17-year old MK (voiced by Amanda Seyfried) returns to her father’s isolated forest home after a long absence. Hoping to finally get closer to her eccentric dad ((Jason Sudeikis), she is saddened to find that little has changed. The professor seems more obsessed than ever with his scientific research – madness in her opinion – convinced that a miniature people lives in the forest and determined to prove it. Realizing that she is wasting her time, MK makes ready to leave when she, herself, is suddenly drawn into the same tiny world. Magically shrunken to miniscule size, she discovers the hidden kingdom of Moonhaven – a world in dire danger. For the age-old battle between good and evil is just reaching its climax, and it would seem that MK has a vital role to play…

MK joins the Leafmen, under the leadership of the great warrior Ronin, who are struggling to defend Moonhaven against the evil Boggarts, led by the sinister Mandrake (English and German versions both voiced by Christoph Waltz). Able to wither every living thing, Mandrake’s goal is to take over the domain and turn it into a kingdom of the dead. Only when Moonhaven is safe, will the spell be lifted so that MK can return to her human-sized world. But time is short and Mandrake and his army seem to be gaining the upper hand…

Based on the children’s book by William Joyce, director Chris Wedge (ICE AGE) takes his viewers into a wonderfully-detailed and fascinating fantasy world, invisible to the human eye, where the tiny Leafmen fly on the backs of humming birds, a mouse is suddenly a dangerous predator, and a stapler can be used as a springboard. Just a few examples of the visual creativity, enhanced by the mandatory – but very effective – use of 3D, which makes this animated adventure truly delightful, especially for younger viewers. Unfortunately, this is where the creativity ends.

The classic storyline is lifted from a miscellany of other works, borrowing elements from AVATAR, SPIDERWICK, NARNIA, and LORD OF THE RINGS, among others, although the target audience (children of 8 years and up) may not be so quick to identify the relevant source material. EPIC is nonetheless entertaining and, apart from its glorious detail, has some simple humor as well as a few good characters to offer. The two talking snails Mub (Aziz Ansari) and Grub (Chris O’Dowd), for example, are the comedy duo of the piece, and even though their slapstick is often over-the-top, it is likely to appeal to younger viewers.

EPIC is cautiously PC and its environmentalist message is delivered with a sledge hammer, which somehow dilutes the magic and “Epic-ness” in my opinion. Engaging enough, this offering still lacks warmth and individuality and is unlikely to approach anywhere near the success of ICE AGE. 

***

EPIC (USA, 2013); Genre: Animation/Adventure/Childrens Film; Distributor: 20th Century Fox; Running time: 104 mins; German title: EPIC  – VERBORGENES KÖNIGREICH; Director: Chris Wedge; Writers: Tom J. Astle, Matt Ember, James V. Hart, William Joyce – (based on the book “The Leaf Men and the Brave Good Bugs“) by Daniel Shere; Cinematographer: Renato Falcão; Music: Danny Elfman; Production design: Greg Couch; Voices: Jason Sudeikis, Steven Tyler, Amanda Seyfried; Beyoncé Knowles, Josh Hutcherson, Judah Friedlander, Colin Farrell, Aziz Ansari, Blak Anderson, Christoph Waltz, Chris O’Dowd; Release dates: May 24 (US) / May 116 (Germany)

For furter info & trailer: www.epic-derfilm.de

STOKER centers on the coming-of-age of India Stoker (Mia Wasikowska). Losing her beloved father Richard (Dermot Mulroney) in a tragic auto accident on the eve of her 18th birthday, her secluded life is suddenly shattered. A fragile girl teetering on the brink of womanhood, India feels isolated, and rejected by her sexually-frustrated and emotionally unstable mother Evie (Nicole Kidman). Drawn to her father’s long-lost brother Charlie (Matthew Goode), who unexpectedly appears at the funeral and decides to stay, her distrust soon gives way to fascination. They would seem to have much in common – blood calling to blood. Uncle Charlie radiates a mesmerizing charm – which is not lost on her lonely mother, either – and the more he reveals himself to India, the more infatuated she becomes. With him as her mentor, she is poised to cross a threshold, and as she begins exploring her sexuality, carnal urges give way to murder.

