FREE Tickets to “Beautiful Creatures” — Supernatural Love Story
Posted on January 31, 2013 at 3:37 pm
“Beautiful Creatures” is the supernatural love story based on the best-selling books by Kami Garcia and Margaret Stoh, in theaters February 14 for Valentine’s Day. Alice Englert plays Lena, who has great powers and must decide on her sixteenth birthday whether to use them for the Light or the Dark in a process known as the Claiming, and Alden Ehrenreich is Ethan, the boy who loves her. Co-stars include “Shameless” star Emmy Rossum, Oscar-winners Emma Thompson and Jeremy Irons, and theater legend Eileen Atkins.
I have 50 tickets to give away! For your complimentary tickets to an advance screening of BEAUTIFUL CREATURES in the Washington, DC area on Thursday, February 7 log onto www.gofobo.com/rsvp and input the following code: BLF3T6W to download your tickets. NOTE: Tickets do not guarantee that you will get in because seating is first-come, first served. Get there early. Good luck!
British TV specialist Acorn has the first complete collection of Agatha Christie’s Partners in Crime: The Tommy & Tuppence Mysteries starring James Warwick and Francesca Annis as the lively detective duo; Agatha Christie’s Poirot & Marple Fan Favorites Collection featuring 11 of the detectives’ most popular mysteries with guest stars Jessica Chastain (Golden Globe-winner for Zero Dark Thirty) as well as Hugh Bonneville (Downton Abbey) in a Marple and Poirot mystery; and Wodehouse Playhouse Complete, featuring all three series of the uproarious BBC comedy starring Pauline Collins (“Shirley Valentine” and “Quartet”).
Once upon a time, a brother and sister were left in the woods by their father. They came upon a house made of candy that turned out to be owned by a witch, who used it to lure children and then fatten them up so she could eat them. But the children outwitted the witch by shoving her in the oven. The classic Grimm story is quickly dispatched in the first few moments of this fanboy fantasy so that we can get to the good stuff. Hansel and Gretel, it seems, developed a taste for killing witches. They grow up to be Jeremy Renner and Gemma Arterton, who haul their arsenal from town to town as something between bounty hunters, exorcists, and hitmen. And “Ghostbusters.” It’s got special effects and some rocking fight scenes, and its cheeky anachronisms and brief running time (under 90 minutes) mean that it is over before the audience gets a chance to get tired of it.
There’s a lot of winking at each other and the audience. A local fan of the duo (he has a 14th century scrapbook filled with their pre-Gutenberg news clippings) offers Gretel some porridge and assures her that it is not too hot or too cold but just right. The local milkman delivers milk in bottles with drawings of missing children tied to them. And the siblings have some Batman-worthy gear, including a device that draws electricity from a hand-crank, useful for zapping witches or, in a pinch, a bit of defibrillation.
Hansel and Gretel are hired by the mayor of a town where nearly a dozen children are missing. The local sheriff (“Fargo’s” Peter Stormare) does not trust them and, more important, wants to stay in charge. It does not help when Hansel tells the sheriff that the woman he is about to burn as a witch is not, and when Gretel head-butts him and breaks his nose. He sends his own search party into the forest, but they are killed by a witch (Famke Janessen). So, it is up to Hansel and Gretel after all, and it turns out that they have just three days before a “blood moon” will rise that gives the witches a rare chance to make themselves more powerful and much harder to kill.
The production design by Stephen Scott is imaginative and nicely varied, avoiding the trap of looking too Disney-fied. The witches are eerily insect-like in their motions and sounds; there are moments when it feels like they are slightly more human-looking Predators. Arterton and Renner look sensational in their tight, laced-up leather and handle the action scenes with a lot of verve. It is silly, but it is entertaining.
Parents should know that the movie has intense and extensive fantasy violence with some graphic and disturbing images, including a medieval version of assault weapons, crossbows, knives, and a lot of throwing people around. Human and witch characters are injured and killed. Characters drink and use strong language and there is brief female rear nudity and a non-explicit sexual situation.
Family discussion: Why didn’t Hansel want to talk about his parents? Why did Gretel want to talk about them? Why didn’t the sheriff trust them?
