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Hansel & Gretal: Witch Hunters

June 22, 2013 By 2 Comments

H&G PosterWhen last we met, we covered the evolution of various supernatural critters from detestable to desirable. Vampires are a particularly striking example of an archetype that began as walking, rotting corpses, and rose to be portrayed as superior to humans in almost every way. And now, with Warm Bodies, zombies have begun to travel the same road. But as this happens, producers of fiction lose a useful tool in the form of a creature that can be killed without remorse. This leaves writers searching for a new archetype to fill the role of humanity’s enemy. Sometimes what they come up with is surprising.

Writer/director Tommy Wirkola has found an unlikely replacement:

witches. His latest work, Hansel & Gretel: Witch Hunters, starts out with an abridged retelling of the classic children’s tale of two kids who are apparently abandoned in the woods, find a house made of candy, and are captured by a hideous, cannibalistic crone, until they knock her into her own oven. This refresher is graphic, brutal, and not for children. Hansel and Gretel then vow to spend their lives hunting down and killing witches, and we are treated to a montage of newspaper clippings and wood-cut drawings, showing their exploits over the next fifteen years.

We don’t have to think much for this movie. Hansel (Jeremy Renner) narrates “We learned two important things that day (when they escaped the witch as children). One, never walk into a house made of candy. And two, if you’re going to kill a witch, set her ass on fire.” Good advice.

Gemma Arterton, up to her usual awesomeness.

Gemma Arterton, up to her usual awesomeness.

The main story deals with the twins working a case in Augsburg, investigating the disappearances of 11 children. The witches in this movie display many of the traits we’ve seen in vampires and werewolves in recent years: super human strength (why? Because it’s cool), animal-like movements (why? Because it’s cool), and an apparent black belt in jujitsu (why? … must you ask?). Hansel and Gretel (Gemma Arterton) save a beautiful young woman named Mina (Pihla Viitala) from being wrongfully executed as a witch. Hansel announces to the obligatory mob of villagers that when a woman engages in the black arts, a nasty rot sets in. That’s right, the witches in this movie are essentially walking, rotting corpses. Sound familiar?

Jean Grey gone bad. Or did she already do that?

Jean Grey gone bad. Or did she already do that?

Is it a good movie? No. But the real questions is how well do the witches satisfy that part of us that just wants to weild a shotgun, as zombies used to do for us? The best thing about this movie is that it’s not afraid to be politically incorrect. The witches are plentiful. They’re ugly. And they’re decidedly unsympathetic. They’re a bit harder to kill than zombies, but the writers always find a way. All this movie really is is a big, silly bonanza of over-the-top stunts, awesome weapons that could never exist and dazzling fireballs. (It’s even sillier than Van Helsing, if you can believe that). It’s the kind of movie where people get knocked through walls, jump up and keep fighting.  It doesn’t need to be good; it’s a blast.

But are the witches really all subhuman monsters? Are there none we can identify with? Are all those female

Bad witch.

Bad witch.

movie goers who spent their teen years fantasizing about being witches and making love potions going to be left out in the cold?

Well, we eventually learn that, in fact, Mina is a witch, a “white witch” who uses her powers for “good.” Good witches don’t have the rot set in. So how do we tell a good witch from a bad? We look at their outward appearance. How delightfully shallow. Of course, even Mina admits that there are not many good witches, so the good news is most of the witches are just going to be fodder for the awesome fight scenes.

To be fair, there are some clever ideas in this movie, such as the glass milk bottles that bear pictures of the missing children, or the subplot in which Hansel has to take an insulin shot every day, due to all the candy the witch made him eat as a child to fatten him up. There is also a fresh take on the reason the twins’ parents abandoned them in the forest that fateful night. But this is also one of the nastiest movies I have ever seen. Not only is it excessively gory, but the subject matter is pretty intense. There are graphic scenes of children being starved and terrorized by the witches (I understand there were some scenes cut out that were even worse) and one of a witch magically forcing a teen boy to shoot his own mother. Rape is also hinted at. After all, the original “children’s tale” is pretty nasty when you think about it. The Brothers Grimm tended to live up to their name.

Good witch. See the difference?

