Moonlight Mile (2002) – DVD

**½/**** Image B+ Sound B+ Extras A-
starring Jake Gyllenhaal, Dustin Hoffman, Susan Sarandon, Holly Hunter
written and directed by Brad Silberling

by Walter Chaw There is a delicacy to the dusk of the early-Seventies, poised as those years were on the lip of paranoia and disquiet as the psychic scars of the Sixties assassinations, Watergate, and Vietnam worked like rough puberty on an infant nation's whored naiveté. Capturing that space in the disintegration of individuals, traditions, hopes, faiths, is something best left in the hands of casualties of war (Tim O'Brien) and outsider perspectives (Ang Lee and his The Ice Storm). That Brad Silberling, writer-director of Moonlight Mile, appears to be making the death-by-stalker of his actress fiancé Rebecca Schaeffer the metaphor for that twilight time is cause for some concern.

Inspector Gadget 2 (2003) – DVD

*½/**** Image A Sound A Extras B-
starring French Stewart, Elaine Hendrix, Caitlin Wachs
sceenplay by Ron Anderson and William Robertson & Alex Zamm
directed by Alex Zamm

by Bill Chambers Edited with the Cuisinart clarity of a car commercial, designed with a balloon-animal colour palette similar to that of last year’s psychedelic Thomas in Love, Inspector Gadget 2 (henceforth IG2–incidentally, the on-screen logo reads Inspector 2 Gadget) has style in theory, like Avril Lavigne, but is monotonous and exasperating–also like Avril Lavigne. I haven’t seen the original film, but I did watch the cartoon every morning before school as a kid (we used to sing our own version of the theme song in the playground: “Doo doo doo doo do, Inspector Goo-head“–ah, those halcyon days), so I recognize certain touchstones the sequel, um, touches: faceless supervillain with the pussycat emblem Dr. Claw (who, robbed of his synthetic speech in addition to his lap kitty, looks and acts like Truman Capote in IG2); Inspector Gadget’s niece, Penny (Caitlin Wachs), and her dog Brain (in IG2, a beagle without the flexibility of his animated counterpart), both fledgling detectives; and the always-fuming Chief Quimby (Mark Mitchell), who does not pop out of mailboxes and such things here to deliver messages to Gadget that self-destruct. More disappointingly, he does not have a moustache.

Irreversible (2002)

Irréversible
**½/****
starring Monica Bellucci, Vincent Cassel, Albert Dupontel, Philippe Nahon
written and directed by Gaspar Noé

“You know what? Time destroys all things.”

Irreversibleby Bill Chambers SPOILER WARNING IN EFFECT. That’s the opening line of dialogue in Irréversible, meaning it comes after the closing titles, which scroll down the screen backwards and are followed by back-to-front names in block letters. Each word lands with a percussive thud (“Bellucci!” “Noé!”) echoed in the sound produced by a fire extinguisher in one of the two scenes everybody’s talking about: Director Gaspar Noé’s secondary conceit (the primary we’ll discuss momentarily) is a kind of reverse foreshadowing, with disturbing noises and gestures recontextualized elsewhere, invoking the standby “Hindsight is 20/20.” A film that appeals to the pessimist in us, Irréversible may make you think of Memento, but where Memento was about destiny, Irréversible is cynicially hopeful (if there is such a thing), illustrating the human impulse to look to the past for happy endings–Bogey’s bogus reassurance that “we’ll always have Paris.”

Star Trek III: The Search for Spock (1984) + Star Trek IV: The Voyage Home (1986) – DVDs|[Special Collector’s Edition] – DVDs

STAR TREK III: THE SEARCH FOR SPOCK
***/****
DVD – Image A Sound A
SCE DVD – Image A Sound A Extras B+
starring William Shatner, DeForest Kelley, James Doohan, George Takei
screenplay by Harve Bennett
directed by Leonard Nimoy

STAR TREK IV: THE VOYAGE HOME
**/****
DVD – Image B- Sound B Extras C
SCE DVD – Image A Sound A Extras B+
starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan
screenplay by Steve Meerson, Peter Krikes, Harve Bennett and Nicholas Meyer
directed by Leonard Nimoy

by Vincent Suarez I’ve always had a love/hate relationship with the middle installments of the six Star Trek films featuring Captain James T. Kirk and his crew; I would have been content had the series ended with Star Trek II: The Wrath of Kahn, which is not only a great Trek movie but also an extremely fine piece of filmmaking in itself. (The seventh film in the series, Star Trek: Generations, passed the phasers to Captain Picard of “The Next Generation”, and included only brief appearances by a select few under Kirk’s command.) For me, Star Trek III: The Search for Spock seemed to betray the spirit, morality, and philosophy of its predecessor, while Star Trek IV: The Voyage Home represented the low point in cinematic “Trek,” reducing the series to formulaic farce.

