Sick Product of a Sick System

Highly Overrated But Still Good

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

The Proposal both contains surprises and is a surprise. The story is suspenseful and tight, acting solid, and direction skilled, all better than I had been expecting. Undercover cop Terry Martin (Nick Moran) and his new partner Susan Reese (Jennifer Esposito) infiltrate a crime lord's underground operation. But Reese, anxious to leave her desk job behind, pushes too quickly to get close to Big Boss Simon Bacig (Stephen Lang), and soon Martin doesn't know who he can trust. Figuring out exactly who is on whose side rapidly becomes an intriguing puzzle for the viewer.The believable acting and storyline plus lack of any significant plot holes are a refreshing change from what Hollywood often churns out. This film won't insult your intelligence with gratuitous violence, unbelievable gun fights or unwarranted car chases; the R rating probably should have been PG-13. Esposito seems genuine and comfortable in front of the camera. Unfortunately Moran's performance is marred by what I assume to be a speech impediment of the actor ("wobbewy in pwogwess"), which distracts at times. Lang is convincing as the crime boss with an inflated ego who is used to getting whatever he wants. You'll recognize character actor William Davis who plays FBI Agent Gruning with an understated appeal. An interesting mix of flashbacks and flashforwards from director Richard Gale will taunt you with clues about the mystery.No, this movie is not without weaknesses. Until Esposito can smooth out her New York accent, she'll be relegated to playing either ethnic or tough girl roles, otherwise she has the looks and talent for more significant acting jobs. Setting and filming the movie in New York or Chicago, rather than some unnamed generic city, would have added authenticity. The background music could have been better. Still, definitely worth a view, especially if you are fond of the genre.

All of the warning signs are there from frame one: an opening sequence that intercuts between shots of the movie and the credits on a black screen, mobsters fresh out of movie mobster school, and unnecessary cross dissolves from one scene to the next. And then of course there are the fellow police officers who yell at one another most of the time, whether it be the captain admonishing the hero for taking too much time on the case or the hero and his new partner who don't see eye to eye. I figured at the very least if I stuck around, I would be treated to some gratuitous nudity courtesy of the beautiful Jennifer Esposito. Unfortunately that didn't happen, yet I found myself being absorbed by the developing relationship between her character and the undercover cop played by Nick Moran. There are some nice moments that elevate the film above its direct-to-video trappings. A scene where Esposito places a banana to her ear as if it were a phone has such a genuineness and spontaneity that it doesn't come off as a cheap attempt at humor but as an actual moment involving real people. The two leads deserve a lot of credit for making this movie what it is. Nick Moran has a certain star quality, a charisma that holds the viewer with him. He gives everything he has in this performance, particularly midway through the film when his psyche is tortured after having been forced to assassinate an enemy of the mobster he's trying to bring down. It's almost as if he didn't get the memo letting him know that this was direct-to-video garbage and that he really need not try so hard. Fortunately for the film and the viewer he does.

"The Proposal" turned out to be a very pleasant surprise not simply for what it was, but what it wasn't. Amazingly, there are no cliches in this relatively low budget suspence/drama work. Most notable is the camerawork, with not a single pedestrian sequence of shots. Subtly original, these camera angles serve to nicely parallel the storyline which is unpredictable in both its direction and its mood. The audience, as a result, must give its full attention throughout this film or risk losing its bearings. Those who watch this film closely will be rewarded not only with a stimulating storyline, but the opportunity to experience some superbly interesting and well developed charactors as well. For those who appreciate the nuances of filmmaking, this is a must see.

1st watched 8/3/2002 - 3 out of 10(Dir-Richard Gale): Haphazardly-thrown together good cop/bad cop/undercover agent thriller that seems to change from one second to the next as far as what direction it wants to go. The main stars are ok in their roles, but their roles are so confusing I'm sure it was difficult for them to get a grasp on who their character was from one minute to the next so I don't really blame them. I blame the director and screen-writer because of the very choppy way this movie seems to have been put together. They never really seem to know what they want to do and focus on(the action, the sex, the complex plot - they needed to pick one and they didn't). The movie is about an undercover cop which then becomes about his partner, then about the bad guy, then the FBI, etc. I really think I need to be done here. Goodbye, enough said. Rent something else if you want to watch a good movie.