Even if you’re one of the 19 other people in a competitive internship at Dean Witter with Chris Gardner (Will Smith) you gotta root for the guy. Life’s beaten him up but not got him down. He lugs his computer-monitor-sized bone density scanner all over San Francisco hoping to sell just one to make ends meet for his family—but nobody’s buying. As his wife’s (Thandie Newton) discontentment nears a boiling point Chris accepts an internship at financial institution Dean Witter—six months without pay and only one of the 20 applicants will ultimately get a job out of it. This sends her packing. She leaves Chris and their son Christopher (Jaden Smith) to fend for themselves at which point they get evicted. It’s the tip of the iceberg because over the course of Chris’ penniless pursuit of the Dean Witter job (and “happyness”) he and Christopher will get by sleeping in homeless shelter--and even in train-station bathrooms. Chris had always vowed to never leave his son and he keeps his promise but there’s no guarantee that his perseverance will pay off. Except for the fact that Happyness is “INSPIRED BY A TRUE STORY”! Will Smith is getting all the awards buzz but it’s his real-life son Jaden who transcends all expectations in Happyness. Jaden’s never acted in a movie before and it’s safe to assume that because of his father's long-running movie stardom he could not have grown up in a more different environment than that of his character. Which makes it all the more amazing for this 8-year-old Hollywood tyke to grasp even if coincidentally the plight of a nomadic urban child. The best part about little Jaden is that his performance doesn’t seem robotic like so many child actors who are already too "seasoned" for their own good. Aside from the expected cutesy laughs there’s genuine spontaneity in Jaden’s performance obviously thanks to the fact that he’s acting opposite his dad. Papa Smith gives what’s probably his best performance to date although he's had a career of primarily action roles that weren't exactly conducive to a skills showcase. He delivers the goods here—as seen in the tear-rific trailer—as a man whose whole life is his child but frankly the tears evoked might be too few for Oscar’s liking. Newton (Crash) in a small role is terribly miscast but Mr. and Mr. Smith dominate the screen anyway. Even with the studio flaunting the movie’s "Inspired by a true story..." tagline like a badge of honor—as studios tend to do—and this being the holiday season and all Italian director Gabriele Muccino expends way too much effort into the crowd-pleasing/feel-good aspects of Happyness. The happy ending everyone already knows about should be saccharine enough. Granted this is why a studio loves true stories—one that begins on a low note ends on a really high note and fluctuates all over the radar in between—and it may make the film more pleasing to its targeted mainstream audiences but Muccino and writer Steve Conrad (The Weather Man) really take the gloss factor much too far. In this case they essentially try to tell us a mostly sad story but will not let us feel sad. For instance during what could be very dark reflective scenes potentially connecting with viewers who have struggled through similar problems music befitting a children’s tale overtakes the would-be drama so we don’t ever feel too badly for Chris. It’s nice that the director cares so much for us but oftentimes the best directors are the ones who show an audience tough love.
Two cops arrive at an abandoned house where they've heard screaming. They find a woman hunched over and her eyes are plucked out. A seven-foot monster Jacob Goodnight (Kane) then hacks one of the officers in half and cuts the other officer's arm off--but not before he shoots the maniac in the head. That officer Frank Williams (Steve Vidler) recuperates and four years later is assigned to a youth detention program. His first job is to escort some delinquents to an abandoned Blackwell Hotel where a little old historian Margaret (Cecilly Polson) needs volunteers to help her tidy up. Instead one by one the young people become part of the eyeball collection of the psycho who was traumatized by an over-religious mother. Aren’t we all? Yes there is acting in this including from the World Wrestling Entertainment bad-boy Kane who could develop a Freddy Krueger-like franchise as this homicidal religious freak. He grunts and huffs but also sobs and shows a conscience at crucial times. And he's scary not laughable which is always a danger in these kind of films. With what little they have to play off of the supporting team is good especially Craig Horner as an ambitious thief who has maps of all the secret corridors in the hotel. Among the delinquents are streetwise Christine (Christina Vidal) an a--hole bully Michael (Luke Pegler) a tattooed beauty Kira (Samantha Noble) and a seductive shoplifter Zoe (Rachael Taylor). Taylor’s Paris Hilton-like persona makes her one of the victims you can't wait to see get it. Some of the others hardly last long enough worth mentioning even though many of them have characters that are surprisingly fleshed-out before they become popped-out eye candy. See No Evil offers plenty of jump moments squirming gross-out scenes and hide-your-eyes shocks with a plot reminiscent of any of the Friday the 13th or Saw movies. Some of the gore is particularly gruesome and if you don't know what an eyeball looks like when it pops out of your head then you'll certainly have an anatomy lesson here. First-time feature director Gregory Dark known for making music videos utilizes those fast-cut edits muted colors and washed-out tones to create the horror. The camera closes in on bugs flies and even dives into the eye socket of a hollowed-out face. It follows a line of booby-traps in the hotel a jiggling arm that's cut off and even into a hole in the psycho-monster's head which is filled with maggots. Dark is never shy about any of it and gore fans won't be disappointed.
