Disney’s unbeatable and irresistible talking dogs are back – in an all-new holiday movie for the whole family, with THE SEARCH FOR SANTA PAWS. Debuting on Blu-ray hi-def and DVD on November 23, 2010 just in time for Thanksgiving (US 11/25) and kicking off the holiday season around the world, the heartwarming family adventure joins the legacy of great dog-filled tales from the creators of the “Buddies” films, the most popular live-action direct-to-DVD franchise ever.
DISNEY’S THE SEARCH FOR SANTA PAWS is an exciting and uplifting movie from director Robert Vince about the power of giving and the true meaning of Christmas in the tradition of Disney’s classic holiday tales. This big city adventure for the whole family reveals the how the legendary friendship of Santa Claus and Santa Paws began.
(click play to see the sneak peak of the movie)
DISNEY’S THE SEARCH FOR SANTA PAWS comes with a stocking full of fantastic bonus features, including:
· An interactive Animated Pop-Up Book – ‘Buddies’ puppy star Rosebud reads a holiday story featuring new canine friends from The Search For Santa Paws · Sing-Along Mode – colorful lyrics added to the film’s song sequences, so audiences can sing along to the film’s fantastic new songs. · Music Video – tween favorite Debby Ryan (Disney Channel’s Suite Life on Deck) performs a great new arrangement of ‘Deck The Halls.’ · Deleted scenes
The film follows in the tradition of Disney’s classic holiday tales with a heartwarming story about the power of giving and the true meaning of Christmas. An exciting prequel, the movie allows kids of all ages to discover how the legendary friendship of Santa Claus and Santa Paws began – as it is the inspiring original film (in a timeline it precedes 2009’s Santa Buddies: The Legend of Santa Paws).
In the movie, when Santa and his new best friend, Paws, discover that the boys and girls of the world have lost the spirit of the season, they take a trip to New York City. But after Santa loses his memory, it’s up to Paws, a faithful orphan named Quinn (America’s Got Talent’s Kaitlyn Maher), her new friend Will (The Game Plan’s Madison Pettis) and a wonderful group of magical talking dogs to save St. Nick and show the world what Christmas is really all about. Do you believe in Santa Paws? Experiencing this sure-to-be holiday classic, full of fun, adventure and a carrying the timeless messages of the holidays, with surely delight the entire family!
I remember it was late July when my Aunt and her boyfriend took me and my cousins to go see a film. Nothing out of the ordinary this day but boy would it be a memorable one in hot, sunny, Sunnymead (now part of Moreno Valley) CA. That movie was ‘TRON’ and like many of us that remember the first film we ran to the video arcade, luckily one was right next door to the theater, to play the game the movie created. It is exciting to know that 28 years later I come to find out I share something in common with the new writers of the TRON mythos. Adam Horowitz and Eddy Kitsis were dropped off at the theater and watched a movie that would change their entire outlook on life; however, unlike Eddy, I got to play the game and not have it turn off on me when I put the quarter in. I had the extreme pleasure to sit with Adam and Eddy along with a small group of fellow colleagues and see what is being billed as “TRON Night” around the world and then chat about their first venture onto the big screen, ‘TRON: Legacy’.
Now before I go any further please be aware that this was a candid interview, very intimate and relaxed and open about the movie, so if you do not want to be spoiled about the film, please stop reading now……. Still here? Alright let’s go to the grid.
I never thought I would be so giddy to be going to a screening of a film. I’ve, along with many of my friends, not to mention every technophile out there, waiting to see this film. On my motorcycle weaving in and out of slow traffic, I could feel myself slipping into that feel of the first time I saw ‘TRON’ and after, my cousins and I on our bikes imagining they were light cycles. Once I got to the studios it was just a matter of time. Sitting in the theater were many classic Disney films were screened, scored, or had their final touch added to them is always a magical experience. This was one of those magical times, kicking off “TRON Night”, a multi country event that would show select scenes of the upcoming sequel, 23 minutes of pure energy and emotion, to the select few who were lucky enough to buy a ticket in time. Some theaters in the US sold out in 5 minutes. Here I am. What can make this even better? The Writers are sitting right in front of me and I get to chat with them after the screening.
What would you like first, the skinny on the screening or the interview? Oh who am I kidding like you get a choice? Sorry this is not an interactive article, but wouldn’t that be cool if it was?
Oh and by the way just to remind you, SPOILER ALERT!
The screening opens with a letter typed out a la MCP welcoming everyone to the viewing from director Joe Kosinski, another new face to the feature film world. We start from Sam’s apartment. This is where the story seems to begin as Alan Bradley has come to Sam to tell him about a page. It is from this scene, that many have seen in the preview, you sense there is an issue between Sam and his father, Kevin Flynn. He heads to the arcade and starts up the power to iconic music to any ‘TRON’ fan, Journey. Sam activates THE laser and a flash of white. End of scene.
Next scene shown is Sam’s capture by the recognizer; talk about an upgrade from the 80’s CGI. The grid is real and a site to be seen and Sam’s expressions to this fact are just as the audiences are, pure aw struck by the expanse detail of the grid. In this scene is where Sam gets his new threads as well and learns not only is this real but everything is pure mind boggling. And the Sirens, oh my ___!! Nough said.
To the games scene we go or more precisely disc wars. Seeing the collaboration of Joe, Adam, Eddy and team take Steven Lisbergers original vision and expand it beyond is amazing. I want to jump in and become a program myself and put my skills to the test.
From there we skip to the escape route scene. We are all familiar with the recognizers, light cycles, and tanks but not this new hybrid four wheeled, all terrain vehicle. Transforming it’s slick tires into rough tread tires in mid flight to accommodate the roughest parts of the grid is pretty smooth. This is where we get to see Quorra. Talk about stealing a scene. You are so affixed to the vehicle at first that as soon as she removes her ‘helmet’ you just forget about the car and look at her. We’re not the only one either, so is Sam.
The previous scene brings us to the first meeting in 25 years between Sam and his father. Sam is completely shocked to see his father alive after so long, in the grid. You can feel the emotional tension both men have in seeing one another let alone to talk to one another. This leads into a montage of other scenes we have seen in the trailers with one added bonus, the introduction of the light jets. WOW!
After the screening was over we were escorted over to the Animation building. For me this was just adding to the day. We met up with Adam and Eddy in their offices. Eddy shows us his office where he has ‘TRON’ artwork as well as ‘Lost’ toys and a picture of Jerry Garcia and Keith Richards. In Adam’s office we see more ‘TRON’ artwork and more toys, mostly ‘Star Wars’ and of course the ‘ball’. A football the guys grab onto to help write. Afterwards, Adam leads us over to a conference room where we can all sit down and chat about this enormous undertaking.
