Retro Review: World is Not Enough

Pierce Brosnan’s third outing as James Bond and one of his best.

Feeling responsible for the death of a British oil tycoon and a friend, who died in an explosion in MI6 HQ, James Bond takes position as bodyguard to the tycoon’s daughter, Elektra (Sophie Marceau), who has a mysterious past and hidden agenda.

In recent weeks, Brosnan has gone on record saying he wants more revealing and sexier love scenes in Bond and he would love to see Bond killed off. He has also said he wouldn’t mind leaving Bond behind. Are these the greatest things to be saying upon the opening of the film?

It would be such a shame when he finally seems to be playing Bond right and having a script that finally wants us to see more Bond. After the dismal “Tomorrow Never Dies” I was wondering how the franchise was going to rebound.

In the two past Brosnan/Bond films, we had superficial scripts which never had any depth. The stunts and deliveries were setup like other action films of the times but none really addressed why Bond is Bond. The last two were just basically action films with Pierce Brosnan.

I guess the next question to ask is who or what is Bond? And why that element makes a good Bond film. A superior Bond film is always in the script and the intrigue associated with a spy. In the latest film the script always has two levels going on coupled with a pain within Bond himself. These play off each other as the perpetual hero shows the signs of being human.

In the past 5 Bond films they have been trying to make him more human and it really isn’t till this one that they seem to have located the angle they sought. Betrayed, injured, and scorned are just some of the emotions I haven’t seen in Bond in years. And that’s exactly why this one works and why it’s the best Bond in ten years.

With this revelation, director Michael Apted’s action sequences and locales seem to be fleshed out and in the highest of Bond form. Apted pushes the envelope with a great Bond finale which pivots Bond and the villain dueling in a submarine spiraling towards the bottom of the ocean. This sequence is true Bond and reminds me a lot of the great climaxes of the 80’s pictures.

Within the cast is the always brilliant Sophie Marceau who’s innocent but brutal Elektra is going to be a fondly remembered Bond girl.

Wasted is 2^nd Bond girl Denise Richards who seems to be quite out of her element and made me thinking that these two could be father and daughter instead of lovers. Richards looks like a teen and is supposed to be a “Lara Croft type nuclear expert”?

Rounding out the rest of the cast is “the man who can feel no pain” Renard played deviously by Robert Carlyle. Carlyle reminded me a lot of Sean Bean’s 006 in “Goldeneye”.

World is Not Enough, for me, stands as Brosnan’s second best turn as Bond. It brought Bond back to what made the Connery and Moore eras so special. If you can forgive Denise Richards playing a nuclear physicist and her god awful name, which was probably on conceived for the movie’s final line, then this is a very solid film.

(4 out of 5)

So Says the Soothsayer.

 

Retro Review: Impostor

Sci-fi guru and visionary Phillip K. Dick dreamed of far off worlds and intricate plots that still fascinate us today. His sci-fi masterpieces have spawned such classic sci-fi films as “Blade Runner” and “Total Recall”.

What seems to be a common thread through his stories, which have been brought to the screen, are the ideas of mistaken identity, a dark apocalyptic worlds, a man on the run and some sort of robot being involved. In “Blade Runner” we had a cop chasing androids that have gone awry. In “Total Recall” we had a man struggling through a mix-match of intrigue to discover if he has a hidden identity.

In the new film, “Impostor”, Gary Sinise stars as Spencer Ohlum, a man who is mistaken as an android carrying a bomb in his chest. He is hunted by Hathaway, a ruthless agent (Vincent D’Onofrio) who is convinced he is the bomb and is after an important political figure (Lindsay Crouse). The android’s mission according to Hathaway is to get as close as he can to the politician then genetically set off an untraceable bomb contained in the droid’s heart.

For the whole 95 minutes of “Impostor” you will ask the question is Sinise really this machine? If he is does he have the power to control the bomb? Do we really care?

