The Black Cauldron

Tags

1980's, Animated, Disney, Fantasy, Grant Bardsley, John Byner, John Hurt, Nigel Hawthorne, Susan Sheridan, The Black Cauldron

Often forgotten in the wide spectrum of Disney movies and more frequently than not misunderstood because of its willingness to be dark, The Black Cauldron is in fact a rather excellent animated fantasy film.

In the mythical land of Prydain , Taran( Grant Bardsley) is a teenager who works as an assistant pig keeper with his guardian, the wise Dallben . Taran is a dreamer with ideas of being a warrior, but is often naive and foolhardy. One of the pigs he takes care of by the name of Hen Wen gets special attention, which Taran doesn’t understand at first. Though it becomes clear why Hen Wen is treated with such care when Dallben reveals a secret to the curious teenager . Hen Wen has the power of clairvoyance which puts her in a dangerous predicament. The ruler of Prydain is The Horned King( John Hurt), an evil demon who has his eyes set on discovering the mythical Black Cauldron. If he gets his hands on it, he can raise an army of the dead that will aid him in truly taking over the world.  fears that The Horned King would use Hen Wen to unearth The Black Cauldron and act out his diabolical plan for domination. sends Taran into hiding with Hen Wen, but Taran’s immaturity leads to Hen Wen being kidnapped by The Horned King’s minions. It’s up to Taran to rescue the pig. After infiltrating the castle inhabited by The Horned King, Taran helps Hen Wen escape but himself is captured. Thankfully along the way, he meets a host of characters who either aid him in his journey to stop the barbaric villain. There is the plucky Princess Eilonwy(Susan Sheridan), washed up and unlucky bard Fflewddur Fflam( Nigel Hawthorne) and unusual, fawning creature Gurgi( John Byner). Throw in dragon like creatures, three marsh witches and a group of underground fairies and the stage is set for adventure. 

There’s a rather epic feel to The Black Cauldron that’s reminiscent of The Lord of the Rings, and the two share a few similarities. A certain grandeur is here that adds levels of majesty for what it a film that’s really overlooked. I hope with this review I can bring The Black Cauldron to more notice among movie fans. While underrated, The Black Cauldron is far from flawless. At points, the tone can get a little scattershot and not quite know what to do with itself. Plus, some of the attempts at humour fall a bit flat and feel old hat. The story itself is standard swords and sorcery, but that shouldn’t be held against it because this movie is unabashedly dark and not afraid to be strangely mature and horrifying. Overall though and despite little foibles, it’s an undiscovered dark gem of a film that deserves a second chance and a new audience to appreciate what it was going for. The small quibbles shouldn’t detract from a Disney film with an overt difference and one that is often forgotten. When it goes for the creepy and menacing factor it definitely succeeds, due in no small part to the beautifully eerie animation and particularly The Horned King. The colours are moody and more subdued than most of Disney’s output, but is technically beautiful in their bleakness and sense of foreboding, with just enough light to bring hope. Scary and unnerving sequences abound in The Black Cauldron, it was after all the first animated film from The House of Mouse to revive a PG certificate upon release. Chief among the spooky and nightmarish scenes is the army of the dead. Anyone who has seen the film knows exactly which sequence I’m referring to and it still holds up as very disturbing and visually dazzling and dizzying. I’ll admit, The Black Cauldron is one of my favourite Disney films and mainly because it had the idea to go for something more grown up and not just pandering to little kids. The great Elmer Bernstein contributes a soaring, moody and wholly appropriate score that fits the fantasy like a glove. When the score hits the eerie heights, it’s really a thing of chilling beauty that doesn’t ignore the more rousing elements of the film.

A voice of largely English and upper crust voices bring their characters to life, though sometimes it can be a little too posh. Grant Bardsley is appropriately curious, adventurous and scrappy as our hero, while the soft voice of Susan Sheridan provides warmth and courage to the Princess Eilonwy. Nigel Hawthorne brings out distinction and humour as the bumbling bard swept along on the journey after being rescued from the dungeon; his voice is a case of it being amusing that he speaks so well and is so unlucky. John Byner uses an eccentric yet lovable voice to give life to the wild creature of Gurgi, who more often than not speaks in rhyme. He really gets the ups and down of the character well, showing both a cowardly nature and a growing loyalty. The voice you’ll remember the most though is the deep, gravelly tones of John Hurt as The Horned King. His voice booms with a menacing aura of authority and is truly spine chilling to hear. Without him as the voice, The Horned King wouldn’t work as a truly evil villain. Thankfully, the voice of John Hurt truly brings the monstrous demon to life to honestly scare the living daylights out of the viewers.

While immensely dark for a movie from a company marketed towards children, The Black Cauldron is definitely that but also a rousing fantasy adventure that maybe quite mature and shocking but has enough to make it a film that needs some re-evaluation.

Stardust

Tags

2000's, Adventure, Charlie Cox, Claire Danes, Fantasy, Ian McKellen, Jason Flemyng, Mark Heap, Mark Strong, Matthew Vaughn, Michelle Pfeiffer, Peter O’Toole, Ricky Gervais, Robert De Niro, Sienna Miller, Stardust

Based on the novel by Neil Gaiman, Stardust is a lavish fantasy of tongue in cheek humour, surprising darkness and a feeling of adventure that can’t be denied. Boasting a game cast and some dazzling scenery/visuals, it’s hard not to be swept up in this movie. 

