You have a choice: You can press this seemingly innocent-looking red button and receive a million dollars, but if you do, a person, somewhere in the world, who you do not know, will die. That's the premise behind writer-director Richard Kelly's new film, The Box. At once a sci-fi thriller and socially conscious, message-driven film, The Box's many overlapping subplots make for a movie that is much more confusing than stirring.
Arthur and Norma Lewis, played by James Marsden and Cameron Diaz, respectively, are a financially strapped, average American couple living in Richmond in 1976. Approached one day by the mysterious and facially disfigured Arlington Steward (Frank Langella) with the all-important box, the Lewises make a decision that catapults them through a series of "tests" that drastically and tragically alter the rest of their lives.
A film that examines so closely the drives and motivations behind our actions will rely heavily on the leads' performances. Unfortunately, the top-billed actress ultimately lacks the know-how to carry the film's weight on her shoulders. Diaz feels forced and stiff, usually looking deeply tormented but without something really cooking behind her eyes or voice - probably a product of her sugary, thick put-on Southern accent. Marsden gives a much stronger performance, playing a warm and endearing husband. The true standout, however, is Frank Langella, delivering with ease an extremely complex character: a misanthrope that still falls prey to human emotion and sympathy.
The look of the film is nearly as captivating as Langella's performance. Intricate mise-en-scene, unique shots and colorful cinematography characterize Kelly's latest directorial attempt. Combined with music reminiscent of Hitchcockian suspense thrillers, The Box has an old-school feel, with new-school special effects.
Despite its stunning appearance, The Box's storyline is lackluster. Though Kelly hit instant cult favorite status with Donnie Darko, which he wrote and directed, he does not command the same adoration here. He clutters the central point with numerous subplots and miscellaneous characters and raises too many questions, which he often not only fails to answer but to even address in any way. As a result, the take-home message of the film - the declining altruism of the human race - is obscured in a sea of insignificant details.
Richard Kelly certainly knows how to direct a film, but he might have hit a wall in the screenwriting department with The Box - its jaw-dropping look is not enough to save the disjointed and unfocused script. Kelly's problematic casting of the lead role further cements the film's fate: Though a valiant effort, overall The Box leaves the audience feeling disappointed.
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