Thursday, May 08, 2003
Copyright © Las Vegas Mercury

Film: Waiting for guffaws

A Mighty Wind blows up a satirical storm

There's no shortage of debate about multi-hyphenate, modern-day film auteur Christopher Guest. The writer-director-producer-actor-composer has made a living from documentary send-ups wryly portraying heavy metal bands, community theater and dog shows (Rob Reiner's This Is Spinal Tap and Guest's directorial efforts Waiting for Guffman and Best in Show). Christopher insists he doesn't make "mockumentaries," but it's hard to watch his films without sensing the winks and nudges.

A Mighty Wind, Guest's latest and perhaps funniest project, takes aim at a reunion concert honoring a deceased folk music Svengali named Irving Steinbloom. But this "Ode to Irving" is not just any old tribute show. Each act scheduled to reunite for the event--including the Folksmen (Guest, Michael McKean and Harry Shearer) and especially headliner duo Mitch & Mickey (Guest's co-writer Eugene Levy and Catherine O'Hara), the Sonny and Cher of the folk scene--must contend with old issues and newfound obscurity. Making mountains out of molehills is a horde of backstage participants who, like the musicians, are far too earnest about their work. Their interview segments smack of "Behind the Music" melodrama mixed with an irony that VH-1 could never pull off.

The key to A Mighty Wind is the sharp and talent-rich cast (including Guest regulars Parker Posey, Catherine O'Hara and Bob Balaban), who are used to his freewheeling, improvisational style and convey their characters' self-importance with measured absurdity. Most memorable is Fred Willard as Mike LaFontaine, the crass manager of the otherwise squeaky-clean New Main Street Singers (sort of like the Beach Boys Family & Friends).

Maybe Guest dislikes the idea he's mocking anyone or anything. "Ode to Irving" means something to everyone involved. Nothing is truly ridiculous because there's nothing being ridiculed--which makes both characters and film more believable than you might expect.--Mike Prevatt

Mr. Mom reloaded

With its blend of storylines from Mr. Mom and Kindergarten Cop, and the presence of Eddie Murphy, Daddy Day Care could've been a delightful comedy. However, Dr. Dolittle 2 director Steve Carr's flick is a formula piece with a parade of adorable, unruly tykes that wastes the talents of Murphy, Anjelica Huston and Steve Zahn.

The show begins with scenes of suburban dolce vita. Charlie and Kim Hinton (Murphy and Regina King) place their shy preschooler Ben (Khamani Griffin) into the elite Chapman Academy. This overpriced establishment, where the spawn of the rich fully bloom into Stepford kids, is ruled with an iron hand by Miss Gwyneth Harridan (Huston). When Charlie's marketing department is eliminated, he and buddy Phil (Jeff Garlin, from HBO's "Curb Your Enthusiasm") lose their jobs and the ambitious Charlie realizes that affordable child care is needed--so Daddy Day Care is born. Naturally, Charlie, Phil and their new hire Marvin (Zahn) encounter both trials and triumphs with their baby business.

As with most mainstream American films about kids and parents, this one fails to deliver rich, meaningful or funny story lines. Instead first-time screenwriter Geoff Rodkey relies on Child Magazine models with major life issues that are neatly resolved within 90 minutes. Of course, the Hintons instantly change their lifelong, keeping-up-with-the-Joneses ways when, in a moment of revelation, they realize that family is more important than fortune.

As for the actors, the freewheeling comic genius who was the young Eddie Murphy has, unfortunately, matured into a play-it-safe, barely funny Hollywood hack. Pity poor Huston, who's burdened with a one-dimensional villainess. And though Zahn is wonderfully sweet and quirky as a lovelorn, Star Trek-obsessed geek, not even his comedic gifts can save the film.

Suck on a pacifier and take a nap instead.--Tammy McMahan