Cameron-Diaz Movie Reviews

I was very pleasantly surprised because I hadn't heard of it at the theaters and yet it was such a treat to watch. In my opinion, this was much more enjoyable and creative than There's Something About Mary. In fact, I think it's Cameron Diaz's best movie. If you like her work, you owe it to yourself to rent it. Harvey Keitel is also excellent as the husband.

And if you're reading this Cameron, will you marry me? :-)

I was very pleasantly surprised because I hadn't heard of it at the theaters and yet it was such a treat to watch. In my opinion, this was much more enjoyable and creative than There's Something About Mary. In fact, I think it's Cameron Diaz's best movie. If you like her work, you owe it to yourself to rent it. Harvey Keitel is also excellent as the husband.

And if you're reading this Cameron, will you marry me? :-)

Still, the film does have some hilarious scenes, especially with the dog. The energy and spunk of such moments had me rolling in the floor. Also the pizza guy is memorable for his remarkable level of physical control in some uncomfortable scenes where I was never sure if I should laugh or feel sorry for the guy; in retrospect, I'm just amazed at how limber the dude is.

The only reason I gave this three stars rather than two, however, is the presence of the luminescent Cameron Diaz. This film would have been a flop without her. She perfectly fulfills the role of the charming, gorgeous, sweet, transparent Mary. If one could not understand why the male cast members would devote themselves to her pursuit, the film would fall to pieces.

The only reason I gave this three stars rather than FOUR, however, is the incredible stupidity it often shows. Mary does WHAT for a living? Nothing about her character ever leads us to think it's possible, other than a screenwriter using the vaguest outline of it by using her job title a couple of times. Even when she's at work she seems out of place. This is not sexism, but her personality, lifestyle, attitude, and mostly time away from the office, are such that one may as well believe she were a congresswoman.

And how about the odd device of separating the scenes with an on-screen musical interlude? Pandering to the lowest level of audience intelligence, the idea is to tell about 20 to 25 minutes of story (just about the length of the TV sitcom, see, because they don't think you have enough focus to pay attention any longer than that and have to do a kind of "commercial break").

Worst, however, is the nonstop stream of "F-bombs" dropped without any rhyme or reason. I'm strongly opposed to mindless crude language, and while there have certainly been examples of films that use such language well within the prose-like patter of tough-guy films like "Pulp Fiction" or "Glengarry Glen Ross," here we just have a bunch of [people] who can't think of anything more clever to say. It's clear that the filmmakers did it just to ensure an R rating, so the young audience would think it was hipper than a PG13 film.

As I say, there is intermittent hilarity that make it worth watching once. I won't be wasting my time with a second viewing, however.

Bottom-line: This is a light-hearted, funny and fun film. It's not high art, strong social commentary, nor stirring dramatic fare. However, it is often witty, and always cute.

P.S. I also thought the dog scenes were hilarious slap-stick comedy. Maybe he--rather than Cameron--should get Most Valuable Player Award?

An example Crowe should draw upon when it comes to directing a movie that plays with reality and dreams so restlessly is that of David Lynch's recent stunner, "Mulholland Drive". In that movie everything was there for the audience to understand, and yet it let them try to figure out why certain people did certain things and what was real and what was not. "Vanilla Sky", despite starting boldly by delineating what was real and what wasn't as well as jumping back and forth threw time consistently, veers off into typical dumb-down-for-the-masses territory come journey's end. Rather like "A.I.", but seeming so much longer and dull, Crowe has gone ahead and done the audience's hard work for them by giving an ending that explains everything ... and that's an exaggerated everything! Throw in a couple of thankless roles for the otherwise very good actors Kurt Russell, as Cruise's fatherly psychiatrist, and Noah Taylor (boy do you want to just smack Crowe for what he makes this guy do for the film!), and the film loses some considerable edge that would have turned it into a long-debated gem. It's telling that Spielberg himself has a blink-and-you'll-miss-it cameo in the film. As well as a wholly expository final 15 minutes, Crowe being the lover of bland romantics as he is, we're treated to long scenes of Cruise and Cruz falling in love and out of it again and then back in. For me, the wonderful Cameron Diaz could have been given far more sinister work to do as Cruise's jilted ....

