Drive Me Crazy (1999) – DVD

**/**** Image B Sound A- Extras D
starring Melissa Joan Hart, Adrien Grenier, Stephen Collins, Ali Larter
screenplay by Rob Thomas, based on the novel How I Created My Perfect Prom Date by Todd Strasser
directed by John Schultz

by Bill Chambers I've seen so many bloody teen movies over the past two years that Drive Me Crazy felt like the beginning of a new semester. All my old friends were there–the jock, the rebel, the slut–and I once again looked forward to attending a prom, here called a "Centennial." Now and again, however, the film manages to tread, if not break, new ground as it recycles that old saw about an adversarial boy and girl who fall for their own love charade as they attempt to make former sweethearts jealous. Would you believe that every single one of its characters is (gasp!) insecure?

Revenge of the Nerds/Revenge of the Nerds II: Nerds in Paradise [Fox Double Feature] – DVD

REVENGE OF THE NERDS (1984)
***½/**** Image A- Sound B+
starring Robert Carradine, Anthony Edwards, Ted McGinley, Bernie Casey
screenplay by Steve Zacharias & Jeff Buhai
directed by Jeff Kanew

REVENGE OF THE NERDS II: NERDS IN PARADISE (1987)
½*/**** Image A- Sound B+
starring Robert Carradine, Curtis Armstrong, Bradley Whitford, Courtney Thorne-Smith
screenplay by Dan Guntzelman & Steve Marshall
directed by Joe Roth

by Bill Chambers One's great, the other ain't, and that's the truth, Ruth. Revenge of the Nerds, too often lumped in with the T&A comedies that flanked its theatrical release (Up the Creek, Porky's Revenge, et al.), is a cinematic gem of exemplary construction–one of the best, most empathetic teen movies with which John Hughes was not affiliated. Revenge of the Nerds II: Nerds in Paradise, alas, sequelizes the trashy rep of its predecessor rather than the reality.

What Planet Are You From? (2000)

**½/****
starring Garry Shandling, Annette Bening, John Goodman, Ben Kingsley
screenplay by Garry Shandling & Michael Leeson and Ed Solomon and Peter Tolan
directed by Mike Nichols

by Bill Chambers To paint a picture of how juvenile Mike Nichols's What Planet Are You From? can get, its running gag is a humming penis. The film stoops, often, to a level of humour rarely found outside the schoolyard–or an episode of "Married With Children". Yet there's infectious sunshine in Garry Shandling's first big-screen starring vehicle that makes it difficult to begrudge its bad taste. Whatever issues I may take with What Planet Are You From? certainly have nothing to do with being offended by it.

The Astronaut’s Wife (1999) – DVD

**/**** Image A Sound B+
starring Johnny Depp, Charlize Theron, Joe Morton, Clea DuVall
written and directed by Rand Ravich

by Bill Chambers Given that it borrows liberally from Rosemary’s Baby and Invasion of the Body Snatchers (1978), it’s not surprising The Astronaut’s Wife feels so uninspired, yet it’s a tiny bit surprising that nothing of either their grim appeal or their gift for turning lurid genre concepts (devil cults and pod people, respectively) into something profound really stuck to the surface of this film. Underimagined and overdesigned, writer-director Rand Ravich’s feature debut seems the product of not enough writing and too much directing.

Scream 3 (2000)

*/****
starring Neve Campbell, Courtney Cox Arquette, David Arquette, Parker Posey
screenplay by Ehren Kruger
directed by Wes Craven

by Bill Chambers Miramax "disinvited" online media from press screenings of Scream 3. They ostensibly feared that folks like me would write spoiler-filled reviews and post them prior to the film's February 4th release date–unsound reasoning. You see, 'net critics established enough to be on any sort of VIP list are professionals–Miramax surely knows the difference between an upstanding member of The On-Line Film Critics Society (OFCS) and the type of fanboy who submits spy reports to Ain't It Cool News. No, the 'mini major' was afraid we'd let a bigger cat out of the bag than whodunit: that Scream 3 is a dismal conclusion to the beloved (by this writer, at least) franchise.

