attempts to crack the all-encompassing formula for story, the way Albert Einstein did for theoretical physics.
Alithea believes that “all gods and monsters outlive their original purpose” and is understandably skeptical of a mythical creature like Elba’s pointy-eared spirit, trying to approach the situation as logically as possible. That’s a tall order for Miller, who is basically a professional daydreamer, and Swinton, whose openness to off-the-wall collaborations is why we love her in the first place.
Seriously, what possessed Miller and “The Chronicles of Narnia” production designer Roger Ford to settle for such egregiously artificial, predominantly virtual sets? The movie’s poorly rendered backdrops look dated already: endless fake deserts, above which loom garish CG palaces, with their Maxfield Parrish interiors and naked courtesans and queens.
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