Movie Review: “Cinderella”

Cinderella

If Hollywood has run out of ideas to the point where it has to remake animated material in live-action form, it could hardly have picked a better piece than “Cinderella”. Lacking a supernatural or mythical super-scary monster, “Cinderella” instead features a gorgeous villain of epic sociopathic potential–one that seared “evil stepmother” onto the collective consciousness.

Borrowing heavily from the 1950 animated feature, 2015’s “Cinderella” puts a new spin on the old story of an orphan girl living in servitude who finds her path to true love and a golden ticket out of a dead-end situation. Here, the young Ella grows up in an idyllic household anchored by her sweet mother (Hayley Atwell) and kind father (Ben Chaplin).

Ella and her father

Ella (James) sees her father (Chaplin) off on his last business trip

As Ella grows into a beautiful woman (Lily James), her joyous life is interrupted by the sudden death of her mother, whose parting advice is for Ella to “have courage and be kind”. Her father eventually remarries–taking Lady Tremaine as his new wife (Cate Blanchett) and bringing along her beautiful-on-the-outside-but-ugly-on-the-inside daughters, Drisella (Sophie McShera) and Anastasia (Holliday Grainger). At first, the relationship between Ella and her step-family seems relatively innocuous; the glamorous Tremaine is generally warm in demeanor, and Ella’s materialistic step-sisters are nothing more than pretty bobbleheads. But times must change, and Ella’s father succumbs to an illness while traveling on business. Ella grieves heavily for the loss of her father, while Tremaine fears the loss of standing and income.

Lady Tremaine and her daughters arrive at the ball

Lady Tremaine (Blanchett, center), flanked by her daughters Anastasia (Grainger) and Drisella (McShera)

Concerned about the servants’ wages, Tremaine releases the staff and gently encourages Ella to assume the various roles they occupied. Ella takes most of these tasks in stride, even after suffering the humiliation of being unceremoniously relocated to the drafty abandoned tower attic and renamed “Cinder-Ella” for the ash-coated face she sports after a warming night on the kitchen floor in front of the fireplace. The catty Drisella and Anastasia cackle over their breakfast with their now-openly repellent mother, and–in her frustration–Ella dashes off on a horseback ride into the woods to clear her head.

She stumbles onto a stag hunt, where she meets a handsome man who calls himself “Kit” (Richard Madden). The two share playful banter: she insists he spare the life of the stag, and he dodges her questions about his place in the palace where he claims to live as “an apprentice”. After they part, “Kit” (the prince) returns to his father’s side (Derek Jacobi) and they plan for a grand ball at which the prince may select the bride of his choosing. The king and his grand duke (Stellan Skarsgård) plan for an all-princess affair, to seal the kingdom’s future, but the lovestruck prince agrees only on the condition that all maidens of the kingdom may attend.

The King and Prince at the ball

The King (Jacobi) and Prince (Madden) hold court at the royal ball

Ella hears of the grand ball and prepares on her own to go, even after being rebuffed by Tremaine–who wants one of her daughters to land the prince. When the lovely Ella appears in one of her mother’s dresses, ready for the ball, the Tremaine harpies rip it to shreds, leaving her a frustrated, teary mess. It’s at this point that her fairy godmother (Helena Bonham Carter) performs a magical intervention, allowing Cinderella to head off to the ball in grand style, sporting a breathtaking dress and the famed glass slippers (well, okay, pumps). She spends a lovely evening with the prince of her dreams, before she dashes off into the night (minus one shoe) to escape his seeing the fairy godmother’s spell undone. The distraught prince sends out word that whoever fits the shoe will be his bride and…well, you know how this ends. (Or perhaps you don’t.)

