“The story of a boy and his dog,” writes one critic. “Close Encounters for kids,” writes another. Still others focus on the Christological resonances, particularly in connection with another messianic sci‑fi film, The Day the Earth Stood Still, with its peaceful visitor from the heavens who dies and rises again.
Welcome to Earth. Adapted by directors Alastair Fothergill and Mark Linfield from producer Fothergill’s groundbreaking 550-minute BBC miniseries “Planet Earth,” Earth offers an impressive selection of some of the most astounding images ever captured of the natural world. Many of the film’s sights had never been witnessed or photographed before Fothergill and the BBC Natural History Unit set out to create “the definitive look at the diversity of our planet,” as “Planet Earth” is not unreasonably billed.
Return to Me has an easygoing Catholic vibe akin, but not identical, to Golden Age Hollywood piety; in fact, the movie blends nostalgia and irreverence for the Catholic Hollywood of Bing Crosby’s era.
Will the new Julia Roberts movie Eat Pray Love encourage viewers to buy into spiritual ideas? Or will it just encourage them to buy?
Americans have an abiding affinity for consumerist self-indulgence and for pop spirituality, and a marriage of the two is a winning combination. “God never slams a door in your face,” Gilbert writes, “without opening a box of Girl Scout cookies.” Yep, there’ll be no shortage of people eating that one up.
I’m a sucker for a good time-bending movie. This is a good time-bending movie.
Fraggle fans: Did you ever find yourselves singing along to the “Fraggle Rock” theme song and thinking, “You know, this is a great show, but it could be edgier”?
If Snow Dogs is a fairly typical example of the conventional Hollywood idea of a live-action family film, Eight Below is a typical example of a new trend in family films that includes National Treasure, Hidalgo, Two Brothers, Fantastic Four and The Legend of Zorro. This is a good thing, but not yet good enough.
(Written by Jimmy Akin) Elves love to tell stories, or so Papa Elf (Bob Newhart) tells us at the beginning of this elf story. It is an unusual tale in that it is the other side of all the changeling stories that have circulated in folklore for centuries. Instead of being the tale of a fairy raised among mankind, it is the story of a human raised among elves.
A lurid sort of Christopher Hitchens vision of history pervades Elizabeth: The Golden Age, Shekhar Kapur’s sequel to his 1998 art-house hit Elizabeth.
Borrowing a page from Sleeping Beauty, therefore, Levine came up with the central dramatic conceit of her Newbery Honor-award winning book, Ella Enchanted: From her infancy Ella has been under a fairy curse (here bestowed in cluelessness rather than malice) obliging her to obey any imperative statement directed at her, from anyone. The moral of the story, in the author’s own words in interviews and letters to readers, is: "Don’t be too obedient!"
The director of District 9 is back … with a bigger budget and name stars.
If love makes the world go round, the dizzily whirling globe in the opening title credits of Douglas McGrath’s Emma is a clear statement of intent regarding the film’s theme. And when we see the globe is a painted model spinning on a thread in the hand of Emma (delightfully effervescent Gwyneth Paltrow), it’s clear how Emma sees herself — pulling the strings, orchestrating the happy convergences that make the world go round.
He’s overly pedantic: Instead of merely urging a student to stay off the grass, he exhorts, "Walk where the great men who have gone before you have walked" — not just because it’s good for the grass, but "because it’s good for you."
The Emperor’s New Groove is really about another new groove — Disney animation’s. By 2000, the old Disney-as-usual wasn’t selling any more, and Disney was ready to begin trying new things.
(Written by Suzanne E. Greydanus) Where is the real man here? Giselle’s rapport with Morgan and sweet naiveté are endearing; are we supposed to find Edward’s incompetence and arrogance equally so? Do our female hearts swoon when he checks his teeth in his sword, or boorishly flails it about at everything that moves? Why can’t the prince be an idealized example of chivalry, bravery, strength and honor, as Giselle is of sweetness and goodness?
Yesterday I wrote about the possible effects of the box-office success of Alice in Wonderland on fairy-tale revisionism in family films to come. The flip side is the box-office disappointment of Disney’s The Princess and the Frog, which hit DVD shelves yesterday.
The film may be said to be largely faithful to the book, in the sense that the great majority of scenes are adapted more or less as they were written. But this is like saying that the character of Sarah (Julianne Moore) is largely faithful to her husband Henry (Stephen Rea) because the great majority of her time she isn’t sleeping with her lover Bendrix (Ralph Fiennes): the betrayal is crucial, and gives the lie to the supposed fidelity of the rest.
Orson Scott Card’s classic sci-fi tale emerges from a decade of development hell with its themes and story maybe 50 percent intact — which doesn’t make it a bad film.
At its best, Epic produces images of poetic power, even grandeur … The catch is that the world the filmmakers create is far more interesting than the story they tell in it or the characters they put in it.
Copyright © 2000– Steven D. Greydanus. All rights reserved.