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A henpecked proofreader (Danny Kaye) with a wild imagination finds himself embroiled in a real-life drama when he encounters a mysterious blonde (Virginia Mayo) in a taxi cab. I think what sold me on this film (which I enjoyed more this time than when I first saw it years ago) were the fantasy sequences – they allow Kaye multiple chances to legitimately shine at what he was so good at (amusing characterizations), and they keep coming fast and furious. It is a shame that the rest of the story doesn’t quite hold up, but enough of it did that it still worked for me overall.
That has much to do with the early part of the film working better for me: the number of fantasy sequences, which are done well overall.
Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. When I began as a film critic, Jean-Luc Godard was widely thought to have reinvented the cinema with "Breathless" (1960). From Ben Stiller's pantomimes of romantic hesitation in its opening moments as Walter Mitty goes all J. The sequences in which he imagines himself a daring sea captain, a renowned surgeon, a WWII flying ace, a fey fashion designer, a Western gunslinger, and a riverboat gambler are each genuinely amusing, as are the patter songs incorporated throughout. At one point, I thought to mark it as one for entertainment value (which can often be considerable enough to make a film a must). Though likable, Mayo is largely a fantasy figure (even when not in the fantasy sequences); she looks nice, says little and her character has almost no personality.
One of the hardest elements to use cleverly, here it mostly consists of the variety of running into things, etc. They serve as a welcome escape for Mitty (and the audience), given the fact that his mother is annoying as hell and he’s on the verge of entering a godawful marriage arrangement.


Kingsman stars relative newcomer Taron Egerton as Gary ‘Eggsy’ Unwin, a street punk who is recruited for an elite secret spy organization by one super spy, Harry Hart (Colin Firth).Costarring Samuel L.
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But, as the film continued (first time I’ve revisited in a long time), that thought left me.
The problem such a cast of supporting characters creates is that all they have to work with is their one-note, one-dimensional selves and the film has very little chance to build.
Once his real-life adventure kicks in 100%…the whole tone turns sour for me, with the occasional reprieve. Jackson as its villain, Kingsman saw its release date shuffled around a few times, before it finally landed on the Valentine’s holiday frame in 2015; there, it will serve as counter-programming to the Fifty Shades of Grey movie. For all that, I'm giving the movie two stars, which, in star speak, translates to "fair." I'm not doing this as a sop to anyone who might end up charmed by the sometimes winsome and always self-help-book-like particulars of Stiller's romantic fable, which is can-do optimistic in rather stark contrast to Thurber's highly pessimistic mini-parable.
In "Tropic Thunder," that privilege was articulated via biting the Hollywood hand that fed him and telling the audience that it was getting what it deserved; here, the privilege manifests itself in Stiller's ability to take a big film crew to Greenland, Iceland, and a relatively safe stand-in for Afghanistan to impart some vague, semi-earnest be-here-now bromides to the paying customers.
Stiller plays the title character, a daydreamer so focused that even as he learns that he's likely to lose his job as a "negative assets handler" in the photo department of the real-life photo-driven Life (which ceased publication as a separate magazine in 2000, and was re-created as a newspaper supplement), he can't stop constructing fantasy scenarios involving the co-worker on whom he's crushing.
It’s got ingenious gadgets, suave heroes with the ability to identify a rare brand of Scotch from smell alone, megalomaniacal villains and deadly henchwomen with blades where their legs used to be. It’s filthy, funny and very violent – and frankly it’s the most fun 007 has been in years.–In short? Kingman‘s another successfully cheeky and stylized comic book-based helping of action genre entertainment from Vaughn, Goldman, and Millar.


A missing negative from the magazine's star globe-trotting photog (Sean Penn) sets Mitty on his own real-life globe-trotting adventure in search of the photog, who can tell him where the missing shot is. Along the way he makes the Very Important Discovery that, while his fantasies might in some ways exercise his imagination, they are in a certain sense holding him back. Jackson in ‘Kingsman: The Secret Service’One recurring complaint amongst Kingsman reviews published so far is that the film sometimes aims to pander too much to the teenage fanboy demographic, with its lowbrow and raunchy comedy.
While everything Stiller attempts here has a real professional polish, what "Mitty" lacks is any sense of what life might actually be like for the kind of "ordinary man" Mitty represents. Adam Scott's dismissive, ignorant bean-counter, a company man who's overseeing the shutdown of Life, comes off more like a nasty CAA agent than a publishing executive. And every now and then a Mitty fantasy will show its snide hand: there's an entirely beside-any-point "Benjamin Button" parody here that wouldn't pass muster as an MTV Movie Awards sketch. These sorts of incidental irritations, I began to notice, led me to some possible overpicking of nits, as in "I was in Iceland last winter, and everyone there speaks English almost perfectly, Stiller!"So again, there's a real question as to how reliable my assessment of "Mitty" as a weak-tea bunch of insincere pandering might be. On the other hand, your ability to swallow the movie's nth fake epiphany scored to the nth contrived-crescendo concoction by Arcade Fire or some other camouflaged emoting pomp rock outfit might not necessarily make you a better person than I.



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