Monthly Archives: January 2006

Or Hooligans.
Or Green Street Hooligans.
Or the-film-that-gets-released-because-of-the-upcoming-World-Cup.

Upon the first look, the film which keeps changing its title when it is released in different continents (mind you, not a non-English language film) somehow shows its lack of confidence, in which it is trying to accommodate the taste of local flavor. As also spoken in one of many repetitive dialogues of the film, certainly “football” would carry different meaning in the USA, yet “soccer” deems too Yanks. Thus, “Green Street” is used without realizing how the title already spoils a little of the film’s plot, and “Football” is used in the countries where the word can only mean one thing: the sport involving 22 guys chasing one particular kind of ball, which has caused many fanaticism around the world, particularly in the UK as depicted in the film.

The lack of confidence of the title may result from the similar drawback in telling its story which may not be satisfying for hardcore football fans, nor for any other filmgoers. Perhaps that’s the reason why it needs to tell the story from the eye of Matt’s character, an American who, for some less convincing reason, chooses to be stranded in the land of hooligans, and being one of them while having to deal with his own coming-of-age problems. Such a burden is deemed too much for Elijah Wood, an American himself, whose bewilderment and uneasiness is also felt, at least to this particular writer who could not stop wondering, what is he doing there? Does the story make any different had he been taken away, or completely erased? Hadn’t the story been better if it is purely told from the Brits’ point of view themselves?

Of course many people (make that audience) will nod in agreement, but then the film would never be made as no major international stars attached to the project, thus no financiers will back up the project. The unfortunate clausal effect led the understanding why Wood has to suffer delivering a performance that seems to be uncooked while delivering lines that bridge between trying to be serious and gritty, yet cheesy at many times.

By the time all the redemptive quality appears at the final scene, the audience has grown tired of cheering.

Before we come to talk about the abovementioned title, let’s recall what happens to the leading male characters in every Cameron Crowe’s films:

John Cusack needs Ione Skye to help him Say Anything….
Tom Cruise says “hello”, and more, to Renee Zellwegger in Jerry Maguire.
And charms Penelope Cruz in Vanilla Sky.
Patrick Fugit manages to deal with his life after he encounters Kate Hudson in Almost Famous.

Thus, is it surprising that Orlando Bloom feels alive after he meets and gets guidance from Kirsten Dunst in Elizabethtown?

No, it is not, and the same answer can be given to a question: Is the similar theme of boy-meets-girl-who-change-his-life worth revisiting?

After more than a decade of playing on the familiar field, it is apparent that Crowe has grown tiresome of coming up with refreshing takes on the stated theme. Worse, on the film, we are given extra task to define if the film can be considered as a road-trip film about defining life after string of failures, or half-baked romance? The task has to be completed while enduring the length of the film that goes more than 2 hours, yet it seems like a lifetime before we finally see the credits title.

Thankfully, Susan Sarandon proves to be a saving grace despite the deadpanned expression of Bloom and the inexplicably wasted quirky style of Dunst. In accordance to matriarch style of Frances McDormand in Almost Famous, Sarandon carries the similar role in her own bravura that leaves us wanting for more. In fact, her stage-act should be the closing scene of the film, which surely will leave audience smiling, remembering her relieving comic presence.

Yet, Crowe chooses to allies with American Tourism Board (if such an organization exists) to blatanly depicts how a road trip in the USA should be taken.

We don’t bother anymore.

A little, if not peculiar, problem in reviewing this beautiful piece of ensemble is how not to give any unnecessary spoilers to those who read this entry.

Why so?

Simply because of numerous plot twists appearing throughout the film, which surely keeps me glued to the seat, and wanting for more.

Thus, if one dares to say something about this quirky family, the writings should begin with how marvelous Sarah Jessica Parker is in her post Sex and the City days. Her impeccable comic timing helps giving her character a believable look, and not even once she fails to carry the assigned role well. She may look like her famous Carrie Bradshaw when she begins to let loose her character’s uptight behavior, yet she pulls it off within the frame of her being Meredith, the central figure of the film.

Having one good actress is more than enough for Thomas Bezucha in his sophomore directorial task, yet he is blessed for having a terrific line-up of A-list actors, acting-quality wise. The ever reliable Diane Keaton gives a heartrending performance in every scene she’s in, Craig T. Nelson does his best in otherwise limited screentime, and Rachel McAdams proves that it is indeed her year of being scene stealer after she topples both Owen Wilson and Vince Vaughn in The Wedding Crashers, and hijacks the entire Red Eye from Cillian Murphy.

I wholeheartedly warrant myself from commenting any further for the fright of spilling more beans here, yet rest assured, the only family you wish to spend your holiday season with this year is the one and only, The Family Stone.

Your wits will prove to be no match for them.