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The Box: An Inadequate Package to Unwrap

BuzzSugar — Fri, 06 Nov 2009 11:30:56 -0800

I so wanted The Box to be a worthy successor to Donnie Darko, director Richard Kelly's first film and much-appreciated cult fave. Unfortunately, I didn't exactly get my wish.

The Box is a highly stylized, good-looking thriller, from the retro 1976 Virginia setting to the Barbie and Ken looks of leads Cameron Diaz and James Marsden. They play husband and wife Arthur and Norma Lewis, who run into a bit of a financial jam when a strange opportunity conveniently presents itself. A creepy, disfigured man (Frank Langella) offers them a million dollars if they push a button inside a box - but a stranger will die if they do.

Kelly has all the right elements and the creativity to give us a hip, entertaining thriller, but there are a number of blatant missteps that make the movie unsatisfying. To see more about what I mean, just read more.

Kelly puts his stamp on everything, namely the constant eerie atmosphere and the random sinister characters (apparently an old person standing still in the road is his trademark). Though many questioned the casting of Cameron Diaz and her requisite Virginia accent, there was a similar doubt when Drew Barrymore and Patrick Swayze were cast in Darko, and it ended up working. With Diaz, it's not that I would say that she nailed the part, but that the accent and greater aspects of the plot are very campy. And I like campy, but I don't know if that's what the film is going for.

If you're not taking it seriously, the movie is a pretty good time, with some frightening scenes and jumps. There are also many parts that are supposed to be creepy, but they're so labored that they come out as funny. Like, laugh out loud in the theater funny. I wouldn't call that a failure, I'd just invoke the term I used before campy.

The major problem the movie runs into is when it begins exploring these sci-fi and supernatural angles, which end up being red herrings. For instance, much is made of Arthur's job at NASA and Mars, which made me think we were in for a weird, wild sci-fi ride. I was ready to embrace something really out there (I'm a big David Lynch fan, after all), but you don't really get it. There are so many elements that are introduced but never followed to a conclusion, so you're left shrugging your shoulders when the movie ends. It's even more perplexing because the mystery of The Box itself is explained, but you're left with all these details that went nowhere, in retrospect. It's one thing to leave things open-ended, but you have to give the audience something to work with.

Honestly, if you're a Kelly fan, you'll probably find it enjoyable. But if you want complete resolution, I'd wait for the director's cut.

Photos courtesy of Warner Bros.

Precious: A Dark Tale With a Hopeful Light

BuzzSugar — Fri, 06 Nov 2009 08:30:00 -0800

When Precious first caused rumblings at Sundance, I thought, "There is no way I'm seeing this film." There are certain things that I find uncomfortable to watch - pregnant teens, abuse, Mariah Carey. But I'm so glad I did. Because despite its drawbacks on paper, Precious provides a big payback to those who watch it. It's one of those few unforgettable films that stays with you days later - for better and for worse.

Based on the novel Push by Sapphire, Precious follows the story of Claireece Precious Jones (Gabourey Sidibe), an overweight high school student who is pregnant for the second time by her father and living with her abusive mother, Mary (Mo'Nique). She struggles at school, because on top of her circumstances, she's also coasted through the system without ever learning how to read. So after the news of her recent pregnancy reaches the administration, she enrolls in a special program to get her GED.

I realize that by now you're probably nixing this one as a weepy, formulaic melodrama, but hear me out. As you may have gleaned from my interviews with its stars, the film is indeed a hopeful story at its heart, so to see what I mean, read more.

Part of the story's positivity is thanks to Precious's new teacher, Ms. Rain (Paula Patton), and an almost unrecognizable Mariah Carey as her social worker, Mrs. Reiss. Both women reach out to Precious and uncover a girl with joy despite her abuse - but the tension at home with her mother continues to climb.

As you might expect, many of the scenes between Precious and her mother are incredibly difficult to watch, but the saving grace is director Lee Daniels. He weaves in daydreams during the most brutal scenes, transforming Precious into a movie star or a popular girl with a good-looking boyfriend. These diversions are how Precious copes, and like her aspirations, you begin to yearn for her happy ending, too.

