A.I. (PG-13) A film directed by Steven Spielberg based on a long-gestating idea by Stanley Kubrick, A.I. is an odd and intriguing hybrid of a movie, combining elements that smack of both filmmakers but not really fully in either's camp. The story tells us of a little robot boy (Haley Joel Osment) who has troubles adjusting to the human world (and vice versa). Most of A.I.'s considerable running time amounts to a series of flashy but very tenuously connected sequences in which our small hero drifts from one exotic futuristic environment to the next, in a vaguely defined quest to find Pinocchio's mythical blue fairy, who he's certain will turn him into a real boy. Individual moments in the movie are striking, but A.I. doesn't really hold together, and it never comes to grips with what it really is — a tragedy of epic proportions. Spielberg just can't seem to let go of the desire to make us smile through our tears, and the movie ultimately becomes awkward and repetitious as it drags on, straining to find just the right series of upbeat notes in what is essentially a rather dour, discordant piece. The Pinocchio parallel is an obvious one (the toy who would be a boy), but Spielberg makes it into some half-baked boomer mantra and then beats us over the head with it for nearly two-and-a-half hours. Also stars Frances O'Connor, Jude Law and William Hurt.
The Animal (PG-13) Rob Schneider stars as Marvin Mange, a wannabe cop who develops animal urges after an experimental operation. Don't ask for details on the switch; there are none. But then again, this isn't the kind of movie where you really need scientific explanations. What you would hope for, though, is some better jokes.
—Dustin Dwyer
The Anniversary Party (NR) The Anniversary Party takes place during the course of a single night during a gathering of friends at the home of Joe and Sally Therrian (Alan Cummming and Jennifer Jason Leigh), an L.A. power couple who've recently reunited after a lengthy separation. Their fellow partiers are a cross-section of Hollywood's best, brightest and most, uh, colorful: actors, artists, writers, directors, musicians and money men, as well as their various spouses, pets and offspring. The movie gathers together a wonderful, sprawling cast and then allows them to play off one another in a variety of situations that, while almost certainly pre-structured, tend to project the sort of freshness and energy usually associated with improvised scenarios. Also stars Kevin Kline, Gwyneth Paltrow, Jane Adams.
Atlantis (PG) Disney's latest animated feature is a Jules Verne-ish looking adventure about a group of explorers who discover a civilization beneath the sea. Michael J. Fox, who seems to enjoy this sort of thing, supplies the hero's voice.
(Not Reviewed)
Baby Boy (R) Ten years after Boyz N the Hood, director John Singleton revisits his old South Central stomping grounds with less than satisfying results. Singleton's title character is Jody (Tyrese Gibson), a likable but aimless 20-year-old arrested adolescent with no job, commitment issues, two small children by different women, and who still lives at home sponging off his mama. It's part drama and part comedy, though not fully successful at either. Also starring Ving Rhames, Omar Gooding, A.J. Johnson and Snoop Dogg.
Bread and Roses (R) Legendary British director Ken Loach's first film set in America concerns a feisty young Mexican woman named Maya (Pilar Padilla) who gets a crappy job cleaning a downtown highrise and then becomes deeply involved in the struggle for rights and benefits for non-union janitors. One of our most political and socially conscious filmmakers, Loach compensates for his tendency towards didacticism by fleshing out his characters in all sorts of fascinating ways. The relationship that eventually reveals itself between Maya and her sister Rosa (Elpidia Carrillo) is particularly powerful and unexpected, and adds an interesting quality of moral ambiguity to Loach's message. The performances are a bit uneven, but some of the acting is genuinely remarkable and the film finally makes quite an impression. Also stars Adrien Brody and George Lopez. At Channelside Cinemas. Call theater to confirm.
Bridget Jones's Diary (R) An English everywoman in the limbo between youth and middle age, Bridget Jones is single (although not by choice), slightly overweight, smokes and drinks too much, doesn't get on that well with her nagging mum, and finds herself constantly falling for the wrong sort of man (like her sexy scoundrel of a boss, impeccably played by Hugh Grant), while soundly rejecting the ones who might just turn out to be Mr. Right.
Cats and Dogs (PG) More talking animals than you can shake a talking animal at. Stars Jeff Goldblum and a whole lot of digitally manipulated furballs.
