Jane Eyrehead

Jane Eyre; adapted by Moira Buffini from the novel by Charlotte Bronte; directed by Cary Fukunaga; starring Mia Wasikowska (Jane), Michael Fassbender (Rochester), Jamie Bell (St. John Rivers), and Judi Dench (Mrs. Fairfax) (2011): Everyone in this good-looking but increasingly dumb-as-it-goes-along adaptation of Charlotte Bronte's 1847 English 101 staple is a lot dumber and less interesting than their counterparts in the novel. And I'm not a big fan of the novel. But it does look great!


Structuring the movie as a frame tale with a lengthy flashback of a middle section is the smartest thing the movie does, though it did cause me some confusion initially as to when Jane was fleeing across the moors to the house of repressed clergyman St. John Rivers and his two nice sisters. Poor old St. John Rivers gets reimagined as Sexual-Harassment Panda by the filmmakers and a weirdly creepy looking Jamie Bell, something of a disservice to the doomed, repressed, but well-meaning character of the novel.

Mia Wasihowska does yeoman's service as Jane, though the British accent occasionally seems to cause her to swallow her dialogue whole. In no recognizable universe is Wasikowska 'plain' as Jane is meant to be, which pretty much throws one of the proto-feminist concerns of the novel right out the window: the Rochester/Jane relationship isn't a meeting of like minds that overcomes class and physical impediments, but rather a relationship of two good-looking people who eventually hook up. Oh, those crazy kids!

Michael Fassbender is suitably Byronic as Rochester, though he too gets dumbed down. The central Gothic horror of the novel -- the madwoman in Rochester's attic -- virtually disappears in this narrative. So too does the family relationship of St. John Rivers and his sisters with Jane, a relationship that better explains Jane's late-movie generosity with that family. Judi Dench plays Judi Dench playing Judi Dench. Lightly recommended.

Time's Wing'd Chariot

Source Code; written by Ben Ripley; directed by Duncan Jones; starring Jake Gyllenhaal (Colter), Michelle Monaghan (Christina), Vera Farmiga (Goodwin), and Jeffrey Wright (Dr. Rutledge) (2011): Duncan Jones (son of David Bowie, whose birth name was David Jones) directed the excellent science-fiction character study Moon, starring Sam Rockwell. Here, he gives us a science-fiction thriller based mostly on the revelation of character under pressure.

Jake Gyllenhaal plays an American soldier whose mind can be dropped into someone else's mind for the purposes of finding out the details of an imminent terrorist threat. A commuter train has already been destroyed as a prelude to some greater catastrophe, and it's into the last eight minutes of that commuter train's existence that Gyllenhaal will be repeatedly plunged, replacing the mind of a schoolteacher killed in the blast.

Jones and screenwriter Ben Ripley wisely keep the explanation of how this process works to a minimum because either the explanation will make no sense, or it would take ten minutes of Basil Exposition to explain it. They even make the lack of explanation a minor plot point -- Gyllenhaal's character gets thwarted repeatedly by the scientist in charge of the project, who basically touches on a couple of points (parabolic calculus! quantum mechanics!) in a way that seems almost a parody of the Architect's ramblings in The Matrix Reloaded.

In any case, Gyllenhaal can be repeatedly sent into "the Source Code", the project's term for a weird mesh of time travel and mind-swapping. We're told repeatedly that the past can't actually be altered and that only information can be gathered to help the present. But is this true? And why can't Gyllenhaal's character remember how he came to join the project?

The obvious genre antecedents for Source Code are Groundhog Day and the Star Trek: TNG episode "Cause and Effect", with a little 12 Monkeys thrown in. Jones keeps the movie moving at a brisk clip, with the reiterations changing enough each time so that the movie becomes neither repetitive nor boring. Gyllenhaal is solid as the baffled soldier, Michelle is perky as a train passenger/love interest, and Jeffrey Wright and Vera Farmiga do nice work as the scientist and Captain running the project (dubbed 'Beleaguered Castle', a solitaire reference that plays out in the movie and also seems to allude to the importance of cards to the classic brainwashing thriller The Manchurian Candidate). Highly recommended.

Troll Management

Trollhunter; written by Andre Ovredal and Havard Johansen; directed by Andre Ovredal; starring Otto Jespersen (Hans), Glenn Erland Tosterud (Thomas), Johanna Morck (Johanna), Tomas Alf Larsen (Kalle), and Hans Morten Hansen (Finn) (2010): This Norwegian film takes the 'found footage' horror movie sub-genre and makes a funny, scary, large-scale adventure out of it. Norway has trolls, as a student film-making camera crew finds out while tailing a man whom they assume to be a bear poacher.

