Behind Enemy Lines (2001) – DVD

*½/**** Image A Sound A- Extras B
starring Owen Wilson, Gene Hackman, Joaquim de Almeida, David Keith
screenplay by David Veloz and Zak Penn
directed by John Moore

by Walter Chaw John Moore makes his directorial debut with the high-volume, flag-waving Behind Enemy Lines, but the film so recalls the visual excesses of Top Gun and Enemy of the State (down to a satellite surveillance sequence) that I began to wonder halfway through if “John Moore” was a nom de plume for Tony Scott. Everything else about Behind Enemy Lines, after all, is basically a retread: the third Gene Hackman “not leaving a man behind” film after Bat 21 and Uncommon Valor, and the umpteenth time the veteran actor has been asked to play a snarling iconoclast, spitting in the face of an unfeeling establishment.

Resident Evil (2002)

*/****
starring Milla Jovovich, Michelle Rodriguez, Eric Mabius, James Purefoy
written and directed by Paul W.S. Anderson

Residentevilby Walter Chaw A group of highly-skilled soldiers infiltrates an abandoned facility where all the civilian workers of a multi-national corporation have mysteriously died. Suffering a holocaust themselves immediately thereafter, the surviving members of the squad break down into a cowardly tech-specialist (Eric Mabius); a covert agent of the corporation in question (James Purefoy); a tough-talking Latina with a big gun and a chip on her shoulder (Michelle Rodriguez); and a woman suffering from bad dreams who seems particularly adept at fighting the bad guys (Milla Jovovich). Discovering that the folks in the “hive” died during military research gone awry (thus unleashing hordes of nearly-indestructible villains), the foursome attempts to get out before a desperate time limit expires while also containing the evil to the site of infection.

Showtime (2002)

*/****
starring Robert De Niro, Eddie Murphy, Rene Russo, Ken Hudson Campbell
screenplay by Keith Sharon and Alfred Gough & Miles Millar
directed by Tom Dey

by Walter Chaw Shaping up as a spoof but neither smart enough to earn that label nor exciting enough to sustain interest otherwise, Tom Dey’s slick Showtime is an incoherent mess of a film that relies on explosions and volume to distract from its tin ear and flat pacing. It wants desperately to be a self-aware genre exercise in the Scream vein, but after its characters mention that there are “rules” to the buddy-cop flick, it chooses to demonstrate them rather than subvert them. Screenwriters-by-committee Keith Sharon, Alfred Gough, and Miles Millar, patching together an abominable iteration of the same old Lethal Weapon tropes, have conspired to get De Niro to immediately make 15 Minutes again (but as an alleged intentional comedy) and to continue Eddie Murphy’s typecasting as an animated jackass. Piling on the offenses, Showtime suffers from a few distracting plotholes, an obviously tacked-on prologue meant to elicit a Kindergarten Cop-esque brand of “isn’t it funny to scare children with a terrifying actor,” and a score by Alan Silvestri that actually approximates the feel of hammers to the brainpan.

All About the Benjamins (2002)

**/****
starring Ice Cube, Mike Epps, Tommy Flanagan, Carmen Chaplin
screenplay by Ronald Lang and Ice Cube
directed by Kevin Bray

Allaboutthebenjaminsby Walter Chaw Blaxploitation without the sex, All About the Benjamins is a gratuitously violent film laudably free of the pretense of political correctness, but it’s so calamitously loud and arbitrary (and has a character who fits the same description) that it fritters away almost as much goodwill as it earns. The only things separating All About the Benjamins from other whip-edited, hard-action movies are Ice Cube’s joyfully offensive screenplay (co-written with Ronald Lang) and an opening set in a Confederate’s dream of a trailer park that does more for exploding the race issue in these United States than the past five Denzel Washington pulpits.

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

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

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

Dragon and the Hawk (2001) – DVD

*½/**** Image D Sound D
starring Julian Jung Lee, Barbara Gehring, Trygve Lode
screenplay by Robert Gosnell
directed by Mark Steven Grove

by Walter Chaw I came to the startling and somewhat crushing realization midway through it that not only have I seen worse movies than Mark Steven Grove’s Dragon and the Hawk, I’ve seen worse movies today. Shot in and around Denver and Littleton, Colorado at locations where I’ve been tooling about for most of my life, Dragon and the Hawk is formula chop-socky involving martial arts master “Dragon” (Korean Tae Kwan Do expert Julian Lee) as a fish out of water looking for his missing sister (Gayle Galvez). The villain Therion (Trygve Lode) has abducted li’l sis and is injecting her with some kind of serum that turns innocent schoolgirls into goth hench-chicks. It’s up to Dragon and maverick cop “Hawk” (Barbara Gehring) to save the Denver metropolitan area from…goth hench-chicks, I guess.