A rural England town known as Wall is bordered by a giant wall that divides it from the magical kingdom of Stormhold. No one is supposed to go through the portal in the wall and it’s guarded by a man who refuses entry, though one man did and met a beautiful woman who he had a passionate romance with. Nine months later, his son is brought to his doorstep with no sign of the mother. The boy grows up into Tristan Thorn(Charlie Cox), a good-hearted but clumsy man who has a big crush on local beauty Victoria( Sienna Miller). The problem is his love for her is unrequited and Victoria is a selfish and vain woman who enjoys stringing others along. Tristan remains undaunted in his attempts to woo her and this is where things get interesting. In the Kingdom of Stormhold, the old King( Peter O’Toole) is dying and he hasn’t appointed a successor out of his sons. Usually, it’s the last man standing who takes the crown but the King decides to freshen things up a bit. He decrees that the first of his three remaining sons who retrieves his ruby will be crowned. The King throws it into the sky where it hits a falling star. The star is seen by Tristan and Victoria, and the capricious Victoria asks Tristan to retrieve the star to prove his devotion before a deadline. If he succeeds in retrieving the star, Victoria will accept his hand in marriage. Bowled over by her, Tristan naturally accepts the challenge. Little does Tristan realise how far reaching and eventful his quest will be. The biggest surpise is once he passes The Wall, he discovers that the star has taken the form of Yvaine( Claire Danes). She might be a radiant beauty but her personality is feisty and she immediately clashes with Tristan. Both begin to warm up to the other as forces of greed and desperation chase them. The remaining and power hungry princes Septimus( Mark Strong), Tertius( Mark Heap) and Primus( Jason Flemyng)are in hot pursuit, followed by an amusing Greek chorus of deceased siblings. Most evil and menacing of all are witch Lamia(Michelle Pfeiffer) and her siblings, who are fixated on gaining eternal youth of which the star can provide. Lamia in particular is a ruthless being of great power and cunning, who is not to be tricked with once she sets her sights on something. Tristan is thrust into a dangerous adventure to save and get back to The Wall before Victoria’s deadline. But in between dodging death and mischief, Tristan starts to see that maybe Victoria isn’t the girl for him as he develops feelings for Yvaine along the way. 

Matthew Vaughn is on hand for entertaining and dazzling direction, with oodles of style and adventure. He’s a director who knows how to keep a story spinning and very exciting, most evidenced once the breathtaking fantasy elements begin. The script is very successful at placing us in the fantasy adventure of the piece while retaining a certain sense of off the wall sheen. Stardust boats a sense of infectious craziness and off kilter magic that marks it out as something different in the fantasy genre. For while it’s very amusing and playfully silly, these are balanced with some rather creepy and sinister moments that are not quite what you expect but add to the overall appeal of Stardust. It is for my money, a film that will appeal across the generations of viewers that see it. With its humour, romance, darkness and thrills, it’s a true delight of a film that transports you into a zany world for two hours. Oh the humour scale, there are a lot of knowing winks to the audience and some fairly naughty jokes that grown ups watching can appreciate. The locations are breathtaking with mountains, hills and that romantic feeling of a hero’s journey on full display for the viewer. The magic is rendered with fun and panache in the effects department, ensuring a film that’s lovely to look and have a good time with. The only flaw I can find is that there is often so much going on that you can lose focus on the events happening. I mean I like when there are various parts to a story, but there are moments when Stardust overdoes it a bit. I’m grateful however that this is the only niggle I have because the rest of this fantasy make up for it. When the three stories gel, Stardust really hits great heights of intrigue and fantastical fun. The score from Ilan Eshkeri matches the heart, romance and adventure of the film and is pretty beautiful/magical in parts too. And Take That provide the irresistibly catchy “Rule the World” to Stardust, which is hard to get out of your head once your eyes have heard it.

A sensational cast is on hand and all up for a fantastic time. In the lead, Charlie Cox is ideally suited for the main hero thrust into the biggest adventure his life has experienced. Cox is fresh faced, personable and full of charm which goes a long way in playing the hero of our narrative and endearing him to us. Claire Danes has an ethereal glow that aids her in playing the personified star Yvaine, while infusing her with a temperamental personality that softens beautifully once her and Tristan get to know each other . Yvaine be the character everyone is after but she is dar from a simpering victim which is fully embodied by a radiant and bristling Danes. The pair have a very entertaining chemistry that sizzles and enthrals. Standing out and having an obvious ball is Michelle Pfeiffer, who longtime readers know is one of my favourite actresses. She’s relishing playing the lead witch hellbent on getting her youth back and doing it in despicably, delicious fashion. Pfeiffer hits the evil and seductive notes wonderfully, while embracing an eye rolling layer of comedy. It’s a great performance from Michelle Pfeiffer who proves to be a dastardly adversary for our hero but one who’s having a full on blast and savouring this opportunity to play bad to the bone. Robert De Niro has some great comic moments as a space pirate, which finds him playing against his usual image of macho and forceful tough guy. Jason Flemyng and Mark Heap are two of the greedy brothers after the star, though it’s the reliable Mark Strong, on sneering form, who stands out the most as the ruthless brother desperate to be king. I’m not the biggest fan of Ricky Gervais but he’s passable enough as a wheeler dealer. Sienna Miller is effective in her small role as the girl who knows the power of her looks and how to use them to her advantage, which inevitable sets the story in focus. Peter O’Toole contributes an entertaining cameo as the king who sets in motion the quest everyone ends up on before he dies. And on narration duties is Ian McKellen, whose iconic and distinctive voice is richly used. 

