Warner Bros Pictures via Everett Collection
Even without having read Mark Helprin's novel Winter's Tale, I have the unshakable feeling that Akiva Goldsman's film adaptation does not do the story justice. Speckled throughout the moreover colorless movie are hints of an intriguing idea — a fantasy epic about an angel-demon bureaucracy coexisting with the human race throughout the span of 20th century New York City, operating within the parameters of a didactic miracle-granting system — an idea that doesn't come close to its full potential. In 118 minutes, we barely scratch the surface of the world in which an apparently immortal Colin Farrell finds himself. We see him cavort with Russell Crowe, a malicious gang-leader with netherworld origins, seek guidance from a mystical Pegasus, and carry out his destiny as the savior to a mysterious red-haired girl. But we never truly understand why any of this is happening. Not that it gets particularly confusing; on a plot level, it's all quite simple. But that's the problem — it shouldn't be.
The central conceit of the film is that everyone is put on this Earth with a divine "mission" to uphold. Farrell's gives us the narrative of Winter's Tale, introducing the various rules and officers of the supernatural regime along the way. Abandoned as a baby and brought up under the criminal regime of a Manhattanite from Hell (Crowe), Farrell ascends from orphan to petty thief to horse whispering renegade to whimsical lover of a dying Jessica Brown Findlay to ageless messiah... all without much clarity on the nature of the story (or stories) he's occupying, save for two ham-fisted scenes of exposition — one with Graham Greene (not the dead author) and one with Jennifer Connelly, who shows up halfway through the movie for some reason.
Warner Bros Pictures via Everett Collection
The world that Farrell is woven into has so many bright spots: we're on board for miracle quests, a magic-laden New York City, flying horses, and one of the biggest stars in Hollywood giving a cameo as the epitome of evil. Everything we see is fun, but it all flutters away as quickly as it arrives. We don't want quick bites of the way angels and demons do business with one another on the streets of Manhattan, we want the whole meal. A more thorough exploration of Helprin's world wouldn't just be doubly as interesting as the thin alternative we're offered in Goldsman's adaptation, it'd also fill in all the comprehensive gaps in Farrell's emotional throughline
We don't really understand so much of what happens to Farrell. Even when we're offered tangible explanations, we have no reason to understand why the Winter's Tale world works in such a way that Farrell might survive a 300-foot fall, develop amnesia, or sustain youth for a full century. What's more, we don't understand why Farrell's tale as a cog in this mystical machine is any more important than anyone else's. Or, if it's not, and we're simply asked to watch him carry out his quest as a glimpse into the vast, enigmatic system that Winter's Tale is ostensibly founded upon, we ... we don't understand enough of that world itself.
Warner Bros Pictures via Everett Collection
We're never invited close enough to any of the movie's attractive features for them to matter. So even when the movie does offer entertaining bits — in its fantastical elements, its detail of New Yorks old and new, or Farrell's admittedly charming romance with Findlay — we're not engaged enough to really connect with any of them.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
Still, the flying horse is pretty cool.
Follow @Michael Arbeiter
| Follow @Hollywood_com
A guy who usually doesn't have luck with the ladies Matt Saunders (Luke Wilson) has finally found the perfect girl. Egged on by his buddy Vaughn (Rainn Wilson) Matt pursues the mousy and innocent-looking Jenny Johnson (Uma Thurman) after the two meet on a subway. But Jenny has a few secrets--and what Matt doesn't know in this case can hurt him. See Jenny is really G-Girl a superhero and although it's a side most superheroes don't show G-Girl is a bit possessive and essentially has a borderline personality. So when Matt wants to dump her so he can go out with his quiet and cute co-worker Hannah (Anna Faris) Jenny er G-Girl goes ballistic. She unleashes her superpowers on Matt and unsuspecting Hannah doing things like throwing a shark through his window while they're making out tossing his car around immature things like that. What Matt doesn't do is obey the cardinal rule: Never break up with a girl when she's holding a knife--or when she can throw you through a wall by blowing on you. This should be Luke Wilson's moment to shine and he seizes it. He's had little chance to break away from his goofier-looking and more popular brother Owen and has never carried a movie as much as this one. It's perhaps his meatiest role in which he gets to show a restrained comedic side as well as a dramatic angry and perplexed side. Although it's a typical romantic comedy plot the storyline allows for more reach because of the absurd nature of the jealousy by G-Girl’s arch nemesis Professor Bedlam played perfectly by Brit comic Eddie Izzard as well as the persistently bad advice from Matt’s friend Vaughn played by scene-stealer Rainn Wilson (TV's The Office). Rainn is a definitely a talent to watch out for. Unfortunately Thurman is the biggest disappointment. She's exciting only when she rekindles her Kill Bill persona but is mostly outshined by the cute and fun Anna Faris who's so naively brilliant in the Scary Movie spoofs. Expectations would have to be high if you have director Ivan Reitman on board the guy behind such classic comedies as Animal House Ghostbusters and Dave. Perhaps that's why it's so disappointing--and so very familiar. The comic moments are retreads from the past. Sure we've seen the odd moments where mortals make it with super-human characters--Superman II Bewitched I Dream of Jeannie--and every once in a while the character with super powers gets a bit peeved and goes off the deep end. The best contribution Reitman makes is to keep the over-the-top comedic aspects in check. He doesn’t have the actors play it for laughs. But if you look at past history female superhero movies don't seem to do well at the box office (Elektra and Catwoman anyone?) maybe because guys don't like to take dates to see movies about women who will kick their butts. And guys will be cringing in their seats BIG time when Jenny is trying to analyze the real meaning of the color of a rose that she just got. "Red means that you're in love with the girl. Of course I'm not trying to pressure you." Ugh! Just take the flower.
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.