Movie Review Panic Room

Panic Room (2002) 

Directed by David Fincher

Written by David Koepp 

Starring Jodie Foster, Kristen Stewart, Forrest Whitaker, Jared Leto, Dwight Yoakam

Release Date March 29th, 2002 

Published March 28th, 2002 

David Fincher is my favorite director. For the uninitiated, Fincher is the brilliant eye behind the lens of Fight Club and Seven, two stylishly violent, high voltage thrillers that pair catchy visuals with blistering commentary on our consumer culture. Fincher's new film, Panic Room, doesn't aspire to social commentary, it's just a straight edge thriller easy to enjoy as long as you don't expect too much from it.

Panic Room stars Jodie Foster as Meg Altman, a divorcee raising a teen daughter (Kristen Stewart) and looking for a new home. A real estate agent shows Meg a gorgeous New York brownstone. 3-stories, multiple bedrooms, single bath, cable ready, and oh yeah there is this little room built by the ultra-paranoid former tenant. This room is essentially a safe built for a human being, with two feet of cement encasing two feet of steel on each side of the 6 by 10 foot area. 

The panic room is meant to keep the owner safe from a break in. Needless to say Meg and her daughter move in immediately and on their first night there is a break in, forcing Meg and her daughter to put the panic room to use. Unfortunately for Meg, the men behind the break in, Junior (Jared Leto), Burnham (Forest Whitaker) and Raoul (Dwight Yoakam, yes Dwight Yoakam playing a guy named Raoul), need to get into the panic room to get what they came for.

The first half of Panic Room encompasses the character introductions, and explores the space of the panic room and it's very good. Director David Fincher's camera helps build suspense through shadow and light. The props go to Oscar winner Conrad W. Hall's Cinematography as well for giving the apartment and the titular panic room dimension, we want a strong sense of the space and we get that while also ramping up tension between the thieves and our innocent mom and daughter duo. 

Once Meg and her daughter are inside the panic room, the film begins to lose steam. There are still a few good moments but the attempts by the gang to get inside the panic room are right out of MacGyver's playbook as are Meg's attempts to thwart them. It is those MacGyver-like logical leaps like Meg's figuring out how to hook up the panic room’s phone line and Burnham’s oh so lucky guess as to what she's doing that border on the ridiculous. That scene, amongst others, undermines the tension and kills some of the suspense.

Still, Panic Room is not a bad movie. Jodie Foster is good in a very difficult role that seems the least defined of all of the characters. Each of the bad guys is able to communicate their motives and personalities in their interaction with each other while Foster's only interaction for most of the film is her daughter, which is confined to being the protective mother. Forest Whitaker and Jared Leto have good chemistry as a team but Dwight Yoakam seems woefully miscast as Raoul, the supposed intimidator who is more laughable than imposing. 

Visually, Fincher is very much on his game, with unique camera work and one of the most visually interesting credit sequences I've ever seen. Be forewarned: if you have a problem with motion sickness you may want to bring some medicine because Fincher's camera rolling through walls and windows and flying through keyholes and air ducts can be somewhat jarring.

Movie Review: Cold Creek Manor

Cold Creek Manor (2003) 

Directed by Mike Figgis 

Written by Richard Jeffries 

Starring Dennis Quaid, Sharon Stone, Kristen Stewart, Stephen Dorff

Release Date September 19th, 2003 

Published September 18th, 2003 

Why does Hollywood seem to dislike anyone who lives outside of New York or Los Angeles? A number of recent releases show big city folk wandering off to the sticks to get away from it all and finding themselves terrorized by small town folk who don't take kindly to strangers (pause to spit tobacco). The horror films Wrong Turn and Cabin Fever both featured the scary backwoods redneck types, and the new Mike Figgis film, Cold Creek Manor, also recycles the cliché of the whacked-out redneck. That all three of these most recent examples are also less-than-stellar films should tell you something.

