The Mexican (2001) [Widescreen] – DVD

*½/**** Image A Sound A Extras B
starring Brad Pitt, Julia Roberts, James Gandolfini, Bob Balaban
screenplay by J.H. Wyman
directed by Gore Verbinski

by Travis Mackenzie Hoover I don’t have an idea to start this review. This is in large part because The Mexican has no idea to start itself, or give itself a middle, or pay off nicely with a tense climax. It just rambles on, with no reason to live, justifying a few paychecks and leaving this reviewer simultaneously puzzled and bored. Puzzled, as to how such a vast array of professionals could have wanted to cobble together such a passionless and irrelevant film as this; and bored, at events meaningless and contrived. The Mexican isn’t even ambitious enough to be offensive: its conceptual hook is so weak and its follow-through so perfunctory that the film can’t rally the strength to be more than a petty nuisance, like a dinner disrupted by the noisy party the next table over.

The Great Muppet Caper (1981) – DVD

***½/**** Image B Sound B-
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Tom Patchett & Jay Tarses and Jerry Juhl & Jack Rose
directed by Jim Henson

BUY @ AMAZON

by Bill Chambers Jim Henson said that The Great Muppet Caper was the Muppet movie nearest and dearest to his heart, and it’s little mystery why. For starters, it’s the only one of the original trilogy he officially directed. And it’s closer in execution to “The Muppet Show”, Henson’s surreal, Emmy-winning brainchild that ran on TV for five years, than either The Muppet Movie or The Muppets Take Manhattan in not only showcasing a wide variety of song styles and involving the human guest stars in the musical performances, but also framing itself as what it is: a movie. With tongue firmly in cheek, The Great Muppet Caper deconstructs itself all the while. The film taught me a lot about the cinema–conventions, techniques, genre–as a kid, for which I am grateful.

The Magnificent Seven (1960) [Special Edition] – DVD

**/**** Image A Sound B Extras A+
starring Yul Brynner, Eli Wallach, Steve McQueen, Charles Bronson
screenplay by William Roberts
directed by John Sturges

by Walter Chaw Based loosely on Akira Kurosawa’s seminal The Seven Samurai, The Great Escape director John Sturges’s wildly uneven The Magnificent Seven vacillates from superbly choreographed (if stagy) action sequences to moments of sublime dialogue, and to extended character-enhancing business that grinds the film to a complete halt no fewer than five times. It has aged poorly in four decades, losing a great deal of modern appeal in a way that Sergio Leone’s adaptation (and extrapolation) of Kurosawa’s Yojimbo, the “Spaghetti Western,” A Fistful of Dollars, never has.

Tora! Tora! Tora! (1970) [Special Edition] – DVD

***½/**** Image A Sound B+ Extras A
starring Martin Balsam, Joseph Cotten, E.G. Marshall, Tatsuya Mihashi
screenplay by Larry Forrester, Ryuzo Kikushima, Hideo Oguni
directed by Richard Fleischer and Kinji Fukasuka & Toshio Masuda

by Walter Chaw A joint project between a Japanese film crew and veteran American director Richard Fleischer (20,000 Leagues Under the Sea), Tora! Tora! Tora! had Akira Kurosawa assigned as the lead Japanese director, poised to make his American debut with a mammoth script weighing in at well over four-hundred pages–and that just for the Japanese side of the story. Accustomed to complete autonomy in his projects, Kurosawa bowed out after several weeks following a series of run-ins with Fox executives over not only the unwieldiness of his vision, but also disagreements concerning the shade of white used in the interiors of the Japanese carrier ward rooms! Unfortunately, Kurosawa’s initial involvement with the picture resulted in his regular cohort Toshiro Mifune turning down the role of Admiral Yamamoto (a role he would play in Jack Smight’s 1976 Midway and in 1968’s Yamamoto biopic Rengo kantai shirei chôkan: Yamamoto Isoroku), as the two titans of Japanese cinema had lingering bad feelings over their last collaboration, the underseen Akahige.

