Movie Review My One and Only

My One and Only (2009) 

Directed by Richard Loncraine 

Written by Charlie Peters 

Starring Logan Lerman, Kevin Bacon, Renee Zellweger, Chris Noth

Release Date August 21st, 2009 

Published November 29th, 2009 

In My One and Only Renee Zellweger brings southern propriety to life in a way that reveals the tragedy behind the preening self importance. As the wandering eyed Ann Devereau, mother of two teenage boys, Ms. Zellweger brings both twinkle and tear to her character with spirit, bravado and beauty.

George (Logan Lerman) loves living in ....New York...., the lively streets, the cold, the culture, are the necessities of a budding writer. Thus, when his mother Anne announces a sudden move to ....Boston...., George is none too pleased. With George and his brother Robbie (Mark Rendell) in tow, Mom buys a powder blue Cadillac and sets off to find a new man to care for her family.

Her last husband, George's father Dan (Kevin Bacon) was a serial philanderer that she happily leaves behind despite having no means of making money; Anne is not exactly the working kind. In ....Boston...., Anne quickly connects with an old boyfriend, Wallace (Steven Weber), who promptly ransacks her purse and skips the bill on their dinner date.

That's Ok because the encounter leads directly to another suitor, Dr. Harlan Williams (Chris Noth). He takes care of her bill and soon is making wedding plans. The Doc's temper unfortunately clashes with George and it's not long before the road is calling again and the family is off to ....Pittsburgh.....

Here, again, another man waits. His name is Charlie (Eric McCormick) and despite competition from a much younger woman, Anne is confident she has found a new man. This series of scenes are among the films best as George bonds with a neighbor girl named Paula (Molly C. Quinn) and for a moment settles into his mother's world.

Well, if that weren't abruptly ended there wouldn't be much of a movie. The scene shifts across the country to ....St. Louis.... where Anne's sister lives and eventually to ....Los Angeles.... where Robbie dreams of becoming an actor and George longs for the comforts of ....New York City.....

The story of My One and Only is a fictionalized account of the teen years of actor George Hamilton and the portrait is striking. ....Hamilton.... has become something of a pop culture goofball with his leathery tan and willingness to be the butt of the joke. The modern ....Hamilton.... bears little resemblance to the thoughtful, Catcher in the ....Rye.... loving George of this story.

True or not to Mr. Hamilton's life it is a fabulous story and well told by Director Richard Loncraine. Having struggled to make the move from director of proper English period pieces, The Gathering Storm, My House in Umbria to a modern Hollywood moviemaker, Wimbledon, Firewall, Mr. Loncraine is for the first time comfortable telling a Hollywood style story.

My One and Only is frothy and showbizy with just the right air of angst and desperation.  Ms. Zellweger's indomitable heroine is a creation of years of Hollywood stereotypes of the 'Southern Belle' with her classy pretension to glamour and yet she feels fully real. 

Logan Lerman brings a deep soul to George. Looking like a young Christian Slater, Lerman is a terribly handsome kid with real chops. When the reality of who Lerman is playing is revealed you may find it hard to believe as the uptight, soulful intellectual George of this film clashes with the modern pop cult version of George Hamilton we now know.

A fantastic story, exceptionally well told, My One and Only is one of the surprise films of 2009. Having slipped through the cracks, the film received little box office attention before popping up on DVD. Now, as awards season approaches My One and Only is barely on the radar and it's a terrible shame. Ms. Zellweger and Mr. Lerman both deliver awards caliber performances.

The film itself reveals the evolution of Director Richard Loncraine and promises even better work ahead. Too many people missed My One and Only in theaters; do not forget it now that it has arrived on DVD.

Movie Review Empire Records

Empire Records (1995)

Directed by Allan Moyle 

Written by Carol Heikkinen 

Starring Liv Tyler, Renee Zellweger, Robin Tunney, Debi Mazar, Anthony LaPaglia, Rory Cochrane 

Release Date September 22nd, 1995 

Published September 21st, 2015

Sugar High

Sometimes you love a movie beyond any rational reasoning. This movie speaks to you in a way that it does not speak to anyone else. The film speaks to something personal for you and regardless of objective viewers that find flaw the film is strangely perfect in your mind. “Empire Records” is one of those movies for me; I love it beyond my ability to weigh its quality objectively.

“Empire Records” tells the story of nearly a dozen characters over one truly eventful day. We begin the night before the big day. Lucas (Rory Cochrane) has been given the rare honor of closing Empire Records for the day. It’s a simple task, count the money and don’t touch any of the boss’s beer, cigars or his drum kit. Lucas will violate each of these rules before absconding with the day’s take of more than 9 grand and heading off to Atlantic City.

Record Town

Lucas’s heart was in the right place. You see, Joe (Anthony La Paglia)  is being forced to give up the store and let it become a ‘Record Town;’ a lame chain store with rules that will likely mean the firing of all of Lucas’s friends and co-workers. He’d hoped that a good night in A.C would earn the money to buy the store and save everybody’s job. Instead, he loses everything and sets the table for a very long day.

The following morning Joe arrives at Empire to confused calls from his bank and an angry call from his boss Mitchell (Ben Bode) wondering where the money is. Meanwhile, Lucas has disappeared and A.J (Johnny Whitworth) is pestering Joe for advice about telling Corey (Liv Tyler) that, after 5 years working together, he’s in love with her.

Rex Manning Day

Corey meanwhile has other things on her mind than poor, heartsick A.J. Today is ‘Rex Manning Day’ at Empire Records and Corey intends on giving her virginity to the washed up pop star, played with oozing smarmy charisma by “Grease 2” star Maxwell Caulfield. Corey is egged on by her best friend Gina (Renee Zellweger) a girl who knows a little something about throwing herself at boys. Gina is the smutty yin to Corey’s innocent yang.

In another of the film’s subplots Robin Tunney plays goth goddess Debra who makes a splashy first impression arriving at work with a full head of hair before shaving herself bald in the bathroom. She also has a bandage on her wrist from a failed suicide attempt that may or may not have something to do with her relationship with Berko (Coyote Shivers) a fellow employee and wannabe rock star.

Special Appearance by 'Warren Beatty' 

Rounding out the cast is Debi Mazar as Rex Manning’s unhappy assistant, Ethan Embry as the gregarious metal head Mark, Kimo Willis as vinyl connoisseur Eddie and Brendon Sexton, now one of the stars of the stellar AMC mystery series “The Killing,” as a shoplifter who claims the name Warren Beatty after getting caught stealing. None of these characters has much of a character arc but each is given a moment and each takes full, entertaining advantage of it.

