WHAT IT’S ABOUT?
When a strong-willed business woman is suddenly told she might lose her job and be deported to her native Canada she impulsively forces her ever-loyal executive assistant into a shotgun engagement in order to get a green card and stay in the country. The plan gets complicated when the mismatched twosome must go to meet his family in Alaska and convince everyone including a pesky government investigator that their impending marriage is the real thing.
WHO’S IN IT?
Sandra Bullock has never been more appealing in the kind of “tough boss” role normally associated with male actors. The Proposal turns the usual romantic comedy tables around giving Bullock lots to play with — and she certainly makes the most of it painting a hilarious picture of an attractive and surprisingly vulnerable business exec caught in a situation spiraling out of control. Ryan Reynolds’ sitcom expertise is put to good use in the role of her willingly unwilling assistant who must join her charade or risk losing his job. This is Reynolds’ best outing as a rom-com lead yet and he shows he could own the genre if provided the right material. Stealing the movie from both of them however is the irrepressible Betty White who plays Reynolds’ saucy Grammy. Once again the Golden Girls alum proves she has comic timing second to none.
Knowing the standard romantic comedy setup just isn’t going to cut it anymore director Anne Fletcher (Step Up 27 Dresses) turns The Proposal into more of a screwball farce letting the laughs fly without forcing them on us. She’s helped by two game lead players who really know their way around this well-worn genre and provide just the right balance to keep this merry soufflé from falling apart. The breathtaking remote locations (Massachusetts oddly enough substitutes for Alaska) don’t hurt.
No matter how inventive the script it’s pretty obvious where things are going to wind up in any romantic comedy. But The Proposal despite following the standard blueprint still manages to keep us guessing until the very end and that accounts for most of the fun.
A scene in which Bullock and Reynolds accidentally run into each other sans clothing is hilarious worthy of the best farceurs. A close second is a sequence involving a little dog a menacing eagle and a cell phone. Classic stuff.
BEST REASON TO PLOP DOWN 10 BUCKS?
After 60 — count ‘em 60 — years in show business with six Emmys and numerous TV series to show for it Betty White at age 87 still proves there can be second third and even fourth acts in life. She gives a movie star turn here that shows everyone how it’s done.
NETFLIX OR MULTIPLEX?
As an alternative to big summer action flicks and gross-out comedies The Proposal is definitely the date movie du jour.
Completely stripping Catwoman of her "Batman" connections the geniuses behind this comic-book movie--at least as bad as Spider-Man 2 is good--also stripped it of any pleasure. Neither campy a la Julie Newmar and Eartha Kitt of the old TV series nor sexy vamp like Michelle Pfeiffer of Batman Returns Halle Berry's Catwoman is well one lost little kitty in the big city. Actually she's Patience Philips--an annoyingly mousy graphics designer for a top cosmetics firm who despite her job has no fashion sensibility no self-confidence and no boyfriend. (Yeah riiiight!) She is befriended by a mystical Egyptian Mau cat which--courtesy of lousy digital effects--often looks disturbingly like Toonces and sounds like Linda Blair in The Exorcist when it meows; moreover its way of befriending Patience is to lure her into a suicide attempt--one of many plot points lacking a rationale. When Patience discovers that the cosmetics firm's villainous owner (Lambert Wilson) and aging supermodel wife (Sharon Stone) are marketing a toxic disfiguring facial cream she is killed--flushed through a drainage system into the ocean. But here comes that darn cat again to revive her as she's lying in sludge and mud. Next thing she knows she's sleeping on her apartment's bookshelf eating tuna by the caseload looking longingly at Jaguar hood ornaments as if they're long-lost relatives and jumping about walls basketball courts and whatnot faster than a speeding bullet. She also takes to wearing a pointy-eared black-leather dominatrix outfit along with too much makeup but at least no whiskers. She also starts sniffing around that foul cosmetics firm which leads to a martial-arts showdown with Stone. What the Oscar-winning Berry doesn't do regrettably is get a CAT scan to see what kind of ailment convinced her to make this lamebrain movie.
I've seen better acting on 7-Eleven surveillance videos than in Catwoman. Berry is cloying in the film's early stages when she's playing insecure lonely Patience and she's more pathetically childlike than anything else. Once she's Catwoman though she's really terrible tilting her head for endless close-ups and giving lots of wide-eyed stares meant to conjure feline curiosity but that more recall George W. Bush's "deer-in-the-headlights" gaze. The screenplay makes a few lame attempts to observe the duality of women in the way Patience changes to Catwoman but it's not there in the performance. Yet Berry's turn is a career-peak gem compared to Stone who can't decide whether to play the power-mad Laurel Hedare as a broad cartoonish send-up or as someone connected to reality. Looking like a vampiric Susan Powter and barking sarcastic lines without a hint of emotional connection to her character Stone is just awful. On the plot's fringes Benjamin Bratt does his best as a police officer (gee what else) who is both infatuated with Berry and suspects her of murder.
The one-named French director Pitof (short for "pitoful"?) supposedly is a digital-imaging expert who has worked with City of Lost Children's Jean-Pierre Jeunet but you'd never know it here. Either he doesn't know much about directing actors or maybe he only gives directions in French. The effects--especially action scenes involving a digitalized version of Berry--move at such a chaotic breakneck pace that she looks completely phony. Plus there's absolutely no sequential logic whatsoever to where Catwoman moves and when--apparently invisibility is one of her superpowers. These awkward clumsy scenes are usually accompanied by distractingly loud music. Pitof's only other directing credit is some obscure French flick starring Gerard Depardieu…one hopes Catwoman will be his last.