Good, solid family films without any hidden agendas or adult humor are difficult to come by these days. Last year, I was pleasantly surprised by the delightful Because of Winn-Dixie. This year, I’m impressed with Starbuck’s first feature film: Akeelah and the Bee.
Akeelah (Palmer) is an 11-year-old girl from Crenshaw Elementary School in Los Angeles. Since her father passed away five years before, she has felt lonely and out of place, and she hates her school. The only thing that keeps her going is her love for words. Big words. When her teacher and Principle Welsh (Armstrong) find out her ability to spell, they suggest that she enter in the district spelling bee contest. At first, Akeelah would have nothing to do with it. When she sees the National Spelling Bee Tournament on TV, the fire in her belly starts to grow. She wants a taste of what it is like to be above average. Better yet, it might be her chance to get out of Crenshaw.
Principle Welsh convinces Dr. Larabee (Fishburne), a former national spelling bee champion himself, that Akeelah has a special gift, and could put Crenshaw on the map. Larabee agrees. But Akeelah is too wild and unpredictable, not to mention her mother, Tanya (Bassett) is not at all supportive. Behind her mother’s back, Akeelah studies with Larabee and progresses to the regional contest. She becomes good friends with a rich kid, Javier (Villarreal), from Woodland Hills who is also in the contest. Her biggest competitor is Dylan (Michael), a Chinese boy whose victory means everything to his stern father. When Akeelah finally makes it to the national, she feels the whole world weighing on her. She doesn’t know if she has what it takes to win.Palmer (Barbershop 2) is extraordinary as Akeelah, and she carries the film on her tiny shoulders beautifully. Her layered, complex performance as the conflicted girl is impressive. She’s so natural that you don’t realize she is acting at all. She becomes Akeelah, and the minute you see her on screen, you believe in her. Palmer is that good. Fishburne (Assault on Precinct 13) is, as usual, solid as the solemn professor. The chemistry between Fishburne and Palmer is astounding. Their relationship is a major reason why the film works.
Bassett (Mr. And Mrs. Smith) is very good as Akeelah’s tired and skeptical mother. She really conveys the emotional burdens of a single mother, trying to do the right thing for her children while feeling completely lost. Armstrong (Pucked) is fine as the Crenshaw Principle ready for a break. Villarreal (Ghost Whisperer) is wonderfully sweet as Akeelah’s selfless, happy-go-lucky friend, Javier. Michael (Chocolate Girl) is adequate as Akeelah’s quiet, cocky nemesis Dylan. Garey (Seen) is also pleasant as Akeelah’s best friend, Georgia.
Writer-director Atchison (The Pornographer) has crafted a tight, affecting film about family and self-esteem. What is wonderful is that while there are ample conflicts, trial and tribulations, there are really no villains in this story. The biggest obstacle one faces is the “fear of self.” As Akeelah learns from Larabee: Our deepest fear is not that we’re not adequate. Our deepest fear is that we are powerful beyond measure (Marianne Williamson). There is such a rich, beautiful lesson in these quotes, and Akeelah and the Bee conveys that message through a strong story and characters. Atchison has a calm, straight-forward style that serves the film well. Sure, the film is predictable, but it holds our interest through and through. The tension during the spelling bee contest is palpable, even though deep down we know Akeelah is going to be all right, because she has learned her lessons and she has found her true light. And through her light, we shall all be liberated.
Stars: Keke Palmer, Laurence Fishburne, Angela Bassett, Curtis Armstrong, J.R. Villarreal, Sean Michael, Sahara Garey
Director: Doug Atchison
Writer: Doug Atchison
Distributor: Lions Gate
MPAA Rating: PG for some language
Running Time: 112 minutes
Script – 8
Performance – 8
Direction – 7
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 8
Total – 7.6 out of 10
Tweed finds his contestants in a number of wannabes, including Sally Kendoo (Moore), a “white trash” girl from a small town in Ohio whose devoted boyfriend, William Williams (Klein) is a decorated veteran. Sally would do anything to win. Then there is Omer (Golzari), an Iraqi immigrant who is secretly part of a terrorist cell. His mission is to infiltrate American Dreamz and assassinate the President through a suicide bombing. In truth, while Omer wants to avenge his mother’s death, he’s confused. He really just wants to be a singer, and American Dreamz is truly a dream come true.
Defoe (Inside Man) is adequate as the manipulating Chief of Staff, but his performance mostly serves a comedic purpose. Klein (Just Friends) is dead-on as Sally’s loyal, albeit dumb-as-a-nail, boyfriend. Coolidge (Date Movie), Harden (American Gun), Meyers (Perception), Cho (In Good Company), Greer (Full Disclosure) and many more lend their unique talents to the production.
