While the original 1950s sci-fi cult classic pointed to the Cold War and the threat of nuclear war in a timely manner this The Day the Earth Stood Still is just a rehash. Do we really need Keanu Reeves to tell us how we’ve messed up the planet? In any case he plays Klaatu an alien being inside a human body who comes to Earth in a giant sphere to “talk” to our world leaders about our destructive behavior. In fact he’s the deciding factor on whether to destroy the human race in order to preserve Earth OR give us another chance. Of course no one is going to let Klaatu speak to the U.N. which leaves the alien no other choice. Until that is he joins up with a pretty scientist (Jennifer Connelly) and her stepson (Jaden Smith) and sees just exactly how warm and fuzzy humans can be. Oy. It might be too late though since Klaatu’s giant robot friend (“Gort” in the original) is already gearing up for his mission to kill and destroy. At least casting Keanu Reeves was a smart move. Klaatu’s lack of emotion and few words is right up the actor’s alley; he makes it look soooo easy. Connelly on the other hand is making the same mistake she did when she starred in Hulk -- playing a brilliant scientist of some kind who is inevitably wasted onscreen. Jaden Smith is kind of an impertinent little snot through most of the movie who wants Klaatu dead but suddenly changes his mind just at the right moment. And then there’s Kathy Bates as the Secretary of Defense who stonewalls Klaatu’s request to meet the world leaders. She nearly ruins the whole thing! It’s not that The Day the Earth Stood Still is a poorly made film. Director Scott Derrickson sets the right tone and aptly applies the state-of-the-art special effects when it’s needed -- especially when the robot starts to work his particular destructive mojo by unleashing millions of tiny mechanical bugs who eat through everything. The main problem with this remake is bad timing. The original was creepy and quiet and menacing with its alien takeover theme in a way moviegoers had never experienced in 1951; it hit a chord which has carried it through its cult status. But to redo it now when we’ve seen the same kind of movie done in so many better ways doesn’t make any sense. In trying to keep to the original’s spirit this Day comes off as derivative unimaginative and tedious. Should have left it alone folks.
Albert Markovski (Jason Schwartzman) a bleeding heart poet and staunch environmentalist is convinced a series of unexplained coincidences involving a tall African doorman somehow mean something leading him to married metaphysicians Bernard and Vivian Jaffe (Dustin Hoffman and Lily Tomlin)--otherwise known as the Existential Detectives. Instead of looking for other people this pair tirelessly investigates the mysteries of their clients' secret innermost lives--their "Beings " so to speak--to help them answer their questions. Immediately digging in Bernard and Vivian find out that Albert has a deep-seated hatred for Brad Stand (Jude Law) a golden-boy sales executive at the popular retail superstore chain Huckabees who at first sponsors Albert's Open Spaces Coalition to save a nearby marsh from commercial construction but who ends up taking over the coalition. The Existential Detectives believe Brad may be the key to cracking Albert's case but get sidetracked when Brad hires them for himself--leading them to explore Brad's ambitions hang-ups and his superficial relationship with Huckabees' hot blonde spokesmodel Dawn (Naomi Watts). Meanwhile Albert becomes disenfranchised with Bernard and Vivian and pairs up with another of the duo's clients--firefighter tough guy and uncompromising soul searcher Tommy (Mark Wahlberg). Together they join forces with the Jaffes' arch nemesis sexy French philosopher Caterine Vauban (Isabelle Huppert) whose life teachings revolve around "cruelty manipulation and meaninglessness." Now as Being intermixes with Nothingness Albert Tommy Brad Dawn Bernard Vivian and Caterine get all tangled up in one another as their wild romp through life's biggest questions brings them to some startling truths. Whew!
With such a clever script to back them up it isn't hard to see why the Huckabees wannabes turn in some cracking good performances. Schwartzman once again plays a nebbish sullen but lovable geek (similar to his side-splitting turn in Rushmore) bringing out the film's heart and soul especially with his environmental poetry ("You ROCK rock!"). Veterans Hoffman and Tomlin who are dead-on as the happily married Existential Detectives and Huppert as the deadpan French philosopher complement the proceedings beautifully. For the first time in a long time Hoffman doesn't overplay his part instead letting his quiet inner "Being" out taking his character's philosophies to heart ("Everything you ever desired or wanted to be you already have and are"). But who knew more serious actors--Mark Wahlberg Jude Law and Naomi Watts--could be so excruciatingly funny? Wahlberg's freethinking obstinate firefighter would rather ride a bike to a fire than get into a gas-guzzling fire truck while Watts' Dawn decides she doesn't need to be pretty and is fearless with overalls a bonnet and Oreo cookies stuck in her teeth. As the straight man Law actually has the most difficult part playing the handsome cad who thinks he doesn't believe in all that existential bullcrap but ever so slightly gets slammed with the reality of it anyway.
Writer/director David O. Russell is one fascinating guy. With a body of work including the really weird and wild Spanking the Monkey the hilarious slapsticky Flirting With Disaster and the intense Three Kings it's obvious he is capable of handling a wide variety of subjects. With Huckabees Russell gets into some serious deep thinking. He says he became "intrigued with the idea of a detective following someone around not for any criminal or personal intrigue but rather as part of a very serious investigation about existence itself " drawing concepts from several different strains of existentialism--from the non-dual interconnectedness theories of Eastern philosophy (Bernard and Vivian's take) to the Sartrean notions of a more meaningless universe that demands a profound individualism (Caterine's point of view). Huh? Don't worry your pretty little heads about it too much. Russell's bone-crushing sense of humor comes shining through--as does his unique vision as the camera is used in new and different ways (especially creative when Albert is trying to find his "Being")--to piece together a wondrous coherent albeit thought-provoking little gem. Oscar gold awaits.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."