Movie Review: “Legend” (1985)

Legend Ridley Scott Tom Cruise Mia Sara

Title: Legend (1985) IMDb
Director: Ridley Scott
Lead Actors: Tom Cruise, Mia Sara, Tim Curry
Score Composer: one version has Jerry Goldsmith’s score, the one I saw has Tangerine Dream’s
Length: 89 minutes; U.S. theatrical version (there are at least two other versions with different lengths)
Rating (US): ? Couldn’t find an official rating, but it’s an intense PG or a light PG-13, I’d say; there’s lots of darkness and terror to scare kids, and it opens with a scene of unidentified people being tortured in the background of the Lord of Darkness’ lair.
Spoiler-free Synopsis: A young man of the forest must rescue his girlfriend Princess Lily and the last surviving unicorn from the Lord of Darkness, who wishes to marry Lily and rule the world by destroying daylight.
Reason for Watching: 80’s fantasy film.
Movie Re-watchability: The film’s main attractions are its art design, sets, and special effects, which all combine to create a dreamily dark, surreal atmosphere. You may want to rewatch it occasionally for this, and for Tim Curry’s magnificently campy turn as the Lord of Darkness, and perhaps for some of the oddball side characters. However, the doe-eyed main characters and their simplistic love story and quest may prove tiresome with multiple viewings.
Director Re-watchability: While he can struggle with really pulling a film together so that its themes make sense, Ridley Scott has undoubtedly directed some of the most interesting and entertaining movies of the past three decades (and more if you go back to 1977’s The Duellists, which I haven’t yet seen), including Alien, Blade Runner, Gladiator, and Kingdom of Heaven, to name but a few. Some of his movies are much better and more re-watchable than others, but as a director he consistently delivers something of value.
Recommendation: One of Scott’s weaker films, to be sure, but I found it to be nonetheless enjoyable, and rather fascinating in its own way. I’m a sucker for heavy atmosphere that effectively transports me to a different place, and that’s what Legend delivers in spades. If you like seeing classic fantasy tropes played straight, without a lick of irony, and don’t even mind an accompanying lack of complexity, then you will find this movie worth it. But as noted above, the actual story and its accompanying protagonists are too bland and boring for this to be a true classic.

Key Thoughts

If there were a glass ball that held within it an exquisitely cliché, exquisitely beautiful fairy tale world of radiant meadows with princesses and unicorns frozen in their frolicking, with glistening snows and cackling goblins, and with “hidden” treasures and pixies not quite out of sight, and I looked into it and shook it, so that snowflakes and flowers began to fall and the world rolled into action, this might be what I would see taking place.

Legend Ridley Scott Tom Cruise Mia Sara
*shake shake*

The main charge against Legend is that it is all style without substance, and this charge I cannot completely deflect. After all, snow globes and glass figurines are wonderful to look at, but do not typically provide much food for the mind. The movie’s characters are the definition of simple, filling only one role each, and its narrative is deliberately designed to be derivative. Ridley Scott—a director known primarily for his striking visuals and epic atmospheres—reportedly set out to film the most classic, archetypal fairy tale he could. He doesn’t attempt a unique twist on the material, or a subversion, or even a transcendence. He attempts what has been done before, but intending to do it better than anyone else—this is intended to be the movie that you think of first when the words “movie fairy tale (not Disney)” come to mind.

More frolicking!

This attitude, while noble to my fairy-story-loving mind, likely informed the movie’s failures as well as its successes. Jack (Tom Cruise) and Lily (Mia Sara) certainly look their parts, but even understood as the embodiments of the Pure Hero and Pure Princess, their lack of energy and distinct personality causes them to fade into the background even when the story centers around them. Jack should be a charming, slightly wild rogue of the forest, a role Tom Cruise should have been able to really make sparkle, but instead he smolders and gazes his way into near-mute lovesickness. Likewise Mia Sara, while delicately gorgeous and believably gentle of spirit, doesn’t quite bring out the warmth or passion that Lily is supposed to have for Jack. The two of them seem pleasant together, but not quite alive. And the main fault for this I lay at the feet of the writing, which gives them dialogue devoid of character and interest, and not much of that to boot. Not that I wanted our heroes to be gabbing the whole time, but their general silence wasn’t adequately replaced by other means of character development. We can root for Jack and Lily, but they are hardly more interesting than the flowers in the meadow or the grim, heavy trees. This didn’t have to be; other film fairy tales have managed to be both archetypal and deliver fascinating characters (i.e. The Princess Bride [1987], The NeverEnding Story [1984], The Lord of the Rings [2001-2003], Pan’s Labyrinth [2006], even Labyrinth [1986]).

