Scan and Pan
Saturday, May 24, 2008
I re-watched the first three Indiana Jones films. They're still great fun, and I find that my overall ratings of them haven't changed at all.
Raiders of the Lost Ark - 4.5 out of 5 stars
Indiana Jones and the Temple of Doom - 4 out of 5 stars
Indiana Jones and the Last Crusade - 3.5 out of 5 stars
That's right, I rate Temple of Doom higher than Last Crusade. Temple of Doom is the underrated film in the series. It's not quite as good as Raiders, but in many ways it's the truest to the spirit of the old movie serials that inspired the Indiana Jones series in the first place. Those serials were basically exploitation films, and Temple of Doom gets that in a big way.
Thursday, May 22, 2008
The Chronicles of Narnia: Prince Caspian
The four English children (Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell) who became rulers of Narnia in the previous film are called back after 1,300 years have passed there to aid Prince Caspian (Ben Barnes) in overthrowing his evil uncle, King Miraz (Sergio Castellitto), and restoring freedom to Narnia.
Director Andrew Adamson (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) once again proves capable of bringing the world of Narnia to life and his background in visual effects (he supervised the effects for Batman Forever and Batman & Robin) still serves him well. However, his sense of pacing frequently deserts him this time around, delivering a film that wanders aimlessly at times and has abrupt scene transitions at others. Even though it's two hours and twenty minutes long, it feels like it was intended to be a much longer film but was reduced to a shorter running time. Editor Sim Evan-Jones (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) certainly deserves a share of the blame for the pacing problems.
Adamson and co-writers Christopher Markus and Stephen McFeely (both of whom worked on the previous film) make more changes to Lewis' novel than the last film did. The rivalry between Peter and Caspian, and the romance between Susan and Caspian, are unnecessary additions. The spectacle overtakes the story just a bit here in trying to make a bigger film. Still, it's a solid adaptation overall.
Cinematographer Karl Walter Lindenlaub (Stargate, Independence Day), production designer Roger Ford (Babe, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe), and costume designer Isis Mussenden (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) do a good job of building on the visual look of the previous film. It's still not quite up to the standards set by The Lord of the Rings, though. The score by Harry Gregson-Williams (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) is suitable to the story. The visual effects are outstanding, and the CGI looks smoother and more realistic this time.
Henley, Keynes, Moseley, and Popplewell again bring the characters of the children to life quite convincingly. Barnes is slightly wooden as Caspian, but still adequate to the tasks at hand. Castellitto is convincing as the villain of the piece. I've always enjoyed the performances of actor Peter Dinklage (Threshold, Penelope), and it's no exception here where he plays Trumpkin the dwarf. Eddie Izzard is marvelous as the voice of Reepicheep the swashbuckling mouse. Liam Neeson's voice work as Aslan is again right on the money. Although not strictly faithful to the novel it's fun to see Tilda Swinton return as the White Witch for a cameo appearance.
The rest of the cast is solid across the board, including Pierfrancesco Favino as Miraz's military commander, Damián Alcázar as the scheming Lord Sopespian, Vincent Grass as Dr. Cornelius, Warwick Davis as Nikabrik the dwarf, and Ken Stott as the voice of Trufflehunter the badger.
The Chronicles of Narnia: Prince Caspian has more flaws than its predecessor, but it's still an above average fantasy film that children and fans of the novel should enjoy. The third film, The Chronicles of Narnia: The Voyage of the Dawn Treader, is in pre-production and may benefit from a different director in Michael Apted (Gorillas in the Mist, The World Is Not Enough).
[3.5 out of 5 stars]
The second film based on C.S. Lewis's series of novels isn't as smoothly realized as its predecessor, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, but it still offers a good amount of entertainment value.
The four English children (Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell) who became rulers of Narnia in the previous film are called back after 1,300 years have passed there to aid Prince Caspian (Ben Barnes) in overthrowing his evil uncle, King Miraz (Sergio Castellitto), and restoring freedom to Narnia.
Director Andrew Adamson (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) once again proves capable of bringing the world of Narnia to life and his background in visual effects (he supervised the effects for Batman Forever and Batman & Robin) still serves him well. However, his sense of pacing frequently deserts him this time around, delivering a film that wanders aimlessly at times and has abrupt scene transitions at others. Even though it's two hours and twenty minutes long, it feels like it was intended to be a much longer film but was reduced to a shorter running time. Editor Sim Evan-Jones (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) certainly deserves a share of the blame for the pacing problems.
Adamson and co-writers Christopher Markus and Stephen McFeely (both of whom worked on the previous film) make more changes to Lewis' novel than the last film did. The rivalry between Peter and Caspian, and the romance between Susan and Caspian, are unnecessary additions. The spectacle overtakes the story just a bit here in trying to make a bigger film. Still, it's a solid adaptation overall.
