Love means never having to say you're sorry; it's a many splendored thing; it's all you need. But in tennis love means zero; it means you lose. Or does it? For Peter Colt (Paul Bettany) a British pro tennis player seeded near the bottom of the world tennis ranks love actually inspires him. After scoring a wild card to play in the prestigious Wimbledon tournament he meets and falls for the rising and highly competitive American tennis star Lizzie Bradbury (Kirsten Dunst) fueling a winning streak he hasn't had since he began his career. For Lizzie however the love thing doesn't necessarily work out as well. Her feelings for Peter become a distraction throwing her off her game. Hmmm. Can these two crazy kids keep it together long enough so Peter can fulfill his lifelong dream of winning the men's singles title even if it means his muse might have to sacrifice her first Wimbledon title?
Kirsten Dunst may be what draws you in but Paul Bettany is the reason you don't walk out. The British actor who made an impression with American audiences playing the oh-so-witty Chaucer in A Knight's Tale and then wowed them in Oscar winners such as A Beautiful Mind and Master and Commander doesn't disappoint in his first lead role. Bettany's Peter embodies all that charm we've come to love and expect in our British actors--although thankfully not as floppy as Hugh Grant--he stumbles about and apologizes profusely. It's so cute. And he makes a pretty darn believable tennis player to boot (one would hope so after the intense training session the actors apparently had to go through to prepare for the movie). Unfortunately Dunst does not fare as well. Her Lizzie is appealing and she adequately handles the tennis stuff--but she ultimately fails to connect with her male lead making their relationship seem forced. Their beginning sparks are fun but when there's suppose to be a real flame igniting between them you're left scratching your head wondering just when where and why they fell in love so hard so fast. Yep that's a big red flag.
I've said sports movies usually work (see the Mr. 3000 review). To clarify: That is team sports. Sport movies where the action revolves around a single competitor are harder to pull off. It's just not as exciting watching an underdog struggle with himself in order to win. Luckily director Richard Loncraine (HBO's My House in Umbria) seems to know this fact. Even though Peter takes Centre Court (that's the British way of spelling it) Loncraine tries to at least create a more complete picture giving us a glimpse into the world of tennis as well as delving into the traditions of Wimbledon and how the Brits feel about the prestigious tournament where British champions are few and far between. Loncraine also utilizes real-life tennis pros such as John McEnroe and Chris Evert who appear as announcers to liven up the proceedings. Even the action on the court with close-up shots of the ball whizzing over the net gets the blood pumping a little--wish there was a lot more of that. But then of course one could just turn on the TV and watch the real Wimbledon instead watching a silly run-of-the-mill romantic comedy set there.
After a particularly rough jamming session Metallica frontman James Hetfield warns his bandmates that he's in a "shitty mood " which basically means he's about to become one extremely uncooperative guy. Metallica formed by Hetfield and drummer Lars Ulrich in 1981 have been through their share of problems in the past two decades and it's not surprising to see them bickering like an old married couple. But as the film reveals their issues are far more complex than some matrimonial spat and the group is ready to shell out $40 00 a month to Phil Towle a therapist and performance enhancement coach to help them work through their differences and hopefully St. Anger--Metallica's first studio album in six years. Metallica: Some Kind of Monster documents this two-year struggle which begins when Hetfield checks himself into rehab to sober up and leaves the band in limbo for almost a year. They eventually regroup and after a few more clashes record arguably their finest album since 1984's Ride the Lightening. This documentary covers everything about the band including Ulrich's public bout with Napster that resulted in a fan backlash the group's struggle to replace bassist Cliff Burton who was killed in a 1986 bus crash in Copenhagen and how to get rid of the increasingly controlling Towle once they've been "cured."
Hetfield and Ulrich share the spotlight in this documentary which ironically is also the root of Metallica's problem--the constant tug of war between the two members for control of the group. Take Hetfield's post-rehab return to the studio: In order to keep his sobriety in check the singer must stick to a regimented schedule which includes limiting work hours from 12 p.m. to 4 p.m. daily. This irks Ulrich who says Hetfield's demands are just a manipulative way of asserting his power over the group. But it's interesting to see how the presence of cameras as well as Towle affects the two's interaction. Rather than lash out at one another they express their anger politely. "I'm not enjoying being in the room with you playing " an annoyed Hetfield passively tells Ulrich after a hot disagreement over a tune. The underlying issue for Ulrich however becomes clear when he discusses former guitarist Dave Mustaine who joined the band in '82 and was booted a year later. Ulrich laments that he and Hetfield use to be close even declaring their love for one another after some 42 beers--until Mustaine came between them. Flying under the radar in this film is guitarist Kirk Hammett who prides himself on being the ego-less member of the band.
