Dawning of Dakota

Saturday

July 17, 2010

I don’t care who you are—Now that thar is a pretty girl!  People doubt me, but I knew even when Dakota was eight-years-old, she was going to be a very pretty girl. All I can say is, ta, da!  

ORPHAN

ORPHAN (2009)─The movies have a long history of plumbing the depths of the child/psycho-killer genre; indeed wicked murderous children abound. From the archetypal Patty McCormack in The Bad Seed (1956) to demon possessed Linda Blair in The Exorcist (1973). In other examples of cinematic murderous children we find some are purely evil of the likes of Macaulay Caulkin in The Good Son (1993) and others kids have more sympathetic motives for the reason why they kill such as Jodie Foster in The Little Girl Who Lives Down the Lane (1976).

ORPHAN a film written by David Johnson and directed by Jaume Collet-Serra and staring Isabelle Fuhrman in a startling fresh performance as Esther the homicidal nine-year-old Russian orphan. I’ll confess I’m not a big fan of the conventional Hollywood slasher/horror genre so it was with some skepticism that I elected to screen this movie. Orphan had some serious steep hurtles ahead to overcome my dismissive mindset and bring something new and startling to the table. The first half of the film largely succeeds owing to its careful character development and a cleverly nuanced back-story. The second half of the film, while it still possesses a few twists and shocks does descend into a somewhat predictable cliché ending. Orphan largely delivers based on the performances of its excellent cast.

We are introduced to the Coleman family, Kate (Vera Farmiga) and John (Peter Sarsgaard) an affluent yuppie couple who are experiencing strains in their marriage after Kate’s third child was stillborn. The loss is particularly hard on Kate, who is a recovering alcoholic who lost her job because of her drinking. The couple decides to adopt Esther a precocious Russian girl, from the local orphanage. Kate and John have two other children a deaf-mute daughter Max (Aryana Engineer) and a son Daniel (Jimmy Bennet). As the tag-line suggest, there is indeed Something wrong with Esther. Daniel wounds a bird with his paintball gun, Esther reveals her cool cold vicious nature by dispatching the fowl with a rock. When Esther blunders into the kitchen during a late night impromptu love-making session, Kate is shocked when not only is Esther unfazed, the girl expresses far more knowledge of sex than would be expected for a child her age. Kate tries to have a talk, explaining that sometimes grown-ups do things that children shouldn't know about  . . . “They F**k.” Esther deadpans,  then nonchalantly returns to her painting.

Kate is further alarmed when Sister Abigail (C.C.H. Pounder), the head of the orphanage, warns her and John about Esther’s proclivity to be around when tragedy strikes.  Esther eavesdrops and fearing that she will be taken away, viciously bludgeons the nun to death with a hammer. She ensnares inocent Max to help her get rid of the body. They hide the bloody weapon in the tree house, which Daniel witnesses. Later, Esther threatens Daniel with a box cutter if he tells anyone what he saw. “I’ll cut off your hairless little prick before you even know what it’s used for.”

The situation rapidly spirals out of control, after a minor scuffle with Kate, Esther in what is perhaps the most chilling act of psychotic nihilism,  breaks her own arm in an effort to illicit sympathy from John and cast Kate as the villain. Daniel decides to retrieve the hammer from the tree house and go to the police. Esther sets the tree house on fire, but Daniel escapes. Esther again tries unsuccessfully to kill Daniel at the hospital by smothering him with a pillow.

Later that night, like some kind of homunculus shape-shifter, in what amounts to the movie's biggest shocker. Esther transforms herself  into a miniature adult, now dressed in a skimpy black negligee, Esther tries desperately to seduce John. “I love you daddy . . . I really love you. Let me take care of you.” Angry and hurt at being spurned, Esther viciously murders John.

It’s here unfortunately in the final reel that Orphan starts to unravel and descends into hack and cliché. Complete with the classic “Kick scene” from Star Trek. The climatic struggle ensues at the edge of an icey pond. “Mommy please don’t let me die!” . . . “I’m not your mommy!” Not a very satisfying ending to what was overall a very scary and enjoyable movie.