This wonderful ensemble gels perfectly under the direction of Allen Moyle who’s best remembered for the 1990 teen angst drama “Pump up the Volume” and the 1980 teen comedy “Times Square.” Moyle never had a real hit movie but his contribution in the world of movie soundtracks cannot be diminished.

Pump up the Volume

Moyle’s soundtrack for “Pump up the Volume” introduced a generation to the odd qualities of Leonard Cohen on the same soundtrack as Richard Hell, Bad Brains with Henry Rollins, the Beastie Boys and Sonic Youth. The soundtrack to Moyle’s “Times Square” may have been the reason that film was made at all. That soundtrack included Joe Jackson, The Cars and, most notably, the first U.S appearance by The Cure.

Naturally, the “Empire Records” soundtrack is also packed with great music. The Cranberries, Evan Dando, Gin Blossoms, Toad the Wet Sprocket, Edwin Collins and Cracker each contributed a song as did star Coyote Shivers whose song “Sugar High” is also performed in the film with additional vocals by Renee Zellweger.

A Musical Interlude

Not included on the soundtrack but in the film itself is music from The The, Dire Straits, Throwing Muses and AC/DC. There are times when Empire Records stops for a momentary musical interlude. The cast dances and sings along for a moment and then we are back into the story. It’s awkward at times but also appropriate, this is a record store after all, there had better be some great tunes.

I love the music and the musical interludes of “Empire Records.” As ridiculously indulgent as the music moments are, I am drawn to them because the cast is drawn to them. I want to be a part of their fun. That’s why I love “Empire Records,” it’s a harmless fantasy about what you wish work could be, friends listening to music, occasionally dancing, falling in love and generally having a good time.

Rock n' Roll Fantasy

Empire Records is my fantasy workplace filled with hot babes like Liv Tyler and Renee Zellweger and mentors like Rory Cochrane’s Zen weirdo and Anthony La Paglia’s inconceivably loyal boss. I want to work with these people and love with these people and join their independent family and listen to music with them.

My love for Empire Records is irrational from a critical perspective; I could find flaw with the filmmaking and storytelling if I wanted but I choose not to. It’s just one of those movies that slips past my guard and reaches a place in my heart that is beyond rationality. I’m sure you have an “Empire Records” of your own.

Movie Review Cold Mountain

Cold Mountain (2003) 

Directed by Anthony Minghella 

Written by Anthony Minghella 

Starring Nicole Kidman, Renee Zellweger, Jude Law, Phillip Seymour Hoffman, Natalie Portman 

Release Date December 25th, 2003 

Published December 24th, 2003 

In 1997, Author Charles Frazier set out to tell a story that had been passed through his family for years. It was the story of his great uncle H.P Inman and his arduous trek home to North Carolina after deserting the Southern army near the end of the Civil War. In translating the story to the page, Frazier created an epic love story combined it with a Homeric odyssey and bathed it in Southern gentility.

Now in the hands of Director Anthony Minghella, Cold Mountain is a portentous, pompous, epic scale film and a sure bet Best Picture candidate.

Jude Law stars as Inman, a day laborer helping to build a brand new chapel for the people of Cold Mountain who are welcoming the arrival of a new Minister, Reverend Monroe (Donald Sutherland). With Reverend Monroe is his daughter Ada (Nicole Kidman), a well-educated, Charlotte-bred woman who has never done a days work in her life. Ada is a trained pianist, a writer and lives to serve her father. The attraction between Ada and Inman is immediate though inexplicable. The timing couldn’t be worse as Inman is leaving to join the Southern army to fight in the Civil War. They exchange photographs and a single passionate kiss. They promise to write and Inman promises to come back.

At war, Inman is witness to one of the bloodiest battles of the war, the battle at Petersburg, Virginia. The battle is legendary for the massive mistake made by the northern army who, after setting off a huge explosion underneath the southern lines, charged ahead into the crater they created. Once trapped inside the remaining Southern soldiers are able to pick them off one by one as they attempted to climb out of the crater. Inman watches most of the carnage until forced to jump in and save a friend who fell into the crater.

Afterwards, Inman is injured in a raid meant to kill the remaining Northerners trapped in the crater. While recovering, he receives a letter from Ada detailing her struggles since he left and asking him to come home. Inman immediately deserts and begins a very long walk home.

In the meantime, Ada is in grave danger of her own. With all of the able bodied men of Cold Mountain off to war and her father having passed away, Ada is left to tend the farm which she can't do. With only the kindness of an old couple played by Kathy Baker and James Gammon is Ada able to survive. At the old couple’s urging Ada takes in a woman named Ruby (Renee Zellweger), a force of nature personality who's as spunky as Ada is helpless. Ruby moves in and teaches Ada how to survive.

Zellweger's Ruby is at once the film’s most interesting and most problematic performance. On the one hand, it brings the film some much-needed lightness to balance the dreariness of the austere landscape and doomed love story. On the other hand, Zellweger continues to draw laughs even as she is supposed to be drawing sympathy. Credit Renee Zellweger for her ability to keep Ruby from going over the top but the adapted screenplay does her little favor with it's cornpone wisdom and forced passages that play up the character’s lack of education. The role was initially intended for an African American actress, the change is a wise one because as written the role would have been clearly racist.

As Inman makes his trek back to Cold Mountain he also meets some colorful characters, including a lecherous priest played by Phillip Seymour Hoffman and a nasty little redneck played by Giovanni Ribisi. Then there is the odd cameo by Natalie Portman as a war widow trying to protect her sick infant and fend off the Union army creeping up on her doorstep. She takes in Inman during a heavy rainstorm and the two have an odd encounter that is chastely romantic but unnecessary. Portman's scenes drag out the runtime of the film and serve no purpose on Inman's journey other than showing what great chemistry Law and Portman could have together given more time.

Much has been said of the chemistry between Law and Kidman, including rumors of onset romance. However, in the film they share so few scenes that the chemistry is never really an issue. Ada and Inman don't fall in love with one another but rather the idea of each other. Inman headed off to war and the strong possibility of death and appears to grab on to the image of Ada, the most beautiful woman he has ever seen, as a reason to fight and a reason to keep living in the face of great tragedy. 

