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.