Orphan (2009) ** ½

Roger Ebert loves THE RUNAWAYS

Monday February 1, 2010

SUNDANCE 01.30.10 "The Runaways" A somewhat fictionalized version of the life and times of the 1975-77 teenage girl rock band best known for Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning). No members were over 16 when they were packaged as "jailbait rock" by snaky producer Kim Fowley (Michael Shannon). They dressed like hookers and dominatrixes, they idolized the Sex Pistols, but they were also insecure and immature young girls. Currie almost went down in flames, and the movie is based on her autobiography, Neon Angel.

Joan Jett still tours today, and is an intact survivor. The movie reproduces the Runaways' actual music, which is no better that you might expect, but the acting is very convincing. Kristen Stewart proves once again that she's a rising star, and Dakota Fanning is such a fine actress that I, for one, almost believed I'd always heard her using the f-word. As for Michael Shannon, is he the most unheralded force in acting today, or what?

—Roger Ebert

Viva Dakota

Saturday January 30, 2010 Dakota Fanning appears on the cover of V magazine looking mighty scary with her "big hair."

FRAGMENTS

Friday 14 August '09

FRAGMENTS aka WINGED CREATURES (2008)―On an ordinary day, in ordinary suburbia, in an ordinary diner, tragedy strikes with the same awful inexplicable suddenness of real-life. Five ordinary people, their lives forever changed when an ordinary man walks into the diner. An exiting customer unwittingly holds the door for him―pleasantries are exchanged—but this man is anything but ordinary, he is a deranged gunman, without motive, without warning he randomly opens fire on the patrons. In an instant, the perfectly ordinary day is transformed into something extraordinary. This is the story of five people, five different lives inexplicably intertwined, forever changed by the slimmest of margins, by the cruelest twist of fate. Although the story is held together loosely by the initial central event, the film is quite literally fragmented, too little story; unequal screen time is devoted to each character. There is negligible character introduction, apart from a brief shot of Anne Hagen riding in a car; this makes it difficult for the audience to connect with the characters. Out of all the tragic stories, I found young Anne’s (Dakota Fanning) the most dramatic. Losing her father in a random act of violence, the teenager has an epiphany as she turns her suffering over to god; Anne speaks to god, she proselytized with an evangelical religious zeal of her father’s heroic bravery. The truth however is far more tragic and lies bottled up inside of her. Dakota Fanning’s transition from child to young adult actress is well under way, with no foreseeable stumbles in the road. Dakota continues to demonstrate her mastery of her craft in the way she handles this particularly tricky performance. The waitress, (Kate Beckinsale) reaction is the most realistic; Carla is a single mother who waits tables, who is too young and too pretty to be tied down by a constantly crying baby. Carla has various sexual liaisons with men as she neglects her baby. Esurient Carla eventually uses the baby as a flimsy excuse to make romantic overtures to Doctor Bruce. Unfortunately, for Carla, the doctor has troubles of his own and he is disinterested. On performance, Beckinsale's role is so commonplace that on the surface it offers little challenge. This makes her portrayal of the stressed-out mother even more convincing. Poor Jimmy (Josh Hutcherson), Anne’s friend is consumed by his own domestic problems. Introverted and timid, he has a brother in a coma from action in the Iran War and his parents simply don’t understand him. He suffers probably the worse trauma as he has a gun pointed at his head as he and Anne cower under the table. What’s most poignant is when he desperately reaches out to Anne for friendship, whereas Anne in the grips of a religious fervor rebuffs him and instead calls upon him to witness her father’s heroic bravery. Jimmy alone knows the truth . . . The true hero in this drama is Charlie, an unassuming driving school instructor (Forest Whitaker) who stands up and distracts the gunman, by all accounts he should have been fatally shot, but he escapes with just a scratch. Believing that luck is on his side, he launches into a desperate stint of compulsive gambling, falls in with loan sharks, and descends into a death spiral of yet even more frantic gambling. All the while, his daughter (Jennifer Hudson) is frantically searching for him. While Charlie’s story is not intended to provide comical relief or balance, it is comparatively lighter, and comes with a twist. Doctor Bruce’s (Guy Pearce) situation is the most complex. By sheer happenstance, he exits the diner after buying a cup of coffee seconds before the shooting occurs. He even holds the door for the murderer, offering a pleasant “good morning.” His subsequent failure to save one of the victims sent to his hospital devastates him. Dr. Bruce finds himself troubled by his inability to save lives even though his colleague tells him that they are mere doctors not God. To compensate for his feeling of insecurity, he launches into a quixotic questionable treatment regiment for his wife’s migraines that causes more problems than it solves. These are the questions acclaimed Australian director Rowan Woods attempts to answer in this engaging but ultimately unsatisfied Crash-style ensemble drama FRAGMENTS. “Winged Creatures” is indeed a bird that fails to fly―not quite a turkey, however, considering the prodigious talent involved this unfortunate movie never manages to soar above your average Lifetime drama.