Brokedown Palace (1999) – DVD

**/**** Image B+ Sound B+
starring Claire Danes, Bill Pullman, Kate Beckinsale, Lou Diamond Phillips
screenplay by David Arata
directed by Jonathan Kaplan

by Bill Chambers It’s somebody’s idea of a cruel joke: hire two of the most beautiful actresses in the known universe and slather them in grime and grit and stink for the better part of 100 minutes. While the characters don’t seem to mind (“I’ve had worse haircuts,” remarks Claire Danes’s Alice Marano of being sentenced to 33 years in a foreign prison–though her bob-crop is quite fetching), the intended audience for Brokedown Palace–teenagers unfamiliar with Midnight Express–had a rather adverse reaction to the thought of watching a couple of starlets wallow in a world of piss and roaches and Bill Pullman lawyers and Lou Diamond Phillips embassy officials, if the pitiful box-office is any indication. So why did they bother sanitizing it for younger viewers?

Trial and Error (1997) – DVD

***/**** Image A Sound B+
starring Michael Richards, Jeff Daniels, Charlize Theron, Jessica Steen
screenplay by Sara Bernstein & Gregory Bernstein
directed by Jonathan Lynn

by Jarrod Chambers Trial and Error starts off with some pretty stock situations. Charlie Tuttle (Jeff Daniels) is a lawyer, a Yale man who has just made partner at the firm and is engaged to the boss's daughter. He is absurdly uptight, his fiancée (Alexandra Wentworth) is a ridiculously controlling snob, his boss is a hard-nosed hard-case. In other words, everyone (to begin with) is a cartoon. Charlie's best friend since grade school, Richard Rietti (Michael Richards, a.k.a Kramer from "Seinfeld"), is a free-living actor with a wardrobe that relies heavily on flowered prints. Richard is Charlie's best man, despite pressure from his fiancée and her father to choose someone more, ahem, respectable.

The General’s Daughter (1999) [Widescreen Collection] – DVD

**/**** Image A+ Sound A- Extras B+
starring John Travolta, Madeleine Stowe, James Cromwell, James Woods
screenplay by Christopher Bertolini and William Goldman, based on the novel by Nelson DeMille
directed by Simon West

by Bill Chambers The General’s Daughter is prettified trash, a sulphur-coloured pulp movie of dubious ambitions. Undeniably effective in fits and starts, this adaptation of Nelson DeMille’s popular novel dies when it succumbs to the lurid urges of a too-visceral director. The nude body of Captain Elisabeth Campbell (Leslie Stefanson) has been discovered strangled to death on an army base in Georgia. Elisabeth’s father, vice-presidential hopeful General Joseph Campbell (!) (James Cromwell), summons beefy army cop Paul Brennan (John Travolta), an acquaintance of the deceased, to close the case before the FBI moves in–and before the media gets wind of the situation. Working with ex-girlfriend Sarah “Sun” Sunhill (Madeleine Stowe), Paul quickly uncovers the secrets of the late captain’s double-life as a dominatrix.

Onegin (1999)

***½/****
starring Ralph Fiennes, Liv Tyler, Toby Stephens, Lena Headey
screenplay by Peter Ettedgui and Michael Ignatieff, based on the poem "Yevgeny Onegin" by Alexander Pushkin
directed by Martha Fiennes

by Bill Chambers "When will the devil take me?" he asks rhetorically in a lulling voiceover. The spoiled title character of Onegin (pronounced Oh-negg-in) is waiting on death to relieve him after a lifetime of rapacious, caddish behaviour has left him soul-sick. Martha Fiennes's debut feature is–quite literally–filmed poetry (it's based on the epic Russian poem by Alexander Pushkin), a profound study of regret, of how we confuse shame with guilt.

Music of the Heart (1999)

**/****
starring Meryl Streep, Angela Bassett, Aidan Quinn, Jane Leeves
screenplay by Pamela Gray
directed by Wes Craven

by Bill Chambers I should start this review by telling you how much I hate the generic title Music of the Heart. Wes Craven's bid for prestige was more evocatively (and appropriately) called 50 Violins in development, and the switch only proves how far distributor Miramax has strayed from its edgier roots. Almost as infuriating is the positioning of an 'N Sync/Gloria Estafan duet as Music of the Heart's theme song: a nigh unlistenable ballad opens and closes a film about music appreciation.

