Warning: This review contains mild spoilers, but really, if you want a spoiler-free review of a re-imagining of a classic old movie based on a notable story from even earlier, grow up. For the absolute beginner, the story, originally by the esteemed James Thurber, involves Walter Mitty who has all the social skills of dish towel. In the 2013 version, Life Magazine (of which Walter is an employee) is about to go all digital, leaving him, several friends and co-workers, and the object of his newfound affections dangerously close to being fired. One of the nicer aspects of the film is that, even with the zip-bang special effects of the first quarter, the shots and the overall look becomes ever more beautiful as Walter drifts into the real, abandoning the bold but fake daydreams.
The movie is PG, but is surprisingly mature in that the viewer feels that without the allusions, visions, and goings-on, these could be real people (except, maybe, for Scott’s broad antagonist, but he had to be so, and is therefore, perfect for that role). Walter Mitty stopped the car in front of the building where his wife went to have her hair done. When he came out into the street again, with the overshoes in a box under his arm, Walter Mitty began to wonder what the other thing was his wife had told him to get. They went out through the revolving doors that made a faintly derisive whistling sound when you pushed them. It is with great sadness that we have to announce that the creator of Knowledge4Africa, Dr T., has passed away. Mittyesque -- used to describe people who fantasise in order to escape from the real world. For a period of 20 years, Thurber published his writings and his drawings in The New Yorker. He married twice, the first time to Althea Adams with whom he had his only child, a daughter. The man is very sure of himself when he parks the car and Walter regards this as arrogance. He had tried to take the chains off the wheels of his car and they became wound around the axle.
Mild-mannered photo editor Walter Mitty (Ben Stiller) sets off to find his life in the whimsical new comedy, “The Secret Life of Walter Mitty.” Photo by Wilson Webb, courtesy of Twentieth Century Fox Film Corporation. The allure of living a larger-than-life existence holds an undeniable appeal for many of us.
Iconic free-lance photographer Sean O’Connell (Sean Penn, right) provides photo editor Walter Mitty (Ben Stiller, left) with the inspiration to live a more rewarding life in director Ben Stiller’s delightful new comedy, “The Secret Life of Walter Mitty.” Photo courtesy of Twentieth Century Fox Film Corporation.
Walter’s opportunity comes when he learns that LIFE is making the switch from a print publication to an online periodical.
Pursuing the affections of co-worker Cheryl Melhoff (Kristen Wiig, right) is one of many life lessons tackled by mild-mannered photo editor Walter Mitty (Ben Stiller, left) in “The Secret Life of Walter Mitty.” Photo by Wilson Webb, courtesy of Twentieth Century Fox Film Corporation.
Under considerable pressure from higher-ups to deliver the image, Walter realizes he must find the missing photo. It’s a daunting prospect to someone so unaccustomed to these sorts of grand exploits, but, with such a critical task to carry out, Walter realizes he must do what it takes, no matter what the cost.
Walter’s chief lesson in all this is rather obvious – that he needs to learn how to live his life, not just daydream about it. Matching wits, even if only in a hypothetical daydream sequence, is one of many confrontations that mild-mannered photo editor Walter Mitty (Ben Stiller, right) has with his boss, Ted Hendricks (Adam Scott, left), in the whimsical new comedy, “The Secret Life of Walter Mitty.” Photo courtesy of Twentieth Century Fox Film Corporation. If Walter is ever going to change, he also needs to alter his beliefs, the internal means by which he manifests the external reality he experiences through the conscious creation process. Some might question the maturity (or even the sanity) of someone who so routinely escapes into a world of fantasy, and those arguments certainly have merit. When we lack practical, hands-on experience in creating our reality, we may find it challenging, even perplexing, to engage in the practice when we finally attempt to do so consciously. For instance, such signs can take the form of synchronicities, those little, fortuitously timed “coincidences” that seem too fitting to be characterized as purely random.
However, despite these strengths, the picture also suffers from some serious pacing issues, especially in the sequences falling between Walter’s daydreams and between his real-life adventures. Still, in spite of these shortcomings, “Walter Mitty” expresses some nice sentiments, and it does so rather skillfully.
