Open Range
More than once the death of the Western has been greatly exaggerated.
Whenever critics are ready to hammer the final nail in the genre’s coffin, someone
comes along to remind us of why it is the most American of movie types. The
Western has always served as a reflective template for whatever social ills
and concerns are plaguing our country. Kevin Costner’s Open Range is
no exception. While some critics say it relies too heavily on genre conventions,
a closer look reveals a sly commentary on the injustice of modern capitalism.
Traveling over the Great Plains with a modest cattle herd, Boss Spearman (Robert
Duvall), his partner Charley Waite (Costner), and their two hired hands, the
gregarious Mose (Abraham Benrubi from “E.R.”) and immature youth Button (Diego
Luna), run into trouble. Denton Baxter (Michael Gambon), a wealthy cattleman
who has no qualms about fencing off his property, resents Spearman’s free grazing
and orders him to leave the territory. Sheriff Poole (James Russo) turns a blind
eye to the businessman’s intimidating ways, which include raiding Spearman’s
camp, killing one of his men and seriously wounding another. As Spearman and
his men stand up for themselves, they’re pushed to their limits and discover
they are not the men they thought they were.
Though the film suffers from an overwrought musical score from Michael Kamen
and an awkward conclusion that feels tacked on, it does a marvelous job of bringing
the old West to life and paying homage to quite a few classic Westerns, including
Rio Bravo, Gunfight at the O.K. Corral, and Unforgiven.
Some say Costner’s style of epic filmmaking is grandiose. But this isn’t fair.
The story required that Costner paint on a vast canvas. When the violence comes,
as it always must, it’s shocking and fierce. Duvall, of course, delivers his
usual fine performance, portraying a man who matches the landscape.
(Running time 2:15, rated R)
Grade B+
Showplace, White Oaks
What other critics are saying . . .
Edited by Imran Siddiquee
American Wedding A comic weekend wedding, complete with bachelor party. “The grossest, least
funny–and, here’s hoping, the last–installment in the American Pie series.”
(Manhola Dargis, Los Angeles Times) Parkway Pointe, Showplace
Bruce Almighty Jim Carrey is granted sovereignty
over his hometown by God. “A smart, surprisingly thought-through blockbuster,
with a decent grasp of the theological implications of its idea.” (Nev Pierce,
BBCi) “A fable overwhelmed by special effects and outsized spectacle.” (Kevin
Thomas, Los Angeles Times) Esquire
Freaky Friday Remake of 1976 comedy in which a
mother and daughter switch identities. “A funny, shrewd, no-bull family comedy.”
(Lisa Schwarzbaum, Entertainment Weekly) Showplace, White Oaks
Freddy vs. Jason Two horror icons meet. “Like the
later chapters in both of these seemingly endless movie series, it all seems
just a bit too familiar and a bit too obvious as to what’s coming next.” (Brian
Webster, Apollo Guide) Parkway Pointe, Showplace
Grind An ex-con shows up at his brother’s door
and threatens his family’s well-being. “Once it settles into its labored tale
of fraternal betrayal, adultery and forgiveness, the movie loses its footing
and becomes a series of strained, melodramatic encounters performed by actors
who appear too upscale for their characters.” (Stephen Holden, New York Times)
Showplace
Hollywood Homicide A veteran and rookie cop get their
off-duty hobbies mixed up in a murder case. “One
of the most lazily scripted, poorly structured, smugly stereotyped star vehicles
in recent memory.” (Ty Burr, Boston Globe) “It’s a movie an audience
can settle comfortably into, and it pays off as it goes along.” (Mike LaSalle,
San Francisco Chronicle) Esquire
Legally Blonde 2 Lovable brainiac heads to Congress
to fight for animal rights. “Moves at such a brisk, easy clip that there isn’t
much time to linger over its flaws.” (Manhola Dargis, Los Angeles Times)
“The first one was silly fun, amusing and oddly inventive; the second is plodding,
unfunny and almost cringe-worthy.” (Claudia Plug, USA Today) Marty McKee’s
grade: D+. Route 66 Drive In
Nowhere in Africa True story about a Jewish family
that escapes the Nazis in WWII and starts up a farm in Kenya. “It is so rare
to find a film where you become quickly, simply absorbed in the story. You want
to know what happens next.” (Roger Ebert, Chicago Sun-Times) White
Oaks
Pirates of the Caribbean: The Curse of the Black Pearl
“In a movie based on a Disney theme-park ride . . . the most high-flying,
jaw-dropping special effect of the summer is . . . Johnny Depp.” (Ty Burr, Boston
Globe) “Depp keeps the film delightfully off balance with his unpredictable
comic weave.” (Sean Axmaker, Seattle-Post Intelligencer) Chuck Koplinski’s
grade: B+. Parkway Pointe, Showplace
Rugrats Go Wild Second feature based on the popular
cartoon series about loud-mouthed babies. “Stick a fork in the Rugrats
movie franchise. It’s done.” (Nancy Churnin, Dallas Morning News) Esquire
Seabiscuit The horse, its jockey, and the men who
made them famous. “A Depression underdog saga, the movie also is standout alternative
programming to an oft-deadly sequel summer.” (Mike Clark, USA Today)
Chuck’s grade: A. Parkway Pointe
Spy Kids 3-D: Game Over “Frontrunner for 2003’s
most mindless and physically offensive movie-going experience.” (Nicholas Schager,
Slant) “The Spy Kids movies have allowed [director Robert] Rodriguez
to exercise his playful muscles, and the new one is no exception.” (Mark Caro,
Chicago Tribune) Chuck’s grade: B+. White Oaks
S.W.A.T. Film version of the old television show.
“A big, near-incoherent action thriller best suited for audiences who don’t
mind being pummeled into submission.” (Michael Wilmington, Chicago Tribune)
“Offers up the kind of pleasures that only a summer movie can.” (Michael O’Sullivan,
Washington Post) Parkway Pointe, Showplace
Terminator 3: Rise of the Machines Arnold Schwarzenegger
comes back, again, as an android fighting another, more advanced robot. “A taut,
exciting science-fiction thriller that pumps up our adrenaline without forgetting
to engage our heads. . . . The movie also plays as a more palpable cautionary
tale about humans’ ceding control to machines than The Matrix Reloaded.”
(Mark Caro, Chicago Tribune) “Mainly the problem is a weak story that
throughout seems to be building toward something it never quite reaches.” (Mick
LaSalle, San Francisco Chronicle) Chuck’s grade: B. Route 66 Drive
In
Uptown Girl A former “It” girl gets a job as a
nanny and grows close to the little child in her care. “Can two lonely hearts
come together as one, rendering them Best Friends? I don’t care, and neither
should you.” (Jeanne Aufmuth, Palo Alto Weekly) Showplace
This article appears in Aug 14-20, 2003.
