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Sunshine

 

Fifty years from now, the sun is almost dead. Earth is close to an ice age state, as even Australia’s waters are frozen in downtown Sydney. Earth will perish unless the light of the sun is jump started with an explosion, to bring out a new star from within the currently vanishing one.    

Seven years ago, in 2050, another crew on the spaceship Icarus went on a similar mission to detonate a huge bomb to create new energy within the sun. After reaching a certain point from the earth the mission mysteriously failed. They were never heard from again, and in 2057 the crewmembers of Icarus II are on a quest to provide the energy that the earth needs to survive. Their bomb payload has used what remains of Earth’s resources for a large denotation. 

The crew consists of eight men and women led by Captain Kaneda (Kiroyuki Sanada). Among them is engineer Mace (Chris Evans), biologist Corazon (Michelle Yeoh), and pilot Cassie (Rose Byrne of 28 Weeks Later). 

Once out of radio contact with Earth, a distress beacon is received from the lost Icarus I. This leads to the first major decision to be made by the mission crew that is controversial. If they hook up with Icarus, they will likely not have enough oxygen to return to earth after delivering their payload. But if they are able to retrieve the lost payload, the chances of success are possibly doubled. Worse case, eight people lose their lives to saves billions on earth. 

Filmmaker Danny Boyle (of 28 Days Later, Millions) has created a spectacular sci-fi thriller, with lots of suspense and stunning special effects. Considering the difficulty of their mission (think Amargeddon and Deep Impact), you know things will not go smoothly and that some or possibly all of the crew may die. 

Capa (Cillian Murphy of Red Eye and The Wind that Shakes the Barley) influences the crew with his dispassionate logic, which is in stark contrast to Cassie. She would very much like to return to earth from this mission.

The Icarus of Greek mythology provides a hint as to a key part of the ending of the film. For the hint, click on this link. Icarus is an imposing, state of the art spaceship, with submarine-like corridors and an enormous garden used to provide oxygen and fresh food for an extended period of time. 

With tight spaces, extreme close-ups, trying to stay alive in the super cold of deep space, mixed with some spirituality, you are transported to another world in much the same manner as 2001 Space Odyssey and Alien. There is one section that is even reminiscent of Tommy Lee Jones in Space Cowboys.  

Even though the film can be confusing at times, it does not detract from the story. What the crew is doing has never been done before, so “first time” is the operative phrase. Related to that are unexpected consequences. 

High tension between the crew is realistic for this type and length of mission. The film has some exceptional scenes: an exciting space walk; getting back to the ship after the failure of a connecting tunnel; and the effect of freezing in outer space -273 Celsius.  

The action is supported with exciting music. There are overtones of Armageddon, with this possibly turning into a suicide mission, but without the silliness of Bruce Willis and Ben Affleck. The international flavor of the space crew seems to have the best of the best doing what they can, which makes the ethnically diverse crew very believable.  

Cillian Murphy foreshadows the end when he sends a message to his family before going into the dead zone of communications. But like other good films such as A Mighty Heart, knowing how something will end does not mean you can’t hope for the best. 

This is one of the better films about space in quite some time. The two classics Alien and 2001 Space Odyssey come to mind. While only time will determine if it’s in that category, it’s far better than anything that we can recall in recent memory. At times it was a bit confusing but rather than being frustrated by that, we think it’s worth seeing a second time. The better films merit repeat viewings. 

 Joshua

 For trailer, click here

Brad and Abby Cairn ((Sam Rockwell and Vera Farmiga) are typical, stressed out urban parents, living in the perfect Manhattan apartment, whose life begins to unravel after the birth of their second child, a daughter named Lily. Shortly after Lily arrives home, a dark side of their prodigy son Joshua (Jacob Kogan) slowly begins to reveal itself. 

Although not made for the schlock-shock, big opening weekend horror geeks, the film offers plenty for those that got a chill from the Omen movies. The creep factor here is much higher because Joshua’s evilness is not linked to Satan, as Damien’s was. Somebody like Joshua may be closer to you than you think.  

Joshua presents a thinly veiled malice against his new sister, apparent to the audience but not his parents. He’s not happy with the focus put on Lily by his parents. In many ways, his question to them, “Do you love me?” is far more than rhetorical. He knows it’s all about me, but his parents do not. 

