Annie is the organ transplantation of a young healthy cardiac pump from a golden girl to a lively hopeful kiddo, without pre-operative planning needed to address the intricacies of the organ recipient.
The new blood pumped by this transplanted heart is different with the form of its red blood cells and the energy they carry, only to find out that the plasma is artificial as well. A contemporary adaptation of the 1977 Broadway musical, which is based on the quintessential comic strip Little Orphan Annie, the film loses its core as as the classic tunes by Charles Strouse and Martin Charnin are given the auto-tune treatment and held with some pop swagger and hip-hop sensibilities. It is a brave effort by Sia and Greg Kurstin given the anatomic variation of the film’s setting and protagonist, but this arrangement masks the innocence and lovely feelings the original recordings imbued. The disappointment continues as the voices do not transition seamlessly between talking and singing, with the latter appearing too obviously recorded and digitally altered, even with the technological marvels of this century. Visually, this jarring version could have benefited with tighter cinematography and choreography, enhancing the natural instruments, or giving new fresh perspectives of the generic gloss of excess.
It is not just the surgical technique, the number of turns and kinds of knots, the strength of this operative glue that will determine the success of the operation. As the heart receives and feeds blood to the lungs and to the general circulation, it is proper that the other major organs be evaluated to predict the over-all prognosis. Playing a bright girl living under the roof of an inebriated foster mother with faux-siblings, Quvenzhané Wallis changes the life and boosts the political career of a bigshot telecom CEO through a chance encounter. Given this material and screentime, it is no doubt that she should hold the film together, and Wallis excels in being a different but her own Annie. It is not the same though with the peripheral characters. Cameron Diaz is too over-the-top for an overbearing character of a foster mother. One thing though is that she is consistent even in scenes that did not demand her larger-than-life depiction, which she could excel in comedy sketches. The CEO, played by veteran singer-actor Jamie Foxx, and his trusted assistant, enlivened by the lovely Rose Byrne, had minimal on-screen chemistry that may be owed to the parts they played, which had little to go with. One of the more poignant scenes in Annie is when Annie and the assistant share some of their tribulations. This is a underutilized jumping point to give more depth in the a one-off character but it is clear that the film is not willing to risk even with the extensive alterations already in the musical element of the musical film.
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Much of the ills of modern medicine is the tendency to compartmentalize instead of addressing the patient and his problem list in a holistic fashion. The acting and character imbalance is counteracted with the lavish display of progress that are sometimes hilarious, with a deliberate parody of popular mainstream movie machinations coursed as a movie insert, to the uninteresting use of social media in the influence of Annie to the mayoral campaign and its use in wrapping up the movie. It feels as if an orthopedic surgeon-in-training was asked to take over the heart transplant because the transplant surgeon suffered a fatal stroke in the middle of his laborious efforts. The things the movie lack internally were plenty enough to accept that the hard-knock life will not be illustrated with the sociopolitical dimension of race, corporate greed, and the systemic causes of poverty that have uprooted conventional family structure and values. After all, Annie is hollow with its modern desires and dreams lightly of tomorrow
[youtube http://www.youtube.com/watch?v=nasLuiP-1E0?controls=0&showinfo=0]
