WHAT IT’S ABOUT?
Based on Noel Coward’s 1928 play and set in that period Easy Virtue is about John Whittaker a young Englishman who falls madly in love with a flamboyant American woman named Larita whom he immediately marries and brings home to meet his stuffy all-airs English family. What ensues is a battle of wits that turns to war between the visiting yank and her new mother-in-law who is determined to prove to her son that he has made an egregious mistake.
WHO’S IN IT?
Jessica Biel takes a flying thespic leap and holds her own in the middle of a sterling cast of fine British talent as Larita the feisty young wife of a naïve young man who has fallen head-over-heels in love with her and expects his stuffy upper-crust family to fall in line. Biel is a delight as this thoroughly modern miss and shows she can adapt to the witty rhythms of Noel Coward’s rapid-fire repartee with the best of ‘em. And the best of ‘em includes the wonderfully talented and woefully underrated Kristin Scott Thomas (The English Patient) as the doubting Mrs. Whittaker who doesn’t quite welcome the American intruder with open arms. Thomas’ performance is reminiscent of the haughty English societal roles she began her career with but she adds a dollop of vinegar to this one and appropriately glams down for full effect. Ben Barnes (The Chronicles of Narnia: Prince Caspian) is at once smitten and perplexed as the impressionable new groom while the ever-reliable and appealing Colin Firth steals it all as his cynical and dour father the only other family member who sees the spark in Larita.
Shot entirely in some stunning stately mansions in the environs around Berkshire and Cambridgeshire Easy Virtue expertly captures the flavor of a sophisticated late-'20s British romp. The fresh and inspired casting of Biel in her first English foray should also find contemporary audiences responding. Although he occasionally opens things up a bit (including a very funny fox hunt) director Stephen Elliott wisely lets his cast take center stage with Coward’s constant zingers and spicy dialogue.
There’s nothing really new here that will make you go “Wow.” Though it’s all “been there seen that ” Easy Virtue is still done with verve and style. It’s a hoot for those who miss this kind of theatrical experience on the big screen.
When the others have retired to the patio Biel’s character accidentally sits on Mrs. Whittaker’s prized little pooch sadly squashing the poor little bugger to death. Her subsequent Lucy-esque attempts to cover up the crime are slapstick silly fun giving Biel the opportunity to display the kind of comic chops she didn’t get to show opposite Adam Sandler and Kevin James in I Now Pronounce You Chuck and Larry.
NETFLIX OR MULTIPLEX?
Netflix. The widescreen cinematography is nice to look at but this little trifle will play just fine at your own estate.
The tragic opera tells the story of a disfigured musical genius (Gerald Butler) who haunts the catacombs beneath the Paris Opera waging a reign of terror over its occupants [cue the organ music]. Think The Elephant Man meets The Hunchback of Notre Dame--except this particular "monster" has some serious sex appeal. I mean honestly his only "disfigurement" is some scarring on one side of his face which he covers with a rather classy mask. No big whoop. But I digress. When he falls desperately in love with the lovely ingénue Christine (Emmy Rossum) who has lived in the opera house for most of her life the Phantom devotes himself to molding the young soprano into a star exerting a strange sense of control over her as he nurtures her extraordinary talents. But when Christine falls for the dashing Raoul (Patrick Wilson) all hell breaks loose as the Phantom's growing jealousies threatens to tear everyone apart [OK now it's really time to cue the organ music].
Fans will no doubt be happy their favorite musical has finally made it to the big screen but the musical's original stars Michael Crawford and Sarah Brightman have been replaced in the movie version by hot young actors. This is a very wise decision considering the film's rather longwinded nature. In other words even though the Phantom performers keep singing and singing and then sing some more at least they are appealing to watch (and they did do all their own singing). Butler (Lara Croft Tomb Raider: The Cradle of Life) is particularly effective as the Phantom all brooding mysterious and far more intriguing a suitor than pretty boy Raoul played blandly by Wilson (HBO's Angels in America). With her alabaster skin and long luscious locks Rossum (The Day After Tomorrow) also does a nice job as Christine. But she is unfortunately limited to only a few range of emotions--either all doe-eyed and somber over her Phantom doe-eyed and gushy over Raoul or just plain doe-eyed. As for the supporting players Minnie Driver nearly steals the show as the Italian soprano diva La Carlotta. As the only breath of fresh air in the musty opera house you definitely crave more of her.
