The Golden Compass
Adventure, Fantasy, Sci-Fi, Family
IMDB rating:
Chris Weitz
Nicole Kidman as Mrs. Coulter
Daniel Craig as Lord Asriel
Ben Walker as Roger
Freddie Highmore as Pantalaimon
Ian McKellen as Iorek Byrnison
Eva Green as Serafina Pekkala
Jim Carter as John Faa
Tom Courtenay as Farder Coram
Ian McShane as Ragnar Sturlusson
Sam Elliott as Lee Scoresby
Christopher Lee as First High Councilor
Edward de Souza as Second High Councilor
Storyline: It was no ordinary life for a young girl: living among scholars in the hallowed halls of Jordan College and tearing unsupervised through Oxford's motley streets on mad quests for adventure. But Lyra's greatest adventure would begin closer to home, the day she heard hushed talk of an extraordinary particle. Microscopic in size, the magical dust- discovered in the vast Arctic expanse of the North -was rumored to possess profound properties that could unite whole universes. But there were those who feared the particle and would stop at nothing to destroy it. Catapulted into the heart of a terrible struggle, Lyra was forced to seek aid from clans, 'gyptians, and formidable armored bears. And as she journeyed into unbelievable danger, she had not the faintest clue that she alone was destined to win, or to lose, this more-than-mortal battle...
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What A Horrible Let Down
This movie was an if for me at first, being that it just seemed like one of the many quickly thrown together fantasy novels/movies that have supposed huge followings. However, I found myself sitting there in the theater, and to be honest, I was somewhat impressed at first, the effects were very good, and although you can still obviously tell CGI versus live action, very smooth. The actors did a great job with what they had, and what they had is what ruined the movie. The script was rough at best, with randomly thrown together scenes that were leading towards an Aha! moment that never came. The whole movie kept building, and the plot kept thickening. However, in the end we are left with a sub par battle and more questions than when the movie started.

It seems as if the sole purpose for this movie was to be the directors vehicle for a sequel, as the end comes at a point in the story which traditionally would be the arc of the plot, however we end up getting rolling credits in place of explanation. If there is one thing that I did actually enjoy in this movie, I will say once again, the animation was superb, the ice bears were magnificent, and the actors were good, but not even those could save this movie. Unless you have the mental capacity of a young child, this film will seem like a huge waste of your time and your dollars once the credits roll, and you as I will end up walking out unfulfilled, and ultimately let down.
Sit back and enjoy
Sure, I've heard all the controversy about the evil Church in this movie, ad nauseum, but there were no fingers pointing at anything but a fictional church that was made up just for this movie, so both sides of the debate should just chill. It's not a religion - it's a church, an organization of people who are in power and want more, and don't worry about the doing dirty work to get it.

So yes, there's an evil church that wants to control everything. There's got to be a bad guy so you can root for the good guys, and evil corporations are getting pretty old and wouldn't work for a this fantasy anyway.

Okay, we know the author doesn't take kindly to the Roman Church, he's admitted that. But Catholic or not, you've got to admit, there was a time when they'd burn you alive for heresy, so good for them for mending their ways and growing up.

Maybe Islamists should try to catch up, it would be about time they let go of the 14th century. Wanting to kill someone for naming a Teddy Bear, come on. If we didn't already know the author disliked the Roman church, the Islamists would recognize this fictional church as an attack on their own, and call for his head.

