AFI Fest 15 Review: "Carol"

Director: Todd Haynes
Runtime: 118 minutes

As restrained and repressed as its time period and characters, Todd Haynes' Carol still has a beating heart at its center. You might just have to work a little harder than necessary to get to it. At times emotionally reserved to a fault, this adaptation of Patricia Highsmith's "The Price of Salt" thaws out just in time to deliver an understated wallop of an ending that catapults it from the ranks of the 'good,' and into the realm of the almost-great. 

Not counting his HBO miniseries remake of Mildred Pierce, Mr. Haynes hasn't released a narrative feature since his Bob Dylan fantasia I'm Not There, so to see him reemerge with such a beautifully controlled work might take a little getting used to. The director has returned to the relative time period of his excellent Far From Heaven, albeit from a drastically different angle. Far From Heaven sought to emulate the rich melodramas of Douglas Sirk, while Carol - despite its scenes of wealthy people in pretty clothes - brings to mind Inside Llewyn Davis. This is not the picture perfect vision of post-war America, but rather a grittier vision that further deconstructs the societal norms of the day. 

This is all evident in the Christmas-y color scheme, using rich reds and greens that are still made to look a little worn and desaturated. When young shop girl Therese (Rooney Mara) shows up for work at a pricey department store, even the showroom looks a little dingy (not to mention the staff cafeteria). It's not exactly gloomy, but rather that the artifice of everything in the store (as well as the artifice of the 1950s concept of a homogenized society) is made clear as day to Therese and the viewer. Sharing in that vision, despite belonging to the upper class, is Carol Aird (Cate Blanchett), who saunters into the store one December morning to buy a gift for her daughter. Out of a crowd of faces of parents and children, Therese and Carol's gazes meet, and very slowly, the dance begins. 

Ostensibly a story of forbidden love, Phyllis Nagy's script refuses to fall into the trap of radically altering the source material for the sake of a more conventional tale. This is a story about isolated souls finding a connection against the odds and in violation of every social more. Carol never becomes a psychological thriller, but Haynes is gifted at emphasizing small gestures in order to convey the utter seriousness of Therese and Carol's burgeoning relationship, as well as the risks of exposure. Quick glances and touches on the shoulder are stand ins for traditional romantic gestures, even when the two women are in private. It's a romantic game of cat and mouse, only with both players working together to avoid the crushing weight of "traditional values."

And, as much as my admiration for the film has grown since I saw it, it's all to easy to understand why many will find Carol a little too distant for its own good. Haynes' pacing never drags, but it does move at a steady, stately rate, without too much variation for the first half or so. Carol is all about the wind up to a purposefully muted release, and for some it will be too little and too late. But even as I can see where detractors are coming from, I continue to find little details that stand out. Carol's story is not complicated, but it is complex, and the film practically demands a second viewing just to absorb every little move involved in Therese and Carol's covert courtship.

Keeping the whole enterprise going, even when Haynes himself seems a bit unsure about how to best move it all along, are the two beautiful performances from the leads. Mara has a much more passive role, but her quietness is an asset that the film needs. She is our window into the more obvious drama of Carol's domestic woes, and she reacts accordingly. 

Meanwhile Blanchett, the actor to Mara's reactor, is nothing short of sublime in the titular role. It's a role that the actress could have done on autopilot, but instead, Blanchett invests every look and touch and vocal flutter with a lifetime of experience. Therese is still finding and shaping herself, while Carol has known for years what she truly wants and what it will cost to have it. Without ever reaching for a big moment, Blanchett captures the character's turmoil with heartbreaking restraint and intelligence. Arriving just two years after her towering work in Blue Jasmine, Carol once again asserts the otherworldly Australian as one of the leading performers of her generation. 

