Transported to Barsoom, a Civil War vet discovers a barren planet seemingly inhabited by 12-foot tall barbarians. Finding himself prisoner of these creatures, he escapes, only to encounter Woola and a princess in desperate need of a savior.
The son of a virtual world designer goes looking for his father and ends up inside the digital world that his father designed. He meets his father's corrupted creation and a unique ally who was born inside the digital world.
A factory worker, Douglas Quaid, begins to suspect that he is a spy after visiting Rekall - a company that provides its clients with implanted fake memories of a life they would like to have led - goes wrong and he finds himself on the run.
John Carter, a Civil War veteran, who in 1868 was trying to live a normal life, is "asked" by the Army to join, but he refuses so he is locked up. He escapes, and is pursued. Eventually they run into some Indians, and there's a gunfight. Carter seeks refuge in a cave. While there, he encounters someone who is holding some kind of medallion. When Carter touches it, he finds himself in a place where he can leap incredible heights, among other things. He later encounters beings he has never seen before. He meets a woman who helps him to discover that he is on Mars, and he learns there's some kind of unrest going on. Written by
Mario Kassar had the project at Disney in the 1980s, but it was also listed under his development projects during his deal at Paramount in the mid-'90s. In 2004--when the project was still known as "A Princess of Mars" after the book on which it's based--Robert Rodriguez had originally been signed and announced as director and had begun pre-production early that year (it would have been his largest project to date, with starting budget reported at $100 million). Rodriguez' most notable contribution was to hire fantasy painter Frank Frazetta (whose most acclaimed works have included striking illustrations of Edgar Rice Burroughs novels, most notably the "John Carter on Mars" books) as production designer. However, when Rodriguez resigned from the Directors' Guild of America (DGA) the same year (due to a dispute over his film Sin City (2005)), Paramount was forced to replace him. The studio has a long-standing arrangement with the DGA in which only the organization's members may direct Paramount films. He was replaced with Kerry Conran, who had just finished Sky Captain and the World of Tomorrow (2004). In 2005 Conran left the project and was replaced by Jon Favreau just before the release of Favreau's movie Zathura: A Space Adventure (2005); Favreau was on-board to direct until around August 2006. At that time Paramount chose not to renew the film rights, preferring to focus on Star Trek (2009), and Favreau left to work on Iron Man (2008). In January 2007 Disney regained the rights (it had rights to film the story previously: in the 1980s with director John McTiernan), and enlisted Andrew Stanton from Pixar to direct. See more »
When John Carter is trying to pull the chain out of the rock in the arena, the ring fastening the chain has an obvious gap for him to unhook it easily. The gap disappears in the next shot. See more »
John Carter of Earth.
[he tosses the medallion over the balcony]
Yep. John Carter of Mars sounds much better.
[Carter turns to go back to Dejah, but a guard stops to him to thank him]
Sire, I must express the deepest of gratitude for saving Helium. Please, the honor is mine.
[suddenly the guard morphs into Matai Shang]
Fair enough, Earthman. Now it's your move.
[Matai Shang touches Carter, repeats the command phrase and sends Carter back to earth]
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At the end of the movie, a title card comes up that says John Carter of Mars. See more »
I am a man of obsessions. For months, a movie I hadn't seen was the thing. Not Peter Jackson's THE HOBBIT, not Joss Whedon's THE AVENGERS, not even the upcoming Sam Mendes directed James Bond movie SKYFALL (which I'm excited about but it hasn't really sunk its hooks into me yet)...
No, it was Andrew Stanton's JOHN CARTER.
My excitement was not the universal feeling. Disney advertising had dropped the ball and the trailers seemed lackluster to most. Yet something within directed me toward it like a compass points to True North. There was something special about it, something just out of view in the trailers that wouldn't let me go. I trust my obsessions, always, but at some point I got to feeling a bit exhausted and just wanted to know if I was right or maybe a total loon.
I've now been to two advance screenings of JOHN CARTER.
And? Holy Living Thark! The bar on science fiction and fantasy movies has Officially Been Raised.
JOHN CARTER is based on Edgar Rice Burroughs' A Princess of Mars --a novel first published a century ago. I expected to come out of the movie with my head full of comparisons to all the things Burroughs' imagination inspired: STAR WARS, AVATAR, FLASH GORDON, etc. Understandably so, as I'm much more familiar with all of them. That didn't happen. Put simply, if STAR WARS is a kids' science fiction movie franchise that adults enjoy (and it is), then JOHN CARTER is an adult science fiction movie that kids will enjoy.
CARTER is such an immersing experience. Every moment reveals something new about Mars; about the exotic alien races and cultures that call it home, or about their individual characters. James Cameron's AVATAR showed us a world we've never seen before and it was wondrous to behold, but Andrew Stanton's JOHN CARTER is a movie so rich with detail that it left me feeling like I had been somewhere. JOHN CARTER feels like nothing so much than as if David Lean had made a science fiction epic of love and war set on Mars.
This movie has a confidence to it you won't be expecting. It's unafraid to linger over the characters, and give them time to breathe and reveal themselves. My favorite decade for movies is the 1960s, and JOHN CARTER has some of the epic adventure movies of that time running through it like a seam of gold. There's a bit of LAWRENCE OF ARABIA in there as I alluded to before, and perhaps a touch of ZULU and SPARTACUS is mixed in with the Martian airships and predator cities. Old fashioned storytelling magic and 21st century movie sorcery have combined into a film that's a pulp sci-fi masterpiece.
To the ERB faithful: please relax. Yes, there are changes from the novel; no, they are not the arbitrary changes made in inferior movie adaptations where the filmmaker just wants to do his/her own ideas. Every change is made to tell Burroughs' story or reveal some aspect of Burroughs' characters in a way more befitting a movie instead of a novel.
Going into this, I had absurdly high expectations. A friend of mine told me he was worried the movie wouldn't live up to them and that frankly I was starting to sound a little crazy. Well, the movie went and exceeded my expectations. I love it, and give it a 10/10. I'm definitely going to see it at least six times in the theater, and will finally buy a Blu-Ray player just to watch it at home.
I realize this review sounds over the top. That's just how excited I am about the movie. Perhaps in a previous life I was an ancient Greek by the name of Hyperboles? Anyway, see the movie. I guarantee that even if you don't like it as much as I did, you'll see where I was coming from with this gushing review.
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