Current Releases
CHARLOTTE’S WEB Charlotte’s Web is the new live-action treatment of E.B. White’s beloved children’s book, but there’s already been a dazzling screen version of this tale. No, I don’t mean the 1973 Hanna-Barbera animated take; instead, I refer to the 1995 feature Babe. OK, so it wasn’t based on White’s book, but with its story centering around a cute little pig learning about farm life, it shares the same sense of magic and wonderment (not to mention setting). This version of Charlotte’s Web is mostly faithful to its source material (though some expected — and tiresome — flatulence gags have been added), but because Gary Winick’s direction rarely rises above the level of competent, and because Babe has already perfected the talking-animal feat via its Oscar-winning effects, the end result is pleasant but not much more than that. As the voice of Charlotte, the spider who befriends Wilbur the pig and plots to save him from the slaughterhouse, Julia Roberts is suitably soothing, while Steve Buscemi provides the proper measure of ego and arrogance as Templeton. The supporting voice actors, including Oprah Winfrey as a goose and horse whisperer Robert Redford as a horse, tend to get lost in the occasional frenzy of the tale, which on screen works better in the more mature passages (e.g. Charlotte explaining the cycle of life to Wilbur) than those focusing on slapdash antics. **1/2
CHILDREN OF MEN No matter how closely I scoured each scene in Children of Men, I couldn’t find Charlton Heston lurking anywhere in the background. Yet a Heston cameo would have been apropos, given that this adaptation of P.D. James’ book harkens back to the cinema of the early 1970s, when Hollywood was hell-bent on churning out nightmarish visions of the future in such works as The Omega Man and Soylent Green (both starring Heston). Aided by spectacular cinematography and set design, director Alfonso Cuaron (Y Tu Mama Tambien, A Little Princess) creates a future world (the film is set in 2027) that is utterly believable and quite frightening, not least because it looks so much like our present-day world. The premise here is that women haven’t been able to get pregnant in nearly 20 years, meaning that humankind is on its way out. As a result, chaos is the order of the day, and only in London does there exist a pretense of a (barely) functional society. But when it’s revealed that an immigrant (Clare-Hope Ashitey) somehow finds herself carrying a child, it’s up to a working drone (Clive Owen in a forceful performance) to protect her from the various political factions that would exploit her for their own cynical means. The multi-tentacled storyline begs for a mini-series length, but armed with only a feature-film running time, Cuaron still manages to pack a lot of incident into this exciting tale of our world as one gargantuan war zone. ***1/2
DREAMGIRLS Jennifer Hudson couldn’t even make it to the top on American Idol, so what could she possibly bring to the big screen? If Dreamgirls is any indication, plenty. Delivering a knockout performance that all but dares the Academy to ignore her for a Best Supporting Actress nomination, Hudson is a revelation in the role of Effie, the lead singer for the R&B outfit the Dreams who’s relegated to backup vocals once savvy yet sleazy manager Curtis Taylor Jr. (Jamie Foxx) decides that the noticeably thinner Deena (Beyonce Knowles) would better help the Supremes-like group hit it big (the third member, well-played by Anika Noni Rose, is content to remain in backup mode). On the narrative level, this adaptation of the Broadway smash is only too happy to wallow in its show biz clichés, content to let other ingredients (the music, the acting) carry it along. Yet Hudson is so powerful that the film suffers whenever we’re left with just Beyonce or Foxx. Luckily, Eddie Murphy is on hand providing some prickly tension as fading star James “Early” Thunder, while writer-director Bill Condon stages the musical numbers for maximum impact. But it’s Hudson who owns Dreamgirls; her delivery of “And I Am Telling You I’m Not Going” is worth a standing ovation — or at least a recount on American Idol — all by itself. ***