Donovan’s Reef (1963) – DVD

*½/**** Image A Sound B
starring John Wayne, Lee Marvin, Elizabeth Allen, Jack Warden
screenplay by James Edward Grant and Frank Nugent
directed by John Ford

by Walter Chaw One of legendary director John Ford’s last films, and his final collaboration with John Wayne, Donovan’s Reef is, like much of Ford’s later work, a derivative amalgam of his earlier successes. Curmudgeonly and vicious, it’s a lighter-than-air farce with a black heart that feels suspiciously like the mad rantings of an old soldier describing his vision of a bucolic Valhalla to which he one day hopes to return. Released in the same year (1963) that saw Sidney Poitier become the first black man to win an Oscar in a major category (for Lilies in the Field), Donovan’s Reef is a shockingly, unapologetically racist and misogynistic film about braggadocio, therapeutic rape, and belittling the natives. In other words, John Ford apologists need to work overtime to dig their favorite auteur out from under this surreal bilge.

Lara Croft: Tomb Raider (2001)

*½/****
starring Angelina Jolie, Daniel Craig, Leslie Phillips, Mark Collie
screenplay by Simon West and Patrick Massett & John Zinman
directed by Simon West

by Walter Chaw To say that Lara Croft: Tomb Raider is completely incomprehensible is not entirely accurate, for the basic plot appears to be pretty straightforward. The British Lara Croft (played by the American Angelina Jolie) is a sort of jet-setting archaeologist in the Indiana Jones mold who is extremely well outfitted by a gadget man in the James Bond mold, and who boasts of a loyal, shotgun-packing butler in the Batman mold. Her task is to discover two pieces of a triangular artifact before the Illuminati do on the day that a rare syzygy coincides with a solar eclipse, allowing the triangle-bearer to control time.

O Brother, Where Art Thou? (2000) – DVD

**½/**** Image A+ Sound A
starring George Clooney, John Turturro, Time Blake Nelson, Charles Durning
screenplay by Ethan Coen & Joel Coen
directed by Joel Coen

by Travis Mackenzie Hoover We can start by making two things perfectly clear. One: despite an opening credit to the contrary, the new Coen Brothers opus, O Brother, Where Art Thou?, has almost nothing to do with Homer's Odyssey–a few episodes notwithstanding, the bulk of the film is radically different from the great classical work. Two: it bears only a passing resemblance to the films of Preston Sturges, whose Sullivan's Travels provides the title; a ridiculous deus ex machina ending aside, it has none of the affection–if all of the wildness–of that writer-director's memorable oeuvre. So, having been smokescreened by these red-herring references, you have to ask: If it has nothing to do with Homer or Sturges, what the heck does it have to do with?

Jaws 2 (1978) [Widescreen] – DVD

**½/**** Image A- Sound B Extras A-
starring Roy Scheider, Lorraine Gary, Murray Hamilton, Joseph Mascolo
screenplay by Carl Gottlieb and Howard Sackler
directed by Jeannot Szwarc

by Bill Chambers Some key players besides Roy Scheider stuck around for this second helping of Jaws, which accounts for the tonal continuity and touch of class that are absent in the subsequent sequels. Producers David Brown and Richard D. Zanuck prostituted their box-office sensation because, according to Brown in Jaws 2's DVD documentary, "We decided if we didn't make it somebody else would make it. We felt very protective about it." Screenwriter Carl Gottlieb again returned to do the production draft. Production designer Joe Alves exhumed, and expanded the scope of, Amity Island. John Williams adapted his indelible Jaws score for a more youth-oriented adventure. And on screen, Lorraine Gary, Murray Hamilton, and Bruce reprised their roles as Mrs. Chief Brody, the unconscionable mayor (who, in the movie's darkest joke, is still in power), and the mechanical shark, respectively.

Get on the Bus (1996) – DVD

**/**** Image A Sound A Extras D+
starring Richard Belzer, Andre Braugher, Ossie Davis, Charles S. Dutton
screenplay by Reggie Rock Bythewood
directed by Spike Lee

by Travis Mackenzie Hoover Didactism is a treacherous course for a movie to take. Drive down that road and you chance accusations of propagandizing, as though taking a political position were a violation of some Hollywood code of enforced irrelevance; try as you might to avoid such a situation, be it through aesthetic compensations or the urgency of the issues at hand, overt politicking in a motion picture is usually–and unfairly–a good way to draw unfriendly fire.

