We Bought a Zoo opens with the voice of Dylan Mee (Colin Ford) narrating glimpses of his journalist father Benjamin's (Matt Damon) worldly adventures. Ben's been embedded with violent dictators covered with killer bees and flown through the eye of a hurricane but as Dylan explicitly states "nothing prepared him for this one"—the "this one" being the titular purchasing of a zoo on the brink of closure. Director Cameron Crowe (Jerry Maguire Almost Famous) has never been one for subtly but that's never been the goal. We Bought a Zoo drops the cynicism wears its heart on its sleeve and doesn't mind laying it on thick in an effort to move you which it does—whether you like it or not.
Six months after his wife's death Ben still doesn't have a grasp on how to be a good parent. He struggles to throw together bagged lunches for his daughter Rosie (Maggie Elizabeth Jones) watches Dylan downward spiral into school expulsion reluctantly accepts lasagnas from the sympathetic family friends and grieves over iPhoto montages of a life that once was. Every corner of his home conjures up familial memories prompting Ben to hightail it out of town. After a desperate house hunt Ben sets his sights on a stunning country home that comes with one twist: it's the home to lions and tiger and bears (oh my!).
Along with its diverse collection of fauna Ben's new zoo sports a colorful cast of staff members including Peter MacCready the temperamental Scottish maintenance man Robin the laid-back handyman with a monkey on his shoulder and Kelly the young committed animal handler (Scarlett Johansson). Ben inspires his team with motivational speeches (and signed checks) and together they work to rebuild and reopen the park.
We Bought a Zoo explores its themes of loss and renewal on the surface with cartoony characters hammy dialogue and a score by Jónsi of Sigur Rós that steers you towards an emotional destination. But it all works thanks in large part to Matt Damon's charm and a general air of niceness to the whole package. Damon is one of the few stars capable of playing a Regular Joe. Watching him have his butt kicked by zoo chores is delightful while he adds true gravity to the dramatic moments. Whether he's butting heads with his morose son in a screaming match or tearing up over his inescapable past Damon digs deeper than Crowe and Aline Brosh McKenna's (The Devil Wears Prada 27 Dresses) screenplay. The rest of the cast manages to elevate the material too—Johansson keeps herself down to Earth; Thomas Haden Church as Ben's skeptical brother Duncan knocks every joke out of the park; And the young Elle Fanning inspires once again as Kelly's bubbly tween cousin who falls for the disgruntled Dylan (although no one seems to have a problem with a 12-year-old spending her days working/living at a zoo; her parents are completely out of the picture).
The movie doesn't take unexpected turns or make profound statements but it succeeds in its goal of tugging the audience's heartstrings. The world of We Bought a Zoo is one where everything works out if you persevere have hope and open yourself up to love. That's not reality but rather inspirational thinking. Perfect for the holiday season.
Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
Based on the best-selling book by Mark Foster Game tells the remarkable real-life story of Francis Ouimet (Shia LaBeouf). He was a working-class immigrant kid who in the early 1900s turned the privileged world of golf on its ear. The story begins with Francis working as a caddie at a posh country club where he masters the game by quietly practicing on his own. His French-born father (Elias Koteas) thinks he's wasting his time and should be earning an honest wage but Francis is far too smitten with the game to give it up. Francis finally gets his big break when an amateur spot opens up at the 1913 U.S. Open. With a feisty 10-year-old caddie named Eddie (Josh Flitter) by his side egging him on Francis plays the best he ever has. He eventually finds himself facing off against the sport's undisputed champion Harry Vardon (Stephen Dillane) a U.S. Open winner and six-time British Open champion (a record that still stands today). Their legendary battle changes the face of the sport forever--but I wouldn't necessarily call it the greatest game ever.
Game is one of those juicy little biopics actors can really sink their teeth into. Starting with our young lead LaBeouf (Holes) is sufficiently determined as the guy playing against impossible odds. His Francis with his liquid brown eyes and winning smile is full of optimism and raw talent that propels him into the majors. And he looks pretty authentic swinging a golf club too. Still it may be time for LaBeouf to move on from the Disney family fare and do something grittier sort of like what he showed in Constantine. Dillane--who was so achingly good in The Hours as Virginia Woolf's beleaguered husband--also does a fine job as the legendary Vardon a man haunted by his own demons. In a way Game is a story about both men who have more in common than they realize. Although a top professional in the sport Vardon has to fight against the elitist golfing community's prejudices. You see Vardon grew up dirt poor on the plains of Scotland and because of his background was never permitted into any "gentleman's" clubs. The cast of colorful supporting players add to the film especially Flitter as the caustic but encouraging Eddie. He may be small but he packs a wallop. The last shot of the movie features Francis and Eddie walking off the golf course at sunset evoking the classic Casablanca ending line "This is the start of a beautiful friendship"--which apparently really happened. The real-life Eddie and Francis remained friends for the rest of their lives.
The main slice against Game is that it's about golf. Besides comedies such as Caddyshack and Happy Gilmore a serious movie about the game really isn't going to stir your soul say like football or baseball. But actor-turned-director Bill Paxton--who made his directorial debut with the creepy Frailty--takes the story and keeps it convincingly affecting. Much like Seabiscuit it's the real-life historical context that makes Game even more compelling. Paxton painstakingly details how the game was played at the turn of the century--and who was allowed to play it. The whole discriminatory arrogance surrounding the game makes the stakes even higher for our heroes. Vardon had a score to settle while Ouimet simply became the game's new hero paving the way for legendary whiz kids like Tiger Woods to step up on the green. Paxton also views Game as a Western. The final golf round between Vardon and Ouimet is the ultimate shootout á la the OK Corral in which the camera angles are inventive--a bird's eye view of the ball sailing through the air or gliding on the green into the hole. Plus he keeps the tension as taut as he can considering the less than exhilarating subject matter. Oh come on who isn't a sucker for a good sports underdog story even if it is golf?