Dennis Quaid stars in Cold Creek Manor as Cooper Tilson, a documentary filmmaker and stay-at-home dad to two precocious kids (Kristen Stewart and Ryan Wilson). Cooper's wife, Leah Tilson (Sharon Stone), is some sort of executive, constantly jetting off to important meetings and missing her family. When their son is nearly killed by an angry New York driver, mom and dad decide that it's time to give up city life and live the ultimate yuppie fantasy of a beautiful country home.

In true money pit fashion, however, the couple chooses the absolute wrong house, a place called Cold Creek Manor. It's the kind of place that, when it's name is spoken, people look away in horror. Of course, the city folk are dense enough not to notice the many warning signs. One thing they can't avoid noticing however is the manor's former owner Dale Massie (Stephen Dorff), who, upon leaving prison, promptly breaks into the home and joins the family for dinner. As a courtesy for having sold off all of Dale's belongings, they hire him on to help rehab the rundown house.

Needless to say, Dale has some bad intentions toward his home’s new occupants and it's not long before the crazed redneck is terrorizing the family. Call it Cape Fear-light; we have definitely seen this whole thing before. The odd thing is, the trailer and commercials seemed to play up a supernatural element to the story. It's an element that is not in the actual film, where the melodrama is all too human.

Sharon Stone makes an obvious attempt to soften her image in Cold Creek Manor, playing a loving mother as opposed to her typecast sexpot roles. Unfortunately, Stone's performance in Cold Creek Manor only serves to highlight exactly why she has been typecast. Stone radiates the warmth of an icy river. Writer Richard Jeffries doesn't help much by giving her a weepy victim role instead of a fully fleshed out character.

Dennis Quaid is only slightly more effective as the father character but much of that is based on his cultivated career playing a wide range of likable good guys. Also playing opposite Stephen Dorff's well-played psycho gives Quaid the opportunity to bounce off of some good character work. Indeed, Stephen Dorff is the film’s true star. Though his character is not very well written, he infuses it with the necessary menace and smarminess to make it as believable as it can be within the ridiculously over the top story.

It might have seemed confusing to see such a mercurial director as Mike Figgis directing such a conventional thriller. The only reason I can see why he made Cold Creek Manor was to indulge his love of architecture. As he did in his little seen but well respected film Liebestraum, Figgis directs his sets better than his actors. You can see where this script would appeal to Figgis because it allows him to film a house of exquisite design. The house in Cold Creek Manor is in fact at times better shot than its stars, Ms. Stone in particular.

But great architecture does not make a great movie. Cold Creek Manor is too conventional, stereotypical and languidly paced to be a great movie, or even a good movie for that matter.

Movie Review Cold Mountain

Cold Mountain (2003) 

Directed by Anthony Minghella 

Written by Anthony Minghella 

Starring Nicole Kidman, Renee Zellweger, Jude Law, Phillip Seymour Hoffman, Natalie Portman 

Release Date December 25th, 2003 

Published December 24th, 2003 

In 1997, Author Charles Frazier set out to tell a story that had been passed through his family for years. It was the story of his great uncle H.P Inman and his arduous trek home to North Carolina after deserting the Southern army near the end of the Civil War. In translating the story to the page, Frazier created an epic love story combined it with a Homeric odyssey and bathed it in Southern gentility.

Now in the hands of Director Anthony Minghella, Cold Mountain is a portentous, pompous, epic scale film and a sure bet Best Picture candidate.

Jude Law stars as Inman, a day laborer helping to build a brand new chapel for the people of Cold Mountain who are welcoming the arrival of a new Minister, Reverend Monroe (Donald Sutherland). With Reverend Monroe is his daughter Ada (Nicole Kidman), a well-educated, Charlotte-bred woman who has never done a days work in her life. Ada is a trained pianist, a writer and lives to serve her father. The attraction between Ada and Inman is immediate though inexplicable. The timing couldn’t be worse as Inman is leaving to join the Southern army to fight in the Civil War. They exchange photographs and a single passionate kiss. They promise to write and Inman promises to come back.

