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- CINEMA, Page 79New Thrills for Pretty Woman
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- SLEEPING WITH THE ENEMY
- Directed by Joseph Ruben
- Screenplay by Ronald Bass
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- Julia Roberts, what has she got? A nice face, modest acting
- ability, an imposing resume and plenty of media coverage. But,
- mostly, she's got big hits. In the popular Steel Magnolias she
- parlayed a deathbed scene into an Oscar nomination. She was the
- Cinderella slattern in Pretty Woman, a worldwide smash that has
- earned more than $400 million. Even the brain-dead drama
- Flatliners, in which she had an unrewarding role, grossed $60
- million Stateside -- a testament to her drawing power.
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- Why, then, does one suspect that Roberts has been more lucky
- than smart? Because there is an emptiness at the core of her
- charm. You will look in vain for, say, the weary beauty of
- Michelle Pfeiffer, the elfin intensity of Winona Ryder, the
- resilient wit of Jodie Foster, the cunning sensuality of
- Annette Bening. Most of all, Roberts lacks mystery. She does
- not seduce the viewer into wanting to know more about her
- characters or herself. She is not the engine of movie hits,
- only their ornament.
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- She will be tested with the release of Sleeping with the
- Enemy, a subordinary thriller with the requisite tingles and
- cheats expected of a woman-in-jeopardy melodrama. Here Roberts
- is Laura Burney, abused wife. Her husband Martin (Patrick
- Bergin) oozes empathy and flares into brutality. If she does
- anything wrong, or nothing wrong, he will beat her into zombie
- silence. So Laura fakes her own death and flees to small-town
- safety in the care of a solicitous drama teacher (Kevin
- Anderson). But Martin is as tenacious as he is possessive. The
- Beast will find Beauty. And Laura will again be in mortal dread,
- as she must, of the things a man can do to a woman.
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- In Nancy Price's novel, Martin was as fully formed a
- predator as Laura was a prey. And at the climax, she finally
- got to be in control of their marriage. But this movie is
- interested neither in getting under a psychopath's scalp nor
- in making Laura a feminist hero. At its end she is still the
- harassed girl, misreading signs of threat and dropping her gun
- at inopportune moments. So the actress must play Laura's
- fragility instead of her strength. It makes for another
- indifferent portrait in a bland Roberts gallery. As such -- go
- figure -- it will probably make a Fort Knox bundle.
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- By Richard Corliss.
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