The Great Gatsby (2013) – Movie Review

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Because every American classic novel needs to be turned into a modern movie, here comes Baz Luhrmann’s take on F. Scott Fitzgerlad’s The Great Gatsby in a polarizing effort to say the least.

For the novel’s traditional fans, Lurhmann’s version is too all over the place. For the modernists, it’s an interesting take on the classic. The truth is Lurhamnn’s version exists in some form of limbo between the two.

The Great Gatsby is the story of Jay Gatsby (Leo Dicaprio) who moves to West Egg in Long Island and becomes quickly known for his extravagant lifestyle, which attracts the attention of Nick Carraway (Tobey Maguire) who is sought out by Gatsby in order for the latter to get closer to Carraway’s cousin Daizy (Carey Mulligan) with whom he has a past.

Lurhamnn’s take on The Great Gatsby is uneven at best. The movie’s opening act is chaotic to say the least: from sweeping camera movement that are repeated more than once in a single scene, to a story that doesn’t seem to know how to get developed, to blitz and glitz that doesn’t seem to find a limit.
However, once the director and the movie start to find their footing – especially as chips start falling into place – The Great Gatsby becomes an enjoyable experience that manages to hook you in. That’s if you can get past the fabulousness-theme of the first act without nodding off.

Bolstered by excellent performances by Leo Dicaprio and Carey Mulligan, as well as Tobey Maguire, the movie’s characters are always interesting to watch especially when they interact. Dicaprio’s portrayal of the infinitely eccentric and optimistic Gatsby is spot-on. Tobey Maguire’s transition as the wannabe writer getting used to a life of excess is interesting and Carey Mulligan as the woman torn between the life she has and the life she could have is excellent.

The music of The Great Gatsby, however, doesn’t work. Of course, Florence + The Machine’s song is excellent and Lana Del Rey’s melodrama works here. But why would a movie about the jazz era open up with Jay-Z whose only similarity with the movie is probably his name?
The soundtrack, which plays throughout the movie, serves more as a vehicle for its corresponding singers rather than to bolster the cinematic experience of the movie it’s supposed to support.

The Great Gatsby is one of Baz Lurhmann’s better movies. Despite it being uneven and all over the place sometimes, it remains entertaining enough to pass despite it feeling too lush and shallow and superficial at points. For those who find this novel to be American literature’s most prized jewel, Lurhamnn’s version is an abomination. But if you’re willing to get past that, there’s no reason not to enjoy Gatsby when it allows you to.

3/5

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Trance [2013] – Movie Review

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Trance is a movie fitting to take me back to movie reviews. I don’t hide being a fan of the movie’s director Danny Boyle. His previous offering: 127 Hours (review) was, in my opinion, the best movie of its year – one that included Inception. The movie that made him a household name, Slumdog Millionaire, was excellent as well. Who could forget Latika?

Trance continues in that vein, albeit it being potentially much less award-friendly than the other two. After all, this movie wants to be a blockbuster. It’s the story of Simon (James McAvoy), a worker at a London auction house who gets caught up in a heist of a Goya painting, suffering a blow to the head in the process making him forget where he placed the painting in question. To help him remember, the group of thieves, headed by Frank (Vincent Cassel) enlist the help of a hypnotist called Elizabeth (Rosario Dawson) whose skills will be utilized to form a true mind twister of a movie.

For some, the plot that makes up Trance will be considered too complicated. Others might consider it a shallow attempt at a true thriller in the vein of Inception. I found Trance to be transfixing and couldn’t help not be taken into its world. It had been a while that a movie managed to captivate me the way Trance did. Be it Danny Boyle’s excellent camera work on the movie’s intricate scenes, to the twisted build-up that gives you bits and pieces of the story without them being necessarily in the order you prefer, to the pounding music score that goes well with how well Boyle edited his scenes.

In fact, you cannot not appreciate the intricate work that Danny Boyle does on Trance, regardless of what your opinion of the story might be. Those who think the story is too complicated will be thoroughly entertained by how fast-paced the movie is. Those annoyed by the plot will find the directing style lavish. Those, like yours truly, who were enthralled will find it to be the cherry on top of the cake – or it could be the cake itself.

James McAvoy is haunting as the man trying to pay off gambling debts by agreeing to the robbery, perfectly accommodating the changes that the revelations regarding his character demand. He is electrifying with Rosario Dawson who excels as the hypnotist trying to find a place for herself amidst all the men making up the squad of thieves. The duo generates enough heat – both literally and figuratively – to help drive the movie forward.

