Cosmopolis (2012) – Blu-ray Disc

Cosmopolis1

****/**** Image B+ Sound A Extras A
starring Robert Pattinson, Juliette Binoche, Sarah Gadon, Paul Giamatti
screenplay by David Cronenberg, based on the novel by Don DeLillo
directed by David Cronenberg

by Walter Chaw David Cronenberg’s North by Northwest, his adaptation of Don DeLillo’s Cosmopolis functions as a difficult, arctic précis of the Canadian filmmaker’s career-long obsession with the insectile nature of, and indulgence in, hunger. Cronenberg’s proclivity for parasites, after all, is essentially the admiration of creatures defined by their hunger. His latest is Eric Packer (Robert Pattinson), a voracious sexual predator who lives in the dark cocoon of his stretch limo as it inches its way across Midtown to a barbershop that would be more at home in the bucolic small town of A History of Violence than in the metal canyons of Manhattan. Its existence, like a little diner along the way, like a bookshop with paper- and leather-lined walls, is further evidence of infestation–pockets of disease on the glistening skin and sterile surfaces of industry. No wonder the filthy rabble protesting in Gotham’s streets have as their unifying symbol the rats that are the true inheritors of man’s work. Cronenberg recalls his own Crash in these ideas–and not just in his desire to adapt literary properties considered unadaptable. He recalls his Naked Lunch in the idea that language is a neurological contagion, and he recalls most of all both his Videodrome (in his identification of screens with every intercourse) and his eXistenZ (in the erasure of any meaningful line between our interiors and exteriors). Cosmopolis is dense and multifarious–the absolute pinnacle of pretentious, too, in its desire to explain not only its creator, but all of the world at this moment in time in our age of missing information.

Film Freak Central’s Top 10 of 2012

Top102012

by Walter Chaw I wish To the Wonder had been released this year–Take Shelter, too. The one because I love Terrence Malick and I’m excited that he’s working so much, the other because I fear that Take Shelter is the last time Michael Shannon will anchor a picture without being instantly Christopher Walken-ized. It’s his The Dead Zone, and he’s amazing in a movie that takes big risks and pays off in a meaningful way; if he were to star in it now, I think it would be mistaken for camp. I also wish I’d seen Margaret in time for my 2011 list. Alas, local publicity has never been terribly interested in my participation. Nevertheless, thanks mostly to Netflix and FYC screeners, I saw a great many great films this year.

Trouble with the Curve (2012) [Combo Pack] – Blu-ray + DVD + Ultraviolet

Troublewiththecurve

*½/**** Image A Sound A Extras D
starring Clint Eastwood, Amy Adams, Justin Timberlake, John Goodman
screenplay by Randy Brown
directed by Robert Lorenz

by Angelo Muredda Trouble with the Curve is an unfortunate title for a film beset with problems on every side. Helmed by longtime Clint Eastwood producer/assistant director/close friend Robert Lorenz, making his equally unfortunate feature debut, it isn’t directed so much as stiffly pushed in the direction of new events once every ten minutes or so. A father-daughter family drama, a sports movie, and a portrait of a career woman swimming with the sharks, first-timer Randy Brown’s screenplay is a mess beyond even an experienced director’s fixing.

The Bourne Legacy (2012) – Blu-ray + DVD + Digital Copy + Ultraviolet

Bournelegacy1

½*/**** Image A+ Sound A Extras B-
starring Jeremy Renner, Rachel Weisz, Edward Norton, Stacy Keach
screenplay by Tony Gilroy & Dan Gilroy
directed by Tony Gilroy

by Walter Chaw By the end of Tony Gilroy’s unbearably long and talky The Bourne Legacy, one is left feeling as though the film hasn’t even started yet. Nothing happens in it, and the only thing it inspires is anticipation: it’s all first act; all supplementary material; all self-importance and hot air. Jason Bourne (Matt Damon) sits this one out while another similar soldier, Aaron Cross (Jeremy Renner), occupies a space parallel to the first three films, climbing mountains, Grey-ing wolves, and saving hot virologist Dr. Marta (Rachel Weisz) from the clutches of our evil government so that she can infect him with a virus that makes him smart. This leads to a moment, inevitable, where Cross suggests that losing 12 points off his artificially inflated IQ would result in some personal “Flowers for Algernon” apocalypse where 12 points would probably result in him forgetting his phone number at worst. It also leads to a series of incoherent flashbacks that fit in perfectly with Gilroy’s impossible-to-follow action sequences; if you’re just going to turn a camera on and throw it out a window, why bother trying to set it up? For those keeping score, there are more spinning Lazy Susan shots here than in Transformers: Asshole. You’ve been warned.

