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...)
Did you know there are scientifically documented cases of very young children who had spontaneous memories of things and people and places they could never possibly have known about? Apparently The Return’s screenwriter Adam Sussman discovered this phenomenon and created the character Joanna Mills (Sarah Michelle Gellar) a young woman who since she was 11-years-old has been having disjointed flashbacks of some horrible attack she never experienced herself. She flashes regularly on a dank bar paintings of seahorses and ends up hiding from a man who calls her "Sunshine.” And who knew hearing Patsy Cline on your radio would spell supernatural trouble? The best part is when Joanna has one of these episodes she ends up cutting herself. Needless to say the girl’s a tad screwed up. Eventually Joanna finds herself inexplicably drawn to La Salle Texas where she finally starts to piece together the murder mystery that has been plaguing her for so long. Thank god! Someone just needs to hand Sarah Michelle Gellar a Coke and a smile. Forget about being a scream queen Gellar has become the queen of depression with the two Grudges and now The Return under her belt. She has actually made an art form of sad teary-eyed stares in the mirror sinking onto a bed with head in hand and general malaise. She also plays scared pretty well but deep down you know at any moment Gellar can get all Buffy the Vampire Slayer on whoever is threatening her especially as the tough Joanna. But the actress has to be getting tired of all this despair so let’s hope she decides to move on. The other Return cast members really aren’t worth mentioning except for a brief appearance by Sam Shepherd as Joanna’s dad. One can only imagine he did this for some extra cash. The Return is one of those cases in which the trailer makes the movie look a hell of a lot scarier than it really is which is probably why the studio didn’t pre-screen it for critics. It’s a marketing ploy of course pitching a thriller with an established horror actress attached--except this time they are messing with their built-in audience. Reminiscent of the truly creepy What Lies Beneath The Return may have a few jumps and bumps here and there but as a ghost story there isn’t any oomph. Maybe it has something to do with the ultra-depressive main character who isn’t nearly developed enough. We aren’t invested in what happens to Joanna or the woman periodically possessing her so she can solve her murder. The Return doesn’t measure up to its expectations lulling us instead of thrilling us.
Considered the most popular of Austen’s novels Pride and Prejudice examines the class struggles of England’s 19th century. It revolves around the spirited Bennet family: the headstrong and intelligent Elizabeth (Keira Knightley); her older and more serene sister Jane (Rosamund Pike); their three younger sisters (Jena Malone Talulah Riley Carey Mulligan); their doting father (Donald Sutherland); and their mother (Brenda Blethyn) who’s obsessed with finding the girls suitable husbands. When Lizzie finally meets her match in the aloof Mr. Darcy (Matthew MacFayden) she immediately dismisses him as an arrogant ass. But ever so slowly it dawns on Lizzie she may be entirely wrong about Darcy. Is it too late to tell him? An Austen adaptation naturally lends itself to a gathering of fine British actors (or actors who can pretend to be British). Leading the pack is the very lovely Keira Knightley. A far cry from the shotgun-totin’ bounty hunter in Domino the actress certainly gives her most layered performance as Elizabeth. But she’s once again playing a spirited woman who doesn’t adhere to the rules. Guess nobody’s gonna ever put Keira in a corner. As her Mr. Darcy MacFayden plays one of literature’s more enduring romantic figures with style. He gives Colin Firth--who’s considered one of the better Darcys after playing him in a 1995 TV miniseries--a run for his money. The rest of the stellar cast is just as refreshing as ever including Pike (Doom) as the modest beauty Jane and Sutherland as the elder Bennet who is the reason Elizabeth is as independent as she is. This feature film adaptation of Pride and Prejudice is entirely different from the last one--the 1940 glossy production starring Greer Garson and Laurence Olivier. Newcomer Joe Wright gives Pride and Prejudice a definitive indie feel by using the camera in very intimate ways as we watch the fun-loving Bennets interact. Of course filming in the flourishing English countryside doesn’t hurt either. Wright delivers amazing displays of breathtaking beauty from Elizabeth standing on a cliff in Brighton to watching Darcy stride across a field at sunrise to claim his love once and for all. Pride and Prejudice does move a little slowly and it isn’t as rich as the 1995 Oscar-winning Sense and Sensibility but it’s been awhile since we’ve had Austen done in such a wonderfully romantic way. And who couldn’t use a little 19th-century romance?