Authors: Bill Chambers Archives - Page 27 of 68

TIFF 2010: Wrap It Up

September 27, 20102010, 2011, Action, Authors: Bill Chambers, Blog, Canada, Comedy, Crime, Documentary, Drama, Film Festivals, France, Horror, Music, Mystery, South Korea, Superhero, Thriller, TIFF, TIFF 10, Time Travel

by Bill Chambers

The films are fading fast in the rearview for me (no reflection on them, necessarily), but before they become too vestigial I want to at least highlight the rest of what I saw at this year’s TIFF, starting with a movie called White Irish Drinkers (*/****). How I wound up catching this flick is fairly embarrassing: the director is “John Gray,” which I misread in my bleary, end-of-festival state as “James Gray.” I was severely late for the flick, so I don’t want to pummel it (or even officially rate it), but keen auteurist that I am, I figured out my mistake pretty quickly: James Gray just wouldn’t have a naked girl (the maddeningly familiar Leslie Murphy) run around a cemetery with “free spirit” music cued up on the soundtrack–he’s not a de facto film student anymore. Though it turns out that John Gray has an extensive TV-movie resume, having done everything from The Marla Hanson Story to the remake of Brian’s Song, this feels very much the work of a novice, not a little for its pretensions to be the next Mean Streets. Because Stephen Lang salvaged Public Enemies virtually single-handedly, I was hopeful when he turned up here, but his character may be even more one-note than the one he played in Avatar. As his put-upon wife, Karen Allen has seemingly recovered from the stupefying euphoria of getting to resurrect her iconic Marion in Kingdom of the Crystal Skull. Strangely, I missed said goofy grin, yet she makes the most of a thankless role that indirectly references her previous brush with this genre, Philip Kaufman’s The Wanderers. The rest of the cast is made up of baby-faced thugs who have to be given black eyes at regular intervals in order to pass for tough. On a related note, I never could shake the feeling that this is exactly the sort of project Vinnie Chase would be hot for on “Entourage”.

The Karate Kid (2010) – Blu-ray Disc

September 26, 20102000s, 2010, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Family, Jackie Chan, Martial Arts, Sports, Will Smith

**/**** Image A Sound A Extras B-
starring Jaden Smith, Jackie Chan, Taraji P. Henson, Wenwen Han
screenplay by Christopher Murphey
directed by Harald Zwart

by Walter Chaw So here's the thing: there's something really powerful about the archetype of a child losing his father and finding a mentor and, on the flipside, of a father losing a son and finding an apprentice. Easy to scoff, it's also the worn-through, threadbare foundation for stuff like the Dardennes' arthouse favourite The Son, Beat Takeshi's Kikujuro, and Pixar's Up–so why not another go-round with a remake of The Karate Kid? The only places it truly fails are in its deviations from formula: a little too much faithless razzle-dazzle here, a bit too much equivocal bullshit there, and a whole lot of nepotism as overmatched Jaden Smith (spawn of producers Will and Jada Pinkett) grimaces his way through a cipher of a character. It's high-concept fat that clogs the arteries of a lean, John G. Avildsen-sculpted framework, this inner-city-to-Forbidden-city crap that sees li'l Dre (Smith) jetting off to Beijing when mommy (Taraji P. Henson) gets a job at an auto plant. Should there be an undercurrent of irony here about moving from Detroit to Beijing to work on cars? Doesn't matter, as in the place of subtext, The Karate Kid quickly introduces a deeply uncomfortable love story between 12-year-old Dre and little Mei (Han Wenwen) that culminates in a stolen kiss and a sexy dance set to Lady Gaga that has blank Dre slacking his jaw in the very approximation of Forrest Gump finally fucking Jen-nay. Is there a racial element when bully Cheng (Wang Zhenwei) warns Dre to "stay away from all of us"? Doesn't matter, as in the place of all that stuff about internment camps that so beautifully complicated the 1984 flick is the drama of Mr. Han née Miyagi (Jackie Chan) losing control of his car on a dark and stormy night (because just as every chink knows kung fu, none of them can drive–Han totals a car in the film while it's parked in his living room), thus opening the door for a ragamuffin to come calling like some funked-up changeling.