(Not Reviewed)
Come Undone (NR) Watch out for the occasional extreme close-ups of big, scary penises in this otherwise subdued and strangely lyrical tale of a young gay man's first experience with love. There's not a whole lot that's particularly new here, but the performances are strong and natural and the film tells its story in a fragmented, resolutely non-linear manner that makes it all seem, if not new, at least like some haunting, half-remembered dream. Opens At Channelside Cinemas. Call theater to confirm
Crazy/Beautiful (PG-13) A strong performance by Kirsten Dunst and a slightly above average script lift this project a notch or two above your typical after-school special. Romance blossoms between naughty rich white girl Dunst and a poor Hispanic classmate who's trying to better himself (Jay Fernandez). Disney apparently spent a lot of effort defanging the film to achieve a PG-13 rating, but the movie's language and sexual content still might be a touch tough for younger, more sensitive viewers (a group which in today's world probably only includes Amish preteens). Also stars Bruce Davison.
Cyberworld (PG) Billed as the world's first 3-D animated film, this latest Imax spectacular features some stunning images, amazing 3-D technique, and consistently lame writing. An overly quirky-cute techno-sprite called Phig (voiced by Jenna Elfman, who also seems to have supplied the character with her personality) is our guide through a state-of-the-art gallery of short digital animations. The shorts are pretty to look at and generally pretty vacant, ranging from vaguely experimental works with titles like Monkey Brain Sushi, to quasi-new-age stuff about big-eyed sea creatures, to outpourings of grandly inscrutable sci-fi surrealism that owe a little too much to graphic artists of the fantastic like Mobius. The best moments here, by far, are the two non-original segments — the Guantanamara dance from Antz and a mini-episode from a recent Simpsons Halloween Special — both reconfigured to fine effect for the IMAX 3-D process. Featuring the voice of Dave Foley. Now playing at Imax Channelside.
Dr. Dolittle 2 (PG) Eddie Murphy reprises the role of the infamous animal love doctor, and this time he has a message. After being lured into the woods by a raccoon with Mafia connections, Dolittle hears from the Godbeaver himself that the forest is about to be destroyed. In order to save the pristine wilderness from evil loggers, Dr. Dolittle attempts to get two endangered and completely incompatible Pacific Western Bears to mate. If this sounds stupid to you, don't worry, you are not alone. On the other hand, kids will probably love it. With plenty of fecal jokes and semi-sexual references, this is the kind of movie that'll set young 'uns rolling on the floor.
—Dustin Dwyer
Evolution (PG-13) Ivan Reitman's latest comedic opus is full of plot holes, mindless sidetracks and middle-of-the-road directing, but it's funny as hell. Julianne Moore and David Duchovny, two normally serious actors, ham it up alongside the shamelessly hokey Orlando Jones (7-Up commercials) and Seann William Scott (Dude Where's My Car). The quartet teams up to battle rapidly evolving alien creatures threatening to take over the world. What else do you need?
—Dustin Dwyer
The Fast and the Furious (R) A total video game of a movie, in the best sense, and everything Driven should have been: a racing flick that's one big, unabashed rush, sprinkled with larger-than-life characters who swagger between iconic stature and campy cartoonishness. Director Rob Cohen (Dragon: the Bruce Lee Story) re-imagines L.A. as a glossy no-man's land ruled by speed-crazed street racers. Stars Paul Walker, Vin Diesel, Michelle Rodriguez and Jordana Brewster.
Final Fantasy: The Spirits Within (PG-13) Move over Mickey, there's a new animated sheriff in town. Her name's Dr. Aki Ross, heroine of Final Fantasy: The Spirits Within, and she has something you will never possess — 3D breasts. Filmmaker Hironobu Sakaguchi, creator of the Final Fantasy video games, took great care in crafting a world that would, were it not for a few subtle nuances, allow the audience to suspend disbelief long enough to think they're looking at flesh-and-blood characters. Explosions, landscapes, vehicles and characters are all eerily realistic, and the textures are nothing short of amazing (check out Aki's decidedly voluminous hair). As fast as CG technology moves, however, it hasn't moved quite fast enough to make Final Fantasy audiences believe they're looking at anything other than cartoon characters, albeit beautifully rendered ones. The fault lies in the near-emotionless faces of every character, and their slightly stilted movements. The story line is an amalgamation of science-fiction movie plots we've seen ad nauseam, complete with cheesy dialogue. Is it worth seeing? Yes, if for no other reason than to see an animated character's pores. Is it a mind-blowing, CG masterpiece? Nope — that's coming in about five years. Also stars Donald Sutherland, James Woods and Steve Buscemi. Opened July 11 at local theaters.
—Kelli K
The Golden Bowl (PG) The main problem with The Golden Bowl, an impeccably crafted and solidly performed period piece based on a Henry James novel, is that the film lacks the sort of weight and complexity that have characterized (and redeemed) better Merchant-Ivory efforts, such as Howards End and Remains of the Day. Worse, The Golden Bowl lacks all but the smallest shred of narrative momentum or suspense. Stars Jeremy Northam, Kate Beckinsale, Uma Thurman, Nick Nolte.
