (Hogarth actually says “I love you” to the giant late in the film–a cringe-worthy moment that felt entirely forced and was entirely unbelievable, and seemed like the filmmakers knew they had failed to create a true emotional connection between the two characters and at that point decided to just go for broke.)  I suppose if I was younger the movie would have been better, but seeing it for the first time as a guy who’s almost thirty, it just wasn’t as good as I hoped it would be.

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Enterprise: First Flight (S02E24)

July 15th, 2009

One thing I have grown to appreciate about Enterprise (in and of itself an origin story of sorts) is the way it also explores the origins and backgrounds of its characters.  This episode, despite being ranked rather obviously in the pantheon of  “save the budget” episodes, did a good job of exploring more of Archer’s background and gave us some additional insight into his longstanding friendship with Trip.  It was a nice counterpoint to Regeneration’s relentless and frentic action, and I rather enjoyed it–probably in no small part due to the superb direction of series veteral LeVar Burton.

Things got started, as they so often do, with a mission that led to much more than the crew was ready to handle.  Turns out the ship might be headed into a nebula full of dark matter, but they aren’t exactly sure just what is out there.  Everyone is pretty stoked at the possibility of exploring this in a shuttlepod when Archer gets some bad news that someone named “A.G.” has died.  Turns out that A.G. is a longtime friend of both Archer and Trip, and the news of his death immediatly sends the Cap’n into one of his emo moods, which left me holding my breath for another embarrassingly bad show (Hugo Award nominations be darned!).

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