"Sorry if my snoring bothered you."
Those are not the first words I'd expect out of the mouth of someone who got up on a Friday morning to catch the 10:30 AM screening of a new movie but that is more or less what the fellow who'd been sitting behind me said as I passed him on my way out. I'd heard him snoring over the constant rat-a-tat-tat of bullets and butt-kicking being doled out by Milla Jovovich et al in this latest iteration of the never-ending Resident Evil series (this time in IMAX 3D) but I figured maybe I was hearing things. Nope he was asleep.
I used to play Resident Evil on my ancient PlayStation when it first came out. It scared the crap out of me. I enjoyed the first two movies — hey they included the skinless zombie dogs! — but I lost interest soon after that. How many times can you make the zombie apocalypse exciting? How many different skintight outfits can Jovovich wear while killing grotesque creatures who shoot evil grasping tentacles out of their mouths? Why should we care about all the blood and guts when we know the people we're supposed to be emotionally invested in will never die? We don't.
Try as he might there are only so many ways for writer/director Paul W.S. Anderson to give the Resident Evil series fresh new layers for each new movie. The Umbrella Corporation is the big bad. They were playing with biological weapons and somehow there was an accident that let one of the viruses loose... and boom you've got a zombie apocalypse on your hands. Our heroine is Alice played by Milla Jovovich and there is a rotating cast of characters who help her fight the good fight against the hordes of brain-eaters and whatever is left of the Umbrella Corporation that's now after her. There are some parallels to the video game series but Paul W.S. Anderson (a gamer himself) has taken lots of liberties with the basic plot over the years. While Anderson's flashy style is especially suited to these types of movies there's not enough plot to make it work.
We don't go to video game movies for plot of course but there has to be something to hold onto; otherwise why would we care if our protagonist were in danger? Anderson tries some neat tricks to snap us back to attention like bringing back characters that were killed in previous movies and throwing in a cloning subplot that calls into question some of the characters' true identities but it's still hard to get worked up about anything onscreen. However it ultimately sidesteps any deeper ideas that might take our attention away from all the guns. And there are so many guns and explosions and elegant butt-kickings doled out by Milla and her pals (or former pals in the case of Michelle Rodriguez's character Rain) that they blend together.
It is especially difficult to work up any interest in the story because it's a franchise and no matter how many times the stars or director might say they're not that interested in doing another everyone is just waiting to see how much money this will make before deciding to go forward. There is no question how franchise movies will end; there will be no derring-do on the part of the writer or director to actually kill off a beloved character permanently. At one point it seemed like Anderson was going to pull the old "And then she woke up!" trick which would have been bold both because it's such a hackneyed idea that it would make writing professors' heads explode all over the world but also because it would have required Anderson to play in a different universe and expand his repertoire a bit. Alas like Alice and Anderson himself we just can't seem to escape this rabbit hole.
Jiminy Glick is a local TV news personality in Butte Montana. You know the type--an entertainment reporter who mostly interviews homegrown talent but occasionally jets to Hollywood to hobnob with the big wigs. Glick doesn't quite make it that far. His assignment is the Toronto Film Festival and he makes the trip with his wife Dixie (played with ferocious white trash bravery by an unrecognizable Jan Hooks) and his oddly silent twin boys Matthew and Modine (named after their father's favorite actor). Although Glick is a no-name a fact he's completely oblivious to his fortunes change when after falling asleep during a screening he unwittingly gives the atrocious movie a glowing review. Through a chain of events he becomes the hottest thing as stars line up to grant him interviews. Through an even more bizarre chain of events Glick gets caught up in a murder mystery as well after waking up in bed with an interview subject who has been stabbed. Before he knows it he is embroiled with the starlet Miranda Coolidge (Elizabeth Perkins) her daughter Natalie (Linda Cardellini) and her boorish Eurotrash husband Andre (John Michael Higgins).
Glick despite being a glutton is an acquired taste. He almost defies description--one part clueless star struck Hollywood wanna-be one part jaded interviewer. Short introduced Glick on his short-lived daily talk show before he was spun off in into his own series on Comedy Central. But the movie deftly shifts Glick's origins to the Midwest to make him more of a fish out of water. Stuck in the insular dated Hollywood of Rona Barrett and Tom Snyder Glick will often interrupt his guests if not correcting them on the details of their own lives if they don't gibe with his notes. Case in point he confidently asserts that Steve Martin is Jewish as a lead-in to a line of questions. And thankfully Short has called upon his friends in the improv and sketch comedy world to fill out Jiminy Glick's cast of characters who serve him well. John Michael Higgins most notable for his contributions to Christopher Guests' improv epics Best in Show and A Mighty Wind is a standout. Perkins and Cardellini (Velma of Scooby-Doo fame) are an appropriately brittle Hollywood mother and daughter. And not enough can be said of Hooks' turn as the repulsive Dixie a spot-on embodiment of confused Midwest entitlement. Rounding out the cast is DeRay Davis as Mario "Fa Real" Green a rapper turned movie actor and Corey Pearson as a stuck-up rising star who grants Jiminy that first interview.
Short and his writers must have feared that Glick would run out of things to do if he wasn't embroiled in a good old-fashioned murder mystery. It's the kind of noir that seems to lend itself to Hollywood perhaps loosely inspired by the likes of Sunset Boulevard but here the creaky storyline only grinds things to a halt. Maybe it just doesn't feel right since the story takes place in Canada and besides Glick is no sleuth. The plot seems like all boring business and you can't wait to get back to Glick doing what he does best. As far at the direction goes it can either be part of the fun with quick cuts hilarious non-sequitors and great timing--or it can get out of the way to let the comedian work his magic. For the most part the director Vadim Jean uses the latter technique. He keeps it all low-key and lets Short do his thing. That said--and maybe it's the drab overcast Toronto setting--the movie looks made for television.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.