Assassination Tango (2003) – DVD

***/**** Image B Sound B Extras C
starring Robert Duvall, Ruben Blades, Kathy Baker, Luciana Pedraza
written and directed by Robert Duvall

by Walter Chaw In one of a series of largely-improvised exchanges about the mystical hold of the tango on the spirit of Argentines, a crusty veteran confides in enigmatic Yankee hitman John J. (Robert Duvall, also writer-director) that the tango, among absolutes such as love and hate, is life. In Assassination Tango, the titular dance is also the metaphor for the desire to find balance between the brutish and the sublime or, failing that, to provide a strict framework within which the brute can prowl. (A visit to a caged panther in a Buenos Aires zoo becomes the visual manifestation of the idea as well as oblique reference to Kafka's "The Hunger Artist," the hero of which searches, like J., for sustenance.) The tango is the urgent pull of ritual that binds animal sexuality into the meticulous structure of dance, working on the literal level as doppelgänger to John J.'s carefully-controlled, gradually encroaching chaos and on another level as metaphor for a filmmaker seeking equilibrium between personal crisis and professional ambition at the end of his career. It's rationale enough for a picture so often interested in frustrating narrative to the benefit of the richness of its palimpsest; if ever there were a film that lives entirely in its subtext, Assassination Tango (even its title a semantic conundrum) is it.

28 Movies Later…: FFC Interviews Brendan Gleeson

BgleesoninterviewtitleDecember 28, 2003|On the telephone from the Cold Mountain junket in San Diego, on the afternoon of the announcement that the film had garnered an extravagant eight Golden Globe nominations, I was honoured to speak with the marvellous Brendan Gleeson–the best thing about Cold Mountain, as it happens, and the best thing about a great many films. The star of John Boorman's criminally underestimated The General, Gleeson has found himself of late cast in the role of patriarch or mentor and, more fascinatingly, providing both the moral and metaphorical centre of his films, often in just a supporting role. For Gleeson to be routinely overlooked come awards season says a great deal about awards season and the extent to which showy performances–performances that the layperson swiftly identifies as performances–overshadow the sort of bedrock naturalism and presence of a character actor like Gleeson.

Peter Pan (2003)

***½/****
starring Jason Isaacs, Jeremy Sumpter, Rachel Hurd-Wood, Lynn Redgrave
screenplay by P.J. Hogan and Michael Goldenberg, based on the play by James M. Barrie
directed by P.J. Hogan

Peterpanby Walter Chaw A perverse lollapalooza of loaded images and disquieting implications, P.J. Hogan's live-action Peter Pan is this year's most intriguing Freudian shipwreck, resurrecting the darkness and poetic pessimism of J.M. Barrie's play–and Peter and Wendy, Barrie's own novelization–that has been all but forgotten since Disney's well-regarded 1953 treatment. (While nowhere near as saccharine as something as mendacious as Brother Bear, that animated version is still of a Disney tradition that washes dangerous source material mostly clean of credible malice.) At its heart, consider that the Pan story is about child seduction/abduction in the Yeatsian "Stolen Child" tradition, and a colony of "lost boys" that have forgotten their parents and, crucially, been forgotten in turn. The mirror of a parent's love discarded in this way renders the film's heart-warming conclusion a touch bitter, with the spectre of the question "but what about their parents?" hanging over it.

