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MADE - B- Starring: Jon Favreau, Vince Vaughn, Famke Janssen, Sean Combs, Peter Falk, Faizon Love, Vincent Pastore, Drea DeMatteo Directed by: Jon Favreau Comedy, 94 min (14A) (Artisan, 2001) After having established their significant chemistry in 1996's immensely likeable Swingers, Jon Favreau and Vince Vaughn bring it up a notch with Made, a rambling Swingers-meets-Sopranos Mob comedy that draws almost all of its pleasures from the two actors' prickly comedic rhythms. Written and directed by Favreau (he also wrote Swingers), Made follows two friends from L.A. - one an honest hard-worker (Favreau) striving for a better life for his stripper girlfriend (Famke Janssen), the other a dim-witted motormouth (Vaughn) - who are asked to make a drop in New York for Janssen's mobster boss (Peter Falk). While in the Big Apple, the duo meet up with rapper Sean Combs (suitable as a local mobster) and make enemies with virtually everyone they run into, but not much really happens in terms of plot or storyline, with Vaughn's mouth just getting the two into trouble time and time again. As can be expected, the lack of drive and purpose does get a bit repetitive, but Favreau's direction sticks to a likeably improvisational style and the leads play off of each other like a modern-day Walter Matthau and Jack Lemmon, with Vaughn's nattering machine gun style perfectly matched by Favreau's exhausted frustration and dry double takes. (top) (back) MAGNOLIA - B Starring: Tom Cruise, Julianne Moore, John C. Reilly, Phillip Seymour Hoffman, Philip Baker Hall, Jason Robards, William H. Macy Directed by: Paul Thomas Anderson Drama, 188 min (18A) (Miramax, 1999) Paul Thomas Anderson's follow-up to the masterful Boogie Nights is a big, sprawling mess of a picture, much of which works and some of which doesn't. Among the highlights in this ensemble piece about a group of Los Angelinos: Tom Cruise's Oscar-nominated performance as a vulgar sex televangelist grappling with family problems; the comical opening vignettes; the tentative romance between John C. Reilly's nice cop and a frazzled druggie (Melora Walters); and Julianne Moore falling apart as a distraught wife. Among the lowlights: a hammy Jason Robards as a dying TV producer; the surprising lack of story for a three-hour picture; Anderson's self-indulgence with directorial flourishes; and his tendency to let his overly showy scenes run for too long. That said, there's still enough good here to outweigh the bad, resulting in a chronicle of love, forgiveness, anger and remorse that's worth seeing…with the fast-forward button ready. (top) (back) |