Before we all got settled into our seats Eddy was jumping in about meeting with Steven just a few days ago and talking about how his vision of ‘TRON’ shaped some of our current culture and technology. Adam chimes in when he can. From the onset of this interview I can see these two have been working a long time together, of course most recently on ‘Lost’. Eddy seems to be the chatterbox and Adam jumps in when he can. Kind of like an older brother younger brother vibe when it comes to answering questions. Eddy continues how this film is a circle of life, much like the Darma wheel or identity discs. Steven is a visionary who predicted the future and the two of them are fans who thought “wouldn’t it be cool if Flynn was stuck in the grid” and got the chance to create write it.
Eddy and Adam first dabbled with a ‘TRON’ storyline when they were working on the TV show ‘Popular’. The episode revolved around the attempt by two boys trying to get to a screening of ‘TRON’ with Bruce Boxleitner and the ‘TRON’ bug stayed with them. When they were asked to write a treatment for a sequel to ‘TRON’ they were both skeptical saying, “they’re not going to let two TV writers do this.” Well they did. Even during the pitch process they kept coming up with storyline and were just waiting for the fantasy to end, which it never did.
The story they would write was not to be a re-imagination but rather a continuation. For them it was all about continuing where the last film left off. “At the end of the movie when he gets out of the helicopter on top of the roof in a three piece suit, we were like what happens next.” They wanted to honor the first film and give the fans, like themselves, what they wanted; an answer. To get that answer they would have to go to the one man that would be the anchor of the film, Jeff Bridges.
They talk about their first visit with Jeff and Steven at Jeff’s home. Both of them we’re nervous to be meeting with ‘Kevin Flynn’ and pitching a movie with two Flynn’s. “If you say this is it (referring to the world of TRON) and the man who created it says, ‘No it isn’t’, you can’t tell him, ‘Yes it is!’” This can lend to their nervousness. That was all laid to rest as they walked in and on a table is all the ‘TRON’ toys and the original helmet. When asked if they wanted to wear it, the two of them, of course, jumped at the chance. Adam and Eddy felt relaxed at this point or at least would be after taking a ‘prom’ picture with each other while wearing the ‘TRON’ helmet. Jeff made them do it. It just shows how dedicated to the story Eddy and Adam are.
They would stay in touch with Steven at all times during the writing process referring to him as Obi Wan. Taking their ramblings of story and stopping for a moment, Steven would reach in and grab that one speck and show them where they needed to focus their efforts. Creating a film of this nature they needed that guidance as there is so much back story that cannot be filled in a 2 hour period. That is where the collaboration was at its best. Keeping the mythology that Steven created and expanding it in a way that you will always be looking for more of the vast universe the grid can be.
Sitting with Eddy and Adam I couldn’t help but become more of a fan with them. Their enthusiasm for the work is about to be seen on the big screen is a culmination of 28 years of imagination and creativity. Focused on a story that took the world by storm and is about to have its portal opened once again. There will be one difference this time around. The virtual world and the real world have parallels that we can all relate too, family. In this case a father and son’s story. Sam looking for answers and a father with a past he cannot escape. I don’t know about you but I can relate to Sam in what I have seen and the story that Adam and Eddy still have to tell. I too lost my father for some time and looked for answers as to why he disappeared from my life. When I found him I had anxiety and questions for him. I know how my story is going, happily. I look forward to seeing Sam’s.
Adam and Eddy, thank you for a remarkable time chatting about your passion and influences. I can’t wait to chat with you both again once I see your complete story.
Readers will have an exclusive all access sneak peek at the upcoming Disney feature film TRON: Legacy (in theatres December 17, 2010) when Disney twenty-three’s Winter issue debuts November 1. Featuring one of the first comprehensive filmmaker interviews for TRON: Legacy, the Winter issue of Disney twenty-three magazine, produced by D23: The Official Disney Fan Club, is loaded with stories to delight Disney fans and the general public alike. (scroll down below to see the covers)
This issue of Disney twenty-three offers in-depth discussions with TRON: Legacy filmmakers and features two highly collectible covers. One cover is sent exclusively to D23 Members and the other is available for purchase at select Barnes & Noble and Borders bookstore locations, online at DisneyStore.com and throughout the Disneyland® and Walt Disney World® Resorts.
Director Joseph Kosinski and Producer Sean Bailey offer commentary on everything from behind-the-scenes moments and the personal memories that inspired participation in this cult-classic-sequel to the technical details that breathed life into the project. Writer Steven Lisberger even addresses the nearly thirty year gap between this film and the original release, saying: “The reason it took the 25 to 28 years is because we needed the ten-year-olds to grow up and be powerful enough to make this movie so that they could take their ten-year-old sons to see it.”
TRON: Legacy co-stars are also interviewed in the nine-page spread. Bruce Boxleitner reprises his role from the original 1982 film, admitting that he is “the biggest TRON fan there is,” while newcomer Garrett Hedlund discusses his take on his role as the character that inherits the TRON legacy.
Packed with gorgeous photos, extensive content and splendid artwork, the Winter issue of Disney twenty-three also gives readers an incredible opportunity to explore the architecture of the new Aulani Resort & Spa, Disney’s first resort in Hawaii, appropriately planted in the midst of a culture alive with history and a rich storytelling tradition.
Celebrating the abundant career of Disney Legend Dave Smith, Disney’s Chief Archivist, Disney twenty-three brings readers a final farewell to the man who founded the Walt Disney Archives 40 years ago. Conducted just before he retired, Disney twenty-three’s article presents the last visit to his treasure-laden office, filled with visual riches.
Disney twenty-three also looks back at classic Disney with two very special pieces. The first displays the Holiday Season through the eyes of Walt and his family. A perfect fit for the Winter issue, the piece gives fans the privilege of an intimate look at Walt’s home life. The second is the result of newly-discovered footage that chronicles Walt’s last time in front of the camera in the Studio’s legendary Stage 1.
There’s much more in the Winter issue of Disney twenty-three, including:
· THE ULTIMATE DESTINATION: Highlights of D23 Members spending an amazing couple of days at Destination D: Disneyland ’55, a fun-filled celebration of The Happiest Place on Earth.
· PERFECT TIMING: The time is just right for Walt Disney Animation Studios’ Dean Wellins as he makes his directorial debut and prepares to release his charming animated short, Tick Tock Tale.
· LIONS AND TIGERS AND…SANTA? OH MY! The Mickey Mouse Club Circus, one of the wildest shows in Disneyland history, dazzled crowds for six memorable weeks during the 1955 holiday season.
· SMALL-SCREEN ADVENTURES: Walt Disney Television Animation celebrates 25 years of groundbreaking creativity.
· 23 QUESTIONS WITH… Imagineer, celebrated costume designer, and Disney Legend Alice Davis.
