Macbeth (2015)

This Latest Macbeth is Unfortunately Disappointing

by Kristin Battestella

Director Justin Kurzel (Snowtown) helms this 2015 adaptation of William Shakespeare's Macbeth starring Michael Fassbender as the titular Thane of Glamis and Marion Cotillard as his grieving wife. Bleak child funeral pyres and a misty atmosphere match our witches' prophetic rhymes, and opening scrolls recount the Scottish war. Calm face painting rituals escalate to war cries, shouting rage, brutal swords, and battle chaos while slow motion torches and an intercut sense of stillness add to the trickery and kingly feasting. At times, these two hours move fast by showing the usually off screen killings – bringing the Bard's suspense alongside symbolic rain for the washing of blood, tense confrontations over fatal discoveries, and one suspicious coronation. Cathedral echoes mirror the growing power, but our soldier turned king spirals downward with his wife at his leash. Macbeth's contemporary grief and traumatic stress are best when the court intrigue brews, letting the play's innate zing overcome the pretentious, too arty for the sake of it voiceovers. There's a somewhat surprising lack of dialogue for, you know, Shakespeare, yet subtitles are a must to discern all the mumbling and grumpy who is who. The modern issues aren't a bad addition, but the contemporary stylishness becomes counter intuitive to the original drama and period setting. Though it holds fast to the well done historical locales and the ensemble is capable of doing clear spoken, straight Bard; this Macbeth never chooses what it really wants to be, ought to be better than it is, and doesn't seem Shakespearean enough. Had there been updated dialogue for the recent themes or a present setting with the original text as in Ralph Fiennes' Coriolanus, Macbeth may have hit home the relevancy for Shakespeare today. Instead, what begins as a promising take becomes slow, tiring, subdued, and at arms length. This tale is not untouchable, but if you are going to deviate, run with it. 

 

Certainly, Michael Fassbender (Shame) looks the battle field bearded, painted, gruff, and game on as Macbeth. There's no doubt of his warrior skill, but he's confused by the cryptic coming to pass. Why should Glamis stop at becoming Thane of Cowdor when the witches also said he would be king? Macbeth loves his wife and listens to her ambitions, however, their strain is apparent on top of his battlefield stress and conflicted flashbacks. He's caught between what's said about him and told to him, what he wants from his wife, his hidden cowardice, and a whipped position at home. Macbeth's supposed to be king yet he's repeatedly proving his manliness as he descends into madness. The dark picture and voiceover asides, however, make it feel like we don't see Fassbender embodying the turmoil enough. The language seems unnatural when his accent waivers, but Macbeth's lack of scenes actually talking to people adds to the isolation over what he has done – only the camera comes close as he messes up the kills and leaves his wife to handle the weapons. Although, I almost would rather not see the king's killing onscreen, just the traditional daylight discovery and a shady Macbeth washing. The suspicious snips of the deadly action as he is crowned are a nicer accent to his sullen deed is done and fair is foul change as Macbeth festers over the scorpions in his mind. He's losing control he never had, and Macbeth's a man meant for the battlefield as his leader commands or the bedroom when his wife says – but not worthy to be king. Is that his own weakness or the puppeteer wife behind him? Maybe a bit of both. The unmerited interplay is better than the arty interference, and the narration in the final battle scene feels unfair. Use those words for some crazy desperate trash talk! The lack of a beheading is disappointing, too, an unsatisfactory end when this Macbeth is all about his unraveling headspace. Fassbender was filming Macbeth amid the awards flurry for 12 Years a Slave and some personal tabloid fodder – preoccupations that also perhaps show. I like the uniqueness of Frank and Slow West, but without the refreshing take from First Class, I'm disinterested in the latest X-Men films. The Counselor fell flat; I have no desire to see Steve Jobs, The Light Between the Oceans, Assassin's Creed, or Song to Song, and after years of waiting for Trespass Against Us, I'm in no rush now. Instead, I find myself increasingly enjoying films Fassbender left or lost, such as Only Lovers Left Alive or The Force Awakens. He seems to be at a career crossroads – an indie darling franchised with Alien: Covenant but unknown to the mainstream with precious little box office success. It's ridiculous he's against today's new, superior scene chewing television platforms, and had the upcoming The Snowman been a serial caper, I might be more intrigued. While newer viewers may have found Fassbender over some sort of heartthrob status, I'm more and more aware that I miss his prime acting and dislike his recent, disappointing movie making choices.

