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New releases: From tension to tedium
Panic Room has the potential to be scary and the camera work is masterful, but the plot never reaches its potential.
By STEVE PERSALL, Times Film Critic
© St. Petersburg Times
published September 19, 2002
Panic Room (R)
[Photo: Columbia Pictures]
Jody Foster monitors the movement outside of the Panic Room.
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A divorced mother (Jodie Foster) and her rebellious daughter (Kristen Stewart) move into a brownstone featuring an ultra-secure chamber. At least, she hopes it is when a trio of burglars (Forest Whitaker, Dwight Yoakum, Jared Leto) break in searching for a fortune hidden by the previous owner. Director David Fincher (Seven, Fight Club) keeps things dark and claustrophobic while Foster's character outwits the invaders.
First impressions: "Panic Room contains the elements of a creepy movie, but it merely creeps, reducing tension to tedium with repetitive stalker-flick cliches. Panic Room does benefit from the intrusive cameras of co-cinematographers Darius Khondji and veteran Conrad Hall. Whichever artist is responsible for a gorgeous one-take prowl of the premises while the burglars break in deserves applause. The camera floats everywhere, even into a dead-bolt keyhole, in a masterfully prepared piece of work. Those arthroscopic detours into shadowy regions always suggest dread when the script fails."
Second thoughts: Reaffirmed Foster's popularity after an extended screen absence, with $95-million at the box office.
Rental audience: Foster and Fincher fans, home remodelers.
Rent it if you enjoy: Lady in a Cage, Wait Until Dark.
Hollywood Ending (PG-13)
Woody Allen plays a washed-up, neurotic movie director (no wisecracks, please) hired by his former wife (Tea Leoni), a studio chief, to direct a new film. He gets so excited that he suffers from psychosomatic blindness, leading to a barrage of sightless sight gags. A choice cast includes Treat Williams as the ex-wife's new husband and George Hamilton, tanned and well-timed, as a Hollywood yes-man.
[Photo: DreamWorks]
Director Val Waxman (Woody Allen) and studio executive Ellie (Tea Leoni, seated) compliment Lori (Debra Messing) on her scene in Hollywood Ending.
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First impressions: "That's the outline of Hollywood Ending, but it doesn't come close to describing the texture, variety and sheer density of the humor. Allen reminds us that before Airplane! there was Bananas. Allen backs off the crudity of Deconstructing Harry to find his mildly naughty muse again. The studio satire is sharp but not savage; after all, Allen doesn't have much of an ax to grind with people who haven't bothered him much professionally. His main beef about L.A., as usual, is that it isn't New York."
Second thoughts: A nice recovery after that Curse of the Jade Scorpion debacle.
Rental audience: Woody's die-hard fans only.
Rent it if you enjoy: State and Main, Simone, The Player.
40 Days and 40 Nights (R)
After a painful break-up, a man (Josh Hartnett) pledges to give up all forms of sex for Lent, believing that will make him a better person. He never expected to meet the woman of his dreams (Shannyn Sossamon) during the layoff. Maybe if he told her about his pledge she would respect him more, but there wouldn't be a movie.
[Photo: Miramax Films]
Shannyn Sossamon and Josh Hartnett star in 40 Days and 40 Nights.
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First impressions: "The humor could be summarized in a one-panel Hustler cartoon with extraordinary trouser bulges and weary, sex-starved expressions . . . Lehmann occasionally creates something, such as a breast-cloud dream fantasy, that makes his movie temporarily special. But the movie has no comedic arc, no peaking of Matt's pique to generate a crescendo of laughter. The movie maintains the same tone throughout, like continually plucking a guitar string that's a half-note off-key."
Second thoughts: Viagra couldn't help this movie.
Rental audience: Hartnett's growing fan base, first-daters not expecting an encore.
Rent it if you enjoy: Cold showers.
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