The Brothers Grimm (2005)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – PG-13 for violence, frightening sequences, and brief suggestive material
DIRECTOR: Terry Gilliam
WRITER: Ehren Kruger
PRODUCERS: Daniel Bobker and Charles Roven
CINEMATOGRAPHER: Newton Thomas Sigel
EDITOR: Lesley Walker
FANTASY/ADVENTURE with elements of action, comedy, horror, and mystery
Starring: Matt Damon, Heath Ledger, Jonathan Pryce, Peter Stormare, Lena Headey, Peter Stormare, and Monica Bellucci
The Brothers Grimm, Wilhelm (Matt Damon) and Jacob (Heath Ledger), are renowned collectors of folklore and are also frauds. They travel from village to village in French-occupied Germany (around 1811 or 1812), and, with the help of two assistants, rid the hamlets of monsters and other “enchanted” creatures – monsters that are of their own making. The Napoleon government calls their bluff, however, when Delatombe (Jonathan Pryce), a French military official, demands that Will and Jacob investigate the disappearances of 11 girls in and around a remote village and a nearby forest.
Initially the brothers assume that a group of men are pulling the same stunts they do, but they discover that the events in the forest really do involve the supernatural. The disappearances are directly connected to a 500 year-old curse. In an ancient tower deep in the dark forest sleeps the immortal sorceress, the Mirror Queen (Monica Bellucci), and though she sleeps, she commands the denizens of the fearsome magic forest, both animal and plant, to gather what is necessary to break her sleep and return her to her youthful beauty. With both French officials and the villagers doubting them, Will and Jake, joined by a village trapper named Angelika (Lean Headey), race solve the mystery of the curse if they are to save their own necks from the French and to free the village of the great evil.
Combine the dazzling visuals of visionary director Terry Gilliam (Brazil and 12 Monkeys
, as well as being a Monty Python alum) with the imagination of horror movie scribe, Ehren Kruger (Scream 3 and The Ring
), and in theory we should get something great. However, the first hour of Gilliam and Kruger’s collaboration, a new film entitled The Brothers Grimm, is an absolute disaster – a walk-out-the-theatre, sleep inducing disaster. Somewhere deep into the film’s second act, it comes alive. The film takes the real life folklore collectors, of course the Brothers Grimm, and turns them into fraudulent monster hunters, but also creates a scenario in which they redeem themselves and launch their literary career.Kruger’s imaginative and radiant spin on the Grimm fairytales really doesn’t come to life until late; before that, all his script manages to do is drag out a concept that is itself nothing more than a fairytale – short and sweet, but not a two-hour movie. How Will and Jake got to the point of their conflict with the Mirror Queen is of little or no interest. In a written folktale, that would amount to maybe two paragraphs and not more than two-minute voiceover narration in a film. The story is really about the Brothers Grimm versus the Mirror Queen; all the other stuff (brotherly feuds, worrisome French officials, and the brothers’ snake oil show) becomes refuse if you stretch it out too long, which Kruger’s script did. When the Grimms finally take on the Queen, the film becomes a messy, but entertaining little fairy tale flick.
