Movie Review ~ Dumbo (2019)


The Facts
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Synopsis: A young elephant, whose oversized ears enable him to fly, helps save a struggling circus, but when the circus plans a new venture, Dumbo and his friends discover dark secrets beneath its shiny veneer.

Stars: Colin Farrell, Nico Parker, Finley Hobbins, Danny DeVito, Michael Keaton, Eva Green, Alan Arkin

Director: Tim Burton

Rated: PG

Running Length: 106 minutes

Trailer Review: Here

TMMM Score: (3/10)

Review: As the screening date for the live-action remake of Disney’s Dumbo was arriving I realized I hadn’t seen the original in probably two decades. Though it is classic Disney, 1941’s Dumbo is just not one that has ever made it on my rotation when it comes to revisiting the old classics. Plus, I still think I have traumatic memories of Dumbo’s Circus on the Disney Channel back in the day. So I decided to fire up the 64-minute chestnut and there were a few things that really stood out for me. One was the simplicity in the storytelling and animation – this is why movies becomes timeless because they are handled with a delicate touch that helps them transcend the years. The other thing was, slightly spoiler-y, but the dang elephant doesn’t even fly until the last five or six minutes of the movie. You remembered it differently, too, right?

Now seeing that Dumbo isn’t one of my all-time favorites I don’t have the same precious feel toward it that I would have with, say, Cinderella, The Sword in the Stone, Pinocchio, or Sleeping Beauty. So I was less up-in-arms with Disney continuing their trend of turning their animated classics into live-action films…but more concerned with the guys they hired to do it. First up was screenwriter Ehren Kruger, best known for Scream 3 and a handful of the Transformers movies. What about his credits made it seem like he’d be the best choice to tackle the tale of a baby elephant at first ostracized for his large ears before being embraced when those same ears allow him to take wing? Second potential problem was the one time can’t-miss director Tim Burton, who hasn’t had a sizable hit for years and already biffed a major Disney adaptation with his brain-numbing bloated expansion of Alice in Wonderland.

Then the first teaser appeared and it seemed like things may be going in the right direction. Showing just enough of those baby blue elephant eyes against the strains of the melancholy Oscar-nominated song Baby Mine hit audiences with the right dose nostalgia and the tide seemed to shift from uncertainty to curiosity as to how Burton would bring Dumbo and his circus adventures to life. Maybe Burton would go back to the type of fantastical creations that became his calling card in his early films before he fell into relying on a never-ending rampage of CGI world he’s been filming in for the last two decades.

Sadly, Kruger (Transformers: Age of Extinction) and Burton (Big Eyes, Miss Peregrine’s Home for Peculiar Children, Frankenweenie, Dark Shadows) have not only run off with the circus in Dumbo but they’ve taken most everything you liked about the original with them. What they’ve given audiences (family audiences, no less) is a tale that’s too dark, scary, and frankly, boring. It also represents yet another failure by the studio to make any kind of case that these live-action remakes are somehow improving upon their source material. In fact, going all the way back to the Glenn Close led 101 Dalmatians, Disney has yet to totally perfect this formula…though 2015 lavish Cinderella came quite close.  And it’s another Burton fiasco where an entire world is created on a soundstage rather than use the types of old-school Hollywood movie-making that used to set Burton apart from his peers.  It’s all make-believe but there is no whimsy or fantasy to anything.

It’s 1919 and the Medici Bros. traveling circus has seen better days. Led by Max Medici (Danny DeVito, The Lorax), the performers are weary of another season traveling on a shoestring budget yet they are happy to see trick riding sharp shooter Holt Farrier (Colin Farrell, Saving Mr. Banks) back from the war. Holt returns to his two precocious children (Nico Parker & Finley Hobbins) to be a father figure to them after the tragic death of their mother while he was overseas. Though he lost an arm in battle, Holt is eager to engage in his old act…if Max hadn’t sold his horses and most of his possessions already. Max suggests Holt work with the elephants, and it just so happens a new one has arrived and is due to give birth any day. When the baby arrives he causes an uproar with his oversize ears…as if any of these circus clowns and carnies don’t also have faces/features only a mother could love.