Of course, a dead baby adds to Marion Cotillard's (La Vie en Rose) warped Lady Macbeth as she waits at home in the dark to hear tell the news of victory. This Mrs. is vicariously pleased with her husband but angry, wishing to be unsexed with her milk taken. She's unhappy at home and stronger in the scheming department than her man – Lady Macbeth has had to sit back from the glory, but now she has the chance to take matters into her own hands. She's cruel with nothing else to do but aide her husband's rise to the top as her own, and the grief of an heir lost contributes to her twistedness. The childless angle is implied in the text, and its a relatable connection today. However, I kind of rather like not knowing why she is so poison bent. I can't see Natalie Portman for Lady Macbeth as originally cast either, but Cotillard has no problem with the language barrier as our wife admits her deceptions. She says she's done her marital job, using her sex to trap her husband into violence. She wears white for the coronation, almost appearing in an angelic disguise, putting the crown on Macbeth and egging him on when he doubts. He reminds her how her barrenness ruins their monarchy progeny, but the intercut table top panting and killer planning is an unnecessary sexual visual. There's enough reading between the lines to know Lady Macbeth manipulates him by not putting out and refusing his touch. She is in charge, not seeing them have any sexual intimacy is a better indication of his emasculation. Yet for all her behind the scenes power, Lady Macbeth is a fallen figure, an unwelcomed mother with no child save her corrupt ruthlessness. She faces her guilt in a tearful church soliloquy where the camera rightfully remains on her mea culpa realizations.

Sadly, Macbeth's supporting cast feels wasted, and we hardly see usual bad boy Sean Harris (The Borgias) as good guy Macduff. He's enraged over the king's death, throwing up and shouting. He's battle ready and on his game for the finale yet never really built up as a proper rival. Likewise, I feel like I didn't even see Paddy Considine (Hot Fuzz) as Banquo until he died. His ghost is hardly present in favor of other anonymous dead boys on the battlefield apparitions, leaving the internalized Macbeth with no real friendly reflection or sounding board. Is it even really Banquo's ghost at the feast or just a figment of Macbeth's madness? Elizabeth Debicki (The Night Manager) as Lady Macduff is also just sort of there, and though his delivery is fine, David Thewlis' (Harry Potter) King Duncan is made lax, a distant, inept king who should be deposed to make us relate to Macbeth as his sad, victorious stand-in. David Hayman (Trial & Retribution) is made irrelevant as Lennox, and the unique witch potential added to this Macbeth never fully embraces its surrealism, which is surprising amid a visual display that could have gone for the ultra bizarre seen in Julie Taymor's Titus and The Tempest. Ultimately, it feels as though the ensemble is here because they have to be – a guy to kill, a friend to betray, another usurper to fight. If Macbeth could have been done with just the unhappy couple, this version would have done so. Actually, now that I think about it, that would have been a two-hander tour de force update I'd like to have seen!

Fortunately, authentic filming locations, Scottish castles, and gritty leather costuming invoke the historical atmosphere alongside slicing sharp sword sounds and blustery winds. Basic wooden structures are fittingly small against snowscapes, mountains, and rustic waters, and the women's costumes are likewise drab, minimally adorned robes with simple braided hair styling. The blue nighttime schemes are realistically grim but also incredibly picturesque, and a lot of time in Macbeth is spent outdoors with orange battlefield heat. However, the vintage candlelit interiors and firelight designs can be tough to see – viewer eyes must continually adjust to the flickering flames with each surprisingly traditional crosscut edit – and the artistic scene transitions are pretty but unnecessary. Again, the phantoms in the mist and witches mirages contrast the historically accurate approach, adding a whiff of fantastic whilst remaining reluctant to totally embrace the surreal. Instead, our Wood that moves becomes molten fallout ash – a shrewd and unique but too contemporary rather than theatrical twist. Macbeth plays at the mentality of its characters in a modern cerebral bend, but the impressive look and internal circumspect disconnect more than accent each other. Why not have Macbeth's traumatizing soliloquies become side by side Smeagol and Gollum split screens, faces in the fire, or watery reflections? Despite the beautiful design, I wonder what the dailies covering each actor looked like. Did the production not really like Shakespeare, so they felt the need to ramp it up by dropping most of the text for awe-inspiring visuals?

