Short Takes
IMAGINE THAT
Eddie Murphy is a Denver investment consultant, Evan, with a workaholic schedule that leaves little space for seven-year-old daughter, Olivia (Yara Shahidi). Adding to his pressures is the meteoric rise of a coworker, shtick American Indian "Whitefeather," whose financial consultations come couched in pseudo-mysticism and PowerPoint razzle-dazzle (played by Thomas Haden Church, fitfully amusing, with characterization and makeup owing much to Phil Hartman's SNL Unfrozen Caveman Lawyer). Evan's interest in parent-child bonding spikes when Olivia becomes a medium for clairvoyant insights into international business trends via her imaginary friends. On the surface, the idea of combining Bloomberg Terminals, market jargon and childish fancy seems counterintuitive. That's because it is. But Imagine That does manage to get a crowd tearing up on cue for its emotional climax; as much as it works, it's through the personal charm of Murphy and Shahidi. Strikes against include god-awful Beatles covers, over-reliance on the hilarity of grown-ups in suits saying "poop," and obtrusive Red Bull product placement—the beverage company may as well start producing films itself after this and Yes Man. If memory serves, kiddies like whatever movie you drop them at, but for the record, Drop Dead Fred remains the vastly superior film. (Opens Friday everywhere) NICK PINKERTON
THE MERRY GENTLEMAN
Part of the likeable routine Michael Keaton brought to his roles in the '80s was patter—sometimes manic, sometimes balky. In
The Merry Gentleman, he might be overdoing the walkback: As grizzled Chicago hit man Frank Logan, Keaton lurks under a newsboy cap and speaks sparingly, often with a stagey self-interrupting cough (another tic). Frank is the mysterious stranger who helps mousy new-in-towner Kate (Kelly Macdonald, Scots accent retained) with her Christmas tree. This triggers an hour's worth of diffident dramatic irony involving his occupation, a persistent cop (Tom Bastounes) investigating a sniper murder near where Kate works, and a possible abusive ex in her past (who, spoiler alert, turns up to deliver a terrible monologue). Keaton, who took over directing duties from ill-stricken screenwriter Ron Lazzeretti before shooting started, inherited a stock-still story of two lonely souls and never develops their rapport. Macdonald is approachably appealing as ever, but demurely sheds little insight on a character that needs some. Keaton's directorial debut is by no means the most embarrassing in the past few years (Anthony Hopkins's Slipstream still smarts), but the repetitive material hobbles the actor's energies. (Opens Friday at Green Hills) NICOLAS RAPOLD
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