Tuesday, March 12, 2013

Mst3k – 308: The Amazing Colossal Man

What's that? Yes, I am still doing this! I'm sorry it's been close to a year since the last one, but complaining's not going to help anything.

                 Anyway, this episode features one of Bert I. Gordon’s best films, a phrase that is the very definition of “damning with faint praise.” Here are all of Gordon’s trademarks: cheap processing effects to enlarge ordinary objects, radiation as the reason for the menace, an Albert Glasser score, and lots and lots of stock footage.
                  This particular epic tells the story of Col. Glenn Manning; an air force officer who is caught in the test blast of a new kind of atom bomb. As a result, he not only survives but begins to grow at the rate of eight feet a day. The military accordingly confines him to a secret installation where they try to work out a way to reverse his growth (though the lead scientist seems more interested in landing Glenn’s distraught fiancée, Carol, who’s on hand for moral support). Meanwhile, Glenn grows more depressed and unstable, and the scientists discover that Glenn’s growth will soon kill him if they can’t stop it, since his heart isn’t keeping up with the rest of his body (the heart is basically a single cell, you see. Hey, Bert I. says it is, so it must be true!).
                  Anyway, Glen eventually snaps completely and wanders off into Las Vegas, where he plays with the signs a little before taking a detour out to Boulder (Hoover) Dam, where the military first injects him with a giant hypodermic needle to stop his growth, then shoots him.
                  The movie is, as noted, one of Bert I’s better ones, for what it’s worth. Glenn Langren gives a surprisingly strong performance as Glen Manning, making Glen’s plight and descent into madness more believable and moving than you would expect. The effects, on the other hand, are pretty much exactly what you’d expect from a Bert I. Gordon film; lots of rear and fore-projection, some very half-hearted miniature work, and Glen occasionally going semi-transparent. I also have to mention the absurd hypodermic needle prop that shows up at one point, complete with over-sized thumbholes and measuring marks along the side.  And, of course, the less said about the ‘science’ involved, the better.
                  Riffwise, this is a solid episode with plenty of jokes about Glen’s size and growing instability, as well as the rampant absurdity of the situation and the way the lead scientist seems less interested in helping Glen than in getting it on with Glen’s fiancée.
                  Host segment wise, there are some very amusing spoofs on the film, especially the second segment featuring Joel as Glen. I also love the invention exchange with Kevin Murphy as a pretentious plant that reviews music.
                  All in all, this is a fun, solid entry of just the kind you hope to see on a show like this. Highly recommended. 

Opening: The bots have a cardboard fort and refuse to come out. It’s cute seeing the bots acting like little kids.

Invention Exchange: The Mads have a plant that reviews music. Joel has non-permanent tattoos. They’re pretty amusing, especially Frank.

We open on some stock footage of army trucks.

Servo/Joel (singing): “Scarecrow! Scarecrow!”
Crow: “Scare me?”

And another Bert I. Gordon film, complete with Albert Glasser score.

Now after the credits we open on some soldiers about to observe a nuclear explosion…

The bomb doesn’t go off.
Crow: “Hey, it’s the amazing colossal dud.”
Joel: “Hit it! Wiggle the plug or something!”

The soldiers have to wait until the bomb goes off…

Sergeant: “Can we smoke, sir?”
Servo: “I don’t care if you burst into flame.”

And a plane suddenly shows up overhead.
Joel: “Oh, no, it’s Amelia Earhart, she picked a bad time to come back.”

They try to make the plane change direction, instead it crashes for no discernable reason.

Soldier pulls out binoculars:
Joel: “Cool! I can see the body and everything!”

Colonel Manning decides to run out to try to save the pilot.

Servo (as Glen): “Hey, FM Stereo, it’s really…wait a minute, what the hell and I doing out here!?”
(bomb goes off)

Cut to the hospital.

Glen is severely burned all over.

Doctor fiddles with a towel or something:
Crow: “Uh, we’ll just stuff that back in anywhere, no one will notice.”

