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Be Cool Reviewed By Lucas Stensland Posted 03/22/05 16:48:05
"A very lame movie that wastes a great cast." (Pretty Bad)
Barry Sonnenfeld’s Get Shorty, based on the popular book by Elmore Leonard, was released in the mid-90s to justified critical and box-office acclaim. It was smart, tough, colorful and lean. Even though it was followed by two superior Leonard adaptations, Quentin Tarantinio’s Jackie Brown and Steven Soderberg’s Out of Sight, respectively, the film was still a big studio accomplishment. Even though it was a big budgeted film with no auteur or real originality, the audience could only sporadically see Hollywood’s irksome kid gloves.Now about a decade later Hollywood is offering the same audience a sequel, F. Gary Gray’s Be Cool, which is based on Leonard’s less popular follow-up novel of the same name. To put it one way, Sonnenfeld is no Soderberg and definitely no Tarantino, and unfortunately Gray is no Sonnenfeld. To put it another way, Be Cool is incredibly lame. Leaving behind the movie industry (and ostensibly all of his friends), Chili Palmer (John Travolta) takes a crack at the music biz, an industry he has very little to say about, thus negating half of his character’s charm. James Woods plays a sleazy music executive, a friend of Palmer’s from the old neighborhood. He gets whacked by some inept Russian mobsters, leaving behind his wife and business partner, Edie (Uma Thurman), whom he never fully appreciated. In steps Palmer. After buddying up to Edie, Palmer discovers Linda Moon (Christina Milian), a big talent stuck under contract to wannabe-gangster music executive Raji, played by a sometimes funny Vince Vaughn. His partner Nick Carr is played by a surprisingly flat Harvey Keitel; sleevelessness is Carr’s most memorable character trait. Also, Cedric the Entertainer plays Sin LaSalle, a remix master who is after Edie to collect the debt her husband left behind. Yes, all of this, in some convoluted and unsmooth way, comes together. Only The Rock, who plays Vaughn’s gay bodyguard, consistently steals scenes and gets laughs. Get Shorty was wisely set to Travolta’s rhythm. Palmer, a Brooklyn native Miami loan shark who goes west to Hollywood, is one of those roles Travolta seemed born to play. But as audiences have come to once again doubt Travolta’s leading-man abilities, Gray’s direction likewise mistrusts the icon and sadly his direction casts doubt over him. Often Palmer is lost in the haze and muddle of the unstructured loud-clothing contest that is Be Cool. One of the delights of Get Shorty was that virtually every character longed to be something else: Chili Palmer and Rene Russo’s B-actress wanted to be movie producers; Delroy Lindo’s mobster wanted to write and produce; James Gandolfini’s bodyguard wanted to be a stunt man; Gene Hackman’s schlock producer wanted to be a prestige producer; David Paymer’s schluby Leo wanted to be a classy high roller; and so on. And this said a lot about Hollywood, where Danny DeVito’s superstar actor Martin Weir epitomized a cynical truth about Tinsel Town success: People pretend to be other people to such an extent that the original person becomes blurred. This is underscored in one poignant scene where Weir cannot even recall why his pre-fame marriage fell apart. None of this wit can be found in Be Cool, where Sin LaSalle, Edie and Nick Carr are happy with whom they are career-wise. Linda Moon is also quite content with herself; she only longs for top-forty success. In one terrible scene Moon sings a banal ballad about wishing to have popular success, and her overstated singing almost brings tears to Palmer’s eyes. Instead of Get Shorty’s cynicism toward the movie industry, Be Cool seems downright enraptured with the present "American Idol"-ized music business. Chili Palmer surrendered all of his coolness in one fell swoop. Only The Rock and Vince Vaughn can count their performances successful, and they seem to adhere more to the style of Get Shorty.Get Shorty felt like a little-league version of Robert Altman’s The Player by way of Quentin Tarantino (and fittingly it starred Travolta, who’s played hit men for both directors). On the other hand, Be Cool felt like its own Raji, Vaughn’s black-wannabe: This is a PG-13 movie trying to pass itself off as gangsta. Its loud colors and wide spaces don’t highlight what Gray must have intended–buoyancy and personality–but ironically underscores its very lack. Be Cool is wack, yo.
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