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“The Stepford Wives”
Stiirriiig INicole Kidiiuiii. IMalllieu
Broderick, (ilenii Close
Paramount Pictures and Dreamworks
Pictures
Review by Jimmy Hissong
Few films offer the
audience the chance
to see the decapitation of a silver screen
icon, but with advancements in CGI tech
nology, the list seems to be growing longer.
Despite this seemingly gruesome notion, the
2004 release of “The Stepford Wives” actu
ally marks a transition from its original roots
in the horror genre.
Joanna Eberhard (Kidman), a television
programming demigod, finds herself in the queer surroundings of the town Stepford, Conn, after
losing her job and suffering a nervous breakdown. The town seems all too perfect for the suspi
cious Joanna, so naturally she attempts to unearth the confidential aspects of the town’s secre
tive Men’s Club. Aided by a sharp-witted, slovenly novelist (Bette Midler) and a flamboyant,
fashion-conscious homosexual (Roger Bart), she finds a complete automaton factory in the base
ment of the organization.
Directed by Frank Oz (The Score/Dirty Rotten Scoundrels/and yes, the voices of Yoda and Miss
Piggy) the 2004 film revisits the 1975 film of the same title inspired by Ira Levin’s novel, featuring
dimly lit hallways, menacing characters, and other suspense building factors, but the 2004 film utilizes
comedy to hold the audience’s attention. However, simply labeling the film a comedy is not enough to
evoke laughter from spectators between mouthfuls of Junior Mints and popcorn.
See Stepford on page 6
Photo Courtesy of Paramount Pictures
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“Harry Potter and the Prisoner of Azkaban” •
Starring Daniel Kadelilfe, Minina Watson
and Rupert Grint
Warner Bros. Studios
Review by Jose Cruz
If the first two “Harry Potter” films can be described as bubble gum, then
this film is described as chewing tobacco, definitely cooler and more grown
up, but ultimately dangerous.
Reprising their lead roles from the first two “Harry Potter” films are Daniel Radcliffe, Rupert Grint
and Emma Watson as Harry Potter, Ron Weasley and Hermione Granger, respectively. Alfonso Cuaron
directs the third movie based on the third book from the popular series by J.K. Rowling. This time a
dangerous wizard, Sirius Black (Gary Oldman), has escaped from Azkaban Prison, and is searching for
Harry and wants him dead.
This film is dark, dank and dirty. The sun only shows up for three scenes throughout the film. While
the first two “Harry Potter” films were sparkling clean, Cuaron chooses instead to shed the superficial
layer and portray a more realistic magical world.
The streets are wet and the stone buildings are mossy. The costumes look worn and scruffy. The
sets look dilapidated and old. Cuaron makes it easy for the viewer to believe this world has been
lived in and immerse himself in the story. This is a far less pretentious magical world than that of
the first two films.
The dark look of the film matches the subject matter. Harry begins to feel the weight of his powers
on his shoulders. Harry frequently plummets into fits of rage whenever his long deceased parents are
mentioned. Also, as if a murderous wizard after your head wasn’t enough, Harry must deal with soul
sucking Dementors hanging around school. The darkness of this film hints at the burden Harry begins
to feel as a part of growing up alone. Cuaron’s touch points out that magic is not all fun and games.
Cuaron places Harry inside a world thriving with life of its own instead of just serving as a backdrop
for Harry’s adventures. He brings this far away imaginary world closer to the viewer. Cuaron’s frequent
use of wide-angle lenses allow for the viewer to revel in the rich detail of this world. “Harry Potter and
the Prisoner of Azkaban” invites the viewer for an enchanting stay in a lush, magical world that envelops
the viewer.
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