Stunning Avatar Tells Familiar Story

Avatar

film review

by Mandy Rodgers

2009

Rated: PG-13

Director: James Cameron

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel Moore and Laz Alonso

            For 12 years, we waited for Cameron’s epic follow-up to his super-mega-hit Titanic, and for numerous years before that, he had been plotting the film that would come to be Avatar. The technology was not ready for what Cameron envisioned, so he continued developing the movie until what he needed was available at a “reasonable” price. Reasonably priced is relative, however, as its budget reportedly exceeds $280 million at least, making it one of the most expensive films ever made, but Cameron is no stranger to uphill battles for funding and profit. His aforementioned blockbuster was the first to have a budget of $200 million.

            During the time he took to make Avatar, many wondered what exactly he was up to. Film critics and avid moviegoers knew the project would employ special effects and speculated to what degree Cameron would utilize 3-D and IMAX aspects—two pieces of filmmaking still coming into their own. In 2007, I quoted film theorist David Bordwell in a newspaper article at a lecture he gave: “The number of admissions today are falling,” Bordwell said. “So what’s the answer? Well, 3-D is coming back big and showing regular theatrical releases in IMAX format. James Cameron is convinced that 3-D is the future of cinema.”

            After seeing Avatar in its full 3-D, IMAX glory—the way he intended and I recommend—one thing is for sure, Cameron is a unique and dedicated filmmaker with this latest piece of entertainment that he spent countless hours perfecting. The entire fete from start to finish is visually stunning like a painter’s masterpiece or photographer’s claim-to-fame shot. The 3-D elements are not gimmicky or in-your-face but subtle and soothing, particularly in aerial shots over the entire world that is Avatar.

            But what is Avatar all about, anyway? Unfortunately, that part is where Cameron’s labor of love falters.

            Set some 100-plus years in the future, Avatar revolves around the conflicted plight of Jake Sulley (Worthington), a paraplegic marine, who has been asked to take his deceased brother’s place in a scientific mission on the moon Pandora. Here, another species—the Na’vi—rule, but a greedy corporation ran by narrow-minded Parker Selfridge (Ribisi)—and helped by the sinister Colonel Miles Quaritch (Lang)—wants to obtain a profitable element that resides under the Na’vi home. Technically, Jake is working solely with the scientific group (consisting of Dr. Grace Augustine (Weaver) and Norm Spellman (Moore)), analyzing the humanoids with a new-fangled technology that allows them to inhabit a Na’vi body designed specifically for them.

            From a possibly promising premise, many obvious movie clichés follow as Jake (in Na’vi form) meets and falls in love with Neytiri (Saldana), a swift and sassy princess of the native tribe. Half-way through, I actually felt like I had seen this movie before and discovered that one of my childhood favorites—Ferngully: The Last Rainforest—was evident through and through as a human in a foreign form quickly adores a creature in tune with all things nature. Other movies have also been referenced and draw obvious comparisons, like Dances with Wolves, Delgo and more far-fetched ones like Hellboy and Willow.

            Weaver—a previous Cameron film star in Aliens—effortlessly slides into her role as Grace, a scientist yearning for a way to save the Na’vi and their home from corporate takeover. Lang’s evil colonel has a cartoonish disposition, but it works in the alternate reality Cameron has created, complete with a made-up language by linguist Paul Frommer. Leading man Worthington is often unrecognizable and not just when in blue alien Jake form. The standout is Saldana, who makes these odd creatures seem completely human and identifiable.

            Avatar’s cinematography and direction is nearly impeccable. Throw in James Horner’s score, and a great movie should result—in many aspects, it does. Suddenly the conundrum of an original and intriguing story’s importance in a film’s success rears its head. I’m not sure how well Cameron’s predictable epic will work in a conventional theater without 3-D dazzle, let alone a home TV screen, and that is a definite drawback.

However, Cameron’s diligence and extremely, painstaking effort deserves much credit and recognition. Creating a universe and characters like the one in Avatar is no easy task. Hopefully it doesn’t take another 12 years for him to seamlessly join idea, story and effects.

