Authors: Walter Chaw Archives - Page 122 of 146

My Big Fat Greek Wedding (2002) – DVD

January 26, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Canada, Drama, DVD, Romance

**/**** Image B+ Sound B+ Extras C
starring Nia Vardalos, John Corbett, Michael Constantine, Lainie Kazan
screenplay by Nia Vardalos
directed by Joel Zwick

by Walter Chaw Destined to be one of those much-touted Hollywood discovery stories, Nia Vardalos's one-woman play "My Big Fat Greek Wedding" was seen by Rita Wilson (Mrs. Tom Hanks) and ultimately conceived as a film for veteran bad-TV director Joel Zwick (Hanks's "bosom buddy," as it were). The results are predictably sloppy: all expansive gestures, big emotions, and ethnic sitcom generalities that were handled with more intelligence and wit by Moonstruck. The sad reality of My Big Fat Greek Wedding's stultifying predictability and stand-up sensibility–what plays well as a monologue translates clumsily as film narrative–is that there are enough broad stabs at overbearing mothers and in-law tensions that folks will come away from the film mistaking a warmth for their own experiences with an overabundance of affection for My Big Fat Greek Wedding.

S1m0ne (2002) – DVD

January 24, 20032000s, Al Pacino, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Satire, Sci-Fi

***½/**** Image A- Sound A- Extras C+
starring Al Pacino, Catherine Keener, Jason Schwartzman, Winona Ryder
written and directed by Andrew Niccol

“Pygmalion saw so much to blame in women that he came at last to abhor the sex, and resolved to live unmarried. He was a sculptor, and had made with wonderful skill a statue of ivory, so beautiful that no living woman came anywhere near it… His art was so perfect that it concealed itself and its product looked like the workmanship of nature.” – Bulfinch’s Mythology

Andrew Niccol’s brilliant S1m0ne is an updating of the Pygmalion myth substituting a sculptor of clay for a sculptor of film and his disdain for women for disdain towards the peccadilloes of actors. The ending, however, stays the same.

Python II (2002) – DVD

January 23, 20032000s, Action, Authors: Walter Chaw, Bulgaria, DVD, Horror, Sci-Fi, Thriller

Python 2
*/**** Image C Sound A
starring William Zabka, Dana Ashbrook, Alex Jolig, Simmone Mackinnon
screenplay by Jeff Rank
directed by L.A. McConnell

by Walter Chaw Though I’ve never seen Python I, I had a surprisingly easy time following Python 2, a direct-to-Sci Fi Channel CGI worm-fest that at least has the distinction of featuring a terrible-looking monster no worse than the one in its higher-profile cousin, Anaconda. It seems that a huge snake (two of them, in fact, making the title “clever”) is running around in cheap-to-film-in faux Russia, chomping digital comrades to the accompaniment of mirth-inspiring crunchy sound effects as a heroic CIA agent (Billy Zabka, who appears to also have been in the first of the Python epic) is sent to capture the beastie.

One Hour Photo (2002) [Widescreen] – DVD

January 22, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Thriller

**/**** Image A- Sound A Extras B
starring Robin Williams, Connie Nielsen, Michael Vartan, Gary Cole
written and directed by Mark Romanek

by Walter Chaw There is a keystone moment in the middle of One Hour Photo where lonely SavMart photo-technician Sy (Robin Williams) mourns his impending layoff by providing uncanny approximations of the comedy and tragedy masks in fast succession. Long our weeping velvet-clown chronicler of the twee ironic comedy of life in balance with death (hence his affection for misusing cancer-riddled kids and turning every film, including this one, into a Jacko-esque kid-love pulpit), Williams isn’t stretching here to play a lonely and disturbed old guy who becomes fixated on a pretty family so much as he’s indulging yet again in an aspect of his persona always fluttering under the surface of his more frenetic characterizations.