Cold Mountain (2003)

*½/****
starring Jude Law, Nicole Kidman, Renée Zellweger, Donald Sutherland
screenplay by Anthony Minghella, based on the novel by Charles Frazier
directed by Anthony Minghella

Coldmountainby Walter Chaw Existing in an awards-season netherworld where the ugliest girl is Renée Zellweger (or Jena Malone), dad is Donald Sutherland, and Odysseus is Jude Law, Anthony Minghella's Cold Mountain is a tarted-up march to the awards-night podium starring Nicole Kidman, possibly the most over-exposed actor of the last five years. Everything about the film is careful artifice, from its casting to its grandiloquent direction to its half-baked dialogue ("Small moments like a bag of diamonds," indeed), with only Law, Philip Seymour Hoffman, and the magnificent Brendan Gleeson emerging unscathed from the golden wreckage. What Minghella seems best at is recasting edged, emotionally tumultuous novels into sun-kissed temples to the cinematographer's craft, the more dappled sunlight in the eye with which to bedazzle awards-season voters. The strength of Charles Frazier's National Book Award-winning source material lies in its socio-political details of America's Civil War period, but Minghella has focused his picture unerringly on the overrated novel's weaknesses instead: its dialogue, its clumsy Homeric riff (for better country-fried Odyssey, stick to O Brother Where Art Thou?), and its sweeping gothic romance, which finds its characters, at one point, reading the real deal in Wuthering Heights. The result is, like Minghella's previous literary adaptations (The Talented Mr. Ripley and The English Patient), lavish, lugubrious, and off-target.

Teknolust (2003); In July (2000); Taking Sides (2002); Monster (2003)

TEKNOLUST
**/****
starring Tilda Swinton, Jeremy Davies, James Urbaniak, Karen Black
written and directed by Lynn Hershman-Leeson

Im Juli.
***/****
starring Moritz Bleibtreu, Christiane Paul, Mehmet Kurtulus, Idil Üner
written and directed by Fatih Akin

TAKING SIDES
**/****
starring Harvey Keitel, Stellan Skarsgård, Moritz Bleibtreu, Birgit Minichmayr
screenplay by Ronald Harwood
directed by István Szabó

MONSTER
**½/****
starring Charlize Theron, Christina Ricci, Bruce Dern, Scott Wilson
written and directed by Patty Jenkins

Teknoby Walter Chaw As the year winds down and distributors great and small try to cram their films into rotation for possible awards consideration, the truism that there are just as many mediocre foreign and independent films as mainstream ones proves sage for a quartet of minor releases. Lynn Hershman-Leeson chimes in with Teknolust, another of her riffs on Derek Jarman, this one obsessed with Tilda Swinton and eternity through technology. Fatih Akin’s second film In July (Im Juli.) is essentially a German The Sure Thing with elements of After Hours, obsessed with eternity through an immortal beloved lit by the nimbus of various suns. One-time Oscar-winner István Szabó offers Taking Sides, a morality tale plucked half-formed from the stage, questioning the eternity of art against the requirements of morality. And Patty Jenkins weighs in with Monster, this year’s Boys Don’t Cry; it’s vérité as lower-class urban ugly, with Charlize Theron seeking eternity through a performance that breaks her out of her starlet mold, Halle Berry-style. Only time will tell if any of it keeps.

Jeepers Creepers II (2003) [Special Edition] – DVD

Jeepers Creepers 2
*½/**** Image A- Sound A- Extras B+
starring Ray Wise, Jonathan Breck, Travis Schiffner, Nicki Lynn Aycox
written and directed by Victor Salva

by Walter Chaw Beyond the pretty fair rhetorical question of what convicted child molester Victor Salva is doing making another film about children in peril, in showers, and pissing en masse in a field, Jeepers Creepers II is a surprisingly run-of-the-mill action/adventure film with horror elements that reminds mostly that Jaws is still the high-water mark for stuff like this. Promising to be a Spam-in-a-bus sort of picture, it washes out eventually as a rip-off that’s only missing someone deadpanning “We’re gonna need a bigger bus” when the creature from the deep starts pounding on their stranded conveyance. Credit is due Salva, however, for employing some sharp non-CGI creature effects, even if the premise this time around (and its showcase special effects set-piece) is starting to more resemble John McNaughton’s The Borrower and less an original concept of a demon that, for twenty-three days every twenty-three years (not insignificantly, the description of high holy Jewish feasts is set out in Leviticus: 23), gets to feed.

