The Aviator (2004) [Two-Disc Widescreen Edition] – DVD

May 22, 2005Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Directors: Martin Scorsese, Drama, DVD, FFC Must-Own, Germany, Romance

****/**** Image A Sound A- Extras B
starring Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, John C. Reilly
screenplay by John Logan
directed by Martin Scorsese

by Walter Chaw About a third of the way into Martin Scorsese’s fabulous The Aviator, a young Howard Hughes (Leonardo DiCaprio), with ingénue Jean Harlow (Gwen Stefani) on his arm, attends the premiere of his lavish WWI epic Hell’s Angels (1930)–a picture that burned a significant portion of Hughes’s millions before becoming a smash, and one that still contains some of the most daring, astonishing aerial sequences ever shot for a motion picture. As paparazzi throng, smothering Hughes with flashbulbs and red carpet questions, he looks dazzled, confused: a consequence of his deafness in some part, sure, but also, I’d suggest, a clue into this idea of Scorsese’s–which he’s had since at least Taxi Driver–that film is a waking dream, a kind of bad yet thrilling hallucinogenic dope trip; this Howard Hughes is a sleepwalker who is, at this moment, struggling to stay asleep. Later, Hughes takes his lover Katharine Hepburn (Cate Blanchett) up in his airplane where they cruise the sky above the Hollywood hills and share a (gulp) bottle of milk. (No small step for the pathologically germophobic Hughes.) The source for Hughes’s mental illness is traced to a haunted opening scene where as a child he is bathed by his mother (comparable in repressed eroticism to the notorious bathtub sequence in Jonathan Glazer’s Birth) and warned that the world outside can only hold for him the promise of abandonment and mortal contamination.

Layer Cake (2004); 3-Iron (2004); Palindromes (2005)

May 12, 2005Posted in****/****, 2000s, Action, Authors: Walter Chaw, Comedy, Crime, Drama, Esoterica, Japan, Romance, South Korea, Theatrical, Thriller, UK

LAYER CAKE
***/****
starring Daniel Craig, Colm Meaney, Kenneth Cranham, Michael Gambon
screenplay by J.J. Connolly, based on his novel
directed by Matthew Vaughn

3-IRON
****/****
starring Lee Seung-yeon, Jae Hee
written and directed by Kim Ki-duk

PALINDROMES
***½/****
starring Ellen Barkin, Stephen Adly Guirgis, Jennifer Jason Leigh, Richard Masur
written and directed by Todd Solondz

Layercakeby Walter Chaw Producer Matthew Vaughn makes his directorial debut with the Brit underground gangster flick Layer Cake, and he does it with a sexy, cool savoir-faire that runs slick and smooth. It's softer than Jonathan Glazer's fabulously decadent Sexy Beast (most of that due, no doubt, to there being no baddie the equivalent of Ben Kingsley's Don Logan in Vaughn's film) and more coherent than Paul McGuigan's Gangster No. 1, but it slips snug into the same conversation. Now that Guy Ritchie's been gobbled whole by his very own vagina dentate, it stands to reason that Vaughn, Ritchie's producer on Lock, Stock, and Two Smoking Barrels and Snatch, would seek to fill the void left in the only U.K. pop genre with any sort of international currency all by his own self. Yet the product of Vaughn's hand isn't so much an imitation as it is a refinement: not better necessarily, but calmer–closer to the lounge lizard James Bond of the 1960s than to the feisty punk Michael Caine heisters from roughly the same period, though Layer Cake is infused, of course, with a healthy dose of nastiness and post-modern irony.