As for Ada, Inman is at first simply an intriguing romance but in the course of losing her father and suffering on the farm, before Ruby arrives to help her, Inman is a savior. Inman is a knight in shining armor coming to her rescue. It is the idea of one another that matters, not the person themselves. It’s that idea which makes the film’s ending all the more poetic and fascinating.

I'm not going to give away anything, Director Anthony Minghella certainly never gives anything away. For most of the entire nearly three hour runtime of Cold Mountain, the audience has a preconceived notion of what will happen and Minghella alternately delivers it and subverts it. Switching perspectives from Ada to Inman, shifting the timeline from when Inman and Ada met to the current moment of their journey. The film is at once conventional and out of sorts and I dig that about it.

That said there is another element of Cold Mountain that I didn't like. Call it the Miramax effect or maybe just something about Minghella's affected filmmaking, but everything about Cold Mountain screams out at you to appreciate it whether you want to or not. There is an arrogance to it that says the film doesn't have to be entertaining because it's above that. It's like an obnoxious person who simply assumes that you like them regardless of how you really feel. Cold Mountain seems full of itself and arrives with an air that says “Award me.”

Is Cold Mountain a well-crafted film? Absolutely. Is it among the best films of 2003? No. Does it demand that you think it is? Definitely.

Movie Review: White Oleander

White Oleander (2002) 

Directed by Peter Kominsky 

Written by Mary Agnes Donaghue 

Starring Michele Pfeiffer, Allison Lohman, Renee Zellweger, Noah Wyle, Cole Hauser, Patrick Fugit 

Releasse Date October 11th, 2002 

Published October 10th, 2002 

In What Lies Beneath Michele Pfeiffer spends the first three quarters of the film giving the best performance of her career. A performance that was vulnerable and wrenching, combining madness and sanity with depth and sexuality. Then the film becomes a typical horror slasher movie with an un-killable and unbelievable villain that ruins the entire film. Now with White Oleander, Pfeiffer is allowed to complete the performance she started in What Lies Beneath and finally give the best performance of her career.

In White Oleander, Pfeiffer stars as Ingrid Magnusson, a talented but highly troubled artist and mother. Alison Lohman is Ingrid’s daughter Astrid, who quietly witnesses her mother's madness yet still worships her. After Ingrid is sent to jail for killing her lover, Astrid is moved to a series of horrendous foster homes but cannot escape the reach of her mother who fears that she is losing control of her daughter.

The first foster home Astrid is sent to belongs to a former stripper turned born again Christian named Starr (Robin Wright Penn). At first Starr seems merely strange and highly hypocritical, she is born again but lives with a married man, Ray, played by Cole Hauser. As the story proceeds we find that there is far more wrong with Starr than mere hypocrisy. As Astrid gets to know and like Ray, Starr begins to suspect that Astrid is trying to seduce him. 

As it turns out it’s the other way around. Though Ray never tries anything with Astrid the attraction is there and leads to a dangerous climax. Ray and Starr disappear and Astrid is sent to an orphanage where she meets a fellow artist and kindred spirit named Paul played by Almost Famous star Patrick Fugit. The tentative romance is a little rushed but the actors chemistry is good enough to cover any problems caused by the poor scripting.

Astrid and Paul’s relationship is short lived as Astrid is shuttled to another foster home. This time it’s the upscale home of an actress named Claire (Renee Zellweger) and her producer husband Mark ("E.R’s" Noah Wyle). Astrid quickly begins to enjoy her new home though trouble is obvious as Claire suspects Mark’s frequent travel is hiding something. And of course there is Ingrid who, without Astrid’s knowledge, has begun to contact Claire and would like to meet her. 

Astrid is quick to notice her mothers’ malevolent intentions but Claire is oblivious and once she is drawn into Ingrid’s web Claire is quick to crumble. With Ingrid’s prodding, Claire becomes more suspicious of Mark and distant from Astrid, leading to an emotional ending that is the film's emotional climax. Watching Pfeiffer and Zellweger play scenes together is remarkable. Both actresses are giving everything they have and it is a sight to see. 

The mother-daughter relationship is the film's centerpiece and Pfeiffer and Lohman work like clockwork. Trading lines of dialogue as if they had worked together forever, their characters come to life in each other's presence. Each actress brings the best out of the other and their scenes together are riveting and intense. Oscar should call on both of these actresses.

That’s not to say that the film they inhabit isn’t flawed. Indeed were it not for the strong performances the film would no doubt collapse under it’s clichés. There is only so much sadness an audience can endure and White Oleander lays it on pretty thick, forcing Lohman into situations that would lead most sane people to consider taking their own life.

White Oleander is certainly no advertisement for the foster care system as Astrid is dropped on the doorstep of people far too obviously damaged to be real. Robin Wright Penn’s Starr is an unmarried former stripper caring for three foster kids even before she takes in Astrid. Renee Zellweger’s Claire, while affluent enough to provide a home for a child, has a history of suicidal tendencies and taking in children as if they were pets, sending them back if her husband seems unhappy. Astrid’s last foster home experience is with a Russian prostitute who has her foster children sift through garbage for things to sell at flea markets or steal from other children she takes in.

The most glaring problem is the lack of a fully fleshed out male character to balance the female centric vibe. Patrick Fugit is great but his character is far too sweet and accepting to be believed and he doesn’t get enough screen time to establish a real presence. Nevertheless it’s the two lead performances by Lohman and Pfeiffer that make White Oleander easy to recommend. Forget the ridiculous chick flick label, great performances are great performances, no matter what the gender. Great acting deserves to be appreciated, and White Oleander is blessed with great acting.

Movie Review: Bee Movie

Bee Movie (2007)

Directed by Simon J. Smith, Steve Hickner

Written by Jerry Seinfeld, Spike Feresten, Barry Marder, Andy Robin

Starring Jerry Seinfeld, Renee Zellweger, Matthew Broderick, John Goodman, Chris Rock

Release Date November 2nd, 2007

Published November 1st, 2007

I'm a big fan of Seinfeld. That talky seemingly going nowhere about nothing style is just hilarious to me. Jerry has significantly lowered his profile since his legendary TV show made him the second richest television personality in America, right behind Oprah. Now Jerry is getting back to business and not being much of an actor, he's found himself a niche in animation. Bee Movie is the brainchild of Jerry and a few friends from Seinfeld. The story of a worker bee who leaves the hive and discovers a whole new world of possibilities is really just a collection of Seinfeld-isms masked by kid friendly animation.

