×

Waking Up In Reno

If you can buy a scene in which a character played by Natasha Richardson goes all warm and gooey at the prospect of seeing Tony Orlando perform live, then you might like "Waking Up in Reno," a hillbilly romantic comedy in which the hillbillies show up but the romance and comedy never do.

With:
Lonnie Earl Dodd - Billy Bob Thornton Candy Kirkendall - Charlize Theron Darlene Dodd - Natasha Richardson Roy Kirkendall - Patrick Swayze Doc Tuley - Holmes Osborne Fred Bush - Chelcie Ross Brenda (Spanish Woman) - Penelope Cruz As Himself - Tony Orlando

If you can buy a scene in which a character played by Natasha Richardson goes all warm and gooey at the prospect of seeing Tony Orlando perform live, then you might like “Waking Up in Reno,” a hillbilly romantic comedy in which the hillbillies show up but the romance and comedy never do. A real what-were-they-thinking effort, this forlorn Miramax trifle with an unaccountably classy cast has long been in a holding pattern awaiting an opening date, and while it could play for months in Branson, Mo., it will slip right in and out of theatrical release everywhere else.

Toplined Billy Bob Thornton reportedly came up with the idea for this redneck “Bob & Carol & Ted & Alice” years ago and later hired his “Hearts Afire” TV writers Brett Briscoe and Mark Fauser to flesh it out. Lowbrow odyssey about a foursome whose destination is a Nevada monster-truck jam has an inescapably tube-like sensibility, one reflected when one of the characters remarks at the end that, “I saw these two couples on ‘The Jerry Springer Show’ that screwed up a helluva lot worse than we did.”

Popular on Variety

What leads to this four-way wreck is a little hanky-panky between gaudy car dealer Lonnie Earl Dodd (Thornton) and Candy Kirkendall (Charlize Theron), wife of his best friend Roy (Patrick Swayze). Lonnie’s marriage to Darlene (Richardson) has lost all its juice, but it’s never explained why Candy would nip off for some quickies with Lonnie when she seems to love her hubby so much.

In any event, foursome piles into a big Chevy truck for the road trip from Little Rock to Reno, with pit stops along the way for Roy and Candy to give the back seat a workout (they do it whenever she’s ovulating in hopes of a kid) and for Lonnie to win a dubious prize for downing a 72-ounce steak in Amarillo. Given the complete lack of urgency and inspiration in the material, filmmakers have tried to give their work a semblance of life by all manner of desperate means –animated maps, jumpy editing, jokey narration and slumber-arresting musical cues, to little avail.

Although up until now the four have shared the same motel bedrooms and beds, presumably for economy reasons, once they reach Reno they indulge in an enormous two-bedroom luxury suite. Remainder of the action is largely confined to this one set, as the couples, with the infidelity secret blown and other complications introduced, yell, scream, fight, fling accusations, stomp out and miraculously reconcile in a manner that suggests that perhaps married folk should go through cheating traumas every so often in order to enliven their relationships.

One of the complications involves a “Puerto Rican skank” hooker who picks up Roy in a cheap hotel bar and is played by none other than Thornton’s “All the Pretty Horses” leading lady Penelope Cruz. It’s an odd bit of slumming, and one of a piece with the incongruous casting of the women in the two major roles. Both Richardson and Theron are OK, but they’re not exactly the first actresses you’d think of to play yokels whose idea of a good time is watching the truck orgy’s giant, fire-breathing Robosaurus consume the vehicle they drove out in.

Thornton is in low gear here, underplaying in apparent hopes of counterbalancing the hyperactive women. Against-type casting of Swayze as a vulnerable, ever-trusting softy succeeds nicely, as his character is the only one who communicates anything resembling real feeling.

Direction by Jordan Brady (“Dill Scallion”) is unrelievedly klutzy, evincing neither a sense of style nor a p.o.v. on the dense characters at hand. Pic’s unattractive look can be only partly rationalized by the banality of most of the settings.

Waking Up In Reno

Production: A Miramax Films release of a Ben Myron/Crossfire Sound & Pictures production. Produced by Myron, Robert Salerno, Dwight Yoakam. Executive producers, Bob Weinstein, Harvey Weinstein, Jonathan Gordon, Jeremy Kramer. Co-producer, Bruce Heller. Directed by Jonathan Brady. Screenplay, Brent Briscoe, Mark Fauser.

