Lara Croft was best known for her exaggerated physical assets (rendered as Madonna-worthy pointed polygons) and short shorts than as any sort of character. She was realized on the big screen in 2001’s Tomb Raider as an elite physical specimen portrayed by Angelina Jolie, where the filmmakers went the added step of padding Jolie’s bosom to better reflect the source material’s image. The filmmakers literally thought this aspect would be make-or-break with fans, as if Jolie herself was not naturally vivacious enough. As you can imagine, Lara Croft was primarily seen as a sexy avatar, whether on the small screen or the big screen. This new Tomb Raider aims to better ground its story, tone, and central heroine, and it mostly succeeds. This is a solid, pleasantly enjoyable mid-tier action movie that might also qualify as the best video-game-to-film adaptation so far (sorry Uwe Boll).
Lara (Alicia Vikander) is struggling in the wake of her father’s (Dominic West) disappearance. It’s been years but she holds onto hope that dear old dad is still out there. One day, she discovers her father’s secret study and a video message he recorded confessing why he left. He’s seeking a fabled tomb on a hidden island off the coast of Japan, a tomb devoted to a powerful goddess of myth who sacrificed her admirers. Also looking for the tomb is Vogel (Walton Goggins) and a team of armed mercenaries. Lara must stay ahead of the mercenaries, find her father and the long-lost hidden tomb.
This is a Lara Croft stripped down and absent the male gaze, which has defined her travails just as much as the treasure hunting adventures. There’s not a single shot in the movie that seeks to ogle Vikander’s lean body. Even her outfit, as mentioned a staple of Croft’s early appeal, is a modest take top and khakis. The emphasis this time is on what she endures and overcomes rather than the curvature of her body. This is an attempt at an origin tale, rebooting Lara for a new generation of fans. She’s less the cool buxom sexpot with the twin pistols than a struggling young woman facing her fears. This is the first time Lara Croft has been envisioned as a character. There’s a level of broader realism that the movie holds onto, positioning this Croft as less the gun blazing super cool badass and more as a stealthy, plucky, and scrappy figure of moderate action. There are moments where she hides and moments where she runs, as they are the best recourse. She’s not imposing in her build and poise like a Gina Carano (Haywire) but Vikander’s got some serious moves. With all that in mind, let’s not get too carried away here. Lara Croft may have some extra dimensions but she’s not exactly a fully formed, three-dimensional character or boasting the kind of magnetic personality that drew us to Indiana Jones or even a Nathan Drake. She’s capable but also limited in interest and charisma.
The action is invigorating enough and given a clear scope of play. Norwegian director Roar Uthaug (The Wave) orchestrates the action in clean long shots and precise edits, allowing the audience a clear sense of what is happening. A frantic bicycle chase and foot chase in the first act are given extra vitality by a roaming camera that takes in the full view. There’s enough variety in the action and natural consequences to keep things interesting. This is a movie that doesn’t feel overpowered with CGI, even though I know it’s present. Uthaug makes a point of emphasizing practical effects and sets, which adds a further level of realism to the excitement. I’d call it a more pared down, realistic version of an action adventure but it still has outlandish set pieces like Lara finding refuge atop a crumbling WWII era bomber that just so happens to be wedged atop a rock face overlooking a steep waterfall. Even during these moments, and the last act takes place almost entirely within the ancient tomb and its traps, the movie keeps things relatively credible. It’s fun without being too flippant and serious enough without losing its sense of amusement. Tomb Raider reminded me a lot of a big-screen version of an Uncharted game, a rollicking adventure that also feels rooted in our own world, but with a hint of the supernatural creeping along the edges. The conclusion has a few nice surprises following this pattern even with the possibility of actual zombies emerging.
Vianker (The Danish Girl) acquits herself nicely in the realm of action-adventure. She gained twelve pounds of muscle and has a pretty impressive six-pack. Vikander is a smaller actress by nature but the filmmakers do a fine job of placing her in believable action scenarios that rely upon her athleticism. Her Lara is a stubbornly independent protagonist who refuses to give up, which makes her a winning force even when her personality fails to sufficiently light up the screen. Vikander hurls herself into the role, performing an impressive array of stunts, and yelping along to the genre demands.
There are some plot holes that are hard to ignore, mostly pertaining to motivations. In the first act, we learn tat Lara is heir to a vast fortune of money and a big company that owns many other subsidiaries. However, she refuses to essentially inherit the company because it means having to sign papers declaring her missing father as deceased. I understand the character’s rejection of wanting to accept her father’s death, but when taken to this extent it becomes almost comical. Lara is seen scraping by for enough money to survive on her own. She’s forced to pawn her heirlooms and work as a bicycle messenger. She’s struggling to get by and yet her pride is standing between her and a massive fortune. This is just stupid. What’s to stop Lara from signing the paperwork, inheriting the fortune, and using said fortune to continue the search for her father? There’s also the motivation of her absentee father, who left to thwart the bad guys from finding the special tomb. However, he inadvertently leads them there because he was tracked. Had he not even left, the bad guys would not have found the island’s location and he could have been in Lara’s life. This is transparent potting to simply move the pieces across a board. Another example is Lu Ren (Daniel Wu) a ship captain ally she picks up that serves no real purpose other than ferrying her to the island. One character that benefits from motivation is the villain, Vogel. He’s not some mustache-twirling rogue but rather a guy hired for a job that wants to go home and see his kids again. It’s a nice, empathetic touch that makes Vogel grounded and a better fit.