How the baby elephant gets his name is one of the few clever bits Burton brings forth but too soon the kids have figured out Dumbo seems to take specific delight in flight whenever a feather is in his presence and we’re off on a very different movie. In the original film Dumbo doesn’t learn to fly until the final moments, in the 2019 version he’s soaring around the circus tent before the movie is ¼ finished. That leaves 75% of the movie for Kruger and Burton to expand Dumbo’s world and introduce new characters and, in some good news, excise those horribly racist crows.

Michael Keaton (RoboCop) positively chews his way through every green screen Burton has erected as V. A. Vandevere, the scheming sovereign of Dreamland, a permanent circus that bears a striking resemblance to Walt Disney World with it’s multiple themed lands, wildlife on display, and cleverly concocted thrill rides. His star attraction is aerialist Colette Marchant (Eva Green, Cracks) and after seeing Dumbo in the local papers Vandevere sets his sights on purchasing Medici’s circus and establishing an act between Colette and Dumbo that will pack the audiences in. When Max, Holt, and the kids find out Vandevere has set them up only to gain access to Dumbo, it’s up to them to save the elephant and expose Vandevere for his greedy selfishness.

This plot is directly from any number of family films (many released by Disney) so it offers little in the way of surprise or fulfillment. It’s hard to believe Disney executives green lit something so pedestrian, actually. Considering this is the studio that also has live-action remakes of Aladdin and The Lion King still coming in 2019…I’m worried more than ever about how those films will turn out. As for Dumbo, this is mostly disappointing because there was potential here to make something with more appeal and charm.

Aside from the CGI elephant, there’s a seriously lack of personality anywhere to be found in the movie. DeVito seems like someone wound him up with a coffee IV and let him go while Farrell (who looks more handsome in clown make-up than he has any right to) is almost completely disengaged with the action. It doesn’t help the two tykes playing his kids are not only struggling to hide their British accents, they also are incapable of pulling empathy from an audience with their pallid line readings. Green, as always, feels like she wants to do something wild with her character but is operating within a framework that doesn’t support that. There’s no depth to anyone here, least of all in their choices or actions which are wholly dictated by the screenplay not by any real passion.

If you’re looking for any hold-over moments for the original, you’ll be disappointed to know that most of the music has been replaced by Danny Elfman’s same-sounding score. There are hints at the original tunes but maybe the biggest sleight of all is the beautiful lullaby Baby Mine delivered by a ukulele strumming carnival worker as a campfire dirge to no one in particular. Admittedly, the Pink Elephants on Parade sequence has made the transition into the remake largely intact, this time as part of an impressively trippy Dreamland circus act. When all else fails, there’s Dumbo who will likely charm the pants off you and nearly made me forget how crummy the rest of Burton’s film is.

The Silver Bullet ~ Dumbo (2019)

Synopsis: From Disney and visionary director Tim Burton, the all-new grand live-action adventure expands on the beloved classic story where differences are celebrated, family is cherished and dreams take flight.

Release Date: March 29, 2019

Thoughts: I must say when I heard Disney was making a live-action version of their classic 1941 animated film Dumbo to be directed by Tim Burton I was less than thrilled. Dumbo is a family favorite and one that seemed unlikely to lend itself to the kind of success other adaptations like Cinderella, Beauty and the Beast, and The Jungle Book enjoyed.  Even more, was the dark whimsy of Burton (Dark Shadows) really the right choice to take this simple and lovely tale to the big screen?  After watching this first look at the 2019 release, I’m relaxing into the notion that this marriage of Burton’s style and Disney’s chestnut might not be so strange after all.  It looks downright charming.  Starring Colin Farrell (Saving Mr. Banks), Michael Keaton (Spider Man: Homecoming), Danny DeVito (Dr. Seuss’ The Lorax), Eva Green (Cracks) and a big-eyed CGI elephant who is destined to fly to great heights, this just jumped up a few notches on my radar.

