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Gareth von Kallenbach (965 KP) rated Alice in Wonderland (2010) in Movies
Aug 8, 2019
About to take her place as a lady of civilized society, Alice is having trouble fitting in with the expectations of the world around her. How will she ever fit in with her wondering mind and regular dreams of a fantasyland filled with magic, creatures, and more than a tea pot filled with nonsense.
Tim Burton’s new live action “Alice in Wonderland” takes us past the tale of the animated Disney classic and into an even more vivid plot-filled adventure. The film merges elements from both of Lewis Carroll’s much beloved tomes, “Alice’s Adventures in Wonderland” and “Through the Looking Glass, and What Alice Found There”. For those who do not know the books, the new live action film will introduce you to characters not encountered in the original Disney film. Those who have patiently waited to see their favorite characters on the screen will delight in the precise details; from the wild environment to the strategic use of literary quotes.
As much as it is a visual spectacle filled with eye-popping clothing, explosive color, and delightful dialogue, where “Alice in Wonderland” most impresses is in characters. The most familiar characters, the Mad Hatter (Johnny Depp), the Cheshire Cat (voice by Stephen Fry) and The Red Queen (Helena Bonham Carter), are zanier, more charming, and definitely madder then ever before. And new characters such as the White Queen (Anne Hathaway) and Knave of Hearts (Crispin Glover) also captivate and amuse. In fact, audiences will be hard pressed to choose a favorite character let alone scene.
Viewers who opt to see the film in the intended 3D (better still in IMAX 3D) will be highly rewarded; the effects are engrossing straight down to credits. For those who forgo the additional dimension “Alice in Wonderland” is so well plotted that even without the bells and whistles it will prove to be exceptional.
A must for an Alice fan of any age and a delight for anyone with a strong imagination, “Alice in Wonderland” blows past the dreary expectations by bringing curiosity and nonsense back to the big screen.
Tim Burton’s new live action “Alice in Wonderland” takes us past the tale of the animated Disney classic and into an even more vivid plot-filled adventure. The film merges elements from both of Lewis Carroll’s much beloved tomes, “Alice’s Adventures in Wonderland” and “Through the Looking Glass, and What Alice Found There”. For those who do not know the books, the new live action film will introduce you to characters not encountered in the original Disney film. Those who have patiently waited to see their favorite characters on the screen will delight in the precise details; from the wild environment to the strategic use of literary quotes.
As much as it is a visual spectacle filled with eye-popping clothing, explosive color, and delightful dialogue, where “Alice in Wonderland” most impresses is in characters. The most familiar characters, the Mad Hatter (Johnny Depp), the Cheshire Cat (voice by Stephen Fry) and The Red Queen (Helena Bonham Carter), are zanier, more charming, and definitely madder then ever before. And new characters such as the White Queen (Anne Hathaway) and Knave of Hearts (Crispin Glover) also captivate and amuse. In fact, audiences will be hard pressed to choose a favorite character let alone scene.
Viewers who opt to see the film in the intended 3D (better still in IMAX 3D) will be highly rewarded; the effects are engrossing straight down to credits. For those who forgo the additional dimension “Alice in Wonderland” is so well plotted that even without the bells and whistles it will prove to be exceptional.
A must for an Alice fan of any age and a delight for anyone with a strong imagination, “Alice in Wonderland” blows past the dreary expectations by bringing curiosity and nonsense back to the big screen.
Gareth von Kallenbach (965 KP) rated Hot Tub Time Machine 2 (2015) in Movies
Jun 19, 2019
When “Hot Tub Time Machine” came out almost five years ago, it took a whacky concept of four friends whisked back in time during a getaway to the 80s giving them a chance to fix aspects of their lives they wished they had done differently.
The outrageous and bawdy humor as well as strong performances from John Cusack and Crispin Glover made the film a cult hit that earned over $64 million worldwide and did well on DVD sales as well.
Naturally a sequel was planned and when I first heard it was looking to be a direct to DVD sequel sans Cusack, I had an idea that the film may be little more than an effort to cash in on the success of the first film without offering much to the continued story of the characters.
