The Boy Who Could Fly

There are people who say that the mark of a good movie is the impression it leaves on the viewer at the conclusion. Is this the case with "The Boy Who Could Fly?" I don't think so, as it was years since I misguidedly rented it and I was incapable of washing the bad taste from my mouth. This movie is a dud of massive proportions-sporting Godawful dialogue, ridiculous 80's 'special' effects, and painful sentimentality. I have not seen a film in a good long time that tried so hard to move me and failed so miserably.

The main character is Milly, short for Amelia, who has just moved into the new house with her tough guy little brother and grieving mom. Her dad is out of the picture, for reasons Milly averts her eyes explaining. Milly is the picture of 'ideal family character-' sensitive, tolerant, and gorgeous, with a bit of edge put in to add dimension. At night she meets a mysterious boy who won't, or can't, talk. He sits on the connected suburban roof between them, mimicking an airplane.

The boy, Eric, lives with his alcoholic uncle next to Milly. In a horrifically contrived scene, she describes Eric's apparent autism to her mom. "Since his mother and father died, he's never spoken a word to anyone." A compassionate teacher intends to keep Eric in his clueless uncle's inept care. She says he almost died last time he was put in a hospital, because, apparently, 'he just gave up.' She convinces Milly to look after Eric at school, and keep an eye on those social workers prowling the streets.

Eric is severely autistic and can't so much as catch a ball, but he has one thing Raymond Babbitt doesn't- despite the lack of any special skills, interests, or personal (not autistic) traits, he's a MAGIC special person. Why, you ask? Rumors run about of Eric's telepathic abilities (he stopped talking the moment his parents died in a plane crash) as well as his uncanny ability to gain access to surfaces that he couldn't logically climb to.

Milly meets Eric's eye with an open heart, despite his lurking and horror movie-style tendency to pop out on the roof while Milly looks into the mirror. Then they subject us to a series of cringe-inducing dialogue ("maybe all he needs is the kiss of a fair maiden to make him well again," Milly says of her silent crush Eric,) syrupy anti-climaxes, and ludicrous dream sequences (including the magical realism finale) that seem to have little to do with anything else.

On the up side, the acting is decent, with the possible exception of Fred Gwynne, playing a terribly one-note character (the drunk uncle) in such an overblown and grating way that I was unsure if he intended to be humorous or pitiful. Jay Underwood proves he has talent in the institution scenes, whereas he spends the rest of the film staring blankly into space (probably thinking about his paycheck.) They do their best, but are stuck with an inevitable train wreck of a script.

The ending was fairly idiotic, I think, but when I think about the deep (cough) implications, the more pointless and even disturbing it becomes. Special people cannot function in the real world, so the must fly away in a cheesy anti-climax. Autistic people can levitate. Drunks can cure their drunkenness in a matter of days. Pathetic movies like this one can actually gather good reviews.

In the end, the movie that is so desperate to be bittersweet and heart-warming comes out more like a cross between a schizophrenic artsy indie and an after school special. People may tell you this is a hidden gem. They are lying. This may be a pseudo-classic movie on a hot topic, but some things are better left buried. (Rated PG)

Castle - Season One

Some shows start out with an excellent debut episode, than lose steam. This is not one of those shows. When I watched the first, I was just about the polar opposite of impressed. The problem was, it worked too hard to introduce it's characters. The serious branch of the operation, Detective Beckett (Stana Katic,) is somewhat likable, if only because she takes her work seriously and and doesn't consider herself likable.

Unfortunately, Richard Castle (Nathan Fillion) is one of those self-satisfied characters who is mildly grating at best, unbearable at worst. He considers the murders they investigate a personal gain (he's a writer,) and is clearly in love with himself and his 'masterpieces.' Why, why, must there be the inevitable romantic tension between he and Kate? Why does Richard think police procedures are an excuse to shoot snippy remarks and quips? What is funny about murders, anyway?

Richard Castle is a writer of pulp murder mysteries, and is quite popular with the masses for some time. He ignores scathing critics bashing his latest money-making operation (one newspaper reviewer says a book made them want 'to go screaming out into the snow,') and prospers until he suffers mass writer's block. So, why not start tracking a no-nonsense (and of course pretty) female detective, using other people's tragedies as a basis for his next scrap of anti-literature?


Kate Beckett is a hard-working woman with heavy emotional baggage, which Richard immediately attempts to divulge. Of course she has no desire to work with him, but he always shows up, there to save the day. The first episode was rather awful, as it did little but elaborate on Castle's obnoxious personality, padding it with a paper-thin mystery plot point. I became so intensely bored with his antics that I tuned out and contemplated a possible idea for fortune "If I got a buck every time Nathan Fillion smirked, I would be a very rich woman."

