Film Review - THOR

By Odin’s beard, Thor shouldn’t have worked as well as it does. The movie’s based on an oddball cult fave comic-book property brimming with borderline silly quasi-mythological gobbledygook, set in a hallucinogenic world conjured up by artist Jack Kirby, Marvel’s legendary master of miraculous milieus. It’s been assembled by a team of five (!) credited writers and a classically-trained Shakespearean director untested in the modern blockbuster arena, operating under the dominant rule of a company notorious for compromising individual works in service of their larger film universe game plan. And the whole shebang hangs on the broad shoulders of a dashing Aussie unknown whose best-known screen credit was a five minute appearance in J.J. Abram’s Star Trek reboot.

Herculean odds be damned! Kenneth Branagh’s Thor is one of the more breezily enjoyable crowd-pleasers in quite some time; a boisterous, hearty slab of superhero movie-making with charm and whimsy to spare. Based on the Marvel Comics protagonist, who first sprung forth from a modest 13-page Stan Lee and Larry Lieber-scripted tale contained within the pages of  Journey into Mystery #83 waaaay back in 1962, Thor traces the intergalactic travels of a spoiled soon-to-be king who must learn a necessary lesson in humility. Or else.

The story opens in the far-off realm of Asgard, as the titular hero (Chris Hemsworth), the robust, but rash, son of King Odin (Anthony Hopkins), is preparing to accept his father’s place on the throne. However, during the coronation, the kingdom is infiltrated by a group of Frost Giants, denizens of the rocky, icy planet of Jotumheim, seeking a magical power source long ago captured during wartime by the Asgardians. After their attempt is thwarted, Thor seeks revenge – against the strict orders of his father – and, alongside his brother Loki (Tom Hiddleston) and small cadre of warrior pals, travels to the Frost Giant homeland to decimate the hulking blue beasties.

After the attack results in a bitter end to peace between the two worlds, Odin strips his arrogant son of his godly abilities and invincible hammer weapon, dubbed Mjolnir, and plunges him to Earth – New Mexico, to be more specific. Following a dusty desert automobile collision, he’s befriended by a pair of astrophysicists, Erik Selvig (a very game Stellan Skarsgaard) and the lovely Jane Foster (Natalie Portman – energetic in an underwritten role), who attempt to make sense of the lusty bearded being. While Thor, alongside his mortal helpers, searches for a means of returning home, Loki wrestles rulership of Asgard from Odin and puts a nefarious plan into action involving the Frost Giants and a towering, titanium, Gort-like goliath called the Destroyer. In order to face the impending threat, the once mighty warrior must prove himself worthy of lifting Mjolnir from its new earthly resting place and earn back his formidable superpowers.

With its multiple epic locations, sizable ensemble cast (there are over a dozen major speaking parts), Avengers tie-in material and weighty father-and-sons drama, Thor could have been a logy, ponderous mess of exposition and unwieldy storytelling. Yet somehow Branagh and his writers have massaged their bulky material into a high-spirited, briskly-paced adventure yarn – edited to near economic perfection by Paul Rubell - that never gets bogged down by unnecessary details or distractions (the scenes involving SHIELD actually feel organic to the story – something that’s couldn’t be said of last year’s Iron Man 2). The director’s ability to tap into the stirring humanity of his characters is always front-and-center. Thor is more engaging as a vehicle for character interactions, both humorous and intensely melodramatic, than for its special effects and action, which are serviceable enough but hardly earth-shaking (Though Asgard’s rainbow bridge, Bifrost, a dazzling visual creation, deserves special mention). Even if the script occasionally falters – Loki’s grand scheme doesn’t hold up to much scrutiny – and the film’s ambitions aren’t as lofty as some of the more noteworthy superhero films, Branagh establishes such a bouncy, disarming tone that it’s hard not to be swept up by his colourful exuberance.

As Thor, Chris Hemsworth is a true find. Commanding and sympathetic, with a sharp sense of comic timing and strong physicality, the star’s presence is as crucial to the film’s success as Robert Downey Jr. in the Iron Man pictures. Although he’s often surrounded by a number of cinema’s very best acting talents, Hemsworth’s charisma looms large in every scene. Hiddleston also impresses as the villainous Loki, whose own emotional journey is just as important as that of the brawny hero. The stealthy, black-maned Brit often seems to be channelling Iago, with his wry gift for verbal trickery, but displays little of that character's malicious glee. His Loki has a victimized underdog quality that earns him a spot in the pantheon of the genre’s most compelling supervillains.

Among the supporting cast, an unrecognizable and imposing Idris Elba, playing Heimdall, the guardian sentry of the portal connecting Asgard to Earth, is a stand-out. Despite being buried under a potentially giggle-inducing mountain of golden armour, the actor projects hard-as-iron noble grandeur. He makes us believe that even Thor or Loki would think twice about crossing him. Also notable is the always welcome Kat Dennings, as the astrophysics team’s intern Darcy, who delivers the lion’s share of the film’s biggest laughs.

Thor feels like a film made by people who genuinely cared about telling an entertaining story with endearing, interesting characters. Branagh and his crew respect the intelligence of the audience, and understand that CG and stunts can only carry an expensive comic-book movie like this so far. Considering the usual standards for blockbuster filmmaking, it’s a refreshing approach that, as far as I’m concerned, is pretty much akin to godliness.