And even though I may have some quibbles with some of Haynes' lulls in the narrative, his overall work here is excellent. Working with a talented group of collaborators, he's created a beautiful, yet realistic-looking film every bit as refined and textured as one of Carol's pricey fur coats. Costumes, production design, and photography are all superb, without getting in the way of the film's slowly blooming emotional center. Carol favors the exploration of a human bond over the sexier details, so even when the one proper sex scene arrives, it feels not only justified, but intimate and tender. 

Yet even the consummation of Therese and Carol's affair pales in comparison to the magic trick that Haynes pulls off in the closing chapters. Carol goes in a few surprising directions, with certain events arriving in ways that don't initially appear satisfying. But the careful windup finally comes together when Haynes and Nagy take both leads through their respective low points, yet allow room for hope. There is sadness and regret in Carol, but by the end, it hardly comes off as a cinematic depressive. All of those furtive, smoldering glances and gentle touches on the hand lead to one final, wordless exchange that is nothing short of heart-stopping in its beauty, and a perfect ending to the year's most delicate, albeit chilly, romance.

Grade: B+

Review: "How to Train Your Dragon 2"

Director: Dean DeBlois
Runtime: 102 minutes

After the major critical and commercial success of How to Train Your Dragon (2010), no one was surprised when Dreamworks Animation immediately green-lit (at least) two sequels. Yet instead of rushing the first follow-up, the studio has taken a healthy amount of time to allow for story planning and development. How to Train Your Dragon 2, directed by Dean DeBlois (half of the duo that co-directed the first film), is a sequel that has been crafted, rather than churned out on an assembly line. Some issues with pacing undercut the film's emotional arc, but Dragon 2 is ultimately a worthy sequel, even though it never quite soars as high as the original. 

Set five years after the events of the first film, Dragon 2 reintroduces us to the secluded isle of Berk. Humans and dragons now exist in harmony, and both species are better off for it. That's more than enough for Chief Stoick (Gerard Butler) and most others, who have spent their lives living in fear of the winged creatures. But Stoick's son Hiccup (Jay Baruchel) has become restless, and longs to explore the vast world at large. Unfortunately, not every expedition ends peacefully. When Hiccup, Astrid (America Ferrera) and their friends run afoul of a dragon trapper named Eret (Kit Harington), they stumble upon a plot that threatens to undo the years of peace between man and dragon.

The incorporation of exploration is among one of the aspects that Dragon 2 excels at. It's an obvious continuation of the first film's plot that creates a natural reason to explore more of Hiccup's world. Returning elements, like the relationship between Hiccup and his cat/lizard-esque dragon Toothless, compliment the new story elements well. With the thrill of the initial discovery gone (like Hiccup and Toothless' stunning first flight together), DeBlois has found new ways to open up a previously established setting. Some of the supporting roster remain one note, but DeBlois continues to show an obvious care for the characters and their world. 

Yet for all of the compelling choices that DeBlois has made, Dragon 2's pacing doesn't quite click like it did last time. The initial world-building is handled quite well, but the film's second half suffers from a few too many major developments that don't have enough breathing room to really register. In trying to make the Dragon universe significantly bigger, DeBlois has jammed in so much that the film struggles to give it all the proper weight in its 102 minute running time. The first film had one major instance of a plot development occurring far too quickly. The sequel, for all of its merits, has allowed this issue to become more noticeable, rather than less. For all of the good things about this sequel, the pacing of the second half makes it clear that Dragon 1 is still the superior film. 

However, despite the frustrations with some of the storytelling, there are quite a few strong elements that act as effective counterweights. The voice cast, whether in major roles or simple comedic relief, remain exception. Baruchel's nasally delivery, through some sort of magic, is endearing, rather than grating. His work as Hiccup is just as strong as last time, creating an enjoyably layered, yet accessible hero. Gerard Butler's work as Stoick is also noteworthy for its winning mix of fierce pride and gruff compassion. New additions to the cast, including Cate Blanchett, acquit themselves quite nicely as well. 