All my complaints, yet Macbeth didn't deserve a blink festival tour and miss it cinema release with no award hopes – like Coriolanus, The Weinstein Company distributor strikes again in squashing Shakespearean competition. Maybe it was asking too much to be blown away, but this is not the best introduction to Macbeth thanks to too much artistic unevenness for the purist and a lacking straightforwardness for classroom. Macbeth is one of my top three Billy favorites – competing with Othello and Julius Caesar for number one. However, I wasn't looking forward to this version after it sequestered the long gestating Enemy of Man production from Vincent Regan and Sean Bean. The 2010 Patrick Stewart version also better retained the source material with complimentary fascist parallels. If you are going to add back story changes and stylish designs with such a fine cast, be an intimate multi part serial taking its time with the ensemble in this unique world and its titular head space. The gritty realism for today's audiences is too try hard, a dry, modern psychosis jarring to the play speech and historic setting. Polarizing at best, Macbeth tries to have its cake and eat it too but halves the retelling's own changes, remaining mumbly timid while unnecessarily treating Shakespeare as too stuffy and in need of meta trauma.

In Defense of Blu-ray

A Case for Blu-ray

By Kristin Battestella

Overall, I think I’m pretty split on the powers of blu-ray. On one hand, it’s still dang expensive and sensitive, and the BD live interactive features are sometimes more trouble than they’re worth. However, the new video format gives action movies visual depth, packs everything you need on less discs, and makes classic pictures look twenty years younger. Here’s a list of old films revitalized by blu-ray and new pictures providing testimony.

The Wizard of Oz – Well, that’s a horse of a different color, literally! The sound is exceptional, the black and white is defined all over the gray spectrum, the Emerald City is emerald, and the poisoned poppies are red is red. Even if you’ve never cared for this 1939 children’s classic, you can see this Judy Garland staple as if for the first time. You can see the putrid green of the Wicked Witch of the West and find every detail in the makeup of The Scarecrow, Tin Man, and the Cowardly Lion. As I kid, I thought the Collector’s VHS was dynamite, but then you could barely see the flying monkeys. On blu-ray however, those monkeys look damn good. With such vivid color and lifelike fantasy, Dorothy’s quest doesn’t seem so juvenile and preposterous at all.

 
Star Trek (2009) – I think I’m the only person in the world who isn’t in love with J.J. Abrams update of this classic series. As a one-off Academy tale, I might enjoy it; but having Old Spock come back in time to tell Young Spock he’s now in an alternative reality? Yes, they’ve safely placed their reboot in this sanctioned new canon, but they miss out on some of the human story at the expensive of being new, young, and hip. How could you not have an old Spock talking to the young Sarek? Okay, I’m done ranting, because the action here shares the spirit of the Original Series while updated the franchise with all the modern visual delights. The spaceships and planets look enchanting, the warp speed is instantaneous, and the bridge of the new Enterprise looks sweet. Are the effects enough to charm audiences? Apparently so.

The Dark Knight – As the title suggests, this sequel to Batman Begins is a dark and melancholy picture. Christian Bale gets downright depressing as Bruce Wayne, and Maggie Gyllenhaal gives a sad send off to his lost love Rachel. Thankfully, blu-ray lets us see all the depth and dimension in all the nighttime and dark action sequences. The action is fast, furious, complex visually and mentally; and we can see it all without squinting. We see the black be clad Batman and the swish of his cape. Though Heath Ledger won the Oscar for his demented and psychological portrayal of The Joker, Aaron Eckhart’s fallen white knight Harvey Dent was more charming for me. Of course, his beautifully grotesque and deformed half as Two-Face looks dynamite, too. 

Gone with the Wind – The subtitles don’t match the dialogue and the white text is tough to see against Scarlett’s white prayer gown, but otherwise I can say nothing bad about the 70^th anniversary blu-ray release of this perennial classic. After decades of a choppy, flat, jumpy VHS-heavens to Betsy this looks marvelous. The colors are so vivid-every single one in the rainbow. The depth of light and shadow in indoor scenes and outdoor spectaculars is a treat to the human eye. The sound isn’t as voluminous as I might have preferred for such sweeping scores and Civil War destruction, but the most troublesome thing about this set is finding the four hours to watch undeterred. Yes, it’s overlong, full screen, the men are over the top-but one look into Vivien Leigh’s hypnotic eyes and you’re sold. The blu-ray set also caters to the obsessive fan’s delight, including a CD of the score, copies of memos from David O’Selznik, a hardback book, art prints, limited edition numbers, and almost another four hours of extras all in a sweet red velvet box. Whew!

