Opening this weekend:
The
Magnificent Seven—In Rose Creek, some years after the Civil War, poor farmers
hire a gunslinging warrant officer to defend them against the mining kingpin
who’s trying to run them off. The gunslinger scrapes together six comrades,
and they try to prepare the town for the attack of the mining man’s goons.
This
variation—it’s only a remake in its broadest outlines—of the 1960 guy-movie
classic from John Sturges (itself a reworking of Kurosawa’s 1954 Seven Samurai) has an entirely ersatz
atmosphere. It feels like something staged daily for tourists at Old Tucson
Studios, except that, like Lawrence Kasdan’s 1984 Silverado, it’s full of big-name actors.
Scene
after scene (almost every scene, really) recalls some earlier western. A
surprising number, starting from the opening town meeting in the church, bring
to mind Blazing Saddles—there’s even
a “beans scene,” though it lacks audible flatulence. There are nods to
Kurosawa, too, notably a major borrow from Throne
of Blood.
None
of which is to say that this Magnificent
Seven isn’t entertaining from beginning to end. Director Antoine Fuqua
evokes the tidy, almost abstracted flavor of the genre at its most allegorically
suggestive, and he gets terrific performances from his stars.
Denzel
Washington plays the gunslinger, roughly the equivalent of the Yul Brynner role
in the earlier film. Chris Pratt is the wisecracking cardsharp, Ethan Hawke is
a desiccated, war-shattered Southern gentleman, Byung-hun Lee is his
knife-slinging traveling companion. Manuel Garcia-Rulfo plays a Mexican
fugitive, Vincent D’Onofrio is a shaggy tracker, and Martin Sensmeier rounds out
the Seven as an outcast Comanche.
Washington is poised and
commanding, an authoritative axis around which the other six revolve. It would
be easy to miss how quietly skilled he is, because his costars are so flashy—Pratt
a likable wiseacre, Hawke shaky and soul-wounded, Garcia-Rulfo bright-eyed and vulpine,
Peter Sarsgaard a study in twitchy mannerism as the creepy miner boss.
Lee
and Sensmeier are less developed, but both of them are physically impressive. The
only truly original characterization, however, is D’Onofrio, his voice croaky from
disuse, his manner oddly guileless.
If I had a quibble with the movie—on its own corny terms—it’s that I was disappointed that Washington’s character had an old score to settle with the villain. Part of what was touching about the 1960 version is that Brynner and his cronies came to care about the locals, without the need for any backstory.
If I had a quibble with the movie—on its own corny terms—it’s that I was disappointed that Washington’s character had an old score to settle with the villain. Part of what was touching about the 1960 version is that Brynner and his cronies came to care about the locals, without the need for any backstory.
Storks—Last
weekend we had Bridget Jones belatedly expecting a baby; this weekend we have a
saga of the avians traditionally in charge of delivering it. Like Arthur Christmas a few years back, this
is another animated film that derives its comedy from literalizing a folklore
motif—probably, in this case, a cover story to avoid telling kids where babies
come from.
The
birds have a history in Warner Brothers animation. In the Looney Tunes of the
‘40s and ‘50s, the stork (voiced by Mel Blanc) was a depicted as a bleary-eyed,
hiccupping drunk, presumably having been unable to decline offers of cheer from
delighted new parents, and the result was mis-delivered babies.
In
the new film, from Warner Animation Group, the birds have shifted their
delivery operations away from babies to consumer items, a la Amazon.com. The
movie follows the quest of an up-and-coming stork, Junior (voiced by Andy
Samberg) and Tulip (Katie Crowne), a human who grew up among the storks when
she went undelivered to her family, to deliver a baby unintentionally produced
at the request of a boy who wants a little brother. It’s a surreptitious
delivery, as Junior knows that word of the screw-up would endanger the
promotion he’s been promised by the corporate honcho stork (Kelsey Grammer).
Even
though the story obeys, through Tulip, the standard animated kidflick trope of
the misfit struggling to fit in, the adventures which ensue are quite
off-the-wall and hard to summarize. Probably the funniest element of the film
is the wolf pack—the Alpha and Beta are hilariously voiced by Keegan-Michael
Key and Jordan Peele—able to organize itself into bridges and boats even more
ambitious structures. As she flees, Tulip notes that she never saw this
behavior in the nature shows.
Storks
is so stuffed with peculiar ideas that some of them inevitably misfire. There’s
a sense of equating babies with consumer products and procreation with
acquisition that feels a little unsavory, even though it’s probably
unintentional. But overall this is one of the more unpredictable and funnier
animated features in awhile.
There’s
a Lego short subject before the movie, by the way, a martial arts spoof called The Master in which the title character (voiced
by Jackie Chan) clashes with a chicken. It’s good for a chuckle.
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