Forbidden Planet (1956) [50th Anniversary Two-Disc Special Edition] – DVD|Blu-ray Disc

September 23, 20101950s, 2010, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, DVD, Family, Japan, Sci-Fi, Thriller

FORBIDDEN PLANET
***/****
DVD – Image A- Sound B Extras B
BD – Image A Sound A Extras B
starring Walter Pidgeon, Anne Francis, Leslie Nielsen, Warren Stevens
screenplay by Cyril Hume
directed by Fred McLeod Wilcox

THE INVISIBLE BOY (1957)
ZERO STARS/****
Image B- Sound C+
starring Richard Eyer, Philip Abbott, Diane Brewster, Harold J. Stone
screenplay by Cyril Hume, based on the story by Edmund Cooper
directed by Herman Hoffman

by Walter Chaw Outrageously influential and utterly unlike its contemporaries, Fred Wilcox's Forbidden Planet today suffers from prosaic pacing and long stretches where its groundbreaking special effects take centre-stage as the cast gapes in slack-jawed, dim-witted appreciation. I suppose it's not altogether antithetical to the themes of the picture, one that finds its heroes pontificating on their primitiveness in the face of an awesome (and extinct) alien culture–but this open love of its own coolness ultimately represents Forbidden Planet's broadest, most negative impact. The worst of our mainstream spectaculars, after all, are buried under reaction shots as the characters who should be the least mesmerized by their surroundings are impelled to be audience surrogates. What still works about Forbidden Planet is its high-mindedness: those moments where mad scientist Morbius (Walter Pidgeon) declares that the knowledge gleaned from the new technologies he discovers by reverse-engineering a cache of alien artifacts will be jealously rationed by him alone. The dangerous idea that one entity would take on the moral and intellectual superiority to judge who should and should not be allowed to educate themselves was germane here in the middle of the Cold War and remains applicable to our current state of foreign affairs, where just the threat of knowledge acts simultaneously as a spur to aggression and as a deterrent for invasion. Considered by many to be the best of the '50s science-fiction cycle, Forbidden Planet, at once Luddite and in love with the potential for technological expansion, is at least unique for its unabashed indulgence in its subtext–though mining subtext tends to have the obvious effect of leaving the subtext barren.

American Beauty (1999) [The Awards Edition] + Forrest Gump [Special Collector’s Edition] – DVDs + American Beauty [Sapphire Series] – Blu-ray Disc

September 20, 20101990s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Blu-ray Disc, Comedy, Directors: Robert Zemeckis, Drama, DVD, Romance

AMERICAN BEAUTY
**/****
DVD – Image C+ Sound B- Extras C-
BD – B Sound A- Extras C
starring Kevin Spacey, Annette Bening, Thora Birch, Chris Cooper
screenplay by Alan Ball
directed by Sam Mendes

FORREST GUMP
*/**** Image B Sound B+ Extras B-
starring Tom Hanks, Robin Wright, Gary Sinise, Sally Field
screenplay by Eric Roth, based on the novel by Winston Groom
directed by Robert Zemeckis

by Walter Chaw People who say the Oscars suck aren't entirely wrong, but saying this tends to obscure the fact that most Best Picture honourees aren't terrible so much as dedicatedly mediocre. They're masterpieces of toeing the centreline, and in so doing they manage to offend neither side of the divide overly: The great American strive, Hollywood-style, isn't to rewire the mousetrap, as it were, any more than it is to produce a pile of crap on purpose. No, the goal is to achieve medium buoyancy. Too bloated to float, too fat to sink; if you don't reach too ambitiously, you won't get slapped down–and a career constructed around formula-prestige, 140-minute pictures is suddenly within your grasp, Ron Howard-like. The trick is to appeal as broadly as possible without appearing to do so–to recast convention in vague middlebrow hot-button terms and neither speak above the heads of your audience nor be obvious in your condescension.

TIFF 2010: On “Womb”