Helena Bonham Carter as the Fairy Godmother

Bonham Carter’s Fairy Godmother prepares to work her magic on Cinderella

This movie has many things going for it, such as a fantastic cast and truly breathtaking costumes (surely worth at least an Oscar nomination, if not a win). Blanchett’s Tremaine is nearly continuously draped in green satin that fits so wonderfully it’s hard to tell if she’s wearing the satin or if it’s wearing her, and Ella’s pivotal scene dresses (both at the ball and at the end of the film) are utterly breathtaking pieces likely to inspire many a formal gown. Blanchett gleefully and evilly chews scenery, in a rare opportunity to play the baddie, while Nonso Anozie seems to equally enjoy his turn as the pure-hearted Captain. Chris Weitz’s screenplay gives Tremaine context and depth not seen in previous versions of the story while showing mercifully precious little action from the mice and cat, making this version of “Cinderella” a bit more adult-friendly.

Where things are less perfect are in things like James’ affected performance at the ball, with flourishes that likely were meant to suggest Cinderella was transformed and carried away by the magic of it all–but coming off more like an animated movie character in a live-action film who thinks she’s still in an animated movie. Madden does a decent enough job, but some of his lines are a bit too pouty or silly; he seems better suited for the grittier and less fanciful material (or perhaps he was just so good in “Game of Thrones” that it’s hard to see him a role with a comedic aspect). And as much as I love Bonham Carter, I’d like to have strong words with whoever fitted her for the oversized, overpolished teeth the Fairy Godmother sports; she talks around them no better than a vampire in a B-grade movie. This film runs 40 minutes longer than its predecessor–due partially to Ella’s backstory–and it could have been sped up at times. Still, the run time is short enough that most kids shouldn’t be squirming in their seats.

All in all, “Cinderella” is a movie that appeals well to all ages; its non-scary nature makes it a great fit for the younger set, and its strong cast is a good draw for those of us well into the double-digits of age. It’s easy enough to overlook its shortcomings, since they don’t detract enough to keep this from being anything other than what it’s meant to be: a (updated) reboot and instant classic.

“Cinderella” is preceded by “Frozen Fever”–an animated short that returns us to Arendelle just in time for Queen Elsa to give Princess Anna the best birthday ever. Unfortunately for Elsa, the “fever” referenced in the title isn’t a metaphor, and her plans are partially derailed by the wee snowmen that manifest each time she sneezes. The short is cute, and it is a precursor to the just-announced “Frozen 2” that’s entering development, although I don’t see this as the Oscar-winning material of prior shorts, like “Feast” (which preceded “Big Hero 6”). Fans of “Frozen” will surely enjoy it, thought, and truly that’s what it’s all about.

3 out of 4 stars

“Cinderella” opens nationwide on March 13, 2015. This movie is rated PG for mild thematic elements

Movie Review: “Rosewater”

Rosewater

If you asked me a few decades ago whether the Jersey-based comedian I’d seen on MTV’s “Half-Hour Comedy Hour”, Jon Stewart, was going to end up being the man who’d bring you the realest fake news you’ll ever find, I probably would’ve given you a sideways glance. These days, it seems not only believable but also desperately important; Stewart has become one of the few reliable sources of stories that mainstream media would often leave untold. In this case, the chilling story of an interviewee from “The Daily Show” attracted Stewart’s attention and inspired him to take his first turn running the show behind the camera.

“Rosewater” is based on the novel “Then They Came for Me” (recently re-released under the name “Rosewater”), the true story of Iranian-born journalist Maziar Bahari (Gael García Bernal), who was in Iran in 2009 at the time Mahmoud Ahmadinejad squared off against Mir-Hossein Mousavi for the Iranian presidency. Bahari returned home to Tehran for a week, to report on the election for Newsweek magazine, but his family’s history of dissidence and subsequent imprisonment made him somewhat gun-shy on photographing even something otherwise so innocuous as a satellite dish array run by opposition-party supporters.