When Barry B. Benson (Seinfeld) discovers that he will be working the same job for the rest of his bee life he longs for an escape. He gets his chance when a squadron of pollen gathering jock bees invite him to fly outside the hive. What Barry discovers is that while most humans want to squash him, at least one human, Vanessa (Renee Zellweger), will defend his right to live.

Though bee law doesn't allow bees to speak to humans, Barry is compelled to thank Vanessa for saving his life. This leads to a friendship, and a puppy dog crush for Barry. Eventually, Vanessa leads Barry to another revelation, humans have been stealing the bee's honey. With her help, Barry decides to sue humanity for the return of the precious nectar they work so hard to create.

So, there is a semblance of a plot in Bee Movie. The whole thing about humans stealing honey from bees gives the film something to do while Seinfeld riffs opposite Renee Zellweger. The dialogue is a combination of classic Seinfeld fascinations (awkward introductions, pop culture, et al) and bee puns. Some of these meandering conversations hit with a good punchline, sometimes they thud like a bad pun. Still, everything is delivered in a good natured and pleasant fashion.

The animation of Bee Movie is in the Dreamworks style, reminiscent of both Shrek and Shark's Tale. Shiny surfaces, oddly shaped bulbous characters and bright colors. For Bee Movie yellow and black are, naturally, the dominant colors, especially in the hive. Outside, bright blue skies and gorgeous green grass standout as some remarkable, eye catching visuals.

Joining the fun of Bee Movie are a number of big name guest stars. It's like a sweeps episode of the Love Boat. Oprah Winfrey, John Goodman, Chris Rock, Matthew Broderick, Kathy Bates and Seinfeld's old TV pal Patrick Warburton each play key roles. Sting drops in for a brief, humorous cameo and Ray Liotta steals the movie in a terrifically over the top bit of self parody.

Jerry Seinfeld is so naturally funny that you will laugh while watching Bee Movie. You just won't laugh enough. Gags and one liners work well in a stand up act but in movies we long for characters with some depth and insight. We long for characters who aren't merely placeholders in search of the next setup and punchline.

Ratatouille is soon to come out on DVD and that film about a gourmet rat shows the potential of animation to create animal characters with depth, insight and more to offer than a few good zingers. Bee Movie is amiable and nice but compared to Ratatouille, it's superfluous and entirely forgettable. While some won't mind the trifle that is Bee Movie, deep down they will long for more. I know I did.

Movie Review: Bridget Jones The Edge of Reason

Bridget Jones The Edge of Reason (2004) 

Directed by Beeban Kidron

Written by Adam Brooks, Richard Curtis, Andrew Davies, Helen Fielding 

Starring Renee Zellweger, Colin Firth, Hugh Grant, Jim Broadbent, Gemma Jones 

Release Date November 12th, 2004

Published November 11th, 2004 

When Renee Zellweger was announced to play British singleton icon Bridget Jones from the enormously successful book by Helen Fielding, the reaction was less than exciting for fans of the book. How could an American actress, from Texas no less, capture this essentially British character. Amazingly, not only did she pull off the accent and some serious weight gain, Zellweger went on to be nominated for an Oscar, a remarkable feat for a comic performance.

With that much success it is no surprise that there is now a sequel, it's also no surprise that that sequel is not quite as good as the original. It's called sequelitis and no matter how good the original film may be, few sequels can escape the sequel curse.

It's been five terrific weeks since Bridget Jones (Zellweger) landed the man of her dreams Mark Darcy (Colin Firth). Five weeks, 35 glorious days, 70 spectacular shags. However, in every passionate relationship, eventually; you have to get out of bed and when Bridget and Mark finally get up and get dressed the problems begin.

At first it's little things like Mark's need to fold his underwear or his insistence that she quit smoking. Soon, it's bigger problems like Mark's stodgy stuck up lawyer friends and his surprisingly conservative politics. Then it's Mark's new assistant a leggy, gorgeous, 22 year old named Rebecca (rising star Jascinda Barrett).

Bridget's circle of friends, Shazzer (Sally Phillips), Tom (James Callis) and Jude (Shirley Henderson), certainly don't help matters by fueling her paranoia over Mark's new assistant. While Bridget's only married friend Janey (Lucy Robinson) raises questions about why Mark hasn't asked her to marry him. Then there are Bridget's wacky parents, flighty Mom (Shirley Dixon) and put upon Dad (Jim Broadbent), who shock Bridget by announcing they are renewing their marriage vows.

Finally one last big obstacle for Bridget and Mark comes from Bridget's job where, as a reporter for Sit Up Britain, she has become a celebrity for smiling her way through one humiliation after another. This leads to a big promotion but one big complication. Bridget will co-host a travel show that will take her all over the world but her co-host is her former boss, and lecherous boyfriend, Daniel Cleaver (Hugh Grant).

That is the bare bones set up; but the plot in reality is contrived and episodic. Four writers including novelist and creator Helen Fielding, director Beeban Kidron, romantic comedy genius Richard Curtis (Love Actually,Four Weddings and a Funeral) and Adam Brooks, another rom-com vet who wrote this years charming tennis movie Wimbledon, all combine to give the film that to many cooks in the kitchen feeling. A lot of conflicting ideas come together to create a mishmash of good and not so good scenes. The final product is something that might make for a good sitcom but not a great movie.

Fortunately these writers are blessed with a cast that is to die for. Renee Zellweger is once again her Oscar-worthy self. Patterning her performance after Lucille Ball and the gals from Sex and The City Zellweger combines physical comedy with a terrific ability to win our hearts she makes this lackadaisical story and script work, to a point, because no matter what we absolutely love her.

For his part Colin Firth is likable but as his role is written he is somewhat hamstrung. His character is stuffy and rigid with little spontaneity. Opposite Zellweger's bubbly Bridget he looks even more stiff than he's written. Firth does what he can with the role but for the most part he is pushed along by the plot. Hugh Grant also suffers somewhat from plot manipulation but his charm and razor sharp wit make even his most strained moments work. The final fight scene between Firth and Grant is terrifically funny for the awful way the actors carry it off.

Fans of Renee Zellweger will find lots to love in Bridget Jones: The Edge Of Reason as will faithful fans of the book. For the uninitiated though the film will feel disjointed and overlong. The characters are often ridiculously lost and befuddled which leads to much audience confusion until the end when predictability and a touch of schmaltz rule the day.

