REVIEW: The Seeker: The Dark is Rising

Will Stanton (Alexander Ludwig) conjures fire to protect himself from the forces of darkness

The Seeker can’t seem to find a satisfying finale
Third act problems prevent “Seeker” from being a tight, youthful adventure

Rating: B-

“The Dark is Rising,” a “Harry Potter” like story of a young boy who discovers both powers beyond his wildest imaginings and a destiny to fight the forces of darkness in a sleepy London town, is brought to vivid life with a moody soundtrack and spooky visuals that keep this child’s fantasy feeling like anything but. The story, originally penned by author Susan Cooper, tells the tale of young Will Stanton, your average everyday kid living abroad with his parent and 7 siblings, who finds that on his 14th birthday he starts going through some changes. It’s not puberty that’s affecting our young protagonists but a heroic destiny to save the world. Apparently being the seventh son of a seventh son entitles young Will to special powers (controlling fire, super strength, time travel, just run of the mill type stuff). With the aid of Merriman Lyon (Ian McShane) and his band of magic immortals, it is Will’s destiny to find 6 sacred “signs” to defeat the forces of the “Dark”(evil) to ensure that the “Light”(good) prevails. As McShane seems to be quite adept at reminding us, about every third scene, Will is the “Seeker”, the destined warrior who is the only one capable of seeking (get it?) the “signs” necessary to save the world from the Dark, who apparently is in the human form of Christopher Eccleston (go figure). Throw in some “Home Alone” type family dysfunction, a dark brooding atmosphere, and some enjoyable performances from some well established British actors, and you got yourself two hours of entertainment.

Director David Cunningham seems to have magical powers of his own as he is able to pull a rather enjoyable performance out of newcomer Alexander Ludwig, our protagonist Will. He’s also able to conjure up a creepy world where police officer are really demons is disguise (but we already new that), and can turn themselves into a flock of ravenous crows at will (duh!). In its more intense moment, Cunningham keeping the editing sharp and faced paced without being too jumpy and the lighting feeling scary and chaotic without giving us epileptic seizures. He introduces us to the story as if we’ve missed the first 30 minutes of slow introduction, introducing all the characters and relationships, and gets right to the action, filling in the blanks along the way. This keeps things from stalling too much and the narrative is able to flow smoother and quicker without bogging us down with endless exposition. Unfortunately though he also gives us characters who don’t seem to question the absurdly bizarre things happening around them, like a 14 year old throwing his 2 older brothers 10 feet into the air (passing is off as “puberty”).

Like many films this summer, it suffers from “third-act-itus”, a dangerous affliction whereby the final act of the film is unable to end in a tight and satisfying conclusion. Instead the writing falls apart towards the end as the final confrontation between good and evil becomes cliché and predictable. The climax is a bit of an anti-climax as is doesn’t deliver on what the rest of the film built it up to be. However, this doesn’t stop the film from being generally entertaining; it just stops it from giving films franchises like “Harry Potter”, a run for their money. But thanks to movies like Harry Potter and Chronicles of Naria, the certainly isn’t the last brave attempt by studios to turn novelized pre-teen heroes into movie stars.

Movie Review Update

Dear dear reader(s),

I'm am not a flake as many of you might be assuming, what with all the absent reviews when movies are clearly being released. I've been busy studying for Graduate School exams; which doesn't really allow me oodles of time to venture to the local cineplex or art house theater to catch the latest and greatest from our Hollywood heavyweights. I will however be returning to my regularly scheduled program starting Friday, October 5th with The Seeker: The Dark is Rising.



Why? You might ask. Well I'll tell you. Two words Ian McShane. I'd see anything with this brilliant British actor. And before you ask, yes I did see "Hot Rod." Ugh, avoid avoid avoid. Except for McShane, who was a staple of comedic brilliance.

Until then!
~Kyle

REVIEW: Halloween

Dr. Sam Loomis (Malcolm McDowell) shields a terrified Laurie Strode (Scout Taylor-Compton) from the unstoppable Michael Myers


Halloween is carving up lemons instead of pumpkins
New spin lacks the subtle perfection of the original

Rating: C+

In this now 9th installment/remake/re-start of the “Halloween” franchise, director Rob Zombie (original heavy metal band singer turned unoriginal horror film director), brings us back to the “sleepy” little town of Haddonfield, Illinois where, apparently, Michael Myers still isn’t done with his motive-free rampage on all those advocates of free-love and babysitting. This time, however, Mr. Zombie delivers something fresh and new to the supernatural-slasher film genre, an origin story. As with most recent reinventions of a franchise (Batman Begins, Casino Royale) directors have chosen to give the audience a glimpse of “where it all began” for the films title characters, and in this case it works really well…for the first half of the movie. Then the films becomes a by the number remake of John Carpenter’s masterpiece, except in places where the film lacks in creative storytelling it makes up for it with breasts and blood.