When Ahmadinejad declared a landslide victory before the polls even closed on Election Day, Bahari got a sense that something had gone horribly wrong; any optimism he felt upon arrival home was effectively squashed. Worse still, the protests that erupted subsequent to the news of Ahmadinejad’s re-election turned bloody and violent. Chided by his friend and driver, Davood (Dimitri Leonidas), for his failure to use the weapon in his hands – his video camera – Bahari sheepishly began videotaping a fiery protest that attracted gunfire from the Iranian military. He then passed his recording along to the BBC, who transmitted it to London that very night. The next morning, he was escorted to a prison where – much like his father and sister before him – he underwent confinement, interrogation, and systematic attempts to strip away his hope.

Bahari was often forced to wear a blindfold, so “Rosewater” refers to his near constant companion, an interrogator who perfumed himself with rosewater (Kim Bodnia). The interrogation sessions, filled with psychological and physical attacks, were aimed at breaking Bahari’s spirit and securing a confession that he was a spy for the West, working undercover as a journalist to help foment revolution and spread lies. One of the pieces of “evidence” used against Bahari was an interview with Jason Jones of “The Daily Show”; whether or not the satire was lost on the Republican Guard, Jones’ humorous attempts to paint Bahari as a spy were used as ammunition during at least one interrogation session. Over the course of 118 days, Bahari was held in captivity, his sanity and salvation constantly just outside of his reach. Ultimately, multiple confessions – including one where Bahari agreed to spy on behalf of Iran – were required to secure his release.

All of the actors give incredible performances, and the writing and directing (both Stewart) are top-notch. García Bernal, in particular, is astonishing in his range of feelings and expressions; you experience the roller coaster of emotions along with his Bahari, while watching from the uncomfortable comfort of a cushy theater seat. Lighting and technical overlays highlight the impact the Internet – especially Twitter – has in supporting the flow of information and communication. The importance of freedoms of association and communication can’t be oversold. Bahari’s story is a cautionary tale of false freedom and real imprisonment, and Stewart & co. have brought it to the screen in an Oscar-worthy manner that’s touching, shocking, and altogether mesmerizing.

4 stars out of 4

“Rosewater” opens nationwide on November 14, 2014. This movie is rated R for language, including some crude references, and violent content.

Movie Review: “Big Hero 6 3D”

Big Hero 6

 

The studio that created hits like “Frozen” and “Wreck-It Ralph” now brings us “Big Hero 6”, a futuristic tale based on the eponymous comic book series. As with the two prior titles, Disney Animation Studios hits one out of the park; “Big Hero 6” is easily the best animated film of the year – so good that my husband, who NEVER wants to see a movie more than once in the theater, has already asked when we can go again.

The story opens in the future megacity of San Fransokyo, where boy genius Hiro (Ryan Potter) is being bailed out of a dicey situation by his equally bright older brother, Tadashi (Daniel Henney). Hiro is clearly squandering his talent as a grifter on the underground robot fighting scene, and Tadashi offers him another potential future, one where Hiro features prominently as a fellow student at San Fransokyo Institute of Technology (SFIT). Part of the sell: Tadashi introduces him to Baymax, his personal healthcare robot whose advanced intelligence dazzles Hiro and convinces him to create a project for a showcase to help him audition for the same collegiate program as Tadashi.

 

Baymax queries his patient

Adorable level on a scale of 1-10? Clearly an 11.

 

Hiro’s work is brilliant: astonishing microbots that move, swarm, and flow according to neuron impulses captured by a special headband. His microbots win the day, and Hiro garners the competing attentions of SFIT program head Professor Robert Callaghan (James Cromwell) and dubiously-moraled entrepreneur Alastair Krei (Disney Animation regular Alan Tudyk). Krei offers a wide-open purse, but Callaghan’s disdain for Krei gives Hiro pause, so he chooses to take the college program instead. While celebrating outside the SFIT building with Tadashi and his program-mates/friends, a fire breaks out inside and one person dashing away in terror informs them that Professor Callaghan is still inside. Hiro pleads with Tadashi not to go back in, but Tadashi insists that someone has to do something – and both he and Callaghan are lost.

