Movie Review: Bride Wars Starring Kate Hudson

Bride Wars (2009) 

Directed by Gary Winick 

Written by Greg Depaul, Casey Wilson, June Diane Raphael 

Starring Kate Hudson, Anne Hathaway, Chris Pratt, Steve Howey, Candace Bergen

Release Date January 9th, 2009 

Published January 10th, 2009 

Two best girlfriends go for each others throats after their weddings are booked on the same day. Some might say, big deal, share the day. But then you wouldn't have a series of scenes where the now former BFF's trade nasty pranks ending with one tackling the other from behind as she walks down the aisle. That is the nasty little premise of Bride Wars a dull witted new comedy that provides the latest evidence of the career devolution of the once radiant Kate Hudson.

Liv (Hudson) and Emma (Anne Hathaway) have, since they were little girls, always dreamed of June weddings at the Plaza Hotel in New York City. Emma has gone so far as to save from her teen years to now just to pay for her dream wedding, Liv is independently wealthy having grown up to be a lawyer. Now, both have met the man of their dreams and their dream weddings are approaching. 

Two dopey doofuses have sought the chance to marry our wedding obsessed heroes. Fletcher (Chris Pratt) has romantically pursued Emma and given her lovely surprise proposal. Poor, dummy Daniel (Steve Howey) is basically tricked into asking Liv to marry him following a mix up with a ring in their shared apartment. Both men are merely props in this story and neither prop is well used. 

Things are in perfect order for two dream weddings at the Plaza as a high profile wedding planner happens to have three openings in June, two on the same day, one 3 weeks later. While the girls think they have booked separate dates, the wedding planner botches things and the girls end up on the same date. And the hilarity begins..... or not.

Bride Wars is briskly paced and bubbly early on as we can sense the fun in this idea and the possibilities of these two talented actresses. But, it's not long before things begin to fall apart and once the girls have split up and are going after each other things turn from bubbly to brusque, from brisk to bludgeoning. I adore Kate Hudson and Anne Hathaway but watching the nasty ways in which they attack each other in Bride Wars is unpleasant, 

Under the direction of Gary Winick, who brought much charm to Charlotte's Web and 13 Going On 30, Bride Wars is so childish I wanted to hire a babysitter. What the movie desperately needs to balance the lunacy of Hudson and Hathaway's antics is one adult character. When none emerge the movie flips and flops about in demonstrations of nastiness that even tweenage girls will find childish.

Anyone whose every tripped over the reality show Bridezilla on the We Network knows there are big laughs to rend from the idea of crazed women in search of the perfect wedding. That Bride Wars is incapable of finding any of those laughs shows just how wildly inept the entire enterprise is. Bridezilla is Kubrick-ian level cinema with the wit of a 70s era Woody Allen compared to Bride Wars. 

Movie Review Letters to Juliet

Letters to Juliet (2010) 

Directed by Gary Winick 

Written by Jose Rivera, Tim Sullivan 

Starring Amanda Seyfried, Christopher Egan, Gael Garcia Bernal, Vanessa Redgrave

Release Date May 14th, 2010

Published May 15th, 2010

“Letters to Juliet” could be a very good movie. The premise is engaging and unique and the star, Amanda Seyfried, is so cute that I suspect kittens want to hold her. Sadly, as directed by Gary Winick, “Letters to Juliet” is a wit free wannabe weepy that adheres so closely to formula that one wonders if Winick was threatened with execution if he attempted any innovation.

”Letters to Juliet” stars Amanda Seyfried as Sophie, an American girl traveling to Verona Italy with her restaurateur fiancée (Gael Garcia Bernal) for a little romance and a lot of his business. While the fiancée runs off to collect high end wines and learn new recipes, Sophie heads for the tourist traps beginning with the legendary home of Juliet Capulet.

Shakespeare's “Romeo and Juliet” was set in Verona and the townspeople with a good eye for tourist capturing, have an ancient house with just the right kind of balcony to stand in for Juliet's home. Year after year heartbroken women leave their romantic wishes on the wall.

Over time another group of women have voluntarily gathered the letters to Juliet and set about answering them. Sophie witnesses the gathering of the letters and meets Juliet's secretaries. A writer herself, Sophie accepts an invitation to answer some letters while the fiancée continues his business.