The more attention you give Trance, the more focused you are on what the characters are doing on the screen in front of you, the more you’ll get to enjoy it. The final climax may be over-reaching and the movie may feel too stuffed and complicated at times. The psychiatric aspect has been, in typical Hollywood fashion, dramatized for the sake of shock. But this remains one of the best offerings 2013 has to give us so far. Trance is a movie you should watch. Nay, Trance is a movie you want to watch. Trust me on this.

4/5

Spring Breakers Won’t Be Released in Lebanon

It may have been received with mixed reviews but we won’t get the chance to judge Spring Breakers ourselves, as per a Grand Cinemas tweet – one of Lebanon’s main cinema chains.

Spring Breakers Lebanon

 

Empire isn’t showing the movie as well in its list of upcoming releases.

 

The movie is known to have nudity, drug use and heavy language. It is rated R in the United States. The official synopsis is the following:

Brit (Ashley Benson), Candy (Vanessa Hudgens), Cotty (Rachel Korine) and Faith (Selena Gomez) have been best friends since grade school. They live together in a boring college dorm and are hungry for adventure. All they have to do is save enough money for spring break to get their shot at having some real fun. A serendipitous encounter with rapper “Alien” (James Franco) promises to provide the girls with all the thrill and excitement they could hope for. With the encouragement of their new friend, it soon becomes unclear how far the girls are willing to go to experience a spring break they will never forget.

But are those criteria enough to qualify as the “circumstances” that are not allowing Spring Breakers from having a Lebanese release? I hardly think so. After all, many R-rated movies end up being released here and some Lebanese productions such as Ossit Sawani feature sex scenes as well as drug use – by underage people no less.

Grand Cinemas didn’t reply to tweets asking what those “circumstances” are. It is known, though, that circumstances leading to movies not released here are either political or religious. I doubt though that Spring Breakers violates any of Lebanon’s many sanctities in those two domains.

I guess we’ll never know why Lebanon’s censorship bureau decided this movie shouldn’t be screened here. But when will they know that there’s no such thing as a “ban” in the time and age of digital media? And when will they know that people are aware enough to judge anything’s merit away from their chopping paws?

Spring Breakers will be soon available for download everywhere. Good luck censoring that.

Update:

The SKeyes Center for Media and Cultural Freedom followed up on this issue with both the Censorship Bureau and Grand Cinemas.
There has not been yet any official request by the Cinema circuit submitted to the General Security’s bureau to receive an approval for screening the movie. Hence, there was no decision whatsoever, neither positive nor negative, regarding Spring Breakers.
As for Grand Cinemas, they said they still do not know when or if they will want to screen that movie.
So there is no case of censorship for this movie.

No idea why Grand Cinema was referring to “circumstances” in their reply if they haven’t even looked at the movie yet.

Beirut Bel Aswad Wel Abiad (Beirut in Black & White) – A Lebanese Short Movie

This Woody Allen-inspired short movie is one of the best ones I’ve seen lately. It’s directed by Alba student Marie-Louise Elia and produced by Marie-Noel Bou Haila (A lot of Maries in one sentence). You can find the former on Twitter here.

It’s a candid, honest, funny, sarcastic and extremely witty portrayal of Beirut – characteristics you rarely find this authentically in Lebanese productions. Many aspire to incorporate such elements in their movies but end up coming off as over-pretentious instead. Not this one.

The director, Marie-Louise Elia, is currently searching for actors for her upcoming movie. So if you’re interested, talk to her on Twitter. If her upcoming work is anything as good as this, it’ll look good on your resumé.

Lebanon’s VIP Cinemas & Empire Premiere

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Before we begin, I must insist that you all go watch the movie Amour (my review), whose poster is shown at the side of the above picture, when it’s released in Lebanese cinemas next week. It doesn’t matter which cinema you go to in order to do so as long as you watch that brilliance.

I had never been to a VIP cinema before. The idea of paying more than $10 for any movie given what our screens are is not only absur, it’s basically financially not feasible for someone like me who spends a lot of time at cinemas. Yes, I watch more movies than I actually review.

When Circuit Empire invited me to attend the grand opening of Empire Premiere, the renovated Empire Sodeco, I felt like it would be a nice opportunity to see what the fuss was all about. Before I discuss, here are some details you might be interested in:

  • The theatre involves 6 theaters, all of which are VIP-like theaters.
  • Each theatre contains about 30 seats.
  • The ticket price is $20 which includes ONLY your theatre seat. Drinks and pop corn and food are not included and must be purchased separately.
  • The food that will be available for purchase there is sushi from Achrafieh’s Le Sushi Bar. Portions will be smaller than the ones available at the restaurant itself and the price will be the same.
  • Pop Corn is supposed to be gourmet pop corn with different flavors every week of which someone mentioned zaatar.

