Enigma (2001) [Special Edition] – DVD

**½/**** Image A- Sound A- Extras A-
starring Dougray Scott, Kate Winslet, Jeremy Northam, Saffron Burrows
screenplay by Tom Stoppard, based on the novel by Robert Harris
directed by Michael Apted

by Walter Chaw The easy thing to say is that the Mick Jagger-produced Enigma is enigmatic–it's more difficult to pinpoint the exact reasons why. Stars Dougray Scott, Kate Winslet, and Jeremy Northam are fine, Tom Stoppard's screenplay would on the surface surely seem fine, and Michael Apted's polished, if unremarkable, direction is the very definition of just fine. So the onus must fall on the material adapted, Robert Harris's follow-up to his much-lauded Fatherland, which promised a Ken Follett romantic espionage page-burner while delivering a staid and occasionally incomprehensible period bodice-ripper crushed under the dual gorgons of the sophomore jinx and the Tom Clancy "guess I'm not very good at dialogue" bogey. Enigma's problems begin and end with its inability to overcome the essential faults of its inherited plot, its most interesting aspect–WWII cryptologists at London's Bletchley Park–subsumed by a run-of-the-mill mystery and a never-in-doubt love story. It appears the curse of many historical fictions that attempt to familiarize the "long ago" with a "universal" romantic story arc dooms Enigma's period and historical detail to function as mere decorative flourish.

Stevie (2003) – DVD

****/**** Image A Sound A- Extras A
directed by Steve James

Mustownby Walter Chaw Eleven years after mentoring little Stevie in an Advocate Big Brother program in rural Illinois, documentary filmmaker Steve James restores ties to find that Stevie is a troubled man, emotionally crippled and awaiting trial for molesting his eight-year-old cousin. In science, the Heisenberg Principle postulates that the essential nature of an object changes when that object is observed; its application to documentary filmmaking is obvious. The question, then, becomes whether the documentarian should give himself a part in the film or remain outside of it, the alleged unobserved observer that in several critical contexts (Lacanian, Heisenbergian) loses its meaning, anyway. Integrity in the observation of documentary subjects is a delicate thing to navigate, and Stevie chooses early and often to be more about the Steve behind the camera than the Stevie before it. Stevie fascinates because it's a little like Montaigne's essays–a process of self-discovery that manages to indict our broken health care system and our "selfish cell" society in one fell swoop.

Sleeping Beauty (1959) [Special Edition – 2-Disc Set] – DVD

***½/**** Image A Sound A Extras A+
story adaptation Erdman Penner, from the Charles Perrault version
directing animators Milt Kahl, Frank Thomas, Marc Davis, Ollie Johnston, John Lounsbery; supervising director Clyde Geronimi; sequence directors Eric Larson, Wolfgang Reitherman, Les Clark

by Bill Chambers

"Heralded by audiences and critics alike, Sleeping Beauty was the final fairy tale to be produced by Walt Disney himself. Now fully restored with revolutionary digital technology, its dazzling colors, rich backgrounds, and Academy Award-nominated orchestrations shine brighter than ever. When an enchanted kingdom and the most fair princess in the land falls prey to the ultimate mistress of evil, the fate of the empire rests in the hands of three small fairies and a courageous prince's magic kiss. Their quest is fraught with peril as the spirited group must battle the evil witch and a fire breathing dragon if they are to set the Beauty free. From spectacular action to the breathtaking pageantry of the princess and her kingdom, Sleeping Beauty has something to charm every member of your family." — Sleeping Beauty DVD liner summary

SleepingbeautycapThe second animated feature shot in CinemaScope after Disney's own Lady and the Tramp, Sleeping Beauty looks on the widescreen frame as a vast frame for the spread of darkness. This is Snow White and the Seven Dwarfs with twenty years' worth of successes and failures factored in, Disney's most fatalistic vision and one of their most gratifying when all's said and done. The picture is so doomy that its happy ending feels more coma-dream than fairy-tale resolution, something like the conclusion to Taxi Driver; in its world of medieval tapestries come to life, joy looks out of place. Joy, in fact, becomes nothing less than a magnet for evil, with villain Maleficent dooming Princess Aurora on the festive occasion of her birth to an untimely grave (by a poisonous prick from a spinning wheel on her sixteenth birthday–a menstrual nightmare from which the animators do not flinch) and later stumbling upon the secreted-away Aurora by scouting the kingdom for excess merriment.

