Tucked away between shiny modern skyscrapers quirky old-fashioned Mr. Magorium's Wonder Emporium is a toy store literally like no other. Step inside and a sock monkey might give you a hug--or a fire engine might appear out of nowhere. That's because the store is imbued with the enthusiasm and magical childlike wonder of its owner: frizzy-haired 243-year-old dynamo Mr. Magorium (Dustin Hoffman). When Magorium decides it's time to move on his designated heir self-doubting store manager Molly Mahoney (Natalie Portman) isn't the only one who objects. The store itself throws a fit sulking and brooding and hurling toys at unwitting customers. It's up to Mahoney--with the help of stuffy accountant Henry "Mutant" Weston (Jason Bateman) and eager young store clerk Eric (Zach Mills)--to discover the best way to live up to Magorium's legacy. The movie's most pleasant surprise is Hoffman's charming performance. He could have followed in Gene Wilder and Johnny Depp's footsteps and made Magorium a fey Willy Wonka-like sprite. Instead Magorium is an original a mile-a-minute chatterbox who uses big words takes delight in the extraordinary and never stops smiling at life. And the calm gentle demeanor he brings to Magorium's farewell scenes with Mahoney will make a potentially tough plot twist a lot easier on kids. Speaking of Mahoney Portman is at her best in the moments that call for wry humor and Puck-ish mischief; the more earnest the script asks her to be the less interesting her character gets. Bateman is underused as the straight man (his lone lapse into silliness is a high point in the movie) but Mills is wholly endearing as wiser-than-his years Eric. With so much going for it why isn't Mr. Magorium's Wonder Emporium more magical? It's hard to say; perhaps it's something to do with the fact that the characters seem to talk about magic more than they actually interact with it. Or that despite all of said magic Mr. Magorium and his store never really do anything that you wouldn't expect of an eccentric bicentarian living in the ultimate funhouse. Writer/director Zach Helm gives viewers plenty to ooh and aah at (the set design is wonderful) but his story is never quite unusual or unexpected enough to transcend "cute" and "sweet" and reach "classic." All of that said with Hoffman in fine form and so many fabulous toys bouncing around the screen kids are likely to be delighted (and clamoring to add to their Christmas lists...)
Despite what the trailer might have you believe In the Land of Women isn't exactly a sweet sigh-inducing romance. Yes main character Carter Webb (Adam Brody)--a slightly snarky screenwriter who makes his living writing soft-core porn--leaves Hollywood for Michigan to get over a hard break-up by taking care of his aging tart-tongued grandmother (Olympia Dukakis). And yes he subsequently ends up getting entangled with angsty blond teenager Lucy Hardwicke (Kristen Stewart) and her lonely mom Sarah (Meg Ryan). But the trio's tenuous relationships are complicated by confusion resentment illness and misunderstanding all of which add up to a situation that's hardly straightforward--and frankly not all that romantic either. Brody is no stranger to playing sarcastic pop culture-savvy Southern Californians: After four seasons on The O.C. as Seth Cohen he's got the type down pat. As Carter he balances wry quips with a nice dose of empathy--you can tell that he truly cares about both Lucy and Sarah (not to mention his grandma as crusty as she is). But to be honest it's a little hard to see why. Stewart plays Lucy with a shy sullenness that's not very endearing--she gets a little more animated toward the end but it's too little too late--and Ryan's trademark perkiness has worn thin. She gives Sarah's dramatic scenes her best shot but the character's confusion and pain don't seem at home on her unnaturally tight face. Dukakis gets in a few zingers as Grandma Phyllis but the character is essentially one-note--as is Lucy's sister Paige (Makenzie Vega) who swiftly goes from "cutely precocious" to "awkward yapping." In many ways Paige seems like a character lifted out of the John Hughes playbook which isn't that surprising given Carter's fascination with the '80s director's oeuvre--and the movie's Hughes-ian high school subplot. Unfortunately the "classic" high school movie scenes (the party Lucy takes Carter to their movie outing at the mall her dawning realization at the end etc.) while fun for folks who grew up watching the movies they're obviously inspired by have a light tone that's jarring compared to the rest of the film's drama. When it comes down to it Carter--who's looking for a reason to stop drifting through life--has a lot more in common with Garden State's Andrew Largeman than Hughes heroes like Ferris Bueller and John Bender. Trying to squeeze him into a teen-centric story rather than focusing on helping him grow up doesn't do him--or the movie--any favors.