Newcomer Gabby Sidibe portrays Precious with an understated realism that's remarkably convincing, and Mariah Carey delivers a restrained performance. But the real eye-opener here is Mo'Nique. As Precious's mother, she is raw, always spitting out vile words - and she is easily one of the most bone-chilling villains of the year. Mary truly believes that Precious deserves the hand that hits her due to her own mixed-up past.

After you leave the theater, Precious will have made an impact on you. You will feel uncomfortable in parts, you will cringe, and you may just hate it for putting you through the turmoil. But keep watching, because there is strength and spirit to be found even in the bleak subject matter - and perhaps a few award nods.

The Men Who Stare at Goats: Glaringly Unfocused

BuzzSugar — Fri, 06 Nov 2009 05:30:00 -0800

I went into The Men Who Stare at Goats with high expectations. How could a film possibly disappoint when you have the acting trifecta of George Clooney, Ewan McGregor, and Jeff Bridges? But unfortunately, while the pros work hard to generate laughs - and they do deliver at times - the film on the whole is all over the place.

Goats is based on the non-fiction book by Jon Ronson. That's right - non-fiction. The film opens with the line, "More of this is true than you would believe," which is a nice reminder, because the plot is intentionally convoluted. At first, this far-fetched quality makes the story feel fun and quirky, but as time goes on, it gets mucked up in its own self-aware confusion and starts to feel stale. To see what I mean, read more.

McGregor stars as the movie's hero, Bob Wilton, a small-town journalist whose wife has just left him for his editor. So Bob decides to do what most men do when they're heartbroken - he goes to war. Or at least he tries to, but he only gets as far as a hotel pool bar in Kuwait. That's where he meets Lyn Cassady (George Clooney), a former "Jedi warrior" with the U.S. Army - or simply put: soldiers with superpowers. (Yes, note the coincidence: McGregor and Jedis.)

Lyn begins to tell Bob about the former founder of his unit, Bill Djanjo (Jeff Bridges), a vet who goes to find himself after Vietnam in the drug and orgy, peace and love '70s. Armed with a new, zen persona, Bill returns to the Army to share his more peaceful point of view and take charge of a new special force that uses mind control over traditional weapons. That's when Lyn comes in. As a new recruit, Lyn is exceptionally psychic, and he quickly gets a reputation for being able to find anyone, including terrorists, strictly using his mind.

So Bob and Lyn begin on a journey into Iraq. Where they're headed, Lyn's not exactly sure. He just assumes he'll find it, thanks to his extra sixth sense. As for the audience, we're sort of in the same boat - along for the ride without any real direction.

The movie tries to comment on the inhumanity (and stupidity) of war, but has a difficult time making its point alongside the slapstick elements. The actors are great with comedic timing and deliver one-liners to entertain the audience in many moments, but that was ultimately the only aspect that held my interest. (That and Jeff Bridges's sweet hippie braided hair.) What had the potential to be a funny, original story or a satire instead starts to feel boring. The characters wander aimlessly, the flashbacks float in and out, and without a clear focus, you stop caring. And that's not an easy feat where Clooney's usually concerned.

Disney's A Christmas Carol: A Fun New Spin on an Old Favorite

BuzzSugar — Thu, 05 Nov 2009 20:00:00 -0800

Charles Dickens' classic A Christmas Carol is, quite literally, a tale as old as time. Hollywood has already turned the novel into countless films, so how do you keep it fresh to entertain old and young audiences alike? You give them a pair of 3-D glasses.

I was a bit skeptical about Disney's newest remake of the flick, even with the super stylized animation and all-star cast behind the voices. But once you put on those glasses, you'll be oohing and aahing right along with the kids, making the film a fun ride. It doesn't tug on the heartstrings the way other versions can, but it's not devoid of emotion either. To see what I mean, just read more.

Robert Zemeckis brings the story we already know and love; old Ebenezer Scrooge (voiced by Jim Carrey) defines miserly and crotchety, spending his days counting his pennies and bitterly snapping at those around him. On one particularly Christmas Eve, he his haunted by the ghost of his former partner, Jacob Marley. Sporting chains and a ghastly demeanor, Marley warns Scrooge that he will suffer the same miserable fate if he doesn't take heed of three spirits who will visit him over the course of the night.