Harry Potter and the Half Blood Prince – This latest adaptation of the famous boy wizard books is not an introductory piece-you have to really know and love all things Potter to appreciate the depth and hinted subplots here. It’s been a few months since I saw Order of the Phoenix and I was a little lost! Dumbledore finally gets his day, but is that where this movie is supposed to be? Or is it with all the budding romances, Malfoy and the Death Eaters, or the mysteries of Tom Riddle and the Half Blood Prince? Returning director David Yates never seems to make up his mind, and once again, the cast is not used to its full potential. I swear Maggie Smith, David Thewlis, Robbie Coltrane, Helena Bonham Carter, and Alan Rickman each only have two scenes. If you have such clout, well by golly show it! I complain yes, but these uneven story quibbles almost don’t matter compared to the dynamite look of the Half Blood Prince. The Quidditch looks real here, the dark clouds, evil swirls, and a half empty Hogwarts look like photographs not digital effects. Us muggles can believe in the magical underside of London when it looks this good. We’re past the cute and youthful awe trickery of magic here-its specialties are an understood given now. Blu-ray makes the world of Harry Potter seem not like fantasy, but reality.

So also, feel free to read our lengthy praise of both The Searchers and the original Planet of the Apes for more A plus blu-ray action. Of course, these are but a few of the treats available on blu-ray. As more affordable releases come out, blu-ray and digital copy will replace good old DVDs, just as VHS is now a thing of the past. Yes, the format is still touchy and delicate, as well as pricey in players and discs. For classics and action or effects laden pictures, however, blu-ray is decidedly spectacular and worth every penny for your favorites.

More Horror Tricks and Treats

More Horror Tricks and Treats

By Kristin Battestella

I watch a lot of good horror movies-and I also see my share of drivel. I can’t help myself! Although I try to write in-depth analysis of every film I see, during spooky movie marathon season it’s impossible to keep up! Honestly, some pictures aren’t worth more than a few sentences anyway-so here’s another quick list of what to see and what to axe this Halloween season.

Scary Treats

The Omen- Gregory Peck, Lee Remick, satanic chants, and the freakiest nanny and kid pair you’ll ever see. Maybe not slash and gore horror as we know it today, but plenty of creeps and demonic shuddering still to be had here.

In A Dark Place- I’m not sure what the title has to do with this 2006 updated on Henry James’ The Turn of the Screw, but Leelee Sobieski is just freaky as the familiar nanny trying to protect her charges from two malignant ghosts. It’s ambiguous and ends a little iffy, but that’s kind of the point. Fans of Sobieski or viewers not interested in older, period piece film versions should enjoy this.

Joyride- Another Leelee Sobieski yarn, yes, but a creepy truck driver pursuing teens after a practical joke gone awry makes up for the young cast. Kinky CB radio innuendo and scary chases ala Duel keep this dark ode to the open road in the plus column. Do however avoid the video sequel Joy Ride 2: Dead Ahead.

White Noise 2- I’m not normally a fan of the unrelated direct to video sequel, but this tale of near death experiences, EVP, and the White Light versus Lucifer was surprisingly well done. The original White Noise wasn’t too bad, though it was played more for the scares than this one. Not super scary; but solid emotion and ghostly, freaky montages add enough for some food for thought.

Red Eye- Wes Craven and Rachel McAdams fans will enjoy this in-flight psychological thriller. It’s not horror as we know it from Craven; but the talent, emotion, and realistic scares keep you on the edge of your seat. I think the She-Ra kick ass ending amid the under-construction house does fall back on a few slasher clichés, but overall, a fine departure for Craven.

Bad Tricks

The Omen: 666- Who releases their film at 6 a.m. on June 6, 2006 and expects it to be successful? Despite its fine cast, this update is almost too much like its predecessor. Why should we care if a few of the deaths are different when nearly everything else is exactly the same? Known for playing louses and baddies, it’s tough to root for Liev Schreiber and David Thewlis as the good guys. And, no offense, but neither is Gregory Peck!

The Abandoned- A very intriguing premise about deathly doppelgangers chasing twins in the Russian wilds is lost in double story talk and a completely stupid connection to the title. The pacing here was also so slow- I think I fell asleep.

The Covenant- A woeful, unremarkable cast and silly reliance on special effects fights ruin what could have been a superior story about modern boys struggling with their ancient Salem witchy ways. I couldn’t tell which boy was which, and the hip metal music didn’t make me care much, either.

Pulse- Kristen Bell is a-okay, but this scare about ghosts killing college kids via computers and cell phones is like every other film with static, strobing ghosts, and an unending, never escaping cycle. It’s The Ring without the videotape. Another intriguing premise wasted on plot holes, redundant effects, and teen angst. Wah!