3.5 out of 5

Epi-Cast: Episode 28 - "Of Speeches and Swans"

Here at the Epi-Cast, we pride ourselves on being punctual (and little else). While we may not hit new releases as soon as we'd like to, our podcasts are online mere hours after they're recorded. But snags occasionally appear on the horizon, and this episode hit more than a couple of them. Thus, some of the content in this episode isn't quite as fresh as we would have liked. However, there's plenty of goodness to hear and - thanks to this being award season - the majority of the films discussed can still be found in theatres. Hooray for small miracles and all that.

After partaking in holiday gluttony, Cam and Tom reconvene to hold court over a pair of prestige pictures, offering their own unique insights into both Black Swan and The King's Speech. As well, Cam praises The Fighter and damns Little Fockers, while Tom weighs in on The Social Network and The Other Guys. In Trailer Park Encounters, the duo argue over the mythological accuracy of Thor, make controversial, credibility-decimating statements regarding Terrence Malick's Tree of Life, fail to care an iotta about Pirates of the Caribbean: On Stranger Tides and almost come to blows over the Hugh Jackman fighting robot opus Real Steel. Seriously.

To download, simply right-click and save on the green episode title above. Then you are free to indulge in one of the wild web's most fantabulous mp3 treasures.

P.S. We are also available on iTunes! We kid you not! Simply do a store search for "Epi-Cast" and, LASTRADA-FELLINI!, you can subscribe to our feed and receive insta-dl's (Geek-speak for downloads). Oh, and we are the "Epi-Cast", not the "Epicast." Profound interpretations of the Bible will probably not be given here. (I added the "probably" because its impossible to predict Tom's oft-random thought patterns.)

P.P.S. Don't hesitate to leave a review on our iTunes page. As always, we sincerely welcome your glowing praise/scorching venom

The Bottom 5 Worst Films of 2010

While 2010 was not a strong year for great films, it was also disappointing when it came to so-bad-it-must-be-a-sadistic-joke films. Oh, there was no shortage of laziness on the part of the movie studios, but ultimately they produced more forgettable mediocrities than mind-melting atrocities. Whether this was a blessing or a curse is difficult to determine at this point.

With that said, in the interest of full disclosure, I must confess that a number of the year’s more supposedly offensive offerings eluded me. I never attended the reportedly unholy quartet of "family" films (Gulliver’s Travels, Yogi Bear, Marmaduke, Furry Vengeance) or some of the more critically-derided comedies aimed at the mainstream female demographic (Leap Year, Valentine’s Day, Sex in the City 2) or Twi-hards (Vampires Suck, Stan Helsing). I also never saw Skyline, though not for lack of trying. That sucker was out of theatres faster than a Yahoo Serious revival. (*Pause for laughter*)

At any rate, here are the 5 Worst Films I experienced, body and now broken soul, this past calendar year. May you avoid the horrors that will forever plague my once angelic dreams.

1) THE LAST AIRBENDER Early on, this seemed like it might be M. Night Shyamalan’s redemption picture; a big-budget career change-up to help erase The Happening and Lady in the Water from filmgoers’ minds. Instead, it set a new low for the water-treading director, massacred its beloved animated TV show source material, and became one of the most boring blockbusters of the modern era. Filled with unbearably clumsy kid acting, incompetent attempts at fictional world-building and hilariously awful dialogue (Commander Zhao: “Again, I offer my condolences on your nephew burning to death in that terrible accident.”), The Last Airbender is both a franchise killer and a momentously dumb embarrassment for all involved. By the time credits at long last rolled the only thing I wanted to see get bent was its once promising helmer.

2) JONAH HEX More fascinatingly inept than painful, this is one of the most intriguing cases of studio-mandated butchery to unspool in theatres since the bizarre Vin Diesel fever dream Babylon AD. Edited to absolute shreds, and running a mercifully scant 81 minutes (which includes about ten minutes of credits and a cheap-looking animated exposition sequence), this supernatural-tinged western comic-book adaptation doesn’t make a lick of sense. Visibly ashamed star Josh Brolin, hiding behind a phony make-up appliance, mumbles his way through an incoherent tale concerning magic glowing dragon balls, conversations with corpses and post-Civil War skullduggery, all while matching wits with a narcoleptic John Malkovich and romancin’ a vampin’ Megan Fox (Strangely unconvincing as a plucky prostitute). Although Jonah Hex may be able to reanimate the dead, I reckon ain’t no one gonna be reviving this sorry one-and-done cinematic property.

3) LITTLE FOCKERS The reason the first two entries in the Meet the Parents series worked was because they hinged on relatable hooks. Who hasn’t been anxious about meeting a romantic partner’s parents or mortified by their own family? Little Fockers, on the other hand, doesn’t even have a good premise. Ostensibly the film is about Robert De Niro’s stern father-in-law appointing put-upon Greg Focker (Ben Stiller) to be the brood’s God-Focker (Hardee-har-har! There’s a joke that never gets old!), but the film goes in multiple scattered - and laugh-free - directions at once, filling time with (unresolved) sub-plots featuring a snooty children’s school, a stalled housing development, Owen Wilson returning as Teri Polo’s character’s obsessed former flame, Greg moonlighting for a Viagra-like company, an impending birthday celebration, as well as a flirty pharmaceutical rep/functioning mental patient played by Jessica Alba. The result is an insultingly lazy, unfunny series of barely-connected “wacky” misunderstandings in which smart characters act, for no explainable reason, like clueless idiots. Little Fockers isn’t entertainment; it’s a transparent movie-star check-cashing party.

