December 11, 2003 1:48pm EST
Remember that movie about a high school geek who gets the most popular girl in school to be his girlfriend to boost his own image only to discover that fitting in isn't worth sacrificing his individuality? Or was that a Saved by the Bell episode? Love Don't Cost a Thing is the latest teen comedy to follow that formula to a fault: Alvin Johnson (Nick Cannon) is an outcast teen with no style and he's ready to do anything to shed his nerdy image. Even his father (Steve Harvey) an old-school ladies' man wishes the boy would get out and socialize more. So when the popular Paris Morgan (Christina Millian) wrecks her mother's Cadillac Escalade Alvin an amateur mechanic offers to fix the vehicle and pay for the parts if she will pretend to be his girlfriend for two weeks. A haircut and several Sean John warm-up suits later Alvin becomes "Al " an ultra-smooth guy who's "got all the 411s." Of course Paris starts to fall for Al who's too busy keeping up his "big pimpin'" facade to notice. But after alienating everyone close to him including his childhood friends stylin' Al learns a valuable lesson about being himself.
Cannon's performance in Love Don't Cost a Thing falls short of the impressive one he delivered in the musical drama Drumline--his first lead role in a feature film. Here it's impossible to sympathize with the 23-year-old Cannon's clownish character even when he is needlessly bullied by jocks. With his crazy uneven Afro and spastic walk even Molly Ringwald's goody-good character Samantha in Sixteen Candles might be tempted to point and laugh. But while the movie's hero doesn't score many points other characters do notably Al's gal pal Paris played by songwriter/actress Millian who has written songs for Ja Rule and appeared as a guest on several TV shows including Charmed and The Steve Harvey Show. She delivers a very sincere performance as the "frappuccino with hips " and although audiences should despise her character for prostituting her popularity and lying to just about everybody Millian manages to morph Paris into a likeable personality--and we can't help but go along for the ride. But mustachioed comic Harvey steals the show as Al's loveable father Clarence a man who still boogies to his 8-track collection and gives his son very valuable life advice including how to open a condom wrapper using only one hand.
Writer/director Troy Beyer's Love Don't Cost a Thing is so visually horrendous that it should have been called This Film Didn't Cost a Thing. Beyer who directed the dire 1998 comedy Let's Talk About Sex and penned the even worse 1997 B.A.P.S. doesn't much improve her track record in 2003. Her guidance here including sound light and action is so amateurish that the film seems unfinished. An outdoor party scene for example is so dark it's difficult to make out the characters on screen and in another scene inside the school the sound is so muffled the character's lines are barely audible. Beyer's screenplay adapted from the mind-numbingly bad 1987 comedy Can't Buy Me Love doesn't help matters either; most of the characters remain as shallow and label-obsessed as they were 15 years ago. And while there have been countless Hollywood films revolving around the same theme many have done so successfully including the aforementioned oldie Sixteen Candles and more recently The New Guy.
Let's just get through Gigli's plot so we can move on to the fun stuff. A lowly hit man Larry Gigli (Ben Affleck) is hired to kidnap the mentally handicapped little brother (Justin Bartha) of a federal prosecutor for Mob purposes. A second hitperson the comely independent-minded Ricki (Jennifer Lopez) is also put on the case because Gigli can't be trusted to do the job correctly. Holed up in Gigli's apartment the duo clashes at first but gradually form a bond even though Gigli is a chauvinistic jughead and Ricki a tough-nut lesbian. Of course they also form an attachment to their quarry Brian who in his untainted innocence manages to change these two hardened individuals. Now that's over with here's just a sampling of some of the deep and meaningful dialogue that passes between these two lovebirds: Says Gigli: "I am the bull and you are the cow…f**k with the bull you get the horn." Gigli to Ricki: "I'm the Sultan of Slick…the original gangster's gangster." Ricki to Gigli: "You know this might be a good time to suggest you not allow the seeds of cruel hope to sprout in your soul." Then later more from Ricki: "The penis is a sea slug or more like a really long toe. But kissing the mouth…The mouth--the lips the warm moist hole--is a twin sister to the…" Well you get the picture. Even Brian gets in a good one when he chirps spastically "It's not my fault I'm brain damaged!" Can it get any better than this?
