The Mummy: Tomb of the Dragon Emperor

What went Wrong with The Mummy: Tomb of the Dragon Emperor

by Kristin Battestella

Director Rob Cohen (Dragonheart) takes up the mantle from producer Stephen Sommers, director of The Mummy and The Mummy Returns, for the 2008 sequel The Mummy:Tomb of the Dragon Emperor as Rick O'Connell (Brendan Fraser) and his wife Evelyn (Maria Bello) come to the rescue when their son Alex (Luke Ford) discovers the entombed Dragon Emperor (Jet Li). Once unleashed, however, the only person who can stop the resurrected Emperor is Zi Yuan (Michelle Yeoh) – the sorceress who cursed him.

Ancient Chinese mounds, swords, armor, and dynastic motifs accent the assassination plots, stabbings, raids, and conquest in the opening prologue. The enslaved building of The Great Wall, life after death texts, and forbidden romance betrayals, unfortunately, are a lot like the opening of the First Film, right down to the same Mummy music cues. Then again, the elemental powers, ancient libraries, tormented generals, and immolating curses nonetheless make for a great tale – one viewers forget isn't it's own adventure once Tomb of the Dragon Emperor restarts with our previous heroes now unhappy with post-war quiet and in a rut despite luxury living. Their son's discoveries of Chinese monoliths and the Emperor's tomb come easy and don't feel super epic thanks to the back and forth editing between the bored O'Connells and grave robber skeletons. There's little time to awe at the 2,000 year old frozen in time clay army when the more interesting plot elements are glossed over for set pieces treated as more important than the wonder. We can't enjoy the dragon crossbows, booby traps, or tomb chases because The O'Connells were apparently doing secret espionage work in the interim that we didn't get to see, either. Instead, some Lara Croft:Tomb Raider – Cradle of Life Eye of Shangra-La gem points the way to eternal life, with Tomb of the Dragon Emperor both embracing the Asian history yet feeling xenophobic with evil uniforms, double crossing enemies, and contrived western interference repeating the prior films' M.O. Chases through the streets with fireworks and New Year run amok are fun, but long, hollow fight sequences that do nothing to advance the plot make Tomb of the Dragon Emperor feel longer than it is. There's no sense of the scope or magical powers despite Himalayan treks, avalanches, mystical healings, and a revived Emperor who himself is asking what this is all for anyway. After the first hour, it's not quite clear what's happening with everything including a three headed dragon thrown at the screen in the last half hour. With a hop, skip, and jump, we're at a Great Wall spectacle raising rival dead armies in a Lord of the Rings easy meets CGI versus CGI a la The Phantom Menace that rapidly loses its touch.

Fly fishing in the English countryside is not quite Rick O'Connell's thing, and Brendan Fraser's once proactive, rugged adventurer is now an out of touch, corny old man with outdated weapons and unheeded advice. It's weird to see our favorite couple now arguing about their parenting and contemplating mistakes made – and not just because Maria Bello (The Dark) replaces Rachel Weisz as Evelyn in Tomb of the Dragon Emperor. After writing two successful novels about their mummy adventures, she's hung up with writer's block on the promised third book, but Evie doesn't have much to say or do once the characters are forgotten in the nonsensical action. Bello looks great in the period frocks and initially the camera accents that forties tone with coy smiles and under the hat brim poise, but this Evie does indeed seem like a different person. It would have been interesting if Bello had instead been a second wife and resented step mom competing with Evie's memory. Although the kid in peril was one of the problematic parts of The Mummy Returns, Luke Ford (Hercules) is now the grown up Alex rebelling against his parents yet conveniently following in their archaeology footsteps. Unfortunately, immortal hang ups and young love opposites attract can't save the character from falling completely flat, and Uncle Jonathan John Hannah is a nightclub owner who spends most of his barely there comic relief with a yak while pilot Liam Cunningham (Hunger) is merely convenient transportation. It's a pity we only really see Jet Li's (Romeo Must Die) warlord at the beginning and the end of Tomb of the Dragon Emperor. For most of the picture, the eponymous bad guy – who doesn't get any other name despite the historical possibilities – is just a resurrected, stilted, CGI thing more like an automaton robot rather than the feared man in charge. His powers over the elements are small scale or convenient, manipulating snow or fire and shape shifting as needed without any real countdown or ascension of power as anchored by Arnold Vosloo's Imhotep in the First Film. For the finale we get Li's fine action skills as expected, but he never really has the chance to be the true villain of the piece. Likewise, Michelle Yeoh (Tomorrow Never Dies) is relegated to glossed over bookends. Her immortal Zi Yuan witch lives in Shangri-La, and 2,000 years of magical pools are quickly explained away before a great but too brief one on one battle between our ancient foes – which is all we really want to see in Tomb of the Dragon Emperor.