The lone disappointment is Djimon Honsou as the film's chief villain. The actor's work is solid, but Honsou is given a rather narrow role to play. His character's motivation and background are rushed out in a few lines of dialogue, only adding to the issues with story development as the plot builds to its climax. 

On the technical front, the film easily matches, and possibly exceeds, the previous entry. Again, no moment stands out quite the way Hiccup and Toothless' first flight did, but it's hard to find fault with what DeBlois and his animators have conjured up this time around. The creature design is stunning in its scale and variety, as is the work on the locations. Though not striving for photo-realism, the various dragons, clothes, and locales have such texture that you can imagine exactly what it would feel like to touch them. On the sound front, the whole mess of dragon roars (as well as quite a bit else) is first rate, and John Powell's work as composer continues to thrill. 

And, even when the pacing gets in the way, it's never enough to make Dragon 2 fall flat on its face. Though some moments don't hit as hard as they could, Dragon 2 is still genuinely moving. Amid all of the business in the story, DeBlois and his collaborators still know how to find the heart of the narrative. How to Train Your Dragon 2 may not fly higher than the first film, but the altitude it reaches is impressive all the same, even with the increase in turbulence along the way.

Grade: B 

Review: "The Monuments Men"

Director: George Clooney
Runtime: 118 minutes

Even at just two hours, The Monuments Men feels longer than World War II itself. There is fascinating history in this story, but draggy pacing and a lack of stakes quickly drown this star-studded endeavor. Director and co-writer George Clooney has assembled a big name cast who are all dressed up with nowhere to go, even in a story set against WWII and the last days of the Third Reich. Neither convincingly dramatic nor sufficiently comedic, The Monuments Men is a misfire that casts significant doubts on Clooney's abilities behind the camera.

Rather than sit through The Monuments Men, you'd be better off watching the excellent documentary The Rape of Europa. Despite all of the big names and Hollywood gloss, Clooney's film is strangely inert from the get go. By contrast, the Europa doc is a fascinating, gripping account of an often-overlooked episode in the second World War. 

To call the characters in The Monuments Men underdeveloped would be an understatement. They are barely sketches. Even in the hands of a talented ensemble, the painfully thin writing is nothing but a hindrance. A good third, maybe even half, of the film is meant to be something of a comedy, but the results are often as flat as day-old Coke. Matt Damon, always watchable, is essentially human cardboard. He's not helped by the way the film sidelines his subplot for long stretches, to the point where it feels like years have passed each time we check in on him.

Meanwhile, Bill Murray and Bob Balaban are stuck with unbearably forced comedic relief, none of which is helped by the painful amount of time between lines of dialogue. For a film that should have such significant stakes, it's somewhat astonishing how badly Clooney botches the pacing here. Motivations are nonexistent, as is character development. What we're left with is a middling slog of a history lesson with nothing left to offer either historically or cinematically. Moments that should land hard evoke mere shrugs, while the overall impact of the journey is reduced to, "art is kind of important, no?"

But the biggest offender of all is just how self-congratulatory the whole enterprise feels. A few lines about the importance of art are merely tossed off, and this alone is supposed to make the whole journey mean something Important. Yet when a character stares in awe at an abandoned Rodin sculpture, there's no reason to care or share in that moment of awe. This same level of laziness is present from the get-go, which makes all two hours of The Monuments Men crawl by through an interminable series of episodes. The Monuments Men make look the part, but, as a film, it has all of the worth of warm champagne without any bubbles. 

Grade: C-/D+

Review: "Blue Jasmine"

Director: Woody Allen
Runtime: 98 minutes

Remove a few small items from the frame like cell phones, and Woody Allen's Blue Jasmine could take place almost anywhere in the past 50 years. There are no mentions of social networking or tablet computers, and the music (as always) is made up of jazz standards. In essence, Allen's latest could easily be a product of his output from the mid-70s and early 80s. Nowadays, Allen's films that receive a positive critical consensus often feel like minor pleasures, and a far cry from the good old days of his prime. By contrast, Blue Jasmine, despite its share of small flaws, feels like the first Allen film in years that feels like it belongs in the company of Annie Hall and Manhattan. 