FRAGMENTS (2008) ** ½

Dakota at Santa Monica Pier

Friday 07 August '09

Dakota Fanning enjoys a fun day with friends at Santa Monica Pier. Doesn't she look absolutely casual and radiant? I have a special conection with Santa Monica Pier because I've been there.

HOUNDDOG

Tuesday May 12, 2009

HOUNDDOG (2007) A Southern Gothic tale set in 1961 Alabama about a troubled girl who finds solace and ultimate redemption in the words and music of Elvis. The film is written and directed by Deborah Kampmeier and stars Dakota Fanning along with Robin Wright Penn, and David Morse. From the opening scene of a fetid, steamy southern swamp slithering with snakes, to its stoic end credits, Hounddog is a movie that is burdened with inscrutable symbolism over wrought characters and a maudlin undeveloped story that is sabotaged by the director’s own self-incriminating retro-editing. This gives the film a hurdy-gurdy jerky unfinished appearance, as if the most salient bits of film lay in huge tatters on the cutting room floor. Hounddog is a movie that is at times difficult to watch, impossible to ignore and ultimately dissatisfying. They say too many cooks spoil the soup, and HD has more producers than you can shake a stick at. The real problem is, after the disastrous reception at Sundance, it’s painfully obvious that director Kampmeier panicked. Like a naughty schoolboy sent to the principal’s office, Kampmeier sought to dispose of the evidence went back in with her scissors and cut out all the offending parts. The result of this reactionary retro-editing is that Kampmeier largely squanders Dakota's last great performance as a child. Going from the fresh face pig-tailed Fern in the family, friendly Charlotte's Web (2006) to a movie featuring child rape is a whiplash-inducing change of pace. Dakota, with her lilting singsong southern voice is such a natural performer she often finds herself in the unenviable position of being better than the material in which she appears. Hounddog is only the most recent example; Dakota easily rises above the vapid script and overwrought performances of David Morse and Piper Laurie.

Llewellyn is a girl in possession of waif-like child innocents, yet she engages in playtime activities that would have caused our poor Fern to blush. Llewellyn spends a great deal of time cavorting about in her underwear. When she isn’t busy flashing her alabaster white legs and skivvy clad tush, Llewellyn plays naughty games like “doctor” with the neighbor boy plying a kiss for a quick look at his willie. Her god-fearing over bearing Granny does her best to keep her on the straight and narrow. "Turn down that devil music!" All to no avail, Llewellyn remains defiant, a white girl who likes black music, she gyrates her hips to the refrains of “Hounddog.” Llewellyn remains seemingly oblivious to her awakening sexuality; like some objectified Bratz doll, we watch her languish in bed, moaning “Hounddog” for the pleasure of the milkman. “What? Lil’ ole me?”
 

Llewellyn is a girl who loves the blues and is obsessed with Elvis. She will sing “Hounddog” into a living room lamp stand at a moment’s notice. While Charlotte Church can rest assured her status as a diva is in no danger of being usurped anytime soon. Dakota does a surprisingly credible job with her singing duties. Dakota is no singer, but at least she doesn’t embarrass herself. When Elvis comes to town, so desperate is Llewellyn to secure a ticket she agrees to dance naked for a much older boy. All this leads to her ultimate downfall. The underlying problem with Hounddog is that’s it’s not a very good movie. Deborah Kampmeier’s fateful decision to cast Dakota Fanning as Llewellyn as apposed to an unknown had far-reaching and unforeseen consequences. While Dakota’s considerable gravitas undoubtedly contributed greatly to getting the project “green-lit.” Her established public persona as cherubic Lucy Dawson proved to be the movies ultimate undoing. Anjelica Huston got away with it because in Bastard out of Carolina (1996) she cast an unknown and she managed to imbue her film with a quiet sense of dignity that HD seems to lack. Note to self: If one decides to make a movie depicting the rape of a child, one doggone well better make sure you are on firm critical, creative and moral ground. Because no one, absolutely no one, wants to watch a movie where sweet innocent pig-tailed Fern is raped.