It tells the story of a trouble pre-teen from an abusive and unhealthy, “white-trash” home, who shows the early warning signs of a deep seeded emotional disorder which is clearly the result of his unstable home life, which is both uncomfortable to watch and at times awkwardly amusing. However, before Michaels' mother can take the appropriate action to see to it that her son doesn’t become a giant-indestructible-babysitter-killing machine, young Mikey slaughters his entire family save his infant sister, and his mother (who happens to be earning her keep on the stripping pole this haunted Halloween).

Then as Michael begins psychiatric treatment under the caring and watchful eye of Dr. Sam Loomis, a wonderfully cast Malcolm McDowell, this deviation from classic slasher-flicks shows promise. The story begins to look more like a character study into the mind of a silent psychopath, than a mindless romp from one house to another with an ever increasing body count and an invincible antagonist meandering his way from victim to victim with no sense of urgency. However, once the inevitable escape from the mental institution ensues and the kids start having sex, therefore sealing their fate, the film devolves back into the exact same story we saw 30 years ago by John Carpenter, although not as interesting. Michael Myers starts killing post-coital teens while searching for his baby sister and, in the process, continuity becomes a thing of myth as Michael Myers appears out of nowhere and the police conveniently show up at the right place at the right time when no one seemed to pick up the phone. Then finally last third of the film suffers from third-act-itus. It’s long and unlike its source material, having few climatic scares that “pop” at the audience, this film ends up with one long drawn-out climax that gets down-right boring. The film might end with a “bang” and a scream, but it is less of a satisfying finale and more of a wake up call to let us know we can finally leave.

The two aspects of the film that seem to stand out the most are the performance of Malcolm McDowell and Tyler Mane, the silent and stoic Michael Myers. McDowell never seems to disappoint, be it his notorious Alex De Large from “A Clockwork Orange” or his cameo as “A British Person” from an episode of “South Park.” He never has time to wait for a scene to get stale. He always appears to be acting in the moment with a sense of urgency and has no problem tossing away comic gems that lesser actors would milk dry. This film is no exception as his Dr. Loomis (a role made famous by the late Donald Pleasance) wants so much to help Michael Myers and sees the violent, murderous rampage as a failing in himself. Tyler Mane also delivers an understanding of subtlety as he lets his mountainous 6’8” frame do almost all the taking for him. However, when he does need to move it’s with a swiftness and grace unexpected from a man his size, while still displaying the strength of a monster.

Being one of the better slasher-films to come through the Cineplex in a while, “Halloween” effectively gives the franchise a fresh start. However, it inevitably falls flat and ends with such a sense of ambiguity that, 9 more films and 30 years from now we might be doing this all over again.

REVIEW: Sunshine

(above) The crew of the Icarus II have a round table debate about the future of their mission (from left: Chris Evans, Hiroyuki Sanada, Cliff Curtis. Michelle Yeoh, Benedict Wong, Rose Byrne, and Cillian Murphy)


Sunshine "shines" above previous sci-fi outings!
Danny Boyle marks the return of psychologically-minded science fiction

Rating: A

Of all the different science fiction genre films out there, the ones that seem to be the most overused and poorly made are the films whereby teams of scientists and astronauts work together in a desperate attempt to save the planet from certain destruction. This list includes such films as Armageddon, Deep Impact, Red Planet, Mission to Mars, and The Core, to name a few. After over a decade of these disappointing genre films, Danny Boyle’s Sunshine marks the first humane act for the genre, and science fiction in general since Ridley Scott’s Alien.

After single handedly reviving the genre of zombie films with the sleeper success of 28 Days Later, Boyle brings the same brooding atmosphere, original storytelling, and visceral editing to his newest thriller. He delivers a thinking mans sci-fi film that combines the better elements of previous incarnations and improves upon them with a story that takes us where none of these films has even gone before, the Sun.

Taking place in a distant future where the sun is dying and has left the world an arctic wasteland, mankind’s last hope rests on the shoulders of 8 astronauts whose mission it is to reignite the sun, on a ship aptly named the "Icarus". After a previous team of astronauts disappears prior to completing its mission, the film opens 7 years later as a new team is a mere days away from accomplishing their desperate task. Everything seems to be going according to plan until the previous teams ship appears and a rescue attempt ensues. From that point on the film takes a turn to the both disastrous and horrific. While feeling reminiscent to some of the darker horror elements of “Event Horizon,” the filming and narrative style remains uniquely Boyle’s. He keeps it feeling quite fresh and original as a tense psychological thriller that examines the effects of traveling so close to the giver of all life; as some members of the crew become addicted to the sight of the sun, as if they themselves are starring at God.