I was encouraged by the early trailers for the sequel and as such went into the screener with better expectations than I had originally had when I first heard of the projects.
The film explains that “John Cusack’s character is off on adventure of self-discovery as the friends have all become wealthy and famous after the events of the first film. Lou (Rob Corddry) has milked Motley Crue and his knowledge of pending tech to establish himself as a major player, Nick (Craig Robinson) has cashed in on a recording career by covering famous songs from his day before they were ever released and Jacob (Clark Duke) is stuck playing Butler to his father Lou.
Lou has become an example of an ego run wild and during one of his lavish parties; he is shot and left near death. In a move of desperation, Nick and Jacob whisk Lou into the Hot Tub and attempt to go back in time to stop the shooting.
Things do not go as planned as the trio end up 15 years into the future and must find a way to put things right and get home.
One would think that this premise would be able to produce some funny moments, but sadly the film is painfully slow and plodding and most shocking of all, very, very unfunny. The film tries to get some crude laughs from a gameshow of the future and a homicidal Smart Car but the film just wanders from situation to situation looking for laughs and does not setup or execute them properly.
There is a montage scene at the end of the film which sadly is the best part and shows what could have been a much better sequel with the group going through time taking the place of famous individuals and interacting with them.
As it stands, “Hot Tub Time Machine 2”, is a trip you do not want to make.
http://sknr.net/2015/02/20/hot-tub-time-machine-2/
The outrageous and bawdy humor as well as strong performances from John Cusack and Crispin Glover made the film a cult hit that earned over $64 million worldwide and did well on DVD sales as well.
Naturally a sequel was planned and when I first heard it was looking to be a direct to DVD sequel sans Cusack, I had an idea that the film may be little more than an effort to cash in on the success of the first film without offering much to the continued story of the characters.
I was encouraged by the early trailers for the sequel and as such went into the screener with better expectations than I had originally had when I first heard of the projects.
The film explains that “John Cusack’s character is off on adventure of self-discovery as the friends have all become wealthy and famous after the events of the first film. Lou (Rob Corddry) has milked Motley Crue and his knowledge of pending tech to establish himself as a major player, Nick (Craig Robinson) has cashed in on a recording career by covering famous songs from his day before they were ever released and Jacob (Clark Duke) is stuck playing Butler to his father Lou.
Lou has become an example of an ego run wild and during one of his lavish parties; he is shot and left near death. In a move of desperation, Nick and Jacob whisk Lou into the Hot Tub and attempt to go back in time to stop the shooting.
Things do not go as planned as the trio end up 15 years into the future and must find a way to put things right and get home.
One would think that this premise would be able to produce some funny moments, but sadly the film is painfully slow and plodding and most shocking of all, very, very unfunny. The film tries to get some crude laughs from a gameshow of the future and a homicidal Smart Car but the film just wanders from situation to situation looking for laughs and does not setup or execute them properly.
There is a montage scene at the end of the film which sadly is the best part and shows what could have been a much better sequel with the group going through time taking the place of famous individuals and interacting with them.
As it stands, “Hot Tub Time Machine 2”, is a trip you do not want to make.
http://sknr.net/2015/02/20/hot-tub-time-machine-2/
Gareth von Kallenbach (965 KP) rated Hot Tub Time Machine (2010) in Movies
Aug 8, 2019
Adam (John Cusack) is a man going nowhere fast. Upon his return home one day, Adam finds his girlfriend gone, his nephew Jacob (Clark Duke) in his basement addicted to playing online games that simulate real life, and his friend Lou (Rob Corddry) in the hospital.
When Adam meets up with his friend Nick (Craig Robinson) at the hospital, Nick attempts to brighten up Lou by offering him a trip to their old ski resort to relive the fun of their youth. With Jacob tagging along, the three friends head back to the site of their past glory, and realize that things have not improved with time.
The scenic town is now run down and largely abandoned and their resort has long since seen better days. Undaunted, the group breaks out the alcohol and heads for the hot tub in an effort to make the most out of their time with one another and to escape their empty lives.