Hounddog (2007) ** ½

MOST BEAUTIFUL DAKOTA

Saturday May 2, 2009 DAKOTA FANNING (NEW MOON), age fifteen, was named by PEOPLE MAGAZINE, along with Dev Patel, Emma Watson, and Shawn Johnson as one of the most beautiful people in Hollywood under twenty-one.

Whoo-hoo Dakota! Well, its not as if we needed People Magazine to confirm what we already knew. Dakota, ever since we were first smitten with you at age-8, we always knew you were destined to be beautiful.

Now tell me, honestly, that isn't absolutely jest the cutest little girl you ever did see?

WALK FIT with Dakota Fanning

Tuesday April 7, 2009

DAKOTA FANNING—Here is a young woman in possession of an extraordinary social conscience, who really understands the power of her celebrity. No flash, no publicity; she just quietly goes about her business giving of her time and talent to charitable causes which are important to her. Dakota is such a kind and caring person, she reminds us once again why we admire her so much. On Sunday April 5th, Actress Dakota Fanning once again hosted the 10th annual Mattel Children's Hospital UCLA 5k Run/Walk Fit. Registration is open for the tenth annual 5K Run/Walk to benefit Mattel Children's Hospital UCLA. Runners can get started as early as 6 a.m. on Sunday at Wilson Plaza, located at 308 Westwood Plaza on the UCLA campus. For registration details and further information visit. http://www.runwalk.ucla.edu/

"CORALINE" Still draws crowds

Friday March 19, 2009

CORALINE (2009)—The first ever stop-motion animated film to be shot entirely in 3-D, continues to attract moviegoers after more than a month in theatres. With voice-work by Dakota Fanning, CORALINE has earned $70 million to date, enough to lift the Neil Gainman/Henry Selick's dark re-telling of a young girl's "down-the-rabbit-hole" fantasy to No. 6 among the most popular 3-D films of all time.

Dakota Fanning fronts 'Runaways'

Saturday March 7, 2009

VARIETY (03.04.09)—Dakota Fanning is negotiating to play lead singer Cherie Currie in "The Runaways," the biopic of the '70s all-girl rock band that already has TWILIGHT star Kristen Stewart playing Joan Jett. Scripted and directed by Floria Sigismondi, the film begins production in late spring.

At 15, Fanning is the same age Currie was when she made her debut with the Runaways as the lead singer who belted out hard-edged tunes like "Cherry Bomb." Currie became caught up in drugs and a hard-partying lifestyle.

John and Art Linson are producing with River Road Entertainment's Bill Pohland, with Joan Jett serving as executive producer.

Fanning, who most recently starred in THE SECRET LIFE OF BEES and PUSH, and voice-work on CORALINE, is also slated to play a vampire in the "Twilight" sequel NEW MOON.

PUSH

Friday February 13, 2009

PUSH (2009) Directed by Paul Mc Guigan (Lucky Number Slevin), is loud, choppy; the plot is confusing as it is convoluted and ultimately silly. The storyline involves a group of young American ex-pats with telekinetic and clairvoyant abilities who are hiding from a clandestine U.S. government agency “The Division.” They must utilize their different talents and band together for a final job enabling them to escape the agency forever. These clairvoyants and psychokinetic powers are a product of a shadowy past linked to the end days of WWII. Born and bred as the ultimate surveillance weapons these second and third generation psychic empowered humans rebel and are no longer willing to serve their government masters. “They live among us.” So, Dakota Fanning, warns us, once again employed as the consummate archetypal innocent narrator. Fanning plays a “watcher” a thirteen-year-old worldly-wise girl named Cassie Holmes, a clairvoyant who can see the future. With her blond hair streaked with pink, short, short “skorts” and knee-high boots, Fanning resembled a Bratz doll; she’s gone rouge, across the globe. On the run from the shadowy Division, in search of Nick (Chris Evans) and a mysterious suitcase that the Division, represented by the ever-nefarious Djimon Hounsou also seeks. (See, I told you this plot was convoluted, it gets worse) . . . Along the way, the gang picks up Kira, (Camilla Belle) who can plant naughty thoughts in people’s head. All this and there are other psychics with names like “movers,” “shadows,” and “sniffs,” and a whole family of assassins who can shatter glass and do the “scanner” thing on your brain by screaming. If all this wasn’t disconcerting enough we are treated to the spectacle of sweet-innocent Dakota Fanning of fresh faced pig-tailed Fern fame, swear, get drunk and pack heat—in both fist no less. As far as the intoxication scene goes, (the director was careful not to show underage Fanning actually drinking). I thought it was one of Dak’s best scenes; she actually does a convincing job. The scene is especially funny, since after she appeared on the TONIGHT SHOW, Dak assured Leno that, “Absolutely no research went in to doing that scene.” Unfortunately, PUSH will do nothing for Dakota’s career. The film opened to extremely poor reviews and in sixth place . . . not very promising. However, I expect that with Dakota's talent, she will persevere. I do not think I would have enjoyed PUSH at all except for the presents of Dakota. Hong Kong certainly is a beautiful city I liked that part. Overall, PUSH will never rank as one of my favorite Dakota movies.

