Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
The Hoover household is something of an insane asylum but nobody would ever knowingly hurt anyone except him- or herself. Richard (Greg Kinnear) is a deluded optimist and motivational speaker who only motivates himself. His wife Sheryl (Toni Collette) unwittingly reinforces his behavior by placating him and hiding her frustration. Sheryl’s dad (Alan Arkin) an acid-tongued old-timer who’s hooked on heroin and brother (Steve Carell) a gay suicidal Proust scholar who is the epitome of the “crazy uncle” cliché are also aboard the crazy train. Richard and Sheryl’s son Dwayne (Paul Dano) is a Nietzsche follower who only communicates with his family by writing. Then there’s the daughter Olive (Abigail Breslin) the family’s glue. All she wants is to compete in the Little Miss Sunshine beauty pageant so the Hoovers all load their baggage onto the family’s VW bus--which barely runs--and embark on a long bumpy ride to California.
If only there were a Best Ensemble Oscar Sunshine’s cast would…get snubbed for being too quirky but still. And by constantly upstaging one another the actors may have further hurt their chances. It is this no ego effect however that is central to the movie’s theme and success. While all the performances are nothing short of superb the three showstoppers are Collette Carell and Breslin. Aussie Collette continues her brilliantly understated career with this turn as a well-meaning Everymom who ultimately only wants to nurture her family. Carell perhaps the only one with a fighting chance at an Oscar nod shows us why he’s really a megastar: he can act with a complete about-face from his usual roles as evidence. (Lest we forget this is a guy who up until recently was a fake-news correspondent!) And Breslin (Signs) is simply an amazing young talent who provides all the wide-eyed caffeine the film needs and then some but does so with precious maturity. It’s as if she inspired the title. There’s a quirky behind-the-scenes story too: Sunshine’s directors--plural--are married to one another! Husband-and-wife duo Jonathan Dayton and Valerie Faris are widely known music-video directors but not the type who would make their big-screen transition with something like say Torque; thankfully they chose substance over style. If not for these very gifted directors Sunshine could’ve come unhinged where so many pedestrian “dysfunctional family” indies do: by turning the characters each with a laundry list of defining quirks into caricatures. But thanks in equal parts to the direction acting and flawless script (from first-timer Michael Arndt) there is so much truth to each character. Most notable though is the linear nature of the story; these directors clearly don’t need swooping twists to convey their themes and profundity and that is rare and remarkable. The climax with which it all culminates can only be described as unforgettable.
Organized by a powerful pharmaceutical company a scientific expedition is sent into the deep dark jungles of Borneo to search for a rare blood-red orchid which may or may not unlock the secrets of youth and immortality. "Bigger than Viagra!" states one company exec. No kidding. The thing is the flower only blooms every seven years and it would take about 100 orchids to yield just a small amount of juice. Doesn't sound very practical if you're talking about the fountain of youth here. Imagine the demands…but I digress. What the group--which includes an obsessed scientist (Matthew Marsden); his money-hungry business partner (Morris Chestnut); the scientist's beautiful assistant (Kadee Strickland); the company's bitchy representative (Salli Richardson-Whitfield); the tough-as-nails (but very hunky) river boat captain (Johnny Messner); the comic relief (Eugene Byrd); and a couple of others--doesn't know is that these flowers have been pumping up the local fauna namely the anacondas (who are actually only native to the Amazon but hey Borneo works) as they derive their super strength and vitality from the orchids not to mention their appetites. Uh-oh. We've just got to get these crazy kids together.
You know you're in trouble when the only name you recognize on the marquee is Morris Chestnut. Not to say Chestnut best known for supporting roles in films such as Half Past Dead and Two Can Play That Game isn't a capable actor; he's just not really a name. Apparently Anacondas producers wanted to go with unknowns to separate itself from its predecessor. That and the fact most of the original cast bought the farm in the first Anaconda except for Jennifer Lopez who for obvious reasons wouldn't touch this sequel with a ten-foot pole. So. What we are left with are some pretty green actors who do their very best (which isn't saying much) to act horrified and deliver such stellar dialogue as "Everything gets eaten out here. It's a jungle" or "We are young single and in Borneo." Byrd (8 Mile) stands out slightly as the wisecracking techno geek who does some of the better freak-out scenes. But if you really want to know it's the river boat captain's pet organ-grinder monkey who steals the show; you can just feel his tension as he's running away from the slithering predators.
