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.
A “bedtime story” is a fairly succinct way to describe Lady. Of course a bedtime story being told by M. Night Shyamalan can go into any number of weird and wild directions. The writer/director says the idea for Lady was based on a story he’d told his kids which began with “Did you know that someone lives under our pool?” and revolves around Cleveland Heep (Paul Giamatti) a lowly superintendent for an apartment building who inadvertently finds Story (Bryce Dallas Howard) a mysterious nymph-like “narf ” living in the pool. She’s there to complete a task and now that it’s done she needs to go home back to the Blue World. But that’s easier said than done. She only has a small window of opportunity and apparently there’s a ferocious beast called a “scrunt” lurking in the grass around the pool waiting to kill her if she tries to leave. Now Cleveland and a few of the other tenants—who find themselves intricately tied to Story’s plight—must help her escape to freedom. Thank god for Sideways. Without it Giamatti would have gone on playing under the radar without the recognition—and juicier parts—he deserves. He is truly a wonder as Cleveland a sad little man with a stutter who is quietly trying to hide from a tragic past. It’s only when Story comes into his life does he face his personal tragedy and learn to live again. Howard on the other hand who wowed most of us with her stunning performance in The Village doesn’t have nearly as much to work with as the pale water nymph. The mystical character is fairly one note—befuddled and cheerless. But the rest of the apartment tenants shine: Jeffrey Wright (Syriana) as a single dad who has a penchant for crossword puzzles; Freddy Rodriguez (HBO’s Six Feet Under) as a weight builder who only lifts weights on one side of his body; Bob Balaban (A Mighty Wind) as a pompous film critic (and as a critic I’m not at all offended when he gets his comeuppances); Cindy Cheung as a Korean college student who is key in telling the epic bedtime story; Sarita Choudhury (She Hate Me) as a quippy young woman looking for her mission in life and Shyamalan himself as her brother the person Story is meant to inspire to write something extraordinary. There’s never a dull moment with this crew around. In a way M. Night Shyamalan has become his own worst enemy having to live up to this reputation as a master of suspense and surprise twists. His last effort The Village left many of his fans feeling unsatisfied—and unfortunately he may alienate more with Lady in the Water. But the fact of the matter is he is still one of Hollywood's more brilliant minds on par with screenwriter Charlie Kaufman for originality who has an innate talent for crafting ingenious stories filled with genuine human emotions. So maybe this time around he’s made a movie more for those most ardent of his fans who simply revel in the way his mind works no matter how incomprehensible and frivolous it may seem. So what? The diehards might feel compelled to defend Shyamalan’s choices with Lady—how he has come up with an entire universe where things like “scrunts” and the “Tartutic” (simian-like creatures who form an invincible force that maintains law and order in the Blue World) and “Madam Narfs” interact with humans in the real world. If the story actually took place in the Blue World then maybe it’d be easier to swallow. But that’s sort of the genius of Shyamalan. It’s as if with Lady in the Water he’s crafted a child-like movie for those adults who remember being told wildly creative bedtime stories who then in turn tell the stories to their kids.
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.