Impostor’s message of a misunderstood man running from “Big Brother” for a crime he can’t control seems to have become a common thread in science fiction films. Since the original story was conceived in 1953 its no wonder it has become what it is. But returning to its roots isn’t always a good thing.

This time the theme is a lot darker than usual not just in the plot but by the way the film is directed as well. The film is heavy shadowed and a lot of it takes place at night. It’s often hard to follow Sinise’s exploits because we can hardly see him. There are endless dark tunnels, flashlights and running soldiers which make it hard for the viewer to really feel for the guy or see the obstacles around him. The magic of Dick’s story seems lost in the quagmire of shadows.

I liked the special effects, the sets (the ones that were lit), the trick ending, the really amazing medical devices and the performance of Sinise. But Vincent D’Onofrio looked extremely bored throughout and it’s no wonder he moved on to “Law & Order: Criminal Intent” after this. Madeleine Stowe, who plays Sinise’s wife in the film, just mopes and cries through her scenes.

The film’s screenplay was co-written by David Twohy, who garnered a lot of attention with last year’s sleeper sci-fi hit “Pitch Black” but there are really no sign of his brilliance here. If Twohy would have directed this film I bet we would have seen something a lot more interesting than what is presented.

The film sat on the studio shelf for over a year and really probably saw a release because of the hype surrounding “Minority Report”, which is another Dick adaptation coming next summer. “Minority Report” is directed by Steven Spielberg and stars Tom Cruise as an agent who can see into the future and arrests people before they commit crimes.

Cruise’s whole world comes undone when he goes from arresting people to being the one arrested. Does that sound familiar? “Report” and “Impostor” do seem to have a common thread.

“Impostor” is for Dick and sci-fi junkies only. It will probably be a good video renter.

(2 out of 5)

So Says the Soothsayer.

Retro Review: The Human Stain

Anthony Hopkins plays Coleman Silk, a proud and stalwart classics professor who harbors a secret buried within his soul for more than 40 years. Coleman was unable to tell his wife before she passes away. Coleman tries to reveal the secret to author friend Nathan Zuckerman (Gary Sinise) but instead leaves more questions than answers. When Coleman starts an affair with a much younger woman, Faunia Farely (Nicole Kidman), he does all he can to make their relationship work but Faunia’s demons always interrupt their bliss.

As her demons begin to unravel, which include a stalker ex-husband (Ed Harris), into Coleman’s lap we begin to understand and learn more about Coleman’s secret as well. It is a battle of demons and the tortured lives of both Coleman and Faunia.

What are their secrets? Can two time-displaced lovers unite to face their demons together? Or will their demons swallow them whole?

The great thing about “The Human Stain” is how the film slowly reveals the secrets and the demons. I liked how the film pulls us deep into these lost souls and makes us like them. Hopkins tender performance as Coleman is powerful as we begin to see life through his eyes while he harbored his secret. Kidman is dynamite as the tormented on the verge of self destruction Faunia. She brings such depth and sorrow to Faunia that you can see why Coleman is infatuated with her.

There has been a lot of controversy about the casting in this film. There has been some speculation that Kidman was heavily miscast. I disagree because it is who she is and what she does with Faunia that we can see so much inside this woman.

I also never had a problem with the age-gap between Kidman and Hopkins because each of their scenes was meticulously crafted and as the film progressed we understand why they find each other. Each of them harbors a self-mutilating demon and it’s that mutual understanding that makes them a couple.

Probably the biggest controversy of the film was the casting of Hopkins who’s secret is race related. The depiction and characterization showcased in the film embraces the adversity and the confusion the character endures. It is an intelligent and powerful depiction of a bi-racial person.

The reason I think “The Human Stain” should be remembered in my Top 10 is because of how it takes on all these controversies and delivers a wonderful film. The film itself is almost like the characters inside. The characters, the stellar acting, the script, the direction and the film’s layout are all top drawer. I had a couple problems with the film’s finale but there is so much to enjoy and embrace about this film.

