FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE

 Jude Law     Mads Mikkelsen     Eddie Redmayne    Dan Fogler

Ezra Miller     Alison Sudol     Callum Turner     Katherine Waterston

            This umpteenth version of the Fantastic Beasts series begins on a rather sinister note with Albus Dumbledore (Law) and Gellert Grindelwald (Mikkelsen) meeting for tea and revealing their significant history.  However, during the brief meeting they have major differences that will reverberate throughout the world of magic.  Dumbledore explains to Newt (Redmayne), Theseus (Turner), and Jacob Kowalski (Fogler) that they must exert their powers in thwarting Grindelwald’s plans for wizarding world domination.

            Mikkelsen is made up to bear a resemblance to Hitler and shows him rallying the people around him in ways reminiscent of the German Nazi of WWII.  Grindelwald has become power hungry and knows that Dumbledore will do everything he can to stand in his way, so he sends out resentful outcast Credence Dumbledore (Miller) to kill the older Dumbledore.  

            Most of the story is about these two factions trying to out-maneuver one another.  Unfortunately, there are few surprises (if any) in this production, and although there are a few pearls of wisdom cast (“Do what is right; not what is easy” and “Trying to make things right is more important than perfection”), real substance in terms of ethical and moral values is missing.

            The production is visually beautiful, and it is always fun to see magical powers rendered in CGI (the two major protagonists fight a brilliant battle with one another), but this plot is so thin and lacking any punch, the viewer is likely to question its 2+-hour length.

            Eddie Redmayne, Jude Law, Mads Mikkelsen, and the rest of the supporting cast are skilled actors who are consistent in their performances.  Music by James Newton Howard and cinematography by George Richmond contribute to the entertainment value.  It seems that the script (J.K. Rowling, Steve Kloves) is the main drawback, although it’s also likely that the filmmakers have simply extended the series too long.

 

This latest production in the Fantastic Beasts series adds nothing new, especially given the length.

 

Grade:  C                              By Donna R. Copeland

RIDERS OF JUSTICE

 Mads Mikkelsen     Nikolaj Lie Kaas     Andrea Heick Gadeberg     Lars Brygmann     Nicolas Bro     Gustav Lindh

            What a mixture of madcap, bloody trauma, and “family” values—all in an unbelievably clever script.  I don’t recall ever seeing a movie quite like this.  It starts out showing a family with the usual kinds of problems and disappointments:  Parent-child conflicts, father who won’t be home for Christmas, a stolen bike, and so on.  Right after this, we see an intellectualizing scientist trying to explain to his board about algorithms.  He’s going home with his box of personal items after he is fired.  You think, “What on earth could this be about?”

            But a train wreck will bring all these characters—plus some others—together.  How they get brought together to work on the same problem— that is, whether or not the train wreck was an accident or planned sabotage—is part of the fun of the plot.  This is a real mishmash group of people:  A student (the daughter) and her boyfriend, the scientist with two of his nerdy colleagues, and a soldier in the military (the father).  Not only that, we get to hear snippets of their backgrounds that in some weird way are related to their current behavior.

Director Anders Thomas Jensen and his co-writer Nikolaj Arcel are brilliant in pulling all these elements together in a way that—I can’t say makes sense—but is within the realm of plausibility.  That is their art, and that is what makes us laugh.  

There is special reward for Mads Mikkelsen fans in seeing him play an inscrutable character—which is not unusual—but one who must weave together in the same man a cold soldier and someone who doesn’t really understand at all what is going on around him, except when it relates to his military training.  As the father, Markus, of daughter Mathilde (Gadeberg), he is perfect in showing how alienated a person can be from his own offspring, and despite all his resistance, comes to know her as never before.

The two nerdy scientists, Otto (Kaas) and Lennart (Brygmann) add additional color as bumbling fools (despite their high IQ); along with Emmenthaler (Bro), the hacker; and the refugee from the gang, Bodashka (Lindh).  When this motley group forms a family of sorts, you will see how it all makes sense.

            Music provided by Jeppe Kaas should be praised for its innovative, integral role in illustrating a story well told.

 

Of all the films about bringing justice into a crazy world, this one is the most unusual—and entertaining.

 

Grade:  A                              By Donna R. Copeland

ANOTHER ROUND (DRUK)

Mads Mikkelsen     Thomas Bo Larsen     Magnus Millang     Lars Ranthe

     Another Round…as in another round of alcohol. A group of four teachers at a Danish gymnasium going through bouts of alienation—especially one, Martin (Mikkelsen.  The other three, spearheaded by the psychology professor, Nikolaj (Millang), decide to embark on an experiment aimed to get them out of the doldrums.  The hypothesis of this unorthodox study derived from Norwegian psychiatrist Finn Skarderud is that keeping a certain amount of alcohol in the bloodstream will keep the individual energized but relaxed, interesting, and optimally engaged in society.