Movie Review ~ Miss Peregrine’s Home for Peculiar Children

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The Facts:

Synopsis: When Jacob discovers clues to a mystery that spans different worlds and times, he finds Miss Peregrine’s Home for Peculiar Children. But the mystery and danger deepen as he gets to know the residents and learns about their special powers.

Stars: Eva Green, Asa Butterfield, Ella Purnell, Samuel L. Jackson, Allison Janney, Kim Dickens, Judi Dench, Terence Stamp, Chris O’Dowd

Director: Tim Burton

Rated: PG-13

Running Length: 127 minutes

Trailer Review: Here

TMMM Score: (6/10)

Review: For some time now, I’ve been looking for director Tim Burton. Not that he was lost in any back-of-the-milk-carton sort of way but the filmmaker that kicked off his career with supremely surreal oddities and favored practical (read: expensive) sets gradually morphed into a director that saw the world only in CGI possibilities. His movies became eyesores, with audiences not only straining to keep their eyes focused but their minds too.

Last represented in cinemas with 2014’s disappointingly stale Big Eyes, Burton has finally found a project that feels like a throwback to his early work with Miss Peregrine’s Home for Peculiar Children. Adapted from the novel by Ransom Riggs, when it was announced that Burton had signed on to direct I remember thinking what a perfect marriage this was. The novel was a curious eccentricity in and of itself, inspired by old-time pictures of unexplained human phenomena Riggs had collected through the years and then fashioned a story around. Looking at these pictures now, they seem like snaps Burton himself art-directed.

Though Jane Goldman (X-Men: Days of Future Past, The Woman in Black) made some alterations in her screenplay (namely swapping the ‘peculiarities’ of two children), it arrives on screen mostly the way Riggs originally laid it out. Young Jacob (Asa Butterfield, Hugo) travels to Wales to learn more about his grandfather (Terence Stamp) who died under mysterious circumstances. Looking for the orphanage featured prominently in his grandfather’s cautionary bedtime stories, Jacob finds himself traveling through time and meeting up with Miss Peregrine (Eva Green, reteaming with her Dark Shadows director) and her charges.

The headmistress and children all have special talents that attract the attention of other power hungry peculiars with a fondness for extracting and consuming the eyes of their prey. While Jacob is learning more about the life his grandfather never explained to him and becoming enamored with a girl that’s literally light as air (Ella Purnell, Maleficent), peril is in store as a predatory leader (Samuel L. Jackson, The Hateful Eight) arrives with a hefty appetite. It all culminates in an effects heavy third act that disappointingly jumps through time and space with little regard for plot coherence.

Were it not for this dreary misstep, Miss Peregrine might be filed higher up in the Burton canon seeing that the rest of the film is chock full of unexpected flights of fancy. Green seems to be having a ball and not just because she’s decked out in some typically impressive Colleen Atwood (Into the Woods) costumes. Her body movements and line delivery are razor sharp without ever careening into camp territory. Butterfield makes for an impressive hero and the various children create personalities that go beyond their idiosyncrasies. I would have preferred someone other than Jackson as the main heavy as he doesn’t quite get the tone everyone else is going for and Chris O’Dowd (The Sapphires) is barely there as Jacob’s bird watching father. I get the impression Judi Dench (Skyfall) and Allison Janney (The Way Way Back) signed up as a personal favor, neither have much to do or work with which is saying something for the two cracker-jack scene stealers.

Like the best of Burton’s oeuvre, it scores the most points by embracing the peculiar and like the worst it stumbles when it becomes less about the performances and more about the special effects. Still, aside from Burton’s feature length remake of his short film Frankenweenie, it’s an improvement over much of his output over the past decade.

The Silver Bullet ~ Miss Peregrine’s Home for Peculiar Children

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Synopsis: When Jacob discovers clues to a mystery that spans different worlds and times, he finds Miss Peregrine’s Home for Peculiar Children.

