Charlie Cox, Claire Danes, Michelle Pfeiffer, Robert De Niro, Mark Strong, Rupert Everett, Sienna Miller, Kate Magowan, Ricky Gervais, Ian McKellen (voice)
Dir. Matthew Vaughn
Scr. Jane Goldman & Matthew Vaughn (based on novel by Neil Gaiman)
While it’s *not* the new Princess Bride (as one reviewer had the balls to claim), Stardust is a funny, magical, delightful movie. If you enjoy fantasy – if you can suspend disbelief for the length of an entire film – you won’t be disappointed by this gem of a film. There has been criticism over a lack of marketing, but often that is a good thing – lower expectations often make for a more satisfying and surprising cinematic experience.
Based on the 1998 illustrated novel by Neil Gaiman, Stardust is the story of love and magic and fallen stars and witches and kings and ghosts. I won’t rave too much about Gaiman (trust me, I could go on for several days about his genius), but let me just say that the movie has remained quite faithful to the book and retained the humour and magical fantasy that Gaiman is renowned for. Stardust begins in the small English village of Wall, so named because it is surrounded by a wall separating it from the magical realm. Tristan, half human and half not-so-much-human, declares he will retrieve a fallen star for the love of Victoria, a pretty (I suppose) but conceited young girl in the village. The fallen star turns out to be a woman and Tristan is not the only person who is after the star’s power – we have witches seeking to eat her heart to ensure eternal youth and a couple of princes seeking to be king. Let the adventure begin.
There is much fun to be enjoyed in Stardust and much wonder to wow you. Scenes on the lightening pirate ship had me nearly rolling in the aisles – let’s just say that De Niro is delightfully cast against type. The ghosts of murdered princes always amuse. The film looks lush and lovely. The special effects are competent – they are not going to necessarily amaze you, but they’re not noticeably bad. Everything and the kitchen sink is thrown into this tale – I was compelled throughout. It’s not the Princess Bride, as I noted, but it’s an entertaining diversion and will leave you smiling as you leave the cinema.
I was dubious about the casting initially. I am not a fan of Claire Danes and was worried about how she was going to pull off an English accent. I was delighted De Niro featured but suspected his performance would be clichéd. And Charlie Cox in the lead – well, who the hell is he?! In the end though, the casting was inspired. I won’t talk too much about De Niro’s performance because it might spoil the film for you. Let’s just say one word – genius. Pfeiffer, as head witch Lamia, is brilliant. I’m glad to see her back in some quality films giving quality performances. Gervais is, well, Gervais. A small role which is a little pointless. Funny, yes, but he is just himself as usual. The line-up of deceased princes (including Rupert Everett, Spaced star Mark Heap, Jason Flemyng, and David Walliams) are fantastic – great dialogue, perfect timing. Mark Strong as Prince Septimus is delightfully unlikeable. As is Sienna Miller, who plays love interest Victoria. Danes, as the fallen star Yvaine, gives a solid performance – yes, her accent does slip now and again, but she is spunky and funny and not too bad at all. I’m still not a fan, but she didn’t ruin the movie which she had the potential to do. The real find here is Cox – he is delightfully naïve, with good comic timing; not too handsome but cute enough to carry the film. Very clever casting indeed. And, just as an aside, the actress playing Una (Magowan) is absolutely and uttering the most naturally beautiful women I have seen on screen in quite some time.
This is not a perfect film and perhaps not as memorable or quotable as it could have been. But I was entertained and delighted throughout. Stardust looks great and feels magical. Not for everyone’s taste I imagine – I know many people who would rather set their head on fire than watch a fantasy movie. But if you’re partial to a bit of fairy-tale, this movie is for you.
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Narrator: A philosopher once asked, "Are we human because we gaze at the stars, or do we gaze at them because we are human?" Pointless, really... ”Do the stars gaze back?" Now *that's* a question.
