The NeverEnding Story

The Neverending Story is a fascinating, sweeping fantasy tale written by German author Michael Ende, a clearly intelligent man who dipped his talents into many realms in his life. This is the first story I have read by him, and I am certain it will be the last. Why? Not because it is a deterrent. But because it is spectacular! Rich upon rich detail, describing the most colorful, vivid and grand atmospheres, structures and landscapes. I wonder how a writer like Ende can make every single sentence flow like honey, resonating sweetly in my mind as it becomes one with my imagination. It is a truly remarkable talent that will be obvious to appreciative readers. I blew by the pages in about half a day. The pacing is very well done and never drags for an instant! That is… until what would've been the conclusion in any other book.

If you've seen the film adaptation of the novel, you might wind up just as perplexed and slightly jarred by the additional superfluous mini-story after the climax as I certainly was. Dozens of new characters inexplicably thrown in with lots of confusing names, lots of confusing places in every chapter and for what…? For some elusive symbolic or metaphorical purpose? I understand the book has a political message behind it, but my comprehension only delves so far. I found myself lost in the details, as if Ende was piling them on simply because he could, but… the sparkly detail, vivid imagery and magic were suddenly gone. As if the dreaded Nothing had consumed them and regurgitated them into 50 or more so pages that didn't need to be written. I can't understand why, but luckily I have no problem putting my own end marker after the otherwise natural conclusion is over. Judging from that basis, it is still a wonderful tale.

Onto the film adaptation by Wolfgang Petersen...

Ende got into a fight with the filmmakers about their "unfaithful" adaptation. I don't agree so strongly with the author. There were parts in the book that benefited from a bit more complexity, but on the surface, these details were unnecessary in the film (which is one of the reasons why movies cut so many parts out of the source material). I think of the film adaptation as the plate which has been filled from a buffet line. The screenwriters dipped into each part of the story enough to gain a taste that could be construed to the viewer and nothing more. There are wonderfully imaginative creatures and concepts in the novel (like the Wind Giants and endless worlds of Fantastica) that would make a possible future remake (which some thought has gone into, to my knowledge) more intriguing than the original adaptation as well as some nice aesthetic and metaphorical depth that was missed in the film.

Overall, however, the slight changes are not deadly enough to tarnish the message nor the beauty of the story, despite some narrow-minded reviews by critics way back when. You still have the magic of Falkor, the terror of G'mork, the auspicious bookworm in Bastian and the great quest of Atreyu. Having now read the book, I can see how a sequence here or there in the film was a snippet of a chapter rather than a complete transfer from the book. The characters are mostly the same, and that is a good thing. Because Fantasia, or Fantastica, or whatever it wishes to be called, is about these characters. To see these delightful creatures fleshed out a bit more in that elusive remake would be a joy. And for the most part, the movie got it right. Other elements like pathos and a deeper level of symbolism were missed in the film adaptation now that I have finished reading the book, but all is well in Fantasia. May the water of life slake everyone's thirst and bring about a much merrier world where dreams can become a reality far more often!

The Lazarus Project (2008)

Shutter Island done right, or at least to the same degree of memorability.

Paul Walker stars in this derivative mind-twisting mystery. If you've seen the likes of the comparison above, you won't be surprised by the plot or the twists and turns along the way. Also, given the synopsis and ominous title, I was expecting a higher level of depth than there actually turned out to be.

However, despite a rather contrived opening act, it was thoroughly enjoyable. Walker does well and his diligent effort is noticeable in lieu of an original plot. As I said, it isn't a refreshing tale and suffers from a myriad of tropes. On the whole, it is a good film, though it could've benefited from a longer running time, mostly to elaborate on the opening act as we learn about the perfect home life for Walker's protagonist.

The pros of the film are its meek attitude, unlike Shutter Island which pretended to be bigger and better than it was, when treated with a standard mystery plot, along with a pleasant use of lighting, mood and suspense. The cons are that the evil side could have been, of course, supplied with a fresh branch to add to a tired premise and execution. But at least this film doesn't leave you begging for things to make sense or for characters to not be subdued by cliches. That being said, the conclusion is weakened by the passive nature of the antagonist(s), but I was left with a warm hopeful feeling as a result.

Hard Target (1993)

This film is a mixture of good & bad. Immediately, you'll be able to tell it's a John Woo film. The action is insanely over-the-top, with countless explosions making for enough absurdity that you'll want to be the one that finally kills the invincible protagonist.

Luckily, the protagonist is Jean-Claude Van Damme (of whom I am a big fan). However, despite his cool trench coat and slicked-back hair, this is not one of his best, though I can't fault his efforts. He still manages to sneak in his trademark 360* spin kick and does moderately well with the role, but the script is lacking and the action would benefit from some lacking.

Woo tries his hand at symbolism that feels out of place (at least to me) with goofy background music and random editing touches like use of slow motion. The plot (or lack thereof) veers off, as if the script was originally a slug that became a buckshot round, scattering in multiple directions, all of which are merely basic and not overly intriguing. Abandoning disbelief is a wise choice. For someone who is accustomed to preposterous action flicks, I was miffed by the silliness of it all.

Overall, it is a disappointment, especially since I thought a film with Van Damme & Lance Hendricksen (of Aliens fame) would be worthwhile. There are some well-done action scenes, but hardly anything more of merit throughout this strange mash-up of The Running Man and The Marine.

