Writer: David Lowery, Toby Halbrooks (screenplay), Malcolm Marmorstein (novel)
Stars: Bryce Dallas Howard, Oakes Fegley, Wes Bentley, Karl Urban
Release date: September 15th, 2016
Distributor: Walt Disney Studios Motion Pictures
Running time: 102 minutes
Best part: The dragon.
Worst part: Urban’s kooky antagonist.
Disney is a cash cow, able to take serious risks without losing large sums. The company – cashing up on Marvel, Star Wars etc. – is handing remakes of 20th century animated gems to interesting, independent-minded filmmakers. Jon Favreau and Kenneth Branagh dived into The Jungle Book and Cinderella before. Pete’s Dragonis the heavyweight studio’s latest satisfactory experiment.
Pete’s Dragon is based on one of Disney’s most eclectic animated works. The original is a miasmic tale of a boy and his pet. It delves into strange places – leaving some viewers scratching their heads. This version is more straightforward but less interesting. It begins with Pete finding Elliot the Dragon by chance. The story jumps years ahead, and Pete (Oakes Fegley) is a child running, jumping and living alongside his magical friend. One day, Pete stumbles upon park ranger Grace (Bryce Dallas Howard) in the forest. After finding him and taking him in, Grace – along with her partner Jack (Wes Bentley), Jack’s daughter Natalie (Oona Lauence) and Grace’s father Meacham (Robert Redford) – learn more about Pete’s story and way of life. Jack’s brother Gavin (Karl Urban) has dastardly ideas for Elliot.
Like J. J. Abrams-helmed Super 8, Pete’s Dragon showcases Steven Spielberg’s long-lasting legacy and overall influence. This nostalgic fantasy-family epic lives and dies on director/co-writer David Lowery(Aint Them Bodies Saints)’s love of the classics. The opening scene encapsulates his style and storytelling prowess. This three-minute sequence is worth the admission cost. It glides through multiple emotions, a tragic event, our lead’s isolation and discovery of the big, green father figure. Indeed, the epilogue depicts love and loss effortlessly. Afterwards, the movie is fairly mundane. Lowery borrows every Spielberg convention (Spielberg face, country town charm, kids connecting with creatures and magic etc.) without quit. As other central characters come into play, the movie’s story and pace slow drastically.
The characters, of course, change from simple-minded to wide-eyed and adventurous as craziness occurs. However, none of them matter. Howard continues her run of underwritten characters flip-flopping between courageous and outrageous. Even her red hair and gorgeous looks cannot save her. Bentley is given less development as the concerned nice-guy. Redford’s charm pushes him through silly dialogue. Urban is given one of 2016’s most baffling characters; woefully switching between gruff redneck, hunting champion and slightly mentally challenged. Lowery spoon feeds his love of middle America. The twangy soundtrack and gleaming cinematography clumsily convey regional bliss.
Pete’s Dragon resembles every other 2016 blockbuster – easy on the eyes but hard to connect with. This year, this Spielberg admirer performed better than Spielberg himself. The cast perform admirably despite two dimensional, wacky material. The dragon himself is the runaway winner.
Stars: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine
Release date: November 6th, 2014
Distributors: Paramount Pictures, Warner Bros. Pictures
Countries: USA, UK
Running time: 169 minutes
Best part: The mind-blowing visuals.
Worst part: The exasperating length.
Whenever a Christopher Nolan feature is released, two distinctive camps wage war. One group, known simply as the Nolanites, strives to elevate the acclaimed British filmmaker’s status. Convinced he’s cinema’s biggest game-changer, this cult pushes internet comment sections to breaking point. The other group directly clashes with the Nolanites. Convinced he’s another Michael Bay or Brett Ratner, the group causes a stir before, during, and after each movie’s buzz-time. His latest monster,Interstellar, has crafted the decade’s boldest cinema-related feud. Inexplicably, it’s a behemoth ripe for praise and parody.
Matthew McConaughey vs. the universe.
So, how did Interstellargarner said backlash? Oh boy, where do I begin?! There are many reasons behind said divisive reaction. Hot on The Dark Knight Rises‘ heels, it had a fascinating production history. Passed from Steven Spielberg to Nolan, the production undertook several exponential changes. Working from brother/writing partner Jonathan Nolan’s original script, Nolan crafts a concoction of weighty concepts, directorial ticks, and peculiar casting choices. Indeed, Spielberg’s version would have worked. However, Nolan’s version is a scintillating yet flawed epic. The story is…seriously, where do I begin?! This extravaganza follows mankind’s journey to infinity and beyond. Former NASA test pilot/engineer turned corn farmer Cooper (Matthew McConaughey) leads a bland life. Born into a warring world, he’s pushed through food wars, social obliteration, and his wife’s death. This widower, fathering Tom (Timothee Chalamet) and Murph (Mackenzie Foy), treats his job and father-in-law Donald (John Lithgow) with contempt. Humankind, regressing into an agrarian society, must contend with blight, dust storms, and economic/political/social/cultural failure. In fact, its schools teach children about phony, propagandistic space programs and 20th-century “excess and wastefulness”. Murph, convinced a ghost haunts her room, asks for Cooper’s help. Thanks to gravitational anomalies, it outlines a binary message listing nearby coordinates. Finding NASA’s underground station, Cooper is chosen for a humanity-saving mission. Aided by astronaut Amelia (Anne Hathaway), physicist Romilly (David Gyasi), geographer Doyle (Wes Bentley), and artificially intelligent robots TARS (Bill Irwin) and CASE (Josh Stewart), Cooper searches for life-sustaining systems and multi-tiered dimensions.