While some of the fiery terracotta effects don't look so great on bu-ray, Tomb of the Dragon Emperor does well with tangible sand, statues, tents, and archaeology tools. The grand English estates match the vintage cars, antiques, typewriters, gloves, fedoras, and stoles. Temples in the mountains, Asian architecture, and snowy panoramas create a sense of adventure while chariots and molten horses coming to life invoke danger. Unfortunately, the shootouts, attacks, and explosions are super loud and cliché music cues are noticeably out of place. To start, Tomb of the Dragon Emperor feels very forties styled in a Universal homage, but then the action becomes hectic and modern messy with stereotypical seventies zooms when it comes to the kung fu. The camera, the people, and the fantastics are all moving at the same time and it's tough for the audience to see anything, and those contrived yetis – yes, yetis – are embarrassingly bad. Today, Tomb of the Dragon Emperor could have been a direct to streaming off shoot adventure – after all they're still making those direct to video Scorpion King movies. The Mummy: Tomb of the Dragon Emperor breaks from the more familiar theme with a bait and switch title caught between two masters. Tomb of the Dragon Emperor seeks to take the series in a new direction whilst also keeping its ties to the previous films. If this had no connection to The Mummy and embraced its own dynastic legends and lore, Tomb of the Dragon Emperor could have been a fun action adventure. Perhaps it can still be entertaining for youth able to separate it from the legacy of the First Film. Otherwise, the flawed, thin story, and try hard of The Mummy: Tomb of the Dragon Emperor is just window dressing reaching for an adventurous charm that isn't there.

James Bond Documentaries!

Real World Documentaries on the Fictional James Bond!

By Kristin Battestella

If there’s one thing more magical than analyzing Bond onscreen, then it’s analyzing the analysis of others analyzing Bond onscreen!  So here’s a session of Bondian non fiction and documentaries to delve deeper into Her Majesty’s fictitious Service.

  

Biography: Daniel Craig – From his first school plays, maternal support, and theatre work to edgy independent fair such as Love is the Devil and successful Hollywood turns in Road to Perdition and Layer Cake, this 2007 episode of the long running series illumes the decade of thespian work before Craig’s coveted casting as the first blonde Bond. While it’s great to see childhood photos and early snaps of the handsome young actor, the zooming, panning, angled, and spinning photos can be annoying as they continuously repeat and fill the 45-minute TV time. Of course, most of the 21^st century Biography shows play more like hip, gossipy, entertainment newsbeats instead of the program’s traditional, seemingly official, or sanctioned sit down interview and intimate revelation with the subject. Instead, snippets from other Craig interviews pre and post Bond, chats with old school teachers, and commentary from celeb columnists make for a somewhat awkward presentation. A showbiz reporter informing on Craig’s first marriage, famous girlfriends, daughter, and extreme privacy against intrusive tabloids feels illegitimate – if industry reporters are talking about how he doesn’t often grant interviews or ignores media fodder and he didn’t consent to an interview with Biography…yeah, whoopsie! Short clips from Craig’s early films and television that international audiences may not have seen do much better in showing the actor’s talent, versatility, and penchant for heavy scene chewing material. The popcorn narrator doesn’t paraphrase Barbara Broccoli’s decision on choosing Craig as Bond until the final fifteen minutes, but the encapsulation of the challenging transition and becoming accepted as 007 is interesting to see in retrospect again now. It’s nowhere near all encompassing on Craig’s life and career, no – this episode seems to have more of everyone else but him! Indeed, I’d like to see a new, real Biography conversation someday with The Man Himself reflecting on his Bond tenure, yet fans new to the franchise or Craig’s work can get a quick summary here before diving into his varied filmography for complete Craig appreciation.