Cinematographer Karl Walter Lindenlaub (Stargate, Independence Day), production designer Roger Ford (Babe, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe), and costume designer Isis Mussenden (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) do a good job of building on the visual look of the previous film. It's still not quite up to the standards set by The Lord of the Rings, though. The score by Harry Gregson-Williams (Shrek, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe) is suitable to the story. The visual effects are outstanding, and the CGI looks smoother and more realistic this time.
Henley, Keynes, Moseley, and Popplewell again bring the characters of the children to life quite convincingly. Barnes is slightly wooden as Caspian, but still adequate to the tasks at hand. Castellitto is convincing as the villain of the piece. I've always enjoyed the performances of actor Peter Dinklage (Threshold, Penelope), and it's no exception here where he plays Trumpkin the dwarf. Eddie Izzard is marvelous as the voice of Reepicheep the swashbuckling mouse. Liam Neeson's voice work as Aslan is again right on the money. Although not strictly faithful to the novel it's fun to see Tilda Swinton return as the White Witch for a cameo appearance.
The rest of the cast is solid across the board, including Pierfrancesco Favino as Miraz's military commander, Damián Alcázar as the scheming Lord Sopespian, Vincent Grass as Dr. Cornelius, Warwick Davis as Nikabrik the dwarf, and Ken Stott as the voice of Trufflehunter the badger.
The Chronicles of Narnia: Prince Caspian has more flaws than its predecessor, but it's still an above average fantasy film that children and fans of the novel should enjoy. The third film, The Chronicles of Narnia: The Voyage of the Dawn Treader, is in pre-production and may benefit from a different director in Michael Apted (Gorillas in the Mist, The World Is Not Enough).
[3.5 out of 5 stars]
Thursday, May 08, 2008
Iron Man
Tony Stark (Robert Downey, Jr.) is a billionaire playboy and a brilliant engineer. While in Afghanistan to demonstrate his new weapons system to American military brass, including his old friend Lt. Colonel James "Rhodey" Rhodes (Terrence Howard), Stark is severely wounded during an attack on his military convoy and is taken hostage by the Ten Rings terrorist group and their leader Raza (Faran Tahir), who wants Stark to build a weapons system for him. Stark and fellow captive Dr. Yinsen (Shaun Toub), who creates a device to keep Stark alive despite his injuries, instead construct a metal battlesuit that Stark uses to stage an escape. Returning home to America, Stark finds himself changed by his experience as a captive and decides to stop manufacturing weapons. His decision puts him in conflict with his mentor and corporate second in command, Obadiah Stane (Jeff Bridges), who challenges Stark for control of the company and uses his battlesuit designs to become the villainous Iron Monger. Can Stark save the day as Iron Man?
Director Jon Favreau (Elf, Zathura) completely gets what this film and by extension the superhero genre are all about, injecting high flying action, a sense of humor without getting campy, and a respect for the genre into a thoroughly entertaining two hours of cinematic fun. It's a tightly constructed film that effortlessly succeeds on all intended levels. It doesn't break any new ground, but it's a satisfying and high quality production that ranks among the best of the superhero films. I was initially concerned when Favreau was hired as director because his previous films just seemed to lack a certain spark, but that spark is here in spades.
The screenplay by the writing teams of Mark Fergus & Hawk Ostby (Children of Men) and Art Marcum & Matt Holloway (Shadow of Fear), along with a final polish by the uncredited John August (Charlie and the Chocolate Factory, Corpse Bride) and some uncredited additional dialog by comic book writer Brian Michael Bendis, is top notch and faithful in tone to the source material. The script was more of a guide for the director and actors, with much of the dialog improvised on set, giving a much more naturalistic feel to many scenes.
Cinematographer Matthew Libatique (Requiem for a Dream, The Fountain) provides a sleek visual style as polished as Iron Man's armor, matched by the sets of production designer J. Michael Riva (Zathura, Spider-Man 3). The three versions of Iron Man armor were created by Stan Winston Studios, with the final form based on designs by artists Adi Granov and Phil Saunders. The score by Ramin Djawadi (Blade: Trinity, Mr. Brooks) is perfectly suited to the story, with just the right amount of bombast befitting of the film's title (the Black Sabbath song of the same name is used over the end credits). The visual effects by Industrial Light & Magic are up to their usual high standard of work, featuring seamless CGI.
Downey is absolutely perfect as Stark/Iron Man. The roguish charm, the ego, the determination, and the transformation into a hero...it's all here, and Downey's presence lends weight and believability not only to his role but to the film as a whole. While Bridges' performance isn't on that level, it's still a solid counterpoint to Downey's as Stark's mentor turned foe. Howard captures the personality of Rhodey. Gwyneth Paltrow has fun with the role of Pepper Potts, Stark's enamored personal assistant.