Upon awakening from their stupor the group discovers that they have been whisked back to 1986 and they appear to everyone there as the younger versions of themselves. Jacob flips though when he sees himself as a flickering image and becomes convinced that they must not do anything to alter the future and must relive the weekend of 1986 over exactly as they did the first time.
A quirky repair man (Chevy Chase), indicates that he can fix the tub, but that he will need some time. Adam is thrilled when he meets his old girlfriend and then laments the fact that he has to end their relationship in order to preserve the timeline. Adam has long regretted her leaving the love of his life and is tempted to do things differently this time.
Nick looks to relieve his failed musical debut as a singer, but knows that he must do what is needed to get home. Lou, on the other hand, is the loose cannon of the group and is thrilled to get another chance at glory and chase women since he has become a pathetic loser in the future.
What follows is a madcap and outrageous comedy that lovingly resurrects the classic 80’s movies of old and infuses the modern gross out humor to successfully blend the old with the new as the friends struggle to get through the weekend and return home without altering the future.
The cast is solid, and Crispin Glover is great as the bizarre bellhop destined to have his arm go missing, but the when and how drives Lou insane in anticipation. While Robinson and Cusack do solid work, Corddry steals the film as a scheming, madcap mix of depravity and patheticness that drives the film.
While the movie did drag in a few parts for me there were enough laughs in the film to keep me interested and enjoy the nostalgic look back at my beloved 80s.
When Adam meets up with his friend Nick (Craig Robinson) at the hospital, Nick attempts to brighten up Lou by offering him a trip to their old ski resort to relive the fun of their youth. With Jacob tagging along, the three friends head back to the site of their past glory, and realize that things have not improved with time.
The scenic town is now run down and largely abandoned and their resort has long since seen better days. Undaunted, the group breaks out the alcohol and heads for the hot tub in an effort to make the most out of their time with one another and to escape their empty lives.
Upon awakening from their stupor the group discovers that they have been whisked back to 1986 and they appear to everyone there as the younger versions of themselves. Jacob flips though when he sees himself as a flickering image and becomes convinced that they must not do anything to alter the future and must relive the weekend of 1986 over exactly as they did the first time.
A quirky repair man (Chevy Chase), indicates that he can fix the tub, but that he will need some time. Adam is thrilled when he meets his old girlfriend and then laments the fact that he has to end their relationship in order to preserve the timeline. Adam has long regretted her leaving the love of his life and is tempted to do things differently this time.
Nick looks to relieve his failed musical debut as a singer, but knows that he must do what is needed to get home. Lou, on the other hand, is the loose cannon of the group and is thrilled to get another chance at glory and chase women since he has become a pathetic loser in the future.
What follows is a madcap and outrageous comedy that lovingly resurrects the classic 80’s movies of old and infuses the modern gross out humor to successfully blend the old with the new as the friends struggle to get through the weekend and return home without altering the future.
The cast is solid, and Crispin Glover is great as the bizarre bellhop destined to have his arm go missing, but the when and how drives Lou insane in anticipation. While Robinson and Cusack do solid work, Corddry steals the film as a scheming, madcap mix of depravity and patheticness that drives the film.
While the movie did drag in a few parts for me there were enough laughs in the film to keep me interested and enjoy the nostalgic look back at my beloved 80s.
Gareth von Kallenbach (965 KP) rated Beowulf (2007) in Movies
Aug 14, 2019
The classic Epic poem Beowulf has come to the big screen in a stunning CGI extravaganza under the direction of Director Robert Zemeckis.
For those not familiar with the poem, it is an ancient Danish poem that talks of the heroic exploits of the hero Beowulf, as he battles all manner of bizarre creatures. The poem was told orally from generation to generation and eventually became known to many as the source of much of the early great literature from the western world.
I first became familiar with the tale some twenty years ago during my early years in private school where our headmaster had it as required reading for all of his students in honors level English.
The film stays very close to the poem and tells the tale of King Hrothgar (Sir Anthony Hopkins), a troubled leader whose kingdom is under siege by a hideous creature known as Grendel (Crispin Glover).
During a brutal attack by Grendel which results in the loss of many lives, King Hrothgar promises half the gold in his kingdom to any hero who can rid the land once and for all of the foul creature that has caused so much suffering.
