Kung Pow: Enter the Fist (2002) [The Chosen Edition] + Contract Killer (1998) – DVDs

KUNG POW: ENTER THE FIST
**½ Image B+ Sound A- Extras B
starring Steve Oedekerk
written and directed by Steve Oedekerk

CONTRACT KILLER
*/**** Image B Sound B
starring Jet Li, Eric Tsang, Simon Yam, Gigi Leung
screenplay by Chan Heng Ka, Vincent Kok, Cheng Kam Fa
directed by Tung Wai

by Bill Chambers In addition to putting the fear of God in us about CGI, Kung Pow: Enter the Fist (henceforth Kung Pow) makes us wish the technology it employed to seamlessly superimpose writer-director-star Steve Oedekerk into the 1977 kung fu movie Tiger and Crane Fists had been around circa Bruce Lee’s demise. Back then, the producers of Game of Death struggled to complete a half-finished star vehicle minus one star using cardboard cut-outs and a variety of unconvincing doubles. (Lee’s character, the hero, spends most of the picture with his back to the camera.) Oedekerk, playing the archetypal grown-up orphan seeking vengeance against “Master Pain” for his parents’ murder, spends most of Kung Pow looking into the lens with his tongue sticking out, the tongue itself adorned with a face that has its own tongue. Technological advances have always been either too dawdling or too hasty in serving the cinema, alas.

The Films of John Sayles (1980-2002)

Filmsofjohnsayles

Return of the Secaucus Seven (1980)
**/****
Buy DVD at Amazon.com
John Sayles's directorial debut has taken on the aura of a folk tale, the details of its genesis are that well known: With a $40,000 budget raised largely from the quadruple-threat's (writer/editor/director/actor) work for the scripts for Roger Corman's Battle from Beyond the Stars, Piranha, and Alligator, Sayles shot a film at a rented lake house with friends possessed of neither experience nor know-how and redefined the American indie movie scene. Return of the Secaucus Seven had two separate New York runs, made appearances on several year-end lists, and became a cause célèbre for snobs "in the know" deriding Kasdan's The Big Chill as a Secaucus rip-off. Twenty-some years later and the bloom is off the rose, so to speak: Return of the Secaucus Seven reveals itself to be sloppily made, overwritten, and horrendously performed (with the exception of David Strathairn and Gordon Clapp). Still, there are moments of truth in the picture that are pure: an embarrassing interlude when two old friends pass on their way to an unfortunately placed bathroom, and another during a feverish pick-up basketball sequence that steadily develops a delicious subtext. Gathering for what might be an annual reunion, the titular seven reminisce about characters who never appear, discuss past indiscretions (legal and sexual), and locate themselves on the verge of their third decade unmoored from the virulent liberalism of their flower-powered youth. Stealing the show is nerdy "straight" man Chip (Clapp), demonstrating the kind of unaffected naturalism indicative of Sayles's later work but a naturalism buried for the most part here by oodles of hanging plots, mismanaged character moments, odd editing choices, and a peculiarly literate lack of focus indicative of a brilliant novelist moonlighting as a filmmaker. 104 minutes

Buffy the Vampire Slayer: The Complete First Season (1997) + Friends: The Complete First Season (1994-1995) – DVDs

BUFFY THE VAMPIRE SLAYER: THE COMPLETE FIRST SEASON
Image B- Sound B Extras B
"Welcome to Hellmouth," "The Harvest," "The Witch," "Teacher's Pet," "Never Kill a Boy on the First Date," "The Pack," "Angel," "I Robot – You Jane," "The Puppet Show," "Nightmares," "Out of Mind, Out of Sight," "Prophecy Girl"

FRIENDS: THE COMPLETE FIRST SEASON
Image B+ Sound A- Extras B+
"Pilot," "The One With the Sonogram at the End," "The One With the Thumb," "The One With George Stephanopoulos," "The One With the East German Laundry Detergent," "The One With the Butt," "The One With the Blackout," "The One Where Nana Dies Twice," "The One Where Underdog Gets Away," "The One With the Monkey," "The One With Mrs. Bing," "The One With the Dozen Lasagnas," "The One With the Boobies," "The One With the Candy Hearts," "The One With the Stoned Guy," "The One With Two Parts," "The One With All the Poker," "The One Where the Monkey Gets Away," "The One with the Evil Orthodontist," "The One with Fake Monica," "The One with the Ick Factor," "The One with the Birth," "The One Where Rachel Finds Out"

