More than just the frighteningly awful things that go bump in this particularly nasty fog The Mist is really a morality play about how fear and paranoia feed on a panicked scared group of people looking for some semblance of sanity about what’s happening to them. Set in a small Maine town (where else in a King story?) local denizen David Drayton (Thomas Jane) his young son Billy (Nathan Gamble) and several townsfolk are trapped in a local grocery store by a strange wraithlike mist. Even though they are warned early on that there are “things in the mist” killing people not everyone in the store believes it. But when it becomes evident all is indeed not well terror begins to build fueled by a religious zealot (Marcia Gay Harden) who starts preaching fire and brimstone--and eventually human sacrifice--in order to appease a vengeful God. Rational thought is quickly thrown out the window to the point that David begins to wonder what terrifies him more: the monsters in the mist or the ones inside the store--the human kind the people who until now had been his friends and neighbors. He decides he’ll take his chances in the mist. Darabont has collected a fine ensemble cast starting with Jane (The Punisher) as the film’s capable Everyman just trying to make sense of the horror unfolding while keeping his son as safe as possible. As little Billy Gamble (Babel) is quite affective especially when he turns on the waterworks and calls for his mother who must be food for the gods at this point. Also scarily good is Oscar-winner Harden as the religious nut who inevitably whips her burgeoning flock into a murderous tizzy. Other standouts include: Andre Braugher as one of the non-believers who has a running beef with his neighbor David; Toby Jones (Infamous) as a rational grocery store clerk with a wicked aim; Laurie Holden (Silent Hill) as a kindly newcomer and mother figure for Billy; Sam Witwer (TV’s CSI) as a doomed U.S. soldier who gives the reason why the mist has come upon them; and veteran character actors Frances Sternhagen and Jeffrey DeMunn (who is also a Darabont staple) as David’s allies in escaping the store. All are very capable at their jobs. Maybe Darabont and King are twins separated at birth. No other writer--or director for that matter--has been quite as successful as Darabont in capturing the true essence of a King novel evident in both of Darabont’s Oscar-nominated King adaptations The Shawshank Redemption and The Green Mile. This is the first time Darabont has tackled one of King’s horror stories but the writer/director innately understands what makes King’s The Mist a terrifying experience. Much like John Carpenter did with The Thing Darabont’s well-written script focuses on the human factor--the fear-feeding frenzy these ordinary people get themselves caught up in showing how human nature can ultimately be more horrifying than any monster. But of course Darabont has to reveal The Mist’s otherworldly creatures or the movie wouldn’t be complete. He visualizes King’s vivid descriptions of the monster attacks as best he can but unfortunately The Mist’s special effects come off a tad sub-par especially in this day and age. Still The Mist should keep you riveted until the final moments--a rather depressing new ending Darabont wrote himself with King’s thumbs-up approval.
Anyone who thought Disturbia could be the name of a family bonding movie could get a false sense of security in the opening scene. Kale (Shia LaBeouf) has a sweet fishing trip with his supportive dad but an automobile accident on the way home costs Dad his life and turns Kale into a brooding moping mess. A fight with his teacher lands him under house arrest for the summer with nothing to do but watch the neighbors from his window. A pretty new girl (Sarah Roemer) provides good scenery but across the street something more disturbing is going on. Neighbor Mr. Turner (David Morse) seems to have a lot in common with a serial killer recently on the news but the ankle bracelet limits Kale's investigation. The ankle bracelet creates a false illusion of mobility but crossing the barrier only makes things harder. This may all sound familiar but Disturbia gives a fresh take on voyeurism. You might not expect a thriller like Disturbia to showcase great performances but it is a great vehicle for Shia LaBeouf to show his talent. He plays every moment against the standard conventions. His sullen kid is totally sympathetic. He's not just looking for attention but really trying to cope with a great loss. You actually want him to hit the asshole teacher for presuming to know what's up. Then while home his love struck voyeur is not just some horny kid. He seems moved by the vision not just the body. Then lastly as an action hero LaBeouf is truly desperate not just trying to be a badass. The others fill more traditional roles. Morse does his now familiar bad guy thing and is far more interesting as the friendly neighbor than when he's just going bonkers. Aaron Yoo as Kale’s goofy sidekick tries too hard to be wacky and clueless. Roemer on the other hand is a self-assured sexpot though a little too wise to her seductive wiles. Carrie-Anne Moss does the tough-love mom thing well. In fact she really hasn't repeated herself in her whole career. But ultimately it’s LaBeouf's show. With the whole movie seen through his perspective he creates a well-rounded guide through the sometimes far-fetched adventure. Director DJ Caruso (Two for the Money) knows all the classic tricks of suspense to keep audiences jumping and comes up with a few new ones of his own. The pacing is breakneck. To begin with the auto accident is staged beautifully. It is a realistic portrayal of the dangers caused by speed demon SUVs yet never gratuitous in communicating the horrific tragedy. Having the villain show up under innocuous pretenses also keeps the audience on their toes. But the house arrest hook is the best device of all. It can be a barrier as Kale stretches the limits of his mobility. Or it can be the edge of safety as Kale struggles to signal for help. Of course modern technology to spy on the neighbors is also employed to full effect. The film's tight storytelling packs it all into 95 minutes with no down time. Fans of this genre won't be disappointed
There was a fresh quality to the original Spy Kids. The idea of two children finding out their parents were superspies whom they wind up having to rescue showed a new twist on kid empowerment. Unfortunately that fresh imagination which appealed to audiences and catapulted the original into a smash hit is not as prevalent in the sequel. What writer/director Robert Rodriguez does instead is further the story along; now there is a whole new branch of kid spies at the OSS. Juni Cortez (Daryl Sabara) and older sister Carmen (Alexa Vega) are now star Level 2 agents but brother/sister agents Gerti (Emily Osment) and Gary (Matt O'Leary) Giggles are quickly becoming stars in their own right. The two rivaling duos set off on a mission to a mysterious island their objective to locate and destroy a device that could wipe out all the world's technology. On the island they discover weird animals roaming around created by a mad scientist (Steve Buscemi) who is hiding somewhere on the island. Juni and Carmen soon run into big trouble when their gadgets and gizmos don't work. They have to use their wits to figure things out but a little help from the whole family--dad Gregorio (Antonio Banderas) mom Ingrid (Carla Gugino) and their grandparents (Holland Taylor and Ricardo Montalban)--doesn't hurt either. The time has come for a little family power to save the day.
