Connie and Carla

Connie and Carla

Posted on May 18, 2009 at 8:00 am

B+
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated PG-13 for thematic elements, sexual humor and drug references
Profanity: Some strong language and double entendres
Alcohol/ Drugs: Characters drink to respond to stress, scenes in bar
Violence/ Scariness: Character killed, mostly comic violence
Diversity Issues: A theme of the movie
Date Released to Theaters: 2004
Date Released to DVD: 2005
Amazon.com ASIN: B00005JN1K

Nia Vardalos captivated audiences with the unstoppably successful My Big Fat Greek Wedding and her next film opens up in a few weeks. So it is a good time to take a look at her last film, which never got the audience it deserved. It is very entertaining, if less broadly appealing than her blockbuster debut. What made her first film a hit was its fresh and unassuming presentation of a universal theme — families drive everyone a little crazy. This one is a more traditional farce with the always-reliable gender-switching theme. It worked for Shakespeare and it worked for “Charlie’s Aunt,” “Some Like it Hot,” and “Tootsie,” and if this movie doesn’t hit that level, it avoids the mistakes of flops like “Sorority Boys” and “Juwanna Mann.”

Vardalos and Toni Collette (“The Sixth Sense” and “Muriel’s Wedding”) play best friends who dream of starring in dinner theater productions of Broadway shows. Instead, they are waitresses at an O’Hare airport restaurant who get to belt out tunes to stranded travellers in between taking orders. One night bad guys shoot their boss over a drug deal and, when they see Connie and Carla watching, they try to kill them, too. So Connie and Carla have got fo find a place to hide. Cue “Born to be Wild” and point the station wagon to Los Angeles.

And then before you can say “Queer Eye on the Girls from the Heartland,” Connie and Carla disguise themselves as drag queens and get a job performing in a nightclub. And they are wildly successful because they finally found an audience that appreciates Broadway show tunes! Connie starts to fall for the handsome brother (David Duchovney) of one of the drag queens, Carla misses her boyfriend, and those bad guys are still trying to find them….but these are girls who know how to deliver a happy ending.

This is a bright and colorful door-slamming farce directed by Michael Lembeck, whose experience with “Friends” keeps the pace so brisk that there isn’t much time to notice the parts that don’t work. The plot is nothing new — Lucy and Ethel would be right at home — but there are some good lines given maximum punch by a strong cast.

Duchovney’s low-key charm works well in the midst of all of the over-the-top emoting, but it is a shame that the plot requires him to be so squeamish about his brother’s lifestyle. The movie’s biggest weakness is its attempt to be just too, too good to the last drop, sprinkling self-esteem over every person who comes on screen like, well, fairy dust. This movie is going to make sure you get the message. Like the two main characters, it throws everything at you it can think of, from shameless power ballads to a real old-time movie star. The song and dance routines really are a hoot, delivered with such affectionate sincerity that I dare you not to be entertained. Yet what it does best is what it does most quietly, with some understated humor about how everyone, even a hitman for the mob, is just one showtune away from discovering the transcendent power of dinner theater.

Parents should know that many of the characters in this movie are drag queens, although as is typical in movies of this kind, they are portrayed as non-sexual. Parents should also know that characters use some strong language and there are some double entrendre sexual references and crude jokes involving tampons and a “sit on my face” insult. Characters respond to a stressful situation by deciding to get drunk and much of the action takes place in a bar. A character is a drug dealer and the response to accidental use of cocaine is portrayed as humorous. A character is a hitman and there is one murder (off camera). There are fights, mostly comic. A strength of the movie is that prejudice against drag queens and anyone who is different is an important theme.

Many families may find this movie a good starting point for discussions of how we know who we are and how we treat those who are different. They might want to talk about why it is easier for the drag queens to feel good about the way they look than it is for the women that Connie and Carla see.