A sequel to a cheesy snake movie that only made money because it had a seriously disturbed cult following? What's next Showgirls 2? Anacondas classic movie monster set up is the only thing its got going for it and director Dwight H. Little (Murder at 1600) utilizes this structure to the best of his abilities showing a lot of snake some swallowing of humans and very little else. And nothing can get better than a giant snake orgy. Oh you heard right. The reason there is a plural on the end of the title (and trust me I'm not giving anything away) is that it's mating season for those frisky anacondas--and all the males have come running to find the delicious female in heat chomping on the flowers and getting huge. This is Borneo after all where apparently snake lovin' is a must. Beyond this bit of salaciousness the plot holes logic and just about anything else in the film are so appalling you actually wish the campy Jon Voight from the original movie would pop up as the mastermind behind the whole operation explaining how he was the one who brought the anacondas from the Amazon to Borneo. Now that would be a twist.
February 22, 2002 11:20am EST
The film begins with three ten-year-old girls burying a decorative wooden box in the woods while making a pact to remain lifelong friends. They also vow that upon their high school graduation they will return and dig up the box which contains items that reflect their goals and aspirations. Eight years later however Lucy (Britney Spears) Kit (Zoë Saldana) and Mimi (Taryn Manning) have grown apart. Lucy is the virginal valedictorian Kit is unscrupulously popular and Mimi is the pregnant rebel. On graduation night nostalgia gets the best of them and they decide to rekindle their friendship and embark on a road trip each with their own goals. Lucy would like to see her mom who abandoned her when she was a child; Kit needs to confront her fiancé in Los Angeles; and Mimi wants to enter a singing contest. They get Ben (Anson Mount) a mysterious stranger with a bad rap to drive them across the country in his '73 Buick convertible and in a matter of days--and a couple of 'N Sync songs--seem to forget how much they actually hate each other.
In her acting debut Britney Spears trades in her trademark Day-Glo tan for a more demure girl-next-door look. While she cries convincingly with puffy eyes and all her delivery seems forcibly understated and wooden. For example when Lucy breaks down and tells her father she feels as though she got nothing out of her entire high school experience she snaps out of her gloomy mood instantaneously when her father disagrees with her. Anson Mount (Urban Legends: Final Cut) who plays her love interest Ben is natural enough and completely suave next to Spears. Except for the scene where he protests a little too much to the girls driving his car (he literally kicks up dirt for what seems like an eternity) he plays the part in a down-to-earth manner without any showboating. The two sidekicks played by Taryn Manning (crazy / beautiful) and Zoë Saldana (Get Over It) are at opposite ends of the spectrum. While Manning comes across as sincere Saldana seems like she's playing the part of Hilary Banks on The Fresh Prince of Bel-Air. For kicks see if you can spot former MTV VJ Jesse in the background crowd.
How director Tamra Davis went from helming the hilariously clever Half Baked to Crossroads is unfathomable. The characters in the film especially Lucy and her father are unoriginal and stick to stereotypes: the rigid blue-collar father who pressures his daughter into medical school and the all-too perfect daughter who constantly seeks his approval. And even though Davis also tries to camouflage the musical sequences peppering them throughout the film (Lucy sings to anything that comes on the radio including Madonna and Sheryl Crow) the movie still comes across as just an excuse for Spears to sing. More blatant is the scene where the threesome takes part in a karaoke competition in the dead of Louisiana. Although Spears' rendition of "I Love Rock 'n' Roll" is not that bad I don't know of any karaoke bars that have a DJ of that caliber (or have an emcee like Kool Moe Dee). Can't pop stars cross over into film without bringing their song repertoire with them?