by Steve Habrat
If James Cameron’s day-glo spectacle Avatar had you longing for another visually immersive event movie, then you need to run, not walk, to Ang Lee’s shipwrecked epic Life of Pi. Based on Yann Martel’s 2001 novel of the same name, many fans of the book argued that the story would never transfer properly to the big screen but we all know that will never stop Hollywood from trying. There is no argument that Lee’s Life of Pi has plenty of emotional force and spiritual weight behind all the dazzling visuals and eye-popping 3D but the major problem with the film is that it does seem to loose its way more than a few times. At slightly over two hours, Life of Pi does get a bit long in the tooth, especially when the film trades the dry land whimsicality for Pi’s soggy Pacific adventure. Still, Life of Pi has plenty of cutesy humor, young love, religious curiosity, and tough life lessons worked into the first half of the film to shape the towering second half. Despite boredom setting in here and there, you can’t ever take you eyes off of star Suraj Sharma and his growling travel buddy, Richard Parker, a savage Bengal tiger eager to claim their little slice of lifeboat heaven for himself. It is a joy to watch these two try to establish a mutual trust so they can work together and ultimately be saved.
Life of Pi begins in the present with a Canadian writer (Played by Rafe Spall) approaching Indian immigrant Piscine Molitor “Pi” Patel (Played by Irfan Khan) about an incredible story that would make a great book and make him believe in God. Pi agrees to share his story, which begins in Pondicherry, with how he got his unusual name (he’s named after a swimming pool in France) and how he got his nickname Pi (he gets sick of being called “Pissing” Patel by his classmates). Pi also dives into how he became interested in religion (he follows THREE religions) and how his family owned a local zoo that contained a Bengal tiger named Richard Parker. At the age of sixteen, Pi (Played by Suraj Sharma) and his family decide to close up their zoo and move to Canada. They board the Japanese freighter Tsimtsum along with their family of animals and they settle in for what they assume will be a relatively smooth journey. Shortly after setting out, the ship encounters a terrible storm and Pi’s entire family is killed as the ship sinks. Pi manages to find his way into a lifeboat but a zebra, an orangutan, a hyena, and Richard Parker soon join him. All alone and fearing for his life, Pi has to learn to work together with his wild travel buddies and hold on to his faith in face of the impossible.
Considering that a majority of Life of Pi is set in a lifeboat, one could assume that the film would get awfully dry very fast. How do you keep the viewer hooked and entertained visually? Lee seems to understand this so he crafts a number of hallucinatory sequences that boast Avatar’s neon glow and 3D that expands Pi’s watery environment. Near the end of the film, Pi stumbles upon an island that is paradise by day for the hungry and thirsty traveler and then a glowing Hell in the same vein of Pandora by night. The island is inhabited by armies of meerkats, who munch on the algae and roots in the sunshine but dash into the trees when the sun sets to avoid the acid that takes the place of the fresh water. Even Richard Parker can sense that something is off in this island that may or may not exist. Then there are the moments where Pi’s boat drifts silently over smooth waters that reflect the starry sky above. It would seem that Pi is floating through the stars. And we can’t forget the humor from David Magee’s screenplay, which infuses a little more pep in Life of Pi’s step. The crown jewel is the scene in which Pi tries to establish territory on the boat using urine. Of course, Richard Parker doesn’t take kindly to this and proceeds to pee on Pi.
