Next Stop Wonderland - * * * 1/2*

Posted on August 21, 1998 by Madeleine Williams

Next Stop Wonderland

Next Stop Wonderland is a nice little independent gem hidden in the post-Summer, pre-Fall film wasteland. A quirky and enjoyable romantic comedy, the film provides refreshing characterizations and plenty of humor.

Erin Castleton (Hope Davis) is hopelessly single. Her last boyfriend, Sean (Philip Seymour Hoffman), a radical environmentalist, has just ditched her…again. Erin feels despondent that she never seems to meet the right guy.

But wait…the perfect man for Erin seems to be always right around the corner. He’s Alan Monteiro (Alan Gelfant), a part-time plumber with a passion for marine biology. But, although their paths keep crossing, Alan and Erin never quite meet.

So, Erin’s mother (Holland Taylor) brews up a scheme to get her daughter safely married off. She places an ad in the personals section for Erin (without her knowledge). Erin is left to cope with the 64 various replies to her mother’s slightly exaggerated ad.

In most romantic comedies, the leads meet cute, but don’t get together until the end. Next Stop Wonderland takes the tack of Sleepless in Seattle, or Til There Was You in which the leads don’t even MEET until the end. However, this actually works well… As usual, you know the couple is a perfect match, but the film doesn’t have to introduce countless false obstacles to keep the characters from recognizing that fact.

However, the film has to do something to pass the time before “the meeting”. Next Stop Wonderland handles the problem deftly…not only is the personal ad situation amusing, but it underscores the wonderful personalities involved all throughout the film.

Hope Davis dominates the film with her winning performance. She even overshadows her romantic costar, Alan Gelfant…mainly because she has the film’s most engaging subplot. However, that’s not to discount Gelfant’s performance, which is good, but simply outshone.

The conversations and characters throughout Next Stop Wonderland would make it worth watching, even without the romance. The romantic elements of the film are simply icing on the cake. Seek out this little gem.

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Wrongfully Accused - *

Posted on August 21, 1998 by Madeleine Williams

Wrongfully Accused

Talk about beating a dead horse. Leslie Nielsen is still trying to squeeze the last drop of humor out of the spoof comedy. Give up! It’s bone-dry, as his latest comedic train wreck, Wrongfully Accused, can attest.

The film roughly follows the plot of The Fugitive, but spoofs a variety of films inbetween, from The Empire Strikes Back to Titanic. Leslie Nielsen’s bumbling fool this time around is Ryan Harrison, master violinist. He’s falsely accused of murder and must escape to find the real killer: a one armed, one legged, one eyed man (Aaron Pearl).

In the Tommy Lee Jones role here is Richard Crenna as Fergus Falls, the U.S. Marshal assigned to track Harrison down. You’d think that the filmmakers would be able to get some mileage out of Tommy Lee Jones’ Oscar-winning role. No such luck. Crenna barks out orders in Jones-style, but his character is so uninteresting that he goes missing for most of the film’s last third, and you never notice the difference.

And of course the film has to have some sort of love interest. That job is dually provided by Kelly LeBrock and Melinda McGraw. One of these women has Ryan’s best interests at heart…the other wants to kill him. But he doesn’t know which is which, and the audience couldn’t care less.

The film is packed with wall-to-wall non-sequitur gags, but the film’s escape sequence is the only one which even mildly works, and it is mostly successful only in comparison to the rest of the film.

One of the big problems with the humor here is the source material. Rather than spoofing a genre, Wrongfully Accused decided to spoof one specific film, The Fugitive. As all the comedic potential is tapped early, the film grasps out for other sources of inspiration. However, the amalgamated hodgepodge of scenes are so desperately humorless that it seems the filmmakers are simply playing a game of “Guess Which Film We’re Spoofing Now!”

There have been worse spoof comedys…but not many. For the crime of being unfunny, Wrongfully Accused is guilty, guilty, guilty.

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Dead Man on Campus - * 1/2*

Posted on August 21, 1998 by Madeleine Williams

Dead Man on Campus is a black comedy dealing with college life and a rather gruesome, but fictitious, urban legend. However, for a black comedy, the humor here is well on the bland side, and definitely not worth the price of tuition.

