The term “burlesque ” for the uninitiated refers to a specific brand of female striptease that incorporates flamboyant costumes elaborate choreography kitschy songs and various other elements to which heterosexual men are largely indifferent. But it’s wildly popular in other circles -- so much so in fact that it has earned its very own film titled oddly enough Burlesque.
Written and directed by music video veteran Steven Antin Burlesque is fashioned loosely as a camp homage to the 2000 film Coyote Ugly. Stage and screen legend Cher brought to life by an innovative blend of animatronics and CGI stars as Tess the brash tough-as-nails proprietress of Hollywood's almost unbearably fabulous Burlesque Lounge. Despite the obvious popularity of its musical revue the club is plagued by money problems which makes it the target of acquisitive real estate developer Marcus Gerber (Eric Dane) a man whose name alone carries all sorts of ominous Teutonic implications. But Tess determined diva that she is refuses to sell. She's not about to let years of gross financial mismanagement kill her dream of providing a haven where scantily clad women can dance provocatively without fear of encountering men who’d like to sleep with them.
Potential salvation arrives in the luminous top-heavy form of Iowa-bred Ali (Christina Aguilera) a vision of wide-eyed innocence and vaulting ambition in soft focus. Immediately upon entering the Lounge she is struck by the sudden realization that her lifelong dream is to become a burlesque superstar. Unfortunately Tess doesn’t initially recognize Ali’s potential and the poor girl is forced to slum it as a cocktail waitress in the bar area where she’s embraced by the club’s straightgay bartender Jack (Cam Gigandet) a southern transplant whose own showbiz dream involves making it as a songwriter. (In accordance with songwriter tradition he takes pains to ensure that every inch of his chiseled frame is bronzed and waxed. Just like Bernie Taupin.) In her free time Ali devotes herself to the study of burlesque and when her opportunity arises she seizes it without hesitation.
Burlesque is principally the Cher and Christina Show and the film thrives when their respective talents are on display. (“Talents ” obviously gaining a dual meaning in regards to Aguilera.) Surrounding them are a smattering of stock characters pursuing forgettable story arcs the lone exception being the always excellent Stanley Tucci adding a pinkish hue to his incomparable wit in the role of Sean Tess’s long-suffering boa-clad second-in-command. He and co-star Alan Cumming are two sides of the same sassy coin but Cumming is little more than a bitchy bit player in Burlesque poking his head into the frame on occasion to deliver a biting one-liner. Then again that description could apply to any number of characters in the film.
It appears that Antin true to his music-video pedigree conceived of Burlesque with the song-and-dance pieces in mind first then set about building a story around them. (The opposite is generally preferred.) The musical set pieces are lavish sexy and at times truly dazzling especially when Aguilera takes the stage but they do little to advance the film’s plot. Consequently Burlesque’s running time swells to almost two hours to satisfy the demands of a story that frankly seem hardly worthy of such an effort.
At first glance The Family Stone appears to be yet another silly romp about family dynamics. But the Stones a vivacious loving liberal-minded New England family are more than just cardboard cut-outs; they’re as real as any dysfunctional family can be. The film begins with the Stones getting ready for their annual holiday gathering. Matriarch Sybil (Diane Keaton) is especially anxious to meet her eldest son’s (Dermot Mulroney) girlfriend Meredith (Sarah Jessica Parker). The family has been warned Meredith is a controlling neurotic New Yorker with very little redeemable qualities. And when Meredith arrives she certainly does nothing to dispel the notion meeting her potential eccentric in-laws with a mix of awkwardness confusion and hostility. Yet oddly enough the disruption brings about some needed changes within the family Stone allowing them to come together and realize their extraordinary capacity for love. Everyone in this stellar ensemble rises to the occasion and truly paints a very vivid picture of a family devoted to one another--but who are less than approachable to outsiders. As mom Keaton turns in yet another genuine look at a complicated woman dealing with some insurmountable obstacles while Craig T. Nelson as her loyal husband does a nice job conveying a warmth to their marriage. Playing their grownup children is Mulroney as the straight-laced “suit” Everett who isn’t all that priggish; Luke Wilson as the laid-back Ben who seems to have strayed the most from his family; and Rachel McAdams as the passionate if rather acerbic little sister. But the real revelation is Parker as the uptight highly unlikable Meredith. It’s quite a departure from her fun-lovin’ Sex
and the City days and the Parker--who truly is one of the better comedic actresses we have today--easily handles the unpleasant chores of playing someone suffering with chronic foot-in-mouth syndrome. Like many newbie filmmakers writer/director Thomas Bezucha--whose only other credit is the little seen indie Big Eden--has the advantage of having that certain fresh quality to his work. Stone’s dialogue is snappy poignant and spot-on as the Stones interact with each other in all too familiar ways. The whole Meredith scenario will perhaps have many of us remembering similar situations--from both sides of the fence. It’s just as painful to have to meet the family of someone you love for the first time as it is dealing with a family member’s poor choices in mates. And what makes
The Family Stone stand out even more is how Bezucha truly defines the term “dramedy.” From the trailer the film seemed to be a balls-out slap-sticky comedy which in many ways it is but you may be surprised to see how The Family Stone’s more serious tones will touch you.