WHAT IT'S ABOUT?
Derek Charles has a beautiful wife beautiful new son beautiful home and a promotion in a big job but his life is turned inside out when he encounters his attractive temp — as in temptress — assistant Lisa who has designs on him and tries to get him to reciprocate. His resistance only increases her efforts as she becomes the stalker from hell throwing his marriage and career into complete chaos … unless he can stop her fanatical "obsession."
WHO'S IN IT?
As Derek the nice guy whose life spirals out of control after a temp stakes a claim on his affections Idris Elba comes off as passive and confused — no match for either a defiant Beyonce Knowles as his wife or Ali Larter (Heroes) as the psychotic maneater who tries to rock his world with everything this side of boiling bunnies. Both stars get a chance to shine before meeting up in a memorable showdown right out of the Fatal Attraction playbook. Larter is sexy seductive and disturbed all at once perfectly capturing the fragile state of a delusional woman in heat. Knowles who previously showed off her acting chops in musicals like Dreamgirls and Cadillac Records really gets to go for the dramatics in Obsessed — and delivers. She does contribute an end title song appropriately called "Smash Into You " aptly describing what she (and her stunt woman) pull off in style in the film's big climactic scene. Also worth mentioning are Jerry O'Connell as Derek's office buddy and Matthew Humphreys as his efficious gay assistant who likes to spread the office gossip. Christine Lahti however is saddled with a thankless role as a rather clueless detective — this fine actress deserves better.
Those who go in checking their brain at the box office might find this paint-by-numbers scenario crudely entertaining even in its utter predictability. It's well-played if totally over the top but hey isn't that what we want from this stuff?
Start with credibility. There isn't any. It takes a full 80 minutes before anyone utters the phrase "restraining order " and the frustration builds while watching a nice innocent guy become such a wuss at the hands of his sexually off-balance temp. Of course if he came clean about the situation and called the police the movie would be over in the first 20 minutes. So suspending belief is a must here. It's interesting to note that considering the casting of Beyonce and blonde goddess Larter as the women at the heart of this triangle those expecting what has been buzzed as a "black Fatal Attraction" will find there is not even a single line referring to the racially mixed nature of the relationships.
HOW TOUGH IS BEYONCE?
Beyonce gets the film's best line in a take-no-prisoners moment when she leaves a message on the nutcase's answering machine: "You think YOU'RE crazy? I'll show you CRAZY. Just try me bitch!"
A well-written hospital scene where Derek gets grilled by a detective and his wife at the same time. This will teach every guy to 'fess up before it all goes bad.
NETFLIX OR MULTIPLEX?
Multiplex. The crowd reaction during the finale is part of the fun. But despite the surprisingly generous PG-13 rating definitely leave the kids with the babysitter.
This African-American variation on The Family Stone subscribes to the notion that Christmas is not really the most wonderful time of the year when it comes to visiting relatives. So don't expect much peace and goodwill to be found when the Whitfields gather together for their first Christmas dinner in four years. The six siblings who spend the holidays at the California home of family matriarch Ma’Dere (Loretta Devine) all harbor a dark secret or a hidden agenda. Take Quentin (Idris Elba). He owes two very pissed-off bookies $25 000. Homemaker Lisa (Regina King) wants to sell the family business to fund her unappreciative husband's (Laz Alonso) latest get-rich-quick scheme. Kelli (Sharon Leal) doesn't want Lisa's no-good husband getting his grubby paws on Ma’Dere's hard-earned money. But what does this young professional want that Lisa has? A family of course. Claude (Columbus Short) spends his alone time on the phone to a mystery woman he’s nervous about introducing to Ma’Dere. Mel (Lauren London) doesn’t care what her family thinks of her boyfriend—she just wants to make out with him without being caught. Michael (Chris Brown) nicknamed Baby for obvious reasons fears that following his dream to be singer will break Ma’Dere's heart. She hasn't gotten over her ex-husband leaving her to pursue his music career. While it's down to Ma’Dere to keep the peace she has own her issues to resolve regarding Quentin and her loving relationship with longtime boyfriend Joe (Delroy Lindo). Yes Brown sings. Not once but twice as we treated to his Michael Jackson-flavored R&B. Don’t be surprised if his rendition of “This Christmas” ends up on holiday compilation CDs for decades to come. Brown's a natural on stage but he relies too much on his megawatt smile and undeniable charm when trying to hold his own against old pros Devine and Lindo. Still that's probably more than enough for the adoring fans who would love to "Kiss Kiss" Chris Brown under the mistletoe. Luckily This Christmas doesn't lean too heavily on Brown for director Preston A. Whitmore II's assembled a terrific cast of African-American actors Tyler Perry could only hope to snag for one of his trademark morality plays. Building upon his breakthrough role as a devoted father in Perry's Daddy's Little Girls Elba shows he's just as effective playing a imperfect son unable or unwilling to connect with his mother. He also proves to be a worthy adversary to Lindo who carries himself with