Ah, but it gets better! The directors catch on by episode number two that the full Castle personality (stingy on plot) is only acceptable in small doses. He can be sufferable and even almost pleasant when given something to do, so when the mysteries started, I quickly became more involved.

I enjoyed visits with the side characters, namely Castle's perfectionist teenage daughter Alexis (Molly C. Quinn) and his mother. Alcoholic grandmas are hardly a new topic (demonstrated in "Spanglish" and the upcoming "The Lovely Bones,) but Susan Sullivan solidly provides comic relief.

Some shows were better than others- dialogue ran the gamut from hilariously offbeat to annoyingly corny, and the mysteries were, as all things, a mixed bag. Another perk of having Molly C. Quinn on screen was that, working as a protective and affectionate dad, Castle revealed his most human side, and his shrillness decreased. As it went on, I found myself entertained by a enjoyable (if guiltily) show. As a plus the victims and suspects usually provided solid performances. After a dreadful first show and a handful of good ones, I will be awarding three stars, which is fair since I'm willing to try the second season.

I hope that Fillion's Castle grows on me, and it spends more time catching the killers and less time developing dull tension with the relatively thin leads. Though Richard has become bearable of late- maybe he could suffer a semi-serious injury, still able to write his tragedy-exploitation pulp and look after his daughter, but incapable of trailing Beckett? Castle Beckett- Season 2? I look forward to it. (Rated TV PG.)

Trailer Not Available

Requiem

When it comes to rating movies, how should a film like Requiem be treated? Taken as entertainment, it is horrible- the viewer waits, sickened by the inevitable conclusion, but when it comes it is still like a poke in the gut. It is horrific, yet not horror, and shouldn't be advertised as 'scary' in any conventional sense.

But it strikes me as brave how directer Hans-Christian Schmid delivers his story- sharp and gimmickless. His viewpoint is clear- the girl was mentally sick. Nothing other than ignorance and her own mind conspired against her. Whether this notion would have helped anything remains distant.

But the film doesn't need vomit or swiveling heads, shocks or hallucinations. It has Sandra Huller. Fully absorbed in her role, Sandra furiously portrays Michaela Klinglar, a character based apparently, on a real German girl named Annalise Michaels, who lived in 1970's Germany.
Michaela, as many young people would, hopes to leave her parents for college, and eventually, a career in teaching. She announces she will be leaving for university. She seems healthy and capable enough, but her mother speaks quietly and archaically of her illness and it's eventually effect on her future.

Michaela lives with three people- her parents and a younger sibling. Her mother coldly talks of her daughter's limitations in way that radiates cruelty, not care. New clothes that show Michaela's figure are promptly thrown away in the night for being trampy. Even when her mother presents a gift, a tension lies in the air.

The girl's father secretly resents serving as his daughter's shield. But her mother relents, and she is given a chance to try a life of classes and socialization. The family is religious, as is Michaela, but at her school, belief in a higher power has gone out of style. Her mention of God is met by snickers. An at first aloof old classmate hangs around with her, as long as religion and self-help are not brought up, even with earnest intentions.

When Michaela first begins to suffer seizures, black-outs, and hallucinations, she manages to cover up the incidents. Her requests for help from a priest invoke less-than-helpful response. She begins going out with a boy who promises when asked to stand by her, foolishly ignoring the conditions.

When her parents do discover her degeneration, they make the tragic decision to involve the church in her rehabilitation. While her streches of coherency become rarer, she becomes a spiritual guinea pig for exorcisms and is denied the psychiatric care she so desperately needs.

Two films have been made involving the case of Anneliese Michels, the other being a Hollywood courtroom thriller titled The Exorcism of Emily Rose, which concentrates on the supernatural aspects of the case.

Schmid has no use for the superstition of the latter, but at times his stance becomes all-too-clear, involving overwrought scenes with a harsh priest, as with an earnest member of the church whose cure for insanity is a good round of bible study.

Even as Requiem falters, Sandra Huller's intense performance, conveying the hope for normalcy and pain of rejection and illness almost single-handedly keeps the viewer's interest. Some say the docu-style filming is boring, but I say it is a courageous attempt to strip Annalise's story to the basics, dropping the shocks and visualized nightmares that distract from the reality of the situation.

For more information on Anneliese Michels, check out this link (Spoilers!)