Good witch. See the difference?

I expect witches’ time on popular fiction’s crap list will be briefer than that of some other creatures, if only because we’re so accustomed to seeing pretty witches save the day. So what’s going to come next? Maybe vampires will cycle around for another run. Personally, I think I’ll stick with my old standby: zombies.

 

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The Avengers

May 14, 2012 By 2 Comments

The summer movie season has officially arrived, heralded proudly by the amazingly awesome film that is The Avengers.

Joss Whedon has a special place in my heart as one of the most under-appreciated directors in Hollywood. Although there’s some of his work that I could pass on, most of it is tolerable to a level equal of any other TV faire, or in several cases, some of the best work I’ve seen come out of Hollywood in years. His other work includes Buffy the Vampire Slayer, Dollhouse, Dr. Horrible’s Sing-Along Blog, and my all-time favorites Firefly and Serenity. So when I heard that they were tapping Whedon to helm Marvel’s 5-year endeavor of bringing all their heroes into one unifying film, I was thrilled.  Whedon is a master at character-driven pieces, and with a strong potential for a film like The Avengers to become the equivalent of an all-you-can-eat visual effects buffet (where you know the food isn’t all that amazing, but there’s just so much variety and so much to try that you keep going back, even though you know you’ll feel awful for it later) that’s just what this film needed to keep it grounded.

To sum my thoughts up: this is the best experience I’ve had at the movies since seeing Serenity in 2005. Although I’m sure the film had its fair share of flaws, I was completely unaware of them because I was simply having too good of a time. It was filled with humor, action, and heart and even managed to bring me close to tears at one point. Never once did I consciously think about the 2.5 hour run time, which is an excellent sign.

For those that aren’t familiar with The Avengers, here’s a brief recap. A top secret government organization called S.H.I.E.L.D., under the guidance of Nick Fury (Samuel L. Jackson), is given the task of protecting the world from threats beyond the capabilities of normal men. In preparing for this task, they recruit the world’s greatest heroes (each of which joins the group from a pre-existing stand-alone film) – Iron Man, a.k.a Tony Stark (Robert Downey, Jr.), Captain America (Chris Evans), Thor (Chris Hemsworth), and the Hulk, a.k.a. Bruce Banner (Mark Ruffalo). They’re also joined by secondary characters Hawkeye (Jeremy Renner) and Black Widow (Scarlett Johannson). Together, this team must defeat Loki (Tom Hiddleston), brother of Thor, as he attempts to invade earth with an alien army and rule over mankind.  Sound action-packed? It is!

They even manage to represent all of the primary colors in their outfit choices!

Here’s where I think Whedon succeeded the most. Each of these characters is amazing in and of themselves. You have Captain America -a super solider, the perfect specimen of man, Iron Man – a genius, billionaire playboy with a high tech suit of armor, Thor – a demi-god from another realm, and the Hulk – a scientist who becomes an unstoppable wrecking ball when he gets angry — and none of them get along. Ultimately, despite all their super-human abilities, they all suffer from such basic human flaws, and THIS is the genius of Whedon (who not only directed, but rewrote the script). Whedon gives us a reason for all these people to not only come together, but work past their differences for the greater good.

The unstoppable cloud from Green Lantern, which killed the strongest Green Lantern, and fought off droves of the galaxies best defenders... but was then defeated by Ryan Reynolds because he wanted it bad enough.

The film also succeeds in finding a villain which is not too easily defeated, but also not overwhelmingly powerful and still somehow easily defeated to conveniently wrap up the storyline (see Green Lantern). This is no small feat seeing as how the combined power of the Avengers would decimate just about any opponent.

On an acting level, Downey Jr. delivers that classic wit and charm we’ve all come to love from the Iron Man films, Evans plays the out-of-his-element good soul that won us over in Captain America: The First Avenger, and Hemsworth does a great job at helping the audience take the somewhat out-of-place absurdity of a demi-god seriously.

Finally a Hulk we can cheer for, as he smashes his way into our hearts with pure, unbridled anger.

