In a blanketed statement Luke Greenfield’s Something Borrowed attempts to explore lifelong friendships and the circumstances responsible for their ends. It’s billed as a romantic comedy which would be true if one choreographed dance to Salt N Pepa’s “Push It” and one instance where someone breaks their nose during a game of backgammon were the genre’s qualifiers. But deeper than that lies a message along the lines of “never defer to others ” or even one that’s more like “never give other people the opportunity to take what’s yours because they will.” However those morals get so completely muddled along the way that ultimately the film is downgraded to a chronicle of two best friends in love with the same man.
The film is told from the point of view of Rachel (Ginnifer Goodwin) who’s described as a successful lawyer at a top law firm (so “top ” in fact it’s never named). She is single mostly keeps to herself and is preoccupied with other people’s happiness but is lucky enough to have a very good friend in Darcy (Kate Hudson) who never misses a chance to talk about herself or steal the attention of an entire party by showing up in a pink boa. We learn Rachel and Darcy's friendship spans decades through a slide show that Darcy puts together for Rachel’s “surprise” 30th birthday party and during Darcy's toast to her best friend she talks about how excited she is to marry Dex (Colin Egglesfield) and how thankful she is to Rachel for introducing the two of them. However the truth is Rachel didn’t introduce them – what really happened was Darcy crashed Rachel and Dex’s date that was in honor of all the hard work they did together to prepare for a law school test. Rachel is saddened by the combination of turning 30 and listening to Darcy's excitement over her upcoming marriage to a man she doesn't deserve and after seeing the birthday girl's pout Dex suggests the fellow lawyers go get another drink together. Rachel casually admits to Dex that she’s had a crush on him since law school (which he claims to have never known) and during a shared cab ride to their separate apartments Dex kisses Rachel because it turns out he has had feelings for her all this time too. Thus begins the affair between Dex and Rachel even though Dex’s wedding to Darcy is only weeks away. Eventually Dex and Rachel both realize they love each other and Dex has to make a decision as to which woman is right for him.
Because the story is told from Rachel The Downtrodden's POV the filmmakers attempted to make Darcy the villain as she’s the opposite of Rachel and is someone who gets everything she wants without having to put forth any effort. In actuality Darcy is pretty easy to despise because she always talks about how she’s good-looking and the only obligations she has are towards partying and making incessant demands to Rachel about her wedding to a man she only halfheartedly loves. I suspect Greenfield decided to highlight the tremendous differences between Darcy and Rachel so as to emphasize the fervor and resilience of their bond (which would in turn make the affair between Rachel and Dex a bigger and more dangerous conflict). But it ends up being a disservice to the overall project because the characters themselves are so fundamentally flawed. The notion that one woman would WILLINGLY endure such bullying from someone who’s supposed to be her best friend is terribly unrealistic and so because the movie virtually revolves around this dysfunctional friendship between these two women means everything is painful to watch. There’s even a point where Rachel’s character becomes as unlikeable as Darcy in the way her utter obedience to Darcy makes her weak-minded a terrible heroine and essentially not worthy of our respect either. And what kind of a romantic comedy has us trying to figure out which woman we hate the most? (Exactly.)
John Krasinski saves the movie from being intolerable. He plays Ethan Rachel’s other best friend and (unlike Darcy) he genuinely cares about Rachel’s well-being. Rachel confides in him and he offers her advice and encouragement and Ethan does not like Darcy at all because he sees the way she treats Rachel and the way Rachel’s life halts every time Darcy has a demand. But his character is way more important than it appears to be because he’s the one who points out that both Rachel AND Darcy are flawed characters and he validates the audience’s disgust with both women. He does this by openly criticizing Darcy’s narcissism (which the audience notices within the first few minutes of the film) and also makes Rachel aware of how pathetic it is that she’s been at Darcy’s beck and call for 30 years. Ethan is arguably the only sane character in this movie and strategically he functions as its voice of reason. Even though Krasinski does not play a main character he’s so responsible for the humor that he is a true delight. Ginnifer Goodwin also does an excellent job playing the character who thinks she’s too ugly to ever get a handsome husband and Kate Hudson also deserves some recognition for embodying someone so self-righteous.
It's hard to criticize producers or a studio about what's wrong with a movie that was originally a book because neither the producers nor the studio are responsible for the story's fundamentals -- the author is. At the same time it’s impossible to hold an author responsible for how well his or her book was adapted into a film. That means both the filmmaker and the author must share credit for Something Borrowed but I have a feeling that in a few years neither party will want any.