4) EDGE OF DARKNESS For fans of the once mighty Mad Mel, this film had oodles of promise. Not only was it directed by Casino Royale helmer Martin Campbell, but it boasted a script by The Departed writer William Monahan and support from reliable character actors Ray Winstone and Danny Huston Sadly, however, almost everyone has an off-day in this bloated, lethargic adaptation of the acclaimed BBC miniseries. Playing a grieving cop on the trail of those responsible for his daughter’s grisly murder, Gibson is solid, but the story is predicated on a mystery that isn’t much of a mystery. The culprit is glaringly obvious immediately after their moustache-twirling introduction, so we’re forced to sit in idle frustration, waiting for what feels like forever, for this sloppy movie to play catch-up. Ugly and tedious, Edge of Darkness is such a waste of resources that it borders on criminal.

5) THE TOURIST What was intended as a fun throwback to bubbly 1960s mistaken identity capers has been transformed - via the light-as-concrete touch of director Florian Henckel von Donnersmarck - into a monotonous case study of sleepwalking A-listers. Pretty as a postcard, but as exciting as a two-hour compilation of European wine commercials, the film disastrously mismatches Angelina Jolie with an uncomfortable-looking Johnny Depp in a snail-paced romantic thriller devoid of romance and, well, thrills. Bearing the not-so-proud distinction of possessing 2010’s slowest action sequence, as well as the most maddeningly preposterous twist ending, The Tourist is more putrid than the Venetian canals on a scorching hot summer day.

Dishonourable Mentions: COP OUT, A NIGHTMARE ON ELM STREET, LEGION, FROM PARIS WITH LOVE, TWILIGHT SAGA: ECLIPSE

The Top 10 Best Films of 2010

2010 will not be remembered as a great year in cinema. While there were a number of diamonds in the rough - many included on this list, obviously - the year felt noticeably overstuffed with uninspired retreads, remakes, sequels, , 80s nostalgia, slavish adaptations and calculated attempts at franchise-building (Hello Prince of Persia! What's goin' on, Tron: Legacy?). Frankly, there wasn't a great deal to get really excited about - especially in the first dire 8 months. However, a handful of releases stood out from the rest, offering hope that magic could still be found in a darkened room on a glowing screen. The ten films listed below, and the honourable runner-ups, each, in their own individual way, managed to leave a permanent mark and loom large over the competition. If you haven't yet seen them, I recommend you add them to your list.

1) 127 HOURS Forget 3D, director Danny Boyle’s vigorous portrayal of climber Aron Ralston’s traumatic ordeal in the Utah canyons was easily 2010’s most immersive cinematic experience. Utilizing almost every technique in his very distinctive bag of tricks, the Oscar-winning director created a gruelling, sweaty, life-affirming action film in which the lead character rarely moves. With his right hand pinned down by an errant boulder, Ralston (a magnetic James Franco, almost invisible behind his character’s stubble, grimy skin and weary eyes) battles valiantly for not only survival but redemption; facing down the demons of his past as he tirelessly chips away, day after day. Boyle places us in that canyon right next to him, experiencing every ache, moment of weakness, bout of unbearable thirst and - when desperation kicks in - agonizing cut. Though 127 Hours mercilessly runs you through the emotional gamut, the overwhelming sensation of catharsis waiting at journey’s end is profound and intense – this film doesn’t just reward the senses, it rewards the soul.

2) INCEPTION If there was any doubt left after The Dark Knight that Christopher Nolan was the premier master of intelligent, bold blockbuster filmmaking, Inception cements the fact. As Leonardo DiCaprio (a doppelganger for the auteur, with his slicked-back hair and suave suits) and his crack team of high-tech corporate con-men navigate the subconscious of mourning energy mogul Cillian Murphy, we’re content to let the director guide us through the tale, eager to witness each new grand sight and original idea. Unlike many of his contemporaries, Nolan respects the audience and the act of viewing cinema and, like a true showman, creates enthralling works of large scale high-wire entertainment that reward the thinking film-goer and the adrenaline junkie alike. In combining his fascination with psychoanalysis, science fiction mind-benders and the James Bond catalogue, he’s crafted his most ambitious and engrossing work to date; the rare studio event picture that knows that smart and cool often go hand-in-hand.

3) THE FIGHTER Great sports films understand that dramatic heft comes from the rich personalities involved, not the game itself, and David O. Russell’s electric biopic of welterweight champion “Irish” Mickey Ward (portrayed with understated modesty by Mark Wahlberg) is bursting at the seams with fascinating characters. While Christian Bale – giving a career best performance as Ward’s crack addicted half-brother and trainer – and ferocious family matriarch Melissa Leo are the obvious stand-outs, The Fighter gives even the tiniest bit players juicy material to bite into. The result is a scrappy, authentic and honest boxing picture that holds us firmly in its grasp until the final victory bell rings out.

