Daisy Miller (1974) – DVD

***/**** Image B+ Sound A- Extras B+
starring Cybill Shepherd, Barry Brown, Mildred Natwick, Eileen Brennan
screenplay by Frederic Raphael, based on the novella by Henry James
directed by Peter Bogdanovich

by Travis Mackenzie Hoover Daisy Miller is that rare literary adaptation that improves when considered next to its source. Not content to deliver the consumption porn that would later define Merchant-Ivory and their fellow travellers, director Peter Bogdanovich instead serves up a bittersweet evocation of an oblivious life lost and an all-too-conscious one wasted in check, employing the tools of cinema–not just art direction–to make his aesthetic/emotional case. Here, one feels the pressures of late-19th century mores as they close in on the title character and the civilized restraint that keeps its protagonist from acting on impulse; the costumes and furnishings, though lavish enough, are not the main event. And while the self-contained nature of the piece (endemic to the Henry James source) keeps the film from touching greatness, it's still very sensitive work in a genre that is normally beneath contempt.

Ghoulies (1985)/Ghoulies II (1988) [Double Feature] + Troll (1988)/Troll 2 (1990) [Double Feature] – DVDs

GHOULIES
*/**** Image B Sound A-
starring Peter Liapis, Lisa Pelikan, Michael Des Barres, Jack Nance
screenplay by Luca Bercovici and Jefery Levy
directed by Luca Bercovici

GHOULIES II
*½/**** Image B Sound B+
starring Damon Martin, Royal Dano, Phil Fondacaro, J. Downing
screenplay by Charlie Dolan and Dennis Paoli
directed by Albert Band

TROLL
**/**** Image B+ Sound B+
starring Noah Hathaway, Michael Moriarty, Shelley Hack, Jenny Beck
screenplay by Albert Band
directed by John Buechler

TROLL 2
ZERO STARS/**** Image B+ Sound C
starring Michael Stephenson, Connie McFarland, George Hardy, Margo Prey
written and directed by Drago Lloyd

by Travis Mackenzie Hoover What's the only thing worse than a DVD of a bad '80s monster movie? A DVD with two of them. That's the conclusion I've reached after subjecting myself to some warmed-over chillers recently unleashed on disc–detritus from or inspired by the defunct B-mill Empire Pictures that only Forrest J. Ackerman could love. I'd like to say that they're enjoyably tacky nostalgia items for those old enough to barely remember them, but the truth is that they skimp on the crass goods that make a good bad movie: attempting to find a broader audience through a PG-13 rating, they lack the sex and violence that a true exploitation film would deliver, and the films are so cheap that the remaining attraction of monster effects are by necessity curtailed. What's left are scripts and direction at best enervating and at worst maddening.

28 Days Later (2002) [Widescreen Special Edition] – DVD

28 Days Later…
**½/**** Image B Sound A- Extras A
starring Cillian Murphy, Naomie Harris, Brendan Gleeson, Christopher Eccleston
screenplay by Alex Garland
directed by Danny Boyle

by Travis Mackenzie Hoover 28 Days Later… is a film that shoots for resonance but is too shortsighted to hit the target. Its tale of an England beset by rage-crazed zombies is clearly a metaphor for something–but what? Timing rules out certain international disasters (9/11 happened as the film was shooting), and a certain opacity of intent clouds the entire film, making you reach out for something that you're never sure is really there. There are compensatory pleasures (a general creepiness, one smashing performance), but the film lacks something beyond its grasp, leaving you with an adequate, reasonably entertaining picture, and nothing more.