Interstellarbares several overwhelming positives and mind-numbing negatives. Wanting to have its cake and eat it too, the movie reaches for the stars but just misses. As notoriety and power rushes to these siblings’ heads, their latest aims higher than the Dark Knight trilogy and Inception combined. Despite Chris’ majesty, his reach still exceeds his grasp. So, with this in mind, why the high rating? The well-renowned filmmaker, switching from mind-bending blockbusters to unique drama-thrillers (Memento, Insomnia) to outside-the-box surprises (Following, The Prestige), still deserves immense credit. His style, delivering blockbusters no one else can compete with, deserves meticulous study and discussion. Interstellar, despite being a lesser effort, is born from full-blooded ambition. Unlike previous efforts, light, space, and optimism solidify its core. Fuelled by intriguing ideas, multi-layered plot-lines, and major themes, each act delivers significant twists and turns. Standing out from the second-two thirds, the opening 45-60 minutes weave through parenthood, global degradation, and spirituality. Despite the leaps in logic, the first third delivers touching moments and picturesque flourishes. Ripping up/burning down corn fields, poetic happenstances, and far-fetched ideologies, its less-is-more approach switches between apocalyptic-actioner tropes and ponderous dream-weaving. After Cooper’s run-ins with Dylan Thomas poetry aficionado/Earth saviour professor Brand (Michael Caine), Nolan hurls us into the stratosphere. Pulling us into his galaxy-hopping journey, the second-two-thirds obsess over quantum mechanics, wormholes, potential home-worlds, black-holes, physics, and relativity. The convoluted screenplay, spilling vital details through exposition, becomes a miasma of theoretical physicist Kip Thorne-approved science mumbo-jumbo, plot-holes, needless plot-strands, and contrivances.
“We used to look up at the sky and wonder at our place in the stars, now we just look down and worry about our place in the dirt.” (Cooper (Matthew McConaughey), Interstellar).
Jessica Chastain & Casey Affleck.
Sadly, Interstellar‘s egregious run-time is inexcusable. Exhausting his audience, Nolan’s latest is too dark for too long. In the last third, its grand-scale messages send it into a crash landing. Flipping between hard science and love-and-fate-conquer-all posturing, Nolan becomes lost in his own tumultuous labyrinth. However, its smaller moments add emotional resonance, awe, and stakes. Nolan’s uncompromising visual flourishes are worth the admission cost. Wearing its central influences – 2001: A Space Odyssey and The Right Stuff – on its sleeve, it laps up the universe’s wondrous creations. Lapping up our solar system, Saturn has never looked so appealing! Also, the black-holes/wormholes are vast, awe-inspiring obstacles. The planets – constructed of water, ice and sand – are imaginative constructions. Shooting on anamorphic 35mm film, Hoyte van Hoytema’s cinematography paints with delectable strokes. Nolan’s world-building – depicting space’s weightlessness, silence, and claustrophobia – delivers edge-of-your-seat thrills. Nolan’s process – utilising practical effects over CGI – improves over each set piece, visual flourish, and extended take. Capturing space travel, human endeavour, and astronomy’s overwhelming merits, his style crafts engaging dreamscapes. Hans Zimmer’s organ-based score, coming in at opportune moments, amplifies the movie’s atmospheric glow. Throughout the middle-third, cross-cutting between space-and-time-tearing adventures and Murph(Jessica Chastain)’s and Tom(Casey Affleck)’s sibling rivalry, its overly insistent momentum swings wildly. However, the action – including one set piece connecting a shuttle to a damaged spacecraft – amplifies Nolan’s glorious style. Also, McConaughey elevates this monolithic sci-fi extravaganza. Crafting new inflections and ticks, the Oscar winner solidifies his immense worth.
Swinging for the fences, Interstellar attempts to deconstruct blockbuster cinema and create ground-breaking celluloid playgrounds. Despite the polarising screenplay and directorial choices, Nolan’s ambitions deliver several heart-breaking moments and wondrous flourishes. Delivering 2014’s ultimate movie-going experience, his willpower and attention to detail overshadow other action-adventure filmmakers’ styles. Aiding Nolan’s grand-scale project, McConaughey and Hathaway are flawless in beautiful roles. As an enthralling concoction of Cloud Atlas, Sunshine, and The Grapes of Wrath, this is true big-budget spectacle. However, Gravity achieved much more in half the length.
Verdict: A flawed yet invigorating sci-fi extravaganza.