I wasn’t holding out much hope for this one. Like anyone with a brain and a distinct fear of transforming from an adventurous roustabout into an office drone, I have a deep appreciation for the work of James Thurber (not to mention Danny Kaye, who starred in the original adaptation), and when the trailer hit, it looked like Ben Stiller’s take would be much more of a saga instead of a few simple flights from banality.

And while Stiller’s Walter Mitty departs halfway from flights of fancy, the first half is a delight. Mitty is a negative assets manager at Life Magazine – negative assets as in he’s the guy who handles photo negatives, and Life Magazine as in the periodical that Gestapo agents read when they’re tailing Indiana Jones and which, specifically in this flick, is in the process of becoming a purely online publication.

Mitty’s tasked with developing the final cover’s image, which has been misplaced, and which causes the sleazy consultant handling the transition (Adam Scott, in a wickedly dorky beard) to breathe stertorously down his neck.

In addition to that, Mitty’s currently engaged in setting up his eHarmony profile despite having gone nowhere and done nothing, diminishing his chances of attracting the pretty new hire (Kirsten Wiig). Helping him is Todd (a voice that may be recognizable, but whose identity is one of the best reveals, jokes, and sequences in the film), an overly dedicated eHarmony assistant.

The film has a fantastic start, as all the major performers – Stiller, Wiig, and Scott – come from the background of exploiting social awkwardness and revel in creating a facade of meekness in their characters, a meekness that barely veils the passions behind it. Scott in particular, is so good at each little passive-aggressive dig (I especially liked the progression of how he says “guy”: first cloying, then annoyed, then furious). And, thankfully, not all of Mitty’s daydreams are treated as immature revenge fantasies or love-struck dalliances. One sequence in particular gets very creative as Stiller and Scott battle over a Stretch Armstrong doll throughout the streets of New York, using the roads as skis and whatever else as improvised weapons.

You may have noticed that there was not a Box Office Report last week. Due to the tragedy in Aurora, Colorado the major studios made a choice to not announce any returns during the weekend, in tribute to the victims. A classy gesture that we at The Flickcast were all to willing to follow.

In any event there was a rather large Box Office event that happened last weekend, so it bears some discussion this week. The Dark Knight Rises debuted to fantastic numbers that fell short of the lofty expectations of we the prognosticators. Still, it managed to break a couple of records and come out the end of a difficult weekend with $160+ Million dollars in the bank.

Naturally people will compare this opening with that of The Avengers and The Dark Knight, and while it is in the same ball park of those two phenomenons, it failed to capture the cultural zeitgeist that propelled them to the next level.

Take this weekend’s returns as an example. The Dark Knight Rises took in another strong $64+ Million to stand number one for a second weekend, however it dropped over 60% in business from its debut frame. A number that is actually solid for a front loaded comic-book film, but is a deeper percentage dip than The Avengers or The Dark Knight ever took at any point in their respective runs.

I’d almost forgotten that the last time Ben Stiller and Vince Vaughn teamed up was in 2004’s Dodgeball: A True Underdog Story, and if you asked me why I like that movie so much and am pretty indifferent on The Watch, I’d be hard-pressed to explain why. Both have very simple premises, feature largely improv performers, and The Watch has the added benefit of Jonah Hill — playing a younger, more broad version of Walter Sobchek.

Then again, Dodgeball had cleverer jokes, Vaughn in the lead (instead of Stiller), and Rip Torn, who trumps pretty much everything in the universe. It also seemed to be having a lot more fun. The Watch, on the other hand, is kind of like the unpopular kid at the playground that’s consigned itself to the tilt-a-whirl: functioning on autopilot and trying to find bits of entertainment when they come. Even the trailer has no qualms revealing the twist of aliens coming to earth, and since there’s not much else after that, for the first half hour or so, we follow Stiller around waiting for the movie to get going.

While Marvel may be raking it in and giving every other alien invasion movie a run for their money, Fox is definitely turning the genre on his head by way of Jonah Hill, Ben Stiller, & Vince Vaughn in the upcoming comedy The Watch.

Originally titled Neighborhood Watch, now shortened to The Watch, the film accentuates the one thing that most other alien invasion films are missing: dick jokes. Here’s the premise, for those who need that sort of thing.

A group of friends (Stiller, Vaughn, Hill, and Ayoade) form a neighborhood watch group for their suburb to allow them time to bond and escape from their families. However, when the group discovers a plot that threatens the entire world, they are forced to confront it head on.

Take a look at the trailer after the jump, and catch The Watch in theaters on July 27th.

It’s been said that if you screw up once, it’s a mistake, but if you do it three times it’s a style.

Don’t get me wrong, Submarine is a good film with a strong voice, but that’s not to say it’s not without pros and cons.  With a unique tone, interesting characters, and distinctive editing, director Richard Ayoade obviously had a strong vision for this film from the beginning.  The only problem was with the main character, Oliver Tate, who was written as such an offbeat character that there were times at which he was hard to relate to.

Submarine is a film full of feature film newcomers.  Ayoade makes his narrative feature debut as writer/director, a departure from his career as a TV actor and director.  Both of the young actors, as well, come fresh to the big screen.  Craig Roberts, playing Oliver Tate, takes on his first feature lead in this film (he has since starred in Jane Eyre), and Yasmin Paige, coming only from small parts in obscure films, gives a surprisingly beautiful performance as his love interest, Jordana Bevan.