Four Faces West (1948) + Blood on the Sun (1945) – DVDs

FOUR FACES WEST
*/**** Image B Sound B+
starring Joel McCrea, Frances Dee, Charles Bickford, Joseph Calleia
screenplay by C. Graham Baker, Teddi Sherman; adaptation: William Brent and Milarde Brent, based on the novel by Eugene Manlove Rhodes
directed by Alfred E. Green

BLOOD ON THE SUN
**½/**** Image F Sound B+
starring James Cagney, Sylvia Sidney, Porter Hall, John Emery
screenplay by Lester Cole, with additional scenes by Nathaniel Curtis
directed by Frank Lloyd

by Travis Mackenzie Hoover Auteurism giveth, auteurism taketh away. It’s generally assumed that if we gravitate to the director with the greatest skill and the most obvious “personal” style, we will be doing ourselves a big cultural favour and putting ourselves on the side of the angels. And indeed, we generally strive for the power and aesthetic purity of those “originals,” as they give us the most pleasure. But if we declare–regardless of whether that personality has anything to say or says anything halfway coherent–that the only criterion of value in a film is a director’s personality, we will be shutting ourselves off from the other thing that artists do, which is interpreting the world for us. And sometimes lesser filmmakers take on subjects that great artists ignore–creating, if not brilliant analyses, something to stand for or against.

Vintage Mickey – DVD

Image B Sound B
Steamboat Willie (1928), Plane Crazy (1928), The Karnival Kid (1929), The Birthday Party (1931), The Castaway (1931), Mickey’s Orphans (1931), Mickey’s Revue (1932), Building a Building (1933), Mickey’s Steam-Roller (1934)

by Travis Mackenzie Hoover The difference between Disney and Warner Bros. animation isn’t exactly the standard business vs. art dichotomy–it’s about the smoothing over of rough spots vs. the celebration of their interruptions. Where the whole point of Looney Tunes was to affirm the thing that caused the chaos, Disney either healed that thing or pretended like it didn’t really matter. But before the battle of the trademarks began in earnest, there were only the shorts, and Disney’s M.O. was simply to provide a salve–not through the personality cult of its sadly conservative mastermind, but through the reduction of things that can hurt. The new compilation “Vintage Mickey” is thus bittersweet occasion to look through the prism of the company’s semi-fascistic present at the apparent innocence of the beginning and wonder where it all went wrong.

Hello, Dolly! (1969) – DVD

*/**** Image A- Sound A
starring Barbra Streisand, Walter Matthau, Michael Crawford, Louis Armstrong
screenplay by Ernest Lehman, based on the stage play by Michael Stewart and The Matchmaker by Thornton Wilder
directed by Gene Kelly

by Travis Mackenzie Hoover Hunter S. Thompson once remarked that the Circus Circus casino would be “what the whole hep world would be doing on a Saturday night if the Nazis had won the war.” The family audience, meanwhile, would be taking in something like Hello, Dolly!, a film so totalitarian in its crushing good cheer that anyone without a predisposition towards its phoney “togetherness” will find themselves beaten down in their seats. Equal parts Lawrence Welk and Albert Speer, it’s a grotesque epic pageant designed to show off all the money spent on production while being as condescendingly “cute” and innocuous as possible–a brew of wastefulness and sentimentality so strong that it’s hard to breathe in its aroma, let alone drink it to its dregs.

Drop Dead Fred (1991) + The Last American Virgin (1982) – DVDs

DROP DEAD FRED
½*/**** Image C+ Sound B+
starring Phoebe Cates, Rik Mayall, Marsha Mason, Tim Matheson
screenplay by Carlos David & Anthony Fingleton
directed by Ate De Jong

THE LAST AMERICAN VIRGIN
**½/**** Image A- Sound A-
starring Lawrence Mondson, Diane Franklin, Steve Antin, Joe Rubbo
written and directed by Boaz Davidson

by Travis Mackenzie Hoover Not all bad films are created equal. Like everything else, there are “good” examples and bad ones, the distinction resting on how much they’re willing to give. For example, a film like The Last American Virgin, while stopping well shy of being a real movie, nonetheless holds interest with its constant barrage of boorish behaviour and its curious attempts to shoehorn “touching” drama into its gross-out formula. It’s bad, but it tries things, and you admire its valiant attempts to give the people some low satisfaction. A movie like Drop Dead Fred, meanwhile, has been so ruthlessly scrutinized for anything that might resemble creativity that it has nothing to offer, and exhausts its 100-odd minute running time chasing its short stubby tail as we rush to the exits.