While collecting the letters to Juliet, Sophie finds one that had not been found in nearly 50 years. The letter is from a 15 year old girl named Claire who met the man of her dreams in Verona but has succumbed to family pressures to leave him and return to England. She wants to know if she did the right thing or whether she should return to Italy. 

Sophie writes back and her romantic notions inspire the now 65 year old Claire (Vanessa Redgrave) to return and find out what happened to her lover Lorenzo Bartolini (Franco Nero). Along for the ride, tsk tsk-ing all the way, is Claire's grandson Charlie (Christopher Egan) who opposes the trip and holds special enmity for Sophie for inspiring the journey.

Naturally, Sophie offers to join the search for Lorenzo and thus begins a romantic journey across Italy. Or at least, that was the idea.

”Letters to Juliet” sadly is so forced and predictable that it becomes impossible to enjoy even the minor pleasures it has. Amanda Seyfried is an actress who is easy to enjoy. She has a great smile and most notably those great big eyes. It’s hard not to  root for her in a romantic situation and yet “Letters to Juliet” somehow fails to capture that. 

Director Gary Winick adheres to such a dull formula that even the most forgiving audience will have a hard time not deconstructing what doesn't work about it. Worst of the lot is poor Gael Garcia Bernal as the straw man fiancée. Placed as a roadblock to Sophie being with Charlie, Bernal's character is never formidable and instead exists to be awful and irritating enough that we don't mind seeing him cuckolded.

Spoiler alert, Sophie and Charlie are made for each other. They hate each other at first sight. They are forced together on a road trip. They have important things in common. Not for one moment is there an inkling of tension over whether Sophie and Charlie will be together and thus the movie meanders pointlessly toward its predicted conclusion. 

The same lack of tension, drama or humor exists in Claire's search for Lorenzo. The same scene repeats several times as Claire meets a man named Lorenzo, quickly figures out that this colorful weirdo is not her Lorenzo and back in the car we go. We know from the trailer that she finds him and since the film is about Sophie and Charlie, the romantic reunion and its aftermath are an afterthought. 

It's hard to hate a movie set in Italy. The wonderful landscapes and colorful people make for fantastic movie scenery. Oftentimes in “Letters to Juliet” you will notice that Cinematographer Marco Pontecorvo gets as lost as we do in the scenery, letting his stars slip into the background as he loses himself in the glories of the setting.

Pontecorvo's occasional distraction makes for some fun, unintentional comedy, but that is really the lone pleasure one can take from “Letters to Juliet.”

Yes, I realize punishing a romantic comedy for being predictable is like punishing a horror film for too much killing but Letters to Juliet really is lazier than most other romances in the ways it adheres to formula. Add that to the assets that the film wastes, including Seyfried's cuteness and Vanessa Redgrave's grace, and the whole thing becomes worse than just being lazy and formulaic.

Movie Review 13 Going on 30

13 Going on 30 (2004) 

Directed by Gary Winick 

Written by Josh Goldsmith, Cathy Yuspa 

Starring Jennifer Garner, Mark Ruffalo, Judy Greer, Andy Serkis

Release Date April 23rd, 2004

Published April 19th, 2004

Being a fan of TV's “Alias,” I am well aware of the tremendous talents of Jennifer Garner. Her role in last year’s comic book adventure Daredevil showed she could easily transfer that talent to the big screen. Now, with the big screen comedy 13 Going on 30, Garner has the biggest test of her talents yet. Playing what is essentially a re-imagining of Tom Hanks' role in 1987's Big, Garner shows a comic flair that she has not had the opportunity to show before. It's a risky departure and a surprisingly successful one as well.

In 13 Going on 30, Garner is Jenna Rink, whom we first meet at the age of 13 as an insecure kid who hopes to become part of a popular clique. She has her chance when the popular kids promise to attend her thirteenth birthday party. However, her popularity comes with a price as she alienates her best friend Matt. Worse yet, the popular girls were only joking about being her friend and instead abandon Jenna as she awaits her first kiss with one of the popular boys in a game of “seven minutes in heaven.” This leaves Jenna stranded and crying in her closet wishing that she could be 30 years old like the girls in her favorite magazine.

