REBECCA Review

First, some context: I haven't exactly been a big fan of director Ben Wheatley's films thus far. On the other side of this coin is the fact I've only seen two of the man's films in High-Rise and Free Fire. So, not a wealth of evidence on which to base my presumption that the filmmaker's take on Daphne du Maurier’s beloved 1938 gothic novel and the second major film adaptation after Alfred Hitchcock's 1940 version wouldn't live up to its acclaimed predecessors. Some further context: I haven't seen Hitchcock's film nor have I read du Maurier’s novel, so at the very least Wheatley's iteration of this story would not be viewed under the shadow of those former works. In turn, this works well for a viewer and viewers with the same circumstances given the mystery of the piece undoubtedly works better for those previously unaware of the specifics of the narrative. That said, the two films I have seen from Wheatley both very much fit into a small, very specific kind of niche genre in that both seemed to have been heavily influenced by the style and color palette of the seventies while carrying an equally sardonic tone if not admittedly varied when it came to themes and ideas. If nothing else, Rebecca would offer an opportunity for the director to branch out stylistically and tackle a different genre altogether in this very British, very romance-infused thriller as adapted by the likes of by Jane Goldman (Kick-Ass) and screenwriting duo Joe Shrapnel and Anna Waterhouse (Seberg). The idea is certainly ripe given Rebecca purports to be something vastly different than that of anything Wheatley has made before, but would seem to take a turn into terrain that the director is not necessarily accustomed to, but is likely more comfortable in. It is in this hope that Wheatley's mentality and strong penchant for bringing an attitude and point of view out of his images and into the tone of his films might make Rebecca more than a by-the-numbers account of jealousy incarnate, but it is in this hope that this latest endeavor ultimately fails as it more often than not feels like this new adaptation of du Maurier’s work could have been made by anyone. Despite having not read the novel and not having seen any other versions of the work Wheatley's film moves along at a pace that fails to ever make viewers fully invest in either the characters, the drama, or the character's drama. This is an adaptation that is just enticing enough to pique interest in the source material yet couldn't feel more like a condensed version of the literature; the depths of Wheatley's film only reaching so far as Mrs. Danvers' compassion rather than that of Rebecca's grave.

MALEFICENT: MISTRESS OF EVIL Review

For a movie that primes its audience to experience a tale of villainy and "pure evil" as incarnated by the title character of Maleficent (Angelina Jolie returning), Maleficent: Mistress of Evil largely doesn't fulfill its promise as the character is a mistress in the sense she's in a position of authority or control, but never does she wield these positions in ways one would exclusively associate with or consider to be "evil". Misunderstood, sure, but evil? Nah. Like the 2014 original, this sequel is more telling the audience a story we were unaware of concerning the character with the intention of ultimately altering our opinion of her and gaining a newfound sympathy for the character as her representation in the 1959 Disney animated classic was apparently a by-product of those circumstances and not "the whole story"; a reputation built off a single perspective of not only an isolated incident, but one with some justification as far as Maleficent's emotions were concerned even if her actions never could be. While that 2014 film was more or less restricted by the original tale of Sleeping Beauty (we've seen the iconic cursing of the baby moment in live action, so let's move on) this second chapter in Maleficent's story breaks free of those constraints and pushes the narrative past Aurora's (Elle Fanning, also returning) sixteenth birthday and on into adulthood where she is now set to wed the re-cast Prince Philip (Harris Dickinson instead of Brenton Thwaites) as they start a life of their own together whereas Maleficent had now inadvertently become something of a mother figure to this young woman she originally cursed and has therefore only recently come to feel as if she's gained the genuine love of what she might describe as a family. Jolie's Maleficent exudes this gracefulness as embodied through the strong presence of Jolie herself as she is not only a warrior and commander, but a woman who is complex in her deep, emotional feelings that the film demonstrates are also possible for someone of such strong nature to possess. It is this characterization and the breaking of such long-standing archetypes that truly allows this sequel to outshine not only its predecessor, but the majority of these live-action Disney re-makes or re-tellings. Director Joachim Rønning (Kon-Tiki, Pirates of the Caribbean: Dead Men Tell No Tales) takes over from Robert Stromberg and brings with him an aesthetic less reliant on big, CGI spectacle (though there is still plenty of this) and a visual prowess more interested in broadening the scope of the world the first film only hinted at. At the same time, Linda Woolverton's screenplay brings together a trifecta of female characters that serve as the heart and soul of the themes of the narrative coalescing in a sequel that not only surpasses the quality of the original (which, admittedly-was not a high bar) by doing everything that original wanted to do, only better.