Release Date:  September 30, 2016

Thoughts: Usually when you see a preview of an upcoming Tim Burton film you have to squint hard to see the calling cards of the director that gave us more than a few memorable movie moments.  Now favoring creating CGI worlds instead of practical sets (I get it, it’s less expensive…and less impressive), the director comes back from the disappointing drama of Big Eyes with this adaptation of the novel by Ransom Riggs.  Re-teaming with Eva Green, his Dark Shadows leading lady, Burton seems like the perfect fit for this piece and I was certainly enticed to see more after this long-ish tease.  Still six months from theaters, Miss Peregrine’s Home for Peculiar Children could be a fine return to form for Burton if he resists going overboard on the CGI landscapes.

The Silver Bullet ~ White Bird in a Blizzard

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Synopsis: In 1988, a teenage girl’s life is thrown into chaos when her mother disappears.

Release Date:  September 25, 2014

Thoughts: Star Shailene Woodley has been on a roll ever since making an impressive bid for stardom opposite George Clooney in The Descendants.  In 2014 alone she’s been an action star (in the otherwise forgettable Divergent), broke YA hearts (as a cancer teen in The Fault in Our Stars) and now takes on another dramatic role in Gregg Araki’s coming of age tale White Bird in a Blizzard.  With Araki’s history of putting the squeaky clean youth of Hollywood through his adult blender, expect Woodley to mine new ground and bare all (literally) as a teen affected by the disappearance of her unbalanced mother (Eva Green, Cracks) in the late 80s. 

The Silver Bullet ~ Sin City: A Dame to Kill For

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Synopsis: The town’s most hard-boiled citizens cross paths with some of its more reviled inhabitants.

Release Date: August 24, 2014

Thoughts: Not exactly striking while the iron was hot, this sequel to 2005’s technically sound but pretty darn moody Sin City finally makes it to the big screen after almost a decade of false starts and other production delays. Again directed by Robert Rodriguez and graphic novelist Frank Miller (also at the pen for 300 and 300: Rise of an Empire) this looks to have the same dark flash as its predecessor while introducing a new roster of shady characters like Joseph Gordon-Levitt (Don Jon), Eva Green (Cracks, Dark Shadows), and Josh Brolin (Oldboy, Labor Day) along with returning stars Bruce Willis (Color of Night), Mickey Rourke (Iron Man 2), and Jessica Alba. The first film broke new ground with its visuals…but it’s 10 years later and what was one revolutionary is now standard. What more does this film have to offer…and will it be too little, too late?

The Silver Bullet ~ 300: Rise of an Empire

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Synopsis: The Greek general Themistocles battles an invading army of Persians under the mortal-turned-god, Xerxes.

Release Date:  March 7, 2014

Thoughts: It’s hard to believe, but this sequel is arriving a full 7 years after the original surprise blockbuster was released.  I found the first film a hyper-surreal thrill ride filled with ample amounts of blood and bared flesh and in the years since the movie has inspired countless inferior knockoffs and quite a few new ab workouts for those wanting to get into Spartan shape.  Director Zack Snyder was busy with Man of Steel so the directing duties went to Noam Murro…a relatively green director helming only his second feature film.  Even with Snyder staying on as producer and screenwriter, it remains to be seen if the unproven Murro can really sail this ship.  Bolstered by some interesting female leads in the form of Eva Green (Cracks, Dark Shadows) and Lena Headey (The Purge), this sequel is highly anticipated and should be a nice blockbuster of 2014.

Bond-ed for Life ~ Casino Royale (2006)

The James Bond franchise is celebrating its 50th birthday this year and with the release of Skyfall I wanted to take a look back at the 22 (23 if you count the rogue Never Say Never Again, 24 if you count the 1967 spoof of Casino Royale) films that have come before it. So sit back, grab your shaken-not-stirred martini and follow me on a trip down Bond memory lane.

The Facts:

Synopsis: In his first mission, James Bond must stop Le Chiffre, a banker to the world’s terrorist organizations, from winning a high-stakes poker tournament at Casino Royale in Montenegro.

