BRAVE

Reviewed by Patrick Gibbs

GRADE A +

Kelly McDonald, Emma Thompson, Billy Connolly, Julie Walters, Robbie Coltrane
Written by Mark Andrews, Steve Purcell and Brenda Chapman and Irene Mecci
Directed by Mark Andrews, and Brenda Chapman
Co-Directed by Steve Purcell

The story begins with Merida, a little princess with a wild mane of red, curly hair, is living in the Scottish kingdom of DunBroch with her mother, Queen Elinor and her father, King Fergus. Young Merida is enchanted when she sees a will o' the whisp, a magical little faerie creature, But of course, King Fergus does not believe in such things, but Merida and her mother do.

On Merida's birthday, Fergus gives Merida a bow and arrow. While going hunting, Merida's family are attacked by an ancient bear, Mor'du. Elinor and Merida flee. Fergus stays to battle the bear and loses his left leg, vowing to find Mor'du again.
The narrative then then jumps forward, and Merida has become a young lady of marrying age. And marriage seems to be exactly what is on everyone's minds . . . except for Merida herself. When Lords Macintosh, MacGuffin, and Dingwall present their sons to compete for Merida's hand, a brawl ensues, and it is agreed that the proper suitor will be chosen through a test of skill, which, according to tradition, is decided upon by the princess herself. Seeing an opportunity, Merida chooses an archery challenge, with the secret plan to compete for her own hand.

From there, the story takes some unexpected turns and it went isn't a very different direction then I was expecting, as the film takes on a heavy fantasy element and becomes less of the soaring adventure the trailer might leave audiences anticipating. In the end, this is PIXAR movie, and as such, it falls back on being what PIXAR does best. Brave is a buddy movie, much like Toy story, Monsters', Inc., Finding Nemo – but it's a different kind of buddy movie. It's a mother-daughter buddy movie, and a gloriously heartfelt and insightful one. It breathes a sorely needed element of feminism into the Disney Princess world – even Beauty and the Beast, after all, while centered around a heroine who wanted more than to just defined by a relationship with a man, still ends up being about her relationship with the right man - but it's also a story about the strength of families and the unbreakable bond between good parents and their children.
Merida (as voice by Kelly McDonald) is in a class by herself as a Disney Princess. She's strong willed, can outshout any man in the kingdom with a bow, and even stand up to her own father with a sword. But she's also immature and too impetuous, and perhaps a bit selfish in some of her actions. She's not perfect, which only strengthens the character and the messages of the film. She much to teach her family and her kingdom, but much to learn as well. But the same can be said of Elinor (Emma Thompson) and Fergus (Billy Connolly.). The family dynamic in Brave is one of the strongest and most honest ever portrayed in a Disney film, and in the end, in this royal family, the family element is of far more importance than royalty.
The voice cast is excellent, especially the aforementioned leads, but the addition of such stalwarts as Robbie Coltrane, Julie Walters and even talk show host Craig Ferguson are top notch. And of course, there is the obligatory cameo by John Ratzenberger.

The majesty of the Scottish highlands are brilliantly brought to life, not only by the dazzling animation, but by the outstanding musical score by Patrick Doyle (most famous for scoring Kenneth Branagh's films from Henry V to Thor, as well as Harry Potter and The Goblet of Fire and Rise of The Planet of the Apes). As an aficionado of Celtic music who actually used to play the bagpipes myself, I was beyond delighted to hear actual Highland pipes featured in the score itself, which is almost never done, and the attention to accuracy to detail, from the clothing to the food the caber toss and the steps of my personal favorite Highland dance, the seann trius, are not something most people are going to geek out over like I did, but they add a flavor and nuance to the transportation of the audience to to a different time and place that enhance the experience even for those who aren't fully aware of it.

The story at times becomes reminiscent of other Disney films, with the slight touch of Toy Story that one would expect from PIXAR and elements of The Princess and The Frog and even the unfairly maligned Brother Bear, but it takes on such a distinct identity of it's own that it never becomes tedious or feels like it's covering the same old territory.

This is a perfect family film on a epic scale, and a very welcome Princess story that is indeed about love, but where romance never enters the picture, and while there's nothing wrong with romance, it's a wonderfully refreshing change of pace for such a story to portray that life, and love, have so much else to offer than just the pairing of a Princess with her handsome Prince and their happily ever after. Life is a journey, and every moment is something to be savored.

Brave is rated G, but does feature some intense moments, as well as brief nudity (male backsides) and a joke centered around a Lady in Waiting's ample cleavage, but both are very tastefully done and it's still appropriate for little ones.

ROCK OF AGES

Reviewed by Patrick Gibbs 

GRADE: B -
Julianne Hough, Diego Bonetta, Catherine Zeta-Jones, Alec Baldwin, Russell Brand, Paul Giamatti and Tom Cruise
Written by Justin theroux and Allan Loeb
Based on the Musical by Chris Di'Arienzio
Directed By Adam Shenkman



In 1987, Sherrie Christian (Julianne Hough) travels on a bus from her small town in Oklahoma to L.A., intent of pursuing her dream of becoming a famous singer, and we are treated to the first in a series of roughly 1800 musical numbers made up of mainstream '80's rock hits (in this case, “Sister Christian” mixed with “Almost Paradise.”) The rest of the passengers on the bus join in, and it makes for a silly but cute opening sequence.