At war, Inman is witness to one of the bloodiest battles of the war, the battle at Petersburg, Virginia. The battle is legendary for the massive mistake made by the northern army who, after setting off a huge explosion underneath the southern lines, charged ahead into the crater they created. Once trapped inside the remaining Southern soldiers are able to pick them off one by one as they attempted to climb out of the crater. Inman watches most of the carnage until forced to jump in and save a friend who fell into the crater.

Afterwards, Inman is injured in a raid meant to kill the remaining Northerners trapped in the crater. While recovering, he receives a letter from Ada detailing her struggles since he left and asking him to come home. Inman immediately deserts and begins a very long walk home.

In the meantime, Ada is in grave danger of her own. With all of the able bodied men of Cold Mountain off to war and her father having passed away, Ada is left to tend the farm which she can't do. With only the kindness of an old couple played by Kathy Baker and James Gammon is Ada able to survive. At the old couple’s urging Ada takes in a woman named Ruby (Renee Zellweger), a force of nature personality who's as spunky as Ada is helpless. Ruby moves in and teaches Ada how to survive.

Zellweger's Ruby is at once the film’s most interesting and most problematic performance. On the one hand, it brings the film some much-needed lightness to balance the dreariness of the austere landscape and doomed love story. On the other hand, Zellweger continues to draw laughs even as she is supposed to be drawing sympathy. Credit Renee Zellweger for her ability to keep Ruby from going over the top but the adapted screenplay does her little favor with it's cornpone wisdom and forced passages that play up the character’s lack of education. The role was initially intended for an African American actress, the change is a wise one because as written the role would have been clearly racist.

As Inman makes his trek back to Cold Mountain he also meets some colorful characters, including a lecherous priest played by Phillip Seymour Hoffman and a nasty little redneck played by Giovanni Ribisi. Then there is the odd cameo by Natalie Portman as a war widow trying to protect her sick infant and fend off the Union army creeping up on her doorstep. She takes in Inman during a heavy rainstorm and the two have an odd encounter that is chastely romantic but unnecessary. Portman's scenes drag out the runtime of the film and serve no purpose on Inman's journey other than showing what great chemistry Law and Portman could have together given more time.

Much has been said of the chemistry between Law and Kidman, including rumors of onset romance. However, in the film they share so few scenes that the chemistry is never really an issue. Ada and Inman don't fall in love with one another but rather the idea of each other. Inman headed off to war and the strong possibility of death and appears to grab on to the image of Ada, the most beautiful woman he has ever seen, as a reason to fight and a reason to keep living in the face of great tragedy. 

As for Ada, Inman is at first simply an intriguing romance but in the course of losing her father and suffering on the farm, before Ruby arrives to help her, Inman is a savior. Inman is a knight in shining armor coming to her rescue. It is the idea of one another that matters, not the person themselves. It’s that idea which makes the film’s ending all the more poetic and fascinating.

I'm not going to give away anything, Director Anthony Minghella certainly never gives anything away. For most of the entire nearly three hour runtime of Cold Mountain, the audience has a preconceived notion of what will happen and Minghella alternately delivers it and subverts it. Switching perspectives from Ada to Inman, shifting the timeline from when Inman and Ada met to the current moment of their journey. The film is at once conventional and out of sorts and I dig that about it.

That said there is another element of Cold Mountain that I didn't like. Call it the Miramax effect or maybe just something about Minghella's affected filmmaking, but everything about Cold Mountain screams out at you to appreciate it whether you want to or not. There is an arrogance to it that says the film doesn't have to be entertaining because it's above that. It's like an obnoxious person who simply assumes that you like them regardless of how you really feel. Cold Mountain seems full of itself and arrives with an air that says “Award me.”

Is Cold Mountain a well-crafted film? Absolutely. Is it among the best films of 2003? No. Does it demand that you think it is? Definitely.

