Movie Picks

September 21, 2000
Nurse Betty
  • Nurse Betty

*Almost Famous (R)

See full review, page 43

Tinseltown; Kimball's Twin Peak; Chapel Hills

Autumn in New York (PG-13)

Richard Gere plays a womanizing, aging restaurateur who falls for Winona Ryder, a youthful artiste dying from a heart ailment. Much is made of his age and her youth -- he gives her a few last laughs; she opens up his heart. Gere is an appealing leading man and Ryder does the best she can with a silly role that involves being quixotic. The production values are quite appealing, but in some ways the very prettiness of the film is its most annoying feature. The last I checked, love, eating, sex, and dying were all quite messy endeavors, but Autumn in New York makes them appear like orderly activities. There's nothing intrinsically wrong with a tidy little film, but it manages to take most of the interest out of what otherwise would be compelling subject matter. -- AL

Tiffany Square; Gold Hill Theaters

*The Basket (PG)

Peter Coyote plays a teacher with unconventional methods who comes to a small Pacific Northwest town in the midst of World War I. Though the townspeople are tired and suspicious, when he teaches them a strange new game called basketball, they react with enthusiasm and hope. Beautifully filmed, gentle and respectful treatment of difficult issues in a simpler time. -- KCE

Chapel Hills

The Cell (R)

The Cell explores the dark territory inside the mind of serial killer Carl Stargher (Vincent D'Onofrio) as psychologist Catherine Deane (Jennifer Lopez) risks her sanity by interacting with the killer's subconscious to attempt to locate his last victim in time to rescue her. Creepy dreamscapes and funky color schemes give a nod to suspense thrillers likeThe Silence of the Lambs, but The Cell's extravagant imagery doesn't hold a candle to David Fincher's Seven for terror, dread, and suspense. As a horror or suspense film, The Cell falls short by pulling its punches in refusing to live up to the creepy and volatile standards it lays out. -- Cole Smithey

Carmike 10; Chapel Hills; Tinseltown

Coyote Ugly (PG-13)

John Goodman plays the father of Violet (Piper Perabo) a wannabe musician. Violet gets a gig as bartender at Coyote Ugly, where the gorgeous bartenders double as dancers. The audience might expect a buddy film -- the cinematic equivalent of a trip to a topless joint -- but there's not much to ogle at, except silly want-to-be-sexy scenes, where the girls get very close in their wet leather pants -- nothing more than highly conventional Playboy poses. The film is most interesting in its depictions of the contradictions and pitfalls of modern gender, sexuality, and the hazards for women attempting to reclaim sexual power. -- AL

Tinseltown; Chapel Hills

*Croupier (not rated)

See full review, page 43

Kimball's Twin Peak (closes Friday)

Disney's The Kid (PG)

Bruce Willis plays Russell Duritz, a very successful and sometimes mean image consultant. Two days before his 40th birthday, Russell is visited by Rusty (Spencer Breslin), the eight-year-old incarnation of himself, who is disappointed when he finds out how his life turned out. Willis does a fine job holding his own next the pudgy, lisping, and very cute Breslin. There is nothing offensive in the film, but if you take your kids be prepared to explain a lot -- The Kid is far more of an adult film than a child's. Pleasantly entertaining. -- AL

Chapel Hills

*Gladiator (R)

Russell Crowe (The Insider) acts up a righteous storm in his Roman get-up, proving once and for all that his versatility as an actor matches his prowess. Though director Ridley Scott would like you to think Gladiator is about strength, honor, duty, democracy and the danger of mob rule, in truth, it is an old-fashioned revenge drama -- and a pretty good one at that. Crowe as Maximus, beloved general of Roman troops turned slave, then gladiator, and Joaquin Phoenix as Commodus, insecure usurper to the throne, make marvelous foes. Unfortunately, Scott is so enamored of his production team's ability to show heads, hands and other body parts being severed, that the fight scenes become clamorous and redundant. -- KCE

Silver Cinemas

Hollow Man (R)

Filmmaker Paul Verhoeven's latest thriller is an empty, excruciating mess. Kevin Bacon stars as Dr. Sebastian Crane a government scientist determined to become the first invisible human. Special effects aside, no other aspect of Hollow Man is entertaining or enlightening. To use the guise of invisibility the way Crane does defies the presence of brains or imagination -- his is the petty psyche of a Peeping Tom bent on menacing women. This overblown spectacle of a film rings empty, void, vacant, meaningless, superficial, delusive, ineffectual, unsatisfying -- in a word, hollow. -- KCE

Tinseltown; Tiffany Square; Gold Hill Theaters

Me, Myself and Irene (R)

