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Archive for category Film & TV

The Dresden Files (SciFi Channel, 2007; Fox DVD, 2008)

Jul 21

Posted by Michael M. Jones in Film & TV, Private Investigators, Urban Fantasy, Wizards, Mages and Spellcasters | No Comments

As I write this, I’ve watched the debut episode “Birds of a Feather” of The Dresden Files (starring Paul Blackthorne as the titular character) four times. I’ve finally managed to organize my thoughts on the matter. As a longtime fan of the novels this show is based upon, I was both excited and nervous to learn that the books had been optioned by the SciFi channel, which, to be honest, isn’t exactly known for its quality adaptations of literary properties, nor for the outstanding nature of its original TV-movies. As much as I wanted to see Harry Dresden done on screen, I knew the chances of a faithful, quality translation from book to television were low. I mean, come on, they screwed up Riverworld, for Pete’s sake! So I settled in to watch the first episode and tried to keep my mind open.

The basic concept remains the same as in the books: Harry Dresden is a wizard for hire, who advertises himself as such in the Chicago phonebook. He’s regularly tapped to assist or consult on bizarre cases by the Chicago police, most often by Lieutenant Murphy. He goes up against every manner of supernatural menace imaginable, often in an effort to protect the innocent and make the world a little safer. In these efforts he’s advised by a skull-dwelling spirit named Bob, who acts as a combination lab assistant and reference library. Harry’s basic family information hasn’t changed; his father was a stage magician, his mother died under mysterious circumstances. Heck, they even kept in Harry’s past with his former mentor, Justin DuMorne.

All of that is true to the books, but they did take liberties. When Bob appears, he’s an actual ghost (quite skillfully portrayed by Terrence Mann). Lieutenant Murphy’s first name is now Connie, and she’s played by Valerie Cruz, a Cuban-American actress — as opposed to the books, where Murphy is a petite blonde of Irish descent. Harry’s car, the much-beloved Blue Beetle, has changed from a VW Beetle to an old Jeep. Instead of living in a basement, Harry seems to have an actual apartment and his office is accessible right off the street. And the more I think about it, all of these are cosmetic changes that do nothing to affect the greater story. The heart and spirit of the series is present, and that’s what counts.

This first episode serves as an adequate introduction to the series, even though this was not the intended pilot episode. Harry’s in fine form as he attempts to unravel a bizarre magical murder, outwit a powerful evil and protect a child from the forces that would use or destroy him. I do wonder at how quick Harry is to initially dismiss his erstwhile client’s worries; after all, he better than anyone should know that even a kid’s ‘monsters under the bed’ can be real. But once he gets involved, he’s classic Harry: stubborn, determined, clever, and prone to being smacked around by nasties. Paul Blackthorne doesn’t make the strongest Harry around — James Marsters (Buffy the Vampire Slayer) was once considered to be a strong contender for the role, in part due to his narration of the audiobook adapations by Buzzy Multimedia — but Blackthorne is the sort of actor who grows on you after a while. What’s important is that he radiates a would-be heroic sincerity mixed with world-weariness, and in doing so the Harry Dresden spirit shines through more often than not.

Valerie Cruz comes off somewhat weak by comparison as Murphy, but I have every confidence she’ll grow into the role. She and Blackthorne still seem to be finding the right level of chemistry that the characters demand (after all, in the series Murphy is a potential love interest on occasion.) On the other hand, Terrence Mann is Bob the Skull, with an arrogant British superiority in his tone, radiating a fine mixture of reluctant subservience and irreverence. Were he just a voice, he’d be perfect. As a ghost, he brings plenty more to the role, including a full range of expressions. In my opinion, they really did the right thing in expanding his nature.

The plot itself is pure Dresden, right down to the involvement of such supernatural nasties as shapeshifting ravens and a skinwalker. While it would have been nice to see Harry use more of his magic, the show strikes the right balance between his mundane resources and his supernatural ones, and his final resolution to the problem at hand does smack of Dresden’s ‘blow things up when necessary’ nature. Thanks to the flashbacks to Harry’s youth, we’ve definitely gotten a good look at the events which made him the man he is today, with some hints at things to come.

There’s a lot I haven’t touched upon: Harry’s contact within the High Council (White Council in the books) who acts as a living search function for their records, the typical Dresden luck (he’s the sort of guy whose car gets booted for parking in the wrong place), the creepy nature of the skinwalker, and so forth.

But what really matters is one question: “Is this show any good?”

And thus it’s time to render a verdict. Yes, The Dresden Files is a good show. It’s not perfect, it’s not spectacular, and it’s not exactly what we might have been expecting. But it’s as faithful as it can be within the scope of accessibility, practicality, and logistics. For all intents and purposes, this is The Dresden Files translated to television. “Birds of a Feather” is a good start, and I’ll continue to watch the series as long as it can maintain this level (or greater) of dedication and entertainment.

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War For The Oaks trailer (directed by Will Shetterly, 1995)

Jul 20

Posted by Michael M. Jones in Elves & Fairies, Film & TV, Urban Fantasy | No Comments

“Eddi McCandry, the Seelie Court goes to war, and needs the presence of mortal blood to bring death to its enemies.”
–From War For The Oaks, The Phouka summing up why they need Eddi McCandry, unemployed musician-at-large.

In 1987, Emma Bull’s now-classic tale of urban fantasy, War For The Oaks, was published. In brief, it’s the story of a woman, her band, and the warring courts of Faerie, who seek Eddi’s aid in waging a war to see who’ll control Minneapolis for the foreseeable future. A full review of this novel may be found elsewhere on this site. What we’re concerned with is what came eight years later.

On her own, Emma Bull is a talented writer, songwriter, and musician. She’s earned fame and accolades for her stunningly beautiful and bold tales of fantasy and science fiction, and for her tenure in two musical endeavors, Minneapolis-based band Cats Laughing, and as one half of the duo the Flash Girls. On her own, she’s a force to be reckoned with.

She’s not always alone. Her husband, Will Shetterly, also is no slouch in the talent department, having seven books, numerous short stories, several comic books, and a handful of films under his belt. And let’s not forget that he once ran for Governor of Minnesota, and came in third. With such varied accomplishments to back him up, is it any wonder that he turned his theatrical visions towards his wife’s novel?

That’s right. Imagine, if you will, the movie version of War For The Oaks. Adapted directly from the book, and directed by Will Shetterly, with Emma Bull undoubtedly acting as a very close, very personal creative consultant. It was shot on location in Minneapolis, with a soundtrack provided by Cats Laughing, and the Flash Girls. When you consider how Hollywood traditionally and typically butchers adaptations, this must sound like some sort of blessing.