But perhaps the most noteworthy performance is that of Ruffalo, who replaced Edward Norton as Bruce Banner after the studio and Norton had a bit of a disagreement following The Incredible Hulk movie. Part of it is the writing, part of it is the effects team, but FINALLY we get to see the Hulk as we’ve always wanted to see him. Not part of some artsy “soul-behind-those-eyes” interpretation by Ang Lee, but as a man with some control over the beast, that ultimately enjoys smashing things. It’s refreshing, and at times, quite hilarious. (Two specific moments come to mind, but I won’t spoil them.)

Agent Coulson was apparently brought on board for his super human adorableness.

If I had to choose a specific favorite character of the film, I actually think I’d choose Agent Phil Coulson, played by Clark Gregg. Coulson has appeared in several of the other Marvel films, acting as a sort of character glue to bring all of the films and their characters together.  His role is much more pivotal in this film than in the others. He almost becomes a representative of the audience – an everyman amongst super-humans, with many of the same reactions we ourselves would have. I won’t spoil anything else, just expect good things from Gregg’s performance.

Again, this film was so wonderfully executed, and although it probably won’t be an Oscar contender outside of the technical categories, it is a great little piece of escapism at the movies, and an enjoyable thrill ride. Marvel did it right with their plan to establish a universe for their films to co-exist in, and with Iron Man 3 starting production this summer, Thor 2 in the fall, Captain America 2 next winter, and The Avengers 2 after that, we can expect great things in the coming years. Now if only they can work out a deal with Sony to get Spiderman in the next Avengers film. Time will tell!

My opinion, well worth the trip to the theatre to see this film as it was meant to be seen, on the big screen. Although IMAX and 3D are not necessary. (I saw it in 2D and loved it.) And be sure to stay until the end of the entire credits. Marvel sticks in their usual stinger about a minute in which sets up some element of the next film, but this time they also gave an added bonus at the very end.  In fact, the cast shot the scene immediately after the Hollywood premiere. (If you look closely you’ll notice that Evans had to wear a prosthetic piece on his face to hide the beard he’d grown out for another role.) This added bonus doesn’t really add anything pivotal, but it’s sure to leave you laughing at its pure, simple randomness.

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Mission: Impossible – Ghost Protocol

December 17, 2011 By 1 Comment

Your mission, should you choose to accept it, is to skip all of the potential Oscar-caliber fare out there and go for some straight-up sheer entertainment.  With Mission: Impossible – Ghost Protocol, the bar for exciting megawatt blockbuster couldn’t be set any higher—literally.

Tom Cruise returns to his globetrotting ways as IMF super-spy Ethan Hunt, on the run with three other fugitive agents after a bombing at the Kremlin building has the team framed as terrorists, and causes intense friction between the U.S. and Russia.  The President initiates Ghost Protocol to shut down the entire IMF Agency.  Only Hunt and his team can stop the real terrorist, Kurt Hendricks (Michael Nyqvist), an extremist bent on worldwide nuclear destruction.

From the film’s opening, the excitement kicks off and rarely lets up, delivering relenting pulse-pounding action sequences.  This is Cruise’s most accomplished action film to date, and that’s saying something.  The man, regardless of his tarnished off-screen persona, is one heck of a performer.  If this fourth installment of the M:I franchise doesn’t reignite his star power, I don’t know what will.  At nearly 50-years-old, Cruise delivers a physical performance that is often stunning.  Bruised and tossed around the screen, the man flies around this film like a winged insect—running, kicking, punching, ascending, flipping, falling, flailing, you name it.  The film could have been titled Run Tommy Run.

And what about those impressive action sequences?  This is a wall-to-wall assault of a movie, but the action never becomes tedious or dull.  It totally and completely serves the story, keeping the plot in a constant motion, and invigorating this franchise with a heap of fresh and interesting possibilities.  Credit Brad Bird, a former Pixar director of The Incredibles and Ratatouille, for making a live-action cartoon that never once feels cartoonish.  The picture is simultaneously gritty and relaxed.  Bird finds just the right tone for his movie, returning the series to a team-oriented picture rather than just another Tom Cruise vehicle.