Labyrinth (1986) [Superbit] – DVD

*½/**** Image A- Sound B+
starring David Bowie, Jennifer Connelly
screenplay by Terry Jones
directed by Jim Henson

by Walter Chaw As riffs on Alice in Wonderland and The Wizard of Oz go, Jim Henson’s Labyrinth is a painfully dated, shockingly un-magical romp through a fragmented netherworld populated by Ziggy Stardust and a horde of little people wearing giant papier-mâché heads. Following a wish by bratty Sarah (Jennifer Connelly) that her bratty kid brother be spirited away by the Goblin King (David Bowie) and Sarah’s inevitable lapse into unconsciousness and journey into the titular, Escher-inspired labyrinth, the picture unfolds at a laboured clip marked not so much by a sense of wonder, but rather a feeling of confused disinterest. While the film is a nostalgic hallmark for many (and so is Pete’s Dragon, it occurs), cinematically and artistically, better to revisit Henson’s flawed but alive The Dark Crystal.

Six Feet Under: The Complete First Season (2001) – DVD

Image A Sound A Extras B+
"Pilot," "The Will," "The Foot," "Familia," "An Open Book," "The Room," "Brotherhood," "Crossroads," "Life's Too Short," "The New Person," "The Trip," "A Private Life," "Knock, Knock"

by Bill Chambers Like you, I was enthralled by American Beauty, but its resonance proved short-lived. The spell was broken for me when my friend innocently observed after a screening that men only masturbate in the shower in movies–the whole film mentally unravelled from there, that hanging thread, as I became cognizant of, and progressively bothered by, its oversimplifications. Is it just my imagination, or would Mr. Furley spin in his syndicated grave over the misinterpretation that informs the picture's climax? Though the culturally young are entitled to find American Beauty profound, since it's of that particular kind of Hollywood caginess that takes a trained eye (and is especially cheeky coming from an enfant terrible of the British stage), more people need(ed) to recognize that it's Blame It On Rio with proscenium arches.

Blind Spot: Hitler’s Secretary (2002)

Im Toten Winkel – Hitlers Sekretärin
Blind Spot. Hitler’s Secretary

***½/****
directed by André Heller & Othmar Schmiderer

by Bill Chambers A significant source of Blind Spot. Hitler’s Secretary‘s power is the au naturel form it takes. There are no re-enactments, there are no such visual cues as photographs or stock footage; there isn’t even any underscore–only the talking head of Traudl Junge, who, with her rotating cluster of sweaters and ascots, is the film’s aesthetic. Directors André Heller and Othmar Schmiderer (Heller interviewed, Schmiderer shot) either believe Junge to be so compelling a presence as to challenge the need for newsreel aids, or fundamentally appreciate that they risked depersonalizing Junge’s fresh, intimate perspective by going the History Channel route. I only skimmed the press notes (which are rather regrettably written: “Like Adolf Hitler, [Heller and Schmiderer] were also born and raised in Austria,” begins an introduction to the filmmakers) to keep from cheapening Blind Spot‘s enigmatic approach–that ambivalence–for myself: The film casts a spell as fragile as that of an ILM spectacle.

The Money Pit (1986) [Widescreen] – DVD

**/**** Image A- Sound B+
starring Tom Hanks, Shelley Long, Alexander Godunov, Maureen Stapleton
screenplay by David Giler
directed by Richard Benjamin

by Bill Chambers Many comedies are padded by slapstick–here’s slapstick padded by jokes, every single one of which bears the tang of a warm-up act. There is dialogue that advances a scene and there is dialogue that fills a page count, and David Giler’s screenplay for The Money Pit toils almost exclusively in the latter. On the one hand, that’s exactly the right approach, as it relegates stars Tom Hanks and Shelley Long to the status of Chachi and Joanie whilst elevating the titular house to starring role. But “the money pit” can only fall down and go boom so many times, thus making The Money Pit a stop-and-go feature that would kill as a short. I’ve often toyed with doing my own edit of the film.

