If, somehow, you missed the 2013 megahit “Frozen,” and are unsure if you’ll be able to understand its sequel, worry no longer. In one of the new film’s best scenes Olaf the motor-mouthed snowman (Josh Gad) recaps the events of the original movie in a madcap and extremely high energy sequence that fills in all the gaps for the uninitiated.
The new film opens with Anna and Elsa (voiced as kids by Hadley Gannaway and Mattea Conforti), princesses of Arendelle and heiresses to the throne, hearing the story of how their father Agnarr (Alfred Molina) became king. It’s a grim fairy tale about an unprovoked attack by the Northuldra people, a battle that resulted in the death of their grandfather. Agnarr escaped but the enchanted forest, home to the Northuldra, became enshrouded by a magical mist, sealing it off from the rest of the world.
Cut to years later. Elsa, (Idina Menzel) is now Queen, a cryokinetic with the awesome power to manifest ice and snow. From her perch in Arendelle’s castle she hears a mysterious signal coming from the enchanted forest. Convinced she has woken the spirits that live within, she hightails it to the magical land to find the source of the voice. Along for the ride are Anna (Kristen Bell), her beau Kristoff (Jonathan Groff), his reindeer Sven and the chatty snowman Olaf. “Did you know and enchanted forest is a place of transformation?” says Olaf. “I don’t know what that means but I can’t wait to see what it does to each one of us.”
On the journey into the woods Elsa and Anna not only meet the forest’s denizens—Earth Giants, fire toads and a tribe of people who have been trapped in the timberland since the terrible battle—but also learn the truth about their shared family history. When they aren’t warbling a raft of new power pop ballads by the Oscar-winning Kristen Anderson-Lopez and Robert Lopez, the sisters must make a decision that could affect the lives of everyone in Arendelle.
“Frozen 2” doesn’t have the same kind of icy wonder the original gave audiences but even as a warmed-over sequel it impresses. Advances in CGI animation allow for an even more cinematic approach than the original. Elsa riding an ice horse is into a raging sea is a stand-out image in a movie filled with fantasy sequences and fun character realization. It is pure eye candy that should entrance young viewers. Adults may get a laugh out of “Lost in the Woods,” a duet between Kristoff (Jonathan Groff) and Sven that mimics 1980s power pop music videos.
The plot, an overly complicated story involving primeval forces, stymied marriage proposals and family secrets, feels over-stuffed and occasionally meandering but it does contain good messages for kids. In their travels to the north country Elsa and Anna learn the importance of the primal forcers of air, fire, water and earth in a subplot laden with ideas of respecting indigenous people, environmentalism and doing what is right for everyone.
Ultimately the success of “Frozen 2” boils down to the characters and the songs. Olaf has the most fun with his outing “When I Am Older,” but it’s Menzel’s powerhouse vocals on “Into the Unknown” that provide the film’s emotional high point. It’s also the closest thing to a “Let it Go” style number on the soundtrack.
Olaf, Sven and Kristoff are solid supporting characters but it’s Elsa and Anna who make the biggest impression. Directors Chris Buck and Jennifer Lee maintain and double down on the first film’s sense of empowerment. These are women who can look after themselves, who are self-sufficient and that re-modelling of the Disney princess tradition is a big part of the franchise’s appeal.
“Frozen 2” is a worthy follow-up to the original even if it feels simultaneously bursting at the seams with plot and visuals and less ambitious.
A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at “Lady Bird,” “Daddy’s Home 2” and “Murder on the Orient Express.”
Richard and CP24 anchor Nick Dixon have a look at the weekend’s new movies including the mysteries of the all-star “Murder on the Orient Express,” “Daddy’s Home 2” and the sublime “Lady Bird.”
This weekend the Orient Express pulls into the station, bringing with it murder and mayhem. Murder on the Orient Express features an all-star cast including Johnny Depp, Dame Judi Dench and Daisy Ridley. Directed by and co-starring Kenneth Branagh as Belgian detective Hercule Poirot, the often-filmed mystery is based on the book of the same name by Agatha Christie first published in 1934.
The sensational story of a murder —13 strangers on the luxury train and an investigator’s race to solve the puzzle before the killer strikes again — is Christie’s best-known novel, but it is just one of 66 detective novels she penned in a career that spanned more than five decades.
“I think people have been pretty tough on her,” Branagh told The Guardian. “They’re suspicious of the volume of her output.”
