The problem with Robogeek is he operates at like 1mhz. He is put together with vacuum tubes and rusty relays, thus his reviews are late and long. I edited one self-serving comment out, but forwarded it to the person he aimed it at. It had nothing to do with either film. As for his Oscar predictions., they are his, and I told him last night to hold off predicting stuff till December. I mean sheesh, what's the rush. Well, I'm off to go see Kurt Russell in Soldier, then I may go see Touch of Evil, then I may go see Beloved, then it'll be The Warriors at the Drafthouse. Adios me amigos...
Robogeek reviews "The Mighty" and "Gods and Monsters" (and tosses around a few more early Oscar predictions just for kicks).
Greetings, citizens! I, Robogeek, have returned with another dynamic duo of movie reviews delivered funky-fresh by AICN's proprietary worldwide network of pneumatic tubes! On the surface, these two films are worlds apart, but at their heart they are about the same basic concept -- friendship. And they explore that subject as well as any other films this year.
THE MIGHTY
While "Pleasantville" is a fairytale for grown-ups, "The Mighty" is a wonderful story for young people that will captivate adults as well, weaving a similar kind of spell as "Babe" and "A Little Princess." It's a potent tale about discovering the best parts of yourself, and the meaning of true friendship. It's a children's film that's not just for kids, and will resonate with adults.
Based on Rodman Philbrick’s book "Freak the Mighty," this adaptation helmed by Peter Chelsom from a script by Charles Leavitt is pure, unadulterated cinematic magic. While not a perfect film, it is, I dare say, a great one. Why? Because of its intelligence, humanity, sincerity, integrity, and artistry. It never slips into excess sentimentality or nauseating cuteness. It is genuinely inspiring, affecting, enchanting, and wonderful.
Part of this is due to a very strong supporting cast, including Sharon Stone, Gena Rowlands, Harry Dean Stanton, and Gillian Anderson, all of whom turn in solid, convincing performances. Perhaps most remarkable about the film, however, is that it features a Culkin who isn't annoying, -- and can actually act, to boot; Kieran Culkin's brainiac Kevin Dillon emerges as a thoroughly engaging character. But the star of the film is the fantastic Elden Henson, who delivers a thoroughly impressive performance as brawny Max Kane. While not as brilliant as Eamonn Owens' Oscar-worthy Francie Brady in Neil Jordan's "The Butcher Boy" (which will stay on my Top Ten List for 1998 no matter what; it's nothing short of astonishing), Henson leaves an indelible mark.
The story is built upon a very simple premise. Two young teens live next door to each other. One has a brilliant mind and a vivid imagination, but is stricken with a crippling degenerative disease. The other is a hulking, haunted, slow-learning outcast whose father is in prison. They meet, become acquainted, and strike a mutually beneficial bargain, proposed by Kevin:
"You need a brain. I need legs. And the Wizard of Oz doesn't live in Cincinnati."
From that arrangement blossoms a deep and profound friendship, through which each of them is changed forever. Each has something the other is missing. Is that corny enough for you? But wait, it gets better! Then, they collectively become known as "Freak the Mighty" -- Kevin riding atop Max's shoulders -- and embark to perform good deeds, inspired by the Knights of the Round Table.
Yes, it sounds ridiculous, but then so did "Babe" and it still made me cry! If you're a jaded, soulless, cynical bastard, well, then, there's really no point in you going to movies in the first place, now is there? But if you're an actual living, breathing human who isn't afraid to actually _feel_, then you owe it to yourself to see this film. Is it realistic? No. It's a _movie_. It's a _fantasy_. And it's a gem.
Little things make all the difference in this film. Small moments. For instance, Kevin is assigned to Max as his reading tutor. That's how they get to know each other. And when Kevin gives Max the first book he'll ever read -- and it's "King Arthur and his Knights" -- well, I was almost as choked up as when Tobey Maguire gives Jeff Daniels that art book in "Pleasantville."
