America's Sweethearts

Screenwriters Crystal and Peter Tolan give a modern romantic comedy that takes place in the realm of the Hollywood spree. The last film Gwen and Eddie did together is scheduled to debut, but there are problems. The divorced couple, both of whose careers are currently sinking, need to make a film of understanding or lose their audience and a lot of money for the studio. Making things difficult, the director, Hal Weidmann, played by Christopher Walken (making a parody of real director, Hal Ashby), has taken the unfinished movie, named “Time Over Time,” hostage and won’t release it until the spree, not even studio head Dave Kingman, played by Stanley Tucci. Lee, played by Billy Crystal, must do the most difficult balancing of his public relations career to keep the press on their toes and the stars appeasing until Hal and his film arrive.

Meanwhile, Gwen’s sister and assistant, Kiki, has quietly gone through a change since her sister’s divorce. Since Eddie last saw her, right after the breakup, she has lost 60 pounds and is not just a nice person (unlike Gwen) she has turned, as Robin puts it, “from an ugly duckling into a beautiful swan.” Eddie and Kiki have always been close, and now that he has been separated from Gwen for a while, he begins to see which sister really is the one for him. The difficult romantic comedy continues until the day when Hal finally delivers his film and shows it to the studio executives and the press. Then, stuff happens.

Robin said, “I had high hopes for "America's Sweethearts" what with its stellar ensemble cast and all.” Julia Roberts is becoming an actress and does a good job as the modest, loyal sister to the star. She keeps the nice-girl persona of the character throughout the film, and, as Robin said, “when the now-svelte Kiki binges out on a huge breakfast from frustration with the whole situation, she does it with vigor.” Catherine Zeta-Jones, as Gwen, is dead on as the superficial, selfish diva – “People have no idea what it is like being me!” she complains – and is as unlikable as she is beautiful. John Cusack does the messy, obsessive actor with his usual goofy charm. Billy Crystal moves things along (and gives himself some of the funniest lines, especially when acting opposite a large Doberman), bot as writer and performer and he does good PR slang.

Robin noted, “The problem that holds "America's Sweethearts" back is the completely telegraphed story. There is little doubt, for the viewer, as to who ends up with whom and how they get to where they are going. The actors play their parts well, but the two-dimensional machinations of the script prevent anything more than the obvious from happening so, by the end, you have the whole thing figured out. There is slapstick galore and one-liners abound - the Doberman gets to do the best visual gags in the film - but there isn't nothing' new here. A bright distraction, near the end, is Hal's presentation of his visionary film, changed from feature to documentary, much to the consternation of soon-to-be ex-studio boss Kingman.” Alan Arkin gives a delicate, yet unruly, cameo as Eddie’s wellness guide. He’s supposed to be an Indian wise man, but he plays it so sharp he keeps you guessing if he’s Eastern Indian or Native American.

Direction, by Joe Roth, is obligatory and straightforward. He does it by the numbers as he walks his cast down the line to the films unavoidable ending. Costuming, by Ellen Mirojnick (with Jeffrey Kurland responsible for dressing Roberts), meets the superstar criteria of elegance and, for Cusack, hopeless illness. Production design by Garreth Stover, especially the choice of the remote location of the Hyatt Regency Lake Las Vegas Resort, fits the Hollywood star thinking of “America’s Sweethearts,” released in 2001. The productions show the money is there and the tech staff uses it well.

A good cast and expensive production features can help a film but, without a solid screenplay to help it out, you can never get greatness, whether it be comedy or drama. “America’s Sweetheart” falls in the middle of this problem and suffers for it. Robin ended her review by saying, “It will draw a good size audience and will appeal to many with its good-natured pokes at the Hollywood star machine. But, it never rises beyond the level set by the routine, predictable screenplay.”

I remember seeing the scrambled eggs scene a long time ago on TV, but I never knew what the film was. I had looked a few years back after remembering that part, and I found out it was from this movie. After seeing the whole movie, I found myself enjoying it. Just to let everyone know, I’m not a lover of romantic comedies, but when I see them, I do like certain ones. See this one if you’d like because I think you will love it.