So while it is occasionally overstuffed with too many ideas and story, Stardust remains a delightfully different fantasy film with quite a bit going for it. 

Pete’s Dragon

Tags

1970's, Adventure, Disney, Don Chaffey, Fantasy, Helen Reddy, Jim Dale, Mickey Rooney, Musical, Pete's Dragon, Red Buttons, Sean Marshall, Shelley Winters

My second entry into the Shelley Winters blogathon is with the Disney fantasy adventure Pete’s Dragon, in which she plays a wicked supporting role. I must say thanks to both Erica and Gill for inviting me to take part

Charming and both bittersweet and funny in parts, Pete’s Dragon is undervalued as a film in my eyes. I think it should be reassessed and while some of it won’t hold up, you’ll definitely get some joy from it.

It’s the turn of the century and in Maine, young orphan Pete(Sean Marshall) runs away from his adoptive guardians. They are the vile Gogan’s, a hillbilly clan headed by the nasty Lena(Shelley Winters). They’ve treated him unfairly and made him a slave, prompting his escape. Aiding him is Elliott; a large, green dragon who can turn invisible and often is only seen by Pete. They venture into the town of Passamaquoddy hoping to start a new life. With Elliott being a clumsy creature, a string of mishaps occur. Eventually, Pete finds shelter with the kind-hearted Nora(Helen Reddy), who lives in a lighthouse with her often well meaning but drunk father Lampie(Mickey Rooney). This bliss is changed by the arrival of showy quack Dr. Terminus( Jim Dale) and his sidekick Hoagy(Red Buttons). Always on the lookout for money, when he gets wind of a dragon, he schemes to capture it. Though while both Pete and Elliott are wanted by nefarious forces, it seems that Nora and Lampie are there for them to face the evil that covers them.

Don Chaffey keeps events ticking over with humour and heart. You’re guaranteed to have a smile when watching a lot of this movie as Pete and experience thrills, adventure and danger. While Pete’s Dragon isn’t held in as high a rank as other Disney films, I think it’s unfairly overlooked. Sure it’s far from faultless and there are various issues with it, such as the length of the film, but the infectious energy and spirited heart can’t be ignored or resisted. Plus, it’s surprising how dark some parts of Pete’s Dragon are, like the singing of ‘The Happiest Home in these Hills”, in which the Gogan’s detail the horrible fate that Pete will meet if they get their hands on him. Though the overall tone is hopeful and cheery, the darkness and occasional bittersweet pang underneath in areas is a welcome addition as it doesn’t allow the film to overdose on sugary sentiment. Speaking of music, Pete’s Dragon has some lovely songs, with ‘Candle on the Water’ sung by Helen Reddy a great highlight and the sweet Boo Bop Bop Bop Bop a real gem. I’ve always liked this movie and may be a tad biased when reviewing it, but it really holds a certain place of nostalgia for me. I adore the blending of animation and live action, with Elliott being a wonderfully funny and endearing vision. Yes it’s not as slick as today’s effects, but damn if it isn’t darn effective at bringing to vivid life. The theme of wanting to belong resonates deeply with the viewer as it’s explored in numerous ways, not of least the eponymous orphan who is on his way to luck, if nothing bad befalls him first.

Sean Marshall takes the role of Pete and gives us a protagonist to root for, due to his honest face and general decency. He could have become annoying, but thankfully, Sean Marshall is a good child actor who doesn’t grate on the nerves. Helen Reddy is winsome and feisty when called for, plus using her gorgeous singing voice wonderfully. Mickey Rooney, all bluster and expressive eyes, is great as the initially terrified Lampie, who eventually comes around and takes Pete under his wing. Jim Dale is a hoot as the nasty but often hilarious showman Dr. Terminus, while Red Buttons is effective as his not above goodness sidekick. And now we come to the woman of the hour and her name is Shelley Winters. Dirtied up, spouting nastiness and generally being one evil villain, Winters is obviously having a blast playing such a vile character. Villains are in good order with the Gogan’s, but it’s Winters who stands out the most as the queen of mean. The villains are over the top and yet that’s what makes them good. They are just so nasty and often cartoonish that we want their plans to fail.

While flawed and a bit over long , Pete’s Dragon is very underrated and deserves a bit more love from people for its magic, music and story.

Pandora and the Flying Dutchman

Tags

1950's, Albert Lewin, Ava Gardner, Fantasy, Harold Warrender, James Mason, Mario Cabré, Nigel Patrick, Pandora and the Flying Dutchman, Romance

The quite amazing Maddy is doing a blogathon on the cinematic icon abs beauty that was Ava Gardner. I thought I’d join and give my thoughts on Pandora and the Flying Dutchman.

Director

Albert Lewin

Starring

• Ava Gardner as Pandora Reynolds
• James Mason as Hendrik van der Zee
• Harold Warrender as Geoffrey Fielding
• Nigel Patrick as Stephen Cameron
• Mario Cabré as Juan Montalvo

A ravishing and unusual romantic fantasy, Pandora and the Flying Dutchman relies on the sheer gorgeousness of its visuals and it’s two main stars for what is one arresting movie. It may not be every taste out there, but for the cinematic lover, it’s bound to make a mark with its tragic romanticism and mythical shout outs.

