X-Men: The Last Stand (2006) [Widescreen] – DVD

½*/**** Image N/A Sound A Extras C+
starring Hugh Jackman, Halle Berry, Ian McKellen, Famke Janssen
screenplay by Simon Kinberg & Zak Penn
directed by Brett Ratner

Xmenlaststandcapby Walter Chaw As an example of what can happen when a homophobic, misogynistic, misanthropic moron wildly overcompensates in a franchise that had as its primary claim to eternity that it was sensitive to the plight of homosexuals, Brett Ratner's painfully queer X-Men: The Last Stand (hereafter "X3") manages to present its series of melodramatic vignettes in such a way as to completely negate any sense of peril, individuality, or struggle for the characters. Without a sense of weight, the references in the piece to genocide and The Holocaust ("Ink shall never again touch my skin!" says Ian McKellen's Magneto) become pure, laggard exploitation in the service of a sub-par superhero action film that shows its true colours time and again in its hatred of women ("Hell hath no fury!") and loathing of female sexuality, as well as in its flat-eyed regard of children trying to hasp off their wings while their fathers attempt to break down the bathroom door. It's Michael Bay's Schindler's List: a reptilian populist, at ease with the slick and facile, has been asked to take the reins of a project that, for whatever its crimes of pacing and exposition, had in its Bryan Singer-helmed episodes the good sense not to kick over ant piles it wasn't prepared to contain.

TIFF ’06: Black Book

Zwartboek**/****starring Carice van Houten, Sebastian Koch, Thom Hoffman, Halina Reijnscreenplay by Gerard Soeteman & Paul Verhoevendirected by Paul Verhoeven by Bill Chambers The word on Paul Verhoeven's Black Book (Zwartboek) around the TIFF was that it's "Showgirls meets Schindler's List," which is a cute bit of shorthand but decidedly misleading, not that I can begin to imagine what that movie would be like. All it really means is that we're never going to let Verhoeven live Showgirls down, so who can blame him for going back to Holland, where he's still an object of veneration? Alas, you can take Verhoeven…

TIFF ’06: Everything’s Gone Green

*/****starring Paulo Costanzo, Steph Song, JR Bourne, Gordon Michael Woovettscreenplay by Douglas Couplanddirected by Paul Fox by Bill Chambers After popularizing the term "Generation X" with the title of his debut novel, Douglas Coupland staked a claim in the chick-lit-for-guys genre, his publishers no doubt hoping that zeitgeist lightning would strike twice. If anything, Everything's Gone Green, Coupland's first foray into screenwriting, makes him seem like Matthew McConaughey in Dazed and Confused, still courting the teenage and twentysomething idealists because even though he gets older, they stay the same receptive age. Here we learn that Vancouver has sold out to…

TIFF ’06: Fay Grim

**/****starring Parker Posey, Jeff Goldblum, James Urbaniak, Saffron Burrowswritten and directed by Hal Hartley by Bill Chambers Those hoping this unexpected sequel to the terrific Henry Fool will be a Before Sunset should brace themselves for a Texasville. I think the problem is not that Parker Posey can't carry a picture (Posey's more of a movie star than she is a character actor, after all, so inflexible is her neurotic persona), but that her Fay Grim can't carry a picture. In that sense, Fay Grim is a little bit like a highbrow Jay and Silent Bob Strike Back, with virtually…

TIFF ’06: The Last Winter

***/****starring Ron Perlman, James Le Gros, Connie Britton, Zachary Gilfordscreenplay by Larry Fessenden & Robert Leaverdirected by Larry Fessenden by Bill Chambers Larry Fessenden has always been an artist and a consummate professional, but there's a newfound commercial glaze to The Last Winter--however ironic its use of widescreen--that makes one feel somehow less inclined to coddle it. An ambiguous statement, I know; I guess what I'm saying is that if I have any reservations about the piece (and I had fewer about Wendigo and Habit), I don't really fear seeming anti-intellectual in voicing them. Fessenden's own private The Thing, The Last…

The TIFFing Point

Two more days until I turn back into a pumpkin (or something like that), probably for the good of not only my health, but also that of FILM FREAK CENTRAL. Anyway, some more stopgap coverage for you…

FAY GRIM (d. Hal Hartley)
As far as this unlikely sequel to the brilliant Henry Fool is concerned, those hoping for a Before Sunset should brace themselves for a Texasville. The movie feels like it came out of Hartley sideways (or, conversely, all too painlessly), and it never really catches fire until Thomas Jay Ryan makes his long-delayed cameo as Henry Fool. By then, it’s too little too late. **/****