He isn't. He's the government's official trollhunter. And, pissed off at the bureaucracy, the secrecy, and the increasingly endangered status of the trolls he's hired to contain, Trollhunter Hans decides to take the students along with him as he tries to figure out why a number of trolls have escaped from Norway's largest troll preserve and are running around eating sheep and German tourists and the occasional car tire. Trolls, as Hans notes, will eat almost any crap -- traps are baited with sheep and goats, but also with concrete and charcoal.

Hans is the centrepiece of the movie -- the cameraman gets stuck offscreen for the most part, understandably, while the other two students primarily act scared and baffled until they get something of an understanding of the bizarre world of trolls that the Norwegian government has been hiding from its citizens for centuries.

The visual effects are mostly excellent, especially for a low-budget movie. More importantly, they're 'fantastic': the trolls don't look literalized the way that, say, CGI King Kong in Peter Jackson's King Kong looks literalized (he's simply a larger version of an existing gorilla species) rather than fantastic as the original King Kong did, a 40-foot ape clearly NOT of any known species.

The trolls, CGI though they obviously must be, are clearly in the tradition of Ray Harryhausen's stop-motion animation and not the mainstream of CGI, where apparently imagination has been all but outlawed in the past few years. One species even looks like muppets -- if Muppets were 12-feet tall, had been sleeping rough for twenty years, and enjoyed eating people. Will there be a sequel? I sorta hope so, though I'd also like to see the filmmakers tackle other fantastic creatures in a modern context. Highly recommended.

Book 'em, Cthulhu

The Book of Cthulhu, edited by Ross E. Lockhart (2011), containing:

Caitlin R. Kiernan - Andromeda among the Stones
Ramsey Campbell - The Tugging
Charles Stross - A Colder War
Bruce Sterling - The Unthinkable
Silvia Moreno-Garcia - Flash Frame
W. H. Pugmire - Some Buried Memory
Molly Tanzer - The Infernal History of the Ivybridge Twins
Michael Shea - Fat Face
Elizabeth Bear - Shoggoths in Bloom
T. E. D. Klein - Black Man With A Horn
David Drake - Than Curse the Darkness
Charles R. Saunders - Jeroboam Henley's Debt
Thomas Ligotti - Nethescurial
Kage Baker - Calamari Curls
Edward Morris - Jihad over Innsmouth
Cherie Priest - Bad Sushi
John Hornor Jacobs - The Dream of the Fisherman's Wife
Brian McNaughton - The Doom that Came to Innsmouth
Ann K. Schwader - Lost Stars
Steve Duffy - The Oram County Whoosit
Joe R. Lansdale - The Crawling Sky
Brian Lumley - The Fairground Horror
Tim Pratt - Cinderlands
Gene Wolfe - Lord of the Land
Joseph S. Pulver, Sr. - To Live and Die in Arkham
John Langan - The Shallows
Laird Barron - The Men from Porlock

An excellent anthology of mostly reprinted Lovecraftian stories, all of them dating from 1976 onwards. The Book of Cthulhu is quite heavy on 21st-century Cthulhuiana, which is fine -- most of the stories are excellent, several are harrowing, and many come from relatively small-press magazines and anthologies I would otherwise not have encountered.

There's some thematic grouping here, noticeable from the titles of what I call the Innsmouth Dining section (starting with "Calamari Curls" and running through "The Doom that Came to Innsmouth"), but also apparent in sections devoted to shoggoths, historical Lovecraft, and invasion from space and other dimensions.

The original-to-this-anthology concluding story, Laird Barron's "The Men from Porlock" (Google the title -- it's a literary reference), is one hell of a capper; standouts from writers other than the old reliables like Ramsey Campbell, David Drake, Joe Lansdale, Caitlin Kiernan, TED Klein, and Michael Shea include "Cinderlands", "Flash Frame", "The Oram County Whoosit", "The Shallows", "Bad Sushi" and "A Colder War." Editor Ross Lockhart does a splendid job of selecting a very broad range of approaches to Lovecraftian themes and variations.