In the coastal Spanish town of Esperanza in the 1930’s, men flock to the beautiful but aloof nightclub singer Pandora Reynolds. She is unmoved by attempts to woo her, even when the results are dangerous. It’s not that she’s heartless, she’s just never found anyone who has elicited a deep love within in. To others, she seems very callous( and in some cases she is and she demands her admirers perform ) but there’s more than just allure to her. It seems her attitude stems from boredom and knowing the power she has over men.She finally meets her match in Hendrik van der Zee. He is a mysterious man who mans a ship that only he sails on. Something about him captivates her like no one before, but he’s curiously distant. Geoffrey Fielding, who is a translator of text and friend of Pandora’s, surmises that is The Flying Dutchman as he’s been studying a manuscript. is doomed to sail the seas after he was condemned to immortality for murdering his wife he thought was unfaithful in the 16th Century. He can only be freed if he finds a woman who is so in love with him that she’ll sacrifice herself. Pandora is currently engaged to race car driver Stephen Cameron , but is also pursued by arrogant matador Juan Montalvo. But it’s Hendrik who most gets her attention and takes her over. Though Pandora falls deeply and unexpectedly for him, Hendrik attempts to push her away as he cares so much about her. Yet is Pandora really willing to give up everything for the man she has finally fell in love with? Let’s just say, tragedy and eventfulness take form in this romantic and mythical fantasy.

Albert Lewin crams the film with multiple mythology references and literacy allusions. This is something I’m a sucker for this kind of thing, as both subjects interest me and put them a in a stylish movie with a folklore inspired undergone, and I’m going to like it. Not every idea of comes off, but an underlying emotion and melancholy brings some of the flights of fancy back down to Earth and is a feast for the eyes and ears. There’s a poetry to the script( which is written by Lewin and story of an impossible love and the sacrifice asked to restore it and the flowery language, mixing metaphors and similes that a wordsmith would be proud of. Lewin does himself proud with this exercise in gorgeous style and heightened emotions. The biggest asset is how the camera truly is in love with Ava Gardner. She glows with an otherworldly glamour and is remarkable to admire. And the cinematography by the outstanding Jack Cardiff, with Technicolor shot through with a moody blue tinge is simply gorgeous at referencing the romantic fatalism of the two main characters .There are a few parts that stretch credulity and become to out there for its own good(along with a running time that’s a tad excessive), but by and large it is a movie that’s heady appeal isn’t wasted on colourful fans of movies deemed as oddities. It’s an exotic, dreamy film with a sheer sense of atmosphere and visual poetry that’s hard to tear yourself away from. It’s far from flawless in a number of ways, but it’s unusual nature and devastatingly splendour are hypnotic. And the score has a really unusual, tragic and lushly romantic aura that covers Pandora and the Flying Dutchman all the way through.

Ava Gardner heads proceedings as the eponymous Pandora, who’s feeling of indifference melt as she falls for The Dutchman. Gardner was a breathtaking beauty who just entranced you from the first time you saw her. That lends itself well to the role of Pandora, as men flock to her everywhere. Yet despite being such a luscious lady, she was also a very good actress. This is sometimes overlooked because of her looks, which is quite unfortunate. Here as Pandora, she exudes an enigmatic charm and a genuinely growing set of feelings that come as a surprise to her as well as us. Gardner has sheer magnetism, both because of her beauty and talent. Her work here is mysteriously masked yet slowly revealing into someone letting their often disguised feelings of love come out. Pandora may act callously and flippantly at first, but once she meets her, she’s slowly transformed into someone very different.so please check it out and marvel at her command of the camera. James Mason adds pathos and weariness as the cursed sailor who is lonely and desolate, but caught in a conundrum once Pandora enters his life. Mason and his mellifluous voice wring depth and guilt ridden anguish from the part that stands as one of many wonderful performances by a fantastic actor. Mason shares an unusual and tentative chemistry with Gardner; both striking off the other with their collective uncertainty and bewilderment at their growing attraction. it really adds to the atmosphere and mythical mood of this film. Filling out the supporting roles are Harold Warrender, who wisely acts as narrator to events, show off beholder of Pandora’s hand Nigel Patrick and strutting Mario Cabré as the matador willing to kill for the love of the eponymous lady. All are great, but it is definitely James Mason and above all Ava Gardner who you’ll remember from this picture.

A most peculiar yet haunting movie that looks sublime in Technicolor, Pandora and the Flying Dutchman is the perfect love letter to the haunting Ava Gardner and shows clearly why she was made for cinema.

The Company of Wolves

Tags

1980's, Angela Lansbury, David Warner, Fantasy, Horror, Micha Bergese, Neil Jordan, Sarah Patterson, Stephen Rea, The Company of Wolves

Director

Neil Jordan

Starring

• Sarah Patterson as Rosaleen
• Angela Lansbury as Grandmother
• Micha Bergese as The Huntsman
• David Warner as Father
• Stephen Rea as Young Groom

A visually arresting and thematically rich dark fairy tale from the pen of Angela Carter and immense craftsmanship of Neil Jordan, The Company of Wolves sucks you right into its world of haunting dreams and metaphors that will be impossible to shake once you’ve viewed them.

