This is a public announcement. Would all Asimov readers who have axes to grind, please go and stand with the anti-Will Smith brigade outside the cinema. Now, why don't you go make your own movie, it can be four hours long and not include any creative interpretation of the books. They can be word for word, and they can even star John Malkovich if you like. Run along now.
Thank goodness those bores are gone and you and I can get on with the real business of watching movies with killer robots. Plot? Who needs one? Oh, fine. Here we go.
Detective Del Spooner doesn't like robots. We find out the schmaltzy and frankly, rubbish, reason later on, but for now, let's just say, he doesn't like robots. Funny then, that he should be called to a murder scene where the Father of Modern Robotics, Dr. Lanning, has apparently killed himself by jumping from the top of the huge US Robotics building.
Investigating the crime scene, Spooner finds a strangely independant robot, who, despite the three laws of robotics, aims a gun at him and scarpers. Upon capturing this naughty robot, Spooner questions him about the murder of Dr. Lanning and finds that this particular droid, who names himself Sonny, has emotions, one of which is anger. USR take back their malfunctioning robot, canning any further interrogation by Spooner who is looking crazier by the minute.
Not that we can blame him. The new line of robots from which Sonny came seem to be trying their best to kill him, everytime he gets closer and closer to the elusive truth about Lanning's death. Of course, no-one believes Spooner, he has his badge taken away and with it, the chance to carry on investigating the murder. His partner in anti-crime is Dr.Calvin (Bridget Monaghan), a psychologist ice queen whose job is to make robots more human.
Chaos ensues when the new NS-5 brand of robot, that looks a bit like a walking I-Mac, decides to turn against the rest of the humans, being controlled from way up in the USR building. Together, Spooner and Calvin attempt to save the day by thwarting the plans of the evil robot controller, whoever that may be.
Watching I, Robot is like eating a box of chocolates with no picture card. You can either dig through, nibbling a tiny bit of each one and casting aside the viennese whirl, or you can just eat the whole lot at once, safe in the knowledge that although you might get a Turkish delight in there, you're guaranteed a caramel at some point.
Will Smith is believable as old fashioned boy who hates robots but loves his vintage 2004 Converse Allstars. Possibly because he looks like he's been lifted straight off the set of Bad Boys. Bridget Monaghan's role could really have been played by a good handful of American actresses and she doesn't necessarily bring anything exciting to the role. The real stand out is the amazingly versatile Alan Tudyk, who played Sonny. Although the robot was CGI'd, the voice, emotions, facial expressions and movements are all performed by Tudyk, who makes Sonny one of the most emotive, captivating and lovable characters I have seen in recent years.
The real tragedy is that Tudyk will not be recognised for this performance by the movie world, just as Andy Serkis missed out on the plaudits for Gollum in Lord of the Rings. I,Robot is not hugely original, it's themes of non-humans learning to emote and developing the notion of a soul have been visited before. However, for a summer movie, it has a huge throbbing heart to go with the flashy effects and megabucks actor. Go see it, if only for the pleasure of seeing a CGI character as it should be.
Wednesday 18 August 2004
Sunday 8 August 2004
Film Review - The Stepford Wives dir. Frank Oz
Versions of the Stepford Wives are a little like the robot honeys themselves. First you take a product (The Ira Levin novel), which is interesting, muli-faceted and gripping. Then you remove some of it's ideology to make it presentable for movie goers (The 1973 movie), then after a few hideous makeovers, (The Stepford Children, The Stepford Husbands and Revenge of the Stepford wives, three awful made for TV movies), you showcase your newer and shinier version of the old faithful novel, but ensure that the branding is irreversable. Sounds pretty heartless to me...
The movie opens on a TV network presentation. Network CEO Joanna Eberheart (Kidman) stands before a largely female audience to extol the virtues of her new season of post-feminist programming, including a reality dating show called 'I Can Do Better'. Kidman looks like a broom handle in a Miyake dress, and is immediately detestable. A disgruntled reality contestant who was royally dumped on 'I Can Do Better' agrees with this assessment, storms the building and tries to shoot her. Obviously he misses, trying to hit a three inch wide target from that distance is nigh on impossible, but the network see fit to fire Joanna themselves, and her spineless husband carts the whole family off to Stepford.