Mourning consumes Hiro, so much so that when he accidentally hurts himself and Baymax comes out of his holding case to render care, Hiro immediately dismisses him and barely notices when a tossed off command to chase an errant, anomalous microbot sends Baymax through the winding streets of San Fransokyo. Hiro follows – only to find that someone is manufacturing his microbots, which had all been assumed lost in the fire. That someone turns out to be a mysterious character in a Kabuki mask who controls a plentiful supply of microbots and attempts to snuff out Hiro and Baymax with his creations.

 

Kabuki

The mysterious Kabuki-masked character, manipulating an army of microbots

 

Hiro enlists the help of Tadashi’s friends and provides “upgrades” to all of them, tech uniquely designed to optimize their strengths and skill sets, such as Go Go’s roller suit that capitalizes on her magnetic disc designs. The six-member team – Hiro, Baymax (now in a special winged armor), Go Go (Jamie Chung), Honey Lemon (Genesis Rodrigues), Wasabi (Damon Wayans, Jr.), and Fred (T.J. Miller) – track down the Kabuki-masked person, in an attempt to understand what happened the night of the fire. Their reconnaissance and the subsequent chase show the level of Hiro’s emotional wounds from the loss of his brother, and the team has to find a whole new way to rally in order to dispense justice and bring Hiro back from the brink.

 

Go Go, Wasabi, and Honey Lemon

Go Go, Wasabi, and Honey Lemon, suited up and ready for action

 

“Big Hero 6” is a mature kids’ movie, or perhaps it’s better to describe it as a shinier, computer-generated piece of anime. The characters are engaging, the story is well-written, and Baymax is one of the best things to hit the screen in ages. He’s a marshmallow of a robot, simultaneously soft and firm, and his unwavering support for Hiro is – at times – heartbreaking. I saw this movie in 3D, and though I’m sure it looks great in 2D, it was visually stunning in 3D. If you’re asking whether you should watch “Big Hero 6” in 3D, I’d recommend it but not say that it’s an absolute requirement.

 

Baymax upgraded and in full armor

Baymax, in full armor, with Hiro (left)

 

And now, the other big question: is “Big Hero 6” scary? I brought the entire family to this movie, somewhat unsure how the Kabuki-masked figure might be for my 5 and (then) 7 year-old. I showed both kids two trailers for the movie, and while my 7yo dd was still a thumbs-up, my 5yo ds was ready to bolt. We brought him anyway, and they had the usual standing order to snuggle up with one of us if they got scared. My ds did fine throughout the movie, even adopting Baymax’s signature fistbump (“ba la la la la!”), while his big sister cringed for good bits of the movie and has tried to ban any discussion of it. In other words, your mileage may vary. There are a couple of scary scenes, but the movie is generally bloodless and each of the brief scary scenes are well outweighed by a far larger number of amusing or uplifting scenes.

It’s a testament to how great this film was that dh can’t wait to go again – and I knew instantly that this is one that we’ll buy on release day when it makes it to Blu-Ray/DVD. In short: don’t miss “Big Hero 6”.

 

Feast

“Feast” – A sweet friendship begins…

 

Speaking of shorts: “Big Hero 6” is preceded by a sweet short film called “Feast”, about a puppy who grows up to be the gourmand wingman for a bachelor with a penchant for fast-food. As his owner and BFF develops a romantic relationship with a woman who teaches him to love vegetables, the (now-grown) dog is relegated to more of a pet role. Life happens and the couple separates, leaving things up to the dog – much like the paper airplanes of Oscar-winning “Paperman” – to make the happy ending happen. This delightful and sweet romp made for a great lead-in to “Big Hero 6”, and I wouldn’t be surprised if either one garners an Oscar nomination of its own.

4 stars out of 4

“Big Hero 6” opens nationwide on November 7, 2014. This movie is rated PG for action and peril, some rude humor, and thematic elements