Anastasia - * * *

Posted on November 14, 1997 by Madeleine Williams

Anastasia

It’s ironic. Just at the time when the tried-and-true Disney formula for animated films seems to be faltering, the other studios, desperate for a share in the lucrative animated film market, have come out with their own “Disney-formula” films. Anastasia is the first of these newcomers to hit the screens, and its biggest weakness is its faithfulness to the aging Disney formula.

With very little historical accuracy, the movie blames the fall of the Romanov dynasty, and the rise of the Russian Revolution on an evil curse woven by the magician Rasputin (speaking voice: Christopher Lloyd, singing voice: Jim Cummings). He seeks the downfall of the entire Romanov line, but two slip through his fingers: the young princess Anastasia (speaking voice: Meg Ryan, singing voice: Liz Callaway), and her grandmother (Angela Lansbury).

While her grandmother sneaks away to Paris…Anastasia is lost and left behind in St. Petersberg (Which, for some anti-historic purpose, never changes its name to Leningrad). After being stricken by an acute case of amnesia, Anastasia becomes Anya, a poor orphan with no memory of her past.

Flash forward ten years. Anastasia’s grandmother is offering huge rewards for her safe return. A pair of con-men, Dimitri (speaking voice: John Cusack, singing voice: Jonathan Dokuchitz) and Vladimir (Kelsey Grammer), are scouring St. Petersberg for the perfect actress to play the part of Anastasia.

When they stumble upon Anya, they believe she is the perfect choice, unaware of her true past. They convince her that she is the princess, when in fact, they believe she is not. However, that’s enough to waken the spirit of Rasputin, who returns from the grave to destroy the last Romanov.

This is where the film makes a major misstep. Blindly following the “Disney formula”, the movie adds a needlessly intrusive magical villain and two overly-cute sidekicks (Anya’s loyal pooch Pooka, and Rasputin’s hench-bat Bartok (Hank Azaria)). None of them are needed for the story, and are at times distracting. I’m sure the filmmakers could have picked a more reasonable villain, but they didn’t have the courage to stray from the proven formula. Kids will like the sidekicks, so they’re a more tolerable addition, even if they are tailored to be “merchandise-friendly”.

The overall story is well done, complex enough not to bore adults, but simplified enough that kids should be able to follow it. The songs are enjoyable, but only two (Journey to the Past, and Once Upon a December) have any lasting presence.

The animation style of Anastasia is a bit strange. There’s much more computer animation than in traditional animated films. Certain objects, vehicles and backgrounds are all computer generated, mixed in with the standard cell animated characters. Sometimes this works (usually in the case of the backgrounds), at other times it seems “showy”, like they were trying to demonstrate their capabilities rather than advancing the story. At even other times it is distracting: cases in point: Anya’s music box and Rasputin’s evil artifact. Both are computer generated objects, rendered in 3-D, being handled by the 2-D characters. There’s something that just doesn’t seem to sync between the two, with the result that the objects seem to be floating on the screen, rather than being a part of it.

Even though Fox lacks the courage to blaze a new trail in the animated frontier, this strike at Disney territory mostly succeeds, and is in fact better than a couple of Disney’s recent outings.

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One Night Stand - * 1/2*

Posted on November 14, 1997 by Madeleine Williams

One Night Stand

Director Mike Figgis (Leaving Las Vegas) tries to strike gold twice with an offbeat adulterous romance in One Night Stand. However, this time, the vein has gone dry.

Max Carlyle (Wesley Snipes) is a commercial director from Los Angeles who is in New York to visit an old friend, Charlie (Robert Downey Jr.), who has been diagnosed with AIDS. While in town, a series of mishaps prevent him from making his flight back to LA, and a twist of fate unites him with another lost soul, Karen (Nastassja Kinski). Although both are married, one thing leads to another, and they end up in the titular One Night Stand.

Flash forward one year. Max’s marriage to Mimi (Ming-Na Wen) is on the rocks, and Charlie is hovering near death. So, the Carlyles come to New York to be with Charlie during his last hours. However, in another twist of fate, Karen pops up again, making things very awkward for Max.

Obviously, the story is primarily concerned with Max and Karen’s adulterous relationship. Unfortunately for the film, it’s not a very interesting one. Perhaps the problem here is that Max and Karen are both such bland characters, it’s hard to think of any situation involving them that would be remotely interesting.

In fact, the film’s most dynamic relationship is Max’s friendship with Charlie. Robert Downey Jr’s portrayal of Charlie is touching, if a bit cliched. At least, he is able to interject some emotion into this otherwise lifeless film.

