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Vanilla Sky reunites director Cameron Crowe (
Jerry Maguire) with über-playboy Tom Cruise, adds another sexy Cruz (Penélope) and Cameron Diaz for good measure, and delivers a wildly entertaining, bizarre venture into erotic science fiction. Adapted near exactly from Spanish filmmaker Alejandro Amenábar's 1997 romantic thriller
Open Your Eyes, the film follows David Aames (Cruise) as he falls from his graceful Manhattan perch of inordinate wealth, good looks, and newfound love with Sofia (Cruz) because of severe facial disfigurement in a car accident caused by a suicidal ex-lover (Diaz). What at first promises to be a conventional allegory of redemption via true love is turned on its head as Cruise's character, reduced to wearing a latex mask and spurned by his friends, wins back his princess only after a miracle of plastic surgery restores his former beauty. A series of plot twists follows as waking life, technological advances, and nightmares flip-flop to dizzying effect and David ultimately comes face to face with his own mortality. Despite a final conceit to some vague morality, the appeal of the film is the wonderfully callous message conveyed by the rest of it (money and physical beauty equal happiness) through an unabashed vanity perfectly embodied by Cruise and Cruz. A delicious, decadent treat.
--Fionn Meade
This Hollywood remake of the 1997 Spanish movie "Abre los Ojos" can only be called
un desastre. Tom Cruise plays a magazine-empire heir who lives in the Dakota and works (apparently) in the Condé Nast building-he's a playboy publisher splitting his time between Cameron Diaz and Penélope Cruz (who re-creates her role from the original as a tempestuous free spirit). There is an accident, and Cruise winds up charged with murder and disfigured (he sometimes shouts through a plastic mask). The movie jumps in and out of dreams and nightmares, rushes forward and backward, and the only thing that emerges clearly is that a big star is coming to terms with the anxiety of losing his looks. It's one of those rare movies that manage to be overwrought and completely boring. Cameron Crowe, who wrote and directed it, has to begin all over again and figure out why he wanted to be a movie director. -David Denby
Copyright © 2006
The New Yorker