PUSH (2009) * ½

CORALINE

Sunday February 7, 2009

CORALINE (2009) is a high-definition stop-motion animated feature, the first to be originally filmed in 3-D, with spectacular CG effects, directed by Henry Selick ("The Nightmare before Christmas"), based on Neil Gaiman’s international best-selling masterful children's horror fantasy. CORALINE is a film that is both visually stunning and wondrously entertaining. Ever since Lewis Carroll first imagined Alice tumbling down a rabbit hole, stories have abound of lonely, imaginative little girls passing through dark, narrow portals into crazy—upside-down often menacing other worlds—but never so fully envisioned in stereoscopic 3-D stop-motion animation.

There is a real need of more films with smart, mischievous young girls. Coraline is a smart, savvy and clever eleven-year-old girl, without being sappy or sickly sweet. She’s the girl next door that we actually might like having living next door. Especially since she’s brave, resourceful and not afraid to confront her darkest fears.

Coraline, (Dakota Fanning) discovers a key and walks through a secret door from her boring new home and discovers an alternate version of her life. On the surface, this parallel reality is eerily similar to her real life—only much better. However, when this wondrously off-kilter, fantastical adventure turns dangerous, and her counterfeit parents (Other Mother voiced by Teri Hatcher) tries to keep her forever, Coraline must count on her resourcefulness, determination, and bravery to get back home—and save her family.

Perhaps a bit dark and gothic to be regarded as a mainstream family film. CORALINE is not for young children, (there are some scary disturbing images), but ultimately CORALINE proves a brilliantly enhance gothic comedy that mingles horror and whimsy into a "family-friendly" version of Gaiman's dark story.

CORALINE (2009) ***½

KIT KITTREDGE: AN AMERICAN GIRL

KIT KITTREDGE: AN AMERICAN GIRL (2008) a movie based on a doll? My skepticism meter was off the scale, as I investigated further I realized with the production of each doll, AMERICAN GIRL has carefully authorized an entire back-story to go along with each doll. Kit Kittredge (Abigail Breslin) is indeed a viable story, a story worth telling, and in these uncertain economic times a story with a resonance and priceless timeless quality. Growing up in America's heartland in the 1934 Cincinnati, Kit is an eleven-year-old aspiring newspaper reporter; Kit spends her days in her room, tapping out her stories on an old typewriter. Her father (Chris O'Donnell) owns a car dealership and her mother (Julia Ormond) is the perfect mom, she takes care of the Kittredge home where she often hosts garden teas. However, world events in the form of the Great Depression are about to descend up Kit and her idyllic life. Mr. Kittredge finds himself thrown out of work and with the family destitute and with no prospects, is off to Chicago to look for a new job. Meanwhile, Mrs. Kittredge in a desperate attempt to make ends meet decides to take in boarders, including a magician (Stanley Tucci), a mobile librarian (Joan Cusack), an uptight mother (Glenne Headley) and her young son. Also arriving on the Kittredge's doorstep are two young hobos, teenager Will (Max Thieriot) and little County (Willow Smith). These latter two youngsters will do any odd jobs in exchange for food and Mrs. K. welcomes them over the objections of neighbors. But, will the Kittredge family save their home? Also, will Kit see her fondest wish and get published, all the while solving the mystery of who took her family's safety box of money and other valuable possessions. This is a wholesome film for American families about a brave headstrong girl who is both smart and self-sufficient and a good role model for young girls. Blond-haired Abigail Breslin is one of our foremost young movie actress is forever enchanting in the title role of ambitious headstrong Kit. As an aspiring writer myself, I'll admit a little affinity for Kit's character. The supporting cast is likewise up to the task, with O'Donnell as the sensitive father and Ormond, doing a terrific turn as the beautiful, courageous mother. All of the other supporting cast members previously mentioned, along with Wallace Shawn as a stuffy newspaper editor, fulfill their roles handily, too, with special mention extended to young Willow Smith for her nice interpretation of the part of a young drifter with a big secret. Directed by Patrica Rozema with a screen play by Valerie Trip (author of the original Kit Kittredge stories). The film looks sensational from the Kittredge's gorgeous home to the costumes to the wonderful cinematography, including the musical score and a surprising rendition of “It’s only a Paper Moon” not heard in movies, since, well, PAPER MOON. As to the script, KIT Kittredge is a nice combination of history-lite, intrigue, and the triumph of the human spirit, especially the hope and new possibilities that children bring into the world. In short, KIT is a lovely family friendly film for young girls and everyone else, with abundant laughs, lessons, and love. Do make time for Kit and company.