When next we see Jenna, she is grown up and very confused. Her wish has come true and she is now 30 years old, only she doesn't remember anything between her wish in the closet and waking up in her fabulous New York apartment. Soon she finds out that she has become an editor at her favorite magazine, Poise, and she became and remains friends with the popular clique from her high school. However she is no longer friends with Matt (Mark Ruffalo) who has grown up to become a photographer and is soon to be married. In her confusion, Jenna discovers that hurting Matt was the biggest mistake in her life and that wanting to be popular has cost her real happiness.

Not exactly groundbreaking storytelling. However as it is played with such lively joy by Jennifer Garner, this trite, overly sweet story is surprisingly funny. Garner tosses her dignity to the curb and goes full speed ahead into being a thirteen-year trapped in the body of a thirty-year-old. Not only is she believable, she is very funny. Garner infuses the role with more acting talent than you expect for such light material. She’s also very well matched with Mark Ruffalo whose credibility as dramatic actor gives the film’s melodrama a needed gravity.

Director Gary Winick borrows effectively from Penny Marshall's Big, combining it with the bubbly effusiveness of Legally Blonde for a comic fantasy romance that is sweet without being overly precious. There are big laughs in the film but more importantly there are big smiles, especially the ones you leave the theater wearing.

My only real problem with the film is it's title which evokes those bad eighties body switching movies like 18 Again or Vice Versa. While those films are in this one's spirit, this is a different and far better film. It's not the most original movie and there are few cringe-inducing moments of over the top cuteness, but nothing so bad that they can't be overlooked. 

There is too much about the film that works for me to care about the moments that don't. 13 Going On 30 is a shockingly good movie that I am very pleasantly surprised to recommend.

Movie Review Tadpole

Tadpole (2002) 

Directed by Gary Winick 

Written by Heather McGowan, Niels Mueller 

Starring Aaron Stanford, Bebe Neuwirth, Sigourney Weaver, Robert Iler, John Ritter, Kate Mara

Release Date August 2nd, 2002

Published January 27th, 2003

Movies about worldly teenage boys falling for older women are nothing new. (The Graduate is a famous example that is more than 30 years old) However a movie about a 15-year-old boy who lusts after his stepmother... well I haven't seen that one before and really wasn't looking for it. Nevertheless the cheaply made Oedipus comedy Tadpole is charming. despite its strange twist on the Graduate formula.

Aaron Stanford stars as Oscar, who is nicknamed Tadpole by one of the film's minor supporting players (though everyone else calls him Oscar.) Oscar is an odd 15-year-old; he reads Voltaire, speaks fluent French and has an affinity for women's hands. Returning home to New York for Thanksgiving break Oscar explains to his friend Charlie (The Sopranos' Robert Iler) that this will be the weekend he tells the woman he loves how he feels. Oscar neglects to mention that the woman of his dreams is his stepmother, Eve, played by Sigourney Weaver.

Once home Oscar arrives at a party in progress and his loving father Stanley (John Ritter) attempts to set him up with the daughter of a friend. However, Oscar and his one-track mind blows off the girl and instead pines away for Eve. Disappointed after a night of watching his father and Eve together, Oscar goes out and gets a little drunk. As he stumbles home, he meets up with his stepmother's best friend Diane (Bebe Neuwirth). 

Rather than let Oscar go home and be discovered by his parents to be drunk, Diane invites Oscar to her place for coffee. One thing leads to another and Oscar and Diane end up in bed. Oscar feels horribly guilty; feels he has betrayed his feelings for Eve. This leads to the film's best scene in a restaurant with Oscar, his father, stepmother and Diane. As Oscar sweats over whether Diane will let his secret slip, Diane taunts him mercilessly and finally Oscar's childishness gets the better of him.

Shot on digital video with a budget of only $750,000, Tadpole isn't the best looking movie. Accordingly, director Gary Winick has to rely on the characters and they are interesting characters, especially Bebe Neuwirth's Diane. Neuwirth is amazing in this role; sexy and quick-witted, she is the film's real star. The film's lead, Aaron Stanford, who makes his film debut here--he will appear as Pyro in X-Men 2 this summer--isn't bad. Stanford is believable as an intellectual, overly analytical obsessive, though not as believable as a 15-year-old. In reality, he is 25 years old and he looks it.

Sigourney Weaver is believable as the object of Oscar's obsessions, but the conversations between her and Oscar are too stilted in double meanings to be believed. Ritter is forgettable as the clueless father whose basic job seems to be to get in the way of the rest of the characters. Tadpole has many funny moments, mostly provided by Neuwirth; however, at a mere 80 minutes there isn't much to it. The film's resolution is forgettable with a throwaway happy ending that throws aside all that has happened before it. There are no consequences or guilt--just an ending.

