Tag: Mirrored: Reviews

These posts can also be found (entirely or in part) in my collection of reviews.

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I finally got out to see Transformers today. Yes, I grew up with the cartoons, the toys and the comics. Yes, I even collected every comic book from the original Marvel series through the Generation 2 series (including the prologue in G.I. Joe) through the first round from DreamWave. But somewhere along the line I just lost interest, and ultimately sold off my entire collection. (On eBay, actually.)

But still, there’s some sort of primal thrill—at least for anyone who grew up as a boy in 1980s America—in seeing giant robots fighting each other. So I finally decided to catch it while it was still in theaters.

It was better constructed than I expected. They had a plausible reason for the Autobots and Decepticons to be on Earth, and they were very good about following up on exposition. Every gun that appeared on the wall was eventually fired, down to Sam’s eBay auctions, with one exception: I really expected them to blow up Hoover Dam.

Which brings me to the biggest gap in logic. SPOILERS follow, for anyone who, like me, has been living in a cave. Continue reading →

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Stardust PosterWent out to see Stardust with a group of friends, and we all enjoyed it. People have been comparing it to The Princess Bride, and it’s an apt comparison: both are light-hearted fantasy adventures with a love story at the heart. Stardust takes itself a bit more seriously, though there’s plenty of humor.

The concept: Three groups of people pursue a fallen star (in this world, a woman). Tristran wants to bring the star back to impress a girl. The cruel princes of Stormhold are seeking the necklace she wears; the one who claims the gem claims the throne. The witch Lamia wants to cut out her heart to restore her own youth for another 400 years. Tristran gets there first, but has to bring her back without the more malicious seekers reaching her.

There’s swordplay, magic, betrayal, comedy, and romance. Michelle Pfeiffer throws herself gleefully into her role as the witch Lamia. Prince Septimus oozes slime as a cross between Prince Humperdink and Professor Snape. And Robert De Niro’s Captain Shakespeare is… indescribable. Charlie Cox as Tristran and Claire Danes as Yvaine (the star) manage to hold their own with the impressive cast of villains and supporting characters.

I was the only one of the four who had read the original novel by Neil Gaiman and Charles Vess, but for the most part I didn’t mind the changes. I did think the climactic battle got a bit overblown after a while, and I really missed one aspect of Una’s character which is revealed near the end of the book.

On a related note, it seems that in the last 3 weeks, the movie “adaptation” (and I use the term loosely) of The Dark Is Rising has been retitled as The Seeker: The Dark Is Rising, probably reflecting how far it seems to have strayed from the source material.

Stardust does it right: change the details, or even the structure if you have to, to make it work in a different medium. But stay true to the heart and spirit of the book.

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This weekend we went out to see The Prestige, which was quite good. The next theater over was running The Nightmare Before Christmas in 3-D, and we figured, what the heck? After the first movie, we got tickets for another.

The Nightmare Before Christmas is one of my favorite movies, but for some reason the 3D release didn’t really interest me when I first heard about it. It felt too gimmicky, like when they project a regular movie on an IMAX screen even though the movie itself isn’t really made for that format.

I got a little more interested when I read an article about how they did it. ILM essentially re-did the entire movie as a computer-animated film, matching each frame exactly, then shifted the virtual camera over a bit. One eye gets the original film, and the other eye gets the CGI copy.

I was astonished at how seamlessly they matched. I couldn’t remember which eye got the original, and I honestly couldn’t tell. Most CGI-animated films have a cartoony, sort of vinyl look to them, which would not blend at all, but ILM is used to matching their CGI to photographed actors and sets, which I suppose makes them the ideal animation studio for this sort of thing. It had to be the most effective reformatting of a film that I’ve ever seen—compare it to colorizing movies, or the Star Wars special editions (which were done by the same effects house, but with older technology)—because it didn’t detract (or distract) from what was there in the first place.

Of course, it wasn’t long before I stopped looking at the technical merits and just settled into watching the movie.

Having re-watched it, I’m now very interested to see what director Henry Selick does with the movie adaptation of Neil Gaiman’s book, Coraline

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We went to see a screening of Edward Scissorhands tonight. A couple of local art cinemas (both part of the Edwards/Regal chain) have been doing a weekly “Flashback Features” series since summer (or possibly earlier). The first one we went to was The Princess Bride, which was absolutely packed with people who knew the movie so well they were laughing before the jokes.

None of the others we’d been to were anywhere near as full, and we lost track of the series a couple of months ago. Then yesterday I remembered we’d been planning to go see Edward Scissorhands, and figured we’d missed it. (I finally bought the DVD a couple of months ago, but wanted to hold off until after the screening since Katie hadn’t seen it before.) Fortunately, Katie remembered that it was this week, and we were able to make it. (And for once, we made it on Wednesday, so we could go to South Coast Village instead of Rancho Santa Margarita.)

Well, we prepared to turn into the theater parking lot and noticed it was full. Katie was the first to realize why: Johnny Depp. We got in, but I had to park across the street. The crowd was as good as the one for Princess Bride, and there was even one guy in full costume (the normal-clothes version, not the leather and buckles). We were pleased that while they showed “The Twenty,” which I suspect is a contractual obligation, they neglected to turn on the sound! The 15-year-old print was in terrible shape, but the condition was forgotten quickly.

It’s always a risk to go back and watch something you enjoyed when you were younger. Your tastes change as you grow up (or you actually develop a sense of taste). There are some cartoons and movies I refuse to watch because I want to remember liking them. Sometimes they work out. Sometimes they don’t.

Edward Scissorhands still holds up: The contrast between the inventor’s mansion and the pseudo-50s achingly “normal” suburbia, Danny Elfman’s fairy-tale music, the neighborhood’s curiosity, then acceptance, then ultimate rejection of this strange visitor, Peg’s determination to make things work out, Kim’s slow realization that her boyfriend isn’t a very nice guy, and that this scary blade-handed stranger is, the cop’s efforts to smooth things over—all with Tim Burton’s distinctive quirky style.

Back to the screening series, it really brings out the difference between the home movie experience and the theater experience. It’s not just the size of the screen and the volume of the sound. It’s the audience. When you have a few hundred people all watching the same movie, reacting to the same things, you get an emotional synergy that you don’t get with a couple of people at home—or with a few dozen people yakking and answering their cell phones!

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