The film stays very true to Dickens's short novel, borrowing much of the text straight from the book and incorporating some of the darker elements that I hadn't seen before in versions designed for kids. That said, I still feel like some of the scenes waver on the side of being too scary. Marley's introduction with the chains is frightening but funny, whereas the progression of the ghost of Christmas present to the ghost of Christmas future (complete with full decay from giant to skeleton) probably would have given me nightmares when I was younger.

The special effects are all you could want and more; the 3-D pulls you right in, carrying you along with Scrooge as he flies overhead in his nightgown (and later spits in your face). You're in the midst of Victorian England at Christmas time, from the snowstorms to the festive music. It's dazzling - until you hit the emotional stuff.

The tale is one with a great big heart, but the actors can only go so far using their voices alone. In the most sentimental scenes, I found myself just wishing I could see the big name actors (which includes Gary Oldman, Colin Firth, and Robin Wright Penn) gazing into each other's eyes pointedly. Instead, it feels a bit like watching two mannequins standing face to face. Still, you're never bored for long, and there's always another thrill waiting at every turn.

In the end, Disney accomplishes its goal, producing a film that looks amazing and will entertain kids and adults alike. It may not be the best version of the tale to date, but it will leave you feeling plenty merry on your way out of the theater.

Photos courtesy of Walt Disney Pictures

This Is It: A Worthy Final Farewell

BuzzSugar — Wed, 28 Oct 2009 07:30:00 -0700

Making a tribute film after the death of an icon is a difficult undertaking - how do you do justice to his or her life without making it feel overblown? But the new Michael Jackson documentary, This Is It manages to strike that balance. The anticipation for its limited release has been building for more than a month now when early ticket purchases broke sales records, and most of you said you wanted to see the film as well. I was worried about how the doc would measure up to the hype, but I'm satisfied with the final product.

This Is it follows Jackson in his final days preparing for his sold-out tour. MJ emerges dressed in a button-down, shades on, and with director Kenny Ortega at his right hand, as we get a front row seat at the rehearsals. It proves to be an intimate look at the performer who, even at 50, still had a fiery passion for his craft. Most of us will enjoy witnessing it here on the big screen, while others may leave the theater feeling even more disappointed about never getting to see the live show. To see what I mean, read more.

MJ fan or not, you can't see this film without feeling awestruck by his dramatic flair as an artist. His voice is still on point, and his every movement on stage is punctuated by a flick of the wrist or a kick - it's like the music surges inside him and he has to stream it out through his fingertips. He still had the magic only weeks before his death.

While Jackson's dance skills may be a given, I was actually taken aback by how hands on he was in all facets of his tour. This is It shows him working on everything from green screen films to teaching choreography to attending band rehearsals. These sneak peeks provide surprisingly funny moments, but one of the loud-and-clear messages of the film is that Jackson did this for his fans. All of the popular favorites are included - "Billie Jean," "Smooth Criminal," and "Thriller," of course. Jackson knew that's what the audience wanted, and he was happy to give it to us - while wearing his signature sparkly gold pants and a fedora.

The doc does have its drawbacks; some of the footage starts to feel stale midway through, and the film feels too long at nearly two hours. Still, I understand why the editors didn't cut anything in honor of Jackson's memory. Each song was important to him and he wanted listeners to hear his message. (He even speaks on his concern for environmental causes in the film). Before the closing credits, Jackson says he wants to "remind the world that love is important" - and even after his death, he manages to do so by leaving us with memories of a man who never stopped loving his fans or the music.

Motherhood: A Harried-Mom Tale That Often Feels Tired

BuzzSugar — Fri, 23 Oct 2009 14:30:20 -0700

When you have a parenting movie set in New York, you should know better than to expect a warm-'n'-fuzzy story about the joys of having kids. In fact, Motherhood is out to prove that mothers have it rough.