In short order, the heroic Beowulf (Ray Winstone), arrives with is army of warriors to take up the challenge. Beowulf is legendary for his exploits in vanishing monsters, but his boastful nature raises the concerns of Unferth (John Malkovich), who thinks that Beowulf ‘s reputation and ability is far more style than substance.
Eventually Beowulf battles Grendel, and accomplishes his goal but learns that the monster has a Demonic mother that to must be destroyed in order for peace to truly be achieved.
Beowulf sets off the kill the demon (Angelina Jolie), but finds himself unable to match her whiles, and enters into a deal that has far reaching repercussions.
The second half of the film deals with the consequences of Beowulf’s decisions and how having is not nearly as important as wanting, which leads to a spectacular and FX filled final segment.
The film is amazing, and for those lucky enough to see the film in 3D, filled with amazing visual treats.
While the film is in no way suitable for children due to the violence it contains, the story holds up very well centuries later, and provides a solidly entertaining tale of heroism, betrayal, and morality that stands the test of time.
I had concerns that the film would be a slap-dashed effort that was attempting to cash in on the success of “The 300”, but in actuality, I found this film to be far more entertaining and satisfying.
The voice work of the cast is solid, but it is clearly the visuals that drive this film, as well as the dynamic effects made possible by the latest advancements in 3D technology as the film literally bursts out of the screen.
Beowulf will not be for everyone as those unfamiliar with the work on which it is based may find it derivative or predictable, but when you consider this is literally the tale that started it all, you could make an argument, that it set the table for all future tales to follow.
For those not familiar with the poem, it is an ancient Danish poem that talks of the heroic exploits of the hero Beowulf, as he battles all manner of bizarre creatures. The poem was told orally from generation to generation and eventually became known to many as the source of much of the early great literature from the western world.
I first became familiar with the tale some twenty years ago during my early years in private school where our headmaster had it as required reading for all of his students in honors level English.
The film stays very close to the poem and tells the tale of King Hrothgar (Sir Anthony Hopkins), a troubled leader whose kingdom is under siege by a hideous creature known as Grendel (Crispin Glover).
During a brutal attack by Grendel which results in the loss of many lives, King Hrothgar promises half the gold in his kingdom to any hero who can rid the land once and for all of the foul creature that has caused so much suffering.
In short order, the heroic Beowulf (Ray Winstone), arrives with is army of warriors to take up the challenge. Beowulf is legendary for his exploits in vanishing monsters, but his boastful nature raises the concerns of Unferth (John Malkovich), who thinks that Beowulf ‘s reputation and ability is far more style than substance.
Eventually Beowulf battles Grendel, and accomplishes his goal but learns that the monster has a Demonic mother that to must be destroyed in order for peace to truly be achieved.
Beowulf sets off the kill the demon (Angelina Jolie), but finds himself unable to match her whiles, and enters into a deal that has far reaching repercussions.
The second half of the film deals with the consequences of Beowulf’s decisions and how having is not nearly as important as wanting, which leads to a spectacular and FX filled final segment.
The film is amazing, and for those lucky enough to see the film in 3D, filled with amazing visual treats.
While the film is in no way suitable for children due to the violence it contains, the story holds up very well centuries later, and provides a solidly entertaining tale of heroism, betrayal, and morality that stands the test of time.
I had concerns that the film would be a slap-dashed effort that was attempting to cash in on the success of “The 300”, but in actuality, I found this film to be far more entertaining and satisfying.
The voice work of the cast is solid, but it is clearly the visuals that drive this film, as well as the dynamic effects made possible by the latest advancements in 3D technology as the film literally bursts out of the screen.
Beowulf will not be for everyone as those unfamiliar with the work on which it is based may find it derivative or predictable, but when you consider this is literally the tale that started it all, you could make an argument, that it set the table for all future tales to follow.
TheDefunctDiva (304 KP) rated Alice in Wonderland (2010) in Movies
Sep 26, 2017
A is for Artful
Contains spoilers, click to show
As with another of Tim Burton’s films, Sleepy Hollow, Alice in Wonderland strays significantly from the original material. And, in a vein similar to Sleepy Hollow, decapitation is a much-discussed topic.