Sit back, relax, and enjoy this beautiful ride in fantasy land. I was highly entertained, didn't have to strain my brain, though it wasn't stupid, and it didn't rely on sex, ultra-violence, four letter words, etc, etc. If I had kids, I'd be happy to take them to see this movie.
"The Golden Compass" is Okay!
The PG-13-rated, fantasy action thriller "The Golden Compass" poses no more of a threat to anybody's religious convictions than the "Star Wars" epics, the Lord of the Rings" trilogy, "The Chronicles of Narnia," the "Harry Potter" potboilers, or the old "Flash Gordon" serials. "American Pie" writer & director Chris Weitz has removed virtually all traces of Catholic theology from Philip Pullman's first novel in "His Dark Materials" trilogy. The controversy that hovers over "The Golden Compass" is that youngsters will enjoy the film so much that they will expose themselves to its blasphemous source material. Consequently, many may skip this movie more for its notorious novel than its larger-than-life, fantasy laden elements that are integral to such epics. Indeed, New Line Cinema has dreams that "The Golden Compass" will spawn another blockbusting "Lord of the Rings" style trilogy. This $180 million dollar epic boasts a top-notch cast that includes Christopher Lee, Derek Jacobi, Eva Green, Nicole Kidman, Daniel Craig, Tom Courtenay, and a heavily mustached, Stetson-clad Sam Elliot as a footloose, six-gun toting cowboy/aviator. Not surprisingly, the drawling, down-home Elliot steals every scene in which he appears. Although it isn't as violent as "The Lord of the Rings" trilogy, "The Golden Compass" is considerably more terrifying than the "Harry Potter" movies. The animated animals in "The Golden Compass" are no more realistic than those in "The Chronicles of Narnia." However, when the huge ice bears tangle at the half-way point of this 113 minute movie, you'll want to retreat a row or two.

A plethora of parallel universes exist in "The Golden Compass." An eleven-year-old girl, Lyra Belacqua (Dakota Blue Richards in her big-screen acting debut) lives at Jordan College, Oxford, as an orphan-ward. The universe that our heroine inhabits is one where an individual's soul exists outside the body and takes the form of an animal called as a 'dæmon.' Everybody has a dæmon. Imagine the fortune that a pet litter firm could amass in such a place. Anyway, as our story unfolds, dark-haired Lyra reminds her best friend, Billy Costa (newcomer Charlie Rowe), that she is not a lady. Actually, Lyra behaves like a tomboy; she is as rebellious as she is mischievous. She and her dæmon, Pantalaimon, thwart an agent of the Magisterium from poisoning her uncle, Lord Asriel (a bearded Daniel Craig of "Casino Royale") with a bottle of spiked liquor. Incidentally, the Magisterium is an oppressive form of government that provides the citizenry with the right kinds of information to make the right choices. At no time does "The Golden Compass" suggest that the Magisterium—the word originated in the Catholic Church--resembles anything akin to the Nazi-like dictatorship that repressed the universe in the black & white Flash Gordon serials in the 1930s. Asriel learns that the Magisterium wants to silence him permanently so that he cannot show irrevocable proof that elementary particles designated as 'Dust' flows from another parallel universe into their own, in the far North. Meanwhile, the Magisterium insists that Dust doesn't exist. Nevertheless, Asriel mounts a university-funded expedition to the far North. Of course, the dastardly Magisterium knows all along about the existence of Dust and associates it with original sin. At the same time, the Magisterium is trying to inoculate children against its effects.

After Lord Asriel heads off north, Lyra's two friends Billy Costa and Roger vanish under mysterious circumstances. Our heroine fears that the folkloric "Gobblers" have abducted them. Naturally, headstrong Lyra sets out to rescue them. Initially, she has no way of traveling to the north herself until a woman of prominence, Mrs. Marisa Coulter, enters her life and asks her to join her as her assistant on her excursion to the north. Lyra jumps at the opportunity. Before she leaves Oxford, the Master of the College gives her with a secret object called an alethiometer. Although it looks like a golden compass, this device works like a lie detector to furnish the answer to any question that the owner asks "The Golden Compass" is a terrific looking movie. "Flyboys" lenser Henry Braham makes this movie a widescreen feast for the eyes and the animation is pretty good, too. Had the animals appeared anymore realistic, the fantasy atmosphere would have suffered, especially since these beasts rip and tear into each other with considerable ferocity. The ice bears belt out deafening roars that would cover up a tornado siren.

"The Golden Compass" concludes on a heroic finale that leaves it open to an inevitable sequel. This abundance of exposition required to acquaint us with the fantasy worlds here means that you must pay close attention to the dialogue if you want to assimilate its complex plot elements. Altogether, this chick flick combination of "The Chronicles of Narnia" meets "Harry Potter" generates a lot of excitement and gives us an adventurous heroine who wins our sympathy while she saves her loved ones.
Not worth your time
It's a misconception by Hollywood types that a big-budget fantasy movie with a lot of special effects, etc., will automatically attract a large audience. After all, that were what the Lord of the Ring and Horry Potter series did. Truth is, special effect can only keep the audience's attention for 10 minutes. To keep their attention for 90 minutes, there has to be a coherent story.