Josh (Tom Everett Scott) is a college freshman His roommate is Cooper (Mark-Paul Gosselaar), a ne’er do well student who’s more interested in sex, drugs and alcohol than in books and classes. When the two roommates clash styles, Cooper prevails… at least until mid-semester. Then the two students try to determine how to salvage their failing grades and stay in school.

They pin their hopes on an old school legend. If a student commits suicide, his or her roommates will be given straight-As to compensate for grief. Since neither Josh nor Cooper want to be the sacrifice, they decide to hunt out the most suicide-prone fellow student to be their roommate.

Dead Man on Campus takes far too long to launch into this main plot thread. To put it frankly, Josh and Cooper are rather boring. It isn’t until their intended roommates/victims show up that things start to get interesting.

One of those roommates in particular, a truly insane student named Cliff (Lochlyn Munro), possesses an abundance of the energy which Dead Man on Campus so desperately needs. The film perks up when he’s around, but not enough for a complete redemption.

The biggest failing of Dead Man on Campus is the lack of a strong central character. Despite the “party” atmosphere, neither Tom Everett Scott nor Mark-Paul Gosselaar seem to be people you’d like to hang out around. Unfortunately, we’re forced to for ninety minutes. A more personable actor, or a better written character, might have made that stretch bearable.

In an unusual twist of fate (or perhaps a lack of ideas), there is actually another movie dealing with the college roommate-suicide urban legend coming out in a few months, Dead Man’s Curve. It won’t be hard to have better success than Dead Man on Campus.

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Dance With Me - * * 1/2*

Posted on August 21, 1998 by Madeleine Williams

In Dance With Me, you get just what you expect. A dance film, with a little romance thrown in to spice things up, and not much more. However, the sizzling dances make up for what the plot lacks in imagination.

After the death of his mother, Rafael Infante (Chayanne) decides to journey from Cuba to Texas. An old friend of his mother, John Burnette (Kris Kristofferson), owns a dance studio there, and is willing to give him a job and a place to stay.

Working as a handyman at the studio, Rafael meets Ruby (Vanessa L. Williams), an instructor and professional dancer (specializing in the Latin dances). She’s split from her former partner/boyfriend Julian (Rick Valenzuela), and is now struggling to climb back to the top.

As the deadline to the National Finals looms closer, hints of romance begin to bloom between Rafael and Ruby. But she’s got no time or use for love, and Rafael struggles to prove differently…

As a dance film, Dance With Me falls into a predictable pattern visited before in such films as Strictly Ballroom, and Shall We Dance?. There are few surprises here.

But, there is dancing. And most of it is quite good. Vanessa Williams gets a chance to show her moves, and she’s got plenty. Chayanne is no slouch here, but it is clear that Williams is the star.

The emerging romance between Rafael and Ruby isn’t handled poorly, but it’s far from the high point in the film. Part of the problem is that the interaction of the couple can’t quite compete with the passion of the dancing…so the romance gets left in the cold.

The subplots in Dance With Me vary in quality. Rafael’s search for his father is a little predictable, and mostly diverting from the rest of the film. However, the antics of the studio’s various dance students (including an unlikely Joan Plowright) are slightly amusing.

On the whole, Dance With Me is enjoyable simply for its dancing scenes. The surrounding clutter neither enhances nor detracts from the simple pleasures of the movie.

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Blade - * * 1/2*

Posted on August 21, 1998 by Madeleine Williams

Blade

Blade is the latest entry in Hollywood’s continuing obsession with vampires. Based upon a comic book, Blade feels more like Batman than Dracula. Packed to the gills (or should that be fangs) with crowd-pleasing fight scenes and mindless action, Blade is a pleasant enough popcorn movie that may not break any new ground, but has a fun time right where it is.

Wesley Snipes is Blade, a half-human, half-vampire superhero. He inherited his unique bloodline when his pregnant mother was attacked by an unknown vampire. Due to his heritage, Blade possesses a vampire’s strength and reflexes, yet a human’s tolerance for sunlight.

