Over the ensuing years, we watch as Olivia tragically finds herself attracted to men who end up being alcoholic bullies while Mason Sr. (Ethan Hawke) is only just now returning to their Texas stomping grounds. When we first meet them, their parents are already divorced: Mom Olivia (Patricia Arquette, copping the Best Supporting Actress Oscar) raises them as best she can, while Dad Mason Sr. Equally as important is Linklater's own daughter Lorelei Linklater, cast as Mason's older sister Samantha. A cute moppet at 7, he transforms before our eyes into a handsome teen of the brooding, soft-spoken variety. Ellar Coltrane landed the leading role of Mason, and he was a great pick.
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The result is a work that easily breaks free of the shackles of "just a gimmick" and emerges as a superb motion picture in its own right.
Filmmakers like Michael Apted, François Truffaut and Satyajit Ray followed individuals in similar veins, but never for just one feature, and never in this condensed a time period.
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Second only to Birdman as the best film of 2014 (and even then the difference is wafer-thin see full Best & Worst here), writer-director Richard Linklater's Boyhood offers a unique angle: Follow the life of an individual (as well as those around him) from the age of 7 to the age of 18, shooting new footage over the course of all 12 years. The many faces of Ellar Coltrane throughout Boyhood (Photo: Criterion)īOYHOOD (2014). 2016.īlu-ray extras include audio commentary by Bobin a making-of featurette deleted scenes and the music video for P!nk's "Just Like Fire."
Even Alice, a curious child in the books but now a colorless adult, has to deal with the daunting legacy of her late father and the crippling interference of her well-meaning mother (Lindsay Duncan). Bush, while the White Queen (Anne Hathaway) harbors a terrible secret.
It turns out that The Hatter (not named by Carroll but here called Tarrant Hightopp) suffers from even more daddy issues than George W.
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So why not open with a sea battle straight out of Pirates of the Caribbean? And why not make the central storyline a twist on the Back to the Future series, with Alice (Mia Wasikowska) called upon to traverse the years in a time machine in an effort to save her own eccentric Doc Brown, the perpetually annoying Mad Hatter (Johnny Depp in his now-standard jack-in-the-box mode)? If the previous movie gave us a few pages of needless backstory, then this one offers a War and Peace-sized volume of similar nonsense. Yet the profiteers behind this picture couldn't care less, preferring instead to lazily trigger memories of past hits rather than offer anything that might challenge or ruffle audiences. That's a real shame, because true innovation is often in short supply when it comes to family features. Because while the title suggests this is an adaptation of Lewis Carroll's Through the Looking-Glass, director James Bobin and scripter Linda Woolverton have as much use for Carroll's wondrous text as a white rabbit does with a Wall Street Journal subscription. The Walrus and the Carpenter are nowhere to be found in this follow-up to 2010's Alice in Wonderland, meaning audiences will have to make do with the addition of Marty McFly and Captain Jack Sparrow. Johnny Depp in Alice Through the Looking Glass (Photo: Disney)ĪLICE THROUGH THE LOOKING GLASS (2016).
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