Kate Beckinsale Page 3

Acclaimed filmmaker Whit Stillman reunites the stars of his 1998 drama The Last Days of Disco, Kate Beckinsale and Chloe Sevigny, for what might be the most entertaining big-screen Jane Austen adaptation ever. Based on her novella Lady Susan, this is a lacerating social comedy packed with hugely engaging characters. It brilliantly captures Austen's gift for crisply astute comedy, giving everyone in the gifted cast a chance to shine.

Set in 1790s England, the story centres on Lady Susan (Beckinsale), who has been recently widowed and now needs to sort out a hopefully lucrative future. First, she sets out to find a wealthy, dim-witted man to marry her spoiled daughter Frederica (Morfydd Clark), and the dorky Sir James (Tom Bennett) is the perfect candidate. For herself, she sets her sights on the gorgeous, gullible Reginald (Xavier Samuel), the younger brother of her sister-in-law Catherine (Emma Greenwell), who's the only person who can see through Susan's scheming. Through all of this, Susan's only confidant is her American friend Alicia (Sevigny), who is sensibly married to an older man (Stephen Fry). And of course, Susan's plans simply refuse to go as she expects.

Beckinsale is terrific in the role as a sexy cougar who keeps all the men around her happy with blatant flattery. She understands the way to a man's heart, and isn't afraid to exploit everyone around her to make sure that she and Frederica are set up for life. Beckinsale gets this balance of charm and contempt exactly right, and her riotously sharp wit easily wins over the audience. The cast around her is just as good, engaging with Susan in fabulous wordplay, unable to resist being manipulated by her charisma. As the two targets of Susan's strategy, Bennett and Samuel are particularly strong. Bennett's bumbling James is simply the funniest thing on-screen this year, while Samuel manages to keep Reginald sweetly charming and never dull.

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Chris (Wahlberg) is a notorious smuggler who has gone straight to have a quiet life with his wife Kate (Beckinsale) and their two young kids. But when Kate's brother (Jones) falls afoul of New Orleans thug Briggs (Ribisi), Chris and his pal Sebastian (Foster) have to plan "one last job" to get the family off the hook. This involves Chris and Andy travelling by ship to Panama to collect counterfeit bills from a crazy dealer (Luna), then furtively returning to America. But of course nothing goes to plan.

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Sandler plays Michael, a workaholic architect who spends more time satisfying the whims of his demanding boss (David Hasselhoff) than he does with his family. Michael cancels camping trips with his kids and rushes (foolishly) through love-making sessions with his wife Donna (Kate Beckinsale) just so he can inch closer to that partnership he covets. Michael is out of control and out of the loop on everything going on at home. He can't even distinguish his television remote from the one that controls his garage.

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Beginning for beginners with a flashback to 1202 A.D. where two siblings - Marcus (Tony Curran), the original vampire, and William (Brian Steele), the first Lycan - are battling each other in a frosty village, the film does much to quickly remind us of its vampirical mythology. Marcus is betrayed by Viktor (Bill Nighy), stored away in the vaults of the family mansion, and William is trapped in a steel coffin for all of eternity. The twins are separated. With this effective piece of prehistory portrayed with some pizzazz and a lot of furrow-browed earnestness, director Len Wiseman treats us then to a series of flashbacks from the original film. Selene (Kate Beckinsale) has killed Viktor and his blood has revived a hybrid Marcus, now with wings. What he wants, and the very nature of his resurrection, are muddily explained in a film whose plot is too convoluted to be enjoyed, but whose occasional sparks of light work hard to make it float.

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Ironically, this incident, where ship's cook Dorie Miller took charge and shot back during America's worst hour on December 7, 1941, is just about the only true event to be found in the entire, oppressive three-hour film. (And our producers are quick to remind us of just how ripped-from-history this little vignette is. Never mind that Gooding has a pitiful excuse for a role with maybe five minutes of screen time.)

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The good news is that in these movies of old, she was often naked.

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"Underworld" might have been one bad-ass B-movie, if only its plot about a war between vampires and werewolves had been seen by co-writer/director Len Wiseman as anything more than a token gimmick on which to hang "Matrix"-mimicking action and antiquated genre clichés.

Thick with mold-breaking potential that goes completely unexplored, the picture is populated by cardboard cutouts of aristocratic, clownishly Goth-fashioned bloodsuckers and sunken-eyed, greasy-haired, heavy-metal headbanger-styled lycans (a fancy word for werewolves). The two races exhaust every trite and tired facet of their respective horror folklore in a story that has obviously, and rather clumsily, had elements edited out -- including a romance between warrior vampiress Selene (Kate Beckinsale) and Michael (Scott Speedman), a human with werewolf ancestry.

When Kraven (ravenous scenery glutton Shane Brolly) -- the conniving, devious, temporary leader of the vampires while their sovereign is entombed in hibernation -- orders the human killed because his DNA could change the course of the centuries-old war, Selene risks her life to save the guy for reasons that aren't entirely clear in this final version of the film.

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The handful of battle scenes that make up a good hour of "Pearl Harbor" are adrenaline-pumping and hyper-realistic on a massive scale.

You feel the impact of every single 7.7mm round from dive-bombing Japanese Zeros as they rip through pavement, planes and people in the infamous attack around which the film in centered. Director Michael Bay's camera goes inside cockpits, rides along on bombs from release to explosion, captures the terror of a torpedo in the water from the deck of a ship and includes some of the best special effects ever put on film.

The money shot is a hull-buckling blast that rips through the USS Arizona. It makes being on a luxury liner hit by an iceberg look like a 25-cent carnival ride.

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