Real Perelman: FFC Interviews Vadim Perelman

VperelmaninterviewtitleDecember 21, 2003|Long story short, a few years ago as I was applying for a life insurance policy, I got to know an ex-paramedic who told me that he once answered a call to Denver’s beautiful Brown Palace Hotel. One of its maids had just been let go after working there for decades, whereupon she proceeded to take the elevator to the top floor and jump to her death several stories into the central dining area. “Her face was perfectly preserved, perfectly peaceful,” he said. “When I got there it looked as though she were standing in a hole in the floor, looking up with something like wonder at the ceiling.” I think about this story a lot, it sticks with me for some reason; it has elements of betrayal, death with symbolic meaning, the grotesque–the sort of high human drama at extremis that leaves an indelible imprint on my imagination.

Mona Lisa Smile (2003)

*/****
starring Julia Roberts, Kirsten Dunst, Julia Stiles, Maggie Gyllenhaal
screenplay by Lawrence Konner & Mark Rosenthal
directed by Mike Newell

Monalisasmileby Walter Chaw Julia Roberts films, by and large, seem to hate men. In a real way, her pictures are as objectionable as those films regularly pilloried for objectifying women (and those like the unforgivable Love Actually that somehow slip under the radar for doing the same), functioning as something of a reactionary version of feminism that seeks to denigrate the opposite gender as the sole means toward gender equality. The big secret about films like Mona Lisa Smile is that they're every bit the big-budget Hollywood spectacle film derided by a goodly portion of its audience as puerile, predictable, and thematically reprehensible. Because Mona Lisa Smile is so much the child of formula, it's difficult to muster much energy in condemning the film by itself–by itself, after all, it's handsomely mounted and well-performed. But as a symptom of that facile societal desire for superficial uplifts and comforting negative stereotypes, the smoothness of the coating for this bitter pill deserves some measure of profound distaste.

House of Sand and Fog (2003)

*½/****
starring Jennifer Connelly, Ben Kingsley, Ron Eldard, Frances Fisher
screenplay by Vadim Perelman and Shawn Lawrence Otto
directed by Vadim Perelman

Houseofsandandfogby Walter Chaw Based on an award-winning novel by Andres Dubus III, son of Canadian novelist and short-story writer Andre Dubus, Vadim Perelman's hyphenate debut House of Sand and Fog is difficult to gauge on its own merits, given that the typically invasive grandiosity of another abominable James Horner score sinks the picture almost by itself. With no moment uncommented-upon by Horner's bank of weeping violins and no lovely Roger Deakins tableau unmarred by Horner's insatiable taste for schmaltz, the picture is a prime example of two things: the prestige picture/Oscar grab; and the film of grand emotions that decides to trust its composer over its cast and screenplay. The similarities between House of Sand and Fog and In the Bedroom (a film based on Dubus Sr.'s short story "Killings") are obvious, but where the latter allows its cast to breathe, House of Sand and Fog smothers Ben Kingsley and Jennifer Connelly in a fatal dose of Horner's saccharine ministrations. In Horner's defense, however, the extended climax during which a vein-popping Kingsley is allowed too much rein is awful without help.

Dawson’s Creek: The Complete Second Season (1998-1999) – DVD

Image B+ Sound B+ Extras B-
"The Kiss", "Crossroads", "Alternative Lifestyles", "Tamara's Return", "Full Moon Rising", "The Dance", "The All-Nighter", "The Reluctant Hero", "The Election", "High Risk Behavior", "Sex, She Wrote," "Uncharted Waters", "His Leading Lady", "To Be or Not to Be…", "…That is the Question", "Be Careful What You Wish For", "Psychic Friends", "A Perfect Wedding", "Abby Morgan, Rest in Peace", "Reunited", "Ch…Ch…Ch…Changes", "Parental Discretion Advised"

by Bill Chambers SPOILER WARNING IN EFFECT. In striving for an original approach to reviewing the sophomore year of a show for which there are already umpteen online episode guides at one's disposal, I've decided to take inventory of "Dawson's Creek: The Complete Second Season"'s seven major players. A series driven by personalities, if far from light on incident, "Dawson's Creek", as executive producer Paul Stupin says in his DVD commentary for the season finale (or is it the premiere?), hit pay dirt with its core ensemble, so let's examine how their roles evolved beyond the preliminary 13-episode run–and meet a couple of interlopers while we're at it.

