Spider-Man 3 (2007): based on characters created by Steve Ditko and Stan Lee; written by Sam Raimi, Ivan Raimi, and Alvin Sargent; directed by Sam Raimi; starring Tobey Maguire (Peter Parker/ Spider-Man), Kirsten Dunst (Mary Jane Watson), James Franco (Harry Osborne), Thomas Haden Church (Flint Marko/ Sandman), Topher Grace (Eddie Brock/ Venom), Bryce Dallas Howard (Gwen Stacy), James Cromwell (Captain Stacy), Dylan Baker (Dr. Curt Connors), Rosemary Harris (Aunt May), and J.K. Simmons (J. Jonah Jameson):
11 more years of superhero movies have made Spider-Man 3 seem a lot more charming now than it did at the time. The studio forced director/co-writer Sam Raimi to shoehorn 1980's Spider-Man villain Venom into a story that already had Sandman and Harry Osborn as antagonists for Peter Parker's spidery alter ego. And oh boy, what a clumsy shoehorn it is!
The result does strongly suggest that Sam Raimi pretty much said 'To hell with you!' at this point, forced to give us a tale of Peter Parker briefly 'going bad' under the influence of the alien symbiote/black costume. While he's bad, Peter Parker looks and acts like a sort of Emo Beatnik. He dances. He snaps his fingers. He plays the piano. Wow!
Sam Raimi's desire to be done with superhero movies also seems to be in full evidence. Spider-Man 3 opens and closes with a musical number. The motivations of villain Sandman are murky. A retcon of the murder of Peter's Uncle Ben has been inserted because everything has to be personal for superheroes. The Sandman himself generally looks and acts a lot like the sandstorms in the first two Brendan Fraser Mummy movies.
Oh, well. Tobey Maguire is still mopey and perky as Peter and Spidey. Kirsten Dunst's Mary Jane is now a thankless wet blanket of a role. James Franco just looks stoned all the time as Harry Osborn. As in Spider-Man 2, the action climax ends on a note of forgiveness rather than all-out punchiness. In today's superhero world, that last choice still seems fresh and important, and the makers of Spider-Man: Homecoming seem to have realized that with the ending of their NuSpider-man movie. In all, lightly recommended yet almost incongruously entertaining.
Hugo (2011): adapted by John Logan from the novel by Brian Selznick; directed by Martin Scorsese; starring Ben Kingsley (George Melies), Sacha Baron Cohen (Station Inspector), Asa Butterfield (Hugo Cabret), Chloe Grace Moretz (Isabelle), Helen McCrory (Mama Jeanne), Christopher Lee (M. Labisse), Emily Mortimer (Lisette), Michael Stuhlbarg (Rene Tabard), and Jude Law (Mr. Cabret): Hugo pretty much swept the 2011 artistic and technical Academy Awards for sound, art direction, visual effects, and cinematography. It was Martin Scorsese's first foray into 3-D film-making AND Young-Adult-friendly narrative.
On the small, non-3-D screen, Hugo still boasts some impressive set and production design as it depicts a somewhat fanciful Paris c. 1932. Unbeknownst to the authorities as embodied in Station Inspector Sacha Baron Cohen, the orphaned Hugo Cabret keeps the clocks running in the film's central location, the main Paris train station.
Hugo also works to repair an automaton rescued from museum storage by his late father. And unbeknownst to Hugo, the cranky toy-stall owner at the station is seminal French film director Georges Melies. Is that a spoiler?
Hugo is slow in its initial hour or so, and the supporting characters never seem to be drawn sharply or funnily enough. However, the movie looks great, and Asa Butterfield and Chloe Grace Moretz make a charming pair of investigators. More time devoted to recreations of Melies' fanciful films would have been nice -- there's a little too much lead-foot in the movie's shoes when it comes to film's ability to transport a viewer to new, strange places. Scorsese may simply be too rooted in the quotidian, no matter the goodness of his intentions, and John Logan (Gladiator, Star Trek: Nemesis) is something of a literal-minded plodder when it comes to the fantastic. Nonetheless, recommended.
The Boy (2016): written by Stacey Menear; directed by William Brent Bell; starring Lauren Cohan (Greta), Rupert Evans (Malcolm), and Ben Robson (Cole): Who names their son Brahms? Oh, well. Lauren Cohan plays an American hired as a nanny/au pair by an elderly English couple. She's there to take care of their eight-year-old son while they go on vacation. The son is a life-sized doll. OK!