Alas, it has its downsides. For one thing, it’s only eleven minutes long, and is more a collection of brief “scenes” and images taken from the book than it is an actual trailer. But even eleven minutes is better than absolutely nothing, right?

Next problem. Unlike Mssrs Lucas, Spielberg, Tarantino, and Smith, Will Shetterly had almost no budget to play with. His solution was clever, and just a little indicative of the man’s warped genius. He recruited (heavily!) from friends, family, and the local SCA, and set about making his movie as best he could.

The end result is a marvelous look at what might have been. It’s like hearing a musical on tape, and then suddenly going to a dress rehearsal. It’s not perfect, it’s certainly not a finished product, and Bede knows it could use a lot of work, but it’s there. While watching this, you have two choices. You can laugh at the silly people in their SCA garb as they reenact battle scenes from the book, or snicker as a dog turns into a man with some clever camera usage. Or you can play along with the mood, and realize that if someone gave Shetterly a lot more money, a special effects crew, and some support, he could most likely turn out one heck of a product.

Forgive me if I wax overlong without actually getting to the point. War For The Oaks has long been one of my favorite books, and my finally getting hold of this trailer was cause to celebrate.

So let’s say you’ve read the book, and know the story. What’s good about the trailer? Well, for one thing, it’s painstakingly faithful to the book in word, and in spirit. You get to meet some of your old favorites, include Eddi herself, the Phouka, Stuart Kline, the Queen of the Seelie Court, Hairy Meg the brownie, and Willy Silver. Missing, however, are Carla (except for a few background shots), Dan, and Hedge. Present is a cast of dozens to represent both Courts of the Fey.

The trailer takes a wide variety of scenes from the book, and presents them in an almost random order, accompanied by a Cats Laughing soundtrack (“Here We Go Again,” “Nottamun Town”). Unfortunately, some of the scenes are decidedly spoilers, which makes this trailer something of a hazard for those who haven’t already read the book. Watch this, and you’ll know who Eddi falls in love with, what Willy Silver’s secret is, and a few other bits of important plot.

The casting is dead-on. Liza Johanneson as Eddi McCandry, and John Eric Bently as the Phouka, are darned near perfect matches for my mental pictures of the characters. In other words, I couldn’t have come much closer to picking perfect visual matches. John Eric Bently, in particular, delivers a cheerfully self-amused rendition of the Phouka. It almost makes me wonder if Bull knew these folks when she was writing the book… John Sjogren turns in an interesting performance as Willy Silver, though I must admit I pictured the character with shorter hair. Ah, details. While the translation of a book to a movie often leaves a lot to be desired, especially where character interpretations are concerned, we all have our pet peeves… I’ll be fair and not make any specific accusations. What matters here is that the actors fit the characters. Although the presence of Emma Bull as the Queen of the Seelie Court is somewhat disconcerting… but strangely appropriate. Maybe she is indeed one of the Fey.

How’s the acting? Interesting, in a word. The feeling I got while watching the trailer was one of a stage play being filmed. The actors are all very serious, and very into their work, delivering lines with enthusiasm, and the underlying attitude of “if I screw this up, Will’s going to lop my head off with a great big sword.”

Well, maybe not. But the truth is, the War For The Oaks trailer is a home movie, plain and simple. A darned good one, but it’s still a backyard movie filmed by Will Shetterly and starring everyone he could get his hands on. And that’s the beauty of it. This is a labor of love, folks. This was done because it could be. And I don’t mind telling you, I’d pay to see a full War For The Oaks movie done in this style. At least it’s faithful to the book. Any Hollywood moguls reading this, I beg you to contact Will Shetterly, and give him whatever he asks for. I’ll give you my sister as a down payment.

This is honestly one of those items that means next to nothing to the uninitiated, and certainly isn’t the best way to introduce someone to the book. It’s a curiosity, and a very interesting footnote. But if you like Emma Bull, or Will Shetterly, or War For The Oaks, this tape is a must-have. It’s a different way of looking at an already excellent story, and it speaks for itself. It’s well worth the effort. I promise you. And it beats your neighbor’s home movies of their trip to Mexico.

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The Three Musketeers (Disney, 1993)

Jul 20

Posted by Michael M. Jones in Film & TV, Historical | 1 Comment

We all have those perfect films, the ones in which everything comes together, the story shines, the characters click, and the entire movie is resonate. That rare movie you can watch unlimited times, and keep going back for more. Where nothing disappoints, and everything excites. Forget what the critics say, forget what your friends say, forget everything but that, for you, this movie is damned near perfect. We all have those pantheons in our heads. And for me, the 1993 Disney version of The Three Musketeers ranks right up there as one of my all-time favorites.

I’ve never read the novel by Alexandre Dumas. Lord knows I’ve tried but, to be honest, epic French fiction just isn’t my thing at all. I prefer what others make of the stories far more than I do the originals. I like the concepts, the themes, the nature of the stories. I enjoy stories told on such broad, sweeping levels with such multi-layered, three-dimensional strokes. I enjoy Les Miserables. I greatly enjoyed the recent Count of Monte Cristo remake. And I hold The Three Musketeers up as an example of how to do something right.

I understand that they took more than a few liberties in trying to compress the original French paperweight into a feature-length film. How many subplots, characters, and themes must have been cast by the wayside? What language was ripped to shreds or replaced entirely? How could anyone hope to stay absolutely true to the original text? Well, as I said to those who doubted The Lord of the Rings: Fellowship of the Ring, “Accept change.” Accept that what they did for this movie was to take the book, the very essence of the story, and distill it down into its barest, most profound nature, and start fresh.

The basic storyline is, at its root, simple: The greatest of King Louis’ Musketeers, Athos, Porthos, and Aramis, must prevent the evil Cardinal Richelieu from securing an alliance with the English Duke of Buckingham, assassinating King Louis XIV, and taking over France. They’re joined by an eager newcomer and would-be Musketeer, D’Artagnan, who desperately seeks to live up to his slain father’s example of heroism. To complicate matters, the Musketeers have been disbanded, and our heroes are on the run from the Cardinal’s men and allies, including the expelled Musketeer, Rochefort, and the deadly femme fatale, Lady Sabine DeWinter. It’s an exciting and danger-fraught race against time to save the King and France. That’s the basic story. It’s filled with twists and turns, chases and duels, captures and escapes. D’Artagnan, in particular, falls into trouble with frightening regularity, but always at the right time to overhear a crucial detail or foil a vital part of the evil plan. Meanwhile, the others struggle with their various quirks and quips, though it must be said, the movie goes heavy on quips and action, relatively light on the more profound elements.

