BAM Award Winners: Best Soundtrack

Below you will see listed the winners in this category which was awarded from 2004 through 2008. This is the only discontinued award thus far. Part of why it was discontinued is that there was, and likely would continue to be, redundancy between this and Best (Original) Song. Again there is a skill to picking the right pre-recorded song and placing it in a film but is it one that should be included in award list? I’m not sure. If you have an opinion on it one way or another I have included a poll below. If there is groundswell for its inclusion its not too late this year for me to backtrack and create a considerations list for it.

Regardless of what I now think its validity is now the fact of the matter is the category was once a part of my awards and I am looking to record all winners at the very least. So just because I now find the category dubious does not mean these films deserve their recognition any less.

Without further delay he winners of Best Soundtrack…

2024 Deadpool & Wolverine

2023 World’s Best

worlds-best

2022 Elvis

elvis-soundtrack-artwork-1-561x559-1

2021 Psycho Goreman

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2020 The Turning

2019 Rocketman

2018 A Simple Favor 

2017 Baby Driver

2016 Popstar: Never Stop Never Stopping

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2009-2015 Award was not included

2008 La Vie en Rose (La Môme)

2007 Hairspray

2006 High School Musical

High School Musical (2006, Disney)

2005 The Chorus (Les Choristes)

2004 Kill Bill: Vol. I

Kill Bill (The Weinstein Company)

Review- Source Code

Jake Gyllenhaal and Michelle Monaghan in Source Code (Summit Entertainment)

It’s not the easiest thing in the world to assess my feelings about Source Code and most of the reason why is that a lot of those feelings lie most definitely in an ambivalent place. There is surely plenty to like about it and some things to dislike and they are usually on very different ends of the spectrum such that the overall opinion lies somewhere in the middle with the elements of disparate quality pulling at you trying to make you lean one way or another. The bottom line is that this is a good film but there are a few concerns that keep it from getting any better than it is.

What deserves to be complimented first and foremost is the cast of the film. In particular the three main players: Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga. The first of which is the most pleasant surprise of the film. Gyllenhaal, in my estimation, had been a member of a group of young leads around his age who in mind were/are infinitely vanilla. Not great, and not terrible but also not bringing anything to the table. There aren’t too many dynamic young actors that bring something new to the table every time out but here he breaks free from those shackles and really shows a lot, which is made even more impressive based on observations I will make later.

Michelle Monaghan, who I had previously became familiar with through, and honored her for, Trucker, is absolutely perfect in this part. When an actress is given the confine of having to play a character that you could fall in love with over and over again and you only have eight minutes in which to do it in, that’s a formidable task and she accomplishes it easily.

Last but not least is Vera Farmiga, who manages to pull out a very good performance despite the fact that her scenes and dialogue are often redundant, which speaks a little to the screenwriting issues found herein. She all too frequently has to battle Colter (Gyllenhaal) and tell him his questions are irrelevant. She needs to have a very thin facade which breaks down over several conversations, in certain regards she has a bigger hill to climb than Monaghan. However, she’s not even afforded the same flexibility of scenario that Monaghan gets.

One of the other major issues of the film is the handling of the Sci-Fi element itself. Science Fiction seems to break off into two distinct groups there is an assumptive brand wherein futuristic or improbable things are occurring naturally and unquestioned, like in Inception for example where the dream-sharing and serums are given or the didactic wherein in a simulacrum of the world we inhabit in the present day is shown to us and a curtain is pulled back to reveal a secret that is explained to the audience. This film chooses the latter path, which in my mind requires a bit more explanation.

This film waits to grant us answers, which is fine because it allows us to identify easily with the protagonist but when we learn about the Source Code program, what it is and how it functions there are still questions that come to mind.

The idea is original and intriguing but it leaves you wanting for a bit too much which in this case is a double-edged sword. Similarly there’s the Maguffin. Now, it’s not necessary that you know its a Maguffin going in, however, I got a little ahead of this film in this regard. Once you realize finding the bomber is not the point of the story it takes too long for the narrative to catch up and after so many episodes it becomes a slightly tiresome exercise. It’s as if the film gets foisted by its own petard because the sequences are too frequent and short to keep the suspense of the whodunit alive.