The Walking Dead's Cohan carries much of the film's best moments, as improbable as they often seem. And the movie plays fair until the epilogue, which one could argue is as much an imagined nightmare as the 'hand shots' that appear near the ends of Carrie and Deliverance. Rupert Evans brings a muted affability to the thankless role of New English Love Interest. The doll is pretty creepy.
The director whiffs several times on disguising the fact that the movie was shot in and around Victoria, British Columbia rather than England. Either that or The Boy takes place in an alternate universe in which England has redwood trees. Lightly recommended.
Spider-man (2002): created by Steve Ditko and Stan Lee; written by David Koepp; directed by Sam Raimi; starring Tobey Maguire (Peter Parker/ Spider-man), Willem Dafoe (Norman Osborn/ Green Goblin), Kirsten Dunst (Mary Jane Watson), James Franco (Harry Osborn), Cliff Robertson (Uncle Ben), Rosemary Harris (Aunt May), and J.K. Simmons (J. Jonah Jameson): Still a mostly jolly, romantic romp, this Spider-man. Maybe a bit too romantic, but the doomed love affair of Mary Jane and Spider-man was a key factor in drawing in a better-than-average-female-audience (for superhero and/or action movies, that is).
Raimi and company dumb Spider-man down, eliminating the comic-book wish-fulfillment genius that allowed him to create mechanical web-shooters and many other awesome Spidey gadgets, which is a shame -- organic web-shooters are gross, and suggest that Peter Parker must spend a lot of time eating high-protein foods after a particularly heavy bout of web-slinging.
Still, the cast -- even James Franco as Parker pal Harry Osborn -- is a delight. Would that they had come up with a better rendition of the Green Goblin's comic-book costume, though, if only so that many scenes didn't look like Spider-man vs. the Green Mattel Chocobot. Recommended.
Fantastic Beasts and Where to Find Them (2016): written by J.K. Rowling; directed by David Yates; starring Eddie Redmayne (Newt Scamander), Colin Farrell (Graves), Katherine Waterston (Tina), Alison Sudol (Queenie), Dan Fogler (Jacob), Ezra Miller (Credence), and Johnny Depp (Grindenwald): A Harry Potter prequel (one of at least four, apparently) set in New York in the 1920's. The rare modern movie whose charms lie almost entirely on the CGI end of things. Eddie Redmayne, mumbling and whispering and retiring, was a terrible choice to play the lead: he's perpetually drowned out by pretty much everything else in the movie.
The film might have been 25% better if David Tennant had played Scamander in full blustery Doctor Who mode. Between this and his performance in Jupiter Ascending, bad in a different way, Redmayne really needs to avoid potential tent-pole blockbusters. He's too finely tuned an actor to look comfortable in front of a green-screen battling for attention with giant birds and immense balls of crackly darkness.
J.K. Rowling's first original screenplay is a mess, vague and unfocused and rambling for the first hour. Characters we don't care about whiz by, leaving only Eddie Fogler's Muggle-out-of-water baker and Alison Sudol's perky telepath to cheer for, and be cheered by. A movie about the two of them and their magical bakery would be a Potter prequel I could get behind. The appearance of Johnny Depp at the end inspires the wrong kind of dread for the future of the series. Lightly recommended.
Spider-Man 2 (2004): based on characters created by Steve Ditko, Stan Lee, John Romita, and others; written by Alfred Gough, Miles Millar, Michael Chabon, and Alvin Sargent; starring Tobey Maguire (Peter Parker), Kirsten Dunst (Mary Jane Watson), James Franco (Harry Osborn), Alfred Molina (Dr. Octopus), Rosemary Harris (Aunt May), and J.K. Simmons (J. Jonah Jameson): 15 years further into The Superhero-Movie Age, Spider-Man 2 seems smarter and more human than ever. The actors charm, the villain is more of a tragic figure than anything else, and everything hinges not on a final fist-fight but on a final appeal to a doomed character's humanity.
In terms of choreography and spectacle, the final battle isn't quite as interesting as two earlier set-pieces, though that may explain the sudden left-hand turn the plot takes at its conclusion away from all-out punchiness. Only the decision to have Spider-Man's webs be biological rather than mechanical is a drag: the fun of Spider-Man's encounters with super-villains in the comic books sprang partially from his scientific and engineering prowess deployed in the service of stopping said super-villains, and Spidey could really use some high-test webbing when he battles the homicidal, cybernetic arms of Dr. Octopus! Highly recommended.