Swimfan (2002) – DVD

½*/**** Image A Sound B Extras B-
starring Jesse Bradford, Erika Christensen, Shiri Appleby, Kate Burton
screenplay by Charles Bohl & Phillip Schneider
directed by John Polson

by Walter Chaw It’s one thing to say that Swimfan is a boldly unoriginal rip-off of such gems as The Crush, Deadly Friend, Wicked, and Poison Ivy, but it’s another, far more disturbing thing altogether to note that Swimfan travels the same inexplicable path of the moon-faced pork-pie Lolita so purposefully trundled by the likes of Alicia Silverstone, Kristy Swanson, Julia Stiles, and Drew Barrymore. Erika Christensen–memorably spacey as the troubled daughter in Soderbergh’s Traffic–reveals herself in Swimfan as just the next completely interchangeable cherubic baby-fat starlet to try (or continue) to sully her ephemeral image in a role day-trippers might mistake for “edgy.” Make no mistake, Swimfan may be many things, but it’s about as edgy as Christensen’s Romanesque elbow.

From Here to Eternity (1953) [Superbit] – DVD

***/**** Image B+ Sound B+
starring Burt Lancaster, Montgomery Clift, Deborah Kerr, Donna Reed
screenplay by Daniel Taradash, based on the novel by James Jones
directed by Fred Zinnemann

by Bill Chambers Lovelorn soldiers stationed in Hawaii have their romantic lives torn asunder when the Japanese bomb Pearl Harbor: You can add remaking Fred Zinnemann’s Oscar-winning From Here to Eternity without due credit to the tally of Pearl Harbor‘s sins, although a picture as cool and sensitive–the two qualities exactly lacking from Pearl Harbor–as From Here to Eternity would hardly want the acknowledgment. Based on the novel by James Jones, a veteran wounded at Guadalcanal who also wrote the book on which Terrence Malick’s The Thin Red Line is based, the film finds the director of High Noon following his didactic muse into an allegory that is considerably less paint-by-numbers, even arcane. From Here to Eternity is a sudser, ultimately, albeit one that may be of more significance to those who’ve served. That’s a step up from Pearl Harbor, at least, which will most directly appeal to chimpanzees.

Brown Sugar (2002) – DVD

**/**** Image A- Sound A- Extras C
starring Taye Diggs, Sanaa Lathan, Mos Def, Nicole Ari Parker
screenplay by Michael Elliot and Rick Famuyiwa
directed by Rick Famuyiwa

by Travis Mackenzie Hoover There's a lot of talk of integrity in Brown Sugar, and a lot more of the defiant nature of good hip-hop; if the film embodied either of those traits in its words or pictures it would be a perfect ten. Alas, for all of Brown Sugar's hue and cry over the mainstreaming of the music, the film is tediously commonplace in its attitudes; director/co-writer Rick Famuyiwa treats hip-hop mania like the sedate cream-coloured furniture his protagonists seem to enjoy–just another tony item to be collected. He simply isn't smart or passionate enough to evoke an obsessive love for anything, be it musical or human, and both his romance plot and his professing of musical devotion are borrowings from other movies and conversations overheard. While it's too low-key and oblivious to be offensive (and the furniture does have its qualities), it makes no impression at all beyond the miracle one fluky, inspired performance that belongs in a better movie.

O (2001) [Signature Series] – DVD

**½/**** Image A- Sound B+ Extras B
starring Mekhi Phifer, Josh Hartnett, Julia Stiles, Elden Henson
screenplay by Brad Kaaya, based on the play “Othello” by William Shakespeare
directed by Tim Blake Nelson

by Walter Chaw Tim Blake Nelson’s updating of Shakespeare’s “Othello” is hamstrung by a deficient script that hastily neglects motivation and character depth in favour of a dependence on our familiarity with the source material to lend O its tragic gravity. It overuses animalism and the specious equation of high school basketball with military conquests and prowess, and it unforgivably consigns the Desdemona character to a haughty afterthought and a series of shrill, shallow pronouncements. Another fatal misjudgment of the hackneyed and over-complicated plot (which actually seems to contradict itself right at its conclusion) reduces Iago’s wickedness to his need to earn daddy’s approval. Admittedly, though, O‘s transplanting of “Othello”‘s insular Venetian political setting to an exclusive upper-class prep school is a wry and excellent decision, offering any number of opportunities for satirizing the glowering atmosphere and claustrophobic in-fighting of high school at its most advantaged.

