Title: Green Lantern (2011)
Cinema is such an interesting field. As cinephiles it is very easy to get caught up with the changing of a guard, that we become complacent, spoiled if you will, with high quality fare. So it should come to no surprise, that while not a horrendous effort, the big screen debut of "The Green Lantern" is seen as nothing more mediocre, annoying at best.
The pieces all seem to be in place, engaging lead (Ryan Reynolds, slightly checking back into his "Van Wilder" days here), super-powers (a ring that makes hard-light constructs), epic mythology (OA is right there, several times), big special effects set pieces (true the effects are rather lackluster, but still). The culprit at hand here is two-fold sadly; it lacks a menacing antagonist, and has no true threat to our hero, let alone the universe. Essentially, DC decided to take 15 steps back (see: years) in it's superhero effort, and hope that it could ride the wave of everything surrounding it. If you missed the reference before, I was pointing out that most DC efforts not including a gravely voiced half detective/half ninja, named after a nocturnal animal, usually see a main threat as an almost crashing plane or helicopter. This is 2011, even an 11 month old child would expect better. Then again this is an origin story in it's truest fashion, one that still believes that cribbing from Campbell's monomyth is neither trite or overdone. Beyond even the quibbles with narrative, the film finds many instances to stop itself in it's tracks. Literally, there are at least 4 different scenes that follow action beats, which threaten to derail the entire film. Yes, the marketing analysts decided that Blake Lively needed more screen time (apparently to wear a dress and or push-up bra), but she essentially has no purpose to be wedged into the already stuffy proceedings. A lot of that blame can be placed on the 5 screenwriters & director Martin Campbell. Campbell, has a string of successes making mainstream films more entertaining than they should in GoldenEye, Casino Royale (2006), Mask of Zorro and recently Edge of Darkness under. The transition to comic book sci-fi could easily be a detractor, though most of that works despite itself. Truth be told, many of the films faults are the same ones shared by another superhero venture from the '11 summer slot, THOR. The difference between the films is that THOR coasts along with it's performances, as well as a pervading aura of "cool". When we are spending time on OA, meeting a few of the Lantern Corps best, and being handed a lot of mythology, the film feels like something special, and if they manage to make a sequel with a few tweaks behind the scenes, it could be worth your money. It's difficult to say that, because you shouldn't have to slog through a so-so film to get to a great one. Most of those films find themselves dead in the water, as the detractors come forward, picking apart all their grievances. Only in extreme cases, mostly those that involve large large profit margins, does a "next" film get picked up.
For a completely different argument, I humbly submit Green Lantern: First Flight (2009) as exhibit B-Q. Clocking in at a slim 77 minutes, the animated feature from DCAU (DC Animated Universe), comes an origin story of Hal Jordan, that is funnier, more action packed, with more heart, and a talented cast that rivals that of it's Big Screen brethren. Sure it feels crammed as well, but at 30 minutes less than the live-action venture, that's forgivable.
Green Lantern (2011) feels like it's trying to build a foundation for a bigger world without giving much reason to care. There are a few hints, and references to a possible DC Universe, but unlike the current MARVEL fiasco (seriously, enough with S.H.E.I.L.D.), it's a name dropped here,a background shot there, and a total waste of Angela Bassett*.
All these ideas again brings me back to the statement of being spoiled. Green Lantern is a perfectly solid film, if it were made between 1997 - 2001. Take out out a feel braking moments, and there is a film that the "Fantastic Four" audience would eat up. As film-goers we are getting to a point where we expect more from even the most basic of Superhero films. We want to quake in our boots at the galactic threat. We want to cheer as our hero lays the beat down on whomever gets in their way. We want to laugh as the side-kick hops in at the last minute, apologizing for their tardiness. More than anything, we want to be engaged by the events upon the screen. We want to feel a connection to the characters, because they are endearing, because they are assholes, but mostly because the people behind the picture took a few moments to establish characters over cliches. It can only be hoped that moving forward, Super Hero films try to grow with the audience that is watching them. Otherwise I assure you, we'll end up with an Aquaman film, and that's when I'll hang up my hat.