Despite Crowe's lack of balls and having to wrap things up all too nicely, "Vanilla Sky" does have its moments. Many of them belong to the demented Diaz, but the rest of the cast acquit themselves well. Cruise isn't exactly Oscar worthy here, basically because a substantial amount of charm is missing from his character, but the fact that he holds your attention for a two-and-a-quarter hour film is a feat in itself. As for Cruz, there are those who can't get past her thick Spanish accent and there are those who see her as the sweet disarming figure she is; I serve in the latter category and thought she was genuinely good in this role (of course it must have helped playing the same part in Amenabar's original). Jason Lee, as he does in every film after "Mallrats", stands by and screams for the lead role in a movie of his own, his character being the one the audience most probably ends up taking a shine to most, and of the bit parts, Timothy Spall is memorable as Cruise's work aide, and, as ever, Tilda Swinton commands the paltry five minutes of screentime that she has. After the stellar ensemble work in "Jerry Maguire" and especially "Almost Famous", Crowe further cements his reputation as a unique actor's director. It's just a shame that these performances are stuck in such a film which guarantees to be overlooked come awards season.

As for handling the tricks of the fantasy/horror genre, aside from a few flourishes (his placing of Todd Rundgren's "Can We Still Be Friends" on the soundtrack is especially good), Crowe is on uneven ground handling the switches in mood, as well as in his use of shock flash cuts and fast edits (you can see all of Diaz's jump-out-of-your-seat moments from a mile away). He is more comfortable with his sentimental forays into romantic circumstance and slight than with ths attempt at an edgy, hip thriller. Leaving the cinema, I just left wondering what David Lynch would have done with the same film; that would be fun for the whole family!

An example Crowe should draw upon when it comes to directing a movie that plays with reality and dreams so restlessly is that of David Lynch's recent stunner, "Mulholland Drive". In that movie everything was there for the audience to understand, and yet it let them try to figure out why certain people did certain things and what was real and what was not. "Vanilla Sky", despite starting boldly by delineating what was real and what wasn't as well as jumping back and forth threw time consistently, veers off into typical dumb-down-for-the-masses territory come journey's end. Rather like "A.I.", but seeming so much longer and dull, Crowe has gone ahead and done the audience's hard work for them by giving an ending that explains everything ... and that's an exaggerated everything! Throw in a couple of thankless roles for the otherwise very good actors Kurt Russell, as Cruise's fatherly psychiatrist, and Noah Taylor (boy do you want to just smack Crowe for what he makes this guy do for the film!), and the film loses some considerable edge that would have turned it into a long-debated gem. It's telling that Spielberg himself has a blink-and-you'll-miss-it cameo in the film. As well as a wholly expository final 15 minutes, Crowe being the lover of bland romantics as he is, we're treated to long scenes of Cruise and Cruz falling in love and out of it again and then back in. For me, the wonderful Cameron Diaz could have been given far more sinister work to do as Cruise's jilted ....

Despite Crowe's lack of balls and having to wrap things up all too nicely, "Vanilla Sky" does have its moments. Many of them belong to the demented Diaz, but the rest of the cast acquit themselves well. Cruise isn't exactly Oscar worthy here, basically because a substantial amount of charm is missing from his character, but the fact that he holds your attention for a two-and-a-quarter hour film is a feat in itself. As for Cruz, there are those who can't get past her thick Spanish accent and there are those who see her as the sweet disarming figure she is; I serve in the latter category and thought she was genuinely good in this role (of course it must have helped playing the same part in Amenabar's original). Jason Lee, as he does in every film after "Mallrats", stands by and screams for the lead role in a movie of his own, his character being the one the audience most probably ends up taking a shine to most, and of the bit parts, Timothy Spall is memorable as Cruise's work aide, and, as ever, Tilda Swinton commands the paltry five minutes of screentime that she has. After the stellar ensemble work in "Jerry Maguire" and especially "Almost Famous", Crowe further cements his reputation as a unique actor's director. It's just a shame that these performances are stuck in such a film which guarantees to be overlooked come awards season.

