Skip to main content

Zorgons are the lizardmen. They eat meat and we are MEAT!


Zathura
(2005)

This is the forgotten movie Jon Favreau made between Elf and Iron Man. I would have said “little”, but it wasn’t especially cheap and it bombed at the box office. Yet it proved Favreau as a versatile director who could handle special effects, and was instrumental in getting him the Iron Man gig. As a kind-of sequel to Jumanji (both derive from children’s books written by Chris Van Allsburg), Zathura illustrates what happens when a studio lets too much time pass by, and then stumbles into trying to repeat earlier success with little idea why they are doing it. At the same time, it’s a highly enjoyable failure.

Jumanji was a significant hit, but also very expensive. It had Robin Williams attached to it, which at the time made it likely to at least open to solid business. But it wasn’t all that good, with journeyman Joe Johnston rather overwhelmed by the extravagant special effects. A curious footnote is that both directors of this “franchise” went on to call the shots on Marvel movies.

The illustrated book Jumanji is based on was first published in 1991, and had the curious hook of wild animals and jungle delights materialising as players progress round a magical board game. Presumably Van Allsburg had cash on his mind, as he came up with his sequel seven years after Jumanji was turned into a film (in 2002) and while another adaptation was in progress (The Polar Express). Like Thomas Harris, but with less consumption of human brain matter, Van Allsburg returned to the well of his most famous property. But this time he came up with a game with science fiction/space fantasy elements.

This might be one of the reasons the movie failed to catch on; Jumanji was very much a “family” film (it had Robin Williams in it!) but Zathura is for boys. The sister (Kristen Stewart) spends most of the film asleep or frozen, enabling the two brothers to learn to get along. Jonah Bobo is the younger brother, a sports-shy creative type, while Josh Hutcherson is the future-jock who finds Jonah a constant pain (Hutcherson’s square-jawed density certainly lends him to less cerebral roles). When Bobo finds the titular game in the basement, it isn’t long before play begins and they find their house adrift in space. Each move brings new dangers, be it meteor showers, carnivorous lizards or defective robots.

With a core set to work on but extensive special effects to incorporate, Favreau commendably keeps things as practical as possible. There’s a winning immediacy to the explosive carnage wreaked on the house, and it’s nice to see prosthetics and model work instead of CGI. He also extracts solid performances from his junior cast; there’s much shouting, Goonies-style, and Bobo’s inexperience is sometimes noticeable, but their relationship is well-realised. There’s even a twist that doesn’t make any sense but underpins their “arc” (so it’s almost excusable).

Tim Robbins plays the dad, Dax Shepard an astronaut. The former bookends the film, and he successfully smoothes over some rather laboured establishing scenes. The latter brings his usual dazed gopher demeanour to the proceedings, but is much less annoying than usual.

It’s noticeable how tepidly children’s book adaptations tend to be received if they aren’t Harry Potter or Dr Seuss. The likes of this, City of Ember and The Spiderwick Chronicles are much better than their box office would suggest. Perhaps kids don’t want to watch other kids as protagonists any more (although its debatable how much this was ever so). Favreau’s has made a likeable fantasy that doesn’t outstay its welcome, and one that’s superior to his recent uninspired efforts Iron Man 2 and Cowboys and Aliens.

*** 

Comments

Popular posts from this blog

Mondo bizarro. No offence man, but you’re in way over your head.

The X-Files 8.7: Via Negativa I wasn’t as down on the last couple of seasons of The X-Files as most seemed to be. For me, the mythology arc walked off a cliff somewhere around the first movie, with only the occasional glimmer of something worthwhile after that. So the fact that the show was tripping over itself with super soldiers and Mulder’s abduction/his and Scully’s baby (although we all now know it wasn’t, sheesh ), anything to stretch itself beyond breaking point in the vain hope viewers would carry on dangling, didn’t really make much odds. Of course, it finally snapped with the wretched main arc when the show returned, although the writing was truly on the wall with Season 9 finale The Truth . For the most part, though, I found 8 and 9 more watchable than, say 5 or 7. They came up with their fair share of engaging standalones, one of which I remembered to be Via Negativa .

You know what I sometimes wish? I sometimes wish I were ordinary like you. Ordinary and dead like all the others.

Séance on a Wet Afternoon (1964) (SPOILERS) Bryan Forbes’ adaptation of Mark McShane’s 1961’s novel has been much acclaimed. It boasts a distinctive storyline and effective performances from its leads, accompanied by effective black-and-white cinematography from Gerry Turpin and a suitably atmospheric score from John Barry. I’m not sure Forbes makes the most of the material, however, as he underlines Séance on a Wet Afternoon ’s inherently theatrical qualities at the expense of its filmic potential.

A ship is the finest nursery in the world.

A High Wind in Jamaica (1965) (SPOILERS) An odd one, this, as if Disney were remaking The Swiss Family Robinson for adults. One might perhaps have imagined the Mouse House producing it during their “Dark Disney” phase. But even then, toned down. After all, kids kidnapped by pirates sounds like an evergreen premise for boy’s own adventuring (more girl’s own here). The reality of Alexander Mackendrick’s film is decidedly antithetical to that; there’s a lingering feeling, despite A High Wind in Jamaica ’s pirates largely observing their distance, that things could turn rather nasty (and indeed, if Richard Hughes’ 1929 novel  had been followed to the letter, they would have more explicitly). 

Duffy. That old tangerine hipster.

