On the one hand it’s a comedy. We meet Sarah Huttinger (Jennifer Aniston) a thirtysomething knee deep in a pre-midlife crisis with a way too patient fiancé (Mark Ruffalo) and a nowhere job. Her anxiety is only exacerbated when she visits her picture perfect family in Pasadena CA a place she’s never felt like she belonged especially after her mother died. But then it gets weirder when Sarah finds out her family was the inspiration for The Graduate. It seems Sarah’s grandmother (Shirley MacLaine) was the Mrs. Robinson and that her mother ran off with the same guy briefly right before she got married to Sarah’s dad. Sarah becomes obsessed with finding this “other” guy Beau Burroughs (Kevin Costner) believing he might be the key. He’s a key all right--to a night of drunken lust. But none of this is going to solve Sarah’s problems now is it? She’s got to find her own answers in her heart. Excuse me while I go throw up. Maybe Jennifer Aniston should just write this year off. Not only did she lose a husband to another woman she also hasn’t made very smart choices in her career. Derailed completely missed the track and now this comedy is no better suited to her talents. Aniston is much better playing sweet and quirky rather than messy and neurotic and honestly shines brighter when co-starring with strong comedic talents such as Ben Stiller (Along Came Polly) or Jim Carrey (Bruce Almighty). (That’s why we’re holding our breath for her next film The Break Up with [real-life boyfriend?] Vince Vaughn.) Shirley MacLaine making a habit out of being the best thing in an otherwise dull movie (In Her Shoes anyone?) is a hoot as grandma. Costner doesn’t look anything like Dustin Hoffman thank goodness but has zero chemistry with Aniston. And who knows what the hell Ruffalo is doing wasting his talents doing this romantic comedy crap. Just say no Mark. As a director Rob Reiner hasn’t had much luck lately either. This is the first movie he’s directed since 2003’s Alex & Emma--and we all remember what a success that was. To be fair Reiner apparently took over the reins from screenwriter Ted Griffin (Matchstick Men) who was making his feature film debut ten days into production and changed things quite a bit. That’s not surprising because Rumor quite simply lacks direction. It wants desperately to be a comedy with a hint of relationship drama but somehow misses the mark on both. Now the idea of a Graduate update is somewhat intriguing. Reminds me of Robert Altman’s The Player in which The Graduate’s original screenwriter Buck Henry pitches a sequel of sorts to a studio development exec. It’s meant to be a joke of course but somewhere in the spoof there might’ve been a sliver of mad brilliance. Too bad Rumor ruins it.
Dogtown centers on three teenagers in the 1970s--Jay Adams (Emile Hirsch) Stacy Peralta (John Robinson) and Tony Alva (Victor Rasuk)--who just want to ride. At first it's waves. Living in "Dogtown " a tough and gritty area in Venice Calif. these guys do everything they can to get in with the Zephyr surfers lead by the charismatic owner of the Zephyr surf shop Skip Engblom (Heath Ledger). But the boys are soon transferring their aggressive wave-riding moves to the concrete turning empty pools into arenas of wild beautiful athleticism and revolutionizing a new style of skateboarding. Skip recognizes great money-making potential when he sees it and takes these freestyle wizards on urethane wheels out on the road to show off their skills dubbing them the Z-Boys. The skating world goes nuts. Conventional competitors don't know what to make of their "extreme" ways. Girls are wild for them. And promoters see dollar signs wanting to grab a piece of the action. But what started out as fun way to blow off steam soon turns into big business. Can the friendship between this tightly knit trio survive inflating out of control egos and fast-paced famous lifestyles? Dude that's a tough one to call.
