Revenge is a dish best served salty and wet. Impressive effects enhance a hyper-stylized modern fish tale. With the same wry disposition as Kung Fu Hustle, a young mermaid finds herself in a love triangle as she unexpectedly develops feelings for the businessman she’s been tasked with seducing then assassinating. Consequently, a battle ensues between her aquatic family and her new boyfriend’s business partners, in whose lucrative waters they’re dying.
How to describe such a unique fantastical premise…
Entire societies are mobile; each hierarchical city functions within its own feat of engineering (think interlocking collapsable compartments). These giant robotic apparatuses roam the globe vying for power, forcibly assimilating anyone who gets in their way. The plucky young heroes could’ve been in The Maze Runner!
Until now, such an imaginative book series couldn’t have been adapted for the screen. Fortunately, The Peter Jackson specializes in bringing fictional worlds to life via intricately detailed sets and props enhanced by state-of-the-art computer animation.
You never realize just how formulaic the movies you typically watch truly are until you see something completely unique, such as this one. Considering how eager studios are to remake everything, I’m surprised this wasn’t of interest to anyone. It’s probably just as well; they would likely turn it into a slapstick comedy. I’m sure […]
As if Martha Plimpton weren’t enough, toss in a gaggle of stars and 80s nostalgia. “I’m just gonna go home and kill myself. You wanna share a cab?” “So I can pass out and wake up alone on New Year’s Day?” When you’re young, lonely and neurotic, New Year’s Eve probably isn’t the best occasion […]
It’s no surprise the quintessential fairytale comes from Europe: a mayor pushing for land development at any cost and two brave kids determined to save their botanical garden home, which flourishes in the presence of an unjustly blamed blue tiger. All the classic elements are there, enhanced by a modern blend of live action and […]
The ensemble’s inability to reach consensus– both on and off screen– works for their chemistry, or scripted lack thereof. The final product ultimately fell flat for a large portion of its audience because it’s an awkward meld of spoof, satire and homage. But isn’t that– like it or not– the essence of superhero status? Comic […]
To summarize this movie as,” An American woman periodically turns into a giant monster that destroy destroys portions of Seoul, Korea” could be an oversimplification. While there are reckless- turned- thoughtful moments as an immature woman finally grows up and gets her life together, this film has a certain European sensibility, i.e. no particular moral […]
For this movie–which, on the surface may seem inconsistent– its apt title is key to managing expectations. While there’s not much difference between a fairy tale and a fable, this particular story happens to revolve around a particular incident experienced by a young girl but there’s no magical fairies or romance so speak of, royal or otherwise. To attempt to categorize it by a singular scene would only undermine its darkly fantastical/ enigmatic elements, thus reducing it to a meandering by-product of either a Boy Scouts’ campfire collaboration or the summary of someone’s choose-your-own-adventure book. It deserves consideration as an imaginative story that’s completely rooted in the present rather than a re-imagined folktale adapted for a modern context.
Director, Tim Burton’s name alone should give away the tone of this movie, which is an adaptation of a young adult novel inspired by some odd vintage photos its author found at a flea market. It reminds me of Stephen King, not only because it’s a dark fantasy (Burton considers it “a scary Mary Poppins”); the author admits the movie version of his story is better. Screen writer, Jane Goldman tightened it with various character modifications/ amalgamations and plot elucidations.
Perhaps vaguely similar to the founder of Professor Xavier’s School for Gifted Youngster or Hogwart’s School of Witchcraft and Wizardry, Miss Peregrine nurtures and protects a unique troop of children stuck in a time loop. They’re discovered by an unsuspecting young man on a research trip with his scientist, father. The beauty of this film is both in its minimal use of digital effects as well as in the infusion of subtle details, which are either foreshadowing, references to aforementioned history, or homages to Burton’s prior work, none of which distract from the plot or compromise its consistency.
