****/**** Archives - Page 24 of 27

Finding Nemo (2003) [2-Disc Collector’s Edition] – DVD

November 3, 2003****/****, 2000s, Adventure, Animation, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Disability, DVD, Family, FFC Must-Own, Pixar

****/**** Image A+ Sound A+ Extras A-
screenplay by Andrew Stanton & Bob Peterson & David Reynolds
directed by Andrew Stanton

by Walter Chaw The perfect American parable for an anxious new millennium, Andrew Stanton's Finding Nemo is riddled with nightmares and weighted by the existential smallness of its heroic pair, finding a certain immutable gravity in the fear and hope represented by children, rekindled, both, by the spate of child-on-child violence ending our last thousand years. Following hot on horror films that, like the horror films of the late-'60s/early-'70s, focus on unapologetically evil children (then: Night of the Living Dead, Rosemary's Baby, Don't Look Now, The Exorcist, now: The Ring, Identity, Soft for Digging), what Finding Nemo does is present generational paranoia from a parent's point of view, opening as it does with an act of senseless, heartbreaking violence in the middle of an idyllic suburbia. It's not the horror (at this point) of a child facing social ostracism in the school environment, but the horror of making a choice to escape a bad environment only to find oneself in the middle of an upper middle-class tinder pile about to light.

In the Cut (2003) + Sylvia (2003)

October 31, 2003****/****, 2000s, Australia, Authors: Walter Chaw, Biopic, Drama, Horror, Mystery, Theatrical, Thriller, UK

IN THE CUT
****/****
starring Meg Ryan, Mark Ruffalo, Jennifer Jason Leigh, Nick Damici
screenplay by Jane Campion & Susanna Moore, based on the novel by Moore
directed by Jane Campion

SYLVIA
*½/****
starring Gwyneth Paltrow, Daniel Craig, Jared Harris, Blythe Danner
screenplay by John Brownlow
directed by Christine Jeffs

"Come at last to this point
I look back on my passion
And realize that I
Have been like a blind man
Who is unafraid of the dark"
-Yosana Akiko

by Walter Chaw Frances Avery (Meg Ryan) is in love with words. She moves through life obscuring herself in a nimbus of them, passing through the world with poetry as her guiding principle. Director Jane Campion is no stranger to a life lived in thrall to poesy–her films An Angel at My Table and The Piano detailed the life of poet Janet Frame and the life of the mind, respectively, and In the Cut finds its meaning and rhythm in the words that Frannie collects, fragments of poems cut from books and collected from subway walls. The New York through which Frannie walks is festooned with ghosts of American flags, tattered and blown after two years of constant display, losing their meaning along with their colours fading up to the sky. Likewise, Frannie sees herself a phantom of unmentioned tragedies, haunting her own life, retreating to the comfort of words when a half-sister, Pauline (Jennifer Jason Leigh), pillories her chaste existence, or when Detective Malloy (Mark Ruffalo) interrogates her about a string of serial murders he's investigating. A scholar of words, Frannie is involved as the film opens in a project analyzing inner-city slang: language as organic and in transition.

Halloween (1978) [25th Anniversary Divimax Edition] – DVD

October 30, 2003****/****, 1970s, Authors: Walter Chaw, Directors: John Carpenter, DVD, FFC Must-Own, Horror, Thriller

****/**** Image B- Sound A Extras A
starring Donald Pleasence, Jamie Lee Curtis, Nancy Kyes, P.J. Soles
screenplay by John Carpenter & Debra Hill
directed by John Carpenter

by Walter Chaw As tempting as it is to write the umpteenth dissertation on the importance and brilliance of John Carpenter’s Halloween, it’s almost enough to say that there is very possibly no other seminal Seventies film–not The Godfather, not Star Wars, perhaps not even Jaws–that has had a greater influence on popular culture. It’s a movie about a fishbowl that exists now only in a fishbowl, a picture so examined that its sadistic ability to maintain an atmosphere of horrified anticipation is consumed by the intellectualization of its hedonism=death equation. A screening with fresh eyes reveals a picture and a filmmaker owing incalculable debts to Alfred Hitchcock and Howard Hawks.