Where the original felt fresh and vibrant this sequel is rote and simplistic. The various attempts at salvaging it by bringing on a different writer only served to muddy the waters. All of this seems like it may have been to much for first time director Beeban Kidron. The director often seems as overwhelmed by problems as Bridget herself and the only way out was to stick close to sitcomic formula.

Even with all that goes wrong I would not mind another Bridget sequel and I'm sure I'm not alone. Edge Of Reason does not fail because of Bridget the character who remains wildly, lovably, daft and it only benefits from Renee Zellweger's portrayal. It is the developments behind the scenes, the direction and scripting that went awry. Fix the script and keep the characters and you may just have another funny story to tell in the next Bridget Jones adventure.

Movie Review: Case 39

Case 39 (2009) 

Directed by Christian Alvart

Written by Ray Wright 

Starring Renee Zellweger, Callum Keith Rennie, Bradley Cooper, Jodelle Ferland, Ian McShane

Release Date October 1st, 2010 

Published November 15th, 2010

There was really no good reason for “Case 39,” the horror thriller starring Renee Zellweger, to have sat on the shelf for 3 years. The film is no game changing original in the genre but compared to the kind of horror flotsam that slips into nationwide release on a regular basis in the US, “Case 39” is harmless and forgettable enough that it should have passed through theaters without issue several years ago.

Instead, “Case 39” arrives with the undue burden of a heavy coat of dust that muddies the perception of the film's inherent qualities. It's fair for an audience to wonder what the studio saw in the film that made them want to hold it back and that thought leads to the fair perception that “Case 39” is a royal stinker which it is not.

Emily Jenkins (Renee Zellweger) is a social worker with a lot on her plate. She has 38 open cases of potential child abuse and neglect to deal with when her boss Wayne (Adrian Lester) drops a 39th case on her desk. Naturally, Emily is put off by the new assignment but being the dutiful investigator she is soon at the home of the troubled little girl Lilith (Jodelle Ferland) and her disturbed parents Edward (Callum Keith Rennie) and Margaret (Kerry O'Malley).

Though her visit turns up no direct evidence of abuse, Emily's instincts are that Lilith is being abused and needs more attention and care. She moves the investigation along off the books with the aid of a friendly detective, Mike Barron (Ian McShane), and eventually catches the parents in the action of trying to kill Lilith.

Lilith immediately connects with Emily, even as Emily tries to make clear she has no instinct for parenting. Soon, Lilith has convinced Emily to bring her home to her modest suburban abode and just as soon afterward things start going from serene to weird to drop dead terrifying for Emily and any one in her life from co-workers to Mike the cop to her potential boyfriend, Doug (Bradley Cooper), who becomes a particular target.

It does not take a triple digit IQ to figure out where this story is going. Director Christian Alvart (Pandorum, Antibodies) directs “Case 39” with all of the nuance subtlety of a jackhammer. Alvart's direction of Ray Wright's insultingly simpleminded script signals each twist and turn of the plot with heavy-handed music cues and dimwitted direction.

This would be surprising considering that screenwriter Ray Wright also delivered the clever and thrilling screenplay for the 2010's update of “The Crazies.” Then, one remembers that “Case 39” is going on 4 years old and well before Wright had truly developed his talent. The same could be fairly said about director Alvart who followed up “Case 39” with the dull but efficient sci-fi horror flick “Pandorum.”

Renee Zellweger remains a talented and compelling actress who knows how to draw an audience to her. “Case 39”sadly is just too dopey for even someone of Ms. Zellweger's talent to work around. The plotting is clunky and perfunctory. The supporting players, no matter that they are played by talented familiar faces like McShane and Cooper, are little more than cannon fodder and Jodelle Ferland while cute, cannot carry the burden of a plot that is so poorly drawn.

All of that said, “Case 39”is better, more professionally crafted, than much of the garbage that has been playing to empty theaters in the time that “Case 39” has been gathering dust. I could name at least 100 films far worse than “Case 39” that did not have to carry the burden of being abandoned by it's studio for three years. Is “Case 39” good enough that you should buy a ticket? Maybe not, but if you've bought tickets for such lesser fare as “Piranha 3D” you may as well pledge a little money to “Case 39.”

Movie Review: Cinderella Man

Cinderella Man (2005) 

Directed by Ron Howard 

Written by Cliff Hollingsworth, Akiva Goldsman 

Starring Russell Crowe, Renee Zellweger, Paul Giamatti, Craig Bierko, Bruce McGill 

Release Date June 3rd, 2005

Published June 2nd, 2005 

Legendary depression era writer Damon Runyon dubbed James J. Braddock 'The Cinderella Man'. Runyon, best known for his unique patois and shady underworld characters, found some things he liked about the Braddock story. There was the the underdog unlikeliness of the story and the sports setting, however, the square Mr. Braddock was not really Damon Runyon's favorite kind of character. Runyon may not have been taken much with Ron Howard's equally square biography of Mr. Braddock which takes its name from his writing. Cinderella Man, starring Russell Crowe, features some awesome boxing but the earnest sentimental drama out of the ring crosses quickly over to out and out schmaltz.

Russell Crowe stars as James J. "Bulldog" Braddock who in 1929 was a top ranked Light Heavyweight contender. Braddock was flush with success, cash, a beautiful wife named Mae (Renee Zellweger) and three gorgeous kids. Sadly however in a Jobian succession of ills, Braddock lost nearly everything in the stock market crash of 1929 and a subsequent hand injury that would eventually sidetrack his promising career.

In 1933 Braddock was forced from the ring by his injury and a series of bad fights, mostly ugly brutal losses, though to his credit Braddock was never knocked out. With bills piling up, winter coming and his family living in a dirt floor apartment, Braddock attempts to find work on the docks of New Jersey but there are more men than shifts and he and many others are often excluded.

Forced to beg his former boxing promoters for money, Braddock finds sympathy from his former manager and trainer Joe Gould (Paul Giamatti) who pulls strings to get Braddock his boxing license back and lands him an important fight at Madison Square Garden, playing punching bag to a new top contender. Braddock shockingly knocks the kid out and in so doing, he earns the admiration of fans for his gutty style and his obvious underdog status.

One fight leads to another and eventually Braddock has a showdown with the champion of the world, Max Baer (Craig Bierko). The champ is reputed to have killed two men in the ring, is much bigger than Braddock, and given Braddock's time away from the ring, there is much speculation that Baer might just make it three in ring kills. Braddock's wife Mae is certainly concerned, a bit of drama the film mines for dramatic tension near the end of the film.