A good Maguffin is one that is enthralling though perhaps never resolved. The best example is in Psycho. I care about Marion Crane’s early decisions: Stay or go? Take the money or not? I’m also rapt by her trying to elude the authorities. In the end it doesn’t really matter but it’s riveting. Here it gets tired and you’re left waiting for the bigger story to take over.

This is all said to illustrate that this is a good film that could’ve been made much better. With how the film ends, in terms of narrative not handling, it is most definitely a good film. It is just one that mishandled a few key elements that would’ve made it great.

I do have an appreciation of what was accomplished and intended I just wish it could’ve been greater and that was within reach.

7/10

Review- The Chronicles of Narnia: The Voyage of the Dawn Treader

Will Poulter, Skandar Keynes, Ben Barnes and Georgie Henley in The Chronicles of Narnia: The Voyage of the Dawn Treader (20th Century Fox)

The Chronicles of Narnia: The Voyage of the Dawn Treader is in a word, though there could be many, many more; glorious. Absolutely glorious in every single, solitary respect. Not only does it work brilliantly as a standalone tale but it also closes a chapter in a series with great effect. How it functions within the series will be detailed later.

The first thing that should be commented upon is the virtuosity of the players involved. Now this tale does have a rather big obstacle to overcome as in this tale the Pevensie quartet becomes a duo, as Peter (William Moseley) and Susan (Anna Popplewell) are scarcely seen but worry not Georgie Henley and Skandar Keynes are very strong and prodigious leads in the film. They each face their own trials and tribulations in their journey and support the film equally. Will Poulter, who broke out with his earth-shatterlingly good performance in Son of Rambow, is flawless in the part of Eustace Scrubb. He applies the affectations of an uptight, snobbish brat with great aplomb from a pitchy voice to flared nostrils and as his character mellows those layers peel back. Truly, Son of Rambow was most fortunate to have both he and the incomparable Bill Milner in the fold and The Dawn Treader would be so much less than it is without Poulter.

Lastly, and here is where we discuss this film in the context of the series, there is Ben Barnes. Ben Barnes, as Caspian, who is now a King; reprises his role but not identically to the last installment. In Prince Caspian a decision was made that the Talmarines, to differentiate themselves as men of a different nation, should be Spanish or speaking in a brogue thereof. Barnes did what he could to work with this impediment but that decision along with some in structuring made that installment a little less than it could’ve been. Therefore kudos are in store for the production team, principally the late great director Michael Apted, for deciding to rescind said decision. Ben Barnes speaking in his true voice is another actor entirely and he is a credit to this film.

This film, unlike many fantastic voyages, actually allows you to get into the character’s head a bit. In fact, that’s really what the enemy is all about: exploiting fears that each of the characters have. The characters are seen alone, the characters dream and they do battle with an enemy that knows how to defeat them. Mist or fog can be a very effective cinematic motif, as evidenced by eponymous films but you add a sentient nature to said mist and a whole other level is reached. Especially with the way it is framed and how the characters very infrequently sense its presence. I wrote recently of the jolting scares to be found in the most recent Harry Potter, well that is trumped by the ominous looming and chasing of the mist in this tale which gave me goosebumps on more than one occasion, as did some other events, CG or not.

Speaking of CG this may be an aspect of this film, which is almost taken for granted. To go through a laundry list of awe-inspiring visual achievements that the effects artists conjure up in this film would be tedious. However, it does need to be said that the work in this film is so accurate and precise that it likely goes overlooked by many. It has been short-listed for an Academy Award nomination and if it does not receive said nomination it will be one of the greatest injustices they’ve ever perpetuated [It didn’t get it, surprise, surprise].

This film is expertly edited and flows like a dream and treats time like a tinker toy. It makes the film move very briskly throughout but grinds the action nearly to a halt when things need observing in the minutest detail. If you had no notion of the time you’d swear the film is at least 20 minutes shorter than it really is, which is a testament to the pace of the tale.

You can’t have a sweeping epic story line without a sweeping epic score and this film most certainly has that as well, as there’s not much it doesn’t have. The score always matches but doesn’t overpower or over-accentuate the film and is dazzling.

The superlatives could continue to flow but I saw this film twice on the weekend so that should say something. I may see it anew to gauge the 3D quality, for the time being bear in mind that it is post-converted so buyer beware [I did end up seeing it in 3D later on and the conversion was pretty good] .