Digimon: The Movie (2000) – DVD

***/**** Image A Sound A
screenplay by Jeff Nimoy & Bob Buchnolz
directed by Shigeyasu Yamauchi, Mamoru Hosoda

At 10 years old, Sam Jonasson is FILM FREAK CENTRAL‘s youngest contributor yet. (Unless we’re talking mental ages.) Knowing the lad is a cartoon junkie, I thought Digimon: The Movie would be right up his alley. Sam squeezed in this report on the disc between homework and architectural–Lego–pursuits.-Ed.

by Sam Jonasson Digimon: The Movie is actually two movies in one: the first movie is about the first season of Digidestines and the second movie is the second season of the TV show, which is on lots of kids channels. You would need good eyes and at least a vague idea of Digimon to understand it. A Digimon is an imaginary creature (animal or human) with one single type of attack (besides things like hitting and biting) who can Digivolve into a stronger and bigger Digimon who has one new attack type. Sometimes, the stronger has two attack types. Digimon are born out of an egg and live in the Digital world, which is parallel to ours. Some Digimon warp or Armor-Digivolve, which means they skip a level or two. Evil Digimon usually take a longer time to Digivolve.

Chicken Run (2000) [Special Edition] – DVD

***/**** Image A+ Sound A- Extras B+
screenplay by Karey Kirkpatrick
directed by Nick Park & Peter Lord

by Travis Mackenzie Hoover Chicken Run is slight but savoury. While it doesn't have the conceptual punch that, say, a Disney spectacular might have, it has a great deal less malice than most other films aimed at the same segment of the market. Instead of a highly manipulative, emotionally overwrought run through the wringer, we have a sweet and good-natured exercise in whimsy and friendliness. While this means that the film loses something in terms of dramatic impact, it also means that it relies more on wit than it does on action. What could have been garish and brazen is here sweet and mild-tempered, and it sweeps you up in its goodwill until the final frames.

The Beach (2000) [Special Edition] – DVD

**½/**** Image A+ Sound A Extras B+
starring Leonardo DiCaprio, Tilda Swinton, Virginie Ledoyen, Guillaume Canet
screenplay by John Hodge, based on the book by Alex Garland
directed by Danny Boyle

by Bill Chambers When we meet Richard, the U.S.-born narrator/hero of The Beach, he has succumbed to the idea that finding adventure necessitates getting the hell out of his homeland–drinking snake's blood and sleeping with roaches play pleasantly into his romantic notions of danger. And as he roams the steamy streets of Bangkok in search of the next hedonistic-masochistic delight, Richard appears cutely oblivious to the American infiltration of Asian culture ("The Simpsons" episodes on TV, the constant bubblegum music sounding from ghetto blasters, etc.). The Beach is about how we as earthlings can't escape Western civilization, and the futility of trying.

Titan A.E. (2000)

****/****
screenplay by Ben Edlund and John August and Joss Whedon
directed by Don Bluth & Gary Goldman

by Jarrod Chambers The true test of an animated film is whether it can make you forget that it is animated. Pixar has had great success in this regard: both Toy Story and A Bug's Life are so engrossing that I completely forgot that I was watching state-of-the-art computer animation. This was also the case with last year's The Iron Giant, and now we can add Titan A.E. to the list.

Tom and Jerry’s Greatest Chases – DVD

Image B- Sound B-
“The Yankee Doodle Mouse,” “Solid Serenade,” “Tee for Two,” “Mouse in Manhattan,” “The Zoot Cat,” “Dr. Jekyll and Mr. Mouse,” “The Cat Concerto,” “The Little Orphan,” “Salt Water Tabby,” “Kitty Foiled,” “Johann Mouse,” “Jerry’s Diary,” “Jerry and the Lion,” “Mice Follies”

by Bill Chambers As I waded through Tom and Jerry’s Greatest Chases, a perfectly enjoyable DVD compilation of postwar “Tom and Jerry” cartoons, I began to wonder why the eternally backbiting cat and mouse have not endeared and endured over decades to the extent that almost any combination of bickering Looney Toons has.

Wild Wild West (1999)

*/****
starring Will Smith, Kevin Kline, Kenneth Branagh, Salma Hayek
screenplay by Brent Maddock, S.S. Wilson, Peter S. Seaman, and Jeffrey Price
directed by Barry Sonnenfeld

by Bill Chambers If you don't think Kevin Kline in drag is funny, wait 'til you see Will Smith in drag–it's even less funny. By the time Jim West (Smith) had disguised himself as a belly dancer to retrieve his captured comrade Artemus Gordon (Kline) from the clutches of evil Dr. Loveless (Kenneth Branagh), I was unequivocally bored with Wild Wild West, the new summer action-comedy from Men in Black director Barry Sonnenfeld. Is the Old West really a breeding ground for slapstick, anyway? If your answer is yes, you're probably thinking of Blazing Saddles, but Blazing Saddles was a parody of the western genre that also satirized the social climate of 1974, not a nineteenth-century romp in and of itself.

