In Dream House – the new suspense thriller from Jim Sheridan (In America My Left Foot) – Daniel Craig plays Will Atenton a successful New York publisher who disavows his high-powered Manhattan lifestyle and relocates along with his wife Libby (Rachel Weisz) and two daughters (Taylor and Claire Astin Geare) to a picturesque New England hamlet. Their new home a quaint fixer-upper bears imprints of the family that lived there previously: Old tools and other belongings are strewn about the basement a secret room abutting the children’s bedroom is filled with discarded toys. Will and Libby see the items as charming artifacts signs that their house has a history a soul.
The new neighborhood is not so bucolic as it seems. The children complain of a man peering in on them from the front yard – a suspicion confirmed when Will discovers footsteps in the snow the next day. If that weren’t ominous enough Will later learns that five years earlier his new home was the site of a grisly murder spree in which the previous owner Peter Ward was alleged to have killed his wife and two daughters. Acquitted due to a lack of evidence Ward spent a brief time at a psychiatric facility before being released. Could the shadowy figure glimpsed outside the window be Ward returning to the scene of the crime preparing to kill again?
At this point Dream House pulls off a whopper of a mid-game twist that effectively re-frames the entire narrative. (I won’t spoil it for you but if you want to know what it is just watch the trailer which rather stupidly gives it away.) Until now Sheridan has worked steadily to foster the guise of a relatively conventional haunted-house tale presenting a portrait of idyllic domesticity while simultaneously building an atmosphere of looming peril. After the story drops its bombshell the film morphs into a sort of supernatural murder mystery with Craig’s character scouring for clues within his own tortured psyche. Characters and scenes that might have been dismissible as red herrings – a neighbor (Naomi Watts) appears oddly stand-offish; her ex-husband (Martin Csokas) cartoonishly gruff; the town cops inexplicably apathetic – gain sudden relevance.
It’s a clever gambit; it is also patently absurd. A talented cast helps make the twist easier to swallow but the film’s second half sheds credulity seemingly by the frame at points devolving into schlock. Which in a different film might bode well for some silly fun but Sheridan aims for a restrained tone that seems more suitable for a somber character study than a flagrantly preposterous suspense thriller. As it is Dream House is neither thrilling nor suspenseful.
WHAT IT’S ABOUT?
When all-American girl Susan Murphy is inadvertently hit by a falling meteor on her wedding day she grows to be nearly 50 feet tall. The U.S. military gets wind of this renames her Ginormica and locks her away with a slacker group of other “monsters” in a top-secret compound. But when a mysterious alien robot lands on Earth and begins wreaking havoc these good-hearted but inept creatures are called into action by the President and must band together as a team to save the world from certain catastrophe.
WHO’S IN IT?
As usual Dreamworks has assembled a stellar A-list voice cast led by Reese Witherspoon as Susan/Ginormica. Playing one of the rare female animated heroes Witherspoon’s sweet/confused demeanor — in light of her highly unusual status as a fearsome freakazoid — hits just the right tone generously letting her zanier colleagues steal scenes from right under her (a long way down by the way). Chief among these are a not-so-bright gelatinous blue mass named B.O.B. hilariously voiced by Seth Rogen; the genius Dr. Cockroach Ph.D in the capable hands of House doc Hugh Laurie; and Will Arnett’s half-ape half-fish The Missing Link. In the human roles there’s Stephen Colbert as the idiotic U.S. President Kiefer Sutherland as the monster’s prison guardian Paul Rudd as the ego-driven weatherman fiancé of Susan; and a deliciously villainous Rainn Wilson as Galaxhar the alien determined to take over Earth.
Superb 3-D effects aren’t overdone and add immeasurably to the ginormous fun of the film but even seeing it in theaters that only show it in regular 2-D doesn’t spoil the pure joy of this cartoonish War of the Worlds. Throw in parodies of every cheap '50s sci-fi movie you can think of and you have the ingredients for a silly monster mash sure to appeal to just about anyone who wants to laugh. Despite the impressive production elements it’s the smart and clever script that really sets it apart from its competitors — and that even includes the similar Monsters Inc. from Pixar.
Like any kid-oriented comic ‘toon today the action can be a bit too frenetic and Monsters vs. Aliens piles a lot of it on in its trim 95 minutes. Still the lovable characters carry the day and somehow make it all palatable.