Bond Girls Are Forever – Maryam D’Abo hosts this retrospective hour on “The Women of James Bond” with an honest, globe trotting, and fun approach fitting to this fanciful, exclusive club. Footage of each lady in her respective Bond film looks great alongside new intimate conversations on Their Man James and what it means to be a Bond Girl from Ursula Andress, Honor Blackman, Luciana Paluzzi, Jill St. John, Jane Seymour, Maud Adams, Lois Chiles, Carey Lowell, Michelle Yeoh, Halle Berry, and Rosamund Pike. Non traditional 007 gals like Judi Dench as M and Samantha Bond as Moneypenny also have their say, and updated editions of this 2002 video include thoughts from Eva Green, Caterina Murino, Gemma Arterton, Naomie Harris, and Berenice Marlohe. Of course, this isn’t exhaustive with every gal in every Bond movie, and understandably, some foreign ladies or retired gals perhaps did not wish to appear. Although this leaves little reflection on From Russia with Love, You Only Live Twice, On Her Majesty’s Secret Service, The Spy Who Loved Me, For Your Eyes Only, A View to a Kill, Goldeneye, and The World is Not Enough, we can forgive absentees of note such as Diana Rigg, Barbara Bach, Lynn-Holly Johnson, Tanya Roberts, Izabella Scorupco, Famke Janssen, Sophie Marceau, and Denise Richards. Pity also there’s no outside canon conversation with Kim Basinger, but the major loves and villainesses here give unique cross coverage on the fame, notoriety, expectations, career help or hindrance, and where are they now comparisons. Serious issues on the sexism of Bond then and now, the feminism movement, and the over the top damsel or bitch caricatures are debated as well. This isn’t specifically a classic look or by Bond focus, but the chronological order and clips from all the 007 pictures go along well with the multiple re-releases and companion book. Besides, it’s just dang fun to see how these ladies have only gotten better with age.

 

Everything or Nothing: The Untold Story of James Bond – World War II background, lovely post war period footage, and Jamaican home videos inform on Bond creator Ian Fleming’s literary tenacity to start this 2012 hour and a half detailing the history behind the beloved spy. From the earliest, struggling Jimmy Bond adaptations and difficulties in establishing the titular Eon Productions to interviews with Christopher Lee, Fleming family and friends, Barbara Broccoli, the Saltzman family, and Michael G. Wilson, this documentary has a lot of history to cover! Archive footage of Fleming and Cubby Broccoli supplement the hesitation over choosing Sean Connery as Bond and finding the right production team with Maurice Binder and John Barry before the fame, franchise heights, cast fallouts, and more. Quotes from John F. Kennedy, voiceovers with Connery, and more conversations with Maud Adams, Judi Dench, Bill Clinton, Famke Janssen, Rosmund Pike, and Sam Mendes read like a who’s who, and of course, we have retrospectives with 007 men George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig. Whew! Indeed, this feels a little too action movie fast paced as it intercuts and jumps between Bond footage. The time here isn’t a sentimental reflective documentary going deep with Fleming’s genesis, but some film details are skipped over in favor of the bitter, decades long Kevin McClory drama. Thanks to a playing it safe lack of depth beyond how these court cases broke Fleming’s health, viewers who don’t know the franchise’s history may not fully grasp the scale and legal issues created by McClory’s claims. Time is much better spent on the Lazenby switch, trouble between Broccoli and Saltzman in Moore’s early era, Dalton’s darker take on 007, Brosnan’s waits in landing the role, and 21^st century refocus with Craig.  Despite the title, there’s a lot more of the basics then what’s untold – an entire series of documentaries could be done with the story of this franchise. A telefilm per actor, an episode on Fleming, one on Thunderball and the Battle of the Bonds with Never Say Never Again – the billion dollar interest can support it! There are a few pacing hiccups, sure, but ultimately, this nostalgic look serves its purpose in getting both newcomers and longtime audiences hankering for a viewing marathon.

The Real Story: James Bond – The Smithsonian Channel presents this 2009 45 minutes debating how much fact is actually in Ian Fleming’s spy fiction. Did Bond embody his creator’s womanizing and addictive ways? What about those real life secret service efforts and AU commandos orchestrated by Fleming? Expert interviews discuss the literary action, plot formulas, and sexism on the page and how they encapsulated Fleming’s own military life, travels, and espionage experience. Real life card game encounters and officers who would become M inspirations had their twists in Casino Royale while enigma decoding plans become From Russia with Love’s premise, but what wartime heroes could have suggested the 007 character? Was Bond the author’s wish fulfillment or something darker and misogynistic? Through expensive tastes and real world expertise, Fleming used his history and the Cold War topics of the time to draft the perfect fantasy spy for a post war UK still looking for heroes. The segment on fantastic wartime gadgetry, real gyrocopters, and defecting spies becomes a little out of place since the majority of the time here plays more like a Fleming biopic than something about Bond or the film franchise. The re-enactments and narration hyperbole are a bit much at times, and the questions raised sound so overly serious or faux scandalous amid otherwise tender and fresh family angles and period footage. These numerous possibilities, theories, and offshoots on how Bond came to be are nothing new in themselves, and the presentation could have been exclusively about Fleming by going deeper into his exhaustive book pace and it’s increasing tired and ill tasking upon his health. Fortunately, literary purists will like the brief graze upon the films, and the fiction comparisons and digging deep into life imitating art is always interesting to see.

