You'd think that anyone embarking on making an epic adaptation of a highly praised trilogy like Philip Pullman's His Dark Materials could simply go to the Steven Spielberg playbook of moviemaking to ensure success. Did Chris Weitz, director of The Golden Compass do that? Let's find out.
Spielberg Grade: Pass
Spielberg Grade: Pass
Rule 4: Who needs characterization when you've got a musical score to manipulate the audience like a marionette? This is the problem I have with most blockbuster movies these days. No one seems to take much care in developing a worthy orchestral score anymore. I guess a lot of films have resorted to the trendy hipster soundtrack, but I think an original score still goes a long way. I'd venture to guess that Star Wars wouldn't be half the classic it is without John Williams' score. The Golden Compass is one of those films that begs for a theme song that pulls at your childlike emotions, yet I can't even begin to remember what music they had.
Spielberg Grade: Fail
I'm sure there's other rules, but this post is getting long, and I'm getting bored writing it. Basically, I thought this movie was OK and is entertaining, but didn't live up to its potential. The best things about it were the armored bears and a supporting character of Lee Scoresby, an aeronaut played by the handlebar-mustached iconic cowboy Sam Elliott. Kind of sad when you think of all the CGI and Oscar winning/nominated talent that was in this production. I'd like to see what they do with the next two movies, but based on how well this first one is doing, I'm not even sure they'll green-light the rest of the trilogy.