ParaNorman (2012) – Combo Blu-ray + DVD + Digital Copy

Paranorman3

**½/**** Image A Sound A Extras B
screenplay by Chris Butler & Sam Fell
directed by Chris Butler

by Walter Chaw Norman (voiced by Kodi Smit-McPhee) can see and speak with ghosts, which, if you squint a little, is only a metaphor for the kind of sensitivity that, in a boy, will invariably lead to about a decade of being brutalized by his disconnected male peer group. (Everything will change once he invents Microsoft or Pixar.) Norman’s chief tormentor is barely-verbal Alvin (Christopher Mintz-Plasse, already past his sell-by date); his shallow and image-obsessed teenaged sister with a heart of gold™ is Courtney (the awesome Anna Kendrick), who has the hots for the captain of the football team, pre-verbal Mitch (Casey Affleck); and Norman’s best friend, whether he likes it or not, is Mitch’s weird, fat little brother, Neil (Tucker Albrizzi). The first problem of ParaNorman is that, in its rush to be sensitive to intelligent outcasts like Norman and Neil, it dehumanizes and mocks its tormentors, robbing them of the depth and complexity that would have resulted in a better film than this beautifully-wrought, entirely predictable package. (It’s like a jack-in-the-box made by Faberge.) The only moment in which one of these “inside” characters is given any kind of depth (it’s Mitch) is used as a sort of sitcom punchline that doesn’t lend the moment gravity so much as it continues the road of taking sloppy aim at an easy target.

The Muppet Christmas Carol (1992) [20th Anniversary – It’s Not Easy Being Scrooge Special Edition] – Blu-ray + Digital Copy

Muppetxmas4

**/**** Image B+ Sound B+ Extras C
starring Kermit the Frog, Miss Piggy, The Great Gonzo, Michael Caine
screenplay by Jerry Juhl, based on the novel by Charles Dickens
directed by Brian Henson

by Bill Chambers It’s all but inevitable that the Muppets would take on Charles Dickens’s venerable plug-and-play app A Christmas Carol at some point. More surprisingly, Michael Caine had not only not played Ebenezer Scrooge prior to The Muppet Christmas Carol (the role is like Hamlet for English actors who’ve plateaued), he had never before shared a stage with the Muppets, either. This despite his being, in the ’70s and ’80s, the exact calibre of star the Muppets pursued for cameos, and ubiquitous besides. He is, to my taste, not a harsh-enough Scrooge–there’s an irrepressible compassion there when Bob Cratchit (Kermit the Frog) asks him for Christmas Day off. And The Muppet Christmas Carol frankly surrenders too much of the spotlight to this human character: If this were my first Muppet movie, I’d’ve felt especially double-crossed during his song number with the also-flesh-and-blood Meredith Braun, which was restored for the VHS and TV versions of the film kids have grown up with but is absent again on the new Blu-ray. (Former FFC contributor Ian Pugh tells me he “always, always, ALWAYS” used to fast-forward this part as a child.) It’s almost cheating, to finally do the Muppet version of this tale and put an interloper in the lead, when the whole point of adapting it to a pre-existing framework is to match up the archetypes and balance that against audience expectations. It is, effectively, like getting to use characters as actors by casting them as different characters. This is also why Bill Murray works so well in Scrooged, because Scrooge pings off Murray’s crabby, misanthropic ’80s persona.

