Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
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!
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.
Princess Diaries 2 picks up about five years after the first movie as Mia (Anne Hathaway)--no longer a 16-year-old ugly duckling but now a self-possessed college grad--is ready to assume her role as princess of Genovia. Bringing her quirky American sensibilities with her she moves into the Royal Palace with her beautiful wise grandmother Queen Clarisse (Julie Andrews)--but soon discovers she'll be ruling the little European country famous for its pears sooner than she thought when the Queen announces her retirement. It's all a tad overwhelming but the capper is that according to Genovian law in order to take the crown she also has to be married--with Genovian parliament giving her only 30 days to find a prospective groom. What you say? An arranged marriage? That's just so politically incorrect. Suddenly Mia is wading through a parade of suitors who'd all like to be her king when all she wants to do is marry for love. Of course there are also factions plotting against her in the form of Viscount Mabrey (John Rhys-Davies) a blowhard royal who wants his nephew and native Genovian the hunky Lord Nicholas Devereux (Chris Pine) to take the throne. Ah but is Lord Nicholas really as greedy for the crown as his uncle? Maybe so--until he sees how beautiful kind and ultimately capable Mia is at ruling Genovia. This could get interesting--but it doesn't not really.
Hathaway continues to exude that same fresh quality as Mia with the ever-expressive face and affinity for physical comedy. She is certainly appealing to watch on-screen yet somewhere in all that cheerful perkiness one wonders if Hathaway is just itching to be a bad girl--to really get down and dirty to play say an ice pick-wielding femme fatale or even a prostitute with a heart of gold. But alas the young actress has pigeonholed herself into these sugary-sweet roles--and it might be difficult to break out the mold once the real acting bug bites her. Julie Andrews should give Hathaway some advice--she's been there playing the Mary Poppins and Maria Von Trapps of the world. The talented British actress has never really shed that wholesome image not entirely (even her raucous semi-nude appearance in her husband Blake Edwards' S.O.B. didn't quite do it) and in Princess Diaries 2 she once again plays a woman with spunk who's very classy but also terribly proper. Oh well guess it really isn't a bad way to be. As an extra bonus Andrews also sings in the film--which to all of us fans who've followed her battle with throat problems is a true delight (even if the musical number she sings in is rather gag-producing). The rest of the PD2 cast could have been plucked from anywhere save for Heather Matarazzo who happily reprises her role as Mia's quippy best friend Lilly Moscovitz.
Director Garry Marshall is a giant sap. Most of his films while usually comedic in some fashion or another have tended towards the maudlin including The Other Sister about a mentally disabled girl who finds love (sniffle); Beaches about a woman whose best friend dies (sob!); and this year's tear-jerker Raising Helen about a jet setter who has to stop her life to raise her dead sister's kids (oh stop it already). Now it's Princess Diaries 2 a follow-up to the original syrupy feel-good comedy. To his credit Marshall is a master at the genre--and doesn't make any excuses if the eyes roll at all the sentimentality. The first Princess Diaries worked well because it was about an ordinary girl who is transformed into a fairy tale princess. With PD2 Marshall has taken the basic romantic comedy structure of a girl meeting a boy who don't get along at first but realize they love each other in the end and applied it to the princess-turned-ruler idea. The film flows smoothly even if you can tell what's going to happen every step of the way--and how refreshing it is to have a film aimed at adolescent girls that doesn't have a mean-girl clique anywhere in the vicinity. Speaking of vicinities where the heck is Genovia anyway? You can never quite tell what sort of mythical European country it's suppose to be with accents ranging from French to British to very American--but it's still awfully pretty to look at.
Helen Harris (Kate Hudson) is the quintessential Sex and the City single gal with a fabulous job at a top modeling agency and a swingin' social life. But her carefree lifestyle comes to a screeching halt when her beloved oldest sister Lindsay (Felicity Huffman) and brother-in-law are killed in a car accident and Helen is suddenly named the legal guardian to her sister's three kids--Audrey (Hayden Panettiere) 15; Henry (Spencer Breslin) 10 and Sarah (Abigail Breslin) 5. Sure Helen is great at being the coolest aunt in New York but as a mom? A whole different story. Coupled with this is the fact her other sister Jenny (Joan Cusack) a supermom in her own right is completely flabbergasted Lindsay did not choose her as legal guardian and takes every opportunity to tell Helen she isn't cut out for mommy-hood. Still Helen is determined to at least try to adhere to her late sister's wishes and finds a little help along the way with Dan Parker (John Corbett) the handsome young pastor and principal of the kids' new school. But it's tough for the party girl to ditch her old ways--even for the new loves of her life.
Even if her choices have been suspect of late (Alex & Emma? Bad idea Kate) Hudson does have a certain joie de vivre that radiates on screen and makes even the most cornball script palatable. Even if Raising Helen falls into the predictable Hudson's Helen never does; all her emotions are veritable and heartfelt especially when she's dealing with the kids. The young actors also do an excellent job adding to the film's emotions. Panettiere all grown up from child roles in Joe Somebody and HBO's Normal does a nice job as a teen struggling with the loss of her parents as well as raging hormones while the Breslin siblings Spencer (The Cat in the Hat) and his younger sister Abigail (Signs) handle the tear-jerking scenes with aplomb especially Abigail. It doesn't matter what frame of mind you're in watching a little girl cry over the fact she can't tie her shoes because her mother isn't around to teach her is gonna get you every single time. Cusack inhabits yet another uptight role in a string of uptight roles (School of Rock; In & Out) but she does it so well you can't blame her. Same goes for Corbett. He continues to play the same adorable sexy man he's played countless times before (Sex and the City My Big Fat Greek Wedding) and we don't mind if they just keep letting him.
Labeled a "heartwarming comedy" from director Garry Marshall some may be hard pressed to find any comedy in Raising Helen. Grief-stricken children; rebellious self-destructive teenagers; feuding sisters not to mention death--oh yeah this film is hilarious. At least the heartwarming part is true-- a technique Marshall has mastered having directed all-out hankie producers such as Beaches and romantic comedies such as Pretty Woman and The Princess Diaries. The director certainly isn't afraid to show feelings as he brings out more than a few genuine emotions in Raising Helen especially between Helen and the kids. In one particularly honest moment teen Audrey has gotten herself into a bit of trouble and while Helen wants to be the parent should be the parent she just cannot find a way to reprimand the girl leaving the duties to the tough-as-nails Jenny. It's definitely a scene that hits home. Yet for all the truthfulness Raising Helen still has an overabundant amount of schmaltz--laying it on thick too many times and leaving very little surprises on how things are going to turn out.