4) WINTER’S BONE Bleak and sombre, Debra Granik’s breakthrough neo-noir sleeper creeps up on you like an icy draft from a cracked window. Set in a desolate, moody Ozarks mountain town overrun by poverty and crystal meth, Winter’s Bone follows an intrepid teenager as she embarks on a perilous quest to track down her father, who has jumped bail and put the family farm in jeopardy. Headlined by confident, strong-willed Jennifer Lawrence and a fearsome John Hawkes - who commands your attention in every scene with his gripping, tragedy-soaked turn as the girl’s criminal uncle – Granik’s captivating film sucks you into its wounded, ominous world, where a single misspoken word can lead to a sudden burst of violence and grim secrets lurk behind every battered door and cold, weathered face.

5) BLACK SWAN On paper, a psychological horror film set in the world of ballet seemed like an odd choice for Darren Aronofky, the art-house auteur behind intriguing works like The Wrestler and The Fountain. In practice, however, Black Swan is a mesmerizing and visceral continuation of the director’s many stylistic obsessions and narrative themes; a film which doesn’t so much capture insanity as plunge you into its gaping abyss. As we sit in uneasy silence, watching driven dancer Nina (a fearless Natalie Portman) psychologically splinter while attempting to tap into the duality of her lead Swan Lake role, the helmer gleefully jolts us with unforgettable scenes of shocking body horror and disturbing surrealism. By the time the astonishing culmination of Nina’s madness occurs we’re so completely under the spell of Aronofsky’s warped vision that it’s impossible to not hunger for an encore.

6) THE SOCIAL NETWORK Although the notion of a Facebook movie seemed ridiculous when it was first announced, David Fincher’s engrossing account of the behind-the-scenes trials and tribulations surrounding the juggernaut social networking site proved to be anything but. Fiercely clever and observant, with a crackling script by Aaron Sorkin, the film assembles an exceptionally compelling group of fully-rendered personalities – flawlessly inhabited by ace ensemble Jesse Eisenberg, Andrew Garfield, Justin Timberlake and Armie Hammer - and watches intently as they bounces off one another. The ensuing fireworks are fast, hypnotic and frequently hilarious, touching upon a number of universal truths and elevating the material far beyond its trendy roots.

7) HOW TO TRAIN YOUR DRAGON After spending more than a decade churning out mediocre animated product that favoured A-list voice stunt-casting and pop-culture references over strong storytelling, Dreamworks finally hit gold with this crowd-pleasing adaptation of Cressida Cowell’s best-selling children’s novel. Lovingly assembled by former Disney talents Dean DeBlois and Chris Sanders, How to Train Your Dragon soars to the same exhilarating heights as its lovable title character, Toothless, presenting invigorating flying sequences, thrilling action and a genuinely touching central friendship – all set to a John Powell’s pulse-quickening score. A dazzling treat for movie-goers of any age, it’s a film that deserves to be ranked amongst the very best cinematic portrayals of kids and their amazing pets.

8) KICK-ASS Matthew Vaughn’s uncompromising, balls-to-the-wall descent into superhero-driven lunacy was one of 2010’s most unexpected treats. Revelling in the glorious excesses of author Mark Millar’s inferior comic-book series, Vaughn and co-writer Jane Goldman fashioned a comic-book origin tale that blazed with punk rock spirit and snarling attitude. Frequently misinterpreted as a failed attempt at a real world take on masked heroes, the film is, rather, a wry examination and celebration of the superhero genre, with Aaron Johnson’s idealistic masked avenger violently learning the rules of his own fictional universe. Featuring a star-making performance by Chloe Moretz as the purple-wigged, death-dealing crusader Hit Girl and a batty and disarmingly warm turn by an Adam West-channelling Nicolas Cage, Kick-Ass is a startling blast of blood-soaked irreverence that never dares pulls a single punch.

9) THE KIDS ARE ALL RIGHT One of the funniest films released in 2010, this Sundance fave written and directed by Lisa Cholodenko was especially notable for producing the year’s most memorable on-screen romantic couple in Annette Bening and Julianne Moore. Cast as long-term lovers raising two teenagers (Mia Wasikowska and Josh Hutcherson), the two actresses each give powerhouse performances and create a wholly believable and endearing movie relationship. Their union isn’t Hollywood perfect; there are huge bumps along the way – especially when formerly anonymous sperm-donating interloper Paul (Mark Ruffalo) arrives on the scene – but Cholodenko’s ultra-sharp writing sidesteps clichés and allows their bond to transform and adapt in frank, absorbing ways. More than just all right, this is a damn engaging film, teaming with witty dialogue and charming characters, which creates such a friendly, inviting atmosphere that we don’t really want to have to leave.

10) RABBIT HOLE Making movies about couples in grief can be an extremely messy business. There’s a tendency to depict one partner as being more sympathetic than the other, or to simplify their emotional processes. Director John Cameron Mitchell and screenwriter David Lindsay-Abaire (adapting his own stage play) get it just perfect. Starring Nicole Kidman and Aaron Eckhart as a married couple shattered by the untimely death of their young son, the film tackles its complex adult subject matter with humanity and quiet sympathy. Refusing to take sides, it offers us a window into both protagonists’ heads, revealing both the strengths and limitations of their contrasting approaches to existing day-to-day. Backed by a solid supporting cast which includes Dianne Wiest, Sandra Oh and Miles Teller, Rabbit Hole is quiet, raw and often sad, but never loses hope that there’s something better waiting just around the corner.