Breakfast at Tiffany’s (1961) – DVD

**/**** Image B+ Sound A-
starring Audrey Hepburn, George Peppard, Patricia Neal, Mickey Rooney
screenplay by George Axelrod, based on the novella by Truman Capote
directed by Blake Edwards

by Bill Chambers Would Paul Varjak (George Peppard) be in love with Holly Golightly if she didn’t look like Audrey Hepburn? That’s the question I kept asking myself as I watched Breakfast at Tiffany’s, the story of a batty woman who overcomes her personality enough to make her downstairs neighbour, a published author, fall for her. She’s a socialite too busy for housework; he’d be destitute if he didn’t have a sugar mama (Patricia Neal). Both are humoured by the champagne crowd, but ultimately, Paul can’t even afford a mid-priced gift for Holly when they go shopping together at Tiffany’s.

The Muse (1999)

**/****
starring Albert Brooks, Sharon Stone, Andie MacDowell, Jeff Bridges
screenplay by Albert Brooks & Monica Johnson
directed by Albert Brooks

by Bill Chambers Albert Brooks's latest alter ego Stephen Phillips doesn't have writer's block, per se–he's artistically impotent. Only a week after winning a humanitarian award for his body of work, Stephen suffers at the hands of a young pup executive who pans his latest script (it's not edgy enough) and voids his contract with the studio. Jack (Jeff Bridges, deliciously arrogant), Stephen's successful screenwriter friend, suggests he seek out the inspiration of Sarah (Sharon Stone), an alleged "muse for hire." Sarah once rekindled Jack's creative fire; a desperate Stephen suspends his disbelief in her powers and begs for her counsel, even if it means having to shower her with gifts from Tiffany's, rent her a $1500/night room at the Four Seasons, and be at her beck and call. Meanwhile, Laura (Andie MacDowell), Stephen's wife, becomes chummy with Sarah over an expensive lunch and soon decides to start a cookie business, something along the lines of Famous Amos or Mrs. Fields. Long before Stephen finishes a new, edgier script, Wolfgang Puck–another of Sarah's Hollywood clients–is throwing Laura a party at Spago in honour of her baked goods.

Cruel Intentions (1999) [Collector’s Edition] + Payback (1999) – DVDs

CRUEL INTENTIONS
**/**** Image A+ Sound A- Extras A
starring Ryan Phillipe, Sarah Michelle Gellar, Reese Witherspoon, Selma Blair
written and directed by Roger Kumble

BUY @ AMAZON.COM

PAYBACK
**/**** Image A Sound A
starring Mel Gibson, Maria Bello, Gregg Henry, Lucy Liu
screenplay by Brian Helgeland and Terry Hayes, based on the novel The Hunter by Richard Stark
directed by Brian Helgeland

BUY @ AMAZON.COM

Cruelintentionscapby Bill Chambers SPOILER WARNING IN EFFECT. The Mel Gibson revenge movie Payback and the teen romance Cruel Intentions have a surprising amount in common. For starters, they each represent the mainstream's idea of a subversive night at the movies. Both films centre unapologetically on bastard antiheroes–if Payback and Cruel Intentions were intended as escapist entertainments, and I believe they were, then something like the "Quake" and "Doom" videogame mentality has invaded Hollywood filmmaking: Let's spend the evening staring at a disposable world through the eyes of a misanthrope.

