WHAT IT’S ABOUT?
Based on Noel Coward’s 1928 play and set in that period Easy Virtue is about John Whittaker a young Englishman who falls madly in love with a flamboyant American woman named Larita whom he immediately marries and brings home to meet his stuffy all-airs English family. What ensues is a battle of wits that turns to war between the visiting yank and her new mother-in-law who is determined to prove to her son that he has made an egregious mistake.
WHO’S IN IT?
Jessica Biel takes a flying thespic leap and holds her own in the middle of a sterling cast of fine British talent as Larita the feisty young wife of a naïve young man who has fallen head-over-heels in love with her and expects his stuffy upper-crust family to fall in line. Biel is a delight as this thoroughly modern miss and shows she can adapt to the witty rhythms of Noel Coward’s rapid-fire repartee with the best of ‘em. And the best of ‘em includes the wonderfully talented and woefully underrated Kristin Scott Thomas (The English Patient) as the doubting Mrs. Whittaker who doesn’t quite welcome the American intruder with open arms. Thomas’ performance is reminiscent of the haughty English societal roles she began her career with but she adds a dollop of vinegar to this one and appropriately glams down for full effect. Ben Barnes (The Chronicles of Narnia: Prince Caspian) is at once smitten and perplexed as the impressionable new groom while the ever-reliable and appealing Colin Firth steals it all as his cynical and dour father the only other family member who sees the spark in Larita.
Shot entirely in some stunning stately mansions in the environs around Berkshire and Cambridgeshire Easy Virtue expertly captures the flavor of a sophisticated late-'20s British romp. The fresh and inspired casting of Biel in her first English foray should also find contemporary audiences responding. Although he occasionally opens things up a bit (including a very funny fox hunt) director Stephen Elliott wisely lets his cast take center stage with Coward’s constant zingers and spicy dialogue.
There’s nothing really new here that will make you go “Wow.” Though it’s all “been there seen that ” Easy Virtue is still done with verve and style. It’s a hoot for those who miss this kind of theatrical experience on the big screen.
When the others have retired to the patio Biel’s character accidentally sits on Mrs. Whittaker’s prized little pooch sadly squashing the poor little bugger to death. Her subsequent Lucy-esque attempts to cover up the crime are slapstick silly fun giving Biel the opportunity to display the kind of comic chops she didn’t get to show opposite Adam Sandler and Kevin James in I Now Pronounce You Chuck and Larry.
NETFLIX OR MULTIPLEX?
Netflix. The widescreen cinematography is nice to look at but this little trifle will play just fine at your own estate.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.