** out of *****
*- Wikipedia Amanda Waller to see how important a character she actually is in the DC Universe, as well as her portrayal in other media.
Showing posts with label Ham-fisted Acting. Show all posts
Showing posts with label Ham-fisted Acting. Show all posts
Tuesday, June 21, 2011
Monday, March 14, 2011
New Release Sunday: RED RIDING HOOD (2011)
Title: RED RIDING HOOD (2011)
Ever since the first Twilight film was released, it has had a variety of imitators. The thought was, how hard could it be to follow the same formula, and have the same success. It remains to be an illusive mystery that has plagued many filmmakers, as well as the stars of the original film series, whose ventures outside those hallow grounds have proved less than fruitful. It can come down to simply a built-in fan base, or having that series of books as a fall back. It may simply be a mystery that can never be cracked, for better or worse. It's a phenomenon, no matter how annoying or relentless its locomotion may run. It's always full speed ahead.
But what of it's imitators then, one that has the same director tacked on, with the same basic allure, and a female lead more girls may be able to identify better with than the tweaking antics of one Kristen Stewart? If it were a joke, then one could understand. If it was meant as nothing more than a cash-grab to lure said girls who fawn over the Twilight series, then others could understand. Yet, moment to moment of the film, not only does the tone change, as does the acting, cinematography and the demographic of the film. The there is the CGI werewolf, which will be mentioned later, if I still find the strength.
The plot.....If you happen to not be familiar with the very story of Red Riding Hood, I apologize for the horrendous childhood you may have had. Also I will mention that not much will be gleaned from this film, in connection to the actual fairy tale, save for a few of the key lines. The gist here is this, a town on the outskirts of some European country where the familial line of Godmother (Julie Christie), Mother (Virginia Madsen), and Daughter (Amanda Seyfried), exists. How this town is hidden away, but not over-run by every male from ages 16-67 is a mystery to everyone, more of a mystery than caring about who may be the wolf. There is a legend in the town that during the blood moon, a werewolf has terrorized the village for several generations. After a childhood of catching and slaughtering rabbits with her young rebellious wood-cutter friend, when she is around 16, Valerie's (Seyfried) life is turned upside down. Now it is never mentioned how long the wolf is terrorizing the countryside, at least 20 years is possibly hinted at, but it is inconceivable that a town, destroyed by such a beast on a regular basis, hasn't tried to kill it before. Though when the film gets to "Present time" (The dark ages), a group of townsmen decide to kill the beast once and for all, and are strangely lead by co-leads of 2 of the most popular shows from SyFy Channel, Michael Shanks (Dr. Daniel Jackson) of Stargate SG-1, and Michael Hogan (Col. Tigh) of Battlestar Galactica. While still a bunch of fangirls, I am not sure how much bleed over there is there with the Twilight crowd. Both are dispatched in the first half of the film, which isn't a spoiler, it just happens, and is glazed over. The selling point, outside the story and main lead, for many people, was the strange inclusion of Gary Oldman (the inclusion of Lucas Haas isn't strange or an oddity, simply because Haas is the definition of it.). What Oldman brings to the table here is insanity, pure and unbridled. He must have been paid an insane some, because he chews as much scenery as he can, certainly making the werewolf look like a mere pup. Here is a character who isn't just a religious emissary sent across the country to kill supernatural beasts, but a man who was chosen to do so, because not only was his wife a werewolf, but he killed her for being one. Further more, as if his word weren't enough, he carries around her hand in a wooden box. Of course this raises a question as to how real his tale is, and what is he using to preserve the hand, or does he find a new hand in each town he rolls through. Then, there is also the issue of the Giant Metal Elephant. The film is kind enough to explain it's purpose, but there is no explanation as to why it has to be an elephant, per se. These holes don't just apply to this section alone, but litter the whole movie, as if Swiss Termites were involved somehow.
It feels like a movie without a country, or a true sense of what it wants to be or accomplish. Whenever there are several writers attached to a project, you have to wonder how many different drafts it went through, and how many elements from each one stays on. If you have a color-coded script, that consists of 5 different colors, you need to hope you are getting paid a large sum. The key tell tale that you're film is possibly doomed? Your novelization of the project says "is this really the end of the story?" and then includes a website to check upon the films release to find out more. Either the secret is so good they're worried about it getting ruined, or they're desperate to scrounge up a few bucks. In that situation, there's no real winner.