Honourable mentions: EXIT THROUGH THE GIFT SHOP, WINNEBAGO MAN, TRUE GRIT, THE GIRL WITH THE DRAGON TATTOO, THE KING’S SPEECH, TOY STORY 3.

Film Review - THE TOURIST

The Tourist is a light-hearted romantic spy romp with lead feet and a head full of rocks. That it stars two of Hollywood’s most sexy and beloved movie stars and is co-written and directed by Florian Henckel von Donnersmarck, the Oscar-winning director of 2006’s The Lives of Others (and the filmmaker with the best chance of one day having a Bond villain named after him), only compounds the frustrations of slogging through its paced-like-congealed-syrup 103-minite run-time. These people are more than capable of creating great audience-pleasing work! Why are they wasting their time and ours on a project that, more often than not, resembles a particularly tedious perfume commercial?

I imagine the chance to shoot in Venice was a significant part of the draw. The ancient canals and architecture of the world’s most romantic city look gorgeous on-screen, and von Donnersmarck lingers seductively on each and every charming location. As a travelogue, The Tourist ain’t half-bad. It’s glossy and lovingly shot by cinematographer John Seale (The Talented Mr. Ripley, The English Patient) - a man who knows how to mine visual majesty from foreign locations. Pity, then, that nothing remotely interesting happens in front of the magnificent backdrops.

Inspired by bubbly Hitchcock thrillers such as To Catch a Thief and North by Northwest, and 60s-era star power-driven escapades like Stanley Donen’s Charade, The Tourist casts Angelina Jolie and Johnny Depp as romantic opposites who find themselves on the run in Venice from generic movie gangsters and the law. Jolie’s Elise, a mystery woman being tailed (and constantly ogled) by an Interpol financial crimes team led by Paul Bettany, picks up unassuming math teacher Frank (Depp) on a train headed for Venice. She’s been instructed by her shadowy criminal lover to find a man bearing similar features to use as a decoy. However, after seductively luring the bumbling Frank to a luxurious hotel sparks begin to fly between the two. Or so we’re supposed to believe.

Certainly Depp and Jolie, individually, have undeniable chemistry with the camera, but together they feel awkward and cold; like two detached alien life-forms attempting to mimic love scenes from more successful movies. Fine, if the film was a globe-trotting remake of Invasion of the Body Snatchers, but deadly for a picture whose main selling point is the promise of cheerful romantic adventures. While Jolie relies on her come-hither stares, breathy delivery and bordering-on-X-rated body language, Depp plays his character like a stuffy, clumsy bore who seems like he would far rather peruse dusty old volumes than carry on a conversation. While we can buy her duping this poor sap, there’s nary a moment when their alleged mutual attraction translates to the audience. They also aren't done any favours by the hopeless dialogue which lacks any of the necessary zip or wit.

With the love story barely even operating on autopilot, there’s no strong central dramatic pulse to hold our attention during the film’s convoluted espionage hijinx. The classics which inspired this picture knew the crime thriller stuff was just a means of bringing together the attractive leads and rarely allowed the behind-the-scenes power players an opportunity to take centre stage. The fun came from watching the plucky protagonists weave together the ludicrously complex plot strands on their own. In The Tourist, we spend an exhausting amount of time with Paul Bettany’s team as they incompetently plan, plot and scheme. Bettany is a great actor, and, in a perfect world, would be playing the Depp part, but he’s saddled with a dull character whose only job is to explain the plot to the audience and tie up loose ends. The only time he seems to be having any fun is when he’s sparring with a lively Timothy Dalton, playing his hard-ass superior, in a couple all-too-short scenes.

The general sense of lethargy carries over to the film’s action set-pieces as well. There is a chase scene featuring two tied-together water crafts that looks great, but lacks any thrills as it is – in keeping with the rest of the movie - arguably the slowest boat chase ever committed to film. The vehicles don’t actually appear to accelerate past 5 miles per hour. Slightly more energetic is a rooftop pursuit involving a bare-footed Depp and two gun-toting assailants, which cheerfully bends logic (Depp’s feet must be made of adamantium) but doesn’t feel like the showstopper it was intended to be. The character is such an aloof cipher that all emotion is drained from the scene. It’s almost impossible to care if he’s caught or not.

So little of the picture works that it’s kind of amazing. Even the shocking last minute twist is gratingly moronic, and actually worsens the experience of having sat through the whole sluggish affair. This is a film that needed to be faster, sharper and more attentive to the demands of its genre, or at least so hilariously awful that one could enjoy it on an ironic level. Instead, it’s flat and boring; a forgettable movie aimed at the masses with next to nothing to offer. The Tourist is in desperate need of a map and better directions.