· A WALK WITH WALT 1938: DREAMING THE FUTURE: The success of Snow White and the Seven Dwarfs went far beyond the silver screen.
· D SOCIETY: George Lucas strikes back, Destination D: Disneyland ’55 has arrived, and D23 Members are smack dab in the middle of D23’s Great Disney Scavenger Hunt at the Disneyland Resort.
And there’s even more for Disney fans to explore in the Winter issue of Disney twenty-three magazine. As with every issue of Disney twenty-three, D23 Members receive an added bonus. This issue, which features a specially designed collectible cover, also comes with an exclusive TRON: Legacy gift that will be shipped to members. To become a D23 Member, visit www.disney.com/D23.
Beginning November 1, Disney twenty-three is available at select retail locations for the suggested retail price of $15.95.
In the years following World War II, many tales of soldier’s experiences were written. From Europe to the Pacific, stories of heroism and life happenings were a daily occurrence. No matter where you go or what you do life still goes on with work, learning, love and hate. After his time serving, James A. Michener wrote a book called “Tales of the South Pacific” that would be transformed into one of Rogers & Hammerstein’s greatest musicals with the help of a fellow war veteran Joshua Logan. Now the Orange County Performing Arts Center presents the Lincoln Center production of “South Pacific” under the direction of Bartlett Sher.
Sher’s along with Music Director Ted Sperling and Musical Staging of Christopher Gattelli have brought back the strength and power of this classic musical. Let’s not forget that with the help of their own little brigade of workers, artists and outstanding performers “South Pacific” takes you back to a place where paradise is what you make it.
It is early in World War II and the world is fighting on many fronts both at home and a far. Our tale starts with a French expatriate, Emile, who is coy in his feelings for Navy Ensign Nellie. Emile has his secrets as does Nellie yet they both are in love with one another and could care less. Lt. Cable is new to the island and is here for a mission that could help the allied fight but he needs the help of a local Frenchman, Emile, who knows the area the mission is to take place. To help alleviate the tension of the stories is Billis, the entrepreneur comedic enlisted man who is always looking for a ‘project’ that could make him a buck. Billis may be the funny man but he knows everyone and how to help in any situation. But as in all stories love is always challenged with the times and it becomes apparent when Nellie, who is from Little Rock, AK, learns that Emile has children from a previous marriage, to an ‘islander’, as is Lt. Cables love is tested after he falls for a local girl. Times test of love, faith, honor, and ideologies will unravel in this South Seas paradise.
As mentioned to be one of the great Rogers & Hammerstein musicals “South Pacific” does not lollygag on memorable numbers. From ‘There is Nothin’ Like a Dame’, ‘I’m Gonna Wash That Man Right Outa My Hair’ to one of the all time standards ‘Some Enchanted Evening’ you are pulled into the feelings and expressions of life. I must say the songs alone are nothing without an amazing cast of vocal artist that never cease to grab you at any moment. Carmen Cusack as Nellie is the first to hold onto you when she starts singing ‘A Cockeyed Optimist’. Carmen has the southern style to a tee when she opens up and delivers any of her songs. You just cannot help but smile and enjoy the melody of her voicing this character with that laid back, sitting on a swing and sipping some sweet tea feel. Lt. Cable is brought to the stage by Anderson Davis with such gusto as the stereotype officer and sings that way. Anderson’s rendition of ‘Younger Than Springtime’ and ‘You’ve Got to be Carefully Taught’ shows his range of emotional singing that you can see his internal fight for what is right and wrong and when you need to go with your gut. Bloody Mary played by Jodi Kimura is one of two characters that provide levity in our story. Jodi has done some amazing characters before in past shows but none more fitting than that of Bloody Mary. She owns the part and can be that ever scheming, always planning, sarcastic Bloody Mary looking out for herself and her kin. ‘Bali Ha’I’ and ‘Happy Talk’ come across from the heart beckoning you to take her advice. The other character to provide a little comedic uplift is Luther Billis played by Timothy Gulan. Billis is much like Bloody Mary but more on the financial side. Timothy plays him with hilarity and panache much like Ray Walston did in the 1958 film. You love how Timothy portrays Billis as the one who tries to own up to everything anybody does wrong, to be there pal but you see it’s because of the caring he has for everyone and want for them to be safe. Timothy does a wonderful job with the help of his two cohorts, who as well do outstanding, Stewpot and Professor played by Genson Blimline and Rusty Ross respectively. Last I want to say is David Pittsinger as Emile will blow you away. David’s deep operatic voice so resonates, that during ‘Some Enchanted Evening’ you are filled with the infatuation he has for Nellie. It doesn’t stop there as David’s pure presence and standing fill the stage each time he steps out. Determined and devoted as Emile is to his family and his feelings, Davie exudes onstage. Bravo.
This is not to say that the rest of the cast is a footnote, oh no. Sher has assembled an excellent supporting cast and chorus to back the principles. Each of them has their part and plays it up to the audience. It is helped with the sights and sounds of such artisans like Michael Yeargans sets that include a scaled replica Corsair or the pinup girls on the shower stalls to Catherine Zuber costumes that take you back to a time where everything had style from swimsuits to GI uniforms. The ambiance of sound is fitting and not overused, under the direction of Scott Leher. It is truly a pleasurable night of Broadway in the OC. It truly is an exceptional performance by a very diverse cast, again BRAVO.
Sher and his company have brought back a show that some tell me is outdated or inappropriate for today’s audiences. As I am the one writing this I can disagree and I will. It is very much appropriate for our time. It is a show not just about love and war but about understanding we all come from different backgrounds. We all have different stories as to why we are, act, say, do the things we do, as Lt. Cable sings in ‘You’ve Got to be Carefully Taught’. It is in the story that we see we can overcome those upbringings and see people as we should, as individuals much like Bloody Mary professes in ‘Happy Talk’. So take some time out, step away from the newspapers, TV, radio and go watch how life then, can still reflect today. As the show begins with and ends with the song ‘Dites-Moi’ asks the question why is life beautiful and fun, maybe it is because someone loves us? Loves us for who we are and nothing but.
I never thought I’d find myself writing this, but The Thirst, a direct-to-DVD sequel to The Lost Boys, is actually not that bad. I mean, it’s definitely not good, but if you go in with the right mindset, it’s actually possible to have a good time. I haven’t seen the original Lost Boys since the early nineties, and honestly, I don’t remember it at all. That doesn’t really matter in this case, however. Any necessary backstory is easily pieced together through very brief flashbacks.
Corey Feldman stars as Edgar Frog, half of the infamouse Frog Brothers. It seems that they were an elusive vampire-hunting team beset by tragedy when Alan Frog was turned into a vampire in the last film. Now, Edgar is trying to make ends meet without his brother by his side. When Edgar is hired to rescue the brother of a best-selling horror novelist, he finds himself at the site of a rave where everyone will be turned into vampires. Action and mayhem ensue.