Love Don’t Co$t a Thing (2003) + Something’s Gotta Give (2003)

LOVE DON'T CO$T A THING
½*/****
starring Nick Cannon, Jordan Burg, Jackie Benoit, George Cedar
screenplay by Troy Beyer and Michael Swerdlick, based on Swerdlick's screenplay Can't Buy Me Love
directed by Troy Beyer

SOMETHING'S GOTTA GIVE
*/****
starring Jack Nicholson, Diane Keaton, Amanda Peet, Keanu Reeves
written and directed by Nancy Meyers

by Walter Chaw The only thing stranger than an urban remake of the late-'80s Patrick Dempsey teensploitation flick Can't Buy Me Love is a blow-by-blow remake of 2000's What Women Want, the latter suddenly more understandable in light of the stultifying limitations John Gray-disciple Nancy Meyers brings to the table as writer-director of that unforgivable rom-com and the dedicatedly unremarkable Something's Gotta Give as well. The disturbing realization is that both Love Don't Co$t a Thing and Something's Gotta Give are products of women filmmakers, writing and directing films in an industry, at least in the United States, still dominated by men–and that both films are non-descript, fairly unflattering to women, definitively unkind to men, and ostensible comedies that wring the genre dry with great droughts of meet-cute, contrivance, bad direction, and enough predictable, twee dialogue to fill a dozen Ephron sisters pictures.

Lara Croft Tomb Raider: The Cradle of Life (2003) [Special Collector’s Edition|Widescreen Collection] – DVD

*½/**** Image A+ Sound A+ Extras A
starring Angelina Jolie, Gerard Butler, Ciaran Hinds, Djimon Hounsou
screenplay by Dean Georgaris
directed by Jan De Bont

Laracroft2by Walter Chaw The weirdest thing about the pretty weird Lara Croft Tomb Raider: The Cradle of Life (hereafter Tomb Raider 2) is that the filmmakers either haven't seen Raiders of the Lost Ark or, more likely, hope that no one in the target audience has. With Angelina Jolie and her costume-enhanced bod serving as the distaff version of Harrison Ford's grizzled globetrotting heartthrob, the doubling becomes fascinating when looked at through the prism of Hollywood's (and society's, if you want to go there) hots for professorial old men and sexy young women. Consider, after all, that Indy gets eyes made at him while providing exposition in a dusty classroom (fully clothed), while Lara Croft delivers vital plot information in a rubber bikini; the dichotomy between brains and bust is pretty striking, even as the faux ancient frieze featuring the Ark of the Covenant/Pandora's Box appears to be identical, along with the dire consequences of opening the respective crates.

Jet Lag (2002) – DVD

Décalage horaire
½*/**** Image B Sound A Extras N/A
starring Juliette Binoche, Jean Reno, Sergi López, Scali Delpeyrat
screenplay by Christopher Thompson & Danièle Thompson
directed by Danièle Thompson

by Walter Chaw A beautician (Rose (Juliette Binoche)) fleeing an abusive relationship and a frozen-food magnate (Félix (Jean Reno)) on his way to the funeral for an ex-in-law meet when Charles de Gaulle Airport is shut down during some kind of labour strike. Bonding over a constantly ringing cell phone (ah, what's more romantic than a goddamned cell phone?), the unlikely twosome decides to share a hotel room, where Félix browbeats Rose into taking off some of her makeup, and Rose decides that she's already ready to settle down into another abusive relationship. With the airport forever threatening to open, Binoche and Reno move around various sets in exact two-shot medium compositions that find them spouting their deadening monologues at one another in a failed attempt to convince that they are actually occupying the same space, head or heart or otherwise.