Duffy (1968) (SPOILERS) It’s appropriate that James Coburn’s title character is repeatedly referred to as an old hipster in Robert Parrish’s movie, as that seemed to be precisely the niche Coburn was carving out for himself in the mid to late 60s, no sooner had Our Man Flint made him a star. He could be found partaking in jaundiced commentary on sexual liberation in Candy, falling headlong into counter culture in The President’s Analyst , and leading it in Duffy . He might have been two decades older than its primary adherents, but he was, to repeat an oft-used phrase here, very groovy. If only Duffy were too.

You have done well to keep so much hair, when so many’s after it.

Jeremiah Johnson (1972) (SPOILERS) Hitherto, I was most familiar with Jeremiah Johnson in the form of a popular animated gif of beardy Robert Redford smiling and nodding in slow zoom close up (a moment that is every bit as cheesy in the film as it is in the gif). For whatever reason, I hadn’t mustered the enthusiasm to check out the 1970s’ The Revenant until now (well, beard-wise, at any rate). It’s easy to distinguish the different personalities at work in the movie. The John Milius one – the (mythic) man against the mythic landscape; the likeably accentuated, semi-poetic dialogue – versus the more naturalistic approach favoured by director Sydney Pollack and star Redford. The fusion of the two makes for a very watchable, if undeniably languorous picture. It was evidently an influence on Dances with Wolves in some respects, although that Best Picture Oscar winner is at greater pains to summon a more sensitive portrayal of Native Americans (and thus, perversely, at times a more patr

You’re a disgrace, sir... Weren’t you at Harrow?

Our Man in Marrakesh aka Bang! Bang! You’re Dead (1966) (SPOILERS) I hadn’t seen this one in more than three decades, and I had in mind that it was a decent spy spoof, well populated with a selection of stalwart British character actors in supporting roles. Well, I had the last bit right. I wasn’t aware this came from the stable of producer Harry Alan Towers, less still of his pedigree, or lack thereof, as a sort of British Roger Corman (he tried his hand at Star Wars with The Shape of Things to Come and Conan the Barbarian with Gor , for example). More legitimately, if you wish to call it that, he was responsible for the Christopher Lee Fu Manchu flicks. Our Man in Marrakesh – riffing overtly on Graham Greene’s Our Man in Havana in title – seems to have in mind the then popular spy genre and its burgeoning spoofs, but it’s unsure which it is; too lightweight to work as a thriller and too light on laughs to elicit a chuckle.

My Doggett would have called that crazy.

The X-Files 9.4: 4-D I get the impression no one much liked Agent Monica Reyes (Annabeth Gish), but I felt, for all the sub-Counsellor Troi, empath twiddling that dogged her characterisation, she was a mostly positive addition to the series’ last two years (of its main run). Undoubtedly, pairing her with Doggett, in anticipation of Gillian Anderson exiting just as David Duchovny had – you rewatch these seasons and you wonder where her head was at in hanging on – made for aggressively facile gender-swapped conflict positions on any given assignment. And generally, I’d have been more interested in seeing how two individuals sympathetic to the cause – her and Mulder – might have got on. Nevertheless, in an episode like 4-D you get her character, and Doggett’s, at probably their best mutual showing.

I tell you, it saw me! The hanged man’s asphyx saw me!

The Asphyx (1972) (SPOILERS) There was such a welter of British horror from the mid 60s to mid 70s, even leaving aside the Hammers and Amicuses, that it’s easy to lose track of them in the shuffle. This one, the sole directorial effort of Peter Newbrook (a cameraman for David Lean, then a cinematographer), has a strong premise and a decent cast, but it stumbles somewhat when it comes to taking that premise any place interesting. On the plus side, it largely eschews the grue. On the minus, directing clearly wasn’t Newbrook’s forte, and even aided by industry stalwart cinematographer Freddie Young (also a go-to for Lean), The Aspyhx is stylistically rather flat.

The best thing in the world for the inside of a man or a woman is the outside of a horse.

Marnie (1964) (SPOILERS) Hitch in a creative ditch. If you’ve read my Vertigo review, you’ll know I admired rather than really liked the picture many fete as his greatest work. Marnie is, in many ways, a redux, in the way De Palma kept repeating himself in the early 80s only significantly less delirious and… well, compelling. While Marnie succeeds in commanding the attention fitfully, it’s usually for the wrong reasons. And Hitch, digging his heels in as he strives to fashion a star against public disinterest – he failed to persuade Grace Kelly out of retirement for Marnie Rutland – comes entirely adrift with his leads.

Just wait. They’ll start listing side effects like the credits at the end of a movie.

Contagion  (2011) (SPOILERS) The plandemic saw Contagion ’s stock soar, which isn’t something that happens too often to a Steven Soderbergh movie. His ostensibly liberal outlook has hitherto found him on the side of the little people (class action suits) and interrogating the drugs trade while scrupulously avoiding institutional connivance (unless it’s Mexican institutional connivance). More recently, The Laundromat ’s Panama Papers puff piece fell fall flat on its face in attempting broad, knowing satire (in some respects, this is curious, as The Informant! is one of Soderbergh’s better-judged films, perhaps because it makes no bones about its maker’s indifference towards its characters). There’s no dilution involved with Contagion , however. It amounts to a bare-faced propaganda piece, serving to emphasise that the indie-minded director is Hollywood establishment through and through. This is a picture that can comfortably sit alongside any given Tinseltown handwringing over the Wa