And that’s about it. The film is very silly, and it knows it. I found myself getting caught up in the humor of the whole thing. Feldman especially seems to be in on the joke, overacting to great comedic effect. In fact, all of the acting in the movie is terrible. But that’s part of the charm. I found myself enjoying the film because of how cheesy it was rather than in spite of it.
Even the special effects aren’t that bad. The weakest effects are found in some really bad wirework, but other than that, I actually enjoyed some of the vampire disintegration effects. There was also a decent amount of gore, but nothing too extreme. I’m sure the movie won’t end up that memorable, but I had a good time watching it, and sometimes, that’s good enough.
Unfortunately, there is only one extra on the disc, and it’s a really bad one. Entitled “The Art of Seduction: Vampire Lore,” this is supposedly a documentary on the nature of vampirism. Hosted by Charisma Carpenter (Buffy, the Vampire Slayer), this is a very brief feature that takes itself way too seriously. Featuring interviews with those involved in the film itself as well as supposed experts on all things vampire, this feature attempts to dissect what it is to be a vampire as well as the concept of vampirism from a societal perspective.
(click play button to see the trailer)
However, there is no insight to be found. As the title of this feature would imply, they focus primarily on the sexuality of vampires and the supposed seductive appeal behind them. However, the whole feature is tonally inconsistant. Carpenter introduces each segment as if she’s Elvira, complete with horrible one-liners and knowingly over-the-top dialogue. However, most of those interviewed seem to feel as if they are providing great insight. Considering that this is the only feature on the disc, I would have liked something that pertained a little bit more to the film itself.
The actual movie seems to have a greater understanding as to what it is. This is one of those movies that looks like it would have been just as fun to make as it is to watch. The acting is awful, but at least they seem to be having a good time. It’s not worth a purchase, but if you’re looking for a rental that will kill some time, you could do a lot worse.
Over the past several years, comic book movies have gained a great deal of credibility. While we were treated to the occasional Batman or Superman, most films of this type were relegated to the basement bins of the local video store. However, films like X-Men and Spiderman helped people realize that these types of films could be just as compelling as others. Through a combination of rich storytelling, epic scope and intriguing characters, the entire notion of comics on film achieved legitimacy. Unfortunately, the occasional film does come along to remind us how awful these films used to be. Jonah Hex is such a film.
Feeling like a relic of comic-book films past, Jonah Hex has all the trappings of those films prior to the comic renaissance. I’ve never read the comics myself, but there appears to be a decent story buried beneath the hackneyed mess that graced the screen. It’s unfortunate that the material is wasted in such a cheap and slapped-together looking production. The story (what little there is) revolves around Jonah’s quest for revenge against the evil Quentin Turnbull, a cliched villain in every sense of the word who not only made Hex witness the death of his family, but also plans to utilize advanced weaponry to, essentially, destory the world.
One of the biggest problems with the film is the way all of this is set up. The film is very heavy on exposition, and doesn’t do justice to the story that is presented. The opening credits are an animated sequence showing that Hex almost died, but was brought back to life with the gift to communicate with the dead. Not only does this supernatural aspect of the story make no sense, it doesn’t feel like it fits in with the rest of the story. It’s simply a device utilized to get Hex from Point A to Point B. This is the only supernatural aspect of the story, and is horrible in execution. It is rarely used, and the effect was much more compelling in the terrific (and unfortunately cancelled) tv show, Pushing Daisies.
(click play button to see the trailer)
I found it very depressing to watch a big-budget Summer blockbuster that felt inferior to a weekly television show. In fact, the whole production feels like a cheap tv program on the verge of cancellation. In the opening scenes of the film, Turnbull brands the side of Hex’s face, which we later see him cut off. This leads to the very mediocre effect of having a gaping hole in the side of Hex’s face. After the ingenious effects used to depict Two-Face in “The Dark Knight,” it was very disappointing to see such shoddy makeup work in this case.
In fact, the only aspect of this film that makes it feel like a movie rather than television is the cast. There are several A-listers in the film, all of whom unfortunately appear to be phoning it in. Josh Brolin plays Hex with a bored growl. He’s supposed to dark and edgy, angry at the world, but it just comes across as if he’s struggling with the sub-par makeup. I never believed his anguish. And what happened to John Malkovich? He used to be such a reliable indicator of quality, but this could very well be his worst performance to date. All I can think is that he must have really needed the money. Throughout the entire film, it just feels as if he’s reading off his lines without any thought to what he’s actually saying. Rounding out the main cast is Megan Fox. To be fair, she’s not any better or worse than she’s ever been. She shows up, wears her skimpy outfits, and disappears until the next time the filmmakers feel like giving us someone to ogle.
There reallly isn’t anything about this film that works. Maybe if there was some energy to the action sequences, or some life to the effects, it might have been a little more watchable. However, that wouldn’t have improved the script. The whole thing feels like an outline still waiting to be fleshed out into a real script.
I really hate wasted potential in a film. If a movie is simply bad, that’s one thing. But when there is a possibility for something fresh and exciting, it is so disheartening to see it squandered. Considering the popularity of reboots right now, maybe we’ll get a new take on the story in a few years. Hex may have the power to briefly reanimate life, but no amount of supernatural mumbo-jumbo can prevent this film from being dead-on-arrival.
One of those movies that seeminly came out of nowhere to dominate pop culture, The Hangover ended up one of 2009’s biggest comedic hits. It’s easy to see why, what with it’s hilarious ensemble cast and unique narrative structure. Starring Bradley Cooper, Ed Helms and (at the time) relative newcomer Zach Galifianakis, The Hangover takes the cliched story of a bachelor party gone wrong, and turns it into an epicly funny mystery. When the groom-to-be (Justin Bartha)ends up missing after a drunken night of debauchery, it’s up to these three to piece together everything that happened.
As is the often the case, the mystery ends up being more fun than the solution. If you actually step back and analyze the film, it’s a little too episodic, and doesn’t provide much of a payoff. However, it’s the journey that matters. Even if you haven’t yet seen the film, you probably know that their night involved a random baby in sunglasses (always funny), a missing tooth, a tiger, Mike Tyson, etc. Essentially, the film is cinematic connect-the-dots. But each dot, as it were, is a hilarious piece of the whole.
The film has a reputation for being a gross-out, hard R-Rated comedy. I don’t think the reputation is warranted, as I was expecting it to be a lot more graphic. There’s actually a lot of heart under the surface. I mean, the movie is definitely profane and it does have some nudity, but considering the subject matter, I was bracing myself to see a lot worse. And when I popped in the newly released “Extreme Edition,” I really thought I was going to see some shocking material. Surprisingly, this new edition isn’t really all that different.