quiet dignity during every family crisis. Devine is the very personification of motherly love—she never comes across as a shrill stereotype like Perry's no-nonsense Madea. There's plenty of fun to be had watching tough cookies King and Leal lock horns. And sparks fly between Leal and ER's Mekhi Phifer whose noble firefighter makes Kelli quickly forget she's all business and no pleasure. Saddled with a subplot with no significant payoff Short does the best he can under the worst of circumstances. Thanks to Whitmore's light but assured touch This Christmas makes a silky smooth transition from comedy to drama. Whitmore maintains the perfect balance between the humor and tension that makes dysfunctional family relationships both compelling and difficult to watch. He never lets things get too outrageously nasty; you don’t believe for a minute that the Whitfields—a very likable bunch to boot—won’t overcome their differences before Christmas dinner is served. When they do kiss and make up This Christmas thankfully doesn't get overly gushy. But Whitmore does take refuge in the obvious at times. You just know someone's dying to crack a “ho ho ho” joke about Kelli being wooed by a Santa-outfitted Phifer or that Lisa's going to go all Waiting to Exhale on her husband's Cadillac Escalade. At least the inevitable family dance off is a blast to watch. Too bad Whitmore the screenwriter also burdens Whitmore the director with too many characters to pay attention to and too many loose ends to tie up. Really who would miss Mel? And why is Claude so worried how his family will greet the love of his life when this purportedly taboo romance raises nothing more than eyebrows when all is revealed? Still for all its faults This Christmas remains a warm and engaging examination of family dynamics at a time of great stress and celebration. There are worse ways of spending the holidays than sitting down to Christmas dinner—or boogieing down to vintage Kool & the Gang—with the warring Whitfields.
February 21, 2003 11:09am EST
In March 1991 TV stations repeatedly broadcast an amateur videotape of LAPD officers kicking and clubbing Rodney King an unarmed black man. A year later an all-white jury acquitted three officers involved in the beating inciting a riot that killed 54 people and destroyed much of South Central Los Angeles. Dark Blue is a gritty police drama that unfolds in the four days leading up to the verdict. The story revolves around veteran cop Eldon Perry Jr. (Kurt Russell) who does what he needs to do to bring someone to justice even if it means planting a gun--or drugs--on a suspect. But police intimidation and corruption doesn't sit right with his rookie partner Bobby Keough (Scott Speedman). Their ideologies clash when the two are assigned to a high-profile quadruple homicide and receive orders from a high-ranking member of the LAPD to pin the crime on innocent suspects in order to appease the public. Keough contemplates going to Deputy Chief Arthur Holland (Ving Rhames) the only black man in the department about unfair police practices but is worried about going up against such a tight brotherhood. This cop flick is disturbingly realistic--which unfortunately is also its weakness. It tells us what we already know: that the history of the LAPD is meshed tightly with racism and corruption.
Dark Blue's Perry is a vulgar hard-drinking and unscrupulous cop--and Russell (3 000 Miles to Graceland) does a great job embodying the character. He swears knocks back drinks and smokes cigarettes like he's been doing this since birth. In fact Russell creates such a despicable character that I hoped he would get his ass kicked by rioters. As his naïve partner Keough Speedman (Duets) is a little bland. Keough redeems himself by rising above the police department's practices but Speedman's character is almost too nice and fresh-faced to be a cop in a city like L.A. As Deputy Chief Holland Rhames (Undisputed) is well cast but unfortunately the character is so one-dimensional that he doesn't make for a very passionate hero. The problem here is not the acting but the film's characters which are too simply drawn. Keough for example is not only unprejudiced he's politically correct--he has a black girlfriend and gets offended when his big bad partner uses the "n" word. And Holland is not only honorable he's a churchgoing community leader. It's not that these characteristics are bad but they are certainly tautological and stereotypical by movie standards.
If this movie sounds a lot like Training Day it's because scribe David Ayer wrote both of them. Unfortunately Dark Blue's characters are drawn with such a heavy hand they reek of clichés and are a far cry from Denzel Washington and Ethan Hawke's complicated and well-developed characters in Training Day. Director Ron Shelton found success with the 1988 hit Bull Durham and--with the 1994 sports drama Cobb--proved that he could deliver character-driven movies that were well worth watching. Despite the rigid characters he manages to deliver a straight-up dirty-cop movie that effectively mirrors the LAPD. (Is Holland for example the film's take on former LAPD Chief of Police Bernard Parks?) Shelton achieves the film's true-to-life feel by leaving out slick car chases explosions and shootouts and paying closer attention to sets such as Perry's unadorned house and the clunker he drives. There are some great scenes towards the end of the film when Perry is driving through South Central as the riots--which caused an estimated $900 million in damages--break out. What's even more chilling however is the lack of LAPD presence at the riot epicenter.