Stop me if you've heard this one before: Rich spoiled rebellious teen gets sent to her eccentric grandmother’s home in a small town when said teenager’s own mother can’t take it anymore. Said mother is also estranged from said grandmother while deep dark family secrets are exposed and life lessons learned. There isn’t much else to Georgia Rule save for the fact that irresponsible teen Rachel (Lindsay Lohan) uses sex as a way to connect with any man she meets; prim proper—and raging alcoholic—mom Lilly (Felicity Huffman) has made a career out of staying away from the place she grew up God knows why; and matriarch Georgia (Jane Fonda) forces everyone around her to adhere to her own set of steadfast rules—dinner at six no drinking in the house no taking the Lord’s name in vain—as a way to control life. She also wears pretty hip clothes for a granny. Yes this is the movie in which the producer gave Lindsay Lohan a very public slap on the wrist for partying too much and being continually late to the set. But here’s a thought: Maybe Lohan just took the Method style of acting a little too far. I mean she IS supposed to be reckless sexually promiscuous and wild childish as Rachel so maybe Lohan stayed in character even when the camera turned off? Yeah right. To be fair Lohan does a nice job in Georgia Rule realistically portraying the troubled teen Lolita who lashes out in ways teenagers in her predicament often do. Huffman and Fonda are also in top form especially Huffman who goes through the most emotional range as the deeply wounded Lilly. Problem is we aren’t quite sure why she’s such a mess since Georgia doesn’t seem to be that horrible of a mother. Nevertheless Huffman is spot on. As is Fonda whose scenes with Huffman give the film added credibility. In a nice supporting turn Dermot Mulroney plays the town’s veterinarian/doctor who was Lilly’s one-time flame but now has to bat away the seductive Rachel. It’s kind of uncomfortable at times. With director Garry Marshall’s name attached expect the sap to pour freely. It’s just the type of stuff he likes to direct made apparent by his previous efforts such as everything from old standards Pretty Woman and Beaches to the sugary The Princess Diaries. It also doesn’t help that Georgia is written by another schmaltz-producer Mark Andrus (Divine Secrets of the Ya-Ya Sisterhood Life As a House). But with Georgia they both tackle some pretty serious family issues along with an R rating (the f-word is thrown around quite a bit) which allows the film to sometimes rise above its over-the-top sentimentality and made-for-TV sensibilities. And according to actors who have worked with Marshall he really doesn’t direct a film as much as hosts one so it does indeed look like the actors are having some fun. I just wonder what an old timer like Marshall--who has made careers for actresses such as Julia Roberts and Anne Hathaway—might have said to young Lindsay for holding up his production because he doesn’t look like someone who tolerates such behavior. Ah to be a fly on the wall...
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
Yes it’s true. Although it reaped deserved accolades and an Oscar win for its star Philip Seymour Hoffman Capote keeps you somewhat at arm’s length as you watch Truman Capote go through his agonizing journey to writing his one and only masterpiece In Cold Blood. Infamous however wears its heart on its sleeve drawing you in immediately. When we first meet Capote (Toby Jones) it’s in New York. As the toast of the town and confidante to some of Manhattan’s elite grand dames including Babe Paley (Sigourney Weaver) and Slim Keith (Hope Davis) Capote’s mood is light and airy his antics hilarious. Then once Capote travels to Kansas to cover the grisly Cutter murders with his dear friend Nell Harper Lee (Sandra Bullock) the frivolity is peeled away layer by layer. When he finally becomes so tortuously—and yes even romantically (it goes there)—entangled with killer Perry Smith (Daniel Craig) and the writing of his book hits its crescendo Capote emerges as a beaten-down and bitter man who ultimately can’t even be lifted by his high society friends. Infamous is infinitely more heartbreaking. It’s really hard to top Hoffman’s Oscar-winning performance as Truman Capote. He embodies the character with such exquisite and subtle suffering you don’t mind the fact he doesn’t look anything like the diminutive author. Toby Jones (Finding Neverland) however does look like Capote. A LOT like him and is just as capable at wringing out all of Capote’s brilliance and faults. But rather than dominate Jones’ eerie look-a-like characterization blends in more with Infamous’ scenery allowing some of the other colorful characters to step up to the plate. Weaver and Davis are effusive and catty as Capote’s Manhattan buddies who give hints on what’s to become of Capote later in his life when he finally goes too far and crosses these fine society ladies. Craig is also particularly effecting as Smith full of pathos and rage. But the real stand out is Bullock as Harper Lee. Her unassuming but quietly fierce take on the To Kill a Mockingbird author far outshines Catherine Keener’s Oscar-nominated performance in Capote. Bullock brings such an essence to the role that when watching Lee tell stories of when she and Truman were children you see the little girl Scout from Mockingbird so very clearly. Kudos all around. Director/writer Douglas McGrath has to got to be kicking himself. Seriously. Of course he’s going to say “Given the riveting contradictions in Capote’s character the rich range of people who made up his circle and the comic and dramatic turns that marked the period the real wonder is that there were only two scripts.” But the fact of the matter is Capote came first and furious getting all kinds of good strokes. Releasing another movie about the very same subject on its heels...well that movie is going to have a harder time. Period. And that’s a real shame. McGrath does some truly marvelous things with Infamous. He shows how a flamboyant gay writer spoiled chic who plays court jester to the very cream of New York society is set down in the wastelands of Kansas to write about a horrible crime. Capote’s antics at first are hilarious such as trying to wear cowboy boots and a cowboy hat just to fit in. But then the shift into the dark side as Capote delves deeper and deeper into the psyche of the killers keeps you riveted. It might be the same but Infamous is just as worthy.