I hate it when a trailer for a great movie is all wrong. Who edits these? No one would ever be interested based on this random montage of clips. And that other one gives too much away. The one I’m imagining could work for the theater, TV, or radio. This would be my ideal splicing:
Narrator: This is a story about a man named Harold Crick and his wristwatch. Harold Crick was a man of infinite numbers, endless calculations and remarkably few words. And his wristwatch said even less…
* * *
Queen Latifah: I’m Penny Escher. I’m the assistant your publishers hired.
Emma Thompson (the Narrator): The spy.
Queen Latifah: The assistant. I provide the same services as a secretary.
Emma: I don’t need a secretary.
QL: Then I will have to find some other way of occupying my time.
Emma: Like watching me like a vulture in case I get distracted, because they—the publishers—think I have writer’s block, isn’t that right?
QL: Do you have writer’s block?
* * *
Narrator: And although this was an extraordinary day—a day to be remembered for the rest of Harold’s life—Harold just thought it was a Wednesday.
Will Ferrell: “Harold thought it was Wednesday.” Did you hear it?
Lady at bus stop: Who’s Harold?
Will: I am.
Lady: Don’t worry, Harold. It’s Wednesday.
* * *
Will: Dave, I’m being followed.
Tony Hale: How are you being followed? You aren’t moving.
* * *
Linda Hunt: Mr. Crick, you have a voice speaking to you?
Will Ferrell: No, not TO me—ABOUT me. I’m somehow involved in some sort of story, like I’m a character in my own life. But the problem is that the voice comes and goes, like there are other parts of the story not being told to me. And I need to find out what those other parts are before it’s too late.
* * *
Emma Thompson: Is there any way to see the people who aren’t going to get better? …I’d like to see, if at all possible, the ones who aren’t going to make it. You know, the dead-for-sure ones.
ER nurse: I’m sorry, are you suffering from anything?
Emma: Just writer’s block.
* * *
Dustin Hoffman: “Little did he know.” That means there’s something he doesn’t know, which means there’s something you don’t know, did you know that?
* * *
Emma Thompson: I’m not in the business of saving lives; in fact, just the opposite.
* * *
Will Ferrell: Ten seconds ago you said you wouldn’t help me.
Dustin Hoffman: It’s been a very revealing ten seconds, Harold.
* * *
Queen Latifah: I will gladly and quietly help you kill Harold Crick.
* * *
Dustin Hoffman: …The last thing to determine conclusively is whether you’re in a comedy or a tragedy. To quote Italo Calvino, “The ultimate meaning to which all stories refer has two faces: the continuity of life, the inevitability of death.” Tragedy, you die. Comedy, you get hitched.
* * *
Maggie Gyllenhaal: Listen, I’m a big supporter of fixing potholes and erecting swing sets and building shelters. I am MORE than happy to pay those taxes. I’m just not such a big fan of the percentage that the government uses for national defense, corporate bailouts and campaign discretionary funds. So I didn’t pay those taxes. I think I sent a letter to that effect with my return.
Will Farrell: Would it be the letter that begins, “Dear Imperialist Swine”?
* * *
Dustin Hoffman: Have you met anyone recently who might loath the very core of you?
Will: I just started auditing a woman who told me to get bent.
Dustin: Well, that sounds like a comedy. Try to develop that.
* * *
Maggie Gyllenhaal: Go home, Harold.
Will: OK… You made those cookies for me, didn’t you? You were just trying to be nice and I blew it. This may sound like gibberish to you but I think I’m in a tragedy.
* * *
Kristin Chenoweth: So can you tell us the title of the book you haven’t written, yet?
Emma Thompson: I’m calling it Death and Taxes.
* * *
Will: I may already be dead, just not typed.
* * *
Will: Karen Eiffel, my name is Harold Crick; I believe you’re writing a story about me.
Emma: Is this a joke?
* * *
Emma: …It’s a book about a man who doesn’t know he’s about to die and then dies. But if the man does know he’s going to die and dies anyway, dies willingly, knowing he could stop it then… I mean, isn’t that the type of man you want to keep alive?