Harry Potter: Films 1 thru 5

A Harry Potter Analysis

By Kristin Battestella

I must say straight off that this critique will be brief in comparison to experts and hardcore fans. I confess: I am a muggle. After recently viewing the first five films in the popular Boy Wizard franchise based J.K. Rowling’s best selling series; I wanted to express my thoughts in a quick, layman’s guide.

Harry Potter and The Sorcerer’s Stone – For starters, I don’t know why they go through all this trouble to change the Philosopher’s title. Oh, a wizard, not Socrates-we get it. This first film has a lot to pack in and director Chris Columbus (Home Alone, Adventures in Babysitting) never quite strikes the right balance between introducing Harry’s magical world and the stone chase at hand. I know it’s meant for kids, but I would rather forgo the CGI of Quidditch for a more complete story on the Philocerer’s stone. The titular task is tacked on in the latter part of the show. Despite these complaints, writer Steve Kloves (Wonder Boys) has adapted the essence of Rowling’s literary world. Though light-hearted at this point and I’d prefer more on the issues with magic rather than the awe; this debut is fun for kids. The cast-from the young stars to the elder veterans- has plenty to work with. Introductory and a little too open ended, but delightfully leading you towards the next film.

Harry Potter and The Chamber of Secrets – Columbus returns for a second installment that has many of the same troubles as its predecessor. Again, we don’t get to the meat of this tale until late and it’s resolved a little too easy. Secrets is a little more grown up, but it’s dark in some of the wrong places-it’s tough to appreciate the fine castle locales when everything is so dim. Story and talent are again on form, but the late entering culprit is a little obvious, too. What is with the Defense Against Dark Arts department? We know that’s where all the hang-ups are going to be, and it’s given sometimes undoes Snape’s fine ambiguity. Again, we end with a little bit of an Empire Strikes Back feeling: Are these films about the adventure at hand- or are they meant to be compilations of all the neat things in Harry, Ron, and Hermione’s given year? Part of me understands why some readers don’t like these quick adaptations. The rushed and stay tuned endings do give me a feeling that to know it all, you must read the books. More of the same, yes, but still entertaining enough to keep audiences going.

Harry Potter and The Prisoner of Azkaban- Three years after the second picture, we finally get to some maturity and unhappiness. New director Alfonso Cuaron (Y tu Mama Tambien) focuses on confusing magic, truths, identities-and all this at an age where real life is confusing as it is. The nighttime filming is bright enough to see-even if we do figure out all the foreshadowing ahead of time. Some of the comedic touches are a bit off, trading serious, murky characters for fun. Although I did laugh at Malfoy’s ‘bloody chicken!’ cries. I do prefer the late Richard Harris’ raspy Dumbledore to Michael Gambon’s more witty debut, but the rotation of adult actors like David Thewlis and Gary Oldman is a little annoying, too. Who will be the new addition next? Will they return in the series, nudge nudge, wink wink? I like Azkaban the best so far, but a lot of it is revelations and explanations-what’s really done here beyond tiding us over until the next picture?

Harry Potter and the Goblet of Fire – In Year Five, we’re getting to some of the heavy teenager stuff at last-dancing and asking girls out, oh my! And good Lord someone give these kids a haircut! Director Mike Newell (Four Weddings and A Funeral) mixes the growing up with the deadly Triwizard Tournament and loses a little bit of both. Maybe kids might shy away from the budding romances, but again that Defense Against The Dark Arts department makes things way too obvious. Normally, I don’t like the effects laden magical battles, but we don’t get to see all the competitors at the Tournament as we should. And yes, I couldn’t help myself from calling Cedric Edward Cullen. The two top dreamboat boys together, oh boy! Fine adult additions like Ralph Fiennes and Miranda Richardson are again squeezed for kinky stuff like Harry in the bath with Moaning Myrtle. Every adult actor in Britain seems to make an appearance in this series, but his or her roles are never as meaty as I hope.

Harry Potter and the Order of the Phoenix – New director David Yates (helmsman of Half Blood Prince and the final duo Deathly Hallows films) and screenwriter Michael Goldberg (Contact) somehow managed to make the shortest film from the longest book. Is Fire an uneven film trying to pack in too much-or is it a fallen adaptation to begin with? I noticed straightaway that we at last don’t waste any time on Quidditch, but on the dime Phoenix drops all the joyous wonders of Hogwarts for secret battle action. So many characters-old and new- magically show up, too. How many days do you think David Thewlis, Gary Oldman, Ralph Fiennes, Maggie Smith, Jason Isaacs, and Helena Bonham Carter worked on this film? (Did Emma Thompson and Bonham Carter cross paths to chat about their ex and previous Dark Arts Prof Kenneth Branagh?) We have such talent amid the old Order of the Phoenix- as well as the Death Eaters-yet we never get to the titular meat of these organizations. Again, there’s too much of ‘well the book explains it better, and so will the next movie’. When does this series stop leading up to something?

