Improving on his last two duds The Village and the dreadful aquatic nymph tale Lady In The Water writer/producer/director M. Night Shyamalan gets back to the kind of eerie paranoid thriller he so successfully mined in early efforts like The Sixth Sense and Signs. The results this time are mixed in this story of a mysterious environmental “happening” on the East Coast that is causing large groups of people to commit suicide. As he does in his most effective films Shyamalan focuses on a core group of people who must find a way to survive these strange events. Elliot (Mark Wahlberg) is a Philadelphia science teacher already dealing with marital problems with his attractive but rather unstable wife Alma (Zooey Deschanel) now thrust into full crisis mode as he his wife a fellow math teacher Julian (John Leguizamo) and Julian’s daughter Jess (Ashlyn Sanchez) hit the road by train then car to escape the unusual plague first thought to be a terrorist attack. The group soon realizes it is more than that perhaps a forceful message from Mother Nature cued by the growing winds and rustling of tree leaves. Joined eventually by two older boys Jared (Robert Bailey Jr.) and Josh (Spencer Breslin) Elliot tries to be the voice of reason as each person begins to meet their own fates on a journey into a heartland of unexplainable terror. Unlike most contemporary horror films in which actors must battle butt-ugly creatures most of the genuine frights in this flick are left to our imagination. Here Shyamalan wants us to experience what the characters are going through the abject fear on their faces. Wahlberg is particularly good at expressing a growing feeling that events are slipping out of his control. He’s amusing in a direct encounter with a house plant he fears may now have the upper hand and in the film’s best sequence where he must convince a batty paranoid old woman (an intense Betty Buckley) to let the group stay in her remote farmhouse. Forced to utter lines like “just when you thought there couldn’t be any more evil invented ” the quirky Deschanel has her work cut out for her but is likeable enough in the end. As a math teacher Leguizamo spends much of his screen time calculating everyone’s odds for survival until his own becomes questionable. As his daughter Sanchez is appealing and handles herself well. Shyamalan is the heir apparent to Alfred Hitchcock--in his own mind at least. Hitch’s The Birds seems to be the template but that 1963 classic is light years ahead in every way. Unfortunately Shyamalan is becoming something of a one-trick pony as The Happening is basically a retread of things we’ve seen him do before. There is no question he has superior skills. He clearly gets the horror genre; he just doesn’t seem to know how to make it fresh anymore and the answer isn’t by ratcheting up the body count. Reportedly 20th Century Fox asked him deliberately to make an R rated film (his first) and its those gore-filled elements which seem superfluous here. Do we really need to see a guy commit suicide by willingly letting some zoo lions rip off his arms? It’s glaring and out of place with the subtler aspects of the director’s style. Plus the use of overbearing and obvious music cues (score is by James Newton Howard) shamelessly telegraphs whatever scares the movie and only serves to emphasize the shortcomings of M. Night’s sketchy screenplay. Still as a summertime time-waster The Happening fills the bill but as an eco-thriller with dire warnings for humankind it drowns in its own promising potential.
A “bedtime story” is a fairly succinct way to describe Lady. Of course a bedtime story being told by M. Night Shyamalan can go into any number of weird and wild directions. The writer/director says the idea for Lady was based on a story he’d told his kids which began with “Did you know that someone lives under our pool?” and revolves around Cleveland Heep (Paul Giamatti) a lowly superintendent for an apartment building who inadvertently finds Story (Bryce Dallas Howard) a mysterious nymph-like “narf ” living in the pool. She’s there to complete a task and now that it’s done she needs to go home back to the Blue World. But that’s easier said than done. She only has a small window of opportunity and apparently there’s a ferocious beast called a “scrunt” lurking in the grass around the pool waiting to kill her if she tries to leave. Now Cleveland and a few of the other tenants—who find themselves intricately tied to Story’s plight—must help her escape to freedom. Thank god for Sideways. Without it Giamatti would have gone on playing under the radar without the recognition—and juicier parts—he deserves. He is truly a wonder as Cleveland a sad little man with a stutter who is quietly trying to hide from a tragic past. It’s only when Story comes into his life does he face his personal tragedy and learn to live again. Howard on the other hand who wowed most of us with her stunning performance in The Village doesn’t have nearly as much to work with as the pale water nymph. The mystical character is fairly one note—befuddled and cheerless. But the rest of the apartment tenants shine: Jeffrey Wright (Syriana) as a single dad who has a penchant for crossword puzzles; Freddy Rodriguez (HBO’s Six Feet Under) as a weight builder who only lifts weights on one side of his body; Bob Balaban (A Mighty Wind) as a pompous film critic (and as a critic I’m not at all offended when he gets his comeuppances); Cindy Cheung as a Korean college student who is key in telling the epic bedtime story; Sarita Choudhury (She Hate Me) as a quippy young woman looking for her mission in life and Shyamalan himself as her brother the person Story is meant to inspire to write something extraordinary. There’s never a dull moment with this crew around. In a way M. Night Shyamalan has become his own worst enemy having to live up to this reputation as a master of suspense and surprise twists. His last effort The Village left many of his fans feeling unsatisfied—and unfortunately he may alienate more with Lady in the Water. But the fact of the matter is he is still one of Hollywood's more brilliant minds on par with screenwriter Charlie Kaufman for originality who has an innate talent for crafting ingenious stories filled with genuine human emotions. So maybe this time around he’s made a movie more for those most ardent of his fans who simply revel in the way his mind works no matter how incomprehensible and frivolous it may seem. So what? The diehards might feel compelled to defend Shyamalan’s choices with Lady—how he has come up with an entire universe where things like “scrunts” and the “Tartutic” (simian-like creatures who form an invincible force that maintains law and order in the Blue World) and “Madam Narfs” interact with humans in the real world. If the story actually took place in the Blue World then maybe it’d be easier to swallow. But that’s sort of the genius of Shyamalan. It’s as if with Lady in the Water he’s crafted a child-like movie for those adults who remember being told wildly creative bedtime stories who then in turn tell the stories to their kids.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.