As an adult, Blade spends his nights waging war against vampires, who have secretly infiltrated all aspects of our society. Helped by his aging mentor, Whistler (Kris Kristofferson), Blade single-handedly destroys hundreds of the bloodsuckers every night.

But the vampires have larger plans in mind. Particularly one young upstart, Deacon Frost (Stephen Dorff), who sets about trying to fulfill an ancient vampire prophecy. Can Blade stop his nefarious plans in time? Need you even ask?

A movie like Blade doesn’t concern itself too much with reality, nor should it. If it did, it would have to ponder such questions as what vampires would eat after converting the last human (as is proposed at one point in the film). No, rather the film is pure escapism, and works well on that level.

Blade has mastered the art of the one-strike kill, to the point that a few of the fight scenes are overly repetitive. At times, it seems like the bad guys line up in a single file queue, and Blade sequentially kills them one at a time. Shouldn’t vampires be a bit tougher to kill? But, on the whole, the fights are enjoyable diversions.

Too bad the same can’t be said of Snipes’ acting. He delivers each and every line with the same clenched-jaw monotone. He’s proven that he can successfully tackle a tough part, but here he is simply slumming.

The special effects in Blade are a mixed bag. A few of the effects are done very well, such as the disintegration of dead vampires. However, others are positively cartoonish, and don’t blend well with the tone of the rest of the film.

For the most part, Blade delivers on its promises. It’s got vampires, violence, guns, swordfights, stunts and special effects galore. If those sound appealing, Blade fits the bill.

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Your Friends and Neighbors - * * *

Posted on August 14, 1998 by Madeleine Williams

Your Friends and Neighbors

Those familiar with Neil LaBute’s directoral debut, In the Company of Men, know that he knows how to tap the baser instincts of mankind. His second film, Your Friends and Neighbors, continues in the same spirit, showing the depths of mental and sexual cruelty of which both men and women are capable.

The film focuses on three men and three women, who, while not alone in their world, are the only ones with speaking roles in the film. There’s one married couple, one “together” couple, and two singles.

The married couple are Barry and Mary (Aaron Eckhart and Amy Brenneman), who, behind a happy facade, are having marital troubles. Mary simply wants something different… and that may mean Barry’s best friend Jerry (Ben Stiller), who’s having relationship problems of his own, with his girlfriend Terri (Catherine Keener).

Now, Terri is unsatisfied in her relationship with Jerry, and in fact seems to get more enjoyment out of her new friendship with an artist’s assistant named Cheri (Nastassja Kinski). Meanwhile, the single womanizer Cary (Jason Patric) is on the prowl…and may just be true evil personified.

None of the characters have names in the film (until the end credits, where the rhyming nominations seem a further exercise in anonymity). This serves to put a more personal spin on the whole movie…after all, they are “Your” Friends and Neighbors.

But they’re not people you’d really like to get that close to. Seemingly normal on the outside, each and every one is a flawed specimen of humanity. Or are they the status quo? (Shudder.) In either case, you’re simultaneously repulsed yet riveted to the screen.

Jason Patric and Catherine Keener are the standouts in a talented cast, and also the creepiest of the bunch. Of the six, only Nastassja Kinski’s character is never fully explored…and she actually turns out to be the nicest one here. Perhaps LaBute has problems writing for normal people.

Your Friends and Neighbors is never as sharp as his In the Company of Men, but it comes close, and is a more ambitious undertaking. LaBute’s sophomore slump here is only slight.

This is not a date movie. It is fascinating to watch, but does little to enhance a harmonious relationship. In fact, it is the type of movie that makes you want to shun any and all human contact whatsoever.

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The Slums of Beverly Hills - * * *

Posted on August 14, 1998 by Madeleine Williams

The nostalgia wave for the 1970s rolls on, this time in the guise of a coming of age comedy entitled The Slums of Beverly Hills.