by Bill Chambers Like a child experiencing puberty, the first season of a television series hopes you don't notice that it hasn't settled into its voice yet, that it has no sense of style, that it's unprepared for the microscope of society. The pressures are great for a teenager, but the stakes for a TV show are similarly high: While going through its growing pains, it has a limited number of chances to catch ratings lightning in a bottle. Imagine saying to a gawky adolescent, "Impress me." With the near-simultaneous DVD releases of "Buffy the Vampire Slayer: The Complete First Season" and "Friends: The Complete First Season", there's an occasion to reflect on how a series becomes popular (although the zeitgeist is always such a mystery we can't ever hope for a demonstrable hypothesis) and, for fun's sake, to retrace the evolution of these unique TV-watching experiences.

The Pagemaster (1994) – DVD

*½/**** Image B- Sound B- Extras B-
starring Macaulay Culkin, Christopher Lloyd, Ed Begley, Jr., Mel Harris
screenplay by David Casci, David Kirschner, Ernie Contreras
live-action director Joe Johnston, animation director Maurice Hunt

by Walter Chaw Tailor-made as a public service announcement for going to the library and reading the classics, The Pagemaster makes up for what it lacks in grace with an admirable and perhaps misplaced faith in its audience. Clearly intended as an introduction to discussion rather than a particularly entertaining animated film, it becomes the role of the parents with The Pagemaster to point out the references it makes along the way: Robert Louis Stevenson’s Treasure Island and Dr. Jekyll and Mr. Hyde, Melville’s Moby Dick, Shelley’s Frankenstein, Verne’s 20,000 Leagues, Hugo’s Hunchback of Notre Dame, and Swift’s Gulliver’s Travels. The extent to which a parent is able to fulfill this obligation is the extent to which The Pagemaster is worthwhile; using this film as an eighty-minute babysitter-cum-opiate negates any possible positive effect conferred by the picture–raising the question, clearly, of how best to approach criticism of the piece.

Dunston Checks In (1996) – DVD

*½/**** Image C Sound C
starring Jason Alexander, Faye Dunaway, Eric Lloyd, Rupert Everett
screenplay by John Hopkins and Bruce Graham
directed by Ken Kwapis

by Walter Chaw The old showbiz maxim of never working with children or animals is one violated with such regularity that I guess the otherwise sensible and talented Jason Alexander could be forgiven for Dunston Checks In. There is, in truth, very little else forgivable about the benighted exercise.

Five Aces (1999) – DVD

**½/**** Image B+ Sound A- Extras C
starring Charlie Sheen, Christopher McDonald, David Sherrill, Jeff Cesario
screenplay by David Sherrill & David Michael O’Neill
directed by David Michael O’Neill

by Walter Chaw Men’s coming-of-age pictures fall into the categories of finding a dead body by the side of the train tracks, making a bet during a personal summer of ’69 concerning getting laid, or going away with the buddies on the eve of marriage (or the aftermath of a suicide, though some might say, “Same difference”). They are films, in other words, about courage, about a journey, and about sex and rituals of mortality. Hyphenate David Michael O’Neill’s Five Aces is another in that long-standing tradition of pseudo-nostalgic man-sensitive buddy flicks, this one free of the stultifying voice-over narration but not of the contracted timeframe and forced epiphanies. On these masculine journeys of self-discovery, you see, the spotlight shines on each pilgrim in his turn like a twisted middle-class milk dud version of The Canterbury Tales.

Bear in the Big Blue House: Tidy Time with Bear! + Bear in the Big Blue House: Everybody’s Special – DVDs

Image A Sound A
Tidy Time With Bear!: “Working Like A Bear,” “Woodland House Wonderful,” “We Did It Our Way”
Everybody’s Special: “As Different As Day and Night,” “Bats Are People Too,” “The Yard Sale”

by Jarrod Chambers For those of you who have never seen it, “Bear in the Big Blue House” is a children’s show about a bunch of animals (two bears, two otters, a mouse, and a lemur) who live in a big blue house and get along famously, thanks to the gentle leadership of the bigger of the two bears, named simply Bear. They are produced by Jim Henson Television, who, with Columbia TriStar Home Video, have put together two fabulous DVD packages, “Tidy Time with Bear!” and “Everybody’s Special!”, each with three loosely related episodes of the show from 1997 on plus a few extras.