September 19, 20102010, 2011, Authors: Bill Chambers, Drama, Film Festivals, Germany, Romance, Sci-Fi, TIFF, TIFF 10

by Bill Chambers I found the imposed misery of Never Let Me Go a lot less provocative and haunting than the self-inflicted kind one encounters in Benedek Fliegauf’s Womb, whose one-word title seems to not-unduly affiliate the picture with Jonathan Glazer’s great Birth. I love this movie, but it took me a few days to digest it, and I’m not sure I’d have the patience to sit through it again. It’s challenging from the get-go, what with the quasi-kiddie porn of its opening sequences, in which a beautiful young boy and girl start sleeping together, and the girl caresses her skin, then the boy’s, as if trying to decipher some message between them written in Braille. (For pure eroticism, though, nothing trumps the pair watching a snail writhe across a kitchen table–and it’s here that I wish I possessed Walter Chaw’s vocabulary for discussing suggestively Romantic images such as these.) The girl, Rebecca, moves to Tokyo, and grows up to be played by Eva Green. She returns to the little beach community where she met the boy, Thomas (Matt “Doctor Who” Smith as an adult), and looks him up, having transparently spent the intervening years pining for him. When they meet again, he’s so thunderstruck that he dumps his current girlfriend on the spot, and the two impulsively begin a life together as eco-activist–an amateur entomologist, he breeds cockroaches, speaking to indelibility and infestation–and muse. Just as suddenly, Thomas is killed on the way to a protest, and Rebecca, feeling cosmically robbed, has and implements the lunatic idea to be artificially inseminated with Thomas’s clone and cultivate in the child an Oedipal complex, so that at some point in the future she will get to be with a facsimile of her lover, even if he is, technically, her son. What ensues is a distaff Lolita that makes up for in controversy (the incest angle) what it may lack in guts (all things considered, this is a fairly chaste film), though the Zen patience with which Rebecca courts Thomas II only affirmed the intelligence of the piece for me: you’re just not going to see a woman exhibit the immoral lust of Humbert Humbert with the same urgency.

TIFF 2010: On “Let Me In”

September 15, 20102010, 2011, Authors: Bill Chambers, Film Festivals, Horror, TIFF, TIFF 10, Vampire

by Bill Chambers The logo for the refurbished Hammer Films that opens Let Me In is a little like the one for Marvel Films, only images of Christopher Lee and Peter Cushing flutter past instead of Spider-Man and other "-men." I think it may have caused me to squee, as the girls say. The movie itself doesn't labour to honour the Hammer legacy per se--I had secretly hoped it'd find room for at least one slutty Victorian barmaid--but it does reverentially emulate its key source, the 2008 Swedish film Let the Right One In, which Walter Chaw and I had on our Top 10 lists for that…

TIFF 2010: On “John Carpenter’s The Ward”

September 14, 20102010, 2011, Authors: Bill Chambers, Directors: John Carpenter, Film Festivals, Horror, TIFF, TIFF 10

by Bill Chambers Before we resume our regularly scheduled programming, a few words on a film evidently especially anticipated by readers of this site/blog. Like most movie fiends around my age (i.e., old), I'm a lifelong, dyed-in-the-wool John Carpenter fan, and I didn't hesitate for a moment to clear a space in my TIFF sked for his first feature film since 2001's Ghosts of Mars. He's been off his game for years--decades, even--and this is the sort of festival fare that makes me feel like I'm opting for peanuts over the vegetable platter, but still: a no-brainer. Alas and alack,…

TIFF 2010 Day 2: Jack Goes Boating; Curling; Never Let Me Go

September 11, 20102010, 2011, Authors: Bill Chambers, Canada, Comedy, Drama, Film Festivals, Romance, Sci-Fi, TIFF, TIFF 10, UK

by Bill Chambers Friday began with Jack Goes Boating, the directorial debut of Philip Seymour Hoffman, who also stars as the title character. Jack is an airport limo driver who’s been the third wheel in the lives of his married friends Clyde (John Ortiz) and Lucy (Daphne Ruben-Vega) for so long that they’ve decided to intervene by setting him up with the mousy but receptive Connie (Amy Ryan). The movie, adapted–and, one suspects, significantly “opened up”–by Bob Glaudini from his own Off-Broadway play, casually parallels their burgeoning romance with the evaporation of Clyde and Lucy’s relationship. In a fall preview on his delightful blog, Nick Davis summed up his level of anticipation for Jack Goes Boating thusly: “Loved Synecdoche but can’t take much more schlub.” Truer words, etc. Jack isn’t just a schlub, he’s the ur-schlub, a maddeningly static individual who has to be nudged into action like a soccer ball, and Hoffman lights and poses himself to look as appetizing as Grimace from the Happy Meals. I much prefer another passion project of Hoffman’s, Love Liza: although it operates on the same demented frequency as Jack Goes Boating, there’s a whole slew of theatrical affectations to contend with this time around. (You can eventually set your watch to Jack’s nervous throat-clearing.) Ortiz is tremendously winning, though, in a bromantic role that reveals a lot more range, not to mention teeth, than Hollywood’s ever given him a chance to show. Jack Goes Boating reminded one woman I spoke to of Rocky; I can see it if I squint.

