Author: David Medsker (Page 25 of 59)

Movie Review: “The Hobbit: The Desolation of Smaug”

Starring
Martin Freeman, Ian McKellan, Richard Armitage, Luke Evans, Orlando Bloom, Evangeline Lilly, Benedict Cumberbatch
Director
Peter Jackson

There are a couple of reasons why the “Hobbit” movies, to date, have not had the impact that their “Lord of the Rings” predecessors did, despite having better special effects. The first one is obviously fatigue; Peter Jackson has now made what is for all intents and purposes the same movie five times. Five, times, and there is one more coming. The bigger problem, though, is this: five hours into the “Hobbit” story, the good guys have slaughtered hundreds upon hundreds of bad guys (both biped and arachnid), and they have not lost a single soldier. The lack of stakes for the characters, combined with the knowledge of which characters play a larger role in the subsequent “Lord of the Rings” books, undermines all attempts to establish a realistic sense of peril. Wait, Gandalf is in trouble? Whatever – he clearly lives to fight in “The Fellowship of the Ring,” so don’t sweat it.

This is unfortunate, because “The Hobbit: The Desolation of Smaug” is quite entertaining despite the lopsidedness of the battles and needless “Clone Wars”-type political drama that director Peter Jackson foists upon the good people of Lake-town. A Tolkien-loving friend of ours swears that only five percent of the story in “Smaug” is in the original text. That is not nearly as much of a concern to us as the fact that no one dies in these movies.

Fresh from their escape from a pack of Orcs at the end of “The Hobbit: An Unexpected Journey” courtesy of a group of giant eagles, Bilbo Baggins (Martin Freeman), Gandalf the Grey (Sir Ian McKellen), and a band of dwarves led by Thorin (Richard Armitage) continue their journey to reclaim Thorin’s family’s homeland in the Lonely Mountain, inside which are untold riches and a fire-breathing dragon named Smaug (Benedict Cumberbatch) who claims both riches and fortress as his own. Gandalf leaves them at the edge of the forest of Mirkwood to do a fact-finding mission. Bilbo and the dwarves find themselves in trouble almost instantly, battling giant spiders in the forest, only to be captured by wood elves afterwards. Bilbo uses the invisibility powers of the Ring to slip past the elves and free the dwarves, but the Orcs are soon on their tail again. To escape the Orcs, the group makes a deal with shipman Bard (Luke Evans), who smuggles them into the human-populated Lake-town so they can fulfill the prophecy and take back what is theirs. Smaug, however, is not inclined to go quietly.

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Movie Review: “Saving Mr. Banks”

Starring
Emma Thompson, Tom Hanks, Colin Farrell, Paul Giamatti, Bradley Whitford, Jason Schwartzman, B.J. Novak
Director
John Lee Hancock

The trailer for “Saving Mr. Banks” resembles the film only slightly more than “The Shining” resembles that fake trailer for the film that made the rounds 10 or so years ago. In the trailer, “Mr. Banks” looks light and fun, with a little playful back-and-forth between the frigid, overprotective writer and the movie executive who’s looking to turn her pet project into box office gold. Nora Ephron made this movie with Meg Ryan four or five times (twice with “Banks” star Tom Hanks, strangely enough), and we all know that it ends with the two finding some middle ground while learning to be more understanding of others.

Except that this movie isn’t even remotely like that. Instead, “Saving Mr. Banks” is a dark, painfully sad journey of a grown woman still looking to redeem her long-lost father, occasionally broken up by moments of levity. This makes for a more emotionally complex story, which is a nice surprise, but it doesn’t always make for a better story. The flashback timeline is informative, but the present day timeline is more interesting.

It is the year 1961, and P.L. Travers (a spot-on Emma Thompson) has been fielding calls from movie mogul Walt Disney (Tom Hanks) for 20 years about adapting her book “Mary Poppins” for the silver screen. Her answer has always been a steadfast ‘no,’ but when a financial adviser friend of hers reminds her that she’s almost out of money, Mrs. Travers agrees to fly to Los Angeles, meet with Walt, and consider the possibility of allowing Disney and his team to work their “magic” on her beloved Mary. From the beginning, though, Mrs. Travers has objections to their treatment of the material, and in flashback, we see why: as a young girl in rural Australia in the early 1900s, Mrs. Travers had a wonderful relationship with her father (Colin Farrell), an otherwise unreliable and occasionally foul-tempered drunk who nonetheless adored his eldest daughter “Ginty” and encouraged her to think creatively. She lost him at an early age, and she’s clearly still stinging from the loss, and the fact that Disney and his staff doesn’t understand what “Mary Poppins” means to her, in both a literal and figurative sense, infuriates her.

