EDtv

Nashville Scene

DIRECTED BY: Ron Howard

REVIEWED: 03-29-99

There's nothing worse than a good idea gone to waste--unless it's a good idea turned into a shameless exploitation of the very issue it set out to explore. Ron Howard's new film EDtv is the second film in a year to examine the impact of round-the-clock television coverage on an ordinary person's life, and now that Howard has stomped around in that sandbox and made a mess of the play area, this interesting and relevant issue is probably off-limits to filmmakers for a few seasons.

The first entry into TV territory was, of course, The Truman Show, and in many ways EDtv is the inverse of Truman's premise. Instead of placing an unwitting star in an artificial environment, screenwriters Lowell Ganz and Babaloo Mandel take an ordinary guy out of a bar and follow him with cameras all day. Ed (Matthew McConaughey) works at a video store, has a burgeoning romance with Sherry (Jenna Elfman), and tolerates the money-making schemes his brother Ray (Woody Harrelson) periodically launches. When True TV, a struggling cable network, switches to an all-Ed, all-the-time format, ratings soar and the likable Ed becomes a celebrity. But the new star, along with his family and friends, finds out that fame carries a heavy price when USA Today starts running polls on his sex life and the network won't let him quit.

People in the public eye tend to lose their privacy? The media have a hard time telling the difference between reality and entertainment? What shocking revelations! In sharp contrast to Truman, which used its high concept to examine our society's craving for security, EDtv draws only the most obvious, clichd morals from its hero's two months in front of the lens. The movie's villains are the easiest targets imaginable: network suits obsessed with profits and overnights, embodied by a ridiculously caricatured Rob Reiner. Thankfully for Universal's TV syndication arm, however, there's a programming exec with a heart, played by Ellen Degeneres, who reforms the evil empire from within.

Matthew McConaughey flashes his million-dollar smile a lot during the first hour, and for the privilege of spending more time with his personable Ed, the trade-off of sitting through contrived crises doesn't seem too bad. But as Ganz and Mandel tick off their shopping list of moral dilemmas--the disillusioned girlfriend, the estranged brother, the tempting slut, the long-lost father--McConaughey becomes a confused observer of his own show, and all the life drains out of the film. Elfman's character is unusually colorless, except for some radically plucked eyebrows. And poor Martin Landau, as Ed's stepfather Al, is stuck in a motorized cart and wheeled out for geezer laughs.

Worst of all, a movie that purports to be all about the way media attention corrupts reality shoves Pepsi products and subsidiaries in the audience's face for two hours without a trace of irony. Real incisive stuff. Ganz and Mandel, who got rich in the '80s on good work like Parenthood and City Slickers, have now become a sure bet for shallow bathos (Father's Day, Greedy). Too bad they got to this premise before some writers with insight got to take a crack at it. We might have learned something about ourselves, or at least gotten a few laughs for our seven bucks.

--Donna Bowman

Interviews
EDtv

Full Length Reviews
EDtv
EDtv

Capsule Reviews
EDtv

Other Films by Ron Howard
Apollo 13
Ransom

Film Vault Suggested Links
Ally McBeal (tv)
Marvin's Room
Macbeth in Manhattan

Related Merchandise
Search for related videos at Reel.com
Search for more by Ron Howard at Reel.com
Search for related books at Amazon.com
Search for related music at Amazon.com

Rate this Film
If you don't want to vote on a film yet, and would like to know how others voted, leave the rating selection as "Vote Here" and then click the Cast Vote button.