This is a solid drama and one of the year’s best.

(4.5 out of 5)

So Says the Soothsayer

Retro Review: Up at the Villa

A smaller film with that old style charm.

“Up at the Villa” chronicles the story of beautiful British aristocrat, Mary (Kristin Scott Thomas) who is living in Italy during World War II. Mary is debating if she should marry a much older British lord (James Fox).

During her debate, she is faced with the brutish approach of a renegade named Rolly (Sean Penn), the feeble heart of an Austrian violinist named Karl (Jeremy Davies), and an untimely death and a cover up that could destroy her potential for greatness.

“Up at the Villa” is filmed and written like those grand society scandal films of the 1950s which starred Clark Gable. Matter of a fact Penn does quite a good brooding impersonation of Gable. Thomas gives off an allure similar to a Vivian Leigh or Hedy Lamarr.

It’s amazing to see how many films lately have revisited those classics. I would have loved to have seen this story shot and touched up to look like a film noir classic of that era. The black and white settings coupled with the subtle acting could have helped this kind of movie stand out in a flooded early summer market. That does beg the question why don’t they film these kinds of movies with that ideal in mind? I know I would love it. The Marilyn Monroe and Cary Grant films are still my favorites.

The only small problem I had was when one of the characters commits suicide by shooting himself in the chest. Wouldn’t the head have been easier? I also found myself wondering if someone else had shot him. I guess with sticking to the theme of the suicide and allowing the film to stick with older film morals the film movie needed a subtle suicide that didn’t deliver much violence.

“Up at the Villa” is a solid high society scandal film that is worth a look. Homage to the eras gone by is great when it’s done well. I liked how this film was done. My favorite scene had to be Mary’s confrontation with the fascist leader (Massimo Ghini) to get the man she obviously loves out of prison for a crime he didn’t commit. This scene unravels the purity of Mary’s English upbringing and the way she acts all for the man she loves is quite out of her character. It’s great to see characters struggle with morals when they are faced with a desperate situation.

Derek Jacobi and Anne Bancroft are brilliant in supporting roles. Jacobi has always been a scene stealer and in this kind of atmosphere he does shine. In almost all his scenes he is hilarious as the flamboyant Lucky Leadbetter.

Equally flamboyant is Bancroft as the pompous Princess who loves her society functions and juicy gossip. The scene where Thomas gets her drunk is very memorable.

“Up at the Villa” is a little gem, look for it.

(4 out of 5)

So Says the Soothsayer.

Movie Review: Atlantis: Milo’s Return

FYI: They never use a vehicle like this in the movie. Stupid marketing!

Disney is a mass marketing, all consuming, tug at our heart-strings and take our cash kind of conglomerate. Put movies back in the vault, so make sure you buy them up until they disappear and come back with a new media format. (Paging Netflix)

Atlantis: Milo’s Return is everything that is wrong with Disney. I want to get this straight off the bat. This is not a movie. It’s disguised as a movie, but it ain’t one. What you get here is the reunion of the team of heroes from the first movie as they go on three 20 minute mysteries. And at the beginning and end you have a bookend stories that tie to the first film. The mysteries contained in middle feel like leftover Scooby Doo episode scripts. Except here we have double the characters and no near the fun. 

I liked the first movie. I am probably a member of one on that but I did. I liked the rag-tag group of people assembled. I saw them as sort of the turn of the century A-Team. The story was sound and the hero was a geek like me. Well this follow up has none of the charm or substance of the first film.

I have to admit if the first mystery was kind of fun. It was kind of like Atlantis meets 20,000 Leagues Under the Sea. What would have been cool is if they in fact did meet Capt. Nemo. But instead it becomes all Scooby Doo.

Don’t get me wrong Disney’s sequels direct to DVD aren’t supposed to be great. But I have to admit some really worked for me. Return to Neverland, the Little Mermaid sequels come to mind. Cinderella 3 was soooo out there and it is something that has to be seen to be believed. And as a foot note, Oscar-nominated Toy Story 3 was supposed to go straight to video.