And we meet Glen’s fiancée, Carole.

And a reporter shows up and starts insensitively talking to her about Glen’s condition…
Servo: “Yeah, real pile of goo, you know him?”

Reporter: “You know I was there, covering the test for national news service…”
Servo: “I didn’t run right up next to the bomb.”

Reporter: “How long have you known Colonel Manning?”
Joel: “What’re you doing after he’s dead?”

Fiancée recounts how they met…

Doctor: “This man’s luck ran out long ago.”
Servo: “When he got me as his doctor.”

Doctor: “There’s always a chance…”
All: *snort* “Yeah, right.”

Doctor: “Are you Carole? Your name was the only word he spoke.”
Servo: “Well, that and AAAAAGGHHH!”

So, they lay Glen up for the night, he’s expected to die…

Nurse comes in:
Crow: “And how is our little Johnsonville-brat this morning?”

They come back to find his skin is healed!

Scare chord when his bandages are taken off.

Servo: “Uh, maybe we got the wrong room…”

They ask the maker of the bomb how this might have happened (yeah, I’m sure the guy who made the bomb will be able to explain the medical miracle).

The guy seems oddly blasé about the guy suddenly healing a completely burned body.

They review stock footage of an A-bomb test.

Model building gets hit
Servo: “There was a family of twelve in here. Should’ve told them to leave…”

Right, they just happened to have a camera following Glen during the blast. Sure.

Conclusion: Something is beyond the limits of our knowledge. Right, I think that’s been established, that’s why they came to you for help, you idiot!

First Host Segment: Nice things to say to Glen’s fiancée. The bots just come up with mean jokes. Then they go into the horrible reality of Joel’s situation. It’s pretty funny, especially Crow’s last line “You cried earlier, what was that about?”

Back in the film, Carole wakes up to a knock at the door…

A security officer shows up to tell her she can’t visit Glen for a while.

Servo: “Wow, a restraining order on little old me!”

And she just walks into the hospital: no security in sight.

She finds his room empty.
Crow: “Glen’s a pillow? Well, at least I can still snuggle him and turn him over to the cool side…”

Carole: “I’m Colonel Manning’s fiancée.”
Servo (as nurse): “Oh, bummer.”

The nurse refuses to give any info, claims never to have heard of Glen, etc.

Carole sneaks a look at the records.

Then she drives out to a military base…

They cheer for her to plow through the gate…she doesn’t.

Crow: “Wait, the sign says ‘Turn back, this means you!”

And she sneaks into the hospital (she was supposed to see the sergeant…maybe a scene was cut).

Servo: “What, the government’s involved in a cover-up? How could that be?”

Funny bit where Crow has her making obvious attempts at subterfuge.

And apparently all the doctors have really poor vision…by the way, are any hospitals ever kept that dark?

She sneaks into Glens room to find he’s giant!

She faints, cut to the doctor filling her in. So, once the secrets out they just tell everything?

Doctor explains cell reproduction in extreme detail and length.

General feels the need to explain what ‘accelerated’ means.

Glen has a flashback to the Korean War…

Apparently the Korean soldiers used knives as their primary weapons and rifles as their back-ups.

Crow: “Hey, John Phillip Susa’s life is flashing before his eyes.”

And Glen wakes up and realizes his condition.

Crow: “Oh, God, I’m being held in Barbie’s Malibu Dreamhouse!”

Actually a fairly well done scene by Glen Langren, who plays Glen.

Joel: “Oh, my goodness! I’m a huge Daddy Warbucks!”

Doctor (to Carole): “You might do him a lot of good.”
Crow: “But don’t climb on him.”

Carole thinks the best way to cheer Glen up is to list the doctors who are going to help him.

Glen: “What sin could a man commit in a single lifetime to bring this on himself?”
(Most famous line in the film)

Cut to meat being delivered…delivery guy is suspicious.

MP lets the delivery guy in on the ‘giant’ secret; he doesn’t believe it.

