Kate & Leopold (2001)
Directed by James Mangold
When her scientist ex-boyfriend discovers a portal to travel through time -- and brings back a 19th-century nobleman named Leopold to prove it -- a skeptical Kate reluctantly takes responsibility for showing Leopold the 21st century. The more time Kate spends with Leopold, the harder she falls for him. But if he doesn't return to his own time, his absence will forever alter history.
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The movie also is hindered by Ryan's performance, which is almost a caricature of the persona that worked in When Harry Met Sally ... and Sleepless in Seattle.
Much like the Empire State Building was a cornerstone of Sleepless in Seattle, New York City's Brooklyn Bridge lays the foundation in Kate & Leopold, as the film commences with a sepia-tinted August 28, 1876 ceremony commemorating that structure's erection, a word that elicits a nervous sexual giggle from Stuart Besser (Liev Schreiber), a time traveler from 125 years hence.
Ryan, of course, has made a great career ("Sleepless in Seattle," "You've Got Mail") playing women who have a lot of trouble finding the right man, despite the fact that she is very attractive and charming.
She is starting to show her age and, here, is not the fresh faced young thing that graced the screen in "When Harry Met Sally" or "Sleepless in Seattle."
Meg Ryan does this sort of thing about as well as it can possibly be done, and after " Sleepless in Seattle " and " You've Got Mail ," here is another ingenious plot that teases us with the possibility that true love will fail, while winking that, of course, it will prevail.
The scenes with Steve trying to fit into 1984 reminded me of films like Kate & Leopold and Just Visiting, with light-hearted moments that add to the romantic-comedy-drama angle of the film.
The ever-versatile filmmaker Mangold has tried his creative hand at many a genre; from Westerns (“ 3:10 to Yuma ”) and musical biopics (“ Walk the Line ”), to rom-coms (“ Kate & Leopold ”), superhero films (“ Logan ”) and beyond.
Always zigging where you think he’ll zag, Mangold has made emotionally sophisticated comic-book adaptations ( Logan ), pulpy Westerns (3:10 to Yuma), introspective biopics (Walk the Line), hellzapoppin action larks (Knight & Day), quiet cop dramas (Cop Land), Oscar-winning coming-of-age sagas (Girl, Interrupted), twisty psychological thrillers (Identity) and even frothy romantic comedies (Kate & Leopold).
James Mangold, who eventually took the reins, is a fine filmmaker who has made a number of strong movies in the past (including “Heavy,” “Walk the Line” and “Logan”) but who really needs a strong screenplay in order to fully shine—otherwise, he is equally capable of cranking out duds like ‘Kate & Leopold,” “Knight and Day” and “Identity,” which I continue to believe to be one of the stupidest movies I have ever seen.
Director James Mangold is a versatile filmmaker, having made everything from superhero films ("Logan") to Westerns ("3:10 to Yuma"), musical biopics ("Walk the Line"), and romantic-comedies ("Kate & Leopold").
Director James Mangold ("Cop Land”) has one of the most varied filmographies in Hollywood, jumping around genres from Indie character studies (“Heavy”) to romcoms (“Kate & Leopold”) to thrillers (“Identity”), Westerns (“3:10 to Yuma”) and Super Hero movies (“The Wolverine”), his last, “Logan,” a combination of the latter two.
En la misma línea de cineasta cómodo para los productores, capaz de películas reivindicables (Copland, El tren de las 3:10, En la cuerda floja, Logan), pero también de resultar intrascendente (Inocencia interrumpida,Kate & Leopold, Identity) y hasta molesto (Noche y día), apoyado por un reparto en busca de Oscar y una producción de aire nostálgico, fondos CGI y fotografía cargada de filtros de atardeceres luminosos, el oficio de Mangold resulta una opción solvente para no inventar nada mientras hacen su trabajo las expectativas de un cara a cara entre el buenismo de Matt Damon y un Christian Bale recordándonos que es galés.
…movies like Sliding Doors (1998) and Kate & Leopold (2001) ?
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Writer Michael Cooney ("Jack Frost") uses the single location thriller format of "Ten Little Indians" to pay homage to "Psycho" with a twist on that film's psychiatric underpinnings while director James Mangold ("Heavy," "Kate & Leopold") keeps the action barreling forward, roving about the limited confines of a desolate motel with flair.
Director James Mangold’s previous films include CopLand, Girl Interrupted and Kate & Leopold, so to say that Identity is his best film so far isn’t really saying all that much.
Director James Mangold ( Cop Land , Kate & Leopold ) moves things at a speedy, but not breakneck, pace, accentuating every twist in Michael Cooneys engaging script.
And though director James Mangold gave us the sublime Cop Land , he also inflicted upon us -- the horror, the horror -- Kate & Leopold .
Director James Mangold ( "Kate & Leopold, " "Girl Interrupted" ) cuts back to this story from time to time as a midnight sanity hearing is held for the heavily drugged convict.
Since then, however, he's delivered the Meg Ryan romance "Kate & Leopold," and now this.
In films like "Kate & Leopold" or "Austin Powers: The Spy Who Shagged Me" that use time travel, it is permissible to skip the science because it is secondary to what those films are actually about (Meg Ryan being cute and Mike Myers being funny, respectively).
The director, James Mangold, has previously dealt with crazy characters ( "Girl, Interrupted" ), romantic comedy ( "Kate & Leopold" ), and action ( "3:10 to Yuma" ), so "Knight and Day" seems to come fairly naturally.
Logistics don't worry Mangold (Walk the Line, Kate & Leopold) â fade-to-black is his winking way of addressing the plot holes â and clearly he expects his wink to be met by our smile.
But when director James Mangold (whose credits range from Walk the Line to Kate & Leopold) tries to stage huge action set pieces or pay attention to the nonsensical plot, things grind completely to a halt.
This isn't inherently a bad thing, as it's certainly possible to transcend the limitations of the genre (ie Kate & Leopold) - a feat that Hitch doesn't even come close to accomplishing.