The script, written by director Mike Figgis, lacks invention. The few plot twists it has are way too “cute”, and you can see them coming from a mile away (especially the film’s “shocking” final one).

The film is almost, but not quite, worth seeing on the basis of Robert Downey Jr.’s subplot. But the bland central storyline should be enough to keep everyone away.

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The Man Who Knew Too Little - * 1/2*

Posted on November 14, 1997 by Madeleine Williams

The Man Who Knew Too Little

A little repetitive and only mildly humorous, The Man Who Knew Too Little marks another substandard outing for Bill Murray.

Wallace Ritchie (Bill Murray) is a clueless American celebrating his birthday by dropping in unexpectedly on his brother James (Peter Gallagher) in London. James, however, is about to host a very important business dinner. To get Wallace out of his hair, James gives him theater tickets as a birthday present. But this is not any run-of-the-mill theater, it is the Theater of Life, an audience participation show that takes place on the streets of London.

However, Wallace is accidentaly diverted when he intercepts a phone call meant for a hitman. Assuming this is all part of the “Theater of Life”, he plays along, assuming the part of the hitman. Soon, he is embroiled in a dastardly international spy conspiracy which aims to reignite the Cold War.

Mistaken identity gags abound as Wallace believes the spies are actors, and they belive him to be a dangerous rogue hitman. His life is in danger, and he doesn’t even know it. Even those he runs across, such as femme fatale Lori (Joanne Whalley), or the assassin Boris the Butcher (Alfred Molina), don’t notice the deception.

For a film that banks its whole success on one mistaken identity gag, The Man Who Knew Too Little is marginally successful in that you don’t get immediately tired of it. A large part of the credit has to go to the indefatigable Bill Murray, who, while not at the top of his form, still manages to find humor in what could of been a stale situation.

That said, The Man Who Knew Too Little is far from a comic masterpiece. Plenty of the jokes are so obvious they just fall flat. Murray can only help the film so far, and we’re left to wish for a single smart character in the entire film. Our wish is unfulfilled.

The characters throughout The Man Who Knew Too Little are the traditional ones for an espionage flick, and for the most part are rather flat here. Only Alfred Molina’s assassin has any distinguishing character quirks at all.

Overall, there’s the kernel of a good comedy here, but it never reaches it’s potential. Perhaps if they were able to branch out and be more than a mistaken-identity farce… However, as is, wait for video if you see this one at all.

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The Jackal - *

Posted on November 14, 1997 by Madeleine Williams

The Jackal

The Jackal is a sloppy, sloppy thriller (and not in terms of blood and gore). Characters get tangled, the plots vanish without a trace, and even the action sequences seem second-hand. After the FBI assists the Russian government pin a murder on the son of a powerful crime lord, vengeance is sworn. The crime lord calls in the services of “The Jackal” (Bruce Willis), a mysterious assassin with a hefty price tag and a penchant for secrecy.

He’s so secret, that the FBI has no idea what he looks like, or who he is, but they suspect he’ll be gunning for the head of the FBI. Pooling the resources of both countries, FBI man Preston (Sidney Poitier) is assisted the the Russian Major Koslova (Diane Venora) to track down the killer. Only one person is their tenuous link to The Jackal, a retired Basque terrorist (Mathilda May), whose whereabouts are also unknown.

Therefore, the task force tracks down the woman’s former lover, imprisoned IRA sharpshooter Declan Mulqueen (Richard Gere). Declan refuses to give away her whereabouts, but claims to have knowledge of The Jackal and his methods.

So, in one of many inexplicable decisions made in the movie, Preston decides to trust Declan. Not with suspicion, or even much hesitation considering his past and current status as a prisoner. No, Declan is made a full part of the team and trusted completely. He’s even left alone for long stretches of time…and this is before they have any confirmation that he’s really ever met The Jackal!

Meanwhile, in a role that seems derivative of John Malkovich’s assassin in In the Line of Fire, yet without the personality, The Jackal zigzags his way across two countries, donning a new disguise for each scene. Well, actually in some scenes he has more than one disguise, which he changes halfway through… in public… I mean, are these the actions of a man trying to be inconspicuous?

At least we know he’s evil. He, along with his Russian employer (in a scene you might recall from The Untouchables), get to ruthlessly slaughter other “innocent” bad guys as the coup de grace to show they are eviler than evil. I guess this is done to justify having a terrorist as the good guy.

Anyhow, the filmmakers must get confused here and there due to The Jackal’s frequent identity swaps. In the confusion, several subplots are muddled or lost completely (What’s the deal with the hijackers?).