Classic Story, Animation with Disney Twist

The Princess and the Frog

film review

by Mandy Rodgers

2009

Rated: G

Director: Ron Clements & John Musker

Starring: (voices) Anika Noni Rose, Bruno Campos, Keith David, Michael-Leon Wooley, Jennifer Cody, Jim Cummings, Peter Bartlett, Jennifer Lewis, Oprah Winfrey, Terrence Howard and John Goodman

            To keep things candid, I have been waiting with baited breath for Disney to regroup and make a feature film using hand drawn, 2-D animation since the 2004 misstep Home on the Range. A back to basics, classically styled film for all ages. Pixar’s growing list of films rethink animation as a tool for filmmaking and none have been short of phenomenal, but the hand drawn films can take audiences places that computer-generated images simply can’t yet.

            Several years ago, The Princess and the Frog began its journey to the big screen, and though the box office receipts are not earth-shattering, the film hopefully will show the need for this kind of animation in filmmaking and emerging childhoods. This special retelling of the classic Brothers Grimm story “The Frog Prince” revolves around Disney’s first African-American heroine as well, the young Tiana, who actually isn’t a princess at all—to start.

            Voiced by relatively the unknown (like much of the voice talent) Rose, Tiana is the first career-oriented heroine in Disney’s 75 years. She yearns to open her own restaurant in her hometown of New Orleans at a spot her and her father James (Howard) picked out years ago—fulfilling a dream they both had. She’s worked diligently her entire life and can solely focuses on the renovated spot for her Cajun-influenced dishes in the Jazz-era Louisiana city.

Tiana’s mother Eudora (Winfrey) is employed with the wealthy La Bouff family as a seamstress and nanny for the spoiled, yet somehow charming, Charlotte (Cody). One fateful day Prince Naveen (Campos) of Maldonia visits the Big Easy, and Charlotte immediately decides they should marry. However, unexpected turns of events happen—highlighted by evil Dr. Facilier’s (David) villainous plans—and Naveen is turned into a frog. More confusion surrounding Tiana’s identity occurs, and she too is transformed into a slimy amphibian, forcing the two frogs to travel through the bayou searching for a way to fix their current conundrum.

            The bulk of The Princess and the Frog is spent with the two protagonists unexpectedly slurping flies and leaping with long green legs, which gives the film a sense of two worlds in one—the talking animal land and the mystical human world. Though Tiana and Naveen are polar opposites and hate each other at first, of course true love blossoms during their journey with delightful comrades like Ray (Cummings), the romantic firefly, and Louis (Wooley,) the music-loving alligator. These two characters provide the most laughs and fun in the plucky, fast-paced fairytale.

            With Clements’ and Musker’s seasoned direction (the duo was responsible for The Little Mermaid and Aladdin), The Princess and the Frog succeeds in bringing a likable 2-D animated fairytale film to the cinema, complete with Randy Newman’s toe-tapping original songs that don’t just serve for simple soundtrack fare but help push the story along.

The movie’s main couple does not fit the typical bill of Disney legend, and I wonder if some were offended by Tiana’s misfortune and less-than-enviable position in society or Naveen’s skirt-chasing prince lacking the riches to accompany the title. I considered Tiana’s career-minded focus a refreshing and realistic change from the typical “Someday my prince will come” collection of heroines and Naveen’s flaws were actually appealing vs. too-good-to-be-true Prince Charmings, but others might not see it that way.

            Disney’s latest outing is no The Little Mermaid or Beauty and the Beast, but it’s a great step back into the formula that gave the House of Mouse much of its acclaim. The voice acting is so practically perfect, Mary Poppins herself would adore the efforts. Also, after the beautiful yet downtrodden Up and the clever but apocalyptic Wall-E, kids are ready for a happily ever after story from Disney animators. All of the necessary elements of a timeless fairytale are there—approachable hero/heroine, ghastly villain, hilarious sidekicks and an amusing story to tie it all together.

Just like Tiana will join Belle, Jasmine and Snow White in the popular princess collection merchandise, The Princess and the Frog will easily slide into the Disney vault alongside the likes of Bambi, Pinocchio and Sleeping Beauty. 

