One of the pleasures of seeing the filmic adaptation of a popular novel is the realization of the original source material while successfully functioning as a seemingly original movie. Although fans of cult favorite The Hitchhiker’s Guide to the Galaxy may find reason to rejoice at the faithful rendition of their treasured classic, the film just does not work on its own.
In present day Earth, Arthur Dent, an ordinary Englishman, finds his house about to be demolished by bulldozers sent to pave a highway. As Arthur frets over the imminent demise of his home, he is given solace by his buddy, Ford Perfect who has a secret to tell him. It seems that Ford isn’t the person he says he is. In fact, humans aren’t the most intelligent species on earth. Dolphins are ranked second while extraterrestrials are number one. And it seems that earth is about to be destroyed as Ford and Arthur are whisked away to safety by hitching onto an alien craft where Ford introduces his friend to a reference book, The Hitchhiker’s Guide to the Galaxy. As Arthur is plopped into an unworldly environment, he waxes nostalgic over a previous chance encounter on earth with free spirited Tricia who ran off with another man. It turns out that it wasn’t just any ordinary man. Suffice it to say that the story centers on a galactic cowboy, Zaphod, who is also a galactic president. Arthur and Ford later hitch a ride with Zaphod’s spaceship. Space travel into untold worlds and dimensions are just the start of a wild ride that searches for the meaning of life and its paradoxical questions. In the midst of it all is poor Arthur. Homeless, will he find happiness and true love amid the vast wasteland of space?
For decades, filmmakers have unsuccessfully attempted to translate Douglas Adams’ phenomenon novel until right before his untimely death recently. Despite cowriting credits between Adams and Karey Kirkpatrick, it feels like many scribes had a hand in the monumental task of making the story cinematic. Director Garth Jennings does have a talent for imaginative visuals having come from a music video and documentary background. What he misses is the essence of what makes stories dear to the soul and yet have that hip, sophisticated fascination with the universe at large, no easy feat. He does not demonstrate an ability to balance intimate moments amid the grander, eye popping visuals. Even such British entrees of the sixties like Bedazzled held a personal charm amid its superficial glitz and stylized chic.
The cast is able, but it labors under erratic direction, continuity, and pacing. Martin Freeman (Shaun of the Dead) is a likeable actor and destined for much better roles. His Arthur recalls an early Dudley Moore. He is capable of humor and romance but is not allowed to fully develop his sketch of a character. Sam Rockwell (so much better in a similar genre film, Galaxy Quest), overacts as Zaphod, an intergalactic free spirit. His character (which could easily have been portrayed by Luke Wilson) is just not very interesting. Other supporting roles are likewise superficial and lacking in much depth. Zooey Deschanel (Elf) as Tricia is cute and sorely limited in what she has to do. Rapper Mos Def (The Woodsman) plays Ford, and he almost triumphs in a part that quickly degenerates into a caricature. Alan Rickman is wasted as the increasingly tired voice of a manic depressive robot named Marvin as is John Malkovich in a throwaway role of Humma Kavula, Zaphod’s chief rival. The film is filled with odd and unusual creatures but nothing moviegoers haven’t already seen in any number of George Lucas’ Star Wars cantinas.
The film begins with an amusing song foreshadowing what is to come and sets the proper mood. The mistake the filmmakers made was to try to cater to the readers religiously and simultaneously forgetting to make sure that the film could stand on its own. It doesn’t. While all the celestial concepts and vistas are important, they should have concentrated on the relationship of Arthur and his love, Tricia, so that there would be more emotional resonance and payoff toward the end. You feel little or nothing fulfilling at the finale. The film glosses over events and moments seemingly to make sure as much of the novel is included. Instead of a magically hip, psychedelic, intellectually hypothesizing journey into the time space continuum in search of meaning and love, it starts to feel like a jumble of scenes not unlike the sci-fi cult film Barbarella, but at least the latter had a groovy musical score and Jane Fonda. There’s almost a Monty Python tone as a narrator describes the proceedings. Ah, but if only Terry Gilliam had done this!
The best moments throughout the story are the graphic, animations that illustrate the guidelines, factoids, and rules of the universe. These mini cartoons illustrate the concepts in an amusing manner, and could easily have formed a stand alone film. To be successful, the film should have appealed to fans of the book and the uninitiated alike. Every time, you begin to want to give the film a chance to develop into something special, it jumps quickly and without punctuation to the next scene. Because it just does not resonate on its own and relies more so on its literary pedigree, it will have a hard time attracting general audiences. Perhaps true fans of the book will enjoy this long awaited adaptation of the beloved novel, but the rest of the populace will wonder what the fuss was really all about.