This movie suffers what 90% of today's Hollywood movies do: Poor writing. Dialogs are devoid of any subtlety. There's no proper set up or anticipation. It's just lazy writing. Perhaps those who are intimately familiar with the original book, who already know the set up, would have a slightly more enjoyable experience watching this movie. But then again, judging by its quality, either the book itself isn't that great anyway or the movie completely failed to reflect the glory of the original. Either way, it's a failure.
A not-so-subtle knife to the novel
My expectations, while not stratospheric, were reasonably high for The Golden Compass. Unfortunately the film turns out to be an uninvolving, rather under baked pudding.

Firstly New Line have stuck an extremely dumb voice-over a-la Blade Runner at the beginning of the movie, to tell us exactly where we are - a parallel universe with some similarity to our own but with striking differences. Couldn't, as in the novel, they have left us to figure it out for ourselves? Or do they treat the audience with such contempt that they feel we need a primer?

After this the first twenty minutes or so are quite well done, but unlike Lord Of The Rings the film quickly descends into not much more than a travelogue, with out-of-date CGI daemon characters - apart from a few well animated Iorek sequences - and a series of Harry Potter-style "proper actor" cameos, few of which amount to much. Sam Elliot is by far the best character in this first of the trilogy, but he's given so little to do you only wish he featured more often. Derek Jacobi is totally wasted and Christopher Lee barely appears. Daniel Craig gets a James Bond moment, presumably so it can appear in a trailer, giving the misleading impression that he has a substantial role in the proceedings. Nicole Kidman tries hard to bring depth to Mrs. Coulter, but she's always been a take it or leave it actress. On this occasion, I'll think I'll leave it.

At least, in Dakota Blue Richards we have a likable heroine. Unfortunately her character is also watered down from the novel. Lyra's just a spunky Disneyesque character here.

There is one rather obvious flaw. When the characters finally get to the Arctic none of them appears to be remotely cold - Lyra wears a little woollen cap and appears entirely comfortable. I can't recall seeing any frozen breath coming out of the actor's mouths.

There's some good moments, such as the Polar Bear fight and Intercision sequence, but most of it feels like a rather empty and soulless journey around the novel. The direction is really very poor, with hardly a single interesting shot or framing in the entire thing. But I suppose when you get the director of American Pie to make a fantasy movie you deserve all you get. It all feels so safe, the film-makers simply never take a chance. There was more daring taken in the 30 second trailer I saw for Alvin And The Chipmonks than the whole of this movie. The script is lazy, but hell, New Line simply want you to think it's another Middle-Earth saga, to keep the cash rolling in until The Hobbit comes out.

And for a book which questions religious orthodoxy one is likely to feel extremely disappointed that the philosophical meat of the story is watered down to almost nothing. The Magisterium could be the Galactic Empire for all we are told. An official accuses Lord Asriel of heresy early on. Er, heresy against what, exactly?

And the ending, that shocking moment when Lord Asriel commits murder to open the path to other worlds, is gone! Neatly excised so not to upset the poor little mites who will see the film, thereby ensuring they turn up for the sequels.