The production design by Jackson DeGovia is superb. Realistic, yet dreamlike. A version of the Disney owned town of Celebration, you can imagine walking into this mini paradise and being simultaneously enchanted and sickened.
Bette Midler as Joanna's hard-nosed writer friend Bobbi is remarkably well cast, as is Roger Bart as 'Roger Bannister' the swishy half of Stepford's only gay couple. Plucked from musical theatre for this role, he handles the range of comedic presence and is still believable as the frightened first victim of the new intake of Stepford.
The Stepford Wives is a funny and enjoyable movie, but the structure needed a derious overhaul, because the first act comes off as offensive and snide towards women. From the off, women are shown as heartless ball-breakers who will do anything to get ahead and jolly well deserve what's coming to them. Though Joanna Eberheart redeems herself as a character by the time we reach Stepford, the writing doesn't. We are shown the polarisation between the pre-robot women and the automatons, but still ringing in your ears are the brainless lines about 'superwomen' and 'having it all'. The climactic scene before Joanna is taken into the laboratory is littered with anti-feminist cliches which sum up as 'You're better than me at everything and I can't handle it so you have to die'. Nothing up to this points suggests that Joanna's slow descent into the lab, with her simpering husband and robotic shell for company, will not be the start of the movie's final scenes.
Any female who finds shampoo commercials less than scintillating will be roundly annoyed by the time the Big Twist emerges, which detracts from the plot turns. By the end of the movie however, there is a Hollywood sense of All's Right With The World. In a way, this is The Stepford Wives Lite. No-one is killed, there is comedy where there once was tension, and at least one man manages to redeem himself. This is a studio movie, and women, having been the villain at the start of the movie, are back up there again by the end. The men in the movie are far too stupid to mastermind a plot so nefarious, and it is the lovable Glenn Close who is revealed as the evil witch from hell.The message? Women may be badly treated, but in the end, they've brought it on themselves.
Paul Rudnick's screenplay is excellent, and will make you laugh out loud on more than a dozen occasions. He can't really be blamed for awful structuring, feelingt he cold grip of the movie exec on his shoulder, and if you laughed at his previous efforts (In and Out, Addams Family Values) then you'll love The Stepford Wives.
Anyone expected a good old fashioned re-hash of the original movie will be in for a shock by the time the credits roll, but a few funny lines will stick in your head, and this is a movie which is a more comfortable watch the second time around.
The movie opens on a TV network presentation. Network CEO Joanna Eberheart (Kidman) stands before a largely female audience to extol the virtues of her new season of post-feminist programming, including a reality dating show called 'I Can Do Better'. Kidman looks like a broom handle in a Miyake dress, and is immediately detestable. A disgruntled reality contestant who was royally dumped on 'I Can Do Better' agrees with this assessment, storms the building and tries to shoot her. Obviously he misses, trying to hit a three inch wide target from that distance is nigh on impossible, but the network see fit to fire Joanna themselves, and her spineless husband carts the whole family off to Stepford.
The production design by Jackson DeGovia is superb. Realistic, yet dreamlike. A version of the Disney owned town of Celebration, you can imagine walking into this mini paradise and being simultaneously enchanted and sickened.
Bette Midler as Joanna's hard-nosed writer friend Bobbi is remarkably well cast, as is Roger Bart as 'Roger Bannister' the swishy half of Stepford's only gay couple. Plucked from musical theatre for this role, he handles the range of comedic presence and is still believable as the frightened first victim of the new intake of Stepford.
The Stepford Wives is a funny and enjoyable movie, but the structure needed a derious overhaul, because the first act comes off as offensive and snide towards women. From the off, women are shown as heartless ball-breakers who will do anything to get ahead and jolly well deserve what's coming to them. Though Joanna Eberheart redeems herself as a character by the time we reach Stepford, the writing doesn't. We are shown the polarisation between the pre-robot women and the automatons, but still ringing in your ears are the brainless lines about 'superwomen' and 'having it all'. The climactic scene before Joanna is taken into the laboratory is littered with anti-feminist cliches which sum up as 'You're better than me at everything and I can't handle it so you have to die'. Nothing up to this points suggests that Joanna's slow descent into the lab, with her simpering husband and robotic shell for company, will not be the start of the movie's final scenes.