Milo’s Return is not in the category of interesting, creative or at least tried variety of direct to DVD ventures. It’s just awful.

1 out of 5

So Says the Soothsayer

Retro Review: Atlantis: Lost Empire

One of the most ambitious Disney animated projects in years. “Atlantis” centers around a shy, educated dreamer named Milo Thatch (Michael J. Fox). Milo is carrying on his grandfather’s quest which is to find the lost and forgotten city of Atlantis.

Milo’s fascinations with the myths surrounding Atlantis turn him into an outsider in the educated world. Until one fateful night, where he is taken to meet Preston Whitmore (Frasier’s John Mahoney), an old man who has a mysterious connection to Milo’s grandfather.

Whitmore needs a linguist to translate an ancient journal that promises to pave out the journey to the fabled city. Whitmore has assembled a team of experts to complete the journey but he needs Milo to translate the “gibberish” within the journal so the expedition can commence.

What obstacles must Milo unlock during his journey? What is left of the long dead Atlantean culture? Will Milo ever find the respect that eluded his grandfather before him?

“Atlantis” starts off with a bang and shifts back to a mirror image of the beginnings of a Sir Arthur Conan Doyle novel come to life. As the story kicks in the texture changes and the admiration of legendary science fiction writer Jules Verne is very relevant.

As the film’s plot develops and action commences, you do see a lot of last year’s “Titan AE”. Many plot elements are very similar to that film and the action sequences definitely reflect that film’s feel. It truly is amazing how many different elements and inspirations of other films are within this film.

This film will be compared to “Titan” on a lot of levels but one thing that maybe forgotten or not mentioned is that this script is far, far superior to that of “Titan”.

The character’s humor, interaction, and development are vastly superior to that of “Titan”. And without the confusion of the different animation styles eating each other up, you have a chance to enjoy the journey.

The animated characters are drawn and interact a lot like the ones found in the sleeper classic, “The Iron Giant”. Their movements and personalities really reflect that style. That key difference is why this fantasy adventure works so much more than “Titan” ever did. The characters of Milo Thatch and “Vinny” Santorini (Don Novello), the expedition’s demolition expert, are classic examples of the similarities between the characters here and in “Giant”.

One thing that was very similar to other Disney classics was the presence of the beautiful curvaceous, and independent woman. In Atlantis, there are actually three strong female characters. From the Atlantean princess to a mercenary to a mechanic, women have always held a presence in Disney animation and here is no different.

The voices provided by Fox and Novello, for me were the most suiting to the characters. Fox really brings depth and personality to the skinny and reluctant Milo. His voice tone and direction is very similar to that of his performance in “Stuart Little” but does echo a new maturity.

As for Novello, he is most famous for his Father Guido Sarducci character and that very personality is perfect for Vinny. I liked these two characters and their interactions with the film’s plot and wonder. They were by far my favorite. There were a lot of other characters in this film but it was really hard to commend any of their performances.

Like all quest films, “Atlantis” does seem to run out of steam once the characters have arrived at their fabled destination. I was pulled into the quest side of the story and loved the look of a lot of the vehicles, monsters and chasms. The fabled Atlantean civilization reminded me a lot of the native culture in “Road to El Dorado”. Why couldn’t their have been some sort of inner struggle within the city or an Atlantean villain?

I admired the scope and magnitude that Disney was trying to achieve with Atlantis but this surely isn’t your typical Disney film. In some ways it’s good and other ways it may hurt business. It will play good with science fiction and action fans but may hurt the rather loyal Disney audience. I am definitely among that crowd because I enjoyed myself.

It is also worthy to note that this is only the second Disney animated film to ever receive a PG rating. The first was the long forgotten and dark 80s film, “The Black Cauldron”. Let’s hope this film doesn’t suffer the same fate as “Cauldron”.

(3.5 out of 5)

So Says the Soothsayer.