DAKOTA IN THE DESERT

Thursday

October 16, 2008

USA TODAY—Dakota Fanning, 14, will receive the Rising Star Award at the 20th Palm Springs International Film Festival's annual awards gala January 6 in California. Fanning stars in the movie THE SECRET LIFE OF BEES, which opens on Friday.

DAKOTA IS A CHEERLEADER!

Saturday October 4, 2008

WHO WOULD HAVE THOUGHT? When the rumor first surfaced, as to Dakota being a cheerleader I'll admit, I was among the chief skeptics. It's TRUE! Home schooled through the eighth-grade, Dakota made the decision this year to attend the private UC Santa Barbara High-school, the school was willing to accommodate Dakota's special needs involving filming and promotions. Indeed, Dakota had to cut short a promotional stint of THE SECRET LIFE OF BEES on Thursday at the opening night of the 31st annual Mill Valley Film Festival. She had to catch a flight back to Los Angeles so that she could be back in class on Friday as she had a game on Friday night. Where Dakota is a member of the Varsity cheer leading squad where she is a "flyer." I think it’s fantastic that Dakota has the opportunity to pursue a normal life. Three cheers for Dakota for the humility, unpretentiousness, déclassé, to just want to be an ordinary kid . . . To go to high-School, to do what every other kid in America does in high-school. Be a cheerleader, join the drama club, hot lunch, homecoming, run track. Go Vikings! As always, I am forever indebted to my friend Marcela at LOVELY DAKOTA.

DAKOTA'S PROMISE

Tuesday

September 16, 2008 Dakota Fanning promises to live a good and clean teenage life.

American child actress Dakota Fanning, 14, has made a promise to live a clean and trouble free teenage life. She insists that she will not have an unwanted teen pregnancy, get any tattoos or piercings until she turns 18.She says that she has even sealed the pledge with a handshake in front of her mother, publicist, agent, and friends in this respect. Though the agreement was made in a playful way, the star of THE SECRET LIFE OF BEES insists that she meant every word she said.

“I swear I won’t do any of those things!” Fox News quoted Dakota as saying.

The teen star has shown in so many ways that she is a serious actress, and her poise and comportment in “Bees” is such a revelation that she’s likely to be nominated for an Academy Award for Best Actress this year.

OUR NEW FAVORITE PICTURE

Saturday

September 13, 2008

I AWAYS THOUGHT I'd be hard pressed to ever find a picture of Dakota that I liked better than this one:

For me this will always represent the quintessential Dakota, baby teeth intact, the "cute" factor is off the scale. However, in some of the recent pictures to come out of Toronto Dakota is absolutely "drop-dead" gorgeous. I dare say this picture below, is now my new favorite Dakota picture:

Isn't she absolutely stunning? What a beautiful girl Dakota is turning out to be. She's not beautiful so much in a classical sense as in a pure fresh faced "Girl-next-door" sense. I hate to say "I told you so," but "I told you so." Dakota is destined to be one of the most beautiful women in Hollywood.

DAKOTA WOW!