Second Host Segment: Joel is Glen; the Bots try to help him by asking questions. “How many kinds of fish can you name?” It’s pretty funny, especially Joel as Glen (“Ah! No!”)

Apparently Glen’s exposure to the blast is national news. You’d think the military would’ve kept that quiet.

They do three jokes in a row about rabbits being used to test cosmetics.

Crow does a great series of jokes in a little rabbit voice: “Hey, spread the word. Night of the Lepus; tonight!”

Doctor comments that Glen should be ‘confined.’ Yeah, that’ll do wonders for his psychological health.

Again, Langren is really pretty good as Glen. Probably the best performance in any Bert I Gordon film.

Crow: “Hey, don’t laugh, Glen! We’re on a fault line!”

Glen walks off in a huff, then Doctor shows up immediately afterwards.
Crow: “Have you seen Glen?”

Doctor: “Would you mind if I spoke bluntly?”
Crow: “Why stop now?”

Doctor: “There’s something I want to show you…”
Crow: “Funny, Glen tried that line once.”

Glen goes back to his tent.
Crow: “Why do they keep putting these little chairs in here? They just do it to bug me!”

Glen tries to read a book: doesn’t work.
Crow: “Little Women? Come on!”

Sergeant: “I brought your dinner, sir.”
Crow: “Oh, great, five gallons of hospital jell-o!”

Joel (as Sergeant): “You’re not gonna wipe your mouth on me again, are you sir?”

Sergeant pulls out a newspaper.
Servo: “How did the Giants do?”

Glen laughs and then has a chest pain, drinks from a bucket…
Joel: “Uh, that’s your chamber pot sir…”

Servo: “Ah, the healing power of laughter.”

Glen goes a little nuts with the sergeant, scares him off.

Crow: “Not only am I bigger, I’m funnier!”

And the Doctor starts trying to convince her why she should leave.

Turns out Glen’s heart isn’t growing as fast as the rest of his body.

Doctor: “The heart is made up of a single cell.”
Servo: “What?”
Crow: “You’re not a real doctor, are you?”

Joel: “So what’s with all the dead rabbits, doctor?”

So, why will Glen’s mind go first if his heart is going to kill him?

Carole: “Well, you’re a doctor tell me!”
Servo: “No, no, dear I’m only a vet.”

Cut to a long, quiet scene of a scientist looking at some data…

Doctor really is obsessed with getting Carole away (again, how will that help Glen?)

Apparently they had an elephant and a camel just standing around in the office!

Wait, so Carole walks into his tent and doesn’t notice Glen until he speaks to her?!

Glen: “How tall do you think I’ll grow before death releases me from this curse?”
Crow: “Well, the company poll says 155 feet…”

Yeah, Servo is right, what does Glen have a dresser for?

Next morning Glen’s run off.

Carole: “I had an argument with him last night…”
Crow: “We heard.”

Turns out they can stop his growth with injections to his bone marrow.

Scientist shows the elephant and camel shrunken. Yeah, some very obvious projection here.

Servo: “These things could revolutionize Thanksgiving!”

Colonel comes in
Crow: “Hey, can I take those home for my kids?”

They go searching for Glen in the desert via helicopter.

Doctor: “See anything?”
Crow: “Well, there’s a fifty-foot man, but he has hair, it can’t be him.”

Crow (as the other team, which is clearly in the exact same helicopter prop): “Uh, we’re in a completely different helicopter, over.”

Doctor wonders why Glen hasn’t been seen yet.

Colonel: “Tomorrow I’ll show you some action.”
All: “Say!”

Third Host Segment: Glen visits (played by Mike Nelson). It’s pretty amusing; Mike’s great as Glen.

Colonel: “Tell them to report anything unusual: broken fences, dead cattle…”
Crow: “Big guys…”

Carole walks in on the colonel planning on killing Glen if he turns violent.

Cut to two drunks almost running into Glen. 

Then cut back to Doctor and Colonel: Colonel is nonchalantly eating dinner.