TIFF ’06: The Pleasure of Your Company

½*/****starring Jason Biggs, Isla Fisher, Joe Pantoliano, Michael Weston, Edward Herrmannwritten and directed by Michael Ian Black by Bill Chambers To paraphrase comedian Andy Kindler talking about The Three Stooges, I finally figured out why I don't like sketch comic Michael Ian Black: he's not funny. Until The Pleasure of Your Company, Black's hyphenate debut, I thought maybe it was a/n natural/irrational aversion to his countenance--he looks bizarrely like a member of Our Gang, one who just keeps getting taller. But that ferret face is only the most appropriate avatar for Black's hipster snottiness. Around these parts, we often talk…

TIFF ’06: Citizen Duane

*/****starring Douglas Smith, Donal Logue, Vivica A. Fox, Alberta Watsonscreenplay by Jonathan Sobol and Robert DeLeskiedirected by Michael Mabbott by Bill Chambers This Canuck Rushmore really got on my nerves. The movie makes a crucial miscalculation in the early going by introducing its puny teenaged hero, Duane Balfour (Douglas Smith), in revenge mode: Given that we already know Duane's girlfriend (Jane McGregor) is way out of his league, he would seem to have pre-emptively settled any scores he could possibly have with the Most Popular Kid in School (porcine Nicholas Carella, as miscast as Haylie Duff was as the distaff…

TIFF ’06: The Host

Gue-mool ***½/**** starring Song Kang-ho, Byun Hee-bong, Park Hae-il, Bae Doo-na, Ko Ah-sung screenplay by Bong Joon-ho, Hah Joon-won, Baek Chul-hyun directed by Bong Joon-ho by Bill Chambers I knew I would love The Host as soon as I realized that the man in the surgical scrubs was none other than national treasure Scott Wilson, who, in his most heinous role since In Cold Blood (or maybe Shiloh), observes dust on the jars of formaldehyde in the morgue of a South Korean military base and bullies a reluctant attendant into disposing of them by dumping their contents down the sink. It's…

My TIFF So Far

Seems we’re all a little constipated right now but rest assured reviews are on the way; here’s a quick rundown of TIFFpix screened thus far by yours truly.

BABEL (d. Alejandro González Iñárritu)
It coheres better than 21 Grams, but Iñárritu and screenwriter Guillermo Arriaga are really spinning their wheels at this point. A few funny extratextual lessons are imparted: never take a Fanning to Mexico (Elle has almost as harrowing an adventure there as sister Dakota does in Man on Fire); and never trust a director who includes a post-script dedication to his children. As with 21 Grams, though, Babel doesn’t make room for any intentional levity, eventually desensitizing you to all the calculated anguish. *½/****

TIFF ’06: Torn Apart

La Coupure½*/****starring Valérie Cantin, Marc Marans, Marie-Christine Perreault, Manon Brunellewritten and directed by Jean Châteauvert by Bill Chambers As much as I'd love to jump on the C.R.A.Z.Y. bandwagon, I found its characters repellent and its soundtrack selections laughably pedestrian. (The picture's recycling of FM staples like "Space Oddity" and "Sympathy for the Devil" doesn't achieve suture so much as it makes the director, an alleged vinylphile, look like a philistine with an awfully small record collection.) Still, I can't deny that it marks a sort of progress for Canadian film in that it at least gropes for joy, has…

Lucky Number Slevin (2006) [Widescreen Edition] – DVD

***/**** Image A- Sound A- Extras B+
starring Josh Hartnett, Morgan Freeman, Sir Ben Kingsley, Lucy Liu
screenplay by Jason Smilovic
directed by Paul McGuigan

Luckynumberslevincapby Walter Chaw I wonder if it's not ultimately a little too pat for its own good, but Paul McGuigan's Lucky Number Slevin is another slick, Guy Ritchie crime-manqué to pair with the director's breakthrough Gangster No. 1. It stars his muse Josh Hartnett (great in McGuigan's underestimated Hitchcock shrine Wicker Park) as the handsome Roger O. Thornhill/Wrong Man archetype–and it finds for Lucy Liu the first role that didn't make me sort of want to punch her mother. But the real star of a film that finds supporting roles for Bruce Willis, Morgan Freeman, Stanley Tucci, and Sir Ben Kingsley is McGuigan's restless camerawork: an intricate lattice of matching shots and glittering surfaces that becomes almost an impressionistic projection of the mad, labyrinthine interiority of a mind bent on vengeance. Flashbacks and CGI-aided swoops and zooms are woven into the picture's visual tapestry, so that Lucky Number Slevin is read best as a lurid, comic-book send-up of a genre–every scene is played with a good-natured nudge, and when it overstays its welcome with a round-up that verges on sickly, its only real crime is that it's less a grotesque than a screwball romance. Hitchcock did it like that sometimes, too.

