Review: The Other Woman

It’s a sad fact that there aren’t many comedies starring women for women. The film industry is saturated with cheap, testosterone-laden romps for men, while women are subjected to round after round of predictable romantic comedies. That tide changed in 2011 with the release of Bridesmaids. Since then, there have been more efforts to capitalize on the very real talent of the many comediennes working in the industry. From Bad Teacher to The Heat, we’re seeing an increase in female-centric comedies. This past weekend, 21^st Century Fox added to this growing sub-genre of comedy with The Other Woman.

In The Other Woman, Cameron Diaz plays Carly Whitten, a successful businesswoman who discovers the man she’s been dating is married. Leslie Mann takes on the role of the aforementioned man’s wife, Kate. Rather than devolve into the clichés that surround affairs, the film takes a different route by having Carly and Kate form an unlikely friendship. Together, they plot the ruination of the poor shmuck who thought it was okay to sleep around like some wannabe lothario.

As always, Diaz delivers a satisfying comedic performance. She’s a veteran to the genre and knows just what to do. In fact, her role here is very reminiscent of the now-classic chick flick The Sweetest Thing. Similarly, Mann gives it her all and then some as the kooky wife. She commands every scene she’s in and draws in the most laughs. From her zany dialogue to her extreme physicality, Mann delivers one hell of a performance. Ultimately, these actresses are what drive this film. The costuming may be gorgeous (it should be since Patricia Field handled it), the settings may be lush, and the plot may be mildly amusing, but it’s truly the chemistry between Diaz and Mann that elevate this film’s entertainment value. It may not be on the same level as Bridesmaids, but it’s certainly got more going for it than Identity Thief or any of Jennifer Aniston's attempts at comedy. Interestingly, Diaz and Mann aren’t the only scene-stealers in this film. No, I’m not taking about Kate Upton and her rather distracting neo-Pamela Anderson circa Baywatch moments. I'm talking about Nicki Minaj. Minaj plays Diaz’s straight-talking assistant Lydia. While her wigs look great and her outfits are incredibly stylish, Minaj’s line delivery and overall presence are rather impressive. Truthfully, the film could have used more of Lydia. It would have been everything if she had gotten in on the scheming.

The fact that The Other Woman was a box office success is no fluke. The combined forces of Cameron Diaz and Leslie Mann created an endearing on-film chemistry. The movie is funny and, as a comedy, that’s exactly what it needs to be. It’s not a long-winded period drama or a nearly three hour superhero adventure, so the fact that The Other Woman frees itself from the cliché that women can’t get along is a success in and of itself. With comedies in such short supply this summer, The Other Woman could very well end up being the best of the bunch. It also proves that Nicki Minaj may very well have a budding film career on her hands.

Rating: B

Top 5: Jennifer Lopez Movies

Over the course of her career, Jennifer Lopez has been many things. Singer. Dancer. Designer. Judge. However, some of her greatest successes have come from her role as an actress. Known primarily for her work in romantic comedies, Lopez has flexed her acting muscles in a variety of roles ranging from psychological thrillers to biopics. Often underrated and overlooked for her talent, she has proven herself a capable and charismatic actress. To celebrate her achievements in film, here are her top five best movies.

Out of Sight (1998)

Based on the novel of the same name, Out of Sight features Lopez playing tough-as-nails U.S. Marshal Karen Sisco as she seeks to re-capture bank robber Jack Foley (George Clooney) after he has broken out of jail. The film has an uneasiness to it but is both smart and sexy. The chemistry between Lopez and Clooney is palpable, making the film that much more scintillating.

The Cell (2000)

Despite the negative reviews it has received, The Cell is a sophisticated and stylish psychological thriller. Lopez plays a psychologist who must enter the mind of a serial killer in order to save his latest victim. The film is disturbingly beautiful and quite possibly gives The Silence of the Lambs a run for its money.

Enough (2002)

What starts out as a romantic comedy turns into a nightmare when Slim (Lopez) becomes the target of her husband's uncontrollable rage. This visceral film depicts the lengths a woman will go to in order to protect herself and her child. While it may have gotten its share of negative reviews, its climax is one of the most gratifying scenes in cinema.