Star Wars: Episode I – The Phantom Menace (1999)

This one's pretty rough, folks; mea culpa. Reprinted for posterity and completism, since Walter reviewed the other two. Some minor edits made for clarity.-BC

**/****
starring Liam Neeson, Ewan McGregor, Natalie Potrtman, Jake Lloyd
written and directed by George Lucas

by Bill Chambers Forgoing my typical formula in an effort to write something that stands out from the pack. I can't promise not to spoil anything, but I will do my best to avoid giving too much away.

Star Trek: Insurrection (1998) – DVD

*½/**** Image A Sound A+
starring Patrick Stewart, Brent Spiner, F. Murray Abraham, Anthony Zerbe
screenplay by Michael Piller
directed by Johnathan Frakes

by Bill Chambers Stardate: 12/13/98 Everything about this ninth entry in Star Trek's feature-film franchise seems on the cheap, from its Roger Corman-grade special effects (the series' worst since Star Trek V: The Final Frontier) to its highly derivative and ugly ad campaign (the poster is nearly identical to that for Star Trek VI: The Undiscovered Country). But Michael Piller's not-even-half-baked screenplay should ultimately claim responsibility for the failure of Star Trek: Insurrection. I'm about to give the same unsolicited advice to Trek producer Rick Berman that I've given to the financiers of James Bond movies: it's time to breathe life back into this workhorse by hiring solid genre writers and a real director. While we're at it, put that visor back on La Forge!

Jackie Chan’s First Strike (1996) + Rush Hour (1998) [New Line Platinum Series] – DVDs

First Strike
**½/**** Image B Sound A-
starring Jackie Chan, Chen Chun Wu, Jackson Lou
screenplay by Stanley Tong, Nick Tramontane, Greg Mellott, and Elliot Tong
directed by Stanley Tong

RUSH HOUR
*½/**** Image A Sound A Extras A+
starring Jackie Chan, Chris Tucker, Tom Wilkinson, Elizabeth Peña
screenplay by Jim Kouf and Ross LaManna
directed by Brett Ratner

by Bill Chambers Early on in Rush Hour, the smash-hit buddy-cop movie from last fall, there’s a shot of Jackie Chan clinging tenaciously to a Hollywood street sign as he dangles several feet above the L.A. traffic. It’s a powerful metaphor for Chan’s career: Rush Hour represents his last-ditch effort to become a Stateside action star after finally finding a measure of Hollywood success with the popularity of HK imports like Rumble in the Bronx and Supercop. (Indeed, Chan includes said image in the colour stills portion of his autobiography I Am Jackie Chan, annotated by this caption: “On the set of Rush Hour–hanging on to another chance at Hollywood success.”) This final gamble, after striking out in the early-’80s with Cannonball Run II and The Big Brawl, his English-language debut, paid off handsomely. But why?

Rumble in the Bronx (1996) + Mr. Nice Guy (1998) – DVDs

RUMBLE IN THE BRONX
***/**** Image A Sound A-
starring Jackie Chan, Anita Mui, Francoise Yip, Bill Tung
screenplay by Edward Tang and Fibe Ma
directed by Stanley Tong

MR. NICE GUY
**/**** Image A Sound B+
starring Jackie Chan, Richard Norton, Miki Lee, Karen McLymont
screenplay by Fibe Ma and Edward Tang
directed by Sammo Hung Kam-Bo

by Bill Chambers Prior to his breakout stateside hit Rush Hour, Chinese box-office sensation Jackie Chan's Hollywood forays were the terrifically unsuccessful films The Cannonball Run I & II and The Big Brawl (which planted Jackie in Prohibition-era Chicago!). When American studios–namely, "mini-majors" New Line and Miramax–elected to give him a second chance, not by casting him in their movies but by importing, dubbing, and retitling his more recent Hong Kong hits and putting the full force of their niche-adept marketing machines behind them, the results were much different: Rumble in the Bronx made a small mint for New Line, which almost immediately signed him up for Rush Hour (review forthcoming), last year's sleeper hit. (Sadly, Chan's masterpiece, Drunken Master II, has yet to be distributed in North America by a North American company. Perhaps it's too, well, drunken.)