The characters shine; the actors have just the right chemistry, playing off one another with near-perfect comic timing. Charlie Sheen stars as the religious (yet attractive to women) Aramis, while Keifer Sutherland takes a turn as the intense, driven “leader” of the group, Athos, whose shadowed past may rise up to bite him once again. It’s a sad fact that, when I try to recall this movie, the two of them manage to blend into one uber-Musketeer, overshadowed as they are by the rest of their illustrious companions. Neither Sheen nor Sutherland disappoint, they merely have trouble standing out from one another… a rare fault in an otherwise wonderful movie. Oliver Platt, as the cheerfully over-the-top Porthos, steals the show every chance he gets. This Porthos is confident, creative, and armed with a saucy or pithy quip for every occasion. Spouting sayings like, ‘This scarf was a gift to me from the Tzarina of Tokyo” and “This Bible belonged to the Empress of America”, sporting nifty-keen weapons such as a sword-breaker and a keenly-thrown bolo, he swaggers through the movie shamelessly. I’ve always enjoyed Oliver Platt’s work; his range of facial expression and ability to play comic characters without descending into buffoonery has always been a highlight of any movie he’s in. In this film, he rules. He’s perhaps the most anachronistic, his phrasings often suspiciously modern but, in the atmosphere he brings with him, it’s acceptable. Chris O’ Donnell turns in a brilliant performance as the wide-eyed, Musketeer-idolizing, overconfident neophyte, capable of arranging three duels in one day and believing he’ll survive them all. A sucker for a pretty face, the stranger in the crowd, he’s set up as the viewpoint for the story, so that we follow him through the action. Through this oft-used but still serviceable trope, we are introduced to the world of the Musketeers from the viewpoint of someone lacking in that experience.

The villains are every bit as delightful as the heroes. Tim Curry is larger-than-life, a moustache-twirling, sneering evil genius, in the guise of Cardinal Richelieu. He’s capable of ordering a man’s death or plotting an assassination, able to sway people with his used car salesman oily charm, perfectly at home sweeping through rooms in his blood-red robes. He’s ambitious and dangerous, without mercy or hope of redemption, broadly painted as the bad guy, and he excels. His trusty accomplice, the one-eyed ex-Musketeer, Rochefort (played by Michael Wincott), is dark and sinister, speaking his pronouncements of doom in a gravelly voice. Dressed in black, he makes the perfect right-hand-villain, his personal history with the Musketeers giving their exchanges that snap and bite you only find among ex-coworkers or ex-lovers. And he’s set up as D’Artagnan’s arch-enemy, the first true test of his heroic status, in a clever manner. Rebecca De Mornay is a seductive ice queen as Lady Sabine DeWinter, the Cardinal’s distrusting messenger and occasional personal foil. She’s always in control, cool and collected, pale and beautiful, and the most dangerous of the lot.

This is a movie with an ear for dialogue and a way with snappy repartee. The Musketeers banter to one another while barreling along on a stolen coach, the Cardinal’s men in hot pursuit. D’Artagnan trades insults with Porthos and friends. Lady DeWinter and the Cardinal threaten each other as each tests the other’s resolve. Perhaps it’s a bit too light and witty at times, but it’s fun all the same.

The action sequences are exciting, swashbuckling sword-fights that take advantage of multiple levels, runaway horses, stairs, chandeliers, boats, and various opponents. This is no wire-fighting extravaganza as the recent Musketeer was but, in its own way, these sequences are just as thrilling.

Throw in an elegant soundtrack featuring the Bryan Adams/Rod Stewart/Sting collaboration “All For Love”, and sweeping operatic symphonies in the background, exquisite costuming and gorgeous locations for the scenery and, all in all, what you have is a genuinely enjoyable, unashamedly fun movie that takes the very best of The Three Musketeers and translates them for a new audience. Disney may not always respect the source material (as witnessed by the animated Hunchback of Notre Dame), but when they do something right, they really outdo themselves.

The Three Musketeers was directed by Stephen Herek, and adapted from the original novel by Alexandre Dumas for screenplay by David Loughery. It starred Chris O’Donnell (D’Artagnan), Keifer Sutherland (Athos), Charlie Sheen (Aramis), Oliver Platt (Porthos), Tim Curry (Cardinal Richelieu), Rebecca De Mornay (Lady DeWinter), Michael Wincott (Rochefort), Hugh O’Conor (King Louis XIV), Julie Delpy (Constance) and Gabrielle Anwar (Queen Anne). It runs 105 minutes and is available on tape or DVD.

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Star Wars: Episode II – Attack of the Clones (Written and Directed by George Lucas, 2002)

Jul 20

Posted by Michael M. Jones in Film & TV, Science Fiction | No Comments

A long time ago, in a galaxy far, far away, a man took a whole slew of mythic elements and cultural themes and wove them into one of the great stories of the 20th Century: The farm boy, ignorant of his true origins, who ultimately becomes a great hero; The rogue with a grudging heart of gold and his beastly side-kick; The beautiful princess in distress who is quite capable of fighting for herself, thank you; The fallen hero in black who redeems himself at the very end, after defeating the evil Emperor;

A rebellion against a corrupt empire. Derring-do, swash-buckling heroics, fights galore and, throughout it all, the theme of good versus evil. The original Star Wars trilogy blew away all records and resonated with an entire generation. Decades later, the visionary who took all those old elements from myth and pulp adventures, returned to tell what might be the greatest story of a hero’s fall in centuries.

Star Wars: Episode I had a lot to live up to. Its sequel, the middle of the projected trilogy, following the rise and fall of Anakin Skywalker, later known as Darth Vader, has even more to live up to. The hype surrounding this movie was less than for Episode I, with far fewer tie-ins and merchandising. The stakes were higher. After this, only one film remains, and we know how it all ends up, right?

Episode II – Attack of the Clones is an extraordinarily ambitious project that has had a critical spotlight on it from the second it was planned. The big question is, is it any good?

Yes … and no. Where Episode II is concerned, when it’s good, it’s fantastic. When it’s bad, it klunks resoundingly.

