Newsflash!!! The great and wise Disney Studios fulfills an exalted wish, granting us Mena Massoud as Aladdin, Naomi Scott as Princess Jasmine, Will Smith as the Genie and Marwan Kenzari as the Conrad Veidt-ish Jafar, with all the melodious Alan Menken/Tim Rice/Howard Ashman tunes we know and love (and more) in a live-action, Guy Ritchie refashioning of the '92 feature-length, blockbuster cartoon. To quote Daffy Duck, "Well, ruffle my hair and call me, Frankie." Didn't see that one comin'...ahem.
As most know, I'm not keen on Disney remaking its animated productions. Don't care for "Beauty and the Beast '17" (and "101 Dalmatians '96" and "Dumbo '19" are in their own lopsided niche, or should that be, ditch?), so why the hell would I give a hoot about a live-action "Aladdin" (no offense to the stage shows), regardless of its quality cast?
I must confess that for whatever odd reason, I don't feel the same intense bitterness toward this one that I felt (and still feel) toward "B & B". Maybe it's all that exotic, Arabian splash or that Smith's Genie has the right Robin Williams vibe (in big, blue or "regular" guise), while still being his own goofy guy. In the same way, Alan "Doom Patrol" Tudyk is an ideal, vocal stand-in for Gilbert Gottfried's colorful Iago. If only there had been more to hear from him; Tudyk can do no wrong.
Awright already, don't let my cherry-picked gushing give the wrong impression. Despite its good points, in no way do I believe this live-action edition is a breakthrough for the ages. I appreciate it not trying to be a Gus Van Sant, shot-for-shot "Psycho" (and for one, there's a distinguishing, albeit mushy subplot), but it still copies its cartoon counterpart enough that I can't help but ask, why, oh why? Really, what we're served sure ain't no "whole new world". And no doubt this thing cost a mint; so why not have downsized and made an animated sequel with the new cast employed? Bet that would've won over young and old alike. (Shucks, the tactic hasn't hurt the "Toy Story" franchise.)
Maybe it all comes down to proven formulas and the profit that they garner. The live-action "B & B" made a colossal chunk of change. That set the pace, the trend...whatever one wants to call it: ironic, too, comin' from Hollywood, where a let's-share-the-wealth adage is spewed to no end, but never practiced by the loudmouth know-it-alls who preach it.
Now that I think about it, maybe I don't like this remake so much, after all...maybe not in the least. Anyhow, what's done is done (all padded, two-hours-plus of it). Might as well sit back and watch it rake in the bread, and thereafter "Lion King", "Lady and the Tramp"..."Steamboat Willie". As the late Doris Day so aptly sang, "Que sera sera, whatever will be, will be..."
Guy Ritchie's "King Arthur: Legend of the Sword" is arguably as offbeat an interpretation of a classic character as is his Sherlock Holmes. It also exudes a Bondian ambiance: not quite like Ritchie's "Man From U.N.C.L.E." remake, but still succinct enough for detection. These traits give the story its distinction, its style and most importantly, its guts; and all confined to a mythology we may not have expected.
What a relief that in this age of lame reinterpretations, the writer/director didn't make Arthur Pendragon a sniffling kid with whom millennials can identify. (Really, like any member of that sissified sect would possess the required fortitude, let alone the respectful perspective, to admire any member of burgeoning Camelot. Do they even teach Arthurian legend in schools these days? Doubt it!)
Acting as the rough-and-tough Arthur is Charlie "Sons of Anarchy" Hunnam. It's cool to see this "street-wise" guy stumble into the scene and yank Excalibur from its stone. We can easily believe this son of a gun capable of leading the masses, with or without a supernatural blade and/or any other form of divine intervention. Ritchie's version also makes it clear that though Arthur stems from royal roots, he's an underdog in his fight to regain his ordained right. In all other respects, he emerges as a conscientious biker type, existing centuries before such would have ever roamed the scene. Clever.
Jude Law is King Vertigern, Arthur's uncle: so rotten and self-entitled that his contemptuous actions lead to his brother (Eric "Hulk" Bana)'s death. Even without such blood on his hands, Vertigern would still beam a troubling light. In fact, Law makes his character not only the staple, mad magician, but a full-fledged snoot, similar to those modern-era professors and conniving politicians who tell us what to think and do. (Gee, those misguided millennials might actually fancy this phony despot and go the extra mile to keep him in "office". Hardy har har!) The inclusion of Uncle Vertigern's elitist ilk is, therefore, ideal villainy, giving us proponents of virtue further reason to cheer the brawny Pendragon on.
As far as Lancelot goes, forget it. He's nonexistent in this edition, since we're dealing solely with Arthur's ascension. With that in mind, this film plays like a big prelude to something even bigger, rather like Ridley Scott's "Robin Hood", though that ambitious venture never sprung a Russell Crowe sequel. One can only wonder if Ritchie's film might face the same fate, but if that's the case, so be it.
We're at least granted other significant personas (some classic and a few pulled from left field), including Kamil Lemieszewski's Merlin (though he's, alas, merely a referenced, background fixture) and Djimon Hounsou's courageous Sir Bedivere (an undeniable force throughout the film). The legendary Mordred even makes an appearance, albeit out of mythological place, in the guise of Rob Knighton, but for more basic, trustworthy manifestations, there's Freddie Fox's Rubio and Aidian Gillen's Goosefat Bill.
