OK so we've met the Parents: Uptight ex-CIA operative Jack Byrnes (Robert De Niro) his preppy wife Dina (Blythe Danner) and their sweet daughter Pam (Teri Polo) who's marrying the adorable if slightly anxious male nurse Greg aka Gaylord Focker (Ben Stiller). Now it's time to Meet the Fockers Greg's kooky but lovable parents who soon threaten Greg's standing in Jack's coveted "circle of trust." In the inevitable meeting of the in-laws Jack is lead to believe Greg's dad the effervescent Bernie (Dustin Hoffman) is a lawyer but finds out he became a stay-at-home dad to raise little Gaylord. Greg's mom the outspoken Roz (Barbra Streisand) a "doctor " is really a sex therapist for the elderly. Big big problem. There's also incidents involving the Fockers' dog and the Byrneses' cat and Jack's toddler grandson some glue and a bottle of rum. Don't ask. At some point Greg and Pam have just got to cut the umbilical cord and move on.
One thing you can say about the Fockers' cast--they sure do look like they're having fun. Stiller is back doing the whole neurotic accident-prone thing he does so well. There's one meltdown scene in which he bears his soul while under the influence of Sodium Pentathol (courtesy of Jack of course). De Niro is once again playing the "heavy " as the suspicious elder Byrnes--and is still pretty good at making you laugh. On the other hand the wasted Danner and Polo stand around in the background looking appropriately appalled or sympathetic depending on the moment. Hoffman and Streisand however are the true standouts. They liven up the proceedings just by the sheer nature of their spirited characters. For the first time in awhile Hoffman's tendency to overact works as the bubbly Bernie while the delightful Streisand who's taken a break from acting for the past eight years gets to tap into her zany yet grounded What's Up Doc? persona we remember so well. Good times.
Meet the Parents director Jay Roach has a tough act to follow with Meet the Fockers. The original did surprisingly well at the box office probably because audiences got a kick out of seeing funny guy Ben Stiller go head to head with the Goodfella himself De Niro. But somehow the mishaps and miscommunications that made Parents so wacky seems to have been replaced with feel-good-about-your-family mush in Fockers. Jack for example is mostly up to his "let's catch Greg in the act" high jinks--until he sees the errors of his ways and gets in touch with his feelings. Huh? Granted the moments of inspired hilarity are still entertaining but the extra sentimentality doesn't really work as well given what the younger fans of Parents have come to expect.
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.