Vega and Sabara continue to do a nice job in their roles as Carmen and Juni especially Vega. It is fun to see how she's grown up over the last year. Carmen is a young woman now and her amorous feelings towards Gary Giggles add a nice touch to her character. The interesting mother/daughter conflict between Carmen and Ingrid which was explored in the original has now switched to a conflict between Juni and his dad. Gregorio feels like his son doesn't need him anymore now that Juni is a super kid spy. It doesn't hold up quite as well. Sabara gets a little romance of his own in the form of the U.S. president's daughter (played by How the Grinch Stole Christmas's Taylor Momsen) and he handles the chores as little leading man well. Osment (who is a spitting image of her older more famous real-life brother Haley Joel) and O'Leary make nice additions to the story as the rival Giggles and if there's a third Spy Kids we hope they'll be a part of it. As far as the adults Banderas does well with his comedic moments but he and Gugino almost seem like caricatures of the loving parents they fleshed out so well in Spy Kids. Taylor Montalban and Buscemi are simply wasted. Period.
Spy Kids 2 relies more on special effects and gadgetry than the original did and that's a shame. The heart of Spy Kids was about family and trust but Rodriguez has chosen to focus more on the spy aspects than family issues in the sequel. Of course some may disagree with this assessment because the theme of family is certainly prevalent in Spy Kids 2. It just seems much more superficial and forced than the first. The thing to point out however is the special effects are not nearly as spectacular as they could have been. If the film is hyping itself as action-packed with gadgets galore then one might expect glorious visuals. Instead the effects are reminiscent of the early '70s Sinbad B-movies even down to Juni and Carmen fighting skeletons. And the island looks more like it should belong to Dr. Moreau with odd combo animals like the spider-monkey (half spider half monkey of course) and the slizard (you can guess). Maybe Rodriguez intended to use this particular style and if he did he should be told it didn't really work that well.
Appropriately enough this movie gets its title from the stinking saltwater lake in California's Imperial Valley that used to be a popular recreation spot before irrigation runoff poisoned the waters the fish and the community surrounding it. It's this run-down white-trash desert "destination" that serves as the backdrop for this arty noirish unpleasant film that more than borrows from Memento and Pulp Fiction. Val Kilmer is Danny Parker once a successful jazz trumpeter who wore cool suits and loved his beautiful wife very much. Tragedy strikes when he sees her gunned down in a drug deal and he vows revenge. To that end he adopts a new identity and goes deep--too deep--undercover as an informer for a couple of narcs (Anthony LaPaglia and Doug Hutchison). Danny (now Tom) infiltrates a gang of methamphetamine addicts led by a particularly nasty human specimen known as Pooh-Bear (Vincent D'Onofrio) who has snorted so much crystal he has to wear a plastic nose and reenacts the Kennedy assassination with pigeons just for kicks. In due time Danny completely loses his identity and morphs into Tom becoming into a junkie himself living in a vermin-ridden fleabag apartment and hanging with a bunch of "tweaker" losers like Jimmy "The Fin" (Peter Sarsgaard) while never losing sight of the score he wants to settle.
Val Kilmer's slippery detached demeanor is just what's required as his character fatalistically recounts his sad story via voiceover allowing the viewer to tag along with him as he explores what makes Danny/Tom tick. Kilmer seems to do best with character studies rather than action roles (i.e. his Jim Morrison in The Doors versus his parts in big-budget flops like The Saint and Red Planet). Vincent D'Onofrio almost seems like he's trying to re-create elements of his horribly depraved character in The Cell here. But in that movie it worked; in this one it doesn't. He's too out there for a small-time drug dealer and you're left going "Oh come on already." Oddly frighteningly this is Val Kilmer's movie.
This movie tries so hard to capitalize on the sleeper success of Memento but Tony Gayton's (Murder by Numbers) script completely lacks that film's tight originality and creative execution. Director D.J. Caruso tells the story in flashbacks and time shifts that keep you paying attention but which sometimes just confuse. Plus there's too much emphasis on the secondary characters and their theatrics--it's just self-indulgent filmmaking. Caruso's strong suit is that in his belaboring of many points he manages to create an authentically seedy gritty and evocative atmosphere especially making good use of the Salton Sea as a backdrop--both literally and figuratively--in his imagery.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.