There are a couple of scenes in The Jackal that are somewhat fun to watch, but they aren’t nearly as thrilling as the original movies that they were cribbed from. With strong direction and a better script, The Jackal could have been a decent thriller, but director Michael Caton-Jones doesn’t deliver, and a hideous script make this one to miss.

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Starship Troopers - * *

Posted on November 7, 1997 by Madeleine Williams

Starship Troopers

Bugs. Who likes ’em? The enjoyment you get from watching Starship Troopers is similar to the pleasure felt from a loud “ZAP” from a bug zapper. And about as deep.

In the future, humans are at war with the Arachnids (well…the arachnids are one species, but since all bugs share a communal brotherhood, they all fight side by side against their enemies). Possessing no technology, just killer instinct, the bugs have become an interstellar power, and, now, mankind’s deadliest enemy.

The central character of the film is Johnny Rico (Casper Van Dien), who upon graduation enlists with the Mobile Infantry. In the future, voluntary service is a requirement for citizenship. However, Johnny doesn’t really care about that…he wants to impress his flirtatious girlfriend Carmen Ibanez (Denise Richards), who dreams of enlisting as a starship pilot.

However, once enlisted the lovebirds are sent their separate ways. Instead, Johnny finds himself in the same platoon as Dizzy Flores (Dina Meyer), a friend who’s had the unrequited hots for him.

After an overly long introduction/boot camp sequence, we’re finally plunged into the war. There’s not much depth or innovation in the gruesome battle sequences, but there is action…lots of action. The special effects during the battle scenes are top notch eye candy, and the battles are a hoot to watch.

Faced with adapting Robert Heinlein’s popular novel the filmmakers were stuck in a quandry. Should they adapt his philosophical angles, or make the film strictly a bug hunt? There were apparently some strong supporters of the “bug hunt” angle, but a little of both make it into the movie.

However, those “bug hunt” scenes are, surprisingly, the strongest parts of the film. Director Paul Verhoeven shoots the philosophical scenes in the same satirical tones used for Robocop (they’re even shot in a similar television news style format). Unfortunately, this parody undermines Heinlein’s ultimate message, and eliminates any dramatic tension that might have been present in the battle scenes.

If that weren’t enough, we are tormented with the sophomoric Carmen-Johnny-Dizzy love triangle that seems lifted right out of a television melodrama. The characters are so plain that you could care less if they fell in love or got ripped in half by a giant bug. Pathetically, the deepest characterization in the whole film are “charming” personality quirks possessed by the supporting cast (Jake Busey and Michael Ironside in particular).

When the bugs finally come, they are impressive. The battles hold some of the year’s greatest special effects (no small feat in an effects-heavy year). However, they’re all style, no substance. When they come, they’re too little too late.

Starship Troopers could have been an excellent film, if there was any thought whatsoever put into the screenplay and direction. Unfortunately, even though they were given impressive source material (and even more impressive effects), they fail to create anything lasting. Like a bug “ZAP”, it might bring a fleeting smile to your face, but that’s all.

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Mad City - * *

Posted on November 7, 1997 by Madeleine Williams

How hard is it to pick on the media? I mean, besides used car salesmen, politicians and television evangelists, it’s pretty difficult to come up with someone more untrustworthy. Mad City stirs up a big commotion over the corruption of the media, something that’s hardly a surprise to anyone, and hardly worth the price of admission.

Max Brackett (Dustin Hoffman) is a television news reporter looking for a break. He doesn’t believe he’ll find it on his latest puff assignment: covering budget cuts at a local museum. However, he stumbles upon a story that may revitalize his career.

Near closing time, the recently laid-off security guard, Sam (John Travolta), storms in the museum, demanding to speak with his former boss, Mrs. Banks (Blythe Danner). When she refuses to speak to him, Sam pulls a shotgun. In the ensuing chaos, he discovers he has made hostages out of not only Mrs. Banks, but a class of visiting schoolchildren and reporter Max Brackett.

Sam is befuddled…he has no idea of what to do next. However, he soon finds a new best friend in Max, who smells the story of a lifetime. In exchange for exclusive media access, Max guides Sam along, showing him the ropes of negotiation, hoping to keep everyone alive, but make great television.

Mac City is meant to be a scathing attack on the media. But the problem is that it’s revelations are never quite as shocking as Mad City holds them out to be. The groundbreaking assertion that television news panders to sensationalism is quite obvious to anyone who has merely glanced at a tv set in the last ten years.