About a Boy (2002) [Widescreen] – DVD

January 17, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, France, Germany, Romance, UK

**½/**** Image A- Sound A- Extras B
starring Hugh Grant, Toni Collette, Rachel Weisz, Isabel Brook
screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby
directed by Paul Weitz & Chris Weitz

by Walter Chaw Will Freeman (Hugh Grant) is a philanderer and a playboy. Independently wealthy because of residuals from his father’s authorship of an inexplicably successful Christmas tune, he spends his feckless days in carefully scheduled thirty-minute “units.” (One unit for taking a bath; three for lunch.) Finally feeling a void in the middle of his rootless life at the tender age of thirty-eight, Will–after a scheme to feign single-parentage backfires roughly–finds himself involved with a mordant thirteen-year-old named Marcus (Nicholas Hoult) and Marcus’s suicidally-depressed mother, Fiona (Toni Collette). Rachel Weisz plays the girl too good for the pre-evolution rapscallion, her late appearance ultimately best described as the plot point that drives act three.

Kangaroo Jack (2003)

January 17, 20032000s, Action, Adventure, Australia, Authors: Walter Chaw, Comedy, Crime, Family, Theatrical, ZERO STARS

ZERO STARS/****
starring Jerry O’Connell, Anthony Anderson, Estella Warren, Christopher Walken
screenplay by Steve Bing & Scott Rosenberg
directed by David McNally

by Walter Chaw Irresponsible to the extreme, Jerry Bruckheimer’s latest production is sleazy, violent, and packed with the sort of feckless, hateful messages that indicate an almost total disregard for an audience’s intelligence. Kangaroo Jack is, therefore, business as usual for a Bruckheimer production, save for the fact that it’s aimed at a very young audience. The picture is a malignance: it’s bad (for a film about a CGI kangaroo wearing a red “Brooklyn” jacket stealing fifty grand of the mob’s money, that much goes without saying), but what really impresses about the picture is its magnificent inappropriateness.

The Bourne Identity (2002) – DVD

January 15, 2003****/****, 2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Czech Republic, DVD, FFC Must-Own, France, Germany, Mystery, Thriller

****/**** Image A- Sound A Extras B
starring Matt Damon, Franka Potente, Clive Owen, Chris Cooper
screenplay by Tony Gilroy and William Blake Herron, based on the novel by Robert Ludlum
directed by Doug Liman

by Walter Chaw The Bourne Identity is a composition of gestures stripped of romance and presented in their barest forms. It is the most cannily cinematic film of the year and one that, during its first half-hour, boasts blissfully of but one minute of dialogue. The picture recognizes that Matt Damon is best as an everyman with potential by presenting him as a character born at the age of thirty-three. And the Oedipal detective story that forms the centre of the tale (“Who am I?”) is so ripe for examination that it may flower in time to be as debated and revered a fantasy as Ridley Scott’s Blade Runner (which likewise features the murder of The Father prior to a kind of manhood and subsequent mate choice). Very loosely based on Robert Ludlum’s novel of the same name, indie punk Doug Liman (director of Swingers) has constructed a parable of self-discovery that can as easily be read as a subversion of the conventions of the thriller genre, a discussion of the ways in which the audience participates in the process of genre fiction, or as a science-fiction piece in which strangely robotic über menschen run amuck in a technocratic world metropolis.

Freddy Vs. Jason (2003) [New Line Platinum Series] – DVD

January 14, 20032000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Canada, DVD, Horror, Thriller

***/**** Image A Sound A+ Extras A+
starring Robert Englund, Monica Keena, Ken Kirzinger, Kelly Rowland
screenplay by Damian Shannon & Mark Swift
directed by Ronny Yu

by Walter Chaw Though it doesn’t work at all as a scary movie (with even its jump scares curiously tepid), there is the possibility with Freddy Vs. Jason to engage in an anagogical discussion as rich and fascinating as any offered before by the already meaty respective franchises, Friday the 13^th and A Nightmare on Elm Street. Pitting Freddy Krueger–razor-fingered child murderer, victim of vigilante justice, and avatar of the sins of the literal fathers–against Jason Voorhees, hockey-masked victim of the cruelty of adolescence and the fear of sensuality, is amazingly fertile ground and handled herein with a seriousness that understands the death that post-modern cleverness represents for horror’s slasher subgenre. This is not to say that the film doesn’t make nods to Signs and 2001: A Space Odyssey, just to suggest that its story proper is firmly grounded in its own hermetic mythology, the curiously heady equation of its titular bogeys to some sort of modern holy pantheon.