Director Weitz (In Good Company) aims to ridicule, but not necessarily offend, everyone. From Britney Spears to the folks at American Idol, from the White House to Iraq, from Muslims to good old Christians, Weitz makes sure he covers everyone. His script is all over the place, telling a lot of stories in a very short time, but he manages to keep his pace and his style consistent. Some of the humor goes over very well, and the satirical sarcasm comes out perfectly. 
Not everything works, though. With a broad comedy like this, sometimes Weitz relies too much on stereotypes and caricatures to draw laughs. Defoe’s character, for example, is too two-dimension to make any real impression. And the ending is forced and rather abrupt. But kudos to Weitz for bring all these current events together and giving us an opportunity to laugh at ourselves. Wars, terrorism, and the state of our country are real issues that affect us every day, but to be able to laugh in the middle of everything that is going on is the only American way.
The plot takes on a new twist when the Boss pressures Slevin to kill the Rabbi’s gay son. Slevin’s new girlfriend, Lindsey (Liu), has a conspiracy theory, and she’s itching to investigate further. Meanwhile, Slevin is under surveillance by a ruthless detective, Brikowski (Tucci). What does he want? What is he up to?
Liu (Domino) has a fun role as Lindsey, a happy-go-lucky coroner who gets involved with Slevin and his troubles. Freeman (Batman Begins) is always impressive, even in a relative small role as the Boss. You can’t help but feel the evil and ruthlessness underneath his sophisticated exterior. Likewise, Kingsley (Oliver Twist) makes the best of his role as the conflicted Rabbi, even though the material fails to explore the potentially complex character. Tucci (Robots) plays the deplorable detective to perfection. From the moment he comes on screen, you know you want to loathe him. Now that’s acting.
The plot moves swiftly enough, making it impossible for the audience to stop and question the plot holes, and there are plenty. The dialogue is sometimes corny. Smilovic also relies on flashbacks and cutaways to reveal the mystery. I find that device rather annoying and manipulative. It’s clear that the writer takes great pain to deceive the audience. But for those who know what the story is about, it might actually be fun to observe how the writer constructs his "magic."
Nick Naylor (Eckhart) is the VP of The Academy of Tobacco Studies, an institution that is supposed to conduct research on the harmful health effects of cigarette smoking. In reality, Naylor is a lobbyist for and the voice and face of Big Tobacco. His boyish charm, his knack for gab and perfect skills of spinning earn him the trust of “the Captain” (Duvall), the granddaddy of the industry. His appearance on the Joan Lunden show sets off a series of propaganda battles, and Senator Finistirre (Macy) is out to draw blood. Despite his better judgment, Naylor also quickly becomes sexually involved with a beautiful reporter, Heather Holloway (Holmes), who is doing an article on the tobacco industry.
The supporting cast includes a long list of named and veteran actors who all give excellent performances: Macy (Sahara) for his portrayal of the flustered Senator; Simmons (Spider-Man) as Naylor’s backstabbing boss, B R; Holmes (Batman Returns) as the sexy, ambitious, and ruthless reporter; Duvall (Kicking and Screaming) as the fatherly Big Tobacco tycoon; Lowe (Austin Powers) as the smooth Hollywood super-agent; Bella (A History of Violence) and Koechner (The 40 Year Old Virgin) as Naylor’s friends and fellow lobbyists; and Bright (Birth) as Naylor’s curious and adoring son.
Writer-director Reitman (Consent) has written a smart and fun script based on Christopher Buckley’s best-selling novel. The political satire takes aims at just about everyone, from Big Tobacco to lobbyists, from Hollywood agents to the news media, from the Marlboro Man to school kids. The dialogue is sharp and biting. The plot, while predictable, is fast-paced and entertaining. Reitman also manages to balance the satire with heart. The film has a light and contemporary style, coupled with Naylor’s witty first-person narration. The unique and appropriate voice gives the film a personal feel, reminding me of last year’s Kiss Kiss Bang Bang with Robert Downey, Jr. and Val Kilmer.
The characterization of Nick Naylor and the development of his relationship with his son give the story an emotional weight in addition to its intellectual barbs. Reitman also succeeds in wrapping all the morality in an engaging story without hitting us on the head with it. But the message is clear: It’s not about right or wrong; it’s about freedom to choose. Given the current political climate where everyone wants to tell others what to do, Mr. Reitman: Thank you for saying that.