What No Reservations needs is a smell-sensitive rat who can cook. Instead we get head chef Kate Armstrong (Catherine Zeta-Jones) a perfectionist who runs the kitchen of a swanky Manhattan eatery with an iron fist. Let’s just say she’s in desperate need of an attitude adjustment so in pops new sous-chef Nick (Aaron Eckhart) a free-spirited fellow who cooks by the seat of his pants. Soon he’s got the whole kitchen staff laughing and loving him way more than Kate. Nick tries to charm Kate too but she won’t have any of it. To top it off Kate unexpectedly becomes the guardian of her 9 year-old niece Zoe (Abigail Breslin) after her sister dies in a car accident. The understandably distraught Zoe is having a tough time and won’t eat any of her aunt’s highfalutin cuisine. The little girl only likes fish sticks—and as it turns out spaghetti a Nick specialty. Yes Nick finally melts Kate’s heart when he gets Zoe to eat a hearty bowl of spaghetti. You can see where this is going right? Love—and tomato sauce—conquers all. When you have two incredibly attractive people onscreen together you want the sparks to fly. Think Angelina Jolie and Brad Pitt in Mr. and Mrs. Smith. True those two were falling in love for real but still it makes for a more fulfilling and cinematically romantic experience. But alas it doesn’t always work out and in No Reservations’ case the love story between Zeta-Jones and Eckhart deflates like a fallen soufflé. On their own they each hold up well: Zeta-Jones is good at being steely but emotionally stunted when it comes to matters of the heart while Eckhart’s easy-going charm and great smile make his Nick an obvious choice for any woman. Get them together however and things sag like a wet noodle. Too bad. Breslin is her usual cute self playing it a little more somber than she did in Little Miss Sunshine but the little actress ought to be careful not to pigeon-hole herself into the “eccentric but affecting” kid role. No Reservations also has another knock against it: It’s a remake of the German film Mostly Martha a far more stellar—and original—effort. Natch. Turning a hit foreign film into a studio picture rarely works out; something always gets missed in the translation which for No Reservations is surprising since Mostly Martha writer/director Sandra Nettelbeck is listed as the co-writer. What Nettelbeck did with Mostly Martha is revolve her story around master chef Martha (played brilliantly by Martina Gedeck) and her quirks and anxieties over suddenly having to raise a child. The love story with the Italian chef is more a pleasant surprise than the driving force. But of course with No Reservations the romance is played up for that certain chick flick appeal with two people who have no chemistry. Maybe Nettelbeck was lured into Americanizing her original. For his part director Scott Hicks (Shine) is definitely capable enough to carve out what he can from this predictable set up even adding some flair to the kitchen scenes but he can’t quite push No Reservations past its banality.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.