****/**** Archives - Page 17 of 27

Somewhere (2010)

December 22, 2010****/****, 2000s, 2010, Authors: Walter Chaw, Comedy, Directors: Sofia Coppola, Drama, Italy, Japan, Theatrical, UK

****/****
starring Stephen Dorff, Elle Fanning, Chris Pontius, Michelle Monaghan
written and directed by Sofia Coppola

by Walter Chaw Sofia Coppola’s Somewhere is another of her little tales of listlessness and the lost, of the beauty in the longueurs of existential crises. The summation of her riffs on loneliness and temporariness and the brief interludes of light that merely serve as punctuations for the dark, it’s her best film. Funny how one of the great, near-universally-accepted cinema fiascos could net a filmmaker damaged enough to make delicate, ambiguous pictures about the fear of growing up. It’s there at those crossroads that Coppola’s work locates itself with characters in situations larger than them, buffeted into ideological corners and forced to answer Prufrock-ian questions, cloistered in hotels and Versailles that substitute for chambers of the sea, indeed, among some talk of you and me. Somewhere feels deeply, intensely personal, though the only secrets it divulges are the obvious ones (the life of reluctant celebrity played out in anonymous rooms before invisible audiences), so that its intimacy is a product of a conversation between its impossible signs and the nostalgia for an experience of loss that we provide it. It’s gorgeous, and gorgeously broken–a movie about lifelines by a person who’s drowned.

The Other Guys (2010) [The Unrated Other Edition] – Blu-ray Disc

December 13, 2010****/****, 2000s, 2010, Action, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Comedy, Crime, FFC Must-Own

****/**** Image A- Sound A Extras B+
starring Will Ferrell, Mark Wahlberg, Eva Mendes, Dwayne Johnson
screenplay by Adam McKay & Chris Henchy
directed by Adam McKay

by Ian Pugh SPOILER WARNING IN EFFECT. Think about what sort of film would place Will Ferrell's schlubby physique and vacant grin against Mark Wahlberg's sharp, furrowed brow. More than just comically mismatched, these two actors belong in different movies, different genres…on different planets, even. They share something resembling a love-hate "chemistry," but from the get-go the pairing feels off–different. Eventually you figure out that The Other Guys is the kind of movie that thrives on bizarre contradictions–the kind of movie where gun-toting heroes are sent to end corporate malfeasance, where their vehicles of choice are a Prius and a Gran Torino that runs on "100% vegetable oil," where they loudly defend not the awesomeness of Star Wars but its scientific accuracy.¹ A quintessentially American response to the quintessentially British Hot Fuzz, Adam McKay's The Other Guys is the funniest, most delirious comedy I've seen in a long while, and it matches and exceeds the sharp cultural satire of McKay's Talladega Nights in tackling not so much the conventions of the buddy-cop genre as the childish drama that attends them.

One Flew Over the Cuckoo’s Nest (1975) [Two-Disc Special Edition] – DVD + One Flew Over the Cuckoo’s Nest (’08 release + ’10 reissue) – Blu-ray Discs

December 7, 2010****/****, 1970s, 2010, Authors: Bill Chambers, Best Picture (Academy Awards), Blu-ray Disc, Drama, DVD, FFC Must-Own, Jack Nicholson

****/****
DVD – Image A Sound B+ Extras B+
'08 BD – Image A- Sound A- Extras B+
'10 BD – Image A- Sound A- Extras A+
starring Jack Nicholson, Louise Fletcher, William Redfield, Will Sampson
screenplay by Lawrence Hauben and Bo Goldman, based on the novel by Ken Kesey
directed by Milos Forman

by Bill Chambers Philosophically sound, motivational, inspirational, Czech director Milos Forman's One Flew Over the Cuckoo's Nest is one of a small number of Best Picture winners to actually deserve the statuette. Arriving at the crest of a European-influenced period of filmmaking, before "brats" Spielberg and Lucas hijacked Hollywood once and for good, One Flew Over the Cuckoo's Nest is not popularly considered a seminal movie of its cinematically lauded decade, though it did change the tenor of Jack Nicholson's career (he'd always played loose cannons, but of a squarer breed) and became the first film since 1934's It Happened One Night to sweep the five major Oscar categories: Picture, Actor, Actress, Director, and Screenplay.