And again the Doctor tries to get Carole to leave. He’s more interested in that than in helping Glen!

Colonel (in a briefing): “Glen Manning is about ten-times the height of an ordinary man.”
Joel: “I challenge you tailors of America, dress this man!”

Long, dull briefing. The guys fall asleep a couple times.

Soldier: “What do we do when we spot him?”
All: “RUN!”

Colonel: “And now a word of warning…”
Crow: “He’s big.”

Servo: “Have ‘Jack and the Beanstalk’ read for tomorrow people!”

Crow: “The Army’s best stock-footage is called to duty.”

Hilariously, we now see the syringe they’re going to inject Glen with, complete with giant thumb-rings!”
Joel: “They must be visiting Keith Richards.”

Carole: “Is such a large hypodermic needle really necessary?”
Scientist: “I think so, remember he’s over sixty feet tall.”
Servo: “Oh, that’s right I forgot.”

Anyway, they’re all out searching for him.

The call sign of the plane is ‘King Nancy’?

Glen arrives in Vegas, starts fiddling with the giant signs.

Ogles a bathing beauty…

Some police just kind of leisurely show up and do nothing.

(They discuss how hard it’ll be to give Glen the shot)
Crow: “Did you bring that giant lollipop?”

Glen causes some lame mayhem.

Judging by these ‘crowds,’ Vegas has about twenty people in it.

Someone shoots at him, he throws a palm at them.

TV Anchor takes his camera over to watch Glen from his window.

Glen heads off for Boulder Dam.

As the helicopter stupidly flies right up to Glen:
Servo: “Uh, we’ve gotta get close enough to make a positive ID…”

Seriously, what do they think they’re doing just hovering right in front of him…and why doesn’t Glen just smash them?

And they show up with the syringe and a bullhorn
Servo: “Are you allergic to any medications!?”

Scientist and doctor drive syringe deep into Glen’s bone. Ouch!

And he throws it through the Scientist!

Then he grabs Carole

Crow: “As far as I’m concerned, the wedding is still on!”

Doctor bullhorns Glen to put Carole down.

The boys do ‘she loves me, she loves me not.’ Ew!

Then they shoot him.
Servo: “Thanks for putting down the girl! Here’s some bullets for you!”

REALLY bad effects of Glen falling off of the dam.

As Carole goes up to the soldiers looking over the dam.
Crow: “Woah! Did you see his skull on the pavement? It looked like a smashed pumpkin! Oh, sorry…”

Final Segment: They talk about what else Glen could have done. Gypsy has red lips for some reason. Then there’s a letter. Dr. F gives Frank the giant needle. It’s pretty amusing.

Stinger: Glen laughs himself into a coronary. Pretty good: I might have gone with “What sin” or the giant needle, but this is a respectable choice.


Movie Quality Rating:
1.     Godzilla vs. the Sea Monster
2.     The Crawling Eye
3.     The Black Scorpion
4.     Gamera vs. Barugon
5.     Mad Monster
6.      Lost Continent
7.     Gamera
8.     The Amazing Colossal Man
9.     Gamera vs. Gyaos
10.  First Spaceship to Venus
11.  Stranded in Space
12.  Rocketship XM
13.   Moon Zero Two
14.  Godzilla vs. Megalon
15.  The Crawling Hand
16.  Catalina Caper
17.  Daddy-O
18.  King Dinosaur
19.  Jungle Goddess
20.  Wild Rebels
21.  The Corpse Vanishes
22.  Ring of Terror
23.  Untamed Youth
24.  The Slime People
25.  Project Moonbase
26.  The Sidehackers
27.  Women of the Prehistoric Planet
28.  Robot vs. The Aztec Mummy
29.  Cave Dwellers
30.  Tim of the Apes
31.  Pod People
32.  Hellcats
33.  Rocket Attack USA
34.  Robot Holocaust
35.  Robot Monster


Final Rating: 7/10. Solid, though unspectacular entry.