Any female who finds shampoo commercials less than scintillating will be roundly annoyed by the time the Big Twist emerges, which detracts from the plot turns. By the end of the movie however, there is a Hollywood sense of All's Right With The World. In a way, this is The Stepford Wives Lite. No-one is killed, there is comedy where there once was tension, and at least one man manages to redeem himself. This is a studio movie, and women, having been the villain at the start of the movie, are back up there again by the end. The men in the movie are far too stupid to mastermind a plot so nefarious, and it is the lovable Glenn Close who is revealed as the evil witch from hell.The message? Women may be badly treated, but in the end, they've brought it on themselves.
Paul Rudnick's screenplay is excellent, and will make you laugh out loud on more than a dozen occasions. He can't really be blamed for awful structuring, feelingt he cold grip of the movie exec on his shoulder, and if you laughed at his previous efforts (In and Out, Addams Family Values) then you'll love The Stepford Wives.
Anyone expected a good old fashioned re-hash of the original movie will be in for a shock by the time the credits roll, but a few funny lines will stick in your head, and this is a movie which is a more comfortable watch the second time around.
Saturday 17 July 2004
DVD Review - Firefly The Complete Series dir. Joss Whedon
When Buffy the Vampire Slayer reached Season Seven, there were concerns that the quality would wane, because of a new love in Joss Whedon's life. The mysterious 'space project' as Firefly was originally known, was like a younger mistress to the rapidly ageing Buffy and the difficult Angel. Fans asked "What is the big deal about this new series?".
Then it was screened, and the question became "Why are they cancelling this amazing series?" Firefly is stronger, funnier, tighter than either of Whedon's vampire chronicles. This is the work of a man who has practised and perfected the art of dramatic science fiction. Whilst Buffy and Angel have rapidly expanding casts, Firefly has nine main characters, and a handful of guest stars. The stories are crafted, well structured, the character arcs glide along like a Russian figure skater with no sign of faltering. The world is drawn and developed with an amazing competency, and a message : the real lives of working people are as interesting and as dramatic as the lives of vampire slayers and demon hunters.
In the two hour pilot 'Serenity' (which Fox TV chose to lump slap bang into the middle of the season, leaving some viewers mystified as to the origins of the characters), we meet Sgt. Malcolm Reynolds, fighting on the side of independance at the Battle of Serenity Valley. The 'browncoats' are fighting to retain independance for the planets in the solar system, while the Alliance are fighting for unification. The final battle shows the sparce outpost waiting for air support which doesn't come.
Flash forward five years and Malcolm (Nathan Fillion)is now Captain Reynolds, of a ship called Serenity, a firefly class transporter. He has a first mate, Zoe (Gina Torres) who fought with him side by side at Serenity Valley, her husband Wash, the pilot (Alan Tudyk), mechanic Kaylee (Jewel Staite), self-confessed bounty hunter Jayne Cobb (Adam Baldwin)and registered companion Inara (Morena Baccarin). The crew are in the business of taking on cargo and delivering it, just trying to make enough money to survive and stay at arms length of the Alliance, who don't take too kindly to the former enemy.
Taking on passengers at a port called Persephone, they come across a preacher, and a young doctor with a large box which he is reluctant to let out of his sight. Here we have the assembled cast of Firefly. No demons, no witches and certainly no vampires. The contents of the box turn out to be the doctor's sister, River Tam (Summer Glau), who he has recently rescued from a government facility where she was being tested on due to her genius level brain. The Alliance wants her back for unknown but clearly nefarious reasons, and the crew of Serenity embark on their riskiest mission, a game of hide and seek with the Alliance.
There were only 14 episodes of Firefly, but this is a packed DVD. There are commentaries on every episode from the detailed (Joss Whedon) to the hilarious (Tudyk and Fillion). There is a mini documentary on the origins of the series, outtakes, a version of the Firefly theme by Joss Whedon and Alan Tudyk's original audition for the role of Wash. Also, an Easter Egg reveals Adam Baldwin singing 'The Ballad of Jayne' from the episode Jaynestown.
