Coffee and Cigarettes (2004) + The Saddest Music in the World (2004)

May 20, 2004Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Drama, Esoterica, Music, Musical

COFFEE AND CIGARETTES
***½/****
starring Roberto Benigni, Steven Wright, Joie Lee, Cinqué Lee
written and directed by Jim Jarmusch

THE SADDEST MUSIC IN THE WORLD
***/****
starring Isabella Rossellini, Mark McKinney, Maria de Medeiros, Ross McMillan
screenplay by Guy Maddin & George Toles, based on a screenplay by Kazuo Ishiguro
directed by Guy Maddin

Saddestcoffeeby Walter Chaw Philosopher-scientist Nikola Tesla (of coil fame) once suggested that the universe winding down vibrated to a sympathetic rhythm; art, at its best, puts a tuning fork to it. The words that we use to describe tapping that fricative synergy (archetype, the sublime, the ineffable) are also the words that we use, to borrow a phrase from Frank Zappa, to dance about architecture–to describe what's indescribable about the collective experience, the existential electricity that ranks music above painting above poetry above literature (and film the twentieth century stepchild that falls somehow north and south of each). It is the unique privilege of the cinema to be all things at its best and less than nothing at its worst: to be sculpture for Matthew Barney; photography for Stanley Kubrick; ad art for Roy Andersson; poetry for Jean-Luc Godard; hymn for Abbas Kiarostami; and music for Sergio Leone. For Jim Jarmusch, it's the Romanticist sensibility distilled deliriously through the Nouvelle Vague, while for Guy Maddin, it's perhaps the critical instinct at its most self-loathing, arch, and unpleasant.

Shrek 2 (2004)

May 18, 2004Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Eddie Murphy, Family, Fantasy, Japan, Romance, Theatrical

*½/****
screenplay by Andrew Adamson and Joe Stillman and J. David Stem & David N. Weiss
directed by Andrew Adamson, Kelly Asbury, Conrad Vernon

Shrek2by Walter Chaw Neither better nor worse than its predecessor, think of Shrek 2 as a step sideways–it doesn’t so much earn an audience as inherit one. A DreamWorks/PDI production, Shrek 2 transplants the first picture’s bitterness towards Disney, though the characters it skewers are in the public domain (Sleeping Beauty, the three little pigs, Hansel & Gretel, Pinocchio, and so on) and happen to be among the icons that Disney, by and large, never dishonoured. Without a viable target, then, the film is the kind of satire-less satire that mistakes being a self-congratulatory trivia game designed for beginning players for being a post-modern commentary on fairytales and, more specifically, the traditional Disney animated feature. There’s no sharpness inherent in making reference to Spider-Man or Peter Jackson’s The Lord of the Rings saga (just as there was no sharpness in referencing The Matrix in the original), and imitation has no point of view, just a brief rush of pride and bemusement for folks generally unused to catching the allusions. To say the picture functions best for the lowest common denominator (note a trio of flatulence gags) isn’t entirely fair–but it’s accurate.

Paycheck (2003) [Special Collector’s Edition] – DVD

May 18, 2004Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Canada, Directors: John Woo, DVD, Mystery, Sci-Fi, Thriller

½*/**** Image A Sound A- Extras B
starring Ben Affleck, Uma Thurman, Aaron Eckhart, Michael C. Hall
screenplay by Dean Georgaris, based on the short story by Philip K. Dick
directed by John Woo

by Walter Chaw At the end of John Woo's latest Hollywood misstep, Ben Affleck, as brilliant "reverse engineer" Michael Jennings, hefts two bags of manure on his back and stumbles around with them for a while, effectively defusing anything cogent I could say about Paycheck. It is worth wondering, however, why people like Affleck and Keanu Reeves are so attractive in science-fiction premises (Reeves even had a turn with the memory-loss high-tech agent thing in Johnny Mnemonic)–probably something to do with the idea of robots and minds wiped clean. The problem with Paycheck isn't really that it's not well thought-out or that it's possibly the first Woo action film to be genuinely boring from start to finish, but that Woo seems to have replaced his joy of genre (and genius within the medium) with a scrabbling desperation to manufacture what used to come naturally.