Well readers, we have reached the end of “Julia Roberts Month.” I hope all of you enjoyed this month and maybe have seen the movies I recommended. Look out next month to see what I will review next.

Erin Brockovich

J. Robert Parks started his review by saying, “It's no secret that good female roles in Hollywood are as rare as a two-dollar bill.” All you must do is compare the Oscar nominations for actors and actresses, and you’ll see the difference. On the one hand are stand-out performances like Russell Crowe in “The Insider,” Denzel Washington in “The Hurricane,” and Kevin Spacey in “American Beauty.” On the other hand, the actresses have Annette Bening in “American Beauty” (a part considerably less interesting than Spacey’s, Janet McTeer in “Tumbleweeds” and Meryl Street in “Music of the Heart.” If the two acting categories were combined, none of the women would stand a chance. That’s not to say those performances aren’t meant to be seen. In each role, the blame is with the parts, not with the actresses.

Which is why it’s great to see Julia Roberts in “Erin Brockovich,” released in 2000. Here’s a heavy role with so much to do, and Roberts kills every scene. Watching this movie, it’s hard to believe that just a few years ago her love life took over her career. For Roberts taking on a difficult role (both comic and serious) and making it her own.

“Erin Brockovich” is based on a true story of a small law firm that sued a utility company for contaminating the water in a local community. The story is spot-on for Hollywood: a spirited young woman with no legal experience convinces a small-time lawyer to take on a corporate giant. With his legal knowledge and her personal charm, they follow the cause of justice and rescue the lives of so many people. With a story like that, making an entertaining film wouldn’t have been difficult. However, director Steven Soderbergh pushes the movie to the edge of greatness.

The film starts with Erin, played by Roberts, in a job interview. Roberts perfectly embodies the awkward worry of applying for a position she’s not optimistic about. Later, after a personal injury lawsuit goes bad, she walks into her lawyer’s office and demands a job. Parks notes, “The brazenness is combined with a deep vulnerability that is convincing.” The lawyer, Ed Masry, in bullied into giving her a small filing position. Going through some real estate files, Erin notices that some things don’t make sense. She asks Ed if she can investigate it and he agrees, just happy to have her out of his office.

During this investigation, Erin sees that the utility company Pacific Gas & Electric has thoroughly cheated the residents of Hinkley, California. Going to each house in the small community, she persuades the residents to join the lawsuit.

The movie thankfully spends little time in the courtroom. Instead, it focuses on the difficult process of getting the case to court. This choice puts the focus exactly where it’s supposed to be – on Erin’s life and her sensitive relationship with her boss, played by Albert Finney.

It’s difficult to describe what a great job of casting Soderbergh did. Parks credited, “While picking Roberts as the sharp-witted, charismatic paralegal wasn't too much of a stretch, choosing Albert Finney as the lawyer who'd rather slouch towards retirement than take on a multi-million dollar suit is a stroke of genius. He's just wonderful as he tries to manage a woman who has no interest in being managed (their conversations about proper attire are fabulous), and his bemusement at her quick wit makes a nice counter-point to his common frustrations.” The chemistry Roberts and Finney have is the best. Early in the film, when she asks for an advance on her check, the humiliation on her face is matched perfectly by the unhappy look on his. As the movie continues, their relationship slowly grows into a friendship in a way that never feels like a lie or forced.

Hands down, the real star of the film is Julia Roberts. Combining her comic talents (Parks said, “watch her timing as she skewers various adversaries”) with a solid dramatic focus, Roberts takes an interesting character and gives it a depth few female roles succeed at. A romantic sub-plot between Erin and her biker boyfriend George, played by Aaron Eckhart, doesn’t distract from the story but focuses our attention on the other gender issues occurring through the film. The script by Susannah Grand understands the difficulty of a strong woman int eh office, especially if she dresses like a prostitute, along with the labors of a single mother who’s finally succeeded at something outside of the house. At the end of the movie, George (who’s been helping with her kids, played by Scotty Leavenworth, Gemmenne de la Peña, and Emily and Julie Marks), “See what you helped do.” That overturn of the traditional husband-wife role is strong and challenging. Soderbergh, maybe realizing that he had a blockbuster he was working on, directs “Erin Brockovich” with a more mainstream look. He removes most of his usual camera and editing methods and instead moves the film along with smooth energy. Credit to costume designer Jeffrey Kurland whose outfits for Erin add a lot to our understanding of her.

