Detailed Instructions: In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.
Problem:I'm not ready to give up on Richard Kelly and his questing intelligence as a filmmaker. Memories of Donnie Darko stay strong, no matter how much Kelly's focus came unglued in 2006's Southland Tales and now, to a lesser extent, in The Box. The premise, drawn from a 1980's Twilight Zone episode itself drawn from Richard Matheson's short story Button, Button, is creepily delicious. The setting is the suburbs of Virginia, near NASA's Langley Research Center. The year is 1976 when NASA's Viking Project became the first U.S. mission to land a spacecraft on the surface of Mars and send photos back to earth. Frank Langella (Oscar nominee for Frost/Nixon) is wonderfully sinister as an elegant stranger with a hole in his cheek who shows up — the box in hand — at the home of NASA engineer Arthur Lewis (James Marsden) and his teacher wife, Norma (Cameron Diaz). His proposition: Push the button on the box and win a million bucks. The catch: Somebody dies, but it's somebody you don't know. 
  
 Get more news and reviews from Peter Travers on the Travers Take. 
  
 The couple, in a financial pinch regarding their son, Walter (Sam Oz Stone), agonizes over it. But it's Norma who does the button pushing. Later, another woman will do the same thing while hubby holds back. Does this indicate a misogynist streak in Kelly? The movie gets bogged down in so much exposition that you stop caring. Diaz and Marsden look narcotized throughout. But the images Kelly creates of an alien infiltration of the suburbs harks back to Invasion of the Body Snatchers. This gives the alleged festivities around the wedding of Norma's sister a genuine chilling effect, notably a dance sequence set to the tune of 'When Joanna Loved Me.' What a shame that Kelly's pacing doesn't run as fast as his imagination. Instead of sweeping you along, The Box just sits there like something unclaimed at lost and found. Damaged goods. ||||| Movie Review 
  
 The Box 
  
 'The Box': Don't even bother opening this one 
  
 Cameron Diaz in 'The Box,' a movie from director Richard Kelly that misses the mark completely. 
  
 A couple makes a potentially deadly choice. With Cameron Diaz, James Marsden. Director: Richard Kelly (1:55). PG-13: Violence, disturbing images. At area theaters. 
  
 Some directors, it must be said, only have one really good movie in them. We're starting to worry that Richard Kelly may be among this select group. 
  
 Kelly impressed legions of college kids with his 2001 debut, "Donnie Darko." He followed that edgy cult hit with the disastrous "Southland Tales," so his third time out is especially important. And the best to be said is that it's not "Southland Tales." 
  
 But "The Box" is its own kind of awful, a disconnected mess that never finds its reason for being. Based on Richard Matheson's "Button, Button," a (great) short story that was turned into a (pretty good) "Twilight Zone" episode, Kelly's attempt misses the mark completely. Where the two previous versions were pointedly precise, "The Box" sprawls sloppily, encompassing unexplained aliens, a screechy score, preposterous special effects, and two stars with no idea what they're doing. 
  
 As a NASA engineer in 1976, James Marsden's Arthur has been directly involved in a mission to Mars. This may or may not be why a creepy stranger (Frank Langella) delivers the titular gift to his home. 
  
 Arthur's wife, Norma (Cameron Diaz), is given a choice: She can pass the box on, or push the button inside. If she chooses the latter, she'll earn $1 million, and a stranger will die. 
  
 Norma takes the bait, but it's the movie that immediately expires. Rather than ending the story with a punch, as Matheson did, Kelly wanders aimlessly, leaving crater-sized gaps in his wake. All we learn for sure is that women always push the button, and their husbands are always loyal and loving enough to forgive them just before they're cruelly punished for their greed. 
  
 It's no great reflection on Kelly that Marsden - normally so charismatic - sleepwalks through the movie. But Diaz fares worst of all, having chosen (or been instructed) to make vacant idiocy Norma's defining trait. 
  
 So now you have your own choice to consider: Spend your time and money on Kelly's take, or watch the original "Twilight Zone" episode at home on YouTube. 
  
 If only all decisions were this easy. 
  
 eweitzman@nydailynews.com |||||
Solution:
Critics are split on The Box, the new film from writer-director Richard Kelly, known for the much-loved Donnie Darko and the reviled Southland Tales. Some takes on the flick about a box with a mysterious, life-changing button: Pass, writes writes Elizabeth Weitzman in the New York Daily News. Don't "spend your time and money on Kelly's take" on the Richard Matheson short story. Just "watch the original Twilight Zone episode at home on YouTube." Not so, writes Stephanie Zacharek for Salon. The '70s period piece "is deftly unshowy" and "builds suspense the old-fashioned way, sometimes seeming more like a movie actually made in the '70s than a contemporary one set in that era." Interesting stuff, but that's not enough for Peter Travers. "What a shame that Kelly's pacing doesn't run as fast as his imagination," he writes in Rolling Stone. It's not great, but it is a Richard Kelly film, writes Rene Rodriguez in the Miami Herald. "The Box is a mess, but it's a curiously haunting, intriguing, brain-tickling mess, and it delivers that Donnie Darko feeling in truckloads."