If you are a Whedon fan and don't already own this DVD, you are missing out in a monumental way. If you're not a Whedon fan, then you're clearly not into great writing, superb casting and beautifully structured drama. Why not try the DVD box set of the hilarious Jaspar Carrot show 'All About Me'? The rest of you, keep flying, and buy this shiny product. You won't regret it.
Then it was screened, and the question became "Why are they cancelling this amazing series?" Firefly is stronger, funnier, tighter than either of Whedon's vampire chronicles. This is the work of a man who has practised and perfected the art of dramatic science fiction. Whilst Buffy and Angel have rapidly expanding casts, Firefly has nine main characters, and a handful of guest stars. The stories are crafted, well structured, the character arcs glide along like a Russian figure skater with no sign of faltering. The world is drawn and developed with an amazing competency, and a message : the real lives of working people are as interesting and as dramatic as the lives of vampire slayers and demon hunters.
In the two hour pilot 'Serenity' (which Fox TV chose to lump slap bang into the middle of the season, leaving some viewers mystified as to the origins of the characters), we meet Sgt. Malcolm Reynolds, fighting on the side of independance at the Battle of Serenity Valley. The 'browncoats' are fighting to retain independance for the planets in the solar system, while the Alliance are fighting for unification. The final battle shows the sparce outpost waiting for air support which doesn't come.
Flash forward five years and Malcolm (Nathan Fillion)is now Captain Reynolds, of a ship called Serenity, a firefly class transporter. He has a first mate, Zoe (Gina Torres) who fought with him side by side at Serenity Valley, her husband Wash, the pilot (Alan Tudyk), mechanic Kaylee (Jewel Staite), self-confessed bounty hunter Jayne Cobb (Adam Baldwin)and registered companion Inara (Morena Baccarin). The crew are in the business of taking on cargo and delivering it, just trying to make enough money to survive and stay at arms length of the Alliance, who don't take too kindly to the former enemy.
Taking on passengers at a port called Persephone, they come across a preacher, and a young doctor with a large box which he is reluctant to let out of his sight. Here we have the assembled cast of Firefly. No demons, no witches and certainly no vampires. The contents of the box turn out to be the doctor's sister, River Tam (Summer Glau), who he has recently rescued from a government facility where she was being tested on due to her genius level brain. The Alliance wants her back for unknown but clearly nefarious reasons, and the crew of Serenity embark on their riskiest mission, a game of hide and seek with the Alliance.
There were only 14 episodes of Firefly, but this is a packed DVD. There are commentaries on every episode from the detailed (Joss Whedon) to the hilarious (Tudyk and Fillion). There is a mini documentary on the origins of the series, outtakes, a version of the Firefly theme by Joss Whedon and Alan Tudyk's original audition for the role of Wash. Also, an Easter Egg reveals Adam Baldwin singing 'The Ballad of Jayne' from the episode Jaynestown.
If you are a Whedon fan and don't already own this DVD, you are missing out in a monumental way. If you're not a Whedon fan, then you're clearly not into great writing, superb casting and beautifully structured drama. Why not try the DVD box set of the hilarious Jaspar Carrot show 'All About Me'? The rest of you, keep flying, and buy this shiny product. You won't regret it.
DVD Review - American Splendor dir. Shari Springer Bergman and Robert Pulcini
In the opening scene of American Splendor, we see the major comic superheroes lined up on Hallowe'en. The Green Lantern, Spiderman, Superman. At the end of the line is a normal kid, with no costume. The candy distributor asks "Who are you supposed to be?". The kid answers simply "I'm Harvey Pekar."
At a time when heroes dominate the silver screen, American Splendor brings us the biography of 'just Harvey Pekar'. He has his own comic book too, but there are no hidden identities, no damsels in distress and certainly no heroics. Harvey gets up, goes to work as a clerk, has coffee, complains about the weather and argues with his wife Joyce. The movie of his life, directed by Shari Springer Berman and Robert Pulcini, doesn't just break the fourth wall, it bulldozes it and invites us to claw through the rubble. The camera pans across and out of the set, we see the recording of the voiceovers, the actors at the buffet table, and the sardonic comments of Pekar himself about the movie's production. Paul Giametti (Big Fat Liar, The Truman Show) plays Harvey, and what a job he does. Seeing as different comic artists have drawn Harvey in numerous different styles, from a young Brando to a hulking caveman, Giametti manages to retaining the essence of Harvey, without worrying about the absolute reality of the character.