Saturday, March 9, 2013

Reviews: Oz the Great and Powerful


            If you must do a prequel to The Wizard of Oz, the Wizard himself is the obvious starting point. How did he get to Oz? How did he manage to convince the people of Oz that he was indeed their wizard? How do the witches of Oz figure in, if at all? Most importantly, is he actually, as he claims to be, a "very good man, just a very bad wizard?"
            Sam Raimi’s Oz the Great and Powerful is an uneven, but fairly satisfying attempt to answer these questions. It gets a lot right, though it also fumbles a number of crucial elements rather badly.
            In turn-of-the-century Kansas, small-time magician/inventor Oscar Diggs (James Franco) performs in a travelling carnival, styling himself as “The Great and Power Oz.” He’s, to put it nicely, a shallow, opportunistic jerk. He casually flirts with/seduces his assistants (whom it’s implied he basically just picks up off the street), is callously unfeeling towards his long-suffering partner, Frank (Zach Braff), whom he explicitly tells “we are not friends,” and grumbles about how his talents are wasted in a cheap outfit like this. The only person he isn’t a jerk towards is Annie (Michelle Williams): a sweet Kansas girl whom he honestly cares about…enough that when she tells him another man proposed to her, he recommends she accept.
            Then, following an unfortunate collection of events involving the circus strongman, a hot air balloon, and a tornado, Oz unexpectedly finds himself in a strange, dream-like land which shares his name. Not only that, but he’s informed by the beautiful witch Theodora (Mila Kunis) that she and her sister, Evanora (Rachel Weisz) intend to make him the king of Oz…at least, as soon as he slays the wicked witch.
            You see, Oz refrained from informing Theodora that he’s not actually a wizard, and a few slight-of-hand tricks manages to convince her. Evanora, however, is less impressed and hatches the idea to ‘test’ him by sending him to slay the wicked witch, Glinda (also played by Michelle Williams), who murdered the old king and now holds the whole of Oz in her terror.
            Along the way, he picks up a couple friends: there’s Finley, the flying monkey (voiced by Zach Braff), who becomes his assistant and confidant. Later they’re joined by the small, fragile China Girl (Joey King in the film’s best performance). And, unless you have absolutely no knowledge of the original film or American culture in general, you can probably guess that he finds Glinda to be not so wicked after all.
            The film’s greatest strength is its visuals, which are breathtaking. Raimi imitates the original by having the opening act in Kansas filmed in sephia tone, before switching to color for the Oz scenes, making our first glimpse of Ozian flora and fauna all the more incredible. There’s a wonderfully dream-like quality to the imagery that fits well with the word of Oz; huge flowers ring like bells, flocks of hummingbirds in the shape of fish dive in and out of the water, emerald-flowers open up to reveal ruby petals. Moreover, Raimi doesn’t simply deploy all his visual artistry upfront, but throws ever more unique and arresting sights at us throughout the film.
            As a filmmaker, Raimi excels at imaginative conceits and unexpected images, which makes him a excellent choice for the world of Oz. He also has a very sly sense of humor which is evident throughout, such as the scene where one character asks another in all sincerity “So just because she jumped off a cliff that means you will too?!” Or an impromptu planning session that might have come straight from Army of Darkness.
Raimi and his fellow writers do a pretty good job of meshing their film with the one everyone remembers and loves. The Emerald City and Yellow Brick Road especially are just as we remember them (except we get to see more of them). Glinda’s bubble gets a well-conceived CGI update, as does the Wicked Witch of the West’s fiery entrance and smoking broomstick, and the Flying Monkeys return in a spectacular and nightmarish fashion. Then there are a bunch of unspoken little nods to the original; my favorite of which is an unacknowledged cameo by, of all things, the horse of a different color. Dorothy herself, meanwhile, receives a subtle and emotionally resonant allusion in a touching early scene.
            One of the nice things about these references is that for the most part they actually revolve less around repeating scenarios or lines of dialogue and more around trying to capture tones or expanding on specific elements. For instance, the scene where the heroes venture into the “dark forest” is clearly a nod to the “I do believe in spooks” bit in the original, but none of the characters ever actually says the line, or any other one of the classic lines. Instead, they go about it more subtly by trying to recapture the type of humor used in the original scenes (“Ah! Something’s got my tail!””). Contrast this with the clumsy, forced repetitions in, say, the Star Wars prequels. 