Legend Ridley Scott Tom Cruise Honeythorn Gump
This music would also be appropriate.

Ah, but the side characters do sparkle! Some of them literally. My favorite is Honeythorn Gump, a fey of swift feet and solid loyalty. Initially the character didn’t work for me—the voice is oddly pitched, mixing tones both high and feminine, and more somberly masculine, and the fact that he’s played by a boy (or very boyish young man) wearing nothing but a fur loincloth made me a bit uncomfortable. I mean, he’s gotta be freezing in that snow, right? But after awhile, he grew on me. The character is the cleverest and most forceful of the heroes, and he feels like something other than human; a true member of the Fair Folk, who are immortal yet unchangeable, fierce yet delicate of frame, and petulant, yet very serious about oaths and honor. While I still wish he would cover up a bit, the voice becomes an asset to the character, and the actor’s performance sells a role that needs to be taken seriously, but too easily could have become a laughingstock. Watch him in this clip, where he threatens Jack with a murderous glint in his eye, and subsequently throws a fit when Jack correctly answers his riddle. Among the rest of the heroes’ allies, the comically noble Brown Tom wouldn’t be out of place in The Hobbit, while the ethereal pixie Oona is even more fey-like (in the traditional sense) than Honeythorn Gump.

Legend Ridley Scott Tim Curry Lord of Darkness
“Well of course the butler did it. Communism was just a red herring!”

Special mention goes, as even Legend’s detractors will admit, to Tim Curry as the entertaining Lord of Darkness. Even cached in prosthetics and red and black paint, and given dialogue no less simplistic than the heroes, Curry’s obvious delight in playing a fellow who relishes in being irredeemably bad shines through; and, as happens here, when a good actor has fun with a role, the audience often does too. Yet while undoubtedly campy, I wouldn’t say the character quite becomes ridiculous. You may laugh at the first sight of his massive black horns, each bigger than his head, and wonder how Curry doesn’t topple over with all that top-heavy weight, but the movie doesn’t let you doubt Darkness’ effectiveness as a doer of evil. His presence is imposing, and you know he will kill and torture to achieve his goal of domination, and that he is cunning as well as powerful. He has no respect for anything good, no honor, and his despicable laugh echoes throughout the whole land. He’ll give nightmares to any children who watch this movie.

In fact, the character of Darkness is so effective that his presence overpowers that of all the heroes combined. Roger Ebert criticized the movie by saying:

To some degree, this is a fairy tale, and it needs a certain lightness of tone, a plucky cheerfulness, to work. Like many recent sword and sorcery movies, it is so effective in rendering evil, so good at depicting the dire, bleak fates facing the heroes, that it’s too dreary and gloomy for its own good.

While I wouldn’t say that the word “plucky” need apply to every fairy tale, Ebert has a good point here; the movie fails to provide enough thematic strength and personality to the side of Good. Even when it’s trying to be carefree and joyful near the beginning by showing Lily frolicking and her romance with Jack, there’s such an air of foreboding that prevents these scenes from evoking blissful happiness, as they are intended to. A shadow hangs over the whole story—the lord of Darkness is too much in control of this movie, and has no effective antagonist on the side of good. Dorothy has Glinda the Good Witch, Bilbo and Frodo have Gandalf, and Bastian Balthazar Bux has the Childlike Empress, but our plucky heroes in Legend have no guiding force of Good who can match Darkness in power or cosmic significance. The introductory text declares that the movie’s universe is dualistic, meaning that the forces of Good and Evil are equal and must maintain a balance, but only the Evil side has an actual person embodying it. All this leads to the final scenes of celebration being tainted by an image of the just-defeated lord of Darkness laughing ominously before the credits roll. We’re not even permitted to enjoy the heroes’ hard-won victory without fearing that the whole battle was for nothing.

Legend Ridley Scott goblins
Also, they speak entirely (or almost so) in rhyme.

[N.B. There was actually a different cut of this movie released to European audiences that has some radical differences, including a different ending without Darkness’ final laugh.]

