The actor plays a womaniser who embarks on a career as a pharmaceutical representative in the film, based on the book Hard Sell: The Evolution of a Viagra Salesman, by Jamie Reidy.
Gyllenhaal read up on the little blue pill to acquaint himself with the drug, and then tested his memory by trying to impress doctors.
He tells Britain's Total Film magazine, "Viagra has a huge booklet on what it is, the side effects and all the chemical components. I would memorise these things. And we would improv them and then I would sell to the doctors when I had learnt from them."
But the cheeky star refuses to confess whether he's tried Viagra, joking, "There are some things I have to keep for myself!"
WHAT’S IT ABOUT?
Cliff and Cydney are happy newlyweds headed to Hawaii for a quiet honeymoon on a remote portion of the island of Kauai. Their marital bliss is abruptly interrupted however when they receive word that just a few days prior a pair of newlyweds not unlike themselves were murdered on Maui and that the killers believed to be a man and a woman were still at large.
Dismayed by the unsettling news Cliff and Cydney nonetheless resolve to move forward with their honeymoon but start to become anxious when they encounter not one but two exceedingly strange couples each of whom seemingly fit the profile of the killers. Miles away from civilization unable to get a decent cell phone signal and seemingly surrounded by possible murderers they begin to wonder if they might be the next victims.
WHO’S IN IT?
Playing the part of Cliff is Steve Zahn a prolific character actor best known for supporting roles in films like Rescue Dawn and Sunshine Cleaning. As a jittery Hollywood screenwriter who too often lets his overactive imagination get the best of him Zahn’s performance is the most credible aspect of the movie. In the role of his wife Cydney is Resident Evil series star Milla Jovovich demonstrating how truly unremarkable she can be when not cast opposite expressionless zombies.
Despite being saddled with most of the film’s worst lines Hitman star Timothy Olyphant proves convincing as Nick a wild-eyed survivalist who claims to have served as an army special forces operative in Iraq. Laying it on a little too thick with the fake Southern accent is Kiele Sanchez who plays Nick’s equally suspicious girlfriend.
Director David Twohy (Pitch Black The Chronicles of Riddick) makes an earnest attempt at crafting a modern-day murder mystery and for the most part he does a commendable job of messing with audience expectations setting the stage for a major second-act plot twist that proves every bit as surprising as advertised.
Twohy is one of the more likable Hollywood directors and it’s good to see him back from the dead after the Riddick disaster set fire to his career. Unfortunately he falls headlong into the M. Night Shyamalan trap with A Perfect Getaway focusing too much on pulling off the big twist and forsaking just about every other element of the movie. To be fair Twohy’s film isn’t nearly as dreadful as Shyamalan’s recent Razzie-amassing efforts like The Happening and Lady in the Water but its deficiencies are similarly multifaceted. Awkward dialogue mediocre performances by Jovovich and Sanchez and an excessively aimless pre-twist plotline are just a few of the problems that plague the movie.
But my biggest gripe with A Perfect Getaway is that Twohy fills the story with so many seemingly important plot devices which end up going nowhere that the film could very well be re-titled Red Herring: The Movie. At a certain point you throw up your hands and ask “Well then is any of this s--t real?” And the answer is: No probably not. But isn’t Kauai beautiful?
Admittedly the twist is pretty darn clever. Too bad we have to wait over an hour to see it.
The climax features an excruciating scene in which a key character’s cell phone previously assumed to be out of service receives a sales call from an Indian-accented telemarketer. Rather than simply hang up and dial 911 the character pleads with the befuddled phone company rep to alert the police with predictable lack of success. All this while a deranged killer stalks the vicinity. Characters that stupid deserve to die.
December 18, 2003 12:55pm EST
Katherine Watson (Julia Roberts) a novice professor from UCLA lands a job in the art history department at Wellesley College in the fall of 1953 and she's thrilled at the prospect of educating some of the brightest young women in the country. But her lofty image of Wellesley quickly fizzles when she discovers that despite its academic reputation the school fosters an environment where success is measured by the size of a girl's engagement ring. Besides learning about fresco techniques and physics the women take classes in the art of serving tea to their husband's bosses something that doesn't sit well with the forward-thinking Katherine who openly encourages her students to strive for goals other than marriage. Katherine inspires a group of students specifically Joan (Julia Stiles) and Giselle (Maggie Gyllenhaal) but newlywed Betty (Kirsten Dunst) feels Katherine looks down on her for choosing a husband over a career. Betty goes on the offensive and uses her column in the school paper to drive a wedge between the professor and the stuffy faculty. But while Betty puts on a happily married face her hostility towards Katherine is actually misplaced anger stemming from her miserable marriage to a cheating charlatan.
Katherine is Mona Lisa Smile's most complex and intriguing character and Roberts is a fitting choice for the part. Like an old soul the actress has a depth that's perfect for a character like Katherine who's enlightened and ahead of her time. But Katherine never emotionally connects with any of her students which isn't surprising since they're so bitchy and self-absorbed. Perhaps more time should have been spent developing the young women's characters and building their relationships with Katherine sooner but as it is the underdeveloped friendships between the women will leave viewers feeling indifferent rather than inspired. The worst of the bunch is Dunst's character Betty who is intent on making everyone around her feel unworthy. She has her reasons of course but they're revealed so late in the story that it's hard to suddenly empathize with her after having spent three-quarters of the film hating her guts. Stiles' character Joan is perhaps the most congenial but like Betty she never develops a strong bond with her teacher. The most "liberal" of the girls is Giselle played by Gyllenhaal but the character suffers the same burden as the rest: She's unlikable. Giselle's penchant for sleeping with professors and married men is so odious that not even her 11th hour broken-home story can salvage her character.
While Mona Lisa's smile in Leonardo da Vinci's famous painting has often been described as subtle director Mike Newell's star-studded drama is anything but that; Mona Lisa Smile is so heavy-handed that unlike the painting for which it was named there is nothing left for moviegoers to ponder or debate. The film plays like a montage of '50s ideological iconography: A school nurse gets fired for dispensing birth control; a teacher refers to Lucille Ball as a "communist"; Betty's prayers are answered when she gets what every woman dreams of--a washer and dryer. But the film's critical insight into '50s culture isn't as shocking as it thinks it is and the way it highlights feminist issues is as uninspired as trivial as a fine-art reproduction. Newell also spends too much time basking in the aura of the '50s era focusing on countless parties dances and weddings sequences that while visually ambitious are superfluous. The film may be historically accurate but its characters story and message will leave moviegoers feeling empty. A climactic scene for example in which Katherine's students ride their bikes alongside her car as a show of support comes across as a tool to evoke sentiment that just doesn't exist.