Film Freak Central does “The Art of Silent Film” series

April 19, 2005Posted in****/****, 1920s, 1930s, Action, Authors: Walter Chaw, Comedy, Directors: Charles Chaplin, Drama, Family, Film Festivals, Germany, Romance, Soviet Union, Thriller

Silentfesttitleby Walter Chaw Denver Art Museum curator Tom Delapa is a one-man production. He books the prints, rents the space, does the research, and twice annually puts on a show consisting of possibly the most historically vital revivals in the Mile High City. Past years have seen screenings of pictures as varied as The Fountainhead and It Came From Outer Space in its original 3-D form–and now, over the course of seven consecutive Tuesdays at Denver's Starz Filmcenter beginning April 5, Mr. Delapa brings us "The Art of Silent Film." It's an ambitious program consisting of lesser-known pieces or rare prints from well-regarded artists of the silent era, giving cineastes the opportunity to see King Vidor's The Crowd (as yet unreleased on DVD) in 16mm with live accompaniment from pianist Hank Troy, as well as 35mm prints of both Buster Keaton's The Navigator and Charlie Chaplin's defiant Modern Times. These share the bill with 16mm presentations of Sergei Eisenstein's Strike, F.W. Murnau's The Last Laugh, Erich von Stroheim's Foolish Wives, and G.W. Pabst's bleak, profound Diary of a Lost Girl. While the audience has grown for the Denver Art Museum film series, the truism remains that for as much lip service as is paid to the dearth of quality cinema in the heartland, if you don't get out and support essential institutions like this one, then they'll just go away.

House of Flying Daggers (2004) – DVD

April 17, 2005Posted in****/****, 2000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, China, Drama, DVD, Hong Kong, Martial Arts, Romance

****/**** Image A- Sound A+ Extras B-
starring Takeshi Kaneshiro, Andy Lau, Ziyi Zhang, Song Dandan
screenplay by Li Feng & Zhang Yimou & Wang Bin
directed by Zhang Yimou

Mustownby Walter Chaw SPOILER WARNING IN EFFECT. For the dozen or so eye-bleedingly beautiful sequences in Zhang Yimou's new wuxia pian, the encapsulating image is that of the incandescent Ziyi Zhang prostrate beneath a would-be paramour, her delicate, ivory hand pressed against his lips in an eloquently ineffective ward. It's a tableau introduced in a more overt attempted rape in a brothel and revisited in a stream where a quartet of thugs nearly succeed in literally/metaphorically piercing Ziyi with their long spears. House of Flying Daggers (its title in Chinese the loaded "Ambush from Ten Directions"–essentially an ambush from everywhere) is at its essence an allegory for rape and the Chinese tradition of concubinage that Zhang has already explored to varying degrees in Raise the Red Lantern, Ju Dou, Shanghai Triad, and, of course, Red Sorghum, in which a young woman played by Gong Li (Ziyi's predecessor as Zhang's muse) is saved from rape by a young man with whom she later runs a winery. But the conceit of a young woman teaming with her knight in shining armour is complicated in House of Flying Daggers by the fact that she is more than capable of taking care of herself, except, fascinatingly, when the attacks against her are sexualized.

p.s. (2004) + Birth (2004)|Birth (2004) – DVD

April 10, 2005Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Esoterica, FFC Must-Own, France, Germany, Mystery, Romance, Theatrical, Thriller, UK

p.s.
**½/****
starring Laura Linney, Topher Grace, Gabriel Byrne, Marcia Gay Harden
screenplay by Helen Schulman and Dylan Kidd, based on the novel by Helen Schulman
directed by Dylan Kidd

BIRTH
****/**** Image A Sound A
starring Nicole Kidman, Cameron Bright, Danny Huston, Lauren Bacall
screenplay by Jean-Claude Carrière, Milo Addica, Jonathan Glazer
directed by Jonathan Glazer

Psbirthby Walter Chaw Second chances, erasing memories, manipulating perception–films this year like Eternal Sunshine of the Spotless Mind, Code 46, The Forgotten, The Manchurian Candidate, The Village, The Butterfly Effect, Before Sunset, 50 First Dates, The Final Cut, and so on suggest a collective desire to wash the slate clean, put on blinkers, and regain a little of that sweet, blithe ignorance of the day before yesterday. It's never as easy as all that, of course, since things have a tendency of coming back–and when an artifact of the past intrudes on the present it carries with it (along with all those memories of green) an aggressive payload of unexpected reactions. You can never go home again, nor can home ever return to you. Nevertheless, it tries to in a pair of films, two sophomore efforts, as it happens: Dylan Kidd's p.s. and Jonathan Glazer's Birth. Curiously, just the idea of the first film after a triumphant debut is tangled with the desire to recapture a little of the magic of the past.

