Since this entire story centres on virtual-reality gaming, it's tricky to feel any sense of what's at stake here. But a strong cast and above-average effects work help hold our interest until the requisite dramatic shift takes hold. Along the way, the movie explores some punchy issues such as the nature of true leadership and the morality of war.
It's set in a distant future: Earth has regrouped after an alien invasion, turning to children to harness their quick gaming reflexes and inner fearlessness. Ender (Butterfield) is a 12-year-old who's sure he'll crash out of training like his older sister Valentine (Breslin). But Colonel Graff (Ford) and Major Anderson (Davis) see something in him and send him on to battle school in an orbiting space station. As he shows true leadership potential and a sharp mind for warfare, he's promoted even further, training with iconic hero Rackham (Kingsley) on one of the aliens' former planets. And as he approaches his final exam, there's the sense that the fate of Earth hangs in the balance.
Yes, everything Ender does throughout his training is game related, either with digitally created environments or in a weightless battle globe with other cadets. This adds huge possibilities for the script to grapple with moral issues as Ender faces some staggering decisions. But since it's just a simulation, does it really mean anything? Thankfully, Butterfield is a terrific actor who lends the character a steely interior life that catches our interest. And being surrounded by the terrific Ford, Kingsley and Davis helps. As do some intriguing fellow recruits played by Steinfeld, Arias and others.
Continue reading: Ender's Game Review
It's been 12 years since Prospera (Mirren) and her daughter Miranda (Jones) were banished from their homeland, so Prospera orchestrates a storm to maroon her tormenters on her island home. With the help of sprite Arial (Whishaw), she divides them into three groups: the king (Straithairn) and his brother (Cumming), along with Prospera's brother (Cooper) and wise Gonzalo (Conti), are lost in madness; the wacky Trinculo and Stephano (Brand and Molina) meet up with slave Caliban (Hounsou) and run in circles; and the king's son Ferdinand (Carney) is diverted to meet Miranda.
Continue reading: The Tempest Review
Inauspiciously beginning with a clunky montage of sun-dappled vistas and police brutality newsreel footage set to rousing (but still slightly heartbreaking) African singing, In My Country focuses on Anna Malan (Juliette Binoche), an Afrikaner journalist and poet whose white father and brother disapprove of her interest in the Hearings ("Remember where you're from, Anna," racist Dad ominously warns). While covering the event, she meets Langston Whitfield (Samuel L. Jackson), a Washington Post reporter opposed to the Hearings' disinterest in persecuting the country's heinous, government-sponsored white criminals. The two quarrel over the effectiveness and justness of the Hearings' guiding principle of "Ubuntu" (an African belief in forgiveness over punishment), but their horror and sadness over the proceedings' testimonials - many of which have been recreated, word-for-gut-wrenching word, by the filmmakers - helps them eventually bridge their initial ideological differences and, in the case of Anna, learn to reconcile herself to her family's own nasty role in apartheid. After some boneheaded flirting, the two attempt to heal the country's racial divisions themselves through lovemaking, all while Anna's cheery African-American sidekick Dumi (Menzi Ngubane) gleefully confirms the hoariest of stereotypes by breaking into jubilant song and dance at every available turn (including in court).
Continue reading: In My Country Review
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