I Am Number Four

OPENING: 02/18/2011

STUDIO: DreamWorks

RUN TIME: 104 min

ACCOMPLICES:
Trailer, Official Site

The Charge
…at the box office this week.

Opening Statement
I Am Number Four makes the huge mistake of taking itself too seriously. A fun, even nifty sci-fi flick lurks beneath the surface, one filled with dazzling visuals and an offbeat sense of humor, but director DJ Caruso isn’t interested in making an entertaining film. He’s too busy trying to create the next Twilight.

Facts of the Case
From what I gathered, the plot centers on the fourth of six aliens, the last of a race destroyed by the evil Mogadorians. “Number Four” (Alex Pettyfer) travels from town to town, attempting to blend in with society. Arriving in the small town of Paradise, Four quickly establishes several friendships, and settles in with the community. However, as expected, the Mogadorians discover his whereabouts, and even worse may have found the key to wiping out Number Four’s remaining clan.

The Evidence
As Hollywood continues its search for the next big book-to-film series, audiences patiently endure mediocre attempts like Percy Jackson and the Lightning Thief, The Golden Compass and now I Am Number Four.

Caruso’s film does not fall under the category of terrible, in fact much of it sparkles with brilliance, but curiously missing from the proceedings is a personality. Or, better yet, a certain aw-shucks factor.

Listen, what made Harry Potter into the dominating franchise it has now become was its gradual maturation from gee-whiz kid flick to dark, brooding fantasy. The kid heavy audience latched onto the goofy wizarding elements, and then grew up along with the franchise. It didn’t matter that Harry and his friends were casting spells, or taking part in silly adventures as teens, the audience had bought into the magic years before. It’s the same reason I still like Teenage Mutant Ninja Turtles –they stemmed from my youth. (I still have no idea how Twilight succeeded.)

I Am Number Four on the other hand gears for the older crowd. The cheesy ideas adapted from Pittacus Lore’s novel buckle under the film’s pretentious tone. Caruso and his writers Alfred Gough, Miles Millar and Marti Noxon would have us believe the material on hand oozes with relevance. In reality, not a lick of it makes sense; nor does it offer anything akin to substance.

Aliens live on earth, disguised (I think) as human beings. Okay. They possess superhuman powers, which must also include endlessly cool hair because everyone onscreen looks great, even after the big action sequences. Cool. I’m good with cheesy plots, but Caruso doesn’t lend the film any credibility, or humor. When Four develops glowing-hand-syndrome, the results are handled with intense melodrama instead of wondrous incredulity on the characters’ behalf. Maybe I’m getting old, but are teenagers really this serious?

I liked Teresa Palmer’s sexy action babe who poses in sensual positions to stop fires. The main guy, Alex Pettyfer, was pretty cool too and makes for a commendable action hero, surfer tan and all. I liked the subplot involving the school bully, even if Jake Abel plays him with a little too much hyperbole. The ending rocked, and boasted some fairly slick effects, especially compared to the rest of the production. The winged monsters looked terrific, as did an especially big dog.

So what was wrong with the flick? Well, for starters what’s up with the villains, known in the film as Mogadorians? They looked stupid, cheap and acted like idiots. If this race is attempting to conquer the world, then why do they go to such great lengths to hide? Why do they drive cars? Where are their spaceships? Why do they want to kill Number Four? Do they have to kill the good aliens off in numerical order? What’s with the frozen turkeys? Why do they hide their big winged beasties in a semi-truck? Purists will tell me to read the books; the critic inside me will say I shouldn’t have to.

Another thing that bugged me was Timothy Olyphant’s character. What was his purpose in the film? He tells Number Four that he’s a guardian, but from what I gathered he sucks at fighting; at one point he gets himself captured by a redneck. No wonder the other three died.

I also hated the “human” characters, namely Dianna Agron and Callan McAuliffe. They add nothing to the story. Agron plays a quirky photographer who “sees” people. She immediately connects with Pettyfer because a) he stares meaningfully into her eyes and b) the script tells her to. McAuliffe, so good in Rob Reiner’s Flipped, is saddled with the thankless nerd role. His character therefore must follow the heroes around and do stupid things in order to constantly remind the audiences of his ineptness. At one point he sees a giant, winged pterodactyl thing emerge from the back of a truck. His response? “Shit.”

So trivial are both Agron and McAuliffe that they disappear in the final act, only to remerge right before the end credits. I get the feeling their characters prove more meaningful in later installments, but I also sense that we’ll never see said installments come to fruition.

I Am Number Four feels every bit as lackluster as Percy Jackson, The Spiderwick Chronicles and The Golden Compass. It’s an experiment that doesn’t pay off. The ingredients are there and in the right hands (like, say, Michael Bay who passed on this to direct a third Transformers film, but nonetheless serves as producer) might have resulted in a solid flick. As is, Four stands as another disappointment; a poor attempt by greedy Hollywood producers to kick start the next Harry Potter.

