Oz the Great and Powerful (2013)
Usually when I’m watching a bad movie I have to stop and think where did things go so wrong, where did the wheels fall off, what choice lead to the disaster I am watching play out onscreen. In the case of Disney’s Oz the Great and Powerful, a Wizard of Oz prequel that pretty much hovers over the cusp of bad for its entire 130 minutes, I have to stop and think, “How could this movie ever have gone right?” I don’t think it could have, at least not with this script, this cast, and the edict from the Mouse House to keep things safe and homogenized, smothered in CGI gumbo and scrubbed clean of any real sense of venerable movie magic.
In 1905 Kansas, the magician Oz (James Franco) is used to bilking country folk out of their meager earnings. He’s a con man and runs afoul with a strong man in his own traveling circus. He makes a hasty escape in a hot air balloon and, thanks to a coincidental tornado, is whisked away to the Land of Oz. The people have long been told that a wizard would come and rescue them from the tyranny of the wicked witch. Theodora (Mila Kunis) and Evanora (Rachel Weisz), sisters controlling the Emerald City, task Oz with killing the other witch, Glinda (Michelle Williams). If he succeeds, Oz will become king and riches will be his. Along his journey he collects a band of cuddly sidekicks (flying monkey, China doll, munchkin) and learns that he may indeed be the hero that Oz needs to save the day.
Oz the Great and Powerful is really just 2010’s Alice in Wonderland slapped together with a fresh coat of paint and some extra dwarves. I say this because, like Alice, this movie suffers from a plot that feebly sticks to the most generic of all fantasy storylines – the Great prophecy speaks about a Great savior who will save us from the Great evil. Naturally, the so-called chosen one has internal doubts about the burden they face, initially ducking out before finding that inner strength they had all long to prove they were indeed the one prophesized. It even got to the point where I was noticing some of the same plot beats between the two movies, like how last in the second act we spend time with a woman dressed all in white who we’ve been told is the villain but who is really the good guy. Then there’s the now-routine rounding up of magical creatures to combat the evil hordes in a big battle. Considering Alice was billion-dollar hit for Disney, it’s no surprise they would try and apply its formula to another magical universe hoping for the same results. Well I thought Alice was weak but Oz is even weaker. However, at least nobody absurdly starts breakdancing by the end. Small victories, people.
Beyond the formula that dictates the plot, the characters are poorly developed and broach some off-putting gender stereotypes. The character of Oz is portrayed as a scoundrel who eventually learns to be selfless, but I never really bought the major turning points for his character arc. Do all major characters need to be flawed men in need of redemption in magical worlds? I understand what they were doing with his character but I don’t think it ever worked, and certainly Franco’s performance is at fault as well (more on that later). The ladies of Oz, however, just about constitute every female stereotype we can expect in traditional movies. One of them is conniving but given no reason for why this is. One of them is pure and motherly. And then one of them gets lovesick so easily, falling head over heels for a boy in a matter of hours that she’s willing to throw her life away in spite. And all of these witches, who can actually perform magic unlike the charlatan Oz, sure seem like they don’t need a man to run the kingdom for them and tell them what to do. It’s sad that a conflict that involves feudal power grabs should devolve into a misconstrued love triangle. Then there’s the role of the little China Girl (voiced by Joey King) who adds absolutely nothing to the story except as another female in need of assistance and doting, except when she inexplicably behaves like a surly teenager in a tone-breaking head-turning moment. Oz keeps resting the very breakable doll on his shoulder, like a parrot. I suppose it’s better than tucking her in his pants.
The movie is also tonally all over the place. It wants to be scary but not too scary. Personally, I always found the talking trees to be spookier than the flying monkeys but that’s my own cross to bear. It wants to be funny but often stoops to lame slapstick and Zach Braff (Garden State) as a goofy flying monkey sidekick. It wants to be exciting but it never takes a step beyond initial menace. Its big climactic battle is more like a children’s version of something you’d see in the Lord of the Rings. The movie fails to satisfyingly congeal and so every set piece feels like it could be from a different movie.
