From the creators of the TNT miniseries Gettysburg including executive producer Ted Turner and writer/director Ronald F. Maxwell Gods chronicles the Civil War from its beginnings when the South rises up. Confederate General Robert E. Lee (Robert Duvall) a distinguished military man but also a loyal native Virginian chooses to fight for his home rather than his country while Thomas "Stonewall" Jackson (Stephen Lang) a devoutly religious man becomes Lee's most trusted lieutenant. On the other side we have Colonel Joshua Chamberlain (Jeff Daniels) a professor from Maine who ends up one of the Union's finest military leaders. In between there are glimpses of the wives and families left behind. Stories of this magnitude with their dramatic bloody battles and tragic endings usually leave you numb or crying for those lives lost and destroyed. Instead Gods and Generals holds no resonance whatsoever meticulously plotting out the details and making this decisive moment in American history interminable at three and a half hours. It's like wading through a textbook--or worse watching Civil War fanatics carefully reenact the famous battle scenes on the very ground they were fought over and over again--while the players stand around quoting long-winded verse from the Bible or Shakespeare's Julius Caesar. Blech.
The actors in Gods and Generals must have honestly thought they were making something important when they signed up. Main players Lang (who played Major Gen. George Pickett in Gettysburg) and Daniels (who reprises his Gettysburg role as Chamberlain) have their moments but after hearing them recite one speech after another especially Lang's Jackson who says more prayers to God than anything else you start to wonder if they ever realized they made a mistake. (Or have we for sitting through it?) One of the more superfluous scenes is when Jackson and his black cook Jim played by Frankie Faison are standing outside in the freezing cold night for about 15 minutes both looking up at the stars and praying to God. It seems like the actors are trying to make such sermonizing poignant meaningful but all this pontification simply drags the movie further down. These speeches aren't just Lang's and Daniels' territory--Mira Sorvino as Chamberlain's wife and Kali Rocha as Jackson's wife get their own personal moments in the sun too. If you count the cast of thousands each with their own things to say well you get the point. Thankfully Duvall who is the only good thing about the movie gets to keep the talking to a minimum.
If you want to see a Civil War melodrama at its best where watching the heroes race through a sacked city makes you hold your breath and witnessing horrific hospital scenes makes you squirm then watch Gone With the Wind. If you want gut-wrenching Civil War battles or more understanding of how slaves truly felt then watch Glory. If you want a heartening history lesson about the Civil War that not only teaches you about the era's political machinations but also shares the insights and thoughts of the men and women who experienced it then watch Ken Burns' documentary series The Civil War. Gods and Generals offers none of that in its dry textbook version of the Civil War which uses the same shots are used over and over again (how many times does the camera pan up to the night sky or show the panoramic view of Fredericksburg Virginia? I lost count) features more actors waxing prophetic than real drama and actually makes you yawn during what should be intense battle scenes.
September 07, 2001 1:09pm EST
Shanté has everything going for her: she's smart successful and sexy an advertising exec who is so well versed in the field of romance that her girlfriends rely on her to dispense relationship advice on a regular basis hanging on her every word. Shanté however is in for a big surprise when she finds out her equally successful lawyer boyfriend Keith (Morris Chestnut) is cheating on her with her archrival Conny (Gabrielle Union). Rather than confront him about his two-timing ways she decides to put into effect her "Ten Day Plan" (an even dumber variation of "The Rules") intent on getting her man back at her side where she thinks he belongs. The plan involves childish games like not returning his phone calls and dating other men in plain view. She painfully explains these steps one by one looking directly into the camera. Keith on the other hand takes advice from his best friend Tony (Anthony Anderson) and plays the game right back. With scheming like this their relationship just has to work out.
The ensemble in this film is not a bad one; the members are simply victims of their own bad judgement for choosing to star in this stereotypical monstrosity. As Shanté Fox (Kingdom Come Set It Off) is reduced to playing a character who is supposed to be well educated but constantly spews out words like "ho'" and "hoochie." Let's hope there are better roles ahead for her--perhaps in her next project the basketball comedy Juwana Man? As sidekicks Anderson (Romeo Must Die) and Mo'nique (UPN's The Parkers) actually provide a lot more laughs and entertainment than do Fox and Chestnut (The Brothers). As Keith Chestnut comes across as a superficial player devoid of any meaningful qualities. He's too slick and sleazy. It's sad to see Chestnut fall so far from his role as Ricky Baker in John Singleton's Boyz 'N the Hood to this. Surprisingly Bobby Brown makes a funny cameo appearance as a buck-toothed makeover candidate.
Written and directed by Mark Brown (screenwriter How to be a Player HBO's Quincy's Jook Joint) Two Can Play That Game offers nothing fresh or new to the whiny relationship genre. In fact this film seems more like a lesser version of Waiting to Exhale or a really long episode of UPN's Girlfriends. For someone who supposedly has it so together Shanté's character comes across as dependent and desperate. Why doesn't she just dump her suave dallying beau? While right-at-the-camera monologues may work for Frankie Muniz in Malcolm in the Middle they are just plain irritating here. Not helping is the entire unoriginal girls vs. boys bantering or battle-of-the-sexes theme. To make matters worse the film is also perversely riddled with product placements like Coca-Cola and Miller Genuine Draft. The moral of the film seems to be that getting an unfaithful man to the later is some sort of just reward.