Closing Statement
Alex Pettyfer and Teresa Palmer sizzle onscreen, but I Am Number Four lacks coherence, and tries too hard to emulate films of a similar breed.

The Verdict
7/10

Harry Potter and the Deathly Hallows: Part 1

OPENING: 11/19/2010

STUDIO: Warner Brothers Pictures

RUN TIME: 150m

ACCOMPLICES:
Trailer, Official Site

The Charge
One wand to rule them all.

Opening Statement
Harry Potter and the Deathly Hallows: Part 1 is the newest in a series of films with subject matter maturing as fast as the characters are. The tone of the series is growing increasingly dark and consciously building up to what fans hope will be a big finale. The Deathly Hallows brings in numerous characters from previous films and beautifully interweaves the previous adventures into a singular masterwork. The good greatly outweighs the minor quibbles I have with the series, leaving a group of films that is becoming something truly memorable.

Facts of the Case
Hogwarts’ three most popular students are back on another adventure, but this installment lies far from the beloved grounds of Hogwarts Academy. Harry, Hermione, and Ronald are continuing the search for the remaining four horcruxes, magical objects that give Voldemort his immortality, but also hold the keys to his destruction. With no knowledge of the location of the objects, hope is diminishing for Harry and his friends as the forces of evil are mounting up to destroy them once and for all. Harry learns of The Deathly Hallows, a children’s story which may turn out to be more truth than fiction. This story tells of a magical wand, sword and cloak, which could prove to be huge advantages in the hands of whoever finds them.

The Evidence
For nearly a decade, people around the world have watched Harry Potter, Hermione Granger and Ronald Weasley mature onscreen. Children who once spent late nights reading each new book have also grown alongside the Hogwarts students, forming a friendship and love for these characters probably unlike anything ever written. It is no surprise that teenagers everywhere are all over these films, because for books set entirely in the world of fantasy, the characters are surprisingly human. They love, hurt, have deep friendships and lose people close to them; all in the span of a few days. Like Harry Potter and the Half-Blood Prince, the ominous themes in Harry Potter and the Deathly Hallows: Part 1 have been ramped up considerably, moving the franchise far away from the innocent stories in the first two films. Gone are the days of Harry running from a horde of spiders or a three-headed dog as he and the kids are now approaching adulthood. The Deathly Hallows reaches much deeper into the psyche of the characters, probing into what is most frightening to these characters and the inescapable dance with Voldemort. As they get closer to the impending battle, the world is becoming more dangerous by the day. From Harry Potter and the Goblet of Fire until now, each of the films has been stamped with a PG-13 rating and it is no wonder. This film has its fair share of blood, a few deaths, and the cuteness of the first few films has been entirely stripped from the series and replaced with an endless supply of Death Eaters, ready to attack Harry at any given opportunity.

“These are dark times, there is no denying.”

This first line from the film couldn’t spell out the film any better. Students and teachers who were once colleagues are now enemies to be reckoned with and people who might have been friends of Harry have since turned to the dark side. Even Chris Columbus (Home Alone, Mrs. Doubtfire) and John Williams (Star Wars, Superman) have long since been replaced with artists more capable of providing a dim view of the world. Alexandre Desplat’s musical score is grim, bringing in no melodies from the happier days at Hogwarts. This is a complete contrast to the whimsical and somewhat light score in Harry Potter and the Sorcerer’s Stone and is yet another example of the darkening tone of the franchise. All of these changes are more than welcome, because they help transform Harry Potter’s world into a more believable one, a world with strife and personal conflict.

With a two and a half hour running time, Harry Potter and the Deathly Hallows: Part 1 is not for the impatient. Director David Yates spends much time with the characters and their journey to find the horcruxes. Plenty of scenes surround the threesome hiding from Death Eaters in the far out reaches of nature, the only places where the youngsters find any semblance of safety. This film will undoubtedly be confusing to those who have missed any earlier installments, as The Deathly Hallows weaves in over a dozen characters from the previous installments and the world created by J.K. Rowling can now be seen as a much larger work instead of a group of singular adventures. In this way, The Deathly Hallows was the first in the series to remind me of the Lord of the Rings trilogy in both look and story. As in those films, the protagonists in this story are clearly in over their heads and although they understand the task at hand, they have little clue as to how to achieve it. When Harry and Ron take turns wearing an amulet containing a horcrux, they each become edgy and short tempered in the same way that the ring of Sauron had a negative influence on whoever was in its possession. And like in the Lord of the Rings trilogy, Harry, like Frodo, is bombarded with visions throughout the film and the realization that he was chosen for a task bigger than himself has been a prevalent theme throughout the series.