John Carter (2012)

John Carter is a refreshing tale with sweeping landscapes that introduces an entire new world. That is always a curious scenario in movies, and John Carter knows it. Taylor Kitsch breaks out from his typical southerner roles and transforms into a selfish wanderer from 1881 (which provides some nice historical touches) that is both attractive and mysterious throughout the lengthy picture. There are times when his character lacks a continuity of personality, or a conventional muscle-bound appearance, along with some cliches and meandering moments that bog down the brisk pace of the film, but it's forgivable. Things don't stay wedged for too long.

The contrast of the mysterious explorer with the bear-all atmosphere of Mars is a good one, but the movie is long and overbearing at times. Also, subtitles would have helped with the hard-to-hear dialogue whose whispering plot development is overshadowed by loud music. Some of the most important points in the film are hard to understand because of this, but also because it is hard to comprehend Carter's inner turmoil. Why does he have such a hard time attaching himself to situations, regardless of how perilous they might be?

We don't get to know much, and that does damper any hopes of clarity for conviction. Characters are mostly weak and 1-dimensional aside from the titular focus. There are far greater concepts in this film whose meaning is never quite revealed. But on the plus side, we see (visually) plenty instead! Though the film is roughly 95% CGI, the wonderfully magnificent structures and overall atmosphere of Mars is breathtaking with immersion! And the CGI is good, as it should be for such a large budget. I wanted to learn more about these settlements along with the people and cultures they represent. In a movie that is over 2 hours long, one might think there would be some exploration. But as we saw with Avatar, films tend to leave these attractions at surface value. Still, the world of Mars is incredible, though the CGI is a mild distraction.

To be pedantic, I couldn't agree or disagree with Disney's target audience. Some of the film's most delightful aspects are derived from a less adult style, but I found myself (as a 21 year old) wondering how a more mature telling would have fared in comparison. There are some mature aspects to the film (scantily clad women and blunt violence) that feel misplaced for a "kids"--in lack of a better term--film. In short, the humor is done well and I never felt parched watching a movie that is roughly set in the desert for the middle half.

I hate to relate it to pictures like Avatar (ilke others are doing as I write this), but John Carter suffers from the same premise-over-execution curse. This is a whole new world! But after the film concludes, I was left hungering for a sequel that explored more of this fascinating odyssey that captivated the protagonist just as strongly. Also, the plot could've been more straightforward and clearly fumbles at some points, but a strong finish and satisfying twist do well as compensation.

Overall, I do wonder what has plagued this film, when its predecessor Avatar raked in the box office with a far more basic script and imaginative world. Should we blame Disney, or misguided advertising? How about the obscure title or simply bad timing, both from a release date perspective and genre? In a way, this film was misfired into a lopsided effort, but I definitely enjoyed it more than other films with similar qualities and themes. And to those who say it is a rip-off of earlier films, it isn't-- it was written over 100 years ago! On Mars, no less.

The Lincoln Lawyer (2011)

As a fan of McConaughey, I quickly warmed to his character's cunning swagger as a hot-shot defense attorney. At first, he coolly runs through the errands of his profession in a nonchalant regard with a money-first concentration. But the passion for his work (despite the flaws of the justice system) comes out as the plot develops and he portrays it strongly. He's a likable character. Overall, the performance feels natural, realistic and relaxed as he is stretched to his breaking point. As a lawyer seeking to figure out the truth, McConaughey does well portraying the facial meditation.

The plot sort of veers off prematurely in a complex manner quite quickly, but as long as you're paying attention, you shouldn't get too lost by the sudden flow of the legal rhetoric or the sweeping transitions (which are a vague distraction). The film has a rocky start, but picks up with interest.

The input by Marisa Tomei is refreshing as she rides smoothly off her sultry role in The Wrestler. Also, as a fan of their acting, I appreciated Josh Lucas's (Glory Road) and John Leguizamo's small roles. Meanwhile, Ryan Phillipe is no longer the young boyish hottie I remember and he feels miscast in this picture, unlike his other more comfortable serious role in Breach.

The film prospers from the elements of mystery that can be found in any standard legal thriller, which as a fan of the genre appeases me much. It also has a raw dark atmosphere, offers a vicious view of the legal system's hypocrisies and benefits from solid dialogue.

Changing Lanes (2002): It's Never Too Late

Themes of impatience and moral consequence dictate this frenetic portrait of human interaction. The philosophical atmosphere dominates the characters who remain confined on a moderate level. There is little to smile about in the film, other than the auspicious introduction, leaving me feeling disjointed as the pace stays high throughout without the film offering any escape from the ensuing chaos. It could have been longer and would've benefited from some bright moments instead of clinging to literary devices that served a deliberate purpose. Overall, the bleak and dull nature, while convincing as a mirror of real life, doesn't make for a colorful exciting adventure.

On the upside, Affleck is fierce yet vulnerable, especially in one scene when his lawyer is faced with the utmost of revelations. Ironically, it is Jackson who carries a pitiful softness with his character's plight. Other notions such as endless (but self-rejected) regret, blissful silliness, exhaustion and smoldering denial of one's unhappiness beneath the surface level make this quite a thoughtful injection for the viewer, serving as a reminder fort a better way to function as a person day after day.

It is never too late to change lanes in life. It simply depends on each individual's choice and the other people they claw at from time to time.