What a cop-out.
Hugely enjoyable and entertaining, Only a slight let down.
I watched the film expecting the worst… and I was surprised. The film opens in cinematic fashion with a voice-over by Eva Green explaining dust and parallel worlds. I think it was digestible for anyone who is a non-familiar. Next we move into our own world, the true Oxford of London. Then in a seamless and beautiful effect, a wave of light shimmers across the screen, and we enter Lyra's Oxford like something out of Doctor Who. It's a visually stunning opening that suggests great things lie ahead. Next we are thrown into a wild children romp like something out of Lord of the Flies, with Lyra, Roger and pals against the Gyptian kids. And here enters the star of this movie - Dakota Blue Richards. From the start to the end she perfectly embodies all the cheek, all the inquisitiveness, all the curiosity, all the fight, all the courage and all the heart of Lyra. I think she is the heart of the movie and the best thing in it. In the Oxford section of the story is some of the best scenes in the movie. No big action sequences just intimate moments between the characters. Lyra and Rogers respect for each other is made abundantly clear. Daniel Craig is on superior form as he presents his findings at Jordan college. And Mrs Coulters entrance and icy exchange with the Master, sent chills down my spine. Kidman delivers the line, "Let me deal with Asriel" with such unbelievable venom. Nicole Kidman has been burdened by a few flops recently. I can report the iconic actress is back where she belongs. She is sinister and stunningly beautiful in equal measure. I thought the movie was going down a path of perfection right up until Lyra's escape scene. This is where the story starts moving very quickly. To illustrate my point; Lyra runs away, gets attacked, is saved by the Gyptians, asks the Gyptians to take her North and its all aboard the ship in about the space of 15 minutes. This is all very exciting and full of adrenaline but as a book fan, i don't understand why they are in such a hurry. The movie continues to move along at a quick pace barely giving you time to breath. Its really a good thing and a bad thing. You could say it's a good thing because as a result it holds your interest. However non book readers would be easily lost if they decide on a 2 minute toilet break. I'm a fan of thrillers so I like frantic and quick paced, however in the case of this movie it would have been nice if they had just slowed things down now and again, because like the Oxford scenes proved, intimacy between characters is Weitz strong suit. I also thought there where scenes missing, like it was filmed to be longer, but either by Weitz hand or by New Lines, some scenes where lost. One such scene is Lyra crossing the Ice Bridge. People who have read the book will know that Lyra crosses the bridge in pursuit of Lord Asriel and Roger. In the film this bridge now leads to Bolvanger. But it was evident to me that when they filmed the scene, it was still leading to Lord Asriel and was intended as a farewell scene to Iorek. Overall the scene I loved the most was the Bear Fight. Though I had one complaint. While the animation of Iorek and Ragnar is astounding, unfortunately a few of the surrounding bears who watch the fight appear to have been rushed and not given the same time as Iorek and Ragnar. Though most of the time your attention will be focused on the fight. All the Oxford scenes are pure perfection, the scene of Lyra riding Iorek and finding the severed form of Billy Costa is brief but chillingly effective, the battle at Bolvanger which is suitably brutal and action packed and the final scene. While I still missed the books climax, the movies end is still satisfying. On board Scoresby's balloon we are treated to a heart wrenching scene between Lyra and Roger. Roger exclaims with all his sincerity that he would travel to the ends of the world with Lyra, and Lyra says just let them try and stop us. Book familiars will know why this is heart wrenching, because we all know Rogers fate. The films conclusion worked because the re-union of Lyra and Roger was emotionally satisfying, but I think the books climax would have lifted it to greater strenghts. What I didn't like; it was too short, Kidman and Craig don't really get enough screen time, Mckellens voice, rushed at times, evidently missing scenes and the Magesterium just isn't sinister enough. Its a fantastic fantasy adventure that will be enjoyed by most. Its just aggravating knowing that it could have been even better. I also think it is infinitely better than both Narnia and Potters first cinema outings. How - Well the Daemons are so much more full of life than the talking creatures of Narnia. If you have a good eye you will notice that the Daemons are rarely ever static or simply shot fillers in a scene. They are alive. The original material of the book is much better realised and visualised than Potter. But they are not the most important reasons. For me it is the young lead(s) that makes the difference. The Potter trio were not great and the Narnia kids were agonising. But Dakota Blue Richards Is excellent. She is the heart and soul of it.

FINAL VERDICT: A hugely enjoyable, entertaining movie,astounding visual effects, perfect performances and action packed. If it had been 30 minutes longer, book ending kept , more screen time for Kidman and Craig and less meddling from New Line, it would have been a masterpiece!!