Kiss of the Dragon (R) A nasty little piece of work highlighted by some gloriously over-the-top action sequences, lots of blood and guts, firepower, flying fists and, of course, Jet Li. He plays a Chinese cop on the lam from an army of corrupt cops in Paris (the head bad guy, played by Tchecky Karyo, is so absurdly awful, in fact, that he's essentially the French equivalent of Harvey Keitel's character in Bad Lieutenant). Bridget Fonda shows up as an ex-junkie hooker with a heart of gold, performing pretty much the same function (and virtually playing the same role) as Mira Sorvino in that other wannabe breakout project for a transplanted Asian star, The Replacement Killers. Fonda's presence actually drags the movie down — Li is almost better solo and silent — but Kiss of the Dragon is still thoroughly satisfying summer fare, at least if you're open to having your action tempered by more intense violence and borderline nihilism than you'll see this side of a vintage spaghetti western. The only real complaint here is that the fight scenes are cut so frantically it's a bit difficult to fully appreciate the very real artistry of Li's martial arts prowess. Also stars Ric Young.
Lara Croft Tomb Raider (PG-13) Yet another reason why movies should not be based on video games. Angelina Jolie stars as Lara Croft, a busty, butt-kickin adventuress with a serious daddy complex. The plot here is almost invisible — something about LC facing off with a secret society called the Illuminati and some ill-defined mystical claptrap about a triangle that controls time — and the movie is essentially just an excuse to fetishize Jolie and showcase some exotic locations and annoying digital effects.
Legally Blonde (PG-13) Reese Witherspoon's sheer adorability carries Legally Blonde, much the same way Alicia Silverstone gave Clueless its heart. Witherspoon plays Elle Woods, a privileged graduate of a sunny California campus who not only possesses naturally luxuriant blond locks, lovely breasts and abundant perkiness, but is whip-smart and has a heart of gold. After she's dumped by her Eastern blue-blood boyfriend, for not fitting his future politico image, the fashion merchandising major with a 4.0 kicks butt in the LSATs and — in the name of diversity — is admitted to gloomy Harvard Law, where she's derided for her signature pink outfits and glowing demeanor. At first she aims to win her man back, but in a movie not exactly beset with surprises, her plan changes. Elle then strikes many blows for would-be dumb blondes everywhere. When Legally Blonde sticks to its story, it's rather engrossing. The filler bits designed strictly for laughs (and not often generating particularly big ones) slow matters down. In the end, though, the movie overcomes its flaws and cliches with positive vibes and copious cuteness. Opens July 13 at local theaters.
—Eric Snider
Memento (R) A haunting film about a man who can't trust his own memory. Our hero, Leonard Shelby (Guy Pearce), has a bizarre condition that makes it impossible for him to remember anything more recent than the night of his wife's brutal murder. Consequently, he travels from place to place searching for her killer, tattooing upon his own body the clues that he uncovers, clues that he would instantly forget if not for the fact that they were indelibly imprinted on his skin. Memento actually tells its story in reverse, but the movie isn't so much a radical experiment as it is a crime thriller in the classic film noir vein — all brooding atmosphere, paranoia and treachery. Also stars Carrie-Anne Moss and Joe Pantoliano.
Moulin Rouge (PG-13) The nominal stars of Moulin Rouge are Ewan McGregor and Nicole Kidman, playing a star-crossed pair who fall in love, experience sublime happiness and meet inevitably tragic ends while putting on a big show at the legendary old Montmartre cabaret. But the real star of Moulin Rouge is its sense of style: the astonishing sets, the costumes, the choreography, the how'd they do that? camera moves. It's all staged as a musical, with the wisp of a story told largely through song, and characters constantly breaking into pop tunes (mostly from the '70s and '80s).
Pearl Harbor (PG-13) The Japanese attack on Pearl Harbor is the pivotal event looming over, and then descending upon, two ace fly boys and best pals (Ben Affleck and Josh Hartnett) in love with the same beautiful nurse (Kate Beckinsale). Almost everything about Michael Bay's new movie is epic. Balancing human drama and unabashedly cornball romance with balls-to-the-wall action — and told in big, stirring, simple (occasionally simplistic) strokes — Pearl Harbor is nothing if not a clear attempt to out-Titanic Titanic; the film fairly begs the question: Why just sink one boat when you can sink a whole bunch?
Pootie Tang (PG-13) I laughed saying, Two for Pootie Tang. I laughed at the previews. And I stopped laughing the moment Pootie Tang started. The movie's comedic conceit? This smoldering turd has little to offer except Chris Rock and some corporate America spoofs. The main character, Pootie Tang, speaks his own incomprehensible language: Wadatah! Stuff like that. Funny? If you think so, see this movie because you'll get the same joke over and over. Characters talk at and around the incomprehensible Pootie, belaboring the meager story of a crime fighter and his magic belt. Pootie Tang wants to be loose — characters refer to the movie itself, very meta — yet no one in it looks like they're having fun.
