Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis, Jamie Foxx

Scott’s Review #231

Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one variation in television exists, and all based on the Broadway hit of the same name, is a saccharin-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me begin with the one redeeming quality of the film, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question, which I might not want to know the answer to.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child and I sensed awkwardness to the part. Regardless it did not work.

I did not buy her in the role and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes for the limited choices in 2014.

Jamie Foxx completely phones in his performance as Cell-phone technical mogul, running for mayor, William Sparks. Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew, who towards the end of the movie somehow “turns good”, with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, very one-note performances in their respective roles of Sparks’s assistant, love interest, and right-hand man.

The film chooses to change so many aspects of the original stage version of Annie, that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s, Annie is no longer an orphan but is in foster care. Miss Hannigan’s first name is changed to Colleen instead of Agatha and now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily are not featured at all.

The story has zero interest and zero believability.

But the worst part of the film is the corniness of it. It is so overwrought with contrived scenes that it is tough to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film contains one inconsistency after another and is a horrendous modern take of a long-loved treasure, the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, and forgotten for good.