It's taken about 15 years to bring Webber's smash hit to the big screen. Apparently after winning every known theater award for Phantom the legendary producer-composer approached director Joel Schumacher in 1988 to do the movie after being impressed by Schumacher's work on The Lost Boys. Hmmm The Lost Boys to Phantom of the Opera--I'm still trying to tie that one together. Anyway Webber had to postpone production for personal reasons and then Schumacher was busy doing such films as Tigerland and Phone Booth. Finally the time was ripe to make Phantom coming on the heels of the musical movie boom started by Moulin Rouge and Chicago. Schumacher certainly incorporates all the right elements from the young and talented cast to the opulent sets and magnificent costumes. The problem is the material: Phantom really isn't all that compelling of a story. Sure the stage production was and still is a theatrical event especially as the Phantom moves on catwalks all over the theater and the impressive chandelier comes crashing down on the stage. But for the film adaptation there needs to be something more than just grand posturing set pieces and operatic music. Maybe a little more dialogue? A sex scene? Anything?
November 15, 2002 4:05am EST
Sascha Petrosevitch (Steven Seagal) is an undercover FBI agent posing as an international car thief. When Sascha and his partner in crime Nick Frazier (Ja Rule) get busted by the Feds Sascha agrees to serve time at the newly refurbished Alcatraz in order to keep his cover. The prison happens to house a criminal by the name of Lester (Bruce Weitz) who robbed an armored vehicle of some $200 million worth of gold that has never been recovered. A group of mercenaries calling themselves "the 49ers" decide it would be a good idea to break into the prison and somehow force Lester to divulge the booty's whereabouts. When their plan backfires they begin taking hostages--including Justice June McPherson (Linda Thorson). To save the day Sascha must rally the inmates against the commando force. Half Past Dead is a stock actioner complete with lame story flashy stunts and lots of folks pointing guns at one another. It is also a typical Seagal pic so if you have ever watched any--including the Under Siege movies--you've seen this one too.
Once again Seagal (Exit Wounds) is the archetypal defender but instead of portraying a brooding silent hero he simply comes across as bored. Or maybe this is just Seagal's rendition of what happens to a man after he flatlines for 22 minutes. Seagal's partner in crime Nick is played by rapper-turned-actor Ja Rule (The Fast and the Furious). The two actors barely have any chemistry and the "brotherly" relationship they talk about incessantly never comes through on screen. Morris Chestnut (Like Mike) plays Donny aka 49er One the leader of the mercenaries. It was a refreshing change to see Chestnut--who has played nice-guy roles in a throng of romantic comedies such as The Brothers Two Can Play That Game and The Best Man--portraying a sociopath with absolutely no redeeming qualities. He does it charmingly well. As Chestnut's fellow commando 49er Six Nia Peeples manages to create a character that despite her tiny stature is convincingly intimidating. Tony Plana is exceptional as the bad-ass prison warden El Fuego; it's too bad his character has such a small role in the film.
With this movie actor/screenwriter Don Michael Paul who appeared in a bevy of little-known films in the late '80s and early 90's makes his directorial debut. It's obvious that Paul put more focus and energy into the film's visuals than into the story. Half Past Dead's new Alcatraz setting is ultra slick complete with state-of-the-art execution chambers yet still retains the dark and gritty feel that a prison should. But while Paul has chosen all the "right" ingredients to build an action flick he hasn't put enough thought into the story's logistics. In one scene for example Seagal parachutes out of a helicopter that's only about 200 feet above sea level. It's hard to buy into a stunt that is so far from plausible. Furthermore the proliferation of buddy action movies has simply grown tiresome. Like its many predecessors Half Past Dead tries to draw laughs and create chemistry by pairing two opposite characters and while that worked for Jackie Chan and Chris Tucker in Rush Hour it fails miserably between Seagal and Ja Rule. Viewers will only cringe when Nick tries to teach Sascha the Ebonics version of all right ("aight").