Gilliam, whose film career has sputtered much of the last decade, maintains his visual aplomb. The Brothers Grimm has production values to rival great films, whether they are serious costume drama or classic fantasy films like The Wizard of Oz
or Tim Burton’s Nightmare Before Christmas
. The costumes, sets, props, visual effects, cinematography, etc. are fabulous – from the dreary village hovels and mud-soaked streets to the haunted forest and the interiors of the Mirror Queen’s sumptuous (though dusty and filled with spider webs) sleeping chamber – and affirm Gilliam’s eye for creating period detail in fantasy movies.Sadly, he doesn’t seem to have much control over the film’s narrative. At times, The Brothers Grimm
is a clunky action movie, and then it becomes a comic fantasy full of bumbling oafs with weird accents, striking images (the horse that swallows a child whole), whimsy, and a variety of strange creatures. Gilliam seems powerless before Kruger’s awful dialogue for this movie (much of it hard to hear because of poor sound work). In the end, all he can do is make it an action/adventure fairy tale, in which all the characterization is lost in the sound, the fury, and the art direction/set decoration. Still, he’s the one who salvages any entertainment out of this messy script. The Brothers Grimm is like a Gilliam sampler of the director’s film trademarks – medieval shenanigans and gilded surrealism.None of the actors here is worth mentioning, only to say that Heath Ledger still has that winsome handsomeness that makes him such a captivating boy. Gilliam and Kruger do great disservice to the female leads in this film, Lena Headey and Monica Bellucci. Ms. Bellucci is quite beautiful, but great actress she’s not. Her Mirror Queen won’t have people thinking of the White Queen in Disney’s Snow White
. If you must see Gilliam’s dazzling vision on a big screen, then, by all means go. Otherwise, The Brothers Grimm is a home video experience – a fractured fairy tale that kids won’t dig, but movie lovers might appreciate for the clever visual invention.5 of 10
C+
Sunday, August 28, 2005
is example of the magic Miyazaki can create through 2D animation. Such scenes as the ocean storms with its seething waves, swelling surfs, and those odd-looking wave spirits are breathtaking in their ability to depict the might and power of the ocean. The night scenes that depict the storms hammering the coast along the small fishing village in which this film is set are simply terrifying. I felt the kind of fear I usually only feel when watching night scenes in horror movies.
, one might think the design of the characters and setting look rather simply, like the art and illustrations one might produce for a daily comic strip. That simplicity in design, however, belies the magic that happens when the drawings are connected to form a “moving picture.” The color, the movement, the visual effects, and the sound come together at the behest of the maestro Hayao Miyazaki, and cinematic magic is a real thing. From the majesty of Ponyo’s mother, Granmamare (Cate Blanchett), to the simple enchantment of a low tide full of prehistoric fish, Ponyo is poetic and has the magic to charm adults and children. I will not stop using the word “magic” to describe Miyazaki’s work, and when you see one of his films, you will see why.
and 
.) This time Scorsese and DiCaprio team up for The Departed, a remake of the 2002 Hong Kong film, Mou gaan dou (released in the U.S. as 
).
is set in South Boston where the Massachusetts State Police are waging an all-out war against the most powerful mob boss in the city, Frank Costello (Jack Nicholson). Inside the state police, the levelheaded Captain Queenan (Martin Sheen) and the hard-nosed and in-your-face Sergeant Dignam (Mark Wahlberg) operate a deep undercover program. They recruit a young rookie from a trouble background, William “Billy” Costigan, Jr. (Leonardo DiCaprio), who is from South Boston, to infiltrate Costello’s mob. When he accepts, the trio goes through a two-year process of rewriting and reestablishing Costigan’s identity.
). Costello (based in part on notorious Boston gangster, Whitey Bulger) is over the top without seeming like a cartoon; Nicholson turns him into a scary, real monster – the incarnation of human evil. Damon’s Colin Sullivan reeks of being a wily street rat – a slick con artist who can sell a man his own car back to him. Mark Wahlberg also shines in a meaty small role, making the most of every scene without being a hog.
. However, he has been anti-war, civil rights, and labor activist for decades, and he has been on the forefront of progressive thought in America for as long. Through archival film footage and photos and with commentary from Zinn himself, the documentary film, Howard Zinn: You Can’t Be Neutral on a Moving Train
, chronicles this influential thinker’s life as an activist committed to social change. The film also includes interviews with Noam Chomsky
, Daniel Ellsberg
, Tom Hayden, Marian Wright Edelman
, and Alice Walker
(Edelman and Walker were students of Zinn’s when he taught at Spellman College in Atlanta in the early 1960’s.).
doing his best solemn monotone. Still, this documentary is required viewing for people who want to learn about someone who has revealed the dark side of our democracy.