As for handling the tricks of the fantasy/horror genre, aside from a few flourishes (his placing of Todd Rundgren's "Can We Still Be Friends" on the soundtrack is especially good), Crowe is on uneven ground handling the switches in mood, as well as in his use of shock flash cuts and fast edits (you can see all of Diaz's jump-out-of-your-seat moments from a mile away). He is more comfortable with his sentimental forays into romantic circumstance and slight than with ths attempt at an edgy, hip thriller. Leaving the cinema, I just left wondering what David Lynch would have done with the same film; that would be fun for the whole family!

Christina (Cameron Diaz), Courtney (Christina Applegate) and Jane (Selma Blair) are close friends, single and young, who have for some time been living the high life in San Francisco, each of whom seems committed to avoiding commitment in any relationship (except for Jane, who's been with the same guy for nearly a year now). Christina's motto is, Don't look for "Mr. Right," look for "Mr. Right Now!" After all, girls just wanna have fun. But the men in their lives do not necessarily want to play the same game, which Jane finds out the hard way when her boyfriend dumps her suddenly. And though they don't realize it at first, Jane's situation is about to become the catalyst for all of them to do some reevaluating as to where all the fun, freedom and frolicking is taking them in their lives. They're all closing in on thirty (Christina is twenty-eight, the others about the same), and somehow, the "love 'em and leave 'em" thing doesn't seem to be all that fun anymore. And wouldn't you know it, Christina has just met a guy named Peter (Thomas Jane) at a nightclub, but doesn't realize how much she is attracted to him until after she lets him slip away. And the next day she just can't quit thinking about him. Suddenly, the shoe is on the other foot, and Christina discovers that it's just not such a good fit...

Bolstered by the engaging performances of his leading ladies, as well as a terrific supporting cast, Kumble has crafted and delivered a comedy that provides plenty of laughs and a good time for all. Written by Nancy M. Pimental (a staff writer for TV's "South Park"), it's romantic without being sappy, and raunchier than what you usually get when the story is presented from the female perspective. Even so, it barely skirts Farrelly Brothers territory, comparatively, except for one scene-- involving a "piercing"-- that may be a bit too much for some tastes; but even that scene is carefully structured and presented in such a way that the filmmakers were clearly going for just plain funny, rather than anything gross or offensive. And-- subjectively, at any rate-- they succeeded. The story reflects a certain moral ambiguity consistent with today's society (similar in that regard to such TV shows as "Friends"), but this film is not meant to be taken too seriously or pondered too deeply; it's a film that was made to make you laugh. And it does.

Cameron Diaz is a wonderful actor who can do drama with the best of them (As Julie in "Vanilla Sky," or Carol in "Things You Can Tell Just by Looking at Her," for example), but she definitely has a natural affinity for comedy (Kim, in "My Best Friend's Wedding,"-- in which she steals the show from Julia Roberts-- or Mary, in "There's Something About Mary"). She's a gifted, charismatic beauty with a grounded, down-to-earth sense of who she is and what she can do, and apparently has no problem with putting ego and vanity aside in deference to the demands of her craft. And it's an attitude that's enabled her to create a lasting impression and some truly memorable characters in film after film, as she does here with her Christina (which is one of the main reasons this film is so palatable). She has an alluring screen presence that serves her well (as it does her films), and she just keeps getting better and better with every project.

