New Movies

TRISTAR PICTURES Oliver Twist, played by Barney Clark, runs away in Roman Polanski’s “Oliver Twist” based on Charles Dickens’ novel by the same name.

Polanski delivers classic twist on Dickens’ ‘Oliver’

By ERIC SANDERS

Daily Titan Staff

Oscar-winner Roman Polanski’s adaptation of the Charles Dickens classic, “Oliver Twist,” is a brilliant cinematic experience to be enjoyed by all.

Polanski’s version of the novel – the fi rst attempt by anyone in over 35 years – brings the world of Oliver Twist to life, as if peeling the most intricate details of the characters off the pages and transplanting them onto fi lm.

Shot in Prague, Polanski utilizes the beautiful country landscape as a backdrop to tell the story of an orphan living in Victorian England, and seeking happiness that always seems to be out of his reach.

The accurate representation of 19 th century England is one of the best aspects of the movie, specifi - cally the London Street scenes, which are like a meticulous timewarp and include everything, even muddy roads fi lled with rats, scandalous hookers and drunken thieves. The realistic refl ection of the time period was obviously an issue of great importance to Polanski, pulling the audience in even deeper to the world of the lost orphan, Oliver Twist.

We are introduced to Twist (Barney Clark) as one of the many members of orphans who make up the Parish Work House, learning “a useful trade” such as breaking apart rope and putting it back together again.

The living conditions the orphans suffer are wretched, with one boy proclaiming he’s so hungry he can’t even sleep.

Oliver fi nds himself in trouble when, after drawing the short rope, he is the one chosen by the boys to go up and ask for more gruel. This indignation is not tolerated by the gruel dispenser, who ends up switching Twist violently, and causes the Parish to put him up for auction. This leads to a series of offers that eventually has him sold to an undertaker.

As a result he runs off with nothing but a bag tied to a stick – hobo style – and fi nds himself with nowhere to go except down the 70-mile path that leads to London.

Once in London, Twist pals up with Artful Dodger (Harry Eden) and a band of boy pick-pockets lead by the sinister Fagin (Ben Kingsley).

The group of pick-pockets adds a childhood playfulness to the movie and a comical character in Dodger, who is a quick witted, drinking, smoking child criminal.

Taken in by Fagin’s pseudoaffection, Twist settles into London’s underworld, but quickly discovers the dangers that lurk in a life full of petty theft and shady characters.

The climax of the fi lm comes when Twist fi nds that he is the focus of ill intent by the notorious Bill Sykes (Jamie Foreman) and the intimidating pit-bull that accompanies him.

“Oliver Twist” is true to its literary roots with lengthy character development and storytelling.

During a time when Hollywood studios are rehashing old television sitcoms due to lack of content, “Oliver Twist” is a refreshing new spin on something old that will leave fans of good storytelling and directing thoroughly satisfi ed.

Movie fl ies above the rest

“Flight Plan” is an intense fi lm that will keep audiences on the edge of their seats. Airplane thrillers can often be an entertaining movie ploy and this movie is nothing short of quality entertainment.

The suspense begins in Germany as Kyle Pratt (Jodie Foster) plans to transport her recently deceased husband back to the United States for burial. Her daughter Julia (Marlene Lawston) - who is having trouble dealing with the unexpected loss - joins her airplane engineer mom aboard the plane that Pratt helped design. Her knowledge of the world’s biggest passenger plane proves to be useful later as her daughter disappears only three hours into the fl ight. This is where the fi lm gets interesting. At 30,000 feet Kyle organizes an in depth search of the plane with all the crew and passengers looking for her missing daughter. The only problem is that nobody - including the crew, passenger manifest and other passengers - has any record or memory of Julia being on the plane. Kyle refuses to accept that she only imagined boarding the plane with her daughter and basically holds the plane hostage as she desperately looks for her. While the rest of the crew and passengers grow restless and frustrated with the drama ensuing on board, Kyle manages to gain two allies in her search for Julia. Carson, an undercover air marshal (Peter Sarsgaard) and Captain Rich (Sean Bean) accommodate Foster as she requests to search every inch of the airplane, even the most hidden parts.

In November 1959, four shotgun blasts shattered the silence of a Kansas prairie. A family of four was dead and their murderers vanished into the night. The horrifi c scene beckoned Truman Capote towards the idea for a simple magazine article that later evolved into his greatest work of non-fi ction, “In Cold Blood.”

In Philip Seymour Hoffman’s latest fi lm “Capote,” Hoffman captures all the eminence and personality of the legendary Truman Capote fl awlessly. His booming presence captivates party guests on every occasion – and there are plenty of occasions. Author of “Breakfast at Tiffany’s,” Capote won great fame and respect across the country and the world for his ample production of bestselling books.

