"Ender's Game" a Close Win

There are two men out there named Orson Scott Card. One is the beloved author whose novels managed to win both major US prizes for science fiction (the Hugo and the Nebula) in two consecutive years, making him the only man to do so. His singular novel, Ender's Game, is practically required reading, having become so well-known since its release in 1985. The book surprisingly predicted many modern developments, from drone warfare to the internet to tablet computers like the iPad you're reading this on. In short, Card is one of the most prolific Sci-fi authors, right up there with Isaac Asimov and Ray Bradbury. The OTHER Orson Scott Card is the homophobic individual living in Greensboro, North Carolina, whose well-known opposition to same sex marriage has caused a ton of backlash as groups sought to boycott Ender's Game, the film based on his seminal work. Even film distributor Lionsgate distanced themselves as much as they could from this man, fearing the fallout over the controversy for their $110 million product. Do either of these men leave a lasting mark on what has actually landed in theaters?

Battle School can't even splurge on some camouflage sleepwear?

In 2086, an invasion by the alien species known as the Formics practically decimates the planet Earth. The heroics of our military was just enough to drive them off, but the government fears an even stronger return. Determined to adapt their strategies and discover the next great commander, they assemble the best known minds on the planet in a space station designated "Battle School" under the command of Colonel Graff (Harrison Ford). Ender Wiggin (Asa Butterfield) is the smartest of the bunch, a loner who constantly finds himself bullied by those larger than him, but who also possesses a keen strategic mind that puts everyone - especially those who doubt him - to shame. As Ender rises through the ranks and gains friends and allies, he awaits his greatest challenge; taking the fight to the Formics and end the threat to Earth once and for all.

The only reason he's wearing yellow is that it makes him a brighter target.

For all the fuss about supporting Card's story, he really doesn't have all that much to do with the production of the movie itself. Yes, he is listed as a "producer", but in this case that's really an honorific due to his providing the source material. Instead, the screenplay is penned by director Gavin Hood, who rebounds nicely from the cringe-worthy disaster that was X-Men Origins: Wolverine. He takes the book and adapts the tale nicely, spreading the major events and many minor ones nicely over the course of a two-hour feature. Given almost total control over the start of this potential franchise, Hood proves his mettle in both character development (well, mostly, as we'll see later) and action, with the film's special effects being among the best in theaters this year (and I saw this on an IMAX screen, so I would have noticed the imperfections). While certainly not living up to the visual achievements of Gravity, Hood's rendition of outer space is still astounding, and his set pieces are all well-designed and beautiful to the discerning eye. A great SFX team was put together here, and under Hood's direction they succeed in building this futuristic universe and replicating Card's vision.

Explosions in space are amazing!

Hood is more than ably assisted by a talented cast, anchored especially by its younger actors. Butterfield hasn't been seen since 2011's excellent Hugo, and here he shows off another side to his acting ability. While written perhaps a tad blandly, the young performer quickly turns Ender Wiggin into someone the audience can easily root for, and keeps that momentum going throughout the film. You really get a feel for the extremes with the character, as Ender tries to balance his duties as the hero of humanity with the neuroses and desires that come from being a kid. Also excellent are Hailee Steinfeld, who steals many a scene as Ender's friend and compatriot Petra, and Abigail Breslin, who has a few appearances as our protagonist's Earth-bound sister. The veterans also get to show off a bit, as both Ben Kingsley and Viola Davis do their jobs as supporting characters well. Only Harrison Ford feels forced, his gruff military man a clear phone-in and ultimately a disappointment after his impressive turn in 42.

Ford: still flying Solo. 

While Ender's Game is definitely a solid movie, it does have a few wrinkles that never quite even out. Despite Hood's best efforts, the story feels rushed, as Ender must navigate nearly a dozen major plot points within the little time given. This means that many minor characters are severely underdeveloped, and their burgeoning relationships to the film's hero are a bit sketchy at best. A bit more padding would have sufficed in filling some of the more egregious holes, but considering how hard it is for parents to keep their kids still, it's understandable that the studio wouldn't have wanted to tack on an additional twenty minutes where it wasn't completely necessary. More of a letdown is the distinct lack of 3D offerings. I know, I'm the guy who usually criticizes 3D as gimmicky, especially when it's poorly implemented. But the the special effects here were MADE for 3D conversion, the gorgeous space scenes and complex indoor battlefields practically popping out of the screen already. The lack of this tech is questionable for a few reasons, mainly because it would seem natural for the genre but also because 3D will often help sell your movie to overseas markets. After all, Paramount delayed GI Joe: Retaliation for nearly nine months when they realized how much of a financial bump 3D conversion would get them across the world. Why did Lionsgate fail to make this happen? Especially with a big-budget sci-fi epic that has had more than its share of problems these days?