Movie Review: White Oleander

White Oleander (2002) 

Directed by Peter Kominsky 

Written by Mary Agnes Donaghue 

Starring Michele Pfeiffer, Allison Lohman, Renee Zellweger, Noah Wyle, Cole Hauser, Patrick Fugit 

Releasse Date October 11th, 2002 

Published October 10th, 2002 

In What Lies Beneath Michele Pfeiffer spends the first three quarters of the film giving the best performance of her career. A performance that was vulnerable and wrenching, combining madness and sanity with depth and sexuality. Then the film becomes a typical horror slasher movie with an un-killable and unbelievable villain that ruins the entire film. Now with White Oleander, Pfeiffer is allowed to complete the performance she started in What Lies Beneath and finally give the best performance of her career.

In White Oleander, Pfeiffer stars as Ingrid Magnusson, a talented but highly troubled artist and mother. Alison Lohman is Ingrid’s daughter Astrid, who quietly witnesses her mother's madness yet still worships her. After Ingrid is sent to jail for killing her lover, Astrid is moved to a series of horrendous foster homes but cannot escape the reach of her mother who fears that she is losing control of her daughter.

The first foster home Astrid is sent to belongs to a former stripper turned born again Christian named Starr (Robin Wright Penn). At first Starr seems merely strange and highly hypocritical, she is born again but lives with a married man, Ray, played by Cole Hauser. As the story proceeds we find that there is far more wrong with Starr than mere hypocrisy. As Astrid gets to know and like Ray, Starr begins to suspect that Astrid is trying to seduce him. 

As it turns out it’s the other way around. Though Ray never tries anything with Astrid the attraction is there and leads to a dangerous climax. Ray and Starr disappear and Astrid is sent to an orphanage where she meets a fellow artist and kindred spirit named Paul played by Almost Famous star Patrick Fugit. The tentative romance is a little rushed but the actors chemistry is good enough to cover any problems caused by the poor scripting.

Astrid and Paul’s relationship is short lived as Astrid is shuttled to another foster home. This time it’s the upscale home of an actress named Claire (Renee Zellweger) and her producer husband Mark ("E.R’s" Noah Wyle). Astrid quickly begins to enjoy her new home though trouble is obvious as Claire suspects Mark’s frequent travel is hiding something. And of course there is Ingrid who, without Astrid’s knowledge, has begun to contact Claire and would like to meet her. 

Astrid is quick to notice her mothers’ malevolent intentions but Claire is oblivious and once she is drawn into Ingrid’s web Claire is quick to crumble. With Ingrid’s prodding, Claire becomes more suspicious of Mark and distant from Astrid, leading to an emotional ending that is the film's emotional climax. Watching Pfeiffer and Zellweger play scenes together is remarkable. Both actresses are giving everything they have and it is a sight to see. 

The mother-daughter relationship is the film's centerpiece and Pfeiffer and Lohman work like clockwork. Trading lines of dialogue as if they had worked together forever, their characters come to life in each other's presence. Each actress brings the best out of the other and their scenes together are riveting and intense. Oscar should call on both of these actresses.

That’s not to say that the film they inhabit isn’t flawed. Indeed were it not for the strong performances the film would no doubt collapse under it’s clichés. There is only so much sadness an audience can endure and White Oleander lays it on pretty thick, forcing Lohman into situations that would lead most sane people to consider taking their own life.

White Oleander is certainly no advertisement for the foster care system as Astrid is dropped on the doorstep of people far too obviously damaged to be real. Robin Wright Penn’s Starr is an unmarried former stripper caring for three foster kids even before she takes in Astrid. Renee Zellweger’s Claire, while affluent enough to provide a home for a child, has a history of suicidal tendencies and taking in children as if they were pets, sending them back if her husband seems unhappy. Astrid’s last foster home experience is with a Russian prostitute who has her foster children sift through garbage for things to sell at flea markets or steal from other children she takes in.

