For the past 11 years--his whole life--Evan (Freddie Highmore) has been an orphan but that’s about to change along with his name. Evan has "always heard the music " even when it’s not playing and one day he decides to follow it in hopes of finding the parents he’s never met and whose musical genes he has inherited. It takes him out of the orphanage he has always despised and into Manhattan where 11 years prior he was conceived. As we learn via flashback his parents both young musicians at the time were an unlikely match: Lyla (Keri Russell) was a shy dainty cellist while Louis (Jonathan Rhys Meyers) was a brash Irish rocker. Their mutual love for music ultimately brought them together on a rooftop for just one night of which Evan turned out to be the product. But when Evan is born prematurely Lyla’s father (William Sadler) does what he thinks is right for her career and gives the newborn up for adoption without her knowledge. Lyla and Louis have since reluctantly given up music but Evan is about to pick up where they left off in New York City. While there he is discovered by a seemingly well-intentioned "manager" named Wizard (Robin Williams) who renames the prodigy August Rush. Before long Wizard is booking gigs in hopes of capitalizing financially while August hopes to use his music for a slightly nobler purpose: tracking down and reuniting his parents. Highmore (Charlie and the Chocolate) is as much a child-actor prodigy as August Rush is a musician; he’s truly in a class of his own. It’s not just that the British youngster seamlessly ditches his accent to play an American—better and more undetectably than many of his elders are able to do might I add—or that he’s able to pull off the musical aspect (he reportedly mastered the guitar and conducting for further authenticity) but rather that he advances the never-dormant story every step of the way. And it’s not every day that a teenager can handle being the centerpiece of a big Hollywood movie (see The Seeker et al.) but Highmore makes it a non-issue. Russell and Rhys Meyers meanwhile add a classy touch of adult to the story with their opposites-attract arc. Russell borders on too pristine and precious at times and Rhys Meyers is written as the stereotype of Irishmen but they make you believe in the commonality of music as a matchmaker. Williams however misfires with his portrayal of the somewhat ambiguous Wizard. It is unclear whether he is a reincarnated pirate or just a well-traveled New Yorker and Williams plays him with that lack of clarity but kids will laugh nonetheless when the actor gets loud and hyper. Terrence Howard as a concerned social worker and Mykelti Williamson as a pastor turn in solid supporting performances while young Jamia Simone Nash may incite standing ovations with her singing. The concept of August Rush is most certainly aimed towards those too young to discern between realism and fantasy but at least director Kirsten Sheridan (Jim’s daughter) doesn’t patronize kid viewers the way most preteen movies do. While the young director doesn’t exactly steer clear of clichés and sap she makes a concerted effort to place the film’s music and sheer energy at the forefront. Sheridan also does the best with what she’s given which is a highly predictable occasionally preachy script—with a tendency to give Highmore cringe-worthy voiceovers (i.e. “Open yourself up to the music around you”)—written by Nick Castle (Hook which August Rush often resembles) James V. Hart (The Last Mimzy) and Paul Castro. Just as impressive as the film’s omnipresent music—both “found” (basketball dribbles etc.) and orchestrated—is the look of a somewhat magical Manhattan that is as fun for kids as it is mildly scary. All in all Sheridan’s first big movie is a different if slightly uneven kind of kids flick but not so different that the target audience won’t dance along.
In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.