Austin Movies
![]() Write your own review Back to main page By Carrie Rickey The Philadelphia Inquirer Posted: December 5, 2002 Which prison production number packs more jailhouse rock? Is it Dr. Evil and Mini-Me behind bars wailing "It's A Hard-Luck Life" in "Austin Powers in Goldmember"? Or is it mobster Paul Vitti (Robert De Niro) behind bars croaking "The Jets Song" in "Analyze That"? (Who knew that these nefarious men with Daddy issues were closet show-tune queens?) Like the "Austin Powers sequel, "Analyze That" the so-so sequel to the one about the mob boss (De Niro) and his shrink (Billy Crystal) is stronger on jokes than on story. When "The Sopranos" and "Analyze This" debuted within weeks of each other early in 1999, they respectively served up serious and satiric views of a Mafia don and his head doctor. In the intervening years, "The Sopranos" continued to plumb mobster sociopathology, wondering how and if therapy might transform a cold-blooded killer into a an ordinary neurotic. During the same period "Analyze This" director and co-writer Harold Ramis studied "The Sopranos," imagining if and how therapy might transform a passive psychoanalyst into an aggressive accessory to a crime kingpin. Directed by Ramis who co-wrote with Peter Steinfeld and Peter Tolan, "Analyze That" has its moments. Most of them involve De Niro's character contemplating a legitimate career (think mobster as car salesman hooking potential buyers by talking about all that leg room in the trunk; think mobster as technical adviser to a "Sopranos"-lite TV series called "Little Caesar."). The remainder involve him screeching show tunes in a voice more lethal than a Ruger. With her machine-gun timing, Lisa Kudrow is quite droll as Laura, the analyst's wife. The visual joke I most enjoyed was the casting of Anthony LaPaglia, a De Niro lookalike, as the actor who plays the Little Caesar character who studies Vitti's vernacular and body language. Possibly not since "Grumpy Old Men" have I heard a film so solidly connect with one demographic while striking out with another. Given the alto and bass timbres of laughter, the jokes succeeded with those for whom the musical "West Side Story" was a seminal experience (the movie version came out in 1961). Is it possible to make whackings wacky? "Analyze That" thinks yes. If it were consistently satirical, I would agree. But this is a movie that both parodies "The Sopranos" and aspires to its mordant humor. I don't think anyone not Tony Soprano, not Paul Vitti can have it both ways. | |||||||
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