Another reason this film works so well is because of Christina Applegate, who gives a winning performance as Courtney. Pairing her with Diaz was inspired casting; they play beautifully off of one another, and it makes their scenes together a delight to watch. Some of the things they do is just flat out funny-- like their "Movie Montage," which is absolutely hilarious. Like Diaz, Applegate has a natural charm that comes through well on the big screen, and this film, hopefully, should prove to be the catalyst that will finally take her career in that direction and enable her to at last shed her "Kelly Bundy" persona, once and for all.

As Jane, Selma Blair also makes a good impression, even though-- due to the storyline-- she is somewhat overshadowed by her co-stars. Her part may be smaller, but she has her moments, and manages to hold her own during her scenes with Diaz and Applegate.

Turning in notable performances, as well, are Thomas Jane, as the guy who may or may not be "the one" in Christina's life; indie queen Parker Posey, who brings her trademark quirkiness to the role of Judy, the beautiful bride; and Jason Bateman, who's become an outstanding character actor (he's come a long way since "Silver Spoons"), as Roger, Peter's brother.

Rounding out the supporting cast are Damon Williams (Wedding Guest), Georgia Engel (Vera), Johnathon Schaech (Leather Coat Guy), Eddie McClintock (Michael), Don Winston (Eric), Manny Rodriguez (Paramedic) and Andrea Sabesin (Sheila). A right-on comedy that is going to appeal to a wide audience, not only because of the performances, but because it's clever, agreeable and accessible, "The Sweetest Thing" is exactly what it is supposed to be: Funny. Still, be forewarned-- there are a couple of scenes that will be hard for those with certain sensibilities to embrace, and accordingly, it has an "R" rating. But if you can go with the flow, and think Chaucer, Rabelais and Balzac, this is one you're going to enjoy. It's the magic of the movies.

Christina (Cameron Diaz), Courtney (Christina Applegate) and Jane (Selma Blair) are close friends, single and young, who have for some time been living the high life in San Francisco, each of whom seems committed to avoiding commitment in any relationship (except for Jane, who's been with the same guy for nearly a year now). Christina's motto is, Don't look for "Mr. Right," look for "Mr. Right Now!" After all, girls just wanna have fun. But the men in their lives do not necessarily want to play the same game, which Jane finds out the hard way when her boyfriend dumps her suddenly. And though they don't realize it at first, Jane's situation is about to become the catalyst for all of them to do some reevaluating as to where all the fun, freedom and frolicking is taking them in their lives. They're all closing in on thirty (Christina is twenty-eight, the others about the same), and somehow, the "love 'em and leave 'em" thing doesn't seem to be all that fun anymore. And wouldn't you know it, Christina has just met a guy named Peter (Thomas Jane) at a nightclub, but doesn't realize how much she is attracted to him until after she lets him slip away. And the next day she just can't quit thinking about him. Suddenly, the shoe is on the other foot, and Christina discovers that it's just not such a good fit...

Bolstered by the engaging performances of his leading ladies, as well as a terrific supporting cast, Kumble has crafted and delivered a comedy that provides plenty of laughs and a good time for all. Written by Nancy M. Pimental (a staff writer for TV's "South Park"), it's romantic without being sappy, and raunchier than what you usually get when the story is presented from the female perspective. Even so, it barely skirts Farrelly Brothers territory, comparatively, except for one scene-- involving a "piercing"-- that may be a bit too much for some tastes; but even that scene is carefully structured and presented in such a way that the filmmakers were clearly going for just plain funny, rather than anything gross or offensive. And-- subjectively, at any rate-- they succeeded. The story reflects a certain moral ambiguity consistent with today's society (similar in that regard to such TV shows as "Friends"), but this film is not meant to be taken too seriously or pondered too deeply; it's a film that was made to make you laugh. And it does.