This release contains both the theatrical cut, as well as the Unrated Edition. However, there’s only about eight minutes of new material, and none of it is “extreme.” It’s as if the marketers were trying to force the film to be something that it’s not. Which is a shame, because the movie doesn’t need shock value to appeal to people. It’s a genuinely good movie, and that’s why the film was a success.
That’s not to say that there isn’t some fun material in this new set. The first thing I noticed when I opened the case was a harbound copy of “the wedding album.” If you’ve seen the movie, you know that this album ends up playing a critical role in the resolution of the story. However, the included booklet is mostly the same photos seen in the film. There might be slightly different angles, but there isn’t a whole lot of added perspective to the story as a whole. Still, it’s a nice book, and a fun addition.
Also included is a soundtrack sampler, featuring a couple of tracks from the score, as well as “Who Let the Dogs Out,” and a song from “the Dan Band.” As far as actual features go, there is a picture-in-picture commentary featuring director Todd Phillips along with Cooper, Helms and Galifianakis. The track itself was moderately amusing and entertaining, alternating between actual insight and simple reminiscing; however, it was a terrible idea to actually show them recording the track on the bottom corner of the screen. Not only do they block a quarter of the picture, but they don’t do anything compelling visually. Watching this track is literally watching four guys watching a movie while talking through it.
Other extras include the “Map of Destruction,” which supposedly showcases the real-life Nevada locations where they shot the movie. There are thirteen icons to click on, and while some have brief features about shooting in that particular location, some just have audio clips. I was hoping for a little more insight into the process of shooting on location, but all of this material felt more marketing based than anything.
Next up was a feature called “The Madness of Ken Jeong,” which was eight minutes of Ken Jeong improvising a scene. Jeong can be hilarious in small doses, but eight minutes is a long time, and I grew tired of this feature very quickly. Other extras include a 35 second montage of the action beats from the film, a boring gag reel, a rendition of the song “Fame” from the Dan Band, and the full musical number “Three Best Friends” as sung by Galifianakis in the film. I loved this moment in the film, and I actually enjoyed getting to rewatch it as an isolated feature. The only other feature listed is labeled “More Pictures from the Missing Camera,” but for some reason, this feature wouldn’t play on my Blu-Ray player. Despite multiple attempts, it just wouldn’t load.
And that rounds out the extras on the Hangover Extreme Edition. Overall, if you’re thinking of purchasing this film, get it for the movie itself. The extras just aren’t worth it. The film itself does have a lot of replayability, however. On my second viewing, I still found the characters hilarious, and found myself laughing at several little one-liners and asides that I barely noticed the first time around. The film is packed with jokes, some broad and some subtle, and almost all funny. As I said, the film’s not perfect, but it’s very entertaining. I highly recommend it.
1973 could be considered one of the most memorable years of the 20th century in American history. Elvis Presley’s concert in Hawaii is first by an entertainer televised worldwide, being watched by more than the Apollo landing, Vietnam War ended, Roe vs. Wade, Watergate scandal, and the oil crisis begins to name a few. Sports alone became a history maker in that George Steinbrenner bought the Yankees, Miami Dolphins won the Super Bowl to be the only perfect season, the first designated hitter rule went into effect, Foreman vs. Frazier, Billie Jean King def. Bobby Riggs in a battle of the sexes tennis match. But none of these brought the country together more than one simple being, an amazing horse, Secretariat.
Mayhem Pictures and Walt Disney Pictures, who brought us the heart wrenching of perseverance and the thrill of an underdog winning in “Miracle” and “Invincible”, have teamed up again to bring us the telling of the whom some would say is the greatest non-human athlete ever. Randall Wallace (We Were All Soldiers, Man in the Iron Mask) takes the reins of this amazing story of going for it all in the face of adversity and the “Old Boys” club. Weaving the silk that is the story is Mike Rich (Radio, The Rookie) who takes William Nack’s “Secretariat: The Making of a Champion” and covers you such warmth that is a story not just about this exquisite horse but the trials and tribulations of the woman that stood up and said ‘NO’. That woman is Penny Chenery, played by Diane Lane (Under the Tuscan Sun, The Perfect Storm), a well educated woman who must step into her father’s footsteps to show everyone that her passion is just as hot as the next man. Helping her realize her gut feelings are true in nature is Lucien Laurin the ex jockey turned trainer that is down on his laurels and needs a boost. John Malkovich (Murn After Reading, The Great Buck Howard) saddles up as the extravagantly dressed (for the time) Lucien.
It was a coin toss to decide a champion. Christopher Chenery (Scott Glenn) and the richest man in america, Ogden Phipps (James Cromwell) agreed instead of money that a coin toss would be used to give the winner the choice of foals between Phipps’ stallion and Chenery’s mares. Chenery would never see that toss but his daughter Penny (lane) would. Having stepped into the family business after her mom passed away and to help out her father whose health was failing him. Penny had never run a stable before but she knew she had it in her blood. After doing a little research she knew which foal she wanted, and she got it, even though she lost the toss. She had to find a trainer though if she was to prove her theory and on good word she found Lucien Laurin (Malkovich), a trainer and ex jockey who had trained some good horses and some busts. Penny knew he could do it and put her trust in him even though he didn’t think he could do it himself. When the day came for the foal to be born, Penny, Lucien and Eddie Sweat (Nelson Ellis) saw something they had never seen before, a colt stand up almost immediately. They all saw that flash of greatness before their eyes, the chestnut red, they called Big Red. The only issue at hand was dealing with her father’s recent death and inheritance issues she would need to step up with the ‘Old Boys’ and beat them at their own game. Once given that chance to, Big Red loved to run and run he did, with the help of jockey Ron Turcotte (Otto Thorwarth), they ran into history.
Talk about a triumph over those who talk big and think that they know everything. William Nack was just a beat writer back when he was writing for Sports Illustrated and took such extensive notes when he was covering Secretariat that he had to write a book. It would be this basis that Mike Rich and Randall Wallace stepped in to bring it to life. Little details are not missed and even though there are some artistic liberties taken by these two, it tells a story that any long shot can relate too. It is their subtle glimpses into this wonderful animal they have taken from page to screen that may land themselves as well as several others looking at another trophy. Hint hint, nudge nudge. Dean Semler (2012, Apocalypto) has a way with the lens. No matter if he is behind the camera or strapping under the belly of a horse he draws you into the film and its emotional saga. To help you in the emotion is Nick Glennie-Smith (Ella Enchanted, We Were Soldiers) whose score brings the feel and emotion of a 1:53 second race to the entire film. Let’s not forget the costuming that was so well done by Michael T. Boyd (The Company, We Were Soldiers) and Julie Weiss (The Travelers Wife, Blades of Glory). Michael does a wonderful recreation of the feel and look of the early 70’s. (I still remember the plaid pants my mom would put me in.) His costuming of Malkovich keeps you wondering “what is he going to wear next?” Julie had the pleasure and creativity to dress Lane as Penny. Doing a little research of my own, she does the time justice and gives Lane the look and feel of a woman on a mission with style to boot. This entire crew does an outstanding job of bringing back those early 70’s and letting us remember history again.