Going in to Cinderella Man with no knowledge of whether James J. Braddock won or lost the championship fight lended a great deal of compelling drama to the film's boxing scenes which on top of the suspense, are extraordinarily shot by Director Ron Howard and Cinematographer Salvatore Totino. The boxing is by far the best part of Cinderella Man. The audience I watched with cheered and clapped at the end of each fight as if they were inside that smoky rundown gymnasium.

If the rest of Cinderella Man were as good as the boxing we would be talking about one of the best movies of the year. However the film's script by Cliff Hollingsworth and script doctor Akiva Goldsman is so achingly sentimental you have to fight your eyes to keep them from rolling. The non-boxing scenes overflow with the fairy tale goodness of James Braddock the family man. Braddock is treated with such a soft touch you can hardly believe he would have the will to punch someone, let alone become a boxing champion.

The only thing that keeps Cinderella Man from becoming a complete loss, aside from the boxing, are the performances of Russell Crowe, Renee Zellweger and Paul Giamatti. This awesome cast of real pro actors handle even the most squeamish of squishy dialogue with just the right amount of earnestness and distance. This is a fairy tale underdog story that happened to come true so earnestness and sentimentality are to be expected, but without these great actors this may have well become a Hallmark Hall of Fame TV weepie.

I cannot say enough great things about the boxing scenes in Cinderella Man. Russell Crowe nails the pose, the athleticism, and the raw power of a real boxer while Howard directs around whatever deficiencies Crowe may have had. The boxing scenes are extraordinary and very compelling and really the most memorable thing about Cinderella Man.

It's not that the rest of the film, from the home life drama to the social drama of the depression era setting or the romance between Crowe and Zellweger, never works but that it's all a bit too safe. Despite the gritty ghetto setting and the dingy dive boxing arena, there is very little grit or dirt in Cinderella Man. Braddock was well known for his decency and honor, wonderful qualities but no one is perfect. Director Ron Howard portrays James Braddock as if he were positioning him for sainthood.

This earnest portrayal grows weary after a while and you long for some little bit of dysfunction, some flaw, anything that could shed some light on how this eminently decent gentlemen became a brutal warrior in a boxing ring. Certainly his desperate situation, the fact that he was fighting to feed his family, played a large role in his determination but what aspect of his personality drove him to be a championship contender in the first place? That element is missing from Crowe's performance and the film as a whole.

Director Ron Howard has never been known for his gritty storytelling. You expect Howard to indulge his crowd pleasing nature. He indulges a little too often in Cinderella Man but with the extraordinary boxing scenes and the power of his cast, Howard manages to keep Cinderella Man, at the very least, entertaining all the way to the final bell. It could have been a real contender but as it is, Cinderella Man is a bit of fluffy feel good entertainment.

Movie Review: Down with Love

Down with Love (2003) 

Directed by Peyton Reed 

Written by Eve Ahlert, Dennis Drake 

Starring Renee Zellweger, Ewan McGregor, David Hyde Pierce, Sarah Paulson, Tony Randall 

Release Date December 25th, 2003 

Published December 24th, 2003

Recipe for how to make a romantic comedy soufflé. Mix two parts attractive leads, two parts cute supporting players. Sprinkle in a mistaken identity, mixed messages and three parts romantic complications and let cook for no more than 90 to 100 minutes. The new romantic comedy Down With Love, starring Renee Zellweger and Ewan McGregor, has all the ingredients of your typical romantic comedy. Spiced with a period look and a feel that freshens the formula, Down with Love rises above its recently undercooked genre.

Down With Love stars Renee Zellweger as small town girl turned big city writer, Barbara Novak. Barbara has just come to New York from her small town in Maine to promote her new book Down With Love. It's a book that instructs women to throw off the shackles of love and strive for a place in the male dominated workforce. It teaches women that they can live just like a man, have a career and sex without the distraction of love and it's various complications. With her editor and new best friend Vikki (Sarah Paulson), Barbara sets out to promote her book. To do that she must be interviewed by the biggest big city journalist of them all, Catcher Block (Ewan McGregor).

Catcher is described numerous times throughout the film as a woman's man, a man's man, a man about town, someone that is difficult to pin down. His editor and best friend Peter (David Hyde Pierce) has promised that he would interview Barbara, but he keeps putting her off until finally she says no to him. However, after Barbara's book becomes a hit, it's Catcher who must chase down Barbara. His ingenious plan is an expose about how Barbara doesn't live up to the ideals of her book; career over love, casual sex over marriage, chocolate over sex. Catcher pretends to be an astronaut and fools Barbara into falling in love with him, but at the same time he finds himself falling for her for real.

The film isn't as predictable as it sounds, the final 30 minutes especially holds a number of head turning plot twists so outlandish, they’re outright hysterical. I was going to complain about how preposterous these twists were until I finally got the joke. In Down with Love, Peyton Reed shows the ingenuity he lacked in his debut film, the cheerleader comedy Bring It On. Reed's period recreation of early sixties Hollywood is flawless from the Technicolor costumes right down to the painted backdrops that stand in for 60's New York. Props also to cinematographer Jeff Cronenweth for capturing the Cinemascope glory of the Doris Day-Rock Hudson movies that inspired Down With Love.

Though Zellweger and McGregor don't exactly set the screen on fire, they capture the chaste naughtiness that marked the film’s which Down With Love is modeled on. Zellweger and McGregor's best scene actually comes during the credits when they sing and dance, something each did quite well in Chicago and Moulin Rouge respectively. The film’s soundtrack, which includes the stars duet on "Here's To Love" also features a little Sinatra and Judy Garland singing the film’s title song.

Down With Love is the movie equivalent of chocolate, sweet and delicious and utterly superfluous. It's all so light it floats off the screen, but that is exactly what it should do. Down With Love is a sweet and cheesy bit over the top fun. It’s an improvement on the rote, romantic-comedy genre that in recent years has been repeating itself into oblivion.

Movie Review New in Town

New In Town (2009) 

Directed by C. Jay Cox

Written by C. Jay Cox and Ken Rance

Starring Renee Zellweger, Harry Connick Jr, J.K Simmons, Frances Conroy 

Release Date January 30th, 2009

Published January 29th, 2009 

I find as I grow in the job of film critic that I am getting a little softer. I am growing more tolerant of some things and less tolerant of others. In my fiery early years I likely would have torched a little movie like New In Town simply because I could. I wouldn't have done it merely for sport, I would have had good solid reasons for torching it. The point being that I would have walked into the movie with an attitude and perhaps been less tolerant of overly familiar elements of the rom-com. 

