Alot of people are going to dislike me after this, but the worst predicament with “Lemony Snicket’s A Series of Sad Events” is Jim Carrey, but I don’t assume the role of Count Olaf was meant for him. I like Jim Carrey, and I assume he’s very talented. He proves he can do gargantuan comedy, like in “The Hide” and “Bruce Almighty,” and he proved that he could stout do drama, like “The Truman Display” and “Eternal Sunshine of the Spotless Mind,” but he is unprejudiced too stout of a star for this movie. He was doing his maintain thing throughout, and while everybody else was on one level, he was on another, and the two didn’t mix very well. I mentioned in my review for “The Life Aquatic with Steve Zissou” that the second half of 2004 has been sizable visually. “Hero,” “House of Flying Daggers,” and now “Lemony Snicket” have tremendous things to perceive, and I contemplate this movie actually requires a second viewing so you can ogle around and acquire all the itsy-bitsy visual quirks you might have mixed. Stare around the front hall when the children enter the home of Count Olaf. Paintings on the wall, the staircase. It’s almost like you are stepping into a price recent world.
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The movie is based on a seris of books. There are 13 in the seris overall, but only 11 have been written. This movie covers three of the books. “The Dreadful Beginning,” “The Reptile Room,” and “The Wide Window.” I’ve read the books, and the movie covers the basic belief, but not word for word, and we jump the first book to the second to the third and befriend to the first again. We inaugurate with the say of Lemony Snicket at his typewriter, writing the legend of the three Baudelaire children. There is Violet, who loves to gain, and whenever she is getting ready to earn something, she ties a ribbon to regain the hair out of her eyes. There is Klaus, who loves to read, and is able to withhold all the information he gets from books. Then there is baby Sunny, who has two teeth, and can bite anything. They always salvage her hanging from the table. She speaks in baby talk, and we catch subtitles to translate what she says. Their parents die in a fire, and the banker Mr. Poe brings the children to live with their closet relative, and it’s their parents third cousin four times removed or their fourth cousin three times removed. Whichever order, their relative is Count Olaf, a ample, actor with the tatoo of an gaze on his ankle. He makes the children do chores, and cook roast beef dinners for his acting group, but his intentions are to slay the children and secure the fortune that their parents left tedious. He tries to extinguish them, fails, and they bag sent to live with their Uncle Monty, who is going to bring them on a trail to Peru, an animal lover with snakes, in cages, all over his house. Eventually they are sent to live with their safety freak Aunt Josephine, who doesn’t like to launch door with the knobs because she is terrorized that they will atomize and pieces will go into you eyes, and she doesn’t like to cook things on the stove because she’s fearful that it’ll blow up, so she feeds herself and the children cool cucumber soup. No matter where they go, they are always persued by Count Olaf, always in a different disguise, with his acting group not far leisurely, always with a clever trick up his sleeve to acquire that money.
Besides Jim Carrey, “Lemony Snicket’s A Series of Wretched Events” has some all star cast members. People that you inspect all the time, but don’t know their names. There is Catherine O’Hara as Olaf’s neighbor. Cedric the Entertainer as a police officer. Olaf’s theatre group includes Jennifer Coolidge, Jane Adams, Luis Guzmen, and Craig Ferguson. These names may not mean anything, but if you glance the movie, you’ll recongize them just away. The music is something else to gape. Thomas Newmen is a vivid composer. He did the music for one of my popular movies, “American Beauty.” His music gives such a sunless feel, but you can’t aid but smile at it’s genius. Halt for closing credits and listen, and you’ll drop in fancy. I have been trying to rack my brain figuring out who would have made a better Count Olaf, but I can’t deem of any. Carrey also brings to considerable comedy to the roll, something that takes away distinguished of the seriousness to the character. Olaf is not a nice person. He lies, cheats, steals, and kills to procure his design, and you don’t employ those characteristics when you judge about Jim Carrey.
