Reel Critics

* EDITOR’S NOTE: The Reel Critics column features movie critiques written

by community members serving on our panel.

‘Road to El Dorado’ is tale that will last

“The Road to El Dorado” is about two people from Spain, Tulio and Miguel,

who go on an adventure and try to find El Dorado, the City of Gold.

Once they overcome obstacles that have been put in their path, they

finally reach El Dorado. They were very poor, so as luck would have it,

the citizens of El Dorado mistake them for gods. They live in luxury,

until one of the citizens finds out they’re not gods. She helps them with

their plan.

Later on in the story, the priest Tzekel-Kan finds out that they’re not

gods by the blood on Miguel’s forehead. He decides to call on the forces

of the jaguar. He tries to defeat them. He loses. He tries again with a

Spanish troop, but the entrance is blocked, thanks to Tulio and Miguel.

The tale of El Dorado comes to life in this animated film. It has a lot

of comedy that would be enjoyed by all people, from young to old. The

characters are fantastic, especially Tulio and Miguel. They both have a

great sense of humor, and really bring out the fun in the story.

Chel, the first citizen to find out the truth about Tulio and Miguel; and

El Ativa, the horse, were also a major part of the story.

The music for the film was written by Elton John. “I Believe in

Everything” was one of the songs he wrote. He really captured the theme

of the story with the harmony of the music.

This story is very well-animated and has a good sense of history. It’s an

outstanding movie for all ages, and has the ability to make anyone laugh.

“The Road to El Dorado” is a tale that will last forever.

* SARA SALAM, 11, is a sixth-grader at Eastbluff Elementary Newport

Beach. She likes soccer, ballet and writing.

Well-done ‘High Fidelity’ targets youngsters

As my daughter-in-law observed, “‘High Fidelity’ is a male movie, mostly

for those between the ages of 13 and 33.” Which is not to say it doesn’t

have social as well as cinematic values.

Our hero is Rob Gordon (John Cusack), who talks directly to the audience,

a device that has been used before and usually with middling results as

here. He shares his concerns about his ambivalent and unrealized

ambitions, his not very earth-shaking dilemmas, his insecurities and his

inability to commit to a stable, long-term relationship.

The film opens with an earsplitting blare of music popular with today’s

young adults. Happily, Rob soon turns the volume down, though

periodically but briefly there are high-level bursts of “music.” (If the

reader gets the impression that the reviewer doesn’t think much of

today’s music, you’re right.)

We learn that Laura, his current love, is moving out. The rest of the

story revolves around Rob’s inability to come to terms with himself --

and Laura. The twists and turns of the plot, such as they are, are pretty

predictable, with a leavening of humor that is gratefully welcomed by old

fogies like me.

Laura (Iben Hjejle), who hails from Sweden and lives there most of the

time, is a piquant and pretty actress, with character in her face that is

reflected in her performance. She also has warmth of personality that no

one else in the cast really has.

From time to time, however, Cusack shows a charm, intelligence and warmth

that could be very beguiling in another, different theme movie. He

understands the role he’s playing and does it well, but Rob is a pretty

shallow, run-of-the-mill guy.

Without exception the cast is above average, if you don’t count the

standard stock characters who merely serve to move the story forward.

Major ones include Todd Louiso as Dick, a thick-skinned loudmouth, who

shows real musical talent before the movie ends; Jack Black as Barry, a

nerdy misfit in his world of “hip” music -- but likable; Tim Robbins (in

a cameo role) to whose bed Laura flees; and Lisa Bonet, once a demure

youngster on “The Cosby Show” and now a beautiful, saucy, successful

singer whose path momentarily crosses Rob’s.

All in all, this film is well done as to cinematography, editing, sets

(the record store, focus of the action, looks like any one of the

semi-successful, somewhat sleazy ones we’ve all seen). Costuming has its

own subtle flare here and definitely contributes to the overall ambience

of the story. Director Stephen Frears knew what he was doing and shows

control of a subject that could have gotten out of hand.

A sidebar: coarse epithets and crude language is the norm today,

exploited in certain films as Hollywood money men cater to the young

audience they woo. But unless it is relevant, a little goes a long way.

“High Fidelity” delights in these abuses, which made viewers of the

targeted age howl with glee and those who are “wannabes-in-the-groove”

laugh self-consciously. Some of the dialogue did not enhance the quality

of the picture.

* ELEANORE HUMPHREY, “over 65,” lives in Costa Mesa and is a political

junkie involved with several city committees.

‘The Skulls’ is fast-paced action

“The Skulls” are a secret society at an Ivy League university. Don’t ask

which one, they can’t really tell you, because everything’s a secret, and

must remain that way at all costs. Only the best of the best are asked to

join, of course.

Luke McNamara (Joshua Jackson) is a townie, the scholarship student, the

captain of the rowing squad and all-around good guy. He wants into “The

Skulls” because they’ll ensure a good future for him. Caleb Mandrake

(Paul Walker) is the weak son of the current Skulls chairman, Linton

Mandrake (Craig T. Nelson) who will do anything to make his father proud.

Luke and Caleb become “soul mates,” two pledges responsible for one

another.

Everything comes crashing down when Luke’s friend Will is found dead, a

murder planned to look like a suicide. When Luke finds out that “The

Skulls” are involved, he has to choose between playing the game and

survival or buck the system, avenge his friend’s death and maybe die

trying.

“The Skulls” is an action suspense mystery whirlwind. The pace is intense

and riveting. At times a bit jumpy, the overall picture is so engrossing

that it’s easy to overlook a few slight flaws. It’s like “Clear and

Present Danger” or “The Firm,” only in a new, younger location. The film

is almost an aerobic workout, it’ll have your heart racing and your blood

pumping.

While an action movie of this sort is not the best to showcase his

variety of talents, Jackson is in top form. His intensity level is high

and stays that way through a tense and draining plot. He may be a teen

idol, but he isn’t just resting on his charm and good looks. The boy

actually has acting talent, which is an amazing concept in this time of

pathetic movies stuffed with teens (and those acting as teenagers).

Walker is a perfect balance for Jackson, subtly powerful, almost fragile

in appearance, hiding his strength behind a mask. He’s a chameleon in

people’s clothing. Where Jackson grabs the attention with his forceful

and alluring nature, Walker coaxes it out without one hardly realizing

it.

With the two of them together, nothing is impossible, and the audience

benefits completely. Watching “The Skulls” is like riding waves in a

storm. The highs are huge, and the lows are almost nonexistent since

another wave is already crashing down again.

The movie goes on for a scene or two too long, but maybe it’s needed to

let the heart calm down a bit. There are tiny flaws in the film, but

action movies are not really Oscar material. The acting and action is

wondrous and fun, a quick pick-me-up.

* MELISSA RICHARDSON, 19, is a Costa Mesa resident and a junior at UCI.