Joshua is intellectually advanced to the point that his teacher suggests he’s a kid in grade school that possibly should be in college. The compassionate attention from his gay uncle Ned (Dallas Roberts), adds a creep factor to the film that is never fully explained, which may be a good thing.  

The new baby requires all the attention Abby can give, and after a game of hide and seek between her and Joshua, as she tries to show him that she still loves him very much, Mom takes a giant step closer to the breaking point of mental stability. It seems that Joshua has not only heard of, but fully understands Post Partum Depression. 

Any doubt about the mood of the film going into deep shadows is removed when Joshua’s grandmother (Celia Weston of Junebug) has a fall down the stairs.  

With the loss of his mother, his wife mentally unstable, a new baby at home and strange behavior by big brother Joshua, Brad begins to lose focus at his job and eventually takes a leave of absence. Suddenly, working 10 hours a day is not an option.

Joshua develops a fascination regarding mummification, disembodying a stuffed animal, and there’s the mysterious death of the family dog.  

The acting is realistically scary. Even though we know things are not real, they sure feel that way. Enough is left to the imagination to make you pay attention to everyone close to you. The psychological shadings of the film lead to a point at the end where it’s clear that another story might be told in a sequel. 

Spoiler alert: The biggest question we have, which is a quasi criticism, is why in a film like this, aimed at the art house crowd, can’t a child so devious and obviously unrepentant, suffer the consequences of one who acts as an adult? Hey, we’re just asking. 

Macbeth

Preview

Director Geoffrey Wright (Romper Stomper) offers a retelling of William Shakespeare's classic tale, set in the contemporary underworld of Melbourne, Australia. Macbeth (Sam Worthington), a loyal henchman to his crime boss Duncan (Gary Sweet), is told by teenage witches that he will one day assume great power.

Driven by their prophecy, he plots with his wife (screenwriter Victoria Hill) to kill Duncan and take the leadership of the gang for himself. Maintaining his power will require more murders and violence, finally driving his surviving enemies to unite and destroy him.

Hairspray

 

  Spunk….yeah…spunk. It oozes off the screen in this highly energetic remake of the 1988 John Waters’ cult classic.  But with the original not yet 20 years old and the live musical version by Marc Shaiman a huge Tony-winning hit on Broadway and across the country, you have to wonder why we should bother seeing this latest cinematic effort at all.

   Well, there’s that spunk thing, for one. It starts with newcomer Nikki Blonksy as Tracy blasting on the screen, a veritable fireplug belting out “Good Morning Baltimore” atop a garbage truck. And she never lets up in this her incredibly impressive film debut as the teenager who stirs up 1962 Baltimore with her push to integrate the dance floor of a local TV show and win a spot in front of the camera for herself as well.

   That said, though, I think the price of admission is well spent simply to see John Travolta and Christopher Walken sing and dance the endearingly comedic number “You’re Timeless to Me”.  Cast as Tracy’s parents, Edna and Wilbur Turnblad, the duo make numerous costume changes amidst the crowded clothesline, soft shoeing their way into the audience’s hearts. “My heart only beats for size 60”, Walken smiles.

   This is no small feat in the believability department. Walken, as the quirky owner of the novelty trick shop Hardy Har Hut looks his usual somewhat demented self. It is Travolta under four hours of fat makeup and a Baltimore accent who steals the show. Afraid to come out of the house for 11 years because of her body size, Travolta’s Edna transforms like a sparkly butterfly under the tutelage of her courageous daughter. Every dance number with Travolta is a gift—and amazing given his new girth. So the fun of this new, improved “Hairspray” largely lays in its cast.

Michelle Pfeiffer as the evil station honcho Velma Von Tussle is a veritable fashion show in her outrageous outfits. Determined that her bratty daughter become the star of the American Bandstand-like Corny Collins Show, she stops at nothing—even an hilarious seduction attempt on the unsuspecting Wilbur—to win fame for her Amber (played with perfect-pitch bitchiness by newcomer Brittany Snow).

