Review: The Last Station DVD

http://www.staticmultimedia.com/film/reviews/the_last_station

A striking film that deserves far more recognition than what award shows have given it, The Last Station combines a strong story with even stronger actors. Focusing on the last year of Russian author Leo Tolstoy’s life, Station becomes a character study, a study of life and human value, as Tolstoy, his followers, and his wife struggle to reconcile the ideal values of the Tolstoyan movement.

Vladimir Chertkov (Paul Giamatti) claims to care deeply about his dear friend, Tolstoy, but quickly puts the importance of the Movement and his own ideas above the importance of Tolstoy’s original ideas. His concerns take the form a will that Tolstoy (Christopher Plummer) must sign that would leave his works to the Russian people as public domain, thus spreading Tolstoyan ideas to the farthest reach. Meanwhile, Countess Sofya Tolstaya (Helen Mirren), Tolstoy’s wife, realizes the will could take away her children’s inheritance, a fact that launches her and her husband into an escalated love-hate relationship. As Sofya makes her disappointment in the will more evident, Chertkov sends Valentin Fedorovich Bulgakov (James McAvoy) to keep a check on the countess. Bulgakov begins to have his own doubts in the movement, however, as he befriends the countess and falls in love with a local named Masha (Kerry Condon). Such a forbidden relationship leads to a realization of an imperfect human nature and of the need that all people have: love.

While the elongated plot and many characters make for a slow moving film, the depth of characters and their stories make the film worth watching. The actors stay in their elements throughout, resulting in a captivating movie that could be made boring by it’s slow pace.

Mirren steals the screen with her constant emotional roller-coaster as the countess. She smashes plates and screams at everyone around her, but soon rolls into moments of silence, contemplation, and love.

Plummer becomes Tolstoy, portraying Tolstoy’s confusion at the world around him, a confusion that many people face as they draw to their final years. Plummer invites viewers into the world of his character and leaves them thinking.

Giamatti’s character resembles many of his past roles in films like The Illusionist, but he continues to play the manipulative, yet relatable character with perfection, a character with an agenda, yet simultaneously shaped by the world around him.

McAvoy continues to look as good as ever. Perhaps that’s why a movie that could have made its themes just as clear without explicit sex scenes had to go for an R rating. The two scenes that include nudity contribute to the clashing definitions of love presented in the film, but the extreme extent to which the scenes are portrayed take an unnecessary road that may ruin the movie for some viewers.

The thought-provoking material presented, however, does not fail to move the viewer, even with its Communist background. And with such strong actors as Mirren, Plummer, Giammati and McAvoy, to carry the film’s themes, The Last Station cannot fail to captivate.

Movie Review: Percy Jackson and the Olympians

http://chimes.biola.edu/content/article/2010/feb/17/percy-jackson-falls-short-mt-olympus-heights/

http://www.staticmultimedia.com/film/reviews/percy_jackson_and_the_olympians~_the_lightning_thief

“Percy Jackson and the Olympians: The Lightning Thief” reaches for the heights of Mount Olympus, but only makes it as far as the great mountain’s entrance gates.

While the mythological story accomplishes enough to make a sequel likely, it ultimately takes its place as just another film in the long line of children's books adapted for the big screen.

Unlike its book counterpart, however, “Jackson” comes across as anything but a children’s film. The very premise of the gods having sexual relations with humans sharply contrasts with Christian values, and the rest of the story takes unnecessary steps to make this into an adult film.

The film’s title character, Percy Jackson, played by Logan Lerman, is the son of Poseidon and has grown up without any knowledge of his father’s position or his own demi-god powers. Zeus made a law that forbade any god from having relations with his or her demi-god children. Percy crosses paths with Zeus, however, when someone steals Zeus’ lightning bolt and Percy gets blamed. Suddenly, Poseidon and Zeus’ brother, Hades, along with a host of many other characters, come after Percy, wanting the lightning bolt for themselves.

When Hades kidnaps Percy’s mother, Percy sneaks out of a camp for demi-gods, where he has begun his training, to save his mother. Along for the road to Hell are Grover, Percy’s protector, and Annabeth, daughter of Athena, the goddess of wisdom. Together, they face monsters worse than Hell itself.

“Jackson” has several flaws. All the gods live in America, not Greece, a relocation never explained. When Percy’s mother gets taken to Hell, it’s easy to not care, and Pierce Brosnan gets far too little screen time as Chiron, the centaur who trains Percy. The CGI effects often fail to bring a suspension of belief and needed items, such as bows and arrows, seem to appear out of nowhere.

