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.
On the surface Stay seems to be a straightforward psychological drama about a psychiatrist Sam Foster (Ewan McGregor) who is trying to keep a mysterious patient Henry (Ryan Gosling) from killing himself. But the deeper we get into it the decidedly weirder it gets. And not necessarily in a good way. Sam and Henry seemed to be inexplicably connected. While his girlfriend and former patient Lila (Naomi Watts) looks haplessly on Sam’s lightly held grip on the rational world begins to melt away. He can no longer figure out what is true and what is happening only in his head--all climaxing in a titular confrontation between life and death. Twilight Zone’s Rod Serling would have loved this one. Although he was surprisingly good as the romantic lead in The Notebook the usually somber Gosling is best known for playing quiet psychotics in such films as The United States of Leland and Murder By Numbers. In Stay he’s back to his old tricks as the suicidal Henry. Pale with mournful eyes and a perpetual cigarette in his mouth Henry is certainly a tortured soul looking for some relief. On the flip side Watts brightens the otherwise dismal surroundings as Lila but there’s also a tinge of sadness about her. The only weak link is McGregor. He can’t quite pull off playing the dedicated psychiatrist slowly losing his mind--but the Scottish actor sure has mastered the American accent (ditto for the Australian Watts). Director Marc Forster (Monsters Ball Finding Neverland) seems a bit out of his league with this jumbled-up hard-to-understand psychological fare. Granted the visuals are arresting. Forster strives to create a world which at first seems real but then little by little turns into a wildly shifting dreamscape in which scenes blend into one another seamlessly. The real problem here is the script by David Benioff (25th Hour). It tries to say “Look how clever!” by throwing you for loop after loop--except the loops don’t make much sense. You eventually stop saying “What the hell?” and start to get a pretty good idea how Stay is going to end up. And when the final twist is handed down it’s surprisingly not all that disappointing.
The animated Sinbad: Legend of the Seven Seas has all the great adventure of the story wrapped up in a sappy little package for the kiddies. Taken from the ancient tales of the Arabian Nights Sinbad is a rogue who cares only about what is in his and his crew's best interest--and little else. As the film begins he unsuccessfully tries to steal the Book of Peace--which keeps order in the world--from his childhood best friend Proteus the Prince of Syracuse who is sailing to the city to return the sacred book. Although the two are estranged it's clear they still have a kinship. When the Book of Peace is actually stolen by Eris the goddess of chaos she frames Sinbad for the theft. Proteus stands up for his friend and makes the council give Sinbad one chance to find and return the precious book or Proteus will die on his behalf. Disbelieving the threat the pirate decides to blow the whole thing off but Proteus' beautiful betrothed Marina who has stowed away on Sinbad's ship has other plans. Marina has Sinbad's crew on her side and it could turn mutinous if the guy doesn't fulfill the mission. OK so he'll go get the book. Eris doesn't make it easy for our reluctant hero--dispatching both monstrous creatures and the elements to do battle along the way. But ultimately the brave Sinbad learns a few life lessons falls in love and wins out by following his heart. Aww!
See what a little success in the animated world can get you? These days an animated film can demand the attention of any A-list actor to provide the voices not just your occasional Robin Williams. We have Finding Nemo with the voices of Albert Brooks and Ellen DeGeneres and now Sinbad which attracted huge names such as Brad Pitt (Sinbad) Catherine Zeta-Jones (Marina) Michelle Pfeiffer (Eris) and Joseph Fiennes (Proteus). It could also be the fact DreamWorks' animation king Jeffrey Katzenberg has the clout to rope them all in. Pitt as Sinbad is roguishly clever infusing the pirate with the requisite amount mischievousness and rebellion while Zeta-Jones provides the adventurous Marina with the right amount of bravado and vulnerability. Fiennes as the stiff but honorable Proteus is fine but you can tell right away who has the most fun with her character; Pfeiffer's Eris is a pure delight in sound as well as sight. She is able to take her Catwoman persona from Batman Returns and elevate it to a well celestial level. In the supporting roles Dennis Haysbert does a nice job as Sinbad's right-hand man Kale as does Adriano Giannini the son of legendary actor Giancarlo Giannini as the ship's lookout Rat. Kudos all around for a job well done.
As a self-proclaimed fan of those cheesy 1970s Sinbad movies including The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger--where the stop-motion special effects of wizard Ray Harryhausen made it all worthwhile--the idea of an animated version of Sinbad seems perfectly fitted for the genre. Now the mythical creatures could be fully realized in vivid Technicolor where the DreamWorks' animators spare no expense in providing their own visions of things such as sirens sea monsters and giant birds of prey. The artwork for Eris is a particular stroke of genius with the flowing black hair and beautifully evil features; the film definitely comes alive when she is onscreen. As well the action sequences are as exciting as any car chase or gun battle you'll see in a live-action film. The drawback for the adults is the film's slightly schmaltzy story about friendship and of course true love. It's not entirely clear why computer-animated films such as Shrek and Finding Nemo are now becoming the only animated films that appeal to everyone adults and kids alike. It used to be traditional hand-drawn classics such as The Little Mermaid and The Lion King did the trick but now it seems animated films need only provide spectacular visuals--without a great story and snappy dialogue to back them up.