February 18, 2003 10:38am EST
At the tender age of 12 Matt Murdock (Ben Affleck) was splashed in the eyes with radioactive waste and lost his sight--but his other four senses developed with superhuman sharpness. He grew up to become a bleeding-heart lawyer running a law practice with his best friend Foggy Nelson (Jon Favreau) and chasing beautiful women including the bright and fearless Elektra Natchios (Jennifer Garner). By night he is the masked vigilante Daredevil using his incredible senses and abilities to defend the downtrodden in New York City's Hell's Kitchen. Daredevil the movie stays true to all the elements that are pervasive in the Marvel Universe: drama love action violence revenge a spiteful police department and best of all the probing reporter on a quest for the truth. Here moviegoers will become familiar with events that become catalysts in Daredevil's crime-fighting career including the death of his father (David Keith) at the hands of the mob and the victimization of those close to him. The villainous underworld figure Wilson Fisk a.k.a. Kingpin (Michael Clarke Duncan) and his hired hand the psychotic killer Bullseye (Colin Farrell) are also introduced as Daredevil's foes--and the battle between good and evil is born in this gritty urban borough.
Daredevil's appeal is that he does not possess any superpowers which made Affleck (Sum of All Fears) a good choice to portray this rather vulnerable crime fighter. While he beefed up for the role Affleck still retains that guy-next-door quality that makes both Murdock and Daredevil so relatable. His love interest in the film Elektra is played by Garner better known as Sydney Bristow on ABC's Alias. Elecktra is as brawny as she is brainy and Garner is the perfect fit for the character: she's gorgeous in a non-Hollywood kind of way and convincing as skilled fighter. Playing Murdock's lifelong friend and partner Foggy Favreau's (Made) role here is the most low-key of the bunch but he delivers some comic relief with some really funny lines. As far as villains go no one could be better suited for the role of Kingpin than the larger-than-life Duncan (The Scorpion King). This massively muscled character had to be played by someone with a powerful presence and sophisticated intellect making Duncan the ideal candidate. Rounding out the malefactors is Farrell (The Recruit) who churns out a powerful performance as the psychotic killer Bullseye complete with the nervous twitches and shifty eyes.
The decision to place Mark Steven Johnson at the helm of Daredevil was a little surprising. His 1998 directorial debut Simon Birch and his screenwriting credits Grumpy Old Men and the astoundingly bad Jack Frost hardly seemed on a par with an action adventure feature like this. The fact that Johnson hasn't worked extensively with digital effects becomes apparent in some of the film's action sequences that include a CGI Daredevil running upside walls and taking giant leaps from rooftop to rooftop. The completely animated version of Daredevil doesn't behave naturally and lacks details such as muscles texture highlights and shadows. But Daredevil didn't have a huge budget (compared to Spider-Man at least) and what it lacked in f/x it made up for with a gripping and gritty story line. Daredevil's mission is to rid Hell's Kitchen--not the universe--of as much crime as he can and his vendettas are personal--and grotesquely violent. More importantly Johnson's screenplay stays true to the comic book characters and their attributes. Fans of the comic book will appreciate his truthful touches such Bullseye's maniacal talents which include being able to turn a paperclip into a deadly weapon and Kingpin's ritualistic removal of his blazer before pounding the snot out of adversaries.
London bachelor John (Jack) Worthing who has a murky background and his roguish spendthrift friend Algernon (Algy) Moncrieff pursue romance but are each deceitful in their own ways. Jack who is guardian of his beloved niece Cecily Cardew at an estate outside London invents a brother named Ernest so he can escape to London whenever the whim hits and hook up with pal Algy. Both bachelors are suitors but their lies and the rampant snobbery of the day get in the way. Jack hopes to marry Gwendolen Fairfax but her rigidly elitist and dominating mother Lady Bracknell is put off by Jack's lowly origins. (Parents unknown he was found as a package at Victoria Station.) While Jack locks horns with Bracknell in London Algy journeys to Jack's country home to woo Cecily and gains entree by claiming to be Ernest Jack's invented brother. When Jack returns to the country to announce that the fictive Ernest is dead he must confront pal Algy who has successfully re-invented himself as Ernest and a host of deceits. But delicious revelations unleashed by the devoted nanny-turned-tutor Miss Prism save the day for both fib-prone suitors. Happily Cecily and Gwendolen share their suitors' romantic inclinations and tolerance for tall tales.
The burning question in many minds is no doubt whether Reese Witherspoon (Legally Blonde) the only American in this veddy Brit film can carry an English accent. The answer is a resounding "yes." Her success as privileged ingenue Cecily in both accent and overall performance is all the more commendable because she is surrounded by some of the brightest and best of Brit acting talent. Colin Firth as Jack and Rupert Everett as Algy are seductively charming and appealing as the spoiled but smitten bachelors. Frances O'Connor as Gwendolyn convinces as the very "upper " but rebellious daughter of the imperious Lady Bracknell. And Dame Judi Dench as the formidably snotty and harsh Bracknell is scary enough for a horror film. Tom Wilkinson recently nominated for his role in In the Bedroom is appropriately genteel as the clergyman with a soft spot for Miss Prism sweetly portrayed by vet English actress Anna Massey brother of Donald and daughter of Raymond both legendary thesps. Art house fans will most appreciate the fine cast that armed with Wilde's words and ideas valiantly battles the film's excesses in a mission to entertain. As a dream ensemble they help put across Wilde's amusing story of mistaken identity naughty habits and laughable upper-crust foibles.
Oliver Parker was obviously on a shorter leash when he earlier directed his more disciplined and faithful adaptation of another Oscar Wilde play An Ideal Husband. With Earnest Parker has gone auteur with a fury by crafting a bloated overproduced extravagantly opened-up version of the concise play that Wilde would hardly recognize. Here the lavish costumes sumptuous sets overbearing musical soundtrack and Parker-invented flights into fantasy (Cecily has recurrent daydreams of a white knight coming to the rescue) and flashback (Bracknell has a Parker-minted lowly-dance-hall chorine past) all but drown out Wilde's streamlined savage wit and whack at upper-class conceits. Still Parker allows his illustrious performers to shine through all the fluffery.