Based on yet another novel by The Notebook’s Nicholas Sparks (the new king of romance) Rodanthe’s story is a simple but touching one. Adrienne Willis (Lane) escapes to Rodanthe in the Outer Banks of North Carolina to take care of a friend's inn for the weekend and fret over the fact her wayward husband wants to come back. Almost as soon as she gets to this small coastal town a major storm is forecast--and the only guest for that weekend Dr. Paul Flanner (Gere) arrives. He’s there with his own issues to work out. Quite a fun pair these two make but they end up helping each other work through their problems. And as the storm closes in they finally succumb to their attractions. Soon it becomes a magical weekend for them both and sets in motion a life-changing romance. Lane and Gere have had quite a progression in their onscreen pairings. They first played reckless young lovers in Cotton Club at the beginning of their careers teaming up again much later as a long-married couple in Unfaithful which saw Lane stray from her leading man. Now with Rodanthe it seems a fitting denouement to their evolution as Hollywood’s favorite onscreen couple; they fall in love all over again but this time with a world of experience. The two actors truly have a certain something together which makes a fairly sappy story more poignant. Also good is Mae Whitman (HBO’s In Treatment) as Adrienne’s surly teenage daughter who at first hates her mom for not getting back with her dad but then comes to understand Adrienne in new and more profound ways. She and Lane have some nice moments together. Director George C. Wolf (Lackawanna Blues) understands his material and handles it with delicate strokes. Of course shooting in the Outer Banks can’t be a bad way to go with it’s gorgeous beach vistas. And the house they found to represent the inn is one of a kind which oddly enough is located in the real town of Rodanthe. Imagine that. Maybe one drawback to Rodanthe is its limited appeal. The Notebook had the younger audiences enthralled with the flashback romance between the fetching Rachel McAdams and Ryan Gosling while the older audiences identified with the James Garner and Gena Rowlands characters. Rodanthe is strictly for the older set but I find this refreshing in the fact it IS a modern-day romance between two mature people. Just don’t know how much of a reach it will have.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.
Premonition’s premise is so implausible it’s really hard to get emotionally involved in the film—although this is something it desperately wants you to do. Instead you spend most of your time just trying to figure out why this woman Linda Hanson (Bullock) is running around like a crazy person waking up one day to find her husband Jim (Julian McMahon) is dead and then the next that he’s still alive. It’s exhausting frankly. On Thursday she’s told Jim has died in a horrible car accident the day before. Then she wakes up and it’s Tuesday finding Jim is still alive and well—and possibly having an affair with a co-worker. Then she wakes up on Saturday and it’s the day of the funeral. WTF? Of course in volleying back and forth through this week from hell Linda is forced to look at her tired marriage and somehow preserve everything that she and Jim have built together before it’s too late. Oh it’s too late all right. Too late to care what happens. Bullock is a fine actress when she tries her hand at something more serious such as Infamous or Crash—heck we’ll even throw in 28 Days. Of course we prefer her to be the cute and fun Miss Congeniality of the big screen but we understand her need to stretch a bit. However this thriller stuff really isn’t her forte (remember Murder By Numbers?) especially when she looks about as confused as we are on why she’s even in this movie. And what’s with her compulsion to star in movies about time jumping? Her last movie Lake House although considered a middling hit has the same elements albeit in a far more romantic milieu. Whatever the reason Premonition fails to tap into any of Bullock’s more innate qualities leaving her floundering like a boat lost at sea. And everyone else in the movie acts as mere window dressing including Nip/Tuck’s McMahon as the faltering and ultimately doomed hubby. Just a big waste of talent. Oh man I really would have liked to sit in on this pitch meeting with the studio execs. Screenwriter Bill Kelly whose claim to fame up to this point has been the stellar Blast From the Past must have walked in and said “Do I have a mind bender for you! ” and proceeded to try to explain the mess that is Premonition. And oddly enough those execs bought it. Still it seems the studio may not have had a lot of faith in the movie despite reigning in Ms. Bullock—they hired a no-name German director Mennan Yapo to take the helm. All this inexperience clearly shows in almost every frame of the movie. Muddled camera work shoddy dialogue lingering and unnecessary moments of Linda lying in bed in various positions nothing about Premonition makes sense. Not even the title since Linda really isn’t experiencing a premonition but more a trip through the space-time continuum. Now if this were an episode of Star Trek...
A fresh update on the Pocahontas legend. Captain John Smith (Colin Farrell) arrives in disgrace on the shores of the New World but he is pardoned and soon rises to lead the English settlers of what will eventually be Jamestown Virginia. Sent to trade with a local chief Powhatan he falls in love with his daughter Pocahontas (Q'Orianka Kilcher). He follows his duty rather than his heart and returns to Jamestown whose starving citizens would not have survived the harsh winter without Pocahontas’s help. Powhatan (Wes Studi) mounts an attack to force the settlers to leave but Pocahontas warns Smith leading to her banishment and her new life with the Europeans. Eventually Smith is called away to mount his own expeditions leaving Pocahontas behind with a heavy heart. She finds a new suitor a gentleman farmer who wants to marry her but she still pines for Smith. Her fame spreads far beyond the New World back to England where she is summoned to meet the king and queen. Farrell is finally delivering on his early promise momentarily setting aside noisy action films to work with a world-class director and reminding us just how subtle of an actor he can be. The amazing chemistry between Farrell and newcomer Kilcher puts nearly every other movie pairing this year to shame. Kilcher who had one screen credit to her name before this was only 14 during filming quite close to Pocahontas’ believed age of 12 or 13. Before you reach for that picket sign please note that while the romance is incredibly sensual as is the whole film nothing is shown other than longing looks and playful platonic embraces. As Pocahontas Kilcher radiates beauty and innocence and it’s easy to see why John Smith would be mesmerized by her. After Smith has left her scenes of grief are heartfelt and her later solemnity is remarkable for someone so young. I had no idea of her real age until I looked over the production notes. Christian Bale who only shows up in the last third of the film is wonderfully restrained and melancholy as the widower who woos her after her own loss. Terrence Malick has always been a very sensual director one who can capture nature so well that you feel you are in the film not just watching it. But his previous films such as The Thin Red Line often have a way of losing focus of missing the forest for the trees of throwing out the plot for yet another beautiful but pointless shot of the landscape. Here his narrative is strong enough that we aren’t impatient when the camera lingers on lush forests or a lovers’ embrace. He’s made the love triangle the backbone of the film and you don’t miss the larger picture here at all. The film is not only achingly beautiful but deeply felt. His sympathies are clearly with the “naturals ” as the Europeans call the Native Americans; it’s from their perspective that we first see the tall ships arrive. The Englishmen part from Smith for the most part are dirty cruel and petty and the less time the film spends with them the better. What Malick has made is most definitely still an art film with occasionally abstract or non-linear editing choices but one that is never just art for art’s sake.