If our television viewing habits are anything to go by, the world is suffering from a mass morality bypass. The popularity of reality shows especially, and the Big Brother concept specifically, reveal our curiosity for watching contestants who are willing to do virtually anything to win, at any cost, even at the loss of their dignity.

And although Richard Kelly’s film is set in an earlier, slightly more naive decade (the seventies), it provides an insight into a young couple struggling with their moral values over an impressive monetary reward.

Despite the fact that Norma (Cameron Diaz) is a teacher and Arthur (James Marsden) works for NASA, they are not a wealthy couple. Early one morning, a box is delivered to their door. It is accompanied by a note informing them that a man will call later that day to explain about the box.

A mysterious stranger (Frank Langella) does indeed call later, with a proposition for the couple: press the button on top of the box in the next 24 hours and someone in the world, who they do not know, will die. In return, they will be given $1 million dollars. If they do nothing during that period, he will simply pick up the box and nothing more will happen.

With the couple both receiving financial bad news, the idea of simply pushing a button and getting a million dollars for it, proves to be a far greater dilemma than they ever realised. But as they soon find out, every action has its consequences.

I know I probably should've have told you I used to be a man before I married you, but with all the planning I kinda forgot.

It’s no surprise to learn that the premise of this film is taken from a segment from a 1986 episode of The Twilight Zone, entitled ‘Button, button’, written by top sci-fi writer Richard Matheson.

To the film’s detriment, director Kelly pads out a lot of the film with biographical detail. His father actually worked for NASA, and his mother was a teacher. The extra baggage that comes with all this real detail, acts as a massive distraction from the simple idea of what an average couple would do for a million dollars.

The truth is, it’s easy to see the premise working as a short story/Twilight Zone segment. But the additions and extensions to the plot that Kelly makes, take the film on an obscure and over-complicated journey. In places, particularly during the second half, it becomes less about the idea of facing morality issues, and more about the ambiguity of science. One film about either of those would have been fine, but combining the two just results in a weaker whole.

There’s nothing wrong with making an audience think, but when it starts to literally loose the film’s plot, it’s safe to say that the director has pushed them way too far.

Which is a shame as the retro setting works extremely well, and the performances from its three main protagonists are strong and compelling.

Considering that this is only Kelly’s third film since his 2001 breakout film Donnie Darko, it’s clear that he’s still not ready to direct a film that doesn’t make you want to scratch your head during/after watching it. It’s a fine line between bold and pretentious filmmaking, and Kelly needs to realise that audiences – mainstream ones at least – will only put up with interesting, quirky, personal projects for so long. That goes for the studios too.

It’s no coincidence that Pi and Requiem for a Dream director Darren Aronofsky not only went on to direct the accessible drama The Wrestler, but he’s also in the running to direct a remake of Robocop. Kelly could certain learn from Aronofsky’s career path if he wants to not only succeed, but get further projects green lit . He’s certainly got the talent, so it would be disappointing then to watch it wither and die for (his) art’s sake.

Still, despite overcooking the plot and detail, The Box is beautifully shot and original enough to endure its waffly story detours; if only it was less square for mainstream audiences.