The Company of Wolves takes place almost exclusively in the dreams of a young girl by the name of Rosaleen. She dreams of living long ago in a village, surrounding by a foreboding forest. Her older sister is killed by a wolf, sending the village into shock. Her Grandmother, who is wise and filled with stories, arrives and begins informing the sheltered Rosaleen on dark subjects. She explains that her sister wasn’t taken by any wolf, but a werewolf. She goes on to warn her granddaughter of not straying from the path in the wood and keeping distance from men whose eyebrows meet in the middle. Grandmother also gifts Rosaleen with a red shawl, which she almost always wears. At this time, Rosaleen is fascinated by the stories, which include one about a husband going missing. When he returns, his wife has remarried and his rage comes flying out in the form of a transformation into a wolf. Despite the warnings from Grandmother about wolves and that many of them are hard to tell in human form, Rosaleen can’t help but be curious about the opposite sex and alternates between running from growing up and grasping for it. One day, she is sent to visit Grandmother meaning she must take the path through the forest. Let’s just say things get interesting and many things Grandmother told her come into fruition once she meets a mysterious and most unusually seductive Huntsman.

Neil Jordan is the perfect director for The Company of Wolves, due to his skill with visuals and also haunting atmosphere. Both are very much in evidence here as is his wise decision to focus on story rather than just scares. Don’t get me wrong, The Company of Wolves is most certainly an adult horror, but it has more thoughtfulness going for it than you’d think. In short, Jordan is at his best with this movie. The Company of Wolves chock full of symbolism and Freudian overtones, plunging us further into the mind of a young girl who is both excited by and terrified of her own burgeoning sexuality. Carter, adapting from her own spin on fairy tales that was entitled ‘The Bloody Chamber’ and collaborating with the visually inclined Neil Jordan, are a dream team at incorporating the sense of innocence being lost and the feverish emotions of puberty, when the world seems alien to a person. As a viewer, you are taken on quite the experience that slowly intensifies and gathers staggering momentum in terms of thematic material and. The sexuality angle and subject of changing is never far from the screen, with lycanthropy standing for the body altering as you grow up and the way that Grandmother warns of not leading the path( in other words, straying into sin).  It’s not a movie for everyone as the narrative and structure may confuse certain viewers. But for those willing to see a dreamlike horror fantasy that covers curiosity, sexuality and darkness, you should be in for a treat. The effects, mainly in the transformation scenes, use animatronics which might not have the smoothness of CGI, but at least have something more unusual and downright creepy to them. I found myself getting very unsettled as people morphed into werewolves and screamed out in pain as their bodies underwent a severe transformation, which contains all member of messages and interpretations. The eerie sets resemble something from a Hammer Horror and are accentuated by a red heavy colour palette, combining danger, passion and death into an already heady cauldron. A spooky and bubbling score from George Fenton further amps up the unsettling nature of the stories and the dreamlike way they are presented to us.

Young Sarah Patterson possesses a radiant innocence and naivete that is played well and you can see her mind in overdrive as the temptation of adulthood comes calling to her. With her soft voice and angelic face, she is an ideal vision of Little Red Riding Hood in this passionate and very dark fable. Angela Lansbury is on scene stealing duty; capturing a loving kindness and uneasy creepiness of the wise Grandmother who is full of story and warning. Lansbury is a pro in every sense of the word and I loved her eccentricity and slightly off kilter appeal in The Company of Wolves. Micha Bergese has this downright slippery and creepy vibe that is employed to fine effect as he slinks his way around Rosaleen and tempts her. It’s all in the voice and the eyes with him. David Warner is the young girls father in a supporting role, while Stephen Rea makes his story undeniably unnerving and spine-chilling. But by far the biggest star is the atmosphere of it all.

A dark and menacing variation on Little Red Riding Hood and a commentary on reactions to coming of age, The Company of Wolves spins a compelling web of creepy fairy tales and evocative material that you’ll find yourself thinking over for a long time.

Aladdin

Tags

1990's, Aladdin, Animated, Disney, Fantasy, Gilbert Gottfried, Jonathan Freeman, Linda Larkin, Musical, Robin Williams, Scott Weinger

The quite fabulous and ever so lovely Gill and splendid Crystal asked me to partake in a blogathon to honour the talents of Robin Williams. I simply couldn’t refuse this offer as I’m such a huge fan of Williams. For my choice, I decided to review the wonderful Disney flick Aladdin.

Film Title

Aladdin

Directors

Ron Clements and John Musker

Voice actors

• Scott Weinger as Aladdin
• Robin Williams as Genie
• Linda Larkin as Princess Jasmine
• Jonathan Freeman as Jafar
• Gilbert Gottfried as Iago

A joyous and energetic take on Arabian Nights from Disney, Aladdin is chock full of stuff to enjoy and be a part of.

In the streets of Agrabah, Aladdin is a young urchin who along with his monkey sidekick Abu, must steal to survive. Although he must rob, he is an inherently decent person just attempting to make it from one day to the next. His life is about to get a whole lot more eventful very soon. He meets Jasmine; a spirited girl who is actually the daughter of the Sultan and therefore a Princess. She has run away from home because according to a law, she must be married to a prince very soon. So far, she doesn’t like any of the suitors that have been selected for her. She feels stifled by royal protocol and wishes to marry for love. On their brief meeting, Aladdin falls in love with her, but fate has other plans.  Also involved is the villainous adviser Jafar, who wants to have power and never-ending domination over everything. He has identified that Aladdin is the person who can get him what he wants. That would be a magic lamp hidden within a magical cave. After imprisoning Aladdin, Jafar disguises himself as someone else to lure him to the place in the sands that is known as the Cave of Wonders. Inside, Aladdin and Abu accidentally upset the order of things and end up trapped. Upon rubbing the lamp, an energetic and fast-talking Genie emerges, ensuring Aladdin that he has three wishes that he can grant. There are limitations to what he can wish for, though Genie and Aladdin develop a friendship and Aladdin promises Genie that he will set him free as a final wish. Helping them out the cave and with Genie’s help, Aladdin masquerades as a famous prince in order to woo Jasmine and ultimately stop Jafar in his evil tracks.