Black Swan (2010)

December 3, 2010****/****, 2000s, 2010, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Theatrical, Thriller

****/****
starring Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey
screenplay by Andres Heinz and Mark Heyman and John McLaughlin
directed by Darren Aronofsky

by Walter Chaw She’s incapable of reaching climax throughout the first hour of Black Swan, but then the floodgates open in the most Keatsian work in Darren Aronofsky’s growing portfolio of Romanticist explorations. Call it a ballet of the consummation sublime, the idea that once achieved, the immediate disappointment and disgust for the act overwhelms the sexual release of the moment before–and watch Black Swan in a lovelorn double-feature with Jane Campion’s Bright Star for the full impact of Aronofsky’s achievement here. As a thriller, Black Swan doesn’t do much more than graft a few phantom frames onto the periphery of Jean Benoit-Levy’s Ballerina, Altman’s The Company, or Powell/Pressburger’s The Red Shoes–but note how the picture owes its creepy intensity to the sort of social satire-through-body horror popularized by David Cronenberg. (Though it’s Cronenberg as fever dream rather than as insectile chill.) Note, too, how Natalie Portman finally finds herself the actor she was always considered to be in a role that breaks her legs and feet, forces her to masturbate and self-mutilate, and in the end transforms her into the very effigy of the absolute, voracious, consumptive nature of creation. In its nasty sexual biology, it’s the evocation of the secret ending to Charlotte’s Web–the off-stage fucking, and cannibalism, and matricide, and all that hunger prettified into a phrase artfully turned.

The Treasure of the Sierra Madre (1948) [Two-Disc Special Edition] – DVD|Blu-ray Disc

November 15, 2010****/****, 1940s, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, FFC Must-Own, Mexico, Thriller, Western

****/****
DVD – Image A Sound B+ Extras A+
BD – Image A- Sound A- Extras A
starring Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett
screenplay by John Huston, based on the novel by B. Traven
directed by John Huston

by Walter Chaw John Ford isn’t America’s Akira Kurosawa, John Huston is, and The Treasure of the Sierra Madre, an intimate epic that unfolds against the backdrop of the Mexican Revolution, is Huston’s Throne of Blood. Huston also draws comparisons to Ernest Hemingway, not just for being a man’s man in life, but for his precision and economy in art. There isn’t any flab on The Treasure of the Sierra Madre–it’s as sleek as a dancer in its waltz between complex character drama on the one side and broad social commentary on the other. There haven’t been many better American films (it’s Huston’s best film next to Fat City and maybe The Misfits, and it boasts of Humphrey Bogart’s best performance without question), and when it’s spoken of, it’s spoken of in terms of one of those films that decided careers in the cinema for generations of filmmakers.

Invasion of the Body Snatchers (1978) – Blu-ray + DVD

October 26, 2010****/****, 1970s, 2010, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror, Sci-Fi

****/**** Image A- Sound A Extras B
starring Donald Sutherland, Brooke Adams, Leonard Nimoy, Jeff Goldblum
screenplay by W.D. Richter, based on the novel The Body Snatchers by Jack Finney
directed by Philip Kaufman

mustown-7816294 by Walter Chaw I've come to believe that Philip Kaufman's Invasion of the Body Snatchers is not only better than Don Siegel's honoured 1956 original but also one of the best films of the best era in filmmaking. Even in so deep a well as this New American Cinema of ours–one that has forgotten gems like Cockfighter, Fat City, Law and Disorder, Night Moves, and Electra Glide in Blue in there propping up films like Chinatown, The Godfather I/II, Apocalypse Now, Nashville, The Conversation, McCabe & Mrs. Miller, and on and on, trailing into incandescent, brilliant eternity–this little work of absolute paranoid craftsmanship bears up under multiple viewings and close scrutiny and provides a succinct, prescient, terrifying précis of the decade before and the decade to come. What better analogy for the looming Reagan administration than pods stalking in lock-step, armed with arbitrary titles and senses of entitlement, steadfastly incapable of heeding the drumbeat of doom in the black jungles around us? It's a film about the absolute horror of complete conformity and non-engagement, as well as a reintroduction to the McCarthy-ian ideal that the only thing to get terribly exercised about is the ferreting out and excoriation of differing values. Arriving as it does in 1978, at the tail end of the most creative period in American film, Invasion of the Body Snatchers offers up a warning against complacency in the immediate wake of Jaws and Star Wars, which sounded the death knell for the artistry of this period arm-in-arm with the dawning of some unknown, mass- consumed and marketed ethic.