Venomous (2001) – DVD

½*/**** Image A- Sound C Extras B
starring Treat Williams, Mary Page Keller, Hannes Jaenicke, Geoff Pierson
screenplay by Dan Golden
directed by Ed Raymond

by Walter Chaw I have a theory about Treat Williams: I believe that he, after being passed over for an Oscar for his magnificent performance in the 1981 Sidney Lumet film Prince of the City, has been on a vicious retributive rampage against the American viewing public. There can be no other explanation for an obviously gifted actor to have starred in three Substitute sequels and in films alongside Joe Piscopo and Michelle Pfeiffer. After watching the direct-to-video shocker Venomous, directed and commented upon by one of the keepers of Ed Wood’s flame, Ed Raymond (a.k.a. Fred Olen Ray, Nicholas Medina), I officially concede victory to Williams. You win this round, Mr. Williams–no másno más.

Fatal Error (1999) – DVD

ZERO STARS/**** Image C+ Sound C
starring Antonio Sabato Jr., Janine Turner, Robert Wagner, Jason Schombing
teleplay by Rockne S. O’Bannon, based on the novel Reaper by Ben Mezrich
directed by Armand Mastroianni

by Walter Chaw A fatal virus transmitted by an evil computer program enters via the eyes and turns people into chalk (neatly combining two plots of “The X Files”). It’s up to hunky Antonio Sabato Jr., as ex-Army virologist-cum-contract paramedic Nick, and the vacuous Janine Turner, as current Army virologist Dr. Samantha, to unravel the puzzle before millions die. That Robert Wagner plays the corporate villain without a hint of irony is just one of those sad lessons about wise investments that parents should tell their children.

Collateral Damage (2002)

ZERO STARS/****
starring Arnold Schwarzenegger, Elias Koteas, Francesca Neri, Cliff Curtis
screenplay by David Griffiths & Peter Griffiths
directed by Andrew Davis

by Walter Chaw There is an inexplicable instinct in Hollywood to cast Arnold Schwarzenegger as an everyman when the Austrian Oak has only ever played a pre-Christian barbarian and post-apocalyptic robot convincingly. Perhaps sensing something awry in Arnold playing a mild-mannered Irish fireman named Gordon Brewer, the creators of Collateral Damage have made an effort to portray Schwarzenegger’s character as a comic book superhero–maybe one named “Fire Man.” Brewer irrationally favours the tools of his life-saving trade (a pair of axes and a serendipitously placed sliding pole) over the far more plentiful (and practical) guns, while a cleverly donned white Panama Hat (making Arnie look a little like Leon Redbone crossed with a bratwurst) somehow successfully disguises the 6’2″ goliath from seeking eyes. A pulp caped-crusader comic would at least have the decency to be lurid and exciting, though–all Collateral Damage manages to be is shatteringly dull.

Atlantis: The Lost Empire (2001) [2-Disc Collector’s Edition] – DVD

**/**** Image A+ Sound A Extras A
screenplay by Tab Murphy
directed by Gary Trousdale & Kirk Wise

by Walter Chaw Clearly trying to gain some anime credibility by aping the mystical mumbo jumbo of Akira in an unfathomable third act, jettisoning the musical romantic comedy format, and inserting a few subtitles, Disney’s Atlantis: The Lost Empire (henceforth Atlantis) has moments of true grandeur, though it has a good many more of pure Disney. It gets hip genre credibility from the story contributions of “Hellboy” creator Mike Mignola and “Buffy” scribe Joss Whedon, but the best of intentions often lead to the worst of eventualities, and Atlantis is ultimately less “wow” than “oh, boy” and, eventually, “huh?”

U.S. Seals 2 (2001) – DVD

U.S. Seals II: The Ultimate Force
*/**** Image B- Sound C
starring Michael Worth, Damian Chapa, Karen Kim, Marshall R. Teague
screenplay by Michael D. Weiss
directed by Isaac Florentine

by Walter Chaw The only things you really want to know about U.S. Seals 2 are whether or not it has nudity (yes) and martial arts (also yes). The more sophisticated filmgoer will be curious if the film is unintentionally funny (yes), if a paintball gun that shoots acid balls figures into the proceedings (yes), and if there’s a final showdown that incorporates the nudity, martial arts, and paintballs (alas, no). Unless you’re in the lower 10% of human intelligence, you don’t need me to tell you that U.S. Seals 2 is a cheap-o direct-to-video action knock-off that happens to be a sequel to a film that no one in their right mind saw in the first place.