STOKER, (likewise a nod to the author of DRACULA), is South Korean film maker Park Chan-wook’s Hollywood debut, and first English language film. Known for his somewhat macabre and unconventional style, this production is more linear than his previous works (OLDBOY, THIRST), yet by no means dumbed-down by studio demands, as was perhaps to be feared.

Penned by PRISON BREAK actor Wentworth Miller, the screenplay is inspired by Hitchcock’s thriller IN THE SHADOW OF DOUBT. Yet, despite a few structural similarities, STOKER is unique unto itself. Beginning as a drama, it metamorphoses into a mystery-thriller, before culminating in horror; all interspersed with a morbid visual aesthetic for which Park is famed. A blood-tipped pencil, water slowly dripping between a pair of shoes, a spider crawling up a female leg, a spattering of blood in the grass – the movie resonates with exaggerated nuances hinting at menace and sensuality, which fuse into a portrayal of sexual awakening as a deadly and seductive force.

Mia Wasikowska (JANE EYRE, ALICE IN WONDERLAND) plays her many-facetted role with an aloof invulnerability, combining sensuality and insecurity, youthful innocence and adult deviousness, altogether a fearless performance. Matthew Goode’s Uncle Charlie is more than a match, utterly charming and chilling by turn, only gradually revealing his true nature. Nicole Kidman as the widowed Evie is all naked nerves and sexual yearning, albeit bland by comparison. Still, with less screen time than the others, it is what the script requires and she performs with her usual expertise.

Although the action soon reveals Uncle Charlie’s motives and his past, there are surprises in store, keeping up the suspense to the very end. With a dose of black humor and moments of sinister beauty, even the more conventional sequences are elevated to another level: a dreamscape verging on barely-restrained madness. Cameraman Chung-hoon Chung’s smooth pans and sudden zooms interspersed with unusual close-ups suggest the ever-pervading presence of peril. The dialogue, too, is somehow alien and artificial, drawing us into a world that is slightly deranged.

Despite numerous references to the works of Hitchcock and other representatives of the genre, Park Chan-Wook has made a visually, dramatically and disturbingly lovely film that should please fans of more intelligent cinema fare. Go see!

STOKER (USA, 2012); Distributor: Fox Searchlight; Genre: Drama/Mystery/Horror; Running time: 99 Mins; Director: Park Chan-wook; Writers: Wentworth Miller (screenplay), Erin Cressida Wilson (additional); Cinematography: Chung-hoon Chung; Music: Clint Mansell; Production Design:  Thérèse DePrez; Release dates: 1. March (USA, limited)/  9. May (Germany).

For more info & trailer: www.stoker-derfilm.de

After four separate TV series, eleven motion pictures, countless parodies (GALAXY QUEST springs instantly to mind) and decades of Trekkie conventions, it was inevitable that there would be a sequel to the prequel.

Following his 2009 STAR TREK resurrection (re-)introducing viewers to the group of young space cadets finishing off their training at the Space Academy, to then embark on their maiden voyage to the stars, J.J. Abrams now takes us further into the 23rd Century. Here we meet a somewhat older and more seasoned crew of the U.S.S. Enterprise, whose world – and the very existence of Starfleet itself – is soon to be threatened by the machinations of a ruthlessly clever terrorist from within its own ranks.

Chris Pine is back as a young Capt. James T. Kirk with Zachary Quinto as Spock, his “logical” First Officer and the rest of the familiar team. The action kicks off at Warp Factor 8 with Kirk and Dr. McCoy (great portrayal by Karl Urban) tearing through the thick forest of an alien world, chased by its primitive denizens. This, while Spock is some distance away trying to defuse an active volcano, whose imminent eruption is set to obliterate the planet and its system. Going against StarFleet’s Prime Directive – never to Play God (i.e. interfere with or even be seen by an impressionable alien race) – Kirk saves Spock, as well as the planet and its people. But at what cost! He is subsequently stripped of his rank, his ship and his crew.