This leaves it up to the actors to make or break the film, and the acting, while not bad, isn’t particularly newsworthy. Neither Travolta nor Hoffman break any new ground here. Their characters are tired, and aren’t very compelling. They’re not the sort that you want a whole movie to depend upon.

Some of the interplay between the police and the media (particularly Max’s manipulations) is diverting, but not truly gripping enough to sustain interest throughout the whole movie. Max’s rivalry with anchorman Hollander (Alan Alda) is pointless, seeking to redeem Max while at the same time the film is damning him (yeah, he’s a bad guy, but he’s a good bad guy).

Perhaps ten years ago Mad City would have been a revealing and profound film experience. However, in this day and age, the film is just picking the obvious targets.

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Eve’s Bayou - * * * 1/2*

Posted on November 7, 1997 by Madeleine Williams

Mysterious and alluring, Eve’s Bayou is a lyrical film taking the audience into a vivid world. With realistic characters, plenty of atmosphere, and an intelligent script, it’s a journey worth taking.

The story focuses on the Batiste family in Eve’s Bayou, Louisiana. The Batiste’s are respected members of society. Louis Batiste (Samuel L. Jackson) is a well liked doctor. Perhaps too well liked, for he apparently often cheats on his wife, Roz (Lynn Whitfield).

Louis and Roz have three children, and the film is told from the point of view of the middle child, the 10 year old Eve (Jurnee Smollett). She has an older sister, Cisely (Meagan Good), and a younger brother, Poe (Jake Smollett).

Eve has a special attachment with her father’s sister, Mozelle (Debbi Morgan). Mozelle is a psychic, who claims to be able to see anyone’s future but her own, a fact that has resulted in tragedy, as she has already lost three husbands. A voodoo priestess (Diahann Carroll) that Mozelle meets claims that she is cursed, and she believes it.

The priestess also has a warning for Roz, “watch your children”. This combined with a premonition by Mozelle causes a panic in the slightly superstitious Roz. She forbids her children from leaving the house that summer, unaware that the danger may come from a different source.

Director Kasi Lemmon, who also wrote the screenplay, displays a blossoming talent here. The story, told in flashback, weaves a complex web of differing points of view, fading memories, and hazy visions of the future. Yet, Lemmons never loses track of the threads, and creates a striking visual tapestry.

The story is well written, and the characters are well defined, with the detailed nuances that make them seem almost real. The dynamics of the Batiste family are particularly well recognized.

The performances are superb throughout. Jurnee Smollett in particular stands out as the child who makes a crucial choice during the summer. Samuel L. Jackson delivers yet another nuanced performance as the father figure who’s simultaneously a figure of love and hate.

With its limited release, Eve’s Bayou is likely to be overshadowed by many of the big films this holiday season, and it’s too bad. If you do happen to find it in a remote corner of your local movieplex, you should give it a shot.

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Bean - * 1/2*

Posted on November 7, 1997 by Madeleine Williams

Bean

After an impressive worldwide performance, Bean, the film adaptation of the British television comedy Mr. Bean, makes its debut in the United States. Rowan Atkinson, the British comic who plays the lightwitted Mr. Bean, is probably most well known to the American audience by his voice (that of Zazu in The Lion King). However, the recognization will not come easy, for you see Mr. Bean doesn’t talk much. He’s a man of very little words, but with the style of overexaggerated slapstick comedy that reminds one of the silent-film era. However, Mr. Bean should have used a better vehicle for his feature film debut. One of his half-hour shows would have been infinitely more entertaining than this ninety minute display of drudgery.

The story opens with Mr. Bean’s employers wondering what to do with their overly-inept employee. Suddenly, they are struck by inspiration. An American museum has recently purchased the painting Whistler’s Mother, and has requested an art expert to speak at its inauguration. Sending Mr. Bean away on an extended trip sounds like an excellent idea.

Of course, Mr. Bean doesn’t know the slightest thing about art. But that doesn’t keep everyone in L.A. from thinking he’s the world’s greatest art professor. David Leary (Peter MacNicol) is the American responsible for bringing in Mr. Bean. And it isn’t until Mr. Bean has caused him to separate from his wife (Pamela Reed), and nearly lose his job at the museum that he begins to question “Dr. Bean”‘s credentials.

The film is actually best during its second half hour. The first third of the movie is concerned with setting up the film, and introducing the Mr. Bean character, his mannerisms and his quirks. It’s not until the second half hour that Atkinson is left to really do his thing. However, the final third of the film turns unrelentingly sappy, as the film pulls one too many “cutesy” touches to show that Mr. Bean may cause the occassional mishap, but he means well.