'Precious' Filled with Anything But

Precious: Based on the Novel Push by Sapphire

film review

by Mandy Rodgers

2009

Rated: R

Director: Lee Daniels

Starring: Gabourey “Gabby” Sidibe, Mo’Nique, Paula Patton, Mariah Carey, Sherri Shepherd, Lenny Kravitz, Stephanie Andujar and Chyna Layne

     
     Perhaps the most harrowing and disturbing film I’ve seen to date, Precious starts with abrupt force and does not stop terrifying until the final credits roll. Without a way to put it mildly, the film revolves around Precious (Sidibe), a young teen in Harlem who’s pregnant with her second child by her father. Shockingly, that’s only the beginning of the abuse alluded to and seen in the film Precious endures—the off-screen transgressions are often times just as hard to stomach as those explicitly shown.

     She’s overweight and illiterate and forced to live with a “mother” (hard to give her that title) named Mary (Mo’Nique) who consistently degrades, objectifies and tortures her. Her only way out is through a fantasy life, which consists of model boyfriends and a fancy wardrobe.

At school, Precious’ teachers notice her education issues and the dilemma of her pregnancy and recommend she attend an alternative school, which can focus more on her and her specific needs.

Somehow, Precious senses a needed escape from the horrific life she leads and finds the courage to step inside a small classroom with misfit teens and study under the personable Ms. Rain (Patton)—an angelic creature vs. the other adults around the teen.

     Ms. Rain is a ray of sunshine (completely the opposite of her namesake) in Precious’ completely dismal days filled with misunderstanding and abuse to the nth degree in every way, shape and form. It’s unfathomable the horrors that Precious lives through and the rough existence she has lead.

While learning from Ms. Rain, Precious begins to see a positive part of life and believes she can make a way for her and her two children. Helping her are the stories and strengths of her classmates and even the humor that they bring to the tale to lighten the load of the depressing story. The screenplay weaves genuine laughs throughout, giving the viewer a chance to un-tense, even for just one moment.

     A breathtaking climax between Precious and her mother send the theater silent and gasping for air as these two individuals come to a day of reckoning.

     Daniels’ direction keeps the heavy-handed material from becoming melodramatic or hard to identify with—somehow terrors no one could imagine transform into film about any woman overcoming obstacles.

     With tons of Oscar buzz, the acting all around is superb. To start, Sidibe is a real find as the leading lady, a layered and intriguing woman with everything stacked against her who perseveres to prove naysayers wrong. Precious inhabits one of the most gut wrenching worlds ever to hit the screen, and Sidibe personalizes her struggles, so by the end the audience knows her and has traveled alongside her.

     Mo’Nique turns her own persona on its head as one of the most despicable movie villains, perhaps, of all time. The typically comedic actress throws the audience into emotional upheaval—let alone Precious—and try to finish the film without a deep hatred for the truculent, savage, esurient, greedy Mary. She is a lock for a Best Supporting Actress Oscar nomination at least. Somehow, Mo’Nique has achieved supervillain status with one film.

     Patton juxtaposes the two stars well with a subtle and caring disposition heavily needed for the tenebrous and gloomy movie. Supporting the powerhouse performances are pop stars Carey and Kravitz, both broadening their repertoires here as a social worker and nurse, respectively. Carey is extensively toned down from her superstar, diva attire and shows heart and grace in a small, yet pivotal role. Kravitz’s part also is strictly supporting, but it’s nuanced and the two singers

     Precious is not for the faint of heart and leaves a haunting impact on anyone with a soul watching. Those who see the film and are not affected might want to check their pulses. I can’t believe it’s possible.

To think that the original book version—“Push: A Novel.” by Sapphire—is even more graphic stuns me, but the testament here is that amid all the chaos and dysfunction, Precious inspires and sheds light on many issues girls around the world are facing on a daily basis.

With or without all the touting Oprah and Tyler Perry have done with Precious, it deserves every recognition it receives this awards season and hopefully reassures other precious teens that they too have an opportunity for change. 

