Like with certain foods, Richard Kelly’s The Box seems destined to elicit strong reactions; it's a Marmite movie. Some will adore it, others won't. Cameron Diaz and James Marsden portray a couple who are approached by an enigmatic stranger, Frank Langella, with a strange proposition. They receive a box containing what Arlington Steward, the stranger’s mysterious associate, identifies as the Button Unit. If they press this button, they’ll be told, a random person will die, and they'll get a substantial sum of money. The question then becomes: what should they do? The film is based on Richard Matheson’s short story "Button, Button," and it creates an unusual exploration of morality and ethics, incorporating otherworldly concepts and unexpected turns. This explains how a perfectly acceptable half-hour “Twilight Zone” episode ("Profile in Silver/Button, Button" from 1986) has expanded into a film nearly two hours long—and this expansion is ultimately its downfall. Despite stylish production values and the potential for thoughtful examination, the length feels excessive. Following the positive reception of "Donnie Darko (2001)," Richard Kelly seemed to accept the media’s praise, believing he was a new surrealist filmmaker. Similar to how M. Night Shyamalan clung to twist endings until his career faltered, Kelly continued to force complexity into his movies when it wasn't necessary ("Southland Tales (2006)" being an example of this). The Box contains intelligent ideas and has its merits, but a two-hour runtime proves too much; the attempts at tying everything together become difficult to manage by the end. It stretches believability past the breaking point. The Box is an interesting—appealing—but flawed film, though some viewers will undoubtedly love it. If you haven't seen it yet, take a chance and see what happens. 6/10 Note: An adaptation that includes Matheson’s original story ending has yet to appear on screen.

Source on TMDB