Sunday, September 23, 2007
Sunday, September 16, 2007
Hairspray
John Travolta, Michelle Pfeiffer, Christopher Walken, James Marsden, Queen Latifah, Allison Janney, Nikki Blonsky, Amanda Bynes, Zac Efron, Elijah Kelley
Dir. Adam Shankman
Scr. Leslie Dixon, John Waters (1988 screenplay)
By no means a perfect musical masterpiece, Hairspray is nonetheless a whole lot of fun. If you don’t like your actors breaking into song and dance, stay away. But if the thought of catchy songs, Travolta in drag and Walken dancing in a tux gets you going, this is the film for you.
Closely based on the 1988 movie of the same name and the recent Broadway musical, Hairspray is the story of a plumb teenage girl (Tracy Turnblad) who longs to dance and sing and be famous. Serendipity gives her a chance to join the cast of The Corny Collins Show, a fantastic American Bandstand parody – the kids are frighteningly all-American (ie. white and shiny). The show is completely segregated, with one Negro Day per month – the black kids can dance, just not *with* the white kids.
The movie is a coming of age story not just for Tracy and her friends, but for the civil rights movement and the beginning of the end for segregated entertainment. This latter aspect gives the movie more depth than one might otherwise have expected. There is much amusement to be had at stupid bigotry, as well as uplifting and poignant moments to reflect upon.
The musical numbers are superbly executed. The songs are incredibly catchy, especially the opening “Good Morning Baltimore” – your toes will be tapping and you’ll be humming the tunes long after the movie has finished. Aside from a somewhat strained Pfeiffer, Walken and Bynes, the cast tackles the singing with much gusto and talent.
While the movie tends to lose its way at about the two-thirds mark (it seems to need to take a breath or two before the full-on finale), the stellar cast keeps you glued to the screen. Newcomer Nikki Blonsky (as Tracy Turnblad) is phenomenal. She is instantly likeable, delightfully spunky and has an impressive singing voice. With so many big names surrounding and supporting her, I think it was a great decision by the powers that be to go with a fresh face. I can’t really fault any of the cast – they all delight in different ways. Pfeiffer (as TV channel owner Velma Von Tussle) is wonderfully obnoxious, bigoted and evil. Marsden (as host Corny Collins) was an unexpected surprise – perfectly corny but endearing, with wonderful singing voice. Queen Latifah (as Motormouth Maybelle – the Negro Day host) is larger than life, as usual. Funny, sassy with a great set of lungs – a perfect role for her. Zac Efron – of High School Musical fame – is great as Tracy’s love interest Link Larkin. And, yes, if I were a decade or so younger, I would have swooned. Bynes gives a fantastic performance as Tracy’s best friend, Penny Pingleton and Kelley (as her love interest Seaweed) blew me away with his vocal talent and charisma. Always spectacularly strange, Allison Janney is brilliant (if somewhat underused) as Penny’s religious-freak mother, Prudy Pingleton.
The pairing that will be talked about more than any other, of course, is the husband/wife team of John Travolta (Edna Turnblad) and Christopher Walken (Wilbur Turnblad). I was dubious – why cast Travolta? Why not get a woman (Ricki Lake, for example, who played Tracy in the original film)? And although the sight of a hugely padded Travolta in a sequinned dress is not something I thought I ever wanted to see, it worked. What didn’t work was the Dr Evil-esque voice he chose to use – does he think women speak like that?!?! It was somewhat distracting, which was a shame. But the finale, with Travolta finally busting a move, was a sight to behold and hugely entertaining. And, what can I say about the endearing, strange and brilliant Mr Walken? Well, he was endearing and strange and brilliant. And,, he danced. Wonderful.
For those who pay attention, there are many little surprises to reward you. A hilarious, blink-and-you’ll-miss-it cameo from John Waters (watch closely in the opening number). Travolta paying homage to his career-saving role in Pulp Fiction in the final dance number. Some absolutely cracker dialogue.
Hairspray is good, old-fashioned, musical fun. Is it this generation’s Grease? Well, maybe, though I fear that the shockingly awful High School Musical has nicked that honour. For my money, Hairspray is far superior – smart, funny, socially insightful and delightfully irreverent.
------------------------
Velma Von Tussle: They're just kids, that's why we have to steer them in the white direction.
Corny Collins: [pause] RIGHT direction?