Retro Review: Troy

One of the greatest wars of the Ancient World was forged between rivals Greece and Troy. The war itself and its immortal heroes were chronicled by legendary scribe Homer in his immortal epic, “The Iliad”. The many players who inhabited that legendary tale are brought to life in a new film.

The film’s chronicling of the events introduces the internal struggle between venomous King Agamemnon (Brian Cox) and the immortal Achilles (Brad Pitt) then follows loyal Hector (Eric Bana) and coward Paris (Orlando Bloom) as they take Queen Helen of Sparta (Diane Kruger) to the walled city of Troy. Paris is deeply in love with the tormented Helen but upon Greek shores a massive army is forming to bring Helen back. For once the Greek kingdoms have something they can fight as one country. This makes Agamemnon very happy as he has finally found an excuse to storm the walls of Troy. And he will bring the fierce Achilles along for the ride.

Director Wolfgang Petersen’s epic is a dynamic recreation of the world of Ancient Greece, the political entanglements and the epic Trojan battle. Petersen’s epic battle sequences and the duels between characters are overwhelming, thought captivating and utterly meticulous. When the film focused on battles it was unforgettable but it was the quiet dialogue-laden political scenes that seemed to ruin the film’s momentum. A lot of the key actors in the ensemble cast seem out of their depth and make some of the key subplots hard to watch.

The perfect example of a weak subplot is the relationship between Paris and Helen. Bloom’s Paris is so unlikable that we really just want to strangle the poor boy. He makes “lovey-dovey” eyes at some guy’s wife and thousands of people die. The couple has no chemistry as lovers so you never really believe that there is something worth fighting for. I can’t really blame Bloom for making Paris such a half-wit but the film should have found some sort of way for us to understand Paris even if it was just a little.

I was very unimpressed with Diane Kruger as Helen. The German actress is way out of her depth as she struggles in every scene. The woman is attractive but is she really worthy of launching 1000 ships. What made Helen tick? Who was this mythical beauty? None of those questions are even touched or explored in Troy.

The film also relies heavily on Pitt’s portrayal of Achilles as the audience probably gets to know him the most in the film. The film’s finale makes it very hard to feel for the character and thus ruins a stalwart performance from Pitt. I really liked Pitt as Achilles. I really liked the storyline between Achilles and the Trojan priestess. From that relationship we actually begin to see a man inside the fluidic killing machine. Their storyline was so much more intriguing than that of Paris and Helen.

I have to admit that I wasn’t to keen on seeing Eric Bana as Hector. But as the film progressed, I really found that Bana grew on me. His restraint in playing Hector makes the champion approachable and relatable. I really liked a lot of what Bana was able to bring to the character. Bana is amazing in the role.

I would have loved to have seen more of Sean Bean as Odysseus. Bean is starting to become such an unforgettable supporting player. His role in this film is almost as powerful as his portrayal of Boromir in “Fellowship of the Ring”. I wonder what it would be like to see Bean’s Odysseus return for a retelling of Homer’s The Odyssey. Well I can dream can’t I?

For me the greatest moments in Troy come from acting legends Brian Cox and Peter O’Toole. These veterans shine in their roles. Cox brings a lot of uneasiness, sarcasm and vulgarity to Agamemnon which does so much for the character. O’Toole’s fragile look and sincerity make his King Priam unforgettable. My favorite scene in the film is the tent scene between a distraught King Priam and Achilles. I loved everything about it. The sad thing is that the rest of the film needed more of that kind of emotional magic

I wanted Troy to be the grand scaled epic that Homer transcribed so many years ago. But the emotion, grandeur and greatness of the story seems to be missing in this retelling. I was hoping the film would be closer to a “Braveheart” or “Gladiator” but something is missing. I just wanted a lot more.

(3.5 out of 5)

So Says the Soothsayer.

Retro Review: 25th Hour

Controversial director Spike Lee serves up his latest project since the fall of the World Trade Center in New York City.