Back to the Future: The Complete Trilogy – DVD|Back to the Future: 25th Anniversary Trilogy – Blu-ray + Digital Copy

October 24, 2010****/****, 1980s, 1990s, 2010, Adventure, Authors: Bill Chambers, Blu-ray Disc, Comedy, Directors: Robert Zemeckis, DVD, FFC Must-Own, Sci-Fi, Spielberg, Time Travel

BACK TO THE FUTURE (1985)
****/****
DVD – Image A- Sound A- Extras B+
BD – Image B+ Sound A Extras A
starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover
screenplay by Robert Zemeckis & Bob Gale
directed by Robert Zemeckis

BACK TO THE FUTURE PART II (1989)
**/****
DVD – Image A- Sound B+ Extras B
BD – Image A- Sound A Extras A-
starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Thomas F. Wilson
screenplay by Bob Gale
directed by Robert Zemeckis

BACK TO THE FUTURE PART III (1990)
**½/****
DVD – Image A Sound A- Extras B
BD – Image A- Sound A Extras A
starring Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Thomas F. Wilson
screenplay by Bob Gale
directed by Robert Zemeckis

by Bill Chambers GREAT SCOT! SPOILERS AHEAD! It's finally here. As not only a mighty-big fan of Robert Zemeckis's Back to the Future but also a completist (and therefore keen to collect Back to the Future's substandard sequels), I've anticipated the DVD release of Back to the Future: The Complete Trilogy (henceforth BTTF) since the format itself became a reality. Alas, the 3-disc set–from its unsexy blue-and-white cover layout to the cheap menus to a slipshod three-part documentary–is problematic. Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers–pan-and-scan sold separately–supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below). But as a BTTF enthusiast, almost every single piece of supplementary material had me arrogantly believing I could've done a better job.

King Kong (1933) (DigiBook) – Blu-ray Disc

October 21, 2010****/****, 1930s, 2010, Action, Adventure, Authors: Bryant Frazer, Blu-ray Disc, FFC Must-Own

****/**** Image A Sound A Extras A
starring Fay Wray, Robert Armstrong, Bruce Cabot
screenplay by James Creelman and Ruth Rose, from a story by Edgar Wallace and Merian C. Cooper
chief technician: Willis H. O’Brien

by Bryant Frazer Critics of a certain age point to Steven Spielberg’s Jaws and George Lucas’s Star Wars as the two new-style blockbusters that changed the course of moviemaking. It’s meant as a backhanded compliment to those films, whose high-concept efficiency appealed to huge audiences worldwide–and to younger viewers, it comes off as a geriatric complaint from Grandpa Sarris: “Get off my lawn, you kids with your laser guns and your killer sharks.” In truth, while Spielberg and Lucas altered the economics of the industry, they didn’t invent the modern blockbuster. That legacy stretches back to 1933, when the release of King Kong defined the studio tentpole for decades to come.

Greenberg (2010) – Blu-ray Disc

October 5, 2010****/****, 2000s, 2010, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, FFC Must-Own, Romance

****/**** Image A Sound A Extras D
starring Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh
written and directed by Noah Baumbach

by Walter Chaw The ideal follow-up to his Dorothy Parker-cum-Rohmer shrine Margot at the Wedding, Noah Baumbach's Greenberg is a deepening of the filmmaker's examinations of the peculiar voids over which we stretch the niceties of interaction betwixt the miserable intellectual elite. It's the Algonquin Roundtable reconstituted as wits without an audience: all outrage without an outlet, there's even this sense of panic attached to Greenberg's little whorls of nervous intellectualism, as if Jonathan Edwards's penitents were literati at risk of being cast into the hell of everyone else. Just as ignorance is bliss, the opposite is most assuredly also true, and it's the product of that deep, consuming contemplation of the navel that is the foundation for Baumbach's films, from his post-grad Kicking and Screaming through to his portraits of agonizing relational disintegrations The Squid and the Whale and Margot at the Wedding. The anxiety that drives his work is the fear that the armour equipped to defend against the perception of ordinariness doesn't fit well, and that the discovery of the idiot driving the sage is not merely likely but inevitable. His are films, then, of a certain deep discomfort with the projection of the self–and Greenberg, ironically, is an examination of all of Baumbach's issues carried off with what seems like absolute confidence. If Baumbach suffers from the same self-doubt as his characters, he's no longer showing it in his films.