Teaser Trailer for MALEFICENT: MISTRESS OF EVIL Starring Angelina Jolie

First of all, it will have been over five years since the first Maleficent was released by the time this oddly scheduled sequel arrives in theaters. Was anyone clamoring for this? Doubt it, but the more pressing question might be did anyone really care for the first one? I mean is there a large enough pocket of the population who were eleven in 2014 that are now sixteen and are just beside themselves with the fact they're finally getting a Maleficent sequel? For one reason or another, I just don't tend to believe that to be the case. And yet, here we are as this Halloween season Angelina Jolie along with much of the original cast (which feels surprising) return to stir up a little more trouble in their fantasy land for, as the slowed-down version of the popular song tells us in the trailer, this is the "season of the with." With a screenplay from Linda Woolverton (which would typically be encouraging given her involvement in that golden age of 90's Disney animation, but has become tainted by the fact she also wrote the predecessor to this as well as Alice Through the Looking Glass) the Mouse House took one-half of the Kon Tiki team in Joachim Rønning that they picked up to direct that fifth Pirates movie a few years back and slapped him on this CG-fueled project next with hopes that even if this follow-up doesn't necessarily perform as well as the original it will at least make its budget back and then some as well as having something of a kinder critical reception a la Dead Men Tell No Tales. To this point, that first Maleficent film did bank $758 million worldwide ($241 domestic) on a $180 million budget, so assuming they dropped the budget slightly on this one they should be in fine hands to make a couple extra bucks this fall. Still, even if this unnecessary and unwarranted sequel completely bombs it's not like it will be anything more than a blip on Disney's financial report in a year that also features three Marvel movies, a Star Wars film (and the end of the current saga at that!), the "live-action" The Lion King, and Toy Story 4. Come what may, Maleficent: Mistress of Evil also stars Michelle Pfeiffer, Chiwetel Ejiofor, Sam Riley, Harris Dickinson, Ed Skrein, Imelda Staunton, Juno Temple, Lesley Manville, and opens on October 18th, 2019.

PRIDE AND PREJUDICE AND ZOMBIES Review

Say what you will, but I've never read Jane Austen's Pride and Prejudice. That said, I've clearly become familiar with the story over the years and have seen some of the many adaptations namely Joe Wright's 2005 film starring Kiera Knightley. Say what you will, but I did read Seth Grahame-Smith's 2010 novel Abraham Lincoln: Vampire Hunter and kind of loved it, but the 2012 movie adaptation was less than satisfying. Given I knew Grahame-Smith's debut novel would also get the movie treatment I decided not to give it a look with the fact I'd never read Austen's original text also weighing on my decision. And so, going into Pride and Prejudice and Zombies I looked forward to seeing if a film version of one of Grahame-Smith's parody/mashup novels could be turned into an entertaining movie or if it would still be little more than a good idea even without knowing the depth of the original text. Of course, much of Grahame-Smith's novel from which this film is based is apparently text taken directly from the Austen classic only with elements of modern zombie fiction inserted throughout. So, one could say if you know Pride and Prejudice it isn't hard to imagine what Pride and Prejudice and Zombies might be. That's true. It isn't. Strangely enough though, it isn't the fact the story doesn't have to be outrageously creative in order to weave the zombie narrative through it, but more simply how much the movie embraces that aspect. Director Burr Steers (Igby Goes Down, 17 Again) has crafted a film with its tongue planted firmly in its cheek, but does so without ever going too far. Sure, the movie is aware of what it is, but it never becomes a parody of itself in that it goes to certain lengths to highlight its unique premise while never giving cause to laugh at it. In short, the film is cool enough to laugh with us at its absurdities and for that it packs a fun enough punch as far as action/adventure movies go. All in all though, the film is simply decent. While it exudes style at certain points and embraces itself fully that still doesn't necessarily mean it executes itself well and when it comes to following through on the promise of the premise with such spectacle this film version falls short and unfortunately feels rather fatigued by the time we cross the finish line.

