NEW RELEASES
ORANGE COUNTY Numerous stars — among them Kevin Kline, John Lithgow and an unbilled Ben Stiller — turn up in Orange County, and their participation makes one wonder if they signed on to curry favor with Lawrence Kasdan (whose son Jake directs the film) or to get in the good graces of Tom Hanks (whose son Colin stars in the film). Surely they weren’t attracted to the material itself, a largely tepid tale that wavers uncomfortably between being a crude teen flick and a sharp-edged comedy of errors. Hanks plays Shaun Brumder, a bright kid who’s considered a shoo-in at Stanford until his guidance counselor (Lily Tomlin) mails off the wrong transcripts, thereby resulting in his rejection. Determined to clear matters up, Shaun decides to visit the campus in person, accompanied by his supportive girlfriend (Schuyler Fisk) and his perpetually stoned brother (Jack Black). Considering this is one of the first releases of the new year (generally indicating bottom-of-the-barrel fare), it’s amazing that this thing is not only tolerable but occasionally displays flashes of innovation — unfortunately, not nearly enough of them to counter either the trivial pursuit of a plot (with a cringe-inducing wrap-up) or the smattering of been-there-done-that bodily function gags. 
CURRENT RELEASES
ALI When casting actors as instantly recognizable icons, it’s always best to either pick unknowns who can transform themselves into their subjects without having to contend with viewer baggage or choose widely respected performers known for their ability to get at the hearts of their characters. In the case of Michael Mann’s look at boxing legend Muhammad Ali, Will Smith’s work in the role is about as convincing as that of a sixth-grader who dons a long coat and fake beard to play Abe Lincoln in the school play. Never once sinking into the role of Ali to the point where we forget it is Will Smith, the young actor faces a perpetual losing battle; still, let’s cut him some slack and go after the real criminal mastermind: Director-cowriter Mann, who had the daunting task of condensing Ali’s life into a 158-minute running time. The movie that unfolds on-screen is imbalanced in what’s accorded screen time, slipshod in its development of supporting characters, and inefficient in penetrating the Ali mystique.
A BEAUTIFUL MIND Director Ron Howard’s never been known for taking a radical approach to cinema — even his best pictures have a stuffed-shirt quality about them — but in tackling the story of John Nash Jr., the math genius who suffered from schizophrenia but still won the Nobel Prize, Howard has loosened up enough to imbue the project with a jangled-nerve approach that allows us to feel like both observers and participants in Nash’s neverending struggles with his own mind. Russell Crowe is excellent as Nash, but almost as impressive is Jennifer Connelly, the raven-haired beauty who, after being dismissed over the past decade-plus as pin-up fodder, builds on last year’s Requiem for a Dream breakout with a touching performance as Nash’s strong-willed wife. (Another plus: A superb score by James Horner that never travels quite where we expect.) The film may play fast and loose with the facts — so what else is new in Hollywood? — but even sticklers for historical accuracy may have to grudgingly admire its efficiency. 1/2
GOSFORD PARK Ever since the magnificent one-two punch of 1992’s The Player and 1993’s Short Cuts, Robert Altman has been struggling as a filmmaker, so even though this ambitious effort doesn’t rank with his greatest hits, it’s still potent enough to qualify as his best work in years. A stronger opening might have elevated it even more: After all, when a movie attempts to juggle 30 characters, it’s imperative that the filmmakers establish each and every one of them from the get-go. As it stands, some initially fuzzy relationships and obscure identities lead to some early stumbling blocks, and it’s only after a half-hour that everything falls into place. From there, the film is largely a delight, weaving comedy, drama and even a dash of intrigue (in the form of a second-act murder) into its look at the members of a shooting party gathered at an English estate in 1932. Altman is renowned for his all-star casts, and here he has assembled one of the best: Helen Mirren, Emily Watson, Maggie Smith, Michael Gambon, and Croupier‘s Clive Owen are just a few of the crack thespians flourishing under the director’s steady command.
