Based on the best-selling novel by Diane Johnson Le Divorce gives a rather uninteresting take on the classic American-in-Paris theme. Fresh off the plane from sunny California Isabel Walker (Kate Hudson) arrives in Paris to stay with her expatriate and pregnant sister Roxanne (Naomi Watts) who has just been dumped by her French husband Charles-Henri de Persand (Melvil Poupaud). While helping her brooding sister get through a very difficult--and very French--divorce Isabel manages to also embark on her own fling with Charles-Henri's older uncle Edgar (Thierry Lhermitte) an important French diplomat. Scandalous as this affair is what complicates matters further between the free-spirited Walker sisters and the rational Persand family is a painting Roxy took with her to Paris. It is discovered to be worth millions of dollars and by French law might fall under Charles-Henri's settlement in "le divorce" even though it belongs to Roxy's family. But then an unexpected crime of passion rocks the two families and ends up washing away the bitterness and opening up a better line of communication between the two cultures. Unfortunately at this point you're only thinking about getting a cup of coffee to wake yourself up.
Le Divorce has a cast of thousands who all do an adequate job but also do nothing to make themselves stand out. Being the bubbly blonde Californian suits Hudson to a tee because er that's who she is but somehow Hudson misses the mark when trying to show how Isabel blossoms with French influence. As lovely as she can be Hudson seems sorely out of place. Watts on the other hand fares a little better as the wounded Roxy but doesn't get nearly enough to chew on. Since blowing audiences away in Mulholland Drive Watts has been careful to choose interesting roles including her lead in the horrific The Ring. Yet with Le Divorce it's obvious she signed on because of the talent attached rather than looking at how bland Roxy truly is. The rest of the cast list is impressive: the exquisite Leslie Caron as the Persand matriarch; solid character actors Sam Waterston and Stockard Channing as Roxy and Isabel's parents; the always good Glenn Close as an American writer in Paris (sooo cliché); even Matthew Modine shows up as a jilted American husband gone mad. Yet with all these great actors the performances and relationships between characters can't elevate the film from being stuck in dullsville.
Coming from the Oscar-winning trio of producer Ismail Merchant director James Ivory and writer Ruth Prawer Jhabvala (Howard's End A Room With a View) one would expect something a little more meaty from Le Divorce. The story is right up their alley revolving around colliding cultures and foreigners in faraway lands--minus the period costumes. Le Divorce also looks wonderful capturing the spirit of gay modern-day Par-ee. Yet this is one time where the filmmakers seem to have stuck just a little too closely to the book. It feels like you are reading a novel rather than watching a movie. Sure in a book little vignettes work when you are piecing things together on your own. But a film with so many individual subplots floating around needs a central through-line to hold it together and make it a cohesive story. Is Le Divorce about how Americans perceive the French and vice versa? Or is it about two American women and how they deal with their relationships with men who just happen to be French? Choosing one of these as the driving force would have made the film far more interesting. Instead in mixing them up Le Divorce simply loses the audience's attention--quickly.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.
Loosely based on the (rather lame) 1960 Rat Pack film dashing understated-but-cool thief Danny Ocean (George Clooney) orchestrates the most sophisticated elaborate casino heist in history less than 24 hours after being released from jail. In one night Danny's handpicked 11-man crew of specialists--including an ace card sharp (Brad Pitt) a young-but-masterful pickpocket (Matt Damon) and a demolition genius (Don Cheadle)--will attempt to steal over $150 million from three Las Vegas casinos owned by Terry Benedict (Andy Garcia) the elegant ruthless entrepreneur who just happens to be dating Danny's ex-wife Tess (Julia Roberts). To score the cash Danny will have to risk his life and risk his chance of ever reconciling with Tess. But if all goes according to his intricate nearly impossible plan Danny won't have to choose between his stake in the heist and his high-stakes reunion with Tess. Or will he?
The star wattage in this movie could solve all of California's electricity problems in one fell swoop. George Clooney easily passes himself off as suave mastermind Danny Ocean playing the role with understated class and elegance. Brad Pitt takes a similar arc as Rusty though he's slightly more dispassionate and professional than Clooney's visionary Ocean. Matt Damon is convincing as the inexperienced-but-talented pickpocket who's essential to getting in the vault. And Julia is simply Julia--glamorous and charming a smart cookie who is being wooed by the evil ruthless (and anal-retentive) casino mogul so elegantly portrayed by Andy Garcia. Affecting a Cockney accent and attitude Don Cheadle's portrayal of the demolition expert is a tour de force. Carl Reiner is absolutely hilarious as Saul Bloom an aging old-timer who comes out of retirement to infiltrate the casino as a debonair arms dealer. Elliott Gould Bernie Mac Scott Caan and Casey Affleck round out the cast nicely with inspired performances especially Gould's and Mac's.
Soderbergh cemented his reputation last year as a director of serious weight when both Traffic and Erin Brockovich were nominated for the Best Film Academy Award and garnered him two Best Director nominations---an unprecedented feat. Ocean's Eleven marks Soderbergh's departure from the serious to the seriously fun. This is one of the most stylish most elegantly filmed movies I have ever seen. Not only are all the actors beautiful but so are the locations clothes and shot selections. The speed and pacing of the flick belie the movie's length; Soderbergh clearly had fun making this movie. He shot this film very intimately often allowing the camera to stay close on the actors a tad longer than expected which lets their personas shine through--thus their personalities draw you into the movie as much as the caper itself. It's not often you see a movie where the direction has as much wit and cleverness as the plot itself. Ocean's Eleven makes no pretense to be something other than a jaunty cheeky exhilarating heist movie. So while the plot's not too deep all is forgiven considering the level of acting and direction.