American Pie star Jason Biggs and Rainn Wilson will be showing off their tennis skills on Thursday night (05Sep13) when they take on former professionals Chris Evert and Monica Seles at the U.S. Open. The TV and movie stars will team up in a "battle of the sexes" clash against the former champions at Arthur Ashe Stadium in New York.
Eighteen-year-old Nick Powell (Justin Chatwin) has been for reasons too convoluted to go into left for dead. But his body’s still alive and his spirit – stuck in limbo – continues to interact with those around him desperately trying to communicate his existential plight before his body – hidden in a storm drain - expires. Being caught between life and death is probably a scary place but it’s likely more compelling than depicted here. The cause of Nick’s current dilemma is Annie Newton (Margarita Levieva) a juvenile delinquent and classmate of Nick’s whose troubled upbringing turned her into such a teen terror. Nick must try and compel Annie to locate his body but it takes an inordinate amount of time to do it during which the story – and the film as a whole - falls apart. After awhile it’s difficult to work up much sympathy to say nothing of any interest for what happens to these characters. Chatwin (Tom Cruise’s son in War of the Worlds) scores his first big-screen lead here and does about as well as can be expected under the circumstances which are fairly dire. With better material this might have been a decent showcase for his leading-man qualities. Better luck next time. Not nearly as fortunate is Levieva playing the prettiest leader of a high-school crime ring in recent memory. One minute she’s playing it tough and thrashing Nick within an inch of his life. The next she’s tearfully admonishing her little brother (Alex Ferris) not to make the same mistakes she made. It’s a terrible role and worse an inconsistent one. The biggest name in the cast Oscar winner Marcia Gay Harden plays Nick’s domineering mother. Like many of the roles in the film it’s strictly one-note. Still it’s nice having a pro like Harden on hand – even if the film goes out of its way to squander her talents. Only Callum Keith Rennie as the obligatory detective on the case manages to bring a little credibility to the proceedings. So naturally the film ignores him for long stretches. David S. Goyer is better known – and rightly so – for the films he’s written (Dark City Batman Begins and the Blade films) than the ones he’s directed (Blade: Trinity anyone?). But the true blame here falls on screenwriters Mick Davis and Christine Roum whose attempt to combine a supernatural storyline doused with teen angst fails miserably. At times The Invisible feels like leftovers from The Sixth Sense Ghost Jacob's Ladder The Butterfly Effect (yikes!) any number of Twilight Zone episodes and even Groundhog Day. The Invisible is based on a Swedish novel and a previous film but like the many Asian chillers that undergo an “Americanized” remake something has been lost in the translation – starting with credibility even on its own terms. So many movies undergo reshoots these days but rarely has an entire movie felt like a reshoot. The Invisible has that dubious distinction.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.