Selena (1997)

Arguably the quintessential Jennifer Lopez film, Selena was Lopez's breakthrough role. Portraying the tragic Tejano singer Selena Quintanilla-Perez, Lopez dances her famous derrière off. She is charming and totally lovable, respectfully paying homage to the life of a star cut down in her prime.

The Wedding Planner (2001)

Up until the release of The Wedding Planner, romantic comedy was a genre almost exclusively reserved for white actresses. Lopez broke down barriers with this film and set a record when it was released. The Wedding Planner sees Lopez playing Type-A wedding planner Mary Fiore who falls for a charismatic doctor (Matthew McConaughey). It's a fluffy and light-hearted film that has its share of laughs, setting the stage for the line-up of Lopezian romantic comedies that followed (Monster-In-Law, anyone?).

Review: Oz the Great and Powerful

Ever since it was first published in 1900, L. Frank Baum's The Wonderful Wizard of Oz has captured the imaginations of children and adults alike. Though its most famous adaptation still remains the 1939 film The Wizard of Oz, several writers and directors have tried their hand at adapting and re-envisioning the iconic book. In 2013, the wonderful world of Oz was reinvented by Disney in Oz the Great and Powerful.

Oz the Great and Powerful tells the origin of the infamous Wizard of Oz. James Franco plays Oscar Diggs, the aforementioned Wizard. Oscar is a con man driven by greed, seemingly unable to care about anyone but himself. Franco plays the role flawlessly and with charm in a vaguely Johnny Depp-ian way. However, it quickly becomes clear that Franco cannot hold his own in this fantasy world. He disappears into the background the moment the female characters are introduced. Rachel Weisz vamps it up as Evanora, the Wicked Witch of the East. She is deceptive and commands attention simply by cocking her hips to the side. Likewise, Michelle Williams steals her scenes with her undeniable poise and incredible vulnerability. However, the real star of the show is Joey King who voices China Girl. Spunky and courageous, China Girl provides plenty of comic relief while maintaining the emotional core of the film. Unfortunately, the film's premise falls flat. Despite this being the Wizard's origin, his character seems uninteresting in comparison to his female counterparts. In fact, it's almost impossible not to compare Oz the Great and Powerful to another Oz origin story -- Wicked. Much of the film depends on Mila Kunis' character Theodora. She is ultimately the lynchpin that holds the narrative together. Unfortunately, Theodora comes across as naive and lacks depth as a character. By comparison, her Wicked counterpart totally obliterates Theodora in terms of characterization and personality. This isn't the fault of Mila Kunis, of course, as she acts the part beautifully. It's the fault of the writers and producers for thinking that the Wizard could be half as interesting as the Witches. Acting and narrative aside, the film is absolutely gorgeous. The colours are lush and the costuming is absolutely brilliant, especially the costuming chosen for Theodora. The one nitpick? Weisz's Evanora should have been given more than one outfit.

As far as adaptations go, Oz the Great and Powerful is visually one of the more beautiful. The art direction is fantastic and the costuming is to die for. The cast is fantastic but the obviously scene-stealing on the part of the women makes the film feel lacklustre since it doesn't spend enough time elaborating on their origins or personalities. As such, Oz the Great and Powerful really just leaves the audience wondering, "When are they going to adapt Wicked for the big screen?"

Grade: C+

Review: The Tourist (2010)

When a film boasts two megastars like Johnny Depp and Angelina Jolie, expectations run high. The Tourist was promoted as a Euro-thriller and its A-list stars became the selling point for the film. Unfortunately, it fell short of its promises of high-suspense and palpable chemistry.