Upon reaching LA LA land, the bus passes by a popular nightclub called "The Bourbon Room." Quickly after getting off the bus, our heroine is mugged, losing her most prized possession – a suitcase containing her favorite records. Enter our hero: Drew Boley (Diego Bonetta), who works at the Bourbon Room as a bounce boy. He tries to catch the robber, but fails. Since he can't get her the records, and he's a nice guy motivated by a the kindness of his heart and the tightness of her shorts, he he gets her a job at the Bourbon Room as a waitress.

The club's owner, Dennis Dupree (Alec Baldwin in a less than convincing wig), and his right-hand man, Lonny Barnett (Russell Brand, in what could either be an even sillier wig or just his real hair), are finagling a deal that could save the club, which they are in danger of losing due to massive unpaid back taxes. Stacee Jaxx, the eccentric and notoriously difficult front-man for Arsenal, has recently announced that he is splitting from his band to embark on a solo career, but a final performance with the band at The Bourbon Room could be just the ticket to save the beloved old club.

Enter the villain: Patricia Whitman (Catherine Zeta-Jones), the religious conservative wife of the Mayor. Patricia organizes her church to protest in front of the Bourbon Room, planning to shut them down. Meanwhile, Drew and Sherrie get to know each other, and a romance begins to blossom. But everything is suddenly amped up all the way to eleven upon the actual arrival of Stacee Jaxx (played by Tom Cruise), the man, the myth, and the money (a pet which he calls “Hey Man.”)

Obviously, this is not a story driven movie. Rock of Ages is short on plot, even for a musical – it plays like a cross between Bye, Bye Byrdie and The Best Little Whorehouse in Texas, including the raunchy elements of the latter. For a PG-13, this pushes the envelope about as far as it can go with sensuality and what can barely be called innuendo because it's much more direct. There's no actual nudity, but between strip clubs, slutty outfits, and Paul Giammati's scalp, there's enough skin on display to keep half the audience smiling and the other half squirming from start to finish, and if there were any more gyrating or boob grabbing on display, this movie could run for Senate.

The film's biggest strengths lie in the music, most of which is recognizable even if you're not a walking encyclopedia of '80's tunes, and the boundless energy of the cast. Diego Bonnetta, as Drew, has a fiery presence and a killer voice that he probably won't get a chance a chance to show off in many films, so it's fortunate that he gets more than enough chances in this one, and he makes quite an impression with an earnest and engaging performance . Julianne Hough, as Sherrie, is equally energized, but her voice, which is better suited to country than rock, can get a bit shrill at times. Still, the attractive and perky young pair provides plenty of entertainment provides plenty of entertaining eye candy (and he's not bad either.)

But the performance everyone is wondering about is Tom Cruise. Does he rock you like a hurricane, or stage dive flat on his face? On the heels of the surprise mega hit Mission: Impossible – Ghost Protocol, Cruise is poised for a possible comeback, and there's a lot riding on this film for the controversial star. Fortunately for him, he gives a breathtaking performance that should surprise and impress fans and detractors alike – no one has dominated the screen in a supporting role this decisively since Heath Ledger's Joker, and honestly, there's an excellent chance of an Oscar nod for his portrayal of a past his prime, slightly crazy and egocentric star with a penchant for younger women (I know, it's a real stretch.) Say what you want about Cruise, but no other actor in Hollywood can match his level of dive in head first, I'll do anything for the part commitment, whether it's scaling the tallest building in the world, or practicing for five hours a day to get his voice ready to belt out a very memorable rendition of Bon Jovi's Wanted: Dead Or Alive. If this movie is even a moderate hit it should cement the return of Cruise to the good graces of Hollywood and the movie going public.
Zeta-Jones belts out a great rendition of Hit Me With Your Best Shot, but is otherwise underused, but not as shamefully as the amazing talented Bryan Cranston as her husband. The star of such television hits as Malcolm in the Middle and Breaking Bad has yet to be given a big screen role to compare with his television work, and this is certainly not it.

Fortunately, fairing far better are Baldwin and Brand, who make a delightful comic duo. Rounding out the cast are Giamatti, given his usual stellar work as Stacee's unscrupulous manager, and Malin Ackerman, the live sized wax figure from Watchmen. Her acting style does tend to play better in light comedy, and her singing is stronger than he acting, but she still has to fall back her old standby to make an impression, and in doing so provides the film's once major stylistic anachronism when she strips down to a bra and panties that are less than authentic to the period.