In fact, I have a number of good reasons to torch the film right now. But I am not going to. With experience I like to think comes wisdom and my newfound wisdom tells me that I would have been far too hard on this harmless forgettable little formula romance. Trashing New In Town for being a formula rom-com would be like squashing a bug with a rocket launcher.

Cute as a button Renee Zellweger stars in New In Town as Lucy, your prototypical fish out of water. The water here being New Ulm, Minnesota, a frozen corner of the world that is none too welcoming to a gal born and bred in Miami. Lucy has come to New Ulm to take over the management of a local food producing plant and fire half the staff.

If you can't guess that the hard hearted city gal falls for the small town charmers like Siohban Fallon's Blanche Gunderson or J.K Simmons as the crotchety plant manager, you just aren't trying. Throw in Harry Connick Jr. as the obligatory love interest and you can really say you've seen the movie just from knowing the cast.

Nothing in New In Town breaks the mold of your typical rom-com. This is where I would have started lobbing bombs in years past but not this time. Sure, I knew every step of this movie before walking in the door of the theater, the plot has all the depth of a 2 minute film trailer.  What experience has taught me however, is that with rom-coms, it's not about how cliched the story is but rather how enjoyably enacted those familiar elements are. A well executed formula romantic comedy can still be a good movie if the cast is likable enough to make you forget the overly familiar elements. 

New In Town succeeds, ever so slightly, due to Renee Zellweger being cute as a button with charm to spare. Zellweger is backed up by a charming supporting cast of veteran character actors capable of stealing a scene or two, especially the brilliant J.K Simmons, the conscience and the soul of New in Town and a guy who is impossible not to admire. The romance between Renee Zellweger and Harry Connick Jr. doesn't exactly set the screen on fire but, because of Zellweger, it has just enough charm for me to care about it. 

Now, it's highly likely that you will have forgotten about New In Town by the time you reach the parking lot after seeing it. But, while you are watching New in Town, I imagine that you will smile, you will laugh genuinely and a few times and the movie will never offend you with any low brow humor, stupidity, or insulting twists of the plot. It may be a formula rom-com but it is a formula rom-com starring a rising superstar in Renee Zellweger. Her appeal alone is enough to life the film to a mild recommendation from me. 

Yes, New in Town is a dumb little fairy tale romance that aspires to be nothing more than a minor distraction. That said, how can I trash a film for accomplishing exactly what it set out to accomplish? This review may not be enough to encourage you to see New In Town but I am not here to discourage you. The film will earn every dollar it gets this weekend.

Movie Review: Chicago

Chicago (2002)

Directed by Rob Marshall 

Written by Bill Condon 

Starring Renee Zellweger, Catherine Zeta Jones, Richard Gere, Queen Latifah, Taye Diggs

Release Date December 27th, 2002 

Published December 26th, 2002 

The play Chicago dates back to 1924, a non musical play inspired by a pair of real life murder cases in which woman were accused of murdering their lovers. It was adapted for the screen two times, including a version called Roxie Hart starring Ginger Rogers. It wasn't until 1974 that Chicago the play became Chicago the musical. Bob Fosse and partner Fred Ebb took the story and added sensational song and dance, and Fosse's trademark raunchiness, to make a play that while popular, it wasn't initially the massive hit many had expected. 

In 1996 a revival of Fosse's Chicago, the musical was brought back to Broadway, but slightly tweaked. With a little less raunch and a slightly less cynical tone, the all new Chicago the musical was now a smash hit. The revival went on to earn 9 Tony Award nominations and win 7 Tony Awards over. Now, 6 years later, it is the revival version of Chicago that comes to the silver screen and unfortunately, they may have done better with Fosse's version.

Set in 1924, Chicago centers on a pair of scandalous murders that splash across the front pages of Chicago's trashy newspapers. One case is that of a chorus girl named Velma Kelly (Catherine Zeta Jones), who shows up at a jazz club for a performance a little late and without her dance partner. Velma and her sister Veronica were becoming famous for their double act, but on this night, it is just Velma on stage performing their signature routine to the tune of All That Jazz. We quickly realize as the police arrive that Velma has murdered her sister after finding her in bed with her husband.

In the audience on that night as Velma was taken away by the cops, is a starry eyed, dim bulb blonde named Roxie Hart (Renee Zellwegger). At the club with a man who is not her husband, Roxie is expecting her boyfriend will speak to the manager about putting her onstage to perform. Cut to a month later Velma is in jail and Roxie is still waiting for her man to make her a star. However, when he admits he made up the story just to sleep with her, Roxie shoots and kills him.

When Roxie's husband Amos (John C. Reilly) comes home from work she convinces him the man was a burglar and tries to get Amos to take the fall. However after Amos finds out that the burglar is a guy he knows he changes his tune and Roxie is off to murderesses’ row where she will share a cellblock with the celebrated murderers of the day, husband killers whose brief glimpses of fame have dimmed as the gallows loomed over them. Among those celebrated killers is none other than Velma Kelly. 

Though Roxie tries to insinuate herself into Velma's world behind bars, the two are not friends. Velma only sees Roxie as someone trying to take her spotlight. Roxie meanwhile, after being rejected by Velma manages to convince her idiot husband to hire Velma's high profile lawyer Billy Flynn (Richard Gere). With this move by Roxie, it becomes a war between Velma and Roxie to see who can make bigger headlines and hold the attention of their glory hound lawyer the longest. Billy Flynn's only interested in whichever client is on the front page that day. 

Director Rob Marshall, a veteran of the stage making his film debut, crafts a quickly paced and exuberant film that combines the best of old time Hollywood glamour with modern panache and star power. Though unlikely choices for the leading roles, Renee Zellweger and Catherine Zeta Jones's star quality helps to nail their temptress roles with surprisingly strong singing and dancing, aided no doubt by Marshall's quick cut style.

The biggest surprise in Chicago however, is Richard Gere. Forget surprise, Gere is a revelation. Though his singing could use some work, Gere's vibrant enthusiasm and energy carries you past any reservations you may have about his singing. In his best moments, Gere blows everyone else off the screen. In particular, a courtroom tap-dance near the end of the film is truly spectacular and in a film with a number of standout numbers, Gere manages to craft best performance of the film.