The most glaring problem is the lack of a fully fleshed out male character to balance the female centric vibe. Patrick Fugit is great but his character is far too sweet and accepting to be believed and he doesn’t get enough screen time to establish a real presence. Nevertheless it’s the two lead performances by Lohman and Pfeiffer that make White Oleander easy to recommend. Forget the ridiculous chick flick label, great performances are great performances, no matter what the gender. Great acting deserves to be appreciated, and White Oleander is blessed with great acting.

Movie Review: Bee Movie

Bee Movie (2007)

Directed by Simon J. Smith, Steve Hickner

Written by Jerry Seinfeld, Spike Feresten, Barry Marder, Andy Robin

Starring Jerry Seinfeld, Renee Zellweger, Matthew Broderick, John Goodman, Chris Rock

Release Date November 2nd, 2007

Published November 1st, 2007

I'm a big fan of Seinfeld. That talky seemingly going nowhere about nothing style is just hilarious to me. Jerry has significantly lowered his profile since his legendary TV show made him the second richest television personality in America, right behind Oprah. Now Jerry is getting back to business and not being much of an actor, he's found himself a niche in animation. Bee Movie is the brainchild of Jerry and a few friends from Seinfeld. The story of a worker bee who leaves the hive and discovers a whole new world of possibilities is really just a collection of Seinfeld-isms masked by kid friendly animation.

When Barry B. Benson (Seinfeld) discovers that he will be working the same job for the rest of his bee life he longs for an escape. He gets his chance when a squadron of pollen gathering jock bees invite him to fly outside the hive. What Barry discovers is that while most humans want to squash him, at least one human, Vanessa (Renee Zellweger), will defend his right to live.

Though bee law doesn't allow bees to speak to humans, Barry is compelled to thank Vanessa for saving his life. This leads to a friendship, and a puppy dog crush for Barry. Eventually, Vanessa leads Barry to another revelation, humans have been stealing the bee's honey. With her help, Barry decides to sue humanity for the return of the precious nectar they work so hard to create.

So, there is a semblance of a plot in Bee Movie. The whole thing about humans stealing honey from bees gives the film something to do while Seinfeld riffs opposite Renee Zellweger. The dialogue is a combination of classic Seinfeld fascinations (awkward introductions, pop culture, et al) and bee puns. Some of these meandering conversations hit with a good punchline, sometimes they thud like a bad pun. Still, everything is delivered in a good natured and pleasant fashion.

The animation of Bee Movie is in the Dreamworks style, reminiscent of both Shrek and Shark's Tale. Shiny surfaces, oddly shaped bulbous characters and bright colors. For Bee Movie yellow and black are, naturally, the dominant colors, especially in the hive. Outside, bright blue skies and gorgeous green grass standout as some remarkable, eye catching visuals.

Joining the fun of Bee Movie are a number of big name guest stars. It's like a sweeps episode of the Love Boat. Oprah Winfrey, John Goodman, Chris Rock, Matthew Broderick, Kathy Bates and Seinfeld's old TV pal Patrick Warburton each play key roles. Sting drops in for a brief, humorous cameo and Ray Liotta steals the movie in a terrifically over the top bit of self parody.

Jerry Seinfeld is so naturally funny that you will laugh while watching Bee Movie. You just won't laugh enough. Gags and one liners work well in a stand up act but in movies we long for characters with some depth and insight. We long for characters who aren't merely placeholders in search of the next setup and punchline.

Ratatouille is soon to come out on DVD and that film about a gourmet rat shows the potential of animation to create animal characters with depth, insight and more to offer than a few good zingers. Bee Movie is amiable and nice but compared to Ratatouille, it's superfluous and entirely forgettable. While some won't mind the trifle that is Bee Movie, deep down they will long for more. I know I did.