Crew: Camera (CFI color, Deluxe prints), William A. Fraker; editor, Lisa Zeno Churgin; music, Marty Stuart; music supervisors, Michelle Kuznetsky, Mary Ramos; production designer, Jeannine Oppewall; art director, John Demeo; set decorator, Jay Hart; costume designer, Doug Hall; sound (Dolby Digital/SDDS/DTS), Paul Ledford; supervising sound editors, Terry Rodman, Brian T. Best; assistant director, Jim Hensz; second unit director/camera, Jonathan Brown; casting, Emily Schweber. Reviewed at Miramax screening room, L.A., Oct. 22, 2002. MPAA Rating: R. Running time: 91 MIN.

With: Lonnie Earl Dodd - Billy Bob Thornton Candy Kirkendall - Charlize Theron Darlene Dodd - Natasha Richardson Roy Kirkendall - Patrick Swayze Doc Tuley - Holmes Osborne Fred Bush - Chelcie Ross Brenda (Spanish Woman) - Penelope Cruz As Himself - Tony Orlando

More Film

  • A Bump Along the Way Movie

    'A Bump Along the Way': Film Review

    While “Derry Girls” continues to be the last word in young, raucous female rebellion on the Emerald Isle, “A Bump Along the Way” has a little something to add. Sin the same Northern Irish city as the hit Netflix sitcom, but shedding the ’90s nostalgia for the Snapchat age, Shelly Love’s appealing, unassuming debut feature [...]

  • Tresor Plots $72 Million 'Asterix &

    Tresor Films Plots $72 Million 'Asterix & Obelix: The Silk Road,' New Projects (EXCLUSIVE)

    After delivering two of the highest-grossing French films of last year, Alain Attal’s Paris-based production company Tresor Films (“Sink or Swim,” “Little White Lies 2”) is kicking off 2020 with its most ambitious project yet, Guillaume Canet’s “Asterix & Obelix: The Silk Road.” Co-produced and financed by Jerome Seydoux’s Pathé, “Asterix & Obelix” is budgeted [...]

  • Anais Bertrand on Producing Sundance Player

    Anais Bertrand on the Obstacles She Faced to Produce Sundance Player ‘Jumbo’

    Zoé Wittock’s debut feature, “Jumbo,” screening in Sundance’s World Cinema Dramatic Competition, is also the first feature film produced by up-and-coming French producer Anais Bertrand, of Insolence Productions, who has cut her teeth on award-winning shorts, including winning the Procirep Short Film Producer Award last year. “Jumbo” is about a young woman, played by Noémie [...]

  • 'Parasite,' 'Jojo Rabbit' Win ACE Eddie

    'Parasite,' 'Jojo Rabbit' Win ACE Eddie Awards for Top Feature Films

    “Parasite” and “Jojo Rabbit” have won the top feature film trophies at the 70th Annual ACE Eddie Awards at the Beverly Hilton Hotel. Jinmo Yang won the dramatic feature category for “Parasite” over “Ford v Ferrari,” “Joker,” “The Irishman,” and “Marriage Story.” The victory marks the first time in ACE Eddie Awards history that a [...]

  • Gregg Smith, Dancer and Choreographer Assistant,

    Gregg Smith, Dancer and Choreographer Assistant, Dies at 73

    Gregg Smith, a dancer, casting director and assistant choreographer who had a long association with director Kenny Ortega, has died. He was 73. Smith died on Jan. 1. The industry veteran worked as a performer in the national touring company of the musical “Hair” and in a Los Angeles production of “Jesus Christ Superstar.” He [...]

  • Oscar Isaac Golden Globes 2016

    Film News Roundup: Oscar Isaac Joins Superhero Movie 'The Great Machine'

    In today’s film news roundup, Oscar Isaac boards “The Great Machine,” Keira Knightley joins “Silent Night” and “The Dog Doc” finds a home. CASTINGS Legendary has closed a deal for Oscar Isaac to star in and produce superhero saga “The Great Machine.” The project is based on Brian K. Vaughan’s comic book series “Ex Machina” [...]

  • Editorial use only. No book cover

    U.S. Movie Admissions Plunge 4.6% in 2019 Amid Box Office Decline

    U.S. movie admissions slid 4.6% last year to 1.24 billion, the second lowest admissions number during the current century, the National Association of Theatre Owners (NATO) has reported. North American box office for the year declined 4.1% to $11.4 billion, NATO said Friday. That figure was in line with the estimate released at the end [...]

More From Our Brands

Access exclusive content