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Overall Rating
  Awesome: 28.98%
Worth A Look: 25.8%
Average: 21.02%
Pretty Bad: 14.01%
Total Crap: 10.19%
16 reviews, 218 user ratings
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Vanilla Sky |
by Stephen Groenewegen
"Vanity"

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Vanilla Sky suffers from being released in the year-end American rush of Oscar qualifying epics and biopics. It’s a remake of Alejandro Amenábar’s 1997 Abre Los Ojos (Open Your Eyes), but the timing implies Vanilla Sky has pretensions of being more than just an intriguing thriller.I haven’t seen the original (it never made it to Australian cinemas), but this “cover version”, as music-mad director Cameron Crowe likes to think of it, is apparently very faithful. It’s also a vanity project for Tom Cruise who plays a fit, young, unbelievably rich publishing mogul named David Aames. Aames has a hot car, a swanky New York apartment complete with the latest gadgets and a sleeping arrangement with Cameron Diaz that allows him to pursue Penelope Cruz. As his best mate (Jason Lee) puts it, when it comes to life and love, Aames has only tasted the sweet and not the sour.
The plot grinds into motion when Aames meets Sofia Serrano (Cruz) at his birthday party but, before he has a chance to sleep with her, the jealous Julie Gianni (Diaz) cons him into her car and drives them into a tree. The accident puts Aames into a coma and disfigures his face. Dreams increasingly interfere with his waking reality, or is it the other way round? We learn from flash forwards to interviews with a psychiatrist (Kurt Russell) that Aames will soon be charged with murder.
Cruise needs actors to spark off; for too much of this film, he’s up against blanks. Cruz hasn’t much of a character. She’s playing an impossible ideal - a beautiful artist who draws, dances, and plays music and doesn’t have any hang-ups or neuroses. Instead, she’s the last guileless woman in New York. Kurt Russell doesn’t spark with Cruise either - his psychobabble routines are corny and banal. Usually reliable actors - Tilda Swinton, Noah Taylor and Timothy Spall - range from unconvincing to embarrassing in small roles.
Cameron Diaz impressed me most. She disguises Gianni’s instability with bluster when she’s with Aames - she knows he forgets her as soon as he exits the room. There’s an underlying menace to Gianni, but Diaz is careful not to spoil her big moments with caricature. Cruise is at his best opposite her - he has something solid to react against - and at his worst when he’s moping in a nightclub or roaming the streets like a contemporary, whining elephant man.
In Jerry Maguire, also written and directed by Crowe, Cruise played a narcissist who learnt humility through love. Here, he’s a narcissist who learns nothing. The film is nominally about accepting responsibility and recognising the consequences of your decisions, but Aames feels nothing but self-pity at Gianni’s death, which barely rates a mention. He reacts to each new problem like a spoilt rich kid, and the plot wouldn’t function if he wasn’t able to conveniently afford the latest in plastic surgery or cryogenic treatments. When he has to make a decision at the climax, it’s presented like the finale to a game show.
The biggest miscalculation is the 20 minute sequence of exposition that ends the film. Some sort of explanation is necessary - since there isn’t enough information provided to piece it all together yourself - but these scenes are didactic and dull. And they destroy any possible ambiguity about what’s gone before.There are some memorable scenes, including Cruise running through a deserted Times Square. And the “vanilla sky” of the title is employed effectively at key moments (it originates from a Monet painting in Aames’ apartment). Maybe I’d appreciate Vanilla Sky more on a second viewing. I know a lot of people watch Crowe’s films over for the pop culture references, but I was so irritated the first time around, I’d be a masochist to sit through it again.
link directly to this review at https://www.efilmcritic.com/review.php?movie=4641&reviewer=104 originally posted: 01/15/02 13:01:59
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USA 14-Dec-2001 (R)
UK N/A
Australia 20-Dec-2001 (MA)
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