A pseudo-retelling of Tennessee Williams' "A Streetcar Named Desire," Blue Jasmine still feels very comfortably like its own story. Whereas Williams' play (and its film version) only included the briefest mentions of the past, Allen spends much of his trim film jumping between past and present. This juxtaposition, in which we witness the rise and fall of Jasmine French (Cate Blanchett), lends the film an angle that makes it more relevant for a 21st century audience. When she arrives in San Francisco to stay with her working class sister Ginger (Sally Hawkins), Jasmine has more than her fair share of baggage. Allen, wisely, uses his flashbacks to gradually unpack it over the course of the narrative. 

The jumping between past and present could have undercut the film's development, but Allen's script is smart enough to use the two time periods to build on each other. Mostly known (and sometimes criticized) for his focus on the upper classes, his look at Blanchett and Hawkins' characters proves surprisingly well-rounded. In the end, both the fallen-from-grace Jasmine and the rough-around-the-edges Ginger have their share of problems, yet their differences ultimately make them incompatible of really helping each other. Ginger, playing the Stella to Jasmine's Blanche, gives Jasmine a place to stay after she loses everything, but that's about all she can really offer. By the time Jasmine leaves behind her cheating husband Hal (Alec Baldwin, effectively used) and flees to the West Coast in ruins, the damage has already been done. 

Very much like Ms. DuBois, Jasmine has a bit of a problem when it comes to nervous breakdowns, certainly not helped by her newfound addiction to booze and pills. In a nice referential touch, the titular character is named for Blanche's favorite scent, which lends an appropriately effervescent connection between "Streetcar" and Allen's bitter comedy of manners and malaises. The most obvious similarity here, basic premise aside, comes down to the leading lady, and Allen's transition could not prove more spot on for the 21st century. Whereas Blanche was a product of the plantation world, Jasmine comes from good genetic stock and managed to land herself a rich husband to whisk her off up to the 1%. 

As such, when Jasmine finally descends upon San Francisco, she brings with her a haughtiness that clashes with the earthier working class. Though Ginger does her best to put up with Jasmine's self-centered neurotics, her newest boyfriend (Bobby Cannavale, always an enjoyable presence) can't muster up the same amount of sympathy. Jasmine is far past counting on the kindness of strangers, and that's putting it mildly. In these clashes between the haves and have-nots, Allen's script achieves a more expansive vision, even as it functions as a freeform character study. Yet because his principal characters are sharply drawn, the relatively uneventful narrative still possesses a sense of free-flowing movement. 

At the film's core, of course, is Blanchett's Jasmine. The regal Australian actress seizes the role by the throat and never lets go. Having spent time performing on stage, and largely avoiding lead roles, it's electrifying to see her back in the spotlight, more alive than ever. It's a very big character, filled with nervous tics and mood swings galore, but Blanchett finds enough room in moments both big and small to avoid overacting. 

Sally Hawkins proves a nice counterpart as the film's second largest role, her earthy and casual turn an appropriate counterweight to Blanchett's alcohol-soaked theatrics. Despite the flashiness of Blanchett's powerful turn, Hawkins is never overshadowed to the point where her scenes are a distraction. As Allen charts the paths of both sisters, he remains remarkably balanced in exploring both women, who are two wildly different sides of the same coin. A host of supporting roles, filled out by Baldwin, Cannavale, Louis CK, and Andrew Dice Clay are also handled effectively as they prop up the rest of the story. 

