houston chronicle
After the Sunset
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By AMY BIANCOLLI Copyright 2004 FOR THE CHRONICLE
Jan. 14, 2005, 11:02AM
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Movie details
After the Sunset
MPAA Rating
PG-13
for sexuality, violence and language
Running Time
100 minutes
Released
Nov 12, 2004
(Nationwide)
Distributed By
New Line Cinema
Official Web Site
For just a second, pretend you're making a movie about a retired jewel thief with a mellifluous accent. He is tall and dark and yummy, and he lives a quiet life in a breezy, sun-dappled tourist paradise.
Now pretend the movie you're making is
After the Sunset. You're deathly afraid of comparisons with
To Catch a Thief, that classic Hitchcockian bonbon starring Cary Grant, Grace Kelly and an elegant succession of costume changes. Your movie is different -- it's more of a comedy, with buddy-flick overtones -- but still, you feel Hitch's long shadow darkening every shot. You can't avoid his rotund silhouette: It's ubiquitous and judgmental.
So, what do you do? You throw in not one, not two, but three direct references to the earlier film, hoping the outright homage will defuse criticism from film snobs or even -- dare to hope! -- make them feel warm and squishy about
After the Sunset.
Whether such logic coursed through the brain of director Brett Ratner I can't say, but whatever tortured dialectic he used, I'm not falling for it.
After the Sunset is about as flat-footed a heist caper as I've ever seen: clumsy where it should be graceful, lumpy where it should be sleek. It may covet a gem like a
To Catch a Thief, but it doesn't yield one.
Pierce Brosnan stars as the mellifluous jewel thief, Max, who fled to a Caribbean island with his partner in all things, Lola (Salma Hayek), after the pair of them successfully lifted two of three colossal diamonds once embedded in the hilt of Napoleon's sword. Max and Lola's luxurious retirement is interrupted by the arrival of FBI agent Stan (Woody Harrelson), who's convinced that Max has his eye on the third Napoleon diamond, now on display in a cruise ship docked nearby.
Max says he has no intention of stealing the diamond. Stan doesn't believe him. Lola doesn't want Max to steal the diamond because she'd rather sit on her deck and watch the sunset, a Hallmark metaphor for peace and contentment (``Now the challenge is to find joy in simple things"). Then the skipper of the cruise ship says, ``We have the most sophisticated security system ever installed on a seagoing vessel," which is rather like the captain of the Titanic bragging about his lifeboats.
You know it's going to happen: At movie's end, the Napoleon diamond is getting snatched. But by whom? And how? Is Stan the key? Why is he such an idiot? Why did Max and Lola move to such a tourist trap, anyway? With all that money, couldn't they have bought a string of islands in, like, the South Pacific, where no one, especially Stan, could find them?
After the Sunset's cat-burglar climax recalls
The Return of the Pink Panther, but the humor doesn't: It's all gummed up with sentiment. And parts of the film have an incongruously sinister tone, especially the scenes featuring Don Cheadle as a pervy gangster with big ambitions. Cheadle's one of those immensely gifted actors that Hollywood doesn't know how to channel: He's too complex, his charisma built on intellect instead of abs. His presence is wasted in Ratner's film. Hitchcock's is wasted, too.