Take This Waltz (2012) – Blu-ray Disc

Takethiswaltz1

***/**** Image A- Sound A Extras B
starring Michelle Williams, Seth Rogen, Luke Kirby, Sarah Silverman
written and directed by Sarah Polley

by Angelo Muredda As both literary adaptations and first features go, Sarah Polley’s Away from Her was an astonishing exercise in restraint. Working from Alice Munro’s short story “The Bear Came Over the Mountain,” about a seventysomething married couple whose longstanding private games turn into something else when Fiona (Julie Christie) is diagnosed with dementia, Polley forewent the ostentatious route of many first-time directors by telling the story straight. It’s become customary, in speaking of that film, to chalk up this directness to the source material–Munro is, after all, known for her frankness, and apart from the expansion of Olympia Dukakis’s character and a Hockey Night in Canada gag, Polley ported her narrative beats over more or less wholesale. But Munro has a certain nastiness, not least in her omniscient narrators’ cutting observations, that’s largely absent from Polley’s adaptation, which has particular sympathy for Gordon Pinsent’s reformed husband, who’s more of a forgetful cad in the short story. It’s a standard line to say that Munro reserves judgment, particularly towards her adulterers, but what of the ghoulishness of her characterization, in Lives of Girls and Women, of small-town scolds who say things like, “The law-yer, didn’t he think he was somebody?” Polley doesn’t get sufficient credit for translating what she can of that prickliness–which also runs through “Bear”–and molding the rest into something unabashedly romantic.

Your Sister’s Sister (2012) – Blu-ray Disc

Yoursistersister1

**½/**** Image A- Sound A- Extras B-
starring Emily Blunt, Rosemarie DeWitt, Mark Duplass, Mike Birbiglia
written and directed by Lynn Shelton

by Angelo Muredda Lynn Shelton tends to swim in the deep end of the mumblecore pool. More improvisatory than the scripted films of the Duplass brothers (despite their overlap in casting), her work, in an odd sort of way, is probably closer in spirit to Joe Swanberg’s. Swanberg’s shabbier DIY aesthetic masks the heady nature of his projects, which explore the same three or four ideas about modern relationships in forms as disparate as the anthology film (Autoerotic) and the meta-slasher (Silver Bullets). In Humpday, Shelton nicely marries her high concept–to make a movie about hetero male insecurity writ large–with a pair of naturalistic performances that elude Swanberg’s scratchier efforts. Her M.O. appears to be to let her actors fumble through a convoluted situation that, on the strength of their characterizations, never feels as unnatural as it probably should.

Flight (2012)

Flight

**½/****
starring Denzel Washington, Don Cheadle, Kelly Reilly, Melissa Leo
screenplay by John Gatins
directed by Robert Zemeckis

by Bill Chambers We open on a dingy little hotel room. It’s hard to say what the night before was, but this is definitely a “morning after.” A beautiful woman (Nadine Velazquez) emerges from bed, fully nude. There’s another warm body there, a man, churning and groaning awake beneath the covers. He stirs to take a phone call from an ex-wife about child support while the woman gets dressed, unfazed. Finally the man, Whip (Denzel Washington), wills himself out of bed to sip his morning coffee, or in this case, to take a giant toot of cocaine. The film then cuts to him at work–he’s an airline pilot. It’s a sickly funny reveal unavoidably ruined by the trailer, the commercials, even the poster image of Washington in uniform, but what’s fascinating is how the joke now works in reverse: The audience starts tittering in disbelief the moment Whip is introduced, since they already know what he does for a living.

Strangers on a Train (1951) [Two-Disc Special Edition] – DVD|Blu-ray Disc

Strangers5

****/****
DVD – Image A Sound A Extras B
BD – Image A- Sound A Extras B
starring Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll
screenplay by Raymond Chandler and Czenzi Ormonde, based on the novel by Patricia Highsmith
directed by Alfred Hitchcock