Cameron Diaz is a wonderful actor who can do drama with the best of them (As Julie in "Vanilla Sky," or Carol in "Things You Can Tell Just by Looking at Her," for example), but she definitely has a natural affinity for comedy (Kim, in "My Best Friend's Wedding,"-- in which she steals the show from Julia Roberts-- or Mary, in "There's Something About Mary"). She's a gifted, charismatic beauty with a grounded, down-to-earth sense of who she is and what she can do, and apparently has no problem with putting ego and vanity aside in deference to the demands of her craft. And it's an attitude that's enabled her to create a lasting impression and some truly memorable characters in film after film, as she does here with her Christina (which is one of the main reasons this film is so palatable). She has an alluring screen presence that serves her well (as it does her films), and she just keeps getting better and better with every project.

Another reason this film works so well is because of Christina Applegate, who gives a winning performance as Courtney. Pairing her with Diaz was inspired casting; they play beautifully off of one another, and it makes their scenes together a delight to watch. Some of the things they do is just flat out funny-- like their "Movie Montage," which is absolutely hilarious. Like Diaz, Applegate has a natural charm that comes through well on the big screen, and this film, hopefully, should prove to be the catalyst that will finally take her career in that direction and enable her to at last shed her "Kelly Bundy" persona, once and for all.

As Jane, Selma Blair also makes a good impression, even though-- due to the storyline-- she is somewhat overshadowed by her co-stars. Her part may be smaller, but she has her moments, and manages to hold her own during her scenes with Diaz and Applegate.

Turning in notable performances, as well, are Thomas Jane, as the guy who may or may not be "the one" in Christina's life; indie queen Parker Posey, who brings her trademark quirkiness to the role of Judy, the beautiful bride; and Jason Bateman, who's become an outstanding character actor (he's come a long way since "Silver Spoons"), as Roger, Peter's brother.

Rounding out the supporting cast are Damon Williams (Wedding Guest), Georgia Engel (Vera), Johnathon Schaech (Leather Coat Guy), Eddie McClintock (Michael), Don Winston (Eric), Manny Rodriguez (Paramedic) and Andrea Sabesin (Sheila). A right-on comedy that is going to appeal to a wide audience, not only because of the performances, but because it's clever, agreeable and accessible, "The Sweetest Thing" is exactly what it is supposed to be: Funny. Still, be forewarned-- there are a couple of scenes that will be hard for those with certain sensibilities to embrace, and accordingly, it has an "R" rating. But if you can go with the flow, and think Chaucer, Rabelais and Balzac, this is one you're going to enjoy. It's the magic of the movies.

A lot of the characters in "Very Bad Things" are very unredeemable and it's hard to feel any sympathy for them (Boyd, for one, played by Slater), save for perhaps Adam (Daniel Stern), who has an overactive conscience. And as for being a comedy--I don't think so. It's very violent. Horror fans might like this--however, being one, I wasn't expecting this; I was expecting a dark comedy. I only laughed a few times when some of the guys got what they deserved, but more than not I was grimacing. So, yeah, in a twisted way it is funny, but this isn't a movie I'd necessarily recommend, unless you're really into black, black--and I mean black--comedies. It's almost an acquired taste.

In summary: as a comedy it was bad, very bad; but as a thriller, it was good. So, the movie averages out to 3½ stars for me.

A lot of the characters in "Very Bad Things" are very unredeemable and it's hard to feel any sympathy for them (Boyd, for one, played by Slater), save for perhaps Adam (Daniel Stern), who has an overactive conscience. And as for being a comedy--I don't think so. It's very violent. Horror fans might like this--however, being one, I wasn't expecting this; I was expecting a dark comedy. I only laughed a few times when some of the guys got what they deserved, but more than not I was grimacing. So, yeah, in a twisted way it is funny, but this isn't a movie I'd necessarily recommend, unless you're really into black, black--and I mean black--comedies. It's almost an acquired taste.

In summary: as a comedy it was bad, very bad; but as a thriller, it was good. So, the movie averages out to 3½ stars for me.