The Imaginarium of Doctor Parnassus

Don't bother!

I hate to say it, but this hodge-podge story, so poorly crafted, isn't worth your time or the money, and I rarely say that.

Though it's Heath Ledger's last work, his legacy is poorly served by this inept effort. Rather, to be remembered for his masterful role in the "Dark Night."

In an attempt to bring this work to the screen after Ledger's sad and untimely death, three fine actors are enlisted to portray various permutations of Ledger's roll - Tony, a sometimes good guy who's mostly a scoundrel deserving his comeuppance.

Colin Farrel, Johnny Depp, and Jude Law cannot rescue the film, nor can the special effects, which, in their own way, are rather dazzling, but effects are no substitute for a story.

The mystic wizard, Dr. Parnassus, is gamely portrayed by Christopher Plummer who manages to shine in this very dim effort.

The lovely young thing, which most every movie needs, is done well by Lily Cole who, in the end, finds happiness.

Decent efforts are made by: Verne Troyer as the hapless midget who manages the show and Andrew Garfield as the stage hand.

The show, by the way, the Imaginarium, has something to do with walking through a mirror of sorts while the good Dr. is in a trance. Apparently people find something of their own inner character, be it good or be it evil. Oh well ...

The theme kept reminding me of Tony Randall's 1964, "The 7 Faces of Dr. Lao" - now, there's a good film, and if you haven't seen it, rent it now from Netflix.

It does what "Dr. Parnassus" apparently attempted to do, but failed.

Sadly, "Parnassus" gets my lowest rating. This movie should have never made it out the can.

But you'll enjoy Tony Randall as Dr. Lao.

Public Enemies

Something is wrong with this film.

It doesn't work very well for me.

Technically, everything is here, and it's all good ... but put it all together, and it's a ho hum film.

I think too much was attempted - it's tough to do a bio-pic - how do you reveal a huge characters like Dillinger and Purvis?

Johnny Depp, of course, as Dillinger ... but the portrait is flawed - too nice a guy - the reality: Dillinger was a killer. I think Depp is a terrific actor, but something didn't click here. The cold-blooded character of a killer didn't emerge. Sure, Dillinger might have been a nice guy now and then, but the raging fires of a troubled childhood and a life of prison and crime never emerges. This is not a role to be played with the elan of "Pirates of the Carribean." Perhaps a bit too cavalier.

Christian Bale as Melvin Purvis, the man who "gets his man" does a far better job then he did in "Terminator." Cool, calm, collected, relentless, and maybe that's the issue for the whole film - just too cool! Bale reminded me of Robert Stack - cool and calculating. A good role for Bale, but again, the characterization lacked fire - Stack had it, so did Kevin Kostner playing Elliot Ness in "The Untouchables." Is this lack of fire a question for the director?

The love between Dillinger and Billie Frechette  (Marion Cotillard) is muted ... somehow or other, the desperation of two lovers in a losing game of life never makes it to the surface - there's no fire, no passion, not even any good old fashioned lust. In every relationship, something is at stake - something vital, powerful, even crazy. But what's at stake here? Was Bille trying to escape a life of being a coat-check girl? Was Dillinger looking for true love? None of that emerges. It's like, okay, so what? Who cares?

As I watched the story unfold, I wasn't rooting for anyone ... too little was at stake.

I think of Ron Howard's "Apollo13" - we all knew how it was going to end, but as the story unfolded, Howard had us all on the edge of our seats. We all suspected that maybe there'd be another ending.

We all know how it's going to end for Dillinger, but no seat-suspense here. No suspicion of another story. No hope that maybe Dillinger and Billie will find true love after all.

As for movie-going enjoyment, can't beat old cars careening through a city, bad guys and good guys standing on the running boards, trench coats streaming, firing away with a Thompson machine gun.

The music is terrific ... I think ... and maybe that's a good sign - I felt the music, as good film music should be.

The sound is awesome - the harsh crash of big caliber weapons ... the sound of prison doors closing ... assorted thuds and bumps ...

The period is beautifully captured  ... but even here, everything seems too stylistic, too clean, more Disneyland than real. I wanted more grit, smoke and dirt; this needed to be a dark film, searchings of the soul - anger, power, hatred - everything here just too cool.   

Clearly, some Oscars here for Michael Mann in terms of technique - maybe sound, maybe music, maybe costuming, but not Best Picture, and I doubt if any of the actors will even be nominated ... but, then, who knows.

The line-up of actors is impressive - how much did Mann pay for this stable?

But the story didn't cut it.

Is this one to see in the theater?

If you're looking for a movie to fill in the gaps, sure.

But otherwise, get it on Netflix.

Sweeney Todd - 2007

“Vengeance is mine,” says God, and rightly so.

We’re hardly equipped to handle it.

Sweeney Todd, the story of a man wronged by the cruel oppression of the powerful. Accused of a crime he didn’t commit so that a lustful judge (as only Alan Rickman can do it) might have Benjamin Barker’s wife, Barker is sent to Australia. Years later, he escapes and returns to London, under the assumed name of Sweeney Todd, to find his wife and regain his daughter.

But Lucy (his wife) is “dead,” and the daughter, now the ward of the evil judge.

And so begins a journey of revenge, growing darker as it unfolds.

Without giving it away, the story hinges on irony that can only end in a final tragedy. I suppose we might say, those who live by the razor die by the razor.

Technically, what we have come to expect from Tim Burton – visually a flawless film, typically gruesome, but stylishly so - and musically (Stephen Sondheim), very powerful. I’m a reluctant fan of musicals. When I was younger, I didn’t like them at all, but in recent years, I’ve come to appreciate the art, the science, of a good musical, I suppose some of this is related to my interest in opera – just another musical, if you will, telling a common story of love lost, love found, maybe, and all the attendant tricks of the trade, with plenty of sadness and vengeance.

I found myself entranced by Johnny Depp’s gifted portrayal of a man twisted by great sorrow. Helena Bonham Carter’s Mrs. Lovett is equally flawless. Her character is just as skewed as Todd, though addled by love rather than revenge. She becomes Todd’s “partner” in crime because she has always loved him.

Their pancake makeup and darkened eyes corresponds to the smoke and smog of Victorian London – an eerie Tim Burton device.

The film ends with lots of twists and turns.

Clearly, an achievement in musical filmmaking.