In spite of the combined comic genius of Jim Carrey and the Farrelly brothers, Me, Myself and Irene is a step backward for both the actor and the filmmakers. Jim Carrey plays a good-natured policeman, Charlie Baileygates. When Charlie's personality splits to reveal Hank, his blustering alter ego and a swaggering jerk, Carrey shows off his best physical ability, throwing himself mercilessly into both roles. He eventually hooks up with Renee Zellweger as Irene Waters, but Zellweger gets little chance to shine here because her character is dwarfed by Carrey's, and the movie's runaway action plot eventually throws both characters into utter chaos. Not an entire waste of two hours, Me, Myself and Irene inspires several deep belly laughs, but it wanders so far off course it's hard to hang on for the duration. -- KCE

Silver CInemas

M: I-2 (Mission: Impossible 2) (PG-13)

Director John Woo keeps similarities to director Brian De Palma's 1996 Mission Impossible to a minimum by incorporating his signature slow motion, ballet-of-bullets action sequences against the taut resolve of Tom Cruise's most ambitious action performance to date. Cruise performed his own stunts, much to the chagrin of Paramount studio execs. The film's realism of danger allows it to operate on a high level of believability and determination. -- Cole Smithey

Silver Cinemas

*Nurse Betty (R)

Nurse Betty follows familiar Hollywood genres: there's the amnesia story, the road-trip-across-the-West story, the killers-in-pursuit-of-something-the-target-doesn't-know-she-has, as well as a host of others, all very conventional tales, here beautifully mixed up, commented upon, and reformed. Within this somewhat complicated plot, writer John C. Richards manages to weave together a terrific narrative structure that allows each genre to feed into the other. Very fine performances by both Freeman and Zellweger help fulfill the film's complex agenda. Freeman's gravity as he slowly falls in love with an imagined Betty is terrific to watch, especially at the climax while Zellweger's pouty-lipped vulnerability makes you just cringe in wanting to protect her. All in all, director Neil LaBute has managed to construct a suspenseful, bittersweet fantasy out of bits and pieces of this and that. Genre has rarely looked so good. -- Al

Tinseltown

*The Original Kings of Comedy (R)

The best live performance film in memory and, surprisingly, one of the most touching films this year. Like Richard Pryor's Live on the Sunset Strip, this movie captures the power of the stage and the enthusiastic desire of the audience to be uplifted. Shot with 10 cameras over three days, Kings ventures backstage briefly, but the heart of the film is onstage, and director Spike Lee masterfully captures the give-and-take of four stand-up comics and their audience. In one brilliant moment, host Steve Harvey leads the audience through a critique of hip-hop and into a Marvin Gaye celebration of love songs. Next D.L. Hughley observes the not so subtle differences between white and black folks. Hughley removes barriers, declaring no topic off limits. Cedric the Entertainer provides a low-key segue between Hughley and Bernie Mac, the most in-your-face of the comics, with more observations on the racial gap. Mac's stage presence is mesmerizing, gathering power with every round of laughter. By the end of his segment, the audience is empowered by his courage and candidness. -- KCE

Tinseltown

The Patriot (R)

Clunky script devices continually squeak and rattle throughout the The Patriot. This is a Mel Gibson movie, and screenwriter Robert Rodat bows reverently to his leading character -- Gibson perfectly walks a tightrope over any dramatic context with artless skill. The Patriot is an uncomfortably smooth ride over mixed terrain of emotional posturing, flashy action sequences and cultural misrepresentation. -- Cole Smithey

Chapel Hills; Broadmoor; Silver CInemas

The Replacements (PG-13)

Keanu Reeves in full surfer-speak is Shane Falco, an All-American college football star who never made it to the big leagues.When the Washington Sentinels' players go on strike, legendary coach Jimmy McGinty (Gene Hackman) is brought in to put together a team of replacement players to carry the Sentinels through. Falco is recruited as quarterback because he possesses a quality missing in the regular crew -- heart. The bulk of the action takes place on the football field. Every scene is utterly predictable. The dialogue is so lame that even the worst clichs are repeated over and over. Even the formidable Gene Hackman couldn't save this giant gridiron groaner. -- KCE

Tinseltown; Carmike 10; Tiffany Square

Saving Grace (R)

Another refreshingly politically incorrect British comedy, Saving Grace stars Brenda Blethyn as an upper-crust villager whose late husband has left her in debt. Groundskeeper Matthew (Craig Ferguson), turns Grace on to the idea of growing marijuana in order to pay her bills. Blethyn grounds her character with her depiction of the sorrow of a loveless marriage, but the film destabilizes slightly when Grace ventures to London to find a dealer. The actors succeed in making their characters seem like real people, especially Valerie Edmond who plays Nicky, Matthew's pregnant girlfriend. Gentle, and whimsical, in spite of its subject matter, Saving Grace is not an earthshaker, but certainly a worthy comedy. --KCE