Everybody’s All-American (1988) + That Championship Season (1982) – DVDs

May 16, 2004Posted in1980s, Authors: Walter Chaw, Drama, DVD, Romance, Sports

EVERYBODY’S ALL-AMERICAN
*½/**** Image B Sound B Extras C
starring Jessica Lange, Dennis Quaid, Timothy Hutton, John Goodman
screenplay by Tom Rickman, based on the book by Frank Deford
directed by Taylor Hackford

THAT CHAMPIONSHIP SEASON
**/**** Image C+ Sound C+
starring Bruce Dern, Stacy Keach, Robert Mitchum, Martin Sheen
written and directed by Jason Miller

by Walter Chaw SPOILER WARNING IN EFFECT. Taylor Hackford’s Raging Bull, the episodic pigskin melodrama Everybody’s All-American boasts a trio of fantastic performances at the service of a picture that’s all sturm and no drang, a weightless thing packed to the rafters with heaving moments over the course of a twenty-five-year span that somehow fail to add up to an affecting whole. It comes at the tail end of the prolific Dennis Quaid’s most prolific era, rounding up unqualified successes like The Big Easy and Innerspace (and unqualified miscues like D.O.A.) and serving as a handy career summary for Hackford, who hit it big with the revered cheese classic An Officer and a Gentleman, which he’s been dutifully remaking in one form or another ever since. Success is an unforgiving mistress–so is lack of range and imagination.

Troy (2004)

May 13, 2004Posted in2000s, Action, Adventure, Authors: Walter Chaw, Drama, Malta, Romance, Theatrical, UK

*½/****
starring Brad Pitt, Eric Bana, Orlando Bloom, Diane Kruger
screenplay by David Benioff
directed by Wolfgang Petersen

Troyby Walter Chaw There are two major problems with Wolfgang Petersen's bloated swords and sandals opera Troy. The first is that James Horner contributes another of his patented walls of non-directional trumpets and violins as the score, and the second is that first-billed Brad Pitt lacks the gravity to hold down the middle of a 165-minute epic. There's a reason that people are always surprised to learn that Pitt stands just north of six feet tall: a gifted second fiddle who consistently steals the show (12 Monkeys, Thelma and Louise, Fight Club, Se7en, Kalifornia, Legends of the Fall, Snatch) and a sometimes-leading man who consistently has the show stolen out from him (Seven Years in Tibet, Meet Joe Black, The Mexican), Pitt, as warrior Achilles in this adaptation of Homer's The Iliad, is curiously weightless, a phantom haunting the film, so that by the end it all it feels like nothing of great import has happened. Consider what the film would have been like with Russell Crowe as Achilles (or, conversely, consider what Master and Commander would have been like with Pitt)–there's a reason that Gladiator was a success, and it had very little to do with its scripting or plot.

Sword of the Valiant (1984) – DVD

May 10, 2004Posted in1980s, Action, Adventure, Authors: Walter Chaw, DVD, Fantasy, Romance, UK, ZERO STARS

Sword of the Valiant: The Legend of Sir Gawain and the Green Knight
ZERO STARS/**** Image D+ Sound C-
starring Miles O'Keefe, Cyrielle Claire, Leigh Lawson, Sean Connery
screenplay by Stephen Weeks and Philip M. Breen and Howard C. Pen
directed by Stephen Weeks