Cherish (2002) – DVD

January 10, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Mystery, Thriller

**½/**** Image B Sound B Extras B
starring Robin Tunney, Tim Blake Nelson, Brad Hunt, Liz Phair
written and directed by Finn Taylor

by Walter Chaw A marked improvement over his sporadically interesting but ultimately flat Dream with the Fishes, indie wunderkind Finn Taylor’s Cherish is one-half a fantastic film tied to one-half a terrible film. It leaves plot threads hanging, has a great deal of uncertain character motivation, and transforms into a Tom Tykwer film near the end for no good reason. But Cherish is also home to what is easily Robin Tunney’s best performance to date, another smart and quirky turn by Tim Blake Nelson, a disabled person in a heroic and human role, and a premise that is sharp, intriguing, and original. That it features two Hall & Oates songs on the soundtrack only helps its cause.

My Wife is an Actress (2001) – DVD

January 4, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, France, Romance

Ma femme est une actrice
*/**** Image A- Sound A Extras B
starring Charlotte Gainsbourg, Yvan Attal, Terence Stamp, Noémie Lvovsky
written and directed by Yvan Attal

by Walter Chaw Yvan (Yvan Attal) is a sports writer (Yvan Attal is an actor) married to Charlotte (Charlotte Gainsbourg), who is a movie star (Charlotte Gainsbourg is also an actor, like her mother Jane Birkin–who was married to musician Serge Gainsbourg). Yvan Attal’s first film as writer-director, My Wife is an Actress (Ma femme est une actrice), is about–as its title would suggest–the somewhat predictable trials of being married to a successful actress. The film is not, however, as Attal will adamantly attest, autobiographical. This is evidenced by the fact that Terence Stamp plays an actor named “John” rather than an actor named “Terence.” In a wholly unrelated story (that is sadly in the same film), Noémie Lvovsky plays Yvan’s sister Nathalie, a woman demanding that her unborn son be circumcised upon delivery, much to the chagrin of her equally unpleasant husband Vincent (Laurent Bateau).

Film Freak Central’s Top 10 of 2002

January 1, 20032000s, Authors: Bill Chambers, Authors: Walter Chaw, Best-of Lists, Blog

THE YEAR THAT WAS…
by Walter Chaw

Love stories were the rule of the day for the year that was 2002. Sprung love stories, twisted love stories, emotionally devastating love stories flavoured by entropy and nihilism. The films that seem to fall out of that purview, About Schmidt and Morvern Callar, show themselves ultimately to be pictures moved by the deaths of a loved one or, as with Wendigo, studies of the dynamics of family from surface ideal to subversive schism. Romance is the prism through which identity and normalcy are redefined–a certain celluloid co-dependency that made 2002 (and 2001) the best years for film, and American film in particular, since the heyday of American cinema in the 1970s.

Confessions of a Dangerous Mind (2002)

December 31, 2002****/****, 2000s, Authors: Walter Chaw, Charlie Kaufman, Espionage, Theatrical

****/****
starring Sam Rockwell, Drew Barrymore, George Clooney, Julia Roberts
screenplay by Charlie Kaufman, based on the book by Chuck Barris
directed by George Clooney

by Walter Chaw The second of two biographies of television personalities to make it to the cinema in 2002, George Clooney’s Confessions of a Dangerous Mind is almost the anti-Auto Focus, tying itself to the chaotic memoirs of game-show host Chuck Barris and locating its identity in anarchic precepts of post-modernism (in sharp contrast to Auto Focus‘ reductive realism). Curiously, both films find a climax of sorts in a dream–I should say “dementia”–sequence wherein the stars of the show find their fantasies acted out through their small-screen vehicles. Where Bob Crane’s bizarre personal life appears to be truth, however (the crux of familial challenges of the film seem to hinge on Crane not being moody and never having had a penile implant), Barris’s contention that he split time between “The Gong Show” and being a fulltime CIA assassin gives considerably more pause. The real distinguishing quality of Confessions of a Dangerous Mind is that it is a big-budget biopic that acts as simultaneously a satire of, and adherent to, the familiar progression of the genre–the layers of self-reflexivity so multi-foliate and rich that it comes as no surprise that screenwriter Charlie Kaufman (Adaptation., Being John Malkovich) is the scribe responsible for its slipperiness.