And just in case you’re curious, no, I still haven’t gone through all the multitude of features on the Bond 50: The Complete Film Collection blu-ray box set, tee hee. 

Tomorrow Never Dies

Tomorrow Never Dies is Not Dead Yet

By Kristin Battestella

It seems like I don’t get to see Pierce Brosnan’s second outing as James Bond as often as all the other 007 pictures-and it’s a dang shame. 1997’s Tomorrow Never Dies is a fine blend of media speculation, seafaring suspense, and good old fashioned spy intrigue. 

MI 6 Chief M (Judi Dench) sends James Bond (Brosnan) to investigate the mysterious sinking of the HMS Devonshire.  It seems media mogul Elliot Carver (Jonathan Pryce) is behind the sinking, pitting the Chinese against the British in order to secure broadcasting rights in communist China.  While investing, Bond rekindles his relationship with Carver’s wife Paris (Teri Hatcher), but Carver’s corrupt technology expert Henry Gupta (Ricky Jay) discovers the affair as deadly henchmen Mr. Stamper (Gotz Otto) and Dr. Kaufman (Vincent Schiavelli) pursue 007.  Bond escapes thanks to Q (Desmond Llewelyn) and his remote controlled BMW, eventually teaming with Colonel Wai Lin (Michelle Yeoh).  Together they must infiltrate Carver’s stealth ship and prevent him from launching stolen British missiles against China. 

New Bond director Roger Spottiswoode (Air America, And the Band Played On, The Children of Huang Shi) and house writer Bruce Feirstein (GoldenEye, The World is Not Enough) deal with quite a bit in Tomorrow Never Dies’ two hour timeframe.  We have British and Chinese relations, faux Saigon scenery, naval action, mass media manipulation, and more.   Despite script doctoring and numerous changes, the mission at hand is multi-layered and complex, even intricate, but not convoluted or stereotypical.  Bond has been in Asia before, namely with some good and some absurdness in You Only Live Twice, but the land and sea action and Chinese players are handled with respect and authenticity.  We don’t have any hokey dubbing and a basketball team of women giving 007 Oriental massages here!  Though not actually dated onscreen by the equipment, styles or technology, Tomorrow Never Dies may seem dated to modern techo-philes thanks to its idea that newspaper headlines can control the world.  While the print media’s ‘believe what I tell you’ power may be waning, television media and the internet are certainly influencing our society.  Yes, today perhaps no one would notice if a publisher was printing fake news, but spread misinformation on Facebook and look what happens! The newspaper medium highlighted here serves as an example of how yellow tainted journalism influenced us then and how it still can today.  No, a publisher playing war games for broadcasting rights isn’t as big a dilemma as Bond has thwarted previously, but there is a lesson to be learned along with the rest of Tomorrow Never Dies’ goodness.

While the talk of computers, internet technologies, and the necessity of GPS in Tomorrow Never Dies are ahead of its time and even prophetic in our now overly commonplace reliance on these things, the picture unfortunately isn’t as personal as its predecessor GoldenEye.  Overall, we get more social statements than usually found in a Bond picture, but that commentary is at the expense of well-developed characters and back-story.   Tomorrow Never Dies has a great opening sequence giving us Bond in action as well as a deeper look into the active support of MI 6.  Unfortunately, at some point it’s as if the screenplay was unfinished and character development just stops.  It’s a tough trade off- ideally, we should have both tight, complex plot and non-stock players.  Tomorrow Never Dies keeps it together for the most part, but a little more of those personal touches would have served the cast better.

