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“The Book of Henry” is a throwback to the Amblin-produced suburban sagas of the 1980s, in which the adults are usually clueless, the families are broken, and the children are our best hope for a better future…. It’s “E.T. the Extraterrestrial,” but instead of an all-knowing boy genius as the Christ-figure alien, it’s a boy genius who knows everything. That makes sense, given that director Colin Trevorrow is a disciple of Steven Spielberg, having been recruited to helm the 2015 blockbuster “Jurassic World” in the first place.
Now, Trevorrow, working from a script by Greg Hurwitz that has been in the works for 19 years, has returned to the indie roots of his debut film, “Safety Not Guaranteed.” Make no mistake about it: the autumnal small-town atmosphere, friendly local diner, and picket-fence neighborhoods are deceptive. This seemingly sleepy town is home to a gun shop where you can purchase a top-of-the-line assault rifle by simply dropping the name “Dominic” and flashing a substantial amount of cash. Bullies are out there, and our 11-year-old hero believes that they must be stopped at all costs, no matter what.
Seeing how well-suited to carry much of the emotional weight in this amicably uneven yet thoroughly manipulative tale the juveniles in the cast are early on is a great relief and frequently a source of delight to witness. Let’s start with Jaeden Lieberher (“St. Vincent,” “Midnight Special”), who plays Henry, a brilliant young man with a Mother Teresa-like level of empathy and concern for those around him. When someone appears to be a know-it-all with a big heart, they may appear to be too good to be true and more than a little annoying. Nonetheless, the fact that he prefers to attend a regular school with average students and does not possess a single ounce of arrogance helps to keep humble Henry grounded. Even when he is on the phone with a stockbroker, making adjustments to his family’s portfolio in order to maximize profits, he does not puff out his sagging chest.
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In keeping with the steampunk aesthetic, the production design has imbued this gifted youngster’s room with his devoted eight-year-old brother Peter (Jacob Tremblay, proving that his stellar performance in “Room” was no fluke) and the tree house that serves as a kind of laboratory, with walls plastered with scribbled formulations and writings, as well as Rube Goldberg-style inventions, with a steampunk aesthetic. Somber Lieberher and sweet Tremblay make for a credible pair of siblings who have each other’s backs at all times and who communicate with each other via walkie-talkies even when they are only a few feet apart.
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Dad is completely absent from the story, and he isn’t even mentioned. Instead, divorced mother Susan (Naomi Watts, in one of her increasingly frequent matriarch roles) adores her sons but is plagued by self-doubt, which prevents her from achieving her dream of becoming a storybook writer and illustrator, which she has had since childhood. As a substitute, she works as a waitress, drives a clunky Volvo station wagon, and vents her frustrations through violent video games when she isn’t drinking herself silly with coworker Sheila (a tart-tongued Sarah Silverman, whose cheesy wardrobe is appropriately dubbed “fashion roadkill” by Henry).
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There are hints that Henry is preoccupied with something other than reminding his mother to open the mail and pay the bills on time. For starters, he has a clear view into the bedroom of Christina, the attractive but increasingly withdrawn motherless ballerina who lives next door (Maddie Ziegler, who appeared in Sia’s “Chandelier” video). He notices that her stepfather (Dean Norris), who also happens to be the police commissioner, pays her regular nighttime visits and suspects that she is being abused by her stepfather. Despite the fact that he called the authorities, no one has come to investigate what is going on.
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Then there are Henry’s lingering headaches, which he has largely kept to himself due to the nature of his condition. That is a dead giveaway in a movie that someone is not going to make it to the credits at the end. But, as is his custom, Henry has left behind a meticulously planned strategy in a notebook and on cassette tape for his mother to use in order to track down Christina’s stepfather if the situation calls for it. And, all of a sudden, “The Book of Henry” transforms into an implausible thriller complete with a ticking clock and a talent competition. The experience, which turns out to be nerve-wracking but ultimately enlightening, prompts Susan to take more responsibility for her life and to face challenges head-on as a result of it. In addition, Henry’s attractive doctor (Lee Pace) has developed a romantic interest in her. There’s nothing awkward about it.
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I was preoccupied with the young actors (even Ziegler demonstrates signs of having acting chops beyond her dance abilities) and the few moments of dry humor—such as when Henry describes his own diagnosis in great detail and using complex medical terms to a bemused brain surgeon—for the majority of the film. The problem is that each book requires an editor, and there isn’t much point in threatening to turn Watts into a mother-hating assassin. That not only makes Henry appear foolish, but it also reflects poorly on his film.
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