The rest of the cast is also well chosen for their roles, including Toub as Yinsen, Tahir as Raza, Leslie Bibb as a reporter Stark has a one night stand with, Bill Smitrovich as General Gabriel, Clark Gregg as SHIELD Agent Coulson, and director Favreau as Stark's bodyguard/driver Happy Hogan. Iron Man co-creator Stan Lee has a cameo as a benefit party guest mistaken for Hugh Hefner. Paul Bettany is another nice touch as the voice of JARVIS, an advanced artificial intelligence program that Stark uses (in the comics, Jarvis is a human butler).
The summer film season just got kicked off in a spectacular fashion. Whether you're a comic book fan or just an action movie fan, Iron Man will leave you completely satisfied and then some. Just be sure to stay past the end credits for a special bonus scene that sets up future developments in a fan-thrilling way.
[4.5 out of 5 stars]
The golden age of films derived from comic books continues with a production that immediately vaults into the category of the best superhero films.
Tony Stark (Robert Downey, Jr.) is a billionaire playboy and a brilliant engineer. While in Afghanistan to demonstrate his new weapons system to American military brass, including his old friend Lt. Colonel James "Rhodey" Rhodes (Terrence Howard), Stark is severely wounded during an attack on his military convoy and is taken hostage by the Ten Rings terrorist group and their leader Raza (Faran Tahir), who wants Stark to build a weapons system for him. Stark and fellow captive Dr. Yinsen (Shaun Toub), who creates a device to keep Stark alive despite his injuries, instead construct a metal battlesuit that Stark uses to stage an escape. Returning home to America, Stark finds himself changed by his experience as a captive and decides to stop manufacturing weapons. His decision puts him in conflict with his mentor and corporate second in command, Obadiah Stane (Jeff Bridges), who challenges Stark for control of the company and uses his battlesuit designs to become the villainous Iron Monger. Can Stark save the day as Iron Man?
Director Jon Favreau (Elf, Zathura) completely gets what this film and by extension the superhero genre are all about, injecting high flying action, a sense of humor without getting campy, and a respect for the genre into a thoroughly entertaining two hours of cinematic fun. It's a tightly constructed film that effortlessly succeeds on all intended levels. It doesn't break any new ground, but it's a satisfying and high quality production that ranks among the best of the superhero films. I was initially concerned when Favreau was hired as director because his previous films just seemed to lack a certain spark, but that spark is here in spades.
The screenplay by the writing teams of Mark Fergus & Hawk Ostby (Children of Men) and Art Marcum & Matt Holloway (Shadow of Fear), along with a final polish by the uncredited John August (Charlie and the Chocolate Factory, Corpse Bride) and some uncredited additional dialog by comic book writer Brian Michael Bendis, is top notch and faithful in tone to the source material. The script was more of a guide for the director and actors, with much of the dialog improvised on set, giving a much more naturalistic feel to many scenes.
Cinematographer Matthew Libatique (Requiem for a Dream, The Fountain) provides a sleek visual style as polished as Iron Man's armor, matched by the sets of production designer J. Michael Riva (Zathura, Spider-Man 3). The three versions of Iron Man armor were created by Stan Winston Studios, with the final form based on designs by artists Adi Granov and Phil Saunders. The score by Ramin Djawadi (Blade: Trinity, Mr. Brooks) is perfectly suited to the story, with just the right amount of bombast befitting of the film's title (the Black Sabbath song of the same name is used over the end credits). The visual effects by Industrial Light & Magic are up to their usual high standard of work, featuring seamless CGI.
Downey is absolutely perfect as Stark/Iron Man. The roguish charm, the ego, the determination, and the transformation into a hero...it's all here, and Downey's presence lends weight and believability not only to his role but to the film as a whole. While Bridges' performance isn't on that level, it's still a solid counterpoint to Downey's as Stark's mentor turned foe. Howard captures the personality of Rhodey. Gwyneth Paltrow has fun with the role of Pepper Potts, Stark's enamored personal assistant.
The rest of the cast is also well chosen for their roles, including Toub as Yinsen, Tahir as Raza, Leslie Bibb as a reporter Stark has a one night stand with, Bill Smitrovich as General Gabriel, Clark Gregg as SHIELD Agent Coulson, and director Favreau as Stark's bodyguard/driver Happy Hogan. Iron Man co-creator Stan Lee has a cameo as a benefit party guest mistaken for Hugh Hefner. Paul Bettany is another nice touch as the voice of JARVIS, an advanced artificial intelligence program that Stark uses (in the comics, Jarvis is a human butler).
The summer film season just got kicked off in a spectacular fashion. Whether you're a comic book fan or just an action movie fan, Iron Man will leave you completely satisfied and then some. Just be sure to stay past the end credits for a special bonus scene that sets up future developments in a fan-thrilling way.
[4.5 out of 5 stars]