4/5 8/10
His Dark "City"
"The Golden Compass" shares two distinct qualities with the 1998 film "Dark City" about a man who wakes up without any memories: both move at a very fast pace and tackle complex themes like free will and the essence of humanity. First and for most, "Compass" seeks to entertain and absolve viewers from daily life, just the same as all escapist films do. Beyond that, it pushes the boundaries of what cinema says about our ourselves and the world. (When are institutions wrong? What defines our universe? What are our souls, and what do they say about us?) The ideas brought up in the film never cover the surface of the plot because too much of it derails from the core element of the story, Lyra.

Too many films nowadays push past the two hour mark to lengthen action sequences, exposition and character introductions. Chris Weitz broke the pattern by lifting out anything that could set the movie on autopilot. "Dark City" follows the same rubric: enough action to generate thrillers, dialogue to inform and character development to understand but not hinder or overreach. "The Golden Compass" satisfies the unique way by giving enough story and ideas to refresh us from the common stream, and leaves out what stops us from thinking about it on our own.
Not a bad movie - in fact, it was quite good.
Even though, as you might realize, many comments relate to this movie tend to point out a simple conclusion, that it is flopped.

However, I went to see this movie anyway. To be very honest, I actually think this movie was not as bad as many people out there describe.

The movie did give a huge amount of information in a very short period (1.5 hours) and this can be frustrated. Meanwhile, this movie also presented a high level of entertainment. The scenes were link to each other well enough that you wouldn't get confused. Everything that was necessarily to know in order to understand the story was mentioned clearly. The graphics and acting were also great that there is a very small chance that you would feel like you are watching a kid movie.

As a movie, explaining everything in the book is impossible, unless you want to make its length up to 12 hours. Also, as a movie, most importantly is to deliver the excitement to the audiences. The Golden Compass was a bit rush but because of that, you wouldn't feel bored watching this movie, since it doesn't go on and on to explain a background for like 10 minutes. I think the director made a very good adaptation of the original story. This movie is definitely a worth-watching movie for all age of people.
The Golden Turd
I'm giving this film one star to bring the (unreasonably high) score down a peg, seriously I'd give this film about three or four stars. *sigh* I'm a massive fan of the books, so you may assume I'm influenced in that respect, but I'm also a film graduate and approach everything as objectively as I can. For instance, I'm a massive ringer too but took the changes made to LOTR for the films very well and felt they actually improved the story in some areas.

THE GOOD: - Nicole Kidman is hot, as always, and acts reasonably well. - Dakota Richards look the part of Lyra. - There was obviously a high budget and the sets are nice. - The scene with Mrs Coulter and Lyra in Bolvangar was very good.

THE BAD: - Plot is basically all the most memorable scenes of the book strung together with no exposition inbetween. - Characters just turn up, introduce themselves, give a bit of plot-filler, then bugger off maybe to return later in the film to fill out the shot and look pretty. - The film treats the audience like retards, basically explaining things that should come naturally as the story progresses and also keeps showing flashy visuals for things (reading of the alethiometer) over and over again rather than actually filling the scene with some substance. - Design for the world is ludicrous in some areas. How is there a bridge to Bolvangar that is made of ice and crumbles as son as a little girl walks on it!? Who would make that!? - Acting and dialogue in general is abysmal!! Dakota can't settle on an accent, and everyone else is totally wooden. Except Sam Elliot who is excellent in this film but totally wasted in terms of screen time and impact. - Music is non-existent, I can't remember a single piece of it. Did it even have a theme song!? - Ham-fisted directing and editing means that things aren't given any impact and often will cut away from a scene just as its getting good. Also, characters just seem to 'know' some stuff, without ever having an explanation as to why. - Blatantly aimed at kids, which hurts several aspects of the film. The books are aimed at teens upward, so realistically we were looking at a 12A/15 rated film, alas, it's been neutered.

I could really go on all day with the problems I had with this film, it's truly awful and I feel so bad for the production designers and actors who genuinely gave it their all and ended up with this travesty representing their work. I'm also slightly annoyed at Pullman for supporting this pile of dung, it completely ruins his work and if I hadn't read the books already, seeing this film would not make me want to!!
Entertainment at the cost of profundity
Literary adaptations are always a testy business, with filmmakers consistently trying to appease fans of the original work while still making sufficient changes to make the material work as a film. With this in mind, as well as the inevitable uproar from various religious sects, The Golden Compass, adapted from the first book in Philip Pullman's 'His Dark Materials' trilogy was hardly an easy sell, and by no means a sure bid for box office success. Despite all of the negative factors against it, the film, while not the timeless fantasy epic it would like to be, proves a decent adaptation of Pullman's work and a sufficiently entertaining piece of escapism to boot.