Like Tennessee Williams' work, the performances and writing of Blue Jasmine take a few minutes to adjust to. The film may not have the full-blown melodrama that characterized Williams' work, but there are aspects of Blue Jasmine that feel more than a little heightened. As for Allen, where his script provides engaging material for the cast, his directing can be a little clunky. As effortless as the transitions from past to present seem in retrospect, there are times when transitions come off as rushed. Allen, who has been working steadily for years now, occasionally lets his need to churn out an annual film get the best of him. In the first 20 minutes or so, the performers already appear ready for take off, while Allen's direction feels in need of further refinement. However, once Blue Jasmine gets its hooks in, it becomes an immensely satisfying comedy, with just the right touches of darkness and Allen-esque neuroses. 

The prolific director is already gearing up to shoot a film for next summer, and he shows no signs of slowing down. Yet even though the director has already moved on to his next project, it's worth taking the time to really savor Blue Jasmine beyond Blanchett's stellar performance. This film, awkward opening moments aside, feels like a glimpse at the director in top form. More than just "this year's Woody Allen movie," Blue Jasmine is a funny, smartly-observed character study that is at once perfectly contemporary, yet still timeless in its themes and subject matter. 

Grade: B+

Review: "The Hobbit: An Unexpected Journey"

Director: Peter Jackson
Runtime: 169 minutes

The source material for The Hobbit: An Unexpected Journey may not have the darkness, depth, or length of Tolkien's "The Lord of the Rings" trilogy, but that certainly hasn't stopped Peter Jackson from trying to repeat the same success from a decade ago. An Unexpected Journey marks the first of three (originally two) films based on Tolkien's lighter, slimmer novel. Is the three film to one book ratio a cash driven gambit? Most likely. It allows Jackson and company to flesh out and explore more of Tolkien's world and characters, to be sure, but at what cost to the storytelling quality? Yet ultimately, though this first installment never reaches the heights of Jackson's last journey into Middle Earth, An Unexpected Journey, warts and all, stands as proof that there's no one better suited to take audiences through Tolkien's universe.

Though decidedly lighter in tone, the film still possesses the trademark Tolkinean grandeur. This is best evidenced in a flashback/prologue sequence detailing the history of the great Dwarven stronghold of Erebor, and how it fell after an attack by the vicious dragon Smaug (to be voiced by Sherlock star Benedict Cumberbatch in the rest of the trilogy). With the dwarves scattered, some find leadership in the grandson of the deposed king, Thorin Oakenshield (Richard Armitage). Time passes, and eventually a small band of Dwarves under Thorin's command decide that the time is right to try and reclaim Erebor from Smaug, who has remained dormant. With the help of their ally Gandalf the Grey (Ian McKellan, as effortlessly compelling always), they find their way to the home of Bilbo Baggins (played by the other Sherlock star, Martin Freeman).

Initially upset by the bawdy Dwarvish ensemble mucking about in his kitchen, Bilbo eventually succumbs to the promise for an adventure, one that Gandalf promises will leave him forever changed (if he survives, that is). And once Jackson finally gets Bilbo on his way and the fellowship of the Dwarves begin their long (long, long) trek to The Lonely Mountain, An Unexpected Journey finally develops a sense of purpose. The opening stretches of the film are - Dwarven backstory aside - the weakest, as the reinforce the idea that this three film enterprise is nothing but shameless indulgence. Rather than simply settle in to the fall of Erebor, Jackson inserts a completely unnecessary framing device involving the old Bilbo (Ian Holm) writing down his tale, which is little more than an excuse for an Elijah Wood cameo. 

The opening also introduces us to one of the film's other shortcomings, albeit on the technical front. This is Tolkien in the age of digital cameras, and even without seeing the film in 48 frames per second, there were times when the difference was palpable. Most jarring are some of the visual effects. Gone, for the most part, is the use of miniatures and models to create epic cities and structures. Complete CGI is often king here, and coupled with the digital camera technology it can produce some displeasing aesthetic effects. Most notable is in the the Fall of Erebor, where the entire flashback sequence possesses a strange, faded glow, as if someone smeared a jumbo-sized jar of Vaseline on the camera lens. Elsewhere, the blend of sets and CGI backdrops is often too saturated and smooth to register with the same artistic majesty that so bolstered the Rings trilogy. 