Again, the musical numbers are where the movie really shines, and it's important to remember that the Broadway version hit upon the idea of Journey's Don't Stop Believing as a sure fire showstopper long before Glee was even in it's brief early period as a good show, so you can't blame the film if the song seems more than bit overdone at this point. Rock of Ages is likely to sell more soundtrack albums than tickets in the long run, but while the film is flimsy and overlong, it's quite amusing and watchable 90 percent of the time. Just don't make the mistake of thinking that being a light musical makes it family fair.
This is not for everyone's tastes, and certainly won't make my best of the year list, but it is campy fun that with leave you singing a happy song.

Rock of Ages is rated PG-13 for sexuality and vulgarity throughout, profanity, drug use, smoking, and very mild violence.

PROMETHEUS

Reviewed by Patrick Gibbs

GRADE: A-
Noomi Rapace, Charlize Theron, Idris Elba, Logan Marshall-Green, Michael Fassbender and Guy Pearce
Written by Jon Spaihts & Damon Lindelof
Directed by Ridley Scott

It may be true that in space, no one can hear you scream, but many people heard the name Ridley Scott after the 1979 classic Alien, which launched a distinguished career not only for Scott, but eventually one for James Cameron as well. Despite the involvement of talents such as David Fincher, Jean-Pierre Juent, and Joss Whedon, the series fizzled so badly after the attempts to follow up Cameron's Aliens that most fans prefer to pretend there are only two Alien films.

But that is about to change.

Prometheus begins in 2089, as two archaeologists, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover a star map among several unconnected ancient cultures. They interpret this as an invitation from the an alien race to come to them. What's more, they believe that the secret to life on this planet of “engineers” holds the answer to the beginning of life on Earth.

Peter Weyland (Guy Pearce), the elderly founder of the Weyland Corporation, funds the creation of the scientific vessel Prometheus to follow the map to the distant moon LV-223. The ship's crew travels in stasis while the android David (Michael Fassbender) monitors their voyage. In 2093, the ship arrives, and its crew are informed of their mission to find the Engineers. Mission director Meredith Vickers (Charlize Theron) orders them to avoid direct contact if the Engineers are found. The Prometheus lands near a structure and a team is sent to explore within.

To give away any beyond that would be to spoil one of the summer's most anticipated, and as it turns out, one of it's best films. Scott hasn't made a film this good in quite a while, and nobody has made a big budget science fiction epic this intelligent and layered in more years than I care to count. Prometheus is saddled with the daunting task of being both a 2001: A Space Odyssey style ponderous piece of intellectual science fiction while at the same time staying true to Scott's original classic that inspired it, which is no easy task. Anyone who saw Danny Boyle promising but ultimately disastrous film Sunshine has to really question whether you can possibly combine cerebral commentary on science and the nature of the universe with thrills, scares and gore. But Prometheus succeeds on every level that Sunshine failed, and may be the most overall satisfying film in the Alien series.

The cast is quite good, with Charlize Theron giving a delightfully enigmatic performance that ranges from tightly stoic to irresistibly sexy, without ever being over played, and Noomi Rapace (the original Lizbeth Salander) proves that she can anchor an American film just as well as Swedish one, if not better. It's almost as if someone asked the question “What if Ellen Ripley had been played by Audrey Hepburn” and the elegant and charming Rapace simply repeated the immortal words of John Hammond: “I'll show you.” Rapace and Scott work together gloriously, particularly in a wonderful cringe inducing sequence that very cleverly references the famous “alien pops out of the stomach” sequence in the original film in a way that will make you terrified of any machine you see in a doctor's office for the rest of your life.
But by far the most entertaining performances come from Idris Elba as Janek, the Captain of Prometheus, an amiable fellow who doesn't waste a lot of time talking just to hear himself talk, but leaves you with the strong impression that he's every bit as smart in his own way as the brilliant scientists he ferries aboard his ship, and Michael Fassbender as David, the android created by Weyland. David is still working on developing his personality, and has taken to mimicking Peter O'Toole is his favorite film, Lawrence of Arabia (apparently Weyland programmed this machine with excellent cinematic taste), to the point of copying his speech patterns and mannerisms, and even giving himself bright blond hair. Fassbender is deliciously entertaining as by far the most complex and interesting of the androids we've seen in these films, and deserves consideration for Best Supporting Actor.

Unfortunately, on the other end of the spectrum is Guy Pearce as Weyland. Why Scott chose to use the extremely talented but occasionally hammy star of L.A. Confidential and Memento in cheesy old age make-up that brings to mind The Simpson's Monty Burns, when he could have simply used a distinguished older actor like Christopher Plummer or even O'Toole himself is beyond puzzling. Every critic in the screening I attending commented that they were waiting for some big “Fountain of Youth” style plot twist that, while it would have had no place in the story, would have justified or at least explained this baffling choice.

But otherwise, the director and his crew take Prometheus safely and successfully to it's intended destination in style and grace, giving us a thrilling ride. Unfortunately, it may simply by too thoughtful to connect with mass audiences.

Prometheus is rated R for violence and gore, as well as some sensuality and profanity.