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Existing somewhere between the saccharine and the sublime, director-star Ben Stiller's retelling of The Secret Life of Walter Mitty is an earnest, but not entirely effective fable about escaping the doldrums of daily life and seizing change. There are moments of emotional release provided by some of Walter's real adventures, whether it's the "Space Oddity" moment as he rushes for a helicopter ride or skateboarding through a beautiful countryside.
Ben Stiller directs and stars in the heartfelt, but superficial fantasy-dramedy The Secret Life of Walter Mitty, which wants to say big things about life but never fully delivers on all its promise. Stiller's earnest retelling of The Secret Life of Walter Mitty is a sumptuous looking, intermittently effective fable. Very loosely based on the 1939 short story by James Thurber (which was previously produced for the screen in 1947 starring Danny Kaye), Stiller's adaptation depicts the title character as a nice, but forgettable man leading a humdrum, routine life. The quiet moments between Stiller and Wiig are nice and sweet, but her character's basically an idea and not a person, with no real discernible personality outside of what Wiig brings to it. Walter's elaborate daydreams involve fantasies of himself as an action hero or a romantic explorer. Penn's character is the epitome of machismo and self-reliance, and the Oscar-winning actor seems ideally cast for it.
But in reality he's a meek man with a life so dull that a relentlessly helpful eHarmony call center rep (voiced by Patton Oswalt) tries to help him beef up his online profile so he can get some views.

It's a small role -- O'Connell is almost as much the film's MacGuffin as the photo negative Walter seeks -- and one saved until the film's homestretch, but Penn's worth the wait. Walter really just hopes to catch the attention of Cheryl (Kristen Wiig), a co-worker who is also on eHarmony. The supporting cast includes Shirley MacLaine as Walter's mom and Kathryn Hahn as his aspiring actress sister. Walter's antiquated profession involves handling and cataloguing photo negatives for LIFE magazine. Adam Scott's known for his obnoxious characters, but few have been as odious and grating as the soulless exec he plays here. The digital age has finally caught up with the venerable publication (13 years into the 21st century, mind you), whose new owners (led by a bearded Adam Scott and his likewise bearded minions) are scuttling the print edition and moving the entire operation online. This film may also have the oddest product placement of any film this year, from Papa John's Pizza to eHarmony to LIFE itself and even the old Stretch Armstrong doll. Walter is tasked with providing his new bosses with the photo that will grace LIFE's final print edition, a shot taken by legendary photojournalist Sean O'Connell (Sean Penn in an extended cameo) who still shoots on film. But here's the problem: the negative of the photo in question is missing and the meek Walter, fearful for his job, decides he'll have to track down O'Connell in Greenland to get the photo or at least some answers (since O'Connell doesn't have a cell phone and is usually on the road).

The ensuing journey will see Walter start to live out some of the very adventures he's so far only fantasized about. One of the film's problems is that the protagonist's secret life has no real bearing on what he truly wants to gain, which is the heart of Cheryl.
She's not privy to any of his actual derring-do overseas, seeing only the changed man -- more confident and presentable-looking -- that he is when he returns.
Yes, his adventures give him confidence, but so would a gym membership and a tan from a day at the beach. They're basically little vignettes in the first act, but then it's all about Walter hiking (or skateboarding) through Greenland, Iceland, and later the Himalayas. It's basically about a guy who wants to ask out the woman in the cubicle across the office and whose main task is finding a photo negative so that -- gasp! It's all much ado about nothing in the grand scheme of things, although one could argue that by making the stakes just as mundane as Walter's daily life the film's somehow trying to be more relatable to everyday filmgoers.

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