Drab prim and more than a little prudish Guinevere Pettigrew (Frances McDormand) isn't a very good governess--her rigid personal beliefs keep getting in the way of her ability to hold a job. Homeless and hungry on the streets of 1939 London she's on the verge of despair when fate sends her to Delysia Lafosse's door. Flighty enthusiastic and impulsive Delysia (Amy Adams) is a club singer with aspirations of becoming a serious actress; to achieve her goals she'll literally charm the pants off of any man who can help her--even at the risk of losing her one true love forever. Equally shocked and fascinated by Delysia's sophisticated fast-paced colorful lifestyle Miss Pettigrew uses her brief time as the young woman's faux social secretary to try to save her from herself. At the same time she begins to let go of old fears and finds the way to her own happiness. Miss Pettigrew benefits immensely from the strengths of its two stars. McDormand is both funny and affecting as the title character; she plays a recurring gag in which Miss Pettigrew almost gets to eat with just the right notes of humor and pathos. The twinkle in her eye as she takes the measure of Delysia's world is convincingly conspiratorial and her scenes with co-star Ciaran Hinds who plays courtly lingerie mogul Joe are both sweet and realistic. Adams meanwhile is just as captivating as she was in Enchanted. Delysia's perky effervescence hides both determination and vulnerability and Adams mixes all three elements expertly. The ladies get strong support from their fellas particularly Hinds and Pushing Daisies' Lee Pace who plays Delysia's poor-but-ardent suitor Michael. And Shirley Henderson is perfectly poisonous as socialite/salon owner Edythe. Parts of Miss Pettigrew Lives for a Day have a distinctly screwball feel -- particularly the early scenes in which Miss P. arrives at Delysia's and must immediately juggle four or five different crises for her new client. The brink-of-World War II setting with its cocktail parties jazz clubs and dames in bright red lipstick encourages that association. But director Bharat Nalluri's movie is also a touching romance with scenes of true poignancy that centers on a complex mature heroine who knows life isn't all roses. His ability to balance the two yields a genuinely funny accessible comedy that has some real depth to back up its lighthearted romping. Even if like Delysia Miss Pettigrew is only a passing presence in your life you'll likely remember her quite fondly.
February 08, 2002 2:07pm EST
Jonathan Cross (Chris Klein) is down and out in California when he runs into his old friend Marcus Ridley (LL Cool J) driving a pricey sports car and dripping in gold jewelry. As it turns out Ridley is making it big in an international Rollerball league and convinces Cross to do the same. Fast-forward four months into the future and Jonathan has become one of the biggest and most sought-after Rollerball stars. He's rich drives a nice car and is having a steamy relationship with his teammate Aurora (Rebecca Romijn-Stamos). From the looks of it Rollerball is a serious moneymaking operation: We are constantly shown million of dollars worth of currency going through money counters at record speed. And by the instant ratings numbers that appear on the organizer's monitors it's obvious that Rollerball fever has taken over the world. When conniving Rollerball creator Petrovich (Jean Reno) discovers that the ratings go through the roof when blood gets spilled things start to go very wrong. Cross and his teammates suddenly find themselves playing for their lives.
Chris Klein (American Pie 2) is Jonathan Cross the all-American Rollerball player but he underplays the role. You would expect a character in his position to have a certain amount of charisma and charm but Klein's delivery is a bit deadpan and lacking in attitude. His best pal Marcus Ridley is played by LL Cool J (Kingdom Come) who manages to add a bit of dimension to his otherwise underdeveloped character. In fact he may have been better suited for the lead. The only good part about model-turned-actress Rebecca Romijn-Stamos' (X-Men) role is that it didn't incorporate too many lines. Sounding like Natasha from Rocky and Bullwinkle you have to wonder what she was thinking with that accent which (contrary to the actress' recent statement on MTV that a bad accent is not necessarily bad acting) certainly is part of the acting and certainly is bad. Jean Reno (Just Visiting) was probably the most interesting character. He was all bad without a single redeeming quality which he at least pulled off with flair whether it was in his delivery or his elaborate fur coats.
Rollerball is director John McTiernan's (The Thomas Crown Affair) take on the 1975 classic directed by Norman Jewison. There is definitely enough action in Rollerball to keep viewers interested but the major problems lies within the characters' development-there isn't any. So while the action may keep your eyeballs glued to the screen momentarily you will find yourself indifferent to the characters their plight and what happens to them. Cross and Aurora's relationship for example is implied through one hastily done sex scene in the gym. Consequently when the evil Petrovich threatens to hurt her if Cross tries to leave the game we could care less because we don't really know her or how important she is to Cross. Being such an internationally renowned sport the accents which play a big part in the film are done too shoddily. The French accents go from Canadian to European within a sentence and that's only from the ones I could pick up. Who knows what other languages were massacred in the process?
After catching her live-in boyfriend in a compromising position Amanda sets out to find a new place to live. She ends up rooming with four supermodels (Shalom Harlow Ivana Milicevic Sarah O'Hare and Tomiko Fraser) whose apartment has a great view -- especially of Jim the "perfect guy" across the way. When Amanda in a "Rear Window"- type scenario witnesses Jim committing what she thinks is a murder she sets out to prove that he did it. However to her surprise she ends up falling head over heels (literally a lot of the time) for him instead.
The chemistry between Prinze and Potter is near perfect. Potter does a great job of playing a klutzy girl who can't seem to stay on her feet long enough to have a conversation with Jim. But then again who could? Prinze exudes his usual charm and winning smile while at the same time showing great comic timing. The more pivotal moments with the four models who are "struggling " as they like to say are well done and surprisingly hysterical. Who needs a drama when you can have four models who are actually funny?
Director Mark S. Waters and Prinze Jr. are together again after their 1997 film "The House of Yes." "Head Over Heels" is a cross between "Fatal Attraction " "An Officer and a Gentleman" and "There's Something About Mary " which means it's a bit muddled in its direction. Waters tries a little too hard for the shock value while at the same time trying to convey romantic comedy elements almost overshadowing the performances of the actors. But hey then again we get to see supermodels covered in poop. Priceless. Still the fairly clever and darker script plus the winning chemistry between the lead actors makes it worthwhile.