Cleopatra (1963) [Five Star Collection]; Lawrence of Arabia (1962) [Exclusive Limited Edition|Superbit]; The Mummy (1999) [Ultimate Edition] – DVDs

CLEOPATRA
**/**** Image A Sound A Extras A+
starring Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown
screenplay by Joseph L. Mankiewicz, Ranald MacDougall and Sidney Buchman
directed by Joseph L. Mankiewicz

MustownLAWRENCE OF ARABIA
****/****
ELE DVD – Image A Sound A Extras B
Superbit DVD – Image A Sound A
starring Peter O'Toole, Alec Guinness, Anthony Quinn, Omar Sharif
screenplay by Robert Bolt and Michael Wilson
directed by David Lean

THE MUMMY
**/**** Image A Sound A (DD)/A+ (DTS) Extras A-
starring Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo
screenplay by Stephen Sommers
directed by Stephen Sommers

by Bill Chambers Cleopatra, meet T.E. Lawrence. Now allow me to introduce the two of you to…Rick O'Connell?

Dreamcatcher (2003) [Widescreen Edition] – DVD

*/**** Image A- Sound A Extras B-
starring Morgan Freeman, Thomas Jane, Jason Lee, Damian Lewis
screenplay by William Goldman and Lawrence Kasdan, based on the novel by Stephen King
directed by Lawrence Kasdan

by Walter Chaw As stupid as stupid can be, Lawrence Kasdan’s splashy comeback on the backs of two writers who haven’t really been any good for about 40 years between them (Stephen King and William Goldman) is riddled with knee-slapping plot inconsistencies and the sort of dunderheaded conveniences that reek equally of desperation and a lack of respect for the audience. Based on the first King novel written after the author was smeared across a Maine highway by a man who would later kill himself in a trailer, the book is a fine short story trapped in the body of a 600-page book. Hopelessly protracted, after the first 200 pages, the novel becomes a pathetic exercise in chronic self-reference: the malady of a successful author who’s begun to lose the line between reality and his cult of personality. King has become a writer interested in writing love letters to his fanbase and smug gruel for everyone else.

TIFF ’03: The Agronomist

**½/****directed by Jonathan Demme by Bill Chambers Jonathan Demme alternates between fiction and documentary filmmaking, a practice that has gone curiously unheralded for an Academy Award-winning director of both mainstream and cult repute. If The Agronomist is any indication of what to expect from Demme's Cousin Bobby or Storefront Hitchcock, to name two of his earlier documentaries thus far unseen by yours truly, I can see why his studio features garner all the attention: though a committed work (Demme began tracking the exploits of his subject, slain Haitian radio journalist Jean Dominique, as far back as the late-Eighties), The Agronomist…

TIFF ’03: Bus 174

****/****directed by José Padilha by Bill Chambers Bus 174 sums up its own trumping of the devious City of God with a quote from Sandro do Nascimento, the hostage-taker who becomes the focal point of this absorbing, even-handed documentary: "This ain't no American movie!" Presumed to be on a cocaine bender as he holds the passengers of a Rio city bus at gunpoint, his irrational demands amounting to more firearms (he asks police for "a rifle and a grenade"), Sandro is almost impossible for special forces to psychologically profile: he lets a student go to prevent him from being late…

Virginie Speaks (sorta): FFC Interviews Virginie Ledoyen

VledoyentitleSeptember 15, 2003|Gallic ingenue Virginie Ledoyen strides confidently into the room, and the second she spots me we say a grinny "Hi!" in unison. Alas, the communication breakdown commences shortly thereafter: I was diagnosed with a swollen eardrum a few days before, and I lead our interview with a pre-emptive apology for any struggle I might encounter trying to hear her, which I think–combined with my being her last in a morning brimming over with interviews and the usual language-barrier issues–caused her to be a tad…brusque in her responses.