by Walter Chaw SPOILER WARNING IN EFFECT. Alfred Hitchcock’s queerest film (Rope notwithstanding) and proof positive of the director’s knack for casting men of ambiguous sexual mooring in roles that cannily exploit it, Strangers on a Train, shot in vibrant contrasts by the great Robert Burks, is best read as a dark comedy–a noir in the most perverse sense of the term. Find in it the finest performance by troubled Robert Walker, tormented to his grave by David O. Selznick’s infatuation with and eventual theft of wife Jennifer Jones and committed, not long after Strangers on a Train finished shooting, to a mental institution, where he was the victim of an accidentally-lethal dose of sedative. Playing a character named after the kidnapper and murderer of the Lindbergh baby, Walker is Bruno, a spatted dandy who bumps shoes with hero Guy (Farley Granger–the “girl” in the Rope dyad) on a train and ostensibly hatches a plan with the pliant tennis star to “criss-cross” murders (trade assassinations, as it were), freeing each of them from the burden of blood motive. Bruno wants his father dead; Guy, involved in a very public affair with the senator’s daughter Anne (Ruth Roman) but shackled to loathsome Miriam (Kasey Rogers), would benefit from Miriam’s timely demise. So when Miriam turns up dead by Bruno’s hand, Guy is trapped by circumstance into either murdering Bruno’s dad or going to the police and implicating himself and his lover in a conspiracy.

Magic Mike (2012) – Blu-ray + DVD + Digital Copy

Magicmike1

**½/**** Image A Sound A Extras D+
starring Channing Tatum, Alex Pettyfer, Cody Horn, Matthew McConaughey
screenplay by Reid Carolin
directed by Steven Soderbergh

by Angelo Muredda Magic Mike opens with Saul Bass’s red-and-black Warner Bros. logo, retired in 1984. That gesture is meant, I think, to pitch what follows as a throwback to smarter studio fare along the lines of Hal Ashby’s Being There, but it also courts less flattering comparisons to the likes of the Police Academy movies. Steven Soderbergh’s latest pop exercise falls somewhere between those two poles–a little too close for comfort to the Guttenberg side. Conceived as a loose riff on star Channing Tatum’s time as a male stripper, it has a solid run as a cheerful smut delivery mechanism before hanging up its thong to become a rote ‘80s melodrama about good kids corrupted by bad drugs. If the howl of “Yes!” that greeted the first bared ass at my screening is any indication, that transformation won’t hurt the bottom line (a figure these strippers always seem to have on their minds), though it does make Magic Mike another promising yet half-baked Soderbergh project instead of a good movie, sans asterisks.

The Horse Whisperer (1998) – Blu-ray Disc

The Horse Whisperer (1998) – Blu-ray Disc

****/**** Image A- Sound A Extras D+
starring Robert Redford, Kristin Scott Thomas, Sam Neill, Scarlett Johansson
screenplay by Eric Roth and Richard LaGravenese, based on the novel by Nicholas Evans
directed by Robert Redford

by Bill Chambers  SPOILER WARNING IN EFFECT. Revisiting Robert Redford’s The Horse Whisperer fourteen years after I last saw it, I am relieved to encounter a film that isn’t simply marking time until a climactic moment that was for me a cherished eureka at the movies. The picture begins with Grace (13-year-old Scarlett Johansson) rising at the crack of dawn to go horseback riding with her friend Judith (Kate Bosworth, billed as “Catherine”). Redford focuses on Johansson’s socked feet slinking past her parents’ bedroom door, and subsequently draws a lot of attention to legs and feet here–not in a fetish-y way, but as if they’re a person’s “tell.” I misremembered this scene, for what it’s worth, as Grace doing something wrong by sneaking out, but in fact her parents are not at all surprised to find her gone by the time they’re up and around. Mom (Kristin Scott Thomas) is basically Anna Wintour–her name’s even Annie–and Dad, Robert (Sam Neill), is, we infer, the kind of lawyer who does a lot of pro bono work.

Cinderella (1950) [Diamond Edition] – Blu-ray Disc

Cinderella3

***/**** Image A Sound A Extras B+
directed by Clyde Geronomi & Wilfred Jackson & Hamilton Luske

by Bill Chambers Despite its streamlining of the particulars, Walt Disney’s feature-length Cinderella ultimately takes fewer liberties with the source material (chiefly, Charles Perrault’s “Cinderella, or The Glass Slipper”) than almost any of his other animated fairytales. Consequently, there remains the problem of a heroine who’d still be sweeping the floors were it not for her Fairy Godmother, the deus ex machina to end deus ex machinas. The Cinderella myth, as Perrault interpreted it, is at best anachronistic–we learn that beauty is a virtue but that grace is a gift…whatever that means. Disney’s contemporization turns it into a karma fable of sorts, with martyrdom paying off like a jackpot and the comeuppance of Cinderella’s tormentors the real happily-ever-after of the piece. Cinderella’s a less-than-ideal role model for the millions exposed to the movie in childhood, really, because she accepts victimhood until external forces intervene on her behalf.