Returning to Earth to face the music, he finds StarFleet Command distracted by a more serious problem. In the form of John Harrison (Benedict Cumberbatch), a one-man weapon of mass destruction, fiendishly clever, brilliantly manipulative, and hell-bent on revenge against his foes – real or imagined. Not wanting to give too much away, suffice it to say that Kirk is soon reinstated and he and the crew are dispatched to a remote section of the Klingon homeworld to bring Harrison to justice.

Best known for his TV role as SHERLOCK, Steven Spielberg is said to have recommended Cumberbatch to the producers based on his performance in WARHORSE, who then did his screen test on an iPhone in his best friend’s kitchen. However he got the part, there are moments in his hypnotic performance that make you wonder if Harrison is really a villain at all. Until he strikes. His air of quiet menace, combined with superior intelligence and persuasive talent keeps the viewer as off-balanced as it does Capt. Kirk.

Notwithstanding the heavy marketing focus on Harrison/Cumberbatch, he is only one source of conflict. Screenwriters Damon Lindelof, Alex Kurtzman and Roberto Orci have spiced the crew’s interaction with lesser tensions and disputes – and a good dose of humanity – mostly revolving around Spock and his apparent lack of emotion. Which cheeses off Kirk – who has just saved Spock’s life at the cost of his career – as well as Officer Uhura (Zoe Saldana), with whom Spock would appear to be having a “romantic” relationship. Scotty (wonderfully played by Simon Pegg), who provides much of the film’s comic relief, is meanwhile dismayed by the Enterprise’s military mission, “I thought we were explorers,” he protests, repeating a concern voiced by many Star Trek fans.

Chris Pine puts in a commendable performance as the brash, hot-headed young starship captain who makes his journey into maturity learning to take responsibility for his actions, while his fraternal friendship with Spock and their constant bickering – in which Spock usually has the upper hand – is an added source of delight. Quinto and Pine have managed to capture the quintessence of the original characters (compliments here to the makeup department), while still making them their own. J.J. Abrams and his production team should likewise be praised for making a film that caters to the traditional fan base with homage and references to many of the original characters, while still appealing to a younger audience. Albeit as far as the latter is concerned, I am inclined to think that many such quotes might fall on fallow ground.

Nonetheless, the end product is fascinating – a perfect blend of sci-fi thrills, adventure, drama and excitement, boldly going into 3D, which gives depth to the Enterprise and the infinity of space. This is not to mention the set design and CG environments: the futuristic visions of London and San Francisco are truly spectacular. At a budget of $185 million – $15 mill. less than IRON MAN 3 – the latest STAR TREK enterprise is 132 minutes of sheer enjoyment.

 ***

STAR TREK INTO DARKNESS (USA, 2013): Running time: 132 mins; Distributor: Paramount Pictures; Director: J.J. Abrams; Writers: Roberto Orci, Alex Kurtzman, Damon Lindelof; Gene Roddenberry (original TV series); Main cast: Chris Pine, Zachary Quinto, Simon Pegg, John Cho, Karl Urban, Zoe Saldana, Alice Eve, Anton Yelchin, Benedict Cumberbatch, Peter Weller; Cinematographer: Dan Mindel; Composer: Michael Giacchino;  Production Designer:  Scott Chambliss; Release dates: May 17 (US) / May 9 (Germany)

Created by French filmmakers Benoit Delepine and Gustave de Kervern, THE BIG NIGHT revolves around a mini-revolution in a dreary, suburban shopping center headed by a dysfunctional French family who spontaneously resolve to adopt the nihilist conduct of their son, the aged Punker “Not” (Benoit Poelvoorde). We know that is his name, as it is tattooed on his forehead. Not spends his days wandering around the bleak industrial estate with his faithful dog, irritating the workers and beleaguering customers. Doing work of any kind is obviously not an option.

After years of being straight and dependable, his priggish brother Jean-Pierre (Albert Dupontel), who sells mattresses for a living, is suddenly overwhelmed by the desperation and tedium of his existence. On the day he loses his job, he walks into the neighboring mega store, pours gasoline over himself and lights a match – to the inconvenience of the shoppers. Not finds it appropriate to intervene: cuts his brother’s hair, and carves the word “Dead” onto his brow. Standing side by side, they spell the message “Not Dead” – a rallying call to those who would reject a workaday, zombie like existence.