Despite initial skepticism, director Chris Weitz of American Pie infamy demonstrates sufficient care and interest in his subject matter to bring the novel to life in a suitably quality fashion. Despite the occasional moment of flashy cinematography or special effects giving the impression of a child experimenting with his film-making toys, Weitz demonstrates a firm and steady grip on his film, keeping the tone light for a younger audience while retaining the occasional darker moment from the book to keep fans satisfied. Weitz's screenplay, while nowhere near as disappointing as it could have been, falls prey to the typical film fantasy pitfall of consistently struggling to force-feed as much information to the audience as possible as quickly and in as simplistic a fashion as possible, leading to a somewhat rushed narrative and an irritating lack of character development or exposition. Fans of the source material will likely grumble due to the occasional creative change, some more noticeable than others, while those unfamiliar with Pullman's books may be lost in a flurry of confusion, bombarded with a constant array of new names, faces and theoretical concepts. However, despite a disappointingly simplistic tone, the sheer enjoyment factor of the novel is not lost, and such is the film's primary strength: entertainment, if at the cost of profundity.

The special effects are for the most part top notch - the shapeshifting daemon effects are impressively integrated, the armoured bear fight is without question the pure, unfiltered exhilarating spectacle of the year, and the final mass battle sequence is similarly thrilling. The film's sets, costumes and props are spellbinding, easily giving the viewer the sense of being immersed in an imaginative alternate world with all of the visual splendour befitting such a fantasy epic. However, the film's musical score is a painful rehash of far too many clichéd epic film scores of late - far too overdone to be in the least emotionally affecting.

The stellar cast prove to be the film's high point, each inhabiting their roles with a comfort suggesting they had been born to play their respective parts. Newcomer Dakota Blue Richards is a revelation, surpassing the wooden efforts of most other child actors and carrying her lead role with ease, holding her own alongside her incredibly accomplished adult co-stars. Nicole Kidman is sheer perfection as the malevolent yet hypnotic Mrs. Coulter, effortlessly walking away with the show - every moment on screen, every glance, every movement is entirely in character, so fully does Kidman make the role her own. Daniel Craig proves a very fitting choice as scientific explorer Lord Asriel, making good use of his far too fleeting screen time, though one can't help but wish his character had a slight bit more of an edge to him.

Sam Elliot gives his strongest performance in years, instilling sardonic aeronaut Lee Scoresby with an offbeat charisma and sly humour wonderfully fitting the role and Eva Green is an ethereal and captivating presence as mysterious witch Serafina Pekkala. The somberous tones of Ian McKellan prove ideal in breathing life and soul into armoured bear Iorek Byrnison, and young Freddie Highmore is well cast as the voice of Lyra's daemon, Pantalaimon. Derek Jacobi and Simon McBurney give strong, if one dimensional performances as heads of the ominous Magesterium organization, as does Christopher Lee, whose 'blink-and-you-miss- him' role appears to be nothing less than a blatant cash in on The Lord of the Rings, but who delivers his one line well at any rate.

While fans of the novels may lament the watering down of the philosophical undertones of Pullman's novel, and the film being directed towards a younger audience, on the whole, despite the inescapable criticisms, as a sprawling piece of fantasy escapism, immersing the viewer in a world of armoured bears, daemons and witches, the film is a rousing success. It's just a shame to see such a strong premise fraught with such an overbearing air of caution and safety to please the lower common denominator, and one can't help but wish the producers had been slightly more daring, and captured a trace more of Pullman's nervy grit and spark to make the film a slightly less generic Hollywood blockbuster, and more satisfying overall. The film certainly isn't the 'next Lord of the Rings' which New Line certainly seems to intend for it to become, but an enjoyable and sufficiently impressive effort to warrant the next installment in the series, The Subtle Knife being made.

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