The Same River Twice (2003) + The Weather Underground (2003)

October 24, 2003****/****, 2000s, Adventure, Authors: Walter Chaw, Documentary, Theatrical

THE SAME RIVER TWICE
****/****
directed by Robb Moss

THE WEATHER UNDERGROUND
***/****
directed by Sam Green & Bill Siegel

by Walter Chaw I've just seen an episode of CNN's "Crossfire" that featured as one of its topics the proliferation of "Bush Bashing," which, for as scatologically intriguing as it sounds, refers to the growing popularity of pummelling our dimwit president for his dimwit philosophies and hilljack presentation. The verbal assault gratifying for what it is, what's missing in the new American dyspepsia is any real activism: The movies feel like-Sixties movies, and the government certainly feels like the late-Sixties government, but the level of outrage is something just north of "mild simmer." Students aren't massing, the National Guard isn't mobilizing, and there's no new Flower Power generation to oxymoronically stir the great, slobbering melting pot of American sex and politics. What there is, however, is a glut of underground documentaries finding their way into small theatres to smaller audiences but enough critical support to at least put the intelligentsia on record as suitably discomfited.

DIFF ’03: Resist!: To Be with the Living

October 17, 2003****/****, 2000s, Authors: Walter Chaw, Belgium, DIFF/SDFF, Documentary, Film Festivals, Germany

****/****directed by Dirk Szuszies by Walter Chaw I have long been sustained by the belief that film can change the world, and that the most interesting dialogues I have ever had about the medium (the idea that it is the logical child of the oral storytelling tradition--Lord Byron's seed and wind, both) are connectable some way to the larger issues of my, or any, day. Dirk Szuszies and Karin Kaper's Resist!: To Be with the Living draws a line of crystal purity from the cycles of Greek tragedy (the eternal fight for individuality, moral objection, and freedom of "Antigone") and…

The Ox-Bow Incident (1943) – DVD

October 17, 2003****/****, 1940s, Authors: Bill Chambers, Drama, DVD, FFC Must-Own, Western

****/**** Image A Sound B+ Extras A-
starring Henry Fonda, Dana Andrews, Mary Beth Hughes, Henry Morgan
screenplay by Lamar Trotti, based on the novel by Walter Van Tilburg Clark
directed by William A. Wellman

by Bill Chambers William A. Wellman's 1943 film The Ox-Bow Incident is so brave and piercing that you can overlook its gawky title. That star Henry Fonda had a knack for picking westerns goes without saying, but The Ox-Bow Incident has more gothic qualities than do most oaters made prior to the dawn of Europe staking its genre claim: it's the scene in cowboy flicks where a bunch of guys cheer on an unceremonious hanging expanded to feature-length. The movie has such definitive–and perhaps, given the climate, urgent–things to say about mob mentality, the sour side of fraternity, that the Navy-enlisted Fonda deferred his tour of duty in order to appear in it. What makes this doubly noble is that, despite his lead billing, he's really not The Ox-Bow Incident's leading man. With a cast of dozens granted comparable screen time, no one is.

DIFF ’03: Noi the Albino

October 9, 2003****/****, 2000s, Authors: Walter Chaw, Denmark, DIFF/SDFF, Drama, Esoterica, Film Festivals, Germany, Iceland, UK

Nói albinói****/****written and directed by Dagur Kári by Walter Chaw Dagur Kári's Noi the Albino (Nói Albinói) is a film about emptiness, really--a terrific picture crouched in the centre of a blasted Icelandic winter, with its titular hero, Nói (Tómas Lemarquis), too smart for the isolation. When the beautiful Iris (Elin Hansdóttir, wow) comes to work in the town-of-maybe-100-people's convenience store, Nói finds himself for perhaps the first time motivated for long enough to aspire to something larger. A Steve Earle song directed by Jim Jarmusch, the picture is deadpan hilarious and haunted by the oppressive power of dark and…

DIFF ’03: The Station Agent (2003)

October 2, 2003****/****, 2000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Theatrical