Oldboy (2003) + The Ballad of Jack and Rose (2005)

April 7, 2005Posted in****/****, 2000s, Action, Authors: Walter Chaw, Drama, Mystery, Revenge, South Korea, Theatrical, Thriller

OLDBOY
****/****
starring Choi Min-sik, Yu Ji-tae, Kang Hye-jeong, Ji Dae-han
screenplay by Hwang Jo-yun, Lim Chun-hyeong, Park Chan-wook
directed by Park Chan-wook

THE BALLAD OF JACK AND ROSE
**½/****
starring Daniel Day-Lewis, Catherine Keener, Camilla Belle, Paul Dano
written and directed by Rebecca Miller

by Walter Chaw

Oldboyballad"I, the Wrath of God, will marry my own daughter, and with her I will found the purest dynasty the earth has ever seen." -Aguirre, Aguirre: The Wrath of God

A Greek tragedy, an opera, a showcase for South Korean cinema, and one exhilaratingly sick piece of cinema, Park Chan-wook's Oldboy is like the three plays of the "Oresteia" distilled into one pure, malevolent, volatile essence. It's vengeance served hot and perverse like a Medeaen stew, a story of settling scores old enough to be archetype married to sounds and images so invasively intimate that the process of working through the film is a little like getting physically violated. It's vital stuff, this Oldboy, its very title suggesting an ironic superhero alter ego–sketching anti-hero Oh Dae-Su (Choi Min-sik) as a fright-mask of arrested development, a child raging against its prematurely-aged body. We meet him one drunken night as he's bailed out of a night in the tank only to spend the next fifteen years in a solitary-confinement prison cell masquerading as a chintzy backwater motor inn room. He watches TV there, mostly cable news and its horrorshow of buildings and bridges falling, with periodic gassings allowing his anonymous captors to stitch up his wrists and gather biological mementos to leave at the scenes of crimes he didn't commit. When he's finally released, it's not clear if he's been falsely led to believe that he's free, if he's escaped by the graces of an ingenious plan involving a chopstick and a lot of time, or if he's died and this is his demented brain's oxygen-starved fantasy of what he woulda done to the lousy sons o'bitches if only he'd lived.

Melinda and Melinda (2005) + Head-On (2004)

April 7, 2005Posted in****/****, 2000s, Authors: Walter Chaw, Comedy, Drama, Germany, Romance, Theatrical, Turkey

MELINDA AND MELINDA
**/****
starring Will Ferrell, Radha Mitchell, Chloë Sevigny, Chiwetel Ejiofor
written and directed by Woody Allen

Gegen die Wand
****/****
starring Birol Ünel, Sibel Kekilli, Catrin Striebeck, Güven Kiraç
written and directed by Fatih Akin

Melindaheadby Walter Chaw I was pretty sure that the stultified paralysis of Anything Else would eventually cause me to do myself serious injury and felt fortunate that when the lights came up, most of the intensity of my dislike for the Woody Allen of the last several years dissipated like the details of a bad dream. It's possible to leave the diminutive auteur in the dark, it seems, and such is the fate, too (and not a bad critique), of the more palatable but no less appallingly reductive and juvenile Melinda and Melinda. It's metaphysics by way of Strindberg, of course, and only as good as Allen ever is at capering around his familiar autumnal Manhattan fantasias in his "serious filmmaker" cap. His milieu, his Yoknapatawpha County, has always been the mating rituals of "blocked" artists–often filmmakers casting or directing films within films (What's Up, Tiger Lily?, The Purple Rose of Cairo, Stardust Memories, Crimes and Misdemeanors, Hollywood Ending)–orbiting around one another in impotent, inevitably mortal, orbits. If he doesn't star in them himself, he hires someone to impersonate him–the Woodman is never far from his own lover/hand, and his casts of invariably grateful manqué dutifully take on his cadences and exhortations to debate Bartók and Bergman in airless dinner parties that would drive even Buñuel nuts.