On paper, the individual elements of The Tourist are brilliant. Johnny Depp as a bewildered American tourist who gets embroiled in a cat-and-mouse chase with international authorities and vindictive gangsters sounds amazing while there’s usually never any going wrong with Angelina Jolie playing a mysterious and seductive femme fatale. It should be said that Depp and Jolie both do what is expected of them. Depp is believable in his role and is actually quite endearing in his portrayal of an unassuming math teacher. Jolie is drop dead gorgeous and there’s no denying that her expressiveness on camera is unparalleled. Her costuming is incredible and she has the tendency to draw all attention towards her in every scene she’s in. Even her British accent is tolerable. The film’s backdrop, meanwhile, is equally as striking as Jolie. The scenes in Venice are stunning and there is an overwhelming sense of opulence that works in favour of The Tourist. Unfortunately, all these elements cannot guarantee the film’s success. The greatest flaw The Tourist has is that it fails to live up to the expectations of international intrigue that the narrative is steeped in. By and large, most of the scenes between Depp and Jolie come across as if they’ve been filmed and composed for a romantic comedy. It clashes terribly with the tone the other scenes establish. Furthermore, there is a woeful lack of action scenes and Jolie is tragically underused in that respect. Why hire Jolie in a supposed Euro-thriller if she’s going to be stuck in constrictive dresses all film long instead of brandishing firearms and breaking bones? The few action scenes that are in the film aren’t as suspenseful as they could be and are essentially boiled down to half-hearted chase scenes rather than the pulse pounding, high stakes blockbuster action scenes one would expect of a Euro-thriller. Another gripe is that former James Bond actor Timothy Dalton was cast but appears far too infrequently. Like Jolie, he has a tendency to scene-steal and producers would have been better off had they expanded his role further.

It’s sad that the combined forces of Johnny “Captain Jack Sparrow” Depp and Angelina “Lara Croft” Jolie couldn’t elevate The Tourist from a predictable Euro-romp to a more respectable action-thriller with just a smidge of comedy. There are some fine moments in the film and both stars are to be commended for the effort they put in but unfortunately the director failed his stars. By heightening the tension and action, the film would have had an urgency it otherwise lacks and would have made good on its promises. Oh well, not every action-romance can be as fun as Mr. & Mrs. Smith.

Grade: D+

Review: Working Girl (1988)

            By today’s standards, the late-‘80s box-office romantic comedy Working Girl would be considered a feel-good chick flick intended for a summer release much like The Devil Wears Prada or The Proposal yet somehow it became a critically-acclaimed film released during Oscar season. In fact, it was nominated for six Oscars!

            Released during a time when women were entering the world of business in full force, Working Girl dealt with the sexual politics of commerce and what it takes to achieve success as a woman in a male-dominated field. A young Melanie Griffith plays the ambitious Tess McGill whose frustration over her stagnant position as a secretary forces her to take matters into her own hands and masquerade as a high-powered business woman in order to enhance her chances of advancing her career. Griffith’s girlish way of speaking is endearing and her exuberance in the role causes the audience to fall in love with her. We root for her and she truly gives it her all in this performance. She is to be commended especially in her ability to switch between dialects and accents. Alec Baldwin and Harrison Ford are admirable as Griffith’s love interests. Baldwin plays the role of the despicable boyfriend remarkably well and it’s not hard to become enamoured with Ford’s dashing good looks. Joan Cusack, notably nominated for an Oscar for her supporting role, steals each and every scene she’s in. She plays the garishly dressed best friend to Griffith’s Tess and she is a total riot. Cusack is rough around the edges and gives it 120% as a loud mouth. The film’s cast is rounded out with its pseudo-villain Katharine Parker as portrayed by Sigourney Weaver. It’s hard to take Weaver seriously in the role. She’s a parody of a female executive and comes across rather shallowly. Truthfully, Katharine would have been played more effectively by Meryl Streep (re: Miranda Priestley). Yes, she generates a few laughs but lacks the authenticity her cast mates have. It's an abnormal miss in Weaver's otherwise near-perfect filmography which included stellar performances in Gorillas in the Mist, Copycat and Alien (and its sequels).

            Working Girl is an enjoyable romp sure to be a riot for most. It features the obligatory big hair and massive shoulder pads expected of the ‘80s but there’s a message at the heart of the film and it makes a statement. In fact, Working Girl couldn’t be more relevant today. In the 20-plus years since the film came out, women have seemingly made very little progress in the business world and it unfortunately reflects the fact that many of us are stuck at the bottom of the career ladder because those at the top are still so stuck in their ways (or are dastardly vicious self-important Katharine Parkers).

Grade: B