** of **** stars (add * star for fans of the book)
Vertigo
Vertigo
Wednesday, April 27, 2005
Friday, April 08, 2005
Fever Pitch throws a nice changeup
Looking for a date film that adds a bit of cheer to your day? Then go no further than Fever Pitch, a pleasant comedy set in baseball adoring Boston. The latest directorial effort from brothers Bobby and Peter Farrelly, this conventional comedy marks an appealing course correction for the notorious pair, known primarily for their crude humor.
A young boy, Ben, learns to love and even worship the Boston Red Sox through his maniacal uncle. As a young man, Ben (Jimmy Fallon) is a grade school math teacher who meets corporate executive and math expert, Lindsey Meeks (Drew Barrymore), who in turn finds herself attracted to Ben. Pretty soon, the two begin a promising relationship that seems headed for bliss until Fallon reveals a deep seeded issue. Inheriting his uncle’s passion for and season tickets to the Red Sox home games will do that. It seems that Ben is a crazed, frenzied Bosox fan to the bitter end despite their history of near championship misses courtesy, they say, of the Bambino’s (Babe Ruth) curse. He plays a ‘man-boy’ who has never quite grown when it comes to the baseball season. As Lindsey vies for an important promotion, her schedule and Fallon’s summer schedules are at odds. While she does attend a number of home games with her beau, it puts a strain on her work, and things come to a head. Will she lose her promotion or will he give up baseball? Will true love win out?
The script by Lowell Ganz and Babaloo Mandel (Splash and A League of Their Own) is solid considering it was almost done from scratch by only taking the theme of fan obsession to soccer originally written by Nick Hornby and transplanting it from Europe to America’s pastime. The film does a good job of briefly skimming over Red Sox lore and bringing the uninitiated up to date on the Red Sox saga and of the excitement and frenzy that is baseball. Although we get a cursory sketch of Lindsey’s work place, Ben’s fandom is legend as his close friends and stadium section form a sort of family and ‘safe’ area for him. You know his apartment is brimming with Red Sox souvenirs and paraphernalia. It is amusing how real life baseball faces are interspersed throughout the story. We see Ben as a kid watching an older version of the Sox team, and there is Dennis Eckersley before he will go on to glory with the Oakland A’s. Later we see cameos by the current crop of players like Johnny Damon and Trot Nixon. Even news broadcasts features recognizable reporters from ESPN, and an amusing broadcast booth featuring rival anchors, Tim McCarver and Harold Reynolds.
For a decade, the Farrelly brothers specialized in outrageous, popular comedies such as There’s Something About Mary, Dumb and Dumber, and the underrated Shallow Hal. Just as the Weitz brothers have graduated from the raunchy American Pie films to such legitimate projects as About a Boy (coincidentally another Hornby source novel), The Farrelly brothers have attempted a similar transition. Their style is actually suited for this type of comedy. They are adept as visual humor and are able to instill some nice sight gags along the way. The Farrelly trademark themes are still in place-protagonists who have apparent, physical limitations who are trying to find themselves. In this case, the defect or aberration is being a hardcore sports fan. (It could easily be any obsession or passion.) The protagonist has friends who chastise and criticize him, but ultimately care and will come to his aid. That helps make this a better film than standard comedies. Even the smallest of relationships add a little bit to this film. As always, the Farrellys make good use of pop oldies in the soundtrack.
Jimmy Fallon has found the perfect vehicle for his talents. He fares better here than his embarrassing turn in Taxi. It proves that when given good material and competent direction, he is actually entertaining. At first you think his performance may stumble and fall, but that never happens. In a climactic scene with Barrymore, he shows a bit more range; he can act! It has been suggested that Adam Sandler could easily have done this role, and while that is true, Fallon and Barrymore have good onscreen chemistry and make a cute couple. Drew has mined this territory before, but she does romantic comedies well. She is a natural. James Sikking (late of tv’s Hill Street Blues) plays her quirky dad, and Jo Beth Williams plays her mom, and what a difference a decade or two makes! Has it been that long since she starred in The Big Chill and Poltergeist?
By now, it is well documented that the film changed its ending because of the against all odds, surprising World Series win by the Red Sox in 2004. It really is hard to write a script that mirrors the Red Sox improbable return from oblivion, but the film is strong enough not to suffer from this comparison. The theatrical release is quite timely as the 2005 baseball season begins, and memories of the Red Sox comeback are still fresh. Scenes of actual baseball games are interspersed throughout the film and serve as a background as title cards mark each month with a subtitle on the season’s fortunes. The Farrellys know this territory well being true Red Sox fans. Ironically Fallon is a Yankees fan.
This is not highbrow material, but the kind of uplifting, romantic comedy that usually does well. As the heavyweight blockbusters of summer approach, Fever Pitch is a modest, ideal vehicle to ring in the spring movie season.