Some notable casting misfires also serve to doom the project. I like Franco (Rise of the Planet of the Apes) as an actor, I do, but he is grossly miscast here. He does not have the innate charm to pull off a huckster like Oz. Franco usually has an off kilter vibe to him, one that’s even present in this film, that gives him a certain mysterious draw, but he does not work as an overblown man of theatricality. Combined with lackluster character, it makes for one very bland performance that everyone keeps marveling over. It’s like all the supporting characters, in their fawning praise, are meant to subconsciously convince you that Franco is actually succeeding. Kunis (Friends with Benefits) is also a victim of bad casting. She can do the innocent ingénue stuff but when she (spoiler alert) turns mean and green it just does not work. When she goes bad she looks like Shrek’s daughter and she sounds like a pissy version of her character from Family Guy, which is ineffectual to begin with. Kunis cannot believably portray maniacal evil; sultry evil, a corrupting influence like in Black Swan, most definitely, but not this. There are lines where she screeches at the top of her lungs and it just made me snicker (“CUUUUUURSE YOOOOOOU!”).
I had faith that a director as imaginative as Sam Raimi (Spider-Man, Drag Me to Hell) would be a stolid shepherd for a fantasy-rich project such as Oz. I never got any sense of Raimi in this movie. It felt like he too was smothered completely by the overabundance of special effects. It’s a common complaint that modern movies are buried under an avalanche of soulless computer effects, but usually I find this bromide to be overstated. Having seen Oz, I can think of no more accurate description than “soulless computer effects overload.” At no point in the movie does any special effect come close to feeling real. At no point do you feel immersed in this world, awed by its unique landscapes and inhabitants (it feels often more like the land of Dr. Seuss than Oz). I chose to see the film in good ole standard 2D, though the 3D eye-popping elements are always quite noticeable. At no point do you feel any sense of magic, the most damming charge of all considering the legacy of Oz. The original Wizard of Oz holds a special place in many a heart. We recall feeling that sense of wonder and magic when we watched it as a child, the idea that movies could be limitless and transporting. While watching Raimi’s trip to Oz, I only felt an overwhelming sense of apathy that grew disquieting.
Then there’s the matter of the questionable messages that the movie posits. It celebrates the power of belief, which is admirable, but it’s belief in a lie. Oz is a fake, yet the movie wants to say that faith in false idols is something worth celebrating. Oz and his cohorts put together a deception to fool the denizens of the world into a false sense of security. Everyone believes in the Wizard of Oz so he has power but it’s all a sham. We’re supposed to feel good that these people have been fooled. Didn’t The Dark Knight Rises basically showcase what ultimately happens when a society’s safety is based around a lie and false idols? I understand that as a prequel one of its duties is to set up things for when Dorothy comes knocking, but do I have to be force-fed disingenuous moral messages?
Oz the Great and Powerful is a wannabe franchise-starter that feels like it never really gets started. There’s a generic hero’s journey, some underwritten characters, mixed messages, and poor casting choices, namely Franco and Kunis. The sense of movie magic is absent and replaced with special attention to marketing opportunities and merchandizing (get your own China Girl, kids). It feels more like the movie is following a pre-planned checklist of stops, cribbing from Alice in Wonderland playbook, and trying to exploit any nostalgia we have for this world and its characters. Except we love Dorothy, the Scarecrow, the Tin Man, the cowardly Lion, and Toto. I don’t think anyone really had any strong affection for Glinda or the Wizard. Just because we’re in the same land with familiar elements doesn’t mean our interest has been satiated. The Wizard of Oz backstory has already been done and quite well by the Broadway show Wicked, based upon the novels by Gregory Maguire. That show succeeded because it focused on the characters and their relationships (extra points for a complicated and positive female friendship dynamic). We cared. That’s the biggest fault in Raimi’s Oz, that amidst all the swirling special effects and fanciful imagination, you watch it without ever truly engaging with it. You may start to wonder if your childlike sense of wonder is dead. It’s not; it’s just that you’re old enough to see a bad movie for what it is.
Nate’s Grade: C