The Temp (1993) – DVD

***/**** Image A- Sound B
starring Timothy Hutton, Lara Flynn Boyle, Dwight Schultz, Oliver Platt
screenplay by Kevin Falls
directed by Tom Holland

by Walter Chaw The Temp borders on brilliant. A thriller from director Tom Holland, he of the “better than they ought to be” Fright Night and Child’s Play, the picture plays with corporate and gender politics in a fashion similar to the first half of Mike Nichols’s Wolf. Similarly, neither can The Temp hold its centre through to the end, resorting to cheap genre tactics and fright gags where a more faithful treatment of its workplace paranoia would far better serve the rapier instincts and execution of the rest of the piece.

Taking Care of Business (1990) – DVD

½*/**** Image D Sound D
starring James Belushi, Charles Grodin, Anne De Salvo, Loryn Locklin
screenplay by Jill Mazursky & Jeffrey Abrams
directed by Arthur Hiller

by Walter Chaw Proving that hope springs eternal in the hearts of idiots and madmen, Taking Care of Business features the Cubs in a World Series and Jim Belushi in one of those showcase roles in which a nominal comedian gets to demonstrate his alleged madcap skills. Occurring in that weird twilight zone of cinema where once-topical humour is briefly funny again in a retro-Gen-X way (Jim’s exclamation upon entering a mansion, “I’m on freakin’ ‘Dynasty’!” would find a home in any neo-Tarantino screenplay), Taking Care of Business also features two “Star Trek: The Next Generation” stars (Gates McFadden and John de Lancie)–the one making a joke out of her breasts, the other nodding quietly in appreciation of them. The flick is, to summarize, interesting in a surreal sort of way.

Film Freak Central Does Hot Docs 2002 Canadian International Documentary Festival – April 30

by Travis Mackenzie Hoover

THE LAST JUST MAN
***½/****
directed by Steven Silver

The Last Just Man is a conventional but engrossing account of the appalling UN SNAFU in Rwanda, told from the point of view of the scapegoat who tried to stop it. Canadian Lt. Gen. Roméo Dallaire had little field experience when he headed into Rwanda–he likened it to sending a fireman in prevention to a four-alarm blaze–and discovered, when the country was on the verge of erupting, that his superiors would refuse to get involved. Smarting from the debacle in Somalia, they were skittish about sending troops in, but as the ruling Hutus take out their historical animus against the Tutsis (manufactured decades before by brutal Belgian colonists), their self-protection left Dallaire and the Tutsis at the centre of the apocalypse.

Flesh and Bone (1993) – DVD

****/**** Image B Sound A-
starring Dennis Quaid, James Caan, Meg Ryan, Gwyneth Paltrow
written and directed by Steve Kloves

by Walter Chaw Steve Kloves’s follow-up to his exceptional The Fabulous Baker Boys is Flesh and Bone, a dark-hued journey through the Southern Gothic that represents career pinnacles for Meg Ryan and (until The Royal Tenenbaums) Gwyneth Paltrow. That Flesh and Bone–a doom-filled piece that glowers with malevolence from its horrifying opening sequence to its unsettling conclusion–never received a great deal of attention upon its initial release isn’t as much of a surprise as the fact that not even the passage of time has cemented it as a minor classic. There are few pictures more deserving of critical revisionism.

The Starz Independent FilmCenter Project, Vol. 1

by Walter Chaw

BOB LE FLAMBEUR (1956)
***½/****
starring Isabelle Corey, Daniel Cauchy, Roger Duchesne, Guy Decomble
screenplay by Jean-Pierre Melville, dialogue by Auguste Le Breton
directed by Jean-Pierre Melville

With every minute of Henri Decaё’s cinematography looking like a Eugène Atget photograph, Jean-Pierre Melville’s Bob Le Flambeur is a visually stunning film from a director who influenced filmmakers as diverse as Jean-Luc Godard (who quotes Bob Le Flambeur at least twice in Breathless) and John Woo (whose The Killer takes its basic plot from Melville’s Le Samourai). It is film noir of the highest order, reminding in its ensemble intricacy of Kubrick’s The Killing (released a year later in 1956) and evoking the kind of chiaroscuro, gin-joint, smoke-drenched milieu where every ashtray has a name. It’s a love letter to the grim American gangster drama of the Forties that subverts the genre even as it reinvents it as a lyrical ballad to gamblers, losers, hoods, and wayward dames–a snapshot of the Montmarte district of Paris 47 years before Jean-Pierre Jeunet’s reinvention of the same.