It’s true that the author’s omnipresence on bookshelves, 20th century household-name status and massive popularity — over two billion copies of her books have been sold worldwide making her one of the bestselling authors ever — didn’t endear her to the literary elite, but Branagh sees her differently.
“Personally I admire the prolific nature of what she does … her ability to grab the audience’s attention is really striking,” he said. “The surface of what she writes has led people to dismiss her as a second-rater. But I think she is far more than that.”
Christie’s public persona was that of a button-down grandmother with a macabre imagination, but she led a remarkable life.
In an essay for Radio Times, Branagh writes, “This was a woman full of surprises.” He goes on to describe how the author became the first British female surfer to hang ten in Hawaii. “It was 1922,” he writes. “She was fully upright, scantily clad, and 32 years old.”
In her own words Christie says she wore a “wonderful, skimpy emerald green wool bathing dress, which was the joy of my life, and in which I thought I looked remarkably well!”
Another episode from her storied life feels like it could have been ripped out of the pages of one of her books. The year was 1926. Christie was on the verge of a divorce from her first husband when she vanished, leaving behind only her abandoned car, an expired driver’s licence and some clothes.
Already considered a national treasure, her mysterious disappearance was front-page news. Some thought it was a publicity stunt, others wondered if she was trying to frame her husband for murder.
Sir Arthur Conan Doyle, creator of Sherlock Holmes, tried to solve the mystery with the help of a psychic. When Christie re-emerged 11 days later, after living under an assumed name in a small hotel, she offered no clues as to what had happened.
One popular theory suggests the Queen of Crime had fallen into a psychogenic trance. In the book The Finished Portrait, biographer Andrew Norman sites the adoption of a new personality and “failure to recognise herself in newspaper photographs” as signs that she was depressed and had fallen into a fugue state.
Christie never publicly commented on those missing days, not even in her official biography.
Now, 91 years later the mystery will likely never be solved. So much time has passed that not even Christie’s greatest creation, Murder On The Orient Express’s master detective Hercule Poirot, could get to the bottom of this mystery.
Agatha Christie’s story of murder and mayhem and a moustachioed detective comes to vivid life on the big screen with, as they used to say, more stars than there are in the heavens. Penélope Cruz, Willem Dafoe, Judi Dench, Johnny Depp, Josh Gad, Derek Jacobi, Leslie Odom Jr., Michelle Pfeiffer and Daisy Ridley play travellers on the luxurious train and all are suspected of doing a dastardly deed by Hercule Poirot, the legendary Belgium detective played by director and star Kenneth Branagh.
Set in 1934, a time when women wore afternoon dresses, men donned flat hats and the Orient Express was seen as the epitome of first-class steam-age travel. Poirot, looking for peace and quiet, some downtime between cases, joins the Orient Express in Istanbul, heading for Calais for a much-needed holiday. “Three days free of care, concern the crime,” says friend Bouc (Tom Bateman).
On board is a colourful collection of characters. There’s Russian Princess Dragomiroff (Judi Dench) and her obedient maid Hildegarde Schmidt (Olivia Colman); the racist German academic Gerhard Hardman (Willem Dafoe); “husband huntering” American widow Mrs. Hubbard (Michelle Pfeiffer); the troubled Countess Andrenyi (Lucy Boynton) and her ballet star husband, Russian dancer Count Andrenyi (Sergei Polunin); Spanish missionary Pilar Estravados (Penélope Cruz); British governess Mary Debenham (Daisy Ridley) and American art dealer Ratchett (Johnny Depp), his butler, Masterman (Derek Jacobi) and private secretary, Hector MacQueen (Josh Gad). “There’s nothing like a triangle of strangers pressed together on a train with no purpose but to go from one place to another.”
One of them is murdered and one is a murderer. Vacation or not, there is a crime to be solved and only one man for the job. “My name is Hercule Poirot,” says the elaborately moustachioed detective, “and I am probably the greatest detective in the world.” Thus the “Avenger of the Innocent” goes fishing for clues in a barrel of red herrings.
Lush production design and old school story telling gives this version of “Murder on the Orient Express” a Masterpiece Theatre vibe. It is a parade of great faces and attention to period details with a slight updating in the character’s ideas about race but while the train may be speeding along on tracks of steel, the story isn’t.