Tomb Raider is a smaller, leaner, and enjoyable little action movie of modest ambitions. That sounds very conditional, I’ll admit, but it’s a scaled-down version of an exaggerated character doing splashy, sexy, exaggerated action heroics. It’s a stripped down reboot that grounds the action while still finding enough ways to have fun. It does get a little caught up in the edicts of an origin tale, overpowering moments with “First” significance (First Adventure, First Kill, First Fight, etc.). There are also some head-scratching plot holes that get glossed over to keep things moving along. Vikander is one tough cookie, and the film celebrates her brains as well as her brawn and absent any ogling camerawork. Tomb Raider is a suitably exciting action film that gives some hope for future Croft adventures.
Nate’s Grade: B
Jumanji: Welcome to the Jungle is a twenty-year plus sequel that is way more fun than you would have expected for a twenty-year plus sequel. It’s updated to modern-day by ditching a living board game and instead transporting four Breakfast Club high school stereotypes into the world of an old school adventure video game. The biggest boost is the camaraderie and comic interplay of the four leads (Dwayne Johnson, Kevin Hart, Karen Gillan, Jack Black), each blessed with memorable moments to shine and a satisfying arc. The adults are great at playing as children-in-adult-bodies. The film does a good job of introducing the rules of its world while also explaining the mechanics of video games (cut scenes, life meters, re-entering the game), at the same time holding your hand through it all. The satire of video games is often amusing like the strengths/weaknesses discussion, and there’s a very good reason why Gillan is dressed in a skimpy outfit, which even the movie calls out. It’s a simple story told without subtlety but this movie is packed with payoffs and spreads them evenly throughout. The actors are truly delightful and this should be a breakout role for Gillan. She is very adept at being silly with physical comedy and has a wonderful bit where she tries to seduce some guards after some flirting coaching from Jack Black. Thankfully, Black being a self-obsessed teen girl on the inside doesn’t veer into transphobic/homophobic mockery. The awkwardness of the body swap scenario is never forgotten, which lends itself to consistent comedy and heart. There are a lot of great little moments and enjoyable set pieces. Jumanji is a tremendously fun movie that won’t insult fans of the original. If you’re looking for an unexpected amount of entertainment this holiday season, check out the Jumanji sequel and one of the year’s best comic teams.
Nate’s Grade: B+
It may not be fair, but I was never expecting to like Steven Spielberg’s first foray into animation, The Adventures of TinTin. It just looked so busy and I’m still on the fence when it comes to motion-capture technology. So imagine my surprise when I found myself not just enjoying the movie but also actively loving it. This rollicking adventure practically hums with energy and imagination. It’s easy to get lost in its sweep. The action sequences, of which there are several, are terrific, breathlessly paced but showing great fair and imagination. It comes to the closest of any imposter to replicating the magic of Raiders of the Lost Ark. Give great credit to Spielberg but also his team of terrific Brit writers (Dr. Who’s Steven Moffat, Edgar Wright, and the man behind Attack the Block, Joe Cornish). The characters don’t feel like soulless androids, the adventure is lively, the immersive visuals are gorgeous to behold, and the scale of some of these action set pieces is just massive, in particular a chase through a Moroccan city that is performed in one unblinking take (although does it matter when it’s animated?). I felt transported while watching Tintin, back to a time of childhood awe and excitement. Some will find the movie wearisome and vacant, but I’m prone to shaking off my adult quibbles when a movie can make me feel like a kid again
Nate’s Grade: A-
Martin Scorsese tackling a children’s film feels like an odd fit for the man responsible for classic gangster epics and symphonies of violence. But if David Lynch, Kevin Smith, Tim Burton, and Danny Boyle can all make family films that don’t make your brain rot, then why not the greatest living director? Maybe notorious sadist Lars von Trier will be next. Adapted from the award-winning children’s book, Hugo is, as my pal Eric Muller put it, a family film for film historians.
Hugo (Asa Butterfield) is an orphan boy living beneath the walls of the Paris train station. He’s secretly the one responsible for winding up all the clocks and keeping time. He has to stay one step ahead of the Station Inspector (Sacha Baron Cohen), who snatches wayward boys and sends them off to an orphanage. Hugo has been swiping clock pieces from the booth of a mysterious toy collector, George (Ben Kingsley). He needs the tiny pieces to fix a metallic man that Hugo and his late father (Jude Law) had been working on together. Hugo is convinced that if he fixes the metal man the automaton will write out one last message from his father. Hugo befriends George’s niece, Isabelle (Chloe Grace Moretz), and the two of them explore the various shops and shopkeepers of the station. As they uncover more clues, the kids realize that George is actually George Méliès, the filmmaking pioneer best known for the 1902 fantasy, A Trip to the Moon (the one where the moon gets a bullet in its eye).