At times, it's useful to have the real people of this saga in front of us on screen, because otherwise we might be led to believe that they themselves were just characters. No-one could be as neurotic as Harvey's wife Joyce, no-one really talks like Toby Radloff, the self confessed nerd. But they do, and here they are in glorious technicolour, allowing us a glimpse into their world, which they describe as 'mundane'.
The actual life of Pekar is anything but. He met the Fritz the Cat artist Robert Crumb who convinced him to put his life into a comic book, met his wife Joyce through selling those comic books, became a rent-a-laugh whipping boy on the Letterman show and famously fought back on one angry installment, got testicular cancer and adopted his friend's daughter. A full enough life for anyone to lead, but still described as ordinary and mundane. You will come away from this movie with a place in your heart for Harvey, Joyce and Toby, and a profound sense of relief that these people really do exist in real life. Footage of Harvey and Joyce at the Cannes film festival, complaining about doing interviews when they should be enjoying themselves, and mentioning how little money they make from these jaunts, shows that not everyone with a tenuous hold on fame wants to milk it.
The DVD extras include a documentary about the film makers and stars experiences at Comic Con, Cannes and the Sundance Festival. There is also some original art, a recording of a song written for the play 'American Splendor' and a free comic book entitled 'Our Movie Year'. This is a sweet and heartwarming movie which is well worth owning.
At a time when heroes dominate the silver screen, American Splendor brings us the biography of 'just Harvey Pekar'. He has his own comic book too, but there are no hidden identities, no damsels in distress and certainly no heroics. Harvey gets up, goes to work as a clerk, has coffee, complains about the weather and argues with his wife Joyce. The movie of his life, directed by Shari Springer Berman and Robert Pulcini, doesn't just break the fourth wall, it bulldozes it and invites us to claw through the rubble. The camera pans across and out of the set, we see the recording of the voiceovers, the actors at the buffet table, and the sardonic comments of Pekar himself about the movie's production. Paul Giametti (Big Fat Liar, The Truman Show) plays Harvey, and what a job he does. Seeing as different comic artists have drawn Harvey in numerous different styles, from a young Brando to a hulking caveman, Giametti manages to retaining the essence of Harvey, without worrying about the absolute reality of the character.
At times, it's useful to have the real people of this saga in front of us on screen, because otherwise we might be led to believe that they themselves were just characters. No-one could be as neurotic as Harvey's wife Joyce, no-one really talks like Toby Radloff, the self confessed nerd. But they do, and here they are in glorious technicolour, allowing us a glimpse into their world, which they describe as 'mundane'.
The actual life of Pekar is anything but. He met the Fritz the Cat artist Robert Crumb who convinced him to put his life into a comic book, met his wife Joyce through selling those comic books, became a rent-a-laugh whipping boy on the Letterman show and famously fought back on one angry installment, got testicular cancer and adopted his friend's daughter. A full enough life for anyone to lead, but still described as ordinary and mundane. You will come away from this movie with a place in your heart for Harvey, Joyce and Toby, and a profound sense of relief that these people really do exist in real life. Footage of Harvey and Joyce at the Cannes film festival, complaining about doing interviews when they should be enjoying themselves, and mentioning how little money they make from these jaunts, shows that not everyone with a tenuous hold on fame wants to milk it.
The DVD extras include a documentary about the film makers and stars experiences at Comic Con, Cannes and the Sundance Festival. There is also some original art, a recording of a song written for the play 'American Splendor' and a free comic book entitled 'Our Movie Year'. This is a sweet and heartwarming movie which is well worth owning.
DVD Review - Lost In Translation dir. Sofia Coppolla
There are no explosions in this film. There is no sex, there is no drama, there are no extremes of emotion. If this is what you think a movie should be, you're in the wrong line, go and see something with Julia Roberts in it.