This is the first American film by British director Chesholm, who made "Hear My Song" and "Funny Bones" (neither of which I've seen; both of which I'll now seek out), and I'm anxious to see what he does next. His sensibilities are right on target with this film, which could have spun out of control in less capable hands. He balances all the elements deftly, with some novel and inspired touches -- particularly the glimpses he gives the audience of Kevin's fantasies. It could be stupid. Instead, it's powerfully resonant. In some cases, it not only gave me chills, but actually made me quiver with emotion. I was a young Robo-lad again.
In a nutshell, "The Mighty" is a fantastic film that just happens to be perfect family fare. Don't let that keep you from seeing it if you don't have kids. It's a wonderful celebration of friendship, books, imagination, and virtue. If you do have kids -- especially boys -- take them. Now. And while the movie is PG-13, I really think it's borderline; if you've got 11- or 12-year-olds, I'd wager it's safe. And while the film bears an unfortunate superficial similarity to another recent movie, there's simply no comparison between them. (Does anyone even remember the name of the other pig movie that came out before "Babe," by the way?) [Note to Talk-Backers -- that's a rhetorical question!]
(And while I'm addressing everyone in Talk Back... Yes, I know I went waaaaaay out on a limb yesterday including "The Mighty" in my predictions for Best Picture nominations; that choice was more an exercise in wishful thinking than an attempt at prophecy. But, personally, at this moment in time, given the movies I've seen, I consider it truly worthy. Granted, I think ten films are worthy, but I guess I'm just pissed off at Miramax for releasing this film too early, instead of holding it back and giving it the "Good Will Hunting" treatment. But life goes on, and there are other movies that can step up to the plate. For instance...)
GODS AND MONSTERS
"Gods and Monsters" is most definitely not a film for children, but it is another truly great film. It's also about friendship, but of a completely different kind, and instead of exploring that theme through a celebration of books, it's done through a celebration of film. Writer-director Bill Condon's stunning adaptation of Christopher Bram's mind-blowing novel, "Father of Frankenstein," is an absolutely amazing film that is a triumph on every single level. (Yeah, I know I'm laying a veritable minefield of superlatives here, but have you _seen_ these movies yet? No? Then shut up.)
Let me just get this out the way first -- Ian McKellen is a GOD (and I'm not just saying that to play off the title of this film). As I said in my review of "Apt Pupil," I consider him one of the five or so greatest living actors performing today. And while I'm not stupid enough to try and predict the other nominees in this category, I'll go on record that next March he should win the Oscar for Best Actor for his role as James Whale. As great as his Oscar-worthy supporting role is in "Apt Pupil," his performance in this film is even greater -- a true tour de force rich with subtle nuance, a spark of mischief, and a shadow of pathos. McKellen is absolutely spellbinding to behold. There is simply not a better acting performance on film this year.
And as if that weren't enough, there are two other stellar performances in the film -- Brendan Fraser as Clayton, Whale's ex-Marine gardener and object of fascination; and Lynn Redgrave as Whale's housekeeper (a character which represents the one significant deviation from the novel, though it turns out to be an inspired one). Redgrave is second only to Joan Allen in "Pleasantville" as the best supporting actress of the year.
Reaching across the divide of a generation (among other things), Whale and Clayton forge a tenuous friendship based on universal associations. The whole film is a beautiful poem for those marginalized by society, desperately trying to find their place in the world, and a connection with another. Sheer cinematic poetry. And it's an exquisite portrait of one of the most fascinating figures in film history, the director of films such as "Frankenstein," "Bride of Frankenstein," "The Invisible Man" and "Showboat."
The film features fantastic production design by Richard Sherman, particulary electrifying in the flashback scenes set during the making of "The Bride of Frankenstein." Also in top form is cinematographer Stephen M. Katz, whose work is drool-inducing, and complemented by sharp editing from Virginia Katz (hmmm...). Oh, and then there's a wonderful score by Carter Burwell. The work done by all four of these fine folks is nomination-worthy, as is Condon's script and direction.
Personally, I would love to see this film nominated for Best Picture. But, as I've already said, there are ten films I feel that way about this year. I guess I should count myself lucky to be going to the movies in a year filled with such cinematic riches as these.
You should, too.
- robogeek@hotmail.com
(By the way, check out Sir Ian's cool official home page at www.mckellen.com -- damn, is it spiffy!)