We meet the two very unlikely sisters while each are having sex. Rose Feller (Toni Collette) is a successful lawyer who is sleeping with her boss and thinking of ways it can improve her career. Maggie Feller (Cameron Diaz) is a party girl and at her 10-year high school reunion--after trying to have a fling in a bathroom stall--she ends up puking instead. Inevitably Maggie gets kicked out of her dad and stepmother's house and winds up on the doorstep of her sister. The Feller girls were close once when they were young girls especially after their mentally unstable mother died. But now their grown-up personalities clash rather dramatically. And when Maggie seriously crosses the line by seducing Rose's new boyfriend the straw is broken. Forced out Maggie stumbles upon some birthday cards from a long-lost grandmother and decides to go hit her up for cash. Turns out Grandma Ella (Shirley MacLaine) lives in a senior citizen's community in Florida that gets its humor from Golden Girls re-runs. Maggie may ingratiate herself within this new environment but isn't any more redeemed by reconnecting with Ella. She still acts like a petulant child. But rather than throwing her out Ella along with the gang of old folk forces Maggie to take some responsibility.
Collette (The Sixth Sense) is fantastic as the frumpy pudgy Philadelphia lawyer who gives up everything so she can walk dogs and lead a simpler life. But she's done this many times before--and honestly is so much better than Muriel's Wedding. Diaz (my personal favorite Charlie's Angel) doesn't need to stretch too far to play a conniving ditz with a heart. This is her There's Something About Mary role albeit a tad more screwed-up with a sister and lost grandma. So that leaves MacLaine as the saving grace for any worthwhile acting in this movie. Despite the obvious shuffleboard clichés--and the occasional leers at Diaz by the old guys around the pool--when the old folk are around the film gets lively and tolerable believe it or not. MacLaine leads the way with the quips and barbs but in a more subtle way than we are used to from this usually eccentric actress. The supporting cast of cranky cronies have some great moments especially veteran actor Norman Lloyd as the blind professor who teaches Maggie a thing or two about manners trust and family.
If this were Nora Ephron directing that would have been one thing but coming from Curtis Hanson the Oscar-winner who gave us L.A. Confidential it just doesn't mesh. Hanson can do quirky (Wonder Boys) he can do adventure (The River Wild) he can do hard-hittin' rap stories (8 Mile) and he can even do scary (Hand That Rocks the Cradle) but why in the world would he attempt a saccharine-soaked female family story that threatens to be a Crimes of the Heart tear-jerker? Screenwriter Susannah Grant who adapted In Her Shoes from Jennifer Weiner's popular bestseller of the same name also wrote Erin Brockovich and 28 Days. She understands strong female characters but there's still a major layer of sugar coating that Hanson can't scrape off. He doesn't tone anything down from Grant's script--not the overly cute dogs nor the embarrassing bridal shower nor the expected moments of guilt-tripping between the ladies. Instead he plods through the paint-by-number script and wraps it all up nicely into a crowd-pleasing film that is ultimately forgettable.