TIFF ’03: Undead

½*/****starring Felicity Mason, Mungo McKay, Rob Jenkins, Lisa Cunninghamwritten and directed by Peter Spierig & Michael Spierig by Bill Chambers For novice directors, even genre can become an irresistible new toy. So it is with the Spierig Brothers' Undead, an Australian film that liberally applies CG but more detrimentally cribs from every and any horror flick that fanboys ever extolled; those mouth-breathing types who post talkback at AICN have never been this condescended to, yet I fear that Undead's pandering will sail over their heads and lead to a misguided appreciation of the film as a one-stop shop for all…

TIFF ’03: Danny Deckchair

**/****starring Rhys Ifans, Miranda Otto, Justine Clarke, Rhys Muldoonwritten and directed by Jeff Balsmeyer by Bill Chambers Danny Deckchair is so aware of being a formula fish-out-of-water comedy that it leaves some of the more crucial gestures of plot off its checklist, resulting in a film equally unsatisfying for its clichés and for its lack thereof. Rhys Ifans, that starved Allman brother, plays Danny Morgan, a Walter Mitty-ish construction worker stuck in a dead-end relationship with Trudy (Glenda Lake), a fame-hungry travel agent seeing a TV newsman on the side. Aware that Trudy is sick of his weird inventions, Danny…

TIFF ’03: The Brown Bunny

***/****starring Vincent Gallo, Chloe Sevigny, Cheryl Tiegswritten and directed by Vincent Gallo Editor's Note: Roger Ebert responded to this capsule in his print review when The Brown Bunny was finally released to theatres. It sicced his readers on me, which I deserved; I particularly regret my cheap shot at his weight. Fortunately, I met up with him at a TIFF screening of Saw a few weeks later and it was water under the bridge. (He even told a joke: when I asked if he was "seeing Saw," he said, "I thought I'd teeter-totter instead.") I often wonder if I actually…

TIFF ’03: Vodka Lemon

***/****starring Lala Sarkissian, Romen Avinian, Ivan Franek, Armen Marouthianscreenplay by Hiner Saleem, Lei Dinety, Pauline Gouzennedirected by Hiner Saleem by Bill Chambers Discombobulating and deadly dull for its initial half-hour, Hiner Saleem's Vodka Lemon coalesces before it's too late into something by no means ineffectual. The first in an accumulation of vignettes finds an old man being schlepped in his bed through the Armenian tundra to a funeral site, where he promptly removes his dentures to pipe a dirge for the other mourners. The picture continues to lightly tread such surreal ground until the whimsical closing shot, in which music…

TIFF ’03: Gozu

Yakuza Horror Theater: Gozu***½/****starring Hideki Sone, Sho Aikawa, Kimika Yoshino, Keiko Tomitascreenplay by Sakichi Sotodirected by Takashi Miike by Bill Chambers I've sat here staring at a flashing cursor, wondering what to write about Takashi Miike's Gozu--a picture whose spirit harks back to the David Lynch of Eraserhead--that could persuade you to see it: Though Gozu begs a viewing, any description likely to pique one's interest would force you to pre-emptively pass moral judgment on a film that a) explicitly requests to be taken as a joke, and b) is too fecund to truly offend. Gozu begins with the over-the-top…

TIFF ’03: The Five Obstructions

De Fem Benspænd***½/****a film by Jørgen Leth & Lars von Trier by Bill Chambers Jørgen Leth struck a self-described "Faustian" deal with half-insane auteur Lars von Trier to remake his own experimental short film The Perfect Human five times according to "ruinous" changes mandated by von Trier. But the mouse repeatedly outwitted the cat with an incapacity for anything but quality product: The first four of the titular "obstructions" are up there with, well, early Leth, and the venture teaches von Trier--who thrives on unforeseen obstacles and how they lead to personal dissatisfaction with his work--that you can't make crap on…

TIFF ’03: Falling Angels

*½/****starring Miranda Richardson, Callum Keith Rennie, Katharine Isabelle, Kristin Adamsscreenplay by Esta Spalding, based on the novel by Barbara Gowdydirected by Scott Smith by Bill Chambers Falling Angels has accumulated a lot of buzz over the past couple of days at the TIFF, but I don't mind telling you to ignore it. Basically a Sunday-funnies version of The Virgin Suicides, the film stars an already-typecast Katharine Isabelle as the most embittered of three daughters who live under the gun of a live-wire buffoon (Callum Keith Rennie) while tending to their catatonic mother (Miranda Richardson, doing a mean Joan Allen impersonation).…

