Carl Allen (Jim Carrey) is a drag -- a recent divorcee in a dead-end job who basically has one word for everything: “No!” Then one day he is dragged to one of those super positive self-help seminars that forces him to say “Yes” to everything or face dire consequences. Thing is it works. Need Viagra? Yes. Bungee jumping? Yes. A quick hummer by his over-sexed septuagenarian neighbor (Fionnula Flanagan)? Uh … yes? Carl’s newfound agreeable self gains him more than he ever imagined. He even finds the love of his life a kooky musician/amateur photographer named Allison (Zooey Deschanel). Of course all this goodwill does have its consequences and Carl learns some valuable lessons. Sound familiar? Hey if Liar Liar worked once why not go back to the comedy well? Jim Carrey is just his best when he’s in a comedy -- even quirky comedies such as Eternal Sunshine of the Spotless Mind. He is so at home in the shoes of this kind of loveable loser who gets to live life in broad strokes. He knows how to play for big laughs without going overboard. So from now on Jim just say NO to thrillers like The Number 23. In the top notch supporting cast Sasha Alexander is a deadpan standout as the Persian wife he orders online and veteran Terence Stamp is a hoot as the self-help guru who gets Carrey into his predicament in the first place. Also very amusing are his best buddies played by Bradley Cooper and a hilarious Danny Masterson. As his bonkers New Zealand-esque boss Flight of the Concord’s Rhys Darby is a riot as Carl's boss. Deschanel is kind of the “straight man” here but she’s handles it well if not memorably. Peyton Reed is a fairly reliable comedy director with mostly hits (Bring It On The Break-Up). He knows Yes Man exists as a vehicle for the Jim Carrey brand of comedy and lets Carrey hog the spotlight. The movie lives or dies on what Carrey can deliver and on that scale Yes Man is a hit. There are some bits that fall flat and might have been cut but for all its broad humor Reed manages to keep it grounded and in simple scenes between Carrey and Deschanel the movie even borders on sweet. In a season of dark drama on screen -- and off -- the antidote could well be this dumb but fun time killer. So is a little comic relief worth the $10 in the economic downturn? We say YES!
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.
After being drugged by a rival earl French nobleman Count Thibault (Jean Reno)
murders his bride-to-be Rosalind Malfete (Christina Applegate) on the eve of
their impending nuptials. While awaiting his execution Thibault sends his servant
André (Christian Clavier) to fetch a wizard (Malcolm McDowell) who can send Thibault
back in time so he can undo the night's tragic events. The spell backfires and
sends Thibault and his sidekick into the future instead of the past straight
into a Chicago museum's exhibit of medieval artifacts in the year 2000. Thibault
soon realizes that the exhibit's curator Julia Malfete (Applegate again) is
his descendant 30 generations removed after semi-convincing her of this he enlists
her help in finding the wizard who can send him back to the 12th century to save
their lineage. Meanwhile Julia's unfaithful money-grubbing husband Hunter (Matthew
Ross) throws a wrench in their plans and tries to have Thibault arrested for
false impersonation in order to hold onto the Malfete family fortune Julia stands
to inherit. Though the plot is riddled with holes the story line takes full advantage
of the 12th-century-meets-21st-century jokes and pranks including the visitors'
fascinations with modern day transportation electricity toilets and urinals
all guaranteeing good laughs.
Reno and Clavier reprise their roles in this American adaptation of the 1993 French
blockbuster Les Visiteurs. Reno brings both warmth and wit to Thibault's
character and carries the film from beginning to end. Tough chivalrous and charming
he evokes the legendary knight in shining armor. Though Clavier who plays his
subservient sidekick and brunt of all jokes elicits a few chuckles with his slip-and-fall
physical comedy he also demonstrates a tender side when he pleads with Thibault
for his freedom. Applegate puts on a believable British accent as Rosalind in
12th-century England but fares much better as Julia in 21st-century Chicago.
McDowell in the role of the blundering wizard shows that his strength may lie
more in the villainous than the comedic: his character is never really developed
leaving his portrayal one dimensional and stereotypical at best. Not much can
be said for the performances of Ross and Bridgette Wilson-Sampras either. Ross'
character is your run-of-the-mill cookie-cutter bad guy with no morals while
Wilson-Sampras overplays the made-up preening secretary.
The beginning of the film which is set in 12th-century England is done surprisingly
well from the costumes down to the cinematography; unfortunately this seems
to be where the bulk of the budget was spent. The modern day portion of the film
is sadly lacking especially when juxtaposed against the cold dark and realistically
gloomy feel of the first half. The special effects during the latter portion of
the film seem almost cartoonish and diminish the overall look of the film. While
Just Visiting retains the principal players of its French counterpart
including writer Jean-Marie Poire and director Jean-Marie Gaubert don't expect
this film to achieve a fraction of the success it had on the other side of the
Atlantic. Yet it provides good laughs from start to finish and the best moments
astonishingly enough were not limited to the ones shown in the film's trailer.