TIFF 2010 Day 1: Stone; I’m Still Here

September 9, 20102010, 2011, Authors: Bill Chambers, Drama, Film Festivals, Jack Nicholson, Music, Pseudo-Documentary, Robert De Niro, Thriller, TIFF, TIFF 10

by Bill Chambers I started the morning off on a bum note by boarding the wrong subway train (which caused me to miss The Town), but other than that, the day went off without a hitch. I found the new homebase of the Festival okay, spotted Karina Longworth (who like most critics of note looks part cartoon character), got mistaken for a stand-up comic (am I the only one who feels bizarrely contrite when this happens?), and managed to park my ass in a cinema just as Stone was beginning to unspool. As an aside, I now see a real upside to holding the press screenings at the Scotiabank instead of the Varsity, as the larger auditoriums are cutting down on the last-minute scrambles to find a seat; at both of my movies today, the first few neck-straining rows were almost entirely empty. It’s a throwback, really, to the good old days of the Uptown.

Dexter: The Fourth Season (2009) – Blu-ray Disc

August 24, 20102000s, 2010, Authors: Bill Chambers, Blu-ray Disc, Crime, Drama, Mystery, Television, Thriller

Image A Sound A Extras D+
"Living the Dream," "Remains to be Seen," "Blinded by the Light," "Dex Takes a Holiday," "Dirty Harry," "If I Had a Hammer," "Slack Tide," "Road Kill," "Hungry Man," "Lost Boys," "Hello, Dexter Morgan," "The Getaway"

by Bill Chambers SPOILER WARNING IN EFFECT. Previously on "Dexter": Jimmy Smits set the Latin-American image back 100 years; Dexter married his stepsister* (*may have only happened offscreen); and the show ran out of flashbacks, forcing James Remar into the present-day narrative as the ghost of Hamlet's father. And now, the continuing misadventures of America's cuddliest serial killer.

Flaming Star (1961) – DVD

August 5, 20101960s, 2010, Action, Authors: Bill Chambers, Drama, DVD, Western

***½/**** Image B Sound B+
starring Elvis Presley, Dolores Del Rio, John McIntire, Steve Forrest
screenplay by Clair Huffaker and Nunnally Johnson, based on the novel Flaming Lance by Huffaker
directed by Don Siegel

by Bill Chambers SPOILER WARNING IN EFFECT. In his compulsively readable autobiography A Siegel Film, Flaming Star director Don Siegel recounts a conversation he had with the film's producer, David Weisbart. Told that Elvis Presley has replaced Marlon Fucking Brando as the lead in their Nunnally Johnson-scripted western, a baffled Siegel observes, "He's no Marlon Brando."

"On the other hand, Brando's no Presley," Weisbart retorts, creating a kind of Lewis Carroll logic loop from which the only escape is to concur. Siegel is later ironically relieved to hear that the esteemed Johnson has bailed on the project in protest, as it confirms he's not the only one not taking the recasting lightly.

Insomnia (2002) – [Widescreen Edition] DVD + Blu-ray Disc

July 27, 20102000s, 2010, Al Pacino, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Christopher Nolan, Drama, DVD, Mystery, Thriller

**/****
DVD – Image A Sound A Extras B
BD – Image A+ Sound A Extras B
starring Al Pacino, Robin Williams, Hilary Swank, Maura Tierney
screenplay by Hillary Seitz, based on the screenplay by Nikolaj Frobenius and Erik Skjoldbjærg
directed by Christopher Nolan

by Walter Chaw Director Christopher Nolan follows up his justifiably hailed indie masterpiece Memento with Insomnia, a mainstream Hollywood remake of Erik Skjoldbjærg's tremendous 1997 Norwegian film of the same name. Like the ill-fated American version of the French/Dutch Spoorloos (a.k.a. The Vanishing), what emerges from this studio remake is a frightened, sometimes patronizing, and ultimately ineffectual thriller that transforms all the controversy and introspection of the original into something rote and predictable. A close comparison between Skjoldbjærg and Nolan's visions for the material brings to light the defective machinery of big-budget motion pictures in Hollywood. The sad irony of such a discussion is that Nolan's Memento was so remarkable because it represented nearly everything that Insomnia is not.