Nobody Knows (2004)

March 9, 2005Posted in****/****, 2000s, Authors: Walter Chaw, Coming of Age, Drama, Japan, Theatrical

****/****
starring Yûya Yagira, Ayu Kitaura, Hiei Kimura, Momoko Shimizu
written and directed by Hirokazu Kore-eda

by Walter Chaw Hirokazu Kore-eda’s Nobody Knows appears so effortless that the weight of it by its closing credits is just astonishing. It’s classical, formal filmmaking of the kind in which the Japanese seem to specialize, full of silences and long takes while featuring a quartet of performances from children that are so natural they feel stolen. Filmed between autumn 2002 and summer 2003, the picture was edited as it was shot, with the structure taking on the progression and characteristics of the four seasons and Kore-eda devising the shape of the next quarter as the previous one finished. No script was written for the children, who were advised before every shot of the substance of what they were to portray. Its evolution was organic, and evidence of that fluidity in its birth is, in the greatest stroke, never betrayed by telltale awkwardness. Nobody Knows feels like the truth unadorned and it feels like poetry–it’s not often that the two share a breath. Between this and Hungarian director Nimród Antal’s Kontroll, I’ve already seen two of the best films of 2005.

The Iron Giant (1999) [Special Edition] – DVD

March 7, 2005Posted in****/****, 1990s, Action, Adventure, Animation, Authors: Walter Chaw, Comedy, Coming of Age, Drama, DVD, Family, FFC Must-Own, Sci-Fi

****/**** Image A+ Sound A+ Extras A+
screenplay by Tim McCanlies, based on The Iron Man by Ted Hughes
directed by Brad Bird

Mustownby Walter Chaw Brad Bird's The Iron Giant, based on a children's book, The Iron Man, that British poet laureate (and Mr. Sylvia Plath) Ted Hughes wrote after his wife's suicide, is improbably transformed from the dark and Anglocentric source into a throughline pure and sweet to the rapturous Americana of Richard Donner's Superman. It captures an impossible period existing between the idealism of Rockwell and the lonely realist decompositions of Edward Hopper in a flurry of animated cels, telling the tale of a boy and his robot in the month or so when Sputnik was scaring the bejesus out of a suddenly-humbled, suddenly-Luddite United States. Accordingly, the Colour from Outer Space that was the monstrous bad guy in the book is transformed in the film into the paranoia of a country taught to fear an invisible (or barely visible) foe–marking The Iron Giant as something of a timeless picture particularly topical for a country embroiled in a war on foreign soil, a war with an invisible enemy, and the makings of a cold war with a country that has decided the only way to combat American aggression is with nuclear weapons. Tellingly, it's the appearance of nukes at the end of The Iron Giant that coaxes out the heart of the titular tin man–the last word that he has in the picture–"Superman"–whispered with something like awe that has never failed to bring a tear to my secretly-patriotic eye.