From the opening of swirling sands, Aladdin looks gorgeous and magical. The vivid colours used in the animations are something to marvel at as Aladdin finds himself in an adventure and fantasy. The visuals are all in place for us to admire as well as many other key ingredients that make Aladdin a great movie. The briskness of pace bring out the fun right from the start, never letting any flab or dull moments sink in because of its fastness. The humour and adventure appeal to both grown-ups and children because it covers a wide range of styles. This is especially prominent once Genie enters the picture and all the great pop culture references and nods are in full abundance. The music is another ace high point of Aladdin with many numbers standing out. The sublime and romantic ‘A Whole New World’ is a great match for the visuals of Aladdin and Jasmine taking a magic carpet ride, while the bombastic ‘Prince Ali’ and ‘Friend Like Me’ are a perfect summation of Genie and his antics.

The assembled voice actors do extremely well with the characters they have and are all well-suited. Scott Weinger has the right amount of fun and charisma for the title character, which goes a long way with how much we like Aladdin and his journey. But its Robin Williams and his voicing of Genie that truly makes Aladdin that something to treasure. His endless impressions, vocal acrobatics and wildfire delivery are scene-stealing in a completely amazing way that is very much to Williams’ style of comedy. Genie is a character who brings an already great movie into the levels of excellence it achieves. With Williams the man behind it, it is quite impossible to not laugh along with Genie as he helps shape Aladdin with his wisdom and zany antics. It simply wouldn’t be the same movie if Williams wasn’t a part of it. Linda Larkin has a sweet but strong voice that is just perfect for Jasmine, while Jonathan Freeman is appropriately slimy and nasty as the main villain of Jafar. His voice is very snake-like, which comes in handy with such a foul and evil character. Just as Aladdin has a sidekick in Abu, Jafar has the loud-mouthed parrot of Iago, voiced with relish by Gilbert Gottfried.

A bundle of hip fun for all ages, Aladdin is dazzling movie making from the animation, music and voice acting. But best of all, it’s a showcase for the talents of Robin Williams and a special one at that.

The Seventh Voyage of Sinbad

Tags

1950's, Adventure, Alfred Brown, Fantasy, Kathryn Grant, Kerwin Mathews, Nathan Juran, Ray Harryhausen, Richard Eyer, The Seventh Voyage of Sinbad, Torin Thatcher

Film Title

The Seventh Voyage of Sinbad

Director

Nathan Juran

Starring

• Kerwin Mathews as Sinbad
• Kathryn Grant as Princess Parisa
• Torin Thatcher as Sokurah
• Richard Eyer as the Genie
• Alfred Brown as Harufa

Boasting a whole lot of excitement and the amazing stop motion skills of Ray, The Seventh Voyage of Sinbad is fun with a capital F that retains a magical quality to it that never dims. So sit down and be transported into a daring time of quests and magic that is hard to resist.

Legendary adventurer and captain Sinbad is travelling back to Baghdad when his ship is driven towards a strange island known as Colossa. Going ashore with his crew,  Sinbad encounters Sokurah, a magician fleeing from a Cyclops and grasping a magic lamp. Managing to escape the large beast through the use of the lamp and the genie inside, Sokurah comes aboard with Sinbad. He explains that he needs the lamp, which was lost when running away, but Sinbad is reluctant to return to the island. Sinbad is to be married to the beautiful Princess Parisa, who has journeyed with him on his voyage. Their marriage will unite two countries in peace and love, benefiting from the fact they are so very much in love with each other. On their return to Baghdad, things take a turn. Sokurah, angry that he’s been refused , secretly uses his magic powers to shrink Parisa to miniature height. This plays into his plans as Sinbad is desperate to regain his soon to be wife and potentially stop any violence between the two nations. Sokurah tells them that if they want to reverse her shortage of stature they must travel back to Colossa and acquire the egg of a giant bird to make a potion that will reverse the magic. What Sokurah really wants is to get his dirty hands on the magic lamp and use it for his own greed. Sailing back to Colossa with a doubtful crew, Sinbad knows that this journey isn’t going to be easy as he must battle against an array of marvellous creatures if he wants any chance of Parisa getting back to normal again and preventing any animosity between two kingdoms.

Nathan Juran contributes pleasing direction that allows events to be one entertaining adventure by being unobtrusive and letting the effects and magic take deep hold over the audience. The main thing that The Seventh Voyage of Sinbad is rightly remembered for is the quite wonderful stop motion animation of Ray Harryhausen. His personal stamp is there whenever any of the succession of beasts appears; his craftsmanship is something to be greatly admired and marveled at for the sheer dedication and thought gone into it. Harryhausen was a master of spectacle and extraordinary sights and it is for all to see in this excellent fantasy film. From the angry Cyclops to the two-headed bird known as the Roc, the mind of Harryhausen conjured up such greatness and a feeling of otherworldly possibility. At the time of release, his creations must have been revolutionary and met with amazement. The same can still be said now as without his guidance and talent, modern animation and visual advancements may not have been crafted in order to emulate some thing of his greatness. Swashbuckling adventure and fantasy are at the forefront of this flick, starting from the beginning and never letting up. This is a movie the whole family can enjoy as it has something for everyone. It provides pure escapism into a magical tale of heroic deeds and unusual creatures that is rollicking and bracing in almost every aspect. We never seem to see movies such as this anymore, but it’s probably for the best as modern movies may miss out on that special something these fantasy/adventures had. The exotic flourishes of the score from the majestic Bernard Herrmann only heighten this gloriously magical fantasy extravaganza.

