A Walk in the Woods: Mini-review


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Robert Redford

This movie is A Piece of Cake for Robert Redford

B-Supposedly, Robert Redford acquired the rights to Bill Bryson’s memoir, A Walk in the Woods, a decade ago as a planned re-teaming with Paul Newman that sadly never occurred. A decade later, Redford finally gets to take his walk, actually a hike down the Appalachian Trail, only now his companion is Nick Nolte. Redford, Nolte, and the Trail are as good as ever, but the movie’s script has definitely seen better days.

At the start of A Walk in the Woods,  Bryson (Redford) has lost his zest for writing and feels he is just going through the motions. On a whim, he decides to hike the Trail, mostly to prove to himself he still can. His understanding wife (Emma Thompson) insists he take a companion, and the only person who will go is Stephen Katz (Nolte), an estranged buddy from his bachelor days traveling around Europe decades earlier. What Bryson soon learns is that Katz’s life has gone steadily downhill since then.

Unlike last year’s Wild with Reese WitherspoonA Walk in the Woods conveys little about the experience of long-distance hiking other than an occasional picturesque vista captured by director Ken Kwapis. Instead, the movie consists of Redford’s wry sarcasm and Nolte’s huffing and grumbling. Both are fun to watch (Walk comes close to the star-reading-the-phone-book level at times), and they have an easy-going chemistry together that could easily support another hour of film. The movie’s plot, however, doesn’t support even the existing 100 minutes or so. It consists mostly of comic interludes with angry bears and angrier husbands (when Katz flirts with a woman in a laundromat), followed by the inevitable bonding moment when the duo get into real trouble. Director Kwapis has mostly worked in television, and Walk has the feel of an overlong sitcom episode with two big name stars. Redford and Nolte, for their part, are content to stay within the script and use their enormous charisma and screen presence to improve some fairly routine gags. They may have aged, but their timing and acting skills are as good as ever. A Walk in the Woods is enjoyable solely for the opportunity to see two great actors having some fun onscreen in what nowadays are rare starring roles  It’s only when the movie ends, rather abruptly, that we realize that the film should have accomplished more during their time on the trail.
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Hot Pursuit: Mini-Review


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Reese Witherspoon

Reese Witherspoon looking far more relaxed and witty than she does in Hot Pursuit

C-Reese Witherspoon did all her own stunt work for her Oscar-nominated role in Wild, lugging around a 65-pound backpack in at times freezing conditions. Somehow, I have a feeling that experience wasn’t nearly as painful as having to joke about menstrual periods in her latest film Hot Pursuit, a lame buddy comedy co-starring Sofia Vergara.

Hot Pursuit is based on the misguided idea that casting two actors who are as physically dissimilar as possible opposite each other produces non-stop hilarity. So the relatively short blonde Witherspoon sports a Texas twang and an uptight attitude as Officer Cooper, a by-the-book, second generation cop whose complete lack of worldliness has kept her in the evidence room. She finally gets a chance to redeem herself when she and a U.S. marshal are assigned to escort a South American drug dealer and his statuesque, voluptuous wife Daniella (Vergara) to Dallas to testify against the drug dealer’s boss. Before they can leave the dealer’s home, they are ambushed by professional hitmen, who kill the marshal and Daniella’s husband in the ensuing shootout. Cooper and Daniella flee in one of the dead dealer’s cars and have to find a way to avoid being killed while getting back to Dallas safely.

Hot Pursuit was written by David Feeney and John Quintaince, who have worked on a number of unremarkable TV series, and many of the jokes play like rejected gags from some of their shows. The script has no originality whatsoever. It does, however, contain the obvious language barrier jokes, the obligatory faux lesbian scene, a third-rate car and bus chase scene, and a real rip snorter of a scene in which a man gets his finger shot off. A few of these jokes are funny, but, for the most part, Witherspoon and Vergara have to mine humor from their physical appearance and mannerisms alone. That Hot Pursuit is mildly amusing in spots is a tribute to Witherspoon’s talent for physical humor. Unfortunately, the actresses’ talents alone can’t create lead characters with any depth or credibility when the screenplay provides no help. Hot Pursuit is merely the latest unremarkable example of a movie concept feebly masquerading as a finished motion picture.
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