The Secret Life of Walter Mitty

If Stiller had not tripped himself up so unsportingly immediately during the New York part when Walter’s over the top stories are like something out of Tropical Storm and so completely at odds with the mood and atmosphere that it is trying for (successfully from the moment when they set off on their journey) my impressions would have been much more positive. Even so, this just couldn’t shake off the label of “the movie that tried so hard, but so hopelessly for two hours to achieve what they achieved incomparably better in the first trailer". (01/17/2014)

In addition to virtual relationships, in the introduction Stiller also cautiously raises a middle finger to corporate capitalism, which strips people of their individuality and transforms individuals into pawns who are willing to do anything to hold on to their jobs. A person’s own body – or rather mind – thus becomes his or her last refuge. The liberating power of the imagination allows one to at least dream of doing noble deeds worthy of great romantic heroes, who were long ago displaced from reality and put into epic Hollywood fairy tales. The Secret Life of Walter Mitty is not ashamed to admit that it is itself such a fairy tale whose message justifies its numerous spectacular scenes. The second half of the film is made up of a series of stirring adventure stories whose aesthetic concept is consciously inspired by magazine covers, since Walter escapes from his daily routine into photographs from prestigious magazines. Though the special-effects sequences blur the line between dream and reality to such an extent that the difference becomes irrelevant (instead of creating a certain tension), they also gently complement the characteristics of the main protagonist. Even though the romantic subplot seems superfluous on the surface and the film may seem like a self-improvement handbook for men who don’t know what to do with their lives, other people (his girlfriend, Sean O'Connell, his mother and, indirectly, even his deceased father) directly and indirectly support Walter in his solo adventures and compel him to continue in them throughout the film. In the current “contactless” era, a very welcome feature of this film is its effort to convince viewers not to live only in the virtual world and to not be afraid to realise their dreams, to not be selfish and to not stop thinking of others even in the most difficult moments (due to which the film seems more conformist than the roughly similar anarchistic action flick Wanted). Walter Mitty demonstrates that Stiller is able to suppress his eccentric comic nature in favour of a relatively serious idea. However, that seriousness is fortunately never taken so far that the film would completely step outside the realm of feel-good entertainment for the big screen and for the whole family. With the benefit of hindsight and in all seriousness, I wouldn’t hesitate to call Walter Mitty the most positive movie surprise of last year. 85% (01/13/2014)

A cute Hollywood family fairy tale with laudable intentions, an outrageously likeable soundtrack and a great Ben Stiller in the cute leading role, but dramaturgically it’s strangely disjointed, unconvincing and dumbed down, exploring the imaginary border of fantasy and reality through the lens of a filmmaker who apparently can't decide which side to lean towards... The message is admittedly beautifully positive, but it can't make up for the awkward first impression. 65% (01/26/2014)

I’ve been struggling with Walter Mitty, even after watching it for the second time on the big screen. It has beautiful landscapes, an upbeat soundtrack and a positive mood. But when I stop to look at it intellectually, it seems like a coloring book that doesn’t make much sense and its message about life is too half-baked and insubstantial to be more than an exotic yet forgettable family flick. Walter Mitty sees the world through the eyes of a carefree and cheerful child with no real life experience. (01/16/2014)

Forrest Gump two decades later, with all the good and bad that can be associated with it. We have again a barrage of all those scents, images and emotions about the search for oneself, but in a slightly more modern and refined guise. Yet the final impression is somewhat brought down by the duplication and unoriginality, which may not be so noticeable in the whole as such, but in the details it certainly is, and by mental maturity. After all, it is too straightforward and childishly naive at times. The older Stiller gets, the more mature, therefore the better. (11/19/2017)