Branagh revels in the deduction phase of the tale, shining a spotlight on Poirot’s process. He’s a great character and Branagh is clearly having a good time playing him but his larger-than-life presence sucks much of the air out of the room, leaving the others gasping. Individually the sprawling cast aren’t given much to do, many reduced to little more than cameo appearances. The real mystery is why Branagh would assemble such a stellar cast and then not give them anything to do.
Even more frustrating are several of Branagh’s stylistic choices. Beautiful sets, and frequently, beautiful performers are obscured by odd cinematography. Pfeiffer’s big entrance is shot in an impressive tracking shot that spends more time showing the outside of the train than the actors. Later a crucial revelation is inexplicably shot from above, showing only the backs of the actor’s heads. The camera is almost constantly in motion and while it helps create a sense of forward movement it can be distracting. However, when it focuses on the period details it is a pleasure to gaze upon.
At its core “Murder on the Orient Express” does end with a morally interesting question but doesn’t spend enough time with its characters—save for the great detective who is clearly being set to be the focus of a franchise—for us to get fully invested in whodunit in question.
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the big weekend movies, the live action version of “Beauty and the Beast,” the drug addled “T2 Trainspotting” and the no-holds-barred “Goon: Last of the Enforcers.”
Richard and BNN anchor Jon Erlichman of “Business Day AM” chat about the possibility of “Beauty and the Beast” becoming the highest grossing film so far this year.
Poet Paul Éluard said that to understand Jean Cocteau’s 1946 version of La Belle et la Bête — Beauty and the Beast — you must love your dog more than your car. His comment is baffling only if you haven’t seen the movie.
Once Cocteau’s film is seen, it’s apparent that what makes his version rewarding is that it values the organic over the mechanical — even the special effects are handmade. It refuses to allow the technical aspects of the film to interfere with the humanity of the story.
This weekend Disney will have their collective fingers crossed that audiences will favour their poodles over their RVs as they release the big-budget, live-action version of Beauty and the Beast starring Emma Watson.
Director Bill Condon says the animated 1991 Disney classic was an inspiration for the new film, but adds he also drew from everything from Twilight and Frankenstein to a 1932 musical comedy called Love Me Tonight when creating the look for the new movie.
He also mentions La Belle et la Bête. “A film I really love.” His take on the Beast looked back to the movie, cribbing the character’s combination of ferocity and romance from Cocteau.
Before taking in the new version this weekend, let’s have a look back at the little-seen 70-year old Cocteau classic.
Loosely based on the timeless Jeanne-Marie Leprince de Beaumont fairy tale, the action in La Belle et la Bête begins when a poverty-stricken merchant pilfers a rose from a grand estate owned by a strange creature. The Beast strikes a deal with the man.
He’ll spare the life of the merchant in return for the hand of one of the man’s daughters. Reluctantly the merchant offers Belle, a beautiful girl who had been courted by the oafish Avenant.
At first she is repulsed by the Beast, who looks like the love child of the Wolf Man and Mrs. Chewbacca, but over time his tender ways and nightly offers of marriage warm her heart and she learns to love him for his inner beauty.
Cocteau’s version strays from the original story and Condon’s adaptation with the addition of a subplot involving Avenant’s scheme to kill the Beast and make off with his treasures and an unexpected magical personality switcheroo.
It’s meant to be a happy ending, but not everyone loved the new coda. When Marlene Dietrich saw an early cut of the film at a private screening, she squeezed Cocteau’s hand and said, “Where is my beautiful Beast?”
Other audiences embraced Cocteau’s vision. In his diary the poet wrote of a test screening held for the technicians in the Joinville Studio were the film had been made. “The welcome the picture received from that audience of workers was unforgettable,” he wrote.
Others criticized La Belle et la Bête for its straightforwardness, complaining that the characters are simply drawn, the story one dimensional. Taking that view, however, misses Cocteau’s point.
At the beginning of the film he asks for “childlike simplicity,” inviting the viewer to connect with their inner child, eschew cynicism and embrace naiveté for the film’s 96-minute running time.
In 1946 the request was meant as a salve for a post-occupation France that was still dealing with the aftermath of a terrible war.
Today, in an increasingly contemptuous world, the message still seems timely and welcome.
If, somehow, you missed the 2013 megahit “Frozen,” and are unsure if you’ll be able to understand its sequel, worry no longer. In one of the new film’s best scenes Olaf the motor-mouthed snowman (Josh Gad) recaps the events of the original movie in a madcap and extremely high energy sequence that fills in all the gaps for the uninitiated.
