‘Jupiter Ascending’ Space, jammed
CHANNING Tatum and Mila Kunis in “Jupiter Ascending”
MANILA, Philippines—Andy and Lana Wachowski’s “Jupiter Ascending” is a massive, if muddled, sci-fi-space saga about the titular Jupiter Jones (Mila Kunis), meek, young house cleaner who inherits the Earth, and all the attendant star-spanning problems.
The young woman from Chicago, who hates her humdrum existence, gets the surprise of her life when she discovers truths about her being, and the planet, that make her wish for simpler times.
A royal family lays out less-than-noble plans for her and the Earth, dispatching a variety of alien creatures to go after her and her family. Enter Cain Wise (Channing Tatum), pointy-eared adventurer who rescues her from these hunters’ clutches. He reveals some facts about Jupiter’s true nature and her importance in the scheme of things. Expectedly, a romantic attraction starts between them.
Quite tedious
So it’s “The Bodyguard” meets “The Phantom Menace” but quite tedious (yes, more than the latter), and minus things that truly make it interesting. Jupiter Jones isn’t a character you root for; she’s mostly a damsel in distress, saved a few times by her new warrior companion. Although, to be fair, she does stand up eventually against the passive-aggressive space villain Balem Abrasax (Eddie Redmayne).
Try to cower in fear at Balem, leader of the powerful clan, but he isn’t very commanding with his regular shifts from bedroom voice to angry yells, and back—proof that gifted actors could end up doing badly with the wrong character and approach. Intended to be “Jupiter Ascending’s” major bad guy—there are a few of them here
—Balem is neither memorable nor distinctly menacing, just freakish.
As for Cain, the perennial rescuer, he’s got a generic personality, if it can even be called that. A few scenes of him in the cockpit of a ship bring back bad memories of the first “G.I Joe,” where he acted like he was fighting things that weren’t there.
Kunis, a competent actress on other days, appears to be struggling like her oft-gullible character, unconvincing throughout the whole adventure.
Everybody expects more from the Wachowskis, owing to a good track record (well, OK, forget the “Matrix” sequels). “Jupiter Ascending” doesn’t exactly reach for new heights, and doesn’t get really interesting despite the nearly nonstop barrage of flashy encounters.
JAMES Corden, Emily Blunt (center) and Meryl Streep in “Into the Woods”
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‘Into the Woods’: Fantasy hodgepodge
Fantasy musical film “Into the Woods” reimagines familiar fairy tales into one story, its popular characters forming weirdly symbiotic bonds, around a quest involving a childless couple.
While the idea that these archetypal fantasy figures mingling might actually be fun, the Rob Marshall movie isn’t always diverting, although it does have somewhat fascinating moments.
The big-screen adaptation of the James Lapine-Stephen Sondheim musical, “Into the Woods” starts with a light, sprightly number, introducing Red Riding Hood (Lilla Crawford), Jack (Daniel Huttlestone), Cinderella (Anna Kendrick), The Baker (James Corden) and the Baker’s Wife (Emily Blunt).
The last two are visited by their creepy crone neighbor, The Witch (Meryl Streep), who reveals that a curse is keeping the young couple from having children. She promises to lift the spell, if the spouses gather a few items that she needs for a grand enchantment.
Initially promising
Said items, however, belong to the other fairy-tale icons, who all have reasons not to part with their property. So husband and wife get creative and persuasive to get their own desired “prize.”
“Into the Woods,” which runs at a little over two hours, manages to present a world that’s initially promising. In time, however, its length and content fail to work in its favor. Its potential to be fun isn’t always realized; instead, it comes across as hodgepodge, not really able to take advantage of its loose structure.
But the performances, despite the mixed bag of songs, are mostly done right. Streep is aptly imposing here, and better shot than in “Mama Mia,” where her numbers lack suitable and kinetic camerawork. Compared to her other award-worthy characters, though, this flashy, over-the-top role isn’t her most moving or textured. Still, she is a joy to watch, an overpowering presence that the relatively less-showy film needs.
In a number of instances, “Woods” tells and not shows, which can be grating and more than a little baffling. At one point the story gets messy and bleak, as well; if one expects a clean and feel-good resolution to some of the presented predicaments, well, expect a letdown of a denouement.
“Into the Woods,” despite the storytelling flaws and one’s ultimate indifference to its characters, benefits from the participation of Blunt, Corden, Kendrick, Chris Pine as Cinderella’s Prince, and Johnny Depp as The Wolf, aside from the wickedly wondrous Streep.