My only grief with The Deathly Hallows is the same grief I’ve had throughout the series — the convenience of the magic in the world that has been created. For instance, in Harry Potter and the Chamber of Secrets, it was downright silly that the tears of the Phoenix could heal, seeing as how Harry had just been poisoned moments before. Unfortunately, this started a trend that has continued numerous times in the series, the trend that conflicts in the story can be written away with a new spell or plot device. In The Deathly Hallows, many close calls are evaded by the ability of the heroes to “warp” to another location in a moment’s notice. Please don’t give me some it-was-better-explained-in-the-books garbage either because I know this was spelled out somewhere. Get it? Spelled out. I made a funny. Anyway the point is, that at times, the danger is written away too easily. Although it bothers me, this is merely a small grievance. In the end, Harry Potter and the Deathly Hallows: Part 1 is a superb film in the series and simply can’t be missed.

Closing Statement
Harry Potter and the Magic Kids 7 (as I generally refer to it) could be the best in the series and will not disappoint those who have stuck with the series for this long. I continue to be impressed with the maturing changes in the story, characters and look of the films. My hope is that the last in the series will bring the battle between Harry and Voldemort that fans have been waiting nearly a decade to see. If the tone stays as dark as the last few films and the directing stays as interesting in the film to come, then I’ll be plenty entertained regardless.

As a side note, this judge couldn’t be more pleased that Part 2 will not be in 3D after all. There is a God.

The Verdict

9/10

Harry Potter and the Half-Blood Prince

OPENING: 07/15/2009

STUDIO: Warner Bros.

ACCOMPLICES:
Trailer, Official Site

SOUNDTRACK:

The Charge
“Once again I must ask too much of you, Harry.”

Opening Statement
Screenwriter Steve Kloves returns to the franchise, and his pairing with director David Yates makes for an efficient yet arresting adaptation of JK Rowling’s novel, firing the opening salvo in an increasingly dark three-part tale.

Facts of the Case
Following the disturbing revelations in Order of the Phoenix, Harry (Daniel Radcliffe) and Professor Dumbledore (Michael Gambon) have been exonerated, but it’s little consolation, as the wizarding world is now on high alert for dark magic terrorism. This is less a war of brute strength, and more a cunning chess match between the forces of good and evil on a board where not all the pieces are shown. As the Dark Lord retreats into the shadows, plotting a way to actualize the prophecy — "Either must die at the hand of the other, for neither can live while the other survives." — his Death Eaters carry out their orders with remorseless precision. At the same time, Dumbledore has collected key memories from those touched by the life of Tom Riddle, revealing secrets which could provide Harry with the power he needs to destroy Voldemort once and for all. With any war, there are casualties and, as the stakes rise, no one is safe. Yet, even in the face of grave danger, this is a tale of teenagers, so Quidditch is played, Butterbeer is consumed, hormones rage, and relationships flourish.

The Evidence
More dark mystery-thriller than magical-fantasy, Harry Potter and the Half-Blood Prince avoids the pitfalls of its predecessor, by abandoning the singular narrative focus and allowing more of Rowling’s nuanced storytelling to seep onto the screen. For that we can thank writer Steve Kloves, who passed on the last film, but returns for the final three. Kloves — who’s been there from the beginning — understands Rowling and possesses a unique gift for boiling down a 652 page novel, weaving together its key elements into a smaller but no less compelling tapestry. While we lose The Dursleys, Bill and Fleur, Moaning Myrtle, the house elves, much of the mystery surrounding "The Half-Blood Prince," and other rich touches (including a high impact finale), he makes up for it by bringing forth the deep emotions which underly this tale. Harry, Ron, and Hermione are no longer kids. They’ve seen and experienced real darkness, their innocence stripped away. The presence and protection of parents, teachers, and friends is not a certainty. All they have is each other and a resolve to see this through to the bitter end.

So as not to give you the impression Half-Blood Prince is all gloom and doom, there is a fair amount of humor to balance the scales, laughing in the face of danger so as to keep fear and despair at bay. Unfortunately, that doesn’t work for everyone. One of the darkest journeys belongs to Draco Malfoy (Tom Felton), and while the film only gives us the Cliffs Notes version, you still fully comprehend the fine line many people walk between light and darkness, a line Harry is all too familiar with. Hope still springs eternal (albeit tempered) in the presence of Hermione (Emma Watson), Ron (Rupert Grint), Luna (Evanna Lynch), Neville (Matthew Lewis), and Ginny (Bonnie Wright) whom Harry now views through very different eyes. Dumbledore’s Army doesn’t have much fight in them this time around, but the battle is far from over.