What better way to make a movie about three hot California skateboarders then by casting three hot young male leads to play them. As Tony Alva and Stacy Peralta--the two talented skateboarders on the opposite ends of the spectrum--newcomers Rasuk (Raising Victor Vargas) and Robinson (Elephant) aptly bring sincerity to their portrayals. As the fiery Alva the wild-haired Rasuk is full of bravado taking to the jet-setting life with ease and ultimately becoming the more well-known name. The soft-spoken Robinson plays the easy-going Peralta with quiet determination proving he doesn't have to showboat in order to show how good he is. But it's the more seasoned Hirsch (The Girl Next Door) playing the gifted but ultimately screwed-up Jay Adams who has the harder acting job. As the Z-Boy with probably the rawest talent but nevertheless gives up his chance for fame Hirsch handles Adams' conflicted emotions well. Ledger too does a nice job as Skip Engblom the boys' "mentor" who introduces them to a whole new world rides a great meal ticket for awhile--and then loses it all when the boys move on to bigger and better things. Sorry Skip.
Coming off the heels of his award-winning 2001 documentary Dogtown and Z-Boys writer Stacy Peralta decided he wasn't quite done telling his Z-Boy story trying his hand at dramatizing the whole experience. This time around he elicits the help of director Catherine Hardwicke whose disturbing indie Thirteen proved she can get underneath a teenager's skin. Smart move. Her documentary style of filmmaking with that grainy handheld feel fits the Lords of Dogtown milieu perfectly. The camera chases after the boys as they skate sneak onto private property to surf empty pools and rock like rock stars. Peralta also calls upon his old buddies to help out including the now world-renowned skating champion Tony Alva who choreographs many of the stunts and apparently teaches the actors not only to skate but skate in true Z-Boy fashion. Maybe hardcore skateboarders will notice the errors but for a novice like me it is a fun ride. The only real problem with Dogtown is Peralta's greenhorn attempts at fleshing out a drama. As a documentary the Z-Boys experience is exhilarating as it follows these real-life mavericks' efforts to take skateboarding to a whole new extreme. But as a full-blown feature film it's a little harder to perpetuate the momentum.
Dr. Matt Fowler (Tom Wilkinson) and his wife Ruth (Sissy Spacek) are throwing a summer barbecue at which their lone prodigy Frank (Nick Stahl) is proudly showing off his summer romance. Ruth vehemently disapproves: Natalie (Marisa Tomei) is an older single mother of two who is not quite divorced from the dark abusive Richard Strout (William Mapother) whose family runs their town of Camden Maine. For Frank Natalie is someone to keep the pipes greased before he heads off to study architecture at graduate school in the fall. Maybe. Frank is thinking of getting serious with Natalie and ditching school if Natalie would have him but there's that not quite ex-husband to deal with. The not quite ex-husband ends up killing Frank (this is supposed to be a plot twist but is the only action in the first two hours of the movie) which leads to much soul searching for Matt and Ruth--the raison d'etre of the movie.
With all due respect to Spacek who's been receiving a lot of Oscar buzz for her turn it's really Tom Wilkinson (The Full Monty Wilde The Patriot) who gives the most outstanding astonishing performance in this film. Matt's stilted missteps at each and every turn are so human so real you empathize with the pain he's feeling while you cringe at his every inappropriate action. An Academy win for Wilkinson seems more than merited though likely won't happen. Marisa Tomei is as good as she's ever been in the role of Frank's lover Natalie. The emotional tug-of-war in her relationship with Nick is clear on her face and the distress of never getting Ruth's approval is deafening. Spacek has a hard time claiming even the second-best performance of the film but she is compelling as Ruth the kind-hearted high school teacher who's become more closed and unforgiving than she ever imagined. You can see Spacek shutting down as her world crumbles around her. William Mapother and Nick Stahl do fine jobs with their (relatively) limited characters especially Mapother who is sufficiently creepy and desperate as Natalie's husband.
An actor turned director Todd Field wastes the fine performances in his debut film. Field seemingly likes to impart significance in the mundane moments of real life which works only sporadically. Field's direction is similar to Matt's reaction to his son's death: all of his actions seem stiff and mannered and when he does do something appropriate it's a complete accident. Worse Field leaves no room for character development only letting the characters descend further and further into despair ultimately turning the film into an art house Death Wish. (With apologies to Charles Bronson.) Given the supposed strength of the Maine proletariat it would have nice to see Matt and Ruth Fowler struggle against their evil inclinations before giving in so completely. Under Field's helming the film flounders at inopportune moments rendering the story utterly meaningless.