You have in this tale characters who are human therefore flawed and must struggle mightily against the darker parts of their nature to achieve their goal. You also have here in a series an ending as should the films continue different characters coming to the fore, even if this wasn’t the case the ending is quite the effective tear-jerker. This is without a doubt one of the most complete cinematic experiences I’ve had in a while, one of the best films of the year and a no questions asked must see.

10/10

The Chronicles of Narnia: The Voyage of the Dawn Treader is available on DVD and Blu-Ray today.

Review- Insidious

Patrick Wilson and Rose Byrne in Insidious (FilmDistrict)

I am one who is wary to make premature proclamations about where a film stands when relative to the rest of the year and I believe I will be able to stick to that when discussing Insidious, however, with much difficulty. The reason that is so is that after seeing Insidious the kinds of comparisons I started to make were within the horror genre and comparing it to my favorite film in the genre from last year, or the year before or even further back.

And when I say in the genre I mean purely so, for if there’s one thing you cannot mistake in this film is that the makers most definitely intended to make an ode to old school horror tales but what is most impressive is that while keeping in mind classical elements, motifs and tactics there is still a concerted and successful effort to put a new spin on things.

Anyone who is very familiar with the genre will at some point start to be reminded of several different films such as Poltergeist, Pet Sematary, The Shining, The Haunting, The Amityville Horror and others but it’s always a passing notion that comes from a place that’s much more “Oh, isn’t that neat?” as opposed to “Man, what a rip off this is.”

While all these allusions and homages do exist there are some very refreshing elements to the tale as well. First of all, many horror films, especially those which have an element of the supernatural within them, struggle with the notion of belief. There needs to be a certain level of disbelief amongst the characters, when dealing with the supernatural, so that we can then suspend disbelief. This, however, is a very delicate balancing act for the audience of a horror movie is very aware that they are there to see a horror film and are very ready to believe. There are no such concerns here. Insidious has one of the quickest, deftest and most naturalistic dismissals of disbelief I can recall seeing and it is crucial to the functioning of the film.

Perhaps what’s even more impressive is that it is a twist and a take off on the haunted house tale, and you know that, the tag line for the film is “It’s not the house that’s haunted.” Having said that, however, the film perfectly follows a haunted house structure.

The cinematography is great throughout and is particularly effective during the first seance scene which is perfectly choreographed chaos but perhaps the most effective section is when Josh (Patrick Wilson) travels to an alternate dimension referred to in the film as The Further. This alternate plane is created entirely through cinematography and the use of negative fill. It’s been quite a while since a film in the horror genre has so aptly exploited the most primal of human fears, which is that of the dark.

Furthermore the sound design of this film is absolutely fantastic. There are disembodied sounds throughout the soundtrack that are later identified and everything sounds like what is should and it becomes a very fun guessing game and also hauntingly effective. What’s paramount in importance is that the sound effects enhance the visuals and aid scares as opposed to becoming the scares. There are several jolts within this film, one of which sent a tidal wave of goosebumps down my body and the sound effect accompanying the visual was an afterthought. “Oh yeah, that sound effect was good too,” I thought but the visual already struck home in all these jolts.

How scary one ultimately finds it is always a very personal thing. I found it to actually to be quite scary. The testament to that was later that night after having seen it unexplained noises within my house caused a lot more distress than they normally do. What cannot be argued is that screenwriter Leigh Whannell and director James Wan have crafted one of the finest examples of the horror genre to have come along in a long, long time.

10/10

Review- Little Fockers

Robert DeNiro and Ben Stiller in Little Fockers (Paramount)

What is the saving grace of Little Fockers? It is that eventually the story ends up being more about Jack’s (Robert De Niro) psychotic persecution of Greg (Ben Stiller) than it does about the misunderstandings and unnecessary comeuppance that he got in the first installment of this series and set the tone for the characters.

The worse thing that a comedy can do is make you feel sorry for a character who has gotten himself in a difficult situation. That’s what the first film did in my estimation and what this installment narrowly avoids. How it manages to do that is by giving Greg just enough culpability such that we can comfortably chuckle at the mess he’s gotten himself into and not really sweat the outcome too much.

While it is rarely, if ever, highbrow humor Little Fockers does manage to be quite funny through most of it. However, it is never really about the aforementioned Fockers. There are two subplots about them: One is that Samantha (Daisy Tahan) isn’t speaking to Greg, which is resolved easily enough and another is that Greg and Pam want to enroll her and Henry (Colin Baiocchi) in a high-priced private school, however, that one never really resolves itself. Kevin (Owen Wilson) says he’ll talk to the head of the school and get them another interview after a little fiasco and that’s the end of that.

