"America's Sweethearts" Lacking Chemistry by Homer Yen (c) 2001
There are three problems that suck all the fun out of "America's Sweethearts," a romantic comedy with enough star power that should light up a city. First, Larry King, who provides a two-minute cameo, gives the most zestful performance among the reputable ensemble cast. On his show, he lustfully berates his guest, film actress Gwen Harriston (Catherine Zeta-Jones). She's a beautiful and an accomplished celebrity, but her stardom has faded over the past two years. Why? As call-in listeners will tell her, they lament and complain about her previous decision to separate from her popular husband, film actor Eddie Thomas (John Cusack) in favor of a Castilian boy toy (Hank Azaria). Eddie, shattered by that incident, has become a permanent fixture at a secluded Serenity Institute where he is taught peace, gratitude, and unfathomable words of wisdom ("life is like a cookie," says its wizened leader).
Second, the most intriguing character, Lee Phillips (played by Billy Crystal), is swept aside into obscurity by the end of the film. Lee is a lubricious press agent who is tasked with assembling a blowout press junket for the estranged couple's last film. At first, he seems to provide a welcome dimension of edginess to a somewhat uninspired film. Watch him scheme and put his plan into motion as he coddles, appeases, maneuvers, and exercises damage control. This formidable task requires wit and energy. Unfortunately, he is eventually relegated to flippant one-liners and crude sight gags with a Doberman pinscher.
Third, the center of this film (the real reason we're going to see it) never generates any real momentum. This involves a budding love triangle between the narcissistic Gwen; her frumpy but sweet sister, Kiki (Julia Roberts); and the neurotic Eddie. But the tension is only lukewarm. In fact, the best scene of the film is given away if you've seen any of the trailers. It's really no contest between the two siblings. Kiki's character is the only one grounded in reality, and becomes the only person that you begin to care about.
All of this overwrought melodrama makes much of the film uncomfortably ham-fisted. The first 30 minutes (when we meet the major characters in their individual environments) are especially corny rather than funny and sadly laughable rather than amusing. It strains for laughter and the interplay between the characters feels laborious.
All of these actors are much better than this material would suggest. Zeta-Jones was delicious in "Traffic"; Roberts charm was played to perfection in "Notting Hill", and you'll miss Cusack's unique brand of quirkiness, offbeat humor, and wry behaviorism from films past. Perhaps, this role was a bit too mainstream for him.
"America's Sweethearts" failed to evoke that indescribable feeling of joy, weirdness, and goodness that are the necessary ingredients in a love story. Partly, Roberts could not particularly shine as she was obscured behind the star power of the other actors. Partly, the film spends too much time as a lampoon about the junket scene (where multitudes of critics ask the same questions, eat for free, and think up quotes like "America's Sweethearts Lacking Chemistry"). Thus, the film lacked conviction and its tone becomes fuzzy. Sometimes it's cute. Sometimes it's clever satire about Inside Hollywood. But more often, it's just unremarkable. Ultimately, it's inability to generate more than just some fleeting joy will leave you heartbroken.
Grade: C
S: 1 out of 3 L: 2 out of 3 V: 1 out of 3
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