by Walter Chaw A film that is actually exactly bad enough to be uproariously funny, Stephen Weeks's Sword of the Valiant: The Legend of Sir Gawain and the Green Knight (hereafter Sword of the Valiant)–peculiarly, Weeks's second adaptation (after 1973's Gawain and the Green Knight) of The Rose Poet's fourteenth century Arthurian epic "Gawain and the Green Knight"–is one of those Golan-Globus productions that helped redefine the bottom of the barrel in the early Eighties. It gives Miles O'Keefe of Tarzan the Ape Man fame a short-lived and wholly unjust stay of career execution (decking him out in a Prince Valiant wig that makes him look suspiciously like Mary Worth with abs), and it furthers my contention that Sean Connery is pretty much just the Scottish Burt Reynolds. I'm not sure what Weeks and company had in mind when embarking on this project, but the result is something so deeply stupid as to inspire hopefulness and hopelessness in equal draughts: anyone can do it, apparently–but is it worth doing if it turns out to be Sword of the Valiant?

The Statement (2003) – DVD

May 10, 2004Posted in2000s, Authors: Walter Chaw, Canada, Drama, DVD, France, Thriller, UK

½*/**** Image A Sound A Extras C
starring Michael Caine, Tilda Swinton, Jeremy Northam, Alan Bates
screenplay by Ronald Harwood, based on the novel by Brian Moore
directed by Norman Jewison

by Walter Chaw A so-so director even at his best (thinking of The Cincinnati Kid) who vacillates aimlessly between soft romantic comedies and undisguised, under-informed diatribes against barn sides like big business (Rollerball, F.I.S.T., Other People's Money), American racism (In the Heat of the Night, A Soldier's Story, The Hurricane), and religious intolerance (Jesus Christ Superstar, Agnes of God, The Statement), Norman Jewison is full of activism–just not terribly ripe with ideas and perspective. His fists are of ham and his pulpit is splintered from the hammering, Jewison's political films distinctive mainly for the broadness of their focus and his romantic films distinctive for the extent to which the facile cultural stereotypes he seems so concerned about elsewhere are machined into the rom-com grist mill therein.

Millennium Actress (2002) + Tokyo Godfathers (2003)

May 9, 2004Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Drama, DVD, Fantasy, Japan, Romance

MILLENNIUM ACTRESS
***½/**** Image A- Sound A Extras B
screenplay by Satoshi Kon and Sadayuki Murai
directed by Satoshi Kon

TOKYO GODFATHERS
**½/**** Image A Sound A Extras C+
screenplay by Keiko Nobumoto and Satoshi Kon
directed by Satoshi Kon and Shôgo Furuya

by Walter Chaw Four years separate Satoshi Kon's astonishing Perfect Blue and his astonishing Millennium Actress; it seems that what the intervening period brought to Kon's palette is a strong sense of visual humour and an affecting pathos to cut the existential dread of his identity crises–the year or two distancing Tokyo Godfathers from Millennium Actress further refining Kon as a humorist even as it blunted his razor's edge. Where Perfect Blue is the first film in decades to use Hitchcock correctly in a sentence, it still fails for the most part to jump from horror to hilarity on the turn of a heel, making its story of an actress being stalked by a doppelgänger brilliant, no question, but also relentlessly grim. Millennium Actress takes many of the same themes (down to the same basic structure) of performance and meta-reality, stage and screen, cradling them in a story about a man's lifetime of unrequited love for an actress, herself suffering from a lifetime's unrequited love for a mysterious revolutionary. Both threads entwine in a mutual affection for the life of the cinema, which, by film's end, serves as the ends and the means by which their respective love stories are resolved. Like Perfect Blue, Millennium Actress is about living with ghosts, but where the one is all shadow, Millennium Actress is all alight.