Despite the occasionally distracting aesthetics, An Unexpected Journey does, thankfully, improve as it goes along. Not all of its side ventures (some of which are designed to create tie-ins to Rings) are as compelling as others. The bits involving Radagast the Brown and his sled pulled by Olympic-speed rabbits, for example, feel too cartoon-y and broad. Yet, on the other hand, when Jackson rekindles that old magic from 10 years ago, it connects. A flashback involving a failed Dwarven siege of the Mines of Moria is well-handled, and establishes Armitage's Thorin as a compelling equivalent of Viggo Mortensen's Aragorn. Later set pieces also come through, including a sequence where the troupe finds itself riding on the ridges of several gargantuan stone giants in the midst of a battle. 

Yet the film's shining moment comes without the slightest bit of violence or spectacle. Bilbo, separated from Gandalf and the Dwarves, stumbles upon a tiny golden ring, as well as its deranged owner, Smeagol/Gollum (Andy Serkis). Serkis is as good in the role as he's ever been, manic mood swings and all, and his game of riddles with Bilbo is the film's high point. Coupled with the big action sequence/chase and the surprisingly chill-inducing final confrontation involving Thorin and an Orc lord, and you have a film that truly reaches its purpose in its last third or so.

Even when the film falters, however, Jackson's grasp of the world remains strong, and his performers are plenty engaging, even if some of the Dwarven band blend together. Freeman makes a wonderful Bilbo, the odd man out among a group of people with a goal more personal than he can ever know. Returning cast members McKellan, Cate Blanchett, Hugo Weaving, and Christopher Lee are nail their material, as limited as some of it is. Yet it is Armitage who emerges as the most compelling figure of the bunch. Unlike Aragorn, who was almost dragged into fulfilling his role as king of Gondor, Thorin starts the story with a purpose, one tied to both duty and pride. Jackson's indulgences with flashbacks may throw some off, but those concerning Thorin do at least give a concrete sense of what this protracted journey means to him.

When all is said and done, it might be difficult to fully judge An Unexpected Journey until parts two and three (Dec. 2013 and July 2014, respectively) arrive, and we can step back and view Jackson's entire treatment. Until then, we're left with this first slice of a story that, for better and for worse, has been inflated in an attempt to match the glory that the director and his collaborators achieved a decade ago. For the sake of audiences everywhere, I wish them the best of luck.

Grade: B-

"Hanna" - REVIEW

When Kick Ass opened last April to mixed reviews (and controversy), one thing seemed to be generally agreed upon: audiences loved Chloe Moretz's Hit Girl, and many likely clamored for a spin-off. Now, just under a year later, Joe Wright and Saoirse Ronan have given us something close to that dream, albeit with a completely different tone and approach, in Hanna.

Wright's latest film, only his fourth, marks a major departure from previous work (the wonderful Pride and Prejudice and Atonement). However, unlike his last foray into the present (the terribly dull The Soloist), Wright's latest shows the director in a return to form, successfully blending a mix of genres. The end result is something of an art house action thriller that is eerie, beautiful, and at times very, very strange.

Raised in the wilderness by her father Eric (Eric Bana), Hanna (Ronan) has been trained from birth to take care of herself. As the opening act progresses, we begin to understand that Hanna is clearly being trained...for something. She memorizes a fake identity and backstory for herself, all in preparation for her mission, which involves her deliberate capture. Enter Marissa Wiegler (Cate Blanchett), a CIA operative who has been waiting for Eric to re-emerge from hiding for years.