Movie Review: Bridget Jones The Edge of Reason

Bridget Jones The Edge of Reason (2004) 

Directed by Beeban Kidron

Written by Adam Brooks, Richard Curtis, Andrew Davies, Helen Fielding 

Starring Renee Zellweger, Colin Firth, Hugh Grant, Jim Broadbent, Gemma Jones 

Release Date November 12th, 2004

Published November 11th, 2004 

When Renee Zellweger was announced to play British singleton icon Bridget Jones from the enormously successful book by Helen Fielding, the reaction was less than exciting for fans of the book. How could an American actress, from Texas no less, capture this essentially British character. Amazingly, not only did she pull off the accent and some serious weight gain, Zellweger went on to be nominated for an Oscar, a remarkable feat for a comic performance.

With that much success it is no surprise that there is now a sequel, it's also no surprise that that sequel is not quite as good as the original. It's called sequelitis and no matter how good the original film may be, few sequels can escape the sequel curse.

It's been five terrific weeks since Bridget Jones (Zellweger) landed the man of her dreams Mark Darcy (Colin Firth). Five weeks, 35 glorious days, 70 spectacular shags. However, in every passionate relationship, eventually; you have to get out of bed and when Bridget and Mark finally get up and get dressed the problems begin.

At first it's little things like Mark's need to fold his underwear or his insistence that she quit smoking. Soon, it's bigger problems like Mark's stodgy stuck up lawyer friends and his surprisingly conservative politics. Then it's Mark's new assistant a leggy, gorgeous, 22 year old named Rebecca (rising star Jascinda Barrett).

Bridget's circle of friends, Shazzer (Sally Phillips), Tom (James Callis) and Jude (Shirley Henderson), certainly don't help matters by fueling her paranoia over Mark's new assistant. While Bridget's only married friend Janey (Lucy Robinson) raises questions about why Mark hasn't asked her to marry him. Then there are Bridget's wacky parents, flighty Mom (Shirley Dixon) and put upon Dad (Jim Broadbent), who shock Bridget by announcing they are renewing their marriage vows.

Finally one last big obstacle for Bridget and Mark comes from Bridget's job where, as a reporter for Sit Up Britain, she has become a celebrity for smiling her way through one humiliation after another. This leads to a big promotion but one big complication. Bridget will co-host a travel show that will take her all over the world but her co-host is her former boss, and lecherous boyfriend, Daniel Cleaver (Hugh Grant).

That is the bare bones set up; but the plot in reality is contrived and episodic. Four writers including novelist and creator Helen Fielding, director Beeban Kidron, romantic comedy genius Richard Curtis (Love Actually,Four Weddings and a Funeral) and Adam Brooks, another rom-com vet who wrote this years charming tennis movie Wimbledon, all combine to give the film that to many cooks in the kitchen feeling. A lot of conflicting ideas come together to create a mishmash of good and not so good scenes. The final product is something that might make for a good sitcom but not a great movie.

Fortunately these writers are blessed with a cast that is to die for. Renee Zellweger is once again her Oscar-worthy self. Patterning her performance after Lucille Ball and the gals from Sex and The City Zellweger combines physical comedy with a terrific ability to win our hearts she makes this lackadaisical story and script work, to a point, because no matter what we absolutely love her.

For his part Colin Firth is likable but as his role is written he is somewhat hamstrung. His character is stuffy and rigid with little spontaneity. Opposite Zellweger's bubbly Bridget he looks even more stiff than he's written. Firth does what he can with the role but for the most part he is pushed along by the plot. Hugh Grant also suffers somewhat from plot manipulation but his charm and razor sharp wit make even his most strained moments work. The final fight scene between Firth and Grant is terrifically funny for the awful way the actors carry it off.

Fans of Renee Zellweger will find lots to love in Bridget Jones: The Edge Of Reason as will faithful fans of the book. For the uninitiated though the film will feel disjointed and overlong. The characters are often ridiculously lost and befuddled which leads to much audience confusion until the end when predictability and a touch of schmaltz rule the day.

Where the original felt fresh and vibrant this sequel is rote and simplistic. The various attempts at salvaging it by bringing on a different writer only served to muddy the waters. All of this seems like it may have been to much for first time director Beeban Kidron. The director often seems as overwhelmed by problems as Bridget herself and the only way out was to stick close to sitcomic formula.