Now that those awful people are gone, you and me can sit down and talk of the quiet genius of Sofia Coppolla. Her debut feature 'The Virgin Suicides' was a gentle nostalgic trip to a time and place in America which no longer exists, and a testimony to why that is the case. 'Lost In Translation' is an account of a relationship which never should have happened, and so didn't.
Scarlett Johannson plays Charlotte, the young wife of a photographer on a job in Tokyo. She tags along and soon finds that his job claims him for 90% of the trip. With no-one to talk to, she spends her days alone, taking day trips and staring from her hotel window. Bob Harris (Bill Murray) is an actor capitalising on his waning popularity by filming a series of whisky ads and appearing on Japanese talk shows. The pair meet at the hotel, and embark on a tentative friendship which includes karaoke, strip clubs and an injured toe. Thrown together through a feeling of loneliness in one of the most densely populated cities in the world, a relationship which is simultaneously uneasy and relaxed begins to form.
This story is partly influenced by the director's own experience of being the 'girlfriend' left alone in a strange country by her more successful boyfriend (Spike Jonze). The film is beautifully paced, never hurried and smoothly played out against a backdrop of neon, noise and urgency in central Tokyo. The plot tempers the furious pace of the city by frequently removing the characters to a different setting; a temple, a quiet sushi bar, a hospital waiting room.
The acting is superb, Bill Murray has never been better, and Scarlett Johansson excels herself in a deep and confident performance. Giovanni Ribisi as Charlotte's photographer boyfriend, and Anna Faris as the bubble headed American actress in town to plug her movie provide a strong dramatic and comedic support. This film will have you in tears of laughter, in quiet awe of the beauty of the photography and feeling warm and fuzzy, usually at the same time. The DVD includes some great deleted scenes, notably a silent ballet between Charlotte and two robots.
Now that those awful people are gone, you and me can sit down and talk of the quiet genius of Sofia Coppolla. Her debut feature 'The Virgin Suicides' was a gentle nostalgic trip to a time and place in America which no longer exists, and a testimony to why that is the case. 'Lost In Translation' is an account of a relationship which never should have happened, and so didn't.
Scarlett Johannson plays Charlotte, the young wife of a photographer on a job in Tokyo. She tags along and soon finds that his job claims him for 90% of the trip. With no-one to talk to, she spends her days alone, taking day trips and staring from her hotel window. Bob Harris (Bill Murray) is an actor capitalising on his waning popularity by filming a series of whisky ads and appearing on Japanese talk shows. The pair meet at the hotel, and embark on a tentative friendship which includes karaoke, strip clubs and an injured toe. Thrown together through a feeling of loneliness in one of the most densely populated cities in the world, a relationship which is simultaneously uneasy and relaxed begins to form.
This story is partly influenced by the director's own experience of being the 'girlfriend' left alone in a strange country by her more successful boyfriend (Spike Jonze). The film is beautifully paced, never hurried and smoothly played out against a backdrop of neon, noise and urgency in central Tokyo. The plot tempers the furious pace of the city by frequently removing the characters to a different setting; a temple, a quiet sushi bar, a hospital waiting room.
The acting is superb, Bill Murray has never been better, and Scarlett Johansson excels herself in a deep and confident performance. Giovanni Ribisi as Charlotte's photographer boyfriend, and Anna Faris as the bubble headed American actress in town to plug her movie provide a strong dramatic and comedic support. This film will have you in tears of laughter, in quiet awe of the beauty of the photography and feeling warm and fuzzy, usually at the same time. The DVD includes some great deleted scenes, notably a silent ballet between Charlotte and two robots.
Film Review - The Stepford Wives dir. Bryan Forbes
As well as reacting to the growth of new feminism in the mid-seventies, the Stepford Wives became a coined phrase for any figure of female domestic perfection. The book by Ira Levin was initially regarded as a satirical work, poking fun at the fact that men were becoming less and less able to control their wives' actions and ambition.
In brief, the plot concerns an upwardly mobile couple, the Eberhearts, with two young children, who move from the bustling sprawl of New York City to the polished suburbia of Stepford. Upon arrival, the couple notice that their near neighbours the Van Sants are somehow different to them. Walter Eberhart reacts to Carol Van Sant's domesticity and Doris Day style with admiration, while his wife Joanna pities her.
