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items tagged with Anton Yelchin

Mike’s Online-Only Movie Reviews - 2008
Written By: Mike Schulz
Section: Movies

Category: Reviews

2008-05-01 11:06:16

The AlpsThe Alps (not rated) - The people have chosen, and the people chose good. Last fall's winner of the Putnam Museum's "Everyone's a Critic" series - which follows climber John Harlin's attempts to scale the north face of the Eiger mountain, where his father perished in 1966 - is such a breathtaking spectacle that watching it makes you a little dizzy; not from the Eiger's treacherous inclines and precipitous drops, which are (enjoyably) vertigo-inducing enough, but from the dazzling visual rush provided by director Steve Judson and his remarkable team of camera operators. Judson re-creates Harlin's ascent with jaw-dropping skill - you'll fight the urge to blurt out "How on earth did they film that?!" repeatedly during The Alps' 45-minute running length - and he and his crew photograph the Swiss mountain ranges with crystalline perfection; I'm not sure any movie has ever looked better in IMAX format. When the film turns to matters of geology and the historic make-up of the mountains, things get a little stodgy, but you're quickly returned to the awe-inspiring vistas, an unexpectedly touching human element courtesy of Harlin and his understandably worried wife and daughter, and, believe it or not, a series of marvelously employed Queen tunes that - in this format, at least - suggest what the elevator ride to heaven would sound like.


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A Sinking Heart Over "Atlantis": "Hearts in Atlantis" and "Don't Say a Word"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2001-10-03 00:00:00

Anton Yelchin and Hope Davis in Hearts in AtlantisHEARTS IN ATLANTIS

Given current events, are audiences now so hungry for nostalgic, nonthreatening entertainment that they’ll happily accept something as profoundly awful as Hearts in Atlantis? If so, you certainly can’t blame them, but Lord knows they deserve better than this mawkish Stephen King adaptation, a gooey and incoherent fable that gets more maddening as it progresses. I have friends who swear by the greatness of King’s novel (unread by me), but the film version comes off as a mixture of the feyest aspects of the mostly terrific Stand by Me (based on King’s novella The Body) and the metaphysical hokiness of King’s The Green Mile. It proves to be a nearly unbearable combination, and yet something tells me that this wimpy, unfocused film could turn into a big hit among those who believe, as its author apparently does, that America died right about the time King turned 13.


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