'America's Sweethearts' A Sweet Movie

It's an amazing thing: When Hollywood dares to poke fun at itself, it almost always hits the mark.

But when they poke fun at themselves and the press that covers them, it's even better.

Such is the case of "America's Sweethearts," a scorchingly original romantic comedy that takes the "movie within a movie" concept to dizzying new heights.

The timing couldn't be any more perfect, considering the scrutiny studios are facing with their "creative" methods of self-promotion of their movies, and reporters for attending the press junkets that give them access to the stars.

The irony, this movie is far from being a "tough sell." It's amazing how inspired actors become when they are given refreshing material to work with ? especially when everybody involved with the business is the butt of the joke.

The "Sweethearts" in the movie are Gwen Harrison and Eddie Thomas (Catherine Zeta-Jones and John Cusack), a popular on- and off-screen movie couple in the middle messy public split. That poses problems for the executive (Stanley Tucci) behind their latest movie, who needs their participation together in order to sell the movie to the press and, ultimately, the public.

Enter spin-master Lee (Billy Crystal), a movie publicist on the outs with the studio. But since he's the only one with the moxie to bring Gwen and Eddie together and act civil at the junket, he's brought back on board.

But the Gwen and Eddie situation is only one of Lee's many problems: He must find a way to hold back Gwen's spitfire Spanish boyfriend (Hank Azaria) and keep the press occupied enough make them forget that everybody's at the junket except the film's reclusive director (Christopher Walken), who's holding the only print of the movie hostage.

Then there is Kiki (Julia Roberts), Gwen's sister and unappreciated personal assistant who is secretly smitten with Eddie. Eddie's got a thing for Kiki, too, but since he's trying win back Gwen and deal with his mental anguish, it makes the situation, needless to say, complicated.

What's great about "America's Sweethearts" is that it is truly an ensemble comedy. The movie could have easily been made as a star-vehicle for Roberts, but instead, she wonderfully fits comfortably in a low-key supporting role. Part of that role includes flashback scenes where Roberts is 60 pounds heavier, made possible by makeup ala "The Nutty Professor." What's nice for a change, though, is that the film handles the weight issue with compassion, instead of making it making it a target for ridicule.

The joke, instead, is on the cast members themselves, who embrace each scathing shot at fame and fortune whole-heartedly. Crystal (who co-wrote the screenplay with "Analyze This" writer Peter Tolan), Cusack and Zeta-Jones seamlessly blend into their roles, because one can only assume that the coverage of their personal lives is something they know all too well. Painting their situations with human drama, as hilarious as it is at times, ultimately makes it easier for the audience to connect with the material.

Not to be forgotten among the snappy performances of the four principals players is "America's Sweethearts'" brilliant supporting cast members.

Azaria is a dead ringer for Antonio Banderas, and is hilarious every time he opens his mouth; Tucci seethes with slime as the studio exec; Alan Arkin makes a memorable, yet unrecognizable turn as Eddie's guru psychiatrist, and Walken delivers another of his trademark creepy turns with the sort of glee that only he could pull off.

Providing the glue that holds "America's Sweethearts" so tightly together is director Joe Roth, a former studio executive himself. It's refreshing to see somebody as powerful as Roth to expose the frailties of the business. He may not win friends and influence people in the business with his direction of the movie, but he's certainly made it a pleasurable experience for his audience. Isn't that what it's supposed to be all about?