     The four teachers agree to test his theory.  And in the initial stages, the experiment seems to be working admirably.  Martin’s students stop complaining about his lethargy after he demonstrates the success of Winston Churchill and Ernest Hemingway; Nikolai’s students begin to appreciate him more; Peter’s (Ranthe) students sing so much better after he introduces new techniques, and Tommy is showing his soccer team how to play ball better than ever, while protecting the runt of the team.  The experiment seems to have put a shot in the arm of the teachers. However…many experiments can get out of hand, and so, of course, does this one.

     Guess what happens when people drink too much?  You guessed it; you’ve seen it many times before.  Which begs the question of what writer/director Thomas Vinterburg (The Hunt) had in mind with this movie.  Optimally, it might be that rationalization for heavy consumption of alcohol is a pitfall; but he doesn’t seem to be saying that, actually.  Is it that heavy consumption is bad for some but not all? Granted, it’s disastrous for one character, but maybe the other three are not doing so bad?  I’m not convinced of this.  What is Vinterburg actually saying?

     With the over-use of alcohol across so many countries today, my impression is that Vinterburg’s movie only serves to reinforce the problem.  It’s so tempting to join in when we see liquor made to be something so enticing and just plain fun—and those trying to abstain seen as killjoys.  In my view, all of these main characters could have used a large dose of AA and psychotherapy.  But this is never alluded to during the whole of the film, which robs it of any redeeming quality.

 

A hard-to-watch film about the downfalls of alcoholism, which don’t seem to be addressed in any meaningful way.

 

Grade:  D                                    By Donna R. Copeland

ARCTIC

Mads Mikkelsen     Maria Thelma Smaradottir

     Iceland’s bitter cold and isolation are constant companions in this film about a man whose cargo plane has crashed in the Arctic, and who only has flares to signal passing aircraft that he is there.  We don’t know how long he’s been there, but he’s clearly knowledgeable in rigging together ways to save his life, e.g., an SOS sign planted in the snow, a contraption designed to bring in fish from water below the snow for food, and a signal transmitter to connect with aircraft.  We are told nothing about him; we glean whatever information we have from observing him for days carrying out the business of surviving in hopes of being rescued.

     Little does he know what’s ahead.  His hopes are dashed when he signals a passing small plane to stop.  No one inside seems to detect him…but then, it starts circling back.  His hopes are renewed by this sight when, horror of horrors, the plane crashes.  Upon investigation, he finds the pilot dead, but the co-pilot, a young woman, is still alive. He gently takes care of her wound, and carries her back on a sled made from the plane’s door, to his own wrecked plane, which has become his temporary home.  He has found a photograph in the downed plane of the woman with her husband and son looking out happily at the camera, which he places before her as a way of encouragement.  He always reassures her, “They will come for you.”  “It will be all right.”

     This introduction gives the viewer a sense of this unusual story and how it will play out.  It becomes an excruciating drama about the seduction of hopeful events, a hero’s dogged response and determination, and the seemingly endless frustrations a man encounters in trying to fulfill his moral imperatives.

     The inveterate Mads Mikkelsen (Jagten, At Eternity’s Gate, The Hunt, TV’s “Hannibal”) gives a tour de force performance in playing out the single-minded, grounded Overgard, who manages to meet every conundrum thrown to him by fate.  The entire movie hinges on what happens in the end. Has he been successful? Will he get rescued?  Will his charge whom he has taken upon himself to rescue be reunited with her family?

     Not every one of these questions will be answered.  The writers (director Joe Penna and Ryan Morrison) have achieved excellence in giving skeletal details underlying a major heroic story while keeping the viewer on the edge of the seat.  Tomas Orn Tomasson’s cinematography evokes awe and mystique in the polar landscape, while still capturing the intimacy of the inside-plane scenes of Overgard trying to feed the found woman and find out anything—anything!—from her.  

This is a film for the outdoors person who loves adventure and challenges involving a quiet hero following his conscience.  

Grade:  C+                                    By Donna R. Copeland

DOCTOR STRANGE

Benedict Cumberbatch   Chiwetel Ejiofor   Rachel McAdams   Benedict Wong   Mads Mikkelsen   Tilda Swinton   Benjamin Bratt

     Spectacular special effects makes this comic book story come alive in a special way, perhaps because it captures a child’s imagination and puts it on the screen.  We see it as a child with a vivid imagination may in reading a comic book.  Its exciting and mystically fascinating tale conjures up mythology and the spirit world with heroes and villains, and throws out paradoxes for us to consider.  (Must we sometimes commune with the dark side in order to achieve good?  Must we have death in order to have life?) 

     The film has numerous comical lines and jokes (e.g., a mystical reference that is actually a wi-fi password), but perhaps the biggest one is its riff on doctors who have a reputation for their arrogance, ambition, and stubbornness.  The star, Dr. Stephen Strange (Cumberbatch), is certainly supposed to shed this in his pursuit of shamanic knowledge, but part of the spoof is its tenacity on the heroic doctor. 