IN THE BEDROOM Fans of such relentless downers as Affliction and The Sweet Hereafter are likely to embrace this unflinching study of ordinary people coping with an unspeakable tragedy. Tom Wilkinson and Sissy Spacek headline as a Maine couple whose college-bound son (Nick Stahl) gets involved with a loving single mom (Marisa Tomei) — with tragic results. Actor Todd Field makes a sure-handed debut behind the camera, serving as director and adapting (with Rob Festinger) a short story by the late Andre Dubus. The result is about as raw — and as real — as anything recently seen in theaters, a searing drama that never shies away from examining the wildly divergent reactions mustered by people in impossible situations. The climax feels a little pat, but overall, this is a remarkably clear-eyed exploration of suffering and sacrifice, and the performances by Spacek, Tomei and especially Wilkinson are above reproach. 1/2
JOE SOMEBODY His work as Buzz Lightyear aside, Tim Allen is the new Steve Guttenberg, a bland actor whose generic films keep getting bankrolled presumably because a studio has some weird quota to fill. After all, with multiplexes jam-packed with accomplished blockbusters featuring ring masters and Oscar winners, who in their right mind would make this dud their top pick for a night out? The sort of smug, preachy anti-entertainment that usually stars Robin Williams, this casts Allen as Joe, a hapless company wonk who gets punched out by a co-worker (Patrick Warburton). After wallowing in self-pity for a few days, Joe declares that he wants a rematch, an announcement that suddenly earns him the love and respect of everyone at the firm (is this a multi-million dollar corporation or an elementary school?). Jim Belushi has some nice moments as a slovenly karate teacher, but that also encapsulates the film’s shortcomings: You know you’re in trouble when you’re actively waiting for Jim Belushi to make an appearance in a movie.
KATE & LEOPOLD We’re all familiar with Bonnie and Clyde and Thelma & Louise, but as far as screen couples go, look for Kate & Leopold to have a shelf life more in common with those of O.C. & Stiggs and Homer and Eddie. (Who, you ask? My point exactly.) Meg Ryan, whose ceaseless attempts to remain the pixie queen of frothy romantic comedies are becoming embarrassing, plays Kate, an ambitious sales executive who puts career over romance. Naturally, it’s going to take one special individual to thaw her out, and that would be Leopold (Hugh Jackman, doing well under the circumstances), a 19th century Duke who, thanks to an experiment conducted by Kate’s ex-boyfriend (Liev Schreiber), ends up being transported to present-day New York. Bland romantic comedies are a dime a dozen, but it’s rare to come across a time travel tale as listless as this one. 1/2
THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING In filming the first part of J.R.R. Tolkien’s trilogy, director Peter Jackson gets things off to a promising start with this three-hour epic that, while rarely scaling new heights in the fantasy genre, will still please both fans and novices alike. Even those who haven’t read the books are probably familiar with the basic thrust — noble Middle-earth denizens must destroy a powerful ring before it falls into the hands of an evil warlord — but to their credit, Jackson and his co-scripters kick things off with a prologue that nicely sets up the story. From there, Jackson juggles a daunting array of conflicts and characters (Ian McKellen as Gandalf is the cast standout), and it’s to his credit that the pace rarely flags. The sense of wonder that Jackson brought to some of his earlier credits isn’t quite as apparent (a determination not to offend the faithful may have something to do with it), but admittedly, this is a mere quibble that diehard fans will brush aside like a gnat.
THE MAJESTIC The latest fantasy from director Frank Darabont, whose previous works (The Green Mile and The Shawshank Redemption) viewed prisons as feel-good enclaves full of civilized, misunderstood citizens, is set in the early 1950s, a period in which McCarthy and his zealots were sniffing Commies out of every corner of the country. Jim Carrey (in a nicely understated turn) plays Pete Appleton, a Hollywood screenwriter whose career gets ruined when he’s suspected of being a Red. After a timely car accident, he awakens with his memory wiped clean — and with everyone in the small town of Lawson believing he’s one of their long-lost WWII vets finally returning home. The first part of the movie, which deals with Pete’s involvement with the town’s residents, will strike some viewers as inspiring and others as manipulative; the second half, which centers on Pete’s stand against the House Un-American Activities Committee, is patently false and a queer whitewash of a tragic chapter in US history.
