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Pop culture obsessives writing for the pop culture obsessed.
Pop culture obsessives writing for the pop culture obsessed.

Oz, The Great And Powerful

Before turning off his brain and relaxing into the mundanity of another homo-sex-art-film, James Franco spent much of the past year doing what he does best: namely, calling basic assumptions about identity into question. For example, can Sam Raimi's Oz, The Great And Powerful technically be deemed "a Wizard Of Oz prequel" when it can't use any of the characters or imagery (like ruby slippers) associated with the MGM film—and even though Raimi explicitly said it cannot while premiering the trailer at Comic-Con, won't everyone call it a prequel anyway? For that matter, can it even technically be called a Sam Raimi/James Franco project, when the movie "from the producer of Alice In Wonderland" so closely evokes that film's CGI cartoonishness and 3-D gimmickry that it seems like, at any minute, Tim Burton and Johnny Depp will be revealed as the men behind the curtain? All of these questions and more—like how Mila Kunis maintains her balance in that hat, and whether Rachel Weisz and Michelle Williams get to do much more than glower and glisten, respectively—promise to be answered once the film premieres next March, then produce their own subset of reflexive questions about why you even asked.


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