Welcome to Battle School. You'll never learn most of their names.

So should you overcome your hatred of that second Orson Scott Card and see this movie on the big screen? Well, yeah. It ought to be noted that Card is not making a cent off of the box office draw; he was paid a sum for an early draft of the screenplay (that was later scrapped), but other than that he's making no money off of this adaptation of his work. So if you decide to get out the movies and check this out, don't worry; you are in no way supporting him financially. More importantly, Ender's Game is a fun, smart, and excitingly epic tale that takes you a galaxy away and deep into one of science fiction's most well-known tales. Yes, there's other fantastical fare out there right now in Thor, but if you've already seen that Marvel production and are excitedly awaiting next week's The Hunger Games: Catching Fire, then this is another film you should add to your must-watch list.

Baseball is Back

In post-WWII America, much of the nation was enjoying a prime era. The "Greatest Generation" had returned home, triumphant over the evils of fascism and the Holocaust. But while we were celebrating our victory, evils were being perpetrated on our own soil, against our own citizens. Racism was still rampant in America, seeding itself everywhere but focused mainly in the deep south where Jim Crow was king and everything from schools to bathrooms were segregated in a laughable execution of "Separate but Equal." While all those policies were wrong, where it was most notoriously visible was Major League Baseball, at the time the country's most popular sport. Before expansion, before wild card slots, before interleague play and the World Baseball Classic, baseball culture was relatively simple and unparalleled. Still, the players, managers and umpires were all white (or at least light-skinned Latinos), with no consideration ever given to signing a black ballplayer to a Major League contract.

That changed in 1947, when Jackie Robinson became the first African American to break baseball's sacred color barrier and forever change the sport. That's where Brian Helgeland's 42 steps up to the plate. Robinson's story hasn't been given the big screen treatment since 1950's The Jackie Robinson Story, which starred Robinson himself. Looking back on perhaps the most important change in the modern sports era, the film looks at the Hall of Famer's ascent from great Negro League player through his first tumultuous season as a member of the Brooklyn Dodgers, winning Rookie of the year in 1947. That year, Robinson (Chadwick Boseman) had to face prejudice on all side, not only from society and rival teams but often from his own teammates as well. But with a rugged determination, no shortage of talent and the backing of the Dodgers' General Manager Branch Rickey (Harrison Ford), Robinson earns the respect of his peers to become the renowned player he is known as today.

Perhaps most surprising about this production is how it took so long to reach fruition. As I mentioned, there hasn't been a film about Robinson since 1950, a 63-year gap that seems strange when you consider Robinson's role in the Civil Rights era. Still, the final product was well worth the wait, even when you consider the fact that it comes from Helgeland, who proves himself a fine director despite his inexperience (he's a screenwriter whose only previous credits as a film director are A Knight's Tale, Payback, and The Order). He not only rebuilds classic rural America, with its dirt roads and classically-designed ballparks, but he captures the attitude of the era, the natural discrimination that can only be infused through generations of hate and ignorance. Helgeland also successfully navigates Robinson through this gamut of violent and nonviolent bigotry, painting a fairly clear picture of what the superstar had to endure in his historic first season.

Helgeland also does an excellent job with his cast, one of the strongest I've seen this year. Frequent television guest-star Chadwick Boseman gets his biggest role to date, and as Robinson his gravelly voice and barely-civil demeanor is the perfect balance for a character sick of the degradation he must endure to play the game he loves. Hopefully this will be the first step for Boseman, one of many African American actors officially making their presence known in recent years. But as much as I loved the young actor, the number one performance of 42 has to be Harrison Ford as the rule-breaking General Manager Rickey. For the first time in a LONG time, my first reaction to a Ford performance wasn't "Indy!" or "Solo!" In fact, I often had to remind myself that Ford was in fact the actor on screen most of the time, such was his astounding ability to disappear into the role. His performance, as well as Rickey's penchant for speaking in metaphors and hiding his true objectives, makes for one of the year's great characters.