Ultimate X: The Movie (2002) – DVD

ESPN’s Ultimate X
**/**** Image B- Sound B Extras B
written and directed by Bruce Hendricks

by Bill Chambers Notoriously anti-sports (or at the very least sports-agnostic), I thought maybe the X-Games would win me over–so much colour, so much thunder, like Hal Needham’s rushes out of context. Alas, they’re yet another not-for-me athletics event. I was made painfully aware of this fact while watching ESPN’s Ultimate X, an IMAX production: In a sight fertile with joy, a man mounts a plastic shovel not much bigger than the one that comes with children’s sandpails and slides down a snowy hilltop; but then you find out that “Super Modified-Shovel Racing” besmirched the X-Games in the eyes of its organizers and has since been gonged. With it went a new sport’s sense of humour, and I am definitely the genre of film buff more entertained by the dancing mascots at half-time than by the repetitive “thrill” of competition.

Little Secrets (2002) – DVD

**/**** Image A- Sound B+ Extras B
starring Evan Rachel Wood, Michael Angarano, David Gallagher, Vivica A. Fox
screenplay by Jessica Barondes
directed by Blair Treu

by Bill Chambers Little Secrets, a movie about the fear of honesty we have when we’re children, begins in the vein of a Joe Dante suburban satire but ends, oh so detrimentally, like a nightmare of Chris Columbus pap. Directed with genuine zest by Blair Treu, a man whose resume includes a film with the title “Just Like Dad” and episodes of the quickly-jettisoned television adaptation of Chicken Soup for the Soul, Little Secrets grows so self-involved that the dial of its own moral compass comes off its hinge: Treu (ironic spelling, don’t you think, for the director of a film dealing with the subject of lying?) and screenwriter Jessica Barondes steer their picture irreversibly south in the final minutes in what amounts to an act of belligerence–the filmmakers are too proud to admit they’ve made a gross miscalculation of plot, leading not only to the most aggravating closing smooch in a kids’ flick since Columbus’s own Adventures in Babysitting, but also Little Secrets‘ misogynistic aftertaste.

Stargate (1994) [Ultimate Edition – Director’s Cut] – DVD

**/**** Image B Sound A Extras B-
starring Kurt Russell, James Spader, Jaye Davidson, Viveca Lindfors
screenplay by Dean Devlin & Roland Emmerich
directed by Roland Emmerich

by Bill Chambers Spawning a television show and solidifying the Hollywood career of German director Roland Emmerich, 1994’s Stargate was the last movie to get the memo that Abyss-ian water walls and morphing technology no longer evoked World’s Fair awe. These special effects are merely the epitome of Stargate‘s second-hand wonder; part of the film’s value as a curiosity piece is its New York street-merchant vibe: like peddlers of the Rolux watch or Parda handbag, Emmerich and co-producer/co-writer Dean Devlin are selling us an approximation of a blockbuster by a licensed hitmaker, and we excuse them the same way we allow for the smudgy print of carbon copies or the colour bleed on VHS dubs. It must be a human impulse to absolve a facsimile of its absence of novelty.

blind date: UNCENSORED (2002) – DVD

**½/**** Image B+ Sound B+

by Bill Chambers The only reality-TV (whatever that oxymoron means) series I watch, “blind date” has a crack writing staff, photogenic–and certifiable–‘contestants,’ and editing that’s breezy without feeling clipped. For the uninitiated: Cameras follow a couple apparently arbitrarily but more often, one imagines, cruelly matched on their first date and, in the vein of pop-up video, word balloons and subtitles provide patronizing though often uproarious and surreal commentary on the proceedings. My personal favourite moment of the show to date is the oblivious bodybuilder who is asked what he is thinking by his companion: a thought-bubble appears above his head containing a chicken smoking a cigarette. Mostly these asides are, as Homer Simpson would say, funny ’cause they’re true.