Actors Paula Patton, Jeremy Renner, and the comedic Simon Pegg round out the team quite nicely.  Everyone plays a crucial role to the events of the film.  I was not at all surprised to find this fresh change.  Cruise has consistently made every Mission: Impossible film entirely unique and different, utilizing a new director for each installment, for better or worse.  Brian De Palma delivered a twisty plot with the first mission.  John Woo excelled with balletic action sequences that took precedence over the storyline in M:I-2.  J.J. Abrams delved into a personal quest for Ethan Hunt against a cutthroat adversary in the third outing.  For Ghost Protocol, Brad Bird seeks to tip the scales for extreme blockbuster entertainment, gaining top-dollar out of every shot, and reinvigorating the team spirit of the franchise.  Even with a villain in Hendricks that seems more like an afterthought than a real threat, unlike Philip Seymour Hoffman’s menace from the 2006 film, M:I-4 still fires on all cylinders because Bird keeps the threat immediate rather than looming.

I was treated to this film in IMAX format.  30 minutes of the film was shot natively in IMAX.  The towering picture for certain sequences could described as none other than absolutely stunning.  The sequence featuring Cruise ascending the Burj Khalifa tower using questionable suction gloves is a scene that will be talked about for a long time.  Experiencing it in IMAX added to the intensity and vertigo.  Rather unbelievably, the scene was apparently filmed on the actual tower with Cruise actually dangling from it 130-some stories above ground.  How will another sequel top this?  I don’t know.  I’m calling mission impossible on that one.

As for this franchise, it’s reached an incredible high with Bird at the helm.  The series has never been better.  Action movies in general have rarely been better.  And that is no easy feat, as this somewhat underrated series has consistently delivered the goods over the last 15 years.  Lackluster villain complaint aside, this Mission is probably the most entertaining film all of 2011 has to offer, and you’d be crazier than Tom Cruise to miss it.

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Thor

May 14, 2011 By 1 Comment

The Marvel universe continues its expanse as Thor plunders into theaters.  The god of thunder comes from Shakespearean-auteur Kenneth Branagh who blends dynamics of action and character to create one of the better superhero thrill rides this side of The Dark Knight.

Riding the lightning as the title character is Chris Hemsworth in his first major leading role, and I must say, like Downey of Iron Man, the lead actor makes the movie. Hemsworth owns the character, he owns the film, and he will surely own this franchise.  Balancing out the silliness of the plot and otherworldly English of proper, Branagh’s newfound star plays Thor, the son of King Odin (Anthony Hopkins)—ruler of the Asgard realm.  About to be named heir to the throne during a planetary ceremony, the walls of Asgard are breached by enemies of another world.  Luckily the mighty fortress is protected, but Thor isn’t satisfied.  Egged on by his younger brother Loki (Tom Hiddleston), Thor becomes impassioned with delivering the intruders a message and sends out with a group of warrior pals to meet his foes at their doorstep which ignites a war of the worlds.  Thor and his comrades are vastly outnumbered as King Odin comes to the rescue.  Aggravated with his son’s arrogance and recklessness, Odin strips Thor of his metaphysical abilities and casts him out to Earth along with his powerless weapon of choice—the mighty hammer.

Now stranded on Earth, the mighty warrior enters the lives of a team of physicists led by Jane Foster (Natalie Portman), dodging SHIELD authorities in the process.  There’s a lot of hooey talk of portals and disturbances in the upper atmosphere as the studio is desperate to explain the existence of Thor from a scientific perspective—mainly to tie him in with the ‘Earth-bound’ avengers Iron Man, Hulk, Captain America and others.  Once Jane accepts her discovery of a chiseled slab of man as a warrior god, Thor’s jealous younger brother no sooner sends enemies to Earth to erase the existence of his stranded sibling once and for all.

As a studio tentpole and comic-book adaptation, Thor is far better than anything we would’ve seen ten years ago.  Writers have been approaching this material with earnestness and passion, determined to deliver first-rate products.  Because of this, audiences have been spoiled with such impressive offerings as the first Iron Man, the new Batman films, Spider-Man 2 and X-Men 2, that we sort of forget that these movies can’t all necessarily be A+ features.  Thor, however, is more in line with the latest trend of quality superhero films than other stink piles of recent memory (Fantastic Four, Ghost Rider, Elektra, X-Men Origins: Wolverine).