TIFF ’06: The Page Turner

La Tourneuse de pages***/****starring Catherine Frot, Déborah François, Pascal Greggory, Julie Richaletscreenplay by Denis Dercourt, Jacques Sottydirected by Denis Dercourt by Bill Chambers I question whether Denis Dercourt's Chabrolian The Page Turner (La Tourneuse de pages)--which more than earns its presumptuous double entendre of a title--actually has anything of consequence to say, but I sure got a charge out of it. Mélanie, a butcher's daughter, blows her shot at getting into a music conservatory by becoming flustered when one of the entrance exam's administrators, famed concert pianist Mme. Fouchécourt (Catherine Frot), interrupts her audition to sign an autograph. Some years…

TIFF ’06: After the Wedding

Efter brylluppet**½/****starring Mads Mikkelsen, Rolf Lassgård, Sidse Babett Knudsen, Stine Fischer Christensenscreenplay by Susanne Bier & Anders Thomas Jensendirected by Susanne Bier by Bill Chambers Online critic N.P. Thompson recalls a colleague lamenting the absence of cell phones in Ingmar Bergman's recent swan song Saraband, and in many ways, Susanne Bier's overwrought but not ineffectual After the Wedding (Efter brylluppet) is Bergman for these manic times. A fashionable strain of Western self-loathing courses through this tale of a fat cat, Jørgen (Rolf Lassgård), who summons Jacob (once and future Bond villain Mads Mikkelsen), the Danish head of a Bombay orphanage,…

Just My Luck (2006) – DVD

ZERO STARS/**** Image B Sound B+ Extras D+
starring Lindsay Lohan, Chris Pine, Faizon Love, Missi Pyle
screenplay by I. Marlene King and Amy B. Harris
directed by Donald Petrie

Justmyluckcap

by Bill Chambers A movie as ill-conceived as the original Bring It On (yeah, let's root for the privileged white chicks against the…all-black inner-city cheerleading squad?), Donald Petrie's Just My Luck fatally hitches its wagon to the miniscule charms of Lindsay Lohan. The migraine begins to form as soon as Lohan makes her grand entrance as PR chick Ashley Albright, striding out into the pouring rain without an umbrella knowing full well that the weather will clear up to accommodate her. (It does.) After scraping his jaw off the sidewalk, her Stepin Fetchit of a doorman hails a taxi, and while climbing into it Ashley notices a five-dollar bill stuck to the bottom of her boot. Does this cosmically-pampered princess tip the doorman with it? LOL! She's admiring the creases in Lincoln's beard as the cab peels away. Later, Ashley will receive two barely-provoked, if wholly deserved, punches in the face from a jailed black woman, while a Suge Knight-type record company overlord (Faizon Love) will declare: "I used to be [an idealist and a purist]…but then I decided to become filthy rich." I'm as surprised as you are that D.W. Griffith didn't write the treatment for this thing.

Keane (2005) – DVD

****/**** Image B- Sound A Extras A
starring Damian Lewis, Abigail Breslin, Amy Ryan
written and directed by Lodge Kerrigan

Mustownby Walter Chaw Lodge Kerrigan's astounding Keane deals with not only madness and the loss of a child but also our preconceptions of the cold universe and, shaving it precisely, our expectations for the kinds of cold comfort we expect film to provide. It's wrong to call it experimental, because the decision to shoot in four-minute takes doesn't announce itself as a gimmick as much as it settles comfortably into a groove alternating small explosions and lulls laced with anticipation. A lot of movies pay lip-service to carving space for their actors to find their way around difficult characters and emotionally taxing scenes–Keane actually does it. It's about the belief that there are no certainties in life, and it understands that trusting–and loving–in a world so swiftly lurching is akin to a kind of insanity. When we meet William Keane (Damian Lewis), as he's reeling around the Port Authority Bus Terminal looking for his daughter, it takes us a few minutes to realize that his daughter (if he's ever even had a daughter) has been missing for a year and that his desperate attempts to find a witness to her abduction in the river of passers-by is spiced by a little too much stale urgency. Keane might be crazy. He also has good reason to be.

