Curtize
Joined Aug 1999
Welcome to the new profile
We're still working on updating some profile features. To see the badges, ratings breakdowns, and polls for this profile, please go to the previous version.
Reviews20
Curtize's rating
Bowfinger - **
Movies about filmmaking are so prevalent that they form an entire genre. Some of these films, such as They Player, focus on the rich and powerful elite in Hollywood. Others, including Mistress and Ed Wood, are more concerned with the bit players who toil in obscurity, hoping desperately for one shot at greatness. Steve Martin's Bowfinger falls into the latter category. It tells the story of nearly bankrupt moviemaker Bobby Bowfinger (Martin.) Armed with a screenplay entitled "Chubby Rain," which he is convinced is the next action masterpiece, Bowfinger attempts to secure megastar Kit Ramsey (Eddie Murphy) to play the lead role. When Kit promptly refuses, Bowfinger finds himself unable to deliver the sad news to his crew, which is composed of country rube Daisy (Heather Graham,) accountant turned screenwriter Afrim (Adam Alexi-Malle,) and a hammy prima donna named Carol (played by Christine Baranski.)
Instead, Bowfinger reports that Ramsey accepted the role, but on special terms. Ramsey, he claims, is a method actor who refuses to interact with any crewmembers while off camera. Moreover, Ramsey does not even want to see the camera during filming. Such a thing would distract him and break his concentration. Bowfinger's plan is an audacious one. He essentially stalks the megastar, engineering situations in which his cast members can approach Ramsey and deliver their lines while a hidden camera records the scene. Kit will star in the movie against his will. This setup is a brilliant basis for a movie, filled with comedic potential. Unfortunately, Bowfinger fails to deliver on the premise. The cause of its failure is in its lack of detail. A brilliant premise is not enough to sustain a film. A film also needs sharply written details, of which Bowfinger has precious few.
Take, for example, the character of Daisy. She is a wide-eyed country girl, just off the bus from a midwestern state. But before you can say "action" she is eagerly hopping into bed with whoever can advance her career that particular day. We are treated to several scenes of her seducing first Bowfinger, then Afrim, then another actor, then finally the cinematographer. Even the first scene was shaky in its comic potential. By the fourth, this plot line is merely tedious. Another weakness can be found in Ramsey's membership in "Mind Head," a new-age religious cult apparently modeled after Scientology. The sets, costumes, and performances in the Mind Head scenes are so outlandish that they stop being funny and merely become silly. One gets the distinct impression that these scenes were included simply because Martin could not mine enough material from his main plot to fill an entire movie.
These shortcomings are a shame, because there are several diamonds in this rough. While Eddie Murphy turns in a strong performance as the egotistical Kit, he outdoes himself in the dual role of Jiff, a wide-eyed innocent hired as Ramsey's stand-in. "Chubby Rain," the movie within the movie, is a hysterical parody of action film cliches. Indeed, I would have preferred that Steve Martin completely rework Bowfinger as Chubby Rain, an action film parody from start to finish. Many critics have praised Bowfinger as a superior comedy. The only explanation I can find for this is that, at its core, it is a sweet movie populated with fairly likable characters. This puts it in marked contrast with other big name comedies of the year, including American Pie and Bid Daddy, which use crude vulgarities and shock tactics to entertain. It is true that Bowfinger is not crude. But it is also not very funny.
Movies about filmmaking are so prevalent that they form an entire genre. Some of these films, such as They Player, focus on the rich and powerful elite in Hollywood. Others, including Mistress and Ed Wood, are more concerned with the bit players who toil in obscurity, hoping desperately for one shot at greatness. Steve Martin's Bowfinger falls into the latter category. It tells the story of nearly bankrupt moviemaker Bobby Bowfinger (Martin.) Armed with a screenplay entitled "Chubby Rain," which he is convinced is the next action masterpiece, Bowfinger attempts to secure megastar Kit Ramsey (Eddie Murphy) to play the lead role. When Kit promptly refuses, Bowfinger finds himself unable to deliver the sad news to his crew, which is composed of country rube Daisy (Heather Graham,) accountant turned screenwriter Afrim (Adam Alexi-Malle,) and a hammy prima donna named Carol (played by Christine Baranski.)
Instead, Bowfinger reports that Ramsey accepted the role, but on special terms. Ramsey, he claims, is a method actor who refuses to interact with any crewmembers while off camera. Moreover, Ramsey does not even want to see the camera during filming. Such a thing would distract him and break his concentration. Bowfinger's plan is an audacious one. He essentially stalks the megastar, engineering situations in which his cast members can approach Ramsey and deliver their lines while a hidden camera records the scene. Kit will star in the movie against his will. This setup is a brilliant basis for a movie, filled with comedic potential. Unfortunately, Bowfinger fails to deliver on the premise. The cause of its failure is in its lack of detail. A brilliant premise is not enough to sustain a film. A film also needs sharply written details, of which Bowfinger has precious few.
Take, for example, the character of Daisy. She is a wide-eyed country girl, just off the bus from a midwestern state. But before you can say "action" she is eagerly hopping into bed with whoever can advance her career that particular day. We are treated to several scenes of her seducing first Bowfinger, then Afrim, then another actor, then finally the cinematographer. Even the first scene was shaky in its comic potential. By the fourth, this plot line is merely tedious. Another weakness can be found in Ramsey's membership in "Mind Head," a new-age religious cult apparently modeled after Scientology. The sets, costumes, and performances in the Mind Head scenes are so outlandish that they stop being funny and merely become silly. One gets the distinct impression that these scenes were included simply because Martin could not mine enough material from his main plot to fill an entire movie.