Chicago (2002)

December 27, 20022000s, Authors: Walter Chaw, Best Picture (Academy Awards), Musical

**½/****
starring Catherine Zeta-Jones, Renée Zellweger, Richard Gere, John C. Reilly
screenplay by Bill Condon, based on the musical by Fred Ebb & Bob Fosse and the play by Maurine Dallas Watkins
directed by Rob Marshall

by Walter Chaw As adaptations of stage musicals go, Rob Marshall’s film of the Bob Fosse revue Chicago is professional and slick, if lit too darkly and oddly flaccid. Its musical set-pieces are generally excellent, with a trio of performances from Renée Zellweger, Catherine Zeta-Jones, and Richard Gere that surprise with their versatility and verve, but the unevenness of Marshall’s direction lends the picture a sort of confused rhythm that threatens to stall it during every narrative stretch. Buoyed by Sam Mendes’s recent Broadway revival of another Kander and Ebb classic, “Cabaret”, “Chicago” suffers from a distinct slightness, its attack on the evils of media culture not so much current as battered to death by decades of same. Chicago offers no surprises, then, only really coming to life during a press-conference scene with Zellweger the dummy and lawyer Gere the ventriloquist and puppet master. It’s gorgeously shot and choreographed and throws the malaise of the rest of the picture into sharp relief.

The Hours (2002)

December 27, 20022000s, Authors: Walter Chaw, Canada, Drama, Esoterica, France, Germany, Romance, Theatrical, UK

**/****
starring Meryl Streep Julianne Moore, Nicole Kidman, Eileen Atkins
screenplay by David Hare, based on the novel by Michael Cunningham
directed by Stephen Daldry

by Walter Chaw Nicole Kidman is a wonderful Virginia Woolf–a distracted mess in a film that is a literalization of that description. The only real problem with Kidman’s performance is her prosthetic nose–it’s a no-win situation in which The Hours finds itself: allow Kidman to look like Kidman as Woolf and there will arise such a clamour of voices; make Kidman look like Woolf and not only is it impossible to stop looking for the line at the bridge, there will still arise such a clamour of voices. The problematical manipulations and presumptions of the rest of the film are as difficult to overlook as the nose stuck on Nicole’s face: The Hours is mannered to no good purpose, glowering with no good justification, and the sort of artificial construct that presents life lessons writ large by a cadre of talented performers who recognize a mainstream prestige piece when it presents itself. The only thing that separates The Hours from garbage like A Beautiful Mind (last year’s odds-on favourite to disappoint people who care while pleasing people who don’t really give a damn and don’t remember the morning after anyway) is that its marquee disability is being a woman and, apparently, being a lesbian.

Catch Me If You Can (2002)

December 25, 2002****/****, 2000s, Authors: Walter Chaw, Biopic, Comedy, Crime, Drama, Spielberg, Theatrical

****/****
starring Leonardo DiCaprio, Tom Hanks, Christopher Walken, Jennifer Garner
screenplay by Jeff Nathanson, based on the book by Frank W. Abagnale and Stan Redding
directed by Steven Spielberg

by Walter Chaw There’s an old Ray Bradbury story from 1948 called “Touch and Go” (since reprinted as “The Fruit at the Bottom of the Bowl”) that tells the tale of a burglar who surprises the homeowner in his house and accidentally kills him. Erasing his fingerprints from a few surfaces, the burglar panics and starts wiping objects in rooms he hadn’t visited and items, such as the fruit at the bottom of a bowl, he could not have handled. When the police find him hours later, he’s in the attic polishing old silverware. Like Bradbury’s thief, Spielberg is getting away with murder in most of his films post-Close Encounters of the Third Kind (particularly A.I., Minority Report, Schindler’s List, Empire of the Sun, and Saving Private Ryan) until self-doubt and paranoia consume him, seducing him to a fatal eleventh-hour appeal. Spielberg is the bad test-taker, changing his answers to damn his instincts.

