Wonder Boys, 2000

Earlier this year, Chabon won the Pulitzer Prize for his novel The Amazing Adventures of Kavaliery & Clay, which I've never even heard of. Nor have I read the novel this movie was based on.

It just goes to show I need to get out more.

Steve Kloves adapted this novel into the screenplay. I have to say that, having not read the novel, Kloves has helped condense what should be a fantastic story. The dialog, the scenes, the characters all have wonderful life and charisma. His previous work, Racing the Moon, The Fabulous Baker Boys and Flesh and Bone... well, none of them were too critically acclaimed... but Kloves, since his adaption... has worked on another adaption, one that will make him a force (hopefully) to be reckoned with. His work on the Harry Potter screenplay should prove to be a very lucrative opportunity.

Prior to working on LA Confidential, Hanson directed some ok movies... nothing fantastic, certainly nothing on par to these two films. But it seems that he was taking his time and honing his skills, to work on projects that would become very dear to him. And it shows. The work on LA Confidential was nothing short of brilliant. His work on Wonder Boys is equally good, and shows his ability to work with a fantastic cast of actors and actresses, along with a great script that he did not write.

It's hard for me to describe Michael Douglas's accent and decent and then accent to the blockbuster film. His work as a producer is pretty good, from One Flew Over the Cuckoo's Nest, The China Syndrome, Romancing the Stone, Starman, Jewel of the Nile, Flatliners, Face/Off... good stuff, all of them successful films, in one right or another.

I'm surprised he's never directed a feature... but I'm also pleased to know that he hasn't taken that route. He's a great actor when he wants to be, when his agent isn't saying "This will make us a lot of money", or "You'll get to sleep with Sharon Stone".

I've enjoyed his work ever since Coma. He has the ability to play similar roles but give each a singular voice and personality. He's able to play a large number of different roles, from action/adventure, cop, hero, business man, crazy husband... I've never gotten the feeling that I was watching an earlier Douglas film. Specifically his roles in Romancing the Stone, Fatal Attraction, Wall Street, Black Rain, Basic Instinct, Falling Down, The Game and the recent Oscar winner Traffic.

It's unfortunate that lately, Douglas has been seen in films like Disclosure, A Perfect Murder and One Night at McCool's (which he also produced). But this is what happens to heavyweights like Douglas. They set their sites on a project, and no one has to balls to tell them it's a mistake. Or that it's stupid and people won't see it... or what-have-you.

From this film, I can't tell what's going to happen when Spider-Man comes on the screen. I'm not sure Tobey Maquire is going to be right for the role of Peter Parker... and I can't really think of any other 20-something who could have comprised the role... but I have a lot of faith in Sam Raimi, so we shall see.

In this role, coming directly after his stint in The Cider House Rules and Pleasantville... he has, for the third time, showed his ability as an actor. His other roles were not as large as these three... and these proved to have the breathing room he needed to grow as an actor. His role in Wonder Boys was perfect. He gave his character a wonderful feeling and personality, and countered very well next to Douglas, who has that effect on his co-stars. He does not drown them out, like some other actors, and the two worked well together.

Frances McDormand is constantly good. I've never seen her in a bad role, ever since Blood Simple. She's been a commanding force in Hollywood, as a woman, and I hope she continues to get great roles like this one.

Robert Downey Jr. should never get another role as an actor, ever. I'm tired of hearing his name in the news, I'm tired of the second, third, fourth, fifth and sixth chances this stupid bastard has gotten. It's sad, because in the past, he's had a lot of talent. His role here was mediocre, nothing so incredibly special... and I dread watching him on the screen now. It's unfortunate, but I don't think individuals like him should get special treatment because of their addictions and their celebrity past. His news material ruined the parts of the film with him in it.

Katie Holmes was ok. I personally don't enjoy her work. She was tolerable in Go and Disturbing Behavior... but when she showed up in Kevin Williamson's Teaching Mrs. Tingle, I knew she was quick to sell out. Her acting is forced and she's used as pretty background scenery in this film.

It was interesting to see Rip Torn and Richard Thomas (The Walton's guy) in this film. They played their respective roles well, and rounded off an otherwise great cast.

Two things I would like to mention about the music. One, I really dig Dylan's song, though I think best song should have went to Bjork.

Two. Christopher Young completely stole music from Danny Elfman's Midnight Run soundtrack. I loved Young's work on Hellraiser, Virtuosity, Species, all of John Dahl's films and The Gift. But this was outright thievery.

One of the first mainstream films that Dante Spinotti shot was Manhunter. From there he went on to do some mediocre films in the 1980's and early 90's including Beaches (not mediocre) Crimes of the Heart, From the Hip, Aria, Illegally Yours, Hudson Hawk, Frankie and Johnny, and True Colors. From there he went on to better films like The Last of the Mohicans (which he won a British Academy Award for), Nell, The Quick and the Dead, Heat, LA Confidential, and The Insider... (looks like Michael Mann sticks with what works.) His work was very clean and well lit, and it was a pleasure to watch. I'm glad that Hanson has found a DP that he trusts and works well with.

Something else that should be mentioned is the editing. It's a very crisp, clean style that I noticed, actually. Dede Allen received a nomination for her work, and hadn't edited a film since 1991 (The Addams Family). She's worked on some incredible films as an editor, including The Hustler, Bonnie and Clyde, Little Big Man, Slaughterhouse-Five, Serpico, Night Moves, Dog Day Afternoon, Slap Shot, Reds, and The Breakfast Club. Very interesting.

Overall it's a great movie, definitely one of my top five that came out of 2000. I'm glad Douglas has gotten back on track, kind of, with his films, and has decided to take risks with roles such as this one. Everyone (save Downey and Holmes) did fantastic jobs.

J.P.