The Red and Black

Issue date: 11/12/09 Section: Out & About

Men Who Stare at Goats [Click to enlarge]

The Box [Click to enlarge]

This Is It [Click to enlarge]

THE MEN WHO STARE AT GOATS

I really wanted this movie to be great, and it wasn't - and that may be the worst part about it.

The movie is pretty good, so I can't say it's a truly bad movie, but considering the cast, good just isn't enough. It's absolutely baffling how mediocre the movie is, especially when looking at who was cast.

On paper, the film seemed like a slam dunk: an offbeat comedy about absurd government projects starring Ewan McGregor as a reporter uncovering a government program where Jeff Bridges, as a hippie drill instructor, taught a mustache-sporting George Clooney how to be a psychic spy. It sounds amazing, but the results are mediocre.

Considering who these actors are, just being OK doesn't cut it. It feels like this movie wastes these actors more than anything. Clooney, who is incredibly capable of comedic roles, as shown in "O Brother, Where Art Thou?" and "Burn After Reading," is only a mildly entertaining goof.

McGregor is entirely replaceable in his role as a down-and-out journalist looking for his destiny. Even Bridges, who was born to play these eccentric roles, is ultimately forgettable and more sad than funny.

But none of these actors provides the ultimate tragedy. That title goes to Kevin Spacey. Spacey, typically an amazing actor, is completely and utterly wasted in his role as Clooney's nemesis.

Despite this, the movie isn't bad. It has a few clever moments, a few laughs - but it is nothing special, and that is the saddest part.

VERDICT: "The Men Who Stare at Goats," with amazing actors and a promising plot, just turns out to be merely adequate, a complete waste of amazing talent. And sometimes waste is the greatest tragedy of all.

- Zack Taylor


THE BOX

Fame has a ceiling in Hollywood. Most filmmakers start small and develop their art through years of experience, but Richard Kelly's prestige reached its peak shortly after the release of his first full length feature, "Donnie Darko."

"The Box" has no need to mimic the same science fiction elements that define his initial success since the premise appears promising.

After receiving a mysterious box from Arlington Steward, an NSA employee and burn victim, a financially burdened couple is given the choice to push a button on the box and be rewarded with $1 million.

The catch? Someone in the world, whom they don't know, will die. What is intended to be a psychological thriller and lesson on human morality quickly becomes distorted by Kelly's unruly artistic creativity.

"The Box" delivers its pinnacle thrill when Steward informs the couple that he will reprogram the box and present the same offer to someone they don't know.

The film abruptly plummets in a muddle of alien invasion, dimension traveling and government conspiracy garbage.

The film needs none of these features, but they dominate the majority of the film because Kelly can't figure out what his movie is about.

Cameron Diaz's plays the film's protagonist, Norma Lewis, whose clichéd Southern accent progressively dissolves into a flat, indistinguishable vernacular - but at least her non-verbal acting skills trump the intensely dull performance of on-screen husband (James Marsden).

Characters in science fiction are supposed to assume disbelief at the beginning and then later, through experience, accept the unbelievable as truth. Here, Diaz awkwardly gawks at the box as if it were the Ark of the Covenant before anything atypical occurs. The acting is simply too corny to even enjoy in laughter.

VERDICT: "The Box" will confuse and disappoint more than it will entertain. Most people will watch this film out of curiosity, but be warned: Curiosity killed the cat.

- Michael Prochaska


Michael Jackson's 'This Is It'

After netting $101 million over the first five days of its release, Michael Jackson's "This Is It" movie has become the highest-grossing concert film of all time, according to The Wall Street Journal.

The film is only in theaters for two weeks, but the previously unreleased last footage of Jackson's epic 50-date concert is proving to be popular with fans across the world.

When Jackson passed away in June, AEG allowed a 90-second piece of the footage to be released as a teaser. It played on all of the newscasts for months as anchors and viewers alike tried to decide if Jackson actually seemed able enough to work with his grueling schedule.

Now, people can decide for themselves.

In all honesty, the question is no longer about Jackson's frailty. The King of Pop always seemed fragile. But the truth is in the footage: Jackson loved what he did until the day he died.

The Jackson that fans and naysayers alike respected is here; he never stopped being Michael. The rhythm that flowed through his veins and the choreography he loved to create remains, from footage of an elaborate version of "The Way You Make Me Feel" to a theatrical "Smooth Criminal" set to what promised to be an epic staging of "Billie Jean."

The film is broken up into the staging of Jackson's classic songs. Each one is handled with care as Jackson's perfectionistic nature comes through on the big screen.

But another big part of the film is the ability to appreciate the people who worked arduously with Jackson to make the scheduled concerts a success. Dancers, musicians, choreographers, costume and set designers, and producer Kenny Ortega all dedicated themselves to a show that would never happen.

Orianthi, a 24-year-old guitar prodigy from Australia, is one of the reasons to see the film. She showcases her musical chops right alongside Jackson, especially during a rehearsal of the slashing guitar solo in "Thriller."

"Now, it's your time to shine," Jackson said to her.

Jackson is right: This film isn't just about displaying the genius he maintained, but also the work and talent of all the people who were willing to help him make a comeback.

VERDICT: Michael Jackson fans and enthusiasts will love this final salute. For everyone else, it just may make them finally appreciate the King of Pop.

- Ashley Strickland

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