LOST AND FOUND
If I were writing a film project for myself, I can't say I wouldn't
include a scene where I got to kiss Sophie Marceau. That's the thing
about a commercial art form like film -- sometimes it's difficult to
separate your emotions from your better judgment. David Spade has proven
himself extremely funny as a certain kind of character in a certain kind
of context, and he's extremely funny again in LOST & FOUND when he decides
to be that character in those contexts. Then he starts trying to stretch
in a dozen different directions at once, and the whole thing collapses
into a tries-too-hard comedy without a distinct identity.
LOST & FOUND casts Spade as Dylan Ramsey, struggling Los Angeles
restaurateur and serial monogamist. His latest infatuation is his new
neighbor, a French cellist named Lila Dubois (Sophie Marceau) recently
relocated to L. A. to make it as a professional musician. Lila's only
infatuation, however, appears to be her cairn terrier Jack, a dog with a
propensity for running away. Dylan, spotting a chance to spend some
quality time with Lila, decides to kidnap Jack himself so he can help Lila
find the missing dog. Complications ensue when Jack is responsible for
losing a diamond anniversary ring Dylan is holding for his business
partner (Mitchell Whitfield), making it impossible to return the dog.
Further complications ensue when Lila's womanizing ex-fiance (Patrick
Bruel) arrives to challenge Dylan for Lila's affections.
Leaving aside for a moment the improbable pairing of the elfin Spade
and the porcelain Marceau, LOST & FOUND actually has a number of solid
comic moments, assuming you're in tune with Spade's routine. He's from
the cynical and sarcastic school, an acid-tongued character who takes
simple lines and twists them into something better with his delivery.
He's also not shy about throwing in sly pop culture references without
providing mountains of context, like asking his frighteningly devoted
personal assistant (Artie Lange) if he ever worked for Selena (the singer
was shot and killed by her former fan club president). Spade is at his
best when he's smarter than everyone else around him and knows it; even
his killer karaoke rendition of Neil Diamond's "Brother Love's Travelin'
Salvation Show" shows him in winking command of kitsch.
Much of LOST & FOUND, however, suggests that he either doesn't know
his own strengths or doesn't trust them to carry a film. In fact, Spade
and his co-writers often seem desperate to make viewers like the film by
association with other films. The traumas to which Dylan inadvertently
subjects the dog evoke thoughts of THERE'S SOMETHING ABOUT MARY, as does
the musical closing credits sequence. The presence of corpulent "MadTV"
alum Artie Lange, meanwhile, suggests an attempt to revisit Spade's
successful pairings with the late Chris Farley. Spade never seems
comfortable with dumbed-down material, but he's present for such comic
delights as a foraging expedition through a mountain of dog droppings and
a poker game with a quartet of elderly women who -- hilariously enough --
have dirty minds, dirty mouths and flatulence problems. When LOST & FOUND
fumbles to connect with viewers through idiocy rather than Spade's
intelligence, it flounders.
It also flounders when trying to make Spade a romantic comedy
protagonist. Director Jeff Pollack tries hard to convince us that Dylan
can be a sensitive guy, but the attempts fall dreadfully flat. You just
know that every time Dylan has to make nice-nice with Lila he'd rather be
cutting loose with another put-down, which makes Marceau's performance all
the more impressive for making it seem remotely plausible that Lila would
fall for this guy. LOST & FOUND has its moments when David Spade does
what he does best, or when he brings on Jon Lovitz for a cameo as a "dog
whisperer." He just wants to be all things to all people, and the writer
in him indulges
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