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The most interesting aspect about Empire Premiere, to me, is their 18+ policy which means if you want to watch a movie without all those preteen fangirls, you might have a chance to.

It’s not all that peachy, however. While the project is, as you can see from the pictures, quite ambitious, I couldn’t not express my disappointment to whoever asked that such money was spent into something that, as far as I’m concerned, already exists with slight variations elsewhere, when it could have been done in investing in an IMAX movie complex which truly means a “refined movie experience,” which the new theatre’s tagline is.

After all, at least to me, a refined movie experience is less about very comfortable reclining seats and blankets and more about an engrossing screen that satisfies the craving that movies should satisfy.

The replies I got to the aforementioned points were the following:

  • An IMAX screen doesn’t fit anywhere in Beirut so the project cannot happen there. It has to happen outside of Beirut which isn’t feasible at the moment.
  • Empire Premiere differs from other VIP cinemas in it offering the lounge in question. And in the fact that the ticket is only $20 for the movie whole it is more than that in other VIP cinemas.
  • Empire Premiere isn’t only for movies but will serve as a space for conferences in the long run. It will also allow people to book entire theatre rooms for approximately $500 to watch a football game or a movie of their choice.

Why can’t an IMAX cinema happen outside Beirut? Because everything in Beirut is the answer I got: malls, cinemas, etc. Everything is centralized, which I wrote about here. So until a viable alternative location which people would go to exists, an IMAX cinema is out of the question because it requires its own multiplex and cannot be part of a mall.

I pitched in the idea of building one at ABC Verdun. Apparently their rent rates are too high for such a project.

If you think the whole concept is not really for you, you thought right. As to why cinemas keep doing the same thing over and over again (VIP, premiere), they said that market research has indicated that the category of “refined Beiruti people” aged 45-65 are barely going to the movies anymore and this is targeted more to them.

The place isn’t meant for us.

Moreover, I know for a fact that a couple of friends paid $12 for VIP tickets at CinemaCity to watch The Hobbit, which means that the $20 entry price isn’t the lowest in Lebanon.

The bottom line is: I found the experience to be super comfortable. But do I want to pay $20 for a movie that I can watch elsewhere for at least half that amount? Well, the answer goes both ways: if you have enough money and believe it’s a must for you, then go ahead. If not, then the answer is staring you straight in the face.
As far as I’m concerned, the old-fashioned cinema experience is part of every movie’s charm. But that’s just me.

The Lebanese Rocket Society (Documentary) – Review

The Lebanese Rocket Society

Brought to us by Joana Hadjithomas and Khalil Joreige, The Lebanese Rocket Society is a documentary about a phase of Lebanese history that exists between both of our civil wars, from 1960 to approximately 1966, in which a group of Lebanese students at Haigazian University launched rockets as part of a series of scientific experiments.

The above is not science fiction, as I had thought on many occasions when many blogs and newspapers wrote about the society over the past few months, despite it being quite difficult to believe given where we are technologically in Lebanon today.

The Lebanese Rocket Society‘s premise is bittersweet. For its main purpose, it makes you proud that these students not only decided to build a rocket, but also chemically made the fuel the rocket is supposed to use because only superpowers possessed it and were not going to dispense quantities of it to Lebanon. The students even built the radar sensors that they equipped the rockets with after a brief miscalculation which sparked a UN-debaccle with our neighboring Cyprus. Yes, we haven’t been nice neighbors all the time apparently. The Lebanese Army eventually helped them in their scientific experiments for the students were heading into financial difficulties with their ambition growing bigger.

The mere fact that the Cedar-named rockets were all built from scratch is a testament to the ingenuity and the creativity of these young Lebanese students. Too bad such advances are purely science fiction not because such brains are lacking but because of our country’s circumstances.

The most interesting parts in the documentary were, without a doubt, the sections where real-life footage from the many launches that took place were incorporated. The archive is unimaginably great and seeing it is worth the price of admission alone. It’s always interesting to dig up 20th-century material about Lebanon that is not of tanks bombing buildings and of a torn-out Holiday Inn hotel.

The documentary seeks out Manoug Manougian, the student who started it all, currently a math professor at a university in Florida. Manougian shares the archive he kept of what he calls one his life’s proudest moments. You can check out his personal page here.