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Movie Review: “Frozen”

Starring
Kristen Bell, Idina Menzel, Jonathan Groff, Josh Gad
Directors
Chris Buck & Jennifer Lee

The ending of “Frozen” flies in the face of everything that Disney heroines had previously stood for, and it is glorious. Curiously, my 4-year-old daughter did not like the ending, because it does not fall in line with the other Disney princess story lines, though that is precisely why her mother and I high-fived each other when discussing it afterwards. Princess Anna is all girl, but she has more courage and determination than the other princesses combined. Between her and Merida from last year’s “Brave,” it is encouraging to see Disney crafting women who are focused on something other than the affections of a boy.

In the Norwegian village of Arendelle, there are two young princesses named Elsa (voiced by Idina Menzel as an adult) and Anna (voiced by Kristen Bell as an adult). Elsa has the ability to make snow and ice, and Anna loves to see her magic. Elsa accidentally hurts Anna while putting on a show for her, and though they were able to heal Anna (and remove Anna’s memory of the accident), Elsa was forbidden from telling Anna the truth about her powers, which basically meant that Anna couldn’t play with Elsa anymore. As they grew older, they grew apart. On the day of Elsa’s coronation to become queen of Arendelle, her inability to control her powers sends the entire village into a deep freeze. Elsa, now regarded by the villagers as a monster, retreats for the mountains, and Anna enlists an ice salesman named Kristoff (Jonathan Goff) to help her find Elsa and bring her home.

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Movie Review: “Delivery Man”

Starring
Vince Vaughn, Chris Pratt, Cobie Smulders, Jack Reynor, Britt Robertson
Director
Ken Scott

It’s easy to see why Touchstone wanted to make “Delivery Man.” It has a ton of heart, and it honors the bonds and the importance of family. The catch is that it is an indie script through and through – though a flawed one at that – and the big-budget touches they add to it, namely Vince Vaughn doing that ‘look Ma no hands’ thing that he does, do not serve the material. Despite the outrageousness of the plot, it’s an intimate movie. A smaller scale would have worked wonders, but only to a point.

David Wozniak (Vaughn) is a terminable screw-up. He delivers meat for the butcher shop his father runs, and he is always late, always racking up parking tickets, and completely unreliable. (Also, he owes a loan shark $80,000, as if he weren’t already in enough trouble.) In the span of 24 hours, he discovers that his policewoman girlfriend Emma (Cobie Smulders) is pregnant, and that as a result of nearly 700 donations to a sperm bank when he was in his 20s, he is the father of 533 children. One hundred forty-two of these children want to meet him, and have filed a class action suit against the sperm bank to reveal his identity (he signed all of the documents under the name Starbuck). His lawyer friend Brett (Chris Pratt) takes the case, and gives David an envelope containing profiles of the 142 plaintiffs. Against Brett’s advice, David visits some of his kids anonymously, and tries to help them any way he can. When he sees the good fortune that his kindness provides, David’s life has purpose for the first time, but remaining anonymous quickly proves to be difficult.

Don’t let the trailers fool you: this is not some broad, wacky comedy, even if it’s based on a premise involving a sperm bank. David is essentially coming face to face with people who possess exaggerated amounts of his best and worst qualities (one’s a professional basketball player, one’s a junkie), and learning a hell of a lot about himself in the process. There are moments of levity here and there, but this is much more of a drama than it is a comedy, and it should be. To make too many jokes about this premise would be missing the point.

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Movie Review: “Thor: The Dark World”

Starring
Chris Hemsworth, Tom Hiddlestone, Natalie Portman, Christopher Eccleston, Anthony Hopkins, Kat Dennings
Director
Alan Taylor

The opening scene in “Thor: The Dark World” is very revealing, but not in the ways that the filmmakers intended. It tells an exposition-laden tale of a battle fought ages ago between Asgardians (Thor’s people) and the dark elves, who planned to use this mystical force called the Aether (pronounced ‘ether’) to distinguish all light. The scene is meant to shed some light on a plot that they must have deemed too difficult to follow, only it’s not. It’s a straightforward revenge story, and the audience would have figured out the rest in time. That they insisted on spoon feeding the audience shows a lack of confidence, and while “Thor: The Dark World” is not as consistent as its predecessor, the film has some truly great moments, including a spectacular climax. To see them acting so desperate is both unbecoming and unnecessary.

Thor (Chris Hemsworth) and his band of merry marauders spend their days hopping from world to world as a peacekeeping force, while Thor’s stepbrother Loki (Tom Hiddleston) is thrown in jail for the crimes he committed in “The Avengers.” Back on Earth, genius astrophysicist Jane Foster (Natalie Portman) is still trying to get back to living a normal life, when her gear starts picking up some strange readings that lead her to an abandoned warehouse which houses a portal to the location of the Aether, which the Asgardians had hoped would never be found. Jane’s awakening of the Aether awakens Malekith (Christopher Eccelston), the dark elf whose efforts were thwarted in that ages-ago battle, and with the convergence of the nine worlds about to take place, Malekith plans on finishing what he started all those years ago.

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