Kerwin Mathews is handsome choice for Sinbad and while not the world’s greatest actor, his physicality and masculinity are extremely appropriate for the part of the legendary adventurer. Kathryn Grant is beautiful and sweet as the Princess whose plight is what brings the story into action. The two make a very attractive couple in this magical tale of heroism and danger. Torin Thatcher is made for playing villainy and he plays to that with relish. Just looking at his intense and often alarming eyes, he exudes a slimy sense of power and nastiness. In support there is the young Richard Eyer starring as the boy Genie who can grant any wish and Alfred Brown as Sinbad’s loyal friend Harufa.

The Seventh Voyage of Sinbad is good old-fashioned adventure at its height with imagination and thrills galore. For a movie that the whole family can love and for an adventurous time, you can’t go wrong with The Seventh Voyage of Sinbad.

Ghost

Tags

1990's, Demi Moore, Drama, Fantasy, Ghost, Jerry Zucker, Patrick Swayze, Romance, Tony Goldwyn, Whoopi Goldberg

Film Title

Ghost

Director

Jerry Zucker

Starring

• Patrick Swayze as Sam Wheat
• Demi Moore as Molly Jensen
• Whoopi Goldberg as Oda Mae Brown
• Tony Goldwyn as Carl Bruner

A hybrid of romance, supernatural and thriller, Ghost still entrances audiences with its emotional heart. And while it would be easy to write it off as just another generic weepy, its heartfelt impact can’t be denied, as can’t find work from the cast, including an Oscar-winning Whoopi Goldberg.

Sam Wheat and Molly Jensen are a couple are madly in love with each other and living in Manhattan. Life is good for them as Sam is a successful banker and Molly enjoys her work as an artist. That is until their bliss is shattered one night. Coming home from a play , they are accosted by a thug and Sam is fatally shot. Yet while dead, his spirit doesn’t move on to the afterlife. Unfortunately, though he attempts to communicate with Molly, he can’t. Molly retreats into grief following his death and shuts herself away. After much shock has settled in, Sam slowly finding his footing as a spirit and how he can impact on Molly’s life and clutch tight their bond. Sam also discovers that his death was not just some random mugging gone wrong but part of a dodgy scheme that he’d inadvertently stumbled into earlier in the film. It was organised by Carl Bruner, who he considered a friend but is revealed to be a contemptible weasel. Realising that Molly is now in danger, Sam frets about how he can help his beloved. His possible answer comes in the surprising form of Oda Mae Brown, a fake physic who ironically can hear him. Oda Mae is reluctant and startled by her gift, which she never actually realised was there as she’s faked being a psychic for money. Yet after much persistence, she agrees to help him reach Molly. The trouble is proving to the grieving young woman that Sam’s spirit is still there. Time is soon ticking for Sam as he attempts to warn the devastated Molly of her impending danger and to finally move onto the next life knowing that she is safe.

On directing duties is Jerry Zucker, who brings considerable skill to Ghost. He really finds so many angles and different genre elements to contend with and he largely gets it right. Ghost at its heart is a romance with immense spiritual overtones to it. Yet it also boasts many moments of fine humour and even has thriller elements that are surprisingly strong and boast some unexpected tension, complete with some detours into the spooky realm. It’s a credit to Zucker that most of the hoops keep spinning in sync with each other, only occasionally stumbling in steps that can be easily forgotten given the rest of the picture. Overall, Ghost is definitely a memorably moving movie that knows the ways to get you deeply involved with the immensely heartfelt story at play. And it’s impossible to forget the justifiably famous scene of Molly and Sam at the pottery wheel that develops into a sensual encounter. It is so sexy and romantic, along with changing the way audiences would see pottery forever. Though it’s been parodied to death, the original scene still holds a special place in cinema as a most sexy and tender scene of two people genuinely in love with each other. Sure Ghost works on your emotions, but it gets right to the heart of the theme of love transcending all that it’s hard to really fault as it sucks you in. If you’re not flowing with tears by the end, you mustn’t  have a sensitive bone in your body. For Ghost beautifully and often poignantly highlights that love is in fact eternal and that the feeling of a loved one never leaves, whether they be alive or dead. And I for one bought into it, along with the various melding of genres that I mentioned earlier. Ghost may run a little too long, but that can be papered over given the investment and impact of the movie in general. Maurice Jarre is the man behind the sincere, romantic and frequently atmospheric score of Ghost, that goes a long way to accentuating the themes of love overcoming all and still burning.

Patrick Swayze has the right physicality and decency for the part of the Sam, whose desire and love for Molly is what keeps his spirit alive after he is killed. The part could easily have been bland or boring, but Swayze raises it up to a respectable level and adds his own spin on it that ensures we buy into his mission to save his beloved. Demi Moore, who has never looked more beautiful than she does here, also sells the desolation and passion of her character. And man is she damn effective in the emotional scenes, her tears cause you to shed them too. Standing out the most in proceedings is the scene-stealing Whoopi Goldberg, in an Oscar-winning performance. It is her who injects a lot of humour into the film and gives it yet another dimension. Acting as Sam’s often hilarious and sassy voice piece, Goldberg creates a character of high energy and care. It will be impossible not to laugh at just how funny she is here, being the memorable comic relief yet also finding some soulful honesty too. Rounding out things is Tony Goldwyn; appropriately nasty and sly as the backstabbing man whose actions lead to Sam’s murder. It’s a credit to Goldwyn that you really wish his character the worst and hope he gets exactly what’s coming to him.