Meanwhile, Chiron the centaur and Grover the satyr are able to hide their animal halves in front of humans without any explanation. And then there’s the head of Medusa, a slimy, slivering thing that turns people to stone with one look. Don’t we all need one of those to carry around in our backpack? Mind you, the parts with Medusa, played brilliantly by Uma Thurman, are some of the most enjoyable parts of the film, but they’re also the weirdest parts.

None of “Jackson’s” flaws compare to the way its sexual elements almost ruin the film altogether. The film takes the younger, innocent characters of the book, makes them older, and turns them into characters that accept immoral actions. Grover, the party goat, comes close to pervert status, making advances toward almost every girl he sees and accepting the advances of Hades' promiscuous wife. And what’s a sexually inclined film without a scene in Las Vegas?

“Jackson” does not fail on every count, however. The sequences in Hell are visually impressive, although they, along with other monsters in the film, may scare younger audiences. Percy’s feelings toward the father who left him gives viewers something to relate to, and his sacrificial actions make him a character to look up to.

While some characters do not make a mark, Percy and Annabeth (played by Alexandra Daddario) play well off each other, creating a memorable and enjoyable love-hate relationship. An adventure in itself, the film’s music also leaves an impression. While listeners can hear elements of other film scores, the score fits the film well and exudes the magnificence of Mount Olympus.

Percy’s journey includes several humorous moments, as well as a few action scenes, making for a simply enjoyable film. Directed by Chris Columbus (who directed the first two “Harry Potter” films), “Jackson” takes viewers on an exciting journey to the world of the gods and demi-gods, but fails to make an impression as a whole. With its overused sexual jokes and with its actors failures to connect emotionally, the film does not stand up to the high standards set by its predecessors like the “Harry Potter” series. Nor does have enough weight to draw the overwhelming amount of fans the “Twilight” series has accumulated.

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Review: Princess and the Frog

http://chimes.biola.edu/content/article/2009/dec/10/new-disney-princess-new-orleans/

http://www.staticmultimedia.com/film/reviews/the_princess_and_the_frog

Disney has come a long way with film technology since its humble originals. Now the company steps backward with old animation styles and steps forward with its first African American princess in The Princess and the Frog. Disney knows where the happiest place on earth is, and in the words of one of the film’s catchier tunes, it’s “Gonna Take You There.”

From the first musical number, you can tell “this is gonna be good.” In bustling New Orleans, Tiana waitresses to save money for her own dream restaurant. She thinks only of hard work and doesn’t believe in fairy tales, but that all changes when, dressed as a princess for a costume party, she meets a visiting prince looking for a princess to kiss. Only one problem: the prince’s froggy exterior is no costume.

Tiana kisses the frog, but instead of finding a handsome prince in front of her, she discovers the voodoo magic of the Shadow Man has turned her into a frog, too. Hardworking Tiana must put up with lazy Prince Naveen as they try to flee the Shadow Man and find a way to turn back into their true selves. Along the way, they run into a trumpet-playing crocodile, a firefly in love with the evening star and a voodoo queen who help them to understand that their true selves are more than just human bodies.

Sticking to regular Disney fashion, The Princess and the Frog recalls previous Disney films (and other films like Shrek) as it maintains a typical “be true to yourself” message on top of a love-over-money theme.

While these enduring themes will continue to woo audiences, the film still lacks in some areas. Too bad some cinematic royal didn’t kiss this frog of a film and turn it into the amazing film it had the potential to be.

The film gives Disney its first African American princess (not long after America elected its first African American president), but it hasn’t completely strayed from stereotypes like a rich white woman, a Cajun firefly and three hillbillies. But hey, it’s Disney, and where would the comedy come from without such characters? (Maybe Disney kept them for the same reason it left out the many negative historical circumstances of the 1920s.)

The supporting characters, however, never fully develop. Aside from Tiana and Naveen, who make a convincing and lovable couple, only rich girl Charlotte’s antics and the firefly’s romance are memorable. Louis the crocodile and Mama Odie the voodoo queen seem like quick thoughts thrown in to make the film longer. The film goes by too fast, and its climax and resolution, while enjoyable, would have enhanced the movie more had the filmmakers drawn them out just a bit longer.

One of the movie’s main character’s, the Shadow Man, hardly gets enough screen time. And while animators made his character entirely satisfying, his voice does not live up to standards set by past Disney villains. His “friends from the other side,” however, are more than spooky. They evoke the demonic atmosphere needed (maybe too much for younger viewers). Some of the best moments come from the shadows.