About those actors, hmmm how can I put this? It is like Secretariat in the Belmont Stakes. From the opening scene Lane takes her roll and makes it her own. Now, yes she is playing a real person, who was even on set to see how Lane was portraying her and from interviews it sounds as though the real Penny was quite pleased. Lane enjoyed the time they had to get to know one another during the process and I think it helped in showing the world Penny was a fresh spark of entrepreneur in a male dominated profession. Lucien was a short man, a jockey turned trainer so Malkovich playing him is a little odd at first. Malkovich pays no heed to that though and brings honesty in true portrayal to Lucien. His quirkiness plays well with the character. To Mrs. Chenery, the real Penny, Malkovich brought out a little color to Lucien something many didn’t see. One character stood out for me though, Nelsan Ellis as Eddie Sweat, a quiet man who was Secretariat’s groomer. Now you wouldn’t think much of the groomer but Eddie watched over Big Red every moment he wasn’t on the track. Nelsan plays Eddie with a sweetness that you want to know more about Eddie, why he’s so passionate about Big Red and horses in general. It is a far stretch of a character than who Nelsan plays in “True Blood”. The talent doesn’t stop there, with notable appearances by Fred Dalton Thompson as Bull Hancock, Scott Glenn as Christopher Chenery, Dylan Walsh as Jack Tweedy, Kevin Connolly as Bill Nack (yes William Nack the author of the book) and AJ Michalka as Kate Tweedy. Let us not forget the star of this film, Secretariat. Although several horses were used it was amazing to see the characteristics many have written or described about Big Red come to life on screen. My heartfelt applause to all your training and care for these majestic horses.
What more can I say than this film is just like a horse race. In the beginning it is steady and builds. By the first turn it picks up and there is a lot of jockeying for many parts of the story, by the back stretch you get a clearer picture of what everyone is going thru. The last turn speeds up even more as the stakes are bigger and losing is not an option. Coming around to the home stretch you have a clear view of the finish line and the roses waiting for you. Penny did a lot of what she did by gut feeling. Something many of us never act upon. Let alone everyone thought there was no way she could do it. Not even her own blood, her brother or he
r husband had faith in her. She didn’t care. She knew what had to be done and who to go to, to help her. Lucien, Eddie, and Ron knew she had faith and knew Secretariat was a winner. There was no stopping this horse that just wanted to run. You can learn a lot from watching this film or even going on YouTube and seeing the clips yourself of this magnificent horse and he’s amazing family. Life is like a race, no matter what, as long as you have the drive, keep running. Make the right moves and the finish line will be right in front of you. My mom has told me that since I was born, the day Secretariat won the Preakness. Thanks mom.
Walt Disney Studios Home Entertainment (WDSHE) proudly announces the Blu-ray high-definition debut of Disney’s animated masterpiece, Beauty and the Beast on October 5, 2010.
Disney’s most requested film, Beauty and the Beast, arrives for the first time on Blu-ray Hi-Def as the second installment to the company’s new Diamond Collection. The Blu-ray transformation reveals the magic, music and majesty of the film as never before experienced with state-of-the-art picture restoration, pristine 7.1 Digital Surround Sound and hours of additional viewing experiences that include behind the scenes features, deleted scenes, enhanced music tracks, immersive games and more.
The first of only two animated films ever to be nominated for an Academy Award® for Best Picture (the second is 2009’s Up), Beauty and the Beast earned six Academy Award® nominations and won two Oscars® in 1992 for Best Original Song (“Beauty and the Beast”) and Best Original Score.
(click play to see the trailer)
Unavailable in any form since 2003, Beauty and the Beast will be released from the Disney vault for a limited time only, arriving on a Blu-ray + DVD Combo Pack (2 Blu-ray Discs + DVD) October 5, followed seven weeks later with the release of a 2-Disc standard definition DVD on November 23.
Set in and around a quaint French village during the late 18th century, Beauty and the Beast follows the fantastic adventures of Belle, a bright and beautiful young woman who finds escape from her ordinary life, and the advances of a boorish suitor, Gaston, by reading books. Meanwhile, off in a castle in the distance, a cruel young prince is cast under the spell of an enchantress who turns him into a tormented beast, while transforming his servants into animated household objects. In order to remove the curse, the Beast must discover a true love who will return his affection before the last petal falls from an enchanted rose. When Belle’s inventor father stumbles upon the Beast’s castle and is taken prisoner, Belle comes to the rescue and agrees to take her father’s place. With the help of the castle’s enchanted staff, she sees beneath the Beast’s exterior and discovers the heart and soul of a human prince.
Beauty and the Beast received two Academy Awards® for music in 1992, three Golden Globes® for Best Motion Picture, Best Original Score and Best Original Song in 1992, and two Grammy Awards in 1993. Listed as number seven on the American Film Institute’s Top 100 Animated Films, Beauty and the Beast helped define Disney animation for a new generation as the second film in the “Disney Animation Renaissance” (1989-1999) which launched with The Little Mermaid and revitalized animated features by captivating mature audiences while still delighting young viewers.
Beauty and the Beast features a cast of top vocal talent. Veteran stage actress and singer Paige O’Hara is the voice of Belle, one of Disney’s most beloved and independent heroines, and Robby Benson (TV’s “American Dreams”) delivers a powerful portrayal of the Beast. Three-time Oscar®- nominated screen star (The Manchurian Candidate in 1963, The Picture of Dorian Grey in 1946, and Gaslight in 1945) and six-time Golden Globe® award winner (TV’s “Murder, She Wrote” in 1992, 1990, 1987 and 1985, The Manchurian Candidate in 1963, and The Picture of Dorian Grey in 1946), Angela Lansbury gives a bubbly performance as Mrs. Potts. The late Jerry Orbach (TV’s “Law and Order,” “House of Mouse”) shines as the voice of Lumiere, the passionate candelabra, and David Ogden-Stiers (TV’s “M*A*S*H,” Lilo & Stitch) is Cogsworth, the tightly-wound mantel clock who functions as the head of the household.
Beauty and the Beast was also the first Disney animated film to inspire a Broadway stage production by the same name. Highlighting the film’s music by Alan Menken and Howard Ashman, seven new songs were written for the stage musical. Beauty… was nominated for nine Tony Awards in 1994 and ran on Broadway for 5,464 performances until 2007, becoming Broadway’s sixth-longest running production in history.