Some more could be said about the movie’s ideas of innocence and pureness of heart, ideas which are popular in fantasy movies but rarely receive the definition and development they need to be meaningful. Lily is initially held up as pure of heart, as she is allowed to approach the unicorn, but she subsequently falls from grace by breaking the sacred rule and touching one of them, thus leading indirectly to the unicorn’s death. She ignores Jack’s warnings and proceeds in naïve arrogance, and later, when captured by Darkness and dressed by him in a gown of corruption, engages in deceit and faked seduction as she tries to save herself by manipulating him. In the end, only Jack has the right to be called pure of heart and innocent. As pointed out by this reviewer, there’s kind of an Adam and Eve vibe going on: a young man and woman both innocent live in paradise with total freedom, until one sacred rule is broken, which brings death and corruption, and sin. If the movie had followed through with this metaphor and provided a figure for God and Jesus Christ who could redeem them from sin, then the story would feel more complete and purposeful than it currently does. Nonetheless, the foundation of it is there, and that does lend a bit of substance to the proceedings.

Legend Ridley Scott Tom Cruise
Forest Boy, a.k.a. Link.

But what draws me to this movie is really its style. Lush and colorful, it creates a world that is more akin to our dreams than any reality. It feels curiously empty, as if it just might not exist outside the camera frames. Lily is a princess or a noble lady—it’s never quite clear—and yet beyond Jack and a farmer’s wife, we see no other humans, nor even a castle or city in the distance. The characters are wholly in the magical forest, and the story is really from the point of view of the fairies and Jack, who let this human girl into their realm because of her gentleness and beauty only to have her ruin everything by her selfish disregard for one sacred rule. The landscapes reflect this point-of-view, being impossibly beautiful, yet also subtly threatening; artificial, yet bursting with natural life (almost no people, but many butterflies, flowers, rabbits, and birds); petulant and swiftly changing, yet consistent in power.

There are images of iconic power and majesty, such as when Darkness emerges from a mirror and bends ominously over Lily, and of tenderness and grace, such as when Jack shows Lily the pristine unicorns. The synthesized ethereal score by Tangerine Dream brings out both the darkness and the weirdness of the setting, emphasizing our gut reactions to the images onscreen and our sense that as beautiful as it all is, something is not right with this world.

Legend Ridley Scott Mia Sara unicorn
Now that right there is pure fairy tale.

One viewing of Legend did not quite convince me that this is a masterpiece, yet it ranks as one of the more deeply atmospheric fantasy movies I’ve seen, in a way that pleases me greatly. I want to see it again, especially the European version so I can compare the two supposedly very different movies. When I think back to the other great fairy tale movies of the 1980s—the ones mentioned a few paragraphs up—I admit that this one didn’t have as lasting an effect on me, mainly due to the flatness of its main characters, the unbalanced weakness of its dualistic theme of Dark and Light. Yet it still ranks as a fine fantasy movie, if only for its ability to create an entirely other world that is both archetypal and odd, and for how it so fully sucks the viewer into its own tempestuous moods through its visuals and eerie music.

Legend Ridley Scott
A pixie cautiously traverses a truly epic-sized underground hall.
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Movie Review: “Steamboy” (2004)

There is a boy, and he is quite proficient with steam.

Title: Steamboy (2004) IMDb
Director: Katsuhiro Ôtomo
Lead Voice Actors (English): Anna Paquin (Ray Steam), Alfred Molina (Dr. Eddie Steam), Patrick Stewart (Dr. Lloyd Steam)
Musical Score: Steve Jablonsky (sample here)
Length: 126 minutes
Rating (US): Rated PG-13 for action violence.
Spoiler-free Synopsis: “In [alternate] 1860s Britain, a boy inventor finds himself caught in the middle of a deadly conflict over a revolutionary advance in steam power.” (courtesy of IMDb)
Reason for Beginning: I love 2D animation and have long been interested in the steampunk genre – this movie promised both! Plus it’s available free on YouTube Movies!
Reason for Finishing: The animation is fantastic and the characters are interesting.
Movie Rewatchability: Mainly because of the beautiful animation; the story really isn’t as good as it should be.
Director Rewatchability: I’d definitely watch this director again, though in this film he relies too much on extended action scenes with minimal plot. Ôtomo directed the famously violent Akira (1988), which doesn’t interest me much, and an anime remake of Fritz Lang’s Metropolis, which sort of interests me because I’m a fan of the original silent classic.
Recommendation: Yes, it’s a good, interesting film, mainly visually. Good music, too. Plot was weaker than expected, though, and there’s little emotional content or character development. Continue reading “Movie Review: “Steamboy” (2004)”

Movie Review: “Peter Pan” (2003)

