This is Sally Field's directorial debut in a feature film and I give her mixed reviews. Most of the criticism I have with this film is the way it is directed. It has a schizophrenic presentation. On one hand, it is a satire about beauty pageants and the women who compete in them. On the other, it is a serious story about a young woman trying to overcome her mother's rejection and validate her self worth by winning beauty contests. Added to the dramatic element is a personal growth epiphany, as the shallow beauty queen comes to terms with life's priorities, embracing her daughter as being more important than her dream.
Either of these elements could have worked alone, but together they are incongruous. The satire trivializes the human-interest story, and the human-interest story weighs down the comedy. Field's direction, as has been recently true of her acting roles, is best suited for the human-interest angle. In this film, that is the strongest element. Despite my being cynical about how predictable and schmaltzy this story was, I still couldn't help being choked up at the end, sappy as it was. This is to Field's credit as a dramatic director. However, her attempt to fuse the two discordant elements is misguided and it detracts from the overall entertainment value of the film.
The acting is generally good. Minnie Driver is a far better dramatic actor than she is a comedian and that is reflected in this film. In the satirical comedy scenes, her acting is very forced and artificial. In the serious dramatic scenes with Mona's mother and daughter, she is compelling and believable. Joey Lauren Adams gives a consistently excellent performance as Mona's best friend and Vanessa's surrogate mother. Adams is lovable, steady and kind, and she effuses sincerity. This film is a showcase for Hallie Kate Eisenberg, the Media's latest child phenom. A favorite in commercials and on the Jay Leno show, Eisenberg shows in this film that she can really act, delivering an astonishing performance as Mona's pouty but perceptive child (`I'm seven, I'm not stupid!').
This is a good film for women. The comedy is not that funny, but the mother-daughter angle will be good for a Kleenex or two. I rated it a 7/10, including a one-point bonus for the schmaltzy but effective ending. Guys bring a copy of Sports Illustrated and a flashlight.
Either of these elements could have worked alone, but together they are incongruous. The satire trivializes the human-interest story, and the human-interest story weighs down the comedy. Field's direction, as has been recently true of her acting roles, is best suited for the human-interest angle. In this film, that is the strongest element. Despite my being cynical about how predictable and schmaltzy this story was, I still couldn't help being choked up at the end, sappy as it was. This is to Field's credit as a dramatic director. However, her attempt to fuse the two discordant elements is misguided and it detracts from the overall entertainment value of the film.
The acting is generally good. Minnie Driver is a far better dramatic actor than she is a comedian and that is reflected in this film. In the satirical comedy scenes, her acting is very forced and artificial. In the serious dramatic scenes with Mona's mother and daughter, she is compelling and believable. Joey Lauren Adams gives a consistently excellent performance as Mona's best friend and Vanessa's surrogate mother. Adams is lovable, steady and kind, and she effuses sincerity. This film is a showcase for Hallie Kate Eisenberg, the Media's latest child phenom. A favorite in commercials and on the Jay Leno show, Eisenberg shows in this film that she can really act, delivering an astonishing performance as Mona's pouty but perceptive child (`I'm seven, I'm not stupid!').
This is a good film for women. The comedy is not that funny, but the mother-daughter angle will be good for a Kleenex or two. I rated it a 7/10, including a one-point bonus for the schmaltzy but effective ending. Guys bring a copy of Sports Illustrated and a flashlight.