Someone at Fox was paying attention, but only to the crude formula. So take one Danish film (Klatretøsen, aka Catch That Girl) about kids on a mission ("without permission," as the tagline has it), remake it in America with a hot indie director, and you get Catch That Kid. Problem is, not all indie directors are alike, hence the bizarre hiring of Bart Freundlich, a director known for meandering comic dramas about young men with father issues (his previous films were The Myth of Fingerprints and World Traveler). Freundlich has two kids in real life and seems able to direct child actors with no problem. But suspenseful action sequences? That's a whole different beast. And the fact that Freundlich's kids are still very much preteens may explain why the kidspeak of the 12-year-old protagonists sounds suspiciously cribbed from Beavis and Butt-Head, with copious use of such terms as "buttmunch" and "fartknocker."
To the extent that the film does work, it's mainly due to lead actress Kristen Stewart (Panic Room), who proves quite an agreeable screen presence. Despite the dolled-up image of her face on the film's poster, she's a scrappy tomboy, far from the jailbait-'ho image so prevalent in youth entertainment today, which should make parents happy (provided that they have no problem with the film's semi-endorsement of theft). If Freundlich were to direct Stewart in some kind of amusing drama about a dysfunctional family, it would probably be really good.
Unfortunately, he has to stage a heist, and does so even less competently than Brian Robbins did in last week's The Perfect Score. Stewart's Maddy needs $250,000 to obtain experimental surgery for her dad (Sam Robards), who has suffered a mysterious paralysis related to a climbing accident that occurred about a decade earlier. That neither his injury nor the process needed to cure it is ever described or explained in the slightest is but one symptom of the general lackadaisical feel of the film. That copious numeric keypads display only letters on their LED screens is another.
So anyhow, taking advantage of the fact that her mom (Jennifer Beals) heads security at a local bank run by the tyrannical Mr. Brisbane (Michael Des Barres, channeling Terence Stamp), Maddy decides to rob the place and corrals her two best friends -- aspiring filmmaker Austin (Corbin Bleu) and go-cart mechanic Gus (Max Thieriot) -- into helping out, by pretending to be in love with both of them. Deftly demonstrating at an early age how to manipulate the male of the species, she's prone to barking out such commands as, "I love you, now do what I say!" One imagines that Freundlich occasionally has to say the same to his wife and usual leading lady, Julianne Moore (curiously absent here).
After about 40 tedious minutes of set-up, the heist is finally a go, and needless to say, Maddy's dream of becoming a mountain climber like her father will come into play. Also coming into play is production designer Tom Meyer's obvious love of Star Wars -- not only do we get the Death Star chasm, but also the eyeball camera from the front door of Jabba's palace, multiplied several times and placed in every major location. Freundlich fans will notice the auteur's hand primarily in his by-now-routine casting of James LeGros as a total whack-job, herein a psycho bank guard reprising his "I know kung fu" shtick from World Traveler. Bald character-actor John Carroll Lynch (Drew's cross-dressing brother on The Drew Carey Show) fares better, playing a security consultant with a Robert De Niro fetish who fancies himself an actor. Actors playing actors can sometimes be insufferable, but Lynch nails the perfect blend of pathos and humor.
Still: How uninterested does a director have to be, not to wring suspense out of a lengthy sequence of children in jeopardy? Freundlich generates cheap thrills on one occasion by having Maddy hanging from a great height by her fingertips, but screws it up by having her hold on for much longer than any 12-year-old's arms could realistically sustain; Gene Hackman didn't last as long in The Poseidon Adventure. The rest of the time, nothing. Note to studios: If you're going to mismatch director and material so thoroughly, try getting it even more drastically wrong, like hiring Gaspar Noe or Neil LaBute. You may create a train wreck, but at least it'll be an interesting one.