It should be impossible for a movie to be both enthralling and boring, but somehow 'To the Wonder' pulls it off. It contains sights -- of picturesque Oklahoma sunsets and impossibly serene European beaches -- so beautiful they awaken you to the glory of the world around us. And it also contains passages -- of Ben Affleck and Olga Kurylenko running and twirling through fields, and then rolling around in bed, and then fighting and screaming, and then running and twirling in that field again -- so repetitive and tiresome that they nearly lull you to sleep.
"Let's hope this still works," says David (Shiloh Fernandez) as he puts a key into the door of his family's old cabin in the woods. But of course he's not just talking about the key; he's talking about the idea of remaking 'The Evil Dead,' the 1981 cult classic that launched the careers of writer/director Sam Raimi, producer Robert Tapert, and star Bruce Campbell and remains close to the hearts of discerning horror fans everywhere. Between the original film and its two sequels, 'Evil Dead II' and 'Army of Darkness,' Raimi, Tapert, and Campbell created one of the most iconic horror franchises of all time. But that was thirty years ago. Times change; tastes change. And in the interim, 'Evil Dead' has been ripped off by so many other movies its plot smells about as fresh as a fruit cellar full of rotting cat corpses. Forget hoping it still works; you'd need the mother of all prayers, and maybe a blood sacrifice or two, to make an 'Evil Dead' remake click.
If its portrait of him is accurate, then Abraham Lincoln would have loved Steven Spielberg's 'Lincoln.' The film is exactly like the man at its center: thoughtful and talkative, equally adept at spinning tales and navigating the murky waters of backroom politics. It suggests that well before Ronald Reagan, our 16th President was truly our nation's Great Communicator.
Movies allow us to experience life through another person's eyes. Video games allow us to experience life through another person's eyes -- and to control their decisions. We spend hours upon hours with these video game characters, until we feel like we know them; Mario, Sonic, Pac-Man, their adventures are so memorable, and their personalities so vivid that they almost seem alive. But of course their adventures and their personalities are all predetermined by programming, and they remain forever trapped by their unbreakable directives. If these characters weren't just a series of electronic impulses and computer code, it would be a tragic existence.
That, essentially, is the premise of 'Wreck-It Ralph,' a manic children's film about the souls of video game avatars. Made by Disney, it greatly resembles the premise of Disney's (and Pixar's) modern classic 'Toy Story,' in which toys are revealed to have lives and thoughts of their own when no one's around to play with them. Here we learn that when a suburban arcade shuts down for the night, the characters inside all the games cross over into each other's universes to socialize.
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