The Return (2003) + Spring, Summer, Fall, Winter…and Spring (2003)

May 6, 2004Posted in****/****, 2000s, Authors: Walter Chaw, Drama, Germany, Mystery, Romance, Russia, South Korea, Theatrical, Thriller

Vozvrashcheniye
****/****
starring Vladimir Garin, Ivan Dobronravov, Konstantin Lavronenko, Natalya Vdovina
screenplay by Vladimir Moiseyenko & Aleksandr Novototsky
directed by Andrei Zvyagintsev

SPRING, SUMMER, FALL, WINTER… AND SPRING
****/****
starring Yeong-su Oh, Ki-duk Kim, Young-min Kim, Jae-kyeong Seo
written and directed by Ki-duk Kim

by Walter Chaw Andrei Tarkovsky by way of Terrence Malick, Andrei Zvyagintsev's shockingly assured debut The Return (Vozvrashcheniye) approaches the primitive through the sublime, finding the first testament of human existence in the bland, devouring indifference of the natural and providing the moribund Russian film industry its first real voice in a generation. While it's impeccably acted and scripted with a respect for the spaces before, after, and between, what astounds about the picture is Zvyagintsev's patient, painterly eye, which fills the void in world cinema left by Takeshi Kitano since the first half of Brother and offers a voice of simple, audacious purity that fashions of the cinema something like a cold blue rapier. The Return is as good a film debut (and in almost the same way) as Malick's Badlands: an intimate character study and an archetypical road trip that fashions a crystalline portrait of a very specific time and place that, nonetheless, shines a light on the landmarks of a collective interior. Zvyagintsev talks about boys needing their father and couches it in terms poetic and mesmerizing.

Permanent Record (1988) – DVD

May 4, 2004Posted in1980s, Authors: Walter Chaw, Drama, DVD, Music, Romance, Teen

***/**** Image C- Sound C+
starring Keanu Reeves, Jennifer Rubin, Alan Boyce, Pamela Gidley
screenplay by Jarre Fees and Alice Liddle and Larry Ketron
directed by Marisa Silver

by Walter Chaw Before Bill & Ted's Excellent Adventure trapped Keanu Reeves in an amber of his own inexplicable sun-baked imbecility, he appeared in a couple of genuinely good films, nursing the mistaken impression that he was actually acting. One of these pictures is Tim Hunter's elegy to ennui River's Edge; the other is Marisa Silver's curiously affecting teenage-suicide melodrama Permanent Record. In both, Reeves demonstrates a now-unsurprising affinity for the soulful burnout character, a moral compass in the morass of the amorality of Eighties introspection and hedonism. A neo-hippie destined to become Neo for real, Reeves brought to his early work a kind of befuddled earnestness that informs his best performances (in My Own Private Idaho for instance, or even the first Matrix)–a quality causing genuine concern for "Hellblazer" fans, who probably deserve a more complex Constantine. Prior to mega-stardom, however, the most enduring image of Reeves is a scummy sleeping bag tryst in River's Edge, and his awkward take on drunkenness via Ray Bolger during the climax of Permanent Record.

Envy (2004)

May 4, 2004Posted in2000s, Authors: Walter Chaw, Comedy, Satire, Theatrical

**½/****
starring Ben Stiller, Jack Black, Rachel Weisz, Amy Poehler
screenplay by Steve Adams
directed by Barry Levinson

Envyby Walter Chaw Reminding a great deal of the masticated wonderlands of Joe Dante's The 'burbs and his own Toys, Barry Levinson's Envy operates within a carefully constructed artifice. It's a fantasy of suburbia filthy with arrested men-children and the dolls who love them, helplessly acting out music-box morality plays against a backdrop of outsized slapstick. At it's best, the film evokes the diorama lollapalooza of Tim Burton's Edward Scissorhands (indicated by its affection for the image of a snow globe), floating along on the undercurrent of meanness that defines Burton's Pee-Wee's Big Adventure like a twisted form beneath a multi-coloured blanket. Disturbingly unmoored monologues about the joy of running a pretzel stand and an invitation to catharsis as "let it tumble out like circus freaks" are made all the more peculiar by the delivery of Christopher Walken, playing a character named obliquely–after Kafka or Christ–J-Man. Redemption and oppression in one Camus parcel, Envy is the story of an everyman toiling under the yoke of the peculiarly American sickness of being completely average while nursing a sense of outrageous entitlement.

