Three is the magic number. Or so hope each of these stars, who have hooked up for the third time with the following directors.
Leonardo DiCaprio and Martin Scorsese
Previous Collaborations: The Aviator ($102.6 million); Gangs of New York ($77.8 million)
Next Collaboration: The Departed (Oct. 6)
The Bottom Line: “There’s no need to convince him—of anything. That’s a gift, to have someone like that,” Scorsese—best known for his work with Robert De Niro—said of DiCaprio in 2004 to The Boston Globe. Unfortunately, that included persuading him to lead Gangs of New York—DiCaprio should have realized he wasn’t suited to portray a 19th-century Irish-American thug. At least The Aviator landed DiCaprio a deserved Oscar nomination. In return, Scorsese enjoyed a first: making $100 million at the box office (too bad the Howard Hughes bio cost $115 million). He’s going for two in a row with The Departed, his Americanization of the gripping Hong Kong thriller Infernal Affairs. Anything less would be a disappointment, considering undercover cop DiCaprio faces off against mobsters Jack Nicholson and Matt Damon. But thanks to a little help from their new friends, The Departed should easily justify DiCaprio and Scorsese’s decision to work together a third time.
Robin Williams and Barry Levinson
Previous Collaborations: Good Morning, Vietnam ($123.9 million); Toys ($23.2 million)
Next Collaboration: Man of the Year (Oct. 13)
The Bottom Line: Williams was at his post-Mork and Mindy low when Levinson asked him to holler Good Morning, Vietnam. Irreverent U.S. Armed Services Radio DJ Adrian Cronauer turned out to be the defining role of Williams‘ career, and the poignant dramedy finally made him bankable. That allowed Williams to rebound from a rare flop as such Toys. Unfortunately, that misguided antiwar screed saw Levinson start his move from away from his trademark sharp-witted characters studies to waste his time on Bandits, Envy and Sphere. Levinson’s latest, Man of the Year, isn’t the uproarious comedy as trailers suggest. No, this is actually a drama about a Daily Show-type political satirist (Williams) who runs for president. But Levinson doesn’t have the courage to mount an attack on the two-party political system; instead, he’s more concerned about the pros and cons of electronic voting systems. While Williams does his improvised shtick, costar Laura Linney inexplicably finds herself trapped in an Enemy of the State-style conspiracy thriller. Levinson would have been better served making Man of the Year a satire à la his Wag the Dog, rather than tell his cautionary tale with such a straight face. Man of the Year won’t restore Levinson’s tarnished reputation; nor will it help Williams to reconnect with audiences alienated by his art-house chillers One Hour Photo, The Final Cut and The Night Listener.
Penelope Cruz and Pedro Almodovar
Previous Collaborations: All About My Mother ($8.2 million); Live Flesh ($1.7 million)
Next Collaboration: Volver (Nov. 3)
The Bottom Line: “I’ve done 35 movies and I’ve never heard anybody tell me that as [even] a possibility,” Cruz told Entertainment Weekly of being an Oscar contender. But the Spanish actress could earn an Academy Award nod for Almodovar‘s Cannes-cheered melodrama. No one can be blamed for failing to think of Cruz as an Oscar-caliber actress. Since going Hollywood, she’s garnered more attention for her love life than her movies. Take Bandidas—Fox just dumped this $35 million western. It doesn’t help that she’s wooden and self-conscious when required to utter dialogue in English. Judging by her previous work with Almodovar and in Alejandro Amenabar’s Open Your Eyes, Cruz is comfortable and confident speaking in her native tongue. That’s no knock on Cruz—the same goes for Gong Li. But Cruz should follow the example set by Antonio Banderas—a former Almodovar leading man who struggled when he relocated from Spain—and persevere. Eventually, Cruz will find a director in Hollywood who’s going to bring out the best in her, just as Almodovar has.
Denzel Washington and Tony Scott
Previous Collaborations: Crimson Tide ($91.3 million); Man on Fire ($77.9 million)
Next Collaboration: Deja Vu (Nov. 11)
The Bottom Line: Yes, Scott established Washington as a man of action with Crimson Tide. But Scott needed Washington just as much as Washington needed Scott. Remember, Scott was coming off the disappointing Last Boy Scout and True Romance when he presided over Washington‘s submarine showdown with Gene Hackman. Both, however, were at their commercial peak when they reunited for Man on Fire. How else to explain why that headache-inducing bloodbath was a hit? Now Scott must rely on Washington to make us forget the chaotic Domino. But Deja Vu, though, could be a tough sell if we don’t buy the idea of Washington trying to save the woman he falls after catching a glimpse of her impending murder. Or if the usually trigger-happy Scott fails to convince us he’s really a true romantic at heart.