*** of **** stars
A young boy, Ben, learns to love and even worship the Boston Red Sox through his maniacal uncle. As a young man, Ben (Jimmy Fallon) is a grade school math teacher who meets corporate executive and math expert, Lindsey Meeks (Drew Barrymore), who in turn finds herself attracted to Ben. Pretty soon, the two begin a promising relationship that seems headed for bliss until Fallon reveals a deep seeded issue. Inheriting his uncle’s passion for and season tickets to the Red Sox home games will do that. It seems that Ben is a crazed, frenzied Bosox fan to the bitter end despite their history of near championship misses courtesy, they say, of the Bambino’s (Babe Ruth) curse. He plays a ‘man-boy’ who has never quite grown when it comes to the baseball season. As Lindsey vies for an important promotion, her schedule and Fallon’s summer schedules are at odds. While she does attend a number of home games with her beau, it puts a strain on her work, and things come to a head. Will she lose her promotion or will he give up baseball? Will true love win out?
The script by Lowell Ganz and Babaloo Mandel (Splash and A League of Their Own) is solid considering it was almost done from scratch by only taking the theme of fan obsession to soccer originally written by Nick Hornby and transplanting it from Europe to America’s pastime. The film does a good job of briefly skimming over Red Sox lore and bringing the uninitiated up to date on the Red Sox saga and of the excitement and frenzy that is baseball. Although we get a cursory sketch of Lindsey’s work place, Ben’s fandom is legend as his close friends and stadium section form a sort of family and ‘safe’ area for him. You know his apartment is brimming with Red Sox souvenirs and paraphernalia. It is amusing how real life baseball faces are interspersed throughout the story. We see Ben as a kid watching an older version of the Sox team, and there is Dennis Eckersley before he will go on to glory with the Oakland A’s. Later we see cameos by the current crop of players like Johnny Damon and Trot Nixon. Even news broadcasts features recognizable reporters from ESPN, and an amusing broadcast booth featuring rival anchors, Tim McCarver and Harold Reynolds.
For a decade, the Farrelly brothers specialized in outrageous, popular comedies such as There’s Something About Mary, Dumb and Dumber, and the underrated Shallow Hal. Just as the Weitz brothers have graduated from the raunchy American Pie films to such legitimate projects as About a Boy (coincidentally another Hornby source novel), The Farrelly brothers have attempted a similar transition. Their style is actually suited for this type of comedy. They are adept as visual humor and are able to instill some nice sight gags along the way. The Farrelly trademark themes are still in place-protagonists who have apparent, physical limitations who are trying to find themselves. In this case, the defect or aberration is being a hardcore sports fan. (It could easily be any obsession or passion.) The protagonist has friends who chastise and criticize him, but ultimately care and will come to his aid. That helps make this a better film than standard comedies. Even the smallest of relationships add a little bit to this film. As always, the Farrellys make good use of pop oldies in the soundtrack.
Jimmy Fallon has found the perfect vehicle for his talents. He fares better here than his embarrassing turn in Taxi. It proves that when given good material and competent direction, he is actually entertaining. At first you think his performance may stumble and fall, but that never happens. In a climactic scene with Barrymore, he shows a bit more range; he can act! It has been suggested that Adam Sandler could easily have done this role, and while that is true, Fallon and Barrymore have good onscreen chemistry and make a cute couple. Drew has mined this territory before, but she does romantic comedies well. She is a natural. James Sikking (late of tv’s Hill Street Blues) plays her quirky dad, and Jo Beth Williams plays her mom, and what a difference a decade or two makes! Has it been that long since she starred in The Big Chill and Poltergeist?
By now, it is well documented that the film changed its ending because of the against all odds, surprising World Series win by the Red Sox in 2004. It really is hard to write a script that mirrors the Red Sox improbable return from oblivion, but the film is strong enough not to suffer from this comparison. The theatrical release is quite timely as the 2005 baseball season begins, and memories of the Red Sox comeback are still fresh. Scenes of actual baseball games are interspersed throughout the film and serve as a background as title cards mark each month with a subtitle on the season’s fortunes. The Farrellys know this territory well being true Red Sox fans. Ironically Fallon is a Yankees fan.
This is not highbrow material, but the kind of uplifting, romantic comedy that usually does well. As the heavyweight blockbusters of summer approach, Fever Pitch is a modest, ideal vehicle to ring in the spring movie season.
*** of **** stars
Monday, April 04, 2005
Off the Map loses its way
This is looking like a strong year for actress Joan Allen as she has two major films for 2005 with The Upside of Anger and Off the Map. The latter is less a commercial film as a character study that can’t shake its theatrical feel.