1.5 out of 5

Flm Review - TRON: LEGACY

It will come as a surprise to precious few that Tron: Legacy director Joseph Kosinski has an extensive background in architecture. A mere glimpse at the expansive blackened cyber-city known as the Grid reveals an almost fanatical attention to detail. Thickly populated with intricately designed jagged towers, sleek, shiny platforms, glass-walled gladiator arenas and cavernous hallways, Kosinski and his team create an almost oppressive sense of machine-tooled exactitude. Even the smaller interiors are gorgeous. Take one step into Jeff Bridges’ character Kevin Flynn’s abode and you’ll bear witness to the most charmingly antiseptic futuristic Zen palace this side of the Matrix. And that’s just the sets, never mind the fantastic-looking light cycles, planes and 4-wheel runners. Forget Xzibit, if I ever need my room or ride pimped, I’m calling Kosinski and his crew of design dynamos.

Indeed, as a honkin’ piece of big-with-a-capital-B blockbuster filmmaking, Tron: Legacy sure is mighty pretty to look at. So persuasive are the picture’s eye-popping visuals and glossy production work that we almost don’t notice that most of the inspiration seems to have stopped at the design stage. Like Avatar, this is another hyper-costly blast of musty storytelling gussied up in all the shiniest CG bows and ribbons.

Which, of course, isn’t to imply that Tron: Legacy is devoid of fun. The first hour of the film plays like a truncated remake of the original 1982 cult hit, full of disc battles featuring daredevil choreography and a multi-layer light cycle race that amps up the velocity and danger factor. There are also nifty moments involving a quartet of simultaneous-stepping babe-bots in fetish gear and a virtual saloon overseen by a foaming-at-the-mouth Michael Sheen, playing an underground contact with all the subtlety of Willy Wonka on trucker speed.

Unfortunately. none of these highlights really play a prominent role in the by-the-numbers main storyline, which follows rich whiz-kid Sam Flynn (Garrett Hedlund), who has been on his own since his father vanished off the face of the earth in 1989. Now residing in a storage container with his camera-savvy dog, Sam lives off his shares from ENCOM, the tech firm father Flynn once worked for, conducting vigilante-style annual sabotage pranks on the heartless company. He’s basically Bruce Wayne without the motivation to accomplish much beyond irritating boring old dudes (and a nerdified Cillian Murphy) in business suits.

Things take a turn for the technological, however, when Alan Bradley (Bruce Boxleitner), Flynn Sr.’s old Grid buddy, tells Sam that a beeper call has been made from Kevin’s dusty old office at Flynn’s Arcade. After all-too-easily finding the top secret subterranean lair (Where “Sweet Dreams” apparently plays on a never-ending loop), Sam is zapped via laser beam into the Grid, which is now ruled with a silicon fist by Clu, a Polar Express-ian young doppelganger of dear ol’ dad. Sentenced to partake in deadly games against warrior programs in futuristic motorcycle gear, Sam is rescued by wide-eyed ass-kicker Quorra (Olivia Wilde – officially replacing Speed Racer’s Christina Ricci as the fantasy girl for anime “enthusiasts” everywhere). She’s been sent by her creator – *drum roll* – Kevin Flynn, who decided eons ago that the best way to combat Clu was to just hang out, man. Now a grizzled cyber-hippie, Flynn Sr. is much sought by the sinister digital twin for his light disc, which contains every secret necessary for Grid – and perhaps world – domination.

While there’s nothing inherently wrong with wrapping high concept ideas around a tried-and-true formula, Tron: Legacy too often feels like it’s following a checklist. The story doesn’t flow so much as leap mechanically from one beat to the next. It’s stated early on that, to return home, Sam et al. must reach a portal on the other side of the Grid. Since the portal is apparently only open for a short span of time, why is there no sense of rising tension as our heroes race bravely towards it? There’s a classic ticking clock set-up, but Kosinski and writers Edward Kitsis and Adam Horowitz fail to exploit it. Similarly, Sam has to break into Clu’s headquarters to retrieve a valuable item. To say that he meets very little opposition in his mission would be an understatement. Like too much of the film, it feels like the filmmakers are going through the motions, hitting the required genre tropes without comprehending why they’re crucial to building pace and excitement.

The slapdash screenwriting also extends to two of the film’s plot twists. There is a key character reveal, and a change of heart, which is dealt with so haphazardly that it’s positively baffling. Although Tron fans steeped in the mythology of the property may be able to fill in the gaps, non-converts are likely to greet the intended crowd-pleasing moment with ambivalent shrugs. Also frustrating is Kosinski’s bungling of Kevin Flynn’s immense scientific breakthrough, which has led to the creation of new life-forms called ISOs. They’ll revolutionize science, religion and medicine, he declares. An intriguing concept, for sure, but no one involved with the script deemed it necessary to develop this idea much beyond a single line of dialogue.

These story deficiencies could have been softened had the actors been given three-dimensional characters or intelligent dialogue. Jeff Bridges is characteristically warm and charming - and drops a few amusing Lebowski-isms – but isn’t given a whole lot to do beyond act reluctant, provide exposition and share some emotion-free father/son moments with Hedlund. His motion-captured performance as Clu is serviceable but lacks spark – the character is sunk by spotty animation and an utter absence of villainous charisma. Hedlund and Wilde manage to mine what they can from their clichéd roles, but ultimately fail to make much of an impact. They do, however, get the privilege of engaging in perhaps the most groan-inducing romantic exchange since George Lucas waxed poetic about sand.