Husbands and Wives (1992) – DVD

***½/**** Image A Sound C+
starring Woody Allen, Blythe Danner, Judy Davis, Mia Farrow
written and directed by Woody Allen

by Bill Chambers Husbands and Wives is a rawer tapestry of couples in flux from Woody Allen than his paternalistic Hannah and Her Sisters. It's reasonable to consider this Woody's Cassavetes movie, just as the previous Shadows and Fog was his Fellini (the title sounds like a sequel to Cassavetes's Husbands)–although Cassavetes wouldn't have couched the film's scenario in a faux-documentary framework, as Allen has. That's closer to Bob Fosse's turf; one imagines that Woody sees more of himself in Fosse, the entertainer, than he does Cassavetes, the brute poet. Shot in vérité handheld with an urgency that perhaps feels contrived, the film begins with the break-up of long-time marrieds Jack (a brilliant Sydney Pollack) and Sally (Oscar-nominated Judy Davis) and goes on to measure the shockwaves this sends through the lives of their friends, Gabe Roth (Allen) and his wife Judy (Mia Farrow). Sexually frustrated Jack falls into a relationship with a woman many years his junior (the lissome Sam (Lysette Anthony)), planting the seed for Gabe to act on his attraction to one of his writing students (Juliette Lewis). Judy, meanwhile, hooks Sally up with a co-worker, Michael (Liam Neeson). It's Judy's way of dealing with her own feelings for the guy, and needless to say, she didn't think it through.

Thumbelina (1994) – DVD

*/**** Image D Sound B
screenplay by Don Bluth
directed by Don Bluth, Gary Goldman

by Walter Chaw A predictably disturbing take on Hans Christian Andersen’s cautionary tale of the importance of conformity and the dangers of female sexual awakening, the diminutive heroine of Don Bluth and Gary Goldman’s Thumbelina arrives in the slow blossoming of a rose. After brief stops in which a hyper-sexualized, Charo-voiced frog teaches Thumbelina to shake her tiny money-maker, a sleazy moustachioed junebug (Gilbert Gottfried) abducts her to be its wife, and Bluth presents phallic stems and pregnant bulbs to the point of indecency, the message of “there’s someone for everyone” (or, closer to the mark, an “Eye of the Beholder”-like “stick with your kind, freak”) comes ham-fisting home.

A Troll in Central Park (1994) – DVD

½*/**** Image D+ Sound B
screenplay by Stu Krieger
directed by Don Bluth, Gary Goldman

by Walter Chaw So Gnorga (voiced by Cloris Leachman), the queen of the trolls, hates flowers, outlawing them in her forsaken trolldom. Kindhearted simple-troll Stanley (Dom DeLuise) finds himself and his green thumb in quite the pickle: What’s a horticulturally inclined troll to do when everything his olive digit touches turns to a badly-animated flower? Get banished to Central Park in New York, of course–the only place in the universe more unpleasant (according to Gnorga) than Trolldom. Not content to be a worm in the Big Apple, fish-out-of-water intrigue, Don Bluth’s excrescent A Troll in Central Park also manages to shoehorn in a Mary Poppins, “parents too busy to fly a kite” bit of nonsense. It seems too much to wrap up in just under seventy-six minutes, but not only does it manage to do just that in its trundling, underdeveloped way, A Troll in Central Park also wastes what feels like hours on aimless and appalling musical numbers.

The Replacement Killers (1998) [Special Edition] – DVD

*½/**** Image A Sound A- Extras B+
starring Chow Yun-Fat, Mira Sorvino, Michael Rooker, Jurgen Prochnow
screenplay by Ken Sanzel
directed by Antoine Fuqua

by Bill Chambers Chow Yun-Fat, the Asian Cary Grant (even their jawlines are similar), is so suave that he wore a white tuxedo to last year’s Hong Kong Awards, a black-jacket affair akin to the Oscars. And did the ladies swoon! (I got a little flush myself.) Since catching said awards show on a multicultural TV station, it has been my desire to revisit The Replacement Killers, because an initial viewing challenged the Will Rogers philosophy I have about Chow Yun-Fat movies: I never met one in which he disappointed. This man at the podium was too cool to have ever earned my apathy, wasn’t he?