Velma Von Tussle: Isn't that what I said?
Dir. Adam Shankman
Scr. Leslie Dixon, John Waters (1988 screenplay)
By no means a perfect musical masterpiece, Hairspray is nonetheless a whole lot of fun. If you don’t like your actors breaking into song and dance, stay away. But if the thought of catchy songs, Travolta in drag and Walken dancing in a tux gets you going, this is the film for you.
Closely based on the 1988 movie of the same name and the recent Broadway musical, Hairspray is the story of a plumb teenage girl (Tracy Turnblad) who longs to dance and sing and be famous. Serendipity gives her a chance to join the cast of The Corny Collins Show, a fantastic American Bandstand parody – the kids are frighteningly all-American (ie. white and shiny). The show is completely segregated, with one Negro Day per month – the black kids can dance, just not *with* the white kids.
The movie is a coming of age story not just for Tracy and her friends, but for the civil rights movement and the beginning of the end for segregated entertainment. This latter aspect gives the movie more depth than one might otherwise have expected. There is much amusement to be had at stupid bigotry, as well as uplifting and poignant moments to reflect upon.
The musical numbers are superbly executed. The songs are incredibly catchy, especially the opening “Good Morning Baltimore” – your toes will be tapping and you’ll be humming the tunes long after the movie has finished. Aside from a somewhat strained Pfeiffer, Walken and Bynes, the cast tackles the singing with much gusto and talent.
While the movie tends to lose its way at about the two-thirds mark (it seems to need to take a breath or two before the full-on finale), the stellar cast keeps you glued to the screen. Newcomer Nikki Blonsky (as Tracy Turnblad) is phenomenal. She is instantly likeable, delightfully spunky and has an impressive singing voice. With so many big names surrounding and supporting her, I think it was a great decision by the powers that be to go with a fresh face. I can’t really fault any of the cast – they all delight in different ways. Pfeiffer (as TV channel owner Velma Von Tussle) is wonderfully obnoxious, bigoted and evil. Marsden (as host Corny Collins) was an unexpected surprise – perfectly corny but endearing, with wonderful singing voice. Queen Latifah (as Motormouth Maybelle – the Negro Day host) is larger than life, as usual. Funny, sassy with a great set of lungs – a perfect role for her. Zac Efron – of High School Musical fame – is great as Tracy’s love interest Link Larkin. And, yes, if I were a decade or so younger, I would have swooned. Bynes gives a fantastic performance as Tracy’s best friend, Penny Pingleton and Kelley (as her love interest Seaweed) blew me away with his vocal talent and charisma. Always spectacularly strange, Allison Janney is brilliant (if somewhat underused) as Penny’s religious-freak mother, Prudy Pingleton.
The pairing that will be talked about more than any other, of course, is the husband/wife team of John Travolta (Edna Turnblad) and Christopher Walken (Wilbur Turnblad). I was dubious – why cast Travolta? Why not get a woman (Ricki Lake, for example, who played Tracy in the original film)? And although the sight of a hugely padded Travolta in a sequinned dress is not something I thought I ever wanted to see, it worked. What didn’t work was the Dr Evil-esque voice he chose to use – does he think women speak like that?!?! It was somewhat distracting, which was a shame. But the finale, with Travolta finally busting a move, was a sight to behold and hugely entertaining. And, what can I say about the endearing, strange and brilliant Mr Walken? Well, he was endearing and strange and brilliant. And,
For those who pay attention, there are many little surprises to reward you. A hilarious, blink-and-you’ll-miss-it cameo from John Waters (watch closely in the opening number). Travolta paying homage to his career-saving role in Pulp Fiction in the final dance number. Some absolutely cracker dialogue.
Hairspray is good, old-fashioned, musical fun. Is it this generation’s Grease? Well, maybe, though I fear that the shockingly awful High School Musical has nicked that honour. For my money, Hairspray is far superior – smart, funny, socially insightful and delightfully irreverent.
------------------------
Velma Von Tussle: They're just kids, that's why we have to steer them in the white direction.
Corny Collins: [pause] RIGHT direction?
Velma Von Tussle: Isn't that what I said?
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