Pierce Brosnan is once again a-okay as Our Man James.  Even when parts of the script may fail him, Brosnan still delivers sweet quips and perfected mannerisms.  His style of romancing is a little more subtle than Roger Moore, and the modern innuendo is refreshing.  Brosnan adds layers to Bond by differentiating his charm with women.  The harsh but sweet banter with the always wonderful Judi Dench, his tongue in cheek romps with Danish Professor Inga Bergstrom (Cecilie Thomsen, 54) and the latent kink with the charming Samantha Bond as Moneypenny are great.  ‘You always were a cunning linguist, James.’ I love it!  We enjoy this of course, but there’s some previous angst with Paris Carver and budding sweetness with Wai Lin, too.  Brosnan keeps Bond well rounded here.  Instead of just spying and international intrigue, we see 007 doing contemporary and fairly serious military missions.  Woohoo we get to see Brosnan’s Bond in his naval uniform, too!  The interplay and debriefing with the disguised Desmond Llewelyn’s Q is a delightful surprise, and Bond is even allowed some fun time with others at the home office like Colin Salmon (Dinotopia) as Chief of Staff Charles Robinson and Joe Don Baker returning from GoldenEye as CIA pal Jack Wade. (I’m not really sure why they bothered with the latter, but it’s all in good fun.) Brosnan knows how to work Bond’s seriousness as well as the fun, both internally and with the ensemble.  Anything lacking in Tomorrow Never Dies is forgivable thanks to Brosnan and his dang likeable 007.

Unfortunately, not all the ladies fair as well in Tomorrow Never Dies.  Teri Hatcher (Lois and Clark, Desperate Housewives) is good, if perhaps a bit untrained.  Certainly she looks pretty damn near dynamite-not because she was younger, but because there’s some healthy meat on her bones!  Sadly, the character doesn’t do her much justice, and Paris Carver is little more than a misused would be femme who actually doesn’t have nearly as much screen time as her billing deserves.  The viewer would think her line, “I’ve made my bed, and you don’t sleep in it anymore” would be a lot more incriminating than “Tell me James, do you still sleep with a gun under your pillow?”   All of Paris’ dialogue is a give away towards her past, present, and future.  Instead of developing a complex former flame, we’re left with too much obvious and it all happens too quickly to care. 

 

Now then, Michelle Yeoh is where it’s at!  I don’t care if I ended the sentence with a preposition-Wai Lin is one of the best Bond ladies we’ve yet seen.  Yeoh (Crouching Tiger Hidden Dragon, Far North) crafts a witty and intelligent foreign agent with priorities more important than Bond.  Her martial arts skills are only used occasionally, rather than being the fulcrum of her wow factor, and this allows for more dimension than expected.  Wai Lin has plenty of spy tricks up her own sleeve-and the combination of this kick ass makes her no less lovely.  She’s not portrayed as rough, manly, or ugly.  Yeoh has real life sex appeal, not the usual trumped up Bond Girl’s skimpy clothes and big boobs.  She’s a spy who knows her stuff but just happens to be a woman.  Sure, we could have had some better dialogue or character development here. Despite some of the written feminine weakness in Tomorrow Never Dies, once again Michelle Yeoh proves she can act with big boys.  I simply don’t know why Hollywood doesn’t take more notice of her. 

Some of the blandness or lack of personal interest viewers find in Tomorrow Never Dies is largely due to the fairly weak villains.  Though not stupid-in fact this is a very intricate caper with global implications-media mogul Elliot Carver just isn’t creepy or megalomaniacal enough to really enjoy.   It’s not the wonderful Jonathan Pryce’s (Carrington, Pirates of the Caribbean) fault; but Carver’s supposedly crooked, ruthless, and power hungry ways are revealed too early.  We don’t spend enough time with Carver, yet we get it all too fast and too soon.  Likewise, Gotz Otto (The Pillars of the Earth, Schindler’s List) as platinum haired henchman Stamper isn’t given much more than you’re usual bad boy with an accent.  He plays with some ancient pain knives-I guess that is supposed to be his steel brimmed hat or metal teeth ala Odd Job or Jaws.  Our main men are just a little too bland against other, more memorable Bond villains.  Hello, we just had 006 in the last movie for goodness sake, and Christopher Walken already did the platinum thing better in A View to a Kill.  Ricky Jay’s (State and Main, Magnolia, Boogie Nights) Gupta, however, is a neat and modern villainous spin.  He’s a beatnik tubby and slobby techno guru with no qualms about selling his devices and knowledge to the highest bidder.  He’s unassuming, yet a little too realistic in this day and age of rapid gadgetry.  The late Vincent Schiavelli (Ghost) is also perfection in his scene as the ruthless yet gentlemanly Dr. Kaufman. Whew!  On a lighter note, astute female fans will also spot Gerard Butler (300) in a one-line appearance early on aboard the HMS Devonshire.