Families who enjoy this movie will also enjoy some of the other classic cross-dressing comedies including Tootsie and Some Like It Hot and drag queen comedies like The Birdcage, Victor/Victoria, The Adventures of Priscilla Queen of the Desert, Outrageous!, and To Wong Foo Thanks for Everything Julie Newmar (all with some mature material).

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Changing Lanes

Posted on December 13, 2002 at 5:17 am

Most thrillers have audiences asking themselves what the characters will do next. This one will have them asking themselves what they might do in this situation, because it is a movie about how close all of us are to abandoning the thin veneer of civilization and breaking all the rules to lash out at each other. This is a harsh thriller about two men whose moral bearings are dislodged by a cataclysmic accident.

Ben Affleck plays Gavin Banek, a successful Manhattan attorney involved in a bitter contest over the control of a charitable foundation. On his way to court, he literally runs into Doyle Gipson, (Samuel L. Jackson), an insurance agent with a desperate plan to keep his estranged wife from leaving town with his children. Gavin, in a hurry, tries to pay the damages up front with a blank check. Doyle, wanting to straighten out his life, wants to swap insurance numbers. Haste and anxiety boil over into anger, and the confrontation leaves Doyle stranded without a ride.

The chance meeting has serious consequences for both characters. Doyle was on his way to family court. He is a recovering alcoholic, who is trying to start a new life. He is on his way to court to show his ex- wife and sons that he is buying a house, so that they will not move to Oregon. The plan is a surprise, to be delivered at the custody hearing he was en route to, when he collided with Gavin.

Gavin reaches court in time but without a crucial document, left at the scene of the accident with Doyle. Events quickly escalate out of control. Without the document, Gavin and his legal partners (one his father-in-law), are vulnerable to charges of fraud; Doyle, because of the accident, arrives late to family court and loses visitation rights with his children.

They confront each other again, but Doyle is too angry about losing his case to give Gavin the file. Gavin lies to the partners about the file to buy time, while Doyle goes into a bar to have a drink. Each blames the other for his troubles and wants revenge. What follows is a battle of wits, with each character striking at the other with all of his available resources, culminating in a second highway crash.

“Changing Lanes” is an explicit allegory about how the flaws of good people can bring them to the brink of murder. Both Gavin and Doyle are appealing, seemingly decent characters. But Gavin lacks the maturity to take full responsibility for his actions, while Doyle’s rage — an even more profound addiction than his alcoholism — overwhelms his good sense.

They both hover at the point of forgiveness, but neither is willing to let go of their self-righteous indignation and make mature choices. The characters along the way each present them with choices, each representing a world view that Gavin and Doyle must adopt or reject. Sidney Pollack (best known as a director) is outstanding as Gavin’s corrupt boss and there are other strong supporting performances by Toni Collette, William Hurt, and Amanda Peet.

Parents should know that this film involves a lot of realistic emotional violence which can be upsetting. A family is separated by the alcoholism of a parent, and there is an extremely harrowing scene of a father being forcibly removed from his son’s school. There is also a later confrontation between the father and mother where the father is told he’ll never see the children again. The physical violence in the film is brief and mild by modern standards, but realistic. There are religious references (the movie takes place on Good Friday) that some families will find awkward or heavy-handed.

Families who see this movie should talk about the characters’ conflicting impulses to forgive and to get revenge. What finally convinces Doyle to give the file back? What did his friend mean when he told Doyle “Alcohol was never really your drug of choice?” Why was Gavin unwilling to go to Texas to do his pro-bono work, and what do you make of his final speech to his father-in law? In a way, this is a movie about the way people do and don’t listen to each other and how that makes us feel. Where do we see that theme most clearly? Why was Gavin able to ignore the reality of his situation? Was the end of the film realistic? Parents will want to discuss safe driving habits with their teens after seeing this film as well.

Families who enjoyed this movie might also want to look at “Panic Room,” which also deals with divorced families and with emotions running out of control.

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