When Jack and Greg’s argument finally comes to a head and in the midst of the physical confrontation Greg is trying to explain himself, as he has put himself in the situation of making Jack think he is sleeping with Andi (Jessica Alba), a work associate, the apology/explanation is quickly accepted which is both somewhat of a relief and also a bit facile.

It does manage to be a funny film because of its cast but it is getting a little crowded even though everyone is talented they are starting to run up against All-Star Cast Syndrome, which is when there are too many recognizable actors that you want to see involved in the same project. For example, Barbara Streisand and Dustin Hoffman are both very funny but their time is fleeting; Laura Dern is also hysterical but she likely gets more time than they do. Jessica Alba is quite good, albeit this isn’t a very involved character and she gets more time than those just mentioned.

The laughs stay pretty consistent throughout with one glaring exception and that is the ending. Now most of this is due to the Set-Up Factor where it’s a very cloying and obvious set-up for yet another film. They might either take it or leave it I personally hope they leave it because it’s too obvious a set-up (hint: Everybody Loves Raymond meets Meet the Fockers).

Despite all these peccadilloes sticking in my craw it was consistently funny throughout even if unoriginal and for whatever it may be worth I had very low expectations coming in and they were exceeded.

It’s a funny little film if you just don’t think about it too much as clearly I have.

6/10

Review- Tron: Legacy

Jeff Bridges in Tron: Legacy (Disney)

It would be best to lead with what works with this film, which is easier to enumerate than what does not. What does work, at least a majority of the time is the visual effects, the score is kind of cool too. This film is a visual effects artists’ playground but simultaneously the enemy of narrative. You should have seen it coming as few and far between are the positive reviews that lead with “The effects were so great.” However, as impressively striking as some of the visual sequences are some are bothersome also.

Those that are bothersome are mainly the computer-generated Jeff Bridges. Granted that in the first sequence they do a good job of camouflaging the CG-ness of the younger version of Bridges but having to look at a CG Bridges under the guise of Clu is very annoying after an extended period of time.

The issues for the story, which faintly flits about behind a computer generated masquerade, begin almost from the minute that answers start being provided. The mystery of “how did Sam (Garrett Hedlund) get here, why is his father still here and why can’t he leave?” is intriguing enough until you start to get answers.

The problem with the answers is how they are written. It’s as if the screenwriters mistook being confusing for sounding smart. As a matter of fact there’s a ten minute stretch of the film wherein none of Jeff Bridges’ lines are entirely coherent.  

There’s nothing wrong with a veil of confusion being thrown over a subject matter and the film either doesn’t try to answer the questions or does it best to answer them. This film does neither. It’s neither the kind of film that relishes ambiguity of meaning like some of Bergman’s work or tells an involved narrative but explains everything painstakingly like Inception. It just sort of sits there and you stare at it because it’s there and you don’t know why you stare at it but you just do. Which is saying something, that is that it’s not boring but it is most definitely insipid.

Moving on you glean whatever you glean from half-truths and gorilla dust, to quote the late great Phil Hartman, the basic plot is that Bridges’ character created an alter-ego when he was less wise than he is now and his megalomaniacal tendencies lead Clu to rule The Grid, this video game world, with an iron fist. And then? The stakes never seem that high because Kevin (Bridges) is reticent to leave at first even though it’s quite clear how it can be done. Furthermore, there’s little incentive for us to get emotionally involved because the laser light show has to start as soon as possible and therefore the bond and the heartbreak of the separation of father and son are never really firmly entrenched except in a very superficial way.

This is the epitome of a “Hit Me Movie” in the worst kind of way. You end up bathing in slick imagery and when it’s done you don’t feel cleansed or refreshed on the contrary you feel dirty.

2/10

Review- Uncle Boonmee Who Can Recall His Past Lives

Geerasak Kuhlong in Uncle Boonmee Who Can Recall His Past Lives (Strand Releasing)

Uncle Boonmee Who Can Recall His Past Lives is a film that first really came to my attention as a film that was picked as Cahiers du Cinema, the famous French film magazine which once was home to most of (if not all) the founding members of the French New Wave, as the best film of 2010. This film was named on all ballots. Then upon reading about it I found that it won the Palme d’Or at the Cannes Film Festival, also worth noting that the Jury last year was headed by Tim Burton. These two facts are mentioned because the source is worth noting. Both Burton and the French are supporters of the notion that the unusual and lack of easy answers can be preferable to a transparent plot and easy escapism.

