Scent of a Woman* (1992)

For years I avoided watching this film because the title sounded like a sappy romantic flick. Only after I decided to grin and bear it, because my wife wanted to see it, did I learn how wrong I was. It may not be a chick flick, or even a romance for that matter, but there is still a sap factor to Scent of a Woman that holds it back.

Prep school student Charlie Simms (Chris O’Donnell) takes a caretaker job over Thanksgiving break to earn money for a trip home for Christmas. He gets more than he bargains for when the man he is hired to watch, retired Lieutenant Colonel Frank Slade (Al Pacino), drafts him into a road trip to New York City. The blind military man is full of anger, and at times finds himself at odds with his caretaker, but Slade and Simms find a kind of rapport that enables each of them to help the other through difficult situations.

This film serves as a vehicle for showcasing Al Pacino’s acting chops, end of story. Like many other Hollywood films before it, Scent of a Woman is a one man show without being a true solo performance. Pacino is fierce with his characters rage yet completely watchable. I’m not sure what blind advocates though of his performance but he seems to do well enough in playing a blind man. His line of sight never gets too focused on what a non-blind person would.

While Chris O’Donnell’s character is actually the main character of this story, he is completely overshadowed by his costar. The way the script is written, it almost feels like this was by design, because you only remember Pacino’s performance. Enjoyable as the film may be, it would have been nice to have a stronger actor playing Charlie Simms. O’Donnell has a few shining moments but he comes nowhere close to standing toe-to-toe with Pacino. I don’t know what young actor could have pulled it off but O’Donnell doesn’t convince me.

Scent of a Woman has some charm and plenty of heartwarming and uplifting moments but something feels a little paint-by-numbers. Pacino’s Oscar is certainly earned here but when one performance overpowers everything else, it takes something away from the film as a whole. This film may have something to say about honor and values but it doesn’t quite say enough to be the kind of film that people will remember forever. If it weren’t for Pacino, this film probably wouldn’t be remembered at all.

RATING: 3.5 out of 5

The Emperor’s New Groove (2000)

The so-called Disney Renaissance supposedly runs from The Little Mermaid to Tarzan, yet here is a film that turns out to be Disney’s best non-Pixar venture since The Lion King. Perhaps it is because The Emperor’s New Groove was followed by several Disney misfires that was lost in the shuffle. Granted, it spawned a cartoon TV series for the House of Mouse but I don’t hear many people talking about this film like they do the Pixar products of the same general time frame. That, I am afraid, is a shame.

Kuzco (David Spade) is the spoiled, self-absorbed emperor of the Incan Empire. To celebrate his upcoming birthday, he plans to build a huge palace in a nearby village but things go awry when he fires his advisor Yzma (Eartha Kitt) and her lackey Kronk (Patrick Wharburton). The duo attempt to kill the young emperor but only turned him into a llama. Before they can dispatch the transformed Kuzco, they lose him. Kuzco winds up in a village and teams up with Pacha (John Goodman), whose home is threatened by the emperor’s palatial plans, to get him back to the palace. Meanwhile, Yzma and Kronk search desperately for Kuzco to clean up a very wooly loose end.

Maybe the folks at Disney decided to take a page out of the Pixar playbook with this film. That would explain the flurry of wit, references, and even a splash of sarcasm here and there. What is surprising is that Disney takes those tools and runs with them in a way not seen since Aladdin. Nothing is sacred in The Emperor’s New Groove and that is refreshing considering Disney’s recent non-Pixar flicks and their tendency to stay between the lines. This is not safe Disney. I wouldn’t call it edgy Disney either though. This film is more like Disney with its hair let down.

The story is predictable and the foreground animation may not be as lush as Disney’s best, but the characters and background animation really keep this film engaging. Kuzco’s wry narration is a fun take on a Hollywood cliché, especially when he interrupts the flow of the film in an attempt to make sure that we are focused on him and not Pacha, who is a far more worthy of our empathy. David Spade is exactly the right person to bring Kuzco to life. Spade’s tone and timing fit the mindset of our haughty protagonist and John Goodman’s deep, warm voice is perfect for a caring sidekick. The setting for this unlikely buddy flick is the Andes Mountains of South America. Disney’s animators wowed me with the colors and architecture used to bring the Incan Empire to life.

