September 16, 2005 5:05am EST
The socially inept Elizabeth Masterson (Reese Witherspoon) is a workaholic doctor who never leaves the hospital. Her married sister Abby (Dina Waters) tries in vain to set up with a good man to no avail. But fate is about to intervene. On her way home from a long shift Elizabeth gets into a head-on collision with a semi-truck and suddenly the lines between life and death are blurred. Jumping forward we meet David Abbott (Mark Ruffalo) a guy wallowing in self-pity from the death of his wife two years earlier who to find some solitude moves into a fabulous furnished apartment. What he doesn't know is the previous tenant hasn't left not really. That's right it was Elizabeth's apartment and for whatever reason (seriously they don't entirely explain it) Elizabeth--or her spirit I guess--hasn't grasped the idea that she is in well limbo. Only David can see her of course as she yells at him for leaving sweat rings on the coffee table but Elizabeth eventually grows on him. She elicits his help in finding out what happened to her and with a little help from the eccentric Darryl (Jon Heder) a bookstore employee who has the gift for sensing spirits David and Elizabeth find that heaven and earth are not really that far apart.
As our romantic pair Witherspoon and Ruffalo do an adequate job adhering to the staid romantic comedy formula. Witherspoon is one of the more consistent comedic actresses these days and has the sweet but controlling ingénue routine down to a science. But it may be time for her to take a break from the standard fare and head back to the indies getting down and dirty like she did in Election. Ruffalo does a pretty impressive job for his second time as the romantic lead. As he did with 13 Going on 30 Ruffalo at least tries to add some quirky twists to a boring character. Still he should also probably stick to showcasing his dramatic acting talent in cool indies much like he did in You Can Count on Me. It's Heaven's side characters who have all the fun. Waters (The Haunted Mansion) does a nice turn as the caring sister who's own hectic life as a mother of two rambunctious kids always seems to interfere with what she's doing. Donal Logue (TV's Grounded For Life) as David's therapist best friend too has a fun time yuking it up. But the real standout in an otherwise dull universe is Napoleon Dynamite himself Jon Heder in his second feature film. He's still a geek but at least this time he's a mystical one who knows a thing or two about wandering spirits. Of course he also gets the best lines: "I'm 99.9 percent parched here. I need a cola." I'm going to use that one from now on.
As the director of the satirical Mean Girls and the cutesy Freaky Friday Mark Waters may be out of his element with an out and out romantic comedy. The initial idea about a women whose stuck in the spirit world until she finds the true love she never sought after in life is somewhat intriguing. But rather than play with that the film just ends up your standard romantic comedy while also stealing from other films such as Ghost and The Sixth Sense. Just Like Heaven also has some serious logistical flaws. For example seeing how Elizabeth is supposed to be a ghost--that she can't touch anything tangible and can walk through walls tables and just about anything else--she is later seen laying on top of a table. It doesn't make sense as to how she can walk through it at one moment and be on it the next. And the fact you are paying attention to these inconsistencies means you just aren't caring that much about the rest of the film.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.