ERAGON This draggy dragon yarn bored me silly, but I imagine it might appeal to folks who have never before seen a fantasy flick. Specifically, it might fill the bill for kids who have somehow managed to miss all the Star Wars and Lord of the Rings films (are there any?). The movie is based on the wildly popular book written by Christopher Paolini when he was a mere lad of 15, and if it’s faithful to its source material, then the lawsuit-happy George Lucas corporation has grounds to sue for plagiarism. Let’s see, a naive farmboy decides to take on an evil empire (more so after his harmless uncle is murdered by soldiers seeking the boy) with the help of a wisdom-spouting mentor and a devil-may-care maverick. Plus, he also has to rescue a beautiful princess from the clutches of an evil ruler and his supernaturally endowed enforcer. The key difference is that instead of a lightsaber, the lad comes equipped with his very own dragon — and there’s no Death Star in sight, just a deadly star in the form of lead Ed Speleers. As Eragon Skywalker, newcomer Speleers is about as charismatic as a comatose possum, and even capable actors like Jeremy Irons (as Brom Kenobi), Djimon Hounsou (as Ajihad Calrissian) and Robert Carlyle (as Darth Durza) are soundly defeated by the dreadful dialogue and indifferent pacing. *
LITTLE CHILDREN Based on Tom Perrotta’s novel, Todd Field’s richly textured drama offers a petri dish dissection of the residents of a Massachusetts suburb in which most of the adults’ lives are defined by the manner in which they relate to the kids who scamper around the margins of both their lives and the movie itself. Sarah Pierce (Kate Winslet) and Brad Adamson (Patrick Wilson) are both unhappily married stay-at-homes who engage in an adulterous tryst scheduled around outings to the pool and the park with their small fry. First, though, they have to navigate their way around the disapproving clucks of their neighborhood’s soccer moms, robo-parents whose familial devotion has stripped them of anything resembling a personality. And then there’s Ronnie McGorvey (Jackie Earle Haley), a convicted sex offender whose emergence in this quiet community understandably draws attention, though it also allows the other residents the opportunity to smooth over their own flaws. The entire cast is superb — as Ronnie’s blind date, Jane Adams is sensational in a role that would draw award attention were it not so brief — but it’s former ’70s child star Haley who’s the most memorable. His sexual predator is by turns loathsome and sympathetic — not unlike most of the “normal” characters in the film — and Haley is able to locate the humane within the inhuman. It’s a complex portrayal, perfectly suited to the weighty movie that shelters it. ***1/2
NIGHT AT THE MUSEUM This family film plays with fire by employing the services of three overexposed actors — Ben Stiller, Owen Wilson and Robin Williams (only Will Ferrell is missing) — and potentially allowing them to run rampant through an overstuffed fantasy yarn. Mercifully, though, Stiller is muted, Williams is similarly restrained, and Wilson … well, Wilson is still pretty annoying (two out of three ain’t bad). Stiller plays Larry Daley, the new night watchman at a museum where the exhibits come to life after the venue closes for the day. The benevolent Teddy Roosevelt (Williams) is helpful to have around, but Larry has his hands full evading Attila the Hun, dealing with a mischievous monkey, and settling squabbles between a miniature cowboy (Wilson) and an equally diminutive Roman commander (Steve Coogan). A clever premise (adapted from a children’s book) is hampered by lackluster scripting and directing, though Ricky Gervais provides some choice comic moments as the supercilious museum head. If nothing else, this should command the attention of kids who are already bored with their Christmas presents. **
NOTES ON A SCANDAL Judi Dench is so good at what she does that in recent years, she’s become something of a bore. Because she’s always cast as the no-nonsense matriarch with more brains and gumption than anyone else in the room, her career’s been in a depressing holding pattern. Notes On a Scandal doesn’t exactly find her breaking away from this mold, but because she’s given so many more nuances to explore, she’s able to excel via her finest work in quite some time. Cate Blanchett, not surrendering an inch of the screen to her formidable costar), plays Sheba Hart, a newly arrived instructor at the same British school where the humorless Barbara Covett (Dench) also teaches. Initially irked by the presence of this luminous newcomer, Barbara eventually becomes her confidante, imagining in her mind that their affection for each other might even run deeper than mere friendship. After Sheba foolishly starts an affair with a 15-year-old student (Andrew Simpson), Barbara feels betrayed, but also realizes that she now has a perfect instrument of blackmail at her disposal. Notes On a Scandal is little more than a lurid melodrama — one that could benefit from some late-inning twists, I might add — but Dench and Blanchett, slinging around juicy dialogue by scripter Patrick Marber (from Zoe Heller’s book), turn this into something more. Think of it as Masterpiece Theatre filtered through Days of Our Lives. ***