Road to Perdition (2002) [Widescreen (Dolby Digital)] – DVD|Blu-ray Disc

July 26, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, DVD, Gangster, Thriller

**½/****
DVD – Image A- Sound B Extras B
BD – Image A Sound A Extras B+
starring Tom Hanks, Tyler Hoechlin, Paul Newman, Jude Law
screenplay by David Self, based on the graphic novel by Max Allan Collins and Richard Piers Rayner
directed by Sam Mendes

by Walter Chaw A shot near the end of Road to Perdition, Sam Mendes's follow-up to his honoured American Beauty, needs to be singled-out. It's of a hotel room divided by a wall: on one end sits a boy in bed, weeping; on the opposite side of the partition enters the boy's father, wet from the rain with blood on his hands. With painterliness, Mendes and cinematographer Conrad Hall present this moody tableau in what is a continuation of the picture's running homage to the images, themes, even favourite subjects of American painter Edward Hopper, such as an all-night diner in the middle of nowhere, an unevenly lit apartment, and silhouettes imprisoned in blocks of yellow light.

The Manchurian Candidate (1962) [Special Edition] + Deathdream (1972) + Uncle Sam (1997) – DVDs|Uncle Sam – Blu-ray Disc

July 7, 2010****/****, 1960s, 1970s, 1990s, 2010, Authors: Bill Chambers, Blu-ray Disc, Blue Underground, Canada, Comedy, Directors: John Frankenheimer, Drama, DVD, Espionage, FFC Must-Own, Horror, Mystery, Romance, Satire, Sci-Fi, Thriller, UK, Zombie

THE MANCHURIAN CANDIDATE
****/**** Image A+ Sound A Extras B+
starring Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
screenplay by George Axelrod, based on the novel by Richard Condon
directed by John Frankenheimer

Dead of Night
***½/**** Image A- Sound B Extras A-
starring John Marley, Lynn Carlin, Richard Backus, Henderson Forsythe
screenplay by Alan Ormsby
directed by Bob Clark

UNCLE SAM
**½/****
DVD – Image B+ Sound B Extras A-
BD – Image B Sound A Extras A-
starring Isaac Hayes, Bo Hopkins, Timothy Bottoms, Robert Forster
screenplay by Larry Cohen
directed by William Lustig

by Bill Chambers SPOILER WARNING IN EFFECT. As the zeitgeist is one of those things we tend to discuss in the past tense, you have to wonder whether it’s a vacuum or a barometer. In other words, the point at which culture-mongers finally lunge at a craze is usually once it’s begun shrieking its death rattle, and yet a post-mortem of said craze invariably divulges a complex tapestry of art and politics, the ascription of happenstance to which seems preposterous. Our own Walter Chaw brilliantly observes in recent omnibus reviews pairing Love Me If You Dare with Valentin and Dodgeball with Napoleon Dynamite that leitmotifs are emerging at the box office free of predetermination, and I myself got a faint chill when I became cognizant of having consecutively watched the upcoming DVDs of John Frankenheimer’s 1962 The Manchurian Candidate, Bob Clark’s 1972 Dead of Night (a.k.a. Deathdream), and William Lustig’s 1997 Uncle Sam. The Manchurian Candidate is getting reissued because MGM wants to piggyback the P&A for this summer’s star-studded remake, Dead of Night because it’s a perennial cult fave, and Uncle Sam because Lustig owns the company; three separate objectives, then, for putting out three different pictures all concerning shell-shocked war veterans bringing the violence home with them. Considering the length of time it must have taken to prepare these beautifully mastered, supplement-rich discs, that they coincide with not only each other but also the cooling of patriotic fervour (coupled with the spontaneous theatrical release of Michael Moore’s anti-Dubya Fahrenheit 9/11) is like getting the rare privilege to see the forest for the trees.

