Capsule reviews of films playing the week of Nov. 16 | Film Clips | Creative Loafing Charlotte

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Capsule reviews of films playing the week of Nov. 16

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THE THING Based on the title, one would assume that this new version of The Thing (filmed before in 1951 and 1982) is a remake, but that's not the case. This is actually a prequel to the 1982 movie, leading one to wonder why they didn't more accurately name it The Thing: The Beginning, The Thing: The Early Days or even I Was a Teenage Thing. Whatever its moniker, this new endeavor is, like many prequels, a movie that adds little to the conversation, filling in details that audiences frankly didn't care to discover. The '82 edition opened with the evil alien invader, in the guise of a dog, escaping from a pair of Norwegians stationed at an Antarctic research station and into the safety of a nearby American camp. This new version backtracks to show how the Norwegians first came across the frozen creature, and how, after it thawed, they soon discovered its frightful ability to perfectly absorb and replicate any life form, including themselves. Lead Mary Elizabeth Winstead (as an American paleontologist) is about the only one afforded a personality; that's a far cry from Carpenter's take, in which all of the characters were unique individuals. The visual effects and makeup designs by Rob Bottin (The Howling) in the '82 version offended many critics with their gruesomeness, but the rest of us were astonished by the imagination that went into them, particularly since this was before the advent of CGI. To his credit, this new film's director, Matthijs van Heijningen Jr., also employs some hands-on FX-building in addition to the expected CGI, but with little variation in the (sometimes laughable) designs — and since they're in the service of a movie that only sporadically grabs us on a gut level — The Thing turns out to be much ado about nothing. **

THE THREE MUSKETEERS Break out those No. 2 pencils, cuz it's time for a pop quiz. Which line of dialogue is not spoken in the latest screen adaptation of The Three Musketeers? A) "What would you like me to put on your headstone? 'Little shit'?" B) "Your horse took a dump on the street." C) "Find my sword. It's the one that says 'Bad Motherfucker' on it." The correct answer is C, although given the other liberties taken with Alexandre Dumas' classic novel, nothing included here would have surprised me. I'm hardly a stickler for movies remaining faithful to their source material, but this Musketeers is a travesty, even worse than the dopey 90s version that thought nothing of casting Charlie Sheen as Aramis and Chris O'Donnell as D'Artagnan. Perhaps not since Robert Duvall danced around a campfire with a dead deer balanced on his head in 1995's misguided take on The Scarlet Letter has a film so savagely violated a literary chestnut. Director-producer Paul W.S. Anderson is best known for those Resident Evil movies starring his real-life wife Milla Jovovich, so it's hardly unexpected that he stages this as a slick video-game adaptation, complete with an excess of CGI and a fondness for those slo-mo Matrix-style action sequences that wore out their welcome somewhere around the time Kelly Clarkson was winning the first American Idol championship. Jovovich, in fact, is showcased in many of these interludes, as her Milady de Winter, heretofore only known for scheming and blackmailing behind the scenes, has been transformed into a kick-ass warrior. Yet at least she possesses a smidgen of pizzazz; not so dull Logan Lerman, whose demographic-friendly casting — he's a young American cast adrift in a sea of European actors — as D'Artagnan makes me wonder why they didn't go ahead and cast Justin Bieber or a Jonas brother in the part. Faring even worse is newcomer Gabriella Wilde as his love interest — her line readings prove to be even less animated than those of 2001: A Space Odyssey's HAL. Clearly, Anderson and his scripters felt like simple swashbuckling antics would be boring to modern audiences, so in addition to Milady's reincarnation as Lara Croft, a couple of airships — yes, airships in the 17th century — have been added to the narrative. The film's conclusion sets up a sequel, so if it indeed gets made, I expect the Orient Express and at least one Aston Martin to figure in the action. *