Page 9 of 10
WE BOUGHT A ZOO While the concept of dotting the i's and crossing the t's is a wonderful one to pass along to small children just learning how to write, it earns Cameron Crowe a failing grade for rigidly applying it to We Bought a Zoo, a film whose fussiness about every single detail results in audience members not having the luxury to think or feel for themselves. Based on a true story, this stars Matt Damon as Benjamin Mee, a recent widower who decides, in cornpone Green Acres fashion, to quit city life and move into a country home. As the new owner, he's required to take care of the failing zoo on the expansive property, so he relies on a motley crew of staffers to show him the ropes and bring him up to speed. Eventually, he falls for the lead zookeeper (Kevin James — whoops, wrong movie; Scarlett Johansson). Watching this movie, it's hard to believe Crowe once helmed such finely crafted pictures as Jerry Maguire, Almost Famous and the underrated Vanilla Sky. As both director and co-writer (with Aline Brosh McKenna), he stumbles right at the start, when he fails to immediately establish essential information regarding the zoo (its parameters, the types of animals it houses, etc.). Instead, he's too busy working overtime to make sure we're visually and emotionally led by the hand so we don't miss anything. If Benjamin says something idiotic, there's a monkey ready to smack his own forehead in exasperation. If Benjamin fondly recalls his dearly departed wife, she's ready to appear in ethereal form. Clearly, Crowe doesn't trust viewers to make it from Point A to Point B without stumbling or getting lost. Damon and Johansson are reliable as always, and Thomas Haden Church contributes a few chuckles as Benjamin's skeptical brother. But the zoo crew, meant to be quirky, is merely tiresome, the so-called villains (a smarmy inspector, a backstabbing accountant) are laughably manufactured, and the animals are rarely shown in all their glory. But hey, at least they're not burdened with the gift of gab. *1/2
THE WOMAN IN BLACK Before they largely imploded in the mid-1970s, Britain's Hammer Film Productions spent two decades producing lush, atmospheric horror flicks, in the process re-igniting filmgoer passion for classic monster movies and making genre superstars out of Christopher Lee and Peter Cushing. Two years ago, the outfit returned to screens with the critically acclaimed, audience-ignored Let Me In, followed that with two barely seen releases, and now offer the decidedly more high-profile The Woman in Black, positioned as a true test of Daniel Radcliffe's drawing power outside the Harry Potter franchise. For the record, Radcliffe is fine; the film, on the other hand, is tepid enough to leave Dracula — the one who looks like Christopher Lee, of course — spinning in his grave. Based on a novel (by Susan Hill) that had already been turned into a successful play and a 1989 made-for-British-TV film, this finds Radcliffe cast as Arthur Kipps, a widowed lawyer assigned to visit a remote village in order to settle the estate of a recently deceased elderly woman. In the film's best nod to vintage horror, the country rubes all view the newcomer with suspicion and do little to aid him in his task. The reason, it turns out, is that they believe the stomping grounds of the departed is haunted by the title apparition, an evil entity with a sweet tooth for tragedy and children. Both fascinated by the legend and fearful that it might has some basis in reality, Arthur opts to spend the night at the creepy mansion — and it's here where the film primarily jumps the tracks. The best ghost stories are the ones that rely on careful exposition and a pervasive sense of mounting dread to unsettle audiences (The Others and The Orphanage being modern examples), but director James Watkins and scripter Jane Goldman abandon that approach shockingly fast. Instead, this is the sort of spook show that tries to manufacture scares by having something rapidly leap into the frame, startling both the protagonist and many viewers. Usually, it's a cat; here, it's everything but. Yet this type of cheap thrill becomes predictable before long, and unlike the aforementioned simmering sort of supernatural cinema, it will have little shelf life (after all, to quote a great president and humanitarian, "Fool me once, shame on — shame on you. Fool me — you can't get fooled again."). It's certainly nice to have Hammer back in business, but let's hope they nail down more promising projects than this one. **
"Comes close to the original" "the smartness of the script" What movie were you watching?
Absolutely right about Ox Bow Incident.
Absolutely right about Ox Bow Incident.