slasmorr Reviews

Osmosis Jones (2001)

More Frank! (or Bill, or Chris, or David ...)

[7/10 · 27 August 2001]

Somewhere between "Yuck!" and "Yuk-Yuk!" falls "Osmosis Jones," a puzzling but memorable departure for the Farrelly brothers, whose previous forays into bodily functions have heretofore been WAAAY beyond PG and animated only in the sense that they were vividly and hilariously grotesque.

The title character is voiced with patent hip by Chris Rock, who brings life to a white blood cell/loose cannon cop on the trail of a particularly nasty baddy named Thrax (Lawrence Fishburne). Fishburne dips an octave or two below the tones of his "Matrix" alter ego and delivers real power as the virus out to destroy the "city" of Frank (Bill Murray), who is to hygiene and nutrition what Gary Condit is to truth and justice.

A cold capsule named Drix (David Hyde Pierce) and Frank's Mayor Phlegmming (William Shatner) likewise add to a cast that fairly clicks with hammish appeal, and the animation is top drawer, particularly when Thrax happens upon Frank's subconscious. What lacks is deeper imbedding into Frank's infrastructure (what am I saying??) and more shots at laughs given the pedigree of the actors. After 88 minutes, less was not more.

Pay It Forward (2000)

Two steps forward, one step back

[6/10 · 5 June 2001]

Such promise, and such a premise. How "Pay It Forward" misses the mark is hard to pin down, but it just does.

That's not to say that Kevin Spacey, Helen Hunt and Haley Joel Osment, batting .667 as a group recently against Oscar, don't give effective performances. In truth, much of the movie's emotional punch comes from the three spending so much time together in front of the camera. These three are phone-book actors -- they could tie our stomach in knots reciting all the M's in the Vegas white pages. The studio got its money's worth there.

The problem is resonance. Gifted as they are, the three can't pull the film far beyond the vortex of a mundane love story. The concept of paying it forward, or doing three big favors to pay for one done to you, is cheapened and diluted by three stars and a subplot that suffocates this ethic with "Leaving Las Vegas" overtones. More of Angie Dickinson as Hunt's mother and James Caviezel as Osment's payee-gone-wrong. Less of the marquee players. That would have paid it forward to the audience.

Against the backdrop created by director Mimi Leder, the ending is deus ex machina, a way of extricating a mired plot and blithely refocusing on what was given short shrift for the previous 110 minutes -- the idea that a world-changing idea is certain to have its pitfalls, like life itself, but that it's worth exploring to the utmost.

Rating: 6.5 of 10.

Shrek (2001)

Enchanting, but conflicted

[7/10 · 21 May 2001]

The good: DreamWorks has pushed the envelope even further, somehow. The characters feel like they've popped right off the fairy-tale page, though a few of the drawn "extras" feel a bit cardboard-ish, given what we now know of digital capability in the animated realm. There are some breath-robbing humorous scenes and stand-on-the-table musical numbers (a remake of the Monkees' "I'm a Believer" will stick with you), which will keep the turnstiles clicking. Kudos to the writers for going to the edge for hilarity's sake. It pays off well.

The bad: At times the pace is slower than Lord Farquaad's wit and there are too many run-of-the-mill references to bodily functions. The film tries too hard to please all of its too-wide demographic, and at times pleases no one. There were more than a few restless tykes at the theater. When they're not happy, few others are. And Eddie? We've heard that voice before. You mean none of the voices from either of the "Nutty Professor" movies was available, you had to go with (albeit far less raw) stand-up tones? Irritating, given the fact that Donkey is chattier than all combined on "The View."

The Contender (2000)

Enthralling and enlightening

[30 April 2001]

It is difficult not to wag a finger at director Rod Lurie for being so overtly partisan in "The Contender," but equally difficult to find fault either with its weighty dramatic tone or its smothering, smoldering realism.

I find it understandable though sad that the Academy didn't see fit to shower more honors on "The Contender." To a body that is as politically sensitive as any, the movie's unabashed Democratic tilt is almost toxically partisan. The Academy lost no ground by giving it token esteem, just artistic credibility. Responsible, but not guilty.

Jeff Bridges, Joan Allen, Gary Oldman, and Sam Elliott should consider public service after their dead-on performances. "The Contender" borrows from recent headlines and expands on their impact, giving the film and its players the kind of potency for which you'd gladly forfeit 8 bucks time and again.

Rating: 8.5 of 10.

Chocolat (2000)

Sweet, soothing and savvy

[23 April 2001]

"Chocolat" isn't as much about confection as it is about convention, and though some rigid types might see its message as blasphemy, it's far too gentle and playful to be taken as anything more than a sweet aside in the arena of moral battle.

Juliette Binoche's character is revealed to be at least as flawed as the townspeople she thumbs her nose at with her chocolaterie, and this adds considerable weight to a story that otherwise works just fine as a fable.

Judy Dench delves into a little MacLaine-ish crotchetiness, but her reaction to her grandson's portrait of her is full of the brilliance one expects from her.

Far from an indictment of the Christian ethic, "Chocolat" is a measured reminder of what humanity is about in the end: love, fulfillment, enjoyment.

Rating: 7 of 10

Spy Kids (2001)

Great gadgets and good times

[2 April 2001]

Though there is a certain cheese factor to the special effects and the Latino lean to the movie, "Spy Kids" is none the worse for it, and is in fact a well-rounded, ingenious family movie.

Best of all, there isn't a hint of darkness to push kids backward in their seats. The villains are foiled with perfect pitch, thanks to the plucky-yet-adorable youthful heroes, and the growth of the bond between the lead characters as the story unfolds is one of the film's most endearing elements.

Antonio Banderas and Carla Gugino are believable and utilitarian as the loving parents/beautiful spies, but make no mistake: The kids and the incredible gadgetry are the stars, and the result is tremendous fun.

The Patriot (2000)

Power-packed and skillfully told

[9/10 · 14 July 2000]

It's not like we've never seen the whole vengeance angle before -- the first I recall was "The Outlaw Josey Wales" -- but I found myself swept up in the period of "The Patriot." I've no idea of the historical accuracy or likelihood of the situations or battle scenes, but the story was compelling, intense, and nerve-twisting for most (I say most) of its 3-hour duration. We've also seen the contorted, tormented face of Mel Gibson before, but it is nonetheless satisfying given the context and worthy of many a "huzzah." No Oscar material within, I'd say, and still the film often hits you like a cannonball to the forehead.

How the Grinch Stole Christmas! (1966 TV Movie)

You're a great one, Mr. Grinch

[10/10 · 5 January 2000]

One's heart can't help but grow three sizes every time this masterpiece is shown. Chuck Jones and Dr. Seuss were what God intended when it comes to children's writing and illustrating, and it's a pity they didn't collaborate more. Child-like spiritual truisms, heartwarming humor and a legendary actor's finest performance -- what more could you ask for from any film?