The film is strong on dialogue and Neuwirth is extraordinary in her supporting role so, for that, I can give  a partial recommendation to Tadpole. 

Movie Review: Charlotte's Web

Charlotte's Web (2006) 

Directed by Gary Winick 

Written by Susannah Grant, Karey Kirkpatrick 

Starring Julia Roberts, Dakota Fanning, Robert Redford, Steve Buscemi, Oprah Winfrey, Kathy Bates

Release Date December 16th, 2006 

Published December 15th, 2006 

Most people of my generation, Gen-X, were exposed to E.B White's classic children's fable Charlotte's Web by the cartoon adaptation that was a television staple since its creation in 1972. Interesting fact about that adaptation, E.B White hated it. He was wary of Hollywood to begin with and found the adaptation to be lightweight and far too Hollywood.

There is no telling what he would think of the latest incarnation of Charlotte's Web; White died in 1985. However, he did once hope that the film would be given a live action treatment. Under the whimsical direction of Gary Winick (13 Going On 30) with a slightly updated script by Karey Kirkpatrick (Over The Hedge) and Susannah Grant (In her Shoes), this live action Charlotte's Web has the kind of magic that I think E.B White may have appreciated, especially as a fan of talking animals.

Wilbur (voice of Dominic Scott Kay) was a runt pig on his way to slaughter. Thankfully, young Fern (Dakota Fanning) was witness to his birth and stepped in to prevent his execution. The first few months of this spring-pigs life were spent as Fern's pampered pet. However, once school started and the holiday season grew closer, Wilbur's fate seemed to be Christmas dinner.

No longer allowed to be Fern's pet, Wilbur is banished to the barn owned by Fern's uncle, Mr. Zuckerman, where a menagerie of not so friendly neighbors await. Maybe they are just being realistic and not wanting to get close to an animal so likely to be gone by the first snow, but the animals in the Zuckerman barn are a little standoffish.

That is, except for Charlotte (Julia Roberts), a spider who befriends the lonely little pig. Charlotte can relate to being an outcast. As a spider she is not exactly on good terms with her neighbors either. Some are afraid, like Ike the horse (Robert Redford), others are disgusted by her, like Samuel the sheep (John Cleese). Wilbur becomes Charlotte's first friend. Eventually the two become close enough that Charlotte breaks the bad news to him about his likely fate but also promises to find a way to save him.

When I first began seeing trailers for this new Charlotte's Web I was concerned. The trailers featured fart jokes which to me signaled desperation and created the worry that such modern touches would all involve bathroom humor. My memories of Charlotte's Web from childhood are of a classy cartoon that even made the rat Templeton acceptable, even as he rolled in garbage.

Thankfully, my worries were unfounded. The bathroom humor in Charlotte's Web is limited to just a few scenes. What is prevalent throughout this new adaptation is a classy, old school approach to storytelling. Director Gary Winick spins a wondrous tale that is the perfect mixture of sugary sap and honest, touching emotion. The film is at times so saccharine you need to call your dentist but by the end you will find that you've spent the entire film with a smile on your face and maybe even a hint of a tear in the corner of your eye as one of the main characters passes away.

Julia Roberts provides the voice of Charlotte and her soft, honey soaked tones are so soothing you can't help but fall in love with this spider. Soft and sweet, her voice is the calming element needed to leaven the mood of the other voice actors who are either hyper or extremely put on. Roberts brought a similar vocal smoothness to the animated film The Ant Bully earlier this year, another film where her voice-work stands out.

Like the animated version of this story, this Charlotte's Web has a lovely timeless quality. Even with the CGI necessary to create the talking animals, Charlotte's Web has such a classic look and such an old school approach to storytelling that it seems like it could have existed 40 years ago. Director Gary Winick perfectly captures the innocence of E.B White's fable, his characters ,and even the slightly dark undertones of the story that give it such depth and resonance.

Charlotte's Web is at times a little cloying and at times a little too sweet but most of all, Charlott'e Web is a solidly crafted piece of G-rated children's entertainment. The nostalgia factor makes it appealing to adults as well as children but parents will likely be surprised just how much they enjoy  the feel of this film even beyond their memories of the cartoon and the classic book.