Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, November 19, 1994 TAG: 9411230024
SECTION: EXTRA PAGE: B12 EDITION: METRO
SOURCE: MIKE MAYO
DATELINE: LENGTH: Long
The two figures overlap the character of Wyatt Earp, and that's the central theme of the Lawrence Kasdan-Kevin Costner film, "Wyatt Earp." Last summer's box office disappointment has just arrived in video stores where it shares shelfspace with more conventional police stories.
This new "Wyatt Earp" is certainly the longest and most sobersided dramatic version of the story. It's not nearly as energetic or enjoyable as last year's "Tombstone." Instead, this one is a more straightforward attempt at biography. Writer-director Kasdan and star Costner are interested in the character and personality of the man, and they're mostly successful. They're also trying to re-create 19th-century thought and speech patterns. In that regard, they shoot their movie in the foot.
The long introductory section about Wyatt's upbringing and first marriage is slow and less than compelling. It's also dominated by Gene Hackman, as the Earp clan patriarch. He's not so much a real character as The Voice of God who delivers new commandments and platitudes whenever he opens his mouth. All that's missing are Charlton Heston's robes and stone tablets.
Once the story shifts to Wyatt's career as a law enforcement officer, and his unhappiness with it, the film becomes much more interesting. That's also where the large supporting cast steps forward. Michael Madsen is fine as Virgil Earp. Mark Harmon is surprisingly good as a crooked sheriff. And though they're stuck with nag-nag-nag roles as the Earp women, Catherine O'Hara, JoBeth Williams and Mare Winningham have some excellent moments. As Josie, the actress Wyatt meets in Tombstone, Joanna Going makes a memorable debut. (Whatever she does next, I want to see.)
The relationship between Wyatt and Doc Holliday (Dennis Quaid), usually central to the story, isn't as important here, and it's hard to understand why. Quaid is perfectly cast, but he enters late and exits early, and the conclusion of the friendship is eliminated. That's also a problem for the film as a whole. After the famous shoot-out at the O.K. Corral and another masterfully staged action sequence (with terrific sound), the story stumbles along for several more minutes in a new time and place before it ends.
Costner's interpretation is more introspective than most. He's believable as a man who really doesn't care for his line of work and is uncomfortable wherever he is. He and Kasdan don't mean to debunk the Earp legend but they do want to show -- particularly in that offbeat conclusion -- that the legend was not the man. So, flaws not withstanding, "Wyatt Earp" is still well worth an evening's rental. Specifically recommended for Western fans who missed it first time around.
Turning to more contemporary cop films, the current crop is led by a trio of lively video originals.
My own favorite of the bunch is "Criminal Passion," a cheerfully blatant rip-off of "Basic Instinct" with the sexes reversed. Tough cop Mel Hudson (Joan Severance), who favors men's clothes (including two-tone wingtips), has a problematic personal life and has a no-nonsense professional attitude. She's working on a series of sexual murders, and though all the clues point to suave millionaire Connor Ashcroft (Allen Nelson, who also co-wrote and -produced), she thinks he's kinda cute. Toss in an unstable girlfriend and a string of ex-lovers and the formula is complete. Director Donna Dietch handles the proceedings well enough, though the action scenes are clumsily staged. Joan Severance, a familiar face in the genre, gets more than she should from the thin material.
"L.A. Wars" is a low-budget action flick with a lowercase "l." The plot revolves around a gang war with an ex-cop (Vince Murdocco) in the middle who's romancing a don's daughter (Mary Zilba). The action is based on lots of shoot-outs and fight scenes. These aren't really martial arts, though, they're more martial crafts, often involving overweight guys with massive love handles and tight tanktops.
"Lady In Waiting" ranks a notch or two higher on the video scale, due to slicker production values, a tighter script and better cast. A killer is preying on prostitutes. Police detective Jimmy Scavetti (Michael Nouri) has more interest in the case than he should. His infidelities with some of these working girls destroyed his first marriage. But now he thinks that his ex-wife's new husband may be behind the murders. His boss (William Devane) doesn't buy it, but an ex-madame (Meg Foster) says he's on the right track. Where does femme fatale Shannon Whirry fit in?
Video veteran Fred Gallo directs with his usual competence. Though most of the cops are pure stereotype, Nouri's flawed character has his moments. In the end, this one is still an acceptable time-waster.
New release
Cops and Robbersons
Starring Chevy Chase, Dianne Wiest, Jack Palance, Robert Davi. Directed by Michael Ritchie. Columbia TriStar. 95 min. Rated PG for a remarkable amount of rough language.
Everything about this lame comedy reeks of the tube. The characters are TV stereotypes. The action is set in sitcom suburbia. All that's missing is the laughtrack. Chevy Chase is a mild-mannered, bumbling family man who lets cop Jack Palance use his split-level for a stake-out.
\ Wyatt Earp **1/2 191 min. Warner. Rated PG-13 for violence, strong language.
Criminal Passion **1/2 98 min. Vidmark. R-rated and unrated for violence, sexual material, nudity, strong language.
L.A. Wars ** 94 min. Monarch Home Video. Rated R for violence, strong language, sexual material, brief nudity.
Lady in Waiting **1/2 85 min. Atlantic Group Films. Unrated and R-rated for violence, sexual material, nudity, strong language.
by CNB