I see Episode II as two different movies unwittingly woven together, not entirely of their own free will. The first plot, and by far the more engaging, is the roller-coaster investigation of a pair of Jedi Knights into an assassination attempt. Our old friends Obi-Wan Kenobi (as masterfully played by Ewan MacGregor as in Episode I, filling as he does the legendary shoes of Sir Alec Guinness) and his apprentice, a teenaged Anakin Skywalker (played here by Hayden Christensen) are appointed to protect former Queen and now Senator for Naboo, Padme Amidala (Natalie Portman reprising the role from the previous movie). As bodyguards, they’re overkill. As investigators, they’re in over their heads. Conspiracy after plot after manipulation is revealed, as the trio, accompanied by faithful droid R2-D2, leave the Republic’s capital planet of Coruscant, splitting up to pursue different leads. Bounty hunters, clones, battle droids, aliens, armies, and even Dark Side Jedi, the dreaded Sith, await them. This is by far the more interesting of the plots, building as it does upon each new revelation, taking our heroes from the cloud-penetrating heights of Coruscant to the quiet beauty of Naboo to the deserts of Tatooine to the storm-churned oceans of one planet and a climatic showdown on yet another world.

The second plot is the romance building between Anakin and Amidala, a romance forbidden by the Jedi Order and by common sense. He’s sworn to protect the galaxy, and she’s a politician. She’s older than him by several years, and he’s struggling with teenage hormones. He’s rash, head-strong, moody, and prone to bucking authority. She’s destined to play a pivotal part in the future of the Republic. He’s just her bodyguard. Right? Well, Episode II -was- billed as a romance, and it’s absolutely no secret whatsoever that the two of them are to fall in love. So watching them actually do it is like watching a play to which you know every word. There’s no real mystery, except ‘how long will it take, and who will give in first?’ This plot is slow and feels out of place at times, forced at others, with Anakin spouting dialogue so painful it’s no wonder the Jedi Masters were wincing back on Coruscant. Amidala isn’t entirely sure what she wants, but she looks like she’d rather be dealing with political infighting rather than a tempestuous teenager with a crush and a burgeoning God complex. (“Someday I’ll be the most powerful Jedi of all!” he rages at one point. “It’s all Obi-Wan’s fault! He’s just jealous!” at another.)

For the most part, the separate plots go their own ways, with Obi-Wan playing swash-buckling galactic investigator, fighting bounty hunter Jango Fett (father of the much less talkative Boba Fett of the original trilogy) and journeying to distant planets on the strength of a hunch, and Anakin and Amidala enjoying a romantic getaway on Naboo before taking a detour to Tatooine to wrap up some old business, pick up an old friend, and set the stage for some familial background. Ultimately, it all comes together in a battle featuring a cast of thousands.

Highlights include Christopher Lee’s performance as the scheming Count Dooku, Samuel L. Jackson as the Jedi Master Mace Windu, and Frank Oz as everyone’s favorite little green guy, Yoda. Folks, in this movie Yoda earns his keep with some serious moves. We’re talking Muppet meets Matrix, a Hong Kong action cinema puppet with a light saber and a mission. Who’s the man? Yoda’s the man. But enough said.

Acting-wise, Ewan MacGregor is in superb form, handling the dry wit and exasperated authority of Obi-Wan with tremendous skill. Comparatively, Hayden Christensen doesn’t seem to know entirely what to do with himself. Either he’s spouting anguished lines of love to Amidala, or he’s indulging in over-the-top angst and rebellion with Obi-Wan. He doesn’t seem quite comfortable in the role, and shifts from wooden to over-acting regularly. Natalie Portman does the best she can with her role, looking vaguely decorative and bored for the first two-thirds of the movie, and then coming alive as soon as she’s given a gun and something productive to do. From then on, she’s having a blast, and blasting everything in sight. Ian McDiarmid, as the manipulating Chancellor Palpatine, seems to be genuinely enjoying himself, playing the subtle villain for all he’s worth. Temuera Morrison is both doting father and hardened bounty hunter, perfect for the role of Jango Fett, carrying it with sophistication and savagery. All in all, it’s quite the talented cast, with only a few misfires along the way.

The special effects and CGI in this movie are absolutely top-notch. Alien scenery, bizarre races, deadly creatures, massive armies, planet-wide storms, chaotic meteor fields, and light saber duels are all rendered in full-color full-reality detail. The decades George Lucas has put into having his studios develop this technology has paid off, making this a visually stunning film that’s sure to take home a few awards. The cinematography is exquisite, taking our heroes on dizzying drops, throwing them into deadly battles, hurling them over the sides of mile-high buildings, and sending them across distant fields. The music is typically evocative, John Williams giving us both the old, familiar Star Wars fanfare and new themes that address the movie’s progress. Though at times it’s a bit over the top, his work has been so identified with the series, it wouldn’t be Star Wars without him.

For those who are worried, you may relax. Jar-Jar Binks -does- appear, but his screen-time is limited to a few key scenes. Of course, that’s not much of an assurance that he won’t accidentally doom the Republic by tripping over someone… The “cute kid” quota is met by Daniel Logan, who pulls off a darkly handsome, sullen, tousle-haired moppet known better as Boba Fett. The kid is good with those soulful looks and loathsome glares, and we see a hint of the man he’ll become late in the movie.

Overall? Star Wars: Episode II – Attack of the Clones is a damned fine film. Visually, it’s extraordinary. Plot-wise, it meanders and clunks like a Yugo in city traffic. Like the rumored “edit” of Episode I that some clever person did to excise Jar-Jar, I foresee someone cutting out 95% of the Anakin/Amidala subplot to streamline this movie into an action-packed intrigue. Sit through the bad parts, and you’ll be rewarded by the end, which answers some questions, and opens the floodgates for a lot more.

Episode III is the one that will decide who lives, who dies, and who takes home the gold. Fans of Star Wars will undoubtedly want to see it. Those teetering on the fence, you’ve been informed. Episode II is both a very good movie, and a clumsy one. Go see it, and have a blast.

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Spider-Man (2002, Directed by Sam Raini, Created by Stan Lee and Steve Ditko)

Jul 20

Posted by Michael M. Jones in Film & TV, Science Fiction, Superheroes | No Comments

With great power comes great responsibility. It’s the guiding mantra behind one of the 20th Century’s greatest heroes. But before he was a hero, he was a young man. A confused teenager like every other, with a crush on the most beautiful girl in school, a loving family, and a reputation as a loser, geek, nerd… you name it.

Spider-Man reinvents the classic comic book character for the big screen, remaining as faithful as possible to the source material. We follow the evolution and growth of Peter Parker from tormented geek to daring hero. All the classic elements are in here. He’s bitten by a genetically-manipulated spider (it was radioactive in the comics), and his body chemistry is radically rewoven, granting him (proportionately) the powers of a spider: super-strength, flexibility and acrobatics, a near-psychic ‘spider-sense’ to warn him of danger, the ability to spin webs from his wrists. He’s still being raised by his loving Aunt May and Uncle Ben, with whom he’s lived ever since his parents died in a plane crash early in his life. There’s the prettiest girl in school, Mary Jane Watson, who dreams of becoming an actress. There’s the class bully, Flash Thompson, football hero. There’s even Harry Osborn, rich kid with overbearing businessman father Norman.It’s all there: The spider. The public appearance of Spider-Man as celebrity. The burglar. The death of someone important to Peter. The vengeance he seeks that changes into a need for justice. The red and blue costume. And the maniacal, deadly Green Goblin, who circles Peter and Spider-Man, capturing them both in a web of his own design, threatening to kill our hero if he doesn’t join the Goblin.