Life of Pi is basically a one-man show in the acting department. Sharma is incredible as the crafty Pi, who has to figure out a way to keep away from his ferocious travel buddy. Lee allows him to pepper in some physical comedy as well as play with his faith to give his performance a powerful punch. He did move me when he shouts at the sky in a storm, demanding to know what else God wants from him. We share in his joy when he catches a massive fish and feel his disappointment when he spots a ship far in the distance ignoring his flares and sailing the opposite direction. You may even fight back a tear when Pi attempts to grieve for his dead family but he doesn’t get much time to properly mourn. In the present, Pi is portrayed by Khan, who is basically the storyteller and boy, does he sell it. His tear jerking final moments will floor you. Spall’s writer is there just to move the story along and to act as a Ryan Reynolds lookalike (Maybe Reynolds was too busy?). Tabu is another stand out as Pi’s loving mother, Gita Patel, who is tickled by Pi’s curiosity in religion. Adil Hussain leaves a mark as Pi’s strict but wise father, Santosh Patel. And we can’t forget Richard Parker, a mostly CGI creation but one that really seems to be flesh, hair and blood. The relationship that builds between him and Pi is wondrous.
While I hate to criticize Life of Pi for loosing my interest in a few parts, I feel as though a film should hold me every single second it is on the screen. I should be wrapped up in every single moment, big and small, but sadly, there were parts where I found myself drifting out of Pi’s adventure. No matter how much spectacle Lee threw my way, I wanted the story to progress and at times I felt as though it wasn’t. I did enjoy the out-of-left-field twist at the end, which does leave a lump in the viewer’s throat. I also really liked Pi’s mini pit stop on that seriously astonishing island. If you are planning on checking out Life of Pi on strictly an entertainment level, you are going to be broadsided by how heavy the film gets at points. The film makes the bold claim that by the end of this story, you will believe in God. Whether it accomplishes this task is completely up to you but I wasn’t necessarily swelling with faith by the end credits. Overall, like a moth to a light, you can’t help but be drawn to it’s idea that even when facing impossible odds, hope will deliver you through it. It will also be very hard to resist Lee’s marvelous direction (I smell a Best Director nomination) but at over two hours, Life of Pi is a bit bloated. It may not rank at Lee’s best film but Life of Pi is certainly a rousing and tender work of art that will have a heavy presence come awards time.
by Steve Habrat
It is no big surprise that Ridley Scott’s new science-fiction epic Prometheus is dividing those who have flocked to see it so far. The film deals with one of the most controversial topics around: creation of the human race. Set in the Alien universe, this semi-prequel to the 1979 classic indeed gives us quite a bit to think about after we have stumbled out of the theater and finally caught our breath. With Prometheus, Scott dares to ask a lot of really big questions. Where did we come from? Who created us and why? These are questions, whether viewed from a scientific angle or from a spiritual angle, that are not easily answered. At least not yet anyway. It appears that Scott and his writers, Jon Spaihts and Damon Lindelof, understand this and they opt to give us small answers to these big questions, which may frustrate many viewers but realistically, that is just the way it is. Frankly, I don’t believe that Scott and his writers ever truly set out to give crystal clear answers to the questions that Prometheus raises. Furthermore, my hat is off to Scott because he refuses to hold the audience’s hand throughout Prometheus, forcing them to do the unthinkable and (gasp!) think for themselves.
Prometheus begins in the year 2089 with archeologist couple Elizabeth Shaw (Played by Noomi Rapace) and Charlie Holloway (Played by Logan Marshal-Green) discovering a star map in an ancient cave. They believe that the star map, which lines up with other star maps from several other seemingly unconnected ancient cultures, is an invitation from humanities creators called “Engineers” to travel to space and find them. Two years later, Shaw and Holloway are aboard the spaceship Prometheus traveling toward the distant moon LV-223, which is where they believe the “Engineers” are living. The acting head of this expedition is Meredith Vickers (Played by Charlize Theron), a snippy employee of the Weyland Corporation, which is the company that funded the expedition to LV-223. Upon arriving on the moon, the crew dashes out to explore what appears to be an ancient temple but they soon discover that this temple may be housing something that could spell doom for the human race. They also quickly realize that they are not alone in the curved tunnels of the ancient structure and that there may be individuals in their crew who are not there for scientific reasons.