     Dr. Strange is at the height of his career as an esteemed neurosurgeon in New York; he can choose his patients (accepting only those that will pad his reputation), be dismissive and over-rule the staff, and is essentially the king of his realm.  His residence is fashionable with a stunning view of the city, and his car the most expensive and sportiest.  But lo, he roars out one evening to attend a lecture honoring him, when…Don’t text and drive folks! 

     Yes, he is pulled out of a ravine, but has lost the use of his golden hands, which throws him into an existential crisis and angry depression, for he is empty inside without his career.  He brushes off his one friend Christine (McAdams), a colleague trying to help him, and in desperation heads for Kamar-Taj, a healing place in Kathmandu, Nepal, where he hopes for a miracle.  His physical therapist had told him about a “hopeless” patient who had regained his physical abilities after its help.  “It will be costly”, the healed man (Bratt) informs him, but of course this was not a monetary reference. 

     Once he finds the place, Strange blusters in, completely unaware of a different universe and way of being.  While there, he will make discoveries he had never imagined in his empirically anchored life, and it will change him forever in no way that he ever anticipated.  He certainly becomes a nicer person, but that is only part of it.  He will strive to become a real hero with dimensions far beyond his previous accomplishments.

     Scott Derrickson, writer (with others) and director and his filmmaking team (Ben Davis, cinematography; Michael Giacchino, music; Charles Wood, production design; Ray Chan, art; and all the special effects group) have crafted an entertaining film with visual, musical, and literary qualities that should appeal to children and adults alike, one that contains rich material for thought and discussion after viewing. 

   Casting is perfect, with Cumberbatch as one who is equally skilled in portraying narcissism, extraordinary intelligence, and charity all in the same character.  Mikkelsen seems equally talented in portraying all different types of characters, with the one here being the epitome of evil.  A real coup with this film is casting Tilda Swinton as the “Ancient One”—we’re as surprised as Strange is that “he” is a “she.”  Swinton can play any exotic character a writer can come up with, elevating it with her own imagination.

      I was a little sorry at the end of this film to see that it was extended for 15-20 minutes too long, and that there was the now popular teaser for a sequel.  If only the filmmakers/investors could learn from their main characters!

This is a finely crafted action film with artistic merit.

Grade:  A-                                By Donna R. Copeland

THE SALVATION

Mads Mikkelsen     Jeffrey Dean Morgan     Eva Green     Jonathan Price

            The Danish director, Kristian Lovring, states that The Salvation is an homage to American westerns and represents his wish to emulate his idols in film:  “John Ford, Sergio Leone, Akira Kurosawa…to be allowed to make a film in the genre where they excelled has been like a hallucinatory dream.”)  It’s clearly a western, which starts out with an excruciating scene of senseless violence, and ends up with violence perhaps justified.  The Danish ex-soldier Jon (Mikkelsen) has been in the US for seven years, making a place for his wife and son to join him.  He meets them at the train, and there is unspeakable joy in reuniting.  Unfortunately, they board a carriage for their home, and are confronted with two unsavory characters, one of which—Paul—behaves boorishly and seems to have no sense at all.  He drinks liberally from a jug and begins to harass the family, and ends up dumping Jon off on the side of the road when he protests.  But Jon is smart, and uses his head to track Paul down and find his wife and child.  He is successful, and takes out his vengeance on Paul for what he has done.

            Unbeknownst to Jon, perhaps—not clear—this invokes the wrath of Delarue (Morgan), Paul’s brother, who is even more unsavory.  Not only is he offended by someone daring to ignore his authority, but he is going to exact payment from the townspeople for his personal loss. 

Although the townspeople are aware of the brutality of Delarue and his gang, they seem to be helpless.  They’re being extorted for “protection” (a la the mafia), yet they stand by inert.  One even betrays Jon, presumably in the absurd hope that that will satisfy Delarue.  Will the hero they’ve been waiting for, ever arrive?

            Mikkelsen is made for this role—the patient, long-suffering good guy with the woeful eyes.  Although Morgan’s roles in film and television have usually been “good guys”, he is a repulsive character here, which shows his acting range.  Like most westerns, good and bad are drawn very clearly in The Salvation, with no gray In-between.  The only ambiguous character is the wife of the slain Paul (Michael-Raymond James), Madeleine, who was left mute years before by marauding Indians.  She has scars on her face, a mysterious tattoo, and eyes that, even though they speak to us, we cannot decipher.  By the end, however, she reveals her real self.

            This picture is from Denmark, and as such, gives us a glimpse of how people in other countries

regard our westerns.  That their fascination with them is so enduring, is a bit of a puzzle for me.  The director, Kristian Levring, says he asked himself why he wanted to return to a genre that is past its prime.  It had something to do with his love of westerns as a child, as well as emulating his heroes  Finally, he sees America’s western experience as similar to that of many Europeans’; that is, of people who venture far from their homes to join the birth of a new nation.

An American western coming from Denmark.

Grade:  B                        By Donna R. Copeland