Long-time readers of the comics will be familiar with the Goblin’s origin. For those not in the know about who lives, who dies, who the Goblin is, and who lives happily ever after, I won’t spill the beans. I will say this: Spider-Man hits the mark. It is easily one of the best comic book derived movies ever, taking the source material faithfully, adapting it only where one needs to compress and distill forty years of back story down into one story. This is actually a mixture of two classic Spidey story lines, his origin, and the Death of Gwen Stacy. For those of you scratching your head and wondering who Gwen Stacy is or was, don’t worry… She’s dead.

This is one of those movies that couldn’t have been done properly without the advances made in CGI and special effects. Thanks to technology, Spider-Man finally moves like he should: fast, agile, triple-jointed, almost alien in his patterns and flexibility. The Goblin, in his technologically-enhanced suited and ominous glider, is equally impressive. We can follow their aerial battles, or even just the sheer adrenalin rush of swinging at breakneck speed through the city canyons on a thin strand of webbing, and feel like part of the action.

Yes, where Spider-Man hits the mark is with faithfulness, story, and image. It bogs down here and there with improbable coincidences (how can one person have so much bad luck in his life?) but such things have always been part of the story. Sure, questions arise, like what about the -other- genetically-enhanced spiders, the ones that didn’t bite anyone? But hey, no film is perfect.

Willem Dafoe is perfect as Norman Osborn, conveying a bizarre sense of duality and growing, desperate madness as the story progresses, eerily reminiscent of Jack Nicholson’s performance as the Joker in Batman. He really does manage to portray fatherly love and cold detachment with equal aplomb, and when he goes all out as his alter ego, he goes all out.

Tobey Macguire does a credible, even enjoyable job as Peter Parker/Spider-Man. He definitely pulls off the geek-turned-hero vibe quite nicely, capturing that spirit of adventurous joy that comes with someone given a release for their emotions for the first time in their life. He may need to grow into the part, but he has the basic spirit down.

Kirsten Dunst does nicely as Mary Jane Watson, although she never quite throws herself into the role with the zeal needed to carry off the devil-may-dance attitude of the comic book variation, but she doesn’t disgrace the role either. Given more time, she’ll undoubtedly sizzle in the role. Unfortunately, the chemistry between Peter Parker and Mary Jane never quite works for me. There’s something a little wooden, as though they don’t connect on the level they should, quite yet. That’s okay. In the comics, it took months before the two even met, and years before that spark truly came to life. The interaction between Peter Parker and Norman Osborn, and Spider-Man and the Green Goblin, is much more intense.

J.K. Simmons, as J. Jonah Jameson, irate newspaper publisher and Peter’s sometimes boss, is dead-on perfect for the role in terms of looks and attitude. This is the Jolly Jonah we’re used to, the one dismissing the pictures as crap, but buying them anyway and taking Peter on as a freelance photographer. Thus setting up the irony: Peter takes pictures of Spider-Man and sells them, while J.J.J. uses the pictures to terrorize and blast Spider-Man in the Daily Bugle. Some days you can’t win.

Cliff Robertson, as the fatherly Uncle Ben, and Rosemary Harris, as the sweet but occasionally frail Aunt May, do justice to the roles, as does James Franco as Harry Osborn, Peter’s friend and later roommate.

Overall, I loved Spider Man. Where it’s good, it’s very very good. Where it falls down, it doesn’t so much disappoint as it fails to match the rest of the movie. As far as pure story goes, it’s primal Spider-Man, essence of character boiled down for a new audience, and that’s what matters. Go see this and have some good old-fashioned superheroic fun.

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Spider-Man, by Peter David (Ballantine, 2002)

Jul 20

Posted by Michael M. Jones in Film & TV, Science Fiction, Superheroes | No Comments

The story has become a modern day myth. A young man is granted extraordinary powers through a chance accident, and becomes one of the greatest heroes of his generation. Twist it a little, and it could be a Greek myth, or an Arthurian legend.

But instead, this is a new myth, one for the 20th century, concerning part of a new pantheon of brightly colored gods.

How many people don’t know the basics of the Spider-Man origin? Peter Parker, left an orphan after the death of his parents, moves in with his Aunt May and Uncle Ben, who raise him as though he were their own child. Weak, bespectacled, considered a geek and a nerd by his classmates, he takes refuge in science and school. Then, one day, he’s bitten by a radioactive spider, and his world changes.

He’s granted the proportionate powers of the spider: strength, speed, agility, the ability to stick to walls, a mysterious sixth sense warning him of danger, even the ability to spin superstrong webs. Fashioning a gaudy costume, he first tries to go into show business, but all of that falls by the wayside after a moment of selfishness on his part lets a burglar escape … a burglar who later kills Peter’s beloved Uncle Ben.

In a single instant, Spider-Man dedicates his life to heroism, under the motto, “With Great Power Comes Great Responsibility.” And decades later, he’s one of Marvel Comics’ best-loved and most popular characters, the star of comics, TV, and now film.

The book in question, Spider-Man, is the official novelization of the soon-to-be-released major motion picture starring Tobey Maguire, Kirsten Dunst, and Willem Dafoe, directed by Sam Raini. The hype has been huge, the anticipation great, especially after the popularity of the last two films based on Marvel comic books: X-Men and Blade.

I have to say, Peter David was a perfect choice for taking on the task of turning the movie about a comic character into a successful novel. Spider-Man is essentially two steps removed from his origins at this point, having been run through the filter of a screenplay and then into prose form. This isn’t your parents’ Spider-Man. This is a reinvention and reexamination from the ground up. Not having seen the movie, I can’t judge how true he is to that presentation, but that doesn’t matter. Peter David turns in one of the finest, most pure interpretations of Spider-Man done in the past few decades.

The characters are all there, and recognizable: Peter Parker. Aunt May. Uncle Ben. Mary Jane Watson. Norman Osborn. Flash Thompson. J. Jonah Jameson. Familiar names all to those who follow the comic. Well, let’s just say that if I wanted to start someone on the character, I could do little better than to give him a copy of this book. Now only does Peter David hit the characters just right, he gives them depth, going into details above and beyond what the movie can convey. Aunt May is caring, a little frail, but tough enough to take care of a rambunctious teenager. Mary Jane is the beautiful, carefree girl everyone wants, hiding her pain deep within. Harry Osborn desperately seeks his father’s approval, even as Norman descends into madness. Peter struggles with loneliness and guilt, and then the confusion and later euphoria of his newfound powers.