****/****
starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, Raven Goodwin
written and directed by Thomas McCarthy

by Walter Chaw If there's a flaw to Thomas McCarthy's The Station Agent, it's that there are elements to the narrative that don't make a lot of literal sense–the question of why someone would set up a coffee cart in the middle of a remote train yard the most obvious one that springs to mind. But in a film shot through with the melancholy hue of Longfellow's "My Lost Youth," gaps in credibility should be seen as poetic device, perhaps, or metaphor. The picture is heartbreak, a diary of the million betrayals and disappointments that make up an over-examined life composed all of loneliness and solitude. At its best, The Station Agent captures the isolation of any soul too sensitive, too intelligent for the harsh inconsiderateness of a world more interested in brashness than subtlety.

Stevie (2003) – DVD

September 22, 2003****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Documentary, DVD, FFC Must-Own

****/**** Image A Sound A- Extras A
directed by Steve James

by Walter Chaw Eleven years after mentoring little Stevie in an Advocate Big Brother program in rural Illinois, documentary filmmaker Steve James restores ties to find that Stevie is a troubled man, emotionally crippled and awaiting trial for molesting his eight-year-old cousin. In science, the Heisenberg Principle postulates that the essential nature of an object changes when that object is observed; its application to documentary filmmaking is obvious. The question, then, becomes whether the documentarian should give himself a part in the film or remain outside of it, the alleged unobserved observer that in several critical contexts (Lacanian, Heisenbergian) loses its meaning, anyway. Integrity in the observation of documentary subjects is a delicate thing to navigate, and Stevie chooses early and often to be more about the Steve behind the camera than the Stevie before it. Stevie fascinates because it's a little like Montaigne's essays–a process of self-discovery that manages to indict our broken health care system and our "selfish cell" society in one fell swoop.

Cleopatra (1963) [Five Star Collection]; Lawrence of Arabia (1962) [Exclusive Limited Edition|Superbit]; The Mummy (1999) [Ultimate Edition] – DVDs

September 17, 2003****/****, 1960s, 1990s, Action, Adventure, Authors: Bill Chambers, Best Picture (Academy Awards), Drama, DVD, FFC Must-Own, Romance, UK

CLEOPATRA
**/**** Image A Sound A Extras A+
starring Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown
screenplay by Joseph L. Mankiewicz, Ranald MacDougall and Sidney Buchman
directed by Joseph L. Mankiewicz

LAWRENCE OF ARABIA
****/****
ELE DVD – Image A Sound A Extras B
Superbit DVD – Image A Sound A
starring Peter O'Toole, Alec Guinness, Anthony Quinn, Omar Sharif
screenplay by Robert Bolt and Michael Wilson
directed by David Lean

THE MUMMY
**/**** Image A Sound A (DD)/A+ (DTS) Extras A-
starring Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo
screenplay by Stephen Sommers
directed by Stephen Sommers

by Bill Chambers Cleopatra, meet T.E. Lawrence. Now allow me to introduce the two of you to…Rick O'Connell?

TIFF ’03: Bus 174

September 16, 2003****/****, 2000s, Authors: Bill Chambers, Brazil, Documentary, Film Festivals, TIFF

****/****directed by José Padilha by Bill Chambers Bus 174 sums up its own trumping of the devious City of God with a quote from Sandro do Nascimento, the hostage-taker who becomes the focal point of this absorbing, even-handed documentary: "This ain't no American movie!" Presumed to be on a cocaine bender as he holds the passengers of a Rio city bus at gunpoint, his irrational demands amounting to more firearms (he asks police for "a rifle and a grenade"), Sandro is almost impossible for special forces to psychologically profile: he lets a student go to prevent him from being late…

American Splendor (2003) + The Secret Lives of Dentists (2003)

August 22, 2003****/****, 2000s, Authors: Walter Chaw, Biopic, Comedy, Drama, Esoterica, Theatrical

AMERICAN SPLENDOR
*½/****
starring Paul Giamatti, Hope Davis, James Urbaniak, Harvey Pekar
screenplay by Shari Springer Berman & Robert Pulcini, based on the comics by Harvey Pekar & Joyce Brabner
directed by Shari Springer Berman & Robert Pulcini