The film also dishes up several ladies to catch our eye, as fetching as any one might find in any modern espionage try. They include Annabelle Wallis as Maggie; Katie McGrath (who interestingly enough, played Morgana on BBC's "Merlin") as Elsa; Poppy Delevigne as Queen Igraine; Millie Brady as Princess Catia; Georgina Campbell as Kay; and (drum roll please...) Astrid Berges-Frisbey (who played an enchanting, killer mermaid in "Stranger Tides") as the Mage, but we damn well know she's really Guinevere in disguise. Fortunately, none of these ladies inflict romance upon our sword-anointed protagonist, which may seem unorthodox, but for this refashioned origin, it was wise of Ritchie (and his coauthors, David Dobkin, Joby Harold and Lionel Wigram) to have pulled in the reins.
As the movie mounts, its mission remains steadfast, layering on revenge, honor and merciless melees on every occasion. Those seeking an effortless outcome between the sides can look elsewhere, for the conflict contained is realistically cruel and on occasion even monster-laden. Those who fight the good fight are the type we'd be honored to call friends (and fellow soldiers), which makes this film an easy ride, despite its boisterous brutality, snarky slant and two-hour-plus running time.
It is, therefore, that solidifying camaraderie (and the related cause to nurture the kingdom) that remains all-consuming; but hasn't that always been the gist of early Camelot? As with any version, Arthur and his friends are the legend's clinging contenders. When victory does hit (and how could it not?), it truly lifts the spirits, the feeling as traditional as it's radical.
For those who prefer their heroes strong and their revitalized legends even stronger, this Pendragon serving is a veritable meat-and-potatoes treat, guaranteed to fill one's belly with virile pride. Indeed, hail to the king!!!
In the mid-sixties there was no spy phenomenon as big as "The Man From U.N.C.L.E.", except of course, James Bond and let's not forget "The Avengers" (John Steed/Emma Peel, that is). "U.N.C.L.E.", however, went through the roof during its early phases, making Robert Vaughn and David McCallum household names, as well as their characters, Napoleon Solo and Illya Kuryakin pop-cultural icons. Incidentally, though the series was developed by the innovative Sam Rolfe, it was conceptually influenced by Bond's daddy, Ian Fleming.
U.N.C.L.E., which stands for United Network Command for Law and Enforcement, took a stand against the chaotic command of T.H.R.U.S.H.: Tech Hierarchy for the Removal of Undesirables and the Subjugation of Humanity (how's that for a mouthful?). U.N.C.L.E. was a combined agency effort: though Solo was American bred, Kuryakin was KGB connected. Kuryakin was still faithful to Solo, who like Bond, was every inch the suave, lady's man. Their boss (i.e., their version of "M"), was Alexander Waverly, portrayed by renown character-actor Leo G. Carroll: the series' sentimental, supporting lead.
"U.N.C.L.E." spawned several films (episodes shown theatrically in color during a time when black-and-white television was the norm, with added, sensual footage not seen on the home screen). The films were profitable worldwide, and though "Return of the Man from Uncle" premiered as a high-profile movie-of-the-week in '83, it's odd that a theatrical relaunch of the franchise has taken this long.
Nevertheless, the "U.N.C.L.E" revival has surfaced: big-budgeted and directed by hipster Guy Ritchie, who co-scripted with Lionel Wigram. It stars Henry Cavill as Solo and Armie Hammer as Kuryakin: yep, Superman and the Lone Ranger together at last (well, sorta). Affable Hugh Grant portrays Waverly, with Jared Harris on hand as C.I.A. agent Sanders, who keeps us properly cautious in the good ol' fashioned Cold War way.
Joining the boys is the lovely, mechanically inclined East German, Gaby Teller (Alicia "Ex Machina" Vikander). She's not in the least timid about throwing herself into the action and remains a constant sight-for-sore-eyes: for all intents and purposes, this story's "Girl From U.N.C.L.E.".
The sinister lead is the cool Victoria Vinciguerra (Elizabeth Debicki), who's as fiendish as she is statuesque: a veritable Satan cloaked. Her sadistic motivation is pure T.H.R.U.SH., with a desire to tear down the world via nuclear destruction (and with an connection to Teller's physicist dad, no less). In this regard, she's much like any aspiring terrorist (only lots prettier) and to Solo, far more treacherous than even the most skilled KGB agent could be. After all, Kuryakin is on his side (albeit reluctantly), and together our heroes face a series of outlandish obstacles to defeat their foe.
The circumstances churn lots of comical bickering and sincere camaraderie, making this U.N.C.L.E. more of a buddy movie than a typical, spy/espionage flick. Then again, the principles were always tight-nit on the series, and considering the third season's shameless levity, the film's shenanigans may not be so out of place.
In other ways, Ritchie's version mirrors his revisionist Sherlock Holmes adventures: a sea-sawing of high-flying danger and unabashed superheroics. Thank goodness the flow never feels awkward, perhaps because its underlying unevenness is charged by movie-serial thrills, quick wit and exotic visuals. Let's face it: for this sort of adventure, that's essentially all one needs.
Also to the remake's benefit, it's an unapologetic nostalgic piece, with a Daniel Pemberton throwback score, which often invokes Ennio Morricone, constantly accompanied by cool cars and colorful clothing. The overall package is an indisputable gift to older fans, but hopefully the film will inspire youngsters to seek out the original, so they might see what all the hub-bub was (and still is) about. Indeed, what was old is new again, and in either case, it's all good fun.
