Chloe (voiced by Drew Barrymore) is a diamond-drenched pampered pooch who lives the high life in Beverly Hills. Beloved by her owner Aunt Viv (Jamie Lee Curtis) and adored by the landscaper’s Chihuahua Papi (George Lopez) she is left with a babysitter niece Rachel (Piper Perabo) when Viv takes off on vacation. Rachel impulsively departs on a last-minute weekend romp to Mexico with Chloe who not only gets lost south of the border but ends up in some very bad company. Saved from certain death in a dog fight she hooks up with a street-savvy German Shepherd (Andy Garcia) harboring a dark secret from his past life as a police dog. Along the way her diamond ID collar is swiped by a conniving rat (Cheech Marin) and his accomplice a very fidgety Iguana (Paul Rodriguez) leading to major chaos as all of them are pursued by the vicious El Diablo (Edward James Olmos) a Doberman out for revenge and one very disoriented Chihuahua. Will Rachel and Papi be able to find her in time before clueless Aunt Viv’s return? That’s the burning question. Basically a talking dog movie with a heavy Spanish accent Beverly Hills Chihuahua doesn’t exactly shy from stereotyped Mexicans but since this is a canine Babe it manages to get away with just about anything simply because these pooches are just so darned cute. The voice cast which features such Latino stars as George Lopez Edward James Olmos Paul Rodriguez Cheech Marin and Andy Garcia is perfectly cast lending a lot of fun to the proceedings especially Lopez as the lovably loyal Papi and Marin as a jewel-thief rat. Barrymore is also ideal as the ultra-rich and spoiled Chloe who is the equivalent of a canine Paris Hilton. The human actors are basically wallpaper with Curtis given little dimension in her relatively brief screen time and Perabo spending most of the film searching for the pup she carelessly misplaced. Manolo Cardona does nicely as the family gardener who helps out in the search. But it’s the remarkable real dog stars that steal this show. You have to wonder how their trainers led by Birds And Animals Unlimited’s Mike Alexander pulled some of this stuff off. These animals are more three-dimensional than most real thesps we’ve seen lately and actually do seem to be mouthing their lines (including some very clever dialogue). The old show-business adage says to never work with kids or animals--they take center stage everytime. In this case director Raja Gosnell and the group of talented trainers behind the cameras have proven the saying absolutely right. Dominating the breezy 86-minute time the bulk of the movie is devoted to stars of the four-legged variety and Gosnell makes it look easy with inventive camera angles giving us the POV of all the various dog stars who seem to be taking on the distinct personalities of the “characters” they are playing particularly the soulful down-and-out ex-police dog Garcia voices. You really do wonder what this dog’s deep dark secret is and the relationship forged between him and Chloe is genuinely real. It’s a tribute to Gosnell’s talents and the entire behind-the-scenes team that Beverly Hills Chihuahua turns out to be the family delight it is.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
After 20 years with the LAPD Det. Mitch Preston (Robert De Niro) just wants to catch the crooks finish the paperwork and retreat to his mundane life at home where he eats TV dinners and pursues his hobby of making bad pottery. Patrolman Trey Sellars (Eddie Murphy) really wants to be an actor--he's only a cop because he made a lousy waiter. When Sellars bungles Preston's undercover case and media hounds catch it all on tape the irate Preston shoots up a news camera that gets in his face. Over-caffeinated network exec Chase Renzi (Rene Russo) upon seeing the damning evidence that could have killed her cameraman is captivated by Preston's complete lack of charm and convinces her superior she can save his crappy network by pairing Preston and Sellars up on a reality show. As expected Preston is reluctant--and even more so when he's forced to take the mugging Sellars as his partner. The two take impromptu acting lessons from iconic actor/director William Shatner (playing himself) and set off to attract an audience boost the ratings become celebrities and get the bad guys in a televised reality christened Showtime. Meanwhile the evil Cesar Vargas (Pedro Damian)--whom we know is evil 'cause he hides in the shadows he's flashy and well groomed and he mumbles in an unfathomable Third World/ European accent--is stockpiling guns powerful enough to knock down houses and blow the doors off a Brinks truck.
The movie offers a few good yuks--a coke-sniffing dog an unprecedented cameo by jive-rhyming lawyer Johnnie Cochran and William Shatner satirizing William Shatner (who does this better than anybody else satirizing William Shatner). Unfortunately we've seen a lot of his funniest stuff like the scene in which he demonstrates how to roll over a car hood cop-style in the previews. Rene Russo gives an effective souped-up Lethal Weapon-type performance with her hyper pushy fast-talking network exec desperate to make her name in the industry. De Niro's straight-man comedy is in his facial expressions--or lack thereof--and Murphy is…well Murphy. It's their first outing together and they play off each other like a foul-mouthed version of Abbott and Costello (guess who plays who?). We've seen De Niro play grumpy (Midnight Run) and Murphy play obnoxious (almost everything) before. But as you may suspect it's their grade-A chemistry that holds this badly stitched predictable though occasionally funny flick together--especially in regards to the jokes on Hollywood and the current bounty of reality TV.
You can smell the gags and The Odd Couple-versus-Goldfinger plot unfolding a million miles away. You just know Preston is hiding a gun inside that Big Gulp when he goes undercover to investigate a pawn shop and you know Vargas will make bad-guy errors in judgment like staging a robbery in downtown L.A. the day after he's confronted by our star cops in a populated disco. But that may lead you to wonder why the police--who are likewise not presented as being particularly bright in this movie--weren't trailing him as Vargas is the prime suspect in the gun-trafficking subplot. Some of the comedy borders on satire but isn't played up enough for you to tell if it was meant that way or not. The action scenes are so badly edited it's hard to tell who's chasing whom until the camera cuts back to Murphy's toothy grin and a cement-faced De Niro shooting out his car window. And speaking of commercial-laden reality TV the product placement in this movie is shameless--we get a full-length commercial for Apple Computers played not once but twice.