NOT ANOTHER TEEN MOVIE If there’s one thing positive to be said about Not Another Teen Movie, it’s that its makers have managed to rape, pillage and plunder the source material even more thoroughly than the Wayans brothers did for the two Scary Movies. The ferocity with which director Joel Gallen and his five writers deconstruct and then devour the teen flick deserves a modicum of respect, as these guys manage to include letter-perfect take-offs on plot situations in everything from the John Hughes oeuvre of the 80s right up to the student-skewering hits of today. But since the follow-through is every bit as important as the pitch, it should be noted that NATM, for all its eager-beaver zeal to deliver the raunchy laughs, provides the gross-outs but not the gags — or, at least, not enough good ones to make this anything more than a quickie toss-off.
THE ROYAL TENENBAUMS This unusual production doesn’t offer the sort of instant guffaw gratification we generally get from American comedies; instead, its laughs are like stealth bombers, sneaking up on us to the extent that we suddenly find ourselves chortling even as we’re wrapped up in the movie’s unexpected air of melancholia. Through odd circumstances, the members of a dysfunctional clan — the estranged parents (Gene Hackman and Anjelica Huston) and their grown kids (Gwyneth Paltrow, Ben Stiller and Luke Wilson) — find themselves living under the same roof, a pressure cooker situation that causes all sorts of messy emotions to spill over. The brand of eccentric humor is often heavy-handed, but its ability to make us care about these flawed, sad characters can’t be underestimated. The entire cast clicks, though this is clearly Hackman’s show: Refusing to pander to audience sympathies, he makes his character both endearing and infuriating. Come to think of it, the same can be said about the movie itself.
THE SHIPPING NEWS When it comes to awards season, director Lasse Hallstrom has become Miramax Films’ go-to guy: His past two releases, The Cider House Rules and Chocolat, both earned Best Picture Oscar nominations. Whether this one makes it three-for-three remains to be seen, but the Academy could do worse than toss votes at this tasteful adaptation of E. Annie Proulx’s Pulitzer Prize-winning novel. Kevin Spacey delivers a soft, sensitive turn as Quoyle, a meek man who returns to his family’s Newfoundland home after his slatternly wife (Cate Blanchett) dies in a car accident. Backed by his headstrong aunt (Judi Dench), he tries to build a new life for himself — he accepts a job at a newspaper and courts a local widow (Julianne Moore) — but he soon discovers that dark secrets from the past stand poised to undermine any chance at happiness. Hallstrom largely stifled his own creative impulses with the stridently plainclothes Chocolat, but working in tandem with cinematographer Oliver Stapleton, he comes up with some unusual storytelling techniques that serve to deepen the emotional relevancy rather than cheapen it. A sober tale of redemption that’s frequently punctuated with quick bursts of mordant humor, the film effectively overcomes a certain calculatedness that creeps into its more melodramatic moments.
VANILLA SKY Before breaking through with The Others, writer-director Alejandro Amenabar made a handful of films in Spain; these included 1998’s Open Your Eyes, an intriguing drama about a self-centered hunk who suffers from strange visions after getting disfigured in a car accident. This is Cameron Crowe’s risky remake, and what’s most shocking about this controversial conversation starter is how faithful it remains to the original. In short, this isn’t a typically dumbed-down rehash, a designation that will cost it millions at the box office but which will earn it the appreciation of adventurous filmgoers. Tom Cruise, a narcissist who nevertheless won’t back away from perilous parts, shrewdly mixes both facets of his career as the pretty boy whose perfect life turns into a living hell, while Cameron Diaz, as his fatal attraction, slinks through the proceedings like a feral feline. Unsettling, perplexing and playing like the visualization of a caffeine buzz, this is a Hollywood flick with a kick. 1/2
This article appears in Jan 19-25, 2002.