As is the case with any film I will endeavor to render, as clearly as possible, my opinion of the film. My best advice to you is to read up on Uncle Boonmee before you decide to seek it out at Art Houses or on home video. Many reviews will discuss the film with words like “opacity” and “paradoxical” but also have very positive things to say about it even without reaching very definitive conclusions.

I will not be too different than those. There is an absolute reverie in Magical Realism that abounds throughout this film. Ghosts and mythological beings weave their way into the tapestry of the story in a wonderfully unobtrusive way. Yet the weaving is something that is not so very apparent. Things are set up early on left aside and then revisited later.

It’s as if Weerasethakul were setting up a math equation, or four, and omitting the sum or at times even the operation. An example, is the Ghost Monkey. It is an image and a concept that is first made known to us with a very frightful closing shot, and moment of genuine horror, of the prologue. This is not fully explicated until the spirit world is introduced in full when a very casual dinner conversation is held with Huay, Boonmee’s dead wife. Similarly the Ghost Monkey also turns out to be a relation, however, those are examples of where the equation is laid out before you and all you have to do is add it up.

There are two more extended sequences in which the answers, if there are any, are much harder to decipher. Not that this necessarily makes the film less enjoyable but it is worth noting. In both cases it is possible to develop one’s own theory as to what the significance of the segment was. There is one case in which you have no time to decode within the film because the film ends immediately following it so you are asked to contemplate after its conclusion.

While these portions are slightly out of step with the narrative, such as it is, they do not run counter to the approach of the film. Even the few easily discernible plot points, in a more traditional sense, are disseminated in an unconventional way. At times they occur before the scene in question and off-screen. This is sort of a distanced approach to the narrative that invites the viewer to examine the surrounding environs of these people’s lives and examine possibilities that are not apparent or necessarily logical.

This narrative choice is also reflected in the visual approach of the film as well as it relies heavily on long takes and wide vistas rather than quick cuts and close-ups. The framing and lighting of these shots is typically meticulous and they are also generally well lit.

Uncle Boonmee is the kind of film that may or may not get better upon a second viewing but it seems to be inviting one too. While it doesn’t reward the viewer with overwhelming amounts of escapism it does provide much food for thought. It is the kind of film that will occupy the viewer’s mind long after its completion. It is one of the matter-of-fact and deftly handled interpretation of the Magical Realist cinema I’ve seen and that alone makes it worth viewing and is one of its redeeming qualities. Having these apparitions occur with characters incapable of dealing with it would’ve been insipid and trying of the audience’s patience.

7/10

Review- Diary of a Wimpy Kid: Rodrick Rules

Zachary Gordon and Devon Bostick in Diary of a Wimpy Kid: Rodrick Rules (20th Century Fox)

Diary of a Wimpy Kid: Rodrick Rules is a better film than its predecessor. This was something I rather anticipated, however, I don’t believe its to the detriment of this installment that it is second. There is not too much shorthand used and the narrative is accessible enough that that much enjoyment will not be stripped away if you are walking into this one cold.

This film benefits from a more unified and less episodic plot than did its predecessor as well. Not that it still doesn’t reap the benefit of humorous and well thought out subplots but they weave their way into the larger narrative with more finesse than before. These tales like Chirag’s invisibility, the new girl, the teacher with a vendetta are all well-handled and add to the film but do not ever threaten to overtake the film from what the central conflict is.

The conflict being that of sibling rivalry, which is handled very well because you see a relationship in stasis go from just about as bad as it can possibly get to become rather functional. It also contains the peaks and valleys that are requisite for such a struggle and even more of a credit to the film it goes from being borderline cartoonish in its animosity to being rather real and honest in the handling of the themes of both resentment and insurmountable hatred that sometimes accompany such relationship especially when the age difference is large.

These discussion points come first to illustrate that despite its varying brands of humor, there is a point to be made in the film and its not just silly comedy. As for the styles comedy it does do a wonderful balancing act again. As this is a homey tale there is more parent-child and husband-wife comedy than before.