This fi lm tracks Capote’s sixyear struggle to gather viewpoints from both sides of a brutal massacre in order to create the great novel, “In Cold Blood.”

He travels to Kansas to interview Alvin Dewey, played by Oscar-winnwe Chris Cooper, an agent heading the investigation of the murders. While at fi rst the townsfolk are reluctant to give him any help on the story, Capote uses his masterful interviewing skills to connect with just about everyone on a deep, personal level.

By ISAAC FABELA

Daily Titan Staff Kyle Pratt, played by Jodie Foster, tries desperately to fi nd her daughter aboard the huge aircraft. Touchstone Pictures

Capote captivates

By BRYAN BARNETT

Daily Titan Staff

The fi lm is directed by relative newcomer Robert Schwentke, whose only previous work was a little-known 2003 release called “Tattoo.” Despite his small body of work, Schwentke easily draws the audience in from the opening scenes and doesn’t let go until the credits roll at the end of the fi lm. Foster has plenty of emotionally riveting scenes where she desperately pleads for aid in fi nding her daughter. Being the seasoned pro that she is, Foster does an admirable job that many Hollywood actresses might not have been able to pull off so convincingly. It’s hard to upstage an Academy Award winning actress and it’s not something done very often, but Bean succeeds in this almost impossible feat. The British actor, who’s known in the United States for playing Boromir in the “Lord of the Rings.” Based on his performance in “Flight Plan,” audiences can look forward to seeing him in larger roles soon. His intense calmness dominates every scene and he gives the feeling that everything will be alright. For every fi lm like “Flight Plan” there are a dozen fi lms like “Turbulence 2.” But it’s refreshing when a fi lm comes to rescue a genre that has been poorly handled over the past couple years. While we may not see a sequel, hopefully it will remind fi lmmakers how much fun can be had while fl ying high above the Earth.

“It’s as if Perry and I grew up in the same house,” Capote tells his friend and author of “To Kill a Mockingbird,” Harper Lee (Catherine Keener). “One day he stood up and went out the back door while I went out the front.”

Perry is one of the two killers found guilty of the slaying and sentenced to death by hanging.

Most of the fi lm is devoted to Capote’s relationship with Perry as the author tries to gather insight on what happened that fateful night. When this starts it all feels dreadfully reminiscent of the fi lm “Dead Man Walking,” in which Susan Sarandon plays the part of understanding counselor looking to provide solace for a stray soul, Sean Penn. There are other strong parallels, but divulging them would be giving too much away.

The most phenomenal thing about “Capote” is Hoffman’s acting. It gives the fi lm two legs to stand on when the storyline itself might be tired and predictable. It’s easy to watch as such a complex 1960s icon comes to terms with his feelings about either hating or loving a cold-blooded killer.

It nearly tears Capote apart. Most of the time he pumps the life into the parties he frequents, but as he realizes the scope of his novel and the lives entangled within, he mopes about fi nding comfort only in his gin and tonic.

Capote’s dramatic highs and lows are enthralling. While the story ends with predictable certainty, the legend himself remains a mystery. Capote is as unpredictable as they come. Imagine a famous carefree partier thrown into a situation of unforeseen profundity - in this case writing a book that sympathizes with both the loved ones and the killers of a family of four - the effect is fascinating and sincere. And it’s all true.

Bow Wow, Nick

Cannon discuss ‘Roll Bounce’

Wearing a white gold diamond necklace and a largefaced diamond-studded watch with a black alligator band, rapper Bow Wow enters the suite at the Four Seasons in Beverly Hills with attitude. His happy gaze expresses fulfi llment. At 18 years old, Bow Wow is the youngest solo rapper to hit No. 1 and he’s not stopping there.

He said his hard work and commitment to being an entertainer has paid off – whatever he puts his mind to, he accomplishes.

“I was born to do this. I knew I was destined to do what I do,” Bow Wow said. “I did everything, talent shows, commercials, [even Disney].”

“Roll Bounce” glances into Chicago during the late 1970s. Roller skating jams are a staple like bell-bottom jeans. Bow Wow departs from his rapper persona and becomes Xavier Smith, X to his friends. He plays a wholesome paperboy who lost his mother to cancer. X and his friends face losing the local roller skating rink where they spend their downtime.

This role transitions Bow Wow from music and comedic roles into a more serious movie.

“This was going to be the movie to show my skills,” Bow Wow said.

He performed all his own stunts except for the jumping and spinning moves and said skating comes naturally to him.

“I don’t like anyone to do anything for me,” Bow Wow said. “I wanted to come out authentic.”

Bernard was an easy character for actor and hip-hop artist Nick Cannon, who starred in “Drumline,” to play.

