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Be Cool (2005) MGM/UA 1 hr. 43 mins. Starring: John Travolta, Uma Thurman, Vince Vaughn, Dwayne “The Rock” Johnson, Harvey Keitel, Cedric the Entertainer, Christine Milian, James Woods, Danny DeVito, Andre Benjamin, Robert Pastorelli, Kimberly J. Brown, Steven Tyler Directed by: F. Gary Gray Be Cool Rating:  
E-MAIL FRANK OCHIENG There’s just no way to describe the synthetic hipness behind director F. Gary Gray’s (The Italian Job) misguided star-studded vehicle Be Cool. Well, actually there is a way—let’s try overwrought, lifeless, insulting, desperate, unctuous…shall we continue? Gray’s erratic narrative is the nonsensical sequel to the well-received 1995 comedy crime caper Get Shorty. Although Be Cool tries to pose as a ridiculously wry commentary pertaining to the seedy side of show business and the opportunistic sharks that manipulate its operation, the movie hastily assembles a conveyor belt of quirky characters mugging shamelessly before the camera. As slick and flippant as Be Cool thinks it is in content, Gray merely provides an atmospheric three ring circus where the caustic clowns aimlessly run the ragged show. Never has a self-centered farce such as Be Cool demanded so much attention. The movie literally cries out for its gimmicky tendencies. Watch Oscar-nominated Pulp Fiction stars John Travolta and Uma Thurman reunite and engage in another colorful dancing sequence. Watch favorable muscle-bound wrestling rogue Dwayne “The Rock” Johnson as he portrays a gay bodyguard with silly acting/singing aspirations. Check out Vince Vaughn’s Jewish junior music executive as a “black wannabe” who comically utters ghettoized jargon. Notice Cedric the Entertainer as an Ivy League educated Suge Knight prototype music mogul surrounded by gun-toting gangsta associates. Repeatedly, the film loves to wink at its irreverent package but doesn’t realize how tediously misplaced it really is in its wayward callousness. Be Cool, as with its predecessor in the aforementioned Get Shorty, is the heart and soul of Elmore Leonard’s nostalgically animated pulp crime novels. After ten years of toiling in the movie-making enterprise, smooth-talking mob shylock Chili Palmer (Travolta) is back on the scene and ready to take on a whole new venture—the music industry. After seeing his recording label insider buddy Tommy (James Woods) publicly executed by Russian mobsters, Chili decides to leave behind the motion picture racket and tackle the unpredictable rigors of the music business. Chili is saddled with the challenge of spearheading the up-and-coming musical career of singer Linda Moon (Christina Milian). But Linda’s contract is owned by shady underworld music mogul Nick Carr (Pulp Fiction’s other alumnus Harvey Keitel) and his white buffoon pimp-daddy partner Roger “Raji” Lowenthal (Vaughn). As if trying to maneuver his songbird client away from this tricky tandem wasn’t exasperating enough, Chili must come to the aid of his late friend’s tall and blonde-haired widow Edie Athens (Thurman). Because Edie’s late hubby owed the Russian mafia big time her claim to Tommy’s NTL Records is in deep jeopardy. Plus, Chili has to look out for the sinister Soviet baddies since he witnessed their blood-splattering work perpetrated against his perished pal. Enter Sin LaSalle (Cedric the Entertainer). He’s the imposing hip-hop music producer out to settle a score and collect from what a deceased Tommy should have paid him as well. While being a devoted family man who was schooled at one of the finest academic institutions, it is not above street savvy LaSalle’s volatile nature to forgive and forget what’s due him in profit. Armed with his sports jersey-wearing crew that includes loyal henchman Dabu (Andre Benjamin from the musical act Outkast), LaSalle and the Russians rivals are looking to conquer and divide the musical scope. Chili, feeling equally overwhelmed by these hostile factions breathing down his neck, must co-exist in this chaos while finding a way to get his performing protégé Linda’s CD into the influenced hands of Aerosmith rock legend Steven Tyler. Sadly, Be Cool is just another by-the-numbers action-comedy that poorly works within the familiar framework of its original inspired blueprint Get Shorty. Gray’s ensemble piece lacks the frothy focus in its bid to skewer the inner workings of showbiz’s ruthless shell. Celebrated headliners Travolta and Thurman go through the motions without demonstrating any distinctive sizzle that would recall their mid-nineties Pulp heyday. The occasional witty standouts include the charismatic Rock stealing the scenes as Raji’s flamboyant bodyguard Elliott yearning to follow up on his clumsy artistic leanings. Admittedly, Vaughn is frequently riotous as the cartoonish cad with the pimping player façade. As for Milian’s turn as the desired pop princess, she’s too generic for anyone to believe that she would be fussed over by fractured warring parties. Gray is intent on tossing about swanky venues (The Viper Room, The Staples Center) and showcasing a string of notable musicians (Wyclef Jean, Fred Durst, Sergio Mendes, etc.) but never concentrates on constructing a stimulating satire worthy of its titular pronouncement. Despite its freestyle all-star casting and rollicking verve, Be Cool is a lukewarm waste. Click here to comment on this review or post your own thoughts. Frank Ochieng © TheWorldJournal.com |
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