Again Steve Zahn brilliantly plays a dad who wants to be as hands off in parenting as he can and also is a typical guy in some regards and not just your typical distant patriarchal archetype. He is countered wonderfully by Rachael Harris. They are funny enough, however, the comedic quotient in this film is amplified greatly when you consider that the talented and previously under-ultilized Devon Bostick gets to step to the fore in this film. He is astonishingly good in this film and rarely delivers a line that doesn’t elicit some sort of response whether it be a laugh or one that connects dramatically.

Zachary Gordon’s character Greg is somewhat mellowed this time around not as hellbent on achieving popularity and other superficial means of acceptance but glimmers of that self appear even in a more rounded character that he creates just as easily, if not easier than he did before. His honesty in situations that in tandem can be seen as absurd are what carry the film and make it something you can connect to sympathetically rather than watch as a disinterested observer.

This film moves along at a very healthy clip, not only are there some fun and creative editing choices like “Disappointed” montage for Mom but things cut swiftly within scenes such that the whole things seems like its done in a blink and not in a disappointed I-Can’t-Believe-They-Call-That-A-Feature kind of way but in a fun and escapist, easily re-watchable way.

Diary of a Wimpy Kid: Rodrick Rules allows the narrative, characters and young performers to grow and evolve from where we left them and you can call it an experiment if you like but if you do it is surely a success. Those who were there are better, more confident and comfortable in their roles and those who are new like Peyton List, who carries off the important role of Greg’s love interest with uncanny ease, blend in perfectly.

It’s funny, fun, must-see.

10/10

Review- Winter in Wartime

Martijn Lakemeier in Winter in Wartime (Sony Pictures Classics)

If one simply looks at the synopsis for Winter in Wartime then one might not be tremendously struck by the concept but upon seeing the film the one thought that kept occurring to me was “How did this film get passed up when it was submitted for the Oscars?” It just goes to show you that one, there are issues in the selection process and two the films submitted every year are worthy of finding as this film is absolutely outstanding in every facet of its production.

It is a film that tells of a young man Michiel (Martijn Lakemeier) who is by chance brought into the resistance in World War II Holland. This does not even begin to convey how fascinating and compelling this tale is and how well it is told. The film starts right away with us seeing a plane crash and very creative confrontation between a British, Jack (Jamie Campbell Bower), and German soldier. This does not immediately fold itself into the thrust of the tale but does eventually.

What works is that Michiel’s character is established as well is his family life before he starts being drawn in further and further. What’s even better is that events conspire to involve him not just natural childish curiosity. A curiosity that never seems unnatural and leaves you shaking your head. It plays naturally and doesn’t ever seem contrived, which is of paramount importance in this film such that disbelief remains suspended. The matter-of-fact nature by which some others are caught and punished also adds to this.

The story is constantly delivering twists and turns at a naturalistic pace and methodically raises the stakes. It eventually ratchets things up to a become a fantastic tragic tale that never goes over the top and keeps you involved and makes it something you can relate to. As the the plot thickens and becomes more involved so does Lakemeier’s character become further developed and more and more demands are made on him as an actor, which he meets and exceeds. Principally in his cool nervousness at the end and also his frantic fear during a climactic slow-motion sequence. The rare variety of such sequence that actually augments the actor’s performance rather than rendering it comical.

It’s a portrait of the war at home without being in your face and full of histrionics but you still can’t help but feel the impact of watching a child’s world start to crumble about him and for the first time in his life he is compelled to act by a sense of responsibility rather than desire.

The gravitas that the tale carries through a bulk of the tale is beautifully scored by Pino Donaggio. The score combined with the sure-handed direction of Martin Koolhoven help this film leap right off the screen and take you into the tale more effectively than any 3D film could ever hope to.

The film isn’t a one-actor showcase nor is it a one-trick pony. Yorick van Wageningen has a tremendous two-pronged performance as the enigmatic Uncle Ben. Then there’s Melody Klaver whose relationship with Michiel changes as she too gets brought into the plot. Jamie Campbell Bower also is rather impressive as the wounded Brit, typically an English-speaking actor in a foreign language film doesn’t get too much to sink his teeth into but he does and takes advantage of it.

A testament to the wonders of this film is that one of the twists within this tale is rather large, the kind that a lesser film would hang its hat on. Not only does the whole film not hinge on this revelation and how it is handled but it is improved and propelled by it. It leads to a breathtaking climax that is even more artistically rendered than was the previous twist.