The action scenes are pure gold, as cinematic as if they truly were on the big screen. You can see yourself right there in the middle of things.

The only drawback, and this isn’t even a drawback at all, is that Peter David, long known for his humorous writing, slips in no few in-jokes, in the form of sly comments or cleverly named supporting characters. For those in the know, it’s a forehead-slapping moment. For those not in the know, it’s a tiny speedbump. However, we can allow the author his minor quirks, in exchange for such a good story. He spent quite some time writing Spider-Man comics, and it’s obvious he hasn’t lost that innate feel for the character.

I can’t comment too much on the plot without giving away what I assume will be the plot of the movie. But all the basics are there, and Peter David has accomplished the unenviable task of turning a novelization into a true novel.

Spider-Man is one of the best looks at the character I’ve seen in a long time. Rebuilt and streamlined from the ground up, this is pure modern-day myth featuring several gods of the pop culture pantheon. I’m well and truly looking forward to the movie.

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Sacred Fire, by Charles de Lint (From The Hunger) (Television, 1999; DVD 2000)

Jul 20

Posted by Michael M. Jones in Film & TV, Urban Fantasy | No Comments

The freaks are out there. They look like everyday people, masquerading as the homeless, the crazies, the street people.

They lurk on the street corners, warm themselves around garbage can fires, and watch for certain people, the ones with the brightest inner fires. They hunt them, suck the life from them, kill them horribly. The freaks are out there, and if you’re not watching carefully, you’ll miss the odd way they look at you, and the way their skin stretches unnaturally…

Nicky Straw (played by James Marshall, best known for his role as biker James Hurley on the show Twin Peaks) is one of the very few people unfortunate enough to know the freaks exist. They killed his wife. They killed his child. They’re after him.

Only by killing them first can he survive, but the struggle has taken a terrible toll on his life and sanity.

Luann Somerson (Kim Huffman) is an old friend of Nicky’s from college, who finds him on the street and takes him in to her apartment, building upon happier memories of younger days. She’s just come out of a relationship, and in her loneliness, she finds the need for company. But it blinds her to the unsettlingly manner in which Nicky watches the people around him. Soon, though, it becomes clear that Nicky has a dangerous secret, living in a world of kill or be killed. Street people are being stabbed to death. Is he a potential victim, or is he the killer? And what happens when Luann’s comfortable world is shattered by the knowledge that the freaks are, indeed, real?

Adapted from the Charles de Lint short story of the same name, Sacred Fire was produced as an episode of the anthology television series, The Hunger, and first showed in 1999. A horror/dark fantasy series initially hosted by Terence Stamp and then David Bowie, The Hunger takes dark, twisted looks at the world around us. Four episodes, including Sacred Fire, are collected in the DVD release, The Hunger: Soul Snatcher.

I have to say, it certainly wasn’t what I’d expected. I’d grown so used to thinking of de Lint in terms of his beautiful and magical urban faerie tales and otherworldly excursions, that I’d forgotten just how dark and grim some of his stories can be, even the ones set in Newford. Sacred Fire is certainly no exception. It’s bleak, unforgiving, and downbeat, portraying the futile struggle of a man grasping at his last shreds of sanity, and the slow destruction of a woman’s blissful ignorance. It’s a story about the predators of the world, and the fact that once you’ve been exposed to them, you’ll never feel entirely safe again. It’s the flip side for every story in which someone finds magic and turns out the better. Sacred Fire is an evocation of the dark side of the world.

The story itself was altered for the screenplay. It takes longer for Luann to discover the truth about Nicky and the freaks. They grow a lot closer. The bond they shared in that college English class is expanded upon. Nicky’s wife and daughter are explored in some small detail. But all in all, it captures the feel, the essence of the story with a knife-sharp vividity.

Was I entirely satisfied? Not quite. But that’s mainly because I’m used to seeing Newford as magical. Sacred Fire takes us down into Crowsea and the Tombs, the dead part of the city where monsters and homeless congregate and eke out a living. It’s dark, and dreary, grey and oppressive. Winter’s fallen upon this city, and brought a chill wind. The visuals for this story are gritty and realistic, unsparing of our feelings. Still, Charles de Lint says, “When I saw the initial broadcast of The Sacred Fire I particularly liked how they brought to life Crowsea and the parts of Newford bordering on the Tombs.” When the author is pleased with the visuals, that says something good about the adaptation.

Filmed with sharp MTV-style breakaway flashback sequences, jittery visions, and minimal special effects (for the freaks’ true appearances, and the fire in certain characters’ eyes), The Hunger has that edgy, daring feel to it, which may detract from the simple horror of the story itself.

Kim Huffman is splendid in her role as a young woman inspired to help out with the homeless and to aid an old friend. She mixes quiet charm, optimism, and loneliness in perfect measures, making her sense of betrayal and vulnerability at the end all the more believable. James Marshall turns in a satisfying performance as a man who’s seen and done horrible things in his time, and who’s clearly at the end of his road.

While there are so many more de Lint stories I’d love to see adapted for television or film, I’m not going to look a gift horse in the mouth. Sacred Fire is a highly satisfactory translation from book to film, and recommended.

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Harry Potter and the Sorcerer’s Stone (2001)

Jul 19

Posted by Michael M. Jones in Fantasy, Film & TV | No Comments

One of the most highly-anticipated cinematic events of the year, rivaling Star Wars Episode I in terms of pre-release hype and ready-made fan base, Harry Potter and the Sorcerer’s Stone has been a constant in the public consciousness for months.We’ve seen trailer after trailer, offering up magical glimpses and tantalizing snippets of the phenomenally popular book made a reality.We’ve seen the turrets of Hogwarts looming over a dark lake, lantern-lit boats sailing towards their destination.We’ve seen a young man, “the boy who lived” discover his true nature.We’ve seen Hagrid, the gentle giant with a heart of gold and a fondness for large and dangerous creatures make a most impressive entrance.We’ve been told “There’s no such thing as magic!” and known it for the falsehood it is, for what is this movie but pure magic? We’ve been saturated with a marketing blitz that’s put the name and image of Harry Potter everywhere we look. Books, posters, stickers, keychains, magnets, stuffed animals, Legos, board games, Christmas ornaments…

And at long last, the movie itself is out. My wife and I caught a 1:00 PM showing on Friday, the second showing of the day.We were lucky; it wasn’t anywhere near as crowded as later shows would be.We had our tickets, our drinks, and our popcorn, and we settled in to see just how well director Chris Columbus would translate J. K. Rowling’s book onto the big screen.What would they keep, what would they change, what would be different, and would the characters on screen resemble the ones in our heads?