Some viewers may find this demonic atmosphere a bit too demonic, however, not because of how dark it is, but because it is dark. Voodoo plays a key role in the film, both a positive and negative role. While the Shadow Man gets what he deserves from his dealings with the devil, Mama Odie’s use of magic, while not portrayed as demonic, earns her the name of Voodoo Queen. This is Disney, and some viewers may assume innocence, but others will have a hard time recommending the film no matter how pleasant its lessons, characters and animation are.

For those who can get past the voodoo elements as negatives, the real delight comes in Disney’s return to 2D animation. After flops like Home on the Range and several films that went directly to video, one can understand why Disney took a break from putting it’s classic animation style on the big screen. Now, Disney makes a big comeback. While The Princess and the Frog cannot boast as colorful and breathtaking a picture as its commercials make it out to be, viewers will find this film a refreshing change from other animated films.

The film’s talented singers (Anika Nani Rose of Dreamgirls plays Tiana) and Broadway-style musical numbers also refresh viewers, but the music leaves them wanting more. Randy Newman’s score fits New Orleans perfectly, but one or two songs could use more jazzing up. Several of the Broadway-style numbers fail to completely satisfy. While they are fun, foot-tapping material, they don’t last long enough, and a few of them could use more engaging singers.

Despite its setbacks, The Princess and the Frog makes a great addition to the Disney royal lineup. With the help of directors John Musker and Ron Clements, who brought Aladdin and The Little Mermaid to life, Disney puts a unique twist on another classic fairy tale. Viewers will be “going down the bayou” for years to come.

More Chimes Articles From Last Few Months

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http://chimes.biola.edu/content/article/2009/dec/11/pc-present-new-budget-next-month/

http://chimes.biola.edu/content/article/2009/dec/10/new-disney-princess-new-orleans/

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Review: Couples Retreat

http://chimes.biola.edu/content/article/2009/oct/13/couples-retreat-loses-positive-message-exploiting-/

Let’s make a list about “Couples Retreat.” Pros: The movie promotes marriage as a lifelong commitment, and it promotes Guitar Hero. Cons: This movie is entirely about sex.

How many dirty jokes and sexual implications does it take to ruin a good film? “Couples Retreat” proves that sex, even when not explicitly shown, can overstay its welcome. Familiar actors and an endearing plot make this overblown film more enjoyable for viewers if they can get past the sex.

Four couples struggling with their marriages fly to Eden Resort, a tropical paradise with lots of relationship-building activities thrown in. While Jason (Jason Bateman) and Cynthia (Kristen Bell) are anxious to work their problems out, Joey (Jon Favreau) and Lucy (Kristin Davis), Shane and his 20-year-old girlfriend Trudy, and Dave (Vince Vaughn) and Ronnie (Malin Akerman) sign up thinking the couples’ activities are optional.

Reality hits, however, when they realize the couples program is not optional. This paradise may be closer to an abyss that will reveal, rather than solve, problems. Jason and Cynthia, who communicate through perfect slideshows, must learn to loosen up and to not hold each other to standards of perfection.

As Joey and Lucy begin to cheat on each other, they realize the joys of the world are not as enjoyable as a loving marriage. Trudy’s energy wares Shane down, and an unexpected visitor forces him to reconsider his past decisions. Lastly, Dave and Ronnie become dependent on each other. All the adventures lead up to a battle of the sexes, and a Guitar Hero battle between Dave and a resort employee.

“Couples Retreat” focuses on Dave and Ronnie in particular. While the other couples add plenty of comedy, their relationships don’t get enough screen time for the audience to care about the resolutions to their stories. Scenes with couples activities go by too fast for any chemistry or plot to develop. In the end, Dave and Ronnie’s reconciliation stands above those of the other couples as truly relatable, believable and enjoyable.

While Vaughn and Akerman make their characters real and honest, the rest of the cast becomes wasted talent, especially Jean Reno (“The Pink Panther” and “The Da Vinci Code”), who plays the mystic Marcel, the head of Eden Resort and a well-known “couples whisperer.” Reno’s scenes are pointless and do not take advantage of his potential to create any good laughs.

When Marcel appears, it feels like the film will take a Will Ferrell route or turn into a version of “Balls of Fury.” Marcel’s mystic approach to marriage feels fake, and scenes that show his resort employees fooling around and playing Guitar Hero don't help. Perhaps Marcel is meant to make the viewer laugh, but most of the time he doesn’t.

