To me, the special effects are indispensable when it comes to Oz. That’s part of the magic. I actually paid to see Oz The Great and Powerful in 3D, rather than Regular D. It seemed appropriate. Baum’s Oz is a fantastic world. It deserves fantastic treatment.
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It’s a wonderfully intricate story in a fully realized world. However, I do believe that The Hobbit both benefits from and suffers from the previous releases – it’s a pale successor to the LOTR trilogy.
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Karl Urban got me in the door, but I wound up legitimately enjoying the hell out of Dredd. It reminded me of RoboCop, only without the anti-corporatism and quest for identity. So, all the action and ultra-violence and realistic looking future stuff and none of the depth. But, fun!
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The Dark Knight Rises wasn’t a satisfying conclusion to the trilogy and, moving forward, I don’t think I’m even going to consider it as part of Nolan’s Batman story. I’ll skip over it, just like I do with The Phantom Menace.
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One of the most delightful parts of this final installment was the introduction of two strong female characters: Anne Hathaway’s Selina Kyle and Marion Cotillard’s Miranda Tate.
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I kicked. I screamed. I howled. All under the guise of a headache, massively exacerbated by the noisy subway system. People stared! And my poor mother had no idea of the real cause. It was all thanks to C.H.U.D.
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My biggest concern when I first began seeing promos for Brave was that it would be unisex, that the story would work exactly the same if Merida’s character were a boy. I liked that it’s unabashedly a girl’s story.
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My daughter is four, and has an unrelenting fear of witches. Brave has a witch, and spells, and bears, and pushed her comfort zone a little. But thanks to the peer pressure of preschool, soon we were on our way to the movies: my husband, me, Zoe, and Zoe’s stuffed rabbit, Funny Bunny.
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Every once in a while, if I dig deep enough, I’m rewarded by Netflix. Usually by the Foreign and Independent sections.
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