Nowhere is that more effectively felt than in the bottled terror of the adults. Working hard to keep it just below the surface, both sides of this war are suffering and there’s no hiding it. Draco’s mother Narcissa (Helen McCrory), lacking the unbalanced psyche of her sister Bellatrix (Helena Bonham Carter), has already lost her husband to prison and now risks losing her son to death. Arthur and Molly Weasley (Mark Williams and Julie Walters) put up a good front, but the ability to protect their family from harm (never mind themselves) is rapidly dissipating. Even the ever steely Albus Dumbledore knows his time on this earthly plane is drawing to an end.

Kloves provides the narrative, but the performances give these characters life. Daniel, Emma, and Rupert continue their growth as fine actors, often avoiding safe choices and letting the complexities of their characters relationships shine through. Rupert still trails a bit in authenticity, but never fails to exhibit Ron’s true heart. While this should have been Tom Felton’s chance to prove his chops, limited screen time cuts into that opportunity. The blossoming relationship between Harry and Ginny also gets short shrift, leaving Bonnie Wright only three or four key scenes to convey the real impact of this development, one which plays a huge role in the final two films. In the end, it comes across more rushed than organic.

The Half-Blood Prince spotlight is stolen (deservedly so) by Michael Gambon and Jim Broadbent, who leaps into the Potterverse as the deliciously self-focused Professor Slughorn. Once again, the deeper subtleties of a wonderful character are sacrificed for time, but Broadbent doesn’t let that stop him from turning in yet another brilliant performance. What’s there to say about Gambon? The untimely passing of Sir Richard Harris left some large shoes to fill, but Gambon has taken Dumbledore further than the potential that lay on the page. The relationship between Harry and Albus is one of my favorite aspects of the series, and the performances turned in by Radcliffe and Gambon only serve to further cement that magic. I would be remiss in not mentioning my ever growing admiration for Alan Rickman’s portrayal of Severus Snape (talk about taking a character and running with it), but I felt somewhat cheated by a critical storyline which should have held more impact than it did.

The remaining key players are left with very little to do but interject brief bits of information and provide window dressing for the primary tale. Fred and George get a few minutes to show off the mania of their new business venture. Lupin and Tonks show up to a rather unnerving Christmas dinner at The Burrow and are barely mentioned by name, let alone given the chance to share the growth of their own relationship or Fenrir Greyback’s involvement with the Dark Lord. Meanwhile, Hogwarts’ stalwarts such as Neville, Luna, Dean, Seamus, and newcomers Cormac McLaggen (Freddie Stroma) and Lavender Brown (Jessie Cave) are offered smaller portions of their literary counterparts. You can only do so much with 153 minutes.

What I didn’t fully appreciate in Order of the Phoenix was David Yates’ flair for composition. Half-Blood Prince is a visually arresting film, from the black contrails of the Death Eaters apparations and Harry’s journeys through the pensieve, to the magnificent color correction and striking shot frames, Yates’ work comes close to eclipsing the universe defining look of Alfonso Cuarón’s Prisoner of Azkaban. I also love his ability to use silence and facial expressions to great advantage, offering quiet touches such as Harry experimenting with the power of non-magic adolescent flirting, and the ever-in-control Hermione’s inability to contain her feelings for the still oblivious Ron. More importantly, the more adult tone of the picture provides Yates the chance to cut loose with some truly dark, expertly paced suspense sequences. If you thought the Order of the Phoenix final battle in the Department of Mysteries was intense, just wait until you spend Christmas with the Weasleys or start hunting for horcruxes.

I was a bit concerned early on, as Yates and editor Mark Day took a choppy, vignette approach to reuniting our heroes. But once they’re back at Hogwarts and the main story take root, Day does a beautiful job connecting visual and emotional threads from one scene to next. Composer Nicholas Hooper, who many feel dropped the ball with the last film, steps up his game with a more cohesive performance. While still well short of the mark left by John Williams on the first three films, Hooper effectively enhances Yates’ vision of increasing dread and momentary relief. While I only call out a few key above the line people, appreciation must be paid to the entire production team for their efforts. It’s a cinematic landmark to nurture an immersive universe over the course of six films, and their work is above reproach.

Closing Statement
With two more adventures to go and the production team remaining in tact, you can’t help but anticipate this franchise going out in a Fawkes-ian blaze of glory. Harry Potter and The Half-Blood Prince is a respected addition to the cinematic canon, deserving of repeat viewing.

The Verdict
9/10

First impression: not too shabby. It fits the tone of the book well, and gives just the right amount of teasing and foreshadowing. Considering how well the general public knows the subject matter of these films, it is an impressive bit of editing to put together a teaser that actually excites.

Check out the video embedded below the jump. Be sure and sound off in the comments below, and let us know what you think!

Not too bad, if you ask me. I like me some gravitas!

(via Trailer Addict)