The Triplets of Belleville (2003) – DVD

May 4, 2004Posted in****/****, 2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Belgium, Canada, Comedy, Drama, DVD, FFC Must-Own, France, Latvia, Music, UK

****/**** Image A Sound A Extras B+
written and directed by Sylvain Chomet

Mustownby Walter Chaw An extraordinary, melancholy ode to the endless, mercurial peculiarity of life, Sylvain Chomet's The Triplets of Belleville (Les Triplettes de Belleville) finds as its existential constant the persistence of art, the familial ties that bind, and the echoing green of synchronicity. It is the finest film of its kind since Babe: Pig in the City, Gallic in the best implications of the term: self-conscious, intelligent, envelope-pushing. Its scope is immense both literally and philosophically, a series of dog dreams within providing a bit of core disquiet that work at you like the best poetry can. It's easy to forget the power of metaphor when it's bandied about like so much corrupt currency in sub-par product aching for subtext–in fact, The Triplets of Belleville is so close to poetry, something by William Carlos Williams, perhaps, that it touches something pure in art and archetype, reminding in the process of what symbolic language can do when wielded with a skilled, steady hand.

Elephant (2003) – DVD

May 3, 2004Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Directors: Gus Van Sant, Drama, DVD, FFC Must-Own, Palme d'Or Winner, Teen, Thriller

****/**** Image A Sound A- Extras B-
starring Alex Frost, Eric Deulen, John Robinson, Elias McConnell
written and directed by Gus Van Sant

Mustownby Walter Chaw I live about five minutes from Columbine High School. In the year following the shootings, Littleton, a strange place already, got even stranger: a man killed himself in a crowded Burger King parking lot, a child was found in a dumpster behind a local strip mall, two kids were killed in a Subway, and so on. It was mass psychic fallout, and something that none of the inquiries into Columbine seem to address; in time, I'm sure, people will forget that there were aftershocks and tremors.

Waters Still Run Deep?: FFC Interviews Mark Waters

May 1, 2004Posted in2000s, Authors: Walter Chaw, Interviews

MwatersinterviewtitleMay 2, 2004|Mark S. Waters looks a little like Colin Firth and hails from the banal horrors of South Bend, IN. As we chatted politely in his suite at Denver's Hotel Teatro, I noticed that his speech is halted by a little stammering now and again, which I interpreted as nerves or excitement or, perhaps, both. Mr. Waters's laughter, though, when it comes, is booming and infectious. Mainly there to ask him about his interesting debut film The House of Yes, about his treatment of Asians in his two Lindsay Lohan vehicles, and about how it was that he found himself directing a parade of 'tween flicks after so auspicious a beginning, I have to say, after a time it dawned on me that Mr. Waters was in fact desirous of a mainstream career. Call it hopelessly Pollyannaish, but it had literally never occurred to me that people who make debuts as cunning as The House of Yes would consciously move on to safe and popular films. That being said, Mr. Waters has expressed that Mean Girls will be the last flick of this sort for him, and as swan songs go, one could do worse: it's not very good, but in a culture of lowered expectations, sometimes you take what you can get.

Godsend (2004)

April 29, 2004Posted in2000s, Authors: Walter Chaw, Canada, Drama, Horror, Robert De Niro, Sci-Fi, Theatrical, Thriller

**/****
starring Greg Kinnear, Rebecca Romijn-Stamos, Robert De Niro, Cameron Bright
screenplay by Mark Bomback
directed by Nick Hamm

