She's a hip-hoppin' be-boppin' mean ol' nanny who whips a mean stew and your butt for not doing your homework—and now she's back! Alas we don't speak of the Mrs. Doubtfire sequel but rather that of Big Momma a.k.a. FBI Agent Malcolm Turner (Martin Lawrence). Agent Warner has cut ties with the FBI at the behest of Sherry (Nia Long)—who as you no doubt recall is the granddaughter of the real Big Momma—since she's pregnant with Malcolm's baby. But wouldn't you know that he gets sucked back in after a former colleague is killed. Posing as Big Momma he's hired as a nanny to a suburban family the deadbeat dad of which is involved in the murder and a crime plot. She does it all—cooks cleans dances and even runs down bad guys but it's a race against time to stop the potential national security crisis. That is a race against the film's (mercifully) short running time. Although Lawrence's resume includes some of the dregs of comedy it's hard to argue that he is truly blessed when it comes to physical comedy and comedic timing. He continues both trends here this time without the help of the breakthrough actors of the past two years Paul Giamatti and Terrence Howard who yes both starred in the first Big Momma's House. That means Lawrence's urban mania is truly on its own and absurd and juvenile as the film may be even film snobs can't hold back a few laughs at his Big Momma outlandishness. Longreturns for no more than a select few scenes and to provide a minor conflict in the story. The notable newcomer is CSI's Emily Procter as the sterile mother who hires Big Momma. She does a serviceable job as a suburban Petite Momma. Might she be the next Giamatti or Howard to bolt to bigger and better things in time for the next sequel? No.
Big Momma's House 2 is right up director John Whitesell's alley. He's the guy behind such misses—though not necessarily financially—as Malibu's Most Wanted and See Spot Run and he's right at home here. Whitesell doesn't hold back in (literally and figuratively) pulling the robe off Big Momma but he clearly knows that nothing is to interrupt Lawrence's antics not even the thin story line. Aside from that he knows quite well how to execute thinly veiled rip-offs of the aforementioned Mrs. Doubtfire as well as countless other hidden-motive comedies (i.e. Kindergarten Cop Houseguest et al). Because while the main guise is the Big Momma fat suit Whitesell parades the film about as a feel-good/family flick.
A middle-school version of Mean Girls and darn close to every other PG-rated girl-power movie you or your daughters are likely to see this follows four brash eighth-graders as they have a sleepover to wear dress-up clothes freeze their bras fantasize about boys dance madly and celebrate their graduation to high school. They see themselves as social outcasts but while one (Kallie Flynn Childress) is short and plump. the others could be cheerleaders at any real school--Spy Kids' Alexa Vega (who gives the party and is the film's star) Mika Boorem and Scout Taylor-Compton. (Does anybody still name their kid "Jane" these days?) But just when they're being good girls and staying home as mom (Best in Show's delightfully edgy Jane Lynch) has demanded a snooty rival (the statuesque blonde Sara Paxton) and her coterie challenge them to a slightly risqué scavenger hunt. That involves getting into a bar and ordering Sex on the Beach cocktails changing the display in an Old Navy window (one of many shameless plugs) and escaping from a dimwit security guard by driving a tiny lime-green electric car that is the ugliest movie vehicle ever. In a surprisingly erotic scene for a PG movie Vega--wearing a tight red party dress with a plunging neckline that amply reveals why she's been having "growing pains"--sneaks into a "hot" boy's bathroom to steal his boxers watching from the shower as he removes them. Just in case you thought this all would lead to a teen reenactment of Psycho Sleepover ends with the usual sentimental empowerment lessons learned and friendships sealed. And the chubby girl even finds a boyfriend who likes brownies more than carrots.
The film's three casting directors all worked overtime to find young actresses amazingly reminiscent of slightly older girl-role-model favorites. Vega conveys the same mixture of insecurity and self-confidence as Lindsay Lohan in Mean Girls and even has the same expressions. With her moon-round face long tangle of dark hair and glowing smile she might also remind adults of a teen Bonnie Raitt. But she's maturing so fast she already seems too old for this part physically and temperamentally. There are moments in fact when the actress acts dismissive of the story's clunky derivative plot mechanics. Meanwhile Boorem is warmly Kirsten Dunst-like and Paxton such an amazing reincarnation of Reese Witherspoon that I'll look for her in a Legally Blonde sequel when she hits 18. This is all good by the way - most everyone appears to relish her chance in the spotlight. But even better are the two offbeat comic actors who play Vega's parents--Lynch and the portly Jeff Garlin (of Curb Your Enthusiasm) as the clueless dad. The film reaches a moment of Freaky Friday hilarity with Vega discovers enthusiastic mom Lynch wiggling and writhing at a dance club. "Yeah older lady shakin' her boo-tay " the deejay announces as Vega cringes. It's a great movie parent-child moment.