Mean Creek (2004) – DVD

February 9, 2005Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Coming of Age, Crime, Drama, DVD, FFC Must-Own, Teen

****/**** Image A+ Sound A- Extras B-
starring Rory Culkin, Ryan Kelley, Scott Mechlowicz, Trevor Morgan
written and directed by Jacob Aaron Estes

Mustownby Walter Chaw Mean Creek is poised at the magic hour of the death of innocence. It deals in corruption like a maggot will, burrowing and gnawing its way through true fauna to take its sustenance in its blithe, indifferent way from the dying of the light. The film represents in its existence and function a transitional vehicle between the end of life and rebirth. In Mean Creek, a slug crawls across cold flesh in a quiet, crepuscular moment; a snail (similar/different) is punished an instant later by a clear-eyed little girl, completing her exile from Paradise in a stroke remarkably brutal not necessarily for the act, but for the freshness of the stain on the perpetrator. The picture's title refers not to malevolence, but to a nature metaphor that works as the centre-point–the protean "mean"–between two extremes. It is that ever-tilting line that marks childhood's end: mercurial, sure, yet as substantial and rude as a brick wall.

The American Astronaut (2001) – DVD

February 8, 2005Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Esoterica, FFC Must-Own, Musical, Sci-Fi

****/**** Image B Sound A Extras A-
starring Cory McAbee, Rocco Sisto, Gregory Russell Cook, Annie Golden
written and directed by Cory McAbee

by Walter Chaw Opening with a mordant prologue that reminds of the expressionless absurdist sensibility of the late Douglas Adams and proceeding through something somewhere between Six-String Samurai and Dead Man (but a science-fiction musical), Cory McAbee’s The American Astronaut is dead brilliant. Demonstrating a truly dazzling level of technical proficiency (despite or due to what must have been a non-budget) and a breathless creativity fecund and macabre, the picture reminds of Harlan Ellison, Dr. Strangelove, and Dark Star in equal measure. Ultimately, The American Astronaut is something all its own, a film that sets itself up as an old-fashioned serial and goes on to explore cinematic and literary theory with a keen eye for composition and an ear for mad scenario and perverse dialogue. The reasoning is Beckett, the execution is Brecht and Weill, and the results are best described as an educational reel directed by David Lynch circa Eraserhead: self-aware and hallucinatory.

Ghost in the Shell 2: Innocence (2004); Sky Captain and the World of Tomorrow (2004); Time of the Wolf (2003)|Sky Captain and the World of Tomorrow (2004) [Special Collector’s Edition – Widescreen] – DVD

January 24, 2005Posted in****/****, 2000s, Action, Adventure, Animation, Austria, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, France, Germany, Italy, Japan, Mystery, Sci-Fi, Theatrical, Thriller, UK

イノセンス
Innocence
Inosensu: Innocence
****/****
written and directed by Mamoru Oshii

SKY CAPTAIN AND THE WORLD OF TOMORROW
**½/**** Image A Sound A Extras A
starring Jude Law, Gwyneth Paltrow, Angelina Jolie, Giovanni Ribisi
written and directed by Kerry Conran

Le Temps du loup
****/****
starring Isabelle Huppert, Béatrice Dalle, Patrice Chéreau, Rona Hartner
written and directed by Michael Haneke

Skyghostwolfby Walter Chaw For me, the most intoxicating visions of the future are those in which we’re drowning in an ocean of our past–garbage, wreckage, Romes burned to a cinder and heaped against the new Meccas of our collective tomorrows. Star Wars proffered a kind of aesthetic of dirt that appealed: a wonderland where the spaceships looked like they’d been flown and there were places like Mos Eisley that reeked of stale liquor, sawdust, and cigarettes. (The distance that George Lucas has gone to disinfect his grubby vision of the future is the same distance that esteem for the franchise has fallen amongst all but the most die-hard chattel.) Among the spearhead of a group of artists who redefined the science-fiction genre in film the same way that Sergio Leone and Sam Peckinpah scuffed-up the western in the Sixties, Ridley Scott evolved the idea of a functional future, with his Alien and Blade Runner serving as visual echoes of T.S. Eliot’s broken stones and fragments shored against our ruins. Terry Gilliam defined the aesthetic when describing his rationale for the look of Brazil (1985): he wanted it to seem as though the whole century had been compacted into a single moment. The timeless “someday soon” that is always just around a corner that never comes.

