She’s Got the Look
May 13, 2016
The second international trailer has been released for the upcoming film The Neon Demon, which releases July 8. Written and directed by Nicolas Winding Refn who helmed the brilliant Drive, the film’s starlet is Elle Fanning who plays an up and coming model. The trailer is dynamite, cannot wait for this one!
The Neon Demon
I Know You…
July 20, 2014
Maleficent (2014).
D: Robert Stromberg. DP: Dean Semler. W: Linda Woolverton (based on an amalgamation of the Grimm fairy tale Briar Rose and the 1959’s Disney animated feature). Starring: Angelina Jolie/Elle Fanning/Sam Riley/Sharlto Copley/Juno Temple/Imelda Staunton/Lesley Manville/Brenton Thwaites.
This summer’s Disney revamped fairytale finds Angelina Jolie back on the screen in years and proves that a new take on an old story can actually be done well.
What failed in 2012’s Snow White and the Huntsman (do we even need mention 2012’s Mirror Mirror?) was a new emotional perspective on an old story. Rather than simply tweaking the narrative and giving it a new setting, Maleficent actually builds a back story and world tangential to the original. The film’s emotional center is around Angelina Jolie’s Maleficent, a powerful fairy and guardian of her land, The Moors. Forsaken by her love she becomes the treacherous witch of the fairytale. Without giving much away, Jolie’s physicality is masterful here, her very cheekbones accentuated. Her laugh and ability to emote from such a costume provides the film with enough oomph to entertain older and younger audiences.
In contrast to the dark Jolie is the ethereal Elle Fanning as Aurora. As charming as her turn in 2011’s Super 8, Fanning’s innocent frolic and rosy cheek is infectious and doesn’t feel soiled with too much over production. But the memorable supporting actor here is Sam Riley as Jolie’s bird turned man turned bird who acts as her spy and confidant. A clever take on the animated film, he is a great narrative device as well as an effect.
First time director Robert Stromberg, whose extensive experience as a visual effects supervisor is evident here, is able to blend the effects into the narrative. Stromberg creates a layered world without tricks, which allows Jolie, whose as much of a special effect herself, to feel three dimensional. The film is also well paced by Linda Woolverton, 2010’s Alice in Wonderland scribe. Her twists to the original Grimm fairytale and 1959 Disney animated Sleeping Beauty give the story new depth without losing the charm of its previous incarnations. Although some lines will sound cheesy and simplified, there is enough distraction with good elements that I tended to forgive those moments.
Ultimately what works is the abandonment of a true romantic plot. The film remains centered around a mystical figure who longs to find her place in the order of things. Yet so different to the plot of the animated feature, it still compares in visual scope. Jolie’s costumes themselves pay homage without feeling over done. Maleficent is certainly marketed towards children, but bears less faults than its counterparts in cinemas.
If You See One Movie This Summer…
July 8, 2011
Super 8 (2011).
D/W: J.J. Abrams. DP: Larry Fong. Starring: Joel Courtney/Elle Fanning/Kyle Chandler/Riley Griffiths/Ryan Lee/Gabriel Basso/Zach Mills/Noah Emmerich/Ron Eldard/Glynn Turman.
Probably the summer’s most anticipated release (with the exception of Harry Potter & The Deathly Hallows – Part 2), Super 8 will remind audiences everywhere what great movies are made of and just exactly why we love the cinema.
Although similar thematically to other “new aliens/things we can’t see” films, Super 8 adoringly follows the attempt of a group of middle school friends to make a zombie film over the summer to be submitted to a local festival. The leader of the project is slightly chubby and in charge Charles (Griffiths) who enlists his best friend Joe (Courtney) to round up the crew and help. Griffiths and Courtney are full of charm, true instincts, and are greatly supported by their other three friends, played by equally young actors. And while prompting the comparisons of the film to 1985’s The Goonies or 1986’s Stand by Me, the boys give off this sense of spunk, comradely and unabashed youth that rings true. Anyone who isn’t immediately smitten should check their pulse upon leaving the movie theater.
Amidst all these boys and their zombie make-up is ethereal and bright Elle Fanning as Alice, the object of Griffiths’ and Courtney’s fumbling affection. Enlisted to act in their film, Fanning is somehow able to mix elegance and innocence throughout her character’s journey. She is definitely someone to watch for. And it is the night of their first outdoor shoot that the kids witness a train crash that spirals them and the town into a state of frenzy over strange occurrences and the appearance of the national guard. Fervent in his belief that someone is up to no good is Deputy Lamb, Courtney’s father played by Kyle Chandler. Conflicted and forever paternal, Chandler gives the best performance he can while still allowing all the kids to steal the show.
Working in the film’s favor is its setting, as being in a remote Texas town in 1979 allows the story to ignore flashy special effects, and give the film a heart audiences can access. The year setting also gives Super 8 a sheen of nostalgia that breathes life into the frame and reiterates its homage to Spielberg’s (who was a producer on the film) past work. Yet this also draws focus away from the creature or creatures or thing or things that escape from the train crash. Although there has been much talk of the reveal of this element of the plot, I would argue that it simply does not matter. Because by the time that veil is removed, you are so invested that you want to know how it all ends.
Ultimately, the reason audiences and critics will love Super 8 is because it feels complete. Abrams creates his world, his vision and is committed to building a full circle story that although appears to end at the credits, actually continues in your mind because it has taken you somewhere. The same reason at the end of 1939’s The Wizard of Oz, 1942’s Casablanca, 1962’s Lawrence of Arabia, and of course, Spielberg’s own 1982’s E.T.: The Extra-Terrestrial, just to name a few, you are left with a sense of wonder. A sense that this is what cinema should be like. Larger than life, yet accessible and enjoyable from the first frame to the last. Just like finishing an amazing novel, with Super 8 you smile, lean back, and say that was great, when can I do it again?
Preview I’m INTRIGUED by…
March 11, 2011
Super 8
[youtube=http://www.youtube.com/watch?v=ImZIWlvACcU]