Alice in Wonderland (2010) – Blu-ray + DVD

June 14, 20102000s, 2010, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Directors: Tim Burton, Disney, DVD, Family, Fantasy

**/**** Image A Sound A Extras B-
starring Johnny Depp, Anne Hathaway, Helena Bonham Carter, Mia Wasikowska
screenplay by Linda Woolverton
directed by Tim Burton

by Walter Chaw A diary of missed opportunities but not the disaster it could have been, Tim Burton's Alice in Wonderland reminds a great deal of Walter Murch's Return to Oz in that both are closer in spirit to the respective dark of their inspirations while still falling tantalizingly shy of the beguiling murk of their headwaters. (In terms of adaptations, No Country for Old Men holds the gold standard for cinema that understands its source well enough to use it in its own sentence.) It'll be compared of course to the Disney animated classic that mistook Lewis Carroll's misanthropy-soaked surrealism for whimsy–a comparison Burton tries to sidestep by incorporating more elements (the Bandersnatch, the Jabberwocky, the Jub-Jub Bird, snickersnack) from the largely-ignored second book, Alice Through the Looking Glass, but one that'll hound a film featuring plucked-out eyeballs and a castle moat traversed by skipping across severed heads.

Dispatch from the 2010 WWSFF: Midnight Mania – Creepy

June 12, 2010****/****, 2010, Authors: Bill Chambers, Canada, Czech Republic, Film Festivals, Short Films, UK

Click here to visit the Worldwide Short Film Festival's official website.

by Bill Chambers Back in my early-twenties, there was one summer job I had where I found myself doodling animals saying inexplicable–and, needless to say, often repulsive–things. It started out as an effort to break the ice with my only co-worker (we spent most of our time locked in a makeshift editing bay together), then escalated into a constant test of her boundaries. I happened across some of these drawings recently, and they are resolutely unfunny: a bunny threatening to kill your mother with an axe, a frog telling a fart joke; in retrospect, I wonder why said co-worker eventually invited me to her wedding. Stockholm Syndrome's my best guess. Nevertheless, during the subterranean Looney Tune that is Everybody (animated; ds. Jessie Mott; 4 mins.; ½*/****), I began to feel grateful that there was no real public forum to display those cartoons back then, because all I'd really be doing is inviting some asshole on the Internet to dismiss it as adolescent shit. This is adolescent shit. Rendered in crude, impatient watercolours, various deer, bats, goats, etc. are anthropomorphized via cheaply cryptic remarks like "I'm too small in the necessary spaces," and "You paralyze me with disgust. You're spilling open like a gelatinous achin' belly." To which I reply, by way of Al Pacino in Heat, "Don't waste my motherfuckin' time!"

Invictus (2009) – Blu-ray Disc

June 8, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Blu-ray Disc, Clint Eastwood, Drama, Sports

***/**** Image B+ Sound A- Extras B-
starring Morgan Freeman, Matt Damon, Tony Kgoroge, Patrick Mofokeng
screenplay by Anthony Peckham, based on the book Playing the Enemy by John Carlin
directed by Clint Eastwood

by Walter Chaw During an awards season seemingly devoted to surveying the racial divide, Clint Eastwood's Invictus lands a glancing blow as a Reconciliation sports melodrama that avoids the hysterical outburst even as it fails to hit one out of the park. Of the two, I think I'd rather the former. Expecting a (more) self-important Hoosiers, I was pleasantly surprised by Eastwood's leisurely, cocksure, tempered-by-age stroll through the first days post-Apartheid as Nelson Mandela (Morgan Freeman, finally playing Abraham Lincoln) is tasked with the near-impossible job of suturing a nation coming out from under a long Plantation nightmare without his administration becoming exactly what the minority Afrikaner fears. It locates sports as one quick avenue to the heart of the lowest common denominator (just as the existence of Invictus locates film as another), and it fires dual salvos at its audience by first being a sports underdog uplift flick without much sports or uplift, then in not deigning to explain the fundamentals of rugby to its American audience, instead launching a quick jab at America's reluctance to engage the worlds' pastimes (rugby and soccer, notably). What it really does for the race conversation is allow Eastwood the opportunity to at last feature Freeman in a movie designed around him as opposed to having him–as he did in Million Dollar Baby and Unforgiven–function as a comparative component against which the white protagonist is memorialized and measured. Better late than never.