After hearing about the roller-skating theme, reading the “well written script” and learning of the strong cast and fi lmmakers associated with “Roll Bounce,” Cannon wanted to be a part of it. As a kid he spent weekends at the skating rink having a good time and thought it would be a good quality fi lm based on the players and the theme of the movie. The fi lm crew didn’t know Bernard would be a crazy character with a fl air for color.

“The yellow and blue stirrups I fought all the way. When I fi rst saw those pants, there was no way I was fi tting into those pants, and then I was mad that I did,” Cannon said.

Bernard appears in a few scenes and contributes his raw and sly wisdom to Naps (Rick Gonzalez).

“[Bernard] thinks he is giving you all the world, but it doesn’t make sense,” Cannon said. “He is like the Yoda.”

Only a bus ride away, the boys are reminded of their place in society amongst local Sweetwater Roller Rink regulars.

The group faces the challenge of fi nding themselves and winning the respect of their adversaries. The director, Malcolm D. Lee and writer Norman Vance Jr., take viewers on a journey of friendship, family, love and a young hero’s journey from childhood into manhood.

Wearing four-inch gold hoops with “Good” etched in the middle, Meagan Good, 24, who plays Naomi, Xavier’s sweetheart, had to convince Lee that her pretty face could play an innocent, insecure teenager.

“I am used to being that girl with the big teeth and the gap,” Good said. “I was short and super skinny. It was a reality I had known.”

By CARMELLIA MUNGUIA

Daily Titan Staff Twentieth Century Fox Bow Wow, Brandon T. Jackson, Marcus T. Paulk, Rick Gonzalez and Khleo Thomas skate up a storm in “Roll Bounce.”

WARNER BROS. PICTURES The Corpse Bride, voiced by Helena Bonham Carter, hauntingly twirls in “Tim Burton’s Corpse Bride.”

‘Corpse Bride’ beautiful, not quite ‘Nightmare’

The set up may appear to be the same, but the story behind creative mastermind Tim Burton’s newest animated release, is a far cry from the witty Halloween-takes-overChristmas plot of 1993’s “The Nightmare Before Christmas.”

“Tim Burton’s Corpse Bride” is defi antly a darker fi lm in comparison. The characters in the fi lm seem to be forced upon each other rather than having any real connection. Johnny Depp lends his hi-pitched pubescent voice to the awkward Victor Van Dort. His parents pawn him off on the seemingly wealthy Victoria Everglot, a young woman whom he has never met, yet is forced to marry. Van Dort’s bumbling leads into an intense scene fi lled with embarrassing moments as he attempts to recall his vows and slips the wedding band onto the fi nger of a woman whom he just met. His lanky limbs give him nothing but trouble as he tries desperately to impress his future in-laws.

Although the movie has a dark premise, Burton doesn’t forget to add in a few moments of comic relief. The fi lm is shot beautifully using clay-animation and computer graphics. In Van Dort’s land of the living, the characters and scenery are mostly dark blue, green and black – the lack of color portraying his rather dull and moody life. Once Van Dort accidentally slips his wedding band on the fi nger of the corpse bride, his world suddenly turns colorful and even the music becomes light.

Produced by Danny Elfman, the score for the fi lm is excellent. Taking cues from “Nightmare,” “Corpse Bride” is also a musical.

With numerous musical numbers, the most colorful scene takes place in the land of the dead where Bonejangles (Elfman) and his skeleton crew fi ll Van Dort in about the story of his new bride.

When the skeletons sing and dance it’s reminiscent of Alice falling down the rabbit hole in “Alice in Wonderland.” The whirl of colors and quick-switching scenes along with a jazzy jingle leave the audience wide-eyed. Unfortunately, this is about the only scene in the movie that warranted any real response. Visiting Elder Gutknecht, the wise skeleton of the land of the dead, Van Dort tricks his corpse bride into having Gutknecht cast a spell that will return them to the land of the living. In the course of singing, dancing and marrying a corpse, he suddenly falls in love with his arranged bride, Everglot, and vows to return home to her. Of course, the plot thickens as back in the land of the living, her greedy parents demand that she marry a scandalous gentlemen whose suave demeanor, in Victor’s absence, sweeps the Everglots off their feet.

This is where the story gets a little thick. There’s nothing pure about Van Dort and Everglot’s love – it’s no Jack and Sally romance, that’s for sure.

Plagued with darkness, “Corpse Bride” has its lagging scenes and moments of confusion. The “Corpse Bride” story is just so boring and far reaching. Burton stretches for more and strings the audience along with him, using a maggot to chime in from time to time to remind the audience to smile. It’s really a shame because the cinematography and music used throughout the fi lm is fl awless.

By KELLI FADROSKI

Daily Titan Staff WARNER BROS. PICTURES Victor Van Dort, voiced by Burton-veteran Johnny Depp, receives a helping hand in “Tim Burton’s Corpse Bride” released Friday.