Monster’s Ball (2001) – DVD|Monster’s Ball [Lions Gate Signature Series] – DVD

***½/****
DVD – Image A+ Sound A Extras A-
DVD (SIGNATURE SERIES) – Image A+ Sound A Extras A-
starring Billy Bob Thornton, Halle Berry, Peter Boyle, Heath Ledger
screenplay by Milo Addica & Will Rokos
directed by Marc Forster

by Walter Chaw Two men tell poor Leticia Musgrove (Halle Berry) that she’s beautiful during the course of Marc Forster’s pitch-black Monster’s Ball. The first is her condemned husband Lawrence (Sean Combs), and the second is Hank (Billy Bob Thornton), the head of the death-row guard team responsible for bringing Lawrence to the electric chair. The circumstances and timing of their compliments, separated by almost the entire body of the film, says a great deal about where Monster’s Ball has gone in the interim. Lawrence says it as his last words to his wife during their last time together on the last day of his life. Hank says it over a pint of ice cream, just after an important revelation has been claimed without his knowledge. In both instances, there is a simple, fated truth to the words: the first utterance represents the realization that there’s nothing left to say, the second the recognition that some things are best left unspoken.

Q&A (1990) + I’ll Do Anything (1994) – DVDs

Q&A
***/**** Image A- Sound B
starring Nick Nolte, Timothy Hutton, Armand Assante, Luis Guzman
written and directed by Sidney Lumet, based on the novel by Edwin Torres

I’LL DO ANYTHING
***/**** Image A- Sound A-
starring Nick Nolte, Albert Brooks, Julie Kavner, Joely Richardson
written and directed by James L. Brooks

by Bill Chambers When news of Nick Nolte’s arrest for driving under the influence of the date-rape drug hit the Toronto International Film Festival last year, just days after he’d made a strong showing there with Neil Jordan’s The Good Thief, I immediately flashed back to the time I met Nolte–“met,” alas, a figure of speech in this case: We crossed paths in the lobby of the Park Hyatt Hotel. His beanstalk frame sheathed in an emasculating banana-yellow housecoat, Nolte wore a pair of bookish specs that offset his craggy mug, and his snow-coloured hair stood unnaturally on end, as though he’d just seen a ghost. On his way to record interviews for Breakfast of Champions (and looking a lot more like that film’s Kilgore Trout than like the erstwhile Tom Wingo), Nolte growled this to a gawping me in passing:

Swept Away (2002) – DVD

**/**** Image A Sound A Extras B
starring Madonna, Adriano Giannini, Jeanne Tripplehorn, Bruce Greenwood
screenplay by Guy Ritchie, based on the screenplay by Lina Wertmüller
directed by Guy Ritchie

by Bill Chambers No, it's not a masterpiece, but the deck was already stacked against Guy Ritchie's Swept Away long before anyone saw the picture. That it was a remake (of Lina Wertmüller's squirm-inducing Swept Away… by an Unusual Destiny in the Blue Sea of August) was strike one; that it starred Madonna, a lousy film actress considered box-office poison, strike two; that Ritchie is married to Madonna, marking Swept Away as the kind of vanity project that power couples make to spend more time together than their private life allows, strike three. And every review you read of Swept Away–that I read, at least–parroted these three strikes, sizing them to fit a column's allotment; there's no doubt in my mind that, even though it became the whipping-boy of late-night talk-show hosts and assured its victory at the 2003 Golden Raspberrys with near-universal placement on year-end worst-of lists, you haven't any meaningful clue as to what's actually wrong with Swept Away.

Sweet Home Alabama (2002) – DVD

½*/**** Image A Sound A- Extras C+
starring Reese Witherspoon, Josh Lucas, Patrick Dempsey, Fred Ward
screenplay by C. Jay Cox
directed by Andy Tennant

by Walter Chaw The first clue as to the vileness of Andy Tennant's Sweet Home Alabama is that it's named after a Lynyrd Skynrd song (paving the way, one supposes, for Freebird: The Movie and Smokestack Lightning); the second clue is that it's the first Reese Witherspoon picture in a while to find a way to squander her almost preternatural ability to salvage terrible scripts and spent concepts floating her way post-Election. Extraordinarily boring and unfunny while redolent with the sort of bad behaviour-made-cutesy that made stars of Julia Roberts and Ashley Judd, Sweet Home Alabama at least has the unlikely distinction of rendering Witherspoon shrill, dull, and during one ugly drunken tirade, irredeemable.