Based on the award-winning book by Bernhard Schlink The Reader is an extraordinary provocative and controversial story set in post-World War II Germany. It starts when 15-year-old Michael (David Kross) becomes ill with scarlet fever and is helped home by sympathetic woman named Hanna (Kate Winslet). After his recovery he returns to thank her and is drawn into a clandestine affair with this intriguing woman more than twice his age. Their relationship grows stronger especially when he starts reading to her. But then she suddenly disappears leaving a devastated Michael who now must move on with his life. Little does he know that eight years later while he is in law school he would see Hanna again -- as one of the defendants in a court case against Nazi war criminals. Shocked at revelations about her secret past he also discovers something that will change both their lives forever. Granted Kate Winslet is one of the finest young screen actresses but her range in The Reader will astonish you. It’s an extremely tricky part that could easily lose the audience’s sympathy if done incorrectly but Winslet handles it with aplomb. She runs through the whole gamut of emotions -- aging from her 30s to 60s -- all at once sexy mysterious conflicted contrite as well as many other colors. As Michael newcomer Kross is devastatingly good the most impressive acting discovery in a long time. Although he plays 15 he was 17 at the start of filming and production had to shut down until he turned 18 for the graphic sex scenes. As the story flashes forward Ralph Fiennes takes over the role as the older Michael and does so with a touching sincerity. Lena Olin also has a strong cameo as a Holocaust survivor with definite opinions of Hanna. Although this is only acclaimed stage director Stephen Daldry’s third film he once again shows a mastery of the medium far beyond his limited cinematic resume. Like The Hours and his debut film Billy Elliot he has crafted another film to savor. The Reader isn’t necessarily the most comfortable film to watch but Daldry guides the subject matter with a delicate and steady hand giving us a complex and touching love story between the most unlikely couple. It also delves into how one generation of Germans can come to terms with the horrors of another. Daldry’s directorial restraint and power perfectly serves David Hare’s impressive screenplay and delivers a memorable movie-going experience.
Eighteen-year-old Nick Powell (Justin Chatwin) has been for reasons too convoluted to go into left for dead. But his body’s still alive and his spirit – stuck in limbo – continues to interact with those around him desperately trying to communicate his existential plight before his body – hidden in a storm drain - expires. Being caught between life and death is probably a scary place but it’s likely more compelling than depicted here. The cause of Nick’s current dilemma is Annie Newton (Margarita Levieva) a juvenile delinquent and classmate of Nick’s whose troubled upbringing turned her into such a teen terror. Nick must try and compel Annie to locate his body but it takes an inordinate amount of time to do it during which the story – and the film as a whole - falls apart. After awhile it’s difficult to work up much sympathy to say nothing of any interest for what happens to these characters. Chatwin (Tom Cruise’s son in War of the Worlds) scores his first big-screen lead here and does about as well as can be expected under the circumstances which are fairly dire. With better material this might have been a decent showcase for his leading-man qualities. Better luck next time. Not nearly as fortunate is Levieva playing the prettiest leader of a high-school crime ring in recent memory. One minute she’s playing it tough and thrashing Nick within an inch of his life. The next she’s tearfully admonishing her little brother (Alex Ferris) not to make the same mistakes she made. It’s a terrible role and worse an inconsistent one. The biggest name in the cast Oscar winner Marcia Gay Harden plays Nick’s domineering mother. Like many of the roles in the film it’s strictly one-note. Still it’s nice having a pro like Harden on hand – even if the film goes out of its way to squander her talents. Only Callum Keith Rennie as the obligatory detective on the case manages to bring a little credibility to the proceedings. So naturally the film ignores him for long stretches. David S. Goyer is better known – and rightly so – for the films he’s written (Dark City Batman Begins and the Blade films) than the ones he’s directed (Blade: Trinity anyone?). But the true blame here falls on screenwriters Mick Davis and Christine Roum whose attempt to combine a supernatural storyline doused with teen angst fails miserably. At times The Invisible feels like leftovers from The Sixth Sense Ghost Jacob's Ladder The Butterfly Effect (yikes!) any number of Twilight Zone episodes and even Groundhog Day. The Invisible is based on a Swedish novel and a previous film but like the many Asian chillers that undergo an “Americanized” remake something has been lost in the translation – starting with credibility even on its own terms. So many movies undergo reshoots these days but rarely has an entire movie felt like a reshoot. The Invisible has that dubious distinction.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.