Misery loves the Savages--always has. Ever since they were kids Wendy (Laura Linney) and Jon Savage (Philip Seymour Hoffman) have been plagued by the blasé blues. Even though they went their separate ways the siblings have remained somewhat close geographically--she lives in Manhattan he in Buffalo--and in their discontentment. But what made them this way in the first place their father (Philip Bosco) is about to reunite them. After losing his mind to dementia and his longtime girlfriend (Rosemary Murphy) to well death the old man officially needs to be looked after and that’s where Jon and Wendy reluctantly come in. Despite having not seen their estranged father in ages they fly out to his Arizona senior-citizen-friendly community immediately upon word of his downfall. What they didn’t plan on however is staying more than a couple days. Ultimately they take him back to Buffalo and place him in a nursing home about which Wendy constantly feels guilty. Now forced to live together and look in the metaphorical mirror the siblings Savage learn about self-discovery mortality each other and how to revive a decades-old rivalry as though it had never gone away. Given the way Laura Linney and Philip Seymour Hoffman constantly one-up each other in The Savages you’d think there was a real sibling rivalry at play. Of course it’s merely two of today’s very best actors giving par-for-the-course flawless performances. In so doing they create something beyond chemistry: a relationship so fractured and imperfectly perfect that it could only exist between an aging brother and sister. Whether the scene calls for fireworks or subtlety solo or together Linney and Hoffman are always up to the task. Linney is especially wide-ranging as Wendy still fights her midlife crisis. The veteran actress is often heartbreaking because Wendy is often heartbroken even when she tries to convince herself otherwise but Linney still manages to leave the window of hope cracked open--for us and her character. She truly encompasses everything in this her best performance to date. Hoffman is slightly more of a supporting player here but no less impactful. The Oscar winner is apathetic through much of the film but his terse outbursts of anger and/or sadness are stark reminders of his awe-inspiring range as an actor. Perhaps the most savage Savage is the patriarch played with grace by longtime actor Bosco. But instead of vilifying Lenny or making him worthy of all your pity Bosco makes him a rollercoaster of emotion as per Lenny's dementia. It’s been nine years since writer-director Tamara Jenkins’ last--and only other--feature-length film the twisted coming-of-age tale Slums of Beverly Hills which has given her plenty of time to think grow older and think about growing older. She philosophizes aloud in The Savages a movie that addresses everything you don’t want to but with a sardonic edge to it; in fact maybe this is as much a coping mechanism for her as it is an artistic endeavor. While the movie is primarily about the title siblings it essentially explores the human condition under their guise. But Jenkins does so in a way that is never preachy never obnoxious never sappy and always astutely observed. It’s her naturalistic approach to moviemaking that will turn what is ultimately a sharp dramedy into too much of a downer to please casual moviegoers looking for lighthearted fare in wintertime--this is NOT Little Miss Sunshine--but those who go in looking for a drama will be moved occasionally to laughter. Because The Savages is that rare deep movie: heavy on symbolism and meaning light on pretense and contrivance.
Happily N'Ever After centers on what would happen if the classic fairytales we all love didn’t have happy endings if the villains actually won out in the end. When the wizard (George Carlin)—who maintains the age-old balance between good and evil in Fairy Tale Land—goes on vacation his incompetent assistants (Andy Dick Wallace Shawn) make a mess of things opening up an opportunity for Cinderella’s evil stepmother Frieda (Sigourney Weaver) to take control and call in all the bad guys. Meanwhile Cinderella aka Ella (Sarah Michelle Gellar) tries to get her beloved Prince Charming (Patrick Warburton) to save the day—except he is a nincompoop too. Actually the real hero is the Prince’s dishwasher Rick (Freddie Prinze Jr.) who secretly loves Ella. Not too hard to figure out how this ever after will end. Gellar and Prinze Jr. are as bland in voice as they are on screen playing the two potential lovebirds with very little enthusiasm while the “hilarious sidekicks” Dick and Shawn totally overdo it as the bumbling wizard assistants even if Dick does have a few laugh-out-loud moments. Warburton does he’s usual dumb guy routine and Carlin is completely wasted. The only one who seems to tap into her character succinctly is Weaver as the wicked Frieda. Of course playing someone evil is always more fun—especially a fairytale villainess CGI-created as a cross between Jessica Rabbit from Who Framed Roger Rabbit and Madonna. Weaver certainly works the look. Last year’s Hoodwinked—which took the Little Red Riding Hood tale and turned it into a CSI meets Rashomon—tried to satirize and modernize the fairytale genre. Now we have Happily N'Ever After. While their premises are indeed clever and the CGI animation crisp they fail to deliver a strong story to back up the initial idea. Happily just feels slapped together for the kiddies’ sakes with a few dull attempts at adult references. It’s not a good sign when even your kid sitting next to you starts to zone out halfway through the movie. Also the fact there are about six different animation houses and production companies attached to the project doesn’t bode well. I think it’s probably just best to keep the fairy tale spoofs to the Shrek professionals.