THE SECRET LIVES OF DENTISTS
****/****
starring Campbell Scott, Hope Davis, Denis Leary, Robin Tunney
screenplay by Craig Lucas, based on the novella The Age of Grief by Jane Smiley
directed by Alan Rudolph

by Walter Chaw The same between American Splendor and Ghost World is that both have middle-aged outcasts as protagonists who each collect old blues 78s, that both were adapted from comic books, and that there’s a bus stop in Cleveland. The difference between American Splendor and Ghost World is that with two solitary figures in search of completion, there is the possibility for recognition of sameness–but with two figures (underground comic book writer Harvey Pekar and his wife Joyce Brabner (Hope Davis)) who have found in one another a sympathetic orbit, a partner in life and lo, with a child dropped willy-nilly into their midst to tie up loose ends, there is instead a sort of alien, island of lost toys exclusion that makes for a further alienation of the very alienated audience to which Pekar’s comic so appealed and, eventually, took for granted and pandered. The difference between American Splendor and Ghost World is that one is in love with its contrivance, and the other is in love with its melancholy.

Capturing the Friedmans (2003)

June 26, 2003****/****, 2000s, Authors: Walter Chaw, Crime, Documentary, Theatrical

****/****
directed by Andrew Jarecki

“Only that which has no history is definable”
-Nietzsche, The Genealogy of Morals, 1887

by Walter Chaw The rare film to encapsulate the macro and the micro with eloquence and no little existential disquiet, Andrew Jarecki’s amazing documentary Capturing the Friedmans tackles issues like the nature of film, the slipperiness of memory, and the unreliability of identity in ways that are uncomfortable and prickly. The revelations in the film about modern cultural anthropology are indescribably delicious, speaking to pleasure in a way that Jonathan Rosenbaum once identified as including the sensations of fear and unbalance–as an experience, the picture is as exhilaratingly unnerving as only an illicit document can be. When, early in the piece, eldest son of the Friedman clan David addresses the camera directly in what he warns is a personal journal, Capturing the Friedmans subverts the exploitive voyeurism that defines cinema, particularly pornographic cinema, in a way that is as cannily, uniquely, ironically filmic as Michael Powell’s Peeping Tom. It’s something we feel we shouldn’t be watching–a realization that, once established (within the first minutes of the picture), finds the audience formulated helpless and naked before the film’s reptilian regard.

Man on the Train (2002); Chaos (2001); And Now… Ladies and Gentlemen… (2002); The Son (2002)

June 5, 2003****/****, 2000s, Authors: Walter Chaw, Belgium, Comedy, Crime, Directors: Jean-Pierre and Luc Dardenne, Drama, France, Germany, Japan, Mystery, Romance, Theatrical, Thriller, UK

L’Homme du train
***/****
starring Jean Rochefort, Johnny Hallyday, Jean-François Stévenin, Charlie Nelson
screenplay by Claude Klotz
directed by Patrice Leconte

CHAOS
*/****
starring Catherine Frot, Vincent Lindon, Rachida Brakni, Line Renaud
written and directed by Coline Serreau

AND NOW… LADIES AND GENTLEMEN…
***½/****
starring Jeremy Irons, Patricia Kaas, Thierry Lhermitte, Alessandra Martines
screenplay by Claude Lelouch, Pierre Leroux & Pierre Uytterhoeven
directed by Claude Lelouch