The Count of Monte Cristo (2002)

**/****
starring Guy Pearce, Jim Caviezel, JB Blanc, Henry Cavill
screenplay by Jay Wolpert, based on the novel by Alexandre Dumas
directed by Kevin Reynolds

Countofmontecristoby Walter Chaw Preserving the main events of the bombastic blunderbuss novel on which it is based, Kevin Reynolds’s adaptation of Alexandre Dumas père’s The Count of Monte Cristo also jettisons what meagre subtlety there was in the source material. The film, an attractive swashbuckling spectacle, is pleasantly campy for its first hour and a plodding endurance test for its final eighty minutes, an initially agreeable, if ridiculous, escapist (literally) flick that bloats to the dimensions of standard Hollywood offal.

Deep Water (2000) – DVD

Intrepid
ZERO STARS/**** Image C- Sound C-

starring James Coburn, Costas Mandylor, Finola Hughes, Alex Hyde-White
screenplay by J. Everitt Morley and Keoni Waxman
directed by John Putch

by Walter Chaw A freakish hunk of mismatched celluloid offal that hews together the already ripe (and continuously ripening) corpses of The Poseidon Adventure and Speed II, schlock-meister John Putch’s Deep Water (formerly Intrepid) is so wilfully bad that calling it such would be a self-defeating waste of time. It’s also an appalling waste of time to note that Deep Water rips off The Impostors and Deep Blue Sea, too, while doing next to nothing to justify tonal and thematic shifts that occur with the frequency and severity of Dick Cheney’s heart attacks. The way to approach a criticism of Deep Water is to relate something of my personal experience.

Kiss of the Dragon (2001) – DVD

**½/**** Image A Sound A Extras B
starring Jet Li, Bridget Fonda, Tcheky Karyo, Ric Young
screenplay by Luc Besson & Robert Mark Kamen
directed by Chris Nahon

by Walter Chaw There are not ten consecutive minutes of Kiss of the Dragon that make sense and there are at least three completely disconnected scenes, but the real litmus test occurs about thirty minutes into the festivities, whereupon Jet Li kicks a billiard ball into the forehead of a Jim Broadbent-esque bad guy. Coming at the end of much mayhem, that’s where you either start playing pool with Kiss of the Dragon or leave the parlour altogether. It’s also an event that happens before Bridget Fonda has had a chance to do the Cybill Shepherd enjoyment-vortex schtick she’s been perfecting for a decade or so. To her credit, she’s getting pretty damned good at it, though she’s still no Helen Hunt.

Impostor (2002)

*/****
starring Gary Sinise, Madeleine Stowe, Vincent D’Onofrio, Tony Shalhoub
screenplay by Scott Rosenberg, Caroline Case and Ehren Kruger and David Twohy
directed by Gary Fleder

Impostorby Walter Chaw Mouldering in a can for over a year (the film would smell pretty stale regardless past 1980), Impostor is the umpteenth adaptation of a Philip K. Dick story (whether directly or indirectly), a fable of identity that pales in comparison to an acknowledged classic like Blade Runner, an ambitious blockbuster like Total Recall, and an under-seen sleeper like Screamers. Overseen by professional bad director Gary Fleder, Impostor would I suspect most like to invite comparisons to two Harrison Ford films–Blade Runner and The Fugitive–but ends up best resembling, in its dour overreaching and intimations of future-shock resonance, the late, unlamented Dylan McDermott/Iggy Pop vehicle Hardware. Although the increasingly reptilian Gary Sinise seems game with all of his Steppenwolf method in tendon-popping tow, his sickly earnestness seems misplaced in an exercise that is essentially a strobe-lit pseudo-philosophical sci-fi opera that a major studio wisely declined to release for twelve full months. Future employers of actor Mekhi Phifer take note: with this and O, it appears that hiring the lad is all but inviting a lengthy release delay.

Silent Trigger (1996) – DVD

*/**** Image D Sound D+
starring Dolph Lundgren, Gina Bellman, George Jenesky, Christopher Heyerdahl
screenplay by Sergio Altieri
directed by Russell Mulcahy

by Walter Chaw There was a time, ’round about the cheap thrills of Razorback, that I thought director Russell Mulcahy had a future as an action director. Seventeen years later, the Aussie has proven me wrong by peaking with the intentionally campy The Shadow and the unintentionally campy Highlander. And while Silent Trigger isn’t the worst of Mulcahy’s missteps (Highlander II: The Quickening has a hammerlock on several “worst” titles), it’s not for lack of trying. Still, I can’t completely dislike both Dolph Lundgren and Mulcahy’s latest direct-to-video disaster because I feel as though watching it has taught me a few things.

