Screen Scene

Monday, August 17, 1998

Screen Scene

"Slums of Beverly Hills"

Directed by Tamara Jenkins

Starring Alan Arkin, Marisa Tomei and Natasha Lyonne

Forget the green lawn and tile roof of Casa Walsh. The
Abramowitzes may share a zip code with Kelly, Brandon and clan, but
they apartment-hop from shag-infested "dingbat" to "dingbat" (the
term adolescent narrator Vivian applies to the boxy, two-story
structures).

The blue-collar underbelly of California’s most famous suburb
provides writer and director Tamara Jenkins with a funny, kitschy
backdrop, as well as the title for her debut feature. Yet the meat
(or perhaps "the steak" would be more appropriate, given the
Abramowitzes frequent Sizzler cravings) of the film is the lovably
dysfunctional web that links determined single dad Murray (Arkin)
and his three kids, Ben (David Krumhotz), Rickey (Eli Marienthal)
and Vivian (Lyonne).

A stranger to subtlety and good taste (he addresses their
African American waiter as "Jackson" and solicits a second opinion
on his daughter’s halter top by demanding, "Does that look whorey
to you?"), Murray nevertheless cares deeply about keeping his
family together and educated (hence the school district of choice).
Arkin layers Jenkins’ witty, believable dialogue with oblivious
humor and the frustration of being the family’s bread-less
breadwinner.

Especially noteworthy are the scenes between Arkin and Lyonne,
who blends charm and a no-nonsense attitude that shows just how
much she is daddy’s girl. Initially her eyes grow saucer-sized with
each blow dealt by her borderline trailer-trash life. But the
introduction of her first bra (C-cup), first boyfriend (her
Manson-worshiping, pot-dealing yet oddly sensitive next-door
neighbor, played superbly by Kevin Corrigan) and semi-recovered
addict cousin Rita (Tomei) shape her into a worldly, confident teen
who embraces the Abramowitz lifestyle in most of its quirky,
nomadic glory.

Tomei’s Rita is quintessentially Marisa Tomei – awkward in its
cuteness, cute in its awkwardness and generally predictable. The
script suffers from occasional sitcom lapses (when Viv lip-syncs
into a vibrator, we know it’s only a matter of moments before her
dad walks in).

Like many films, "Slums" is dubious of the audience’s ability to
read themes and could have ended about five minutes earlier,
without its in-you-face wrap-up.

Cheryl Klein

"Halloween H2O"

Directed by Steve Miner

Starring Jamie Lee Curtis, Michelle Williams and Josh
Hartnett

Slasher movies have made a comeback, thanks to screenwriter
Kevin Williamson ("Scream"). It’s then only appropriate that the
man who revitalized an entire genre helps rejuvenate one of the
original slasher series, "Halloween."

Williamson produced and co-wrote the script of "Halloween H2O".
Even with his help, the movie fails to be anything more than a
paint-by-number horror flick.

In the seventh installment, Jamie Lee Curtis reprises her role
as the sole survivor of the first film, Laurie Strode. Laurie,
fearing that her tormenter and younger brother Michael Myers (Chris
Durand) has somehow survived the last five sequels, moves out of
Illinois to a tiny backwoods community in Northern California under
a new identity. Not only does she have to look out for herself,
Laurie must also protect her son John (Hartnett), who does not
believe in an uncle that can live through gunshots, stab wounds and
being set on fire. Of course, Curtis’ worst fears materialize as
Michael travels cross-country to the small private school that
Laurie is in charge of (he must have a really good Thomas guide).
The mayhem begins ceremoniously on Halloween night as Michael
dispatches the typical horror movie stock characters before finally
confronting his big sis.

Halloween H2O suffers through the same formula dilemma
afflicting most horror films. The movie flows in cliches: an
unrelenting killer stalking a heroine desperately short on common
sense, sex-crazed teens slashed and hacked – before or during sex –
and a setting in an isolated environment where blood-curdling
screams go unheard.

Director Steve Miner ("House") makes a bad movie worse by
overusing excessively dark shots that entirely mask the
characters.

Hartnett’s role should have been better integrated into the
story. Instead he is reduced to just another fresh body waiting to
get knifed. Williams’ ("Dawson’s Creek") only purpose in the movie
is to scream on cue and look good while doing it.

The biggest disappointment in "H2O" is Curtis’ situation. She is
given the only character with real emotion and turmoil, which is
spoiled by a premise that guarantees her survival, eliminating the
suspense and anxiety that the movie tries to set-up between Laurie
and Michael.

Like fellow malicious murderers, Jason and Freddy, Michael is
stuck in a series that just can’t stay dead.

Trinh Bui

"Snake Eyes"

Directed by Brian De Palma

Starring Nicholas Cage, Gary Sinise

The first 20 minutes of "Snake Eyes," filmed in a constant
Steadicam shot, are so energetic and exciting that it leaves the
audience absolutely breathless. Unfortunately, all good things must
come to an end. De Palma’s pyrotechnics eventually give way to a
generic thriller with few surprises and even fewer thrills.

Most of this lack of excitement can be blamed on David Koepp’s
lackluster script, which doesn’t give De Palma anything to work
with. "Snake Eyes" sure is pretty to look at, but no one who has
ever seen a movie before will be drawn into its formulaic
story.

The story follows Detective Rick Santoro (Cage), who is
attending the biggest boxing match of the year inside the
filled-to-capacity Atlantic City Arena by the invitation of his
childhood friend Kevin Dunne (Sinise). The Secretary of Defense,
conveniently seated directly behind Santoro, is soon assassinated,
and the rogue police detective uncovers a massive conspiracy
leading up to his murder. Thus, the majority of the film follows
Santoro through the inner sanctum of power in Atlantic City,
following one step behind the villains as their convoluted plan
unfolds.

De Palma has a great deal of fun with this premise, giving the
Arena (where the entire film takes place) a claustrophobic and
almost sinister feel. Some of the elaborate visual sequences,
especially the initial 20-minute tour of the facility and
introduction to Cage’s character, are shocking in their complexity
and seamless in their execution.

Also notable is the performance of Cage, who is shaping up to be
America’s premier actor in this type of big summer entertainment.
His performance as the crooked but basically good-hearted Santoro
helps move the story along and at times is the only thing keeping
"Snake Eyes" alive.

The problem here is that Koepp hasn’t infused his story with any
creative plot twists or interesting villains. The reason behind the
conspiracy is quite dull and the conspirators aren’t much more
interesting. Instead of being an intense potboiler building to a
thrilling conclusion, "Snake Eyes" is anti-climactic and even
tedious.

The film is worth the price of admission (if you see a matinee)
merely as a feast for the eyes, but it would seem a lot more
attractive if it just kept its mouth shut.

Lonnie Harris