As it stands…

For all its carrot taunting the horse, to me the Harry Potter film series as is doesn’t stand out from any other juvenile fantasy. And let’s face it, the popularity of Rowling’s franchise has brought a lot of children’s fantasy books to the screen-including the dismissed The Golden Compass, The Spiderwick Chronicles, and the more successful but in production limbo Chronicles of Narnia- how could Disney drop such fine material for Fox to claim? The market is just a tad flooded for the forthcoming Percy Jackson films and the long awaited The Hobbit adaptations, isn’t it?

Of course, Harry Potter sets the bar with magical effects and action. The movies may be linear for the most part; but the story is involved, complex, and full of fine characters upon which the pictures merely graze. The bulk of depth and joy lost for the big screen makes me wonder why Harry Potter was never considered as a television series. Yes, its popularity warrants big screen treatment, but a progressively heavy seven-year journey ala Buffy The Vampire Slayer might have served the material far better. Twenty hours a year instead of two plus every two years or so, that’s something I could really have gotten obsessed with.

Right now, there’s not enough intrigue for me to embark on the reading opus required. The last time I did that, it took me four months to read The Lord of The Rings. It was one of the best times of my life, but not all of us adults can afford to drop everything for such literary obsessions-even one so book minded as I. It’s a bit of a sad statement on American society, unfortunately. We would prefer eating fast food while working through a stressful lunch in front of a pc before spending a relaxing bath with a fine book. Though some have complained about Potteresque influences on young minds, the series is keeping long-winded books in the instantaneous and desensitized minds of the next generation.

There are charming moments of magic, fun, and great characters in J.K. Rowling’s world; but after these viewings, I’m not obsessively in love with Harry Potter. Will I watch the forthcoming pictures? Sure, I like Harry and his world enough to see how all these hours end. I don’t deny the possibility that there’s enough in this series to make an exceptional film- or enough enchantment for me to carve out a summer with my niece’s Harry Potter books. As to The Half Blood Prince, you might be asking? Well, my husband saw it in the cinema and has been in a Potter kick since, along with my niece’s countdown to the IMAX Theater. Now you know why I had to watch these!

ETA: Please see our critique of the Half Blood Prince in our Defense of Blu-ray article, here.

Black Beauty

Black Beauty for Young and Old

By Kristin Battestella

Whether by choice or requirement, every school kid has probably read Black Beauty. The 1877 novel by Anna Sewell shed light on the mistreatment of horses, and the 1994 film adaptation written and directed by Caroline Thompson renews this heartwarming story for all.

I bypassed Black Beauty when I was working at a video store and again when it worked its way into the $5 bin at Wal-Mart. There have been countless films, cartoons, and series taking the name (14 at imdb!) -horse movies themselves are a dime a dozen, and my favorite has always been The Man From Snowy River. This December, however, I chanced upon a second hand copy of Black Beauty. $2, Sean Bean’s in it, and hey, my nieces would like it.

Well, I should not have waited on my purchase. Alan Cumming voices Beauty, a lovely black stallion who enjoys his early life with Farmer Grey (Sean Bean) and subsequent move to Birtwick Park. There he frolics with fellow horses Ginger and Merry Legs and kindly stable hands John Manly (Joe Carter, Dinotopia) and Joe (Andrew Knott). Unfortunately, hardships and injury force Beauty’s move to a cruel Lord and Lady, hostile liveries, a kind but hard working cabbie named Jerry (David Thewlis), and finally backbreaking labor before his return to idyllic pastures with Joe. It’s a story that’s been tread more than once, but this faithful film includes all the good, bad, and tear jerking of Beauty’s life.

Although he’s top billed, Sean Bean’s role as Farmer Grey is rather small-especially considering that in 1994 he was perhaps at his height: Sharpe, Patriot Games, Goldeneye. Nevertheless, Bean gives us a touch of how good he can be as a good guy-it’s a rarity in American films and a pleasant surprise. Also often cast as a villian, David Thewlis (Harry Potter, Kingdom of Heaven) also surprises as poor, but kind Jerry. Darling as the actors are in Black Beauty, the star is without a doubt the horse- Docs Keepin Time (The Horse Whisper, Busch Commericials, too.). Thompson (Edward Scissorhands, The Secret Garden, Corpse Bride) smartly makes people are secondary in the film, even though they are the positive or negative influence in Beauty’s life.