The Boy in the Striped Pajamas

The Boy in the Striped Pajamas is about a regular kid -- not a child prodigy, nt particularly wise beyond his years. The only thing that separates him from the willfully blind adults who surround him is that he has not yet learned to hate. The film never depicts him as a hero, at least an intentional one, just a kid who acts like any other would act, innocently unknowing of the expectations and prejudices of those around him.

The protagonist, a blue-eyed, brown-haired eight-year-old named Bruno (Asa Butterfield), is living in a stage were fantasy and reality remain merged. He resides with his family in Germany, with his older sister, soldier dad, and mom. He tries to find fun as best he can, with no help from his sibling, who is the simpering lapchild type, engaged in a misguided coming-of-age, decorating her walls with appreciation for her country and throwing aside her dolls.

After he has lived comfortably with his family, Bruno learns that they are to move away, closer to the new job. His father has earned a promotion. This is supposed too be good news, but isn't for Bruno -- he wants his old house and friends and doesn't want his life changed. Worse, he has no say about the matter and is moved to a base where men in gray pass him stiffly, talking to his father.

There are no children he can see, until he stumbles quite by accident on a farm occupied by underwashed, underfed people. He is encouraged to stay away, as his father tells him the people are not humans and shouldn't be treated as such. But they seem human enough to him, especially Schmeul, a boy his age who catches his attention. They meet, laugh at each other's names, and promise to visit more.

In a different situation, the friendship would be considered harmless, and Bruno would be able to freely play with the boy before his return. The fact that he is living in Auschwitz puts a damper on that ideal. Schmeul is treated as a flea-ridden cat -- don't bother to get attached to him, he'll be gone soon enough. But love for his fatherland has not impressed itself in Bruno's mind yet, and he ignores the others' warnings, pleased to have another child to interact with.

This film is based on a young adult novel by John Boyne, described as a 'fable' by the author. It contains telling details of the Holocaust, but from a child's eye view -- yellow stars and fences are interspersed with the normal thoughts of a kid: toys, friends, and irritating siblings. It is a small but powerful story, meant to send a message with only as much information as we need. The rest we know for ourselves.

For basically first-time actors, the young boys who play Bruno and Schmeul do fairly well. However, I was annoyed by the skips and jumps in Butterfield's performance. He slips naturally into scenes of fantasy and play, but when the story becomes more intense, he seems slightly confused about how to react to the script, which hampers the believability somewhat. He generally did a good job, however, and one shouldn't want him to progress too quickly, to avoid a Culkin-ish speed-up of maturity.

The Boy in the Striped Pajamas is quiet and infused with a moral ambiguity. Bruno doesn't view his father as a monster even as he begins to know more. Even his mother doesn't seem completely aware of the situation, and although she's knows of the prisoners, it still comes as a shock when she figures out what the torrent of smoke streaming into the air is.

Also, it contains the most shocking and unexpected ending since The Life Before Her Eyes. Although the adults turn away, reminding themselves of their good fortune that they are not within the barbed fence, they are forced, in the most horrendous way possible, to look back. Everybody finds their inner humanity, and no one wins.

Matilda

If you have read any of the works of British childrens' author Roald Dahl, you will know one thing his stories lack is sap- which has endeared them to some grown-ups but struck others as unsuitable kid material- although his books may be whimsical their sense of humor is also short, sharp, and often at the expense of others.

"Matilda," directed by Danny De Vito and based on the popular Roald Dahl novel, is a satire of cluelessly cruel parents too absorbed in their own lives to take notice of their children's gifts, remarkable as they might be. In doing this, he introduces us to one the most ridiculously fractured families in kid movie history- the Wormwoods.

The director plays Harry, a hack car salesman who cons people by filling seemingly good automobiles with saw dust (that may not work in the real world, but never mind.) Mom Zinnia (Rhea Perlman, De Vito's real wife) is shrill, nasty-tempered, and completely engrossed in leaving home to play Bingo. Their offspring are Mike and Matilda.

Matilda (Mara WIlson,) the youngest is the focus of the story, and so she should be considering Mike is following in his dad's footsteps as a loud-mouthed ignoramus. Matilda as been virtually abandoned since birth, and left to roam at her own devices. Since she was a young child she has loved books.

As books in the Wormwood house are in short supply, she took time at Bingo games to cross streets to the library- a great feat for a toddler. learning vocabulary at an alarmingly quick rate, Matilda becomes bored with the mundane life her parents expect her to have.

The doltish pair take offense that young Matilda would rather read than watch game shows on the telly day after day. The seem in fear that their daughter may surpass them in intelligence- a feat, honestly, not hard to accomplish. Finally they ship her off to school, where she proves her intellect is far beyond any child (and teacher) at her school.