Saturday

September 6, 2008

TORONTO—Yes Sir, that's my baby, no Sir, I don't mean maybe. Oh, WOW! Dakota Fanning seen here on the red carpet at the Toronto Film Festival for the world premiere of THE SECRET LIFE OF BEES. Looking absolutely lovely in a basic black dress, Dakota seems immune to what some might call the "awkward years." Dakota first captivated our hearts in 2001 as an adorable seven-year-old in I AM SAM, and as a fresh face pixie in UPTOWN GIRLS, MAN ON FIRE and CHARLOTTE'S WEB. Now that she's hit her teen years, Dak's ability to enchant our hearts and mind continues unabated. I dare say she just get's prettier every day, what a charming, lovely young lady she has become.

THE SECRET LIFE OF BEES, Sue Monk Kidd's acclaimed Civil Rights-era novel about a troubled South Carolina teen (Fanning) who finds redemption in an unlikely place, opens nationwide on October 17th.

WOW!

NIM'S ISLAND

Monday

August 11, 2008

NIM’S ISLAND (2008)—The latest family fantasy-adventure offering from Walden Media, stars the always adorable 11-year-old Abigail Breslin, Jodie Foster and Gerard Butler, co-directed by Jennifer Flackett and Mark Levin. Nim's Island is the story of a young girl who inhabits an isolated island with her scientist father and animal friends, who inadvertently co- mmunicates with a reclusive author who just happens to be the author of her favorite book. All sounds very interesting, while the movie is long on cute due to the irrepressible presence of Breslin, the comedy aspects of this movie and worse of all the adventure quotient is decidedly lacking. Alexandra (Foster) spends far too much time in her farcical but ultimately boring agoraphobic transit to Nim’s Island. Once she gets there, other than Nim’s initial shock that she is in fact not Alex Rover (Butler) the adventurer of her novels, but Alexandra Rover the author, there isn't much for Foster to do. Nim on the other hand is kept busy re-wiring the solar panels after a lacklustre tropical storm and faces the unconvincing threat of island invasion by hapless Aussie tourist. Nim fights back by summoning her “inner Tarzan” complete with zip-lines through the jungle, and flinging lizards through the air like a one girl “ewok” army. Nim further astounds us by rolling boulders placed conveniently yet precariously from a cliff face like a 6th grade Quasimodo, all we lacked was a good lusty eleven-year-old yell of “SANCTUARY” and the scene would have been complete. Yet when given the opportunity, the director/writers fail to connect with the real drama potential of this story, in fact, they seem particularly adept at setting up interesting plot-elements and then ignoring their outcome altogether, e.g. Alexandra never satisfactorily fulfils her mission as ersatz hero. Her hereto all consuming agoraphobic-soup fetish inexplicably vanishes and she is last seen running blissfully on the beach holding hands with Jack (Butler) caught up in some kind of implausible island induced romance. Nim fails to confronts her real fears, or learn the life-lesson that the "real hero" is the hero inside. The whole meeting the Aussie boy, a plot element originally more crucial when Nim still possessed her imaginary friends, is cast off as a meaningless throwaway scene.

I could not believe how badly the direction team of Flackett/Levin missed the mark. The idea that Nim has imaginary friends from classic literature is a great deal more interesting than much of what actually ended up on film. Furthermore, Nim’s potential confusion over the cruise ship for a pirate ship is another missed opportunity, the explanation is that Nim has an adversarial relationship with the imaginary Long John Silver, this crucial clarification is left on the cutting room floor, and we are left just confused. When you consider the potential; the lively scene of Nim lying in bed while reading the latest Alex Rover book, the adventure takes place in the theatre of her mind. These fantasies provide a further juxtaposition between Alexandra Rover's own schizophrenic imaginations of Alex rover the hero. The encounter with the Aussie boy could have been more poignant, Nim pokes him with her finger to see if he's real, but again, Flackett/Levin fail to pursue this plot-line to any meaningful conclusion. Instead, Nim's encounter with Edmund is so much wasted celluloid, reduced to the farce of Edmund’s two clueless parents. The whole point of the story was skewed. What Nim should have learned was that Alex Rover, Huck Finn, and even a scalawag like Long John Silver exist only in books. That people are more important that imaginary friends, and that heroes in real life are just ordinary people like Alexandra Rover. I know I’m re-writing the movie, I just think there was so much missed potential.