Based on yet another novel by The Notebook’s Nicholas Sparks (the new king of romance) Rodanthe’s story is a simple but touching one. Adrienne Willis (Lane) escapes to Rodanthe in the Outer Banks of North Carolina to take care of a friend's inn for the weekend and fret over the fact her wayward husband wants to come back. Almost as soon as she gets to this small coastal town a major storm is forecast--and the only guest for that weekend Dr. Paul Flanner (Gere) arrives. He’s there with his own issues to work out. Quite a fun pair these two make but they end up helping each other work through their problems. And as the storm closes in they finally succumb to their attractions. Soon it becomes a magical weekend for them both and sets in motion a life-changing romance. Lane and Gere have had quite a progression in their onscreen pairings. They first played reckless young lovers in Cotton Club at the beginning of their careers teaming up again much later as a long-married couple in Unfaithful which saw Lane stray from her leading man. Now with Rodanthe it seems a fitting denouement to their evolution as Hollywood’s favorite onscreen couple; they fall in love all over again but this time with a world of experience. The two actors truly have a certain something together which makes a fairly sappy story more poignant. Also good is Mae Whitman (HBO’s In Treatment) as Adrienne’s surly teenage daughter who at first hates her mom for not getting back with her dad but then comes to understand Adrienne in new and more profound ways. She and Lane have some nice moments together. Director George C. Wolf (Lackawanna Blues) understands his material and handles it with delicate strokes. Of course shooting in the Outer Banks can’t be a bad way to go with it’s gorgeous beach vistas. And the house they found to represent the inn is one of a kind which oddly enough is located in the real town of Rodanthe. Imagine that. Maybe one drawback to Rodanthe is its limited appeal. The Notebook had the younger audiences enthralled with the flashback romance between the fetching Rachel McAdams and Ryan Gosling while the older audiences identified with the James Garner and Gena Rowlands characters. Rodanthe is strictly for the older set but I find this refreshing in the fact it IS a modern-day romance between two mature people. Just don’t know how much of a reach it will have.
Bo (Seann William Scott) and Luke (Johnny Knoxville) Duke are cousins--two hell-raisers who drive fast sell moonshine and bed sexy farm girls all across Georgia's Hazzard County. They've got another cousin Daisy Duke (Jessica Simpson) a drop-dead hottie who waits tables at the local watering hole. If someone gets a little too friendly with the gal she's knocks 'em on their ass--and if her cousins get into trouble she shakes hers to get them out of it. Then there's Uncle Jesse Duke (Willie Nelson) who makes the moonshine on his farm tells bad jokes and sings country-western songs. I can't quit thinking about how the Duke family dynamics work. They're all tight-knit cousins right? But Uncle Jesse isn't the father to any of them. So like where's the rest of the Dukes? There's gotta be other siblings parents maybe. It perplexes me. But I digress. Suffice to say the Dukes are always outrunning--and out-jumping--the local law enforcement in their souped-up Dodge Charger the General Lee. The boys are also constantly doing battle with the crooked county commissioner Boss Hogg (Burt Reynolds) who cooks up one nefarious plan after another to make Hazzard County his own personal cash cow only to be thwarted by those darn Dukes. Dagnabbit.
Although some diehard fans of the TV show may disagree the casting for this feature film redo is pretty spot on. Knoxville and Scott do just fine as the rip-roarin' Duke cousins bantering about one upping each other--you know boys stuff. Nelson's still got the whole pigtail thing going for him but he looks like he's having a good time. Reynolds does too but he's definitely a lot slicker--and a lot better looking--than the show's original Boss Hogg Sorrell Booke. As the bumbling police veteran character actor M.C. Gainey who always plays bad guys at least gets to show off some comedy chops as Sheriff Roscoe P. Coltrane. Michael Weston (Garden State) as the wimpy Deputy Enos Strate is sufficiently reduced to a puddle whenever Daisy is around. And then there's Simpson. My my my. It's obvious the camera (and whose ever behind it) loves every inch of her and she tends to light up the screen whenever she's on it. Of course playing Daisy in her acting debut isn't much of a stretch but Simpson still shows a comic flair. The singer-turned-actress could actually become a fairly serviceable comedic actress if she plays her cards right.