Dispatch from the 2010 WWSFF: Midnight Mania – Freaky

June 4, 20102000s, 2010, Animation, Authors: Bill Chambers, Denmark, Film Festivals, France, Israel, Japan, Norway, Short Films, Spain, Switzerland, UK

Click here to visit the Worldwide Short Film Festival‘s official website.

by Bill Chambers It’s tempting to say that pop already ate itself, leaving a vast wasteland of remakes and reboots that can’t possibly be fertile enough to cultivate imaginations; I sometimes lie awake worrying that one day all we’ll be left with is the vultures and their Jane Austen mashups, their homemade Lord of the Rings prequels and Sweded Rambo movies. Should such a Doomsday scenario come to pass, let’s hope it occasionally yields something as whimsical and obviously heartfelt as France’s The Little Dragon (Le petit dragon) (animated; d. Bruno Collet; 8 mins.; ***/****), in which a magical force brings a Bruce Lee action figure to life, seemingly with the legend’s identity, if not his soul, intact, as it is his impulse upon encountering a Chuck Norris cut-out to kick it down. (He also recognizes his name and image on other collectibles.) Decked out in his yellow Game of Death jumpsuit, he navigates a maze of cobweb-strewn movie memorabilia that appears to be some Harry Knowles type’s bedroom; in a moment of quintessentially French cinephilia, Bruce, having been passed the torch (the Statue of Liberty torch from a Planet of the Apes model kit, that is), stumbles on a makeshift crypt lined with dolls of Rita Hayworth, Humphrey Bogart, Errol Flynn, Clark Gable, Louise Brooks, Robert Mitchum, and, erm, Robert Taylor. The stop-motion animation is charming–this scrappy little guy may actually be the ne plus ultra of Lee imitators, who are of course legion–and the tone is deceptively irreverent. This is fan art, executed with gusto–but does it have a function? Collet could be the next Nick Park–but is he hurting for inspiration?

Shutter Island (2010) – Blu-ray Disc

June 1, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Martin Scorsese, Drama, Mystery, Thriller

**/**** Image A Sound B Extras B-
starring Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max Von Sydow
screenplay by Laeta Kalogridis, based on the novel by Dennis Lehane
directed by Martin Scorsese

by Walter Chaw The first thirty minutes of Martin Scorsese’s Shutter Island left me breathless with delight. The rack-focus through mess-hall implements; swaying along a ceiling as we peer beyond the door to the head, where our hero, U.S. Marshal Teddy Daniels (Leonardo DiCaprio), is losing his lunch; the way a ferry blows through a fog bank like Travis Bickle’s cab through the steam escaping a New York sewer cap. When it snows, it snows up like in the dream sequences from Bringing Out the Dead (there’s even a moment when the smoke from Teddy’s cigarette retreats into the butt)–and when a shadowy figure named Laeddis (Elias Koteas) finally materializes in the midst of Teddy’s fugue, he bears a striking resemblance to Travis Bickle. (It’s not until later that we understand the full extent of this self-reference.) Shutter Island is among the director’s handsomest films, and moments of it suggest there’s a masterpiece here–as a WWII Holocaust drama, or a ghost story, or a period Red Menace piece, or a 1960s Manchurian Candidate manqué, or a 1940s Freud clinic, or a G-Man noir, or a straight procedural, or a modernist existential piece–if he wants it. But it’s less than the sum of its tantalizing parts, providing instead a hackneyed climax that proves just another votive lit in Dennis Lehane’s church of dead children.

War of the Worlds (2005) – Blu-ray Disc

May 31, 20102000s, 2010, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Sci-Fi, Spielberg, Tom Cruise

**/**** Image A Sound A Extras A-
starring Tom Cruise, Dakota Fanning, Miranda Otto, Tim Robbins
screenplay by Josh Friedman and David Koepp, based on the novel by H.G. Wells
directed by Steven Spielberg

by Walter Chaw SPOILER WARNING IN EFFECT. A lot like Minority Report, the first 90% of War of the Worlds is among the best movies of the year and the last 10% is among the worst. Spielberg is the only one who can ruin his films and he does it over and over again because he's Peter Pan in a Captain Hook world. There has never been a more gifted visual storyteller than Steven Spielberg; in the five minutes of shorthand that opens his War of the Worlds, he creates three characters we care about, a world that we recognize, and a real hope that this time, this one time, he'll be courageous enough to follow a narrative through to its logical end instead of the one he thinks will least disturb his audience. His audience being one that he underestimates with such stunning regularity that it can be said with confidence at this point that he's not really underestimating anybody–that he knows for whom he's making movies, posterity be damned. War of the Worlds is a work of obvious genius that is about nothing, which is an amazing and disheartening thing to say because so much of the picture is composed of jaw-dropping–I mean it, it's astonishing–Holocaust tableaux mixed with 9/11 imagery.