Culture

To say that the resurgence of fairytales within recent blockbusters has yielded mixed results would be an understatement. From the commercially successful but creatively bankrupt (Alice in Wonderland, Snow White and the Huntsman), to those bankrupt both commercially and creatively (Little Red Riding Hood, Mirror Mirror), Hollywood doesn’t seem to know how to treat this material. Along comes their genius decision to reboot the 1930s Technicolor classic The Wizard of Oz, with a cast so charming that I would happily watch them read from the Otago Daily Times. Unfortunately, Oz the Great and Powerful is about as much fun as watching someone else play a videogame.

The decision to make a prequel to a beloved classic is a risky one, and one need look no further than Star Wars to recognise its limited chances of success. Unfortunately, Oz doesn’t even have the camp appeal of those films, and mires itself in half-baked storytelling, simplistic characters and by-the-numbers twists (at one point, a character exclaims “that was so predictable,” and the audience cannot help but agree). From its black-and-white opening intended to reflect the original, Oz follows the title character played by James Franco, a thoroughly unlikeable and preening illusionist, who escapes trouble at his carnival amidst a whirlwind. Upon his arrival in Oz he is greeted by a kindly witch (Mila Kunis) who, together with her sister (Rachel Weisz), believes he is the prophesied Oz who will deliver their kingdom from the wicked witch.

Excusing the laziness of script and performance under the excuse of “it’s only a family film” is erroneous, as the original falls under that same genre and yet yields more surprise on a third viewing than this effort manages at all. You can see the $200 million budget in every perfectly-rendered 3D frame – it’s just a pity it’s not in the service of a better story.

2/5