Without a doubt, the answer is yes.Yes, yes, and yes. The movie is, I’d say, 99% faithful to the source material. Several minor characters were left out, and one particular plotline condensed into about five minutes. Bits and pieces of dialogue were left out, and occasionally it did feel like someone had put the story into fast-forward.But considering the density and complexity of the book, it was the only way to trim five hours down into two and a half. Looking back, I can see how and why they’d alter what they did, and be assured, it doesn’t hurt the story in the least.

All our favorites are there. Harry, Ron, Hermione, Draco, Neville, Hagrid, Dumbledore, McGonagall, Madame Hooch, Nearly Headless Nick, the Dursleys, and of course, Lord Voldemort in all his terrifying, disturbing glory. I have to say that not a character looked wrong or out of place. The casting director deserves major kudoes for putting everyone together with their part so smoothly. Daniel Radcliffe -is- Harry Potter. Awkward, inexperienced, sad in his heart, but constantly rejoicing with wide-eyed wonder at the magic and beauty surrounding him. Emma Watson is the perfect Hermione, all brains and bossiness and hiding her vulnerability behind a know-it-all confidence. Rupert Grint portrays Ron Weasley with a streak of mischievousness that never goes awry. Robbie Coltrane is the living incarnation of Hagrid, larger than life, loud and blunt, but with an amazing range of emotion and subtle, self-depreciating humor that comes out whenever the Hogwarts’ Groundskeeper screws up. Alan Rickman is slimy and nasty and despicable, menacing without crossing into true villainy, as befits Professor Snape. Richard Harris is wise, fatherly, all-knowing, and at the same time someone you can confide in or share a Chocolate Frog with, every inch Professor Dumbledore. And Maggie Smith, who at first didn’t strike me as the right choice for Professor McGonagall, turned out to play the part with absolute perfection. John Cleese cameos as the ghostly Nearly Headless Nick, a role that suits him well. And Tom Felton is as nasty and unctuous as Draco Malfoy ever was. And this says nothing of the many other fine and entirely satisfying performances turned in by the rest of the cast. All I can say is that they’ve all lucked into some spectacular roles, and I hope they stay on board for as many movies as the series produces.

What else can I say? The music is classic John Williams, haunting and lyrical and evocative of the spirit of the books with every note.Whether it’s the unforgettable melodies that mark the beginning, the energetic tones wrapped around the Quidditch match, or the martial tones that accompany a climatic chess game later on, they’re always right on target. The only person who could have come close, or done nearly as well might have been Danny Elfman. But as it is, John Williams shows that he’s as good as ever.

The visual aspects of the movie range from satisfyingly accurate (such as Private Drive) to the impressive (Hogwarts, inside and out) to the spooky (the Dark Forest) to the breath-takingly cool (the Quidditch field). I swear, I saw things in this movie that I never would have been able to imagine on my own, where Hogwarts was concerned, or Gringotts, or Diagon Alley. (I had to nudge my wife when she accused the designers of raiding the set of the Dark Crystal, though…)

I’ll be blunt. See this movie. If you like Harry Potter at all, see this movie. It is, in my opinion, one of the best adapations from book to big screen I’ve ever seen, and probably the best movie I’ve seen all year. Even if you haven’t read the books, this is still a good, fun, thoroughly enjoyable film with a wonderful story, spectacular visuals, and an attention to details that puts Episode I to shame. I’ll pit the Quidditch Match against the Pod Race any day of the week, and put my money down heavily on Harry.

The only flaws I could even begin to mention all revolve around the fact that it wasn’t long enough, and I’m familiar enough with the book to know when they cut something out or altered a subplot. I hope the DVD, when they release it, comes with all of the scenes they filmed and left out.I see mass lynchings in the future if it doesn’t. So my objections aren’t anything to do with what the movie has, but rather, with what it had to leave out for time considerations. (Not that I would have minded a four hour movie…)

Oh, and I’d be remiss if I didn’t mention that Fluffy, the three-headed dog of doom, is one of the coolest cinematic creatures to come along in quite some time. If my cats wouldn’t object, I’d get a dog like that.

In the words of Ron Weasley, this was “bloody brilliant.” If anyone needs me, I’ll be standing in line to get tickets to another showing.

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The Dark Crystal (1982) and Labyrinth (1986)

Jul 19

Posted by Michael M. Jones in Elves & Fairies, Fantasy, Film & TV | No Comments

Some of the greatest fantasy movies in recent memory have come from the incomparable, unbeatable, and sadly never to be repeated collaborations of Jim Henson and Brian Froud. Take the magical madness of Henson’s muppets and the bizarre mythic imagery of Froud’s faeries, throw in some special effects and superb actors, and you get two of the best-loved fantasy movies of the 1980s, Labyrinth and The Dark Crystal.

The Dark Crystal is the earlier collaboration and by far the more ambitious, taking place entirely in a fantasy world created from scratch, and featuring nothing but puppeted characters and special effects. Not a human is to be seen, save for some of the long shots; for the rest, the characters are all puppets, along the same lines as Jim Henson’s muppets. It’s a fairly basic quest story. You know the sort: young character, quite probably the last of his kind, is sent on a desperate quest to save the world, overcome odds, find true love, meet unusual characters along the way, prevail through strength of heart and good looks. That’s not important. What is important is what Henson and Froud and company do with the story in the meantime.

Jen is the last of his kind, one of the fragile, elf-like Gelflings, taken in after his clan was wiped out by the evil Skeksis, and raised by the wise, noble Mystics. He’s been raised in peace and harmony, one with nature, studying under the wisest of the Mystics (who look vaguely like multi-armed turtles after a few too many centuries in the sun). Now, though, the time has come for change. His master lies dying, a thousand years of life finally catching up to him. With his dying words, he urges Jen to go forth into the world, to seek the crystal shard, and to fulfill an ancient prophecy. Baffled, poor Jen indeeds goes forth, and therein lies the tale.

For the Skeksis and Mystics are opposites, and the Skeksis, who rule the castle and take advantage of the Dark Crystal’s power to extend their lifespan and rule their world, have no interest in seeing Jen fulfill his quest. Hey, they wiped out the Gelflings to prevent the prophecy, as we’re informed in the beginning by Joseph O’Conor’s noble, resonant narration (we’re talking James Earl Jones quality for ‘this is the voice of God, and when he speaks, you listen and listen good!’).

