Elvis in Blue Hawaii. Madonna in Shanghai Surprise. History has not been kind for pop superstar cross-overs into film, but Whitney Houston actually lifts director Mick Jackson’s The Bodyguard (B-) into an often stylish and engaging romantic adventure with music. Paired with a stoic Kevin Costner as her protector, Houston capably plays a souped-up version of herself in a dusted-off Lawrence Kasdan script that is mainly a big excuse to get to the love sequences and the songs. See it for the iconic songs such as “Queen of the Night,” “Run to You,” “I Am Nothing” and “I Will Always Love You.”
A prequel of sorts to his eponymous cult television series detailing the final days of the slain Laura Palmer’s life, director David Lynch fashions a tonally off-kilter slow-burn drama in Twin Peaks: Fire Walk With Me. Replacing the sometimes giddy, carefree world of log ladies and damn fine cups of coffee with a generally oppressive sense of dread and sorrow, Twin Peaks The Movie never finds its distinctive voice. Viewers are left at a distance, voyeurs to a world where a dwarf speaks backwards and in subtitles and where additions to the seedy pop-mythology don’t serve to enrich as much as disturb. Lynch has built more artfully on his vision of the underbelly of small-town Americana in Blue Velvet and his Twin may have peaked in serialized form rather than this celluloid format. Kyle MachLachlan is pretty vacant as the central detective, and Sheryl Lee brings very little to the mysterious Laura Palmer whose mystery doesn’t seem much solved by this puzzling film.
Director John Glen, who has made a career out of taking the final gasps of life out of creaky James Bond film entries in the late ’80’s, originally cast Timothy Dalton but found an even more bland leading man named George Correface to play the title character of Christopher Columbus: The Discovery (D+). Like the Niña, Pinta and Santa Maria, this vessel is undeniably wooden. Even Marlon Brando can’t muster a glimmer of interest as a high inquisitor. This “Columbus for Beginners” wouldn’t even make a good mini-series if you split it up into episodes. This won’t be playing soon in a classroom near you.
Jon Avnet’s Fried Green Tomatoes (A) offers a whistlestop whirlwind into the universal truths of friendship, sisterhood and possibly a whole lot more under the surface of women in the South. Kathy Bates and Jessica Tandy are appealing in the framing modern-day empowerment story, but it’s the flashbacks centering on rascally restaurateurs played by Mary-Louise Parker and Mary Stuart Masterson that really take hold of the imagination. Several subplots that aren’t fully sketched are eclipsed by the overall emotional impact of a journey that showcases the power of secrets and sacrifice.