As for laying the foundations of the classic story, the results are more mixed. Oz’s character arch is fine, if somewhat unoriginal and predictable. In particular, the manner in which he becomes the smoke-and-flame wizard that Dorothy and her friends meet is done almost perfectly, making for a spectacular climactic declaration of himself as “The Wizard of Oz!”
On the other end of the spectrum, the sequence of events that leads to Theodora becoming the Wicked Witch of the West is a disappointment. That it’s much better than the scenario envisioned in Wicked goes without saying, but it still feels cheap and shallow. Part of the problem is that Mila Kunis simply doesn’t have anything like the gravitas of Margaret Hamilton, especially in her early scenes, where she comes across as nothing more than a naïve teenager. She’s a little better once she becomes the wicked witch, but she never comes close to the iconic figure Hamilton created in the original. Remember how you spent all of the Star Wars prequels thinking “this tool became Darth Vader?” It’s a little like that. 
There are, however, a number of interesting and fairly exciting ‘seeds’ planted throughout the story. That is, small details that foreshadow or point to events in the original. The best of these is the way the film wordlessly establishes just what the Ruby Slippers did and why the Witch of the West was so keen on getting them (though the slippers themselves don’t appear in the film).  
            James Franco does his best as Oz, but honestly I think he was miscast. Franco is one of those actors who is almost incapable of seeming like he’s from anything but his own time, and his Oz never acts or talks like someone from the 1900s (actually, the overly modern dialogue is a problem throughout. It’s less of a problem in Oz, which is a fantasy world, but it’s jarring in the Kansas sequence and whenever Franco opens his mouth). Also, he’s never as charismatic or charming as he needs to be until the very end, meaning the fact that he’s able to smooth-talk Theodora into believing him comes off more as an indictment of her intelligence than an example of his showmanship. Once you get passed that, however, he does a fair job as the swindler who isn’t quite as bad as he thinks himself. His best moments are when he finds himself actually being a good guy, where he manages to project some real emotion. His scenes with the China Girl are the best, but he also has a great early moment when, during his Kansas magic show, a wheelchair-bound girl begs him to use his magic to heal her.
            Michelle Williams isn’t the regal figure I remember from the original, but that can be excused by the fact that she’s a much younger version of the character. I like the fact that she’s allowed to be honestly sweet and good, rather than being turned into a snarking tough-girl or something. She and Franco have some chemistry, though their relationship doesn’t really jell as much as it probably should. There’s not a whole lot of reason for Glinda to trust Oz, except that he’s there and he’s “the only wizard they have.” While the actual sentiment is rather nicely done, it doesn’t make Glinda look as wise or in control as she probably should. She does, however, get to show a stronger side of her character in a climactic duel (which almost makes up for her playing damsel in distress not long before. Almost).
            Rachel Weisz actually gives one of the film’s standout performances as Evanora, the future Wicked Witch of the East. With the Witch of the West still a work in progress, she serves as the chief villain of the picture (though there are hints that the Witch of the West is both stronger and wickeder than she is). It’s fitting that the Witch of the East gets her due, and she makes for a formidable villain. Weisz plays her wickedness with great gusto and seems to be having the most fun of pretty much anyone in the cast.
            I already talked about Mila Kunis, but I would like to reiterate that she does improve upon becoming the Wicked Witch. While nowhere near Margaret Hamilton’s level, she at least manages to project an insane cruelty that contrasts nicely with Weisz’s more restrained, manipulative evil.
