From the December 1, 1994 Chicago Reader. — J.R.
An exasperating demonstration of what’s wrong with contemporary Hollywood and what’s wrong with contemporary American election campaigns, pitched in the form of a cutesy romantic comedy that should set your teeth on edge. Loosely inspired by the well-publicized romance of Mary Matalin and James Carville during the 1992 presidential election, with Ron Underwood (City Slickers) directing a script by Robert King (Clean Slate), this throws together a Republican speechwriter (Michael Keaton) and a Democratic speechwriter (coproducer Geena Davis) during a senatorial campaign in New Mexico and watches their love blossom as they proceed to work competitively. The movie’s smart enough to offer a jaded portrait of the way such campaigns operate, but the hackneyed love story repeatedly relegates it to the back burner, and matters weren’t helped by test-market previews that led to a new and exceptionally stupid feel good ending. Ultimately, for all its fancy footwork, this movie winds up being even sicker than what it’s looking at. With Christopher Reeve, Bonnie Bedelia, Ernie Hudson, Charles Martin Smith, and Gailard Sartain (1994). (JR)
From the Chicago Reader (July 1, 1994). Perhaps my biggest error in this review is my assumption that all the leading characters in Metropolitan are male. — J.R.
The second comedy feature (1994) of writer-director Whit Stillman (Metropolitan), who shares with Eric Rohmer a talent for literate and witty dialogue and a fascination with photogenic young women but has a somewhat less confident sense of milieu and story construction. As in Metropolitan, the leading characters and principal source of amusement are wealthy, self-absorbed, and virtually interchangeable American males (in this case a salesman and his cousin, a naval officer), though here they’re transplanted to the Barcelona jet-set nightclub scene, where they explain to their girlfriends and each other (as well as to the audience) how misinformed the Spanish are about the U.S. Considering how successfully they seem to colonialize all the young Spanish women in sight, regarded by heroes and movie alike as obliging pieces of furniture, one subtext seems to be that Europeans are basically first-draft Americans hungrily awaiting stateside revision. Still, this is fairly amusing stuff — brittle, fresh, and impudent –if you can stomach all the upscale arrogance. With Taylor Nichols, Chris Eigeman, Tushka Bergen, Mira Sorvino, Pep Munne, and Hellena Schmied. Read more