Douglas McGrath’s new movie I Don’t Know How She Does It is based off of Allison Pearson’s wildly successful novel of the same name that was on The New York Times’ hardcover bestseller list for 23 weeks. Both mediums focus on the complicated life of Kate Reddy (played by an I'll admit it enjoyably perky Sarah Jessica Parker in the movie) who is the woman all working mothers want to be: smart determined and fiercely passionate about doing everything she can to balance her family with her high profile job at an investment banking firm. She’s the mom who’s thoughtful enough to try and distort a store-bought cherry pie with a rolling pin so it looks more homemade for her daughter’s bake sale and the one who finds joy in searching for a clean blouse that doesn’t have the marshmallows from her son’s Rice Krispies Treats soaked into it. Of course Kate dreads leaving her children each day but she loves her job very much and allows herself to part ways with them by concentrating on the belief that one day they’ll understand how much she genuinely wanted to go to work. And while it’s clear the movie’s goal is to humorously depict the lives of women who work and have families it shockingly shies away from ending the still-popular belief that women are best "pregnant barefoot and in the kitchen."
Within the first minute of the movie the fourth wall is broken -- and continues to break throughout the movie -- and several of Kate’s colleagues and friends verify that Kate is an outstanding mother and a supremely productive member of the work force (which was pretty unnecessary considering how we were just going to see all of Kate's talents anyway). Her friend Allison (played by Christina Hendricks) opens up a bit more than the others and unveils that even though Kate's totally great she really wasn't doing very well with her responsibilities last winter. Then we flash back three months and watch as Kate goes from being an unnoticed employee at her Boston firm to writing a proposal and catching the interest of Jack Abelhammer (Pierce Brosnan) at the branch’s New York office. Jack is enthusiastic about Kate’s ideas and decides he wants to take the proposal and present it to a major client which excites Kate because it would be great for her career. However the problem is the proposal needs a lot of work before it can be shown to anybody and Jack is careful to ask if Kate is comfortable traveling between Boston and New York and working day and night for two months until the whole thing is finished. In the back of her mind she knows she should be spending heaps more time with her family instead of agreeing to take on more responsibilities at work but she decides to do it anyway because as the saying goes “if it ain’t hard it ain’t worth it.”
So Kate and her assistant Momo (played by a finally enjoyable Olivia Munn) begin working overtime. She spends three days a week in New York and the other four days glued to her computer in Boston. When she does make plans with her kids to do something like build a snowman she ends up flaking out because something happens at the last minute regarding the proposal and she needs to drop everything to go work on it with Jack in New York. As angry as the kids are with their mom Kate’s husband Richard (Greg Kinnear) is even angrier because since his wife is away and working all the time he becomes the caregiver by default.
Now here’s where things get a little dicey: Richard is an unemployed architect and so I was surprised to watch him give his wife so much grief for working to keep their cute children fed. However the audience is supposed to understand where he’s coming from: we’re supposed to applaud Richard’s courage to make Kate feel guilty for being with Abelhammer instead of with her kids and we’re supposed to take his side as he repeatedly tries to convince her that she should be ashamed of putting her work ahead of her family. We're supposed to figure out that Richard feels bad for not working and understand that when he's screaming at Kate for having a job he's really just venting about how frustrated he is that he's unemployed. And here’s where the movie has the opportunity to open up and blossom and be symbolic of how a woman should never have to apologize for having a career. Exactly here is where the movie should have stretched out its wings and showed Kate yelling from the top of her lungs about how unfair it is that women are frowned upon for having a job and a family whereas it’s completely fine for men to have both. But instead of defending herself like that Kate responded to her husband’s grievances by bowing her head down and acknowledging that she’s wrong for working so hard for being away from her children for making bad choices and for making her husband’s life harder. But the thing is that she hasn’t made bad choices! She’s made all the right ones because her husband doesn’t work! The point is McGrath had the opportunity to really emphasize how men with families and women with families are treated differently in the workplace -- but he ended up depicting how dangerous it is to be a woman with a job because it means that one day her husband might resent her and make her apologize for it. And so instead of significantly expanding upon Pearson's efforts to level the ground for women with children in the workplace McGrath (rather confusingly) stopped just short of following her lead.
