THE NEW AGE
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (0 to 10): 5.6
Date Released: 9/23/94 (general) Running Length: 1:51 Rated: R (Sex, nudity, language, mature themes)
Starring: Peter Weller, Judy Davis, Patrick Bauchau, Adam West,
Paula Marshall
Director: Michael Tolkin
Producer: Nick Wechsler and Keith Addis
Screenplay: Michael Tolkin
Cinematography: John J. Campbell
Music: Mark Mothersbaugh
Released by Warner Brothers
On one hand, THE NEW AGE takes a blistering look at a section of modern American society--the materialists who, in the process of amassing their possessions, lose track of morality. This is material worthy of the writer of THE PLAYER. On the other hand, the film takes a murky and uncertain plunge into the diverse worlds of spirituality, and emerges bankrupt. This is too reminiscent of the efforts of the writer/director of a tedious movie called THE RAPTURE.
Both people are the same man: Michael Tolkin. He's at both his best and worst in THE NEW AGE, a film that's scathing as a satire but soulless as a drama. One of Tolkin's intentions may have been to make a spritual statement, but it's never clear exactly what he wants to say. There's a lot of mystical mumbo-jumbo, but it never does much more than eat up screen time. In the end, it all amounts to a lot of pointless words.
The possession-oriented couple at the center of the story are Peter (Peter Weller) and Katherine (Judy Davis). Their life together is crumbling due to infidelity and fiscal problems, so they embark upon a radical dual solution: open up the marriage (e.g., start sleeping with other partners) and start a chic clothing store where belts go for $400. One is supposed to help their emotional isolation; the other is designed to reverse a negative cash flow. Unfortunately, neither really works.
Because of the basic nature of the two lead characters, it's difficult to find much sympathy for them. They're the kind of loathesome, self-absorbed yuppies that are so disliked by everyone outside of that social circle. The inability of the audience to identify with Peter and Katherine gives the satire its bite, but at the price of the drama. Unfortunately, Tolkin affords the two sides of his film equal attention, and the failure of one hamstrings the entire production.
THE NEW AGE is gifted with a spate of talented actors giving good performances. Despite a terrible hairdo, too much lipstick, and a pasty-white complexion, Judy Davis is fabulous. Peter Weller, no longer stuck behind the Robocop suit, emotes far better as a human. Adam West and Paula Marshall are solid in supporting roles as Peter's father and mistress, respectively. And, in a cameo not easily forgotten, Samuel L. Jackson shows why he's one of today's hottest commodities.
Despite its obvious wit and bite, THE NEW AGE is plagued by too many problems to be engaging. Every time the movie seems ready to settle into a nice groove, someone mentions something about karma or initiates some quasi-religious rite. These things just don't work, especially considering the spiritual hollowness of the main characters. During one ceremony, Katherine complains that she's not experiencing anything. Watching THE NEW AGE, those of us in the audience know exactly how she feels.
- James Berardinelli (blake7@cc.bellcore.com)
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