I usually don’t write negative reviews, but either it was the brain washing of the Vatican or perhaps Golden Compass is just a bad movie. The plot keywords made me salivate in anticipation, but as soon as the lights went out and the endless trailers and commercials had ended, I quickly found out that this particular film wasn’t my cup of tea. While Dakota Blue Richards as Lyra wasn’t exactly an untalented actress, she failed to breathe life to the synthetic, blue screened scenes. Nicole Kidman herself had slight troubles orientating to the invisible daemon friends who were all digitally added to the frames in the post, no doubt.
This is a problem I’ve seen in many, many films. I, Robot suffered from the same blue screen syndrome. So did Mirrormask by the way. (On the other hand, I did like Beowulf quite a bit… perhaps it was because it didn’t mix live action with CGI, who knows)
It is hard for an actor or an actress to imagine that they are talking to a 4 meter tall polar bear when they are actually just talking to a giant chroma key wall or, even worse, to the microphone in a tiny little voiceover booth.
Before I forget it, let me just mention that my favorite performance in Golden Compass was Sam Elliot as Mr. Scoresby.
Technology aside, I wasn’t swept away by the plot either. It felt very much like a made-to-order saga with a little bit of myths and scandinavian names thrown in for good measure. The film is based on a book by Philip Pullman, one of England’s most outspoken atheists. There is a strong anti-christian (or anti-dogmatic, to be more precise) undertone in Pullman’s script. On the other hand the fascination with the ancient mythology seems very shallow and gimmicky in this context.
I’ll give Golden Compass two stars out of five. Ahh, I’m looking forward to I am Legend to also give two stars only. This will equalize my ratings scale nicely and make it look more like a gaussian curve instead of a baseball cap with every other movie getting three and a half or four stars…
I’ll be back 
Posted by api in Audiovisual instinct