The less you know about Prometheus going in to the film, the better it actually is, at least in my opinion. I was absolutely floored by how Scott has expanded his ash-colored universe from Alien and I was practically drooling at all the mesmerizing special effects. There is no doubt that this is the work of a true master of cinema. While many have raved about the visual presentation of Prometheus, it is the ideas here that many are in an uproar about. The film will no doubt cause controversy, especially when it answers the mother of all questions. Yet at times Scott and his writers tiptoe around certain definitive answers, partly because I don’t think they want to kick a hornet’s nest. Whether you believe in Darwinism or you believe a high power made us in his image, Prometheus makes sure it has everyone covered, from those who don’t know what to believe to those who clutch tightly to their crosses. Scott presents debate after debate between characters, bait to get our brains working and he is damn good at it too. On the surface, it could be read (and quickly dismissed) as a warning not to seek out your maker, but underneath, it is pushing us to at least ask a few questions to each other.
When you are not marveling at the special effects and your brain is not swimming from all the creation conversation, you will be glued to all the spellbinding acting from a handful of professions who are on top of their game. The standouts here are Rapace’s Shaw, Idris Elba’s Janek, the captain of the Prometheus, and Michael Fassbender’s slim and crafty android David. Shaw takes over for Sigourney Weaver’s level headed Ripley and gives us a much more subdued version of the Ripley character. She has a slower growth into full-blown ass-kicker and she gets one of the movie’s grossest moments (a self-surgery scene that requires her to cut in to her own stomach), a scene that is sure to become iconic. Near the end, I got chills of excitement when she grabbed an axe and readied herself for a brutal battle of life or death, a scene that was alive with Ripley’s spirit. Elba’s Janek, who is quick to tell Theron’s Vickers that he is “just the captain” has a lot more on his mind than just figuring out how to get the other sixteen passengers off LV-223 safely. I really enjoyed his weary compassion. While Elba and Rapace hold their own, the film belongs to Fassbender, who continues to impress me with each new film he is in. Early on, we see his character, alone on the Prometheus while the others are locked in their stasis chambers, hanging on every scene of Laurence of Arabia, playing basketball, dying his hair, and watching the dreams of the other crewmembers. He has a funny walk, beams when the elderly Peter Weyland (Played by Guy Pearce) tells him he has been like a son to him, and he longs to be viewed as one of the humans, even as darkness begins to creep into his mainframe.
The rest of the supporting cast does a good job, even if some of them get lost in all the action. Theron’s Vickers is a much more controlled villain here than she was in Snow White and the Huntsman. She is a lot more convincing as an evil corporate stooge rather than a cackling wicked witch. Guy Pearce shows up in a most unexpected (and surprisingly persuasive) role as the elderly Peter Weyland, a wealthy man who isn’t only interested in a new scientific discover. Logan Marshall-Green as Holloway was the only character I had a hard time liking. At times he felt a bit forced and even a bit cliché next to all the other characters that were much more vividly drawn. He is there only to be the love interest for Rapace’s Shaw and to cause some major problems later for our axe-wielding heroine. If I had one complaint about Prometheus, it would be him, especially since there was a lot of hype around him being the new up and coming actor of the moment. Rafe Spall and Sean Harris also show up memorably as Milburn and Fifiled, a botanist and a geologist who come face to face with some real nasty organisms.
Overall, Scott’s Prometheus is one big, expensive, flashy, 3D question mark of a movie and to be honest with you, I absolutely love that it is. I was mesmerized from the hypnotic opening sequence to the fiery finale that gives a nice big wink to the ’79 classic that inspired all of this (trust me, you’re going to love it). It may take some time for audiences to appreciate what Scott has done here, but as years pass, I see Prometheus becoming a chilling and grotesque classic that makes its way into film textbooks. If you get the chance, experience this sucker in 3D because it really adds to the film’s harsh and rocky environment. Many may tell you that Prometheus was an overhyped disappointment but I say that Prometheus has landed on movie screens to challenge us in ways most films refuse. It is nice to know that Hollywood still believes that some audience members like to use their intelligence at the movies from time to time and to be sent away with a lot to ponder.