The Slums of Beverly Hills follows the path of a destitute family of transients who make their way living in one cheap hotel after another on the outskirts of Beverly Hills during the 70s. Why Beverly Hills, you might ask? Why, for the good schools, of course.

The central character of the film is Vivian Abramowitz (Natasha Lyonne), a teenage girl who is just blossoming into womanhood. Her father, Murray (Alan Arkin), doesn’t quite know what to do with her. So, when his niece Rita (Marisa Tomei) falls into his lap straight out of rehab…it’s a double blessing. Not only does Vivian gain a sympathetic female ear, but Rita’s rich father (Carl Reiner) begins forking over a healthy stipend to Murray for keeping Rita safe and out of trouble.

Adding to Vivian’s confusion is the appearance of her raffish neighbor, Eliot (Kevin Corrigan). She doesn’t quite understand why she finds herself attracted to this Charles Manson-obsessed drug dealer, but she feels compelled to explore her feelings.

The Slums of Beverly Hills rides mostly on the success of Natasha Lyonne’s sharp comic performance. She manages to capture the confusion, embarassment, insecurity and the discoveries of being a teenager with plenty of humor and insight.

Alan Arkin gives a strong supporting performance as a desperate man trying to be a good father to his kids even though he has no ground to stand on. Marisa Tomei is a bit one-note as the drug-addled Rita, and Kevin Corrigan is frankly unappealing as Vivian’s love interest.

The script fumbles a bit when it comes to a few subplots. Vivian’s plastic surgery inquiries never pan out either dramatically or comically. And hints at a more complex relationship between Murray and Rita fizzle out before anything happens.

But, still, The Slums of Beverly Hills is entertaining in the long run, and Natasha Lyonne proves she’s a talent worth watching.

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Return to Paradise - * * 1/2*

Posted on August 14, 1998 by Madeleine Williams

Return to Paradise is a drama based entirely on a key ethical dilemma. The dilemma itself is a potentially fascinating one, but the film doesn’t fully live up to its potential.

Sheriff, Tony and Lewis (Vince Vaughn, David Conrad and Joaquin Phoenix) are casual acquaintances. They met two years before while vacationing in Malaysia. Their days and nights were filled with rum, women and hashish. After their weeks in paradise, the three parted ways and lost contact.

Flash forward to the present day, when lawyer Beth Eastern (Anne Heche) arrives in New York to pay a visit on Sheriff and Tony. It seems that after the two of them left Malaysia, Lewis was apprehended with the remaining 104 grams of hashish, just enough to be classified as a drug dealer, and to be sentenced to death.

Beth is in New York to convince Sheriff and Tony to return with her to Malaysia. If they do, each man will be sentenced to three years in the Malaysian prison system. If they refuse, Lewis will be hanged in eight days…

Return to Paradise poses an intriguing ethical dilemma. Unfortunately, the way the film poses it leaves little doubt as to what the eventual resolution will be. It simply becomes a matter of waiting for the characters to come around to the film’s point of view.

Another of the film’s stumbling blocks is with the film’s lead character, Sheriff. Though he’s given a few minor introductory scenes in Malaysia, we are introduced to his character primarily through the moral dilemma. Vince Vaughn plays Sheriff with great ambivalence. Since we have no neutral ground with which to view his character, we never know what he’s really thinking.

David Conrad is mostly ignored as Tony, so we’re given even less insight into his character than Sheriff’s. Redeeming the cast, however, are Anne Heche and Joaquin Phoenix. Both give passionate, moving performances that show the heights to which Return to Paradise might have risen.

Still, there are some interesting ideas sprinkled around Return to Paradise. One subplot, involving Jada Pinkett Smith as a journalist who is investigating the story, ties in nicely with the overall theme of responsibility vs. self-interest. There is plenty of material throughout to spark an after-the-movie “what would you do” conversation.

Return to Paradise isn’t a bad film. It’s just one that doesn’t live up to its potential.