Title: Peter Pan (2003) IMDb
Director: P.J. Hogan (based on the play by J.M. Barrie)
Lead Actors: Jeremy Sumter (Peter Pan), Rachel Hurd-Wood (Wendy), Jason Isaacs (Mr. Darling/Hook), Richard Briers (Smee), Ludivine Sagnier (Tinkerbell)
Score Composer: James Newton Howard
Length: 113 minutes
MPAA Rating: “Rated PG for adventure action sequences and peril.”
Spoiler-free Synopsis: Fun and emotional adaptation of J.M. Barrie’s famous play, wherein the three Darling children get whisked off to Neverland to have adventures with Peter Pan, the magical boy who never grows up.
Reason for Beginning: Peter Pan has been one of my favorite stories since childhood, on a level with Robin Hood and King Arthur.
Reason for Finishing: It engaged me exactly the way the story is supposed to. It’s also a surprisingly effective tearjerker.
Movie Rewatchability: Higher than I initially thought. A day after watching it for this review, I found myself bored and decided to watch the movie again. I enjoyed it every bit as much as before, and would eagerly watch it again.
Director Rewatchability: Hard to say, since no story is quite like Peter Pan, but I like his directing style. He doesn’t try to impose upon this very traditional British fairy tale an inappropriately modern sensibility, in theme or in style.
Recommendation: If you like the story of Peter Pan or have any interest in modern fairy tales, you will find this movie interesting and highly enjoyable. If you are a romantic at heart, this movie will satisfy. In fact, I think it may be the best screen adaptation of Barrie’s story yet, at the very least on par with Disney’s excellent version. I say this having seen the original stage play, though without having read Barrie’s book based on it.

Key Thoughts

The difficulty with any adaptation of this story is simply how well-known it is. There are no surprises in the plot or characters. The story was old when Disney animated it, and many generations have now grown up with that one as the definitive version. (Some people have expressed a strange fondness for the 1960 TV movie starring Mary Martin, a fondness which I do not share.) And then came Steven Spielberg’s Hook (1991), which tried to be both a sequel and a reimagining of the classic story. Despite the number of faults and miscalculations in Hook, we must credit Spielberg with really trying something new and original with the old story. It has its own charm, its own magic, and has claimed a special place in my heart. But to the point: did we really need another version of Peter Pan for the modern era, especially one that plays the story so straightforward and traditionally?

This beautiful picture needs no caption.

I think we did. For one thing, the wonderful boy is finally played by, of all things, a young boy! While Disney’s Pan was voiced by 16 year-old Bobby Driscoll, I think this is the first live-action movie to feature him played by an actor of the correct age and sex. Without this, the story’s themes of youth and not wanting to grow up wouldn’t work nearly as well. Also, while I certainly don’t think a fantasy movie needs great special effects to be successful, this one really benefits from art direction that takes good advantage of the technical wizardly available in 2003. And lastly, what really makes this version unique is how it addresses some of the more sophisticated and serious themes inherent in Barrie’s story. This movie is actually about something.

Smee: Captain, the ice is melting, the sun is out, and the flowers are all in bloom…
Captain Hook: He’s back.

What sort of boy is Peter Pan? The kind whose coming causes winter to flee and flowers to spring into bloom, whose sorrow causes the clouds to curl and the seas to wail, and whose sheer joy causes the sun to rise after a long night. I found it interesting that, in this very English story, Pan is played by an American, Jeremy Sumter. Some British viewers might not like this, perhaps, but I think it serves to subtly set him apart from the other children. Sumter’s more American acting style helps with this as well, being sharper, wilder, and maybe a little more tempestuous than the more gentler British style of his costars. Now, I’m using the terms “American” and “British” very loosely here, and very subjectively – I’m not a student of acting styles and can only go off my gut instinct here. But I like Sumter’s portrayal. He can crow in joy (so that verb really feels apt), wail in despair, and steel himself in heartbreak, and we believe it. He’s easily offended, but quickly forgives. Death holds no horrors for him, but loneliness is unbearable. He knows endless ways to fight and escape the pirates, but can’t acknowledge his own emotions, which are begging him to let them grow into maturity, to usher him into adulthood.

Peter: [forcefully] I want always to be a boy, and have fun.
Wendy: You say so, but I think it is your biggest pretend.