Documakers Joe Berlinger and Bruce Sinofsky use their no-nonsense approach to filmmaking to deliver a straightforward documentary devoid of the usual narration and artistic cinematic effects and whittle away 715 days worth of footage into a 135-minute film. Although it's a bit on the long side it works nonetheless thanks to the documentary's participants who put themselves out there emotionally for the world to see. And while the filmmakers detail the inspiration behind various songs from St. Anger the charm lies more in their personal trials and tribulations than their creative ones. But will Metallica's attempt to bare their souls win back the fans they lost because of Ulrich's attack on Napster? On May 3 2000 Ulrich showed up at Napster's headquarters with the screen names of 350 000 users who had downloaded their songs and demanded each be removed from the online song-swapping aid. But in their fight to bring an end to Napster Ulrich and the band alienated fans who were quick to point out that Metallica benefited from the circulation of bootleg copies of their albums early in their career. Looking back Ulrich comments the Napster thing made him "the most hated f***ing ass in the history of rock 'n' roll " but doesn't elaborate beyond that. Berlinger and Sinofsky then show Ulrich making a cool $5 million off his oil-on-canvas paintings through Christie's which makes the drummer's Napster fight look so damn petty. Even more interesting than the auction's bottom line is Ulrich's reasoning for selling the work that adorned the walls of his home for years: To wipe the slate clean.
The Whole Ten Yards picks up about two years after the events that changed the lives of Oz (Matthew Perry) Jimmy "The Tulip" (Bruce Willis) Jill (Amanda Peet) and Cynthia (Natasha Henstridge)--and made them a whole lot richer. Nice-guy dentist Oz is now married to Jimmy's ex-wife Cynthia and living in Brentwood Calif. where he still practices dentistry. They seem happy but Oz is so paranoid someone will come after him that he keeps an arsenal of weapons in his home which is teeming with high-tech surveillance equipment. His suspicions however are not so farfetched: Turns out Cynthia is in cahoots with Jimmy who is now married to Jill and living in Mexico and they're planning to rob Hungarian mobster Lazlo Gogolak (Kevin Pollak) who's just been released from prison. But Lazlo has an agenda of his own. He wants to kill Jimmy for the murder of his son rival hitman Yanni Gogolak a couple of years ago. When Lazlo kidnaps Cynthia to get to Jimmy (he figures Oz will spill the beans on his whereabouts) poor Oz runs off to Mexico and pleads for Jimmy's help. What Oz and Jill don't realize however is that they are part of a much bigger revenge plot against Lazlo perpetrated by their own spouses Jimmy and Cynthia.
The only thing that makes The Whole Ten Yards engaging is the returning cast who have a playful and endearing on-screen chemistry. Willis and Perry are at the forefront reprising their roles as Jimmy "The Tulip" Tudesky and Nicholas "Oz" Oseransky respectively. The actors craft their characters well and uniquely and the conflicting personalities they create--Willis' cool and collected Jimmy and Perry's nervous and scatterbrained Oz--make watching their interactions entertaining. When the two discover that the hostage in the trunk of their car has died for example Willis stands there unflinchingly while Perry yelps "It looks like he got shot in the foot! Who dies from being shot in the foot?" Peet blends in with her own brand of humor; her klutzy character Jill is hilarious without trying to be which is the key to her performance. Jill's hung up on the fact that although she's a professional marksman she's never had a real kill--she's so accident-prone that her targets always die by default. Also returning for the sequel is Pollak who played Yanni in the first film. Here he returns as Yanni's father Lazlo aged with the help of prosthetics and makeup. It's a great idea and the result is pretty funny although the character is cartoonish.
Director Howard Deutch makes a valiant effort with this sequel to the 2000 hit; there's continuity in the characters although their lives have progressed since the events of the last film. The problem with The Whole Ten Yards is its story penned by Mitchell Kapner and George Gallo. While The Whole Nine Yards had an elaborate storyline it was easy enough to follow--everyone was basically trying to kill one another. Here the plot's equally convoluted but rather than interesting twists and turns we get inconsistencies and dead ends. Take Jimmy's new Suzy Homemaker role for instance. As the film opens Willis is traipsing around his Mexican villa in bunny slippers wearing a 'do-rag on his head fussing over dinner and the fact that the potatoes are supposed to be "floating around the lobster not just stuck there." We find out it's all an act but the reasons are never disclosed. By the time the film ends audiences will be asking themselves what it was all for. Perhaps the filmmakers thought the sight of Willis as a dowdy housewife would make moviegoers laugh so hard they'd forget to ask why.