Some of the characters may be poorly written, but Tomorrow Never Dies has some great Bond action.  The remote controlled car chases are claustrophobic, dangerous, and fun, even if the notion is a bit silly.  Likewise, it’s preposterous to be handcuffed to a chick that’s on your lap during a rooftop motorcycle chase- but the urban damage mixed with a deadly helicopter in pursuit keeps the suspense and pacing on form.  The locations are all wonderful as expected, and Bangkok fits the bill in substituting for Saigon.  The underwater action and naval bombardments look modern and realistic as well.  A good bit of time in Tomorrow Never Dies is spent away from Bond with full-scale marine sequences.  We have the fearful and vast ocean depths to disappear in, the dangerous equipment and claustrophobia of ships, and the tragedy of those lost at sea.  The pre-title shootout and fighter jet chase are realistic and well done, too. 

Despite the talk of satellites and the technology of tomorrow’s news today, there’s actually not a lot of gadgets in Tomorrow Never Dies.  Beyond the unbelievable of the remote control car, we stick with realistic and modern missiles and fighter planes.  This outing isn’t as fantastical as other Bond pictures, but rather a balance between Bond motifs and the heavy and serious of Craig’s current tenure. Maybe a few things are the traditional product placement coughbmwcough, but each device presented has an intelligent place in the plot.  This is very refreshing after the ridiculousness of Die Another Day and the Truman Show-like commercial pauses on Daniel Craig’s titanium phone. Tomorrow Never Dies may be imperfect, but it isn’t as pretentious as Bond is now.

The Bond theme has been reworked a little for Tomorrow Never Dies as well, but pieces of 007’s music make their presence known whenever Bond is badass, be it if the action’s hot, or when the wit is on form.  I also have to say, it’s a very nice touch to hear a swanky version of ‘It Had to Be You’ at Carver’s reception.  There should be more of this subtle hint of back-story between Bond and Paris Carver, and it sounds wonderful. I don’t normally care for her, but Sheryl Crowe’s title song isn’t bad.  There’s some evoking of the Goldfinger theme adding to Crowe’s husky range, and it keeps the song catchy. The opening titles are also in true Bond form.  The women covered in circuitry, infrared coloring, x-rayed guns, shattering glass, and zipping bullets tell us exactly what Bond is about: gadgets, guns, and girls.  Its statements are about technology while looking cool and being kinky.  Hot damn!

Yes, a lot of the younger audiences grew up with Brosnan and consider him their Bond-yet at the same time, we can admit the latter half of his tenure is drivel.  Somehow, I feel Tomorrow Never Dies is a little unloved, and I don’t know why.  I know Titanic was big that year, but the two pictures don’t exactly have the same audience after all.  If the toned down gadgetry, great Bondisms, social statements, and realistic gals of Tomorrow Never Dies can be combined with the depth and complexity of Craig’s films, we could have a seriously great 007 film on our hands.  Of course, it’s not as if that can happen anytime soon thanks to all the behind the scenes troubled waters the franchise is trudging through yet again.  The DVD set for Tomorrow Never Dies is just fine, with the expected treats and good looks.  Unfortunately, there’s no blu-ray release forthcoming anytime soon thanks to the turmoil.  I protest!

Though thin on some characters and personal touches, Tomorrow Never Dies has a bleak and realistic commentary that’s still relevant today.  Brosnan and Bond lovers can delight here, but casual fans or mainstream action lovers can enjoy this entry, too.  There’s a bit more risqué material here garnering a PG-13 rating; but compared to today’s sex, drugs, and violence, Tomorrow Never Dies is safe enough for a father and son Bond night.  Spend some time with Brosnan’s Bond again and revive Tomorrow Never Dies.

More Family Friendly Science Fiction and Fantasy

More Family Friendly Science Fiction and Fantasy.

By Kristin Battestella

Who wants to go out and enjoy the nice Spring weather when there’s great, fanciful film fanfare to be had indoors? Save these science fiction and fantasy tales both old and new for a rainy family friendly day together. After all, it’s cheaper than Chucky Cheese. 

Crouching Tiger, Hidden Dragon – Okay, maybe this 2000 stylized kung fu drama directed by Ang Lee isn’t really fantasy per se, but it has the best fantastical flying kung fu I’ve ever seen. Yes, it can be a little slow, serious, and long winded- some youth will certainly have a tough time with the essential subtitles, too. However, there are lovely performances, fine story, exceptional scenery, and sweet choreography to awe teens. This one proves not all kung fu movies were low budget seventies clunkers where the voices don’t match the mouth movements-and its dynamite on blu-ray.