And this movie is full of real-life characters, from Wendell Smith (Andre Holland), who would become the first African American member of the Baseball Writers Association of America; Leo Durocher (Christopher Meloni), the Dodgers manager who declared "I do not care if the guy is yellow or black, or if he has stripes like a %^@&in' zebra. I'm the manager of this team, and I say he plays. What's more, I say he can make us all rich. And if any of you cannot use the money, I will see that you are all traded" when speaking to his players of Robinson; Pee Wee Reese (Lucas Black), who famously supported Robinson even to his potentially hostile hometown fans; Ben Chapman (Alan Tudyk), the player/manager of the Philadelpia Phillies whose vocal efforts to ridicule Robinson on the field had the opposite effect of uniting much of Brooklyn around their star; and Rachel Isum Robinson (Nicole Beharie), the woman who was the tenderness behind Jackie's gruff exterior. Those great performances and more underscore the film's narrative, enhancing the story with its truly understandable characters.

Is it a perfect movie? No. Emotionally, Helgeland is still a little raw, confusing melodrama with compassion, cliche with character. There are moments throughout 42 which are so staged that they reek of ridiculousness, from the inspiration Robinson brings to a small boy to the blatant (though perhaps true) scenes of discrimination, the director occasionally stuffs his movie with unnecessary bits to try and enhance the drama. More often than not, though, he succeeds when the script calls for minimalism (a scene with Ford recollecting a white boy imitating Robinson's batting stance is exceptionally well-done). The story also has some glaring historical inaccuracies (especially involving the yearlong suspension of Durocher), though those are ultimately the exception and not the rule. The few stretches into humor feel forced, though they occasionally work despite their apparent deviation from the dramatic tale.

While it might not sit on the same pedestal as such baseball movies as Bull Durham, Field of Dreams or Moneyball, 42 surely isn't far behind. It belongs in the same discussions of The Rookie, A League of Their Own, 8 Men Out and Major League, and provides a better moviegoing experience than many of those classics. 42 harkens back to the days when baseball was America's #1 pastime, and gives a good argument for revisiting that ideal again. But even if you're no baseball fan, the movie's human drama and the legacy of Jackie Robinson are well worth your time and attention, especially since you don't want to wait another 63 years to receive this opportunity again.

Best Pun Ever

How many comic book movies are we up to now? Thanks especially to illustrated paper giant Marvel Comics' rush to get every major hero out into the theaters in record numbers (Thor, X-Men First Class, Captain America), the comic book film has been the definition of cinema in 2011. It hasn't just been the two major comic book labels (along with DC's Green Lantern) that have been releasing screen material either: independent comics have been adapted for the big show in 2011, including Dynamite Entertainment's Green Hornet and the Korean comic Priest. Not all of these films have been worth watching, but the success many of them have garnered is a positive sign for future projects in that vein. The latest to join their ranks is Cowboys & Aliens, based on the graphic novel from Platinum Studios. Combining themes of westerns and alien invasion, the film's trailers boasted of explosions, big-name stars (Daniel "007" Craig and Harrison "Indy" Ford), and the helm under the control of Iron Man director Jon Favreau, fast proving himself a talented action director. The real question going in was whether this particular title would be closer to Favreau's excellent work in the first IM film, or if it would be more akin to the train wreck that was Iron Man 2.

Obviously, the aliens worship Prince concerts...

It's 1873, and Jake Lonergan (Craig) suddenly awakes in the middle of the Arizona desert. He has no idea of who he is, what he does, or how he came to be in his current predicament. He certainly doesn't know how he came to be in possession of the strange metal bracelet stuck to his wrist. Stumbling into the closest town, he is recognized by the local authorities as a wanted felon, and news of his arrival reaches the ears of retired Civil War Colonel Woodrow Dollarhyde (Ford), who wants Lonergan to return the gold our amnesiac apparently stole. As this is going on, strange alien crafts attack the town and kidnap many of the local populace, leading Lonergan (who discovers his bracelet is a kick-ass weapon) and Dollarhyde to put aside their differences and hunt down the monsters who kidnapped their townsfolk, hoping to take them back.