The brothers then proceed to do a succession of naughty and rebellious things in protest against capitalism, which includes invading various homes and gardens. In response to resident outrage, they merely reply: “It belongs to the bank!” Supposed to be funny, I presume. Although possibly not so much in the US, should any distributor ever be so unwise as to release it there. Likewise the puns and word-plays, such as they are, don’t travel.

Winner of the special jury prize at last year’s Cannes Film Festival in the Un Certain Regard category, it had the locals in fits. As for me, I found it visually dreary, the camera work chaotic and unpleasant to watch, and the dialogue especially irritating. Co-produced by various European TV networks (including ARTE, WDR, Canal+), it is yet another example of a mediocre TV movie finding limited cinematic release in order to access the various tax breaks and subsidies available – and intended to support – the making of feature films. And the sort of movie that should never have found its way onto a cinema screen in the first place.

***

LE GRAND SOIR (France, 2012): French Distributor: Ad Vitam Distribution; German Title: DER TAG WIRD KOMMEN; Genre: comedy; Director/Writer: Gustave Kervern, Benoit Delepine; Main cast: Benoit Poelvoorde, Albert Dupontel, Brigitte Fontaine, Areski Belkacem, Bouli Lamers, German distributor/release date: Alamode Film Verleih/May 2.

Set in a grubby London suburb, she plays Anna Welles, who regularly attends speed-dating evenings in the hopes of snaring a new companion. This is where she meets George (Ralph Brown), a nasty piece of work, who nonetheless persuades her to accompany him back to his place for some hanky-panky. Things rapidly go south and we see her the next day, staggering out of the high-rise building. On her way out, she bumps into DCI Bernie Ried (Gabriel Byrne), who has just been called to a murder scene. And yes, the victim is George…

There is an immediate attraction between the two and Ried’s romantic interest is aroused, despite the fact that evidence gradually reveals that Anna could be involved in the crime. A conflict of interests: is Anna the murderess, and is the detective stepping out of line? All is obviously not what it seems. Anna is a mysterious and tragic figure, yet there is little to arouse the viewer’s interest in her fate, or the outcome of the plot – such as it is.

Written and directed by first-timer Barnaby Southcombe – who just happens to be Charlotte Rampling’s son – based on the novel of the same name by psychologist Elsa Lewin, I, ANNA was shot in London and Hamburg as a UK/German/French co-production, subsidized by Lord knows how many media boards and tax incentives – that is to say, made with “cultural funding”, i.e. taxpayers’ money.

Permiered at the Berlinale 2012, it likewise won accolades prizes at various film festivals (Evening Standard British Film Awards, Shanghai International Film Festival), including the Vancouver International Film Festival, where it was voted “most popular international first feature” for its director. The film has been hailed as a “work of art” by certain European critics, although I found it to be a dreary, overdone, and confusing noir thriller. Frustratingly slow-moving with dramatic (mostly unflattering) close-ups on Rampling, she and Byrne do the best they can with a thin plot and lackluster script, which never should have been made into a film.

Good news for American cinema-goers – it doesn’t look as if I, ANNA will be making its way into the US market any time soon.

***

I, ANNA (UK/Germany/France, 2012); Genre: Noir thriller; Running time: 93 Mins; Distributors/Release dates: NFP marketing & distribution, May 2 (Germany) / Artificial Eye, Dec. 29, 2012 (UK); Director/Screenplay: Barnaby Southcombe; Writer/Novel: Elsa Lewin; Cast: Charlotte Rampling, Gabriel Byrne, Hayley Atwell, Eddie Marsan, Ralph Brown

We then move to the “present”, following on from where THE AVENGERS left off after the alien attack on New York. Tony Stark is a changed man. Battling aliens and hurtling through a wormhole with a nuclear bomb in tow have taken their toll, weakening him both emotionally and physically. He suffers from insomnia and anxiety attacks, and his romantic relationship with the ever-loyal Pepper Potts (Gwyneth Paltrow) – now competently running Stark Industries – is likewise strained. He has lost much of his self-confidence, only feeling comfortable and safe building more Iron Man suits in his basement. The more the merrier.