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The remake of the 1947 film about Walter Mitty, a milquetoast man who lives life vicariously through daydreams in which he envisions himself in a series of heroic, fantastic personas. Register so you can check out ratings by your friends, family members, and like-minded members of the FA community of users. He has just fallen into a hard-crush for an acquaintance, and his frequent lapses into fantasy daydreaming are becoming more and more distracting.

Directed with obviously loving intentions, Stiller is much more restrained than one would presume.
She could be in a movie where she was a lunatic who sets pandas and koalas on fire and I’d still find her thoroughly adorable. I realize that a lot of people will be turned off by the symbolism, and yes a lot of it may be heavy-handed. In the end, for all of my personally held caveats emptor, The Secret Life Of Walter Mitty delivers an antidote to the sugar rush cinema of late, without abandoning the fantastic.
He wore his full-dress uniform, with the heavily braided white cap pulled down rakishly over one cold gray eye. Once he had tried to take his chains off, outside New Milford, and he had got them wound around the axles.
He stopped walking and the buildings of Waterbury rose up out of the misty courtroom and surrounded him again. She didn’t like to get to the hotel first, she would want him to be there waiting for her as usual.
Cast: Ben Stiller, Kristen Wiig, Sean Penn, Shirley MacLaine, Patton Oswalt, Kathryn Hahn, Adam Scott, Adrian Martinez, Olaf Darri Olafsson, Marcus Antturi. Our conception of such a life can indeed inspire and propel us into a richer, more rewarding, more fulfilling way of being – that is, as long as we actively seek to bring it into realization.
He routinely zones out, losing himself in elaborate fantasies, heroic adventures in which he envisions himself far differently from the Walter who plods through everyday existence. In preparation for the magazine’s last print edition, he’s charged with ensuring that the final issue’s cover photo is safely processed for publication. But, to do that, he must first find the elusive photographer, a quest that forces him to embark on an adventure like the ones his idol partakes of on a daily basis. His remarkable odyssey will ultimately take him to Greenland, Iceland and Afghanistan, and it will bring him into contact with people and places he had once only dreamed of.
As he’s depicted in the film, Walter isn’t an especially fretful soul, but, as someone who has rarely given himself permission to engage in life’s adventures, he lacks the experience necessary to routinely engage in such behavior. At first glance, this might seem like a challenging task, but, when one considers the breadth of his creativity (as seen in the fantasy sequences portraying his daydreams), he clearly possesses quite an extensive palette of imagination to draw upon – if only he’ll allow himself to avail himself of it. However, such flights of fancy also illustrate a remarkable capacity to stretch creatively, to push the limits of one’s beliefs, qualities that help to illuminate the range of one’s manifestation skills and all that they make possible.
Walter repeatedly encounters these hints in dealings with his sister (Kathryn Hahn) and his mother (Shirley MacLaine), as well as in his review of photographic clues designed to lead him to his missing idol.
Its visually stunning cinematography (especially in its sweeping landscape shots) and inventive fantasy sequences are quite enjoyable. Those transitional segments – most of which involve Walter’s painfully dull conversations with Cheryl and his tediously repetitive confrontations with his boss (Adam Scott) – lack energy (in large part due to Wiig’s miscasting) and would benefit from some judicious snipping. That’s particularly true of its exploration of living on the fringes of life as spectators rather than as actively engaged participants. I saw it on New Years’ Day and found it a magnificent way to begin the year by challenging my own limits and the ways in which I sometimes live in my imagination. Browsing you find engaging materials from thought leaders, best-selling authors and wellness experts from around the globe.
They include my longstanding belief that movies based on older movies is mostly a terrible idea floated by only the laziest moviemakers.
It should be noted that this sort of remake had been a purported pet project of Steven Spielberg’s for many years, and there are surface similarities to a Spielberg production, Joe Versus The Volcano. I am, quite shockingly, uplifted by its simple message of being a part of this life versus being apart from it. He found a big leather chair in the lobby, facing a window, and he put the overshoes and the puppy biscuit on the floor beside it. If you had contact with him and would like to leave a message, please send us an e-mail here.
