Return to Never Land (2002) – DVD

*/**** Image A Sound A Extras C+
screenplay by Temple Mathews and Carter Crocker
directed by Robin Budd, Donovan Cook

by Bill Chambers I can only assume that Disney buried Peter Pan in Stephen King’s pet sematary, for resurrected in the misbegotten Return to Never Land is one sour Fairy King. In the original Peter Pan, the title character lost his shadow; in the sequel, Peter is all shadow, a fascist dictator separated from the malicious Captain Hook by a single distinguishing feature: the hook. Return to Never Land pits the two in conflict once more, this time over the stolen treasure of Captain Hook, which Peter has stowed away for a rainy day. The movie gives no indication as to how Hook acquired the chest full of gold in the first place, thus our introduction to Peter is as a thief. And by the end of the picture, that’s the kindest thing I could think to call him.

Wild in the Country (1961) + The Razor’s Edge (1984) – DVDs

WILD IN THE COUNTRY
***/**** Image A- Sound B+

starring Elvis Presley, Hope Lange, Tuesday Weld, Millie Perkins
screenplay by Clifford Odets, based on the novel by J.R. Salamanca
directed by Philip Dunne

THE RAZOR’S EDGE
***/**** Image B- Sound B-

starring Bill Murray, Theresa Russell, Catherine Hicks, Denholm Elliot
screenplay by John Byrum & Bill Murray, based on the novel by W. Somerset Maugham
directed by John Byrum

by Bill Chambers It occurs to me that many of the most ungainly movies about love–and in the end, most movies are (about love, that is)–have gotten it right for their very awkwardness as cinematic constructs. This week, in the August funk that used to correspond with the encroaching schoolyear but is now some vague collegiate-nostalgia trip, I shook the salt of Wild in the Country, The Razor’s Edge, Pretty in Pink, and Some Kind of Wonderful (the latter two to be covered in a separate piece) on my reopened wounds and came away impressed not by the art of these films, but by their emotional complexity. What you see in all four of these pictures that you perhaps don’t often enough is that money tends to govern attraction.

We Were Soldiers (2002) – DVD

***/**** Image A- Sound A+ Extras B
starring Mel Gibson, Madeleine Stowe, Sam Elliott, Greg Kinnear
screenplay by Randall Wallace, based on the memoir We Were Soldiers Once…and Young : Ia Drang–The Battle That Changed the War in Vietnam by Harold G. Moore, Joseph L. Galloway
directed by Randall Wallace

by Walter Chaw We Were Soldiers is a rousing war epic presented as the world’s most gruesome underdog sports intrigue, its carnage–fuelled by a brilliant attention to the decisions made in the heat of battle by a genius-level military mind–at once exploitive and orgasmic in its cathartic effectiveness. Concerning the bloodiest confrontation between the United States and North Vietnam, which took place in the infancy (November 14, 1965) of the doomed police action at LZ X-Ray in the Ia Drang Valley, the memoir of the battle We Were Soldiers Once…and Young (by battlefield commander Lt. Col. Hal Moore with war journalist Joseph Galloway) finds its way to the screen with Mel Gibson as Moore and his Braveheart scribe Randall Wallace at the typewriter and behind the camera.

Reservoir Dogs (1992) [Ten Years – Special Edition] – DVD

***½/**** Image A- Sound A- Extras A+
starring Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi
written and directed by Quentin Tarantino

by Bill Chambers

"They were perfect strangers, assembled to pull off the perfect crime. Then their simple robbery explodes into a bloody ambush, and the ruthless killers realize one of them is a police informer. But which one?"
–DVD liner summary for Reservoir Dogs

I came around to being a fan of Reservoir Dogs after Quentin Tarantino's standing had crested and the backlash was kicking in. It's impossible for me to see now why I didn't take to it initially–solid flick, as they say. Stylish, knowing, but not necessarily pretentious. Well-performed. And moving, in its macho way: Let us not forget that Reservoir Dogs ends in tears and an embrace.