Special Effects and action can be hit-or-miss as far as first-rate techs go, but the sequences are consistently involving.  Thor’s world is particularly designed and detailed, giving us a sense of the character’s background and struggle.  The characters are particularly well-developed, especially those occupying Asgard.  The actors do their best to participate in a magnum opus of silliness, with straight faces and a sense of fun at the same time.  Thor only seems to come up short when much of the story centers on Asgard rather than forces that threaten our planet.  Once the god of thunder finds himself stranded on Earth, his human companions stir up comedy and human interest, but the movie begins to lull periodically.  That’s alright with me.  Branagh gives his film time to settle down and breathe without relentlessly retreating to attack mode.  Since the film is designed to lead straight into The Avengers a year from now, I’m certain Earth will finally see Thor protecting our vulnerable little world to great extent.

As Marvel continues to conjoin these franchises, I’m curious to see how Captain America, Thor, Iron Man, and the Hulk survive once the fellowship is broken after Avengers rakes in hundred of millions of dollars.  Iron Man 3 is already in the works, as is a sequel to Thor.  Luckily, Thor seems to have more story to tell as the character relationships have space to blossom, specifically between Jane and Thor.  The filmmakers took notes from the first Iron Man as Stark and Pepper slowly but surely evolved their relationship.  Romance and sparks only tease the audience throughout most of Thor‘s first outing, leaving us wanting more.  Hemsworth and Portman have plenty of chemistry, and that’s where Branagh succeeds in delivering a superhero film about likable and believable characters amidst an outrageous plot, dorky costumes, and oddball creatures.  Forget about the whirlwind of action and useless 3D conversion (yes, skip the 3D).  Marvel and Branagh have given us another sensational hero and a major star to fill his shoes.  Bring on another round.

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The Town

September 26, 2010 By 4 Comments

Ben Affleck continues to reinvent himself quite successfully with the engaging action-thriller The Town, his second outing as director following his debut with Gone Baby Gone three years ago.  Sticking with what works for him, Affleck returns to Boston-set crime dramas, and his abilities behind the camera prove that within this particular sub-genre he can compete with the best in the biz, including Michael Mann and Martin Scorsese.  The mere fact that he bests Mann’s recent Public Enemies and Ridley Scott’s American Gangster by a wide margin tells us we’ve got a new player in town.  No pun intended.

The Town tells the story of a band of thieves led by Doug McCray (Affleck).  The film opens with McCray and his three cohorts entering a bank under the veil of ghoulish skeletal masks and dark cloaks and armed with automatic weapons, escaping with the bank’s entire loot in a matter of minutes.  Upon their exit, James (Jeremy Renner), the reckless one of the bunch, decides to grab a bank teller, Claire (Rebecca Hall), as a hostage.  Blindfolded throughout her capture, she is eventually released and left unharmed.  The guys become worried that she might leak incriminating information to the feds, so Doug takes it upon himself to follow her.  She approaches him in a laundromat where they strike up conversation, and Doug (having taken an interest in her) decides to cross a dangerous line in asking her out for a drink.  Eventually, their casual friendship turns into something serious, and Doug is forced to hide his criminal life from her as he continues to participate in further high-risk heists.

These heists are orchestrated by a dangerous Irishman, Fergus (Pete Postlethwaite), the same operator that resulted in Doug’s father’s incarceration.  In fact, Doug has essentially been enslaved into his line of work as a professional thief.  I was never exactly sympathetic for him in his position, because despite his protective feelings for Claire, his loyalty to his family, and his longing to know of his disappeared mother, Doug never frowns upon stealing.  He is leery of James and his violent tendencies, not because someone may end up getting hurt, but that he may end up paying for James’ mistakes.

If I have one complaint about The Town, it’s that I don’t know what Affleck wants to say here.  He walks a fine line of upholding Doug’s character as a career criminal because he may have a soft heart.  His position is definitely conflicted, but does he really deserve to be painted as a hero?  One who shoots at police officers and keeps stolen government money…

I can’t say this complaint in any way pulled me out of the tension of the film.  Throughout two gripping hours of excitement, Affleck had me on the edge of my seat.  In much the same way, Gone Baby Gone had me conflicted regarding its moral position, however, I still found it to be 2007’s best and most overlooked film.  The Town proves Affleck knows what he’s doing, and perhaps purposefully chooses to push audiences into debate.  If Christopher Nolan can cause us to debate about the nature of reality, why can’t Affleck cause debate over moral issues?

