Monthly Archives: August 2002
Jennifer Aniston, a Friends favorite, has been getting attention for her less than attractive turn in adultery with The Good Girl. However, the movie’s biggest flaw is Aniston herself. The Good Girl can try and make her look as disheveled as they can, and they can try and make her wear as much unflattering baggy clothing as possible, but in the end we’re still watching Mrs. Brad Pitt groan about the purgatory that is Middle America. An actress of better caliber could likely pull off the rub, but alas, Aniston is not quite that actress yet.
Aniston narrates the disenchantment as Justine with her dead-end job working at a Wal-Mart-esque chain store and her dead-end marriage to perennially stoned house painter Phil (John C. Reilly). She longs for an escape and a change of pace from a grind where there appears none. Then one day a new teenage co-worker named Holden (Jake Gyllenhaal) comes into her life and seems to represent the danger and vitality Justine has felt missing in her life for so long. Her affections are at first stalled in apprehension, but soon Holden and Justine are ducking into motels and finding excuses to get busy in the stock room. But soon enough the honeymoon ends. Justine learns more distressing items about the emotionally dependent and unstable clerk, like his real name is Tom (“Tom is my slave name” he tells her). What once seemed exciting is now becoming more perilous to cover up.
The Good Girl then descends into blacker territory with some unexpected turns, but also some more unbelievable moments. When confronted by Phil’s best friend Bubba (Tim Blake Nelson) about her infidelity she is given a rather unpleasant ultimatum that she gives in too way too easily. The longer the affair and messy cover up continues the more audience loyalties shift toward the victim, Phil. He admits he isn’t the smartest man or the best husband, but his feelings are authentic for his wife. And the more the audience views him the more they see that he truly does love Justine.
And again, we have to come black to that road block of a lead. A more accomplished actress could pull off this bittersweet role with aplomb and believability. A better actress could have slowed down the audience shift in loyalty away from her unfaithful protagonist. The supporting cast of The Good Girl has a lot more bite to them. Gyllenhaal (Donnie Darko) now seems to be an expert in the disturbed youth. Reilly starts off as a loaf but transforms into a sympathetic character that has his own touching moments of unannounced affection to Justine. Nelson gives the film some of its funniest moments along with the lethally deadpanned Zooey Deschanel. The lone stereotype in the bunch is played by Mike White (who wrote the film) as an overly enthusiastic Christian do-gooder.
It’s a pity The Good Girl has its anchor around the neck of Aniston and willing to go as far as she will take it, because The Good Girl is indeed a good film with some wicked moments of comedy and a well-written story. It’s just that Aniston’s acting limitations gravitate what could have been a better film.
Nate’s Grade: B
Director Viktor Taransky (Al Pacino) needs a hit like a crack addict (my apologies to Chris Rock). His new movie is in the can but his temperamental star (Wynona Ryder in a juicy cameo) pulls out and demands all footage of her be left on the cutting room floor. The studio is close to dropping Taransky’s film deal, and the studio head just happens to be Taransky’s ex-wife (Catherine Keener).
Under this intense pressure Taransky retreats to mourn his failed potential, until an eccentric one-eyed computer engineer gives him the key to his solution. It seems that instead of interacting with actors and their egos and trailer demands, Taransky has found a new movie star — one completely made up of ones and zeroes named Simone. Taransky edits Simone into his film and soon after the nation is in love with the digital blonde. Simone mania sweeps the nation and soon her smiling image graces all sorts of memorabilia. The public can’t get enough of the mysterious Simone who never goes to public functions and only seems to speak or appear for Taransky.
Writer/director Andrew Niccol (Gattaca) has some fun with the premise but tries to have his cake and eat it too when it comes to his satire. S1mone starts out satirizing egotistical stars, then the Hollywood system, then the press, then the public as star worshipers. The movie is all over the map trying to have something witty to say about all these different topics but is too busy to settle down on any one for a while. The satire S1mone embodies feels deflated from all the work it’s trying to do.
Pacino has always been able to do comedy but seems wearier than ever. He indulges in his comic like over-the-top aggression he’s been doing since Dick Tracy. Keener plays another of her icy businesswomen roles although she thaws quite easily and quickly in the film.
There’s a rather funny subplot involving Pruitt Taylor Vince and Jason Schwartzman as tabloid reporters on the prowl of the elusive Simone that deserves much more attention than it gets. The bulk of the movie could have been these two entertaining characters.
When Taransky finds that his creation has become more than he can handle he tries to discredit her through a series of very funny public appearances and avante garde film choices. But then S1mone sadly goes back to its more mediocre roots. Taransky tries to get rid of Simone but it all horribly backfires.
As the film progresses you start to realize all the gaping holes that come up – like how can Taransky, a self-described computer illiterate, handle the most technical computer program of all time? How come no one would find out that Simone lacks a birth certificate, social security number or even tax records for her studio work? And why does the audience have to sit through the disgustingly cute daughter of Taransky and Keener, who just happens to be a computer whiz-kid, besides the fact she’ll have a late fourth quarter save of dad?
It’s not that S1mone is necessarily a bad film; it just has this missing piece to it when you watch it. Some scenes are funny, many drag, and the whole thing needed to be tighter and punchier. And to clear up any confusion, it is indeed an ACTRESS who plays Simone. Her name is Rachel Roberts.
Nate’s Grade: C+
Is anyone else getting tired of watching the same re-heated jokes again and again with the Austin Powers franchise? Making Goldmember is basically considered money in the bank, so I’m sure the creative people toiling behind the scenes don’t want to rock to boat of a financially proven formula. But when you become creatively stagnant then what was once entertaining turns sadly redundant.
I think there was four actual things I laughed at in the whole movie, and that in no way should justify admission price. I might be alone in my thinking but I feel the Austin Powers spy-spoof series is just getting less and less funny the more financially successful it becomes. Do we need to see more scenes with the grotesque and unfunny Fat Bastard? Do we need more scenes with the requisite underwritten female role (this time played by Beyonce Knowles)? And do we really need Austin at all? I mean if you want to talk about the weak link in this comedy troupe, it’s the name bearer himself. Whenever the film has to switch back to Powers the comedy drops to the floor. I would gladly pay good money to see an entire Dr. Evil movie. Michael Caine is the only solid addition to this movie.
It doesn’t matter what goes on in this some hour and forty minutes of screen time, because it will be huge. Many of the jokes fall flat, are devoid of wit, and just go for the cheapest and most scatological way out. Im not saying I expected much seeing the latest Austin Powers movie but I did expect to laugh, and not doing so is the biggest sin for a comedy.
Nate’s Grade: C