If you like this, try: “Stardust” and “Dragonslayer”
Beliefnet’s Movie of the Month: To Kill a Mockingbird
Posted on January 11, 2013 at 8:00 am
I was thrilled to have a chance to write about one of the greatest movies of all time, To Kill a Mockingbird, the Movie of The Month for Beliefnet’s Entertainment Corner. It is the rare case where a great book inspired a great movie, which perfectly evokes the perspective of Scout, the young daughter of lawyer Atticus Finch, as he takes on the defense of a black man accused of assaulting a white woman. The reason that it lives on as more than an artifact of the Civil Rights era is that it is a timeless story of a father and his children, of the way that courtesy (or the lack of it) transforms our relationships, the growing understanding of children as they begin to think about the world, and what justice means.
And, it has that unforgettable Elmer Bernstein score.
Every family should share this marvelous film and book.
Fair warning: I seem to be impervious to the appeal of “Les Misérables.” I was not a fan of the stage show or the songs, but I understand that it is the most popular musical of all time, and I approached this movie version with an open mind. My take is that it will make the fans happy, but I am still unpersuaded.
The musical is based on Victor Hugo’s vast novel about Jean Valjean (a magnificent Hugh Jackman), who served 19 years in prison for stealing a loaf of bread to feed his family and spends the rest of his life trying to do good and to avoid the relentless pursuit of Police Inspector Javert (Russell Crowe), who is trying to put him back in prison for violating his parole.
When Valjean is first set free, he is bitter and angry. He repays the kindness of a priest who tries to help him by stealing valuable silver treasures from the church. Immediately captured, he is returned to the priest (played by Colm Wilkinson, the foremost Valjean in the stage version). But the priest insists that the items were gifts, and with the police watching, he encourages Valjean to take more. Valjean is transformed by this compassion and generosity, and he vows to be as good, loving, and devoted to helping others as the man who cared for him.
Years later, Valjean, under another name, is prosperous and public-spirited. He owns a factory and he is mayor of his town. Fantine (a heart-breaking Anne Hathaway) works in his factory to support a daughter she boards with an innkeeper and his wife. She loses her job because she refuses to sleep with a foreman and is forced into prostitution. Valjean is horrified and feels responsible. As she lies dying, he promises to care for her daughter, Cosette.
Valjean rescues Cosette from the corrupt innkeeper (Sasha Baron Cohen) and his wife (Helena Bonham-Carter). But he has attracted the attention of Javert, and so he and Cosette must hide. Ten years later, with Paris in the upheaval of a revolution, an idealistic young man named Marius (“My Week with Marilyn’s” Eddie Redmayne) sees Cosette (Amanda Seyfried) and instantly falls in love with her. In the midst of uprisings and violent reprisals, Valjean tries to keep his promise to Fantine and keep Cosette safe and happy.
Production designer Eve Stewart has done a masterful job, making the setting as vibrant and as essential to the story-telling as any of the characters. Director Tom Hooper (“The King’s Speech”) made a critical contribution by having the actors sing their parts while they were filming, instead of pre-recording them to be played back when the movie was being shot. Since the movie is “sung-through” (all dialogue is sung rather than alternating speaking and singing), this gives the music a welcome organic quality and immediacy. Hathaway’s character is on screen for only a brief time, but her big number, the “I Dreamed a Dream” song memorably sung by Susan Boyle, is wrenching. Hooper keeps the camera on her beautiful face, like the “Nothing Compares 2 U” Sinead O’Connor video, the better to feel her anguish, and it is a stunning moment. Elsewhere, he over-does the artsy angles and sometimes assumes too much familiarity with the storyline. Crowe’s voice is not up to the task and Seyfried’s is stretched beyond its capacity. Newcomer to film Samantha Barks (from the London cast) as Eponine, the daughter of the innkeepers who also loves Marius, sings like an angel and lights up the screen.
It’s a long slog at nearly three hours, for a non-Miz-head. But I came away with more understanding of those who are.
Parents should know that this is an epic story of struggle against oppression with disturbing and graphic abuse of prisoners and others, many characters injured and killed, sad deaths (including death of a child), and a woman accused of sexual misconduct and forced into prostitution.
Family discussion: How does the priest change Jean Valjean’s notion of what he should do? Why was Javert so conflicted? Why were the rebels willing to risk their lives?
If you like this, try: the PBS concert specials saluting the 10th and 25th anniversaries of the musical and the non-musical film versions