This is what director Jay Chandrasekhar (Super Troopers) had to say about making The Dukes of Hazzard: "I had a poster of Daisy Duke [played in the original show by Catherine Bach] on my wall when I was nine that was very inspiring and when you combine the prospect of a new Daisy Duke with the opportunity to send the General Lee flying through the air again it was impossible for me to say no." Well Jay actually you could have said no and maybe the whole Hazzard as a feature idea would have gone away. It's perfectly suitable to have a television show be about nothing but cars flying through the air hot women in skimpy clothes and idiotic behavior. We'll always accept brain-friendly crap on TV. But to be subjected to an entire feature-length film of mindless stupidity is just too much at least in Hazzard's case. Sure watching the General Lee perform seemingly impossible stunts is fun. Apparently 28 Dodge Chargers had to be converted into the multiple General Lees needed for the film and the parts had to be hunted down on the Internet in junkyards or by word of mouth. Still after about the 100th time the car jumps over something you've had quite enough.
Helen McCarter (Kimberly Elise) thought she had the perfect life with lawyer husband Charles (Steve Harris): a big house lots of creature comforts and a stable--albeit staid--marriage. But Helen's world shatters when Charles tells her on the eve of their 18th wedding anniversary that he wants a divorce and literally kicks her out of their spacious mansion to make room for another woman. Devastated she runs to her beloved pot-smokin' gun-totin' grandmother Madea (Tyler Perry) who lets Helen know she's a proud beautiful black woman who nonetheless should whoop the bastard's ass. As hurt as she is Helen really just wants to pick up the pieces and move on if she can. She finds guidance and empowerment from her family and friends including new friend Orlando (Shemar Moore) a drop-dead gorgeous construction worker whose sweet and sincere ways more than help Helen get through her pain. And he cooks too. Really there's no contest.
The main cast members aptly portray their roles formulaic as they are. Kimberly Elise (The Manchurian Candidate) as the grievously wronged wife has the toughest job trying to convey all the crazy mixed-up feelings Helen has for the ex-husband while trying to jumpstart her life. Steve Harris (TV's The Practice) as the callous husband and Shemar Moore (TV's The Young and the Restless) as the too-good-to-be-true suitor represent the two opposites sides of the coin. Even Cicely Tyson makes an appearance as Helen's invalid mother who seems just a little too healthy to be in a nursing home. But it's Tyler Perry who turns out to be the true mad black woman. The film comes alive when he's onscreen either playing the outrageous Madea--complete with wig makeup and padding--or Madea's brother Joe a lecherous old coot. Perry even gets to play it straight as Helen's kindly cousin Brian who has a junkie for a wife (played by Tamara Taylor with the usual vacant twitchy neediness). It would have been a long hour and a half without him.
Perry obviously writes from the heart having struggled through his younger years to become a well-known playwright. And with music video director Darren R. Grant at the helm Diary of a Mad Black Woman has all the best intentions. It's certainly a buoyant portrait of African-American life and culture that also speaks to anyone who has had to grapple with betrayal and hurt at the hands of those they love. But the stage-trained Perry somehow misses the subtleties of writing for film. Diary doesn't know what kind of genre it wants to be jumping from raucous comedy á la Big Momma's House to mind-numbing drama á la Waiting to Exhale. The characters don't have any complexities and are drawn very black or white. It also takes an awfully long time for our heroine to figure out what direction she's going to take when we could tell her in the first 30 minutes as to whom she should end up with. In the meantime we must endure several melodramatic set pieces filled with elaborate speeches about revenge love relationships redemption religion and all that which are meant to hit us hard with their poignancy. Perry might consider keeping the highfalutin writing for the stage and think about an acting career in film.