A Scanner Darkly (2006) – Blu-ray Disc

October 3, 2010****/****, 2000s, 2010, Animation, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Richard Linklater, Drama, FFC Must-Own, Mystery, Sci-Fi, Thriller

****/**** Image A+ Sound A- Extras C
starring Keanu Reeves, Robert Downey Jr., Woody Harrelson, Winona Ryder
screenplay by Richard Linklater, based on the novel by Philip K. Dick
directed by Richard Linklater

by Walter Chaw Our reality has almost outstripped Philip K. Dick's paranoid fantasies, and Richard Linklater's grim A Scanner Darkly is the slipperiest take yet on the war between perception vs. reality in a year that knows United 93. Keanu Reeves, so often woefully miscast, is wonderfully imagined here as a guy in a "scramble suit": his appearance constantly shifting in a kaleidoscope of mismatched parts–the uniform of future-narcs (seven years from now, announce the opening titles) sent undercover to ferret out the dopers and dealers of Substance D. It's a hallucinogen that eventually causes a rift in the individual consciousness (the left hemisphere atrophies and the right tries to compensate) and Reeves' Agent Fred is sent to find out where dealer Donna (Winona Ryder) is getting her shit. But the scramble suits seem mainly used to keep the vice squad's identities from one another instead of their quarry, meaning that Fred goes underground as himself, Robert Arctor, in full grunge, inhabiting his once-cozy suburban nook with tweaked conspiracy theorists Ernie (Woody Harrelson) and Barris (Robert Downey Jr.). Meaning, too, that Fred is asked to spy on Arctor, and that Barris, in a pair of hilarious scenes, informs on Arctor to Arctor. It's not the labyrinthine audacity of Dick's delusions that so enthrals, but rather the mendacity of them. What's complicated about A Scanner Darkly isn't the compression of identity or the various plots to which its characters imagine themselves hero and victim, but the idea that reality conforms itself to belief–that because life has stopped making sense to you, life has stopped making sense, period.

I’m Still Here (2010)

September 22, 2010****/****, 2000s, 2010, Authors: Ian Pugh, Comedy, Documentary, Drama, Esoterica, Jack Nicholson, Music, Satire, Theatrical

****/****
starring Joaquin Phoenix, Antony Langdon, Casey Affleck, Sean “P. Diddy” Combs
screenplay by Casey Affleck and Joaquin Phoenix
directed by Casey Affleck

by Ian Pugh It’s far too easy to believe that Casey Affleck’s I’m Still Here hinges on whether or not its subject has perpetrated a hoax. Joaquin Phoenix grows a lunatic’s beard, declares he’s quitting acting, and starts planning a hip-hop career? Surely, he can’t be serious. But here’s how it ends, kids: yes, I guess you could call it a “put-on” in the strictest sense of the word–yet at the same time, he is deadly serious. What needs to be understood about Phoenix, and this film, is that there was a kernel of truth to everything the man mumbled through that maniacal persona. I do believe that Phoenix is tired of acting (or, at least, tired of stardom), and, for his farewell performance, he’s blurred the line between actor and role so completely as to obliterate all our preconceived notions of who he is and what he is supposed to represent. The false Phoenix–the bedraggled, abusive prophet spouting non-sequiturs–is, for all intents and purposes, the “real” Phoenix, the iconic artist who pulls a disappearing act by forcing the art and the iconography to consume his entire being. You can’t call I’m Still Here a mockumentary, exactly, because, inside and outside of the “act,” that is precisely what happened. And what came out of it is a harrowing thought exercise about artistic failure and the baggage of celebrity.

The Social Network (2010)

September 22, 2010****/****, 2000s, 2010, Authors: Walter Chaw, Biopic, Directors: David Fincher, Drama, Theatrical

