The Films of Ivan Reitman
Meatballs (June 10/07)
There's little doubt that Meatballs' extremely mild success is due entirely to Bill Murray's incredibly charismatic and thoroughly entertaining performance, as the film surrounding him is essentially plotless and predictable. Murray, who has clearly improvised the majority of his lines, elevates the proceedings to something that's almost watchable, though there's certainly no denying that one's interest wanes considerably whenever he's not on screen. The egregiously thin storyline - which revolves around the wacky hijinks that ensue at a low-rent summer camp - has been peppered with a number of melodramatic subplots, with most of the characters saddled with overly obvious arcs that simply aren't all that interesting (this is particularly true of the lonely, put-upon kid that Murray's Tripper Harrison takes under his wing). And while director Ivan Reitman - working from Len Blum, Daniel Goldberg, Janis Allen, and Harold Ramis' screenplay - does a nice job of infusing the film with an appropriately silly and light-hearted atmosphere, Meatballs is ultimately just not able to live up to its inexplicable reputation as a minor cult classic.
Legal Eagles (May 2/12)
Legal Eagles follows dueling attorneys Tom Logan (Robert Redford) and Laura Kelly (Debra Winger) as they team up to defend a beautiful heiress (Daryl Hannah's Chelsea Deardon), with the film detailing the pair's ongoing efforts at solving the crime that their client has been accused of committing. Filmmaker Ivan Reitman has infused Legal Eagles with a pervasively lighthearted feel that does, for the most part, prevent the viewer from connecting with the material, which is a shame, certainly, since Redford delivers as engaging and charismatic a performance as one might've expected. The movie's pervasive lack of substance - ie there's just no hook here - grows increasingly problematic as the thinly-plotted narrative unfolds, with the plodding atmosphere compounded by a central case that is, after everything is said and done, simply not that interesting. (It doesn't help, either, that scripters Jim Cash and Jack Epps Jr attempt to compensate for the lackluster mystery by flooding the proceedings with increasingly convoluted elements.) And although the film has been sprinkled with a handful of standout sequences - eg Tom's opening remarks at Chelsea's trial - Legal Eagles primarily comes off as a lazy and fairly pointless vanity project that squanders the talents of everyone involved.
Six Days Seven Nights
Evolution (June 5/01)
Evolution is an ideal example of how to do a summer movie right, as it boasts plenty of funny one-liners, a few genuinely exciting sequences, and a cast of likeable characters. The film, which follows two friends (David Duchovny's Ira and Orlando Jones' Harry) as they find themselves embroiled in an alien encounter, is precisely the sort of larger-than-life endeavor that one might've expected from the director of Ghostbusters - with film marking Ivan Reitman's attempt at aping the popularity and success of that 1984 blockbuster without actually making a direct sequel. Evolution possesses many of the same elements (wisecracking heroes, scary monsters, etc) but the movie is ultimately unable to achieve that perfect balance of horror and comedy that Ghostbusters had. And although Duchovny is the best he's been outside of The X-Files, it's inevitably Jones who walks away with the title of MVP. A geology teacher with delusions of grandeur (and a part-time coach for a women's volleyball team), Harry is an ideal showcase for Jones' ample comedic talent. Whether he's bugging his eyes out after being invaded by an alien or just making a snarky comment about a military attache, the former Mad TV performer is certainly the breakout star of Evolution. Julianne Moore, cast as a clumsy scientist, is good (as always), but a little out of place. It seems fairly obvious that the actress is trying her darndest to match the wackiness of her costars, but she's never entirely able to pull it off. And unfortunately, if you've seen any one of the three (!) trailers, you've probably seen most of film's punchlines. The end result is an entertaining comedy that admittedly does suffer from cookie-cutter characters and an emphasis on familiar plot elements, yet it's inevitably easy enough to overlook such problems as a result of the movie's pervasively fun and easy-going atmosphere.
My Super Ex-Girlfriend
Though it features an admittedly out-there premise - a guy falls for a bona fide superhero - My Super Ex-Girlfriend possesses virtually all the beats and plot twists of a standard romantic comedy (including, of course, the requisite fake break-up). Luke Wilson stars as Matt Saunders, a personable architect who begins dating a mousy woman named Jenny Johnson (Uma Thurman). Despite the lack of chemistry between the two, Matt decides to stick with the relationship after learning that Jenny is actually legendary superhero G-Girl - though it's not long before G-Girl's arch-nemesis Professor Bedlam (Eddie Izzard) arrives on the scene. My Super Ex-Girlfriend has been directed by Ivan Reitman, who infuses the movie with a bland and curiously dated sense of style (ie stripped of its many insipid pop songs, the film could easily pass for a product of the 1980s). Don Payne's screenplay does contain a few clever jabs at various superhero cliches, while the performances are charming and engaging (Rainn Wilson, playing Matt's sleazy colleague and friend, easily steals every single one of his scant scenes). And although the whole thing never quite adds up to much, My Super Ex-Girlfriend is generally a fun (albeit entirely forgettable) piece of work.
No Strings Attached
Directed by Ivan Reitman, No Strings Attached follows Adam (Ashton Kutcher) and Emma (Natalie Portman) as they attempt to sidestep issues of intimacy by engaging in a purely physical relationship - with problems ensuing as Adam begins to develop romantic feelings for Emma. It's clear right from the outset that Reitman, working from Elizabeth Meriwether's screenplay, isn't looking to offer up a typically slick romantic comedy, as the filmmaker has infused the proceedings with an edgier sensibility that initially holds some promise - with Kutcher and Portman's charismatic work heightened by an impressively eclectic supporting cast that includes Kevin Kline, Cary Elwes, and Greta Gerwig. It's only as the movie progresses into its unusually sluggish midsection that one's interest begins to flag, and it's clear that Meriwether's increasingly episodic sensibilities are compounded by her ongoing reliance on eye-rollingly familiar romcom clichés (ie Adam and Emma's unreasonably wacky friends). The incongruously dramatic bent of the film's final third - the fake break-up makes an especially needless appearance - cements No Strings Attached's place as a consistently underwhelming piece of work, although Reitman does deserve some credit for avoiding the slickness that seems to be part and parcel with the genre nowadays (ie a typically empty Katherine Heigl or Kristen Bell vehicle this isn't).