The film follows Eliza Welsh (Uma Thurman), a Manhattan writer dealing with a cramped apartment, busy husband, and side-street parking while raising her two kids. A day in her life feels like a really, really long 24 hours. Eliza runs around frantically trying to prepare for her 6-year-old's birthday while composing an essay for a parenting magazine contest and squeezing in a sample sale with her mommy friend Sheila (Minnie Driver). We know that Eliza was once a great writer, but when she had kids, she decided to give up her job to raise her family. Now, she's a shell of her former self in frumpy clothes and messy hair. Simply put, Eliza is dealing with the classic parent conundrum: how do you care for your kids and still retain something for yourself? The answer? It ain't easy.

For more about what I mean, read more.

Eliza doesn't try to feign martyrdom. In fact, she often whines about her plight in a way that screams, "I'm angry, dammit!" And at first, you're angry for her too. (No woman deserves to put up with all that she does.) But as the film goes on, Eliza's bitterness knocks you over the head, and you have to you wonder - is she like this every day? Yeesh.

Luckily we have Eliza's friend Sheila for some needed comic relief. Sheila is the cool single mom to the more neurotic Eliza - she mouths off cheeky one-liners and uses her son's motorized bath toy for her "alone time." Jodie Foster also delivers a hilarious cameo as a celebrity mom swearing at the paparazzi on the playground - aka, herself. Both women keep Eliza's "what-can-go-wrong-will-go-wrong" storyline from wearing too thin.

Mothers will probably identify with either Eliza or Sheila but what about the rest of us? While the actors perform well and the movie provides laughs for those who can relate (read: parents), most of the jokes don't feel fresh, and you've probably seen similar setups on shows like The Middle or In the Motherhood or any of the other dozens of family comedies in recent years. Props to the filmmakers for giving mothers their due, but if you're not one yourself, an hour and a half with Eliza may be enough to make you rush out of the theater and buy birth control.

Cirque du Freak: An Unnecessary Addition to Vampire Entertainment

BuzzSugar — Fri, 23 Oct 2009 09:30:09 -0700

With Halloween just around the corner, October is the perfect time for movie studios to unleash their creepiest films, since we're all in the mood for a good scare. Combine with that the insatiable desire for vampire entertainment, and you've got Cirque du Freak: The Vampire's Assistant; a tween fantasy movie that plays out like R.L. Stein's Goosebumps novels on the big screen - but not nearly as scary.

Based on the book series by Darren Shan, Cirque du Freak is the story of Darren (Chris Massoglia), your typical 16-year-old boy trying to quell his high school boredom. Dubbed "Mr. Perfect" by his mischievous best friend Steve, Darren follows the rules, has plenty of friends, and does whatever his parents tell him to do - that is, unless Steve can convince him otherwise. The boys pick up a flyer for the Cirque du Freak and decide to check it out.

That's just the beginning though, so to see what I thought of the film, just read more.

Things go awry when Darren finds himself tangled up in the world behind the Cirque, particularly that of Larten Crepsley, a crotchety vampire who couldn't be bothered with a teenager. When Darren gets himself into a sticky situation, the only way he can bail himself out is by selling his soul to Crepsley, becoming his half-vampire assistant.

If you thought sorting out all the vampire lore in Twilight and True Blood was confusing, get ready for the most convoluted yet. In this story, a war is brewing between two breeds: the Vampanese represent the blood-suckers that are all for killing their prey, while the run-of-the mill vamps prefer to sedate, feed, and then letting their victims return to regular life. As a half-vampire who's reluctant to lose what little human qualities he has left, Darren obviously joins Larten Crepsley's team, while his best friend Steve joins the evil Vampanese.

As for the actual Cirque du Freak, the group of misfits and outcasts are more X-Men and less Carnivale. The crew includes unusual children who were abandoned by their parents (like "Snake Boy" and "Monkey Girl"), along with a few other vaudeville acts like the Bearded Lady (Salma Hayek) and a woman who can regenerate her limbs (Jane Krakowski). Some are friendly, others are surly, but the cirque in itself is more campy than scary; little hideout is basically an island of misfit toys.

The film isn't boring, but it's not exactly packed with pizazz either. Director Paul Weitz was sure to stay on the safer side of the movie's PG-13 rating, rarely pushing the envelope on what could have been a much creepier film. John C. Reilly is always reliable for a good performance, and he has some great comedic timing as the voice of brutal honesty to Darren's naivete. Massoglia gives decent performance for a newbie, and even reminded me of a young Emile Hirsch at times. That said, the movie is also packed with confusing subplots and some truly corny dialogue that evoked collective groans from the audience.