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How Stella Got Her Groove Back - * * *

Posted on August 14, 1998 by Madeleine Williams

In 1995, Terry McMillan’s novel Waiting to Exhale opened up a new, untapped, genre of film, the black women’s movie. Now, she and Exhale co-writer Ron Bass have teamed up once again to adapt her novel, How Stella Got Her Groove Back. And with an excellent performance from Angela Bassett, and some competent direction by Kevin Rodney Sullivan, they’ve managed to create a thoroughly enjoyable romantic drama.

The Stella of the title is Stella Payne (Angela Bassett), a high-powered wall street deal maker. We never quite learn how she lost her groove, except by her employment in the soulless money market. However, she begins to take steps toward her recovery when she goes on a Jamaican holiday with her best friend Delilah (Whoopi Goldberg).

There, she meets Winston Shakespeare (Taye Diggs), a resort employee who is literally half her age. Attracted to him at first on a purely physical basis, and later on, well, a purely physical basis, Stella gets romantically involved with the kid.

As the relationship continues, Stella must cope with her family (who disapproves… her son (Michael J. Pagan) is closer to Winston’s age than she is), as well as difficulties at her job. Will the love of this pair of starcrossed lovers survive?

At least Stella and Winston make a cute, if slightly unbelievable, couple. And the delightful performance of Angela Bassett makes you want to root for anything which will make her happy.

The movie does get a bit excessive with a few unnecessary melodramatic touches, and runs a bit longer than it should, but for the most part it is charming and endearing.

The supporting cast does well, with a strong performance by Whoopi, and humorous turns from Regina King and Suzzanne Douglas as Stella’s wayward sisters. But the best supporting player has to be the island of Jamaica, which steals every scene it is in with its stunning vistas. The tourist bureau couldn’t ask for a better advertisement.

As a light romantic drama, How Stella Got Her Groove Back works surprisingly well. And, as long as you ignore its attempts at being deeper than it really is, you’ll have a good time.

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The Avengers - * *

Posted on August 14, 1998 by Madeleine Williams

The Avengers

With Hollywood’s fascination with television series remakes, it is surprising that no one has tackled The Avengers before. The comically cool spy adventure series seems like just the type of “franchise” material usually sought by the studios. However, franchise hopes are likely to fade with the premiere of this awkward adaptation.

The Avengers for this big screen adaptation are the prim and proper John Steed (Ralph Fiennes), who’s as impeccable in his manners as he is deadly in his combat. And then there’s the brilliant, seductive and dangerous Mrs. Emma Peel (Uma Thurman).

The film chronicles the meeting of the two Avengers. Mr. Steed is already part of the Ministry, a top secret British spy organization. When England’s weather-defense systems are sabotaged, Mrs. Peel is the chief expert, and also the chief suspect in the crime. She is paired up with Steed to prove her guilt or innocence.

The villain in the film is played with relish by Sean Connery. He finally gets to play a Bond-ish villain in Sir August DeWynter, a megalomaniacal Scottish lord with designs on controlling the weather.

Anyone familiar with The Avengers should know that the show had a particular brand of humor, but the proceedings in the film are extremely tongue-in-cheek, and at times get downright silly. For instance, the traditional villain-to-henchmen speech for anonymity’s sake is here played with all participants in giant teddy bear costumes. It doesn’t make much sense, and the goofy antics are certain to displease anyone expecting a straightforward adventure story.

The film seriously suffers from some horrendous editing. Clocking in at under ninety minutes, it seems that most of the expository material has been cut, as well as many transitions. The result is certainly fast moving, but confusing and off-putting as well.

In the plus column, however, are the main actors. All are guilty of slightly (but appropriate) hammy acting, but they all seem to fit nicely into their roles as well. The supporting cast don’t quite fare as well. As leaders of The Ministry, Jim Broadbent and Fiona Shaw never quite settle into their roles. Eddie Izzard is never fully developed as Sir August’s Clockwork Orangish henchman.

There are plenty of moments in The Avengers which have a delightfully surreal quality. However, there are just as many scenes which go a bit too far in their outlandishness. At the same time, some very crucial plot points breeze by, imperceptible in the clutter.

The Avengers is likely a little too bizarre for those expecting the standard spy adventure. It’s not a horrible adaptation, but definitely a flawed one.

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