Thursday Movie Picks: Prodigy/Genius

Exodus: Gods and Kings

Ender's Game

Directed by Gavin Hood.

2013. Rated PG-13, 114 minutes.

Cast:

Asa Butterfield

Harrison Ford

Viola Davis

Abigail Breslin

Moises Arias

Ben Kingsley

Hailee Steinfeld

Aramis Knight

Fifty years ago there was an alien invasion that wiped out much of humanity. Eventually, us earthlings were able to defeat the extra terrestrial invaders when a brave soul named Mazer Rackham (Kingsley) rammed his ship into the bad guys' mother ship and all of their smaller ships started falling out of the sky. Apparently, he saw Independence Day. Anyhoo, his sacrifice has made him a legend and we've been preparing for another attack ever since. Of course, all of our fighting vessels have lots of buttons and big screen displays and kids are allegedly more adept at using those things than adults, so it's decided that we only train child prodigies to be our future fighters. The program is run by Colonel Graff (Ford). He goes all Morpheus and thinks he has found "the one" in the form of Ender Wiggin (Butterfield). Trying to get him ready for the next invasion ensues.

Right away, the movie puts me in position to actually contemplate its premise. I like it, but at the same time it sounds like complete rubbish. To begin with, people who are really adept at video games are simply people who love video games, regardless of age. Kids tend to play them a lot more often due to having more time, less responsibility, yada yada, which is why they're generally better. Where I'm going is I don't think it would be wise at all to utilize children for such a program because of the real life ramifications of what you're asking them to accomplish. Do you really want to place your fate in the hands of button happy children? Since that's what the movie is going with, that's what I'm going with. The sooner you let go of the questions, the sooner you can get into the movie.

To help us get into it, it presents us with the dire reality that the powers that be aren't just preparing for a possible attack, they're fairly certain one is coming. Next, they run our hero through a series of training exercises. These are mostly interesting, particularly the floating war games thingy. On top of this our hero clashes with whoever his leader is every step of the way, so there's lots of arguing about everything. Lots of this arguing is done by Col. Graff and his right hand man woman Major Anderson (Davis). Her only function throughout the film is to say the exact opposite of whatever Graff says. Their back and forths are amusing, even if Ford seems to be phoning it in. Davis is her usual intense self. I swear that woman could make twiddling your thumbs sound like an urgent matter that must be addressed. Our star, Asa Butterfield, is rather meh, but helped greatly by appearing normal next to the scenery chewing Moises Arias (of Hannah Montana fame) as one of those leaders he clashes with. Ben Kingsley shows up later to chew whatever scenery was left over. Butterfield gets a nice emotional centering from Abigail Breslin as the girl who takes a shine to him and helps him out from time to time. This reminds me, as always, there is a budding romance shoe-horned in, though it never really goes anywhere.

Ahhh...never going anywhere. That's the movie's problem. I understand that the whole thing is meant to set up a sequel. However, that doesn't mean that it should completely anti-climactic. I hope I'm not spoiling it, but the way the movie plays out it's training, argue, training, argue, training, stupid twist, The End. It quite literally pulls the rug out from beneath your feet. My first reaction to what happened was "What? That's it?" Usually, when that happens I put my brain to work trying to dig a little deeper. Maybe I missed something. Perhaps something profound is lurking just beneath the surface that I didn't initially grasp. No, not really. It just kind of says "We were pulling your leg this whole time," and drops the mic like it just finished rocking the house. My house wasn't rocked.

Iron Man 3

Hugo

Directed by Martin Scorsese.

2011. Rated PG, 128 minutes.
Cast:
Asa Butterfield
Ben Kingsley
Chloë Grace Moretz
Sacha Baron Cohen
Jude Law

Ray Winstone
Helen McCrory
Richard Griffiths
Frances de la Tour
Christopher Lee

Hugo (Butterfield) is a tween-aged boy who lives alone inside the giant clock at the train station. Sort of. He’s supposed to be living there with his uncle Claude (Winstone) who is responsible for keeping the clock wound. However, Claude is a drunk and hasn’t been seen in quite some time. Hugo’s dad was already a widower when he died leaving his son in the care of his not-so-responsible brother. So Hugo keeps the clock running all by himself. He also works feverishly to fix the automaton his father left him, a robot that supposedly writes. Hugo has never seen it work.

Much of our hero’s day is spent scavenging food and parts from the shops in the station while avoiding station cop Inspector Gustave (Cohen). His favorite target is the toy store owned by crotchety old Papa Georges (Kingsley). When Georges catches Hugo, he makes the lad work for him to pay for all the stuff he’s stolen. He also confiscates the kid’s notebook which looks like a manual for the automaton. In an effort to get his notebook back, Hugo recruits Isabelle (Moretz) who lives with Papa Georges and his wife because her own parents have passed away. The two embark on a book retrieving adventure.

Eventually, we find out Hugo isn’t at all about the notebook , the writing robot or even the title character. Like Super 8, which I’ve recently watched, Hugo is actually a movie about movies. In this case, it focuses on the earliest days of filmmaking and how magical moving pictures must have been to people who had never heard of such a thing. By extension, it’s also about when we in the contemporary audience first fell in love with movies ourselves. After all, even the most cynical of us has been awed by a film and transported wholly into its world at some point in our lives. Finally, it makes an eloquent point about the need to step up the effort to preserve old films. If the viewer misses all that stuff about movies and merely focuses on the surface of Hugo, they’ll still get an enjoyable film.

