Babes in Bensonhurst

Sometimes, it seems as if the constant assembly line of formulaic, big-budget, "blockbuster" films that Hollywood churns out with monotonous regularity has trained its audience only too well. Certain keywords, such as "family comedy," '"heart-stop-ping suspense," and tear jerker romance" will produce an almost Pavlovian response in the prospective audience. Probably any experienced moviegoer can summarize the entire plot of a two hour film after seeing only the 45 second preview. Such are the movies of the Nineties.

This said, there is therefore something appealing about an unambitious movie, one without pretentions of grandeur. "Angie" could easily have slipped into that overworked category of "heart warming" movies, the ones that would lavish overweening sentiment on the death of a pet if it would wrench a single tear from the audience. It could have, but luckily it doesn't.

"Angie" instead works quietly, it is a character-driven movie in which people's conversations are more important than frenzied action. And here director Martha Coolidge makes an intelligent move. She leaves the film to its star, Geena Davis. As Angie Scacciapensieri, an Italian Bensonhurst woman who, after finding herself pregnant, chooses to be an unwed mother, Davis shines.

In case "Thelma and Louise" wasn't enough to do it, this movie will once again question how anyone can proclaim Julia Roberts the actress of her generation with Geena Davis for transcendent beauty in this movie, the intangible radiance that distinguishes "stars" from run-of-the mill actresses.

More importantly, she can act. Given the task of carrying this film, she does it with the light grace that the story calls for. Although the only real momentum the thin plot ever generates surrounds Angie's pregnancy and the birth of her child, the film's restrained exploration of the complexities of the characters and relationships more than make up for this lack. Angie can be simultaneously selfish, callous, sarcastic and affectionate. Even when Angie's actions are reprehensible. Davis infuses her character with so much spirit that she remains engaging. Without this light-handed performance, Angie's internal turmoil as impending motherhood forces her to confront her own demons would never have worked.

While towards the end "Angie" occassionally slips into the morass of Hollywood's for the most part Davis' breezy humor and genuine emotion inject the film with and genuine emotion inject the film with an air of freshness. Stephen Rea also makes an all too brief appearance as Angie's new boyfriend Novel. Rea's irreverent spirit matches Davis' scenes together, with their bantering camaraderie flowing naturally, are some of the best moments "Angie" has to offer. As Angie's best friend Tina, Aida Turturro at first only barely escapes becoming a Rosie O'Donnell clone; yet as the film progresses she develops a distinct voice that serves as a nice contrast to Angie.

All this is not to say the "Angie" is an especially great movie. Rather, it is a nice movie, one that doesn't try to be more than it is. And that much it does quite well.