By the time the Star Wars-inspired climax and dramatic denouement arrive, the picture feels like its spinning its wheels creatively – not a good sign for a supposed franchise re-starter. It is a mite frustrating to see hundreds of millions of dollars worth of dazzling art direction, costumes and computer programming working overtime to compensate for a screenplay that could have been easily (and inexpensively) retooled to provide a sturdy backbone for the impressive fireworks. Tron: Legacy is harmless and forgettable, a 1.0 blockbuster trying to operate in a 2.0 world.

2.5 out of 5

P.S.: How to Train Your Dragon remains unbeaten as the best 3D presentation of 2010. Legacy's muted use of the technology is a true disappointment and something of an insult when taking into account the $4 ticket surcharge.

Film Review - BLACK SWAN

Black Swan is such an overpowering cinematic experience that attempting to recall it after the fact is akin to trying to remember the specifics of a bravura on-stage performance. Rather than a coherent whole, we’re left with a series of fractured images and sensations of hypnotic splendour connected to one another by a relentless jolt of adrenalized awe. To simply call it a movie is missing the point; the joy of Darren Aronofsky’s twisted tribute to Swan Lake is that it is so engrossing and spontaneous that we feel as if we’re the opening night audience to a thrillingly dangerous new stage show. We don’t know what to expect next but the crackling energy in the room tells us it’s going to be unforgettable.

Occupying centre stage is Natalie Portman, playing the role of Nina Sayers, a gifted young ballerina whose fierce determination is counterbalanced by a nearly stifling innocence. Technically, she’s a worthy candidate to win the lead in her company’s eagerly anticipated new adaptation of Tchaikovsky’s Swan Lake, but lusty director Thomas Leroy (Vincent Cassel, reliably skeezy) has some misgivings. While Nina may be ideal to play the White Swan, he’s unsure she has the seductive abandon to tackle the Black Swan. Perhaps if she was a little more like mysterious new arrival Lily (Mila Kunis), the rough-around-the-edges dancer with a dangerous erotic streak and a penchant for recklessness and moody black attire...

But wait, does Lily really exist or is she merely a figment of Nina’s increasingly fevered psyche? The answer remains elusive to the troubled dancer even after she wins the coveted job. As she begins her rigorous, unconventional training under the demanding Leroy, and her obsessive mother Erica (a scary Barbara Hershey) battles to maintain control over her life, Nina becomes more and more consumed - both physically and mentally - by Lily and her starmaking role. Soon, she's spiralling into the unknown and undergoing the early effects of a metamorphosis. What could be waiting for Nina on the other side of this transformation? And why won’t those strange scarlet scratches marking her back ever heal?

Aronofsky, an established master at balancing disparate story elements, has fashioned himself a gritty and unsettling homage to the paranoia-soaked horror classics of the late 60s and 70s. Although the presentation is intentionally grimier (cinematography Matthew Libatique’s intentionally unflattering, grainy camera work is the perfect mixture of ugliness and beauty), Black Swan could just as easily be a great lost film from Roman Polanski’s heyday. And, like its brilliant influences, this picture will consistently make you cringe and shift uneasily in your seat. No one mines involuntary shudders from scenes involving hangnails and fingernail trimming quite like Aronofsky.

Yet, despite its numerous cinematic references, Black Swan is wholly an Aronofsky film, continuing many of the themes and visual quirks of his previous efforts. The director adores doggedly determined protagonists who, like auteurs, delve headlong into their passions in order to create their ideal world. Similar to The Wrestler’s Randy the Ram, Nina is driven by the unflagging desire to achieve glory on the theatrical stage. Aronofsky frequently shoots her just as he did Rourke’s character, from behind with a handheld camera, as she navigates her way throughout the ballet company’s rehearsal space and lower bowels. There’s an immersive fly on the wall quality to the picture that captures the day-to-day sweat and toil of the industry. Black Swan also boasts a strong element of body horror when depicting Nina's physical makeover. The spreading raw back scratches bear a distinct resemblance to the festering injection wounds from Requiem from a Dream – gradually deteriorating external injuries mirroring intensifying internal turmoil.

Aronofsky may be the true star of Black Swan but Natalie Portman runs a very close second. Gaunt and vulnerable, with a toned professional’s physique, the actress ventures into previously unexplored territory, playing a naive shrinking violet at the mercy of the dominant personalities around her. Not only utterly convincing as a career dancer, Portman commands the screen every second she’s on-screen (Which is roughly 90% of the film). Certainly her visceral and nightmarish descents into madness are the most attention-grabbing, but it’s her charged interactions with the supporting cast that are the real showstoppers. There’s one scene, wherein Cassel teaches her character about seduction, which is as icky-sexy mesmerizing as Naomi Watt’s big audition in Mulholland Drive. It also bears mentioning that Portman and Hershey form the most destructively dysfunctional mother/daughter combo since Carrie. Although I’m not yet sure I’d call Portman’s work here the best performance by an actress this year, it’s undoubtedly the bravest.

If Black Swan has a shortcoming, it’s that Aronofsky’s lack of subtlety with the material has a tendency to dull the tragedy of Nina’s arc. Like ballet or theatre, the emotions are broad, sweeping and melodramatic – a necessity in those venues for communicating with attendees seated both near and far – but as a film it tends to hold us at a cool distance. We’re invested in Nina’s journey, but never quite locked in on a deeper personal level.