The directors also find Harry Koundakjian, the photographer who documented the Lebanese Rocket Society’s experiments, as well as former Haigazian president John Markarian. However, even though the other participants in the society’s experiments are mentioned, nothing is said about them nor are they mentioned again beyond the movie’s opening scene, which I thought did their work a disservice.

Moreover, The Lebanese Rocket Society goes off-topic often, notably with an entire sequence about the importance of the Arab Spring, as well as many other political subtle messages passed on notably about the importance of the Arab unity under Abdel Nasser. I still have no idea how the entire documentary’s premise fits in the mood of revolutions and freedom and whatnot spreading across Egypt, Libya, Tunisia and Syria but the notion is present.

I also felt it was very misleading that – despite their army source telling them the army had a panel discussing the possibility of turning the rockets into weapons by having one floor of the rocket filled with bombs – the directors were adamant that these rockets were a scientific experiment and build the entire documentary on that premise. It was quite clear that the rockets couldn’t have been possibly done if the army hadn’t helped and if the army wanted to make weapons out of them, they would have been turned into weapons.

The Lebanese Rocket Society ends with a 10 minute or so animated sequence which asks the question: what if Lebanon hadn’t stopped the rocket experiment?

To answer the question, the directors believe we would have a metro network running under Beirut, oil rigs off our shores, an entire space program rivaling that of the U.S.A. (down to basically ripping off Nasa’s logo), etc.

The sequence, in my opinion, did the movie a grave injustice and it shouldn’t have been included at all. It was already established that the rocket experiment was stopped because Lebanon was asked to by higher authorities in countries North, South, West and East. One of the documentary’s strongest scenes was one where a drafting compass drew a circle from Lebanon to where our rocket would have reached. Sinai was accessible. It was already established as well that the rockets were not, eventually, a mere scientific experiment as the students involved kept repeating. Those students didn’t know any better, obviously, but the army did. How does that set up for a future as bright as the one they tried to portray?

Nothing is better than some Lebanese future pick-me-up every once in a while, but at least don’t have it that separate from all the facts the documentary had presented over the course of the previous 80 minutes, especially that the presentation of those scientific facts was very systematic and documented.

I personally recommend people watch The Lebanese Rocket Society when it’s released in cinemas on April 11th despite its shortcomings because it is a documentary that showcases a different side of the Lebanon that we thought we knew, one that has been erased from the collective memory of the country as a whole – all supported by some old footage that will leave you baffled.

3.5/5

Rejecting Ziad Doueiri’s The Attack

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News of Lebanon’s refusal to submit Ziad Doueiri’s The Attack, a movie I had originally told you about here, to the Oscars is making the rounds. You can check all the details here (link).

If the movie had been banned from being shown in theaters here, the discussion would be different entirely. But is the movie really representative enough of Lebanon to be our submission for the Oscars? And is this refusal enough for us to call the committee responsible for such dealings ignorant and with a backward mentality?

I think not.

The movie features the following:

  • A story by an Algerian author.
  • No Lebanese crew.
  • Israeli and Palestinian actors.
  • Location of shooting is Israel.
  • Lebanese director with an American passport.

Would I want to see the movie? Definitely. Do I want it to represent Lebanon at the Academy Awards? Let’s just say I’m on the fence regarding this.

This isn’t exactly West Beirut for us to cry wolf for it not being submitted. If Ziad Doueiri truly wanted his movie to be Lebanon’s official submission to the 85th Academy Awards (my predictions – to lighten the mood), he could have at least made an effort to make the movie more Lebanese by maybe shooting it over here and not in Israel and having a Lebanese actor or actress play a role in it, despite both elements not being a criteria required for Academy Award approval.

As it stands, the only thing Lebanese about The Attack is the director who wouldn’t have been able to make this movie if he had actually employed his Lebanese aspect from a bureaucratic point of view. The director says his choices regarding the movie’s components are logical.

Well, I say the committee’s decision is entirely logical as well. Not everything is supposed to be turned into a national matter of censorship.

 

2013 Oscar Predictions

The 85th Academy Awards are held tonight so I figured I’d throw in my predictions as to who will win and who should win some major categories. It’s not Oscar night without a few predictions to go wrong, am I right?

I’m glad this year’s Oscars fall on the unpredictable side – there’s no absolute frontrunner in most of the categories so the night should be interesting to say the least.

Without further ado, let’s begin.