Kimball's Twin Peak

Scary Movie (R)

Scary Movie, a ripoff of teen slasher flicks Scream and I Know What You Did Last Summer, may win the overall competition for grossest gross-out jokes of any film ever. The brothers Wayans seem to have a concept here but they set up every joke so tediously and assiduously that by the time the punchline appears the joke is dead already. Given a big budget, the Wayans seem to wander, aggrandize, overcompensate and falter. The competent cast play imperiled teenagers adequately, and some of their lines are genuinely funny, but to watch Scary Movie is, basically, to suffer through an extended doo-doo riff with accents of snot, pee-pee and semen. -- KCE

Tiffany Square; Carmike 10

Space Cowboys (PG-13)

A macho adventure about four Air Force men grounded by a commander (James Cromwell) during the heyday of NASA. Forty years later, when a Russian communications satellite goes kaflooey, head man Frank Corvin (Clint Eastwood) is called out of retirement to fix a problem so obsolete that only senior citizens can solve it. Corvin demands that his buddies "Hawk" (Tommy Lee Jones), "Tank" (James Garner), and Jerry (Donald Sutherland) get to tag along. The glacial pacing of the first third is almost compensated by the last, but the technical mumbo-jumbo almost kills that. Overall, an acceptable Hollywood movie, with some cool special effects. The only big revelation is that the male fantasy of drinking-swearing-fighting-and-getting-all-the-babes only gets more ridiculous with old age. -- AL

Tinseltown; Carmike 10

What Lies Beneath (PG-13)

Dr. Norman (Harrison Ford) and Claire Spencer (Michelle Pfeiffer) are a well-to-do married couple living alone in their lakeside home. Bored, beautiful Claire becomes a lightning rod for a ghost from Norman's not-so-distant adulterous past. Director Robert Zemeckis (Forrest Gump) kills What Lies Beneath's fleeting moments of excitement by piling up so many false starts of plot and faux shocks of terror that by the time the story finally gets around to making sense with some nitty gritty horror scenes, the audience has become numb to the suspense. -- Cole Smithey

Tinseltown; Chapel Hills

The Watcher (R)

Debut feature director Joe Charbanic (music video director for Keanu Reeves' band Dogstar) dilutes any hope for captivating cinematic entertainment in The Watcher by beating the chase scene, an otherwise innocent cinematic device, until there is nothing left. It doesn't help matters that Keanu Reeves, as David Allen Griffin, insists on crystallizing his worst-actor-in-Hollywood title by playing a serial killer about as menacing as a sleeper sofa. And James Spader comes off more as a desperate actor in search of a script than as Joel Campbell, a drug addled F.B.I. agent hot on Griffin's trail. No stars for this lame attempt at stylish suspense and psychological voyeurism. -- Cole Smithey

Chapel Hills; Carmike 10; Tinseltown

*X-Men (PG-13)

The summer's biggest blockbuster turns out to be a spirited, stylish allegory more along the lines of its mighty predecessor The Matrix. Audience members are swept up almost immediately into a blessed state of suspended disbelief from which we are allowed to dwell on the spectacle before us, not on the probability of the plot. This happens incredibly swiftly with sharply defined scenes and cogent dialogue. A few subplots -- mutants Wolverine (Hugh Jackman) hankers for Dr. Grey (Famke Janssen) who is currently Cyclops' (James Marsden) main squeeze; Rogue (Anna Paquin), meanwhile, is smitten with her saviour and hero, Wolverine -- add some needed humor and heart to the mix. The diction and grave humanity of Patrick Stewart and Sir Ian McKellen lend more to the film than a year's worth of special effects. And Australian newcomer Jackman is fabulous -- a steely, Clint Eastwood look-alike who moves with feral grace and a healthy dose of skepticism throughout. -- KCE

Tinseltown; Chapel Hills


OPENING THIS WEEK

Jesus' Son (R)

Billy Crudup plays a junkie stumbling toward sobriety and redemption in this drama with Samantha Morton, Holly Hunter and Dennis Hopper.

Kimball's Twin Peak

Urban Legends: Final Cut (R)

A group of university students trying to make a thesis film become the target of a murder. Director John Ottman's final cut.

Tinseltown; Carmike 10; Chapel Hills

Woman on Top (R)

Isabella (Penelope Cruz) is a Brazilian enchantress and chef stuck in a bad marriage. When she flees to San Francisco and gets her own TV cooking show, she finds the secret to coming out "on top". Comedy directed by Fina Torres.

Tinseltown; Tiffany Square

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