Alice is introduced to the audience as a child who has strange dreams. In the subsequent scenes, an older Alice is seen in a carriage with her mother. She is unwittingly on her way to her engagement party, and she is fully expected to accept the offer of marriage from someone who seems quite ill-suited for her. “Your life will be perfect. It’s already been decided,” says her sister Margaret.
Elements of the engagement party offer foreshadowing for the alternate reality Alice soon finds herself in. Instead of accepting her suitor’s proposal, Alice runs away and follows a rabbit wearing a waistcoat into an exceptionally large rabbit hole. There, she is found falling with a variety of household objects, including one particularly friendly piano.
Once in Wonderland, Alice’s world has literally turned upside-down. She falls from her perch on the ceiling to the floor. Alice solves a puzzle of many locked doors, using the expected growing and shrinking mechanisms, and then she emerges into a strange topiary. There she is greeted by the rabbit and other residents of Wonderland, who argue whether this Alice is “the right Alice.”
Many of the traditional characters are found in this Wonderland, but most of the ominous poetry associated with those characters has been omitted. Tweedledum and Tweedledee are introduced, but they don’t seem to serve much purpose. I missed the recitation of “the Walrus and the Carpenter” very much.
Alice insists that the world around her must be a dream, as she is led through oversized mushrooms to a blue caterpillar, voiced by the talented Alan Rickman. Once again, Alice’s destiny is written: the caterpillar reveals a scroll which shows an image of Alice slaying the dreaded Jabberwocky. Indeed, it is her role to become the champion of Wonderland, to rise up and defeat the Red Queen who keeps this horrible beast as a weapon.
Later, we come across a dysfunctional tea party held under the shadow of a dilapidated windmill. Johnny Depp appears as the wild and wide-eyed Mad Hatter. Alice, it seems, is late to her tea just as she was to her engagement party. We learn that there is a whole network of characters, including the White Queen (Anne Hathaway), who wish to bring down the tyrannical Red Queen.
The struggle between the Red and White Queens eventually comes to a head, and Alice bravely accepts her fate to fight the Jabberwocky. And the Jabberwocky is indeed a terrifying entity, as it seems to be part dinosaur and part dragon.
The visual effects in this film were striking. Burton paints a beautiful landscape full of dark, rich colors. Several moments in the film are surreal and disturbing, such as when Alice crosses a moat full of dismembered heads to gain access to the Red Queen’s castle. However, some of the characters, such as the Cheshire cat, had a more cartoonish quality about them that I found off-putting.
The acting and voice-overs in the film were also impressive. Actress Mia Wasikowska was enchanting as Alice. She reflected the vulnerability and the more intrepid characteristics of the young girl quite well. Depp was delightfully creepy as the Mad Hatter. Crispin Glover was effective as the Knave of Hearts, the Red Queen’s lead henchman. And Stephen Fry was a marvelous voice choice for the strange and eerie Cheshire Cat.
The Red Queen is quite the character in this film. Helena Bonham Carter perfectly captures the Queen’s cruelty and absurdity. She delivers the “off with his head” line repeatedly and with gusto. The Queen’s cranium was so large that I was surprised she didn’t fall forward from the weight of it. And I haven’t seen that much blue eyeshadow since the 80s.
The Blu-ray version of this film enhanced the quality of the computer graphic imagery quite well. The special features consisted of interviews of the cast regarding the characters. These interviews contained behind-the-scenes looks at some of the makeup and green screen work done on this film. Though these interviews were enlightening, I would have loved to see more about the production process, since the sets and some characters were entirely computer-generated.
All things considered, Burton’s Alice in Wonderland is a delightful departure from reality. Fans of Burton’s other films are sure to love it.
Alice is introduced to the audience as a child who has strange dreams. In the subsequent scenes, an older Alice is seen in a carriage with her mother. She is unwittingly on her way to her engagement party, and she is fully expected to accept the offer of marriage from someone who seems quite ill-suited for her. “Your life will be perfect. It’s already been decided,” says her sister Margaret.