Beauty and the Beast: Diamond Collection is worth purchasing. The movie looks better than ever and the Blu-Ray set features several excellent collections of bonus material. Walt Disney Studios Home Entertainment (WDSHE) proudly announces the Blu-ray high-definition debut of Disney’s animated masterpiece, Beauty and the Beast on October 5, 2010.
Disney’s most requested film, Beauty and the Beast, arrives for the first time on Blu-ray Hi-Def as the second installment to the company’s new Diamond Collection. The Blu-ray transformation reveals the magic, music and majesty of the film as never before experienced with state-of-the-art picture restoration, pristine 7.1 Digital Surround Sound and hours of additional viewing experiences that include behind the scenes features, deleted scenes, enhanced music tracks, immersive games and more.
The first of only two animated films ever to be nominated for an Academy Award® for Best Picture (the second is 2009’s Up), Beauty and the Beast earned six Academy Award® nominations and won two Oscars® in 1992 for Best Original Song (“Beauty and the Beast”) and Best Original Score.
Unavailable in any form since 2003, Beauty and the Beast will be released from the Disney vault for a limited time only, arriving on a Blu-ray + DVD Combo Pack (2 Blu-ray Discs + DVD) October 5, followed seven weeks later with the release of a 2-Disc standard definition DVD on November 23.
Set in and around a quaint French village during the late 18th century, Beauty and the Beast follows the fantastic adventures of Belle, a bright and beautiful young woman who finds escape from her ordinary life, and the advances of a boorish suitor, Gaston, by reading books. Meanwhile, off in a castle in the distance, a cruel young prince is cast under the spell of an enchantress who turns him into a tormented beast, while transforming his servants into animated household objects. In order to remove the curse, the Beast must discover a true love who will return his affection before the last petal falls from an enchanted rose. When Belle’s inventor father stumbles upon the Beast’s castle and is taken prisoner, Belle comes to the rescue and agrees to take her father’s place. With the help of the castle’s enchanted staff, she sees beneath the Beast’s exterior and discovers the heart and soul of a human prince.
Beauty and the Beast received two Academy Awards® for music in 1992, three Golden Globes® for Best Motion Picture, Best Original Score and Best Original Song in 1992, and two Grammy Awards in 1993. Listed as number seven on the American Film Institute’s Top 100 Animated Films, Beauty and the Beast helped define Disney animation for a new generation as the second film in the “Disney Animation Renaissance” (1989-1999) which launched with The Little Mermaid and revitalized animated features by captivating mature audiences while still delighting young viewers.
Beauty and the Beast features a cast of top vocal talent. Veteran stage actress and singer Paige O’Hara is the voice of Belle, one of Disney’s most beloved and independent heroines, and Robby Benson (TV’s “American Dreams”) delivers a powerful portrayal of the Beast. Three-time Oscar®- nominated screen star (The Manchurian Candidate in 1963, The Picture of Dorian Grey in 1946, and G
aslight in 1945) and six-time Golden Globe® award winner (TV’s “Murder, She Wrote” in 1992, 1990, 1987 and 1985, The Manchurian Candidate in 1963, and The Picture of Dorian Grey in 1946), Angela Lansbury gives a bubbly performance as Mrs. Potts. The late Jerry Orbach (TV’s “Law and Order,” “House of Mouse”) shines as the voice of Lumiere, the passionate candelabra, and David Ogden-Stiers (TV’s “M*A*S*H,” Lilo & Stitch) is Cogsworth, the tightly-wound mantel clock who functions as the head of the household.
Beauty and the Beast was also the first Disney animated film to inspire a Broadway stage production by the same name. Highlighting the film’s music by Alan Menken and Howard Ashman, seven new songs were written for the stage musical. Beauty… was nominated for nine Tony Awards in 1994 and ran on Broadway for 5,464 performances until 2007, becoming Broadway’s sixth-longest running production in history.
The film itself is offered with three tantalizing options: the original theatrical release, a “Special Extended Edition,” and the “Original Storyboard Version,” which plays along in picture-in-picture mode with the film. Disneyphiles will be well served by the various ways to take in the film. Beauty and the Beast: Diamond Collection is worth purchasing. The movie looks better than ever and the Blu-Ray set features several excellent collections of bonus material.
A must-own for any film buff, Warner Brother has released a box set containing 24 of Humphrey Bogart’s most beloved films. In going through this collection, it becomes apparent just how significant he was to the cinematic landscape. He was one of the first true “movie stars,” and while not every film he made is perfect, his contributions to the industry are undeniable.
What’s great about this set is that it contains not only the classics such as Casablanca, the Maltese Falcon, The Treasure of the Sierra Madre, etc., but also those a little less familiar. Somehow, films like The Amazing Dr. Clitterhouse and Virginia City have been under my radar, and I relished the opportunity to familiarize myself with them. This set is as much an homage to Bogart as it is to classic film in general.
Each disc of this seven-disc set contains four Bogart films, and as a bonus, the last disc contains the 2008 documentary “The Brothers Warner,” in it’s entirety. Directed by Harry Warner’s granddaughter Cass, this is an insightful and inspiring look at the family behind the studioand their desire to “educate, entertain, enlighten.” Of course, she doesn’t fully explore some of the darker sides of their story, but she doesn’t exactly sugarcoat everything either. It’s a fair look at one of the most significant families in Hollywood.
As a film and a history buff, I was eager for the opportunity to learn more about this pivotal family. However, what I really found myself drawn to was the wealth of archival footage she was able to utilize to tell this story. It appears as if she had free reign of the Warner Bros. archives, and there is some fascinating behind-the-scenes material of the workings of this iconic studio.
Not only does this box set contain the 24 films and the extra documentary, but there is also a hardcover book detailing all 24 of the films. As mentioned above, not all of the films included are that well known, so I really appreciated this inclusion. Each film is given a brief summary and a little bit of analysis. Some contain critic comments of the day, and some just give a historical perspective. The book also has photos and original posters from several of the films. There’s nothing truly remarkable about the book, but I was grateful to have it as a reference.
Rounding out the set are a series of cards featuring looks at the original posters as well as recreations of significant correspondence within the studio regarding Bogart himself. Some are memos among studio personnel, and some are actual letters from Bogart detailing his thoughts on various projects. It was a neat addition that rounded out the set well.
Overall, Warner Bros. has done a great job putting this collection together. I already have several of these films individually, but I love that they were released together in one collection. Whether you’re a fan of Bogart specifically, or just a fan of classic cinema, you can’t go wrong with this terrific collection.
There is a lot to admire about Splice, but there isn’t much that I actually enjoyed. As directed by Vincenzo Natali (the infinitely superior Cube), what had the potential to be a clever sci-fi monster movie ends up hindered by both the pretentiousness of the filmmakers as well as unrestrained ambition. In trying to be too many things to too many people, the film is never able to find it’s own voice. I appreciate the film for the moments rather than the whole.