After being in Stepford for only a day, Walter is invited to join the Men's Association which he claims is simply a social club where the town's most important men can meet for a brandy and discuss community projects. Before long the new projects committee are meeting in the Eberhart's living room, and Joanna is being unknowingly studied to perfect her "transformation".
Unfortunately, the real suspense and horror of the Stepford Wives is crammed into the last 20 minutes, with the rest of the movie set aside for exposition which can drag appallingly.
The strength of the novel is it's ability to string you along almost from the word go, leaving subtle clues and involving the reader in Joanna's investigation into the real activities of the Men's Association. By the final chapter when Joanna must run for her life from what seems like the whole of the townspeople, we know that the Men's Association have been murdering their wives, dumping their corpses in the reservoir and replacing them with animatronics which are programmed to be the perfect domestic goddesses. By the end of the Stepford Wives movie, we have only a vague idea of the full horror of the situation, and a rather frustrating end sequence which tells us what we already know; that our heroine Joanna has been assimilated, and that a new couple have arrived in Stepford.
The direction (Bryan Forbes) is disappointing, ruining potentially suspenseful moments by using long shots which tell the full story of every scene. The usually sparkling Owen Roizman must have been on a tea break every time important photography decisions were made, as this shows none of the suspense of The Exorcist, or the sharp realism of The Taking Of Pelham 123.
Katherine Ross and Paula Prentiss are effective as the two best friends who are "changed" within days of each other. Peter Masterson however , is unconvincing in the role of Walter, not seeming brave enough to choose his own tie, let alone have his own wife murdered.
This movie holds no great appeal for women, Joanna is portrayed as ultimately helpless, unable to fight off either an old man with a fire iron, or a robot version of herself armed with an organza scarf. Particularly unbelievable is the notion that the gorgeous Katherine Ross would marry a balding bore like Peter Masterson, or that a woman who thought she was about to murdered by a Men's Association would go to their headquarters.
In the current climate of remakes and rehashes, perhaps Hollywood should set it's sights on those pictures which were adequate in their time, but could do with some modernisation. The Stepford Wives is a prime candidate.
In brief, the plot concerns an upwardly mobile couple, the Eberhearts, with two young children, who move from the bustling sprawl of New York City to the polished suburbia of Stepford. Upon arrival, the couple notice that their near neighbours the Van Sants are somehow different to them. Walter Eberhart reacts to Carol Van Sant's domesticity and Doris Day style with admiration, while his wife Joanna pities her.
After being in Stepford for only a day, Walter is invited to join the Men's Association which he claims is simply a social club where the town's most important men can meet for a brandy and discuss community projects. Before long the new projects committee are meeting in the Eberhart's living room, and Joanna is being unknowingly studied to perfect her "transformation".
Unfortunately, the real suspense and horror of the Stepford Wives is crammed into the last 20 minutes, with the rest of the movie set aside for exposition which can drag appallingly.
The strength of the novel is it's ability to string you along almost from the word go, leaving subtle clues and involving the reader in Joanna's investigation into the real activities of the Men's Association. By the final chapter when Joanna must run for her life from what seems like the whole of the townspeople, we know that the Men's Association have been murdering their wives, dumping their corpses in the reservoir and replacing them with animatronics which are programmed to be the perfect domestic goddesses. By the end of the Stepford Wives movie, we have only a vague idea of the full horror of the situation, and a rather frustrating end sequence which tells us what we already know; that our heroine Joanna has been assimilated, and that a new couple have arrived in Stepford.
The direction (Bryan Forbes) is disappointing, ruining potentially suspenseful moments by using long shots which tell the full story of every scene. The usually sparkling Owen Roizman must have been on a tea break every time important photography decisions were made, as this shows none of the suspense of The Exorcist, or the sharp realism of The Taking Of Pelham 123.
Katherine Ross and Paula Prentiss are effective as the two best friends who are "changed" within days of each other. Peter Masterson however , is unconvincing in the role of Walter, not seeming brave enough to choose his own tie, let alone have his own wife murdered.