Thirteen (2003)

***/****
starring Evan Rachel Wood, Holly Hunter, Nikki Reed, Jeremy Sisto
screenplay by Catherine Hardwicke & Nikki Reed
directed by Catherine Hardwicke

Thirteenby Travis Mackenzie Hoover I'm a bit surprised to have liked Thirteen as much as I did. For one thing, it has no particular point of view–things simply happen in and of themselves and aren't much related to the outside world. For another, the film is somewhat obvious in the way it depicts its various outrages, almost cuing us to register their brutal nature instead of simply letting us draw our own conclusions. But Thirteen's heavy-handed chaos mirrors that of its teenage protagonist, who is in the grip of emotions she doesn't understand and whose responses are as arbitrary as they are destructive. The agony depicted is real, and while the film is no aesthetic miracle, it manages to blast through its limitations with its primary emotion.

Son of the Beach: Volume 1 (2000-2001) – DVD

Image C Sound B Extras C+
"With Sex You Get Eggroll", "Silence of the Clams", "In the G-Hetto", "Love, Native-American Style", "Two Thongs Don't Make a Right", "Fanny and the Professor", "Eat My Muffin", "Miso Honei", "South of Her Border", "Day of the Jackass", "A Star is Boned," "Attack of the Cocktopuss", "Mario Putzo's The Last Dong", "B.J. Blue Hawaii", "From Russia with Johnson", "Remember Her Titans", "Rod Strikes Back", "Queefer Madness", "Light My Firebush", "Chip's a Goy", "A Tale of Two Johnsons"

by Travis Mackenzie Hoover Attention all 13-year-old boys: your time has come. It is decreed that all of you must buy, watch and perhaps even memorize the handsome 3-disc set "Son of the Beach: Volume 1". You heard me, buster: it is incumbent upon you to own twenty-one solid episodes of some of the most puerile, asinine, and questionable TV ever produced by man or beast. You may not know that this is your civic duty, but I assure you, it is: you, and only you, are ideally suited to its unique blend of jiggle-visuals, toilet humour, smutty double-entendres and crude ethnic stereotyping.

Copacabana (1947) – DVD

*½/**** Image B Sound B
starring Groucho Marx, Carmen Miranda, Steve Cochran, Andy Russell
screenplay by Alan Boretz, Howard Harris, Laslo Vadnay, Sydney R. Zelinka
directed by Alfred E. Green

by Travis Mackenzie Hoover Like many great comedians, Groucho Marx was punished for being too good. One can't actually make movies like Horse Feathers, Animal Crackers and the great Duck Soup and not expect to pay a price, so the studio, in its infinite wisdom, decided to impose normalcy onto The Marx Brothers' films in an attempt to restore public order. This, of course, marked the beginning of his team's decline, so that by 1947 he was reduced to making unsalted soda crackers like Copacabana just to pay the rent. And what a reduction it is: Groucho and hapless co-star Carmen Miranda are the only things worth watching in this limp backstage musical, and while they work all the wonders they can with limited material, it's not enough to keep it from seeming more than a woeful desecration of a great comic's talent.

Brigham Young (1940) – DVD

**/**** Image A- Sound A- Extras B+
starring Tyrone Power, Linda Darnell, Brian Donlevy, Dean Jagger
screenplay by Lamar Trotti, based on a story by Louis Bromfield
directed by Henry Hathaway

by Travis Mackenzie Hoover I was hoping, prior to watching Brigham Young, that the film would be a twisted smash-up of subject matter and Hollywood convention. I was sure that the touchy matter of Mormon ritual would send the movie in all directions at once, trying to salvage a normal film but twisting itself through ever more bizarre hoops. But while it does indeed get the production team scrambling to deal with that pesky polygamy issue, Brigham Young is mostly just a dull problem-picture crossed with a boring western, with no real surprises to offer anyone who was born a little before yesterday.

