Wes Craven deconstructs scary with Scream (B+), a smart comedy/horror hybrid that features characters who are in the know about the rules of horror movies and still fall into their wicked traps. Courteney Cox, Drew Barrymore, David Arquette and Neve Campbell are strong in the ensemble, and Kevin Williamson’s witty screenplay is truly the star. Craven is the perfect veteran director to both amplify the body counts and multiply the laughs as the proceedings get more and more horrific.
Kevin Pollack and Jamie Lee Curtis star in Harry Winer’s preposterous comedy House Arrest (F) about a bunch of kids who lock their bickering parents in the basement until they resolve their disputes. Billed as a family film, this pitiful exercise in annoyance wastes the talents of both its adult and child stars. It’s kind of the opposite of a night out (or in) at the movies.
The classic toys that come to life in John Lasseter’s Toy Story (A-) are among the most endearing new creations developed for the screen. Pull-string cowboy Woody (Tom Hanks) and rival-turned-pal astronaut toy Buzz Lightyear (Tim Allen) preside over a pixel playroom of great characters including Mr. Potatohead, Slinky Dog and other favorites come to life. When there’s trouble in toyland, it’s time for teamwork, and the saccharine sweetness never gets too much to turn off adult audiences who are watching with kids. The Randy Newman ballads are a little treachly, but everything else is super-fresh, and Pixar Studios shows why it’s the high-tech hotshot on the scene with 110,064 frames of computer animation that translate into absolute enjoyment.
Politics make strange bedfellows in Rob Reiner’s The American President (A) which tells a charming tale of a widowed president (Michael Douglas) who falls in love with a political operative (Annette Bening). The leads are remarkable and sink their teeth into Aaron Sorkin’s snappy screenplay. This in a rare romantic comedy that gets a very high approval rating.
Clerks writer/director Kevin Smith makes a change of venue to cover the food court jesters inhabiting the world of Mallrats (C), a slightly more mainstream and less funny offering from the indie auteur. Upgrading to Hollywood talent such as Jason Lee and Shannen Doherty and reverting to sight gags that sometimes seem more in-your-face than flat-out inspired, the film works best when the characters get to flex their comic muscles with wry observational references and hilarious pop culture pronouncements. The dazed dialogue goes a long way to cover up the convoluted storyline in a bit of a sophomore slump from a promising player on the scene.
Look who’s oinking! Chris Noonan’s Babe is a delightful fable featuring a talking pig protagonist and his human companion (James Cromwell) who enters him into a sheepdog championship. It’s a vividly colorful, sunshiny look at finding your place in the world.
Amy Heckerling’s Clueless (B+) is a hybrid of Ferris Bueller and Jane Austin’s Emma and is one of the most perceptive and entertaining comedies about teens in the 90’s. Alicia Silverstone commands the screen as the high school matchmaker who finally finds a little love for herself. The film’s ribald vocabulary and elaborate fashions make it fun and flashy, and it’s a surprising treat from beginning to end.
As the main characters mounting a theatrical spectacular in Woody Allen’s Bullets Over Broadway (A) toast to a world without compromise, deep inside they know they will have to sell out for a sellout performance. Allen’s showstopping exploration of art, deals and the art of the deal is a comedic bonbon with John Cusask in the lead, Dianne Wiest as a grand diva, Chazz Palminteri as a gangster producer and Jennifer Tilly as a sublimely untalented gangster moll and wannabe singer. The mounting verbal, sight and character gags that emerge as opening night for a doomed show coalesce seal the deal for the film’s appeal. And Allen has rarely made a film this striking in its visuals, with vivid pop colors, art deco posters, glitzy marquees and gorgeous iconography of the Great White Way providing a rich palette.
Director Michael Bay could have projected the coming attractions trailer over and over for the full running time of the full-length duration of Bad Boys (F) with the same result. The film is nothing more than a calculated marketing ploy pairing two popular TV stars – Will Smith (The Fresh Prince of Bel-Air) and Martin Lawrence (Martin) – as buddy cops with car chases and product plugs. The dialogue ranges from “Hey baybee” to “go girl” and misses all chances to leverage the chemistry between two talented actors.
Director Nora Ephron helms her first certified bomb with Mixed Nuts (D) which registers something south of North, east of Ishtar and beyond Heaven’s Gate. This holiday clunker starring Steve Martin is a hodgepodge of throwaway jokes and witless situations involving fruitcakes, touch-tone phone options for the suicide hotline and a Yuletide cross-dresser. This loose adaptation of the French Le Pere Noel Est Une Ordure may spark a ban on imports.
You know the sensation: the feeling you get after gulping a slush drink too fast. The rush to your frozen noggin is unbearable for one brief, piercing moment. Then it stops. It’s a revelation, relief or rejuvenation. Writer/director Kevin Smith’s Clerks (A) is like that instant of peace when you regain your equilibrium and once again feel ready to take on the world. It’s a delightful slacker comedy about a day in the life of two friends who work in an adjoining video shop and convenience store. Through a farcical display of raunchy, raucous dialogue, the film captures the wacky world of life on minimum wage. The wisdom of these foul mouthed philosophers should give solace to anyone who has ever contained fury at a customer or secretly desired to break the rules. Smith employs a non-linear approach with quick camera jerks and slow promenades over the absurdist landscape to fashion a monochrome masterpiece. Despite the snark, there’s a certain sweetness to the central duo’s friendship and a perverse charm to their assortment of strange friends and customers. This is strictly for folks who don’t mind a little residual cheese puff dust on their hands.
Moviemaker Edward D. Wood, Jr. could have been the next Orson Welles. Both men hit their stride at an early age and possessed unswerving obsession for the films they created. There’s just one thing Ed Wood lacked: talent. Wood, infamous for dreck such as Plan 9 From Outer Space is biographically redeemed in director Tim Burton’s Ed Wood (B+). As portrayed by Johnny Depp, the title character plays out his passions and peccadilloes against a quaint black and white stock ensemble dramedy. Martin Landau is genius as legendary film star Bela Lugosi, who adds heft to the proceedings. The movie magic of rubber squids, aluminum foil robots and zombie body doubles creates a pleasant phantasmagoria that’s right at home in Burton’s oeuvre.
