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America's Sweethearts is just the kind of romantic froth that makes for pleasant viewing on a lazy, rainy day. While Julia Roberts, John Cusack, and Catherine Zeta-Jones offer high-wattage marquee value, costar and cowriter Billy Crystal reworks
Singin' in the Rain for latter-day Hollywood, where estranged superstars Gwen (Zeta-Jones) and Eddie (Cusack) reluctantly promote their latest movie by pretending their messily disputed relationship is still going strong. The studio chief (Stanley Tucci) is desperate for a hit, so he hires a seasoned publicist (Crystal) to orchestrate a press junket that will cast everyone in a profitable light. The catch: The director (Christopher Walken) has abducted his own film in an act of artistic extortion, and Gwen's sister and longtime assistant Kiki (Roberts) is the true object of Eddie's desire.
Chaos ensues at the luxury hotel where the junket is scheduled, and America's Sweethearts pokes easy fun at the cynical machinery that keeps Hollywood running. Quotable quips are delivered in abundance, and while Zeta-Jones is readily convincing as a bitchy narcissist, Roberts effortlessly steals the show with her trademark charms. All of which makes America's Sweethearts lightly entertaining, even though it never rises (like Roberts's earlier Notting Hill) to the level of classic romantic comedy, hampered by a script that too often substitutes easy laughs for ripe satirical invention, flashing a phony grin when it should be baring its fangs. --Jeff Shannon
Though set in the present, this movie-industry farce, written by Billy Crystal and Peter Tolan and directed by Joe Roth, comes off as a lamely nostalgic attempt at screwball comedy. It's puckish and remote: the filmmakers, lacking the heart to confront the Hollywood of today, never achieve any kind of vital satirical tone. John Cusack and Catherine Zeta-Jones play a married couple who have starred in picture after picture together but have fallen out of love. Julia Roberts is a Cinderella figure who loses weight and blooms after years of servitude. As ersatz as the role is, Roberts fires up that smile and becomes the best thing in the movie. -David Denby
Copyright © 2006
The New Yorker