Child’s Play (1988) [Chucky’s 20th Birthday Edition] – DVD|Blu-ray + DVD; Chucky: The Killer DVD Collection

Childsplaycap

CHILD’S PLAY
***/****
DVD – Image A- Sound A- Extras B+
BD – Image A Sound A Extras B+
starring Catherine Hicks, Chris Sarandon, Alex Vincent, Brad Dourif
screenplay by Don Mancini and John Lafia and Tom Holland
directed by Tom Holland

CHILD’S PLAY 2 (1990)
**/**** Image C+ Sound A-
starring Alex Vincent, Jenny Agutter, Gerrit Graham, Brad Dourif
screenplay by Don Mancini
directed by John Lafia

CHILD’S PLAY 3 (1991)
*/**** Image B- Sound A-
starring Justin Whalin, Perrey Reeves, Jeremy Sylvers, Brad Dourif
screenplay by Don Mancini
directed by Jack Bender

BRIDE OF CHUCKY (1998)
**/**** Image B Sound B Extras C
starring Jennifer Tilly, Brad Dourif, Katherine Heigl, Nick Stabile
screenplay by Don Mancini
directed by Ronny Yu

SEED OF CHUCKY (2004)
*/**** Image A- Sound B Extras C-
starring Jennifer Tilly, Brad Dourif, Billy Boyd, Redman
written and directed by Don Mancini

by Ian Pugh SPOILER WARNING IN EFFECT. Twenty years and four sequels later, it’s obviously pointless to try to conceal that Child’s Play is about a serial killer (Brad Dourif) who transfers his soul into an innocuous doll, but watching it today–more than a decade after it thoroughly traumatized me as an impressionable preteen–I was surprised to learn that the film itself didn’t do much to hide that fact from the start. Oh, sure, when you first approach Child’s Play, you’re ostensibly supposed to wonder whether little Andy Barclay (Alex Vincent) is responsible for the murders peppered throughout, despite his loud protestations that Chucky did it. But no, it never really tries to pretend that these horrible acts are being committed by anyone other than that godawful doll. In taking that perspective, Child’s Play preys upon the irrational fears we all harbour–that sting of dread we get at the sight of an unintentionally unsettling toy, immediately wished away by safe, immutable reason: that’s impossible–a doll can’t hurt you.

Dark Shadows (2012) – Blu-ray + DVD + Digital Copy

Darkshadows3

*½/**** Image B+ Sound A- Extras B-
starring Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter, Eva Green
screenplay by Seth Grahame-Smith, based on the television series “Dark Shadows” by Dan Curtis
directed by Tim Burton

by Angelo Muredda Like so many of his recent dioramas, Tim Burton’s Dark Shadows starts off looking suspiciously like a real movie. The director’s tendency to Burtonize cherished texts into gauche self-portraits is suppressed in an economical opening that tells with a straight face the dolorous tale of Barnabas Collins, once-imprisoned and newly-freed vampire star of Dan Curtis’s late-afternoon soap. The mood is sombre–a nice hat-tip to Curtis’s morose series, which, if you’ll pardon the wonky chronology, played out like a Smiths song drained of irony. Alas, before long Barnabas awakens in 1972 to meet his distant relatives and dissipated hangers-on, and the mere presence of pasty-white, pink-shaded, ginger-wigged Helena Bonham Carter as family psychiatrist Julia Hoffman is enough to break the spell. Carter’s mannered and carefully sculpted weirdness alerts us that this is yet another wax museum standing in for a film no one had the heart to finish.

Friday the 13th: From Crystal Lake to Manhattan [Ultimate Edition DVD Collection] + Friday the 13th [Uncut]|Friday the 13th Part 2|Friday the 13th Part 3 3-D – Blu-ray Discs

FRIDAY THE 13TH (1980)
**½/****

DVD – Image B+ Sound B-
BD – Image A Sound B Extras B+
starring Betsy Palmer, Adrienne King, Harry Crosby, Laurie Bartram
screenplay by Victor Miller
directed by Sean S. Cunningham

F131capby Alex Jackson

“Do you think you can get through the summer?”