Edward Scissorhands – This 1990 tale of a lonely, incomplete man with scissors for hands is a little more mature and dark then some of my other suggestions. However, this early, spooky, and yet heartwarming collaboration from director Tim Burton and star Johnny Depp has all the whimsy and freakiness needed without getting too comical, bizarre, or just weird. Fine performances from a lovely ensemble cast including Winona Ryder, Kathy Baker, Dianne Wiest, and Vincent Price blend humor, love, and innocence into one charming little tale young and old can enjoy.

E.T. the Extra Terrestrial – Sometimes I fear that due to some serious eighties styles, younger audiences might not tune in for this wonderfully personal 1982 film from Steven Spielberg. Reintroduce Reece’s Pieces and ‘E.T. phone home’ to the next generation ASAP. No matter how old you get, who can’t relate to this one- it’s got divorce, evil governments, and loveable aliens to rescue. Some super young viewers might be a little afraid of E.T., but the joy of sharing this one is worth the effort.

Frequency – This 1999 tearjerker starring Dennis Quaid and Jim Caviezel is a little melodramatic and has us taking a considerable leap of faith, but it does have a lovely and relatable premise that will touch your heart: What if you could talk to your deceased father again thanks to ham radio and aurora borealis? What if you could change the past and have one more moment to be face to face with your dead father, hug him, and introduce your child to him? Sappy, yes, but there’s also enough mystery, action, and suspense here for your own guys night in.

Harvey – My nieces may not remember the title or the wit of this 1950 classic, but they do remember ‘that old movie about the guy with the invisible rabbit’. James Stewart is wonderful as Elwood P. Dowd, and though the black and white photography might make it tough for the youngins’ to pay attention, you can’t take your eyes off the charm and subtle tricks onscreen. Josephine Hull is delightfully fanatical as the sister trying to commit Elwood and his six-foot Pooka- it’s all just a case of misunderstanding, really, but the bemusing and somehow mellow hysteria hasn’t gotten old yet. If you don’t believe me, do believe the American Film Institute’s Top Ten Fantasy List-Harvey is number seven.

Independence Day – There was a time not so long ago when one could find this aptly named 1996 sci-fi thriller on any given channel every July 4^th. In light of more recent visual effects spectacles, I think young audiences might have forgotten about this touching yet funny popcorn and kick-ass disaster movie. Roland Emmerich and Dean Devlin’s not so little movie still looks good and makes us laugh just as much as it binds us together for the big moments from Will Smith and Jeff Goldblum. Barbecue is not required with a viewing.

Sleepy Hollow – Here’s another less bizarre and family fun spookfest from Tim Burton and Johnny Depp. This 1999 period piece also starring Christina Ricci isn’t as dark and decrepit as a film about Ichabod Crane could be, but its hint of goth and turn of the century humor is perfect for a scary night in for families growing beyond Hocus Pocus. The suspense, ensemble cast, and surprisingly disturbing performance from Christopher Walken as the Headless Horsemen keep this one worthy as the successor to The Adventures of Ichabod and Mr. Toad. Who doesn’t love that one?

Stardust – I was very pleasantly surprised with this 2007 fantasy based on Neil Gaiman’s illustrated novel. Though familiar with Gaiman from his Death: The High Cost of Living comics, Stardust is not as dark or heavy. There’s plenty of mature whimsy harkening back to Victorian ideologies and fantasy for Claire Danes and Michelle Pfiefer with which to have fun. Some of the picture is a little uneven, and Robert DeNiro seems completely miscast as a latently fruity pirate, but all in all this was an exciting and enjoyable little film. Teens growing out of Potter will love this one.

Who Framed Roger Rabbit? – I have to confess, every time this 1988 Robert Zemeckis spectacle is on cable, I can’t help but watch. Despite all our CGI advances, this mix of live cast and animated favorites still looks wonderful. Bob Hoskins, Christopher Lloyd, and Joanna Cassidy all look great in forties fashion; and the blend of humor, music, and mystery holds up. If nothing else, it amazes me that we can see Disney and Warner toons together! There’s delightful fun for the kids and some old fashioned innuendo for the adults- what’s not to love?

Far North

Disturbingly Beautiful Far North

By Kristin Battestella

Sure I get knocked for my liking of Sean Bean, but he wasn’t the only reason for my purchase of Far North. This beautiful, yet creepy and tragic 2007 film based on a story from Sara Maitland’s collection Far North and Other Dark Tales will have you awing and grimacing at the screen.

Saiva (Michelle Yeoh) was cursed as a child and cast from her village. Once she finds happiness with a neighboring tribe, tragedy follows her again. She rescues Anja (Michelle Krusiec) and raises her into the ravages of the artic, away from society and all its evils. One day, however, Saiva helps Loki (Sean Bean), a freezing soldier lost in the artic wilderness. Saiva warns Anja not to be charmed by the first man she’s met. Both women, however, fall for Loki, and disaster follows.

