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Screenwriters David Diamond and David Weissman take a little bit of "Me Myself I," a dash of "It's a Wonderful Life" (in reverse) and a helping of their own original twists for the holiday-set "The Family Man." While the film sounds like warmed over offerings, its sparkling cast and a few inventive riffs on an old outline make this a welcome holiday entertainment.
We already know Kate is Jack's old girlfriend, because the film begins with a flashback (which we know is a flashback by the PanAm backdrop) of Jack leaving a tearful Kate at the airport. They have a plan to get solid footing before marriage - him by interning at Barclay's Bank in London, her by going to law school back home - which she begs him to abandon because of her intuition. One scene later, we know her intuition proved correct.
Jack has disposable women, $2,500 suits, a Ferrari and confidence to spare. His first move after awakening in surburbia is to dash out in horror and take the family minivan back into the city. No one recognizes him, however, and that mysterious 'robber' returns in his Ferrari to tell him that his actions during the tension of the night before allowed for him to get a second look at life.
Jack returns to his new home to be met by his best friend and next door neighbor (Jeremy Piven, "Very Bad Things") telling him how lucky he is. Jack's aghast at the messy surburban life he now has complete with diapers, dog slobber, chores, a blue class wardrobe and job as a tire salesman for his father-in-law. Even though Jack knows no history of this life, only his daughter Annie notices his oddness, asking where her dad has gone. Kate accepts his cluelessness as part oddball humor, which they clearly have a history of, part midlife crisis.
The screenplay is interesting in that some things have progressed similarly (Jack is hit on by a sexy friend), others are changed (his nebbishy underling (Saul Rubinek, "The Contender") is now the more authoritative president of his old company). Things that seem radically different (Jack's new career) are given interesting explanations as the story progresses. Jack attempts to blend his new persona with his old one. The film's conclusion is not exactly what the audience might expect and presents new concepts to ponder.
The best thing about "The Family Man," however, is seeing Nicolas Cage finally give an engaging performance again. His return from the increasingly zombified performances he's been giving in one actioner after another is most welcome. Cage nails the complexities of a somewhat arrogant, assured man who also is, at heart, decent. His comic bafflement, sweetness with children and sexiness with woman showcase his romantic comedy chops better than anything he's done since "Moonstruck." Equally engaging is Tea Leoni, who simply has never been better. She's funny, strong, quick-witted and sexy and a dynamic foil for Cage. Support is solid all around.
The film was directed by Brett Ratner (whose 'a film by' credit is a bit pretentious for the young director of "Rush Hour"), showing an ability to cross genres after his hit actioner of two years back. The film's well-paced and gives a nice contrast between the different lifestyles (even if Jack is able to park directly in front of anywhere he wants to go in downtown Manhattan in both incarnations).
"The Family Man" is not only a sure-footed romance, but may become a minor holiday classic as well.
By : Laura Clifford
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Source:
rec.art.movies.reviews newsgroup
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Nicolas Cage, as Jack Campbell, the wealthy president of a mergers-and-acquisitions firm, is living La Dolce Vita in his Manhattan penthouse and savoring every minute of it. With $2,400 suits, a lightning-fast Ferrari and his own limo, he has it all, right down to a "closet" that is like an expensive men's clothing boutique.
Well he thinks he has it all until an angry man with a gun (Don Cheadle) interrupts Jack's life to show him a "glimpse" of what he is missing. David Diamond and David Weissman's imaginative script is equal parts SLIDING DOORS, A CHRISTMAS CAROL and IT'S A WONDERFUL LIFE. Director Brett Ratner, known for his broad comedy RUSH HOUR, shows that he is capable of surprising subtlety and grace. THE FAMILY MAN is touching and poignant without ever getting anywhere near schmaltz. Even if it's more effective as a romantic drama than a comedy, it does have many wonderfully funny moments.
The story opens at the airport in 1987, where Jack is leaving his college girlfriend Kate (Téa Leoni, DEEP IMPACT) for a one-year internship abroad. Fearing that their relationship will not survive the oceanic separation, she makes a futile, last minute plea for him to stay.
We quickly cut to 13 years later, when it's Christmas Eve. Jack has his troops working on a 120-billion dollar merger deal. His old lover, Kate, has called out of the blue. Jack's chairman (Josef Sommer) advises him not to return the call. "Old flames are like old tax returns," he tells Jack. "Put 'em in a file cabinet for 3 years and then cut 'em loose." Currently with model-quality girlfriends, Jack doesn't seem the least bit interested in ever dialing Kate's number.
The mysterious character played by Don Cheadle shows up, and before Jack knows it, he is "trapped in the suburbs" in a New Jersey house with 4 bedrooms, 2 1/2 baths, a partially finished basement, a big slobbering dog, 2 young kids and a wife, Kate. He thinks that he is still rich, but he isn't, and that he really isn't the family man of his new household, but he is. Cage's frozen, wide-eyed expression tells it all about his absolute panic. He is convincingly confused, shocked, lost and scared. Most of all Jack is appalled by the ordinariness of his new lifestyle. A big day for the new Jack is getting treated to a funnel cake at the mall. His new life is almost a complete opposite of everything he has worked for.
In a film about Cage's character, Leoni does a terrific job of not being upstaged by Cage. She takes what could just be a one-dimensional character and gives it depth, tenderness and a playful joy.
The script, wisely, lets only one person, Jack's little daughter Annie (Makenzie Vega), figure out that Jack has changed. In an adorable performance by Vega, Annie decides that Jack is an alien. Still, she is happy to show him the ropes on how to be a father, including how to diaper her brother Josh. One of the biggest laughs comes when Jack leaves Josh at daycare. "Do I get a receipt or something?" he asks at the daycare center as he hands off his son, holding him as if he contained toxic waste.
The big question about the narrative is how the story will circle back once the glimpse is over. With a completely satisfying resolution, the movie leaves you with a warm spot in your heart. A perfect film for the Christmas season, its messages about the meaning of success and the importance of family is presented with straightforward and genuine warmth. An honest picture and a cute one, although not worthy of Christmas classic status, it is rewarding and enjoyable.
By : Steve Rhodes
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