            The best character and performance in the movie comes courtesy of Joey King as the China Girl. She’s both sweetly tragic and honestly adorable, and it isn’t long before she has Oz wrapped around her little china finger. Most of the heart that is in the film comes courtesy of her, and she’s the key figure that makes Oz’s transformation believable. Plus, she gets some of the best lines in the movie (“now bring forth the covers” she commands as Oz tucks her in during a particularly sweet scene). The circumstances the lead to her joining forces with Oz, meanwhile, are an almost textbook way of establishing how evil the Wicked Witch of the East is without making the movie too grim or frightening for children.
            Zach Braff also contributes a lot of heart (and humor) as Finley, who ends up being Oz’s (semi-reluctant) sidekick. Their relationship’s growth into genuine friendship is another major part of the reason why the story arch works as well as it does. Moreover, Finley gets any number of great lines, especially in his reaction to being told that Oz isn’t actually a wizard…and his subsequent attempt to pretend otherwise.
            Outside of these characters, there is also Bill Cobbs as the “Master Tinker,” who doesn’t really stand out as a character, but provides some much needed support at a crucial juncture, and Tony Cox as the Munchkin Knuck, who frankly feels much too much like just Tony Cox wandering around Oz. Fortunately, he doesn’t have too much screen time (and it must be said, he becomes less obnoxious as the film approaches its climax). And of course, Bruce Campbell has his inevitable cameo, unrecognizable in Winky get-up. Fittingly for a Sam Raimi film, he gets gratuitously smacked around throughout his scene.
            Obviously, we all have some idea of how the story’s going to end up. Raimi, typically, throws us some nifty curveballs along the way. For instance, at one point, one famous element of the wizard’s persona seems to be set into place, but then the film suddenly veers in another direction. Also, the precise sequence of events that leads to Oz ending up in that balloon and being swept into that twister are both clever and a nice foreshadowing of future events.
            Regarding that balloon ride, Raimi’s most interesting and exciting conceit might be the fact that the trip to Oz is explicitly the result of a desperate prayer. This, combined with later comments about how the wizard was clearly meant to end up in Oz lends the adventure a surprising sense of Grace and divine providence. Both Oz the man and Oz the land are set on the path to redemption at the same moment and find it at the same time, and there’s a definite sense that some benevolent force is behind these events.
            Actually, Raimi manages a couple of fairly well-conceived Biblical references throughout, including a Garden of Eden shout-out during the Witch of the West’s transformation, and even a kind of “death and resurrection” arch for its hero. It’s not much, but I appreciated it all the same. He also includes a nifty shout-out to Thomas Edison, Oz’s hero and inspiration, which is kind of wonderful in its paean to invention and creativity. 
            Other themes are much less interesting; consisting mostly of generic nonsense about ‘belief’ and “if you believe, anything is possible.” There is also, however, a nice counterpointing of goodness and greatness which doesn’t come in much, but pays off nicely.
            I’m also impressed that the movie managed to be an epic adventure fantasy with a big climactic battle...in which no one gets killed. Glinda explicitly says that the Ozmites won’t kill, even in battle, and the movie, surprisingly enough, honors that. Of course, it would have been horrifying to feature a blood-soaked climax to an Oz movie, and this forces both the characters and the filmmakers to be rather more elegant about the whole thing (it’s also kind of amusing to have a Sam Raimi movie which specifically declares itself blood-free).
            I’ve already mentioned most of the film’s flaws: miscasting, jarringly modern dialogue, and a limp backstory for the Wicked Witch of the West. There's also a few plot holes, including a bizarre moment where Oz packs up to leave, and no one (including him) seems bothered by the question of where exactly he intends to go.
              On the whole, though, Oz the Great and Powerful is an inventive, delightful, and thrilling adventure story. It manages to both honor one of the great films of cinema and have a quirky character all to its own. As a fan of the original, I found this a mostly-satisfying and take on the untold story of the Wizard, and the wit, heart, and creativity throughout make it a worthwhile experience.  

Final Rating: 3.5/5. Despite miscasting and some ill-conceived writing, the striking visuals, sweet characters, and nostalgic references make it well worth seeing.