Despite a few structural flaws, The Emperor’s New Groove wins you over with its ability to entertain. Some of the things I can find fault with in this movie I have complained about in other Disney products. So how can I rate this film so much higher than latter-half Renaissance flicks? Unlike Hunchback, Mulan, and Tarzan, this movie never gets boring. After the success of Beauty and the Beast and The Lion King, Disney swung deeper into the dramatic end of the spectrum and it backfired.

Without the formula-friendly musical numbers, the filmmakers have to craft a lean, tight film that stays on target. They pull off this difficult task seemingly with ease, using a brisk pace and snappy rapid-fire dialogue keep you smiling for the duration of the film if not chuckling and laughing hysterically. Its screwball comedy tactics may come off as stale to anyone coming in with specific expectations. If you don’t have expectations (or are quickly able to let go of them) you will find yourself enjoying a funny little film. Its artistic merits may be suspect but Groove stands tall as one of Disney’s most non-stop entertaining films to date.

RATING: 3.75 out of 5

The Best Exotic Marigold Hotel (2011)

Every few years, Hollywood cranks out a marginal film featuring silver screen veterans dealing with old age in unique and supposedly funny ways. Whether it’s a last ditch effort to feel young, a journey to fulfill unfinished business, or a team of old pros called back into action, the results are usually shaky at best. Maybe it’s because The Best Exotic Marigold Hotel was made outside of the Hollywood system that it defies the odds.

After reviewing their options, several retired Brits take a major risk and move to India to stretch their retirement dollars. Evelyn (Judi Dench) is broke thanks to her dead husband’s debts, while Jean (Penelope Wilton) and Douglas (Bill Nighy) are scraping by after investing in their daughter's stagnant web start-up. Graham (Tom Wilkinson) is looking for an old flame, while Madge (Celia Imrie) is on the prowl for a new flame. Norman (Ronald Pickup) is trying to cling to whatever youth he has left, while Muriel (Maggie Smith) needs a hip replacement on the cheap. Upon arriving at the Best Exotic Marigold Hotel, everyone is dismayed to find the place is the opposite of the pictures on the website. As the hotel manager, Sonny (Dev Patel), struggles to keep the place from falling apart, the seven guests band together to help each other out on many different levels.

Far from being a charming tale for the geriatric demographic alone, this film has the potential to play well to most age brackets. It’s not for the youngest of viewers but anyone with an adult level of maturity can find something to enjoy here. The characters may be somewhat formulaic but the filmmakers put enough refreshing twists on type to keep you emotionally invested and genuinely curious to see how each of these seven retirees adjust to their new surroundings.

Maybe it’s the pedigree of the cast or maybe British actors are just a better breed of talent in general, but all the principals do a wonderful job of making their characters feel real. Whether it’s portraying the fear and anxiety of new and intimidating surroundings or the general vulnerability that comes with aging physically and emotionally, the cast is remarkably spot-on. This makes for several powerful moments and also for a few humorous moments that you don’t see coming.

On the surface, Dev Patel’s hilarious character does feel like an obvious ploy to appeal to young adults and thirtysomethings who might not otherwise be interested in a film about old people. Patel is more than just a throwaway to the younger set though. His youth and inexperience contrast against his tenants and open up the door to both sides learning from each other. Some of these lessons are more predictable than others but they’re not executed poorly.

Cynics may consider this film a kind of Breakfast Club for the retirement home crowd but take heart in knowing that cynics are usually little more than an extremely vocal minority. There is no shame in liking this film, regardless of your age. Years of Hollywood beating these kind of ensemble dramas (from coming-of-age teen flicks to gray-haired adventures) has trained us to brace ourselves for inevitable disappointment. It may not live up to its name 100% but The Best Exotic Marigold Hotel houses very little, if anything, to be disappointed about.

RATING: 3.75 out of 5