When speaking of bright and pretty actresses the term “luminous” is probably far overused to the point of cliché, and yet I find it really does describe Rachel Hurd-Wood’s performance as Wendy. She simply lights up the screen whenever she’s on it. Another reviewer’s cliché, I know, I’m sorry. But how else to say it? Her smile makes you smile. Her disappointment makes you want to immediately stand up and fix whatever is wrong. Peter Pan is the blood racing through this story’s veins, and Wendy is the pounding heart. She is entranced by Pan, but we also see her realizing his immaturity and longing for him to be able to grow up, even a little bit, so they can be on the same level. While Wendy doesn’t initially want to grow up, she realizes that it’s the healthy thing to do, and that there are other, different joys to be had as an adult, even if she doesn’t fully understand what those are.

Their innocent romance is the center of this movie, as it hasn’t truly been in others. I like how the movie manages the theme of growing up through romance without letting the subject devolve into a discussion of sex. There’s a brief scene near the beginning which lightly acknowledges that some people might interpret the story with sex as a theme, but I think the point of that scene is to highlight how sex is actually irrelevant and inappropriate to the story at hand. It’s about the beginnings of romantic love, which is a completely different thing. The kiss is simply the most visible and intimate method by which that love is communicated innocently and chastely.

Kisses in this story possess great power, as Slightly says below, even when it is the thought of one more than the actuality that counts. Near the beginning, Mrs. Darling says that Mr. Darling will need her special kiss to have courage to face the bigwigs of the bank in light of his recent humiliation. Peter’s “kiss” (actually an acorn) on Wendy’s necklace saves her from Tootles’ arrow. Tigerlily’s long kiss of victory inspires John with superhuman strength to pull the lever and save the whole group. And finally, of course, Wendy’s kiss brings Peter back from despair and defeat, and makes him impervious to Hook’s threats and insults. Despite his denials, Peter really does have a “crush” on Wendy – it’s even revealed that of the stories she tells, the ones he likes best are the romances ending with a kiss. Because of the movie’s gentle treatment of all this, it ends up being quite romantic, while maintaining its innocence.

Hook: Come on, fly to the rescue! Then I’ll shoot you right through your noble intentions.

*sneer, smirk, gnash gnash*

But where would this story be without Captain Hook? One of the best villains in all children’s literature, he is played here by Jason Isaacs, who brings a similar teeth-gnashing menace and snobbery as he does in the Harry Potter movies, but with considerably more dark comedy. He’s really fantastic in the role, taking it seriously while playing it with gleefully psychotic villainy. He is truly fearsome, but also convinces as the essentially lonely and depressed character that Hook is. It’s a delicate balance, but one that Isaacs nails perfectly. When Hook finally douses himself in Tinkerbell’s fairy dust and begins to float into the air, he exults, “It’s Hook, he flies! And…he…likes it!” And later, thinking he has the victory, he gloats that Pan will die alone and unloved, and then pauses with a sad glint in his eye, whispering, “Just like me.” He’s younger and more physically aggressive than many other Hooks we’ve seen, which only serves to increase his menace. You know he can easily overpower Peter in a contest of simple brute force, and thus their duels are tense as Peter flies and flips impishly just out of reach of the pirate captain’s slashing blades.

Slightly: [examining the thimble Peter gave Wendy, thinking it was a “kiss.”] I remember kisses, let me see. Aye, that is a kiss. A powerful thing.

Mr. and Mrs. Darling face the bankers together.

Other side characters are well-represented here. Isaacs, as per tradition, plays Mr. Darling as well, and is awkwardly warm (rightly so) in the role of the timid banker who has sacrificed so much for his family. Olivia Williams glows as Mrs. Darling, who sympathizes with her children while trying to gently explain to them the depth and nature of their father’s love and courage. Smee is played by the twinkly-eyed Richard Briers, who in my mind will always be Tom Goode, and is appropriately cheerful and goofy, while viewing his evil captain with a simple-minded, but wry optimism. John and Michael are the little gentleman and cute kid respectively and effectively, and Tigerlily is a fun, wild creature with a charming crush on John. The Lost Boys are also well-cast. I admit, part of me has always wanted to be Peter Pan and live with the Lost Boys, flying over forests, living in a tree house, and fighting pirates. I like the innocence and open-heartedness of their brotherhood, and how in many ways they do display maturity that many adults lack. In an honorable and manly action, Tootles accepts responsibility for shooting Wendy out of the sky. Slightly is sort of Peter’s lieutenant, and has some of the best lines (as above). Importantly, they are believably innocent, rather than hip and cynical as in the movie Hook.

...and straight on 'til morning.

