One of the chief complaints regarding the 2014 Gareth Evans-directed Godzilla reboot was the lack of screen time for the titular monster. The character for which the film was named famously only appeared on screen for about 8 minutes and some fans felt they got the short end of the stick when they plopped in their theater seats expecting all-out-monster mayhem. In the timeless tradition of cinematic call and response, Godzilla: King of the Monsters, as directed by Michael Dougherty of Trick ‘r Treat and Krampus fame, takes that complaint baton and sprints blindly the other direction, delivering a movie that is packed to the gills with fussy monsters and cityscape destruction porn but remains an exhausting and brain-numbing eyesore nonetheless. Read More

“Saving Mr. Banks”
Directed by John Lee Hancock
Starring Emma Thompson, Tom Hanks, Paul Giamatti, B.J. Novak, Jason Schwartzman, Bradley Whitford, Colin Farrell, Annie Rose Buckley, Ruth Wilson, Rachel Griffiths
Biography, Comedy, Drama
125 Mins
PG-13

Saving Mr. Banks may as well have been called How Walt Disney Saved The Day From The Curmudgeonly P.L Travers. It’s as whitewashed a narrative as can be, oozing Disney hallmarks to reinvent the notorious asshat that is Walt Disney into a salt of the earth type inspirationally adept at picking himself up by his bootstraps. He’s the American Dream personified and he circles Emma Thompson‘s P.L. “put the milk in the tea first” Travers with the predatory knack of a hawk.

Travers, whose opaque Britishness sticks out like Andre the Giant’s thumb if it’d been slammed in a car door, is a woman desperately struggling to maintain artistic control of a character she’s poured her very heart and soul into: Mary Poppins. Having either run dry in the ideas department or simply too stubborn to pen another Poppins adventure, Travers straddles the line of bankruptcy. Her only option lays in Walt Disney, who’s been hounding after the Poppins property for the past ten years.

While Travers flies over to LA to be courted by Mr. Disney himself, the earnest, creative folks at Disney are pouring themselves into turning Poppins into a product, equipped with sing-a-long numbers and dancing animated penguins. It’s a far cry from her original vision, and she battles tooth and nail to preserve the soul of these stories that mean so much to her but in the process only comes across as a mean old kook. I mean, this is the 60s, women have no place asserting themselves, amiright?

As audience members, we’re expected to cheer for this moustachioed monopoly man trying to ink out another deal with his enterprising smile. And after Saving Mr. Banks dresses Disney’s acquisition of Mary Poppins up as a promise to his children to one day turn their favorite storybook into a delightful family video, how can you not want him to succeed? Think of the children!

I don’t think I have to tell you whether or not Disney got his grubby hands on the rights to Poppins. So with that, the moral of this Disney story reads something like: big business always triumphs over the solitary artist. How sweet.

For all the tomfoolery that tries to pass as morals here, Thompson is undeniably powerhousing it as Travers. She’s confounding, frustrating, pitiable, and, for a majority of her screen time, detestable. Her 50 shades of gray comes in two flavors: frowny and disappointment. With a no-nonsense attitude so caustic she makes Professor McGonagall look like a bonafide class clown, Travers is the stuff of fairytale stepmothers – strict, rude, and utterly indifferent. But Thompson plays her with understanding, lacking an ounce of judgement. This year’s Best Actress talks have been all about Cate Blanchett but, with a performance of this caliber, Thompson might just have what it takes to knock her off her horse. There is one big thing standing in the way of that though: Travers is entirely unlikeable.

Typically, it requires a bit of mental gymnastics on behalf of the audience to acclimate to a character who is so legitimately awful and yet director John Lee Hancock makes no attempt to skirt around the dozen or so sticks up her butt. In fact, that seems the primary function of the first act – to reveal just how uptight Ms. Travers is. For most of the movie, she might as well be a plum. Says Hancock’s film, she’s a dried up old cooze more pleased by naysaying than any of this smiling nonsense. She wants for nothing save a paycheck so she may return to her flat in London and live out the rest of her days on trumpets, tea, and sighing. As she closes in on signing over that character which has come to define her and her career, she’s hardly a popular figure on the Disney campus. Making friends along the way is about as high a priority as stepping in a pile of dog shit. To her, they may as well be one in the same. With all her humbuging, she’s the Ms. Scrooge of the 2013 Christmas season.

But there’s no illusion that this pinecone of a woman won’t shed her crusty shell and reveal the little sweet girl inside, that flax-haired Aussie who we become well acquainted to through an unexpectedly prominent series of flashbacks. In his milking of the emotional teat, Hancock knows that you’ve got to show just how sour someone is to make their inescapable third act transformation all the more power. Most will likely fall victim to his ringing of the waterworks bell, but they’ll probably also be smart enough to see through the highly visibly emotional manipulation at work. So though you may cry, you’ll likely feel a sucker for it.

On the sidelines, the film is stuffed full of cheery secondary characters who either have helped raise Travers into the woman she is or those unlucky dogs who have to deal with her now that she’s grown into a froofy-haired, red lipstick-wearing bulldog. B.J. Novak, Jason Schwartzman, and Bradley Whitford are a fine trio of slick-job comic relief and their many colored reactions to Travers’ totalitarian workmanship are amongst the best moments of the film.

In stark contrast, Paul Giamatti‘s thick take on a white version of Driving Mrs. Daisy‘s Hoke Colburn is a prime example of Saving Mr. Banks as a hokey tearjerker while Colin Farrell‘s bubbling but bumbling alcoholic father is shaded with true characterization. He’s far richer in depth than many of these hackneyed stereotypes but belongs in a whole other movie; one far darker and sadder. Then again, the wealth the flashback scenes do seem like another movie entirely. It’s not until the end that it all finally comes together and we see the pieces for a whole. Nonetheless, Hancock never really justifies the amount of division the film must carry and the emotionally stirring conclusion still isn’t enough to make up for the sluggingness that clouds the first hour.

Saving Mr. Banks is yet another Disney export of saccharine in the highest degree, an uplifting tale that also serves to reinforce the likeability of a dynasty that has swept up Pixar, Marvel, Stars Wars, and just recently Indiana Jones. But for those of us who’ve heard stories of Disney as a man who aligned himself with anti-Semitic organizations and would work his employees to the bone, attempts to make him seem like Saint Walt come across as disingenuous at best and full-blown falsification at worst. But it’s hard to look down your nose when Tom Hanks is playing the role with all his usual charm and gumption. Well played Disney, well played.