Hugo is also about the visuals. That’s not quite right, the visuals are there to enhance the feeling that watching a movie is akin to witnessing magic. They are an important part of the film. Each shot is beautifully framed and the fluid movement of the camera has the effect of sweeping us away into this world. Unfortunately, I’m ill-qualified to comment any further. My lack of technical expertise aside, it’s a movie designed to be a 3D experience that I watched in 2D on a not-so-wide screen. Though I’m not a huge fan of the medium I would like to see this as it is meant to be seen.

Even without the funny glasses, I still had a good time watching Hugo. The story is thoroughly sweet and touching. Admittedly, that’s not what I’m normally looking for out of my Scorcese, but he makes it engaging. Interestingly enough, my children didn’t enjoy it as much despite the two youthful protagonists. Maybe I was wrong. Maybe you do need to understand a bit about the history of movies. After all, it is an adventure that leads not to a treasure of gold or something they deem tangible, but to an archive of silent films (I’m not spoiling anything). Maybe when I’m old and they’re making one of their obligatory visits I’ll force them to watch it with me just to see if they get it.

MY SCORE: 8/10

Prince of Persia: The Sands of Time

Directed by Mike Newell.
2010. Rated PG-13, 116 minutes.
Cast:
Jake Gyllenhall
Gemma Arterton
Ben Kingsley
Alfred Molina
Steve Toussaint
Ronald Pickup
Richard Coyle
Toby Kebbell

In ancient Persia, class is everything and usually an unchanging fact of one’s life. Dastan (Gyllenhall) is lucky to be an exception. A parentless ruffian at about 10 years of age, his fortunes change for the better when the king of Persia happens to witness some of his mischief, takes a liking to the boy and adopts him.

King Sharaman (Pickup) already has two biological sons so Dastan can never be king, himself. Still, he fights proudly for his father and his brothers. Under his brother’s orders, while the king is away, Dastan helps invade the holy city of Alumet looking for weapons they are allegedly supplying to enemies of Persia. Naw, that doesn’t reference the War in Iraq, at all. The king is none too pleased, at first, but eventually convinced it was for a just cause. Why are you thinking about Cheney and Bush? Stop it.

A short while later, Dastan discovers he is possession of a very special knife. When the button on its handle is pushed, the person holding it travels back in time about 30 seconds. Of course, whoever framed our hero wants to get their ancient little paws on it.

PoP is simply swash-buckling, good fun. There are lots of chase scenes which include fighting and all sorts of acrobatics. There’s also lots of contentious dialogue, enough of which earns a giggle. Finally, there are some serious plotholes concerning the knife and its use, which I won’t get into, here. However, the positives outweigh the negatives enough for this to just be a fun, popcorn flick. Don’t go looking for great depth, you won’t find it. Though the parallels between the story and our reality are interesting but the opportunity to explore them is wasted. What you will find is a great deal of very nearly brainless entertainment that you can munch snacks to. It’s definitely a “movie night” type of flick to watch with a group.

The Opposite View: Richard Knight, Windy City Times

What the Internet Says: 6.8/10 on imdb.com (9/24/10), 37% on rottentomatoes.com, 50/100 on metacritic.com

MY SCORE: 6/10

Shutter Island

Directed by Martin Scorsese.
2009. Rated R, 138 minutes.
Cast:
Leonardo DiCaprio
Mark Ruffalo
Ben Kingsley
Max von Sydow
Jackie Earle Haley
Michelle Williams
Emily Mortimer
Patricia Clarkson
Ted Levine
John Carroll Lynch

It’s 1954 and federal agent Teddy Daniels (DiCaprio) is sent to Shutter Island to investigate the escape of a patient from the mental institution. Actually, that’s redundant. The entire island basically serves as the mental institution. We learn that it’s where they keep the criminally insane. Though the faculty seems to want the issue resolved, they put up various walls of resistance. Our hero is having a hard time getting results.

Agent Daniels also has ulterior motives. It seems he’s had prior dealings with a mysteriously inconspicuous patient and is quite suspicious of what might really be going on in this remote location. He vows to his partner Chuck (Ruffalo) to get to the bottom of things.

As we follow the proceedings, we’re sucked in and wondering how our hero is going to save the day. We get hints along the way that saving the day may be impossible. We can eventually guess where this is all going. That’s normally a death knell. Here, it’s fine because it does something lesser movies don’t. It defiantly straddles the fence, not choosing either of the two possible outcomes it gives us. Neither is very pleasant. Yet, we still feel the need to decipher what we’ve seen, trying to extract the film’s truth. To be, or not to be really is the question. Supporters of both will have plenty of evidence to support their interpretation.

Once again teaming up with director Martin Scorsese, DiCaprio turns in another great performance. For Scorcese, it’s a departure from the norm. This is no gritty urban crime drama, but his storytelling is as effective as ever.

The drawback is that it runs too long. There is a scene in which the movie climaxes by giving us the two options to decide between. The next two or three minutes flesh out one of them. If the Coen Brothers had directed this, it would’ve ended right there, probably without those few minutes but abruptly stopping right when…I’ll let you see it. Scorcese drags it on too long after that, almost explaining too much.

“SI” is a top notch psychological thriller. It diminishes its own predictability with a heavy dose of ambiguity. It also plays with our heads by using lots of smoke and mirrors, but in a good way. This isn’t your uncle pulling a penny out of your ear, it’s a really slick sleight of hand David Blaine would be proud of.

The Opposite View: A.O. Scott, New York Times

What the Internet Says: 8.0/10 on imdb.com (7/16/10), 67% on rottentomatoes.com, 63/100 on metacritic.com

8.5/10