At first an adult may scoff at the idea of a film narrated by a horse, but Alan Cumming (X-2, Tin Man) sells the animal’s innocent and loving nature. Just like the book is narrated by Beauty, I found myself waiting for the horse’s commentary in the film’s quiet moments. At some point during the viewing you are without a doubt on the animals’ side. It leads to much food for thought. Yes, why don’t those pesky humans listen to Beauty? Why are humans cruel to animals to begin with? Why do we fail to notice when a horse is in pain or has instincts that we fail to comprehend?

Underlying the charming work onscreen is the lovely score by Danny Elfman (The Simpsons, Charlie and The Chocolate Factory) When words or visuals won’t get you, music will. Cumming’s vocals and the music timing fit the horse’s work perfectly. I applaud Thompson and her production team for its work-which I’m sure wasn’t easy even with the best trained acting horses. The beautiful English locales and majestic looks of the horses practically sell themselves. Again, with such scenery it’s easy to be on the horse’s side. Nods to the 19^th century are also enchanting. The nobility’s clothes versus the poor, Dickensian streets of London, carriages and coaches bring us back to a time we often imagine as lofty and ideal. In fact, Beauty’s telling shows us how low and ignorant those times often were.

Naturally, all the visuals mean diddly if you haven’t got a story. Black Beauty could have been done with claymation ala Gumby and it would still turn the heart of anyone. My nieces are young and can be touchy-so I put on the DVD for a solo viewing-besides, I could get some lovely screen captures. It’s been many years since my horse phase (does every kid have a horse phase?) I haven’t read books like The Saddle Club or King of The Wind in years. I dare say its been twenty years since I’ve read Black Beauty. Even so, when my nieces borrow books from me, Sewell’s classic is the one I always suggest. Unfortunately, my nieces saw a cartoon version and said it was too sad. Black Beauty is very sad, down right upsetting in some parts, yet it’s the story my father and I always discuss when we pick up the kids at school. It’s as if this kind of emotion is necessary for youth. Books and film like Old Yeller, Where The Red Fern Grows, Shane. Children ought to learn about the extremes of the human-or horse-condition. Learning how to cry can do us all a bit of good.

Thompson smartly frames Black Beauty with happy opening and closing scenes. Just in case you aren’t familiar with the story, you need to know it has positive outcome. There were moments in my viewing I expected, and others I had forgotten-but each brought a tear to my eye or a choke in my throat. I don’t recall the reception this film received upon its release in 94, but Black Beauty is kind of like Les Miserables or The Ten Commandments. Sometimes a story is too good to mess up-too good for critics and box offices numbers to matter.

Any age, animal lovers or not, Black Beauty can be enjoyed by anyone, and such family friendly entertainment is tough to find at such an affordable price. Black Beauty is available at most retailers under $10, cheaper if you know where to shop. As much as I whole heartily endorse Black Beauty, parents should be careful with those under ten or any extra-sensitive kids. The film is rated G, but a pre-viewing without the kids is a safe way to determine when your child is ready for this heartwarming, but tough story. Be on the look out for some sad goodbye sequences and animal abuse. One upsetting horse death might want to be skipped by parents all together.

Naturally, the film comes with the standard warnings about animals on set, although the DVD is devoid of behind the scenes or interactive featurettes that might help kids separate fact from fiction. It’s wise to remind younger audiences that the story does have a happy ending, and it’s a purely fiction film-although it brought about social changes on the mistreatment of horses. Depending on the younger folks’ reactions, parents could consider directing young readers to the book or the story of invalid author Anna Sewell. The wealth of material and emotion experience around Black Beauty is worth the tug at any and all heart strings. Share Black Beauty with the young and old.

Dinotopia

Dinotopia Fun For All

By Kristin Battestella

When the four hour Dinotopia miniseries premiered on ABC over three nights in May 2002. I (like any other self-respecting adult) tuned in, but flicked. Kid stuff! Juvenile fluff, right? Based on the popular children's book series by James Gurney, Dinotopia goes beyond its initial treat of Emmy-winning dinosaurs, creature creations, and special effects.