But when a new enemy simply known as “The Mandarin” strikes, terrorizing the world and destroying everything that Tony Stark holds dear, including his luxurious Malibu home, he has no choice but to don his metal suit and try to save the day. He is no longer as resilient as before, however, and without his technology or its trappings, he is soon forced to survive by his ingenuity alone…

This is Robert Downey Jr’s fifth sortie as Tony Stark since 2008, and the iron suit fits so well, it’s virtually impossible to imagine another actor wearing it. A magnetic, flashy role which allows Downey Jr. to give free reign to his personal quirks, Stark is a twisted hero, but resourceful and resilient – as well hugely rich, of course. Certainly the most interesting superhero among THE AVENGERS, and possibly the entire MARVEL multi-billion dollar comic franchise.

Tony Stark, as always, is at the heart of the action, with the usual suspects in attendance. Pepper, the love of his life, and Col. James Rhodes (Don Cheadle), rechristened as the Iron Patriot, have now been joined by some interesting new characters and the best villain to come along in a very long time. Ben Kingsley plays The Mandarin, and there’s not much I can say about the bearded terrorist with his televised warnings and diabolical plans without giving too much away. Suffice it to say, he almost steals the show, adding a menace to counterbalance Stark’s showy melodrama as he wreaks evil upon the world. Guy Pearce gives his usual quality performance to the character of Aldrich Killian, a corporate bad guy and one of Stark’s self-created demons, determined to get his own back for being rebuffed back in 1999, as does his menacing henchman played by James Badge Dale. The talented Rebecca Hall joins the ensemble as Dr. Maya Hansen (a former, brief love interest), but unfortunately has relatively little to do except provide some ornamental motivation.

This is the first film in the series that has not been directed by Jon Favreau, one of the key producers, who also plays the part of Happy Hogan, Stark’s long-time colleague and chief of security – and a very fine job he does of it, too. Writer/director Shane Black confessed that Favreau gave him some tips and advice during the shoot, for which he was very grateful, although he was always determined that this picture would have a “different feel” than the others.

The third movie of a superhero franchise is rarely up to the standard of its predecessors. The first film sets up the back-story and beginnings; the second steps up the action, perhaps even adding a love interest, while the third doesn’t seem to know quite where to take it from there. There seem to be many reasons for this: a lackluster script, change of directors, an absence of further character development, complacency, or just plain arrogance – why bother, when the movie is bound to be a smash anyway? But IRON MAN 3 breaks out of the mold and is easily the best of the bunch – just about every second is hugely entertaining.

Apart from the $200 million budget – although throwing money at a production doesn’t always ensure quality – this is doubtless thanks to the scintillating screenwriting and directing expertise of Shane Black. He and Robert Downey Jr. worked together in Black’s 2005 noir comedy KISS KISS BANG BANG, and the producers and studio agreed that he was the only acceptable replacement for Favreau. An excellent choice, as it happens, for he has created a perfect balance of comedy, action, sci-fi and character-driven drama that should delight pretty well everyone who sees it. At just over 130 minutes, it is the longest stand-alone Iron Man film, but there’s never a dull moment. And by the way, make sure to stay for the closing credits.

***

IRON MAN 3 (USA, 2013), Running time: 131 mins; Director: Shane Black; Writers: Shane Black, Drew Pearce (based on the comic by Stan Lee); Cast: Robert Downey Jr, Gwyneth Paltrow, Guy Pearce, Ben Kingsley, Don Cheadle, Rebecca Hall, Jon Favreau, James Badge Dale; Cinematographer: John Toll; Music: Brian Tyler; Distributor/release dates: Walt

After a seven year hiatus, one of the most successful comedy-spoof franchises of all time is back with a vengeance. With SCARY MOVIE 5, writer/producer David Zucker is obviously seeking to emulate the success of its predecessors by lifting elements from every horror movie that has hit the screen within the last five minutes – and some which haven’t even been released yet (at least here in Europe). When they do come out, it’s bound to be a matter of “spot the spoof”. There may even be legal problems involved, who knows?