However, the picture is so confidently well-crafted, and ends on such a triumphant, spine-tingling high note, that it’s extremely easy to pardon the director for his slight shortfalls. It’s a miracle worth celebrating that a film as unabashedly weird and risky as Black Swan managed to come to fruition in the current filmmaking climate. Ultimately, Aronofksy’s latest looms large over the majority of 2010’s cinematic offerings and is worthy of not only your attendance but a standing ovation as well.

4.5 out of 5

Film Review - THE CHRONICLES OF NARNIA - THE VOYAGE OF THE DAWN TREADER

As I sat watching The Voyage of the Dawn Treader, the latest chapter in the spotty Chronicles of Narnia film franchise and the first produced by 20th Century Fox, I began to wonder why I felt no sense of emotional attachment to the lush, miraculous world on-screen. After all, with its emerald green hills, towering castles and cliff faces, dreamy, tranquil blue seas and colorful population of imaginative creatures, it should be the stuff of daydreams; a gorgeous, sprawling cinematic vista to escape for a few hours. Yet, instead everything feels flat and remote, an amalgamation of visual ideas from better fantasy films with more exciting tales to tell.

The fault certainly doesn’t lie in the source material – C.S. Lewis’ beloved universe has no shortage of sparkling invention – but rather the increasingly problematic disconnect between the episodic films. I’ve made two previous pilgrimages to Narnia, with the previous Walt Disney-produced films The Lion, the Witch and the Wardrobe in 2005 and Prince Caspian in 2008, and have yet to be given a cohesive layout of the land. Unlike The Lord of the Rings or the Harry Potter series, there’s been no attempt to establish a strong, unified cinematic Narnia. We jump haphazardly from new location to new location without a strong idea of where we’re going or how one place relates to another. Why is the brave King Caspian (Ben Barnes) sailing the open ocean at the beginning of Voyage of the Dawn Treader? Doesn’t he have a kingdom to run back, um, somewhere or other?

While I’m sure hardcore Narnia fans have no problem filling in the gaps, the rest of us are left confused and disoriented, treading water like Edmund and not-so-little-anymore Lucy Pevensie (Skandar Keynes and Georgie Henley) near the beginning of Dawn Treader. Pulled back into the magical land through a painting, the two plucky WWII-era teenage Brits are reunited with Caspian and swashbuckling mouse Reepicheep (now voiced by Simon Pegg, taking over from Eddie Izzard) and embark on a perilous ocean quest to collect seven enchanted swords which have the power to stop a sinister green mist that has been consuming Narnians. To complicate matters, the two siblings have accidentally brought along their snivelling, aptly named cousin Eustace Scrubb (Will Poulter), who has never met anyone (audience members included) he can't aggravate.

Unlike the pleasant first entry and the dire second, Dawn Treader seems more intent on pleasing the young folk in the crowd, maintaining a determined, brisk pace that focuses on special effects and action and often leaves character and story development by the wayside. Each of our three Earthly protagonists are given a single trait to conquer (Lucy wants to be beautiful like her sister Susan (Anna Popplewell), Edmund lacks confidence in his masculinity and Eustace needs to stop being a selfish twerp) and overcome them all too easily. Barnes’ Caspian – who has dropped the annoying accent from the last film – is more or less just along for the ride, occasionally required to swing a sword or provide exposition.

Dawn Treader’s script, by returning series scribes Christopher Markus and Stephen McFeely, is chock-a-block full of allegedly important events and characters that are ultimately glossed over in the service of holding attention spans. There are no less than three key figures who are introduced to great fanfare and then unceremoniously scuttled off-screen once they’ve delivered their key piece of dialogue. If you’re able to keep track of any names beyond those of the lead protagonists my (feathered) hat is off to you. Make no mistake, I’m not arguing in favor of the overindulgent bloat that dragged down Prince Caspian, but new director Michael Apted and editor Rick Shaine have gone too far in the opposite direction, stripping their movie of nuance and soul. This Narnia adventure is efficient and pretty, but not particularly engaging.

However, there are still a handful of wonders to behold. The introduction of a not-so-sinister fire-breathing dragon to the story manages, improbably, to inspire a few moments of gentle warmth while Aslan (voiced by Liam Neeson), the franchise’s trusty Jesus Lion, has a moving third act scene holding court on a gorgeous white sand island. There’s also a thrilling sea battle against a ravenous serpent beast and nice little bits featuring a living star (Laura Brent, a breathtaking spectre of otherworldly beauty), as well as transparent mermaids (who resemble more fully-formed relatives of the water tentacle from The Abyss) that splash and dive freely alongside the Dawn Treader. These dazzling moments operate as very welcome diversions in a feature film that too often feels sadly light on amazement.

Despite being three films in, this series just isn’t hitting the crucial audience-pleasing notes required to warrant its continued existence. Although The Voyage of the Dawn Treader is perfectly inoffensive – and will provide suitably harmless entertainment for kids with free time over the holidays – it lacks the sweep, majesty and overpowering sense of awe necessary to reach the hearts and imagination of its audience. During the film’s closing it’s implied the time has come for Lucy and Edmund to leave Narnia behind and move on with their lives. The franchise’s filmmakers should probably consider following suit.

2.5 out of 5