“25th Hour” follows Montgomery Brogan (Edward Norton), an Irish drug dealer who finds himself left with one day of freedom before he is sent to the “big house” for seven years. On his last day, Monty wants to reunite with his childhood friends Jakob Elinsky (Phillip Seymour Hoffman), Frank Slattery (Barry Pepper) and his beautiful girl, Naturelle Rivera (Rosario Dawson) for one club-hopping blowout. During the blow-out, Monty also wants to uncover the person who set him up to the cops and settle a deal with a vicious Russian druglord named Nikolai (Levani Outchaneichvili).

Imagine this if you will. You are going to a funeral for a guy you don’t even know. You watch as a lot of people talk about him as a great guy. You watch as people cry and try to deal with their loss. You are boggled and baffled as to why you are there. Do you feel anything for the guy in the end?

Now flash back to today. The guy is alive but the mood, world and atmosphere are the same as the funeral. He wants you to think of him as dead but he’s going to use a drinking binge to soothe his passing. This is roughly what you feel as you watch the 25th Hour.

Edward Norton mopes around a lot of the film as he delivers a great denial performance which eventually leads to him facing the truth. It’s a very solid and somber performance.

My favorite actor in the film is Barry Pepper who continues show amazing growth as an actor. He nails the character of Frank, who on one side is a slimy real estate banker and on the other a loyal to the core best friend. I really enjoy Barry on screen and I expect great things from him.

Phillip Seymour Hoffman continues his creepy seedy nerdy guy portrayal as he plays English teacher Jakob who seems to have a reluctant lust for his 17-year old student, Mary (Anna Paquin). Hoffman plays the weirdest of characters and they are always dealing with some sort of emotional problem. I really didn’t care for Hoffman here. He just seems to be regurgitating the same performance over and over.

I did like a lot the solo scenes between Pepper and Hoffman’s characters. I felt that I got to know more about these two guys than Norton’s Monty. There is one scene where they have a long conversation while looking over the wreckage of the World Trade Center that is a very powerful piece. Their moments and chemistry were the best parts of the film.

In every Spike Lee movie there always seems to be a blatant display of aggression. This aggression swells into militant scenes or controversial racial scenes. Spike has always loved to bang home his thoughts and outrages. This dictated in a very uncomfortable scene where Norton screams into a mirror. I hated that scene and the film’s exhausting ending.

As a whole “25th Hour” was a very hard film to sit through. I can only say that I enjoyed the Pepper and Hoffman scenes and that’s about it. I still only think of two Spike Lee films when I think of his best, “Malcolm X” and “Mo Better Blues”. “25th Hour” isn’t even in their league.

(2 out of 5)

So Says the Soothsayer.

Retro Review: The Terminal

Can you possibly imagine what it is like to be a person who doesn’t exist? A freak of nature that has slipped through the cracks of our society. How can this happen? What is he or she to do? How can we fix the problem?

In the new film from director Steven Spielberg, Tom Hanks plays Viktor Navorski, an Eastern European airline traveler who touches down in the sea of chaos known as New York City’s JFK International Airport. As Viktor exits his plane and proceeds through immigration, our story begins.

Unbeknownst to Viktor, because he can barely speak a word of English, his homeland of Krakozhia has erupted into a military coo and many government officials have been killed. Krakozhia becomes an unrecognized country by the United States government and thus Viktor’s visitor’s visa has become void. In other words, Viktor has no country, no citizenship and no home.

This is all desperately explained to Viktor by airport official Frank Dixon (Stanley Tucci) but to no avail. Dixon hopes the problem will go away by itself so he gives Viktor some food coupons and a couple other vouchers and sends him into the international terminal lounge to wait. And Viktor waits, and waits, and waits.

Eventually Viktor has to find a way to survive so he begins to cobble a life together within the airport. Finding a job, a place to sleep, something to eat, a girlfriend (Catherine Zeta Jones) and eventually hoping he can finally set foot on American soil.