“I don’t think I can get through the week.”

One look at the teenagers in Sean S. Cunningham’s Friday the 13th and we can see they’re displaced, without religion or identity. Shallow, dim, they don’t have any past and they don’t have any future. Their existence is entirely ephemeral and half-developed. Their lives consist solely of pot, sex, and menial work. We know that they’re really talking about life in the above-quoted exchange–life as a biological process that will come to an abrupt stop for most of them by the end of the week, if not by the end of the summer. They think they’re just talking about work and boredom.

TIFF ’12: Imogene

a.k.a. Girl Most Likely
**/****

directed by Shari Springer Berman and Robert Pulcini

by Bill Chambers The Wizard of Oz is the paradigm for Kristen Wiig’s first starring vehicle since Bridesmaids–though for the sake of managing expectations, it’s probably better to think of Imogene as Shari Springer Berman and Robert Pulcini’s follow-up to their dire HBO flick Cinema Vérité. The movie opens with the title character as a child playing the lead in an unlikely school production of The Wizard of Oz and lodging the precocious complaint that Dorothy’s desire to return to drab Kansas is irrational. Many years later, Imogene is an aspiring/failed playwright in the Laura Linney-in-The Savages mold reduced to staging a suicide tableau in a last-ditch effort to win back her ex-boyfriend (Brian Petsos). The frenemy (June Diane Raphael, who’s in every goddamn movie like this) who finds her instead calls 9-1-1, and Imogene, thanks to the intervention of the Sitcom Fairy, is forced to serve out her mandatory psych stay at home–specifically, her childhood home in Atlantic City, where her man-child brother Ralph (Christopher Fitzgerald) still lives with their gambling-addict mother (Annette Bening), mom’s weird boyfriend (Matt Dillon), and Lee (Darren Criss), the young boarder who moved into Imogene’s old room.

Beyond the Black Rainbow (2012) – Blu-ray Disc

Beyond4

***/**** Image A Sound A Extras F
starring Michael Rogers, Eva Allan, Scott Hylands
screenplay by Panos Cosmatos, inspired by the book Be Your Self by Mercurio Arboria
directed by Panos Cosmatos

by Angelo Muredda Panos Cosmatos claims he wasn’t allowed to watch R-rated movies as a kid and had to make do with the lurid box covers he saw on video store shelves. Rising above those less-than-ideal conditions, the first-time helmer and son of famed Cobra and Rambo: First Blood Part II director George P. Cosmatos makes an auspicious debut with Beyond the Black Rainbow. As befits its retro title, this is a bravura pulp homage that recreates the feeling of a preteen creeping down the hall to catch a sidelong glance of the bygone genre cinema pulsing out of the living-room TV and painting the walls orange. Still, it’s best approached not as a found object from that time, but as a mood piece–a sustained exercise in atmospheric nostalgia for what LCD Soundsystem eloquently called the “unremembered ’80s.”

TIFF ’12: The Paperboy + At Any Price

THE PAPERBOY
*/****
directed by Lee Daniels

AT ANY PRICE
*/****
directed by Ramin Bahrani

by Bill Chambers The great Pete Dexter writes tersely about criminal perversity in the southern United States; the problem in adapting him to the cinema is that without his hardboiled prose, which lends everything he writes the whiff of reportage (a newspaperman originally, he turned to novels after drug dealers beat him nearly to death over one of his columns), the psychosexual situations he describes threaten to collapse into camp. Because of this, Dexter and Precious/Shadowboxer auteur Lee Daniels sounded like a match made in Hell to me, but the blunt force of Daniels’s shamelessness proves strangely compatible with Dexter’s writing in The Paperboy, based on the latter’s 1995 best-seller. If only he could direct! Daniels is like a less bourgeois Henry Jaglom, cutting between a panoply of indifferently-composed shots like a frog on a griddle with little feeling for either spatial or character dynamics.