Le fils
****/****
starring Olivier Gourmet, Morgan Marinne, Isabella Soupart, Nassim Hassaïni
written and directed by Jean-Pierre Dardenne & Luc Dardenne

by Walter Chaw After a brief period where French cinema seemed exclusively interested in the ugliness and violence festering in its anti-Semitic margins, what with pictures as variegated as Baise-moi, Trouble Every Day, My Wife is an Actress, and indeed, Gasper Noé’s sensationalistic Irréversible (which demonstrates a continuing fascination with a tumultuous French cinema in extremis), the old guard begins to reassert itself with its own tales of the underbelly of life displacing the façade of the comfortable upper class. Patrice Leconte’s new film Man on the Train (L’Homme du train) is reserved and slight while Chaos by Coline Serreau (who was born the same year as Leconte, as it happens) tries to soften the cruelty of much of modern French cinema by overlaying it with a patina of feminist uplift and misplaced social satire. Films like Rohmer’s The Lady and the Duke and Godard’s In Praise of Love attempt to draw a line between the nouvelle and the digital age (and Chaos is shot in ugly DV), and pictures like Rivette’s wonderful Va Savoir and now Claude Lelouch’s And Now... Ladies and Gentlemen… act as surveys and auto-critique of the medium itself. With these three pictures, the meta-critical instinct–something of a hallmark of French culture in general and cinema in particular–finds a new voice in, ironically, its older generation of directors. Somewhat apart from all of that is the Dardenne Brothers’ The Son (Le Fils), which is on its own stylistically but looks thematically for common ground in its own tale of obsession and reconciliation.

Whale Rider (2003) + Rivers and Tides (2002)

June 5, 2003****/****, 2000s, Authors: Walter Chaw, Canada, Documentary, Drama, Family, Finland, Germany, New Zealand, Theatrical, UK

WHALE RIDER
***½/****
starring Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis
screenplay by Niki Caro, based on the novel by Witi Ihimaera
directed by Niki Caro

RIVERS AND TIDES
****/****
directed by Thomas Riedelsheimer

by Walter Chaw The images in Niki Caro’s second film, Whale Rider, are so heartbreakingly beautiful that at times the narrative diminishes its mythic gravity. It resembles John Sayles’s brilliant The Secret of Roan Inish not only in subject, but also in the understanding that film has the potential to be the most cogent extrapolation of the oral storytelling tradition. When the picture’s young protagonist sings an ancient Maori song to a dark ocean, there is an indescribable power to the film that springs from firelight–what we’ve lost in modernity as orphans to our collective past.

Adaptation. (2002) [Superbit] – DVD

May 29, 2003****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Charlie Kaufman, Comedy, Drama, DVD, Esoterica, FFC Must-Own, Nicolas Cage

****/**** Image A+ Sound A+
starring Nicolas Cage, Meryl Streep, Chris Cooper, Cara Seymour
screenplay by Charlie Kaufman and Donald Kaufman, semi-based on the novel The Orchid Thief by Susan Orlean
directed by Spike Jonze

by Walter Chaw A breathless map of the nervous play of axons and dendrites, Spike Jonze and Charlie Kaufman’s Adaptation. is an intimate cartography of the human animal in all its florid insecurity, ugliness, and potential for passionate pursuit. In relating its tale of screenwriter Kaufman’s existential wrestle with adapting Susan Orlean’s The Orchid Thief, the picture takes on a tangle of Lacanian meta-observation that begins with the nervy creation of a Kaufman-doppelgänger/id-projection and ends with a literal destruction of said phantom. A deceptively simple film given all its contortions and acrobatics, Adaptation. is concerned with the ways in which a man doubts himself, doubts his relationships (as well as the implicit lie of the social “professional smile”), and learns almost too late the damnably difficult (for the intelligent and the sensitive) ability to accept the simple and the obvious at face value. The picture suggests that to be genuinely adaptive is to give oneself over to entropy armed only with the knowledge of self; more than right, its journey is fantastic.

About Schmidt (2002) – DVD

May 22, 2003****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, FFC Must-Own, Jack Nicholson

****/**** Image A Sound A- Extras B-
starring Jack Nicholson, Hope Davis, Dermot Mulroney, June Squibb
screenplay by Alexander Payne & Jim Taylor, based on the book by Louis Begley
directed by Alexander Payne

by Walter Chaw Alexander Payne’s (Citizen Ruth, Election) third film is his best. He (like Wes Anderson and his third film, The Royal Tenenbaums) has come into his own as an auteur voice for a new American cinema that finds its underpinnings in David Lynch and John Cassavetes–in the Midwest grotesque and the elevation of the banal. In relating a Prufrockian tale of a man reassessing the ruin of his life upon the occasion of his retirement from a life-insurance firm, Payne strikes a balance between absurdity and pithiness, becoming in the process the sort of satire that exposes essential truths about the disintegrating spiral of life and the human condition. Married as it is to another wonderful late-career performance by Jack Nicholson, About Schmidt is heartbreaking and brilliant.