If you're looking for a fun movie to get you into the Halloween spirit, this might do the trick. Just make sure you're in a tween state of mind.

Photos courtesy of Universal Pictures

Amelia: Never Really Takes Flight

BuzzSugar — Fri, 23 Oct 2009 06:30:00 -0700

I love the way a biopic makes me feel - like I'm treated to a back-in-time look at an amazing life. They're epic, and that's why I'm willing to sit through the slow moments (and often for more than two hours) for the payoff. This is the experience I hoped for from Amelia, directed by Mira Nair and starring Hilary Swank as the pioneering aviator who was the first woman to fly solo across the Atlantic Ocean.

There's plenty of opportunity for grandness, even though Nair chose not to focus much on the circumstances of Earhart's disappearance during her flight around the world. Earhart had an extraordinary life, eschewing social conventions for her gender and never giving up her one true love: flying.

Unfortunately, Amelia misses the epic mark and lands instead somewhere in the mediocre, underusing its cast's talents and history's treasury. However, it's not an altogether unpleasant journey, so to see my thoughts on the film, just read more.

First, the film is beautiful - Mira Nair knows how to shoot a gorgeous scene (she was behind the richly-styled films Monsoon Wedding and The Namesake), and she really takes advantage of the oceans, the landscapes of jungles, beaches, and moors. Much of it is seen through Amelia's eyes as she's soaring over it, and occasionally you feel the same freedom in flying that she so desires.

Along with the scenery, the minor success the film does achieve is ascribed to Hilary Swank's acting. I was expecting the two-time Oscar winner to be fantastic, and she didn't let me down. From transforming her looks to match the androgynous icon's to altering her voice to a Katherine Hepburn-ish gravel, she captures the pre-feminist aviatrix in all her glory.

The problem is that intriguing parts of Earhart's life are introduced but merely glossed over. For instance, Earhart's marriage to publisher George Putnam (played by Richard Gere) is complicated by the fact that she carries on an affair with Gene Vidal (Ewan McGregor). However, this affair is only briefly touched on (they meet, they kiss, it's suddenly over). For his part, Ewan McGregor is given little more than a cameo role, which is an unsatisfying tease for any fan of the actor.

While I'm on unsatisfying, if you've ever been fascinated by the mysterious circumstances of Earhart's death (she disappeared over the Pacific on a round-the-world-flight), you'll get no gratification here. Understandably, there's no speculation about what happened, but there's no closure either.

That seemed justified, because when this project was announced, it was reported that Nair wouldn't focus on the mystery, but Earhart's remarkable life instead. Unfortunately, there's not enough focus on that remarkable life to do the woman's memory justice.

Photos courtesy of Fox Searchlight

New York, I Love You: A Jigsaw Puzzle That Doesn't Quite Fit

BuzzSugar — Fri, 16 Oct 2009 07:30:00 -0700

As a city with so much personality and penchant for possibility, it's no surprise that the follow-up to Paris, Je t'aime heads to New York. New York, I Love You is a tale of the connections and personal missteps that occur every single day in the city that never sleeps. It plays out like a movie version of a song mash-up: some story lines are linear and independent of the rest while other characters wander in and out of each other's lives. Throw an all-star cast in there, and you could possibly have a recipe for perfection.

Unfortunately, the ingredients don't blend together as well as I had hoped, and instead we're left with an engaging but bland look at a handful of trials and tribulations in relationships. To see what I mean, just read more.

Made up of a series of short films, New York, I Love You is an homage to the city as well as the residents who hold it near and dear to their hearts. The "anything can happen" theme is alive and well, as strangers become acquaintances and friends, putting so much emphasis on each and every interaction that we take part in on a regular basis.

You meet a few characters that represent New York well enough; Bradley Cooper is the guy who's constantly jumping into a cab the same time as someone else, Orlando Bloom is the struggling musician who turns to Central Park for inspiration, Hayden Christensen is the pick-pocket who's as sexy as he is dangerous. But sometimes it feels just a little too forced; like the film is primarily concerned with proving that New York is a melting pot. Rather than seeing a few love stories shine through stereotypes, I was more distracted by the fake accents.