And the Geeks Shall Inherit the Earth: FFC Interviews Paul Feig

PaulfeiginterviewtitleDecember 14, 2003|Sitting conspicuously on a prominent LoDo street corner, Denver's Nuevo-Mexican restaurant Tamayo is the epitome of hip–so while I was thrilled to be meeting Paul Feig, co-creator of television's "Freaks and Geeks" and "Undeclared", the eatery seemed a little incongruous a setting for a man who's made his mark as champion of the sensitive uncool. Natty in suit and tie and fresh from an introduction (to a group of high-schoolers, natch) of his new film I Am David, Feig impresses with an open intelligence, an engaging charisma, and what appears to be a genuine appreciation for where he is in his career and life. The author of the heartbreaking/hilarious Kick Me: Adventures in Adolescence, Feig is one of our most vital chroniclers of the heartache of youth and the angst of being intelligent in an anti-intellectual world. He stands with the bright lights of the American letter, folks such as Sarah Vowell, Dave Eggers, and David Sedaris, in defining a new collective voice in our popular discourse. The of-the-moment setting didn't seem as incongruous after meeting the wise, funny, and engaging Feig.

Seabiscuit (2003) [Widescreen] – DVD

*/**** Image A+ Sound A Extras B-
starring Jeff Bridges, Chris Cooper, Tobey Maguire, Elizabeth Banks
screenplay by Gary Ross, based on the book by Laura Hillenbrand
directed by Gary Ross

by Walter Chaw In a summer redolent with superhero melodramas, Seabiscuit, a Golden Age bodice-twister about a plucky boy and his intrepid horse populated with a cast of good-looking cut-outs to fill out the good-looking backgrounds, isn't even the most interesting. All of it feels a little airless–a carefully-manipulated arrangement composed entirely of meticulously-preserved flowers that give the illusion of vitality when in truth, they're taken out of time and well past their prime. Seabiscuit could have been made in the 1940s–and it was, really, as My Friend Flicka: two untamed spirits tamed by one another while various authority figures wisely cheer them on. Like that film, writer-director Gary Ross's adaptation of Laura Hillenbrand's excellent non-fiction washes out as something creepily nostalgic, weightless, and unintentionally disturbing. There's something poetic about a scene in the middle of Seabiscuit when Charles Howard (Jeff Bridges, always good) leaves in the middle of a bloody bullfight when taken with a line later in the film when plucky boy jockey Red (Tobey Maguire) warns his replacement not to beat Seabiscuit on his left flank because "that's where he was beaten when he was young." Beat him on the right side, is the implication, and decades of conditioning from other films (particularly Disney's anthropomorphic films) have made driving animals to the brink of exhaustion and death at the end of whip a little hard to take with a blithe indifference.

The Last Samurai (2003) + The Girl from Paris (2003)

THE LAST SAMURAI
**½/****
starring Tom Cruise, Billy Connolly, Tony Goldwyn, Shin Koyamada
screenplay by John Logan and Marshall Herskovitz & Edward Zwick
directed by Edward Zwick

Une hirondelle a fait le printemps
***/****

starring Michel Serrault, Mathilde Seigner, Jean-Paul Roussillon, Frédéric Pierrot
screenplay by Christian Carion and Eric Assous
directed by Christian Carion

Lastsamuraiby Walter Chaw Concerned with the encroachment of technology, spawned by the humanism of the French Revolution, Romanticism as a movement in poetry is involved in nostalgia for an idealized Natural history. On film, it occasionally manifests itself in period pieces that focus on the encroachment and proliferation of the railroad: its engines (as in King Vidor’s Duel in the Sun and Beyond the Forest, or the Hughes Brothers’ From Hell) the manifestation of the industrial revolution in terms of hellmouths and serpents–William Blake’s “Tyger” burning bright in the forests of a primordial night, all-consuming and inexorable. That loss of ritual to the march of time, tradition and heritage falling before the metal chimera of technology finds itself articulated in two very different films: Edward Zwick’s curious, derivative, workmanlike The Last Samurai, and Christian Carion’s bleak and affecting The Girl from Paris (Une hirondelle a fait le printemps).