The Business of Strangers (2001) – DVD

***/**** Image A- Sound A-
starring Stockard Channing, Julia Stiles, Frederick Weller
written and directed by Patrick Stettner

by Walter Chaw Julie (Stockard Channing) is a hardened businesswoman on a lecture trip who becomes certain that her last day on the job draws nigh. When young Paula (Julia Stiles) arrives to a presentation late, Julie unleashes all her fears and frustrations on the hapless girl. Written with an ear for dialogue and a wicked edge, Julie’s enthusiastic upbraiding of Paula sets the stage for three elements that drive The Business of Strangers to its conclusion. The first is the discomfort arising from Julie and Paula being stuck in the same hotel overnight due to grounded flights, the second is a possible explanation of the antagonism between the pair that culminates in a disturbingly open-ended finale, and the final is the idea that in Stettner’s interpersonal corporate nightmare, fear is the mechanism that catalyzes the characters towards generosity, friendship, and cruelty.

Wolfen (1981) – DVD

**½/**** Image A- Sound B-
starring Albert Finney, Diane Venora, Gregory Hines, Tom Noonan
screenplay by David Eyre and Michael Wadleigh, based on the novel by Whitley Strieber
directed by Michael Wadleigh

by Bill Chambers Wolfen goes through the paces of a typical detective thriller, but it’s far from conventional. I crave to understand this picture’s somewhat literal bleeding heart better and thought the DVD would be of more assistance–unfortunately, the advertised commentary track with actors Gregory Hines and Edward James Olmos and director/co-writer Michael Wadleigh is AWOL. My mother calls Wolfen “a werewolf movie from the werewolf’s point of view,” and that’s not a bad take on it, since the homicidal title creatures are in essence the good guys of the piece. Certainly, the film’s preponderance of “wolf P.O.V.” shots make it less than figuratively so.

The Sweetest Thing (2002) [Unrated] – DVD

ZERO STARS/**** Image B+ Sound B Extras B-
starring Cameron Diaz, Christina Applegate, Thomas Jane, Selma Blair
screenplay by Nancy M. Pimental
directed by Roger Kumble

by Walter Chaw Roger Kumble’s The Sweetest Thing presents a good news/bad news situation. On the one hand, it’s barely eighty minutes long–on the other, for those eighty minutes it’s repugnant beyond words. On the one hand, the worst film of 2002 has already appeared with eight months to go, and on the other, I not only had to watch the benighted thing, I am now required by my vocation to relive it in detail. I am forced, for instance, to remember a scene in which the only Jewish Laundromat owner in all of San Francisco’s Chinatown tastes a semen stain to determine that it’s such; to recall the moment where a woman with a penis stuck in her throat mumbles Aerosmith‘s “I Don’t Wanna Miss a Thing” to clear her air passage. Yes, The Sweetest Thing is crass and moronic, this much goes without saying (that Cameron Diaz plays another emetic simpleton is also not much of a surprise). What is a shock is that Parker Posey cameos late in the game and even she’s not funny. If it takes a brilliant director to make a bad actor look good, the corollary holds, too.

Exorcist II: The Heretic (1977) – DVD

ZERO STARS/**** Image B Sound B
starring Linda Blair, Richard Burton, Louise Fletcher, Kitty Winn
screenplay by William Goodhart
directed by John Boorman

by Bill Chambers Possibly the worst film ever made and surely the worst sequel ever made, Exorcist II: The Heretic is the last of an uneven trilogy to hit DVD. Understand that while I would only recommend a purchase to my arch-enemy, the picture is definitely worth seeking out in the way that one likes to see the Leaning Tower of Piza or Easter Island before leaving this world–it’s the greatest unnatural wonder known to cinema. I’ve now endured it twice (please send my Medal of Honor for self-sacrifice in the line of duty in care of this website), the second time so that I could compile a list of my favourite bits; apologies in advance if this review reads too dada for its own good.