Whereas many directors feel the best way to thrill and engage an audience is by gratuitous gore, violence and in your face voyeuristic scares common to today’s string of horror films, Boyle is able to deliver a better and more intense, edge-of-your-seat thriller (minus the violence and gore) through clever editing, effects and camera angles. From the very beginning of the film, before everything start to take its inevitable bad turn, Boyle creates an uneasy atmosphere where at any minute something could go wrong and leaves the audience waiting for it to happen but never ready for it when it finally does. Also with a story that seems to demand an explanation as to how the Sun could possibly “die” or how one could even consider “reigniting” it, Boyle gives none and by the time the film is over you don’t even really care. The movie is told in such a way that it is less about the science and all about the journey, the relationships, and the dangers that come about during a mission destined to travel to the most volatile surface in the known galaxy.

Sunshine also makes very logical assumptions about psychosis and obsession that fit very well within its far fetched premise. For example the crews psychiatrist prescribes hours in an “earth simulator” for those crew members suffering from cabin fever, the psychiatrist himself and other crew members develop an addiction to staring at the Sun, which makes sense in a world where the sun could potentially no longer exist.

As far as the performances, everybody delivers. Each actor is very capable of making the most of their screen time and establishing each one of their characters as independent from one another, unlike most of these genre films where all character have the same general admiration for each other. Chris Evans especially is able to deliver an engaging character as the ships engineer who wants nothing more than to complete his mission. If there was any question as to whether Evan's deserved to be in movies, his performance as an exemplary soldier, both resourceful and heroic as he is willing to do anything for the sake of mankind, keeps the film moving in its slower moments. Also, Cillian Murphy never seems to disappoint in his now second outing with Boyle (previously starring in Boyle’s 28 Days Later). As the team’s physicist, it’s Murphy’s project, and in the end the fate of mankind rest in his plan succeeding when it could just as easily fail. As for the other characters they could all use more screen time, but hey, you can only do so much in two hours.

Created as a “love letter” to psychologically minded science fiction, Danny Boyle and screenwriter Alex Garland deliver an exciting trip where no man has gone before while at the same time using the journey to the Sun as a metaphor for traveling to the source of all life and in a sense making the journey God.. In the end the Sun itself becomes a character as it represent the one thing that is innate in all creatures, the drive to survive at any cost as well as the fragility of all things, great and small. It’s easy to get swept-up and go along for the ride when even the visuals bring something new to the genre, including some very cool looking golden space suits. My only hope is that more sci-fi films are able to follow the example Danny Boyle has set by proving that just because genre might be used, doesn’t mean it’s all used up.


To get a stronger sense of Danny Boyle's vision from his own lips check out this url: http://www.nytimes.com/packages/html/movies/20070708_BOYLE_FEATURE/blocker.html

Next Weeks Review

For those of you expecting The Simpsons review i'm afraid i'm going to have to dissapoint you. It has just come to my attention that the Danny Boyle film Sunshine is being released at a theatre near me on friday and i'm most looking forward to seeing it. Stay tuned for that review for saturday.

No Review This Week

For those of you waiting with baited breath to read my next review this week, I'm afraid I'm going to have to dissapoint. The only movie I feel is worth seeing this week, Danny Boyle's Sunshine, doesn't appear to be playing at any engagements close to me. I refuse to spend money on another Adam Sandler movie, or on seeing John Travolta in drag. So baring some miracle that I'm able to see Sunshine, it looks like you'll have to wait until next week for The Simpsons.

However, if you feel you need to see a movie this weekend and want to know what you should see, go see You Kill Me. Going into it's second or third week (hence no full review), this movie starring Ben Kingsley has him as a Polish hit man in Buffalo, whose alcoholism is affecting his work and as a result the family sends him to San Francisco to join AA and sober himself up. He ends up working at a funeral home while he's down there (how appropriate) and gets involved with a (surprisingly entertaining yet completely forgettable) Tea Leoni. Bill Pullman makes an appearance as an odd and quirky real estate agent hired to look after Kingsley and Luke Wilson plays Kingsley's gay AA sponsor. Kingsley arrives as an unexpectedly funny comedic actor, similar to the comedic turn of Robert DeNiro in Midnight Run. Both Kingsley's timing and delivery are perfect and at the same time is able to capture the complexity and humanity of the character without turning him into a caricature as less experienced actors might. This is definitely a movie you all should check out because it's easily one of the better movie in theaters right now.