THE PAINTED VEIL Naomi Watts and Edward Norton are the leads in The Painted Veil, and the fact that they’re also credited as two of the film’s producers suggests that this adaptation of the 1925 Somerset Maugham novel might be little more than a vanity project squared. Instead, this tale of strangers in a strange land has been fashioned as a poignant love story, with its buried passions forcefully breaking the surface as the film rounds the bend toward its satisfying conclusion. Watts plays Kitty, a socialite who’s rushed into marrying Walter (Norton), a doctor who barely raises her pulse. After the couple move to Shanghai, Kitty has an affair with a fellow foreigner (Liev Schreiber); learning about this deception, Walter drags Kitty along with him to the desolate Chinese countryside, where he’s assigned to keep a cholera outbreak in check. Watts and Norton are so credible portraying spouses who grow to loathe the sight of each other that it’s genuinely exciting to watch as they eventually discover the small spark that allows them to build a real marriage out of the heretofore dying embers. There’s some Chinese political intrigue that rears its head every now and then, but the focus is clearly the love story. On that front, The Painted Veil will keep romantics content at least until Valentine’s Day. ***
PERFUME: THE STORY OF A MURDERER As chilly as Nova Scotia in December, Perfume draws its heat not from its cold-hearted plotline but from director Tom Tykwer’s passion for dressing up this tale with all manner of technical flourishes. Working from Patrick Suskind’s worldwide bestseller, Tykwer (Run Lola Run) examines the life of a serial killer in 18th century France, a mass murderer with a singular — and unique — obsession. Jean-Baptiste Grenouille (Ben Whishaw) is an orphaned peasant who possesses the world’s greatest olfactory mechanism, the ability to absorb and analyze each and every scent that exists on this planet. Eventually becoming obsessed with discovering the perfect scent, he starts murdering women in the belief that extracting their aroma will help him create this ultimate fragrance. Running overlong at 150 minutes, Perfume stalls during its final stages, culminating in a risible (and too-literal) finale that reminded me (though not in a good way) of similar setups in Shortbus. Yet Tykwer‘s startling stylistics tilt the film into the realm of pitch-black satire — as straightforward drama, this would doubtless be too much of a slog — and casting Dustin Hoffman and Alan Rickman in choice supporting roles doesn’t hurt, either. Unpleasant yet intriguing, Perfume isn’t exactly a breath of fresh air — it’s more like having smelling salts applied to one’s cinematic experience. ***
VOLVER Perhaps no performer gets lost in translation as much as Spain’s Penelope Cruz. In her American titles to date, she’s proven to be a big fat zero, yet return her to Spanish-speaking fare, and she reveals herself as a warm, witty and accomplished actress. That’s especially evident in Volver, the latest confection from writer-director Pedro Almodovar. So memorable as the troubled nun in Almodovar’s All About My Mother, Cruz is equally up to the task here; she portrays Raimunda, a headstrong woman who has her hands full managing the other females who inhabit her orbit. This would include her teenage daughter Paula (Yohana Cobo), who just killed the stepfather who was trying to rape her; Raimunda’s sister Sole (Lola Duenas), a plain-Jane counterpart who tries to keep up with her glamorous sibling’s whirlwind activities; Agustina (Blanca Portillo), a family friend trying to solve a mystery involving missing parents; and, most perplexing of all, Raimunda and Sole’s mother Irene (Carmen Maura), who keeps popping up to offer advice even though she’s been dead for several years. Almodovar’s in a playful mood here (no other living director works with splashy colors as effectively), yet there’s no mistaking the seriousness with which he takes the movie’s theme of empowerment through sisterhood. ***
OPENS FRIDAY, JANUARY 19:
THE HITCHER: Sean Bean, Sophia Bush.
LETTERS FROM IWO JIMA: Ken Watanabe, Kazunari Ninomiya.
PAN’S LABYRINTH: Sergi Lopez, Maribel Verdu.
This article appears in Jan 17-23, 2007.