   Queen Latifah gives a sense of gravity to her role as Motormouth Maybelle, the host of Negro Day on the Corny Collins Show. “I Know Where I’ve Been” is her anthem and a showstopper. Even Allison Janney as the holier-than-thou Prudy Pingleton earns several loud guffaws in her outrageous role as the over protective mom.

   The dance numbers, choreographed by director Adam Shankman, deserve a nod as well. For over a decade Shankman has lent his footwork expertise to films like “Boogie Nights” and “The Wedding Planner”. With “Hairspray”, Shankman has revitalized the American film musical. His numbers fill the screen with an uncompromising zest for life. There are no static moments (which are often found in the 1988 version), with the editing often cutting back and forth between dancing and a non-dancing scenes.

   A true standout is Elijah Kelley as Maybelle’s son Seaweed, a guy whose fancy footwork dazzles. Indeed, when this talented dancer is onscreen everyone else might as well sit down. Some might remember Kelley from 2006’s “Take the Lead” with Antonio Banderas as the teacher who attempts to teach troubled youth ballroom dancing.

   Look early in the movie’s opening scenes for a blink-of-an-eye cameo by a trench-coated John Waters. Also, in another nod to the original film, Jerry Stiller, Divine’s hubbie Wilbur in the first “Hairspray”, is the owner of Mr. Pinky’s hefty Hideaway, a shop for larger-sized women. His garishly plaid sports coat paired with his tiger tie are pure John Waters.

   See this one on a big screen for the full effect of the musical numbers. You’ll be humming all the way home.      

 Becoming Jane

While we all like to think that love is important and money is not, such is not the case. Jane Austen built a career on the “pen” as she called it¾ by writing about the plight of those who are slight of funds. In Becoming Jane we see the beginnings of it all. It’s all here; how inheritance is passed, the importance of position in society, how marrying for love is an obscure notion.

Jane Austen (Anne Hathaway) wants to marry for passion rather than her financial station. While she is waiting for Mr. Right, her father (James Cromwell) tells her that “nothing destroys the spirit like poverty.” If you’ve ever been literally running on financial fumes, you understand what he’s talking about. Money allows one to overlook other idiosyncrasies that some may deem as deficiencies.

Lady Gresham's (Maggie Smith) nephew Mr. Wisley (Laurence Fox) is a clumsy and awkward suitor that has the requisite money and is ready to propose to Jane. Jane, however, is attracted to Tom Lefroy (James McAvoy of The Last King of Scotland and Starter for 10), a roguish young man who also may have found what he’s looking for in Jane. For Tom to have the money they need, his gain the approval of his influential uncle, who is a judge, who thinks he can do better than Jane.  

Some of the story elements are recognizable because when Austen wrote Pride and Prejudice, she was writing about her own experiences. Even though Austen fans will not see a lot of new material, understanding her coming of age experiences is enlightening.

Jane's pastor father (Cromwell) and mother (Julie Walters) are certainly not in the wealthy class, as evidenced by the fact they must perform their own household chores. Although he knows Jane does not love Mr. Wisley, Mr. Austen remains optimistic she will accept his hand in marriage.

Jane is torn about her decision on marriage. The experience her sister Cassandra (Anna Maxwell Martin) has regarding love and loss has a profound impact on her. Confusing thoughts on her love of writing come into play. Jane wants to experience the challenges and triumphs that she sees put before young men and also the women of privilege of her day. She is young and the choices one makes regarding relationships early on more than likely cast one’s lot for the rest of your life.

One can become emotionally engaged with the well to do and those that are poor only by comparison to the wealthy if they pretend that the film covers the breadth of society. We know, however, that many people are far less fortunate than Jane and her family¾then and now. Pam loves the Austen stories while George is a little put off by their classism.

Like Pride and Prejudice or Sense and Sensibility, the film has beautiful landscapes, manicured gardens and costumes, with an attention to detail that even encompasses some of the less than comfortable or malodorous conditions that existed at the turn of the 18^th Century.

Director Julian Jarrold (Kinky Boots) shows us how the romantic young Jane Austen’s passion for writing led to a fulfilling life in which she never married.

Appropriately titled, Becoming Jane is in effect a prequel to her other stories. If you liked those, you’ll embrace this as well.