Best Picture Academy Awards Oscars 2013

  • Who Will Win: Argo
  • Who Should Win: Amour

Amour (review) is, hands-down, the best movie of the year. It won’t win because of the way the Oscars are run. So we are left with the movie that has been picking up best picture awards here and there: Argo (review). I don’t get it really. There are two other movies on that list that I believe are more deserving (Lincoln and Silver Linings Playbook) but you cannot underestimate momentum.

Best Director Academy Awards Oscars 2013

 

  • Who Will Win: Steven Spielberg
  • Who Should Win: Michael Haneke

Out of all the nominated directors in this category, Haneke managed to turn a simple story of old age into a spellbinding movie that captured everyone’s heart and mind. With little special effects, a Parisian apartment, his camera and two great leads, Haneke created Amour. But seeing as his nomination was a surprise by itself, expecting him to win what he deserves is far-fetched. So Academy Award-darling Spielberg with what is arguably his best movie in years will take it.

Best Actor Academy Awards Oscars 2013

 

  • Who Will Win: Daniel Day Lewis
  • Who Should Win: Daniel Day Lewis

I don’t believe this needs any explanation. What a brilliant performance.

Best Actress Academy Awards Oscars 2013

 

  • Who Will Win: Emmanuelle Riva
  • Who Should Win: Emmanuelle Riva

Next to the Best Picture race, this will be the night’s most interesting. What started out as a two-horse race with Jessica Chastain and Jennifer Lawrence battling it out for coveted awards soon turned into a three-way race as veteran actress Emmanuelle Riva took the BAFTA and later on the French César. At an age of 85, many voters will probably go for Riva because it’s now or never for her. Chastain and Lawrence will get their shot one day. The mere fact that Emmanuelle Riva is present on that list means there are enough Academy members who want her. It’s also her birthday today. HAPPY BIRTHDAY EMMANUELLE!

Best Supporting Actor Academy Awards Oscars 2013

 

  • Who Will Win: Tommy Lee Jones
  • Who Should Win: Tommy Lee Jones

Tommy Lee Jones gave what is, in my opinion, the best performance out of the bunch. Pre-Oscar awards have been spread around this bunch of nominees in a balanced way so no clear frontrunner has emerged but I think Lincoln‘s (review) momentum will help Jones take another Oscar. Every single nominee in this list has won before.

Best Supporting Actress Academy Awards Oscars 2013

 

  • Who Will Win: Anne Hathaway
  • Who Should Win: Anne Hathaway

There’s no denying Hathaway deserves this. She owned the entire Les Misérables (review) with her chilling performance of “I Dreamed A Dream.” The movie starts dying when her character dies. No one else in this category is as deserving and she has basically won every single pre-Oscar award there is.

Original Screenplay Academy Awards Oscars 2013

  • Who Will Win: Quentin Tarantino
  • Who Should Win: Michael Haneke

There’s something understated about turning a simple story into a work of art, which is what Haneke did with his story in Amour. But unfortunately, that’s not the kind that usually triumphs. I expect Tarantino to come out triumphant for Django Unchained (review).

Adapted Screenplay Academy Awards Oscars 2013

  • Who Will Win: Argo
  • Who Should Win: Silver Linings Playbook

Argo has the momentum. Silver Linings Playbook (review) has the superior quality and the charm. Momentum wins.

Animated Film Academy Awards Oscars 2013

 

Who Will Win: Frankenweenie

Who Should Win: Wreck-It Ralph

I found Wreck-It Ralph to be one of the most charming – and best – movies of the year. It is what I expect from an animated movie to be. Frankenweenie, on the other hand, is what plays on the Academy’s strings: homage to classics, daring technique, etc. It’s obvious who’d  win in such a match-up.

Original Song Academy Awards Oscars 2013

  • Who Will Win: Adele
  • Who Should Win: Adele

I can’t wait to hear her acceptance speech.

Foreign Language Film Academy Awards Oscars 2013

  • Who Will Win: Amour
  • Who Should Win: Amour

The fact that it’s nominated for best picture, best actress, best director and best original screenplay is hint enough.

Ossit Sawani (Blind Intersections) [2013] – Movie Review

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Never since Nadine Labaki’s first movie Caramel have we had a decent Lebanese movie that doesn’t dwell on the Lebanese Civil War and Lebanon’s religious diversity. Some moviemakers tried to branch out and portray other aspects of society but their handling of the issue was either too shallow, too pretentious or downright silly. Until this came along.