Ben Jen what were you thinking? On second thought don't answer that--we'd probably rather not know. This is one time when watching two huge celebrities like Jennifer Lopez and Ben Affleck fall in love is more cringe-worthy than romantic in any way. Imagine if you will Lopez as Ricki who having succumbed to Gigli's er charm sprawls herself seductively on the bed in a little kimono robe and tells him "It's turkey time. Gobble gobble"--with a straight face. Or how about this one: "You know I'm not into the whole man thing…but somehow you got through." (Insert audible collective audience groan here). Affleck who stands around looking like he's been hit in the face with a frying pan most of the time--of course without ever mussing his hair--comes off looking even worse if that's possible. His accent fluctuates between that of a Brooklyn thug and Southern California surfer dude. As far as how some of the high-profile cameos in the film got there--including Christopher Walken as a quirky cop and Al Pacino as a mobster who gets to vent in his usual boisterous way--obviously some favors must have been called in. Pacino did win his only Oscar for his performance in Scent of a Woman helmed by Gigli's director Martin Brest. Maybe they all deserve more credit for enduring such utterly banal garbage.
Writer/director Brest has had a spotty career at best. Of a handful of movies he's had a hit here and there (Beverly Hills Cop) and a few failures (Meet Joe Black). But with Gigli the filmmaker reaches the bottom rung. He took big names thrown them in a big-budget crime drama that really wants to be a small talky indie and the end result is more like a really bad play in which all the characters give their own over-the-top soliloquies waxing prophetic about every subject under the sun--differences between males and females being gay vs. straight anger management retardation slopping pie on one's head (believe it). Granted on some level Brest is trying to think out of the box within a formulaic setting and in all honesty Gigli's premise isn't all that dreadful--just hacky. There may have been a somewhat decent movie hidden somewhere in Gigli--enough of movie at least to attract Lopez and Affleck (whose romance began on the shoot). Instead it's a discombobulated jumbled mess of incoherent musings and horrible dialogue that moviegoers just shouldn't be subjected to. We wonder if at this very moment J. Lo isn't saying to her future hubby "Let's not do this again"--but wait they are in Kevin Smith's Jersey Girls. We don't want to know what he's saying.
With four days left before his execution notoriously reticent death row inmate David Gale (Kevin Spacey) decides at last to share his story with the press. He chooses as his vessel reporter Bitsey Bloom (Kate Winslet) who's just spent a week in the slammer for refusing to reveal her sources on a kiddie porn cover story. As Gale's story unfolds (and we see it in flashback) Bitsey becomes convinced he's innocent and she and her intern Zack (Gabriel Mann) begin a race against the clock to discover the truth that will save him. Sound like an overblown blurb from a movie studio's press files? Apologies for that but the best way to talk about this story's climactic points is to resort to hyperbolic clichés of this ilk--the movie's key moments are without exception melodramatic and overblown. Nonetheless most of the movie is suspenseful the story has several interesting (I wouldn't go so far as compelling) twists and there are plenty of reasons to root for Gale's cause especially if like him and admittedly like me you're a political liberal who fancies yourself at least somewhat intellectual.
If there's one thing that defines Kevin Spacey's acting style it's his unparalleled ability to discourse at length on philosophical minutiae a gift that undoubtedly contributed to his getting this role in the first place. But Spacey gets to stretch a bit more playing Gale--the professorial character in his pre-death row life was a loose cannon even by academia's standards: he partied with his students talked about fantasy and desire in class and belonged to Death Watch a liberal advocacy group opposed to the death penalty. Beyond that his personal life was a disaster. His wife was having an affair with a Spaniard Gale was a borderline alcoholic and his ego was the size of a generously proportioned watermelon. So there are plenty of challenges for Spacey in the part--both in the flashbacks and the death row sequences--and he obviously embraces them all; unfortunately sometimes he squeezes the life out of them in the process foregoing for example the tragic nuances of real alcoholism for the stumbling sobriquets of an overblown town-drunk philosopher. The equally gifted Laura Linney as Constance--Gale's stalwart friend fellow professor co-director of Death Watch and alleged murder victim--finds herself in less familiar territory. Her character is complex yet remarkably one-dimensional for most of the movie which leaves the talented actress turning--albeit reluctantly--to melodrama for support. Winslet too is on unfamiliar ground with an American accent (quite well done old chap-ette) a mission and a bitchiness that's too little seen from this pristine young girl.