There she meets Miss Honey (Embeth Davitz,) A teacher as splendid as her name and one of the film's only positive adult characters, who takes an interest in finding material suiting Matilda's growing desire to learn. She also makes her first friend. School begins to become the place she yearns for, bracing for some happy activities after a day with her cruel and indifferent parents.

Everything at school would be great- except that all the children and the teachers live in fear of the sadistic, kid-hating brute of a headmistress, Mrs. Trunchbull (Pam Ferris.) How sadistic? Picture Dolores Umbridge stripped of any even artificial sweetness, and you've got the Trunchbull (in fact, the actual Potter connection is that Ferris played Harry's inflating aunt in the third film)

Matilda, fueled by Miss Honey's love for her and her wishes for a better life, precedes to try to end the Trunchbull's reign of terror. Her having put her superior intellect forward in a series of pranks on her parents, she decides to find a way to drive out the headmistress for good. Aiding her are telekinetic powers, which she hones to use to her advantage.

Unrealistic, perhaps? Well, this film takes a back seat on realism. Take the Chokey for example. When a child fails to live up to Miss Trunchbull's standards, she encloses them in a porta-potty sized room with walls adorned by broken glass and nails, forcing them to stay standing for an unspecified amount of time. While one would think this sort of behavior would end in a social services visit for sure, the kids keep quiet, knowing their parents would dismiss such wild tales.

For Miss Trunchbull's horrible torment, it seems lucky Matilda only unleashed her powers for a series of vicious pranks, tricks, and general comeuppance, rather go Carrie on the people who have done her wrong (a film I haven't seen, but who hasn't heard of it?) Wilson, as Matilda, is appealing, and Ferris played such a ridiculously horrid cow of a character that I felt compelled to make sure she wasn't as hideous in life (she wasn't.)

Obviously, "Matilda" has a short supply of subtlety to begin with, but certain parts that added to the enjoyment of the book. Matilda's brother, Mike, was not entirely dreadful in the literary version, whereas here he has been morphed into a complete bullying jerk. Also, the ending has a clever touch (concerning Matilda's telekinesis) that has been rubbed away to cater to the audience.

"Matilda," though too bizarre for some families, is a lot of fun, and a great movie for kids who are sick of the same old pitiful rehashes dropped for the mass public (Transformers 2 and Air Buddies, anyone?) Anybody with a slightly morbid sense of humor will enjoy this kid-geared fantasy/ back comedy which has no intention of playing nice (Rated PG.)

Lymelife

"Lymelife" is a coming-of-age story in the most discomforting sense, a portrayal of one young person having their trust broken down, then being assigned with the even more difficult task of moving on. It is the second indie dealing with crippling dysfunction and featuring the two younger Culkin brothers, after "Igby Goes Down," but that is where the similarities end.

While "Igby" deals with alienation and fractured family dynamics in an snarky, self-satisfied way (think "Juno" with a nasty streak,) Lymelife's situations come out more naturally- there a fewer smirks and and less sarcastic one-liners. In this, youngest Culkin Rory is the center of attention, and evokes a viewer's sympathy as Scott Bartlett, a sensitive, naive, and hormonally charged teen living in 70's Long Island.

Scott lives with his mom Marilyn (Jill Hennessy) and Dad Mick (Alec Baldwin,) a real-estate developer. Soon his older brother Jimmy comes back from military school, enthralling him with stories of handguns and grenades. Scott starts out with usual problems- avoiding the school bully and crushing on neighboring girl Adriana (Emma Roberts,) who is pretty but entirely involved in a game of hard-to-get with the meek Scott.

But Adriana has her own set of problems. Her father Charlie (Timothy Hutton) appears to have contracted Lyme Disease, causing periods of listless exhaustion and erratic behavior. Her second one is ironically enough, involve the Bartletts as well. While Scott remains happily blind to the family's entanglements, both Jimmy and Adriana bear the realization of the fact that Adriana's Mom, and Mick, who are real estate partners, have been crossing barriers of the platonic relationship for a long time.

Finally she tells Scott as bluntly as possible (which I will not tire you mentioning here,) forcing it to sink in. When it comes, it hardly surprises him. Now he understands the projection of paranoia from his mom's own suspensions (culminating in packing layers of tape on her children's sleeves to prevent a tick attack,) and his brother's dry, bitter cynicism.

"Lymelife," however, does not drop at this realization, but follows Scott as the pressure alters his perception on life and as his relationship with Adriana evolves, set in the backdrop of his parent's inevitable falling-out.