A violent and gritty film A Man Apart follows DEA agents Sean Vetter (Vin Diesel) and Demetrius Hicks (Larenz Tate) as they try to stop the drug pipeline along the US/Mexico border. After seven years of surveillance they take down Baja California cartel kingpin Memo Lucero (Geno Silva) whose ominous last words to Vetter are "You have no idea what kind of mistake you are making." Vetter doesn't take the threat to heart--until a hail of bullets kills his wife Stacy (Jacqueline Obradors) as she sleeps. Vetter discovers the man responsible for Stacy's death is Diablo who has stepped in to claim the Baja cartel. A grief-stricken Vetter enlists Hicks's help to avenge his wife's murder but his personal involvement in the case clouds his judgement--and at this point we know for certain that two things will happen. First Vetter will be pulled off the case and second he will go after his wife's killer without the department's authorization. When this ultimately happens Vetter turns to the jailed Memo for help tracking down Diablo. But just when you think you have the story all figured out it comes back at you with a twist.
A Man Apart gives Diesel a chance to play a character with more depth than um Zander Cage in XXX or Dominic Torreto in The Fast and the Furious. He definitely sinks his teeth into the role--a little too much. As Vetter Diesel shares some "tender" moments with his on-screen wife but the chemistry between the two is lukewarm and their oh-so-perfect marriage is too fairytale-like to buy. They drink red wine and dance on the beach at sunset (really). And as a widower Diesel overdoes the dazed and detached thing. In one scene Vetter beats a man to a pulp then slumps down against his car and stares vacantly into the distance a victim of his own misbehavior. But Diesel's performance lacks sincerity. Vetter's DEA partner Hicks is played by Tate (Biker Boyz) who carves out a more grounded and representational character. Tate shapes Hicks into a multifaceted character that is tough streetwise and sympathetic--minus the showboating. Worth an honorable mention is Timothy Olyphant (Dreamcatcher) in the role of Hollywood Jack an obnoxious drug supplier who runs a tanning salon. This two-faced hoodlum steals some of the film's best moments.
If there is one thing that director F. Gary Gray has mastered it is the art of making cheesy material watchable. Like Gray's last two films The Negotiator and Set It Off A Man Apart is a gritty urban drama that is entertaining if you allow yourself to be absorbed in the director's dynamic visual style. There is never a dull moment here and like a trailer it cuts from one action-packed scene to another. But if you stop to analyze what's going on or being said corny lines are likely to pop out and cause you to laugh out loud when you're not supposed to. Imagine a line such as "You alone are trying to bring down a monster. As a cop that's impossible; you must become a monster" reverberating in your head. It's enough to distract you from the film's hair-raising violence. Not all of the dialogue is laughable however and there is one scene in particular that is funny and bitingly genuine where Vetter and Hicks pump a dealer named Overdose for information. It's reminiscent of the wisecracking dialogue in Gray's 1995 directorial debut Friday.
Maybe they should call Carlos Santana "King of the World." Just a few months after his veritable sweep of the Grammy Awards, Santana took three trophies, including the record of the year award for "Corazon Espinado," his duet with Mexican rock band Mana, at the newfangled Latin Grammys on Wednesday night in Los Angeles.
"It feels like the first kiss," Santana said after winning. "It feels very natural and divine and human." The guitar god extraordinaire dedicated his awards to Africa, the women of the world, bilingual education and Nelson Mandela.
It was a star-studded event, as they say. Heavyweights such as Jennifer Lopez, Christina Aguilera and 'N Sync were among those trolling down the red carpet, and Ricky Martin opened the ceremony by performing a tribute to the late Tito Puente. The show was hosted by Lopez, Gloria Estefan, Andy Garcia and Jimmy Smits.
The evening's other winners included crooner Luis Miguel (three awards), Shakira (two awards) and Marc Anthony (song of the year).