Michael Jackson’s Final Concert That Wasn’t

Michael Jackson’s This is It

film review
by Mandy Rodgers

2009

Rated: PG

Director: Kenny Ortega

Starring: Michael Jackson and backup dancers, crew, etc.

            After the whirlwind publicity storm that was the unexpected and eerie death of Michael Jackson this summer, the idea of a concert film so soon at first lacked appeal. His life, career, death and the mystery surrounding all of the above was splattered ad nauseum through any kind of news and pop culture channels available. I actually dubbed Entertainment Tonight, Michael Jackson Tonight after the onslaught of coverage and addition of a Michael Jackson expert after his death.

            Don’t get me wrong; I am a fan of the King of Pop and was saddened by his death and the tortured existence he seemed to lead. Whatever anyone’s thoughts on his personal struggles, no one can deny the talent and extraordinary impact he had on all things music and dance. Unfortunately for many, his last set of 50 concerts in London, titled “This is It,” was not to be. Fortunately for all, his preparation and dedication to the craft was documented on one of the most intriguing looks into a concert tour and a legendary star.

            The film begins with a brief opening explaining the concert and that it will never be. His backup dancers from all around the world are (as you can expect) huge fans of the King, who they affectionately call MJ for much of the film. Excitement cannot begin to describe how they feel when chosen to dance behind the one who brought us the moonwalk and “Thriller.”

            Leading the amazing musical feat is Kenny Ortega, producer, director, choreographer for MJ’s tour. Ortega worked on swinging classics from yesterday (Dirty Dancing) and today (High School Musical), among other things, and had befriended Jackson years before they teamed up for the mega-concert.

This is It launches into the music everyone has come to expect from Jackson, starting with what would have been the concert’s opening, “Gonna Be Startin’ Somethin'.” The audience immediately settles into a private look into a Michael Jackson concert as the finishing touches are being placed. The energy of his music is undeniable and unbeatable—I defy you to not move and dance a little (or a lot) in your theater seat. All the No. 1s are here, complete with Jackson singing, dancing and instructing others how to do it right.

            He teaches the backup dancers, instructs the musicians and suggests (is it still a suggestion if Jackson gives it to you?) ideas to improve and enhance the experience for the audience. It’s for the fans. He even delves into his childhood history with Jackson 5 tunes. His hand is in every single minuscule aspect of this performance, and this performance is massive. Along with dancing and singing galore, the sets tower over the dancers. Some sequences are pre-filmed for added effect, including an inventive one with MJ superimposed into a black and white drama starring Humphrey Bogart and Rita Hayworth. Jackson’s stamp is on all of these bedazzling aspects.

            He’s so punctilious and exact that others could be put off, but with MJ asking for perfection, it doesn’t seem demanding. His soft-spoken demeanor appears as nothing but sincere and dedicated. At one point, Ortega almost has to treat MJ as a child, acting dangerous on a lift; at another time, Jackson is instructing his musicians to let the music “simmer” before launching into the new beat. This dichotomy represents the star’s real-life turmoil perfectly.

            Considering the drug use and odd doctor visits, I did not expect to see Jackson able to perform to this standard. Other than looking a little on the thin side, Jackson appears to be in great health and have the focus of someone unaffected by anything but the music. All of the reports that he could barely make it to rehearsal should be put asunder after these scenes are watched. Joe Jackson’s claims that it’s not his son’s image on the film seem completely inaccurate and ludicrous after a viewing too. It’s clear. The King of Pop was prepared to give his fans the thrill of a lifetime.

            This is It was never meant to be shown to anyone, so it’s quite flabbergasting how it plays so well onscreen. Without too much crazy editing, foofaraw or ornamentation (the concert itself takes care of that) the footage is simple yet powerful—perhaps another ode to its star. With his personal demons aside, MJ proves he was the master of entertainment up until his final moments.

            For any fan of the singer/dancer or of musical shows in general, This is It is a must-see. The fact that the concert he worked so painstakingly hard to develop will never come to fruition remains a melancholy reality check after the final credits have played. And it’s quite a shame too. What a concert it would have been.