****/*****
starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer
screenplay by Aaron Sorkin, based on the book The Accidental Billionaires by Ben Mezrich
directed by David Fincher

by Walter Chaw An asshole movie about an asshole, David Fincher’s The Social Network is an exacting, brutal celluloid treatise on the theory that the only reason anything ever gets made in this world is because some smart guys don’t get laid enough. It’s the misandrous analogue to Camille Paglia’s once-inflammatory assertion in her Sexual Personae that if women were in charge of civilization, we’d still be living in grass huts. Freud at its mud-wallow base, The Social Network isn’t thoughtful–it’s not a conversation unto itself, not much more than pocket philosophizing easily turned into a weapon for either side. In the end, it’s just a series of loose, out-of-sequence vignettes chronicling the creation of a 25-billion dollar enterprise on the back of a painful break-up and a best friend getting into an exclusive campus club that said 25-billion dollar enterprise’s creator could not. But it’s good. Good because Fincher and screenwriter Aaron Sorkin have tapped into a vein of male anxiety in a way that feels like mainlining a particularly hot, particularly angry fix. It’s Fight Club again, but with an ending that’s more about the toothed pit at the middle of male loneliness and obsession–drawing that line between genius and psychosis instead of, as in Fight Club, pandering to some notion of a romantic solution capable of soothing eons of atavistic penis crises. It’s Fight Club without Marla.

Animal Kingdom (2010) + Valhalla Rising (2010)

August 11, 2010****/****, 2000s, 2010, Action, Adventure, Australia, Authors: Walter Chaw, Crime, Denmark, Drama, Esoterica, Fantasy, Theatrical, Thriller, UK

ANIMAL KINGDOM
***½/****
starring Ben Mendelsohn, Joel Edgerton, Luke Ford, Guy Pearce
written and directed by David Michôd

VALHALLA RISING
****/****
starring Mads Mikkelsen, Maarten Stevenson, Gordon Brown, Andrew Flanagan
screenplay by Roy Jacobsen & Nicolas Winding Refn
directed by Nicolas Winding Refn

by Walter Chaw David Michôd’s Animal Kingdom respects its audience, a rare commodity during the best of times. The film flatters us by leaving exposition and backstory to our knowledge of anthropology–in fact, Animal Kingdom is best indicated by its unwavering reserve–a reluctance, almost–to say too much when slow, fluid tracking motions and static, medium-distance establishing shots may suffice. Consider a frankly gorgeous tableau late in the film as three people meet in Melbourne’s National Gallery of Victoria: framed against an open space, Michôd allows an extra beat, then another, before continuing with his family gothic. The story isn’t an afterthought, but the dialogue, however minimal, seems to be. The picture’s told through its actions and its images and, in that way, reminds of a Beat Takeshi film, of all things, what with its focus on criminality and its enthralling slowness. If there’s another indie demiurge to which Michôd pays obeisance, it’s Michael Mann–and the success of the picture (as shrine to masculinity, as introspective character study) suggests that cribbing from Kitano and Mann, if it’s as successful a larceny as this, can be successful in no other way.

The Manchurian Candidate (1962) [Special Edition] + Deathdream (1972) + Uncle Sam (1997) – DVDs|Uncle Sam – Blu-ray Disc

July 7, 2010****/****, 1960s, 1970s, 1990s, 2010, Authors: Bill Chambers, Blu-ray Disc, Blue Underground, Canada, Comedy, Directors: John Frankenheimer, Drama, DVD, Espionage, FFC Must-Own, Horror, Mystery, Romance, Satire, Sci-Fi, Thriller, UK, Zombie

THE MANCHURIAN CANDIDATE
****/**** Image A+ Sound A Extras B+
starring Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
screenplay by George Axelrod, based on the novel by Richard Condon
directed by John Frankenheimer

Dead of Night
***½/**** Image A- Sound B Extras A-
starring John Marley, Lynn Carlin, Richard Backus, Henderson Forsythe
screenplay by Alan Ormsby
directed by Bob Clark

UNCLE SAM
**½/****
DVD – Image B+ Sound B Extras A-
BD – Image B Sound A Extras A-
starring Isaac Hayes, Bo Hopkins, Timothy Bottoms, Robert Forster
screenplay by Larry Cohen
directed by William Lustig