Halle Berry stars as Dr. Miranda Grey a well liked and respected psychotherapist happily married to the beloved head of the psychiatric ward at an old damp women's penitentiary (Charles S. Dutton). One stormy night taking a detour on her drive home she's involved in a terrifying encounter with a young girl that causes her car to go off the road and the impact of the crash knocks Miranda out cold. She wakes up on the wrong side of a Plexiglas cell door in the very prison where she and her husband work (apparently this the only prison in the state) to find her husband's been killed and she is the prime suspect in his gruesome murder. With no memory of the past few days she is confined alongside her former patients like the Satan-paranoid Chloe (Penelope Cruz) and scrutinized by her once-flirtatious coworker Dr. Graham (Robert Downey Jr.). Miranda insists she didn't kill her husband but quickly starts to doubt her own sanity when a violent force from the not-so-sweet hereafter turns her into a Spirit World conduit. Meanwhile the good doctor wants desperately to prove her sane and innocent even as unseen forces bizarre sightings and bad lines get in the way.
You can practically see Berry's slight shoulders hunching under the weight of this oppressive wet flapdoodle of a psycho-mystic mystery that has The Ring written all over it. Berry gets the baffled/terrified/uncontrollable prisoner thing right says "Shit!" a lot and gets plenty of screen time to flesh out her character (no not THAT kind of flesh; she's drenched in the shower and submerged in the swimming pool but Berry never once pulls a Swordfish). Still cute after years of hard living Downey Jr. as Miranda's skeptical doctor ably smarms his way in and out of scenes in which he says little but raises much doubt about his true motivations--just one of several intriguing concepts abandoned in the face of a progressively trite storyline and escalating hoo-haw. Where it all just goes wrong--so so wrong--is in Cruz's greasy raving crackbird who shrieks lines like "He opened me like a flower of paaaain!" while trying to convince Miranda the Devil rapes her nightly in her cell.
Auteur Mathieu Kassovitz admirably sets the stage for a spooky thriller in the massive turn-of-the-century St. Vincent-de-Paul Prison an abandoned maximum-security facility near Montreal that serves as his women's prison. The setting is the only part of the film that holds any interest--it almost develops a life of its own which is more than can be said of the characters. Though Kassovitz resorts to Horror 101 (flickering lights suddenly appearing figures things that go bump in the night) these elements inspire dread and trigger a jolt regardless. So if the setting is suitably hair-raising the first few scenes effectively suck you in and the acting is passable what's the problem? Screenwriter Sebastian Gutierrez's script that's what. After an auspicious start the film drowns in nonsense and plot holes the size of which rival Michael Jackson's legal troubles until finally sinking like a stone with a truly pedestrian and ridiculous finale that unravels any interesting question raised in the two hours prior followed by a real howler of a denouement. "I don't believe in ghosts but they believe in me " says Miranda. Sorry we don't believe a bit of Gothika.
If you have ever been embarrassed by your big loud family then you will certainly relate to Toula (played by Nia Vardalos) the narrator and main character in My Big Fat Greek Wedding. After all her suburban home is modeled after the Parthenon and her father (played by Michael Constantine) believes a squirt of Windex can cure anything--including bursitis--and that every word in the English language derives from a Greek root. At 30 Toula is still living at home and kowtowing to her strict father--who believes that every Greek woman's ambition should be to marry a Greek man have Greek children and feed everyone until she dies. Suffice it to say he is less than happy when Toula becomes engaged to Ian (played by John Corbett)--a non-Greek. What ensues is a hilarious tale of what happens when two families--one loud Greek Orthodox the other conservative Episcopalian--must reconcile their differences for the sake of their children's happiness. Vardalos' narration of the events that are occurring--and how she feels about them--helps draw the viewer into Toula's world.
Vardalos is great as Toula and presents her character's traits and peculiarities fittingly well like her low self-esteem and the way she slouches. More importantly Vardalos made Toula's character believable. When Toula begins taking classes at a local college her confidence improves she puts on a little makeup combs her hair and voila! She's transformed into a beautiful person oozing happiness. It's quite charming. Corbett is well cast as the sweet and accepting fiancé but he comes across as a little bland. That really dated haircut certainly doesn't win him any points either. Constantine as Toula's strict father is chauvinistic and thick-headed but he plays his cards just right so you can never really hate the character straight out even though he treats his wife and kids like a Neanderthal would. As Aunt Voula Andrea Martin is by far the most hilarious of the bunch and she delivers each line with zany conviction. For all you 'N Sync fans Joey Fatone has a small role as Toula's cousin and has maybe three lines in the film.
My Big Fat Greek Wedding is based on comedy writer Vardalos' one-woman show. Tom Hanks and his wife Rita Wilson saw the show and apparently liked it so much they decided to produce it through their Playtone studio. Directed by Joel Zwick the film is not the first to deal with big weddings and what happens when too many family members get involved. Ang Lee did it better with the 1993 romantic comedy The Wedding Banquet about a gay Taiwanese-American man who marries a young Chinese woman to satisfy his parents as did Mira Nair with last year's Monsoon Wedding about an arranged Indian marriage. But Zwick who has directed a slew of TV shows from Happy Days to The Wayans Brothers keeps things fresh and funny despite the tired storyline. Set in Chicago but filmed in Toronto the film feels authentic especially the scenes in the family's diner Dancing Zorbas their house and their neighborhood. But the movie could have done without the cartoonish old-world granny with anti-Turkish sentiment.