Ask the Dust (2006) – DVD

½*/**** Image A Sound A Extras B-
starring Colin Farrell, Salma Hayek, Donald Sutherland, Eileen Atkins
screenplay by Robert Towne, based on the novel by John Fante
directed by Robert Towne

by Walter Chaw As a male of the average chauvinist-pig variety, you find yourself inclined to give Robert Towne's Ask the Dust the benefit of the doubt because he's convinced Salma Hayek to strip naked a few times and roll around in the surf. And yet the realization dawns inescapable that no matter the acres of flesh, the film is every bit as horrible as that self-serious, neo-camp sexploitation classic Original Sin (another noir based on a lesser-known, period-dependent novel–that one by Cornell Woolrich, this one by John Fante), with only the gender/race roles reversed–that watching naked Angelina Jolie writhe around with Antonio Banderas can be every bit as disturbingly sexless as Hayek and Colin Farrell doing same. Promising to follow the James M. Cain pot-boiler formula with its dense voiceovers and faux-sordid, sepia-stained sexing, Ask the Dust is actually just inert, a painfully-overwritten, impossible-to-execute picture loaded down with self-conscious slatted shadows and mirrors (and all manner of noir affectations) that isn't only set in 1930s Los Angeles, but plays exactly as anachronistic and fusty as most films produced in the Thirties, too. It's the kind of movie that makes much of a character's English-impaired malapropisms ("Not 'grew on me,' grew in me…like a baby," mewls Hayek's character in one of many excruciating proclamations); to its core, it's the kind of movie that sucks now and always has in exactly the same way.

The Short Films of David Lynch + Dumbland (2002) – DVDs

THE SHORT FILMS OF DAVID LYNCH
Image A Sound A Extras B-

DUMBLAND
Image B Sound A-

by Bill Chambers One is tempted to appropriate Jean-Luc Godard's oft-misquoted "The cinema is Nicholas Ray" in discussing the origins of David Lynch, whose blossoming sophistication unwittingly paralleled that of film itself. From the magic lantern-style innovation of his sculpture installation Six Men Getting Sick to the fixed camera placements of The Alphabet to the rudimentary narrative of The Grandmother (whose heavy's freakishly accentuated jawline transforms his countenance into that of a snarling villain in the "Perils of Pauline" mode) to, finally, the total aesthetic compromise of the shot-on-video The Amputee, the first few entries contained on "The Short Films of David Lynch" imply that there is only one destiny for the medium, whether its evolution is spread out over a century or concentrated in the time it takes for an artist to develop a conscience. If most film students go through a similar rite of passage, there's often an attendant, ineffable impatience with primitive techniques in undergrad films that's absent in Lynch's early work.

Basic Instinct 2 (2006) [Unrated Extended Cut] – DVD

ZERO STARS/**** Image A Sound A- Extras B-
starring Sharon Stone, David Morrissey, Charlotte Rampling, David Thewlis
screenplay by Leora Barish & Henry Bean
directed by Michael Caton-Jones

Basicinstinct2capby Walter Chaw Picture Chappaquiddick re-imagined as a Kylie Minogue video. Thus, auspiciously, begins Michael Caton-Jones's will-breaking Basic Instinct 2, a picture so magnificently awful that it demonstrates a special, indefinable kind of genius en route to being just another of the worst films in history. Schlock writer Catherine Tramell (Sharon Stone), who publishes under the nom de plume of "Woolf" (because she is one, get it?), is behind the wheel of a sporty little number as a drugged-up soccer hero fingers her snatch, climaxing at the moment she runs her racer through a glass crash barrier (?!) into an icy drink. (Perhaps the Thames–we're in Jolly Old England this time around.) Catherine then finds herself on the wrong side of the law again, ordered to undergo sessions with brilliant British shrink Michael Glass (David Morrissey, who has Liam Neeson's face down pat) on behalf of Scotland Yard's finest, Washburn (David Thewlis). Washburn calls Tramell a "cunt" and a "bitch" and accuses Glass at one point of being beguiled by the "smell of her pussy," which is the sort of elderly banter the knitting cotillion might still find shocking–though it's light years more appalling than Tramell's pleased reference to Masters & Johnson and her constant litany of "cum" [sic] declarations. "He was alive, he was making me cum," she says, and, "I think of you when I cum," and so on and so forth, marking her vampy, thumb-on-the-turntable performance as the most hideous bit of creaky past-prime tarting-about since Mae West was dropping the same dusty come-ons in support hose and pancake makeup. All that's missing are references to Kinsey and "bloomers."

Sarah Silverman: Jesus is Magic (2005) – DVD

*½/**** Image B+ Sound B+ Extras C
directed by Liam Lynch

Jesusismagiccap

by Walter Chaw It starts off on the wrong foot and never recovers, this first showcase for the brilliant Sarah Silverman to strut her aggressively, pointedly offensive stuff. Something about the deadpan seriousness of her delivery sells jokes about being raped by her doctor ("A very bittersweet experience for a Jewish girl"), about the "alleged" Holocaust, about how the best time to have a baby is "when you're a black teenager," or about how she'll always remember 9/11 as the day she discovered how many calories were in a soy chai latte. And that you're never meant to know with absolute certainty if she's aware exactly how horrible are the things she's saying could be part of the schtick.