Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.