Blood, Guts, Bullets & Octane (1998) – DVD

Blood, Guts, Bullets and Octane
*/**** Image B+ Sound A-
starring Joe Carnahan, Dan Leis, Ken Rudolph, Dan Harlan
written and directed by Joe Carnahan

by Travis Mackenzie Hoover It’s not the band I hate, it’s their fans. The celebrated (if overrated) efforts of both David Mamet and Quentin Tarantino spawned a lot of half-baked imitators in their heyday in the ’90s, people who didn’t understand the masters’ cruel ironies or obsessive cinephilia, respectively, but sure thought that it was cool wear a suit while pointing a gun and saying “fuck.” Few of them, however, made films as dire and unpleasant as Joe Carnahan’s Blood, Guts, Bullets & Octane (hereafter Octane), which takes the male territorial-pissing formula of scores of Mamet-tino flicks and pushes it to an astonishingly crude extreme. There’s no wit to the dialogue, no style to the imagery and no grace in the performances–just eff this and eff that and oh-God-I’m-shot. If you needed a reason for the Nineties to end, here it is; the passing of this kind of cinema is ample incentive to enter the new century.

Miranda (2002) – DVD

**/**** Image B Sound A- Extras D+
starring Christina Ricci, John Simm, Kyle MacLachlan, John Hurt
screenplay by Rob Young
directed by Marc Munden

Mirandadvdcapby Travis Mackenzie Hoover There was a time (from the late-'70s to the late-'80s) when the UK cranked out tart, intelligent films that put their American counterparts to shame. People like Stephen Frears, Hanif Kureshi, Alan Clarke, Mike Leigh, Terence Davies, Neil Jordan, Derek Jarman, and Sally Potter could be counted on to raise hell in the name of motion pictures; whatever their relative merits, they were interested in cinema and not career opportunities, and their commitment to a reality outside of their aesthetics gave them soul and punch. (Even when they made a thriller, like John Mackenzie's The Long Good Friday, it was an anti-Thatcher thriller.) Then the '90s happened, and what was called "the multiplex generation" sprang up: suddenly we were doomed to the likes of Danny Boyle and Guy Ritchie, who made films with flashy visuals that failed to obscure their essential vacuity. And so it is with Marc Munden's Miranda, a well-shot, smartly-designed film with an empty space where its brain should be, leaving us with something that looks good, goes down easy, and is instantly forgotten.

Continental Divide (1981) – DVD

**½/**** Image B+ Sound B
starring John Belushi, Blair Brown, Allen Gorwitz
screenplay by Lawrence Kasdan
directed by Michael Apted

by Travis Mackenzie Hoover The broad outline for Continental Divide is so suggestive, at least by Hollywood standards, that I wish I liked the movie more than I did. As the story of a city-slicker misogynist transformed by love for a bush-roughing woman, it's surprisingly progressive: when the annoying city mouse/country mouse gimmick falls away, we have a story of two lovers trying to reconcile their disparate lifestyles without costing one or the other their independence. As this topic seldom comes up in serious movies, it's doubly refreshing to see it in a cheesy romantic comedy, and had the production team been up to the challenge this could have been one for the genre-studies books. Unfortunately, the film is so lacking in nuance and conviction that one never quite believes what is going on; the dialogue is so tin-eared and the direction so listless that they trivialize the story's implications and squander a golden opportunity.

Big Trouble (1986) – DVD

**/**** Image B+ Sound B
starring Peter Falk, Alan Arkin, Beverly D'Angelo, Charles Durning
screenplay by Warren Bogle
directed by John Cassavetes

by Travis Mackenzie Hoover From the depths of the files marked "for completists only" comes John Cassavetes's Big Trouble, a film that defies all but the most determined attempts to fit it into the master's canon. Not only is the director's raw emotionality nowhere in evidence here, but the unforced aesthetics that are his hallmark are totally unsuited to the broad and dialogue-dependant farce screenplay by Andrew Bergman (writing under the pseudonym Warren Bogle). It's hard to think of a bigger mismatch of director and material–unless it's Robert Altman doing a teen comedy called O.C. and Stiggs (which, regrettably, happened the following year). I'd suggest a double bill for the diehard auteurists among us, but the disillusionment would be so shattering that I doubt that any of them would survive the experience.