Many stories specifically reference the Cthulhu Mythos not at all, instead building upon what Ramsey Campbell has called the first principles of Lovecraft's approach to horror -- the accumulation of telling, often quasi-documentarian detail in service to an overarching concern with the sublimely horrific. Lovecraft's children include all those 'found footage' horror movies currently dominating the marketplace, and stories like "The Oram County Whoosit" present a similar approach, one that's both contemporary and emergent from similar Lovecraftian constructions like "The Colour Out of Space" or "The Whisperer in Darkness."

But we also get some brilliant new takes on familiar themes and creatures in "Shoggoths in Bloom" and "A Colder War", both of which provide a fascinating blend of the Mythos and a fairly 'hard' science fictional approach. The shoggoths in bloom become surprisingly sympathetic; the shoggoths in Michael Shea's nauseating (in a good way) "Fat Face" really aren't sympathetic at all -- but the humans may be worse. A nice juxtaposition of stories using everybody's favourite freight-train-car-sized slaves of the Great Old Ones.

I could quibble with the selection of the stories from some of the writers (I'd pick Gene Wolfe's "The Tree is my Hat" over the already-reprinted "Lord of the Land", which has a somewhat clunky exposition section towards the end; the Lumley story is too much of an early, Lovecraftian pastiche from a writer who improved remarkably over his long career). I could quibble with the selection of some of the stories, though there's really only one clunker here. I will quibble with the copy editing, which is strangely awful in a handful of stories and perfectly fine in others. Weird!!! Highly recommended.

In the Future, Everyone Will Wear a Cape

Things to Come; written by H.G. Wells; directed by William Cameron Menzies; starring Raymond Massey (John Cabal/Oswald Cabal), Edward Chapman (Passworthy/Passworthy) and Ralph Richardson (The Boss) (1936): Things to Come gives us 100 years of extrapolated human history in about 100 minutes. That doesn't leave a lot of room for characterization, but characterization isn't on Wells's mind anyway -- or at least not the characterization of individuals, as humanity is the evolving character in the bildungsroman presented here.

We follow humanity's rocky road by watching the history of Everytown (pretty obviously London, England), beginning on the eve of a world war in 1936 and ending with humanity's first baby steps into outer space in 2036. In between, we get vignettes of diasaster and rebuilding, and one long middle section setting the hyper-civilized, transnational Airmen against the tribal warriors of bombed-out Everytown, led by Ralph Richardson's engaging barbarian Boss, the only character in the movie I could imagine not punching in the face as soon as I met him. And he's the bad guy!

The visual effects are occasionally stunning -- moreso given the technology of the time. One's reactions to Wells's utopia, built by scientists and engineers who love lengthy declamatory speeches and airplanes with giant wings, will vary depending on one's own opinions about 'human nature', the perfectability of man, and the wisdom of wearing togas and capes all the time. Why did seemingly everyone in the 1920's and 1930's think the citizens of future utopias would wear capes and dress all in white? Recommended.

Superbat

Superman/Batman: Finest Worlds; written by Michael Green and Mike Johnson; illustrated by Rags Morales, Rafael Albuquerque and others (2009; collected 2010): Slight but enjoyable collection of three different story arcs from the now-cancelled Superman/Batman book. Superman loses his powers and Batman gains them; Thomas Wayne and Jor-El meet up in the months prior to Kal-El's arrival on Earth; cute miniature versions of DC's superheroes and villains drop in from an alternate universe. The whole collection is pleasantly Silver Agey, with very little sturm-und-drang. Recommended.

The Hat Squad, The Trip, and The Napoleon of Crime

The Trip, directed by Michael Winterbottom, starring Steve Coogan and Rob Brydon as themselves (2011): British comedians Coogan and Brydon, playing themselves, tour some haute cuisine restaurants in Northern England for a week in service to a newspaper article Coogan has been contracted to do, comedically one-upping each other all the way. This terrifically funny movie was originally a six-part BBC miniseries, edited down here for tehatrical distribution. Along with Bridesmaids, it's the funniest movie of 2011.

Coogan plays the somewhat aloof, Byronic comedian, mocking Brydon's schtick as the Rich Little of Great Britain. Brydon plays the devoted family man who seems content to entertain through comedic mimickry. Coogan is a bit of a blowhard; Brydon is a bit socially awkward. Together, they make a great comedic duo. There's even a bit of character development, though it's wisely kept muted, without the 'big' moments that would probably occur in an American film.