Told in flashback by an adult female, Bo (Amy Brenneman), it is a story mostly viewed through the eyes of herself as an eleven year old (Valentina de Angelis). Set in the Southwest, her parents live ‘off the grid’ by barely scraping by on modest income and surviving off the land through hunting and gardening, and oh yes, the kindness of a friend, George (J.K. Simmons). Not even possessing a telephone, they resort to a basic living situation and haven’t paid taxes in seven years. Led by a resourceful mother, Arlene (Joan Allen), the family must deal with the recent, unshakable depression of the father, Charley (Sam Elliott).
One day, a stranger visits from the IRS and his appearance will forever affect the family and himself in years to come. As the family attempts to cope with Charley’s silence and inaction, the taxman, William Gibbs (Jim True-Frost), begins to understand these simple people, and he eventually learns to admire them. Young Bo, who is a bright and clever girl, eagerly yearns for a life beyond her limited world. This group of damaged souls struggle through their emotions amid the painted landscape.
Adapted from her own play, writer Joan Ackerman just doesn’t break free from the theatrical confines of her material. Although the seductive, natural scenery makes for almost a character unto itself, the film still feels stagy. The storyline is not structured in linear fashion which can be frustrating to an audience. It is essentially an experimental character study. Even the characters are such a pathetically sad bunch to the point of making one feel sorry for them. Talk about depression!
It’s too bad, because some decent performances are lost in the randomness of the plot. They deserve better. Stronger direction (by director Campbell Scott) and improved pacing would have helped. Sam Elliott, who has been sorely underutilized in film (We Were Soldier, The Contender), has the unfortunate task of being nearly catatonic through much of the story. Joan Allen shows good range and nearly escapes the film unscathed. Jim True-Frost performs adequately As the taxman but does not have that extra magic for what is essentially a catalyst type of role. Valentina de Angelis is a child of talent worth noting. Her character may be the most developed as we learn her desires and fears. Young Bo is so resourceful, she even gets free food and products through her aggressive complaint-mailing campaign to manufacturers. And wait until you see what she ultimately does with a certain credit card.
In the end, we don’t care about these folks as much as we would like or should, and that’s a shame. Audiences are likely to be turned off by the random nature of this film and its unhappy denizens. Unfortunately, by its depiction of a sensitive subject such as depression, the makers of Off the Map may have unintentionally wreaked havoc by making the audience depressed.
**1/2 of **** stars
Told in flashback by an adult female, Bo (Amy Brenneman), it is a story mostly viewed through the eyes of herself as an eleven year old (Valentina de Angelis). Set in the Southwest, her parents live ‘off the grid’ by barely scraping by on modest income and surviving off the land through hunting and gardening, and oh yes, the kindness of a friend, George (J.K. Simmons). Not even possessing a telephone, they resort to a basic living situation and haven’t paid taxes in seven years. Led by a resourceful mother, Arlene (Joan Allen), the family must deal with the recent, unshakable depression of the father, Charley (Sam Elliott).
One day, a stranger visits from the IRS and his appearance will forever affect the family and himself in years to come. As the family attempts to cope with Charley’s silence and inaction, the taxman, William Gibbs (Jim True-Frost), begins to understand these simple people, and he eventually learns to admire them. Young Bo, who is a bright and clever girl, eagerly yearns for a life beyond her limited world. This group of damaged souls struggle through their emotions amid the painted landscape.
Adapted from her own play, writer Joan Ackerman just doesn’t break free from the theatrical confines of her material. Although the seductive, natural scenery makes for almost a character unto itself, the film still feels stagy. The storyline is not structured in linear fashion which can be frustrating to an audience. It is essentially an experimental character study. Even the characters are such a pathetically sad bunch to the point of making one feel sorry for them. Talk about depression!
It’s too bad, because some decent performances are lost in the randomness of the plot. They deserve better. Stronger direction (by director Campbell Scott) and improved pacing would have helped. Sam Elliott, who has been sorely underutilized in film (We Were Soldier, The Contender), has the unfortunate task of being nearly catatonic through much of the story. Joan Allen shows good range and nearly escapes the film unscathed. Jim True-Frost performs adequately As the taxman but does not have that extra magic for what is essentially a catalyst type of role. Valentina de Angelis is a child of talent worth noting. Her character may be the most developed as we learn her desires and fears. Young Bo is so resourceful, she even gets free food and products through her aggressive complaint-mailing campaign to manufacturers. And wait until you see what she ultimately does with a certain credit card.
In the end, we don’t care about these folks as much as we would like or should, and that’s a shame. Audiences are likely to be turned off by the random nature of this film and its unhappy denizens. Unfortunately, by its depiction of a sensitive subject such as depression, the makers of Off the Map may have unintentionally wreaked havoc by making the audience depressed.
**1/2 of **** stars
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