Del Toro's 'Mama" Reawakens the Old-Fashioned Scare Fest

Annabel (Jessica Chastain) and her family are haunted by an invisible spirit, known as "Mama."

Director and producer Guillermo Del Toro certainly has built a noteworthy reputation for having a keen eye for discovering finely crafted dark fantasy shorts that fail to find themselves on the mainstream radar. Taking these shorts under his wing with the goal of expanding a tightly focused narrative into a full-fledged feature film adding his own signature flair is hardly a gamble for the experienced Del Toro, however his latest project Mama treads way too similar waters.

Based on a 2008 Spanish short, Mama opens with a tragic car crash, leaving its survivors, a pair of young sisters to fend for themselves in an abandoned cabin in the woods. Nearly five years without human contact, Victoria (Megan Charpentier) and Lily (Isabelle Nelisse) are at last rescued and later adopted by their uncle and his rocker girlfriend, Annabel (Jessica Chastain). Things take a turn for the stranger when the girls begin communicating to their invisible guardian affectionately called "Mama."

'Hobbit' Digibook Leads Off Epic Middle-Earth Trilogy

Cornered and nowhere to run, this is the perfect place to keep audiences hanging another year.

Harsh criticisms such as overindulgences and cheap marketing ploys have been thrown around the film circles a bit too much regarding Peter Jackson's return to Middle-Earth in nearly a decade. Sure, The Hobbit: An Unexpected Journey only covers 1/3 of a 300-page children's book, leaving audiences hanging for two more 3-hour sequels, but there's nothing wrong than building up a little anticipation. Not at all.

In the first leg of this three-movie trek, Bilbo Baggins (Martin Freeman) sets out from his comfortable hobbit hole in the midst of the Shire's green pastures to join 13 dwarves who have been displaced by a  dragon plundering their mountain stronghold. For those joining the adventures of fantastical Middle-Earth for the very first time should know that along the way, birds, beasts and a gangly creature called Gollum are obstacles in the way of reclaiming the Lonely Mountain.

There's No Place Like "Oz," Even 75 Years Later

Oz (James Franco) finds himself in a magical world needing saved from the Wicked Witch.

No offense to Sam Raimi, but he's probably not one of the first directors that comes to mind who would attempt to reimagine the enchanting world of L. Frank Baum's Oz. Given his directorial track record of the Spider-Man trilogy, Army of Darkness and The Evil Dead, a land of munchkins, witches and wizards seems all too foreign for someone who made his mark producing cult-classic splatter-fests.

Oz the Great and Powerful reopens the doors to the whimsical parallel world made famous by Baum's series of novels and Victor Fleming's 1939 classic starring Judy Garland. But this trip misses a few of the key ingredients. No Dorothy. No Scarecrow. No Tin Man. No Cowardly Lion. In fact, the Wizard of Oz comes in the form of James Franco as a small-time magician from Kansas, continuously looking for opportunities to cheat and swindle the simple-minded.

Stewart, Theron, Reign Supreme in Medieval 'Snow White' Tale

No longer the damsel in distress, Snow White becomes a warrior princess to take back what is hers.

If you’re feeling fairy tale déjà vu all of the sudden, you’re not alone. Less than three months ago, director Tarsem Singh traded his stylistic vision of mythological gods and titans for a more family friendly take on the classic Snow White tale in Mirror Mirror. And that was all fine and great for its targeting its youthful demographic, but Rupert Sanders too has his own Snow White tale to tell, one treading the same mature waters as Pan’s Labyrinth and The Lord of the Rings trilogy. 

Snow White and the Huntsman conveys the most consistent plot points found in any interpretation:  a princess who’s fairest in the land, a vain usurper queen challenged by the beauty of said princess and a supporting cast of seven dwarves, a conflicted huntsman and the iconic magic mirror (or in Huntsman, a faceless mirror man).  Where Huntsman zigs where other interpretations have zagged shines in its encompassing gritty and medieval vibe, in which Snow White assumes the mantle of the kingdom’s savior, a warrior princess leading her army into battle against a psychotic seductress, who has stolen everything that is rightfully hers. 

Scorsese Charms the Holidays with Magical Masterpiece

Hugo (Asa Buttefield) and Isabelle (Chloe Moretz) unlock the magical secrets of a metal man.

There are some sights too mesmerizing that us audiences aren’t even worthy of seeing. Iconic director, Martin Scorsese, has certainly gifted audiences such a fantastic sight in Hugo, based on the 2007 novel, The Invention of Hugo Cabret by Brian Selznick. Hugo follows the tale of a titular orphan (Asa Butterfield) who runs the clocks at a Parisian train station, full of lively characters. The young boy finds himself on an adventure throughout Paris, when he attempts to uncover a message left in the gears of a broken automaton by his deceased father. Hugo teams up a toy booth operator’s granddaughter (Chloe Moretz) looking for the truth.

Despite being his first family-targeted project, Scorsese directs the film as if he has done this time and time again. Hugo is a flawless addition to an already legendary directorial resume, captivating audiences for a good two hours of masterfully shot sequences. Scorsese spends much time perfecting every frame, focusing on the sharply high and low angles to visually unfold the narrative.