Here's a complete list of the winners:
Record of the year: "Corazon Espinado," Santana featuring Mana
Album of the Year: "Amarte Es Un Placer," Luis Miguel
Song of the year: "Dimelo (I Need To Know)," Marc Anthony, Robert Blades, Angie Chirino and Cory Rooney (Marc Anthony)
New artist: Ibrahim Ferrer
Male pop vocal performance: "Tu Mirada," Luis Miguel
Female pop vocal performance: "Ojos Asi," Shakira
Pop performance by a duo or group with vocal: "Se Me Olvido Otra Vez," Mana
Pop instrumental performance: "El Farol," Santana
Pop album: Amarte Es Un Placer, Luis Miguel
Rock performance by a duo or group with vocal: "Corazon Espinado," Santana featuring Mana
Male rock vocal performance: "Al Lado Del Camino," Fito Paez
Female rock vocal performance: "Octavo Dia," Shakira
Rock song: "Al Lado Del Camino," Fito Paez (Fito Paez)
Rock album: Reves/Yo Soy, Cafe Tacuba
Salsa performance: "Celia Cruz and Friends: A Night Of Salsa," Celia Cruz
Merengue performance: "Ni Es Lo Mismo Ni Es Igual," Juan Luis Guerra y 440
Ranchero performance: "Mi Verdad," Alejandro Fernandez
Traditional tropical performance: "Mambo Birdland," Tito Puente
Tropical song: "El Niagara En Bicicleta," Juan Luis Guerra (Juan Luis Guerra y 440)
Banda performance: "Lo Mejor De Mi Vida," Banda El Recodo
Grupero performance: "En La Madrugada Se Fue," Los Temerarios
Tejano performance: "Por Eso Te Amo," Los Palominos
Norteno performance: "Herencia De Familia," Los Tigres Del Norte
Folk album: Misa Criolla, Mercedes Sosa
Tango album: Postales Del Alma, Juan Carlos Baglietto & Lito Vitale
Flamenco album: Paris 87, Camaron Con Tomatito
Latin jazz album (two winners): Spain, Michel Camilo & Tomatito; Tropicana Nights, Paquito D'Rivera
Brazilian contemporary pop album: Crooner, Milton Nascimento
Brazilian rock album: Acustico0--MTV, Os Paralamas Do Sucesso
Samba/pagode album: Zeca Pagodinho Ao Vivo, Zeca Pagodinho
MPB (musica popular brasileira) album: Livro, Caetano Veloso
Sertaneja album: Sergio Reis E Convidados, Sergio Reis
Brazilian roots/regional album: Pixinguinha, Paulo Moura e os Batutas
Brazilian song: "Acelerou," Djavan (Djavan)
Latin children's album: A Mis Ninos De 30 Anos, Miliki
Classical album: La Dolores -- Tomas Breton, Tito Beltran, Placido Domingo, Manuel Lanza, Antoni Ros Marba, Elisabete Matos
Engineered album: Ni Es Lo Mismo Ni Es Igual
Producer of the year: Emilio Estefan Jr.
Music video: "No Me Dejes De Querer," Gloria Estefan
Photos courtesy of Frank Micelotta/ImageDirect and Livecast Inc.
Warner Bros. must think the world of Jet Li and two now-much-richer screenwriters. The Hollywood Reporter says the studio dished out high-six-figure salaries for writing duo Patrick Massett and John Zinman to pen two scripts: an adaptation of the ecological disaster novel "Dust" and an original script titled "First King," which will star Li.
"King" is being described as "Raiders of the Lost Ark" meets "The Mummy." It's the story of a monarch who is brought back to life in modern times. Li will play the king.
HOT GUYS, BIG EXPLOISIONS: That's what Columbia Pictures wants in its remake of the 1970s TV series "SWAT," Daily Variety reports. The film is scheduled for an early 2001 release with a modest budget of $40 million. Commercials director Zack Snyder will helm the action flick, with Craig Fernandez serving as screenwriter and Oliver Stone to produce.
FAREWELL, SIR JOHN: Screen legend Sir John Gielgud's last performance will be featured at Belfast, Ireland's first-ever film festival (running Sept. 22-29) in a short film titled "Catastrophe."
Sarah Polley FIELD'S FORAY: Sally Field makes her directorial debut with "Beautiful," which screens at the Toronto Film Festival (Sept. 7-16). Robert Altman's new comedy starring Richard Gere, "Dr. T and the Women," also will debut there.
POLLEY WANT A CREATURE? Sarah Polley of "The Sweet Hereafter" and "Go" fame, is slated to star in "Monster," a modern-day version of the classic beauty and the beast story, written and directed by Hal Hartley.