As with Paris Je t'aime, some of the stories shine brighter than others. Natalie Portman directs a sweet piece about a relationship between a father and daughter; Olivia Thirlby and Anton Yelchin are refreshing as a younger pair who makes the prom a night to remember. The lighter films are breaths of fresh air amongst others that are trying too hard to be hip and stylized.

The ensemble cast certainly gives the movie a boost; even when it's not provoking the deepest of emotions, the film always had my attention. There are solid performances all-around, particularly from Chloris Leachman and Eli Wallach as an aging couple who are still bickering when they aren't helping each other cross the street. It is the most hopeful of the scenarios, and by far the sweetest and most touching.

The film provides plenty of the standard money shots of Manhattan: a typical day in Grand Central Station in fast forward, subway rides, hours of people watching in a coffee shop. The encounters feel authentic and realistic, but the failure lies in the inability to make us feel something on a deeper level. Sometimes you can relate to the characters, and sometimes you feel sorry for them, but it doesn't squeeze your heart nearly enough - and with a title like New York, I Love You, this a disappointment.

Where the Wild Things Are: A Passionate Ode to Childhood

BuzzSugar — Fri, 16 Oct 2009 04:30:00 -0700

There's been a bit of a controversy over how to market Spike Jonze's adaptation of Maurice Sendak's classic children's book, Where The Wild Things Are. Is it for kids? Adults? Adult hipsters?

The answer is anyone who wants to feel what it's like to be a child, and not in the fun-loving, no-responsibilities way. As adults, we tend to forget the insecurity and fears we had as kids, which the film's young character Max is in the throes of. There's just enough exposition before the fantasy begins: Max has a single mom (Catherine Keener) and an older sister who has recently outgrown him. His first few acts at home show his innocence and the savage emotions under the surface. He knows it as being "wild."

Where the Wild Things Are isn't a heavy-handed allegory, or an edgy children's movie; it's a loyal tribute to the way kids think and feel. To see what else I thought of the film, just read more.

Max reaches the world of the wild things after throwing a particularly heinous fit, prompting his mother to yell, "You're out of control!" After running away, Max finds himself on a boat that finally brings him to a strange land. This is where the wild things are. The creatures Jonze has created are aesthetic wonders: creepy, hostile, and huggable at once. These aren't Jim Henson's Muppets, but real characters, led by Carol (voiced by James Gandolfini). The rest of the group is comprised of Lauren Ambrose as aloof KW, Catherine O'Hara as prickly Judith, Paul Dano as timid Alexander, Chris Cooper as Douglas, and Forest Whitaker as Ira.

Each creature has a fully realized personality, with flaws and varying temperaments; their faces are so emotive and their dialogue so human that their scenes with Max are as real as those with his mother. This group is not easily classified as friend or foe - they're dysfunctional in their relationships and don't always treat each other well. One of the most successful elements of the movie is the dialogue of the wild things, which is rooted in Max's head.

In many ways, screenwriter Dave Eggers's job was tougher than Spike Jonze's, because it's imperative to remember the way children think. Max's interactions with Carol and his new clan are made up of the kind of things a kid would hear from his parents and peers and then internalize. In fact, in the wild world, Max declares himself king to bring order, and he summons up speeches from the authority figures that he's pulling away from in his real life. Naturally, he's too young to recognize how his subverted position is significant.

Max's relationship with Carol is most telling. As the de facto leader of the group who can't handle sadness, loneliness, or jealousy, he acts out as a mirror of Max while still being his own character. The richness of Carol and the creature cast stays with you; when Max has to say goodbye to his friends, your heart breaks.

Jonze impressed me with his non-conformity; in another movie, Max would have demonstrated the grand lessons he learned from his time on the island, but in this one, he doesn't have to learn anything. He just gets to feel and experience and appreciate his emotionally fragmented new friends. It's devastating as a viewer, especially if you can put yourself back in that childlike place when your feelings were so raw and simple.

Photos courtesy of Warner Bros.