TIFF ’03: The Cooler

*½/****starring William H. Macy, Alec Baldwin, Maria Bello, Shawn Hatosyscreenplay by Frank Hannah & Wayne Kramerdirected by Wayne Kramer by Bill Chambers A lame exercise in Mamet posturing, The Cooler has been subject to inexplicable pre-release hype for both its tame (by post-Irréversible standards) sex scenes and, allegedly, for being good. William H. Macy plays another variation on his stock nebbish, this one employed by the Shangri-La Casino to "cool" gamblers on a hot streak with his contagious bad luck--a premise that contains the potential to expose the heart of the most superstitious city in America. But writers Frank Hannah…

TIFF ’03: Bon Voyage

*½/****starring Isabelle Adjani, Gérard Depardieu, Virginie Ledoyen, Yvan Attalwritten and directed by Jean-Paul Rappeneau by Bill Chambers "And I'll huff, and I'll puff, and I'll boorrre the hell out of you." Jean-Paul Rappeneau's Bon Voyage labours harder than any film in recent memory to entertain, but the result is so draining I don't remember grooving with it once. In the opening scene, the latest vehicle for champagne starlet Viviane Denverts (Isabelle Adjani, who at 48 should be too old to play an ingénue, but looks at least half her age--it's quite miraculous, really) leaves rapt the attendees of a French…

There’s Only One Sharif in This Town: FFC Interviews Omar Sharif

OmarshariftitleSeptember 7, 2003|He made one of the cinema's greatest (and lengthiest) entrances in Lawrence of Arabia, appearing as a heat-obscured speck of dust that gradually adopts the form of a black-swathed man on horseback, one Sherif Ali ibn el Kharish. Omar Sharif's regal stride into our appointed meeting place, a third-floor room within Toronto's Hotel Intercontinental, felt almost as dramatic to me, for his every step is weighted with a half-century of fame. Mr. Sharif is at the Toronto International Film Festival promoting a delicate French film in which he stars opposite young Pierre Boulanger, François Dupeyron's Monsieur Ibrahim et les fleurs du Coran. The picture works largely because of the legend-in-his-own-time baggage the actor brings to the title role of a neighbourhood grocer yearning to pass his considerable wisdom on. When I interviewed him, Mr. Sharif was, like his alter ego Ibrahim, pensive and forthcoming, with little patience for subtext. I found him both gracious and melancholy, and was heartbroken when our all-too-brief time together ran out.

TIFF ’03: Elephant

***½/****starring Alex Frost, Eric Deulen, John Robinson, Elias McConnellwritten and directed by Gus Van Sant by Bill Chambers Though it ultimately garnered Gus Van Sant the Best Director prize (in addition to the Palme d'or), Elephant's lukewarm reception among ink-slingers at last May's Cannes Film Festival confirms the dulled senses of the critical establishment--that a contemporary masterwork can practically blind with its colour scheme and still go unrecognized as such by cinema's ambassadors is more terrifying than anything in Van Sant's searing interpretation of the Columbine atrocity. The first film intended for theatrical exhibition to be screened in Academy ratio…

TIFF ’03: Monsieur Ibrahim et les fleurs du Coran

**½/****starring Omar Sharif, Pierre Boulanger, Gilbert Melki, Isabelle Renauldscreenplay by François Dupeyron, based on the novel by Eric-Emmanuel Schmittdirected by François Dupeyron by Bill Chambers Set, for the most part, against the backdrop of a Paris ghetto circa the early 1960s, Monsieur Ibrahim et les fleurs du Coran ("Coran" being the French spelling of the Qur'an) is an agreeable coming-of-age fable in the Tony Gatlif vein. Moses "Momo" Schmitt (Pierre Boulanger), an artless Jewish youth accustomed to holding down the fort while his father sweats away in an office for a piddling wage, regularly purloins items from the grocery run…