It's truly unfortunate that director Alan Parker didn't keep a tighter handle on The Life of David Gale's more dramatic moments since had they come off better this would have been a more even and generally more watchable film. As it is each of the talented lead actors has a scene in which they really let loose on the hysterical wailing waterworks--Winslet lucky gal has two. They may not be bad enough to make you cringe necessarily but they're obviously overplayed. The film would have benefited from a wail-o-meter that would have allowed the bawling to go so far and only so far. All that aside though this film is ultimately less melodramatic than its equivalent TV movie version would have (and probably has) been--and that leads me to my final point. The Life of David Gale is about what TV pundits would call a hot-button issue and while the public is intelligent enough not to be emotionally swayed by the hue and cry of activists on either side of the argument we can--and by God we will--be entertained by it. So I just want to say thank you Hollywood for once again one-upping the 6 o'clock news and for showing that even discussions of the most important issues of our time can be squeezed into a two-hour movie and manipulated in the interests of suspense and drama.
The key ingredient to any Bond flick is the quasi-plausible globe-trotting plots where on more than one occasion you are asked to suspend your disbelief. This is particularly true for Die Another Day where reality assuredly takes a back seat--almost too much. The action starts in the demilitarized zone between North and South Korea. Bond (Pierce Brosnan) is on an undercover mission to stop a war-loving North Korean colonel--but is found out. Cut to a high-speed hovercraft chase (is there anything James can't drive?) where Bond seemingly dispatches the colonel but ends up being captured and tortured. Agent 007 gets out and soon finds himself on a quest to find the person who set him up. All points--including some rare diamonds and a tie to genetic engineering (Note: This is one of the many moments where you say "Oh come on!")--lead to millionaire Gustav Graves (Toby Stephens) and his ruthless right-hand man Zao (Rick Yune). They eventually show him firsthand an ultimate high-tech global-warming device capable of starting WWIII if used properly. But let's not forget about the Bond girls. James hooks up with Jinx (Halle Berry) a beautiful but deadly American agent and Miranda Frost (Rosamund Pike) Graves' personal assistant who is much more than just someone's flunky. It all culminates to an explosive showdown.
The dashing and good-looking Brosnan embodies the true spirit of the suave British super agent--except this time around he is finally showing a little wear and tear. Don't get me wrong Brosnan still looks great doing the stunts and wooing the women but he's getting a little long in the tooth for all this spy stuff--and it slightly detracts from the movie. Interestingly Die Another Day is one of the first times you get to see Bond tortured and beaten. It is perhaps one of the more real moments Brosnan has ever had as Bond and the 49-year-old actor handles the chores well. But it may be time for him to hang it up and move on (and the actor admits this). Berry plays the buff Jinx with relish. This Oscar-winning beauty takes your breath away from the first time you see her coming out of the water Ursula Andress-style but she manages to kick some major butt throughout the rest of the movie and loves every minute of it. Pike as Miranda Frost is another rough and tumble beauty who can spar with the best of them. It's nice to see the Bond girls getting tougher and tougher. The villains are adequately over-the-top. Stephens (who is British thesp Maggie Smith's real-life son) as Gustav Graves has a truly menacing snarl which he uses to full advantage while Yune (The Fast and the Furious) as sidekick Zao makes Goldfinger's Oddjob look like a pussycat. Judi Dench as M and John Cleese as Q always add a nice element.
Along with grandiose plots the other key factor to a good Bond movie are the action sequences. They must be fast-paced highly implausible but nevertheless spectacular. Die Another Day doesn't disappoint. Even the opening credits have a unique feel. As Bond is being tortured women dance seductively around him while Madonna belts out the theme song--it's well done. New Zealand director Lee Tamahori (Along Came a Spider) starts the film off with a pretty exciting surfing sequence (is there anything Bond can't do?) and continues the trend with the hovercraft chase scene.The best part of the movie however takes place in Graves's lair an ice palace in Iceland where Bond has to do some fancy driving on ice to escape the bad guys and rescue the damsel in distress. The entire chain of events looks amazing (save a scene with Bond parachute-surfing around--icebergs? Come on!) Day also pays homage to several early Bond films including Dr. No Goldfinger and Diamonds Are Forever. It's the lag time between the action where the film falters. There is far too much pontificating in this Bond film. Better to just keep to the business at hand. Only the last action sequence seems too far off-base from reality even for a Bond movie. I say that intellectually but it still keeps you on the edge of your seat watching. You can't help it.