Take a dose of PARANORMAL ACTIVITY, mix with a little BLACK SWAN, add a tablespoon of INCEPTION, a touch of RISE OF THE PLANET OF THE APES, some nods to 127 HOURS and CABIN IN THE WOODS, together with a sprinkling of some brand new horror features nobody’s yet seen and what do you get? Basically a load of puerile rubbish. Director Malcolm D. Lee’s strategy has obviously been to out-dumb the competition and in this he has succeeded brilliantly.

Such gags as are to be found in this chaotic mix of horror features are imbedded in a rudimentary background story lifted from the recent horror hit MAMA, where young married couple Jody (Ashley Tisdale in the Jessica Chastain role) and Dan (Simon Rex) agree to take in three orphans, progeny of Dan’s deceased brother (Charlie Sheen). For the last three years, the kids have been living alone in the wilderness and turned into rapacious little beasts. Consequently, they have some difficulty adjusting to normal suburban life with their new parents. Especially as they have brought an evil spirit home with them…

As if all this is not sufficiently problematic, mysterious events start manifesting themselves in the household, mostly filmed in fast-motion á la PARANORMAL ACTIVITY with the plethora of camera equipment that has been installed all over the place. An interminable high-speed sequence of Dan electrifying himself and taking any number of other pratfalls while hooking up the cameras is the apex of humor… Standard home appliances, such as microwaves, robot pool cleaners and the like, begin taking on a life of their own, even throwing orgiastic parties and tooting bleach through their nozzles, which does provide some snippets of amusement. Augmented by the recurring disparagement of the couple’s somewhat corpulent Hispanic housekeeper (Lidia Porto) – a shot of her rear in a tight bikini providing additional hilarity.

Jody, too, is going through difficulties at the ballet company, where she has to deal with a troublesome rival – credit to comedian J.P. Manoux for his terrific impersonation of Vincent Cassel in BLACK SWAN – and Dan’s work in the ape research centre is also encountering glitches. A true horror mishmash that reaches a blood-soaked climax in a CABIN IN THE WOODS.

When you think of some of Zucker’s earlier works, especially such satirical gems as THE NAKED GUN or AIRPLANE, which still work so well today, this fifth Scary rehash leaves little to laugh about. The few potentially amusing moments are well buried in shallow obscenity and crude potty humor, served up with a shovel. Unlike the classics of the past, where spoofs poked fun at the genres themselves, recent offerings are aimed at parodying very specific films and current, short-lived trends. When some of the subject films targeted have not even been released, the recipe is bound to founder.

It seems that comedy spoofs have evolved into loveless, disposable products churned out by Hollywood specifically for a dim-witted audience. Generating humor by simple recognition, they are destined to fade into obscurity shortly thereafter – which cannot be soon enough for me.

SCARY MOVIE 5 pokes fun at the very recently released MAMA as well as the EVIL DEAD remake, which was only released in the US one week before its parody, and only due to start in Germany, for example, on May 16th. Allusions to such Reality-TV stars as the Kardashians or the hugely popular soft-porn novel series FIFTY SHADES OF GREY might just provide the occasional titter, but it is doubtful if anyone seeing the film in a few years, or even months, from now will be able to make the connections.

 It is of little avail that former Disney-star Ashley Tisdale performs with energy and fortitude, or that some of the cameos for which the Scary series is noted are vaguely entertaining: the totally absurd opening sequence with Charlie Sheen and Lindsay Lohan, for instance, or appearances by Snoop Dogg, Heather Locklear, Usher and Tyler Perry, while Mike Tyson gets points just for turning up.

Fans of the first in the series will find part 5 the weakest of the lot, and the only viewers likely to find anything to laugh at are the JACKASS crowd. All in all, the word “horror” takes on a new dimension in this Dimension film. A horror it truly is. Still, it would not surprise me in the least if SCARY MOVIE 5 makes it to the top of the US box office.

