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Source:
rec.art.movies.reviews newsgroup
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The curious thing about FATHER OF THE BRIDE II is that not only is it the sequel to a remake, but it's the remake of a sequel. As such, it's a perfect illustration of stretching an idea too far. Certain premises lack the necessary material for a multiple features, and this is one such example. As FATHER'S LITTLE DIVIDEND (upon which this screenplay is based) paled in comparison to the original FATHER OF THE BRIDE, so this production is an uninspired follow-up to its immediate predecessor.
FATHER OF THE BRIDE II is proof that there's a limit to how much life can be coaxed from a feel-good formula. While the 1991 Steve Martin movie was good for ninety-plus minutes of undemanding fun, the second chapter is stale and overflowing with treacle. Shot by cinematographer William Fraker with warm, golden tones, it's a celebration of suburbia as the ultimate culmination of the "American Dream."
The overriding theme of this film is identical to that of the first FATHER OF THE BRIDE: letting go of a child. Previously, Steve Martin's George Banks had trouble accepting that his daughter, Annie (Kimberly Williams), was ready to enter into a marriage with nice guy Brian MacKenzie (George Newbern). Here, when Annie announces that she's pregnant, George finds it difficult coming to grips with the realization that the baby will cement Brian and Annie's family, further distancing him from his beloved daughter. A secondary issue is briefly raised about George coping with the approach of his fiftieth birthday, but it's quickly dropped after George learns that not only is he about to be a grandfather, but his wife Nina (Diane Keaton) is going to have their third child.
I have often said that, in a comedy, much silliness and sappiness can be forgiven in the service of solid humor. But, while FATHER OF THE BRIDE has a few genuinely funny moments, it spends entirely too much time trying to be dramatic. The result is that the recycled sentiment becomes overwhelming -- so much so that Martin himself jokingly refers to his clan as the "schmaltz family." Trite lines like "Thanks for marrying me, Nina" and "Life isn't gonna get much better than this" pepper the screenplay.
Martin and Keaton are appealing separately and together, but their relationship got all the development it needed in part one; here, they're treading water, trying to keep the film afloat by sheer screen presence. It's not enough. Kimberly Williams all-but-fades into the background. Outside of her scenes with Martin, she's pretty much invisible. Would that the same could be said about the duo of Martin Short and B.D. Wong (reprising their roles from part one), whose exaggerated accents and mannerisms go far beyond being irritating -- and scenes with these two are supposed to be comic highlights... To add insult to injury, Eugene Levy is on hand as a caricature of a greedy Arab who's almost as offensive as Short's Franck Eggelhoffer. One bright spot is Jane Adams' on-target portrayal of a competent obstetrician.
In the Age of Family Values, FATHER OF THE BRIDE II will be welcomed with open arms by the likes of Newt Gingrich and Bob Dole (who will probably praise it without seeing it). There's nothing "morally indecent" about the film -- no profanity, no sex outside marriage, and a healthy dose of hugs and smiles. That FATHER OF THE BRIDE II isn't a particularly engrossing motion picture won't make much difference to that crowd. Or, judging by the enthusiastic audience response, to the portion of the American public that laps up whatever Hollywood puts out, regardless of how unoriginal and artistically empty the product is.
By : James Berardinelli
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Source:
rec.art.movies.reviews newsgroup
Rating:
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FATHER OF THE BRIDE II is a surprisingly excellent and touching comedy. The director (Charles Shyer), the writers (Nancy Meyers and Charles Shyer), and all of the cast are back from FATHER OF THE BRIDE (1991) which is in turn a remake of the 1950 movie of the same name. Unlike the 1991 movie which is broadly written for maximum laughs, the sequel is an even better movie that relies for its charm on its poignancy although there are innumerable hilarious moments as well. FATHER OF THE BRIDE II had me in tears twice. On the other hand, I rolled over in laughter so loud in one scene that I scared the woman in front of me. A very affecting and effective movie.