The art direction is quite beautiful, combining the effect of a lavish pop-up book with modern techniques. The children fly to Neverland through a space filled with planets that hang large and colorful like otherworldly balloons to the “second star to the right,” all setting a perfect fairy tale tone. London looks magnificent, as if taken from Dickens, cleaned up and polished to a warm glow, while Neverland itself blooms and boils with life. Action scenes have some cartoony physics in places that seem appropriate, and the camera maintains an appropriate distance from its subjects, without going too far for the epic look. Action is comprehensible and immediate both, as it should be!

All this is aided by James Newton Howard’s score, which practically leaps from the screen and throws you into flight with the characters. It is full of equal parts joy and magic, gentility and robustness. Dancing and fairy-like, if you will. You can listen to some of it here.

On a more academic level, I think the story of Peter Pan is a true fairy story, in the Tolkien and George MacDonald sense. For all the fun and jokes and whimsy, the magic itself is taken absolutely seriously. Physical laws are turned upside down, but moral laws are upheld. Neverland is an escape from the real world that, properly experienced, prepares one to return and face the real world with renewed vigor, wisdom, and clarity. As MacDonald advised, the story does not “give” me these things to think about, it does not hammer them into me, but rather it causes me to think them for myself.

I am sure I am not the only one who, as a boy, longed to be Peter Pan and live forever in Neverland. I still want to fly like him. There is always a tragic, melancholic tint to the end of his story. By refusing to leave Neverland and grow up, he denies himself true love and the true potential which he has. I do not think Neverland would be the last magical world Peter would find, if he had the courage to leave it. As an adult, there are plenty of wonders to discover and exult in, if one looks with the right eye and mindset. As the Professor himself said,

Children are meant to grow up, and not to become Peter Pans. Not to lose innocence and wonder, but to proceed on the appointed journey: that journey upon which it is certainly not better to travel hopefully than to arrive, though we must travel hopefully if we are to arrive. But it is one of the lessons of fairy-stories (if we can speak of the lessons of things that do not lecture) that on callow, lumpish, and selfish youth peril, sorrow, and the shadow of death can bestow dignity, and even sometimes wisdom. (Tolkien 15)

Credits
Tolkien, J.R.R., “On Fairy Stories”
Most screencaps from MovieScreenshots

Movie Review: “The Eagle” (2011)

The Eagle should appeal to movie-lovers who are frustrated with the way modern action movies prefer to ignore story and character in favor of rushing from bloody killing to bloody killing. It’s an exciting adventure that really does care about the characters and their relationship.

Title: The Eagle (2011) IMDb
Director: Kevin Macdonald
Lead Actors: Channing Tatum (Marcus), Jamie Bell (Esca), Tahar Rahim (Seal Prince), Donald Sutherland (Uncle Aquila), Mark Strong (Guern)
Score Composer: Atli Örvarsson
Length: 114 minutes
MPAA Rating: PG-13 for battle sequences and some disturbing images.
Spoiler-free Synopsis: “In 140 AD, twenty years after the unexplained disappearance of the entire Ninth Legion in the mountains of Scotland, young centurion Marcus Aquila arrives from Rome to solve the mystery and restore the reputation of his father, the commander of the Ninth. Accompanied only by his British slave Esca, Marcus sets out across Hadrian’s Wall into the uncharted highlands of Caledonia – to confront its savage tribes, make peace with his father’s memory, and retrieve the lost legion’s golden emblem, the Eagle of the Ninth.” (by Focus Features)
Reason for Beginning: As it’s based on the novel The Eagle of the Ninth by Rosemary Sutcliff, one of my favorite authors, I desperately wanted to see this. Been waiting for it for years.
Reason for Finishing: Somewhat classic-style adventure story, and good entertainment.
Movie Re-watchability: Yes, though I would let a little time go by first. Because the story is so simple and focused, I predict it will become the kind of movie I can easily jump into at any point, and enjoy equally in individual chunks or as a whole. It’s nice to have some movies like that.
Director Re-watchability: Hard to say, really. It’s the source material and art direction that make me like The Eagle so much, although Macdonald’s overall directing is good. He’s clearly talented, but I’m wary about his camera work: shaky cam and I do not get along. Wouldn’t know what to expect from another movie of his.
Recommendation: Not a perfect movie, but very good and rather unique. For those who like movies about ancient Rome and period adventure stories, yes. Also, if you saw Gladiator (2000) and thought “Well that’s fun, but I wonder what it all really looked like,” then you should see this movie. The Eagle should appeal to movie-lovers who are frustrated with the way modern action movies prefer to ignore story and character in favor of rushing from bloody killing to bloody killing. It’s an exciting adventure that really does care about the characters and their relationship. Continue reading “Movie Review: “The Eagle” (2011)”