As the story progresses, Jen journies through a newly dangerous world, passing beyond the boundaries of the valley in which he was safe. He encounters the cantankerous Aughra, who studies the heavens and knows of the rapidly-approaching Great Conjunction, the time when the three suns will become one, and Jen must heal the Dark Crystal… or let the Skeksis rule the world forever. He wins the crystal shard, and escapes only steps ahead of the Skeksis’ terrifying beetle-like servants, the Garthim.

One renegade scheming Skeksis chamberlain, one female Gelfling raised by the peaceful Podlings, and one yappy toothy ball of fur called Fizzgig later, everything Jen ever thought he knew is in a severe upset. And as the Mystics march towards the inexorable end of all that is, and as the Skeksis come ever closer to eradicating the Gelflings and all threats to their rule, and as Fizzgig tries to bite anything that moves, and as the suns overhead move into place, Jen will be called upon to make the ultimate sacrifice, and to heal the Crystal once and for all. If he fails… well, the Skeksis consider Essence of Gelfling to be a true delicacy.

This is a gorgeous, wonderful movie, made all the more exciting when you look at what the creators accomplished in 1982, compared to today’s standards. The characters move realistically, with a full freedom of motion. The puppeteer aspects are barely noticable. The Gelflings are elven and delicate, the Skeksis twisted and buzzardlike (part predatory bird, part reptile, part dragon), the Mystics ponderous and wise, the Garthim skittery and metallic, and Fizzgig – I want a fizzgig for my very own! Truly, these are classic Froud designs. The landstriders manage to combine the best aspects of camels, giraffes, and god knows what else, for a truly unique feel. There’s nothing on this world that belongs on Earth, giving it that alien, fantastic atmosphere.

I’ve always loved this movie. Henson and Froud combine the best aspects of their respective crafts, along with a wonderfully gifted array of voice actors (such as Percy Edwards for Fizzgig, Stephen Garlick for Jen, Lisa Maxwell for Kira, and Billie Whitelaw for Aughra), and a host of puppeteers and designers, to create something truly special. Now that CGI has become common, and animation has all but replaced humans, it’s easy to look back and scoff at the sometimes awkward puppet effects used in The Dark Crystal, but that’s missing the point. The point is, it was done without animation, without live action, and it came out as a classic. As an added bonus, the video release comes with a documentary about the making of the movie, featuring interviews with various people involved, such as Jim Henson and Brian and Wendy Froud themselves. It’s a great look at how the creators turned images into puppets, and puppets into a movie, and how it took them five years to create a single brilliant film.

There are two movies which forever ingrained Brian Froud’s conceptual genius in my young consciousness, with The Dark Crystal being the first. The second, of course, is the ever-popular Labyrinth, which has become a cult hit over the years, due in no small part to the talented Jennifer Connelly as Sarah, and the unique style of David Bowie as Jareth, the Goblin King. Released in 1986, it forever changed the way many of us looked at the world of Faerie.

This is a coming-of-age story in the same way that The Dark Crystal was a quest story. Sarah, a teenager who prefers to live in a fantasy world called Labyrinth, a world with scripted lines she knows by heart, is sick and tired of being taken for granted by her family, especially where babysitting her baby brother Toby (played by Brian Froud’s son, Toby Froud) is concerned. When she makes a hasty wish upon the power of the goblins, she’s stunned to realize wishes can come true, and they’re not always fair. Jareth, Goblin King and tempter extraordinaire, takes Toby away to the dangerous, seductive, unpredictable world of imagination. In order to fix her mistake, Sarah will be subjected to challenges like none she’s ever experienced. She must travel through, and solve the mysteries of the Labyrinth.

Her enemies: Jareth himself, the goblins he commands, the treacherous nature of the Labyrinth, and time itself with only thirteen hours left before Toby belongs to the Goblin King forever.

Her allies: The unreliable goblin, Hoggle, the diminuative yet noble Sir Didymus (a fox with an attitude) and his sheepdog steed, Ambrosius, and the giant beast with a good heart, Ludo.

Her perils: The goblin armies, the head-juggling Fireys, the riddling door knockers, the mechanical malevolence of the Cleaners, the Bog of Eternal Stench, the illusions cast by the Goblin King, the Junkyard of Lost Treasures.

What’s a girl to do, when the entire world seems to be against her, the rules change midstream, and a cry of “that’s not fair!” gets her no sympathy at all? Why, muddle through, play the game, and grow up along the way. By the time Sarah’s beaten the Labyrinth and come to challenge the Goblin King in the Escheresque twists of his own castle, she’ll have made the hardest decisions of her young life. And no one can do it but her. Not Hoggle, not Ludo, not Didymus. Just Sarah. Jareth will offer her the world, and a world of dreams, and the dream of a world, and all she has to do, in exchange for everything she could ever want, is surrender to his power…. it’s such an easy thing to do. What will she do?

This is such a lovely, fun movie. David Bowie is in his element as the wicked glam-rock King of the Goblins, alternately tempting and terrifying, and even breaking into song. (You ain’t seen anything until you’ve seen him and a few dozen goblins in a rousing rendition of ‘Jump, Baby Jump’.) Jennifer Connelly is dazzling and adorable as Sarah, a teenager placed in the most awkward situations of her life. Toby Froud is… er… cute. (He’s a toddler, whaddya expect?)

Where the movie shines, though, is once again in the magical designs of Brian Froud, and the bizarre genius of Jim Henson. They weave a world of treacherous fairy tale beauty, and populate it with uniquely engaging creatures. They defy description, ranging from the noble, Quixotic fox-knight Didymus, to the twisted inhabitants of the Labyrinth, from the shaggy Ludo to the crochety Hoggle. The Labyrinth is a place just beyond our world, but as strange as any dream, something that wouldn’t be out of place in an Emma Bull or Charles de Lint story. The goblins possess as much personality as any human, and twice as much expression.

Labyrinth is a story about growing up, about responsibility, about imagination and a place for childhood things. It’s about magic and dreams, and about making those hard choices in the end. It’s about “it’s not fair” and “You have no power over me” and the nature of stories reflecting reality. It’s one of those fantasy films that so perfectly fits a niche that it’s become a legend in its own right. As a bonus, the tape release has an added behind-the-scenes documentary.

Lightning may not strike twice in the same place, but magic certainly has, where Henson and Froud are concerned. They gave us two perfect movies together. Those, along with Jim Henson’s The Storyteller TV series, are some of the best fantasy work you’ll see on either big or little screen. I can’t recommend The Dark Crystal or Labyrinth enough. Whether you go for the tape, or DVD, you’ll find that these films are classics for a reason.

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