When Susan now Ginormica brings her new friends home to meet her parents chaos ensues and so do the laughs. Also impressive are the large action scenes that make fine use of CGI animation breakthroughs.
BEST SUPPORTING BLOB:
It's easily the one-eyed lame-brained blue lug of a people hugger named B.O.B. perfectly matched to the talents of Rogen. He rolls away with the movie and inevitably the merchandise tie-ins.
The original Seuss story is a wonderful--albeit simple
--children's tale about two bored kids left alone in their house on a cold wet day. They're visited by a six-foot-tall talking adventure-seeking feline who's looking for a little fun (OK maybe a lot of fun). Against the warnings of the children's seriously repressed pet goldfish the Cat (with the help of a couple of troll doll look-a-likes called Thing One and Thing Two) turns the house upside down then puts it all right-side-up again before the kids' mother gets home. The question for Hollywood is how to turn a story like this one that's left an indelible impression on millions of readers young and old since 1957 into a major motion picture? While the film thankfully keeps to this original's plot talking fish and all it obviously tries to flesh things out adding some new characters and tacking on a few life lessons. The kids now have very distinct personalities: Wild older brother Conrad (Spencer Breslin) plays fast and loose with the rules while sister Sally (Dakota Fanning) an uptight control freak has driven all her friends away with her rigidity. Their mother Joan (Kelly Preston) works at the town's real estate office run by the anal retentive Mr. Humberfloob (Sean Hayes) and she's dating the guy next door Quinn (Alec Baldwin) a superficial scumbag who wants to send Conrad to military school. On the particular cold wet day in question Joan leaves instructions not to mess up the house since she's having an important business meet-and-greet there later that night. When the Cat (Mike Myers) arrives he quickly assures Sally and Conrad they can have all the fun they want and nothing bad will happen. Ignoring vocal opposition from the Fish (voiced by Hayes) the Cat quickly puts into motion a series of events that will a) prove his point b) destroy the house and c) teach the kids a sugary-sweet but valuable lesson about being responsible while living life to the fullest.
Just as Jim Carrey immortalized the Grinch Mike Myers seems born to play the Cat in the oversized red-and-white striped hat--he has the sly slightly sarcastic wholly anarchistic thing down cold. Myers' impersonations of a redneck Cat mechanic (with requisite visible butt crack) an infomercial Cat host and a zany British Cat chef are outrageous as are the hilarious little asides he spouts although they'll probably go over kids' heads: "Well sure [the Fish] can talk but is he really saying anything? No not really." But even though Myers has some fun moments he just isn't the Barney type and when he turns on the come-on-kids-let's-have-fun charm and adopts a dopey laugh he seems uncomfortable. As for the kids Fanning and Breslin (Disney's The Kid) do a fine job reacting to the wackiness the Cat surrounds them with although Fanning basically plays the same uptight character she created in the recent Uptown Girls. Of the supporting players Baldwin has the most fun as the villainous Quinn a bad-guy role that while a little superfluous gives Baldwin plenty of opportunities to chew the scenery. Hayes is also good in his dual role; he stamps Humberfloob indelibly on our brains then kicks butt as the voice of the beleaguered Fish.
It must have been a no-brainer for producer Brian Grazer to do another Dr. Seuss adaptation after all the fun magic and profits the 2000 hit How the Grinch Stole Christmas generated. With Cat in the Hat however he didn't collaborate with his usual directing partner the Grinch's Ron Howard. Instead Grazer took a chance on first-time director Bo Welch who previously served as production designer on Tim Burton's Beetlejuice and Edward Scissorhands and has three Oscar nods to his credit for production design on other films. Welch certainly takes his quirky cue from Burton when it comes to the look of Cat in the Hat especially Sally and Conrad's suburban Southern California neighborhood with its lilac frames and blue roofs. The gadgets are cool too from the Cat's Super Luxurious Omnidirectional Whatchamajigger or S.L.O.W vehicle to the Dynamic Industrial Renovating Tractormajigger or D.I.R.T. mobile for cleaning up the house. When we enter the Cat's bizarre world though the film's Seussian look starts to have problems possibly because there's nothing of this place in the original book. Hidden within the feline's magical crate the Cat's world can produce "the mother of all messes " and in keeping with that purpose there's some effort at making it look like a fragmented Cubist painting. But it's more plastic than Picasso and in the end it's about as interesting as a Universal Theme Park ride (a fact the movie actually mentions).