010. Mirror Mirror

010. (16 Sep) Mirror Mirror (2012, Tarsem Singh) 30



Whimsical, to be sure, but the script is shockingly unfunny and ill-advised. Crappy CGI and shoddy direction allows Mirror Mirror match the crumminess visually. To their credit, the Oscar-nominated costumes are insane in their detail and ostentatiousness. They tread a fine line between gorgeous and garish.

The casting is wacky. Julia Roberts is hopeful her star power will overrule her character's unlikability, which it never does. Lily Collins can't act and seems to have stolen Jennifer Connelly's eyebrows from Labyrinth. Meanwhile, Armie Hammer is charming, delightful and perfectly cast as the handsome prince, showing comic timing and intelligence everyone else lacks. His shirtless scenes and puppy imitation are the closest this comes to worthwhile.

MIRROR, MIRROR

MIRROR, MIRROR
Written by Melissa Wallack and Jason Keller
Directed by Tarsem Singh
Starring Julia Roberts, Lily Collins and Armie Hammer

The Queen: Snow must do what snow does best - fall.

The story of “Snow White” is one of the most beloved of all time. The Brothers Grimm fairy tale, in which a beautiful, young princess becomes the focus of envy of an evil Queen, and is cast out of her kingdom, has not only endured for centuries, but has also heavily influenced the princess archetype we have come to adopt, for better or for worse. It is an imaginative story that includes mining dwarfs, magic mirrors and a kiss so powerful it can break any spell. It is exemplary of what is considered classic and  Snow’s story is now ready to reach a new generation in MIRROR, MIRROR, a modern mess, I mean, interpretation, that seems determined to ensure future generations want nothing to do with this timeless tale.

Under the supposedly unique directorial vision of Tarsem Singh (IMMORTALS), MIRROR, MIRROR is a grand and elaborate affair. A castle sits upon a mountain ledge and is filled with thrones made of giant shells, unicorn shaped moldings and people as chess pieces, with majestic ships upon their heads instead of hats. The costume work is incredible (executed by the late Singh regular, Eiko Ishioka) and, like of all Singh’s work, the overall visual picture is certainly striking. Unfortunately, the visual style is not the only thing MIRROR, MIRROR shares in common with Singh’s past work. Singh has become, like Tim Burton, a go to director for outlandish visuals and, while his pictures are mostly dazzling, if not derivative of each other, he rarely spends any time on story and character development. It doesn’t matter how pretty the whole thing is when what’s happening isn’t at all compelling. Also, I don’t consider dwarfs on stilts to be original, just ridiculous

MIRROR, MIRROR spends more time with the woman looking into the mirror, instead of the woman the mirror speaks of. With Julia Roberts playing The Queen, it isn’t at all surprising that the story revolves more around her antics than that of the original title character, played by fresh face, Lily Collins. Roberts certainly does seem to be enjoying herself a great deal, and despite her faux British accent dropping in and out at all times, it can be fairly entertaining to watch her be bad for a change. That said, I’m not sure Roberts playing a demanding Queen is that much of a stretch for her. Still, the cast itself make MIRROR, MIRROR a passable experience, one that will likely appeal more to children than their adult accompaniment. Passable is a far cry from timeless though.

PS. Parents, just do me one favour, please; if you do bring your kids to see this, please make sure they see Walt Disney’s SNOW WHITE AND THE SEVEN DWARFS at some point. They should know what the story is actually supposed to be like.


For more on MIRROR, MIRROR, check out my Hour Community piece about the production itself.

The Social Network

The Social Network, 2010
Directed by David Fincher
Won 3 Oscars: Best Film Editing, Best Adapted Screenplay, Best Original Score
Lost BP To: The King's Speech
Up Against: The King's Speech, Black Swan, The Kid's Are Alright, Winter's Bone, True Grit, 127 Hours, Toy Story 3, The Fighter, Inception


Last year, I was a huge huge fan of the King's Speech, and rooted for it all the way. After the nominees came out for Best Picture, I decided I should probably see what the big fuss was about for The Social Network, it's biggest competitor. Whether it was bias, or because it truly didn't strike my fancy, I wasn't a fan. I didn't see why it was getting attention, though it was an average, kind of dull movie, and completely dismissed it.

Now, about a year later, I've decided to give it another chance. Why? Because I've become a fan of Andrew Garfield, having watched him in Never Let Me Go and the Imaginarium of Dr. Parnassus, both of which he was fantastic. Also, having dismissed the Original Score as well, thinking How to Train Your Dragon should've won, I also picked that up again, and while I knew it was just okay on it's own, it probably rocked with the movie. Thus, I picked it up from the library and settled down and watched it tonight.