Speed (1994) [Five Star Collection] – DVD

***/**** Image A Sound A Extras A-
starring Keanu Reeves, Sandra Bullock, Dennis Hopper, Jeff Daniels
screenplay by Graham Yost
directed by Jan de Bont

by Bill Chambers At the risk of calling it generic, Speed is such a perfect title for the film to which it belongs that you’re almost reminded of those unornamented yellow boxes dotting the aisles of grocery stores everywhere–the ones labelled simply “SALT,” “FLOUR,” “BRAN FLAKES”…you get the picture. Though “Speed” gives it permission to be about anything, the film, to its credit, actually practices velocity and momentum. It puts the action movies that preceded it on fast-forward, so that in each sequence is packed the sum thrills of a Jean-Claude Van Damme or Steven Seagal joint. It’s one of the few films in which propulsion forgives stupidity because it makes the point-blank claim of being an amphetamine.

Innerspace (1987) – DVD

**½/**** Image A- Sound A- Commentary B+
starring Dennis Quaid, Martin Short, Meg Ryan, Kevin McCarthy
screenplay by Jeffrey Boam and Chip Proser
directed by Joe Dante

by Bill Chambers Fifties monster movies and grindhouse sludge bookended Joe Dante’s coming-of-age, and these twin species of B cinema–sisters in spirit if not in execution–often squish up against each other in his work as a director. The man who gave us the loving but danger-filled tribute to showman William Castle and Castle’s acolytes Matinee (a better Cuban Missile crisis picture, he said ducking tomatoes, than Thirteen Days) preceded his tenure with neo-Castle Roger Corman (for whom he made Piranha) by covering every last exploitation picture of the early-Seventies for THE FILM BULLETIN.

Joe Somebody (2001) – DVD

ZERO STARS/**** Image A- Sound A- Extras B-
starring Tim Allen, Julie Bowen, Kelly Lynch, Greg Germann
screenplay by John Scott Shepherd
directed by John Pasquin

by Walter Chaw There is no life to Joe Somebody; it is a rotting, derelict husk of a film that drifts anchorless in a sea of dead jokes and plot detritus. It has no excuse for existing, and should be held up as the prime example whenever conversation turns to what’s wrong with our culture in general and the movies in particular. Joe Somebody is so sloppily put together that when it comes time at last to end this cinematic thumbscrew, its moments of uplift make little, if any, sense because of the lack of care taken to establish a place for them. If you have a moment to which the entire film is supposedly building, I humbly offer that it’s probably not good when that epiphany appears with neither warning nor justification. It’s like having a story that is not otherwise about a playwright wrapping up with a playwright having her first play produced. Exactly like that, in fact.

Dragonfly (2002) [Widescreen] – DVD

*/**** Image A- Sound B+ Extras B-
starring Kevin Costner, Joe Morton, Kathy Bates, Ron Rifkin
screenplay by David Seltzer and Brandon Camp & Mike Thompson
directed by Tom Shadyac

by Walter Chaw Emergency-room sawbones Joe Darrow (Kevin Costner) loses his do-gooder wife Emily (Susanna Thompson) when she’s killed in a rockslide in Venezuela. Soon he and his bald parrot believe that Emily has returned from the dead with a message about rainbows. I like Kevin Costner and his oeuvre. I find him to be a charming simpleton in the Gary Cooper mould. Until Dragonfly, his films never felt condescending to me, largely because Costner appears to be learning things at the same pace as his screenplay. His guileless wonder (‘Can you believe we did this to the Indians? Holy smokes!‘) sits well with me and makes him peculiarly suited to play the traditional American hero: good-looking, witless, and dull as dishwater. Casting Costner as a doctor is a mistake: the other person he played who had an advanced degree was New Orleans DA Jim Garrison in Oliver Stone’s JFK, and that character was clearly insane. Costner just doesn’t have the spark of erudition necessary to convince as a serious individual with letters after his name (not unless those letters are LHP), and his performance in Dragonfly is unconvincing, joyless, and scattershot.