Whew, that must have been a REALLY fun night!

Westerns as a genre haven't been major plusses in cinema in recent years. With forced hybrids like Wild Wild West, Jonah Hex and The Warrior's Way failing at every turn, the genre right now is a far cry from its heyday of Gunsmoke and The Magnificent Seven. The day of legendary western directors like Sam Peckinpah can be chronicled by my friend Brian, but these days success in that area is rare as the past year has featured a couple of major victories in the True Grit remake and the animated Rango. That doesn't make the idea of creating a western film any less hazardous to your financial backers, however. If anything, it will make some people too hopeful for the fading western genre to make a comeback, and disappoint many in the process.

He'd better hope there are no snakes... he hates snakes...

Still, regardless of the status of the western in this day and age, I had a lot of fun in Cowboys & Aliens. While the western angle is somewhat cliched (references to the Civil War, hostile Native Americans, wanted felons, corrupt authority figures, etc.), the sci-fi elements respond aptly by being just as if not more cliched. The result is surprisingly a film that feels fresh and almost original, thanks especially to a story crafted by a small army of screenwriters and expertly told by the ever-expanding Favreau, back on top after last year's IM2 debacle. The film has not a boring moment, and while some parts are so insane as to be unbelievable, my enjoyment at the theater never ebbed, which is more than I can say about most of the films I've witnessed this year. With a well-rounded cast of characters each with their own personal motivations, Favreau does a wonderful job developing them from somewhat-contrived personas to somewhat-contrived people we can root for. The story may be the weakest part of the film, but it considering some of what I've seen this year, here it is but a paltry criticism..

Don't make the mistake of fist-bumping him

It helps that those characters are played by some of the most talented folk in Hollywood. With the future of James Bond in serious question, Daniel Craig was very much in need of a new career direction. I'm not sure how I feel about him doing films like this, but he certainly takes to it naturally. The English actor makes for the most unlikely American desperado, but effective he is. Even though Jake Lonergan doesn't have much that is different from many a western anti-hero, it's still fun seeing his past unfold, and to watch Craig believably learn it alongside us. Harrison Ford is also amazing as the "bad guy" Dollarhyde. Ford has played the Hollywood hero so long it's somewhat strange to see him play such a gruff and cruel character, but when you think about it you can see where the progression of his career naturally pushes him to this point. Perfectly blending rich honcho with concerned parent in a way that makes him even more compelling than Craig, Ford once again proves to us that he still has "it.". The two are easily the best the film has to offer. I wish I could say the same for Olivia Wilde as mysterious traveler Ella. While she starts off interesting as a gun-toting self-capable woman on the frontier, poor development and lousy dialogue sabotage what could have been a very good performance. Sure, Wilde has the looks and a good head for the business, but I'm starting to wonder when that great performance is going to arrive on the screen. The secondary characters in Cowboys & Aliens are a good bunch, manned by talented character actors who take their jobs seriously and know exactly what they have to do to be believable to the audience. Sam Rockwell, Clancy Brown, Adam Beach, Raul Trujillo, Walton Goggins and Keith Carradine all expertly play their roles, from Rockwell as a mild-mannered saloon owner to Brown's rifle-wielding priest to Goggins' sycophantic bandit. And as my compatriot Paul has often said, "There's no such thing as a bad movie with a Carradine," in this case the local Sheriff. Sure, these roles are anything but original, but this cast really works their chemistry and makes the hard work pay off, creating an authentic western setting to blow up with ray guns and plasma discharge.

Is Craig channeling a little Christian Bale here?

Sure, it's riddled with flaws. The story is comprised of two cliched genres that don't do much to deviate from their set procedures with the notable exception that they coexist in the first place. The special effects are top notch, but it is the stellar core cast and the smart directing from Favreau that separate this film from your average Syfy Original movie. While it's far from the best action film I've seen this year (or am likely to see), it inhabits that same realm of cool that was already kept warm by fun thrill-rides Fast 5, Captain America and Battle: Los Angeles. If you're tired of the typical adventure film and want something very different, Cowboys & Aliens should be right up your alley. At the very least, go see Daniel Craig and Harrison Ford out-act most of Hollywood for a couple of hours.