This is the story of Facebook, and the people behind it. Mark Zuckerburg is a computer genius, even before he started Facebook. He was going to Harvard, and was able to create websites in an evening, while drunk, that would gain 22,000 hits in one night, and crash the Harvard network. That's the kind of guy he is. When he's approached by the Winklevoss twins to program a website for them, Harvard Connection. It's an exclusive facebook/social network for Harvard University students. Mark initially says he's in, but then he deems their idea lame, doesn't tell them he's out for 6 weeks, and starts up his own social networking site, TheFacebook, for Harvard students with his best friend Eduardo Saverin.

The story revolves around Mark, obviously, and just how he rolls to the beat of his own drum. Doing things with Eduardo's money before asking him for said money, teaming up with Napster-creator gone broke, Sean Parker, moving to California to set up his business, and eventually betraying Eduardo. Mark is given to us a cold-hearted college student. The only person he really cares about is himself. And that shines through in every moment we see Mark. Though we know at the heart of the matter, Mark wants acceptance. And he does this through creating Facebook. It's an interest flip-flop, seeing this in the opening scene with Erica, and then the lawsuit scenes. In the end, you can't have worldwide acceptance, and keep your best friends, it seems.

This movie moves back and forth from the past (creation of Facebook/Harvard) and the present (lawsuits). It's almost as though this film is a supplement and evidence in the cases. We see the scenes as they come up in the suits, sometimes with description and narration from Mark or Eduardo. And we are taken, linearly through the process of the creation of Facebook. The "stealing" from the Winklevoss's, the creation and programming of TheFacebook, with Mark and Eduardo, the college celebrity phase, the move to LA and teaming with Sean Parker, and the Business Deal. It's well told, with not too much narration (but a sufficient amount), and not too much back and forth between the two (though, again, sufficient, that we don't forget about it, and it keeps us wondering what went wrong with Mark and Eduardo).

The screenplay, written by Aaron Sorkin, is whip-smart, witty, and just so geeky. It is said that the opening scene between Erica and Mark was 8 script pages long, and took 99 takes to get right. And I believe both those facts. Aaron Sorkin's screenplay was really great. He has such a talent for turning okay subject into really great movies (see Moneyball).

Additionally, the movie was well acted, and it garnered Jesse Eisenberg a Lead Actor nomination. Though, if anyone should've been nominated, it should've been Andrew Garfield. He's a really strong actor, and that's also true for this film. He has so much passion, and you can see it in every line he speaks in this film (with a wonderful American accent to boot). Of all the acting in this film, I'd say he was definitely the strongest, especially with his moment of confrontation, at the end, with Mark. He plays that so perfectly.

Overall, the film was good, but not Best Picture worthy. I understand the nomination, but still agree it shouldn't have won. It was a well told film, with an interesting(ish) story, but I don't think it'll stand the test of time well, since it's such a modern piece. Not that modern is bad, or that Best Picture's need to stand the test of time, but it's a very here-and-now movie, and while it was good, it wasn't amazing.

7.5/10

461. J. Edgar

461. (12 Nov) J. Edgar (2011, Clint Eastwood)* 67



One of the more competent biopics of the last decade, Eastwood and Dustin Lance Black find a balance between intimate personal moments with J. Edgar Hoover while confronting his more questionable professional decisions. While most biopics flatter their subject, this is a truly bold take on the man.

Leonardo DiCaprio solidifies his frontrunner status for Best Actor. His accent may be unconvincing, but he brings an impressive physicality to the role. Armie Hammer overshadows him at times, but it's built into the film. Eastwood makes an awesome decision to light Hammer rapturously when we first meet him, suggesting how charismatic and irresistible he was to Hoover. Meanwhile, DiCaprio's eyes are always lit so they look like black marbles.

The film is structured competently and engaging. This is an ambitious undertaking. While it doesn't stack up to Eastwood's better works, it's getting an unfair reputation.

J. EDGAR

Written by Dustin Lance Black

Directed by Clint Eastwood

Starring Leonard Dicaprio, Armie Hammer, Naomi Watts and Judi Dench

Annie Hoover: Edgar, I would rather have a dead son than a daffodil for a son.

Considering Clint Eastwood has lived to witness most of what he chooses to depict in his J. Edgar Hoover biography, simply titled J. EDGAR, it is an awful shame that so much of it feels lifeless and false. Eastwood’s Hoover accomplishes great things, like taking fingerprint technology nationwide and forensic science to new heights, but he does so with very little fanfare, subsequently inspiring even less interest in his audience. Fortunately, incredible performances by Leonardo Dicaprio and Armie Hammer, as the notorious FBI director and his rumoured romantic partner of many years, Clyde Tolson, elevate the picture high enough to overshadow the drab, washed out stiffness of Eastwood’s former America. Dustin Lance Black’s script is smart not to focus solely on Hoover’s sexuality, but unfortunately, the film only truly comes alive when it does.