As we follow Hanna (and Eric for brief moments) as she journeys across Morocco, Spain, and Germany, her story, and the film as a whole, become stranger and stranger, mostly to the film's benefit. The script takes its time with developments, never rushing for the sake of getting Hanna from point A to B. When Hanna meets up with a British family on a road trip (headed by Olivia Williams and Jason Flemying), the film becomes quite funny, despite the looming threats of Marissa and her henchman Isaacs (Tom Hollander). In the scenes with the family, Hanna really allows its protagonist to develop further than merely as a fish out of water (which Wright executes with great skill in a scene in a Moroccan hotel). It's the first time when we get to see that Hanna is more than a super-skilled killing machine; she's actually a teenage girl, albeit a highly unusual one.

Making both of these facets of the character wholly believable is young Ms. Ronan, showing a maturity that seems eerily beyond her years. Like her co-star, Ms. Blanchett, Ronan is an inherently commanding presence. She flips the switch between killer and real girl so effortlessly, all the more impressive because the character isn't the most talkative person. Other roles are decently played, though no one is really given enough to make a mark. That is, except for Blanchett, slathering a thick Texas drawl on her lines, to hugely entertaining effect. Blanchett has a tendency to play more sympathetic characters in film, so it's a bit of a joy to see the actress cut loose in such a cold, menacing role. Wright works wonders with the performance as well, using a close up of Blanchett's wide-open eye to deliver a spectacular little jump near the film's end.

This of course brings us to the film's third biggest star, Mr. Wright himself. The film's screenplay, courtesy of David Farr and Seth Lochhead, certainly has its shortcomings. In spots it's too vague, and I'm sure the more I think about the film, the more little plot holes will pop up (they deserve credit though, for not feeling the need to over-explain everything). And that's why Wright deserves so much credit for making this film work. The director's visual flair remains fully intact despite the modern setting, and scenes across all locations are richly shot and decorated. The director even gets to throw in his most notable trick, a tracking shot, to superb effect in a slow-building pursuit that explodes into a fist fight. Action scenes as a whole are effective as well, because they're used strictly to further the plot, and are supported by characters who are actually in danger (please take notice, Zack Snyder). Aiding him in his vision is a pulsating score from The Chemical Brothers, which, despite being played too loud at times, adds immeasurably to the flow and ambience of scenes. In some spots, the style becomes a little too much and draws too much attention to itself. But on the whole, the elements mesh to constantly engaging effect.

Whatever its issues, and there are issues, Hanna is most certainly a case where a director (and his cast) elevate flawed material into something better than it was strictly on paper. In Wright's hands, what could have been a scatter-shot attempt at an artsy thriller becomes wholly compelling, even if it is somewhat on the shallow side. At its best, it's as cool and compelling as its protagonist's icy blue stare, and that's no small accomplishment.

Grade: B

Trailer for Joe Wright's "Hanna"

Much more interesting that I thought it would be. This could have easily come off as something too kiddie-friendly, but Wright and co. really seem to be planting this firmly in the PG-13 area. Given the slightly less cartoonish look of this compared to, say, Kick-Ass, I'd be surprised if the film didn't attract some controversy for showing someone so young being so brutal (did she snap that woman's neck!?). And it's good to see Cate Blanchett back on screen after that awful Robin Hood film last year. We haven't seen Wright tested by action scenes before, which could end up hindering the film, but the cast and the footage here are strong enough to make me think that perhaps he's pulled it off.

First images of Cate Blanchett and Eric Bana in "Hanna"

Hmm, Cate Blanchett and Eric Bana working with Joe Wright on a spy thriller? This looks great, especially since 2009 was a Blanchett-free year. I'm excited to see how Blanchett starts off this new decade, especially since it sounds like her role is a villainous one.

Wright, Ronan, Blanchett, and Bana gear up for "Hanna"

Source: http://blog.newsok.com/nerdage/2010/03/11/thriller-hanna-to-begin-film ing-next-week/

LONDON, March 11, 2010 – The adventure thriller Hanna, directed by BAFTA Award winner Joe Wright, begins filming in Europe next week. Focus Features holds worldwide rights to the movie. Focus CEO James Schamus made the announcement today.