***

SCARY MOVIE 5 (USA, 2013); Genre: Comedy-spoof; Running time: 85 mins; Director: Malcolm D. Lee; Writers: David Zucker, Pat Proft; Cast: Ashley Tisdale, Simon Rex, Erica Ash, Katt Williams, Gracie Whitton, Lidia Porto, Lindsay Lohan, Charlie Sheen; DoP: Steven Douglas Smith; Distributor/Release dates: The Weinstein Co, April 14 (US) / Constantin Films, April 25

 Rated PG-13; due to scenes of a vomiting vacuum cleaner, monkey gags, and Charlie Sheen.

If SIDE EFFECTS really is to be his last motion picture, as Steven Soderbergh has announced, then it’s not a bad swan song. A compelling, infuriating and relatively gratifying thriller, with the sort of solid acting performances that Soderbergh seems always able to coax from his cast.

Penned by CONTAGION writer Scott Z. Burns, the movie begins with a sardonic look at a medicated society, where physicians and psychiatrists are little more than highly-paid pawns of the pharmaceutical industry. And where everyone and his brother can recommend some pill or other with a meaningless three-syllable name (e.g. Effexor, Wellbutrin, Fukitol), that can ease stress and help you coast through life’s sticky patches.  But the film soon takes an unexpected turn – unfortunately in my opinion – whereby the prescription drugs scenario is merely used as a backdrop for an entertaining thriller.

Rooney Mara (minus her Dragon Tattoo) plays Emily Taylor, a fragile and sensitive young woman, whose world suddenly unravels when her husband Martin (Channing Tatum) is arrested and sentenced to four years’ jail time for insider trading. The film begins as Martin returns, unemployed but still determined to get them back to where they were before his arrest. Although Emily and Martin still love each other, the dizzying ride from rags to riches to rags – and back to being hopeful yet still broke – is too much for Emily, who succumbs to serious depression and winds up in hospital.

Treated there by the house psychiatrist, Dr. Jonathan Banks (Jude Law), she is prescribed a standard medical cocktail to keep her symptoms under control. Which doesn’t seems to help her condition, although she has side effects aplenty (sleepwalking, mood swings, memory loss, and such). A dedicated physician, Banks finds this puzzling and visits Emily’s former psychotherapist Dr. Victoria Siebert (Catherine Zeta-Jones), who strongly recommends Ablixa, a brand new drug on the market.

And this is where the story veers in an unexpected direction, although the opening scene does provide some clues to the attentive. Be that as it may, Emily suffers unforeseen side effects from Ablixa, which affect everyone around her: Martin, Banks, et al. As for the rest – I won’t spoil it for you.

The early sequences are compelling, but before very long the characters, so fascinating at first, seem captive to a contrived plot that becomes ever more implausible, until the film degenerates into something resembling an episode from a TV crime series.  But SIDE EFFECTS is, nevertheless, a good enough film and the casting is truly imaginative. Rooney Mara has more than proved her acting ability with a role that is truly multi-facetted, and is tipped to join Jennifer Lawrence as one of Hollywood’s most talented and sought-after female leads. Jude Law, whose loss of hair does not seem to lessen his appeal, as the psychiatrist who is suddenly out of his depth, puts in a sterling dramatic performance. Catherine Zeta-Jones and Channing Tatum play atypical roles, (both of them mostly clothed) as the psychotherapist and unfortunately husband, respectively, and do so convincingly.

SIDE EFFECTS has managed to recoup its $30 mill. budget in the US since its release there in February. Let’s hope that it will do somewhat better in the foreign market. It is certainly streets ahead of the tedious array of bleak social dramas and puerile comedies currently hitting the European screens.  

SIDE EFFECTS (USA 2013): Genre: Dramatic-thriller; Running time: 105 mins; Director: Steven Soderbergh; Writer: Scott Z. Burns; Cast: Jude Law, Rooney Mara, Catherine Zeta-Jones and Channing Tatum, Composer: Thomas Newman; Distributors/Release dates: US: Open Road Films – Feb. 8 / Germany: Central Film Verleih – April 25

Back in 2005, writer/director Joseph Kosinski had already worked out the plot for OBLIVION and put his ideas to paper in the form of a graphic novel, hoping to later develop it into a screenplay. His work on TRON: LEGACY in 2010, however, forced him to put the project on ice, but it later came to the attention of producers Barry Levine and Jesse Berger, who found the investors, and made it happen.

