The term “burlesque ” for the uninitiated refers to a specific brand of female striptease that incorporates flamboyant costumes elaborate choreography kitschy songs and various other elements to which heterosexual men are largely indifferent. But it’s wildly popular in other circles -- so much so in fact that it has earned its very own film titled oddly enough Burlesque.
Written and directed by music video veteran Steven Antin Burlesque is fashioned loosely as a camp homage to the 2000 film Coyote Ugly. Stage and screen legend Cher brought to life by an innovative blend of animatronics and CGI stars as Tess the brash tough-as-nails proprietress of Hollywood's almost unbearably fabulous Burlesque Lounge. Despite the obvious popularity of its musical revue the club is plagued by money problems which makes it the target of acquisitive real estate developer Marcus Gerber (Eric Dane) a man whose name alone carries all sorts of ominous Teutonic implications. But Tess determined diva that she is refuses to sell. She's not about to let years of gross financial mismanagement kill her dream of providing a haven where scantily clad women can dance provocatively without fear of encountering men who’d like to sleep with them.
Potential salvation arrives in the luminous top-heavy form of Iowa-bred Ali (Christina Aguilera) a vision of wide-eyed innocence and vaulting ambition in soft focus. Immediately upon entering the Lounge she is struck by the sudden realization that her lifelong dream is to become a burlesque superstar. Unfortunately Tess doesn’t initially recognize Ali’s potential and the poor girl is forced to slum it as a cocktail waitress in the bar area where she’s embraced by the club’s straightgay bartender Jack (Cam Gigandet) a southern transplant whose own showbiz dream involves making it as a songwriter. (In accordance with songwriter tradition he takes pains to ensure that every inch of his chiseled frame is bronzed and waxed. Just like Bernie Taupin.) In her free time Ali devotes herself to the study of burlesque and when her opportunity arises she seizes it without hesitation.
Burlesque is principally the Cher and Christina Show and the film thrives when their respective talents are on display. (“Talents ” obviously gaining a dual meaning in regards to Aguilera.) Surrounding them are a smattering of stock characters pursuing forgettable story arcs the lone exception being the always excellent Stanley Tucci adding a pinkish hue to his incomparable wit in the role of Sean Tess’s long-suffering boa-clad second-in-command. He and co-star Alan Cumming are two sides of the same sassy coin but Cumming is little more than a bitchy bit player in Burlesque poking his head into the frame on occasion to deliver a biting one-liner. Then again that description could apply to any number of characters in the film.
It appears that Antin true to his music-video pedigree conceived of Burlesque with the song-and-dance pieces in mind first then set about building a story around them. (The opposite is generally preferred.) The musical set pieces are lavish sexy and at times truly dazzling especially when Aguilera takes the stage but they do little to advance the film’s plot. Consequently Burlesque’s running time swells to almost two hours to satisfy the demands of a story that frankly seem hardly worthy of such an effort.
Teaming up Tina Fey and Steve Carell stars of 30 Rock and The Office is a tantalizing prospect for fans of NBC’s back-to-back Thursday night sitcoms. But their big-screen collaboration the action comedy Date Night yields surprisingly little of the comic synergy one would expect from such a potent one-two punch.
In fact it probably never could have — at least not with director Shawn Levy (The Pink Panther Night at the Museum) overseeing the action. Soon after Fey and Carell emerge on-screen playing a suburban married couple whose relationship has devolved into a dull domestic routine the mistake of their pairing becomes evident. Seeing them together serves only to heighten our recall of their TV work and we can’t help but pine for them as Liz Lemon and Michael Scott. But in Date Night they are stubbornly moored to their portrayals of Phil and Claire Foster two entirely normal people who get along perfectly well but who’ve grown a little bored with their daily lives.
Normal of course isn’t ever very funny (if it were Mormons would rule the stand-up circuit). As such the humor in Date Night is supposed to emanate from the extraordinary circumstances with which the Fosters are faced (a case of mistaken identity makes them the target of corrupt cops and the centerpiece of a criminal conspiracy) the desperate lengths they go to get out of trouble and the interesting personalities they meet along the way. None of which unfortunately director Levy or screenwriter Josh Klausner are equipped to provide. As a result two very funny actors are left to twist in the wind for nearly 90 minutes.
What the film cries out for most is a quality supporting player a Dwight Schrute or a Tracy Jordan to enliven the action and give stars Fey and Carell something — anything — to play against but no one in Date Night proves up to the task. Not the mirthless one-dimensional goons tailing the Fosters. Not the mobster played by Ray Liotta who looks more tired of his novelty Goodfellas shtick than we are. And most certainly not Mark Wahlberg whose comic routine in Date Night involves his face playing straight man to his pectorals.
The action is briefly energized by James Franco and Mila Kunis appearing together in a hilarious surprise cameo (oops!) as a feuding miscreant couple. Their comic spark instantly eclipses that of Fey and Carell yielding more laughs in a two-minute span than the two stars are able to conjure throughout the entirety of the film. Unfortunately for us they leave Date Night almost as quickly as they arrive taking their spark with them.
Poor Donna Keppel (Brittany Snow). Some years back her parents and brother were slaughtered by Richard Fenton (Jonathan Schaech) a teacher who had developed a psychotic fixation on her. Richard went to an insane asylum but he broke out and now he’s back in town just in time for Prom Night where he resumes his pursuit of Donna and knocks off some of her friends for good measure. Bringing up the rear is dogged Detective Winn (Idris Elba) desperately trying to nail Fenton as the body count mounts. Sooner or later--and it’s much later unfortunately--Donna will come face to face with Fenton one last time. With characters as one-dimensional and dumb as these there’s not much the cast can do except stand around in their prom outfits waiting to get killed off. As the deranged killer Schaech stares glares and skulks around. Leading lady Snow widens her eyes and worries accordingly throughout while Elba tries to inject a little intensity into the stock role of the cop on the case. Working from a bad screenplay by J.S. Cardone first-time helmer Nelson McCormick displays little enthusiasm--either for the genre or for this particular film. The scare tactics are hackneyed and usually involve characters surprising each other--a gag that gets really old really quickly. When one character mutters “This is getting silly. Enough already ” we couldn’t agree more. And we’d add “boring” to that statement. It should be noted however that there’s an awfully high body count for a film rated PG-13 even if the film isn’t as bloody as one might expect. McCormick and Cardone have re-teamed on the upcoming remake of The Stepfather and if their collaboration here is any indication horror fans may have reason to be afraid--very afraid.