Fahrenheit 451 (1966) + The Man Who Fell to Earth (1976) (Anchor Bay) – DVDs

May 18, 2003****/****, 1960s, 1970s, Authors: Walter Chaw, Drama, DVD, Esoterica, FFC Must-Own, Satire, Sci-Fi, UK

FAHRENHEIT 451
****/**** Image A- Sound A Extras A
starring Julie Christie, Oskar Werner, Cyril Cusack, Anton Diffring
screenplay by Francois Truffaut and Jean-Louis Richard, based on the novel by Ray Bradbury
directed by Francois Truffaut

THE MAN WHO FELL TO EARTH
****/**** Image A- Sound A Extras A
starring David Bowie, Rip Torn, Candy Clark, Buck Henry
screenplay by Paul Mayersberg, based on the novel by Walter Tevis
directed by Nicolas Roeg

by Walter Chaw SPOILER WARNING IN EFFECT. The second film of Francois Truffaut’s “Hitchcock Period” (and the Nouvelle Vague legend’s first English-language feature), Fahrenheit 451 is swathed in dread and melancholy–a sense belying cinematographer Nicolas Roeg’s bright, elemental colour scheme and simply blocked mise-en-scéne, though a sense completely in line with Roeg’s subsequent work as auteur. The weight of Roeg’s compositions–and arguably the genius of them–is the way in which he uses the weak side of the screen to introduce an element of disquiet into otherwise innocuous situations. The brilliance of the man’s eye in locating the menace and ineffable sadness in the midst of the bright and the mundane.

Film Freak Central Does Film Forward

May 13, 2003****/****, 2000s, Authors: Walter Chaw, Chile, Comedy, Drama, Film Festivals, Horror, Romance, Thriller

May 13th, 2003|An interesting move from an interesting company, Madstone Theaters is releasing six undistributed films, each for a one-week alternating run called "Film Forward". The first thought that comes to mind is that undistributed films are most likely that way for a reason. There's an old Tinsel Town axiom that applies to most of the stuff that winds up shelved for a lengthy period of time (View from the Top, A Man Apart, The Weight of Water): studios often don't know when something's good, but they almost always know when something's bad. The idea of "Film Forward" should be appealing, at least intellectually, for the movie-savvy audience that Madstone is trying to cultivate; the question with currency is, as it always is, whether self-confessed movie snobs will put their money where their mouths are.

Owning Mahowny (2003)

May 1, 2003****/****, 2000s, Authors: Walter Chaw, Canada, Crime, Drama, Theatrical, Thriller

****/****
starring Philip Seymour Hoffman, Minnie Driver, Maury Chaykin, John Hurt
screenplay by Maurice Chauvet, based on the Gary Stephen Ross book Stung: The Incredible Obsession of Brian Molony
directed by Richard Kwietniowski

by Walter Chaw Richard Kwietniowski’s Owning Mahowny charts the mendacity of addiction with something like a poet’s lyrical melancholy. The director’s follow-up to his surprisingly gentle take on Thomas Mann, Love and Death on Long Island, finds another story of obsessive love that is itself obsessed with the importance of place in defining the accumulated essence of identity and desire. Kwietniowski’s films seem to be about secret outsiders finding themselves at some point swept out to proverbial sea, the land fading fast. While in Love and Death on Long Island that divorce illustrates the reach traversed by reclusive novelist Giles De’Ath (John Hurt) to claim his inamorata, in Owning Mahowny, the widening gyre is considerably (and deliciously) more complicated; the film marks Kwietniowski’s emergence as the most promising cartographer of self-confessional mortification since countryman Terence Davies. And Kwietniowski does it all with gentle, uncompromising humour.