Elements of the engagement party offer foreshadowing for the alternate reality Alice soon finds herself in. Instead of accepting her suitor’s proposal, Alice runs away and follows a rabbit wearing a waistcoat into an exceptionally large rabbit hole. There, she is found falling with a variety of household objects, including one particularly friendly piano.
Once in Wonderland, Alice’s world has literally turned upside-down. She falls from her perch on the ceiling to the floor. Alice solves a puzzle of many locked doors, using the expected growing and shrinking mechanisms, and then she emerges into a strange topiary. There she is greeted by the rabbit and other residents of Wonderland, who argue whether this Alice is “the right Alice.”
Many of the traditional characters are found in this Wonderland, but most of the ominous poetry associated with those characters has been omitted. Tweedledum and Tweedledee are introduced, but they don’t seem to serve much purpose. I missed the recitation of “the Walrus and the Carpenter” very much.
Alice insists that the world around her must be a dream, as she is led through oversized mushrooms to a blue caterpillar, voiced by the talented Alan Rickman. Once again, Alice’s destiny is written: the caterpillar reveals a scroll which shows an image of Alice slaying the dreaded Jabberwocky. Indeed, it is her role to become the champion of Wonderland, to rise up and defeat the Red Queen who keeps this horrible beast as a weapon.
Later, we come across a dysfunctional tea party held under the shadow of a dilapidated windmill. Johnny Depp appears as the wild and wide-eyed Mad Hatter. Alice, it seems, is late to her tea just as she was to her engagement party. We learn that there is a whole network of characters, including the White Queen (Anne Hathaway), who wish to bring down the tyrannical Red Queen.
The struggle between the Red and White Queens eventually comes to a head, and Alice bravely accepts her fate to fight the Jabberwocky. And the Jabberwocky is indeed a terrifying entity, as it seems to be part dinosaur and part dragon.
The visual effects in this film were striking. Burton paints a beautiful landscape full of dark, rich colors. Several moments in the film are surreal and disturbing, such as when Alice crosses a moat full of dismembered heads to gain access to the Red Queen’s castle. However, some of the characters, such as the Cheshire cat, had a more cartoonish quality about them that I found off-putting.
The acting and voice-overs in the film were also impressive. Actress Mia Wasikowska was enchanting as Alice. She reflected the vulnerability and the more intrepid characteristics of the young girl quite well. Depp was delightfully creepy as the Mad Hatter. Crispin Glover was effective as the Knave of Hearts, the Red Queen’s lead henchman. And Stephen Fry was a marvelous voice choice for the strange and eerie Cheshire Cat.
The Red Queen is quite the character in this film. Helena Bonham Carter perfectly captures the Queen’s cruelty and absurdity. She delivers the “off with his head” line repeatedly and with gusto. The Queen’s cranium was so large that I was surprised she didn’t fall forward from the weight of it. And I haven’t seen that much blue eyeshadow since the 80s.
The Blu-ray version of this film enhanced the quality of the computer graphic imagery quite well. The special features consisted of interviews of the cast regarding the characters. These interviews contained behind-the-scenes looks at some of the makeup and green screen work done on this film. Though these interviews were enlightening, I would have loved to see more about the production process, since the sets and some characters were entirely computer-generated.
All things considered, Burton’s Alice in Wonderland is a delightful departure from reality. Fans of Burton’s other films are sure to love it.
BankofMarquis (1832 KP) rated Back to the Future (1985) in Movies
Mar 30, 2018
Almost a perfect film
I was flipping channels the other day and ran across BACK TO THE FUTURE, it was just about to start and since I hadn't seen it in quite awhile, I figured I'd catch the first part of it before venturing off to other surfing opportunities. As often happens in this sort of situation, I ended up transfixed by this film and watched the whole thing. After it was over, I asked myself why did I enjoy this film so much and my answer was fascinating (at least to me) -
BACK TO THE FUTURE is about as perfect of a film as there is.
Why? Let's start with the structure of this film. It follows the classic 3 Act structure. ACT 1: set up the premise, the gimmick (if any) and the stakes. ACT 2: escalate the stakes and throw in complications and obstacles. ACT 3: Resolve everything.