The Wild Dogs (2003)

***/****
starring Thom Fitzgerald, David Hayman, Alberta Watson, Rachel Blanchard
written and directed by Tom Fitzgerald

Wilddogsby Travis Mackenzie Hoover There’s a lot to be said against Thom Fitzgerald’s The Wild Dogs, a film that, when faced with abject poverty and suffering, doesn’t really know how to resolve its feelings and compensates by resorting to bad doom-laden metaphors. But as it flails wildly in the hopes of hitting a target, there’s no denying that the film occasionally does, and that when it does it often scores a direct hit. Even if Fitzgerald can’t solve the problems of a crumbling Bucharest, he evokes the state of wanting to extremely well, thus saving his film from the sanctimony that another director might have brought to the subject.

The Big Trail (1930) – DVD

**½/**** Image B Sound B
starring John Wayne, Marguerite Churchill, El Brendel, Tully Marshall
screenplay by Hal G. Evarts
directed by Raoul Walsh

by Travis Mackenzie Hoover The Big Trail is the kind of movie that comes wrapped in a big piece of butcher’s paper with the word WESTERN stamped on it. It offers the barest structural skeleton of the genre, with pioneers fulfilling their Manifest Destiny over terrain both harsh and unforgiving, and it sticks with its forward march to Oregon with only minor narrative flourishes to distract from the standard-issue myth of America. Later westerns would meditate on the nature of both the lone-wolf cowboy hero and the value of the westward expansion, but this early John Wayne vehicle is quaintly naïve in its taking it all for granted, making for great film-historical fascination when the drama and the intrigue flag.

Mad About You: The Complete Second Season (1993-1994) – DVD

Image C- Sound B
"Murray's Tale", "Bing Bang Boom", "Bedfellows", "Married to the Job", "So I Married a Hair Murderer", "An Unplanned Child", "Natural History", "Surprise", "A Pair of Hearts", "It's a Wrap", "Edna Returns," "Paul Is Dead", "Same Time Next Week", "The Late Show", "Virtual Reality", "Cold Feet", "Instant Karma", "The Tape", "Love Letters", "The Last Scampi", "Disorientation", "Storms We Cannot Weather", "Up All Night", "With this Ring Parts I & II"

by Travis Mackenzie Hoover Right up there with crop circles and the Bermuda Triangle, one of the great unexplained phenomena of our time is the long and storied success of the '90s sitcom "Mad About You". Somehow its cloying, sub-Woody Allen New York-isms touched a nerve with the public to make it a ratings winner, but it's a collection of fuzzy relationship humour too nice to grab the sensibilities of this viewer. Next to something like "Seinfeld" (whose namesake was constantly being compared–favourably–to "Mad About You"'s star and co-creator Paul Reiser), the show lacked the goods necessary to limp to the end of one season, let alone the seven it would eventually clock.

Broadway Melody of 1940 (1940) – DVD

***/**** Image A- Sound A Extras C+
starring Fred Astaire, Eleanor Powell, George Murphy, Frank Morgan
screenplay by Leon Gordon and George Oppenhemer
directed by Norman Taurog

by Travis Mackenzie Hoover If you are like me, you will like Broadway Melody of 1940–that is to say, if you sing the praises of the Hollywood musical. If you thrill to pointless dance numbers and unlikely romantic pairings. If you rejoice at absurdly lavish sets and novelty numbers involving sailors and palm trees. If you have ever hated someone for "not getting" musicals, or wanted to punch someone for complaining that the numbers happen "for no reason," content that there is never a reason beyond the pleasure of the moment and the beauty of aesthetic movement. If you are not, God forbid, John Grierson.

Winged Migration (2001)

**/****
directed by Jacques Perrin

by Travis Mackenzie Hoover The birds are coming, my friends, and you best take shelter before they bore you into a stupor. Not even Hitchcock himself made avian life seem as pervasive a threat as Jacques Perrin does in Winged Migration–though instead of being an active physical menace, it simply has the power to take your money and drive you to sleep or insanity. Alas, despite some super cinematography and generally good intentions, this record of birds sitting around and taking off gets very old very fast, for want of anything beyond an exclamation of, “Look at the pretty birdie!” There is, of course, an audience (nature enthusiasts without an intellectual bent, for starters, as well as those who would mistake impersonal, “professional” photography for art) that will not only gobble every shallow morsel of this film, but also think it a cultural advance.