Stars: Daniel Craig, Judi Dench, Eva Green, Mads Mikkelsen, Jeffrey Wright

Director: Martin Campbell

Rated: PG-13

Running Length: 144 minutes

TMMM Score: (9/10)

Review:

After Die Another Day, the Bond series would go through another long hibernation until its producers and studio settled a few legal issues that had been slow burning for several years.  When the 21st James Bond film was ready to move into production it was time for a new actor to take on the role of 007 – after a lot of rumor and speculation it was blonde, blue-eyed Brit Craig that won the role.  At first, hardcore fans were agog that their dark horse agent created by Ian Fleming would now be sporting a new look…but most changed their tune when Casino Royale was released in the fall of 2006.

Marking the first time the franchise had gone back to an original Fleming full source novel since Moonraker, Casino Royale had been given the film treatment a few times before…in a television movie and a spoof film from the late 60’s.  This Casino Royale, however, would adhere more closely to the original novel and act not only as an introduction to the Bond of Craig but also as a way for the series to get a fresh start.

From the opening moments we can tell that this will not be your typical Bond film.  Leaving out the traditional gun barrel opening was risky but winds up fitting in perfectly to the prologue’s origin story aspirations.  This pre-credit sequence is raw knuckle but restrained energy filmed in black and white that leads to an explosion of color during Daniel Kleinman’s gorgeous animated credit sequence.  Paired with Chris Cornell’s rock theme song, it’s clear that this is not your granddad’s James Bond.

The longest Bond film to date, Casino Royale is a white hot film that keeps the grand villains trying to take over the world at bay and instead focuses on a more personal and one on one approach as Bond matches wits and poker hands with evil banker Le Chiffre (Mikkelsen) at the titular casino.  There’s about an hour of lead up until the games begin and it’s here we see that Bond is a loose cannon that has just achieved his double O status.  Operating as a shoot first and ask questions later sort of agent, Bond’s first scene after the strong opening is a breathless chase over rooftops, construction cranes, and through an embassy before he finally gets what he’s after. 

Craig’s brute force physicality is exactly what Bond has needed for quite some time.  The previous actors playing the role all came across as intelligent agents but I never fully bought into the fact they could knock someone’s lights out with a single punch.  In the guise of Craig, Bond is an agent not to be messed with lest you want to pick your teeth up off the ground.

Appearing late in the game is Vesper Lynd (Green) who represents the financial institution bankrolling Bond’s admittance to the high stakes poker game that occupies a good portion of the second act.  From the moment she plops down and proclaims “I’m the money.” both Bond and the audiences know that we’ve met a woman that might just be his equal.  It helps that Green is excellently cagey in her portrayal of Lynd…we’ve seen enough Bond films to know that he’s been double crossed before…so how much can we trust her? 

Craig and Green’s screen chemistry goes on for days and could fuel a small island – both actors really understand the roles they are playing and how they relate to each other.  The complexities are great and it’s a credit to both that you don’t see them working as hard as we come to realize they are.  Green is so perfect…I’d be hard pressed to offer up a better Bond girl.

Mikkelsen’s Le Chiffre cries blood and has a torture method sure to make any male viewer wince…Craig is particularly good in these torture scenes in conveying real pain and conflict.  The way the film is structured it’s never clear if Le Chiffre is the main villain or the shadow for someone behind the scenes…there’s a few twists to be had but sometimes the stakes don’t feel as high as they could be.

Dench is back as M and while chronologically it doesn’t make sense that she’s present, I can’t imagine the role without her.  With each film the writers are smart to beef up her contribution and she maximizes every zinger for all its worth. 

The last Bond film to be this long was On Her Majesty’s Secret Service and like that film Casino Royale has a deeper story to tell.  It’s refreshing that the producers and director Campbell (returning after GoldenEye) take the time to let the film have its moments that don’t involve big chases and fiery explosions.  It doesn’t feel as long as it is and all production values work in harmony to provide great entertainment for longtime Bond fans or those that are new to the world of 007.