Seems like a pretty simple formula, right? So why do so many get it wrong? Quite simply, they don't keep it simple and then execute (almost to perfection) the simplicity of the structure. Let's break down the 3 Acts of BACK TO THE FUTURE.
ACT 1 - set up the premise, the gimmick and the stakes. The premise & gimmick is simple, time travel is possible and our hero travels back in time and is stranded there. The stakes are even simpler - our hero must find a way to get Back to the Future.
ACT 2 - escalate the stakes and throw in complicaitons and obstacles. The stakes are escalated by the fact that our hero interrupts the timeline of when his mother met his father, thus there is the very real possibility that he will cease to exist for his parents never met. Our hero must find a way to bring his mother and father together. The complications are that his parents are not the boring old fuddy-duddy's that our hero thought they were, his father is a peeping-Tom nerd and his mother is a randy high-schooler who falls in love (lust?) with our hero, her son. Further complicating things is that the time machine must find enough power to make the time travel device (the flux-capacitor!) work, power that is not readily available in this timeline. Adding one more complication to the mix is the school bully who is constantly after our hero.
ACT 3 - resolve everything. This is where this film excels. EVERY loose end is tied up. Our hero find a way to reunite his mother and father, the bully is put in his place, a source of energy is found and our hero's journey comes to a succesful conclusion.
There is much, much more to this film than those plot points, but I just wanted to show how deceptively simple and efficient this plot is. Kudo's must go out to screenwriter's Robert Zemeckis (more on him later) and Bob Gale for coming up with this idea and executing it so well. Gale (1941, KOLCHAK: THE NIGHT STALKER) said he came up with this idea when he saw his father's high school yearbook and dreamed about going back to meet him. He stated that he doubted that he and his father would have been friends.
An interesting side fact: The University of Southern California Film school's writing classes use the screenplay for Back to the Future as the model of "The Perfect Screenplay". So, I rest my case.
But a "perfect" screenplay would be worthless without near perfect execution of putting the words and actions up on the screen - and this film achieves that as well. Director (and co-screenwriter) Robert Zemeckis (WHO FRAMED ROGER RABBIT, FORREST GUMP) cleary had a vision of how to make this film and did not waiver from it. The action is strong, the fluidness of the film is solid and the performances are all top-notch. The only thing that might knock this film down a peg or two is some of the 32 "special effects" shots that - to look at it these days - seem somewhat archaic (see the flames between Doc Brown's and Marty's feet when the DeLorean first goes forward in time). But for the time, these special effects are state-of-the-art.
Speaking of performances, Michael J. Fox became a movie star with this film, and rightfully so. His Marty McFly is charming, quirky, intelligent, dorky - all at the same time. His uncomfortableness with his teen age mother is palatable. Credit must go with Director Zemeckis, who - after he couldn't get Fox released from his contract on the TV show FAMILY TIES - went (famously) with his 2nd choice, Eric Stoltz. When Stolt's seriousness and "method" acting was not meshing with the type of film he wanted to make, Zemeckis made the bold decision to fire Stoltz and worked out a deal where he can use Fox at night while Fox shot Family ties during the day.
Playing against Fox, brilliantly, is Christopher Lloyd as "Doc" Emmit Brown. A two-time Emmy winner (at the time) for playing crazy Jim Ignatowski on the TV show TAXI, Lloyd played Doc Brown as "part Einstein, part composer Leopold Stokowski", creating what would be the benchmark for "brilliant, scatter-brained scientist". Leah Thompson does the finest performance of her career as Marty's mother and Crispin Glover was beyond quirky as Marty's nerd/loser Dad. Finally Thomas F. Wilson is the embodiment of bully as "Biff" Tannen.
After the success of this film, two other BACK TO THE FUTURE films were made - films that I feel were good, but somewhat diluted the perfection of this film. No matter. Sit down, relax and enjoy one of the most "perfect" films ever made.
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
BACK TO THE FUTURE is about as perfect of a film as there is.
Why? Let's start with the structure of this film. It follows the classic 3 Act structure. ACT 1: set up the premise, the gimmick (if any) and the stakes. ACT 2: escalate the stakes and throw in complications and obstacles. ACT 3: Resolve everything.