I have a few issues with this Broadway adaptation however, issues that keep me from fully embracing the film as a truly great movie. The first issue is the staging of the musical performance. All of the musical numbers are bound to Broadway style proscenium stages. Director Rob Marshall binds the movie to the stage and fails to take advantage of the dynamic film medium for staging. Marshall seems to think he is tied to the Broadway stage interpretation of each song.

Then there is the film’s tone, which wants to be bawdy comedy but can't go as far as it would like in fear of offending the family audiences. Adhering closely to the toned down revival version of Chicago, the film contains little of Fosse's raunchiness that marked his 1974 version. What Fosse's version did was frame the sensationalistic stories with bawdy comedy and a masterful turn of innuendo. There is little of that fun in this Chicago, save for Queen Latifah's "What Mama Wants.” The comedy in Chicago never finds a rhythm to match the music.

What made Fosse's version interesting, if not great, was its ability to drag the audience into the gutter with its characters. The raunchiness and the fearlessness of the characters was transgressive and exciting. With this toned down version of Chicago, you don't get the thrill that Fosse intended. Instead it's like watching the OJ Simpson trial, you can't help but admire the sheer audacity of Johnny Cochran, but you still hate OJ and you likely weren't rooting for him. 

In Chicago you can't help but admire Gere's Billy Quinn for his Razz Ma Tazz three ring circus, but Zellwegger's Roxie Hart is still a terrible person. This fact about Roxie is confirmed by the film’s only truly sympathetic character, John C. Reilly's Amos Hart. Sympathetic or just pathetic, Amos' big number "Mr. Cellophane" is the films one moment of emotional involvement. The rest of Chicago lingers somewhere in an uncanny valley of toned down dark humor, bloody murder crossed with big brassy musical numbers, all pitched to reach the back of the theater. It's a sloppy tone the film never wrestles into cohesion. 

Comparing Chicago to a similar but far superior movie such as Moulin Rouge would be unfair. Baz Luhrmann is a veteran filmmaker who is aware of all the tools available to him in the film medium. In Moulin Rouge, Luhrmann was working from material of his own creation in a realm he's comfortable creating in. Rob Marshall is still learning about the difference between directing a film and directing for the stage and I believe he has a bright future in Hollywood. Chicago is a good start, a flawed but brave attempt at a big screen musical that demonstrates Marshall's promise as a director while coming up short on the promise of the movie itself. 

Movie Review Leatherheads

Leatherheads (2008) 

Directed by George Clooney 

Written by Duncan Brantley, Rick Reilly 

Starring George Clooney, Renee Zellweger, John Krasinski, Jonathan Pryce 

Release Date April 4th, 2008 

Published April 3rd, 2008 

George Clooney is a big fan of old Hollywood. At his best Clooney throws back to the stars of the 40’s 50 and 60’s with flair and relish. Evoking the look of Clark Gable, the charisma of Cary Grant, and the cocktail hour suavity of Frank Sinatra, Clooney is a throwback in modern times. You can see this in his film resume. Movies like Intolerable Cruelty which threw back to the classic 50’s and 60’s style romantic comedy, The Good German, shot in black and white no less evoked Bogart in mystery mode with a dash of Spencer Tracey. And, of course, there are the Ocean’s movies; which modernize the 60’s cool of Sinatra’s rat pack.

No wonder then that Clooney is so at home in his latest role, a period comedy with period clothes and a period romance. Leatherheads stars George Clooney as Dodge Connelly the leader of a ragtag group of pro footballers watching their league slowly collapse around them. Set in the mid 1920’s Clooney could not be more at home with style, grace, and rapid fire banter that filmmakers of the day like Preston Sturges and Howard Hawks made legendary.

In 1925 College Football was America’s game and its stars were the stars of American sports. Pro football on the other hand was played on fields, literally, corn fields, wheat fields, anyplace with a fair patch of grass and enough room for a few rickety bleachers. Better known for its ugly cheating and brawling. Pro football of the time was an outlaw sport and Dodge Connelly and his Duluth Bulldogs were the Oakland Raiders of their day. The Raiders have a reputation for being tough and bending the rules. 

Unfortunately for Dodge, his beloved Bulldogs and their fellow barnstorming pros in Milwaukee, Decatur and even Cleveland are struggling financially and folding up at an alarming rate. Eventually, even Duluth can’t afford to keep playing and the Bulldogs are out of a job, forced to return to the mines and other menial work. The team and their pro league is sunk until Dodge gets a great idea. 

Traveling to Chicago, Dodge meets with the top college football star of the day, a kid nicknamed The Bullet, Carter Rutherford (John Krasinski), Princeton University football captain and a bona fide war hero. If Dodge can convince The Bullet, and his smarmy agent C.C (Jonathan Pryce), to come to Duluth and play for the Bulldogs, Dodge believes that he can save his team and likely the sport of pro football.

Following the story of the football star/war hero is a crafty reporter named Lexie Littleton (Renee Zellweger). Posing as a sports reporter, Lexie is chasing a scoop about The Bullet’s war hero story being a big fake. Her task is to convince The Bullet to confess but after meeting Dodge, it’s all Lexie can do to avoid a scandal of her own.

Like Clooney, Renee Zellweger is a star out of time. Her work in Chicago and the little seen gem Down With Love showcase a talent that would have been perfectly at home with Howard Hawks, Preston Sturges or opposite Gable, Bogey or Grant. Zellweger banters like Rosalind Russell and paired with Clooney she smolders like Bacall.

The chemistry of Clooney and Zellweger nearly overwhelms the lightweight football comedy and definitely puts co-star John Krasinski at a disadvantage. The breakout star of TV’s The Office is an affable young actor with a bright future but his burgeoning talent is no match for the veteran Clooney and the experienced Zellweger.

Krasinski simply cannot sell the love triangle aspect of Leatherheads and fades through the background when Clooney and Zellweger are on screen. I don’t mean to demean Mr. Krasinski, not many actors could match the kind of fizzy chemistry of Clooney and Zellweger. It’s just a shame that so much of the movie rides on us buying The Bullet as a viable alternative to Clooney’s mantastic Dodge Connelly.

Quick witted if a bit dawdling at times, Leatherheads is a pithy, sweet romantic comedy that happens to feature sports. A throwback to a completely different era of movie history, George Clooney directs Leatherheads with the verve of Howard Hawks if not the complete skill set of that film legend. Charming and funny with a pair of great lead romantic partners, check out Leatherheads for Clooney and Zellweger and wish John Krasinsky well on the future of his career.