A Tale of Two Sisters (2003)

January 7, 2005Posted in****/****, 2000s, Authors: Walter Chaw, Drama, Horror, Mystery, South Korea, Theatrical, Thriller

Janghwa, Hongryeon
****/****
starring Kim Kap-su, Jum Jung-ah, Lim Su-jeong, Mun Geun-yeong
written and directed by Kim Ji-woon

Taleoftwosistersby Walter Chaw Every frame of Kim Ji-Woon's A Tale of Two Sisters (Janghwa, Hongryeon) is like taking a dip in the violet pools of A Place in the Sun-era Elizabeth Taylor's eyes. It's sensuous–and the characters that inhabit the velvet, silk, and wood environments put out their hands to touch, dangle their feet off the end of a wharf in the soft green water below, lay their faces against cool blue sheets touched by crepuscular shadows. This is filmmaking as tactile exercise, and the atmosphere in which Kim houses his debauched delights is something like smothering beneath the tender insistence of a satin glove. A Tale of Two Sisters is based on an old Korean folktale of two sisters so abused by the capriciousness of the world that they're forced to take refuge in one another and within themselves. In tone and execution, it feels like Heavenly Creatures; in its tale of an evil stepmother and a haunted castle by the lake in the woods, it has the heft of classic German fairytales.

The Marx Brothers: Silver Screen Collection – DVD

December 13, 2004Posted in****/****, 1920s, 1930s, Authors: Walter Chaw, Comedy, DVD, Musical

THE COCOANUTS (1929)
**½/**** Image C- Sound C-
with Oscar Shaw and Mary Eaton
screenplay by Morrie Riskind, based on the play by George S. Kaufman
directed by Robert Florey and Joseph Santley

ANIMAL CRACKERS (1930)
***/**** Image C Sound C
with Lillian Roth and Margaret Dumont
screenplay by Morrie Ryskind
directed by Victor Heerman

MONKEY BUSINESS (1931)
***½/**** Image B+ Sound C+
with Rockliffe Fellowes and Harry Woods
screenplay by S.J. Perelman and Will B. Johnstone
directed by Norman McLeod

HORSE FEATHERS (1932)
****/**** Image C+ Sound B
with Thelma Todd and David Landau
screenplay by Bert Kalmar and Harry Ruby and S.J. Perelman and Will B. Johnstone
directed by Norman McLeod

DUCK SOUP (1933)
****/**** Image B+ Sound B
with Margaret Dumont and Raquel Torres
screenplay by Bert Kalmar and Harry Ruby and Arthur Sheekman and Nat Perrin
directed by Leo McCarey

by Walter Chaw Popular wisdom holds that the Marx Brothers were best at Paramount, before the public disapproval of their satirical masterpiece Duck Soup sent them fleeing with proverbial tails between their legs to MGM and an ignoble end in a series of progressively worse, studio-sterilized soft-shoe routines. But the truth is that the Marxes didn’t hit their stride until at least their third picture for Paramount, Monkey Business: the first couple of flicks (The Cocoanuts and Animal Crackers) are laden by the team’s dependence on played-out stage productions and the “oh my god” quality of the early talkie, in which actors played to microphones hidden in flower pots, extras stared straight at the camera, and the florid gestures of the theatre were adhered to with pathological devotion.

