We Bought a Zoo opens with the voice of Dylan Mee (Colin Ford) narrating glimpses of his journalist father Benjamin's (Matt Damon) worldly adventures. Ben's been embedded with violent dictators covered with killer bees and flown through the eye of a hurricane but as Dylan explicitly states "nothing prepared him for this one"—the "this one" being the titular purchasing of a zoo on the brink of closure. Director Cameron Crowe (Jerry Maguire Almost Famous) has never been one for subtly but that's never been the goal. We Bought a Zoo drops the cynicism wears its heart on its sleeve and doesn't mind laying it on thick in an effort to move you which it does—whether you like it or not.
Six months after his wife's death Ben still doesn't have a grasp on how to be a good parent. He struggles to throw together bagged lunches for his daughter Rosie (Maggie Elizabeth Jones) watches Dylan downward spiral into school expulsion reluctantly accepts lasagnas from the sympathetic family friends and grieves over iPhoto montages of a life that once was. Every corner of his home conjures up familial memories prompting Ben to hightail it out of town. After a desperate house hunt Ben sets his sights on a stunning country home that comes with one twist: it's the home to lions and tiger and bears (oh my!).
Along with its diverse collection of fauna Ben's new zoo sports a colorful cast of staff members including Peter MacCready the temperamental Scottish maintenance man Robin the laid-back handyman with a monkey on his shoulder and Kelly the young committed animal handler (Scarlett Johansson). Ben inspires his team with motivational speeches (and signed checks) and together they work to rebuild and reopen the park.
We Bought a Zoo explores its themes of loss and renewal on the surface with cartoony characters hammy dialogue and a score by Jónsi of Sigur Rós that steers you towards an emotional destination. But it all works thanks in large part to Matt Damon's charm and a general air of niceness to the whole package. Damon is one of the few stars capable of playing a Regular Joe. Watching him have his butt kicked by zoo chores is delightful while he adds true gravity to the dramatic moments. Whether he's butting heads with his morose son in a screaming match or tearing up over his inescapable past Damon digs deeper than Crowe and Aline Brosh McKenna's (The Devil Wears Prada 27 Dresses) screenplay. The rest of the cast manages to elevate the material too—Johansson keeps herself down to Earth; Thomas Haden Church as Ben's skeptical brother Duncan knocks every joke out of the park; And the young Elle Fanning inspires once again as Kelly's bubbly tween cousin who falls for the disgruntled Dylan (although no one seems to have a problem with a 12-year-old spending her days working/living at a zoo; her parents are completely out of the picture).
The movie doesn't take unexpected turns or make profound statements but it succeeds in its goal of tugging the audience's heartstrings. The world of We Bought a Zoo is one where everything works out if you persevere have hope and open yourself up to love. That's not reality but rather inspirational thinking. Perfect for the holiday season.
A perfect husband a devoted father a loyal friend a successful architect—yes Steven Burke (David Duchovny) is the kind of flawless family man we only encounter in hankie-soaking Hollywood melodramas. He exists solely to be killed off just so his friends and family can become better people through their loss. So it comes as no surprise that Steven dies a Good Samaritan's death while on his way home—of course—from buying ice cream for his two kids. If that won’t get you crying nothing will. Steven’s death leaves his wife Audrey (Halle Berry) a mess. She can’t look after herself let alone her daughter Harper (Alexis Llewellyn) and son Dory (Micah Berry). Instead Audrey turns to Steven’s best friend Jerry (Benicio Del Toro) for help. Not really the smartest choice—Audrey despises Jerry for squandering his life and career on drugs. But Audrey’s desperate for a shoulder to cry on so she inexplicably invites Jerry to stay at her home while he tries to clean up his act. Quicker than you can say “rest in peace ” Jerry’s dispensing words of wisdom to Steven’s kids and in a moment of unintentional hilarity spooning with the lonely Audrey in her bed. Audrey naturally comes to believe that Jerry isn’t the strung-out leech she’s considered him all these years. Still we can’t help but count down the minutes until Jerry slips back into his old habits. Or wonder how long it will take for Audrey to kick Jerry out of her house when the inevitable happens. Things We Lost in the Fire serves an important purpose: to make clear that Halle Berry’s performance in Monster's Ball wasn’t a happy accident. As a widow unable to function without her soul mate Berry shakes up the otherwise maudlin proceedings with a rage and intensity that’s honest and fearless. Never afraid to present Audrey as occasionally cold and unsympathetic especially in regards to her treatment of Jerry and her children Berry nevertheless always makes us feel Audrey’s burning love for Steven without resorting to Joan Crawford-like histrionics. Too bad Audrey is defined only by her role as a wife and mother—Berry never receives the chance to show that Audrey has a life outside her family. She does share a good rapport with the typically brooding Benicio Del Toro whose ravaged face reveals more about Jerry’s lifetime of self-inflicted pain and suffering than words ever could. But there is a slight spark to be found in Del Toro’s sleepy eyes which gives us the impression that Jerry has what it takes to live one day at time with the support of his new friends. David Duchovny doesn’t do much beyond smiling like he’s just been named Father of the Year for the 10th time. Not that Duchovny needs to exert himself to make Steven charming and likeable—Steven is as happy and uncomplicated as Duchovny’s Californication philanderer is as sad and screwed up. Alexis Llewellyn and Micah Berry (no relation to his onscreen mother) nail the anguish confusion and profound sense of loss that comes with grieving for a dead parent without being annoyingly precocious. How disappointing it is to discover that not even the usually calm and collected Susanne Bier can turn Things... into something more than the standard Lifetime TV weepy of the week. The Danish director’s Hollywood debut is very much like her earlier character-driven dramas in that it is preoccupied with how established family dynamics shift in the wake of a life-altering event. After the Wedding and Brothers managed to be poignant without getting too gushy but Bier cannot keep Things... from drowning in its own sentimentality. The problem clearly lies with screenwriter Allan Loeb’s emotionally manipulative script which fails from the start to convince us Audrey would open her house to her late husband’s drug buddy. Ignoring Loeb’s hard-to-swallow premise Bier does an excellent job of establishing the relationship between Audrey and Jerry. Theirs is a well-presented study in co-dependency which results in an insightful—though occasionally obvious—exploration of drug addiction the grieving process and the pursuit of personal redemption. Things... smartly avoids making much of its interracial marriage—it would only overcomplicate matters—or taking Audrey and Jerry down a path that would led to an ill-advised romance. If only Bier and Loeb showed some guts in the way they portray Steven. Surely he had at least one skeleton in his closet to make him seem more human. Everything we learn about Steven—especially about the fire referenced in the seemingly cryptic title—merely reinforces the notion that he was too good for this world. Or at least the world Hollywood thinks we live in.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.