So here it is: his latest sci-fi extravaganza – made for an estimated $120 million. Although this is hardly the acme of film producing extravagance, the colossal amounts spent on Hollywood blockbusters are often difficult to rationalize. Now and then, however, a movie will come along with just enough redeeming qualities to make you forget the budget (e.g. the works of Christopher Nolan). Unfortunately, OBLIVION is not one of these.

The action is set in the year 2077, sixty years after an alien invasion of Earth. Humankind was victorious, but at the cost of a totally devastated, uninhabitable planet, its survivors now preparing to colonize Titan, the largest of Saturn’s moons. Only two people have been left behind.

Jack Harper (Tom Cruise), tough ex-marine and technician, whose job it is to zoom around the desolate, now-radioactive surface of the planet every day in his high-speed shuttle, repairing sensor drones. These lethal, unmanned devices hunt and destroy the remaining hostile invaders known as “scavs” – short for “scavengers”, some of whom are still holed up on the Earth, taking every chance to highjack whatever working technology they can salvage.  Jack is likewise responsible for maintaining the monumental towers that farm the world’s remaining resources prior to humanity’s final exodus. At the end of each long day, he returns “home” to the floating platform in the sky that he shares with his colleague and lover Victoria (Andrea Riseborough).  

Victoria is the link between Jack and Sally, their somewhat sinister superior (Melissa Leo), acting commander of TET, the human colony’s central control, and monitors his forays. Each communication with TET always begins with the routine question:  “Are you an Effective Team?” To which Victoria always replies, “Yes, we are an Effective Team.”

While on patrol, with only two weeks to go before their mission is complete and the duo is set to be taken off-planet for the final migration, Jack discovers a crashed space capsule, complete with some human survivors in suspended animation. To his dismay, he is only able to rescue one of them from a sudden drone attack – a lovely and mysterious young woman played by former Bond-girl Olga Kurylenko. She seems familiar to him, for he has seen her in his dreams – presented as series of flashbacks throughout. Shortly thereafter, he is taken captive by a band of rebels, led by Morgan Freeman, from whom he discovers that there is more to the final apocalypse than he could have possibly imagined. These events lead him to question everything he believed about the past, the future, and the purpose of his mission – and possibly even puts the fate of mankind in his hands.

All in all, you’d think that the above would be surefire ingredients for a decent sci-fi thriller; albeit that the story borrows most of its ideas from other films of the genre (WALL-E, MOON, TOTAL RECALL, PLANET OF THE APES, with a splash of TOP GUN thrown in). Any writer worth his salt could have combined all these elements into a halfway decent screenplay, yet Kosinski and his co-writers Karl Gajdusek and Michael Arndt have somehow managed to create an emotionally-bleak and bafflingly convoluted film, packed with bland dialogue and wooden performances.

But credit where credit is due. OBLIVION is aesthetically spectacular, easily transcending the impressive visual scope of Kosinski’s motion picture debut, and the terrific score by the French electro band M8.3. is an added highlight. But as its predecessor, OBLIVION offers little in the way of individuality or even surprise. Which leads me to ask: Is this an Effective Film?

OBLIVION (USA 2013); Genre: Sci-Fi/Action; Distributor: Universal Pictures International; Running time: 124 mins; Director: Joseph Kosinski; Writers: Joseph Kosinski (comic book/screenplay), Karl Gajdusek, Michael Arndt (screenplay), Arvid Nelson (comic book); Cast: Tom Cruise, Morgan Freeman, Nikolaj Coster-Waldau, Olga Kurylenko, Andrea Riseborough, Melissa Leo; Cinematographer: Claudio Mirando, Composer: Anthony Gonzalez, M.8.3; Release dates: US: April 19 (in theatres & IMAX), /Germany: April 11. April

www.oblivion-film.de