As a legendary Coast Guard Rescue Swimmer Ben Randall (Kevin Costner) was all heart and no regret. But it all comes undone in the span of one night when he goes out to the menacing seas with his crew to make a rescue and he is the sole survivor. Following that fateful night he’s ordered to teach at “A” School--a demotion for a man of his stature and seniority--an elite training program that helps turn the best recruits into the best Rescue Swimmers. Randall teaches the cocky students the only way he knows how and his tough tough love is initially met with skepticism by his fellow trainers who think of him as a has-been. But one student in particular Jake Fischer (Ashton Kutcher) catches his eye and draws his ire. Fischer is cocky hotheaded and highly skilled--just the right pedigree to make a great Rescue Swimmer and a lot like Randall was at his age. Randall rides him extra-hard while Fischer only hopes to one day be in the same boat as his mentor. Be careful what you wish for Jake! Costner's always been an acquired taste--sometimes a downright noxious one on first bite--but there's no denying he slides right in here. Roles that feature him as the aging provider of wisdom are now his true calling and the sooner he accepts it the better. And even still Costner gets to flex his action muscle a bit. As for Kutcher the only thing he shares in common with Costner is the last two letters of his last name--as actors these guys are each other’s antitheses! And in a weird way they strike a nice chemistry because of it one that is borderline exciting to watch. As a standalone actor in The Guardian Kutcher is a bit misplaced and seems to know it. He nails the physicality of the role but while the character's attitude and brashness befit Kutcher the peak dramatic scenes with Costner leave something to be desired. A pleasantly surprising turn from relative unknown Melissa Sagemiller (The Clearing) as Kutcher's girl toy and reliable supporting performances from Sela Ward and Neal McDonough round out the cast. Director Andrew Davis' proximity to his career peak The Fugitive cannot be measured in time: He's a lot further away from the mega-hit than a mere 13 years. But in Hollywood if you have a Fugitive under your belt you'll never run out of chances to replicate it. That's the current juncture for Davis--one last shot at Fugitive glory...till his next last shot. It's hard to say what The Guardian will do at the box office but Davis' stodgy direction doesn't necessarily help its chances. The movie can be boiled down to awful pacing: the first and last 15 minutes are high-octane action and everything in between is low-octane Top Gun (the non-action scenes!). That blame belongs to Davis and writer Ron L. Brinkerhoff. But only Davis can shoulder the other flaws such as a single scene of dubious camerawork--filmed to look like handheld-montage style completely deviating from the movie's context--and the special effects during the somewhat cheesy action sequences which may remind you of a theme-park tour during which you learn how they filmed a boat scene...in the '80s!
Ricky Bobby (Will Ferrell) has been hotdoggin’ since the day he was born--when legend has it his momma (Jane Lynch) popped him out of her belly in the back seat of a car. Now grown up and living his dream as a NASCAR driver he takes his swagger out onto the tracks with mixed results. Even though he and lifelong friend Cal (John C. Reilly) usually end up in first and second place respectively his owner deems him a financial liability after he finishes a race in reverse. Consequently a prim proper and gay French F-1 driver (Da Ali G Show’s Sacha Baron Cohen) is recruited as a new investment and Ricky gets in a horrific crash trying to beat him winding up paralyzed…in his mind. After a long road back--which sees Cal steal Ricky’s lady (Leslie Bibb) and limelight and Ricky reunite with his estranged racer dad (Gary Cole)--Ricky learns to leave showmanship homophobia and pyrophobia (fear of fire) in his dust and just drive the damn car! Ah...Will Ferrell in his total element--it’s a beautiful thing and one we haven’t much seen since SNL. Until now. In Talladega Ferrell brings his energy satire and out-of-the-blue pop-culture references to new highs in his best post-SNL performance yet. And if you close your eyes and listen to Ferrell’s faux South-speak you can hear his great George Dubya send-up of yore. Matching Ferrell scene for scene--in quality not quantity--is Reilly. With his role as a tractable doofus with a good heart Reilly has now completed the whole spectrum of roles and can be unequivocally branded an acting chameleon. Oddly he seems best fit a tractable doofus but that’s merely a testament to his abilities. Cohen’s biggest mainstream role to date is also a hit as he applies equal parts Ali G’s Borat and hyperbolic French stereotype for often hilarious results. And Amy Adams stars as Ricky’s neglected assistant; it’s a role so small that she must’ve signed on before Junebug took her to the Oscars. If after his hit ‘70s San Diego news show Ron Burgundy were to have done something to necessitate placement in a witness protection program it’s not inconceivable that he could've relocated to the South found his true calling as a pompous NASCAR driver and taken the fake-sounding name Ricky Bobby. That’s no coincidence: Talladega like Anchorman is written by Ferrell and Adam McKay who also directed. But the two have filled in the blanks from their previous collaboration for a more well-rounded effort. The duo best complement one another when it comes to Ferrell’s sense of humor; it is at its core drier than most care to realize but the co-writers manage to moisten it in such a way for all to thoroughly enjoy. What really separates this film from its predecessor though is the action--the racing scenes will surprise! And to that end McKay uses the NASCAR angle to reel in its massive contingency as well as Ferrell/comedy fans all of whom should go home happy.
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?