Sam Raimi (The Evil Dead) takes the reigns and casts Tobey Maguire as the famous web-slinging superhero. The script is ripe with pointed dialogue, but I’ll be darned if the cast don’t pull it off more often than not. Raimi’s approach is decidedly ‘comic booky’, full of color and frenetically paced, with all the grace notes and emotional high points bent toward operatic. As Peter Parker and Spider-Man, Maguire, with his big, soulful eyes, is easy to empathize with. His take on the character is more introverted than you might expect, but inviting. (If I wanted to watch a douche bag save the day, I’d re-watch Iron Man.)
An aimless playboy and a dorky middle-schooler become friends through serendipity in About a Boy, based on the book by Nick Hornby and directed by Chris and Paul Weitz of American Pie fame. Hugh Grant plays the playboy, coasting on royalties from a famous song his father wrote. Nicholas Hoult, who would later grow up to later star in X-Men: First Class and Warm Bodies, plays the kid. I have a soft spot for surrogate father/son relationships in movies (and I don’t think I’m alone), but Grant and Hoult do a commendable job playing the parts believably and steering clear of cheese. The film manages to incorporate some real drama into the mix, especially regarding Hoult’s suicidal mother (Toni Collette), without getting too weighed down.
Writer/director Miranda July also stars in this Cannes and Sundance Film Festival winner about people trying to connect with each other in an age when culture and technology make that connection more challenging. The film seems to be saying that we are all experiencing this difficulty, but July’s characters are so quirky and awkward that Me and You and Everyone We Know is as much an absurdist fairy tale as it is social commentary. Either way, it’s an interesting film full of bizarre relationships mined for greater truth than for exploitation. Take a six-year old boy’s on-line relationship with a mysterious woman who agrees to “poop back and forth” into each other forever. Or a grown man’s sexually explicit window signage for two teenaged girls that pass by his apartment every day. July doesn’t play these up for laughs, but instead takes them to realistic and surprising conclusions. When the teenaged girls become curious and knock on the man’s door, he hides in fear. And when the boy agrees to meet his sexting partner, the potential nightmare is revealed to be something sweet and tender.
