Movie Review

(In theaters, December 2000) The middle section of this film is nearly an actor’s dream: to be featured alone, without co-stars, for nearly an hour. It’s a testament to the talents of Tom Hanks that Cast Away is able to do so without boring the audience. It is the film’s biggest asset, but unfortunately almost its only one. The beginning of the film is snappy enough (pausing only to establish the required scenes of romantic interest), followed by a pretty good airplane crash: as always, Robert Zemeckis is a competent technician and knows how to film complex setups like these. The island sequence is far more interesting than expected, even though it’s regrettable that the evolution of the character is simply glossed over by a title card. The third act of the film is by far the most unsatisfying, with a rushed conclusion that can’t avoid its built-in limitations and doesn’t go much further than the obvious. Audiences with room-temperature IQ will have recognized the film’s final shot from the tell-all trailer anyway. Cast Away remains a good enough film and a splendid actor showcase, but it never really exploits its theme to the fullest.

(In theaters, December 2000) Mock documentary about dog, shows and owners. It takes time to heat up, as the characters and their dogs are all introduced one after another and we warm up to their various eccentricities. The film finally reaches his peak with the arrival of Fred Willard as a loud-mouthed sports commentator hilariously stuck describing the workings of a dog show to an unfamiliar audience. The overall plot is easy to guess, what with arrogance being punished and the little guys overcoming all tribulations, but in no way does this take away from the overall fun of Best In Show, one of the overlooked gems of the year.

(In theaters, December 2000) Cameron Crowe strikes me as a writer/director with interesting things to say, but not always as successful in actually delivering a coherent finished product. Jerry Maguire seemed to invent plot difficulties in thin air and if Almost Famous is a more accomplished film, it does seems forced at times. (That it is “based on a true story” is a feeble defense for structural flaws. If you’re going to invent Stillwater, it would have been justified to boost the dramatic content of their struggles, who here appear rather underwhelming.) This being said, Almost Famous is a tremendously enjoyable film, which will undoubtedly work wonders on members of the generation depicted in the film. Younger viewers won’t feel as concerned. Some funny scenes, some poignant moments and some astute lines (destined to be quoted for years to come; “You do not make friends with the rock stars.”) all mix up, as with Jerry Maguire, to deliver a film that will please many different audiences at the risk of feeling somewhat unfocused itself.

(Second viewing, On DVD, August 2002) I’m not sure if it’s because of the 35 minutes of extra footage, my own more reasonable expectations or the great commentary track, but Untitled (the “bootleg” director’s cut of Almost Famous) seems far more compelling than the original film. In many ways, this is a film best seen at home rather than in theaters; not only does in now clock at 160+ minutes, but it is far moodier and closer to its characters, which might play better in a small context. Acting credits are excellent across the board, especially with Kate Hudson, whose performance seems more remarkable here than in the shorter cut. The DVD edition offers several extras, the most unique being the long (ten minutes) “Stairway to Heaven” deleted scene which requires you to play along. Also included is a short “Stillwater” audio CD as well as a wonderful audio commentary with not only director Cameron Crowe (whose loosely adapted teenage years formed the nucleus for the film), but also his mother, who proves to be as formidable a character as Frances McDormand’s film depiction. What else can I say, besides strongly recommending it?

(In theaters, November 2000) As this film was written and directed by Christopher McQuarrie, who also penned The Usual Suspects, you could have expected a good crime thriller done with wit and effectiveness. The end result is not as satisfying: First mistake is to depend on two singularly boring small-time criminals as protagonists. (Which shouldn’t be interpreted as a dismissal of the good acting by Ryan Phillippe and Benicio Del Toro) Second mistake is the languid pacing, which allowed me to doze off twenty minutes without missing a single important plot point. Third mistake is a weak conclusion that neither surprises nor satisfies. Add to that the manipulative use of a pregnant woman, uniformly unlikable characters, pretentious narration of the criminal-thinks-deep-thoughts type, boring gunfights and you get a below-average thriller with nothing special.

(In theaters, November 2000) The nineties have been a rough decade for superstar Arnold Schwarzenegger. Not only has no one learned how to spell his last name right, but he’s gone from career highs (1990’s Total Recall, 1994’s True Lies and most famously 1991’s Terminator 2) to mega-bombs (1993’s underrated The Last Action Hero), pathetic comedies (from Kindergarten Cop to Jingle All The Way) and severely average action pictures (Eraser and End Of Days). The 6th Day isn’t much of an improvement over most of his 90s output, but at least it’s better than End Of Days. Here, we get two Arnolds for the price of one, as we delve in an ambitious future marked by cloning. It’s not all that successful, but it works rather well, isn’t as completely routine as you’d think it would be and provides one or two good concepts. The actions scenes are okay, though they seem almost dated. (Note to screenwriters: To be clever, hip and postmodern, it’s not enough to have a character say to another “Cool, a car chase!”) Faint praise, but not every film has to be exceptional. A decent enough choice, provided you haven’t seen Total Recall enough times already.

