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REVIEWS PREVIEWS
A guy thing
Julia Stiles is a real up-and-comer. With refreshing roles in 10 things I hate about you, Save the last dance and O, she has managed to distance herself from the pack. In A guy thing, however, even she seems to know that acting in this flick was a mistake.
In his first mainstream leading role, consummate “best friend” and Kevin Smith protege Jason Lee plays dull groom-to-be Paul who arises the morning after his bachelor party to find himself nearly naked in bed beside his fiance’s cousin (Stiles). Selma Blair resumes her usual part of about-to-be-dumped adoring fiance. Unoriginal complications ensue, and the attempted humour is derived from such overly contrived instances as falling from a tree, getting arrested and toilet humour.
Low-key Lee, who has flirted with leading-man status ever since he played Stillwater’s lead singer in Almost famous, is more suited to supporting roles than the leading man title. Stiles, who really has the potential to go far in this business, is simply above this. The casting of Blair is far from inspired. Perhaps there is at least one other person in Hollywood capable of playing the unwanted fiance.
A less than mediocre script, a badly devised plot, and unimpressive acting all serve to make A guy thing painful — yes painful — to watch. —T. U. Dawood
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National security
National security is a crude picture that is rough around the edges. There are plenty of screeching car chases that end in burning accidents and a fair share of awkward fight sequences.
Earl Montgomery (Martin Lawrence) is a cocky L.A.P.D. cadet who would probably be a great cop if it weren’t for his rebellious behaviour. When his attitude gets him kicked out of the police academy, he can only find employment as a lowly security guard. Earl accused uptight police officer Hank Rafferty (Steve Zahn) of harassment, who is stripped of his badge and ends up as a guard at the same security company as Earl. Earl’s overzealous style of police work leads to the discovery of a sophisticated smuggling operation led by Nash (Eric Roberts) and a possible police cover-up. Now everyone wants Earl and Hank dead, though they just may kill each other first.
This is Lawrence’s first role as a ‘twenty-million dollar-man’ (his fee for this movie). Zahn is a compelling actor who has yet to find a vehicle that lives up to his promise. Both guys have been held hostage by the creators of this circus of a film that may not breach national security, but is an unfortunate breach of talent. —Nazia Mirza
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