One of the running competitions between the two involves trying to do the best Michael Caine imitation while also explaining how one does this, and how Caine's voice has changed over the years. Others involve James Bond imitations and various bits of jazzy riffing on assorted pop culture topics.

The food -- elegantly prepared and often hilariously precious -- also supplies moments of wit and counterpoint, especially early on when Brydon gets Coogan to admit that he actually isn't much of a foodie, and that the only critical insight he can offer about a bowl of soup is that it's very tomato-y and very soupy. I wish this were longer. Highly recommended.

Sherlock Holmes: A Game of Shadows, written by Michele and Kieran Mulroney, based on the characters created by Arthur Conan Doyle; directed by Guy Ritchie; starring Robert Downey, Jr. (Holmes), Jude Law (Watson), Stephen Fry (Mycroft), Noomi Rapace (Simza Heron) and Jared Harris (Moriarty) (2011): Guy Ritchie's Holmes is basically a twitchy Victorian James Bond with more brain power than 007. Here, Holmes must foil a massive plot by his arch-nemesis Professor Moriarty, a respected mathematics professor and political consultant who is secretly "the Napoleon of Crime."

The plot itself isn't new to Holmes pastiches and homages: Moriarty is trying to foment a World War in 1891. Oh, and Watson is getting married. Downey and Law keep it all fairly light; Stephen Fry plays Holmes's older, smarter brother Mycroft as a more politically committed Oscar Wilde; Noomi Rapace (Lisabeth Salender in the Swedish adaptation of the Millennium trilogy) doesn't have a lot to do as the only Romany fortune-teller in history with a Swedish accent, though she does look great in a variety of hats. Weightless, escapist fun with some nice set-pieces. Recommended.


　

The Adjustment Bureau, written and directed by George Nolfi, based on the story "Adjustment Team" by Philip K. Dick; starring Matt Damon (David Norris), Emily Blunt (Elise Sellas), Anthony Mackie (Harry Mitchell), John Slattery (Richardson) and Terence Stamp (Thompson) (2011): Hollywood tends to like Philip K. Dick for the bare bones of a plot and not much else. Dick's novels and short stories don't exactly teem with people as good-looking as Matt Damon and Emily Blunt playing characters with sexy, exotic and/or world-shaking jobs. With The Adjustment Bureau, it's as if the makers of Blade Runner had changed Rick Deckard's character from a private detective to the Man Who Would Be King of All the Popes.

So the movie-makers of this extremely loose adaptation of a ten-page Dick short story called "Adjustment Team" (loose in the sense that it makes Minority Report look like a staged reading of the Dick short story it was based on) take a basic idea that isn't entirely peculiar to Dick (vaguely magical, behind-the-scenes bureaucratic types actually decide everybody's fates down to the most minor of details if necessary -- this is the Adjustment Team, whom the movie renames the Adjustment Bureau probably simply because Hollywood screenwriters will rename or rewrite anything given half a chance, and generally fuck it up while loudly declaiming how they improved the original narrative. Stephen Zaillian, I'm looking at you and about half your adaptations).

Then they add a mushy spiritual element that is decidedly not in the original story, and have Matt Damon be a US Presidential hopeful and Emily Blunt the most important modern dance person in, like, ever. But only if The Plan is followed, shepherded by the behatted army of Adjustment fellas.

None of this works at all well with Dick's recurring focus on ordinary people in extraordinary situations, often just trying to get along. Because it's Matt Damon! The powers that be want him to be President! The Chairman, ie. God, wants him to be President!!! Who needs ordinary people in a baffling world of shifting realities when Jason Bourne is available to run like crazy at the climax?

Oh, and the various members of the Adjustment Bureau wear hats. Because hats allow them to teleport from location to location. Despite the fact that the members of the Adjustment Bureau are supernatural beings of some sort. They still have to have those hats! And their precognitive powers don't work in rain or near water. Basically, they're a really incompetent Green Lantern Corps. At least a ring can't blow off your head in a stiff breeze! At least the colour yellow doesn't cover 2/3's of the Earth's surface!

Matt Damon's fate gets screwed up because the guy micro-managing that fate, Anthony Mackie (in the unfortunate role of The Saintly, Super-powered Negro), falls asleep on the job. History will apparently fall apart if Matt Damon doesn't become President of the USA. The Adjustment Bureau apparently doesn't have back-up plans. It's all one plan, baby! Much pointless running around and stuff later, everything works out fine. The End. Not recommended.