With its twisty-turning plot and military setting Basic could be the love child of an illicit affair between The Usual Suspects and The General's Daughter; it even borrows the star of the latter. In Basic John Travolta plays Tom Hardy a former Army Ranger and interrogator extraordinaire who's now a DEA agent in Panama suspended from duty on suspicion of bribery. He's hitting the rebellious law enforcement officer's requisite bottle of Jack Daniels heavily--until an old friend on the local army base Col. Bill Styles (Tim Daly) calls him in to investigate the disappearances and probable deaths of an elite group of trainees and their commander Sgt. Nathan West (Samuel L Jackson) during a training session in the Panamanian jungle. Staff investigator Lt. Julia Osbourne (Connie Nielsen) a plucky Southern gal who's none too pleased with Hardy's invasion of her turf is assigned to help Hardy question the unit's surviving members Kendall (Giovanni Ribisi) and Dunbar (Brian Van Holt). As their stories unfold over a series of flashbacks the interrogators discover a military underworld of drugs murder and coercion--and the mysterious existence of a rogue Ranger unit called "Section 8." Now for an interrogation of our own. Is the plot convoluted? Sir yes sir! Is it too tricky for its own good? Sir yes sir! Thank you soldier. You may stand down.
The trigger-finger pointing winking cluck-clucking "gotcha" persona Travolta (Swordfish Domestic Disturbance) creates in Hardy is as appropriate to the story as it can possibly be; the way he manipulates his subjects under interrogation is much the same way the story manipulates its audience. He leads them--and the observant Lt. Osbourne--to believe one thing then pulls the rug out from under them to prove the old cliché of military movies: that nothing is as it seems. In Nielsen's (The Hunted One Hour Photo) Osbourne we're given a character who could lead us through the jungle of the plot (she discovers the "facts" at the same time as the audience so her reaction is meant I suppose to be ours) but since Hardy spends much of his time making her look and feel like an idiot she comes off as one and frankly so do we. The talented Jackson (Changing Lanes) mostly does the bellowing drill sergeant bit while Ribisi (Heaven) as the homosexual son of a high-ranking general talks like he has cotton wool in his mouth and moves and twitches like he's mildly brain-impaired. (His character's not supposed to be; he only got shot in the leg.) One bright spot in this movie is the featured role for hunky Van Holt (Windtalkers Black Hawk Down) whose chiseled good looks and heroic demeanor make him a shoo-in should anyone ever make a live-action Johnny Bravo movie.
Director John McTiernan has given audiences some heavy-duty action in Die Hard Die Hard With a Vengeance and The Hunt for Red October but he's also the director who brought us such gems as Rollerball and Last Action Hero so it's not surprising that in Basic we get some action and intrigue paired with the out-there story stylings and narrative confusion of some of his less successful work. Here each flashback brings new information that conflicts with what we've been told before and the story never really resolves those conflicts in any satisfying way. The "big twist" at the end instead of bringing it all together creates gaping holes in the plot or at least creates so much doubt in the story we've just spent an hour and a half watching that it's easy to get fed up with trying to figure it out. Naturally no one likes to be spoon-fed plot resolutions but in order for twists to work they have to give the audience something to focus its doubt on--they can't just call the whole kit and caboodle into question. We have to be able eventually to figure it out. But hey maybe we aren't supposed to work out the details; after all this movie with its catchy one-word title and colorful cast of characters is just begging for a sequel: Basic 2: Explaining the First Movie.