Kung Pow: Enter the Fist (2002) [The Chosen Edition] + Contract Killer (1998) – DVDs

KUNG POW: ENTER THE FIST
**½ Image B+ Sound A- Extras B
starring Steve Oedekerk
written and directed by Steve Oedekerk

CONTRACT KILLER
*/**** Image B Sound B
starring Jet Li, Eric Tsang, Simon Yam, Gigi Leung
screenplay by Chan Heng Ka, Vincent Kok, Cheng Kam Fa
directed by Tung Wai

by Bill Chambers In addition to putting the fear of God in us about CGI, Kung Pow: Enter the Fist (henceforth Kung Pow) makes us wish the technology it employed to seamlessly superimpose writer-director-star Steve Oedekerk into the 1977 kung fu movie Tiger and Crane Fists had been around circa Bruce Lee’s demise. Back then, the producers of Game of Death struggled to complete a half-finished star vehicle minus one star using cardboard cut-outs and a variety of unconvincing doubles. (Lee’s character, the hero, spends most of the picture with his back to the camera.) Oedekerk, playing the archetypal grown-up orphan seeking vengeance against “Master Pain” for his parents’ murder, spends most of Kung Pow looking into the lens with his tongue sticking out, the tongue itself adorned with a face that has its own tongue. Technological advances have always been either too dawdling or too hasty in serving the cinema, alas.

Storytelling (2002) [Unrated and R-rated Versions] – DVD

**½/**** Image B+ Sound B+
starring Selma Blair, Leo Fitzpatrick, Robert Wisdom, Paul Giamatti
written and directed by Todd Solondz

by Walter Chaw The line between love and misanthropy is thin, and Todd Solondz is a cunning cartographer of that precarious divide. He sees political correctness as an insidious product of the kind of paternalistic racism that discards truth in favour of generally held truisms, a crutch for well-meaning racists who lack the wit to grasp that the basic misunderstanding of difference driving a desire to discriminate against minorities is identical to that which drives a desire to protect minorities. Solondz’s films are confrontational in the extreme, full-frontal assaults on the hypocrisy that fuels most relationships and stark dissections of the politics of cruelty.

Hart’s War (2002) – DVD

**½/**** Image A- Sound A Extras B-
starring Bruce Willis, Colin Farrell, Terrence Dashon Howard, Vicellous Reon Shannon
screenplay by Billy Ray and Terry George, based on the novel by John Katzenbach
directed by Gregory Hoblit

by Walter Chaw Director Gregory Hoblit’s fourth consecutive celluloid guilty pleasure, Hart’s War constantly dances the razor’s edge of offensively pat (equating Nazi Germany with Macon, GA circa 1944) while providing enough canned tension and studied theatricality to put A Few Good Men to shame. With Bruce Willis as a smirky secondary character and largely-untested Irishman Colin Farrell asked to shoulder the brunt of the courtroom hijinks, Hart’s War is an exceptionally well-done bad movie that hums along on its earnestness. Though if you think about the film at all after the lights come up, best not to contemplate the plot, which is littered with holes like P-51 rocket craters.

Pearl Harbor (2001) [60th Anniversary Commemorative Edition]|Pearl Harbor: The Director’s Cut [VISTA Series] – DVDs

*½/****
ACE DVD – Image A+ Sound A (DD) A+ (DTS) Extras C+
VISTA DVD – Image A+ Sound A+ Extras A+
starring Ben Affleck, Josh Hartnett, Cuba Gooding, Jr., Tom Sizemore
screenplay by Randall Wallace
directed by Michael Bay

by Travis Mackenzie Hoover I must shamefully admit that I greeted the approach of Pearl Harbor‘s release with a mixture of moral righteousness and secret anticipation. I knew that no good could come from the intersection of the WWII nostalgia wave and the craven instincts of producer Jerry Bruckheimer; anyone who had seen Top Gun, his earlier effort in military pornography, would have to surmise that his new film’s potential for right-wing jingoism was clearly off the scale. These suspicions were confirmed once I saw the trailer, its sickening combination of swelling music, explosions, dashing soldiers and the FDR “Day of Infamy” speech promising propaganda of Riefenstahlian proportions. Anyone who reads me would expect me to give it a good shellacking, and so I hoped for a total outrage to crucify without remorse–reaping me the happy side effect of securing me the moral high ground from which to preach.

