Mirror Mirror is a mostly charming film that is decidedly geared towards young teenagers and toddlers who will probably not mind the incredibly broad humour and Disney-esque feel that makes it palatable for family audiences. Make no mistake though, the end product feels incredibly forced and manufactured at every turn yet the atmosphere is incessantly cheery and festive enough that most parents will probably ignore the inherently saccharine aftertaste.
A complete an utter mish-mash of a plot coupled with an unrestrained Seth Rogen usually ends up as a recipe for disaster but the Green Hornet at least manages to be sporadically entertaining until a third act where the action quotient not only goes out the window but rockets into the stratosphere towards the planet Idiotic. It would be easy for me to flippantly say that only Seth Rogen fans are going to love this film but I’m sure most viewers will find it hard to stop thinking that he’s still a lumbering goof who is more prone to shooting himself in the face than being a paragon of justice.
Woody Allen returns to form here with a charming adult fairy tale that manages to touch upon many of his favourite themes yet feels fresh and engaging enough for most of its run time. At one point in the film Owen Wilson playing essentially the prototypical Woody Allen character asks, “Is it possible to love two women at the same time,” which is certainly a sound inquiry but unfortunately, Allen does fall into a time-worn cliché of essentially cheating since he completely eviscerates any chance that the protagonist will ever decide to choose one over the other. Although the film has other underlying messages to present this lack of real choice basically makes large sections of the movie unwatchable merely because there is no suspense as to which woman the hero will eventually shack up with.
As comedies go, Anna Faris’ new vehicle, The House Bunny, is as lightweight as you can get. The initial opening scenes establish Anna’s character, Shelley, as being an orphan who finds a family with good old Hugh Hefner and grows up as your consummate Playboy bunny living in The Mansion. One can only dream how skewed this girl’s life is going to be being raised in such an environment but alas this is a comedy not some sociological study into such an experiment. Shelley has her own dreams of finally becoming a Playboy centerfold but the day after her 27th birthday she finds herself kicked out of the Mansion since, “27 is 59 in bunny years.”
Woody Allen’s newest film Vicky Christina Barcelona somewhat marks a return to form, at least in comparison to his recent movies but its focus on a bunch of hedonistic characters who engage in a love rhombus ultimately fails to excite with a third act that deflates the whole exercise with too much emphasis on plot elements that seemingly appear from nowhere.
Sometimes audiences have to wonder if originality is an unknown concept in Hollywood as it seems that every year brings us a bevy of remakes based on previous hit films or television series. It’s getting to the saturation point where just about every blockbuster property from the past has spurned a new film in an effort to reignite the franchise for modern audiences. However, one wonders if producers are keeping track with a scorecard on how many of these efforts are successful as the majority are frankly downright appalling going so far as to either insult the existing fanbase or being not at all appealing to new viewers. Then again, it might even hit the double whammy of alienating both demographic groups as audiences stream out of the cinema demanding their money back.