No doubt about it... the younger Culkin carries the movie. Whether being stringed along by Adriana or reacting to Mick's explosive temper, Scott's portrayal asks for the viewers care in the situation, as unoriginal as it may be. Hutton, too, portrays Charlie's fading sanity disturbingly, conveying with limited expressions the feeling of psychological stability being stretched to breaking point.

Hennessy, as the Culkin's mother, successfully pulls off a combination of neurosis and sympathy, but Keiren seems a side note, not terribly developed beyond a tense, telling scene with Mick and proof of his vicious temper (beating Scott's tormenter to a pulp.)

"Lymelife" finds atmosphere in banality, and invokes good performances by the main players. The problem remains, though- do we really need another coming of age/ family discord indie? The director, Derek Martini, must of known this... and something brilliant may have hatched from his efforts if he's put his acting, sensitivity, and characters into a vitally new situation. But we're left with a suburban dysfunction drama, more relatable than "The Squid and the Whale," with a careful realism and performances. That, I suppose, is enough. (Rated R)

Note: Beware the ending, not nearly as infuriating as the loose ends of "The Tracey Fragments" (Why did I sit through this?!) but not clever enough to restrain my natural indignation of a gimmick.

Zombieland

The world of "Zombieland" is desolate and filthy, yet still amazingly funny. It caters to Black Comedy number #1- fill the movie wih grime and gore, but keep it distanced from reality to keep the viewers from getting too uncomfortable. It's like Cillian-less 28 Days Later without the rape, if Danny Boyle had been going for funny instead of disturbing.

The characters of this film have given up on name, it appears, as they are known chiefly as their hometown. The hero, Columbus, is played by Jesse Eisenberg, a young actor best known as the non-masturbating older brother in Noah Bambach's "The Squid and the Whale."

Columbus opens the film with a deadpan narration, saying that his country can no longer be considered America, because "something needs living people to be a country, and everyone here is dead." Seemingly literal, as the only people we come into contact with for the first ten minutes at present time besides Eisenberg are raging, brutal corpses.

There is a set of rules, Columbus says, for one to stay alive in the area, to avoid becoming a 'human happy meal.'. The viewer is shown bloody clips of potential survivors who broke these. Fasten your seat belt. Don't be fat and out-of-shape. Pay attention to where you are, and where the undead are. Finally, don't get close.

Having lived in isolation before the virus, he is to some extent used to being alone. He also seemed a prime candidate for obsessive-compulsive disorder, carefully staying away from his fears before there was really anything to be afraid of. His encounters with the apocalypse begin in a flashback, when he allows an attractive girl who has been attacked to take refuge, and she tries to eat him.

In the present day, he decides to head to his home town looking for any surviving family. On the way, he is surprised to find another survivor. This is Tallahassee (Woody Harrelson,) a macho guy who's made it his goal to kill every zombie he can get his hands on.

His other goal drives him to raid Hostess trucks by the side of the role, desperate of a Twinkie- a scrap of normalcy in a life that's gone of the deep end. They join up, though Tallahassee's on a revenge kick and Columbus would just as soon keep as far away from the undead as possible.

The rest of "Zombieland"'s short duration revolves around the duo's cross-country trek to find an apparently safe haven when Columbus family plan goes through the roof. The are accompanied by two at first innocent-seeming sisters who have a knack for getting the best on any situation (Abigail Breslin and Emma Stone, who wears eye make-up incredibly unblemished by zombie attacks.)

Woody Harrelson fits comfortably into his subtly sensitive character, while Jesse Eisenberg takes his role as the droll, paranoid Columbus completely straight, installing with the character's seriousness an almost gravity into the ridiculous plot.

The best thing about "Zombieland" is that the director, with all his fervor making the most disgusting zombies imaginable, doesn't forget to add an interesting feel for it's living protagonists. In fact, Tallahasee and particularly Columbus are cleverly conceived, though it seems the female's characters are skimmed over somewhat.

Along with the wit, though, is the very common tough girl and sensitive guy tension, which wasn't original 28 Days Later, let alone this one. It seems that people are still feeding the feminist issue, and find aggression in girls almost endearing.

I suppose that I wasn't expecting how short "Zombieland" was, but all the same I found the ending somewhat abrupt. It's the kind of conclusion that seems awkwardly unfinished, and leaves you saying "is that all there is?" to a black screen.

All the same, I left the theater amused and happy, and appreciated an enjoyable movie that just seemed a little too clipped. It may not be the first zombie-themed comedy of late, but it deserves it's place next to "Shaun of the Dead" as an entertaining, witty comedy in horror's clothing (Rated R.)

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