Parks admitted, “Erin Brockovich isn't a great film in the sense of being artistically ground-breaking or philosophically challenging” However, like “The Sixth Sense,” it’s a great story with amazing acting and solid direction, and best of all, it’s completely entertaining.

With great roles in “Notting Hill” and “Runaway Bride” and now “Erin Brockovich,” Roberts has not only got popular acclaim but critical too. Parks ended his review by saying, “Unless this year's female roles are considerably better than last year's, I think Julia can start making plans for the 2001 Oscars.”

This is one of the best, if not the best, role that Roberts has done. To play a real person is no easy feat, but Roberts pulls this role off perfectly. She is left-handed but had to learn how to be right-handed since Brockovich is right-handed. There is one part where she is eating soup with her left hand since she couldn’t pull that off, but otherwise, did a great job. She is not the only left-handed actor who had to learn to be right-handed for a role, but she played this role perfectly. Check it out if you haven’t, you will love it, I promise.

Look out next week where I look at another romantic comedy that Roberts did in the finale of “Julia Roberts Month.”

Runaway Bride

“To cheat oneself out of love is the most terrible deception; it is an eternal loss for which there is no reparation either in time or eternity,” Soren Kierkegaard said, and he was obviously right. The 1999 strong romantic comedy, “Runaway Bride,” shows that emotional truth.

Julia Roberts plays Maggie Carpenter, a hardware store owner in Hale, Maryland, who has left three fiancés at the altar watching her ride away on a horse. Frederic and Mary Ann Brussat said in their review, “This isn't just a bad case of premarital jitters; this is abandoning the ship.”

When Ike Graham, played by Richard Gere, a sarcastic columnist for USA Today, hears about this, he uses her as the main focus in, as Brussat mentioned, “a caustic commentary on women as maneaters.” She says there’s mistakes in the story, and before he knows what’s going on, he is fired by his boss, played by Rita Wilson, for not checking his sources. Wanting evidence, he accepts a work to write a profile of Maggie. Ike travels to the small town where she lives, wanting to tell the real story against the setting of her upcoming marriage to Bob, played by Christopher Meloni, a physical education teacher and passionate mountain climber.

Everybody has an opinion about Maggie running from marriage – her escape has become a joke in the city – and they are willing to talk to Ike about it, including her alcoholic father (Paul Dooley), her feisty grandmother (Jean Schertler), her best friend (Joan Cusack), and the men she ghosted at the altar.

Brussat noted, “From the vivid opening scene of the runaway bride on a galloping horse, her bridal gown flowing behind her, to the heart-warming finale, director Garry Marshall (Pretty Woman) draws out all the magic comic moments in this satisfying love story.” “Runaway Bride” speaks to the hesitant person inside us who is always on the go. It also reminds us that love can’t open our hearts until we stop lying to ourselves. Making that deal is possible once we stop believing the false belief we have about ourselves.

I remember one time my siblings and I were talking about going to the theaters to see a movie. The choices we had were either seeing “The Phantom Menace” again, or going to see either “Inspector Gadget” or this. We didn’t want to see “The Phantom Menace” again and my sister and I were not wanting to see “Runaway Bride.” My brother was saying let’s not go to the theater, but my sister and I forced my brother to go see “Inspector Gadget,” which is a mistake I regret making, especially after seeing Nostalgia Critic’s review of the “Inspector Gadget” movie.

Sorry for going off on that tangent there, but I don’t know what I would have thought if I saw this movie in the theaters. However, seeing it later as an adult, I found myself actually enjoying this film. Especially seeing it reunite Richard Gere and Julia Roberts after “Pretty Woman.” I don’t get why critics didn’t like this movie. I thought this was a good romantic comedy. Check it out and decide for yourself.