Newsies (1992) [Collector’s Edition] – DVD

*½/**** Image A+ Sound A Extras B
starring Christian Bale, Bull Pullman, Ann-Margret, Robert Duvall
screenplay by Bob Tzudiker & Noni White
directed by Kenny Ortega

by Walter Chaw If the crick in my neck is any indication, I watched Kenny Ortega’s Newsies like a dog hears a new sound. Most probably, my eyebrow was also arched. I always marvel that a racist bit of juvenilia became The King and I, for instance, or when someone decides to turn a “Romeo and Juliet” into a West Side Story. So when I say that I am clueless as to how the newspaper-hawker strike of 1899 could make for a good musical, I might not be the best person to ask.

The Five Heartbeats (1991) – DVD

*/**** Image C Sound C Extras D
starring Robert Townsend, Michael Wright, Leon, Harry J. Lennix
screenplay by Robert Townsend & Keenan Ivory Wayans
directed by Robert Townsend

by Walter Chaw I remember when Robert Townsend was the Next Big Thing. An alum of Chicago comedy troupe Second City, he got eyed for A Soldier’s Story and got his self-styled break with Hollywood Shuffle, a fitfully funny sketch farce about a starving black actor autobiographically frustrated by the lack of dignified roles for African-American performers. Townsend made waves by funding the project with credit cards, shooting without permits, and having the audacity (circa 1986, recall) to bite the hand that feeds. It’s ironic, then, that with all his newfound greenlight sway, Townsend promptly made one really bad film (The Five Heartbeats) and another, somehow worse one (Meteor Man), both of which revealed this hyphenate of the moment for a mugging, self-obsessed, stage-bound monologist.

The Larry Sanders Show: The Entire First Season (1992) – DVD

Image C+ Sound B Extras B-
“The Garden Weasel (a.k.a. What Have You Done For Me Lately?),” “Promise,” “Spiders,” “The Guest Host,” “The New Producer,” “The Flirt,” “Hank’s Contract,” “Out of the Loop,” “The Talk Show,” “The Party,” “Warmth,” “A Brush with the Elbow of Greatness,” “Hey Now”

by Bill Chambers TV was born puritanical and never really took the stick out of its ass. We don’t even think of cable as TV–one asks, “What’s on TV?” vs. “What’s on cable?” It’s a television medium, a bastard offspring, and what I love–one of the things I love–about “The Larry Sanders Show” is that it revolves around TV but could only be a cable show. You’ll wish, after a couple of episodes, that network sitcoms weren’t still so reined-in by standards and practices and beholden to children up past their bedtimes, as “The Larry Sanders Show” makes poetry of profanity and has a sadistic, altering worldview, particularly on business relationships and the entertainment industry. One whiff of it wipes the Stepford smile off TV’s face.

Dragstrip Girl (1994) – DVD

ZERO STARS/**** Image D Sound D
starring Raymond Cruz, Mark Dacascos, Natasha Gregson Wagner, Traci Lords
screenplay by Jerome Gary
directed by Mary Lambert

by Walter Chaw Unspeakably horrendous, Showtime’s excruciating Dragstrip Girl finds its way to home video eight years after its initial airing. There is nothing to recommend this film save perhaps a quarter of a Traci Lords breast glimpsed briefly from behind. It’s appalling in every conceivable measure of quality, from acting to screenplay to direction to editing; the only thing that kept me going is the ghoulish realization that the lovely Natasha Gregson Wagner (who is an exquisitely bad actress) now has a period drag-racing movie just like her mom Natalie Wood. (They even share the same costume in a particularly tasteless homage.) I can only think that Dragstrip Girl is getting a video release now because the surprise success of star Mark Dacascos’s Brotherhood of the Wolf might sucker a few people into renting the benighted thing. That avaricious, spur-of-the-moment thinking explains why the film’s DVD transfer is so awful, but it doesn’t explain why Dragstrip Girl itself is, too.