by Bill Chambers SPOILER WARNING IN EFFECT. As the zeitgeist is one of those things we tend to discuss in the past tense, you have to wonder whether it’s a vacuum or a barometer. In other words, the point at which culture-mongers finally lunge at a craze is usually once it’s begun shrieking its death rattle, and yet a post-mortem of said craze invariably divulges a complex tapestry of art and politics, the ascription of happenstance to which seems preposterous. Our own Walter Chaw brilliantly observes in recent omnibus reviews pairing Love Me If You Dare with Valentin and Dodgeball with Napoleon Dynamite that leitmotifs are emerging at the box office free of predetermination, and I myself got a faint chill when I became cognizant of having consecutively watched the upcoming DVDs of John Frankenheimer’s 1962 The Manchurian Candidate, Bob Clark’s 1972 Dead of Night (a.k.a. Deathdream), and William Lustig’s 1997 Uncle Sam. The Manchurian Candidate is getting reissued because MGM wants to piggyback the P&A for this summer’s star-studded remake, Dead of Night because it’s a perennial cult fave, and Uncle Sam because Lustig owns the company; three separate objectives, then, for putting out three different pictures all concerning shell-shocked war veterans bringing the violence home with them. Considering the length of time it must have taken to prepare these beautifully mastered, supplement-rich discs, that they coincide with not only each other but also the cooling of patriotic fervour (coupled with the spontaneous theatrical release of Michael Moore’s anti-Dubya Fahrenheit 9/11) is like getting the rare privilege to see the forest for the trees.

Predator (1987) [Ultimate Hunter Edition] – Blu-ray Disc

July 5, 2010****/****, 1980s, 2010, Action, Adventure, Authors: Walter Chaw, Blu-ray Disc, Horror, Mexico, Schwarzenegger, Sci-Fi

****/**** Image C Sound A Extras B+
starring Arnold Schwarzenegger, Carl Weathers, Jesse "The Body" Ventura, Bill Duke
screenplay by Jim Thomas & John Thomas
directed by John McTiernan

by Walter Chaw Appearing the same year as Stanley Kubrick's great, enigmatic, dangerous Full Metal Jacket, the brilliant neo-noir of Alan Parker's Angel Heart, John Hughes's devastating Planes, Trains & Automobiles, and what many feel is the quintessential film of the 1980s, Wall Street, John McTiernan's Predator is, in plain truth, one of the two real quintessential films of the decade, a distinction it shares with Back to the Future–pictures, both, that initially appear to toe the Reagan era's line of worship at the altar of Eisenhower's mythological Americana only to reveal that lost wars cannot, in fact, be re-fought and that the Good Old Days were always a little violent and randy. It's a film, this Arnold Schwarzenegger vehicle all of oiled musculature and technological fetishism, of unusual kinetic power and intelligence, one that sets out to sate the popular audience's hunger for such entertainments in the age of the modern blockbuster before leaving its hero battered, broken, frightened, alone. Its kinship is to movies from the period like Aliens and, yes, Rambo: First Blood Part II–films that understand that when Shane rode away at the end, he was probably just looking for a place to die.

Golden Age Romance on DVD

June 28, 2010****/****, 1940s, 1950s, 1960s, Adventure, Authors: Walter Chaw, Comedy, Crime, Directors: Billy Wilder, Directors: Elia Kazan, Drama, DVD, Romance, Teen

ROMAN HOLIDAY (1953)
[CENTENNIAL COLLECTION]
***½/**** Image B- Sound B Extras C
starring Gregory Peck, Audrey Hepburn, Eddie Albert, Hartley Power
screenplay by Ian McLellan Hunter and John Dighton
directed by William Wyler

SABRINA (1954)
[CENTENNIAL COLLECTION]
**½/**** Image B Sound B Extras C
starring Humphrey Bogart, Audrey Hepburn, William Holden, Walter Hampden
screenplay by Billy Wilder, Samuel Taylor and Ernest Lehman, based on Taylor’s play
directed by Billy Wilder

LOVE IN THE AFTERNOON (1957)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
½*/**** Image C Sound B
starring Gary Cooper, Audrey Hepburn, Maurice Chevalier, John McGiver
screenplay by Billy Wilder and I.A.L. Diamond, based on a novel by Claude Anet
directed by Billy Wilder

NOW, VOYAGER (1942)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
**½/**** Image A- Sound B Extras D
starring Bette Davis, Paul Henreid, Claude Rains, Gladys Cooper
screenplay by Casey Robinson, based on the novel by Olive Higgins Prouty
directed by Irving Rapper

MOGAMBO (1953)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
*/**** Image C+ Sound B
starring Clark Gable, Ava Gardiner, Grace Kelly, Donald Sinden
screenplay by John Lee Mahin, based on a play by Wilson Collison
directed by John Ford

