If James Franco reads his reviews, he should avoid David Edelstein ‘s critique of Oz The Great and Powerful at Vulture.com . “Franco is unconvincing generally, tamping down the passion, ironicizing everything out,” wrote Edelstein. “It’s possible Franco’s modern-sounding stammers and shrugs opposite actors playing it straight are meant in the spirit of Bob Hope’s hipster cowards — or those of Woody Allen , who cited Hope among his inspirations for Sleeper and Love and Death . But Franco doesn’t have the comebacks. He’s playing a noncommittal character in a noncommittal way, so that you want to scream, “This isn’t a performance-art project! You’re carrying a movie!” Ouch, though I’m with Edelstein on this one. It’s weird to see Franco giving such a modern performance in a movie that functions as a prequel to the 1939 classic The Wizard of Oz , and is supposed to be taking place in the early 1900s. I guess that tornado didn’t just transport Franco from Kansas to Oz, it messed with the time-space continuum, too. Well, while we wait to see if the weekend box-office results will vindicate Franco’s performance, I’ve noticed something about Franco that is fully committed: his smile. Watching him promoting Oz over the last few weeks and the films he brought to Sundance in January, Kink , which he produced, and Interior. Leather Bar , which he co-directed, I’ve discovered that Franco does for beaming what Futurama’ s Hypnotoad does for staring. He’s all in — teeth, gums and crinkled eyes — and the effect kind of mesmerizing in a man-he’s-really-going-for-it way. Check out these photos: So, bad reviews be damned. Keep smiling James….I…await…your final…orders. [ Vulture ] Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
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James Franco Has A Great And Powerful Smile
