Capsule Reviews: <i>Switch</i>

Capsule Reviews: Switch

Quick-hit movie reviews for the masses.

Few actors scorched the screen with the sort of intensity that Ellen Barkin brought to movies during the 1980s and 1990s. In a string of memorable and excellent performances, across various genres—from Diner (1982) to The Big Easy (1987) to Sea of Love (1989) and more—Barkin blazed her own unique path through cinemas during those years. Some actors are interchangeable; swap one square-jawed heartthrob or petite ingénue out for another and hardly anyone notices. Barkin is not one of those actors. With only an arched brow or a sly smirk, she can shoot daggers, make you break out in a smile, melt your heart, or do all of the above, all at once. She occupies her own unique orbit, doing what she does better than any imitator ever could. She's smarter, hotter, and funnier than all of you, so just stop it already.

Blake Edwards's mostly forgotten yet wildly entertaining gender-bending farce Switch (1991) offers a beautiful—and all too rare—example of just how amazing Barkin can be when given the chance to carry a film. The premise: male chauvinist Steve is killed by an ex-lover and reincarnated in the body of female Amanda (Barkin) in order to atone for his sins against the fairer sex and get into heaven. What follows is a rollicking sex farce, brimming with late '80s, early '90s style political incorrectness. Barkin shines, especially with the abundance of physical comedy required of her. She gifts us with a hilarious send-up of privileged masculinity—all while in the body of a woman, of course, which makes it so funny—and convincingly portrays Amanda's journey from a clueless womanizer to some well-earned semblance of self-awareness. Barkin's performance adds even greater heft to the film's already bittersweet ending.

No matter how many snooty contemporary film critics might want to sniff at this film for its very-much-of-its-time gender observations, Switch is ridiculously entertaining—the bar fight scene is comedy gold—and includes lively supporting performances from Jimmy Smits and JoBeth Williams. It also remains important in Barkin's filmography for the simple fact that the entire thing revolves around her, and she turns in a truly unforgettable performance. She seizes the role by the throat and plays it to within an inch of its life. She is the film—without her, it's a far lesser film. A lovely showcase for Barkin's talent and range, and well worth seeking out.

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