Willow (1988) [Special Edition] – DVD

*/**** Image B+ Sound A- Extras B
starring Val Kilmer, Joanne Whalley, Warwick Davis, Jean Marsh
screenplay by Bob Dolman
directed by Ron Howard

by Walter Chaw It shouldn’t be surprising that Willow fails as it does considering that the creative forces behind it were George Lucas (who has never had a good idea of his own) and Ron Howard (who’s never met an opportunity for cleverness he didn’t miss), neither of whom should ever have been entrusted with a fantasy film as late as 1988, as their work since (and just before) will attest. It is shamelessly derivative, raping countless sources to come up with what is essentially a limp riff on the Tolkien quest married to things as divergent as The Living Daylights, all three original Star Wars films, all three Indiana Jones films, Gulliver’s Travels, The Bible, Masters of the Universe, and Disney’s Snow White and the Seven Dwarfs.

Osmosis Jones (2001) – DVD

**½/**** Image A- Sound A Extras B
starring Bill Murray, Molly Shannon, Elena Franklin, Chris Elliott
screenplay by Marc Hyman
directed by Bobby Farrelly, Peter Farrelly, Piet Kroon and Tom Sito

by Walter Chaw If the devil is in the details, so, in Osmosis Jones, is most of the humour. It is one part Farrelly Brothers biological comedy and one part Piet Kroon and Tom Sito (late of The Iron Giant) animated genius; that the balance of the film is heavily in favour of the latter speaks to rare good thinkin’ from the Hollywood brain trust. The live-action part stars Bill Murray as the slovenly Frank–Murray out-repulses co-star Chris Elliot, which means that he is very possibly the most disgusting human ever captured on film. The animation side features the voice of Chris Rock as the titular Osmosis Jones, a white blood cell cop who, after a controversial stomach evacuation, is busted down to mouth duty. If you’re not sure what “mouth duty” entails–it’s bad. When Frank is invaded by an evil virus named Thrax (Laurence Fishburne), Osmosis gets one last chance to make good, paired with a blustering blunderbuss of a timed flu capsule named Drix (David Hyde Pierce).

The Lord of the Rings: The Fellowship of the Ring (2001)

***½/****
starring Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, based on the novel The Fellowship of the Ring by J.R.R. Tolkien
directed by Peter Jackson

Fellowshipoftheringby Walter Chaw At the heart of Peter Jackson’s brilliant The Lord of the Rings: The Fellowship of the Ring–the first of three cinematic adaptations of Tolkien’s beloved fantasy, shot simultaneously for release in consecutive years–is a favourable melancholy, a despair born of two things: the crucial feeling of desperation that infests a small band of heroes striving against an invincible evil; and the knowledge that this film will soon end, its sequel twelve months away. Jackson has translated nearly every element of Tolkien’s universe, from a vast, sprawling history implied in the language and the actions of its multi-specied characters, to a completely immersive fantasy realm with nary a seam to spoil the illusion, to a quest that’s worthy of epic attention. He’s captured the sadness and moral weight of Tolkien with the kind of deep reality that seems effortless but is born of a meticulous preparation and all-consuming vision. It takes a certain skill to make things look good; it takes genius to keep the pretty pictures from overwhelming the narrative of what is, in this case, a universally familiar story. Ridley Scott never quite got the hang of it.

Backyard Dogs (2000) – DVD

ZERO STARS/**** Image B Sound C
starring Scott Hamm, Bree Turner, Walter Emanuel Jones, Roger Fan
written and directed by Robert Boris

by Walter Chaw A painfully amateurish reworking of Play It to the Bone set against the turgid, redneck world of backyard wrestling, Robert Boris’s Backyard Dogs is the kind of head-scratcher that makes filmmakers of folks who never realized that making a movie was this easy. See, using the template provided, all you need is a digital camera, a bimbo who doesn’t mind flashing the groceries a couple of times, and a rent-a-script that shows how an already terrible mainstream film might actually be made worse with a little effort. Backyard Dogs is so hideous that with only a little imagination it begins to function as something of a satire of both Kickboxer-type death sports movies and gay pornography. You know you’re in trouble when the highlight of your film is an opening montage comprising real footage of idiots trying to kill one another in their backyards; you know you’re in bigger trouble when the title of your movie comes from an early moment in which a character steps on a pile of dog excrement.