Academy Award nominee Saoirse Ronan (of Focus’ Atonement, also directed by Mr. Wright), Academy Award winner Cate Blanchett (soon to be seen in Robin Hood), and Eric Bana (Star Trek) star in Hanna. Joining the cast is Niels Arestrup, who last month won the César Award (France’s Academy Award equivalent) for Best Supporting Actor for A Prophet [Un Prophète].

Hanna (to be played by Ms. Ronan) is a teenage girl. Uniquely, she has the strength, the stamina, and the smarts of a solider; these come from being raised by her father (Mr. Bana), an ex-CIA man, in the wilds of Sweden. Living a life unlike any other teenager, her upbringing and training have been one and the same, all geared to making her the perfect assassin. The turning point in her adolescence is a sharp one; sent into the world by her father on a mission, Hanna journeys stealthily across Europe while eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Ms. Blanchett). As she nears her ultimate target, Hanna faces startling revelations about her existence and unexpected questions about her humanity.

Seth Lochhead wrote the initial screenplay and has written subsequent drafts, as have David Farr, Joe Penhall, and Mr. Wright. Academy Award nominee Leslie Holleran (Chocolat) is producing Hanna with the team of Marty Adelstein and Scott Nemes (who are in post-production on The Experiment). Barbara A. Hall, who executive-produced Focus’ Academy Award-winning Milk, encores in that capacity on Hanna. Focus senior vice president, European production Teresa Moneo is supervising Hanna for president of production John Lyons. European locations for Hanna’s filming will include Finland, Bavaria, Morocco, and Berlin (the latter in part at Studio Babelsberg).

Alwin Küchler, who shot the upcoming Morning Glory, is the director of photography, and Lucie Bates (Go for Zucker!) is the costume designer. Mr. Wright is reunited on Hanna with several longtime collaborators, including film editor Paul Tothill (Focus’ Pride & Prejudice) and the thrice-Academy Award-nominated team of production designer Sarah Greenwood and set decorator Katie Spencer.

Mr. Schamus said, “We’re so pleased to reunite with Saoirse and Joe for Hanna – Focus’ biggest production yet. With Saoirse taking on such a demanding role opposite Cate and Eric, this movie will be not only breathlessly exciting but also emotionally affecting.”

Too good to be true? Let's hope not...

Source: Unknown

Nicole Kidman, Kate Blanchett and Clive Owen in Turkish Film

Last Updated 02.01.2010

CHARACTERS ARE DETERMINED
Turkish director living in the United States Binnur Karaevli, is bringing together giants in the first movie! Karaevli; Alev Lytle selling Croutier'in film adapted from the book will 'Palace of Tears "for the project named Nicole Kidman, Kate Blanchett and Clive Owen made an agreement in principle. Three famous 'Valide Sultan', 'Aimée du Buc de Sultan' and 'Abdul Aziz' characters will be portrayed.

ABOUT THIS BOOK
It is 1868. On a balmy autumn afternoon in Paris, young winemaker Casimir de Châteauneuf wanders into a small shop filled with curiosities from the Orient. There he spies a cache of fine miniature portraits.

Above all others, an ivory-skinned beauty captivates him. Her eyes ... one blue, the other yellow. That night they pursue Casimir in his dreams, as one burning question consumes him: Who is she?

Thus begins Alev Croutier’s lush, stirring adventure of the heart — a mesmerizing tale of forbidden passion, true love, and destiny. For Casimir will forsake his family, his vocation, and his country to find the object of his obsession.

His journey will lead him across desert and sea, from the Royal Court in Paris to a sultan’s palace in Istanbul. And there he will find the woman of his reveries, the woman with one blue eye, the other yellow.

But in this city of passion, in a Palace of Tears, Casimir is about to discover what it will mean to make a dream real ... and what awaits him when his lover is set free.