—David Jasper
Scary Movie 2 (R) If at first you make a whole lot of money, try, try again. More of the same from the Wayans Brothers: ridiculously raunchy, sporadically funny and guaranteed to make a bundle. The best bits in Scary Movie 2 include the Exorcist spoof intro (featuring a slumming but very funny James Woods); Chris Elliot's turn as a disgusting butler; and the numerous sequences highlighted by obligatory outpourings of bodily fluids — but the rest is pretty slow going. This time out, our heroes spend the night in a haunted house, giving the movie a chance to riff on House of Haunted Hill and other assorted supernatural flicks. Despite a handful of solid moments, Scary Movie 2 is considerably less fresh and less fun than the original, and even at under 90 minutes, the movie frequently drags. Stars Shawn Wayans, Marlon Wayans, Anna Faris, Regina Hall, Chris Masterson, Tim Curry and Tori Spelling, looking weirder than ever.
The Score (R) It's worth sitting through this more or less routine heist movie just for the final 15 minutes. And, of course, to see its stellar cast in action (particularly Marlon Brando, who, more enormous than ever and making his entrance in a summery white suit, appears hell bent on channeling the ghost of Sidney Greenstreet). The plot's nothing special. Robert De Niro plays a part-time jewel thief looking for a way out of the crime biz; Brando plays the colorful criminal mastermind pushing him to take on one final big score; while Edward Norton shows up as the brash newcomer who wants in on the action. In the hands of wimpy director Frank Oz (In and Out, What About Bob?, Indian in the Cupboard), what should have been a moody and even ominous setup winds up just seeming a touch laconic. The movie's second half extensively details the heist itself, a somewhat bloodless, high-tech operation that picks up steam as it progresses, but still isn't enough to save the movie. (There's more suspense and atmosphere in five minutes of the no-frills robbery in Rififi than there is in this whole affair.) The Montreal scenery is nice, though; Brando energizes every scene he's in; and Mose Allison and Cassandra Wilson put in brief musical cameos. Angela Bassett, on the other hand, is pretty much wasted here in role that's practically invisible. Opens July 13 at local theaters.
Sexy Beast (R) Gal Dove (Ray Winstone), a retired professional thief, recently relocated from gray, drizzly London to the sunny south of Spain, finds his good life disrupted in a major way when an awful face from the past shows up at his door with an offer he can't refuse. The face belongs to the volatile, barely human gangster Don Logan (Ben Kingsley in a career-topping performance), a London East End equivalent to Joe Pesci's loose cannon in GoodFellas, only scarier. The first half of Sexy Beast is constructed as a kinky sort of chamber piece in which Logan browbeats Gal into participating in one last heist, while the movie's later sections detail the heist itself, one of the oddest and most strikingly executed of recent years. From the ultra-hip visual style to the English underworld milieu, to the often obsessive bleeding-over of the comic into the cruel, the influence of Guy Ritchie (Snatch, Lock Stock and Two Smoking Barrels) on Sexy Beast is unmistakable. Frankly, though, Sexy Beast is a much better movie than anything Ritchie's done to date. Sexy Beast is off-kilter but often deadly serious, always drop-dead stylish and high energy to the max. Also stars Ian McShane, Amanda Redman and James Fox. Held over at Tampa Theatre. Call theater to confirm.
Shrek (PG) Dreamworks' animated fantasy is a deliciously irreverent bit of make-believe. Mike Myers supplies the voice (and personality) for the titular lime-green ogre, who embarks upon a quest to rescue an enchanted princess from the castle of a fire-breathing dragon. The 3-D-like digital animation is also a treat, but the real star here, for once, is the writing. The kiddies will be in heaven, but it's possible that adults may like it even more. Also featuring the voices of Cameron Diaz and John Lithgow.
Swordfish (R) Form blows away content in this extremely stylish, fast-paced but (although you'll hardly have a chance to notice) fairly ordinary thriller about a high-tech heist. John Travolta stars as master cyber-criminal Gabriel Shear. Hugh Jackman (Wolverine from X-Men) supplies the human interest as the hacker who reluctantly hooks up with Travolta's character, and Halle Berry shows plenty of skin as an enigmatic gang member who may or may not be what she seems.
What's the Worst That Could Happen? (PG-13) A punch line waiting to happen. Danny DeVito is a rich target for bungling criminals Martin Lawrence and John Leguizamo.
(Not Reviewed)
—Reviewed entries by Lance Goldenberg unless otherwise noted
This article appears in Jul 18-24, 2001.