Upon walking out of the theatre the only things I was able to say that expressed the impression this film made on me was an internet acronym (OMG) and the very repetitive statement that (“I love, love, love this movie”). The reasons stated above are just some of them. Koolhoven establishes himself as a director to be followed and this film, is the best I’ve seen this year to date.

10/10

The Trouble with The Magician’s Nephew

So yesterday the beans were finally spilled that it will be the Magician’s Nephew that is the next book in The Chronicles of Narnia that will be adapted into a film. Now I had been one of a select group of fans who had adamantly supported The Silver Chair as the next book that should get adapted and not just for continuity’s sake, as Eustace, played by Will Poulter, in the only character that crosses over to that book from Dawn Treader.

The fact that this debate exists is interesting and indicative of a few things that are unique about the Narnia series as opposed to other fantasy properties.

First, it needs to be acknowledged that the chronology was always likely to be fractured. Those seeds were sewn by C.S. Lewis himself. For it was Lewis himself who wrote The Magician’s Nephew after the other six installments and pleaded, mostly to no avail, that it be read before The Lion, the Witch and the Wardrobe. As a child I did not read it as such. When the first film was about to be released I searched for information on reading order and finally took the tales in properly.

Of course, we all know The Lion, the Witch and the Wardrobe was the first film and subsequently that the producers decided that it was to be the Pevensie tales would be told first. Whereas in other fantasy properties you typically have a continuity in the personages populating the tale. Lewis, however, is true to the name of his series and this series are about the stories and about the land rather than a particular lead or group thereof.

If one adheres to Lewis’s reading plot the books that have been adapted thus far are numbers two, four and five. The decision to go to The Magician’s Nephew, an origins tale, at this point is a curious one on a few accounts.

Firstly, I find it a bit of a curious business decision. The Voyage of the Dawn Treader just crossed the $400 Million mark in international box office receipts and it is a film that took the somewhat unusual path in this day and age of building by word-of-mouth. Due in part to the disappointment most felt in Prince Caspian it didn’t break out of the box strong but had staying power when people realized this one is very good indeed.

With a franchise redeemed, at least in a financial sense, it would seem like the most obvious decision in the world to go next to the one tale that had any sort of connection.

Furthermore, it needs to be noted that while the film doesn’t make it explicit I assumed Will Poulter is playing quite a few years younger than he is in Dawn Treader. Given some time off he may not look the part of Eustace as much as he does now. Not that I think he’d be replaced but it just might seem a bit awkward or need a bit of a re-write when the Silver Chair‘s time does come.

With this sort of momentum I even entertained the wild fantasy that funding would be sought for both potential next films to shoot simultaneously and release one shortly after another. The fact of the matter is the remaining volumes need not all have the same director as each has its own sensibility.

Pipe dreams aside, personally I would’ve liked Silver Chair next not just because I prefer that story but because it made more logical sense. The series has already pleasantly surprised me in two of its three installments so I am more than willing to withhold judgment but as I said it strikes me as odd.

With Narnia being by its very nature a more fragmented series it does raise some doubts as to what its cinematic future is. Let us assume the tale works as well as possible and the marketing draws in enough fans new and old, then what?

After The Magician’s Nephew the books that remain are: The Horse and His Boy, book number three, a more introspective tale than any of the others. It always struck me as having a Carol Ballard’s Black Stallion vibe, which would make it rather an artistic venture and as such it’s a gamble. I can’t see the producers gambling twice in a row so I predict this book would be the 6th film of the series.

The Silver Chair being the runner-up this time around would thus be the 5th film adapted and naturally The Last Battle would close out the series.

If films four and five connect then I think it’d be safe to assume they could afford a gamble and a closing chapter.

When it started there were no guarantees, and there still isn’t, that this series would see completion. It’s an older property than the other big budget films and has Christian overtones, which do not appeal to some but it’s never been about that to me it’s been about great storytelling.

In conclusion, I do like The Magician’s Nephew and definitely think there’s potential there with new cast members and story which re-examines some familiar motifs. I am just not sure it was the right choice as the next film. However, if it does well this series will be one step closer to following in Harry Potter‘s footsteps, proving you can plan a massive series and achieve it. If you consider that I believe two of the first three Narnia installments trump Potter it is very exciting news regardless of which novel they chose to adapt next.