Heat (1995) – DVD

***½/**** Image A Sound A- Extras B
starring Al Pacino, Robert De Niro, Val Kilmer, Ashley Judd
written and directed by Michael Mann

by Vincent Suarez Michael Mann's Heat is a rare Hollywood action film, indeed. In an era in which the standard studio actioner consists of loosely-motivated bits of plot and character development that merely link one set-piece to the next, the explosive action sequences in Heat fittingly punctuate moments of genuine drama enacted by a wealth of interesting characters. Further, while today's action films are invariably vehicles for the likes of Schwarzenegger, Stallone, Willis, et al, Heat is the rare studio action picture that, despite its own heavyweight stars, is truly an ensemble piece, cast and acted to perfection. And in an age when the standard Hollywood epic spends three hours glossing over the "major events" in its characters' lives, Heat confines its three hours to perhaps a few weeks of "real" time, allowing Mann (who produced, wrote, and directed) to present a drama that is epic in its emotional depth, if not in years.

Future Noir: The Making of Blade Runner – Books

Future Noir: The Making of Blade Runner
FFC rating: 10/10
by Paul M. Sammon

by Bill Chambers Ridley Scott’s Blade Runner took two years to complete, while Paul M. Sammon’s exhaustive document of its inception was finished over a period of one-and-a-half decades. The author admits that his book, like its subject, is “compulsively detailed.” Future Noir‘s appendices alone–which include a thorough interview with Scott, fussy comparisons of Blade Runner‘s multiple video incarnations, confirmed continuity slip-ups, soundtrack information, a directory of related websites, and a full credits listing–occupy 66 pages! In fact, the only information Sammon fails to provide is his own credentials. A journeyman in the best way, he’s a film journalist and documentarian who, as an inveterate producer of electronic press kits, was eyewitness to some legendary (and legendarily troubled) genre productions, such as Dune and RoboCop.

Arlington Road (1999)

*½/****
starring Jeff Bridges, Tim Robbins, Joan Cusack, Hope Davis
screenplay by Ehren Kruger
directed by Mark Pellington

by Bill Chambers Wrote Josh Young, in issue #493 of ENTERTAINMENT WEEKLY: "With studios now viewing the mid-level, Oscar-nominated directors as a luxury they can no longer afford, established auteurs…are facing increasingly stiff competition from slick young music-video turks who'll work for a mere pittance." From its galling opening sequence, I wondered what Arlington Road would look like had it been sired by someone more established in movies than the director of Pearl Jam's "Jeremy" clip. Director Mark Pellington is so mindful of 'the image' that writer Ehren Kruger's plotting eventually drops off the tightrope of credibility. Could a veteran filmmaker, comparable in status to the late Alan J. Pakula, swindle us more successfully with the same screenplay?

Wild Wild West (1999)

*/****
starring Will Smith, Kevin Kline, Kenneth Branagh, Salma Hayek
screenplay by Brent Maddock, S.S. Wilson, Peter S. Seaman, and Jeffrey Price
directed by Barry Sonnenfeld

by Bill Chambers If you don't think Kevin Kline in drag is funny, wait 'til you see Will Smith in drag–it's even less funny. By the time Jim West (Smith) had disguised himself as a belly dancer to retrieve his captured comrade Artemus Gordon (Kline) from the clutches of evil Dr. Loveless (Kenneth Branagh), I was unequivocally bored with Wild Wild West, the new summer action-comedy from Men in Black director Barry Sonnenfeld. Is the Old West really a breeding ground for slapstick, anyway? If your answer is yes, you're probably thinking of Blazing Saddles, but Blazing Saddles was a parody of the western genre that also satirized the social climate of 1974, not a nineteenth-century romp in and of itself.

Hurlyburly (1998) – DVD

***/**** Image A Sound A- Extras B+
starring Sean Penn, Kevin Spacey, Robin Wright Penn, Chazz Palminteri
screenplay by David Rabe, based on his play
directed by Anthony Drazan

by Bill Chambers The word "hurlyburly" describes the thought processes of Eddie the Cokehead to a tee. As played by Sean Penn, hypersensitive Eddie is a wind-up toy that threatens to stroll right off the tabletop–he just doesn't let things go. At first, his behaviour smacks of self-absorption, narcissism, solipsism ("My biggest distraction is me," he tells a loved one). Eventually, we come to understand that Eddie is an existential Sherlock Holmes, desperate to get to the bottom of, quite literally, everything. Hurlyburly is about how a place like Hollywood can eat a person like Eddie alive, because there's no there there. What you see is what you get.