I Confess (1953) – DVD

December 12, 2004Posted in****/****, 1950s, Authors: Walter Chaw, Canada, Crime, Directors: Alfred Hitchcock, Drama, DVD, Thriller

****/**** Image B Sound B Extras B
starring Montgomery Clift, Anne Baxter, Karl Malden, Brian Aherne
screenplay by George Tabori and William Archibald
directed by Alfred Hitchcock

by Walter Chaw Just the visual beauty of Alfred Hitchcock's I Confess speaks volumes for its inclusion on the short list of the master's masterpieces. This is one of the most astonishing-looking films in all of black-and-white cinematography, its palette of greys a veritable vice press on the already-quailing Montgomery Clift. A late, breathtaking montage wherein Clift, walking the streets of Quebec (filmed on location by the great Robert Burks), crosses a silhouette of a statue of Christ on His last walk to Calvary defines by itself character and theme: Hitchcock's wrong-man obsession clarified as Catholic guilt transference. The power of Hitchcock's best films is a potent mixture of audacious cinematic genius and the suspicion that original sin makes mistaken identity merely the intrusion of cosmic judgment. (It's inevitable and you must have done something at some point to deserve it, besides.) There's something greater at work in Hitchcock's films, the presence of the director asserting itself always–and a connection is struck in I Confess between that directorial control and a sort of implacable karmic omnipresence. For Hitch, filmmaking is Old Testament stuff, and I Confess is a little of that old-time religion.

Straw Dogs (1971) – DVD

November 22, 2004Posted in****/****, 1970s, Action, Authors: Walter Chaw, Crime, Drama, DVD, Horror, Revenge, Thriller, UK

****/**** Image B Sound B
starring Dustin Hoffman, Susan George, Peter Vaughan, T.P. McKenna
screenplay by David Zelag Goodman and Sam Peckinpah, based on the novel The Siege of Trencher's Farm by Gordon M. Williams
directed by Sam Peckinpah

by Walter Chaw Straw Dogs is about an evil man who has so divorced himself from animal logic that he's become monstrous. He's cruel to his wife, comparing her to a child when she's lonesome and an animal when she's amorous, and he blames her for his detachment from himself. She gets impatient during foreplay if he chooses to take a moment to set his alarm or remove his watch, ergo she must be a nymphomaniac of low breeding. At one point, she mischievously changes a "plus" sign on his chalkboard to a minus and he changes it back so that it looks like a crucifix: the instrument of his martyrdom, the faith of his castration–the ideology that seeks to isolate him from his bestial nature. Finally, when she wishes to run away, he loses his grip on carefully-nurtured civilization, slaps her across the face, and orders her upstairs to the bedroom in the same way that Victorian women were banished from the room upon outliving the delight provided by their servile domesticity. This monster moves to a small Cornish village, where he insists on the creature comforts of home, paid for by a grant to study mathematics, of all things. And in the village the monster ultimately finds himself amongst men of a truer nature.

DIFF ’04: Kontroll

October 21, 2004Posted in****/****, 2000s, Authors: Walter Chaw, Comedy, Crime, DIFF/SDFF, Drama, Film Festivals, Hungary, Romance, Thriller
Control****/****starring Sándor Csányi, Zoltán Mucsi, Csaba Pindroch, Sándor Badárscreenplay by Jim Adler & Nimród Antaldirected by Nimród Antal by Walter Chaw A cross between Chris Noth and Clancy Brown's The Kurgan from Highlander, Bulcsú (Sándor Csányi) is the Oedipal anti-hero at the heart of Hungarian director Nimród Antal's drop-dead brilliant Kontroll. A ticket-taker and a rent-a-cop, he's assigned to a misfit crew at odds with every other misfit crew in their Orwellian transit agency. The film, a surprisingly violent and kinetic slapstick comedy reminiscent of Clive Barker's "Midnight Meat Train," begins with one character aping Harpo Marx's blowtorch lighter bit…

Outfoxed: Rupert Murdoch’s War on Journalism (2004) + Uncovered: The War on Iraq (2004)

October 6, 2004Posted in****/****, 2000s, Authors: Walter Chaw, Documentary, Theatrical

OUTFOXED: RUPERT MURDOCH'S WAR ON JOURNALISM
*½/****
directed by Robert Greenwald

