On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.
In this film based on the Newbery Award-winning children's book by Kate DiCamillo Opal (AnnaSophia Robb) is a lonely 10-year-old girl who has moved to a sluggish small town in Florida with her preacher father (Jeff Daniels). She has a tough time getting through to her dad: when he is not preaching the gospel he walks around in a haze haunted by the departure of Opal's mother many years before. But when Opal adopts Winn-Dixie named after the supermarket where she found the mutt things start to brighten up for the little girl. With her special companion by her side Opal ends up meeting some pretty interesting people in the town. They include Miss Franny (Eva Marie Saint) the local spinster librarian who spins great stories; Otis (Dave Matthews) the shy drifter working at Gertrude's Pet Shop; and Gloria (Cicely Tyson) an old blind lady living with ghosts from her past. Through Opal's sunny disposition and Winn-Dixie doggone tenaciousness they help the town find their joy and their sorrow. And at the same time they mend Opal's troubled relationship with her father. Collectively now awwww!
All the players fit snugly in this warmhearted movie especially the talented young Robb who makes her feature film debut in Winn-Dixie. It's imperative to cast an adorable child and Robb doesn't disappoint keeping things genuinely fresh with the big eyes infectious smile and Rebecca of Sunnybrook Farm charm. Daniels too doesn't overplay it as the wounded preacher--aptly described by Opal as a turtle--who rarely sticks his head out of his shell. Veterans Eva Marie Saint and Cicely Tyson do what they can with their stereotypical parts as the kindly spinster storyteller and kindly old wise woman respectively. But it's singer-turned-actor Dave Matthews who stands out as the drifter with a troubled past but can "sing most anything " even charming the animals in the pet shop á la the Pied Piper. His poignant performance is up there in the sentiment department.
Here we go with the children and the animals again. Wayne Wang (Maid in Manhattan The Joy Luck Club) is the latest director to take a stab at guiding those most unpredictable of actors. As he explains "Sometimes the going is slow. But then suddenly something magical happens that you couldn't possibly have planned or anticipated." It's true. There are definite moments of inspired sweetness especially between Opal and Winn-Dixie played by a Picardy Shepherd a rare breed of dog from France that has the look of a big old lovable mutt. And of course you can't go too wrong using heart-tugging material based on a beloved children's novel on par with Where the Red Fern Grows and Rebecca of Sunnybrook Farm. That's also Because of Winn-Dixie main problem. Fans of the book will certainly love the film but overall it doesn't really offer anything new in this genre. It's the same general premise about the kid and a dog--or a horse a deer whichever animal works best--who can change the lives of those around them just from being pure of heart. Maybe it's the curmudgeon in me but Winn-Dixie just doesn't stand out among the plethora of films similar to it.
The Recruit wants us to believe the film's main thrust revolves around the Central Intelligence Agency's old maxim "nothing is what it seems." Had they stuck with this framework perhaps the film would have been more compelling. Instead it lapses into the expected and the implausible where you can pretty much guess exactly what's going to happen even if it really makes no sense. Our hapless protagonist James Clayton (Colin Farrell) is hustled by CIA recruiter Walter Burke (Al Pacino) who believes himself to be a "scary judge of talent" and sees James as prime CIA meat. When James hesitantly accepts the offer to come to The Farm he does so motivated less by helping his country and more by trying to find out what happened to his father who died mysteriously several years before and whom Burke alleges he knew. Once at The Farm James proves his mettle and is told again and again "it's in his blood." Ah then should we believe James' father who supposedly worked for Shell Oil really worked for the CIA as an NOC or Non-Official Cover agent one of the Agency's more prestigious--and dangerous--positions? The plot thickens. James also falls for fellow recruit Layla (Bridget Moynahan) but during an intense interrogation set-up he makes a serious error trying to save her and "washes out" of the program. Just when he thinks he's out forever James gets pulled back in by Burke who tells him all his trials and tribulations were just a test and that he is really NOC material and needed to root out a mole. Is it what it seems? Heavens no.
You'll be seeing a lot of Farrell in the coming months. Along with The Recruit this year alone he'll be in three major feature films including the upcoming comic-book actioner Daredevil; S.W.A.T. yet another feature based on a TV series; and the sniper movie Phone Booth. How has this 26-year-old Irish hunk risen so quickly in the ranks you might ask? Maybe it's because he has an uncanny ability to make the parts he plays completely believable. He slips easily into the Clayton character the quintessential CIA recruit with a daddy complex and fuels the film with the right amount of acting skills and smoldering good looks. Unfortunately his co-star the high and mighty Mr. Pacino is becoming a caricature of himself. Playing Burke is certainly no stretch for the actor and the film would not be complete without the requisite ranting scene where CIA veteran Burke tells the world all about it--voice booming words punctuated. It seems this has become the standard in any Pacino performance and frankly it's getting tiresome. Where's the quiet but powerful Michael Corleone when you need him? Moynahan (The Sum of All Fears) is somewhat bland as Clayton's love interest Layla. Word of advice: if Colin Farrell is making eyes at you go for it immediately. Don't waste any time.
For all its obviousness The Recruit does some things right. No stranger to the inner workings of our government agencies director Roger Donaldson who directed the Cuban Missile Crisis drama Thirteen Days and the Pentagon thriller No Way Out gives us access to the CIA training program or The Farm as its lovingly referred to--and it's one scary place. Obviously when making the film things had to be handled delicately as not to divulge too much so the film does take some creative liberties in showing the intense training the eager recruits have to face. That's fine with us--if we can't rely on death-defying stunts and car chases then outrageous mind games are generally good enough. But once The Recruit takes leave of The Farm the movie begins to fall apart. The inherent action set up for us in the first part--James finding out about his father the blossoming relationship between Layla and James who will be the NOC and the whole mole plot--just isn't as convincing to carry the film through its fruition. And being able to guess the next move isn't much fun either.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.