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Posted on Thursday, November 12th, 2009 18:36:39 GMT by: agentorange
Posted under: movie review scifi thriller
Year: 2009
Directors: Richard Kelly
Writers: Richard Kelly
IMDB: link
Trailer: link
Review by: agentorange
Rating: 9 out of 10
Richard Kelly channels no less than the ghost of Stanley Kubrick to turn Richard Matheson's blip of a Twilight Zone idea into one of the most astounding pieces of cerebral science fiction cinema I have ever seen. Yes, The Box is that good. It dares to scale the same intellectual heights as 2001: A Space Odyssey and it revels in the potent, restrained formalism of The Shining without ever leaving its two main characters or plot too far behind. In fact, Kelly is so self assured in executing this delicious layer-cake of a movie that The Box is now a front runner for my choice of best film of the year (yep, move over MOON) and I absolutely can't wait to see it again so I can dig even deeper into its box of mysteries.
I'll be the first to admit that Kelly's second feature, Southland Tales, was a confused and self-indulgent mess of a masterpeice. It's as though everything he needed was right in front of him, but he just didn't have the experience to know how to arrange the pieces of the puzzle, leaving the viewer consistently two steps behind and more than a little confused. With The Box, Kelly has found the magic formula, proving that he can indeed balance dramatic storytelling and heady subject matter without veering too far into the realms of self-conscious obtuseness. And actually, if there's a flaw in this film I'd say it's that Kelly actually goes too far in explaining himself towards the end of the film. Some aspects should have been left to the audience to argue about on the way home from the cinema.
The story begins with Norma and Arthur Lewis finding a mysterious box with a button in it on their front porch. A note saying they should expect a visit from a Mr. Steward at 5:30 that evening accompanies it. When he arrives, he tells them that if they push the button, someone they don't know will die and they will receive 1 million dollars (tax free). Seems like your typical morality game doesn't it? Except who is running it?
*Warning: Possible Spoilers Ahead*
Neither one of them suspects that Mr. Steward has actually been watching them through the eyes of the people they know for some time and that they have been chosen to be the subjects of a cosmic experiment of the grandest possible design. Remember the monolith in 2001? Well, whoever, or whatever, that was is essentially who is running the show here and Steward is working for them. It's as though the very spark of life, the rulers of all those intangible truths we search for through philosophy are the master manipulators of our little lives. Call them Gods if you must, aliens if it helps you sleep at night, but whoever it is is so far beyond our comprehension in such a profound way that no mere film could possibly contain the understanding of it. So please forgive Kelly if you feel like some mundane cinematic plot formula isn't completely fulfilled when you watch this film for the first time. What he is trying to discuss here is so much bigger than the trappings of mainstream movie making it boggles the mind. In that sense, The Box is a film that can - and should - be viewed multiple times.
Some critics have complained about the pacing and acting in the film and to address that I can only go back to Kubrick for a moment. Think about the deliberate pacing and epicly slow line delivery he makes us endure during the first act of his sexual fantasy film, Eyes Wide Shut. Or the outlandish theatrics of Alex and his droogies in A Clockwork Orange. Naturalism isn't always the most powerful form of cinema and I think this is a big reason why Kelly is so controlling over his performances (which are all great) and why he sets the film in a plastic-fantastic 1970s fantasy wonderland- chock full of period minutia, yet not quite real.
Think of The Box as the direct oposite of the world David Fincher created in Zodiac. Rather than striving for an accurate period movie, Kelly uses the 70s to achieve a great metaphoric purpose. See, the moral idealism of the 1960s were over by this time and America was in a period of transition, teetering on a cultural and technological precipice. We put a man on the moon for god's sake! We're the pinnacle of evolution! We're invincible, right? But is "progress" blinding us to our true place in the universe's grand plan? Even more intimately, is it pulling us away from truly knowing anyone, including the people closest to us? Enter Jean Paul Sartre's "hell is other people" and the mad thinking of Arthur C. Clarke. If The Box is a film about the complexities of moral thinking and our achillies heel ,the human ego, than this seventies theme-park is a perfect setting (particularly since we all know the direction the human race went).
My brain is reeling because all this stuff is really just the tip of the iceberg in terms of all the ideas Kelly's crammed into this truly unique science fiction masterpeice. I haven't even touched on what's going on in terms of domestic gender dynamics or economic repression vs moral decision making.
In terms of this as a piece of entertainment, Kelly hits all the marks. While it may confound in parts, it's certainly never dull. The big difference between a film like this and some fluffy scifi thriller like Eagle Eye, is that Kelly is not satisfied to have his characters simply chase CIA spooks around for an hour just to uncover some sort of been-there-done-that government conspiracy. He wants to take them to the edge of Nietzsche's abyss and give them a glimpse of what's on the other side. He's truly shed the teen angst of Donnie Darko, learned from his mistakes on Southland Tales and joined the ranks of cinema's greatest masters.
To end I'd like to quote Roger Ebert who said "many viewers will hate The Box. What can I say? I'm not here to agree with you." Well said Roger.
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