So exactly how DO you eat fried worms? Very carefully. Or if you’re the gaggle of pre-teen boys in How to Eat Fried Worms in as many inventive and repulsive ways as possible. Based on the hugely popular novel by Thomas Rockwell the story focuses on Billy (Luke Benward) a new kid at school who on his first day is immediately harassed by bully Joe (Adam Hicks) and his crew. But Billy isn’t the type to just roll over. He decides to stand up for himself and excepts a bet to eat 10 worms in one day. Of course he’s secretly horrified but by god he’s going to go through it—eating one disgusting worm concoction mixed up by Joe’s gang after another. Of course the kids eventually learn some important lessons giving us that certain warm and fuzzy feeling. Right after the queasiness passes. The child actors are all appropriately scrubbed fresh and generally act like regular kids without being too hammy. Benward (Because of Winn-Dixie) does a fine job as the hapless Billy. You definitely have to admire him for sticking to his guns and plowing through those worms no matter how revolting. Hicks (Disney's The Shaggy Dog) is actually refreshing as a bully in the fact he doesn’t exactly look like one besides being slightly taller than the rest of the boys. He’s skinny with red hair and freckles but he throws his weight around effectively. Some of the other boys you might recognize: Alexander Gould (Weeds) plays Twitch aptly named for his spastic behavior; Ryan Malgarini (Freaky Friday) as Benjy the chef du jour; and the most veteran of the kids Hallie Kate Eisenberg (Bicentennial Man TV’s The Miracle Worker) as the lone girl in the group who proclaims regularly “Boys are so weird.” As for the adults Ed’s Tom Cavanagh and According to Jim’s Kimberly Williams stand out as Billy’s parents. Production company Walden Media’s mission to bring wholesome family movies based on kid novels to the big screen is actually a smart move because there is definitely a market for good clean entertainment combined with popular children’s literature. They’ve already had tremendous success with The Chronicles of Narnia as well as with modest hits Because of Winn-Dixie and Holes. Of course these movies (besides maybe the fantastical Narnia) are still glorified after-school TV specials but I suppose with a little more money behind the idea feature films work. How to Eat Fried Worms has been a pre-teen staple on the bookshelves since it was first published in 1973 and writer/director Bob Dolman (The Banger Sisters) certainly captures the novel’s spirit. It’s down to earth has a message we can all relate to—and the worm shenanigans should tickle your youngster’s fancy.
Imagine the sci-fi spirit of Blade Runner crossed with the drug-induced musings of Fear and Loathing in Las Vegas and set to trippy animation. Now consider that this animation plays like a book by Philip K. Dick (who also penned Blade Runner’s novel) and you’re likely spinning with imagery; welcome to A Scanner Darkly. Set in Anaheim California seven years into the future an undercover narc named Bob Arctor (Keanu Reeves) is assigned to spy on his druggie friends (Robert Downey Jr. Woody Harrelson Winona Ryder and Rory Cochrane). They’re all hooked on Substance D the latest suburban drug and its side effects--including possible manifestation of separate identities--can be downright nasty. Unfortunately Bob the “scanner ” is hooked too and he leads the ultimate double life unbeknownst to him: By day he partakes in “D” consumption; by night he watches the surveillance tapes as a cop--not realizing he may in turn be spying on himself. Scanner marks a welcome return of sorts for all five actors to their more decadent (cinematic) days. Downey and Harrelson are up to their old Natural Born Killers tricks even though their characters share nothing other than insanity with those in Oliver Stone’s movie. Downey perennially the most underrated actor steals every scene he’s in with his character James’ mile-a-minute psychobabble. Not far off is Reeves who somehow grasps Bob’s drug-induced psychosis almost too well and is much more comfy (and likable) playing the central character in a film that’s not carrying an entire production company. We haven’t seen Ryder in a major release since ‘02’s Mr. Deeds and although her part isn’t as meaty as the boys’ she gives a compelling performance. And Cochrane whose breakout role was the dopey burnout in Scanner director Richard Linklater’s Dazed and Confused is an often funny casualty of the paranoia associated with Substance D. Linklater’s last release was Bad News Bears and his next is October’s Fast Food Nation. Clearly and to his credit no director offers us as much variety with so many of his films clicking on all cylinders; to his discredit however parts of his latest film don’t click. The biggest flaw is the animation which while truly amazing to behold detaches us. What began as a winning experiment--on his 2001 philosoph-ilm Waking Life--can no longer be dismissed as such but rather a gimmick behind which Scanner hides. Sure it’s apt for Dick’s futuristic dystopia but this film didn’t need any added complexity to bog our brains down. In addition Linklater’s Scanner outcasts fail where his others have been immortalized: They don’t endear us--yes that truth is faithful to the source material but films can’t get away with such disconnect. Ultimately all we feel towards the characters is fascination over their animated likenesses. But Linklater is praiseworthy for even tackling such a novel and the adaptation will find a fervent cult following.