Godsendby Walter Chaw SPOILER WARNING IN EFFECT. Godsend's spine-tingling set-up doesn't just trump its conclusion, it literally beats the hell out of it. The suggestion is that the clone of a dead child begins to have supernatural dreams at the age his host was killed–a premise that fosters consuming dread and marks potentially the best mainstream horror film since The Ring. More, the film's changeling child's dreams remind of the "School of Dead Children" arc from Neil Gaiman's late lamented "Sandman" comic, a connection made resonant by the fact that screenwriter Mark Bomback's next project is the cautiously-awaited adaptation of Garth Ennis's "Hellblazer" title (Constantine). What else to feel than admiration at chilling passages where the shade of the dead child, clad complete in death-day attire of favourite jacket and new sneakers, questions its clone on its identity and on the location of its parents? All that goes out the window, though, in favour of an all-too-familiar Frankensteinian "Abby Normal" brain-transplant-gone-awry intrigue that seems to have been tailor-made for above-the-title player Robert De Niro to have a few inexplicable actor's moments. What results is a complete betrayal of absolutely everything eloquent about the film's pitch–not a twist so much as a cheat of the worst kind, one from an altogether different movie at that: the revelation that the Wizard of Oz is Godzilla.

Bobby Jones: Stroke of Genius (2004)

April 29, 2004Posted in2000s, Authors: Walter Chaw, Biopic, Drama, Romance, Sports, Theatrical

*/****
starring James Caviezel, Claire Forlani, Jeremy Northam, Malcolm McDowell
screenplay by Rowdy Herrington and Bill Pryor
directed by Rowdy Herrington

Bobbyjonesby Walter Chaw Displaying a troubling affection for long-suffering historical figures planted in the middle of amped-up costume epics, James ("I prefer Jim") Caviezel follows up his dazed turn as a saviour with another dazed turn as a saviour: Bobby Jones, the last voice of virtue in professional sports, steadfastly refusing to take one filthy piece of silver and so betray his amateur (Latin root: love) status on the PGA tour. Scored by another tongue-bath of a score by James Horner (bring a squeegee and a change of clothes, you'll feel like you've taken a swim in a spittoon), Bobby Jones: Stroke of Genius is every bit as episodic, derivative, patronizing, and bloated as Horner's compositions–the man, by himself, defining a genre of picture perhaps fatally damaged by his very intrusion. (If there's any one indicator that the upcoming Troy is going to be awful, it's that Wolfgang Petersen (himself no great source for confidence) has elected to reunite with Perfect Storm collaborator Horner.) But there's so much more wrong with Bobby Jones: Stroke of Genius than just the music, the winking title, and the truism that for as boring as golf is to watch on television, it's that much more boring to watch in reverent celluloid slow motion–no, the picture is also fatally tagged by a terrible screenplay and terrible direction (that includes a half dozen ball's-eye view shots: not as interesting as you might misunderstand), as well as the dreadfully persistent belief that the measure of a man's life are the crescendos and valleys rather than the caesuras and grace notes.

The Last Unicorn (1982) – DVD

April 28, 2004Posted in1980s, Adventure, Animation, Authors: Walter Chaw, Drama, DVD, Family, Fantasy, France, Japan, UK, West Germany

*/**** Image D Sound D
screenplay by Peter S. Beagle, based on his novel
directed by Arthur Rankin, Jr. and Jules Bass

by Walter Chaw Rankin & Bass’ typically sloppy adaptation of Peter S. Beagle’s classic The Last Unicorn (adapted for the screen by Beagle himself) is terribly voiced and animated, even by the ’70s Bakshi/flash-frozen/Saturday-morning conveyor belt standard. The melancholy poetry of Beagle’s novel, rife with dread and the vertiginous feeling of falling into chaos, is notable for its similarity to the big eye, little mouth of traditional anime but falls short of that gold standard in terms of performance and detail. Mouths don’t move, backgrounds are static and recycled, and it doesn’t help that the colours on the print making it to the DVD format look as though they’d been left in the front window for too long.