A memorable romance that combines other genres like fantasy and sometimes tense thriller into the mix to a largely pleasing and arresting effect, Ghost will both warm and break your heart. So grab some chocolate, get the tissues at the ready and watch this romance that retains a sensitive and soulful presence today.

Matilda

Tags

1990's, Danny DeVito, Embeth Davidtz, Fantasy, Mara Wilson, Matilda, Pam Ferris, Rhea Perlman, Roald Dahl

Film Title

Matilda

Director

Danny DeVito

Starring

• Mara Wilson as Matilda Wormwood
• Danny DeVito as Harry Wormwood
• Rhea Perlman as Zinnia Wormwood
• Embeth Davidtz as Miss Honey
• Pam Ferris as Miss Trunchbull

A glorious fantasy of a young girl discovering her talent for turning the tables on the unfair grown-ups in life, Matilda gets the right amount of dark humour and inspiring fun of kids taking control that Roald Dahl had in his book. This review will most likely be biased as I adored this movie growing up, but that’s why it’s perfect to review.

Matilda Wormwood somewhat stands out from her unappreciative and neglectful parents. Being a very bright girl with knowledge far beyond her tender six years, she craves learning and understanding. Unfortunately, she is cursed by a family of barbarians who don’t care about her; crooked father Harry, shallow mother Zinnia and utterly bratty brother Michael. They are addicted to television and their own selfishness to not notice the precocious daughter they have, leaving her to find company in books and knowledge from around the age of two. Out of anything, Matilda definitely wants to go to school. Yet upon finally attending school, she realises the unfairness of those older doesn’t just end at home. The principal Miss Trunchbull, is a monstrous bully who brutally keeps children in check with force, abuse and terror. Thankfully for bright Matilda, she meets the inspiring and lovely teacher Miss Honey, who understands her and treats her fairly unlike every other adult Matilda has encountered thus far. With Miss Honey in her corner and becoming something of a surrogate mother, Matilda blossoms. Yet Miss Trunchbull is having none of her spirited nature and takes it upon herself to especially humiliate Matilda. But lately, the wise and precocious girl has discovered that she possesses certain supernatural abilities that come into practice when she’s belittled or challenged by nasty adults. Soon, she finds a way to harness these powers to turn the tables on Trunchbull and her parents once and for all.

Danny DeVito utilities a sprightly and darkly mesmerising touch to the film, having a wide range of unusual angles place us in the position of children. Everything is rendered intimidating and strange by DeVito, which ties in with the story as it reaches magic levels of Matilda finally standing up for herself. this fun for kids to see a young person growing and getting her own back on those that have mistreated her and equally as entertaining for grown-ups to observe the gleefully dark and not sugar-coated content, which is faithful to the spirited imagination of Roald Dahl. While it deals with the feeling from children that adults don’t understand or respect them, Matilda fantastically exaggerates this(in keeping with the twisted fable from Dahl) which is satisfying and fits into a story of self-worth and having the power to manage some control and decision. I mean who wouldn’t want to get revenge on a bullying headmistress whose hobbies include throwing children over the garden fence for wearing pigtails, forcing them to gorge on an impossible cake or locking them in a nail filled cupboard known as The Chokey?. It’s the very oddball essence of Matilda that makes it such a good film; it often goes in different directions than you’d think for a film aimed at children and is very mature in passages. Matilda has humour, some frightening moments(make that all that involve the harridan of Trunchbull) and heart, best envisaged by the sparky and gifted protagonist whose powers lead to amusing and revenge filled mischief of the best kind. As I previously referenced, I had a big love if this movie as a kid. Visiting it as someone older, it still retained the kooky charm which I fondly remembered. A spirited score is just the ticket for the madcap content of Matilda, with unpredictable rhythms and puckish movements.

Mara Wilson is sublime as the special title character, whose vast intellect and power cause her to emerge as a likable lead and mature presence. Despite her tentative years, Wilson beautifully gets across Matilda’s love of learning, the wanting for someone understand her and her helpful and plucky personality that comes into play in nice fashion. I really can’t think of another person except Mara Wilson playing the role of Matilda so well and with such spirit. Danny DeVito also stars as Matilda’s low life father, with oily charm and rat like sneakiness. Complimenting him is his real life wife Rhea Perlman who is fabulously trashy as the bingo obsessed mother. Embeth Davidtz successfully makes Miss Honey a beacon of hope, yet never slips into overly saintly, due to a feeling of buried strength and having experienced the hardships of life. Yet the best performance in Matilda is the one given by Pam Ferris as the nasty Trunchbull. Ferris sinks her teeth into the part and brings it to furious and villainous life; making for a terrifying antagonist that everyone would fear if they were in her presence. There is a gleeful horror to Miss Trunchbull that Ferris plays to perfectly, ensuring that you really hate this woman and hope she gets some form of poetic justice at the hands of Matilda and her growing magical powers.

A fun and enjoyable not afraid to be dark and unusual, Matilda is a magical movie about how we can all be special and find a power within ourselves in life.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.