The setup of FATHER OF THE BRIDE II is a simple one. George Banks (Steve Martin) and his wife Nina (Diane Keaton) are a happily married couple. Although they have one kid, Matty (Kieran Culkin), in middle school, their daughter Annie Banks (Kimberly Williams) is now married and living a mile away with her new husband, Bryan MacKenzie (George Newbern). One day the young couple invite both sets of parents, the Banks and John (Peter Michael Goetz) and Joanna (Kate McGregor-Stewart) MacKenzie, to the Banks's house for the big announcement that they are expecting.
The reaction ranges from rapture to being stunned. As Matty puts it, "I'm 4' 6", I don't shave, I don't have a job, and I'm going to be an uncle. Isn't there something weird about that?" George flies into a middle age panic, and he dies his beautiful flowing gray hair jet black. He thinks he is too young to be a grandfather. He reminds us that he is 31 days younger than Bill Clinton. After he dies his hair, a beautiful blonde in a red Ferrari convertible makes a pass at him at a red light, but he sheepishly points to his wedding ring.
One of the stars of the movie is the family home - a classic East Coast style two story in a typical New England neighborhood full of autumn trees which somehow manages to be located in Southern California in this show. George decides to sell it reasoning, "We could sell this house in a second. It's the Leave It to Beaver house everyone wants." The sale of their home and its ramifications are both touching and extremely funny. The writers will really surprise you with what they do with this one.
Perhaps one of the reasons this movie works so well for me are all of the similarities with my own life. George is my age almost to the day. Like us, they are selling the house they have lived in for many years, they have to vacate the house quickly, and their dishes, which play a prominent role in the film, are exactly the same as ours. We are even older parents with a young child (6 in our case). To be honest though, I have had no problems with harassment by Ferraris.
The movie is filled with touching scenes. There is one of father and daughter playing basketball. It is filmed as a series of flashbacks starting at age 4. The cinematography (Elliot Davis) and the editing (Stephen Rotter) are absolute perfection. Kimberly Williams does a wonderful job as a role model of what every parent hopes their children turn into - sweet, smart, good looking, happy, and successful. The basketball scene forms a key part of her character's development in the movie.
The twist in the story that makes it click is that George and Nina find that they too are expecting a baby which pleases Nina but scares George. While driving through town Nina sees idyllic families filmed in sepia whereas George can only see families with little monsters. He tells Nina, "together we're almost a hundred!" Eventually George tries to put a good face on it all. He reassures Nina with "Just because we're older doesn't mean we're old. It's the 90s.", and "Going to the movies will be economical: one child and two seniors!"
The movie deals straightforwardly and effectively with many serious subjects. The fear of your kids growing up and moving across country is an emotional ones for most parents. Our only son is just six, but is already planning on leaving and moving to Montana to be a paleontologist when he grows up, which is as freighting to me as the possibility of Annie moving away is to George.
The best part of the entire movie are the birthing scenes at the end. Times of major emotion and uproarious laughter in the theater. Throughout the show Steve Martin is at the top of his form. He can deliver lines as well as facial expressions without speaking that alternatively have you in stitches one minute and ready to cry the next. A brilliant performance.
The rest of the cast is equally strong. Keaton, who can be too cutesy or quirky, is carefully directed and delivers her warmest performance since REDS. Martin Short again plays Franck Egglehoffer, but in the sequel he is not so obnoxious. In this film, he does not go overboard as he so frequently does, and gives the only lovable and touching as well as comedic role I have ever seen him in. In a minor but well cast role we have Jane Adams as Dr. Megan Eisenberg.
FATHER OF THE BRIDE II is a joy to behold. A life-affirming film whose almost last line is "Life doesn't get much better than this." Amen.
FATHER OF THE BRIDE II runs a brisk 1:46. It is rated PG, but it is a totally non-offensive show that should have been rated G. There is no sex, nudity, violence, bad language, or smoking. You could take a kid of any age, but given the story, I suspect it will only interest kids over say 8. I recommend the movie to you strongly, and I award it *** 1/2.
By : Steve Rhodes
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