The story begins when two brothers crash their plane on the lost island of Dinotopia, a unique place where dinosaurs and people coexist. Karl (Tyron Letso) has no interest in going to dinosaur schools and allies with Cyrus Crabb (David Thewlis). Together they plot to leave the supposedly unleavable island. Contrary to his brother, David (Wentworth Miller) excels in learning the dinosaur footprint language and wants to stay in Dinotopia, initially because of his crush on the mayor's daughter Marion (Katie Carr). When the source of Dinotopia’s power- the beautiful and mysterious sunstones-begin to fail, David and Karl must help Marion save the island.

Top billed David Thewlis is devilishly marvelous as the suspicious Cyrus, but of course, many oglers now know it boy Wentworth Miller from TV’s Prison Break. His performance here is one of the highlights. All the actors are wooden and hokey in Dinotopia ‘s opening hour, but timid David learns to face his fears by attending Skybax training. If riding on a pterodactyl doesn't fix your problems, I don't know what will! The Dinotopia books take place in the 19th century, but the modern update sticks to the serious storytelling. When David is rejected by the Skybax Core he bonds with an outcast albino pterodactyl named Freefall. Together, they helped save Dinotopia from its own destruction. This example of strength is an essential lesson for children of all ages and is one of the things that makes the series special. Although he helmed the ‘gems’ Demolition Man and Excess Baggage, Director Marco Brambilla here strikes the perfect balance between effects for the kiddies and serious emotional scenes for grown-ups.

Although I bought the DVD for purely superficial reasons-ogling Wentworth Miller-my nieces got a hold of the set and watched it continuously for two weeks. They love Zippo. The computer-generated dinosaur professor has some of the show's best lines and humorous stunts. Unlike Jar Jar Binks, he does not offend and is refreshing for kids and adults. Lee Evans is absolutely delightful in his voice performance as Zippo, and the digital team excels in the small details. Little things like hand gestures and facial expressions complete Zippo and make him a real, believable character.

On my initial viewing, I was hoping for something sinister at play in Dinotopia. The sunstones-were they really sources of scaly brainwashing as Karl thought? Alas, no, but the idea of a utopia gone bad is presented by the end of the epic. Despite it's gear towards kids, and maybe due to its sound source material, Dinotopia presents several allegorical issues that are perfect for adults forced to watch Dinotopia for hours on end. Instead of searching for new sunstones, Mayor Waldo (Jim Carter) holds fast to Dinotopia’s traditions and refuses to explore the mysterious World Beneath. When David and Karl defy the Mayor they are put on trial, despite support from the Mayor’s own wife, earthy Dinotopia Matriach Rosemary. (Alice Krige is perfect as Rosemary and has fun in every one of her scenes.) If Dinotopia -perfect island of blissful humans and intelligent dinosaurs-can’t control their resources and suffered towards their own destruction, how can imperfect little old us survive our current troubles?

Make no mistake, however. Like the mythical Dinotopia itself, the miniseries is imperfect. Since it was made for television, the DVD presentation only comes in full-screen. The behind-the-scenes features on the two disc set are fine for film making fans, and the games included are great for the youngins, but still I would have preferred to see Dinotopia in all its widescreen glory. I’m also disappointed that the feature comes sans subtitles as well. Observant fans will also find a few key mistakes, including the poor control of Marion's little sister. Dialogue and scenes refer to little Samantha, then the script contradicts itself and she disappears from the second half of the film. Nitpickers might also catch the tricks used to bring Karl's pet dinosaur 26 to life.

We can’t forget all of our dinosaur clichés, of course. T. Rex makes his obligatory appearance early on, but it works both ways. Some audiences may feel been there, done that, but young viewers will stay tuned in for more scary dinosaur battles. The killer pterodactyl battle at the end is worth the wait. I do have to wonder though, if Dinotopia rose independent of our society, how can they have the same names for their dinosaurs?

Hallmark Entertainment milked Dinotopia’s awards and rating success for all it was worth. ABC attempted a weekly Dinotopia series with an all-new cast, but the hokey scripts and strapped effects strayed too far from Gurney's vision too quickly. An animated feature, The Curse of the Ruby Sunstone fared better for the kiddies. Dinotopia is entertaining for children and adults alike. It's tough today for parents to find a film the whole family can enjoy, but Dinotopia fits the bill. Its morals and allegories aren't too preachy, and the characters are realistic and likable. They tackle extraordinary situations and overcome outlandish obstacles, but deep down kids understand these situations. Dinotopia helps children overcome their seemingly big problems and create humble solutions.

My nieces have even begun reading the Dinotopia books. If Dinotopia was made to inspire children to visit fantastical new worlds, grown in imagination, and promote self-image, then it succeeds 100%.