The Texas Chainsaw Massacre (2003) [New Line Platinum Series] – DVD

April 28, 2004Posted in2000s, Action, Authors: Walter Chaw, Crime, DVD, Horror

***/**** Image A+ Sound A+ Extras A+
starring Jessica Biel, Jonathan Tucker, Erica Leerhsen, Andrew Bryniarski
screenplay by Scott Kosar
directed by Marcus Nispel

Texaschainsawcap2003

by Walter Chaw With its low-angle compositions, gradual evolution of animalistic antagonists (from opossum to kid to crippled man to monster), discovery of a feral child, claustrophobic sets drenched in water, and neo-feminist slant, what Marcus Nispel’s The Texas Chainsaw Massacre resembles most is not Tobe Hooper’s 1974 masterpiece, but James Cameron’s 1986 masterpiece, Aliens. In structure and execution, in fact, even in visual style, Nispel’s picture recasts Aliens with its cannibalistic hillbilly clan the insectile “other” and tight tank-top sporting Jessica Biel as stand-in for Sigourney Weaver’s tight tank-top sporting über-mater. The problem with the comparison is that where Hooper’s original presented its nihilism in detached tableau (the first attack is a classic in savage hopelessness), Nispel’s remake sports the intimate camerawork favoured by Cameron-inspired action films, replacing the existential desolation of Hooper’s vision with more standard flight and fight sequences. As genre exercises go, despite a decent amount of sadistic gore, the picture is better spoken of as a thrilling, beautifully shot action film that only flirts around with social significance.

Love Actually (2003) [Widescreen] – DVD

April 27, 2004Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Christmas, Comedy, Drama, DVD, France, Romance, UK, ZERO STARS

ZERO STARS/**** Image B+ Sound A- Extras A-
starring Alan Rickman, Bill Nighy, Colin Firth, Emma Thompson
written and directed by Richard Curtis

Loveactuallycap

by Walter Chaw I actively, aggressively dislike this film. Richard Curtis's Love Actually says something of its intentions in a subplot involving an aged rocker (Bill Nighy) who knows he's creating a reprehensible piece of garbage in an attempt to cash in on the gaffed demographic that champions boy bands as the pinnacle of the art. The picture is a sex comedy in the worst senses of the genre: It's puerile, misogynistic, and breathtakingly stupid, with a keen focus on pratfalls and serendipity–all the while hoping that you won't notice the inappropriateness of its plays for heart-warming uplift. Curtis, after scoring a couple of times in the genre as screenwriter with Notting Hill and The Tall Guy, chooses Love Actually as his directorial debut, and its hatefulness speaks to the source of the comprehensive misanthropy of Rowan Atkinson's Mr. Bean (Atkinson makes a cameo; Curtis is a writer for "Mr. Bean"). A shame that Curtis's hyphenate turn begins to betray the man as ugly and self-indulgent.

Life on the Barge: FFC Interviews Tilda Swinton & David Mackenzie

April 25, 2004Posted in2000s, Authors: Walter Chaw, Interviews, UK

YoungadaminterviewtitleApril 25, 2004|It's in the mezzanine of what remains one of the more interesting places in Colorado to see a film, Denver's Mayan Theater, that I've come to meet Scottish director David Mackenzie and one of the stars of his sophomore film Young Adam, the strikingly, ethereally beautiful and staunchly uncompromising Tilda Swinton. Far more delicate-seeming in person than on the screen, Ms. Swinton is dressed in a loose brown shirt that she'll pull over her legs, knees folded against her chest, several times during the course of our conversation–a charming, almost alarmingly childlike pose from an actress I most readily associate with ferocious, audacious turns in Derek Jarman's free-verse celluloid poetry and best-of-bad-movie appearances in everything from Vanilla Sky to The Beach to The Statement. Her work marked by a driving curiosity about the riddle of (most often sexual) identity and the role of film as oral tradition, she proves to again be the strongest ingredient of a conflicted picture, playing the role of a disquiet wife of a bargeman in Young Adam with her trademark ferocity and intelligence. Mackenzie, by contrast or complement, is a little shy, almost sheepish. We traveled a little way from Young Adam to talk more generally about poetry and the cinema, as well as the damnable inadequacies of conventional communication.