UNCOVERED: THE WAR IN IRAQ
****/****
directed by Robert Greenwald

by Walter Chaw A poll was recently conducted: 20,000 people were asked what news show they rely upon for their campaign information, and then they were asked six questions about the respective campaign platforms of each candidate. The sector of the population scoring the lowest (also the sector, according to the Nielsens, least likely to have attended college) consisted of people who watch insane person Bill O'Reilly's "The O'Reilly Factor" over on Fox News, while the population scoring the highest (and most likely to have been to college–something like a 3:1 ratio compared to O'Reilly's audience) preferred Comedy Central's "The Daily Show with Jon Stewart". Tied in with that stat–the revelation of which is only surprising to the GED nation flocking to Fox, 80% of whom still believe that Iraq was directly involved in the 9/11 attacks–is an article in the sharp THE ONION that described liberals in a state of "outrage fatigue." See, satire is a difficult concept, but once grasped it's the quickest, truest way to get at the heart of any absurd situation. Without satire and irony, the issues of the day become reductive and deadening.

Night of the Living Dead (1968) – (Off Color Films) DVD

October 5, 2004Posted in****/****, 1960s, Authors: Walter Chaw, Directors: George A. Romero, DVD, Horror, Zombie

****/**** Image F (colorized)/C- (b&w) Sound C Extras F
starring Judith O'Dea, Duane Jones, Marilyn Eastman, Karl Hardman
screenplay by John A. Russo
directed by George A. Romero

by Walter Chaw George A. Romero's drive-in shocker is not only one of the most important independent and genre films of all-time, but also a dead brilliant civil rights metaphor featuring an unfortunately enduring rarity: a strong, virile, uncommented-upon African-American lead. The casting of Duane Jones came about, according to legend, mainly because Jones was the best actor any of the filmmakers knew. Say what you will of Night of the Living Dead, if you see no other ways that this seminal picture casts a long shadow, it casts a long one by just this merit-based example. The culmination of a lot of themes and trends in the American cinema at that time, the film features neighbour-suspicion, fear of children, fear of provincial National Guardsmen, and the creeping dread that the world may be ending because our government is run by assclowns and nepotists. It's a testament to the undertow of this text (or a testament to how short-sighted we are as a nation) that it still works in the same way over thirty-five years later. But Night of the Living Dead is more than just a devastating metaphor for the class struggle, for the rising tide of suspicion and corruption that tore a chasm through the middle of the United States: it's a tightly-edited, claustrophobically-framed horror film that retains, along with its relevance, its ability to startle and appall.

The Osterman Weekend (1983) [Sam Peckinpah Commemorative 2-Disc Edition] – DVD

August 31, 2004Posted in****/****, 1980s, Action, Authors: Walter Chaw, Drama, DVD, Espionage, Thriller

****/**** Image B Sound B Extras A+
starring Rutger Hauer, John Hurt, Craig T. Nelson, Dennis Hopper
screenplay by Alan Sharp, adaptation by Ian Masters, based on the novel by Robert Ludlum
directed by Sam Peckinpah

by Walter Chaw

"We rely too much on sight, don't you think? Appearances being what they are."

And so encapsulates the genius and the madness of Sam Peckinpah's final film, the contentious, still-relevant The Osterman Weekend. Serving as a bridge of sorts between the psychosexual circus of Brian De Palma's Dressed to Kill (1980) and the technology/media fear of Ridley Scott's Blade Runner (1982) and David Cronenberg's Videodrome (1983), the film strikes a balance between the paranoia cinema of the 1970s and the technophilic sci-fi wonderland of the 1980s. It's brilliant–mark the ways that Peckinpah implies that every shot in the film is taken from a hidden camera for the pleasure of the audience. (A picture hasn't been this successful in indicting the criminal aspect of watching a movie since Hitchcock's heyday.) More than brilliant, like the best of Peckinpah's films, it gets under your skin with scalpel-grace. He made films of intimate violation–of rape, essentially; when you stare into the abyss of Peckinpah's pictures, Peckinpah stares into you.