Attempting to delve into one of Tinseltown’s most curious scandals--the mysterious suicide (or was it?) of the original TV Superman actor George Reeves--the story begins after Reeves (Ben Affleck) is found dead of a seemingly self-inflicted gunshot wound during a late night party in his Benedict Canyon home. The case then unfolds through the eyes of Louis Simo (Adrien Brody) a street-smart publicity hungry private dick hired by Reeves’ grieving mother. As Simo slowly peels back the layers of Reeves’ seemingly glamorous life he discovers an actor of charm talent and sophistication whose every opportunity for a big break fizzled forcing him to lead a frustrated existence slumming in the superhero show he deemed beneath him. Gradually identifying with Reeves’ failed expectations for himself Simo discovers a host of candidates who may have actually pulled the trigger on the actor including his young party girl paramour (Robin Tunney) his longtime lover and patron (Diane Lane) and his lover’s husband a powerfully connected studio “fixer” (Bob Hoskins). It is Brody not Affleck who carries the bulk of the film on his shoulders and the Oscar winner delivers a finely etched turn as Simo who’s fractured potential mirrors Reeves’ but quite simply Simo’s story isn’t nearly as dark or engaging as Reeves’ life or the mystery surrounding his death. Affleck an actor who has had his share of ups downs duds and disappointments in Hollywood delivers one of his most charming and fully realized performances to date even if his spot-on recreation of Reeves’ speech pattern is a bit distracting. The luminous Lane’s acting talents remain in full blossom in a character she’s well-suited to play—the aging beauty fearing the road ahead—and she commands every scene she’s in. Unfortunately there should have been many many more of them. She’s almost criminally underused. Hoskins more menacing then ever and the reliable stable of supporting players like Joe Spano are all top-notch as well; only Tunney apparently trying to channel both Betty Boop and Bette Davis simultaneously seems a bit off her game as the wannabe femme fatale. Best known for his strong turns helming many of the best episodes of television series such as The Sopranos Sex and the City and Six Feet Under first time feature director Allen Coulter’s cool assured hand and meticulous recreation of Cold War Los Angeles are major bonuses here. Even when Simo’s story sags in comparison to Reeves’ Coulter keeps us interested particularly when staging the Rashomon-like sequences depicting the various theories behind Reeves’ demise. But by skimping on Reeves’ story in favor of a less compelling fictional framework built around a private detective investigating the case we never see one key suspect’s possible murder scenario enacted visually and it comes off as a glaring omission.
Date Movie doesn’t have a story as much as it does a series of miss-or-really-miss spoofs of date movies and cultural hodgepodge; the thin “story” is just enough to keep the film from being a series of vignettes. Julia (Alyson Hannigan) who makes Big Momma look little is determined to find her Prince Charming instead of wasting away in her lonely apartment. She briefly finds him in Grant Fonckyerdoder (Adam Campbell) before losing him (so ends any originality). So she visits a date doctor named Hitch (Tony Cox)—yes that movie—who takes her to get barbaric liposuction. Then she meets Grant again they fall in love and she meets his parents Mr. and Mrs. Fonckyerdoder (Fred Willard and Jennifer Coolidge) making for a Meet the Fockers spoof (the biggest spoof-ee). Julia has competition from Grant’s ex (Sophie Monk) allowing for more film references but ultimately they live clumsily ever after.
It’s hard to see through the utter mess that is Date Movie enough to evaluate its acting but Hannigan seems to be at least serviceable. Although it seems like “acting” here means merely nauseating the audience enough so they can taste the vomit but manage to hold it in. Like when she licks Tony Cox’s face for 15 or so seconds—in slow motion… It’s more Fear Factor than Inside the Actor’s Studio. As for Campbell Date Movie is his first. There’s no frame of reference whatsoever and yet it’s still clear that he’s above this. He almost seems like a classically trained actor who’s forced to stretch his comfort zone by performing horrendous impressions such as the orgasm scene from When Harry Met Sally. The lone semblance of a bright spot comes from Coolidge impersonating Barbra Streisand’s Roz Focker. Again way too classy for this Movie.
Date Movie's trailer brags “From two of the six writers of Scary Movie...” After seeing it you can’t help but muse “It took two writers for that movie?!” The writers in question are Jason Friedberg and Aaron Seltzer who also co-directed. The film should at the very least be an appetizer for Scary Movie 4’s upcoming entrée (to which they did not contribute) but with no hint of continuity or a passable storyline it even fails that menial task—and where the Scary Movies have succeeded is in the satisfactory stories that surround the film references. The biggest problem though lies in the spoofs: While the rules mandate that only chick flicks/date movies can be parodied the writer/directors abandon their target audience by referencing movies like When Harry Met Sally. Luckily there’s always an audience member who feels the need to solve the conundrum aloud.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.