Before even ten minutes have passed the script presents us with a fair bit of dialogue that inspires a quizzical "what?" in reaction, and this will be the case elsewhere throughout these 95 minutes. It's also readily apparent how heavy-handed the movie is going to be about its mobster pretenses, to say nothing of needless, tasteless dialogue with dashes of various prejudices; it takes every opportunity to emphasize the "tough guy" personas with which many supporting characters are painted. One should also note that with all due respect to David Anspaugh, his direction here feels a little forceful, especially evident at some points more than others. These are the most noteworthy problems of 'WiseGirls' to greet us, doing so from almost the very start, and it's unfortunate because when you look past the more indelicate or inelegant facets of the film I think there's a lot to like here. I'm not saying this is anything super special or essential, and it has definite flaws - but it also has definite strengths, and more than not it's fairly well done and enjoyable.
While the writing has distinct sore spots (instances of dialogue and scenes), the characterizations are notably stronger, particularly the principal three. Kate is sweet and bubbly, belying more complexity; Raychel is pure brash confidence and loyalty; conflicted protagonist Meg tries to find her center amidst new friends, a high-stress job, and the special circumstances of both. Other characters are more broadly suitable than fully fleshed out - but in fairness, I believe even those lesser supporting characters benefit from excellent acting across the board. Arthur J. Nascarella, Christian Maelen, Joseph Siravo, and others turn in intense yet splendidly nuanced performances that bring both the charm and the violence of the mob to vivid life. Melora Walters is a total joy as Kate, showing greater range and skill than the part first portends. Mira Sorvino hasn't achieved her star power for nothing; she commands the lead role with fantastic poise that tells me I need to see more of her movies. And to my delight, Mariah Carey almost threatens to upstage them all. I know how much bad press she got for 2001's 'Glitter,' but to be honest I didn't think that movie was half bad, and I took no issue with her performance. Here she absolutely stands out, bringing Raychel to life with vibrant spirit that shows even more than before that she has the earnest skills to be an actor should she decide to take on more work in the industry.
The plot cooked up by John Meadows is a mixed bag to some degree, dividing its time and sometimes feeling imbalanced between the mobster core and flavors of "three woman finding friendship." I'd also note that the twist that precedes and defines the third act is arguably a smidgen common, which also surely goes for the narrative arc at large. In fairness, that's hardly a matter exclusive to this title. More importantly, despite imperfections I'm inclined to think that 'WiseGirls' tells a meaningfully compelling, enjoyable story of a woman unwittingly getting in over her head, and it does so quite well. It's a tale we can get invested in, with characters that are relatable and sympathetic; the protagonist's arc is very ably absorbing. There are big bumps in the road along the way (early exposition is troubled; the scene where Meg reveals some backstory exceeds what suspension of disbelief can save), but the rough patches get smoothed over as the length progresses to the point that they're mostly forgotten. I think the ending could have been more impactful if Meadows went more dour and downbeat, yet while as written it's a little too easy, all the same I'd be lying if I said the last scene weren't duly satisfying.
To the credit of those behind the scenes, I think all their contributions are pretty terrific. Instances of violence and stunts come off great, as do the effects that are employed; cinematographer Johnny E. Jenson and editor Christopher Cibelli turned in good work. Some songs on the soundtrack are more appealing than others (personal preference); while Keith Forsey's score tends to stick to the background, I think it's pretty swell. The production design and art direction are solid, and the costume design and hair and makeup are fetching. In some cases I think these elements are guided to ends that are too on the nose, the camerawork maybe most notably, but much more than not I think this is well made. Truthfully, I had mixed expectations when I sat to watch, but I'm rather pleased with the result. The end product would have been improved with a tad more care in Anspaugh's direction, and more tact and mindfulness in Meadows' screenplay. Yet while as a whole the picture isn't necessarily altogether original, or demand viewership, I'm happy to say that all in all it's really good. I think the acting is what makes the most substantial mark here; even with some faults, the storytelling is engrossing, and the film-making is overall great. Unless one is a diehard fan of someone involved it might not be a must-see, but when all is said and done I'm glad I took the time to watch 'WiseGirls,' and I think it earns a firm recommendation.
While the writing has distinct sore spots (instances of dialogue and scenes), the characterizations are notably stronger, particularly the principal three. Kate is sweet and bubbly, belying more complexity; Raychel is pure brash confidence and loyalty; conflicted protagonist Meg tries to find her center amidst new friends, a high-stress job, and the special circumstances of both. Other characters are more broadly suitable than fully fleshed out - but in fairness, I believe even those lesser supporting characters benefit from excellent acting across the board. Arthur J. Nascarella, Christian Maelen, Joseph Siravo, and others turn in intense yet splendidly nuanced performances that bring both the charm and the violence of the mob to vivid life. Melora Walters is a total joy as Kate, showing greater range and skill than the part first portends. Mira Sorvino hasn't achieved her star power for nothing; she commands the lead role with fantastic poise that tells me I need to see more of her movies. And to my delight, Mariah Carey almost threatens to upstage them all. I know how much bad press she got for 2001's 'Glitter,' but to be honest I didn't think that movie was half bad, and I took no issue with her performance. Here she absolutely stands out, bringing Raychel to life with vibrant spirit that shows even more than before that she has the earnest skills to be an actor should she decide to take on more work in the industry.
The plot cooked up by John Meadows is a mixed bag to some degree, dividing its time and sometimes feeling imbalanced between the mobster core and flavors of "three woman finding friendship." I'd also note that the twist that precedes and defines the third act is arguably a smidgen common, which also surely goes for the narrative arc at large. In fairness, that's hardly a matter exclusive to this title. More importantly, despite imperfections I'm inclined to think that 'WiseGirls' tells a meaningfully compelling, enjoyable story of a woman unwittingly getting in over her head, and it does so quite well. It's a tale we can get invested in, with characters that are relatable and sympathetic; the protagonist's arc is very ably absorbing. There are big bumps in the road along the way (early exposition is troubled; the scene where Meg reveals some backstory exceeds what suspension of disbelief can save), but the rough patches get smoothed over as the length progresses to the point that they're mostly forgotten. I think the ending could have been more impactful if Meadows went more dour and downbeat, yet while as written it's a little too easy, all the same I'd be lying if I said the last scene weren't duly satisfying.
To the credit of those behind the scenes, I think all their contributions are pretty terrific. Instances of violence and stunts come off great, as do the effects that are employed; cinematographer Johnny E. Jenson and editor Christopher Cibelli turned in good work. Some songs on the soundtrack are more appealing than others (personal preference); while Keith Forsey's score tends to stick to the background, I think it's pretty swell. The production design and art direction are solid, and the costume design and hair and makeup are fetching. In some cases I think these elements are guided to ends that are too on the nose, the camerawork maybe most notably, but much more than not I think this is well made. Truthfully, I had mixed expectations when I sat to watch, but I'm rather pleased with the result. The end product would have been improved with a tad more care in Anspaugh's direction, and more tact and mindfulness in Meadows' screenplay. Yet while as a whole the picture isn't necessarily altogether original, or demand viewership, I'm happy to say that all in all it's really good. I think the acting is what makes the most substantial mark here; even with some faults, the storytelling is engrossing, and the film-making is overall great. Unless one is a diehard fan of someone involved it might not be a must-see, but when all is said and done I'm glad I took the time to watch 'WiseGirls,' and I think it earns a firm recommendation.