I feel like I’m leaping the track here, so as for how well put-together The Town is, let me just say an action-crime picture hasn’t been this well-done since Heat.  Sure, The Departed is a better film, but it didn’t have rousing shootouts like Affleck conjures up.  Not only are they well-done, but they also have purpose.  The film itself becomes so engrossing from the opening scene, that what follows only adds to the suspense.  I cared about Doug McCray, even if I realized I didn’t quite agree with his position.  I felt for Claire, the hostage who unknowingly enters into a relationship with a man who quietly understand her trauma (for obvious reasons).  Even the character of James, compelled to one-up any sort of  opposition resulting in a penchant for violence is desperate for Doug’s loyalty, and longs for a semblance of a family.  The actors are extraordinary here, playing versions of characters we’ve seen in many crime-thrillers, but they pull it off remarkably well, and add authentic touches in their performances—most notably Affleck, himself, and Jeremy Renner (fresh off his Oscar nomination for The Hurt Locker).  We are even presented with the determined FBI detective, Adam Frawley (Jon Hamm) tracking McCray’s clan, desperate for useful evidence against a party he already knows to be guilty.  Every one of the performances feels spot-on, as does the authenticity of the film.

I was so impressed with how believable The Town is executed.  From the robberies, to the chases, throughout the FBI investigation, and Affleck’s presentation of his hometown, I never felt as though the film became overblown, even through certain contrivances of the story and the enormity of the action sequences.  Looking back on the film, I realize the entire romantic relationship between Claire and Doug only serves to construct a movie plot, but I still remain so impressed with Affleck’s film.  In many ways it is both wholly original, and yet completely unoriginal, with direct comparisons made available to the aforementioned Heat.  Affleck’s presentation of the material sidesteps all comparisons that could be made, as it truly feels fresh and exciting, and is the best action film in quite some time.  Look for The Town to be a front-runner for award attention this year, and certainly don’t miss it.

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The Hurt Locker

January 21, 2010 By 1 Comment

Here is the sharp, intelligent action-thriller audiences have been craving and probably missed.  Why the studio opted to keep this one in limited release is beyond me.  “The Hurt Locker,” directed by Kathryn Bigelow (Point Break, Strange Days), could’ve broken the stigma on Iraq-war films and, with some solid marketing behind it, may have easily performed to the tune of at least $60 million, or a total similar to 2005’s “Jarhead.” Oh well, so much for living in the past.  The intensity of the film can still be taken on its own terms, and luckily “The Hurt Locker” has been making the rounds in most critics’ top-ten lists for the year, receiving a lot of Best Picture buzz and wins around awards’ circles.  And the credit is most certainly due.  This film is razor-sharp.

Jeremy Renner (28 Weeks Later) shows off some acting chops as Sgt. William James, the new team leader of a group of bomb diffusers operating in Iraq.  He has two other soldiers working with him to provide his cover fire as he dresses himself in a protective bombsuit to disarm the weapons.  His rogue-like ways soon test the other members’ trust in their squad-leader, and the risk of their already-dangerous job increases.

This film has a superior director in Kathryn Bigelow, whose amazing talent and feel for the material makes for a truly ambitious film.  Her movie captures much of the action ‘pow’ while keeping it in a realistic, intense, and intelligent environment.  The actors help, especially Jeremy Renner whose performance has received a good deal of attention.  While the film caught critics’ attention last year at film festivals, it is finally earning its keep this year.  Granted, the film didn’t get enough exposure or box office performance to find a Best Picture Oscar, but the Academy nominations are certain, and Bigelow might walk away with a much-deserved “Best Director” statue if she can fend off former hubby Jim Cameron and his “Avatar” opus.  “The Hurt Locker” is easily one of the best war films of the last decade, and I’m glad to see it finding the recognition it’s received this year. 

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