These shortcomings are a shame, because there are several diamonds in this rough. While Eddie Murphy turns in a strong performance as the egotistical Kit, he outdoes himself in the dual role of Jiff, a wide-eyed innocent hired as Ramsey's stand-in. "Chubby Rain," the movie within the movie, is a hysterical parody of action film cliches. Indeed, I would have preferred that Steve Martin completely rework Bowfinger as Chubby Rain, an action film parody from start to finish. Many critics have praised Bowfinger as a superior comedy. The only explanation I can find for this is that, at its core, it is a sweet movie populated with fairly likable characters. This puts it in marked contrast with other big name comedies of the year, including American Pie and Bid Daddy, which use crude vulgarities and shock tactics to entertain. It is true that Bowfinger is not crude. But it is also not very funny.
Limbo - **1/2
This movie is so brilliant and artistic that I have no idea what it means.
It tells the story of a handyman who meets a singer. The singer has a troubled teenage daughter. The handyman and the singer engage in a courtship. Then they set out on a sailing voyage. (The handyman was once a fisherman, you see.) Then... well I'm afraid to give away the ending. Actually, I cannot give away the ending to this film, because it does not have one.
The posters for Limbo define the title as: A condition of unknowable outcome. Limbo, I suppose, describes the state in which the characters find themselves. But it also clearly describes how the audience is left hanging. I'm sure there is a singular, artistic statement being made here. I just don't know what it is.
If this movie baffles me, why am I giving it **1/2? Well, the performances by David Straithairn and Mary Elizabeth Mastrantonio are strong. The movie is well made. And John Sayles' dialogue is as sharp and clever as ever. Overall, the film is a fun trip to take - until you fall off the cliff at the end.
This movie is so brilliant and artistic that I have no idea what it means.
It tells the story of a handyman who meets a singer. The singer has a troubled teenage daughter. The handyman and the singer engage in a courtship. Then they set out on a sailing voyage. (The handyman was once a fisherman, you see.) Then... well I'm afraid to give away the ending. Actually, I cannot give away the ending to this film, because it does not have one.
The posters for Limbo define the title as: A condition of unknowable outcome. Limbo, I suppose, describes the state in which the characters find themselves. But it also clearly describes how the audience is left hanging. I'm sure there is a singular, artistic statement being made here. I just don't know what it is.
If this movie baffles me, why am I giving it **1/2? Well, the performances by David Straithairn and Mary Elizabeth Mastrantonio are strong. The movie is well made. And John Sayles' dialogue is as sharp and clever as ever. Overall, the film is a fun trip to take - until you fall off the cliff at the end.
Drop Dead Gorgeous - ***
This mockumentary follows the exploits of a half dozen teenage contestants in a beauty pageant staged in a small midwestern town. We meet the plucky, goodhearted girl (Kirsten Dunst) who practices her tap dancing as she performs her night job - applying make up to the corpses in the morgue. We also meet the beautiful, soulless, evil, Kathy Lee Gifford wannabe (Denise Richards,) whose enemies seem to meet with unfortunate ends. This film skewers everything, from beauty pageants to cheerleaders, from trailer trash to the gun culture. It is quite funny, but also merciless. Frequently, as when Denise Richards performs her talent number with a statue of Jesus on the cross, you may find yourself cringing as you laugh. Unfortunately, the film is a shade too hyperbolic. It takes too much glee in poking fun at its subjects as it leaves reality far behind. One character, for instance, suffers physical mutilation played for laughs.
The performances are strong. Kirsten Dunst is outstanding as the intelligent and charming lead character. Judging by this film, she will not join the long, sad list of child actors who lose all of their talent and charm when they turn fourteen. Denise Richards is well cast as the beautiful villain, because she is not a very good actress, and here she is playing the part of a vain, soulless mannequin. Ellen Barkin, cast against type as Dunst's trashy mom, is always entertaining. The film is directed and scored well, but I was dismayed by one thing: It did not make the best use of it's mock documentary format. The camera was too stable, the angles too well-planned.
My only other complaint is structural in nature: The film simply goes on too long. When the pageant is over and a winner is named, the movie continues for what seems an eternity, following the town's representative in the state and national competitions. Did we really need to see this? The answer is no. When the first pageant ends, so does the drama.
This mockumentary follows the exploits of a half dozen teenage contestants in a beauty pageant staged in a small midwestern town. We meet the plucky, goodhearted girl (Kirsten Dunst) who practices her tap dancing as she performs her night job - applying make up to the corpses in the morgue. We also meet the beautiful, soulless, evil, Kathy Lee Gifford wannabe (Denise Richards,) whose enemies seem to meet with unfortunate ends. This film skewers everything, from beauty pageants to cheerleaders, from trailer trash to the gun culture. It is quite funny, but also merciless. Frequently, as when Denise Richards performs her talent number with a statue of Jesus on the cross, you may find yourself cringing as you laugh. Unfortunately, the film is a shade too hyperbolic. It takes too much glee in poking fun at its subjects as it leaves reality far behind. One character, for instance, suffers physical mutilation played for laughs.
The performances are strong. Kirsten Dunst is outstanding as the intelligent and charming lead character. Judging by this film, she will not join the long, sad list of child actors who lose all of their talent and charm when they turn fourteen. Denise Richards is well cast as the beautiful villain, because she is not a very good actress, and here she is playing the part of a vain, soulless mannequin. Ellen Barkin, cast against type as Dunst's trashy mom, is always entertaining. The film is directed and scored well, but I was dismayed by one thing: It did not make the best use of it's mock documentary format. The camera was too stable, the angles too well-planned.
My only other complaint is structural in nature: The film simply goes on too long. When the pageant is over and a winner is named, the movie continues for what seems an eternity, following the town's representative in the state and national competitions. Did we really need to see this? The answer is no. When the first pageant ends, so does the drama.