REEL CRITICS

Julie Lowrance and June Fenner

‘Bad Company’ lives up to the first part of name

A theme that we often see in buddy-films is the wisecracking comedian

teaming with the more serious straight man. Such pairing succeeded for

Richard Pryor and Gene Wilder in “Greased Lightning,” Eddie Murphy and

Nick Nolte in “48 Hours” and, most recently, Chris Tucker and Jackie Chan

in “Rush Hour.” Regrettably, the latest odd couple pairing of Chris Rock

with Anthony Hopkins in Joel Schumacher’s “Bad Company” fails.

Rock plays Jake Hayes, a chess-scamming, ticket-scalping, streetwise

punk who was separated at birth from his identical twin brother, Kevin

(also played by Rock). While Jake was raised by foster parents along with

eight other children, Kevin was adopted by an affluent family, served

with the Navy Seals and joined the CIA.

During an undercover assignment in Prague, Kevin arranges to buy an

extremely portable, briefcase-size nuclear bomb. International terrorists

also want to buy the bomb; however, they prefer to eliminate their

competition rather than outbid them. When Kevin’s death jeopardizes the

mission, Jake is recruited to assume his brother’s identity, but only

after negotiating a hefty price.

For the next nine days, it is Anthony Hopkins’ task as the socially

repressed and seasoned agent Gaylord Oakes to train Jake to replace his

slain brother without revealing the real peril that he may face. This

proves to be an improbable mission -- both in Hayes’ transformation and,

unfortunately, the audience’s belief in his metamorphosis.

“Bad Company” is generic and unoriginal: a hodgepodge of previously

viewed movies. Like the social-switch comedy “Trading Places” and the

espionage suspense-thriller “Sum of All Fears,” except without the comedy

or the suspense, and so few thrills that you easily forget the movie as

soon as you leave the theater.

Storytelling is an art in which words should be economical, providing

substance and purpose, not merely shock-value. Whether intended or

ad-libbed, Rock’s interjection of one-liners laced with profanity and

current slang (in this case, “dope” is a good thing) does nothing to

enhance his character, his relationship with Oakes or the film.

Even though Rock’s clowning incited cackles and snickers from the row

of soccer-clad 13-year-old boys wasting a couple of hours because of an

untimely rain shower, for me, it quickly became tiresome and monotonous.

Maybe this wasn’t the best vehicle to showcase Rock’s Emmy Award-winning

stand-up routines.

But in all fairness to him, all aspects of this film are flawed, which

is surprising with the mix of talent involved: Joel Schumacher

(director), Jerry Bruckheimer (producer), Hopkins and Rock. By the end of

the second act, I was hoping for the credits to roll, whining to myself,

“What do you mean they lost the bomb? Isn’t there a stand-in? What about

the stunt bomb?”

“Bad Company” is rated PG-13 for intense sequences of violent action,

some sensuality and language.* JULIE LOWRANCE is a Costa Mesa resident

who works at a Newport Beach overnight aircraft advertising agency.

Script curses fate of ‘Ya-Ya Sisterhood’

I was thrilled when I heard that one of my favorite novels was being

made into a movie directed by Callie Khouri, screenwriter of the classic

chick flick “Thelma and Louise.” How could “Divine Secrets of the Ya-Ya

Sisterhood” miss with talent like author Rebecca Wells and director

Khouri behind it? And what a cast: Sandra Bullock, Ashley Judd, Ellen

Burstyn, Maggie Smith and Shirley Knight.

But it turns out the cast was more like a curse than a blessing.

The story of “Divine Secrets” takes place over a period of years that

cover the childhood, early adulthood and senior years of its central

character, Vivian Walker. She is portrayed as a teen and through her 20s

by Ashley Judd and in her older years by Ellen Burstyn.

If you take a look at the cast, you will note the weight is at the

senior end of the spectrum. By Hollywood logic, this means the seniors

get the most scenes. Unfortunately, the key to the story lies back in the

childhood years, which are rushed past in a few disconnected scenes.

Ashley Judd did a commendable job of bringing insight and meaning to

her part of the story. But it was already too late. Because we are given

only a brief glimpse into Vivian’s childhood, her behavior as a teenager

and as a young bride appear arbitrary and shallow.

So we are left with a great many scenes of neurotic women screaming at

each other in heavy Southern accents. Sandra Bullock’s behavior and

attitude as Vivian’s daughter seem more arbitrary than understandable.

Too bad. A powerful book, a good director and some fine actors were

defeated by a badly prioritized script. Maybe someone will come along

someday who will tell the real (childhood) secrets of the Ya-Ya

Sisterhood. Until then, read the book.

“Divine Secrets of the Ya-Ya Sisterhood” is rated PG-13 for mature

thematic elements, language and brief sensuality.

* JUNE FENNER, a Costa Mesa resident in her late 50s, is vice

president of a work-force training company.