Teaser Trailer for PRIDE AND PREJUDICE AND ZOMBIES

While I read Seth Grahame-Smith's Abraham Lincoln: Vampire Hunter and enjoyed it I was of course less ecstatic about the 2012 feature film adaptation. What I haven't read is Grahame-Smith's 2009 novel Pride and Prejudice and Zombies, the one that put him on the map and made his whole "thing" the mashing together of classic literature and historical fiction with staples of the horror genre. It's a pretty ingenious idea and it clearly worked as the books seemed to be well received, but having not read the new version of Jane Austen's novel (who Grahame-Smith credits as a co-author) I'm curious to see if this film turns out any better than that other Grahame-Smith adaptation. The story essentially follows the plot of Pride and Prejudice, but places the novel in an alternate universe version of Regency era England where zombies roam the English countryside. While the trailer is merely a teaser and more or less is a compilation of quick action shots it certainly gets it's tone across by opening as if little more than another Austen adaptation before switching things up. This is an expected twist if you know what's coming, but one I'd think many will find a fair amount of fun in if they're seeing it for the first time in a movie theater and are unaware of what trailer might play next. The look of the film seems to be top-notch and given I really enjoyed Lily James in this years live-action Cinderella film I'm anxious to see what she does with a role that's completely opposite the sweet and innocent Disney princess facade. Pride and Prejudice and Zombies also stars Ellie Bamber, Millie Brady, Bella Heathcote, Suki Waterhouse, Sam Riley, Jack Huston, Douglas Booth, Matt Smith, Lena Headey, Charles Dance and opens on February 5th, 2016.

MALEFICENT Review

Who exactly was this movie intended for? I couldn't help but to keep asking myself this as Maleficent played out, unsure of what it wanted to be, completely torn between two drastically different tones. There was naturally something interesting about this different approach to the current trend of re-telling classic fairy tales in live action form and casting Angelina Jolie as the titular villain guaranteed nothing short of a fair amount of interest but the final result we've been delivered is nothing but a badgering of the original Disney animated film that proves trying something different is truly hard to accept if it isn't done right. While it is easy to give credit to the machine that is Disney for at least attempting to think outside the box rather than simply bringing the same story to the screen with real-live people (though it looks like 90% of the film is CG anyway) Maleficent is actually less innovative than Tarsem Singh's 2012 take on the Snow White tale. At least that movie had a different rhythm to get in tune with while here we get exactly what we expect and even a little less depending what age group you belong to. So, it was a strong idea with factors that lent themselves towards what could have been an interesting execution yet what we have as the final product is anything but substantial and a film trying to be so many different things it ends up failing on all levels. This brings us back around to the question of who might this movie actually be targeted at? There were certainly a lot of children at the screening I attended, mainly young girls, and throughout you could hear them giggling at the intended bits of comic relief and gasping as Jolie re-created the famous scene in which Maleficent casts her spell on the young princess. To those reactions I began to wonder what I might have thought of this had I seen it as a child. Would it have been one of those my parents might have bought when it came out on VHS and I re-watched over and over? The only equivalent I came up with was Stephen Sommers 1994 adaptation of The Jungle Book that also came from Disney. It was very much a children's film while playing on the darker tones of the Rudyard Kipling story and that is what first-time director Robert Stromberg (yes, they entrusted this summer tentpole to a first-time director) seems intent on doing here as well, but his over-reliance on special effects and muddled screenplay do nothing but disservice what vision he might have had.

Teaser Trailer for Disney's MALEFICENT

The first trailer for next summers live action adaptation of the Sleeping Beauty story told from the perspective of its antagonist has premiered and it truly is nothing more than a teaser. Starring Angelina Jolie in the titular role of Maleficent, a young woman who grows from the pure-hearted creature she once was to the evil witch we perceive her to be in the story of Aurora. Speaking of Aurora, we get more of a look at her in the form of Elle Fanning here than we do at Jolie in Maleficant garb, but that is all well and good as I can appreciate a promotional campaign that knows how to restrain itself. Given that the film doesn't open until next year I assume this teaser has been timed to coincide with the release of Frozen around Thanksgiving. It is a bit of an odd pair as this certainly seems to be a bit of a darker tale than Oz the Great and Powerful but much more in line with Tim Burton's Alice in Wonderland. Robert Stromberg is directing the film and actually served as production designer on both of the aforementioned films so expect this to all look very familiar. I'm interested to see this turns out though because I'm optimistic there is an interesting story to tell here and actors at the caliber of Jolie, Sharlto Copley, and Imedla Staunton wouldn't sign up for something that was an almost guaranteed blockbuster if they didn't see something worth investing in. Otherwise, the trailer itself actually looks fairly interesting and will at least get peoples attention with the promise of bringing one of Disney's most popular tales to extravagant real-life and Disney is really hoping this pays off as they already have live-action versions of both Cinderella and Cruella (why?) in the pipeline. Maleficent also stars Sam Riley, Juno Temple, Leslie Manville, Brenton Thwaites, Miranda Richardson and opens on May 30, 2014.