* out of *****
Ever since the first Twilight film was released, it has had a variety of imitators. The thought was, how hard could it be to follow the same formula, and have the same success. It remains to be an illusive mystery that has plagued many filmmakers, as well as the stars of the original film series, whose ventures outside those hallow grounds have proved less than fruitful. It can come down to simply a built-in fan base, or having that series of books as a fall back. It may simply be a mystery that can never be cracked, for better or worse. It's a phenomenon, no matter how annoying or relentless its locomotion may run. It's always full speed ahead.
But what of it's imitators then, one that has the same director tacked on, with the same basic allure, and a female lead more girls may be able to identify better with than the tweaking antics of one Kristen Stewart? If it were a joke, then one could understand. If it was meant as nothing more than a cash-grab to lure said girls who fawn over the Twilight series, then others could understand. Yet, moment to moment of the film, not only does the tone change, as does the acting, cinematography and the demographic of the film. The there is the CGI werewolf, which will be mentioned later, if I still find the strength.
The plot.....If you happen to not be familiar with the very story of Red Riding Hood, I apologize for the horrendous childhood you may have had. Also I will mention that not much will be gleaned from this film, in connection to the actual fairy tale, save for a few of the key lines. The gist here is this, a town on the outskirts of some European country where the familial line of Godmother (Julie Christie), Mother (Virginia Madsen), and Daughter (Amanda Seyfried), exists. How this town is hidden away, but not over-run by every male from ages 16-67 is a mystery to everyone, more of a mystery than caring about who may be the wolf. There is a legend in the town that during the blood moon, a werewolf has terrorized the village for several generations. After a childhood of catching and slaughtering rabbits with her young rebellious wood-cutter friend, when she is around 16, Valerie's (Seyfried) life is turned upside down. Now it is never mentioned how long the wolf is terrorizing the countryside, at least 20 years is possibly hinted at, but it is inconceivable that a town, destroyed by such a beast on a regular basis, hasn't tried to kill it before. Though when the film gets to "Present time" (The dark ages), a group of townsmen decide to kill the beast once and for all, and are strangely lead by co-leads of 2 of the most popular shows from SyFy Channel, Michael Shanks (Dr. Daniel Jackson) of Stargate SG-1, and Michael Hogan (Col. Tigh) of Battlestar Galactica. While still a bunch of fangirls, I am not sure how much bleed over there is there with the Twilight crowd. Both are dispatched in the first half of the film, which isn't a spoiler, it just happens, and is glazed over. The selling point, outside the story and main lead, for many people, was the strange inclusion of Gary Oldman (the inclusion of Lucas Haas isn't strange or an oddity, simply because Haas is the definition of it.). What Oldman brings to the table here is insanity, pure and unbridled. He must have been paid an insane some, because he chews as much scenery as he can, certainly making the werewolf look like a mere pup. Here is a character who isn't just a religious emissary sent across the country to kill supernatural beasts, but a man who was chosen to do so, because not only was his wife a werewolf, but he killed her for being one. Further more, as if his word weren't enough, he carries around her hand in a wooden box. Of course this raises a question as to how real his tale is, and what is he using to preserve the hand, or does he find a new hand in each town he rolls through. Then, there is also the issue of the Giant Metal Elephant. The film is kind enough to explain it's purpose, but there is no explanation as to why it has to be an elephant, per se. These holes don't just apply to this section alone, but litter the whole movie, as if Swiss Termites were involved somehow.
It feels like a movie without a country, or a true sense of what it wants to be or accomplish. Whenever there are several writers attached to a project, you have to wonder how many different drafts it went through, and how many elements from each one stays on. If you have a color-coded script, that consists of 5 different colors, you need to hope you are getting paid a large sum. The key tell tale that you're film is possibly doomed? Your novelization of the project says "is this really the end of the story?" and then includes a website to check upon the films release to find out more. Either the secret is so good they're worried about it getting ruined, or they're desperate to scrounge up a few bucks. In that situation, there's no real winner.
* out of *****
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