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.
While passing through Cairo during a sabbatical from the priesthood following World War II Father Lankester Merrin (Stellan Skarsgard) receives an offer from Semelier Ben Cross) a collector of rare antiquities to join a British archeological excavation in the remote Turkana region of Kenya where a Christian Byzantine church has been unearthed. Although Merrin has lost his religion (he left the church after being forced by the Nazis to commit atrocities against people of his parish) the skilled archeologist accepts the mission out of curiosity: The pristinely preserved church dates back more than 1 000 years before Christianity even reached the East African plain. Once there Merrin anxiously heads to the excavation sight and enters the partially buried church to discover it has been vandalized--or so he thinks; a large wooden cross has been broken and hung upside down. He also encounters Dr. Sarah Novack (Izabella Scorupco) who runs a local hospital and informs the men that the last man in charge of the excavation had gone mad and was now in a sanitarium in Nairobi. The mystery thickens when a local boy Joseph (Remy Sweeney) shows signs of satanic possession. The Turkana blame the mysterious church for the unexplained supernatural activity including a woman's delivery of a Satan-like maggot-covered still born infant. Soon tension mounts between the Turkana and the British troops stationed there.
Poor Skarsgard. To his credit the veteran actor tries his best to add a dash of distinctiveness to his underdeveloped character Father Merrin. Skarsgard (King Arthur) supplies Merrin with an air of attitude a sort of aloofness that screams I don't owe anyone anything. Armed with brute strength and fearlessness (he moves a large concrete slab without breaking a sweat and crawls through unlit basements without ever flinching) Merrin is practically transformed into sexy religious superhero. But Skarsgard even can't escape the silly dialogue that explains what is self-explanatory. "If everyone died who buried them?" Merrin asks aloud outside a cemetery where a plague supposedly whiped out the village's population. Scorupco (Reign of Fire) meanwhile doesn't inject anything extra into her rather forgettable role as Sarah a rather sweet but boring physician. Her metamorphosis in an identical looking Regan MacNeil form the original 1973 Exorcist however pumps some much needed thrills into what's otherwise lackluster horror. One of the most memorable performances comes from Alan Ford (Brick Top Polford form Snatch) who plays a perpetually drunk archeologist with a putrid skin ailment. Ford's rendition of Jeffries is so alarmingly disgusting that it makes Lucifer look like a sweetie pie.
The best thing about Exorcist: The Beginning is its deceptively promising opening set in Africa in the mid 400s. It's an eerie scene bound to make audiences' hair stand on end as a lone bedraggled priest slogs through a dry and dusty plain littered with millions of corpses nailed to upside-down crosses. But in its post-World War II setting the film suffers a setback both in storytelling and visuals. The film was originally directed by Paul Schrader who replaced helmer John Frankenheimer who died before filming began. But producers reportedly thought Schrader's version wasn't frightening enough and handed the reins over to Renny Harlin (Driven) in hopes he would turn out a more spine-chilling rendition. But sadly there is no chilling of the spine to be experienced here. Harlin uses horror film clichés to spook the audience like the faithful light-going-out-in-dark-settings scenario that the film feels more like an episode of Scare Tactics. Harlin's special effects are laugh-out-loud funny too including his inane man-eating CGI hyenas with beaming blue eyes. The beasts move about the screen as if they have no weight or substance to them. What makes those cartoony hyenas even sillier though is the fact that their presence is not needed (they're hardly scary) or even explained which pretty much sums up the film's biggest problem: The spotty story leaves too many questions unanswered. The script credited to Caleb Carr and William Wisher and later revised by Alexi Hawley is so vague it's irritating.
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.
In the sci-fi thriller 28 Days Later a psychological rage-inducing virus is unleashed the type of vile horror-movie germ that infects its victims within 20 seconds and causes them to violently spew out contagious pathogens. The bug is set free when a group of animal activists free some infected chimps from a primate research facility in London. Twenty-eight days later Jim (Cillian Murphy) a bike courier wakes up from a coma and finds himself in the deserted intensive care unit of a hospital. He eventually stumbles on to the street and from old newspaper clippings littering the streets of London realizes the foggy metropolis has been evacuated. Jim eventually hooks up with another "survivor " Selina (Naomi Harris) who brings him up to speed on what has happened: All of Britain has been contaminated and they have no way of knowing if the disease has spread worldwide. Their only salvation comes in the form of a taped broadcast message by a group of Manchester soldiers saying they have the answer to infection and invite any survivors to join them at their blockade. After a harrowing hike to the barricade and dodging attacks form rage-infected lunatics the duo thinks they have found salvation. But this armed force is not there to offer deliverance--they are a militia of out-of-control megalomaniacs ready to jump-start human civilization.
Murphy and Harris the two lead actors in the film are relatively unknown yet are capable of carrying the pic and both give strong performances that complement each other. Murphy's character Jim for example first awakens in the hospital lost and confused--but by the end of the film he emerges as a leader a champion. This change however isn't triggered by any one incident and we never feel blindsided by his heroic transformation. Harris's character Selina on the other hand starts off hardened and pessimistic but gradually lets her guard down. Alone her only goal was survival. But when she hooks up with Jim her aspirations change not only because of the friendship they develop but because he is able to make her see that surviving simply isn't enough that as humans beings they also need freedom and happiness. And although Selina develops a somewhat softer side in the film she is never a helpless victim waiting to be rescued by the film's male protagonist. Another important character in the film is Hannah played by Megan Burns. Hannah is a young girl that Jim and Selina scoop up in their northbound trek to the military blockade. Burns who made her feature debut in the 2001 period drama Liam is an excellent addition to the cast and her character adds a touching and personal element to the gruesome storyline.
Director Danny Boyle (Trainspotting) delivers a post-apocalyptic horror film an homage of sorts to George Romero's Night of the Living Dead in which an army of dead bodies comes to life and terrorizes a group of friends trapped inside a farmhouse. Although 28 Days Later--from The Beach author Alex Garland's debut screenplay--tells a different tale the grainy shaky camera work is very derivative of the 1968 cult pic. Shot entirely on digital video the film has a gritty appearance that makes it look and feel like a shocking documentary rather than a sci-fi feature. Boyle also uses low light levels and strobe effects to conceal the movie's cheesy low-tech special effects--specifically the flock of red contact lens wearing zombies. But despite its cost-cutting optical effects this contemporary horror has the power to shock and frighten because the protagonist's most dangerous adversaries not only come in the form of frightening flesh-eaters but militiamen in fatigues. 28 Days Later's most striking sequences however are the warily calm opening scenes in which Jim wanders through the streets of London--crossing Westminster Bridge and reading the bulletin board at Piccadilly Circus--without a body in sight. Blocking off the busy streets of such a compact bustling city had to be Boyle's most ambitious undertaking in the film's production.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.