Gosford Park (2001) [Collector’s Edition] – DVD

***/**** Image B- Sound A- Extras B+
starring Kristin Scott Thomas, Stephen Fry, Emily Watson, Ryan Phillippe
screenplay by Julian Fellowes
directed by Robert Altman

by Walter Chaw A thematic continuation of The Player‘s violent iconoclasm, Robert Altman takes on the very British “Upstairs, Downstairs” class struggle in Gosford Park, a film that resolves itself as another full-frontal assault on the Hollywood studio system. Misanthropic, smug, and pessimistic, it behaves like an Agatha Christie chamber mystery, complete with secretive service staff, bumbling policemen, and the usual upper-crust suspects, but it’s ultimately little more than an unavoidable homage to Renoir’s The Rules of the Game and a dig at a system outside of which Altman eternally finds himself. Thankfully, Gosford Park more resembles the genre-bending Altman of Kansas City than the truculently proselytizing Altman of Dr. T & the Women.

Black Hawk Down (2001) – DVD

****/**** Image A- Sound A+
starring Josh Hartnett, Ewan McGregor, Tom Sizemore, Eric Bana
screenplay by Ken Nolan, based on the book by Mark Bowden
directed by Ridley Scott

Mustownby Walter Chaw Black Hawk Down is a living, seething animal, full of courage and heroism, stinking of blood and gunpowder. It lacks the paternalistic moralizing of Saving Private Ryan as well as much of the poetry of The Thin Red Line, but it captures the best images of both while discarding the chaff of the former. One scene towards the end of the film, as exhausted U.S. Rangers are led to safety by a group of Somali children, is a fine example of that brute synergy. Ridley Scott’s film is the only big budget spectacle film of the last several years (Pearl Harbor, The Perfect Storm, all the way back to Titanic) that actually has the nerve to honour the event it seeks to recreate. The characters aren’t stock movie stereotypes–in fact, they’re so minimally portrayed that the general homogeny of its soldiers in battle serves to highlight mainly a minimalist “us against them” mentality. Black Hawk Down trusts its audience; it is perhaps the first and only time that this will be said of a Jerry Bruckheimer production.

A Beautiful Mind (2001) [The Two-Disc Awards Edition (Widescreen)] – DVD

**/**** Image A- Sound B Extras A-
starring Russell Crowe, Ed Harris, Jennifer Connelly, Paul Bettany
screenplay by Akiva Goldsman, based on the book by Sylvia Nasar
directed by Ron Howard

by Walter Chaw Mathematician John Forbes Nash, Jr. gained his reputation in theoretical economics and/by discerning patterns in impossibly complicated numerical models. A Beautiful Mind, a film based very loosely upon his life, likewise deals with theoretical economics (in regards to Christmas box office), but offers bland predictable patterns in place of complexity. For example, because this is DreamWorks’/Universal’s Oscar tentpole, the running time falls safely in the “adult contemporary holiday respectable” range of 130-145 minutes, and it features a big name actor in a role that requires him to be some combination of mentally disabled (I Am Sam, Forrest Gump, Rain Man), insane (As Good As It Gets), or that delicate combination of the two: a genius (Good Will Hunting, Finding Forrester).

Frank Herbert’s Dune (2000) – DVD|Frank Herbert’s Dune [Special Edition: Director’s Cut] – DVD

***/****
DVD – Image C+ Sound C+ Extras C+

DVD (SEDC) – Image A Sound A Extras A-
starring William Hurt, Alec Newman, Saskia Reeves, James Watson
screenplay by John S. Harrison, based on the novel by Frank Herbert
directed by John Harrison

by Jarrod Chambers On the whole, I enjoyed the 2000 miniseries Frank Herbert’s Dune, which was adapted and directed by John Harrison. It has a sustained mood, it conveys some of the spirit of its source material, and it is entertaining, especially the last episode. The plot, stated baldly: Paul Atreides (Alec Newman), the young son of Duke Leto Atreides (William Hurt) comes to a desert planet called Arrakis, notable as the only source in the universe of the mysterious substance “spice.” The spice unleashes psychic powers in young Paul, who, along with his mother, Jessica (Saskia Reeves), is driven from his home and must join the Fremen, a group of desert nomads. He grows up with the tribe and eventually leads a rebellion against House Harkonnen, who now rule Arrakis, finally brokering peace with Emperor Shaddam IV (Giancarlo Giannini) and the mysterious Spacing Guild, which owns all the spaceships.