Next week I will look at a biographical film that Roberts starred in as we continue along with “Julia Roberts Month.”

Stepmom

Next up we have the 1998 film that people might say is a tear-jerker, but I didn't cry at, “Stepmom.”

 

Isabel Kelly (Julia Roberts) is a hard-working fashion photographer who lives with lawyer Lukas Harrison (Ed Harris). He’s recently divorced and is the weekend dad of 12-year-old Anna (Jena Malone) and 7-year-old Ben (Liam Aiken).

Poor Isabel is in the middle of all the bitterness left from the separating of the Harrison family. Any chance she can to be cruel is immediately put on Isabel. Ben is sweet and silly most of the time, but he follows along with his sister.

They both follow behind their mother, Jackie, played by Susan Sarandon. Isabel was not the reason for the divorce, but Jackie gives her full homewrecker status. She would be happy if Isabel left.

Jackie’s issue is Isabel’s inability to parent. Isabel doesn’t want children. Anna and been are part of what came with Lukas. She’s doing the best she can, but it’s evident that her best will never be enough unless she stands up to Anna and Jackie.

Jeff Millar said in his review, “Off come the gloves. These parts are juicy, and Roberts and Sarandon deliver the blows with relish.”

The filmmakers make you care about these characters’ problems.

Isabel loves Lukas, they become engaged, and likes his children, and she would be really happy if they would give her a chance to show it.

Millar noted, “Lukas -- the role cannily cast with the undisputed Nicest Guy in Movies -- does what he can to intercept the mortar shells Isabel and Jackie lob at each other while he waits for Jackie to accept the therapeutic value of their divorce.” They know they are parents still and are equally making sure to give the welfare of their children.

Millar mentioned, “Jackie is a tiger-mother who has made her children her life's investment. Yes, she is being too hard on lemur-eyed Isabel.” However, we know that a person as good as she can change, given that she sees the chance as good for her children, and given the right substance.

That’s when we go to the hospital and see Jackie being labored through the CAT scanner.

Five people are given screenplay credit, which surpasses by two the number that asks, “Does anybody know that this movie is about?” Millar mentioned, “This may account for the rather arbitrary turns the narrative often takes, steering provided by the kind of TV-movie dramatic dialogue that's followed by characters slamming doors, storming upstairs or sweeping china off a buffet and then collapsing in sobs.”

You may also have a complaint that you won’t be able to come to terms with but would be find by removing 20 minutes from the film’s running time.

However, on balance, Chris Columbus’ direction is on point. Roberts really does her part very well against the powerhouse Sarandon.

Malone is skillful as Anna, and Aiken is very adorable as Ben.

At the end, there might be some tears that will fall from certain viewers faces. If the filmmakers were waiting for that sound to pop the champagne, watch out for the corks.

This is a good movie. I don’t understand why critics didn’t like this, as I thought this was a feel-good family drama. After watching this, I felt at ease. There is a famous part that I was familiar with, probably because my dad mentioned this. That is when Sarandon is singing Ain’t No Mountain High Enough with her children. That song was also in “Sister Act 2” and “Remember the Titans,” which is surprising, but it’s a classic. Check this movie out if you haven’t because you will love it, I promise.

Look out next week to see what other excitements I have in store for in “Julia Roberts Month.”

Pretty Woman

For this whole month, I will be looking at films that star the great Julia Roberts. Let’s kick things off with the 1990 classic, “Pretty Woman.”

Because the film stars Richard Gere, Hollywood’s most successful male playboy, and because it’s about his character falling in love with a prostitute, it is surprising that “Pretty Woman” is such an innocent movie – that it’s the sweetest and most genuine love story since “The Princess Bride.” Here is movie that could have taken us down a cruel road in the depths of evil, and it shines with romance.

This appears to be made of realism, all right. It stars Gere as an out-of-town millionaire, visiting Los Angeles, who borrows his friend’s car and gets lost on Hollywood Boulevard. He asks a prostitute for directions to his hotel. She offers to tell him, for five dollars. For $10, she’ll guide him there.

