With a diverse range extending from bubblegum early rock 'n' roll hits like "Splish Splash" to American pop standards like "Mack the Knife" to Vegas show-stoppers like "Hello Young Lovers" to self-penned war-protesting folk tunes like "Simple Song of Freedom " Darin certainly has a compelling story arc chasing fame and fortune from a young age because of a serious heart condition that makes an early demise inevitable. Darin manages to defy the fatal odds against him and emerges as a top-selling singing sensation and even an Oscar-nominated actor while his hard-driving never-say-die odyssey through celebrity includes romance with the gorgeous young matinee idol Sandra Dee (Kate Bosworth) and surprising revelations about his past. Yet like the title of one of his hits "More " nothing ever seems to be enough for the singer who must learn how to truly live in the midst of his seemingly packed life until he finally succumbs to his heart disease at the age of 37.
We know what you're thinking: didn't Bobby Darin hit it big in his early 20s? How the heck in his mid-forties is even Mr. Two-Time-Oscar-Winner going to pull that off? Well Spacey does and he doesn't. Sure he's too old to be literally believed as the early Darin but the film's clever framing sequence and fourth-wall-breaking techniques tell the story as though Darin is looking back at his life and "plugging in" the more mature version of Spacey-as-Darin throughout--and it helps that Darin is not as recognizable an icon to today's audiences as say Elvis or Sinatra. With that nifty feat accomplished Spacey is more than up to the task of capturing the singer's "I want it all yesterday" temperament as well as his distinctive vocals. Darin purists may have preferred that the film used the singer's actual tracks but given that Spacey insisted on singing the songs himself his vocal mimicry is as convincing as can be imagined. Bosworth (Win a Date With Tad
Hamilton) is as poodle-skirt-cute as Sandra Dee should be and adds a nice touch of Hollywood actress insecurity as well. However the vast age difference between Bosworth and Spacey is a tad creepy and their chemistry as both lovers and fighters doesn't really combust on screen. Supporting players Caroline Aaron and Bob Hoskins come close to stealing scenes even from the likes of Spacey--and that's as high a compliment as can be bestowed.
Even if you are a fan of Spacey or not his cinematic execution while not entirely razzle-dazzle in the non-musical sequences is quite competent making the most of the era's settings--especially old Hollywood and the lush lounge environs Darin prowled. Nods also go to the film conventions of the time. His deft direction combined with his always-engrossing performance manages to overcome and liven up the screenplay's often considerably lame dialogue. And those musical sequences! Whenever the story starts to meander Spacey cleverly slides in a 50s-style song-and-dance number or swinging lounge lizard set to goose up the proceedings.
Hardened by years of brutal but loyal military service special ops officer Robert Scott (Val Kilmer) is assigned to find the president's apparently kidnapped daughter Laura Newton (Kristen Bell). Pairing up with his protégé Curtis (Derek Luke) Scott works diligently with a task force of presidential advisors the Secret Service the FBI and the CIA to find her and through their investigation they stumble upon a white slavery ring in the Middle East which may--or may not--have some connection to Laura's disappearance. The straightforward search-and-rescue mission is soon bogged down in political machinations and the girl's abduction starts to look even more suspicious than it did at first. In fact the mission comes to an abrupt halt altogether when the girl is supposedly found drowned from a boating accident. Scott returns to his quiet life until Curtis shows up and proves that Laura is still alive and most likely trapped in the white slavery ring. In a race against time Scott and Curtis embark on their own unofficial rescue mission--and put themselves at the center of a dangerous conspiracy that goes all the way to the top of the U.S. government.
Val Kilmer probably won't be joining Mamet's dedicated circle of players--which includes Joe Mantegna William H. Macy and Mamet's wife actress Rebecca Pidgeon--any time soon. While it's clear Kilmer took the role to work with the talented writer/director he isn't well suited to deliver "Mamet-speak"--the rapid fire delivery of terse dialogue the writer is known for--and Kilmer looks uncomfortable trying to do it. The gifted actor who can't help but bring in his own quirky sensibilities to the part still hits the nail on the head as steely resolute Scott. But the minute he starts dispensing sage advice--Mamet-style--Kilmer sticks out like a sore thumb. Same goes for Luke (Antwone Fisher) who is entirely miscast as Scott's sidekick. Others in the ensemble however handle the Mamet chores more adeptly including Macy and Ed O'Neill (yes the guy from TV's Married ... With Children) as presidential aides.
Spartan's real problem however is that it's a thriller without much thrill. Mamet's expertise is in creating scenarios within a microcosm whether it's a world of con artists (House of Games; The Spanish Prisoner) salesmen (Glengarry Glen Ross) or even showbiz (State and Main). These Mamet films are even-keeled--almost devoid of emotion. He sets up characters and actions relevant to that particular world so when characters spout lines in Mamet's distinctive style it comes off as perfectly natural. Yet with Spartan Mamet is tackling a bigger grander picture and when his style is applied to the world as a whole it doesn't work. Plus in the thriller genre the audience needs to feel invested in the characters and Mamet's distant unemotional style doesn't lend itself to sending the audience's collective hearts racing. The only poignant moment in the film belongs to Bell as the wounded daughter who just wants a little attention from Daddy and the only truly exciting moments are during her rescue. That said however Spartan proves Mamet still knows how to craft a story. Although the script is at times vague and convoluted it thankfully never falls into any of the genre's usual patterns and it throws in enough twists to keep you on your toes.