Director Joe Nussbaum got his start in Hollywood with the cult favorite short George Lucas in Love and this marks his feature debut. He gets the train to the station in time so to speak but the pace is so chop-chop quick that a lot of promising comic and romantic scenes go underdeveloped amid the editing pace. And unfortunately Nussbaum kept in all the corny scenes involving an unfunny security guard (Steve Carell) who harasses the girls. There also are a lot of tiresome close-ups and two-shots - this could (and doubtlessly will) play on TV with little lost. So unlike the cast the direction isn't pretty. But writer Elisa Bell however does embellish the formulaic plot with some unusual--sometimes even downright surreal--dialogue. I'm still trying to figure out for instance what Sam Huntington as Vega's slightly older brother (a Giovanni Ribisi look-alike by the way) means when he tells her "Go be a teenager. It ends too soon. And it gets replaced by ribbons and lampshades." Huh?
December 03, 2003 9:35am EST
Sundance Film Festival officials have announced entries for dramatic, documentary and "American Spectrum" categories of the 2004 festival, which runs Jan. 15 through Jan. 25 in Park City, Utah.
According to The Hollywood Reporter, the competitive categories at this year's festival include big-name actors appearing in films by relatively unknown directors, and a record-breaking number of projects from black filmmakers and projects influenced by Sept. 11:
Actor Kevin Bacon and his wife, Kyra Sedgwick, star alongside hip-hop artist Mos Def in The Woodsman, directed by Nicole Kassel. It revolves around a convicted pedophile who returns to his hometown after 12 years in prison and tries to start a new life.
Courteney Cox Arquette stars in November, directed by Greg Harrison, about a Los Angeles photographer who struggles to put the tragic circumstances of her boyfriend's death behind her.
John Curran's Adultery, starring Mark Ruffalo, Laura Dern, Peter Krause and Naomi Watts, follows two couples who are friends and whose relationships are intertwined.
Writer/director Rodney Evans' Brother to Brother is about an 18-year-old, gay, black artist who discovers the hidden legacies of gay and lesbian subcultures within the Harlem Renaissance. The film is one of a dozen projects that center on the black experience or are by black filmmakers--the most ever on a Sundance roster, according to the Reporter.
"We have 12 features that are either about, produced by or directed by African-American filmmakers," Festival director Geoff Gilmore said. "What's good is that it indicates that there are a lot of African-American filmmakers working in the independent arena because these are works that would not have been made for studios. It's really of interest to me to see a whole range of people now trying to produce independent work."
Gilmore added that some of the entries in this year's festival are the first generation of post-Sept. 11 films. "These are films by filmmakers that were entirely conceived, developed and then produced following those events," Gilmore told the Reporter. "The insularity of America pre-Sept. 11 and the assuredness that existed in the world at that time followed by the anxiety that exists in the world we are in now. These are films about trying to find things out."
The lineup for the festival's remaining categories and the opening night film are expected to be announced later today. Short films appearing at the festival will be announced Dec. 8.
The Best Thief in the World, Jacob Kornbluth
Book of Love, Alan Brown
Brother to Brother, Rodney Evans
Chrystal, Ray McKinnon
Down to the Bone, Debra Granik
Easy, Jane Weinstock
Evergreen, Enid Zentelis
Garden State, Zach Braff
Harry and Max, Christopher Munch
Maria Full of Grace, Joshua Marston
Napoleon Dynamite, Jared Hess
November, Greg Harrison
One Point O, Jeff Renfroe, MarteinnThorsson
Primer, Shane Carruth
Adultery, John Curran
The Woodsman, Nicole Kassell
A Place of Our Own, Stanley Nelson
Born Into Brothels, Ross Kauffman, ZanaBriksi
Chisholm '72 -- Unbought & Unbossed, Shola Lynch
Dig, Ondi Timoner
Farmingville, Catherine Tambini, Carlos Sandoval
The Fight, Barak Goodman
Heir to an Execution, Ivy Meeropol
Home of the Brave, Paola di Florio
I Like Killing Flies, Matt Mahurin
Imelda, Ramona S. Diaz
In the Realms of the Unreal, Jessica Yu
Deadline, Katy Chevigny, Kirsten Johnson
Neverland: The Rise and Fall of the Symbionese Liberation Army, Robert Stone
Persons of Interest, Alison Maclean, Tobias Perse
Super Size Me, Morgan Spurlock
Word Wars, Julian Petrillo
CSA: Confederate States of America, Kevin Willmott
Dandelion, Mark Milgard
Dirty Work, David Sampliner
Everyday People, Jim McKay
Lbs., Matthew Bonifacio
Let the Church Say Amen, David Petersen
Mean Creek, Jacob Aaron Estes
Metallica: Some Kind of Monster, Joe Berlinger & Bruce Sinofsky
MVP, Harry Davis
Open Water, Chris Kentis
Second Best, Eric Weber
September Tapes, Christian Johnston
Speak, Jessica Sharzer