He agrees. It is important to understand that he is looking for direction, not a one-night stand, and that he has broken up – distantly and proficiently – with his current girlfriend only half an hour earlier in a brief telephone conversation. The girl gets into the car, and it turns out that she knows a lot about cars. This maneuvers him, and the result is that he invites her to stay with him in his hotel suite. However, not for a one-night stand, of course, he says. However, she says that he still must pay her.

She is played by Julia Roberts as a woman who is as smart as she is beautiful, which makes her very smart. Roger Ebert said, “Like many prostitutes, she is able to perform the mental trick of standing outside of what she does, of detaching herself and believing that her real self is not involved.” That’s what she does. She overhears one of his telephone conversations and wants to know what he does.

Ebert mentioned, “He's a takeover artist. He buys companies, takes them apart and sells the pieces for more than he paid for the whole.” “But what about the people who work for those companies?” she wants to know. “People have nothing to do with it,” he explains. “It’s strictly business.” She responds, Oh, then you do the same thing I do.” What is happening at these parts is that the characters are developing as believable, original and sympathetic. Gere and Roberts work easily together. We feel that their characters not only like one another but feel comfortable with one another. The thing is both trusts the feeling of comfort. They’ve been hurt a lot; they depend on a face of sarcastic fairness. Everything is business. He offers her money to spend one week with him, she accepts, he buys her clothes, they have a one-night stand and inevitably (this being the movies) they fall in love.

They fall into a certain romantic type of love, the type you don’t really see in the movies currently – a love base don staying awake after the lights are out and revealing life secrets. This is the first Gere film that has more confession than nudity. Ebert said, “During the day, the lovers try to recover their cold detachment, to maintain the distance between them. If the love story in "Pretty Woman" is inspired by "Cinderella," the daytime scenes are "Pygmalion," as the hotel manager (Hector Elizondo) takes a liking to his best customer's "niece" and tutors her on which fork to use at a formal dinner.”

There is a subplot where Gere’s attempts to take over a corporation where an old millionaire, played by Ralph Bellamy, is in charge – a man whose lifework he is ready to ruin, even though he likes him.

Ebert noted, “There are broad Freudian hints that Gere's entire career is a form of revenge against his father and that Bellamy may be the father figure he is searching for. But he has an impulse to hurt what he loves, and there is one particularly painful scene in which Gere reveals to a friend that Roberts is a prostitute and Roberts gains a certain insight by how hurtful that betrayal is.”

Ebert admitted, “I mentioned that the movie is sweet and innocent. It is; it protects its fragile love story in the midst of cynicism and compromise.” The performances are important for that reason. Gere plays new roles here. His arrogance is gone, and he’s more hesitant, proper, even shy. Roberts does an interesting thing. She gives her character an uncontrollably lively sense of humor and then lets her spend the movie trying to control it. Actresses who can do that and look great can have whatever they want in Hollywood.

Ebert noted, “Gere's career is on a roll right now, after this movie and the completely opposite, swaggeringly erotic character he plays in "Internal Affairs." In Esquire magazine a few months ago, a collection of Hollywood jokes included one where the punch line was that a producer was going to be stuck with Richard Gere in his movie. After these two movies, the joke doesn't work anymore.”

The movie was directed by Garry Marshall, whose films deceive an innate good nature, and it is about as warmhearted as movie about two cold radicals can possibly be. Ebert admitted, “I understand that earlier versions of the screenplay were more hard-boiled and downbeat, and that Marshall underlined the romance.”

Ebert ended his review by saying, “There could indeed be, I suppose, an entirely different movie made from the same material - a more realistic film, in which the cold economic realities of the lives of both characters would make it unlikely they could stay together. And, for that matter, a final scene involving a limousine, a fire escape and some flowers is awkward and feels tacked on. But by the end of the movie I was happy to have it close as it does.”

This is a different type of romance that is unique and makes it stand out. You should see this if you’re a fan of Gere and/or Roberts. I would recommend this, especially since the title is the same as a famous Roy Orbison song that plays in the movie.

Stay tuned next week to see what I will review in “Julia Roberts Month.”