SPLENDOR IN THE GRASS (1961)
[TCM GREATEST CLASSIC FILMS COLLECTION: ROMANCE]
****/**** Image B Sound B Extras D
starring Natalie Wood, Pat Hingle, Audrey Christie, Warren Beatty
screenplay by William Inge
directed by Elia Kazan

by Walter Chaw SPOILER WARNING IN EFFECT. It’s one of those seminal moments that movies provide the culture with now and again, like the swoop up a little rise to an impossibly fresh John Wayne in Stagecoach, or the intervention of a fortuitous steam vent in The Seven Year Itch, this introduction we have to Audrey Hepburn as she’s whirled around in a barber chair in William Wyler’s Roman Holiday to reveal the pixie-cut heard ’round the world. That she’s adorable is a given–the real issue is whether she’s an actress or just a bundle of inexplicable charisma, a ganglion of celluloid starlight that evaporates under the slightest critical scrutiny. I love Roman Holiday, but I vacillate between indifference and actual dislike of the rest of Hepburn’s films. I don’t find her winsome in Breakfast at Tiffany’s, am irritated by her in Charade, think she’s appallingly twee in Love in the Afternoon. She doesn’t hold her own against Sean Connery in Robin and Marian and gets blown off the screen by Albert Finney, Alan Arkin, and Rex Harrison in Two for the Road, Wait Until Dark, and My Fair Lady, respectively. If you ask me, Audrey isn’t an actress so much as someone you would like to have known and maybe had the opportunity to cuddle, which makes her mega-stardom in the Fifties and Sixties all the more testament to her ineffable appeal. Happening right when Method was rendering personalities like Hepburn déclassé, she was making a career of being terminally anachronistic. It’s Ozzie’s Harriet, sashaying while Rome burns. Instant nostalgia; even when she was introduced for the first time, it must have seemed like ages ago.

Easy Rider (1969) [40th Anniversary] – Blu-ray Disc

June 15, 2010****/****, 1960s, 2010, Adventure, Authors: Walter Chaw, Blu-ray Disc, Drama, Esoterica, FFC Must-Own, Jack Nicholson, Road Movie

****/**** Image A Sound A Extras A
starring Peter Fonda, Dennis Hopper, Jack Nicholson, Luke Askew
screenplay by Peter Fonda, Dennis Hopper, Terry Southern
directed by Dennis Hopper

WATCH IN iTUNES

by Walter Chaw SPOILER WARNING IN EFFECT. It's not easy to mark the beginning of the Sixties as an idea. Me, personally, as it's the way I'm wired, I like to use as the starting gun the trilogy of dysfunctional pictures–Psycho, Eyes Without a Face, Peeping Tom–that literally inaugurate the decade, but I'd also accept that 1962's Cuban Missile Crisis was enough for many of the nearly-disaffected to become completely what-the-fuck disaffected. And if you go with that, then what happens at the end of 1963 with the assassination of JFK is that Zapruder places film as the end-all of Truth. A lot changed with those 26.6 seconds of film–or, should we say, a lot changed back, to a period where the newsreel, no matter how doctored or fabricated, was the primary mass means of information-gathering before television began to encroach on it. A lot of ink's been spilled about the extent to which movies in the mid-to-late-Fifties tried to outdo the boob-tube with grand Technicolor visions; comparatively little has been written about Zapruder's 486 colour frames, which stole the thunder of television's hold on vérité–remember, in 1960, Hitch wanted to shoot Psycho in a televisual style for its implicit realism–as elegantly as a shell fired from a mail-order Carcano. TV achieves a stalemate by broadcasting Vietnam during the dinner hour, yet it doesn't win outright until the '90s when it embraces shakycam and film unveils itself once and for all as a magician's medium: smoke, mirrors, Forrest telling LBJ he needs to piss, and the Titanic going down again to the tune of a tween tearjerker.

Dispatch from the 2010 WWSFF: Midnight Mania – Creepy

June 12, 2010****/****, 2010, Authors: Bill Chambers, Canada, Czech Republic, Film Festivals, Short Films, UK

Click here to visit the Worldwide Short Film Festival's official website.