This movie holds no great appeal for women, Joanna is portrayed as ultimately helpless, unable to fight off either an old man with a fire iron, or a robot version of herself armed with an organza scarf. Particularly unbelievable is the notion that the gorgeous Katherine Ross would marry a balding bore like Peter Masterson, or that a woman who thought she was about to murdered by a Men's Association would go to their headquarters.
In the current climate of remakes and rehashes, perhaps Hollywood should set it's sights on those pictures which were adequate in their time, but could do with some modernisation. The Stepford Wives is a prime candidate.
Film Review - The Tigger Movie
On release, the Tigger Movie was roundly slated by critics, and adored by children. And so it should be. The day that critics review a kids movie and actually get it right will be a sad day in Neverland.
The appeal of Tigger, whether to children, teenage goths with "ironic" backpacks, or those of us who enjoy breaking things, will always be his complete honesty and anarchic bouncing. The movie opens with Tigger destroying Eeyore's house and the attempts to rebuild it, there is a particularly harrowing moment when Eeyore is about to be crushed by a giant rock, but this is thankfully averted. Having proved more of a hindrance than a help, Tigger bounds over to Owl's house, where he marvels at his friend's extensive family tree. The thought of a whole family of Tiggers, though worrying to Rabbit, leads our hero to seek out the rest of the clan.
Attempting to satisfy Tigger's quest for a family, Pooh and friends are forced to disguise themselves as other Tiggers and attend the family reunion. Needless to say, the beans are spilled, and our bouncy friend begins a painfully defiant search for his family tree, which he theorises will be the "most stripedy" tree in the Hundred Acre Wood. One terrible snowstorm and a daring rescue later and Tigger realises that his real family are Pooh, Piglet and his other loving friends.
Those who branded this film as "corny", "formulaic" and "merchandise driven" have entirely missed the point. The ideology of the Tigger Movie, (and that's a phrase I never thought I'd see) is that the old notion of the nuclear family is not longer applicable to today's children. Children in the 21st century do not necessarily go home to mum, dad, brothers and sisters. They may live with single parent families, same sex couples, grandparents, adoptive parents or foster families. The Tigger Movie emphasises that blood groups, looks and genetics do not a family make, and that love is the only necessary ingredient in a modern family group. Putting our textbooks away for a moment, the Tigger Movie will make you laugh and cry, and has some great songs. I myself have now perfected the Super duper loop-de-looper alley-ooper bounce.
The appeal of Tigger, whether to children, teenage goths with "ironic" backpacks, or those of us who enjoy breaking things, will always be his complete honesty and anarchic bouncing. The movie opens with Tigger destroying Eeyore's house and the attempts to rebuild it, there is a particularly harrowing moment when Eeyore is about to be crushed by a giant rock, but this is thankfully averted. Having proved more of a hindrance than a help, Tigger bounds over to Owl's house, where he marvels at his friend's extensive family tree. The thought of a whole family of Tiggers, though worrying to Rabbit, leads our hero to seek out the rest of the clan.
Attempting to satisfy Tigger's quest for a family, Pooh and friends are forced to disguise themselves as other Tiggers and attend the family reunion. Needless to say, the beans are spilled, and our bouncy friend begins a painfully defiant search for his family tree, which he theorises will be the "most stripedy" tree in the Hundred Acre Wood. One terrible snowstorm and a daring rescue later and Tigger realises that his real family are Pooh, Piglet and his other loving friends.
Those who branded this film as "corny", "formulaic" and "merchandise driven" have entirely missed the point. The ideology of the Tigger Movie, (and that's a phrase I never thought I'd see) is that the old notion of the nuclear family is not longer applicable to today's children. Children in the 21st century do not necessarily go home to mum, dad, brothers and sisters. They may live with single parent families, same sex couples, grandparents, adoptive parents or foster families. The Tigger Movie emphasises that blood groups, looks and genetics do not a family make, and that love is the only necessary ingredient in a modern family group. Putting our textbooks away for a moment, the Tigger Movie will make you laugh and cry, and has some great songs. I myself have now perfected the Super duper loop-de-looper alley-ooper bounce.
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