He spends his days working as a photo editor (or, more precisely, “negative asset manager”) for LIFE magazine, meticulously overseeing the periodical’s library of memorable, magnificent images. But, no matter how colorful these escapes may be, they ultimately prove less than satisfying. The image in question was shot by one of LIFE’s longtime iconic photographers, Sean O’Connell (Sean Penn), a reclusive, globe-trotting shutterbug who has always been one of Walter’s idols. It’s a lot to go through to find a photo, but, in the process, it also affords Walter an even greater reward – the opportunity to find himself. He must develop the courage to push past that self-imposed barrier to become more fully involved in the manifestation of his existence.
In that sense, then, Walter’s daydreaming sessions could be looked upon as a sort of metaphysical training ground, spotlighting the means by which he envisions creative possibilities before actually attempting to materialize them.

Since our outer reality is a mirror of our inner, belief-driven world, we can draw upon externalized clues that reflect our intents, manifestations that help to make us aware of what we’re creating, perhaps even validating that we’re on the right track.
Further “evidence” of conscious creation at work can come in the form of pronouncements from muses.
The film’s clever editing leads viewers out of Walter’s everyday life and into his daydreams with a seamless proficiency that I’ve rarely seen in movies attempting comparable feats.
The film also includes far too much blatant product placement, making some scenes look more like commercials than entertainment. Walter’s evolution sets a good example to follow, especially for anyone who feels a need to leave behind a secret life for one that’s on full view for all to see – especially ourselves. Also, nobody has the right or talent to remake anything Danny Kaye or James Stewart once was in.
But, despite the crucial role he plays in connecting the magazine’s readers with the richness of life’s wonders, he’s personally reconciled himself to an existence on the sidelines of reality, one not really connected to the world he so brilliantly showcases to others through the photos he selects to publish. Thus the challenge for our long-suffering hero is to figure out how to bring those escapades to life – for real.
Walter looks forward to working with Sean one last time, and, at least initially, everything seems to be going well – that is, until the negative ends up missing.
When you think about it, that’s pretty ironic for someone who works for a publication named LIFE. Indeed, there is something to be said for practice – provided we don’t stay stuck in that routine forever. Their often-unexpected statements ring true with sparkling clarity, providing insights that are precisely what we need to hear in moments of crisis or when potentially life-changing decisions are called for. I wrote a review for it as well and although it was not as in-depth as yours, it touched on many of the same points. Finally, much as every Tom Cruise movie is Tom Cruise versus a character played by Tom Cruise, all Ben Stiller really seems to know how to play is Ben Stiller.
Both are, at heart, romantic comedies that play with fantasy elements, if not lapsing into magical realism entirely.
In the movie, the character handles Life’s photo negatives, making him the Negative Asset Manager, when his character does nothing but manage his negatives. But that also probably explains why he’s a photo editor holed up in an office and not a photographer working in the field; through this choice of vocation, he immerses himself in life’s reflections but not in its experiences. He’s grown discontented with living his life vicariously, be it in his vocation, his daily routine and even his romantic life. I actually thought the dull and tedious conversations were a perfect juxtaposition and perhaps even catalysts for Walter’s wild imaginings. But how does he go about implementing the necessary changes to make his life more genuinely fulfilling? But others take wholly unanticipated forms, such as an online dating customer service representative (Patton Oswalt) who counsels Walter on ways to court Cheryl, a co-worker and potential new romantic interest (Kristen Wiig).
Have you lost your gloves?” Walter Mitty reached in a pocket and brought out the gloves. But, regardless of how our intents are reflected back to us, we’d serve ourselves well to pay attention to them, for they often prove invaluable in helping us get a life. He put them on, but after she had turned and gone into the building and he had driven on to a red light, he took them off again. The attendant vaulted into the car, backed it up with insolent skill, and put it where it belonged.
A huge, complicated machine, connected to the operating table, with many tubes and wires, began at this moment to go pocketa-pocketa-pocketa.
He drove around the streets aimlessly for a time, and then he drove past the hospital on his way to the parking lot. Then, with that faint, fleeting smile playing about his lips, he faced the firing squad; erect and motionless, proud and disdainful, Walter Mitty the Undefeated, inscrutable to the last. 3 turret!” The crew, bending to their various tasks in the huge, hurtling eight-engined Navy hydroplane, looked at each other and grinned. They slipped a white gown on him, he adjusted a mask and drew on thin gloves; nurses handed him shining .

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