REVIEW: Harry Potter and the Order of the Phoenix

(above) Harry Potter (Daniel Radcliff) and his classmates stand united against the forces of evil

A Longer film with less Magic
Fifth installment lacks the fun of previous films

Rating: C+

Our favorite cast of wand-wielding Brits is back in this, now, fifth installment of J.K. Rowling’s “Harry Potter” franchise. Now the stakes are higher and the situation more dire. We last left our scarred hero with the realization that the evil Lord Voldemort (slithering, seedy Ralph Fiennes) has returned with a vengeance. Now at full strength, and just as ugly, Voldemort seeks to continue his power hungry journey to kill or convert all that stand in his way, pretty classic antagonist stuff really. Only Harry and a team of his schoolmates are all that stands between Voldemort and his diabolical victory. In a nutshell, that’s pretty much the only story this movie seems to want to tell. Two and a half hours does seem like an ample amount of time to tell a good story and, in the case of a franchise, it should be enough time to make a significant journey through the story arc. This film however, despite riveting visuals and some creative action, squanders its precious time on depression, angst, and tedious exposition. Harry’s trusty sidekicks, and an enjoyable comeback of some old characters from previous installment, including Gary Oldman as Harry’s lovingly protective godfather, Sirius Black, are also dragged along for the ride.

Since the last film Harry’s got a hair cut, finished puberty, and seems to have been exercising more than just his magic skills. Puberty has been good to Potter (Daniel Radcliff) and we see how the once boy wizard is becoming a young man wizard as he goes up against Lord Voldemort and his “Death-eater” minions. Also on Harry’s agenda is trying to out-wit and out-maneuver the recently appointed, overbearing, fascist, new “Defense Against the Dark Arts” instructor, Professor Dolores Umbridge (Imelda Staunton giving her best Nurse Ratchet with a wand), who wants nothing more than the job of the school headmaster. All this, while at the same time helping to train his schoolmates to be young wizard warriors. Seems like an excellent equation for a fast-paced magic filled adventure right? Wrong! Director David Yates (picking up where Mike Newell left off) seems to lose sight of the action and excitement amongst a series of pacing problems led by constant scenes of Harry feeling sorry for himself and showing the audience the barbarousness of the new Professor Umbridge. Yates seems to really want to make sure the audience understands just how bad things are for Harry and his friends, and ends up doing so ad nauseum. And with the exception of Umbridge, Dumbledore and, perhaps Ron Weasley - there is very little "acting" going on here. It is one of those movies where everybody is one dimensional, lines are spoken, costumes are worn, and special effects are supposed to carry the film. There is absolutely no evidence of internal conflict or character development.

Despite the pacing problems the movie can be a fun entertaining magical adventure, with characters we've grown to love. As it should be the movie is not short on gags and its delightful British humor. But aside from that and a riveting third act leading up to a (way to short) climactic battle between good and evil (that can only be described as “Saving Private Ryan” with magic) the movie falls a little flat and could have left about 30 or so minutes on the cutting room floor. Also with all the magic, mayhem, and disasters that befall this school and magic, along with the constant turnover of teaching staff a question could easily be raised; are the kids at the school actually learning anything?

People might also find the relationship between Harry and Lord Voldemort, which unfortunately feels reminiscent of something seen before. Harry’s angst about this close connection and possible affinity for Voldemort’s evil leaves him succumbing too much to his powerful feelings which only makes him easier to control and manipulate by the dark lord. He is thrust into a situation where he must control his feelings and is eventually confronted with the decision to follow the path of the dark side or the light side of the forc---I mean magic.

For a non-reader of the series, there are many things that seem out of place. There were many times where something was presented on screen that seemed to have only been placed there for the benefit of those people enthralled enough to read through all the books. Characters and particular situations that, for an avid reader, made perfect sense, an avid film goer isn’t given the background the appreciate what’s being shown in screen. For those viewers who don’t understand those little winks at the devoted readers it just seems like a tease. The film would have been much more enthralling if such gaps and lapses of information were more fleshed out and given weight and depth to have the whole audience, not just the devoted ones, care.

Despite a slow pace, the film is visually engaging. Magic never looked so real, nor so worthy of jealousy. Within the first 10 minutes of a fun, broom flight through London I was cursing my “muggle” (non-wizard) heritage and wishing I could fly on a broom and teleport across town through a fireplace, while at the same time fighting off a series of baddies with a magic wand. The visuals are fun and the action scenes are well choreographed but too short and we really aren’t given a sense of the skill it takes to actually be a good wizard. It seems that all you have to do is flick your wand around and say a magic word. Anyone can do that right?