Adrien Brody and Sarah Polley star as Clive and Elsa (an homage to Bride of Frankenstein), genetic scientists experimenting with DNA splicing. They work for a pharmaceutical company, splicing DNA from various animals together in an attempt to find medical breakthroughs. However, when they are forbidden to include human DNA, they do what any self-respecting scientist would do; they add it anyway. This leads to the creation of Dren, a weird little creature that begins aging at an accelerated rate.
Clive and Elsa are fascinated with the concept of seeing a creature’s developmental process within a sped-up time frame, and begin raising the child as if it is their own. They have been delaying having a child, and Dren serves as an outlet for their parental instincts. Unfortunately, what starts out as a cute little childlike creation starts exhibiting violent tendancies. Clive and Elsa begin to experience a combination of wonder and fear of their creation.
As the story escalates, things get weirder and weirder. Instead of being the monster movie it seemed to be building toward, the film examines Clive and Elsa’s relationship from the sexualized perspective of a now adult Dren. As I said, I can appreciate what the filmmakers were attempting, but this awkward change in tone slams the film to a stop. After awhile, I couldn’t figure out the point of the movie. Is it supposed to be a morality tale about genetic manipulation? Or is it a character study about the challenges of raising a child? And what exactly is the point of taking the story in the sexual direction that it ends up going? Finally, the film settles into the monster-movie mode they had seemed to be building towards, but by this point, it was too late. The lack of focus had completely lost me.
Having said all that, the film itself is technically impressive. It looks like a gritty, low-budget independent film, and yet it features sophisticated effects, stunts, and production design. There is a dark moodiness to everything that is highly effective. The filmmakers definitely understand the mood of their film, even if they didn’t have a complete grasp on their story. As for the effects, they are a combination of CGI, puppetry, and very clever makeup.
The character of Dren is brought to life by actress Delphine Chaneac, and she does a brilliant job. With her inhuman facial features, and jarringly fast method of movement, she is able to portray an unsettling monster with just enough humanity for us to uncomfortably recognize ourselves. The character never really speaks, so she has to utilize nothing but body language to convey an ever-changing emotional spectrum. It’s a fascinating performance, and one that deserved a better screenplay.
There is only one bonus feature on this disc. Entitled “A Director’s Playground: Vincenzo Natali on the Set of Splice,” this feature runs slightly over 30 minutes and showcases the filming of several key sequences from the film. I love features like this, where the camera serves as a “fly on the wall,” simply observing the production rather than becoming a part of it. That’s not to say that there aren’t interviews, but there is a lot of material where the cameraman simply stands back and watches what happens.
I had high hopes for this film. I heard about the incredible reception it got at the festivals, and I was really eager to see a unique horror film, which this isn’t. However, I don’t want my pre-conceived notions to make it seem as if I’m critiquing the film for what it isn’t. I’m critiquing the film for it’s lack of thematic focus andinclusion of awkward story twists. As the film progressed, I began to realize that the filmmakers were, in effect, splicing together a film from the DNA of other, better films. The end result might not be quite as unsettling as Dren, but it’s definitely a creation that I could have done without.
It’s a rare night out where you can go to the theater and see something truly innovative, where you can say with absolute conviction that you have never seen anything like this before. Well, in watching this newest production of the timeless classic Peter Pan, I had that experience. In one of the most breathtakingly immersive experiences the theater has ever seen, Peter Pan didn’t just take Wendy, John and Michael to Neverland, but the entire audience as well.
Three Sixty Entertainment Ltd, has partnered with the Orange County Performing Arts Center to bring us something marvelous. They have erected a tent next to the Orange County Performing Arts Center, and within this tent, is a theater of the round. The audience is surrounding the stage below, but it is what’s above that is truly impressive. Just above the audience sits a giant circular screen over three times the size of your average IMAX screen. Throughout the production, images are projected which depict the location of that particular sequence.
This is impressive enough when the action is taking place on the stage. But when the cast takes flight, the real magic begins. Wires are used extensively in this production, but they are never distracting. The performers move through the air with ease, gracefully spinning, diving, flipping and soaring. Through intricate choreography, the illusion is created that the performers are part of the space within the projections. It’s really hard to describe, but it’s as if the projected images are moving around the cast. I literally got chills watching the initial flight to Neverland.
However, the production isn’t just about these projections. This is a very elaborate show on all fronts. While it’s a very high-tech show, there is a lot of simplicity in the theatrics down below. Old-school puppeteering bring Nana the dog, the crocodile, etc. to life. As this is a theater in the round, there is also an abundance of creativity in getting the cast on and off the stage. In a few sequences that reminded me of A Nightmare on Elm Street (of all things), the characters enter and exit scenes by disappearing into their beds. The stage itself has several built-in tricks, including a setpiece that rotates in and out of the stage as needed. While it’s easy to get lost in the experience, you never forget that you’re watching a play. I think that actually enhances the experience, grounding the production in the theatricality of the whole thing.
Adhering to J.M Barrie’s original text, this production might be a little disconcerting for those expecting Disney’s Peter Pan. In this version, Peter and the Lost Boys are more obnoxious with their disdain for the idea of growing up. There is a rage at the concept, especially within Peter. And Tinkerbell is definitely not the beloved little pixie we all grew up with. While there was an edge to Disney’s Tink, here she is rude and offputting in a way that I was not expecting. There are also aspects of the story I wasn’t expecting, such as a beutifully done mermaid attack. Personally, I enjoyed the darker tone of the story, but some people might take issue with it.
In performing this material, each and every actor is fantastic. There are times that feel downright Shakesperean, and everybody on stage is up to the task. Jonathan Hyde does a brilliant job as both Mr. Darling and Captain Hook. Instantly recognizable from several films (including the Mummy, Titanic, Jumanji, etc.), he loses himself in the part, inspiring both sympathy and fear from the audience. Simultaneously funny and scary, he is always compelling.
Just as compelling is Nate Fallows as Peter Pan. I’ve never seen his work before, but I couldn’t imagine him in any other role. He plays the part perfectly, and is an amazing counterpoint to Hyde’s performance as Hook. I was equally impressed with Abby Ford as Wendy. I could just run through the entire cast and talk about how great they all are, as there isn’t a weak link in the cast.
However, it isn’t the cast that’s going to pull audiences in. Having originated in London, moved to San Francisco and finally opened here, word-of-mouth on this is going to be huge. A technological marvel, I hope as many people as possible discover this amazing experience for themselves. Now playing at the Orange County Performing Arts Center, this is a must-see event for people of all ages.
This Father's Day, soar to new heights of gift-giving with an incredible collection of DreamWorks How to Train Your Dragon treasures from BoxLunch! On...