(In theaters, November 2000) Mixed impressions about the second Mars-themed film of 2000: It’s certainly better than Mission To Mars, but even then it’s no great film. Acting-wise, most of the cast is wasted, at the possible exception of Carrie-Anne Moss, who solidifies her action heroine status after The Matrix. The special effects are rather nice. The problems pop up whenever the script is involved: Gigantic plot holes, incompetent plotting, boring subplots, unsatisfying characters and atrocious scientific errors all join forces to sap all energy that could have been produced by the intriguing premise. It’s not a complete failure, mostly because it tries so hard, but no one shouldn’t feel guilty of passing this one up in video stores.

(On DVD, November 2000) This film has to work hard in order to overcome the natural yuck-factor inherent in its cannibalistic premise. But it does so adequately, and the result is a small surprise, a horror film with an unusually original premise, decent performances, a few good surprises and some effective moments. The DVD includes a few interesting deleted scenes, audio commentary and a few Easter Eggs.

(On VHS, November 2000) John Cusack plays young cool professional types like no others (see Grosse Pointe Blank and City Hall), and here he plays yet another one of those, a hot-shot air traffic controller that has to defend his turf and his wife against a new hotter-shot competitor (a good turn by Billy Bob Thornton). The difference is that Cusack here is supposed to Lose It, which we never quite believe. Part of the problem is typecasting, but most of it is the script, which flits from one thing to another without really coming up with strong material. As with most docu-stories taking place in unusual and interesting environments, Pushing Tin is best when describing the unusual, and worst when inserting familiar plots in this unfamiliar setting. Here, the romantic elements take away from the pressure-cooker environment of air controllers and ultimately bring down the film to only average status. Cate Blanchett and Angelina Jolie are fun to watch as The Wives, even though Vicki Lewis is underused as one of the interchangeable other controllers.

(In theaters, November 2000) There’s a standard comedy plot shtick that drives me absolutely crazy: The one where a character is doing something completely stupid while thinking it’s perfectly legitimate, and when the deception will inevitably be discovered. The only thing you can do is count down the seconds before the character’s humiliation. Now imagine a film that spends more than forty-five minutes on that subject. Looking forward to it? If not, skip Nurse Betty, a misguided “comedy” in which a pair of hitmen kill in graphic detail and a waitress becomes so unhinged with reality that she chases a favorite soap star. Not many laughs here, nor overly impressive technical credits: The direction is flat and even if Renee Zellweger is as adorable as always, the other characters don’t manage to be very sympathetic. (Though the Latino girlfriend is pretty). Script-wise, coincidences abound and Morgan Freeman’s characters sounds as if he escaped from an unusually pretentious Tarantino movie without bringing the witty dialogue with him. Humiliation and discomfort seem to be the goal of the film, and if the result seems to confuse some critic in thinking it’s rather good, most average moviegoers will reach for the fast-forward (or even the stop/rewind) button.

(On DVD, November 2000) Not much to see here. The crazed-assassin-goes-after-the-president shtick has been done elsewhere multiple times before, and even if In The Line Of Fire is competently executed, it’s not anything new. Clint Eastwood is good in what’s probably going to end up being his last action-hero role. (The romance between his character and the one played by Renee Russo, however, should have been left on the cutting-room floor. Yawn.) John Malkovich plays the assassin as a soft-spoken super-genius, which is again either (depending on how many stories like this you’ve seen already) really good or really annoying. The bare-bones first-generation DVD release of the film basically allows you to to feel grateful that the film is playing at all, so don’t ask for extras.

(In theaters, November 2000) Ay-yay-yay, how ordinary can you be? I imagine the pitch for this film being roughly “Hey, I’ve got twenty minutes of wild Cocktail-for-chicks bar stuff! Any one of you can dust off one of your rejected romance plot to fluff it up?” Sure, Piper Perabo look cute and the rest of the waitresses at the “Coyote Ugly” (that wiiild bar) are pretty hot even when fully clothed, but the rest of the film is a complete bore, showing us a trite romance that we must have seen countless times already. Shamelessly manipulative, often ridiculously implausible, laughably “edgy” (being a struggling songwriter is never so glamorous as in a Jerry Bruckheimer-produced film) and all-and-all rather forgettable, Coyote Ugly delivers what no one expected from it; utter averageness.