Fireflies in the Garden might not resonate as one of the most touching films you’ll ever see. In many ways it comes across as an archetypal melodrama about members of a fractured family unit struggling to coexist with one another in the wake of a tragedy. But in all fairness the movie is not completely devoid of charm. The charm however is derived almost entirely from the performance of Ryan Reynolds.
Reynolds defies his usual shtick by playing Michael Taylor an introverted malcontent novelist whose return home to visit his unhappy family coincides with a car accident that kills his mother (Julia Roberts). Michael’s struggle is based in his relationship with his father (Willem Defoe) himself a failed writer who took his self-loathing out on his son throughout Michael’s childhood. When Michael’s young aunt Jane (Hayden Panetierre in the flashback scenes Emily Watson in the present day scenes) comes to live with the family she and her nephew—who is only a year or two younger than her—develop a strong bond that keeps Michael going despite his misery.
The film wavers in its presentation of this story. There are scenes that do feel a little hammy and uninspired but Reynolds’ interactions with his aunt and his young cousins add a bit of humanity to the movie.
Unfortunately little else manifests with much positivity. Although few of the performances are notably poor the characters are too flat for the otherwise talented actors to really make anything substantial of them. The most determined example of this is Willem Defoe’s antagonistic patriarch character Charles. The character is a grab bag of traits exemplified by abusive parents in film and television. Although he is portrayed as obsessed with his son’s and his own intellectualism some of his torments of young Michael (Cayden Boyd) seem to drift from the theme of his character.
Charles is not the only individual in the film who seems inconsistent. There seems to be no discernible trace of young Jane in old—and more significantly no attempt at an explanation of how such a drastic character change did unfold.
Dennis Lee makes his feature directorial debut with Fireflies in the Garden which as we learn in the special feature is an autobiographical story. There are aspects of his script that to stand out with potential. Michael’s inability to act appropriately with his young cousins is the most interesting part of the film and it proves that Lee is capable of creating some very good material. Perhaps a film centered on this type of sometimes uncomfortably-off relationship would suit the writer/director better in a future filmmaking endeavor.
The shooting of the movie is discussed in the DVD’s sole special feature “A Flash of Life: The Making of Fireflies in the Garden.” In this twenty-minute feature the director and cast lend a good deal of conversation to the emotionality of the story. The script written by director Dennis Lee is inspired by his own personal experiences with the death of his mother. Lee and stars Reynolds and Panetierre engage in the gravity of the story and its transcendence to film.
Without any additional special features the DVD is a little empty. Considering the personal nature of the story to writer/director Lee you’d expect an audio commentary accompanying the film at least—perhaps with insight unto which elements were inspired by reality and which were created to better serve the story.
Fireflies opens doors on a few interesting stories but does not satisfy many of them completely. A more specific look at the making of the film would suit a personal story like this better—the featurette included keeps things pretty vague. All in all the film is not bad but flawed although its performers do show a good deal of promise.
The Heroes star made the movie with Julia Roberts and Willem Dafoe in 2007 but it only landed a U.S. distributor earlier this year (11) - and the cast reconvened on the red carpet.
Panettiere admits it was wild to meet Cayden Boyd again - the teenager played Ryan Reynolds as a bespectacled boy in the film.
She says, "He's one good-looking kid... He had to leave (the premiere) last night because he's a homecoming prince (at school)."
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Dodgeball is the classic big guy vs. little guy
can-do tale featuring your least favorite P.E. activity. Peter La Fleur
(Vince Vaughn) is the irresponsible manager of Average Joe Gymnasium a
low-end workout center that is losing business to Globo Gym America Corp.
run by former fatty food fetishist White Goodman (Ben Stiller). Peter
discovers that he has 30 days to come up with $50 000 of payments or else he
will lose his gym to Goodman. With the help of the bank's lawyer Kate Veatch
(Christine Taylor) and a ragtag team of gym regulars Peter plans on
winning the Las Vegas International Dodgeball Open and its first place
prize money. Yes folks all of your favorite sports clichés are here: the
salty experienced coach (Rip Torn) with his inspirational
non-sequiturs the nerd with a girl to impress a love triangle between the two
rivals and of course pirates. What? You were expecting a high concept and clever plot twists perhaps? C'mon.
If you want character development go see the folks at Merchant-Ivory. This
is irreverent comedy folks. And truth be told it's nothing we haven't seen
before. Vince Vaughn hones his too-cool-for-school good-guy persona against
Ben Stiller's lycra-covered over-the-top overachiever with a '70s porn
moustache. Stiller's performance is colored with shades of the dim-witted
Zoolander and the granny-thrashing nurse from Happy Gilmore but it
works. The two actors play off of each other and their co-stars quite well.
