At first glance The Family Stone appears to be yet another silly romp about family dynamics. But the Stones a vivacious loving liberal-minded New England family are more than just cardboard cut-outs; they’re as real as any dysfunctional family can be. The film begins with the Stones getting ready for their annual holiday gathering. Matriarch Sybil (Diane Keaton) is especially anxious to meet her eldest son’s (Dermot Mulroney) girlfriend Meredith (Sarah Jessica Parker). The family has been warned Meredith is a controlling neurotic New Yorker with very little redeemable qualities. And when Meredith arrives she certainly does nothing to dispel the notion meeting her potential eccentric in-laws with a mix of awkwardness confusion and hostility. Yet oddly enough the disruption brings about some needed changes within the family Stone allowing them to come together and realize their extraordinary capacity for love. Everyone in this stellar ensemble rises to the occasion and truly paints a very vivid picture of a family devoted to one another--but who are less than approachable to outsiders. As mom Keaton turns in yet another genuine look at a complicated woman dealing with some insurmountable obstacles while Craig T. Nelson as her loyal husband does a nice job conveying a warmth to their marriage. Playing their grownup children is Mulroney as the straight-laced “suit” Everett who isn’t all that priggish; Luke Wilson as the laid-back Ben who seems to have strayed the most from his family; and Rachel McAdams as the passionate if rather acerbic little sister. But the real revelation is Parker as the uptight highly unlikable Meredith. It’s quite a departure from her fun-lovin’ Sex
and the City days and the Parker--who truly is one of the better comedic actresses we have today--easily handles the unpleasant chores of playing someone suffering with chronic foot-in-mouth syndrome. Like many newbie filmmakers writer/director Thomas Bezucha--whose only other credit is the little seen indie Big Eden--has the advantage of having that certain fresh quality to his work. Stone’s dialogue is snappy poignant and spot-on as the Stones interact with each other in all too familiar ways. The whole Meredith scenario will perhaps have many of us remembering similar situations--from both sides of the fence. It’s just as painful to have to meet the family of someone you love for the first time as it is dealing with a family member’s poor choices in mates. And what makes
The Family Stone stand out even more is how Bezucha truly defines the term “dramedy.” From the trailer the film seemed to be a balls-out slap-sticky comedy which in many ways it is but you may be surprised to see how The Family Stone’s more serious tones will touch you.
Ape descendant Arthur Dent (Martin Freeman) gets yanked from the Earth by best friend and alien Ford Prefect (Mos Def) seconds before a Vogon constructor fleet destroys it to make way for a hyperspace expressway. Next thing he knows Arthur is aboard the Vogon ship reading the Hitchhiker's Guide to the Galaxy (voiced by Stephen Fry) and wondering where he might get some tea. But he and Ford are not in the clear: the Vogons (some of whom look like the nightmarish drawings of Ralph Steadman come to life in S&M leather) want to throw them into the vacuum of space right after they read some of the third worst poetry in the known universe. Luckily the spaceship Heart of Gold picks up the stranded hitchhikers in the nick of time. Stolen by the dim but groovy President of the Galaxy Zaphod Beeblebrox (Sam Rockwell) the ship has an Improbability Drive that causes certain mischief turning the stowaways into loveseats and later two missiles into a bowl of petunias and a sperm whale. Also onboard is doe-eyed Earth girl Tricia "Trillian" McMillan (Zooey Deschanel) who previously ditched Arthur at a costume party on Earth to satisfy her wanderlust with Zaphod. The crew then embarks on a quest to find the Ultimate Question to Life the Universe and Everything after supercomputer Deep Thought (voiced by Helen Mirren) found the answer: 42. On the run and without a home Arthur discovers that life's true meaning comes from the answers found within.
The slapstick antics and sharp dialogue evoke enough laughs to make one forget that the characters are rather one-note. Rockwell's Zaphod is a riot at first but the cheeky smile and devilish winks soon wear thin. Deschanel has little to work with playing Trillian though it's fun watching her wield a point-of-view gun on Zaphod. Mos Def mumbles some lines but does manage to act like someone from another planet. Freeman does an amiable job playing the fish-out-of-water Earthman but neglects to express the grief and bewilderment of someone who just lost his planet. Even John Malkovich as Humma Kavular--the spiritual leader of a cult awaiting the arrival of the Big Handkerchief--fails to make much of an impression in his brief appearance. Only Alan Rickman as the perpetually glum robot Marvin and Bill Nighy as the stammering planet designer Slartibartfast remain funny without becoming routine--though unfortunately Nighy only appears in the third act. A half-cocked romance between Arthur and Trillian is thrown in for good measure with the couple merely going through the motions.
Directed with considerable flair by first-timer Garth Jennings whose frantic visual style blends well with Adams' ironic wit the film looks as good as can be. CGI is used to display Adams' universe in ways never seen before: The massive concrete slabs of the Vogon fleet surrounding Earth the Heart of Gold tricked out in 1960's Formica kitsch the stark bureaucratic world of Vogosphere and the eye-popping factory floor on Magrathea are all vividly brought to life. Although the graphics of the Guide look more like Internet pop-up ads than stellar entries from the best-selling book in the galaxy the exposition from the Guide is clever and amusing though one should brush up on the material prior to viewing. Even with all the stunning visuals however the plot is still thin. Jennings and screenwriter Karey Kirkpatrick (Chicken Run) have trimmed the story--and witty banter--to its barest essentials leaving out some of the funnier bits to quicken the pace. Memorable exchanges--like the opening battle of wits between Arthur and Mr. Prosser--are reduced to a few meaningless lines while the always hinted-at love affair between Arthur and Trillian gets the full Hollywood treatment. In the past Adams who died of a heart attack in 2001 has allowed the Guide to change and progress with each incarnation so new additions--like the point-of-view gun and the cult of the Big Handkerchief--are welcomed. But the patchwork of wacky vignettes and neutered banter particularly between Arthur and Ford leave one yearning for something more meaningful.
February 13, 2002 10:10am EST
This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?