Based on the life of New York City police detective Vincent LaMarca City by the Sea vacillates between a true-crime mystery and a family drama. As Vincent (De Niro) investigates the murder of a Long Beach N.Y. drug dealer it becomes painfully clear that his estranged son junkie Joey (James Franco) known on the street as Joey Nova is the prime suspect. Vincent is of course taken off the case but when his partner is killed while pursuing Joey the search becomes the Long Beach police department's top priority--and saving his son from a police department eager for cop-killer blood becomes Vincent's. The fact that Vincent discovers that he has a grandson Angelo doesn't help the situation especially when Joey's supposedly clean ex-junkie girlfriend (Eliza Dushku) leaves the kid at Vincent's apartment when she goes to buy cigarettes and fails to return. Vincent who's always defined himself against his criminal father finds himself forced to decide whether he's a cop or a father and grandfather first a quandary that naturally leads to some pretty compelling if slightly melodramatic scenes for De Niro. Interestingly despite the somber subject matter and the dramatic tone the film still manages a few lighthearted moments which really save it from the pitfalls of its own seriousness.
Sometimes a great cast can make even a mediocre film good and that's what happens in City by the Sea. Even though the dialogue they're given to work with isn't always completely natural--in fact sometimes it's downright contrived--the cast still manages to create a compelling final product. You just can't go wrong with De Niro as a hardened streetwise emotionally distant cop and he makes everyone opposite him look great especially relative newcomer Franco (whose performance as a young James Dean in TNT's James Dean earned him some critical kudos of his own). The young actor swaggers onto the scene like a very young Bob Dylan a hollow-body vintage guitar slung across his back. Of course he's selling it for drugs not heading for a gig. Patti LuPone really sinks her teeth--and catty claws--into her role as LaMarca's bitter ex-wife creating some of the film's most dynamic scenes while Frances McDormand lends her subtly expressive style to the most emotional moments as De Niro's sometime girlfriend Michelle.
Director Michael Caton-Jones delves into the dark side of his imagination with images of a desolate Long Beach: graffiti-covered walls crumbling casinos and a rickety boardwalk--all the detritus of a once-thriving tourist destination. In this grim setting Joey wanders virtually empty streets and beaches where as a child he played happily; meanwhile in Manhattan Vincent is wandering his streets in much the same way. It's an interesting device Caton-Jones uses to show the similarities between the two men and it's as effective at establishing their relationship as the relatively few scenes they have together. At moments like this when the film is making its emotional impact visually it shines; unfortunately City by the Sea relies a little too often on its average dialogue and does a little too much telling and not enough showing.
January 11, 2002 11:45am EST
Amidst fears that the 20th James Bond installment would be his last, Pierce Brosnan has agreed to extend his contract to complete one more film as 007.
"I will do another one. I am very pleased to be sitting here today," he said at a press conference at Pinewood Studios on Friday. "Time has gone by quickly. It seems like only yesterday I was sitting here for GoldenEye."
But while the 48-year-old actor still wants to carry on for one more adventure, he fears he may be getting to old.
"It takes stamina to play this role. I would like to get off stage with grace."
The cast and crew of the 20th James Bond installment assembled at Pinewood Studios, the film's production company in Buckinghamshire, to begin preparations for latest film.
Brosnan is set to continue his record-breaking run as secret agent 007. Halle Berry and Rosamund Pike will take on the coveted roles of Bond girls.
The film, currently untitled, will also star Judi Dench as M, Samantha Bond as Miss Moneypenny and John Cleese in the role of Q, following the death of Desmond Llewelyn.
Toby Stephens joins the ranks of nefarious bad guys.
Bond's infamous Astin Martin will reportedly be revamped in the form of the new V12 Vanquish.
The story will begin in Korea with a spectacular high-speed hovercraft chase and continue by way of Hong Kong, Cuba and London. Bond will reportedly have to unmask a traitor in order to prevent a war of catastrophic consequences.
Pinewood Studios said production on the latest Bond epic would begin Monday.
"We're thrilled to start filming on what promises to be one of the greatest Bond films ever," producer Barbara Broccoli said in a statement. "We're extremely proud to be continuing the Bond tradition."
The film is slated for a November 22, 2002, release.