“Be Cool,” the sequel to 1995’s “Get Shorty,” is long on characters and amusing throwaway jokes but short on heart or spirit. Although it’s a bigger, flashier production, “Be Cool” fails to live up to its terrific predecessor, and overall it is a disappointing effort.
John Travolta returns as Chili Palmer, the loan shark/classic-movie enthusiast who found working in the film industry is not too different from his previous line of work in “Get Shorty.” “Be Cool” opens with Chili deciding to try his hand at the music business, and right off the bat one of the main charms of his personality is eliminated.
After barging into the world of filmmaking due to a passion for the field, Chili now appears to be barging into the world of music because, well, he can. This cutback of Chili’s character launches what ultimately is the film’s fatal flaw. Unlike the first film, which was focused on Chili effortlessly cutting through an impenetrable system with his impossible suaveness and moxie, “Be Cool” makes it all about the supporting cast, rendering Chili nearly irrelevant.
This is a star-studded affair, and there are several funny characters, but the film’s lack of a real core dooms it. Barry Sonnenfeld, the director of “Get Shorty,” opted not to return and was replaced with F. Gary Gray of “The Italian Job.” The change is evident immediately. From the first scene onward, Sonnenfeld’s crackling wit and irreverent sensibility are absolutely nowhere to be seen.
The first third of the film has some serious pacing issues. A lot of scenes are oddly slow and deliberate when the situation and plot desperately cry out for sharpness and dynamism. It gives the film an unsophisticated, immature feeling. Worst of all, it makes Chili appear not so much cool as a little bit boring.
The film also falls into the trap of recycling material from “Get Shorty” as well as other films. The dance scene between Chili and producer Edie Athens (Uma Thurman) is a forced and weak attempt to recapture their chemistry from “Pulp Fiction.”
With Chili getting such short shrift in the personality department, the film cries out for others to step up. In particular, Vince Vaughn as wannabe urban hipster Roger “Raji” Loewenstein is consistently hilarious. With his faux-Ebonics catchphrases and feverishly annoying giggle, he very nearly steals the show.
Andre Benjamin is also funny as a trigger-happy operative in a rap mogul’s (Cedric the Entertainer) posse, having a childlike urge to shoot his gun. The Rock plays against type as a gay bodyguard. It’s a great role for him, showing that he’s willing to have fun and not take himself so seriously.
With Harvey Keitel, Christina Milian, James Woods and Danny DeVito (in the only reprise role from Get Shorty other than Chili) as well, not to mention a slew of celebrity cameos, this film does not lack for star power.
The problem is that all of these characters just sort of wade in and out of the film, appearing when they are called upon, relying on only the hapless Chili to tie them together. When they do meet, it’s impossible to keep track of why they should be doing so, and they fail to produce anything like a cohesive whole.