The Dark Tower (2017): adapted by Akiva Goldsman, Jeff Pinkner, Anders Thomas Jensen, and Nikolaj Arcel from the series by Stephen King; directed by Nikolaj Arcel; starring Idris Elba (Roland), Tom Taylor (Jake), and Matthew McConaughey (Walter): Shortly before its release, The Dark Tower was called a sequel to the 8-novel+ Stephen King series by its creators. And it actually makes sense as one if you've read the series.
Is it a great movie? No. It's bracingly short and compact, though maybe 20 minutes' more questing and world-building would have been nice. Idris Elba does fine work as a more tortured Roland the Gunslinger than we see in the novels. Tom Taylor does fine work as Jake, the boy on 'our' Earth who dreams of the Gunslinger and his fantastic quest to save the Dark Tower at the centre of reality. And Matthew McConaughey is suitably smarmy and smug as Walter, the Man in Black who's trying to bring down the Dark Tower in service to his own dark god(s).
There are Stephen King Easter Eggs galore (Hello, Charlie the Choo-Choo! Hello, Room 1408!). There are rat-men and assorted other servants of darkness. Its weakness is occasionally seeming rushed, though that's better than bloat in my book any day. The Dark Tower also understatedly offers a multi-racial cast, something that seems to have gone unremarked upon the curious critical rush to pan the movie. Oh, well. Recommended.
The Great Gatsby: based on the 1925 novel by F. Scott Fitzgerald; adapted by Baz Luhrmann and Craig Pearce; directed by Baz Luhrmann; starring Leonardo DiCaprio (Jay Gatsby), Tobey Maguire (Nick Carraway), Carey Mulligan (Daisy Buchanan), Joel Edgerton (Tom Buchanan), Elizabeth Debicki (Jordan Baker), Amitabh Bachchan (Meyer Wolfsheim), Isla Fisher (Myrtle Wilson) and Jason Clarke (George Wilson) (2013):
I expected to dislike Baz Luhrmann's version of The Great Gatsby. Instead, I pretty much dug it. It's not the novel, but movies never are, and Luhrmann's departures from the text, while sometimes a bit iffy (the frame story exudes wonkiness at times), work for the most part in interesting ways. It's certainly the first adaptation that gets the Jazz Age frothiness and buzz of the early 'Party' sections pretty much right before the narrative plunges into darkness. Or drives into it at unsafe speeds.
Luhrmann adds a certain amount of Hollywood sentimentality to the mixture, which is probably inevitable for any film adaptation not done by Stanley Kubrick or Peter Brook. Leonardo DiCaprio's Gatsby comes off as much more sympathetic than the character in the book, despite the film's assignation of an extra dose of criminal behaviour to Gatsby. Tobey Maguire is really a perfect actor to play an observer like Nick Carraway, and the film increases that passivity by removing most of his interaction with Jordan Baker. Nick's repressed homosexuality, strongly implied in the novel, is nowhere to be found.
The reduction of scenes spent with the Wilsons makes both of them more sympathetic, and Carraway by extension as well, with Nick's harsh descriptions of the working class excised from the film. The snobbishness and racism all come from that brutish old-money polo player Tom Buchanan.
Most importantly, the movie really moves, bouncing around just this side of irreverence to the source material. The softening of the narrative makes one of the film's major points -- Gatsby's delusional complicity in his own destruction, and the critique of the American Dream implicit in that delusionality -- less prominent, but it's still there. Indeed, I could argue that the film's frame story shifts some of that delusional obsession onto Nick Carraway, who may ultimately have missed the point of the story in a way similar to Gatsby.
The performances throughout are top-notch. DiCaprio makes a winning, obsessive, ultimately fragile Gatsby; Carey Mulligan is especially fine as Daisy, that object lesson on not turning women into Objects to be Won; Joel Edgerton really does a lovely job embodying the ideological and social ugliness of Tom Buchanan.
As with most film adaptations of complex novels, there are a number of Coles' Notes moments in which the film tells you a bit too much of what you're supposed to think about something (that famous eyeglass billboard gets about three too many lines of metaphoric explanation), but that pretty much goes with the territory of adaptation, especially given the budgetary scale of this film. But, you know, it's pretty good. Nobody embarrassed himself or herself. And boy, that set design and those costumes. Recommended.