Scorsese’s first foray into 3D filmmaking is a rousing sensation for the eyes. The images pop without superfluous objects flying at the camera. The depth of field is nicely and creatively toyed with by Scorsese. Best of all, the 3D enhances the story rather than distracting you. Hugo is a celebration of the advances in moviemaking, and 3D is the latest advancement meant to make the theatergoing experience special. Of course the theatergoing experience has always been special, as the movie indicates. Where else but a theater can we collectively bond with a group of strangers, laughing collectively, feeling the pangs of emotion in unison? There’s a thematic rationale for Scorsese’s use of the third dimension. He masterfully fills the screen with wonderful images, like the massive inner working of clock towers. Scorsese’s signature tracking shots zoom in through the wintry 1930s Paris landscape and train station. A visual highlight is when a trunk of sketches busts open, the papers scattered all over the screen, some moving like flip books, creating the illusion of animation. I can honestly advise people to seek out a 3D showing of Hugo if given the option. For once, it’s worth the extra dough. I only anticipate making this same recommendation for the upcoming Piranha 3DD.
It’s the second half where the movie shows its true intentions, becoming a love letter to the power of cinema and the early pioneers of the art form. Scrosese has long been a historian of the movies, and Hugo is his celebration of the early cinematic dream makers, notably Méliès and his surreal theatrical landscapes. Arthur C. Clark famously said that “any sufficiently advanced technology is indistinguishable from magic.” That’s what early cinema was to a populace that had never seen the likes of moving pictures (we see an early audience fearing for their lives watching a film of a train arriving). It was like a new magic. The turn-of-the century filmmakers like Méliès were charting new terrain as visual storytellers, opening the public to new wonders of the imagination. Simple tricks of editing substitution, dissolves, and visual arrangement could help foster the ongoing illusion. It may be low-rent, like hand painting individual film frames, but it was the special effects of their day. D.W. Griffith once said of Méliès, “I owe him everything.” Scorsese is sharing his passion for the history of the movies and it’s hard not to feel the power of the movies.
But when Hugo gets swallowed whole by Scorsese’s nostalgia, the rest of the plot becomes incidental. The characters, which were not strong to begin with, are given pat resolutions that make you realize how flimsy the characterization is. The movie takes a sub-Amelie route, letting Hugo bring together disparate couples, but you don’t really know anything about these people. Emily Mortimer’s female florist has maybe two lines in the movie, so why should I root for her to get with the Station Inspector? There’s an older couple whose romance is sabotaged by an aggressive pooch. You can imagine the scintillating resolution that awaits. The film history section is honestly the best part of the movie, but it means that everything leading up to that point was just in service to prop up the academic nostalgia. It means that the characters and their mysteries were really unimportant, and they feel that way by film’s end. The movie just grinds to a halt. The mystery of the metal man is that he’s a MacGuffin, a means to discover Méliès’ past. The whole clockwork symbolism can be clumsy, instructing us time and again that people are broken and Hugo feels the need to fix things. Too bad he couldn’t fix the disjointed story.
The actors manage to make favorable impressions when they can fight free of the movie’s educational pull. Butterfield (The Boy in the Striped Pajamas) is a strong lead actor who rises above the sniveling preface of his character. He makes you root for the kid even when we don’t really know much about him beyond his Dickensian conditions. The kid has some pretty piercing Paul Newman-esque blue eyes too. Moretz (Let Me In, Kick-Ass) is showing the poise and grace to make it long term in this business. Kinglsey (Shutter Island) is effectively curt with his poorly veiled pain and regret. Cohen (Borat) expands his dramatic range noticeably, adding touches of empathy for a character that could mostly have been arch and cartoonish. He’s still the film’s best source for comedy. Michael Stuhlbarg (A Serious Man) makes a welcomed appearance as an expert on early filmmaking, Méliès especially. He serves as the mouthpiece for Scorsese’s passion.
Hugo is a family film that ultimately gets swallowed whole by the filmmakers’ passion. It makes for an entertaining and informative essay on the skill and vision of turn-of-the-century filmmakers, but if people are anticipating a fun story about a scrappy kid and his mischievous adventures, then this is not that movie. Hugo benefits from terrific visuals, strong acting, and Scorsese’s blend of whimsy and innocence without stooping to anything crass or lowbrow. Hugo aspires for the rich, romantic experience of a Jean-Pierre Jeunet film (Amelie, A Very Long Engagement) but comes up short. Hugo is at turns charming and magical but as a narrative it is too often flimsy, a wispy thing meant to lead to Scorsese’s love letter. It’s a fine and fitting tribute but even the best and most powerful love letter can only go so far, never mind the hassle of special 3D glasses.
Nate’s Grade: B