Ossit Sawani – its English title being Blind Intersection – is not a movie about religion or the civil war. Thank God for that. It is the cross examination of the lives of three main people in Beirut as they go about key moments of their lives. Nour is an engineering student who is about to graduate when she loses both her parents in a car accident. She is left to take care of her elderly grandma with no financial means to do so. Karim is a young schoolboy who is the victim of maternal abuse and repeated child molestation as his body is sold for the next door grocer. India is a well-off western-mentality woman trying to conceive while attempting to give back to her community by teaching needy students at one of Lebanon’s government-run schools.

The movie is the story of how the lives of these characters intersect without them realizing – how the actions of one affect the other and shape their lives indefinitely. It is not a plot device that you haven’t seen before but it is the first time it’s used in a Lebanese movie. The scenes are jumbled and do not fall in chronological order. In a way, each character’s story has its own timeframe and you need to situate yourself accordingly in order to understand what’s happening.

Some of the scenes were a little dragged out or unnecessary. Other scenes felt out of the place but once you get into the mindset of what the movie is trying to say, it flows rather smoothly despite a few hiccups after an admittedly strong opening sequence with Nour going to the hospital where she finds out both her parents had passed away.

In a way, Ossit Sawani may not feel like a Lebanese movie at all because of what we have come to associate Lebanese movies with. But it is one. The city is Beirut. The dialect is Lebanese (I still don’t get why they feel like they need to give us English subtitles). The people are relatable. From a child trying to block out the sound of his mother having sex in the next room to shower sex scenes to subtle portrayal of the act of child molestation, Ossit Sawani is quite daring for what we have come to assume Lebanese movies are limited for. The extent that this movie goes to with regards to sex is proof enough that other movies such as Beirut Hotel were not banned because of nudity but because of their underlying political message.

Ossit Sawani is enjoyable enough for it to be worth the admission price but it eventually falls off very flat as the stories never seem to find a way to be resolved, open-endedness being another plot device employed. While that worked in Nadine Labaki’s Caramel as you felt the story arcs had sufficient material to feel substantial enough, the three stories in Ossit Sawani never feel complete or resolved, leaving you feeling let down as the credits start rolling.

Is it the Lebanese movie to bring the masses to the cinema? I doubt. At the end of the day, it attempts to be a gut-wrenching portrayal of modern Lebanese society woes but comes short. It tries to infuse a little humor here and there with some characters but the story is too grim to have that work as well. Ossit Sawani could have been much more than it turned out to be. However, it is a good sign that some Lebanese filmmakers have decided to branch out from the mold and actually do a decent job at it. Give Ossit Sawani a chance – you might be positively surprised.

3/5

Beautiful Creatures [2013] – Movie Review

Beautiful Creatures Movie Poster

You know things are odd when you’ve read the book upon which a movie is based and the movie still manages to surprise you. I don’t mean this in a good way.

Having nothing better to do a few weeks back, and knowing this would be released, I decided to read the novel Beautiful Creatures by Kami Garcia and Margaret Stohl, the first in the Caster series. I thought the book was decent enough but figured the movie would be much better as the content is made to be translated to the big screen.

To say I was mistaken would be an understatement and I’m not sure if it’s only because the movie has absolutely nothing to do with the book, except for about 20 minutes which are spread out here and there over a two hour running time.

Lena Duchannes is a newcomer to the town of Gatlin, in the deep American South. She lives in Ravenwood manor, a place that the townspeople don’t look favorably upon nor upon its inhabitant, a man they hadn’t seen in years. When you’re that deep in the Bible Belt, the only thing people accept is Jesus and Republicans. If you deviate from that, then you’re the devil. Trying to fit in high school is some tough business for Lena who finds comfort in Ethan Wate, a boy whom she intrigues. He discovers that Lena is a caster (a fancy word for witch) and that female casters in her family are claimed to either the dark of the light when they turn 16 – and Lena doesn’t have much time left until her birthday.

The movie features an interesting cast that comprises of Jeremy Irons, Emma Thompson and Viola Davis. Frankly, I have no idea what they were thinking in signing up to this. Not only is Beautiful Creatures not entertaining, it is an atrocity of monstrous proportions. Nothing in the movie works. The three aforementioned actors come off as amateurs who had never done a movie before. The special effects are cheap. The few moments of snarky dialogue at the beginning are nowhere near enough to make you look favorably at the hours that followed.

If you have read and liked the book, steer clear from this. If you have nothing to do during two hours of your life, steer clear from this. My guess is Beautiful Creatures did such a bad job at turning the book upon which it’s based into a movie that the upcoming parts in the series will never see the light of the day. Good.

1/10