For the past 11 years--his whole life--Evan (Freddie Highmore) has been an orphan but that’s about to change along with his name. Evan has "always heard the music " even when it’s not playing and one day he decides to follow it in hopes of finding the parents he’s never met and whose musical genes he has inherited. It takes him out of the orphanage he has always despised and into Manhattan where 11 years prior he was conceived. As we learn via flashback his parents both young musicians at the time were an unlikely match: Lyla (Keri Russell) was a shy dainty cellist while Louis (Jonathan Rhys Meyers) was a brash Irish rocker. Their mutual love for music ultimately brought them together on a rooftop for just one night of which Evan turned out to be the product. But when Evan is born prematurely Lyla’s father (William Sadler) does what he thinks is right for her career and gives the newborn up for adoption without her knowledge. Lyla and Louis have since reluctantly given up music but Evan is about to pick up where they left off in New York City. While there he is discovered by a seemingly well-intentioned "manager" named Wizard (Robin Williams) who renames the prodigy August Rush. Before long Wizard is booking gigs in hopes of capitalizing financially while August hopes to use his music for a slightly nobler purpose: tracking down and reuniting his parents. Highmore (Charlie and the Chocolate) is as much a child-actor prodigy as August Rush is a musician; he’s truly in a class of his own. It’s not just that the British youngster seamlessly ditches his accent to play an American—better and more undetectably than many of his elders are able to do might I add—or that he’s able to pull off the musical aspect (he reportedly mastered the guitar and conducting for further authenticity) but rather that he advances the never-dormant story every step of the way. And it’s not every day that a teenager can handle being the centerpiece of a big Hollywood movie (see The Seeker et al.) but Highmore makes it a non-issue. Russell and Rhys Meyers meanwhile add a classy touch of adult to the story with their opposites-attract arc. Russell borders on too pristine and precious at times and Rhys Meyers is written as the stereotype of Irishmen but they make you believe in the commonality of music as a matchmaker. Williams however misfires with his portrayal of the somewhat ambiguous Wizard. It is unclear whether he is a reincarnated pirate or just a well-traveled New Yorker and Williams plays him with that lack of clarity but kids will laugh nonetheless when the actor gets loud and hyper. Terrence Howard as a concerned social worker and Mykelti Williamson as a pastor turn in solid supporting performances while young Jamia Simone Nash may incite standing ovations with her singing. The concept of August Rush is most certainly aimed towards those too young to discern between realism and fantasy but at least director Kirsten Sheridan (Jim’s daughter) doesn’t patronize kid viewers the way most preteen movies do. While the young director doesn’t exactly steer clear of clichés and sap she makes a concerted effort to place the film’s music and sheer energy at the forefront. Sheridan also does the best with what she’s given which is a highly predictable occasionally preachy script—with a tendency to give Highmore cringe-worthy voiceovers (i.e. “Open yourself up to the music around you”)—written by Nick Castle (Hook which August Rush often resembles) James V. Hart (The Last Mimzy) and Paul Castro. Just as impressive as the film’s omnipresent music—both “found” (basketball dribbles etc.) and orchestrated—is the look of a somewhat magical Manhattan that is as fun for kids as it is mildly scary. All in all Sheridan’s first big movie is a different if slightly uneven kind of kids flick but not so different that the target audience won’t dance along.
The plot starts off exciting enough: a motley group steals a rare gem but two of the thieves doublecross bad guy Patrick (Sean Bean) and take off with the precious stone. Jumping ahead 10 years we meet Dr. Nathan Conrad (Michael Douglas) a prominent New York psychiatrist with a loving wife (Famke Janssen) and an adorable 8-year-old daughter (Skye McCole Bartusiak). Life is good until Nathan is summoned by a colleague (Oliver Platt) to examine a disturbed young woman Elisabeth (Brittany Murphy). The next day he discovers the ruthless Patrick has kidnapped his daughter. The only way to get her back is to extract a six-digit number locked away in Elisabeth's troubled mind a number leading to the gem. But then the film lapses into the predictable: Nathan races to save his daughter and try to solve the puzzle of the traumatic event which sent Elisabeth off into la-la land.
Douglas certainly has had plenty of moments to shine in his career but this isn't one of them. He plays it pretty straight and boring leaving nothing to let him stretch his acting abilities. Following along the same lines Bean another fine actor who rarely gets to break out of the bad guy role plays a cookie-cutter villain with nothing more than his menacing looks and voice to keep him going. Murphy's performance as the complex Elisabeth has been talked about as Oscar bait-but we are not sure why. What starts off as an intriguing portrayal of yet another mentally disturbed character--her other being her role in Girl Interrupted which was much more interesting--dissolves into a lost-little-girl syndrome. Actually the two characters that stand out are Bartusiak as the spunky daughter and Jennifer Esposito (Summer of Sam) as a detective hot on the jewel thieves' trail.
Word starts off with such a bang you immediately get involved and think it may actually be a good movie. Director Gary Felder takes us right into Conrad's happy world and then turns it upside down when Conrad realizes what he must do to get his daughter back. It may be hard to believe Patrick after spending the last 10 years in jail would know that Elisabeth holds the key to finding the gem but the cat-and-mouse game Elisabeth plays with Dr. Conrad is fascinating. This plot device could have been taken into so many different directions especially since Douglas and Murphy have a very interesting rapport. Even the subplot involving the little girl and her attempts to escape while her mother with a broken leg tries desperately to find her could have been taken further. But the film goes ahead and ends predictably and we're left saying how much better we could have made it.
Sexpots Max (Sigourney Weaver) and her daughter Page (Jennifer Love Hewitt) have a good thing going. Consummate con artists the duo make a living by swindling dumb rich guys. Max marries them Page seduces them into adultery Max makes off with hefty damages paid and they're off to the Next Big Sting. This happens over and over and over and still over again. Then one day Max's jilted husband Dean (Ray Liotta) a sleazy Jersey chop-shop owner wises up and follows up in hot pursuit of the pair who have hightailed it to Palm Beach to make their last big score with revolting billionaire cigarette tycoon William B. Tensy (Gene Hackman). While Max attempts to snare Tensy Page strikes out on her own and promptly falls for her first target bartender Jack (Jason Lee).
Love Hewitt is obviously trying to shed her good-girl image by shedding her clothes in a formula caper romance but her one-note performance is banal. Weaver who has always been well suited for comedy can vamp it up with the best of 'em. But this dumb movie restricts her to bad lines and an even worse (and inexplicable) Russian accent in which she karaokes "Back to the U.S.S.R." - oof. Lee gives a non-performance. The only redeeming things about it is the comically vile Hackman and Liotta who looks like he's having a great time spoofing his self created two-bit gangster persona.
This film has been knocking around since '96 when Anjelica Huston and Alicia Silverstone were considering it. What attracted respected actors like Weaver Hackman Liotta and Anne Bancroft (in a bit part) to this broad obvious comedy now is beyond the scope of this reviewer. It's just NOT FUNNY. What it is is predictable - the conclusion to its contrived love stories comes at you like a Mack truck halfway through the movie but you have to sit through a full two hours of PG-13-rated T&A to get there. (Guys you might not think that's so bad). Take Love's love story for example - now if Jack is smart enough to see through Page's trickery why is he stupid enough to fall for her? And why would a nice guy like him be attracted to a nasty slut who's trying to swindle him out of money?