(Stiller's codpiece alone deserves its own screen credit.) But like a good drummer carries a band the movie's costars are what keeps the audience's attention. And as always Rip Torn does crazy
like no one else as dodgeball manager Patches O'Houlihan. He
chews the scenery spouting nuggets of wisdom such as "If you can dodge a
wrench you can dodge a ball" before heaving a tool at one poor kid. As for the team of Average Joes Stephen Root Justin Long and Joel Moore keep the gags rolling as do the actors who make cameo appearances. This laugher has more guest stars than a
two-hour Love Boat special. With a list that includes David
Hasselhoff Chuck Norris Jason Bateman Hank Azaria I was almost expecting
Burt Reynolds and Dom DeLuise to show up in a red Ferrari. The
highlights? Well Gary Cole shines in his bow to the great Vin Scully but
nothing could beat Lance Armstrong who laid down the best guilt trip I've
seen since I moved to the dorms.
This is Rawson Marshall Thurber's first time out playing with the big boys.
Quite a burden for a Tinseltown newbie but Thurber pulls it off agreeably.
All of your favorite sports movies will be mocked and you will enjoy it.
Thurber uses everything he can to get a laugh. Whether he's clowning Tony
Robbins parodying '50s instructional videos or using pizza in a perverse
and unholy manner Thurber keeps his audiences attention with enough
breakneck shtick to make Mel Brooks proud. But most importantly he never
forgets the fundamental rule to slapstick comedy: hitting people with stuff
is very very funny especially if it's in the nether regions or some area
of the human body that could potentially hurt or bleed a whole lot.
Based on the best-selling novel by Dennis Lehane Mystic River is full of characters wrought with heavy emotions--and burdens. Yet it is also a fairly simplistic murder mystery. Three 13-year old boys Jimmy Sean and Dave are playing on a street in a tough Boston neighborhood when two pedophiles pretending to be cops grab Dave and take him away. In that moment all three lives are irrevocably changed. Jimmy (Sean Penn) grew up as tough as his neighborhood doing time for robbery but finally settling into a comfortable family life with his wife Annabeth (Laura Linney). Sean (Kevin Bacon) went on to become a cop but his personal life is in a shambles and he is estranged from his wife. Dave (Tim Robbins) has never been able to face his demons despite being a loving father and husband to Celeste (Marcia Gay Harden). Now 25 years later tragedy brings them together once again. Jimmy's 19-year-old daughter is found murdered and while Sean is assigned to the case with his partner Whitey (Laurence Fishburne) Jimmy seeks his own vigilante investigation with the local hoods--and Dave emerges as a prime suspect. As the mystery is unraveled all are pulled closer toward an abyss that will force them to face their true selves--and will mark them as irrevocably as the past itself has tainted their lives.
This is one of those dream scripts serious actors simply go gaga over--and the high-quality ensemble in Mystic River does their jobs superbly. To pinpoint the best performance of the bunch however is virtually impossible--and the Academy may have a tough time making the same distinction as there is surely going to be a nomination or two coming from this film. Penn as the emotionally charged Jimmy stands out a little ahead of the rest with his fury resonating throughout the film. Robbins' ultra-vulnerable Dave is also a remarkable study of a soul completely wounded by the horrors he has experienced. Linney and Harden too are excellent as the spouses; Linney as Annabeth is a strong defiant mother whose only impetus is to protect those she loves while Harden in contrast is meek and unsure as Celeste faced with the dilemma of showing faith and loyalty to her husband while at the same time being convinced he committed the murder. All the performances will quite literally blow your socks off.
With all its excellent acting Mystic River has the added benefit of being helmed by director Clint Eastwood who has enormous talent behind the camera. He likes his films to simmer; his Midnight in the Garden of Good and Evil and Oscar-winning Unforgiven are two examples. Mystic River is beautifully put together with lingering shots of Boston neighborhoods and the people who live in them. He doesn't move the camera much keeps things steady but knows when to pull in or pull out as the drama escalates (an aerial shot of an anguished Jimmy being held back by several policeman after he discovers his daughter's body shakes you to the core). Still there are some problems with this slow-burn technique in that sometimes things should move along rather than stand still. Eastwood seems also to have had trouble finding the ending. After a pivotal powerful climactic scene with Jimmy and Sean discussing Dave's kidnapping 25 years ago and its effect on all their lives Eastwood tacks on a few more final scenes of the men tying up loose ends resolving feelings with each other and their wives--and then going to watch a parade. It's a minor point compared to the quality of the rest of the film but it still leaves things on an anti-climactic note.