Looney Tunes: Reality Check (2003) + Looney Tunes: Stranger Than Fiction (2003) – DVDs

LOONEY TUNES: REALITY CHECK
½*/**** Image A Sound B Extras B-

LOONEY TUNES: STRANGER THAN FICTION
½*/**** Image A Sound B Extras B-

by Travis Mackenzie Hoover So it's come to this: after decades of revelling in the hair-trigger-timed, artfully-drawn, beautifully lush fruits of the old Warner Brothers animation stable, we are now reduced to badly animated web broadcasts slapped haphazardly onto DVD. This cynical cash-grab has nothing to do with the craft of classic-Hollywood Looney Tunes and everything with trying to muscle in on an animation market largely dominated by Disney. But the iron that forged the greatness of the old shorts has largely run cold, replaced by the pathetic brandishing of the only other big cartoon trademarks in town–making for something from which only the very young or the very easily amused could derive any pleasure.

Boat Trip (2003) [The Unrated Version] – DVD

*/**** Image B- Sound B Extras C-
starring Cuba Gooding, Jr., Horatio Sanz, Vivica A. Fox, Roselyn Sanchez
screenplay by Mort Nathan & William Bigelow
directed by Mort Nathan

by Walter Chaw Scraping bottom, he said adding to the pool of limp entendre that comprises the whole of Mort Nathan’s excrescent Boat Trip–scraping bottom describing not only the film, but also–this was possible?–Cuba Gooding Jr.’s career. Booked onto a gay cruise by a vengeful travel agent, jilted Jerry (Gooding Jr.) and his pal Nick (Sanz), an interesting odd couple in that both are career second-fiddles (imagine Garfunkel and Oates and you’re close to the mark), try a little too hard to prove their heterosexuality before Gooding Jr. again demonstrates that his career more typically leans towards the mute Stepin Fetchit sidekick of Lightning Jack than it does Rod Tidwell. It’s no shocker that Jerry will fall for a fetching steward Gabriella (Roselyn Sanchez) while being unable, Jack Tripper-like, to reveal to her his affection for the weaker sex; complicating matters is a gaggle of Swedish swimsuit models needing a lift, offering a healthy dose of leering misogyny to the already lethal stew of screaming homophobia. If anything, Boat Trip is an extraordinary monument to bad decisions and bad timing–a picture so ill-conceived and, at its heart, so mean-spirited that it’s nigh impossible to understand how any person in their right mind could have thought this was a bright idea.

Amandla!: A Revolution in Four-Part Harmony (2002) – DVD

**½/**** Image B+ Sound A Extras C+
directed by Lee Hirsch

by Travis Mackenzie Hoover Personal desires have a nasty habit of stepping on good intentions. It’s easy to think that by taking an interest in one corner of an issue/cause/milieu, you’re talking about all of it, and it’s just as easy to treat that corner on film while centring on that one thing you really like about it. Such is the case with Lee Hirsch, the well-meaning director of Amandla!: A Revolution in Four-Part Harmony (hereafter Amandla!). Anyone can see that he really, really, really likes South African freedom music, and with the examples his film gives, it’s not difficult to see why. But he’s so taken with its beauty and power that he ascribes to it magical powers it can’t possibly possess. Nobody can deny the importance of music to the South African struggle, but Amandla! is so in love with it that it makes it the entire struggle, a position there’s no chance in hell of it proving.