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Every single adult in this fade, except for Count Olaf, is uninteresting humdrum. They fair don’t listen, which is a grand dilemma in life. It’s ironic that the children are always just, and the adults roll their eyes. What’s so expansive about the film, is that Count Olaf uses the stupidity of these adults for his contain befriend. Everything is connected to everything else. When Olaf is disguised, a person like you and me can examine proper through him, but not these characters. If they have any suspision that he is an imposter, they believe that he is somebody completely different. It’s darkly funny, and disturbing to judge something like that could really happen. “Lemony Snicket’s A Series of Gloomy Events” is a very splendid movie, aside from Carrey’s unwantedness. He simply was not fair for the role. Maybe a John Malkovich type would have fit better. It’s enough to bypass that performance, and honest let the visuals wash all over you. I would peek a sequal, because this movie doesn’t tie up all the lose ends, and I’m tickled that they are different from the book seris, otherwise, we would all know exactly how it ends, or if it doesn’t raze. Lemony Snicket was with the bid of Jude Law, as the 2004 Jude Law film festival concludes. This year alone, he’s in “Sky Captain and the World of Tomorrow,” “I Heart Huckabees,” “Alfie,” “Closer,” “Lemony Snicket,” and “The Aviator,” and he has become one of my common actors. His narration is perfect for this film, and his addition if truely wanted. Not one of the best films of the year, but certainly one of the most sharp.
ENJOY!
rated PG for thematic elements, scary situations and brief language.
It’s somewhat difficult to review this film. Any adaptation of a book sets sure expectations for those who are seeing the movie - and the most well-liked expectation is that the movie is going to parallel, as accurately as it can, the books.
Does this do that? Yes and no.
The central station elements of the books are there: the greedy Count Olaf who wants to choose their fortune; the bumbling Mr. Poe who can’t seem to understand anything; Uncle Monty, who makes them feel at home for the first time since losing their parents; and their Aunt Josephine, who is disquieted of so many things - radiators, ovens, falling refrigerators, and, of course, realtors.
However, the movie moves rather speedy to the second book, skirting snappily around the first book and inserting a segue that didn’t happen in any book to cause the movement. I was puzzled by this. There were other liberties taken, but as I ruminate over them, they seem rather insignificant. The resolution of Uncle Monty’s “scene” was nearly identical to the one in the book, as was the resolution to the “scene” featuring Aunt Josephine. As I said, the central place elements remained the same.
In an absorbing and altogether understandable fade (as it was the most absorbing filmable climax), the ending of the first book was made the ending of the movie.
All of the sets were well created: Olaf’s, Monty’s, Josephine’s home - and even the ruined Baudelaire mansion. They were believable and well done.
Some of the actors seemed out of dwelling, particularly the ones playing Mr. Poe and Klaus. I don’t understand why they were so far removed from their physical descriptions in the book. Surely finding someone taller to play Mr. Poe couldn’t have been that difficult (he wasn’t, by the diagram, coughing and sniffing constantly), and at the very least they could have achieve glasses on Klaus.
Jim Carrey was somewhat over-the-top as Count Olaf and Captain Sham, but he was understated and perfect as Stefano. Count Olaf is, as any readers of the book know (and I’ve read and reviewed all of them) a rather over-the-top character, so I found his portrayal of Olaf to be spot-on and didn’t have a scrape with it as some “accurate” reviewers have.
The person I saw the film with had never read the books, and when we were leaving, I asked his conception. He said that he loved it, and in fact enjoyed it more than the Harry Potter movies. Personally, I disagree - and this is my review.
The movie also gave away a few secrets, and I mediate that may have been because the filmmakers aren’t distinct whether or not they are going to create any more films. I’m not aware of any filming underway for a second residence of “Uncomfortable Events”, so the kids portraying Violet, Klaus and Sunny will, and likely have, already outgrown their characters. Perhaps the filmmakers gave these secrets away believing that the tale they were telling needed more resolution than it had. In any event, if they do fabricate more films, it will be spicy to search for how they handle the divulging of these secrets.
If I had never read the books, I contemplate I would have “loved” the movie too. However, I’ve read all of them, and while the filmmakers did a very well-behaved job recreating the spirit of Snickett’s work, they didn’t do an pleasant one. Hence the four star review. (Four stars means very sterling - five stars means sterling, or superlative. At least in my book.)
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