The constant sexual jokes do not add to the laughter either. Some jokes do amuse, but sexual references in front of kids and frequent scenes of women in their underwear warrant some question. Although the film’s one sex scene shows nothing explicit, a man’s naked backside appears, and one scene shows the couples practicing yoga positions that are clearly sexual.

How many of these scenes are really needed? There are other, cleaner ways to show a man is unfaithful to his wife – ways that are not nearly as raunchy and distasteful as the ones shown in “Couples Retreat.”

Does sex sell? Obviously writers Vince Vaughn, Jon Favreau and Dana Fox (“What Happens in Vegas”) think so. And we can’t forget the typical jokes like the little boy peeing in a home decor store’s display toilet.

“Couples Retreat” may be a comedy, but it disgusts just as often as it entertains. Director Peter Billingsly (You remember, that kid from “A Christmas Story”) has not done as well as he could have for his directorial debut.

Despite its cons (sex, sex, and more sex) “Couples Retreat” has its pros and still makes for a fun comedy, if viewers can get past the sexual content. The film’s small amount of genuine comedy and its ultimate message of lifelong commitment and loving relationships make it worth seeing — at least once it reaches the dollar theater. Plus, a little Guitar Hero makes even the worst movie more enjoyable.

Toy Story 3-D Review

http://chimes.biola.edu/content/article/2009/sep/28/toy-story-3-d-delightfully-nostalgic/

http://www.staticmultimedia.com/film/features/toy_story_3-d_double_feature

Who can say anything bad about Pixar? The company consistently puts out amazing stories filled with incredible characters that always manage to captivate large audiences.

Toy Story, the first ever feature-length computer animated film, and Toy Story 2 are no exceptions, so it’s obvious that Pixar’s decision to re-release the two films in 3-D would only amplify the phenomenon. The colors, the creativity, the fun, and the fact that beloved toys have returned to reach beyond the screen and touch the viewer’s heart ... Oh, yes, the Toys are back in town! You’re never too old to have some fun with these characters.

After the 1995 release of Toy Story, fans waited four years for Pixar to release the sequel, but now they can watch the two films back to back for the price of one ticket (a bonus, especially for broke college students).

Toy Story follows Woody the cowboy’s fight to keep his spot as Andy’s favorite toy when Andy gets the latest and greatest Buzz Lightyear toy. In Toy Story 2, Woody finds out that he’s a collector’s item with a toy family he never knew about including Jessie the cowgirl, Bullseye the horse, and Stinky Pete the Prospector.

The successful films inspired two rides at the Disney Resort parks and a cartoon television series about Buzz Lightyear. Now, Toy Story 3-D will make new fans and reacquaint old friends before the release of Toy Story 3 on June 18, 2010. Before the movie begins, a new trailer for the third installment plays alongside a trailer for A Christmas Carol in 3-D. A 10-minute intermission between movies will also entertain audiences with its fun facts, trivia, and film shorts.

It’s always a delight to see classics revamped for the modern audience, but what happens when you take two films not made for 3-D and convert them to the new format? Unfortunately, you’re bound to get a result that could have been better had it only been made originally for 3-D. If only the angle of vision given to viewers would change just a few degrees in certain scenes and there were a way to make these 3-D versions fresh and exciting. Some viewers who don’t consider the big screen a major factor in the enjoyment of a film may prefer to stay at home and watch the DVDs.

As the opening credits jump out at viewers, they can only hope the rest of the films will feel just as real and as much a part of the room. The use of 3-D technology in the double feature does create a clear and crisp picture, and it brings extra life to the living toys. A few scenes shot from character’s points of view make the 3-D effect seem special, but for the majority of the films viewers can take their 3-D glasses off and see just fine. On the bright side, this makes it easier for audience members with weak vision to enjoy the movies.

Despite the defects, the 3-D does add something to the films, and this reviewer can’t get past the Pixar factor. 3-D or not, Pixar films are always able to display crisp animation, realistic characters (even if they are toys), and touching stories. These films will remind viewers of their own favorite childhood toys. In the eyes of a child and with a bit of imagination, toys in the real world can come alive, too.

At the core of these films, a child’s spirit comes to life and uplifts audience members. The films show that, like Woody, Buzz, and Jessie, everyone needs to feel loved. A talented voice cast helps convey the emotions that come with such friendships, rejections, and decisions. With Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, and Kelsey Grammer as the Prospector, the double feature makes for a delightful break from life’s complications. The only thing missing is a traditional Pixar short before each film.

Pixar fans will not want to miss this limited, two-week engagement of Toy Story and Toy Story 2 in 3-D, which opens October 2.