Even with all that goes wrong I would not mind another Bridget sequel and I'm sure I'm not alone. Edge Of Reason does not fail because of Bridget the character who remains wildly, lovably, daft and it only benefits from Renee Zellweger's portrayal. It is the developments behind the scenes, the direction and scripting that went awry. Fix the script and keep the characters and you may just have another funny story to tell in the next Bridget Jones adventure.

Movie Review: Case 39

Case 39 (2009) 

Directed by Christian Alvart

Written by Ray Wright 

Starring Renee Zellweger, Callum Keith Rennie, Bradley Cooper, Jodelle Ferland, Ian McShane

Release Date October 1st, 2010 

Published November 15th, 2010

There was really no good reason for “Case 39,” the horror thriller starring Renee Zellweger, to have sat on the shelf for 3 years. The film is no game changing original in the genre but compared to the kind of horror flotsam that slips into nationwide release on a regular basis in the US, “Case 39” is harmless and forgettable enough that it should have passed through theaters without issue several years ago.

Instead, “Case 39” arrives with the undue burden of a heavy coat of dust that muddies the perception of the film's inherent qualities. It's fair for an audience to wonder what the studio saw in the film that made them want to hold it back and that thought leads to the fair perception that “Case 39” is a royal stinker which it is not.

Emily Jenkins (Renee Zellweger) is a social worker with a lot on her plate. She has 38 open cases of potential child abuse and neglect to deal with when her boss Wayne (Adrian Lester) drops a 39th case on her desk. Naturally, Emily is put off by the new assignment but being the dutiful investigator she is soon at the home of the troubled little girl Lilith (Jodelle Ferland) and her disturbed parents Edward (Callum Keith Rennie) and Margaret (Kerry O'Malley).

Though her visit turns up no direct evidence of abuse, Emily's instincts are that Lilith is being abused and needs more attention and care. She moves the investigation along off the books with the aid of a friendly detective, Mike Barron (Ian McShane), and eventually catches the parents in the action of trying to kill Lilith.

Lilith immediately connects with Emily, even as Emily tries to make clear she has no instinct for parenting. Soon, Lilith has convinced Emily to bring her home to her modest suburban abode and just as soon afterward things start going from serene to weird to drop dead terrifying for Emily and any one in her life from co-workers to Mike the cop to her potential boyfriend, Doug (Bradley Cooper), who becomes a particular target.

It does not take a triple digit IQ to figure out where this story is going. Director Christian Alvart (Pandorum, Antibodies) directs “Case 39” with all of the nuance subtlety of a jackhammer. Alvart's direction of Ray Wright's insultingly simpleminded script signals each twist and turn of the plot with heavy-handed music cues and dimwitted direction.

This would be surprising considering that screenwriter Ray Wright also delivered the clever and thrilling screenplay for the 2010's update of “The Crazies.” Then, one remembers that “Case 39” is going on 4 years old and well before Wright had truly developed his talent. The same could be fairly said about director Alvart who followed up “Case 39” with the dull but efficient sci-fi horror flick “Pandorum.”

Renee Zellweger remains a talented and compelling actress who knows how to draw an audience to her. “Case 39”sadly is just too dopey for even someone of Ms. Zellweger's talent to work around. The plotting is clunky and perfunctory. The supporting players, no matter that they are played by talented familiar faces like McShane and Cooper, are little more than cannon fodder and Jodelle Ferland while cute, cannot carry the burden of a plot that is so poorly drawn.

All of that said, “Case 39”is better, more professionally crafted, than much of the garbage that has been playing to empty theaters in the time that “Case 39” has been gathering dust. I could name at least 100 films far worse than “Case 39” that did not have to carry the burden of being abandoned by it's studio for three years. Is “Case 39” good enough that you should buy a ticket? Maybe not, but if you've bought tickets for such lesser fare as “Piranha 3D” you may as well pledge a little money to “Case 39.”