Seems like a pretty simple formula, right? So why do so many get it wrong? Quite simply, they don't keep it simple and then execute (almost to perfection) the simplicity of the structure. Let's break down the 3 Acts of BACK TO THE FUTURE.
ACT 1 - set up the premise, the gimmick and the stakes. The premise & gimmick is simple, time travel is possible and our hero travels back in time and is stranded there. The stakes are even simpler - our hero must find a way to get Back to the Future.
ACT 2 - escalate the stakes and throw in complicaitons and obstacles. The stakes are escalated by the fact that our hero interrupts the timeline of when his mother met his father, thus there is the very real possibility that he will cease to exist for his parents never met. Our hero must find a way to bring his mother and father together. The complications are that his parents are not the boring old fuddy-duddy's that our hero thought they were, his father is a peeping-Tom nerd and his mother is a randy high-schooler who falls in love (lust?) with our hero, her son. Further complicating things is that the time machine must find enough power to make the time travel device (the flux-capacitor!) work, power that is not readily available in this timeline. Adding one more complication to the mix is the school bully who is constantly after our hero.
ACT 3 - resolve everything. This is where this film excels. EVERY loose end is tied up. Our hero find a way to reunite his mother and father, the bully is put in his place, a source of energy is found and our hero's journey comes to a succesful conclusion.
There is much, much more to this film than those plot points, but I just wanted to show how deceptively simple and efficient this plot is. Kudo's must go out to screenwriter's Robert Zemeckis (more on him later) and Bob Gale for coming up with this idea and executing it so well. Gale (1941, KOLCHAK: THE NIGHT STALKER) said he came up with this idea when he saw his father's high school yearbook and dreamed about going back to meet him. He stated that he doubted that he and his father would have been friends.
An interesting side fact: The University of Southern California Film school's writing classes use the screenplay for Back to the Future as the model of "The Perfect Screenplay". So, I rest my case.
But a "perfect" screenplay would be worthless without near perfect execution of putting the words and actions up on the screen - and this film achieves that as well. Director (and co-screenwriter) Robert Zemeckis (WHO FRAMED ROGER RABBIT, FORREST GUMP) cleary had a vision of how to make this film and did not waiver from it. The action is strong, the fluidness of the film is solid and the performances are all top-notch. The only thing that might knock this film down a peg or two is some of the 32 "special effects" shots that - to look at it these days - seem somewhat archaic (see the flames between Doc Brown's and Marty's feet when the DeLorean first goes forward in time). But for the time, these special effects are state-of-the-art.
Speaking of performances, Michael J. Fox became a movie star with this film, and rightfully so. His Marty McFly is charming, quirky, intelligent, dorky - all at the same time. His uncomfortableness with his teen age mother is palatable. Credit must go with Director Zemeckis, who - after he couldn't get Fox released from his contract on the TV show FAMILY TIES - went (famously) with his 2nd choice, Eric Stoltz. When Stolt's seriousness and "method" acting was not meshing with the type of film he wanted to make, Zemeckis made the bold decision to fire Stoltz and worked out a deal where he can use Fox at night while Fox shot Family ties during the day.
Playing against Fox, brilliantly, is Christopher Lloyd as "Doc" Emmit Brown. A two-time Emmy winner (at the time) for playing crazy Jim Ignatowski on the TV show TAXI, Lloyd played Doc Brown as "part Einstein, part composer Leopold Stokowski", creating what would be the benchmark for "brilliant, scatter-brained scientist". Leah Thompson does the finest performance of her career as Marty's mother and Crispin Glover was beyond quirky as Marty's nerd/loser Dad. Finally Thomas F. Wilson is the embodiment of bully as "Biff" Tannen.
After the success of this film, two other BACK TO THE FUTURE films were made - films that I feel were good, but somewhat diluted the perfection of this film. No matter. Sit down, relax and enjoy one of the most "perfect" films ever made.
Letter Grade: A+
A rare 10 (out of 10) stars and you can take that to the Bank(ofMarquis)
Vicki Gleave D'Aunay (12 KP) Aug 8, 2019