by Bill Chambers Back in my early-twenties, there was one summer job I had where I found myself doodling animals saying inexplicable–and, needless to say, often repulsive–things. It started out as an effort to break the ice with my only co-worker (we spent most of our time locked in a makeshift editing bay together), then escalated into a constant test of her boundaries. I happened across some of these drawings recently, and they are resolutely unfunny: a bunny threatening to kill your mother with an axe, a frog telling a fart joke; in retrospect, I wonder why said co-worker eventually invited me to her wedding. Stockholm Syndrome's my best guess. Nevertheless, during the subterranean Looney Tune that is Everybody (animated; ds. Jessie Mott; 4 mins.; ½*/****), I began to feel grateful that there was no real public forum to display those cartoons back then, because all I'd really be doing is inviting some asshole on the Internet to dismiss it as adolescent shit. This is adolescent shit. Rendered in crude, impatient watercolours, various deer, bats, goats, etc. are anthropomorphized via cheaply cryptic remarks like "I'm too small in the necessary spaces," and "You paralyze me with disgust. You're spilling open like a gelatinous achin' belly." To which I reply, by way of Al Pacino in Heat, "Don't waste my motherfuckin' time!"

Kick-Ass (2010)

April 16, 2010****/****, 2000s, 2010, Action, Authors: Walter Chaw, Comedy, Nicolas Cage, Superhero, Theatrical, Thriller

****/****
starring Aaron Johnson, Christopher Mintz-Plasse, Mark Strong, Nicolas Cage
screenplay by Jane Goldman & Matthew Vaughn, based on the comic book by Mark Millar & John Romita Jr.
directed by Matthew Vaughn

by Walter Chaw A wonderfully unlikely amalgam of Hong Kong-era John Woo and Shaolin Soccer/Kung Fu Hustle–era Stephen Chow, Matthew Vaughn's ebullient, often-unconscionable Kick-Ass reimagines Woo's iconic Tequila as an 11-year-old girl with a purple bob, an incredible potty mouth (she uses the "C" word correctly in a sentence, cunts), and absolutely no remorse in crushing a defenseless douchebag in a car cuber. Hit Girl (Chloë Grace Moretz) is destined to be an icon, a more popular tattoo-parlour fave than Calvin in evoking the cheerful, insouciant lawlessness of misdirected youth. Far from truly groundbreaking, though, sober minds could only identify her as a continuation of that quintessentially American, Huck Finn tradition of children as collective, societal Id and trickster gods. She's even employed in the picture as a punitive, apolitical, unapologetic champion of order who limits her victims to drug-dealers and gangsters, those disturbers of civilization. As her father (Nicolas Cage) clarifies in response to her unconventional upbringing, it's not his blame to shoulder, but arch-baddie Frank D'Amico's.

Night Moves (1975) – DVD

April 14, 2010****/****, 1970s, Authors: Walter Chaw, Crime, DVD, Mystery, Thriller

****/**** Image B Sound B Extras D
starring Gene Hackman, Jennifer Warren, Edward Binns, Susan Clark
screenplay by Alan Sharp
directed by Arthur Penn

by Walter Chaw On the strength of his scripts for The Hired Hand, Ulzana’s Raid, and Night Moves, Scottish novelist Alan Sharp seems well at home with the better-known, more highly-regarded writers and directors of the New American Cinema. Sharp’s screenplays are marked by a narrative complexity and situations gravid with implication and doom.¹ Take the moment in the Arthur Penn-helmed Night Moves where broken-down P.I. Harry Moseby (Gene Hackman, reuniting with Penn for the first time since Bonnie and Clyde), after discovering a body in a sunken wreck off the coast of Florida, watches as his two sleazeball hosts (John Crawford and Jennifer Warren)–who’ve previously exchanged an odd nod and a knowing glance in which something is silently decided about how to handle this new, inquisitive element dropped in their midst–break into a broken tango to a tune on the radio. Harry salutes them in a way that suggests he understands what the hell is going on and shuffles off to bed. It’s one of the most harrowing moments in a harrowing decade of film, and nothing much happens in it except for the look Hackman gives as a damned soul caught on the horns of an unknowable mystery. The seduction scene that immediately ensues reminds in cadence and pace of the dream sequence from Hackman’s earlier The Conversation: “Where were you when Kennedy died?” “Which Kennedy?” “I dunno, any Kennedy.” Hackman is anchored to this period because he so ably portrays the everyman who desires enlightenment against the pervasive belief that there’s no longer hope for anything like enlightenment in this post-Vietnam/post-Watergate dystopia–that the solution to everything that’s wrong in this world is, “Forget it, Jake. It’s Chinatown.” The slow, looping circles the boat “Point of View” describes at the end of the picture constitute perhaps the most trenchant metaphor for all of the New American Cinema.