Folks who’ve read my reviews know I don’t like to spoil a film experience, but where Far North is concerned, I really can’t tell you anything else about the story. My husband thought the obvious of oft villain Sean Bean (Patriot Games, Goldeneye), “He kills them, right?” I countered with, “No, they have threeways.” Both are plausible scenarios to the modern viewer, but the things you expect most in Far North aren’t the things that happen. BAFTA winning director Asif Kapadia (The Return) and co screenwriter Tim Miller (The Warrior) have taken Maitland’s tiny story and stretched into a philosophical and disturbing little statement. The film rises and falls upon Michelle Yeoh (Crouching Tiger, Hidden Dragon; Tomorrow Never Dies) and she is up to the task as the tormented Saiva. Some of the flashbacks trying to make her look younger seem out of place, but Yeoh’s silent looks and stilted dialogue are perfection. It’s a shame most Americans don’t get to see most of her work; I’ve enjoyed every film in which I’ve seen Yeoh. She can act. We believe Saiva is a tough woman who can brave this horrid landscape, and yet we know she is capable of compassion. There isn’t a lot of dialogue among the three leads, Far North feels more like a play. Camera angles and expressions sell the story, and when words are spoken, they are forceful and take on more than face value meanings. Newcomer Michelle Krusiec (Dirty Sexy Money) steps up to the plate as Anja. She’s young, disenchanted with this rugged lifestyle. Anja’s been aged by the artic yet is still very young and juvenile in comparison with the outside word. And of course there’s Sean Bean. I often wish he had more to do in some of his smaller roles, (NBC’s recent Crusoe especially) but here, Sean Bean gives us just enough to like Loki, wonder about him, and question his feelings towards both ladies.

Despite fine performances all around, the incredible artic location is what makes Far North. The ice, cold water, white snow; Norway is the picture of beauty and the face of danger. Hypothermia, jagged rock cliffs, falling ice; Any number of natural disasters-or the viles of people-could harm you and there’s no escape, no help for hundred of miles. I wouldn’t say it is as exceptional as Platoon, but Far North reminds me of Oliver Stone’s Oscar winning Vietnam Epic. It’s so visually horrifying and disturbing that you don’t really want to watch it again, but you can’t look away either. Folks who are sensitive to animal plights might want to skip a few scenes in Far North. Seeing women kill dogs and seals is very upsetting to a lot of people, but we must remember in the arctic, this is a way of life.

As realistic as Far North’s unforgiving locations are-and the behind the scenes documentary on the DVD tells us exactly how difficult it was for the cast and crew-there’s also something very ambiguous about the story. It’s only ninety minutes, but it seems longer, and has a very questionable but not unsatisfying ending. Far North reads like a fable; a tale told to children warning of consequences and humanity. Loki is the Norse God of mischief. Is he even real? In this far away place at the edge of the world, has Saiva somehow crossed to another realm? One is not even sure when Far North actually takes place. Russian soldiers are persecuting native tribes, but is their presence meant to be taken as an historical marker or are they representative of the evils of society?

Not that he is a particularly glamorous actor, but Sean Bean plays perhaps his least pretty role here. He’s hypothermic and bundled up for most of the film, and when he strips down, it’s not his usual action hero form. Sharpe fans and Sean Bean Obsessive Compulsive Disorder ladies will joke that it’s that because Sean Bean has entered these women’s lives that causes all the trouble. But it’s more than that. It’s the mere fact that a man, such a mysterious man, any man really could cause such catastrophe for these two women. Even if you don’t know about the shape shifting promiscuous Norse Loki, Far North doesn’t give easy answers. On my first viewing, I was so horrified by Far North, I didn’t even realize Sean Bean was in the buff. In the Artic? I was too busy screaming at the television screen. It’s not something I normally do, and after my father heard me, I sent him into a viewing of Far North cold turkey. His verdict? “Horrible film. I liked it!”

Unfortunately, not a lot of people have seen Far North. It’s done well in the festival circuit, and even the making of documentary had garnered accolades, but Far North has yet to see even a limited release or theater distribution. The DVD is available online, and Far North even opened the first annual Philadelphia Asian-American Film Festival. Far North is not exclusively an ethnic film, nor am I certain it is merely an art house picture as its history would seem. Is Far North a horror movie? Quite possibly. It definitely gave me the chills and had me screaming. When was the last time a real horror film did that?