One of the problems is the boring supporting cast. As long as the camera’s on Mr. Bean, at least there’s a chance something funny might happen. Not so with anyone else. MacNicol is dreadfully bland as the straight man to Bean’s wild activities, and too much of the film is devoted to him, and his problems with his family and his job.

Part of the blame belongs to director Mel Smith. He needed to let the film concentrate on Mr. Bean (after all, the film is named after him). Instead, the film drifts.

Perhaps the best thing that might come of Bean is that people confused by the advertisements might accidentally watch the reruns of his British TV show. At least they have some chance of being entertained.

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The Wings of the Dove - * * 1/2*

Posted on November 7, 1997 by Madeleine Williams

The Wings of the Dove is a slow, but lavish, period piece based on Henry James’ novel. It is interesting to watch, but as a tragic love triangle, the film is not fully satisfying.

Kate Croy (Helena Bonham Carter) is penniless, but has grown accustomed to living a life of luxury under her aunt (Charlotte Rampling). As a condition to live her favored lifestyle, her aunt insists on certain standards of behavior. For example, she should not marry, or even have anything to do with, anyone below her newfound class.

That presents a problem. Kate has fallen in love with the penniless Merton Densher (Linus Roache), however she must break off the relationship when her aunt discovers it.

However, when she befriends an ailing American heiress, Millie Theale (Alison Elliott), a fiendish plot comes to mind. She devises a scheme in which Merton will seduce Millie, inherit her money, and then be an eligible husband in the eyes of her aunt.

The Wings of the Dove has a leisurely pace, perhaps too leisurely. Most of the plot’s machinations and twists are easily seen, yet the film takes an eternity to reveal them.

All three leads are appealing, but Alison Elliott deserves special mention. She is captivating as the ailing heiress who is the target for Kate and Merton’s fiendish scheme.

Helena Bonham Carter is fascinating as the schemer of the bunch, and is a delight to watch, but there seems to be something missing in her character. She makes a pivotal choice late in the film that comes out of nowhere, and doesn’t seem quite in character.

Director Iain Softley creates a sumptuous atmosphere, particularly in the film’s Venice scenes. However, although the scenery is distracting, it unfortunately doesn’t distract enough to make the film move any faster.

Is The Wings of the Dove enjoyable? Yes, in a “Masterpiece Theater” sort of way. However, with its languid pace, it is never able to transcend its material.

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Critical Care - * * 1/2*

Posted on October 31, 1997 by Madeleine Williams

Critical care is a hit-and-miss satire of the health care industry. It’s hits come in the form of a finely complex ethical dilemma. However, it misses when it veers off into blatant fantasy.

Dr. Werner Ernst (James Spader) is a third year resident, finally enjoying the perks of doctor-hood…namely, sex. When fashion model Felicia Potter (Kyra Sedgwick), the daughter of a comatose patient, leads Dr. Ernst on, he follows willingly.

However, he’s being led into a trap. Felicia and her sister Connie (Margo Martindale) are in a fierce struggle over their father. Felicia believes he is a vegetable, with no hope of recovery, and wants to pull the plug to end his suffering. The born-again Connie, however, believes that not only is he conscious, but that he is about to wake up any minute now…and that any attempt to pull the plug would be murder.

Meanwhile, in another bed in the critical care ward, a kidneyless patient (Jeffrey Wright) struggles to cling to life. Though he’s being tended to by the caring nurse Stella (Helen Mirren), he has daily conversations with the devil’s helper (Wallace Shawn), who has convinced him he is going straight to Hell.

These little trips into the fantastical (also including a visit from a Heavenly nun played by Anne Bancroft) don’t flow well with the rest of the film. Perhaps they were intended as bits of comic relief from the rest of the film (comic relief from comedy?), but whatever the case, they’re more distracting than entertaining.

In the primary plot line, however, the film is highly entertaining and thought provoking. As the lead, James Spader is out of his “scoundrel mode”, and back to his “bewildered good guy mode”, and in superior form. When he gets caught between a rock and a hard place, you truly sympathize with him.

The supporting cast is also very good. However, the two standouts are Helen Mirren as the tireless nurse assigned to the critical care ward, and Albert Brooks as Dr. Ernst’s alcoholic supervisor Dr. Butz. The funniest scenes in the film belong to him.

Director Sidney Lumet has crafted a witty satire that, when rolling, mostly works. Granted, it’s conclusion lends itself to passionate speechifiying, but by that time you’ve been drawn so fully into the story that you don’t mind.

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