How long does he have to wait? Why doesn’t he escape?

“The Terminal” marks the return of the Hanks-Spielberg magic.

Hanks continues his streak of amazing acting as he not only develops a flawless accent but a walk, mannerisms and state of nature for Viktor. Hanks so embodies Viktor that we sometimes forget that he is this Hollywood staple. Even though he doesn’t really speak English we still can relate, feel and follow this man who has become lost among the red tape. It is an amazing performance.

I was also quite impressed with the desperation, frustration and snide performance of Stanley Tucci. He becomes so frustrated with Viktor that their on-going meetings become almost an old west showdown. Tucci is brilliant as a control freak at the end of his rope as he can’t find a logical way to kick Viktor to the side without breaking his sacred laws. He is almost the Mr. Hyde to Hanks’s Jekyll.

The rest of the cast including Zeta Jones are just filling to make the struggle between Tucci and Hanks more interesting. I liked a lot of his supporting cast and their inclusion in Viktor’s struggle but none of them really standout as brilliant. This is Hanks’s movie. There are a lot of clever and funny bits involving Hanks and his new life and we love every minute but it just seems like stuffing.

The faults in this heart-whelming story come from the fact that some of Viktor’s choices aren’t what a lot of us would do. There is some implausibility in some of his situations that make for interesting conversation after the film. I wanted the film to explore Viktor escaping just once to add more tension and frustration for Dixon after he is returned but to no avail.

During the film it is the strength of Hanks that keeps the film going. We need to believe in him for the film to work and it does because he is so brilliant. You also have to give Spielberg credit for taking a pulled back approach to filming each scene. He could have been a lot more claustrophobic and constrained but he uses Hanks as the centre of the problem not his directing.

“The Terminal” is a wonderful vehicle for Hanks and makes us once more remember why he is truly extraordinary.

(4 out of 5)

So Says the Soothsayer

Retro Review: Stuart Little 2

It has been three years since we visited with Stuart Little (Michael J Fox), a little white mouse and his human family, the Littles. It is hard to imagine we ever left with the delightful sequel to the 1999 film.

In the 1999 film, a human family adopts a white mouse and we watch the antics as this tiny little person (who happens to be a mouse) interacts with his new life and the Little’s cat, Snowbell (Nathan Lane). The 1999 film worked so well because it maintained its child-like innocence. The real world doesn’t infect or bring these characters down. No one stops to think it’s strange that a human family has a mouse as a son. The film was such a delightful surprise to audience members of all shapes and sizes.

In the 2002 sequel, we reenter the world of the Littles and it is like we never left. Stuart is continuing to adjust but finding his human mother (Geena Davis) won’t let him do much of anything on his own.

Stuart needs a friend his own size. In drops, a wounded bird named Margalo (Melanie Griffith) who asks for Stuart’s help against a frightening falcon (James Woods). Stuart rises to the challenge when Margalo is taken captive by the falcon and he has to enlist in Snowbell’s help to complete his mission.

The sequel grows off its predecessor and develops a larger world for Stuart. The film doesn’t forget its roots and maintains its beautiful innocence. I was captivated by the world within a world that the first film encompassed as all these great little things were created for this mouse. It was so cleverly conceived.

I enjoyed the scene where Mrs. Little is afraid her tiny son (mouse) will be squashed when he tries to participate in a “soccer game”. Davis does a wonderful job expanding on her character and I haven’t seen her this confidant on film in a very long time.

I loved the animation and passion presented in the creation of Stuart. There seems to be so much precision as we can literally see every fiber of fur on him in the close-ups. I also loved the natural accuracy in creating how Margalo walks and interacts. It was amazing watching these characters. There are a lot of great interactions between Stuart and the real world, which is pulled off brilliantly.

It isn’t often these days that you walk out of a sequel and really want to see another sequel. With Stuart, I really want to see a third adventure because I believe his world has hardly been explored.

(3.5 out of 5)

So Says the Soothsayer.