Wendigo (2002) – DVD

December 21, 2002****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, DVD, FFC Must-Own, Horror, Mystery, Thriller

****/**** Image A- Sound A Extras B+
starring Patricia Clarkson, Jake Weber, Erik Per Sullivan, John Speredakos
written and directed by Larry Fessenden

mustown-1059860 by Walter Chaw Larry Fessenden’s Wendigo plays like a chthonic rite: it’s terrifying in its brutal purity and delicious in its ability to pull domestic trauma into the well of archetype where it festers. The film is a further examination of what William Blake cajoles in his “Marriage of Heaven and Hell”–that “men forgot that all deities reside in the human breast,” and it justifies itself beautifully in a Romanticist discussion, a Jungian explication, even a socio-political and historical examination. Wendigo is an extraordinarily thorny film, no question; that it manages to be so without pretension while providing an experience that is terrifying and gorgeous is a remarkable achievement. It’s why we go to the cinema: to be fed through the eye, the heart, the mind.

Narc (2002)

December 20, 20022000s, Authors: Walter Chaw, Crime, Drama, Mystery, Theatrical, Thriller

***/****
starring Ray Liotta, Jason Patric, Chi McBride, Busta Rhymes
written and directed by Joe Carnahan

by Walter Chaw Anchored by a powerhouse performance from Ray Liotta, Joe Carnahan’s Narc is a police procedural buddy psychodrama that reminds a great deal of Sidney Lumet’s underappreciated Q&A. The first film mounted in part by Liotta’s new production company, the film is fond of the kind of fluid tracking shots popularized by Martin Scorsese (and Goodfellas, as it happens) and has a crackling ear for dialogue that sadly doesn’t translate into a gift for monologue. Still, there’s a rough intelligence and visceral edge to the film–hewn from its tough-talking vernacular and graphic violence–that feels great in an era where both sides of the ratings divide: PG and R, are hell-bent on edging into the grey PG-13 arena where mental adolescents and the easily-diverted play. Narc works largely because it’s a mature film for adults, smoothing over some of the rough spots where the film begins to lose itself in a labyrinth of flashbacks and surprise revelations.

Personal Velocity (2002)

December 20, 20022000s, Authors: Walter Chaw, Drama, Romance, Theatrical

Personal Velocity: Three Portraits
**½/****
starring Kyra Sedgwick, Parker Posey, Fairuza Balk, John Ventimiglia
written and directed by Rebecca Miller

by Walter Chaw Three short films about three women and the men who mistreat them, Rebecca Miller’s DV triptych Personal Velocity: Three Portraits is a fine-looking film that plays a little like Catherine Breillat-lite–a series of iterations of Yeats’s “Leda and the Swan” that suggest the evil that men do to women only makes women stronger. Emancipation for Delia (Kyra Sedgwick), battered wife and renowned slut, comes in the form of a handjob given a grateful backwoods hokum in the front seat of his beater; for book editor Greta (Parker Posey), in the separation from the mediocrity of her milquetoast husband and pocket dictator boss; and for runaway Paula (Fairuza Balk), in the latent maternal instinct she discovers through the betrayal of a young hitchhiker.

Two Weeks Notice (2002)

December 20, 20022000s, Australia, Authors: Walter Chaw, Comedy, Romance, Theatrical

*½/****
starring Sandra Bullock, Hugh Grant, Mark Feuerstein, Dorian Missick
written and directed by Marc Lawrence

by Walter Chaw Nearly the same movie as last week’s Maid in Manhattan (only with more likeable stars and more believable chemistry between them), Sandra Bullock and Hugh Grant’s Two Weeks Notice (sic) is essentially just another opportunity for Bullock to play her wound-up, frumpy pratfall princess (recently hijacked by Nia Vardalos and her hard-to-stomach My Big Fat Greek Wedding), and for Grant to do his insufferable prat routine, both against the backdrop of the impossibly romantic golden Manhattan that is not to be confused with Spike Lee’s impossibly dour boilerplate Manhattan. Bullock is Lucy Kelson, Harvard-educated lawyer who has taken on the Birkenstock cause in her crusade against big business. Grant is George Wade, uneducated baron of big business who is so zealous to knock down historic landmarks that even his wrecking balls are emblazoned with Wade-Co’s giant “W.”

Gangs of New York (2002)

December 20, 20022000s, Action, Authors: Walter Chaw, Crime, Directors: Martin Scorsese, Drama, Theatrical

*½/****
starring Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz, Jim Broadbent
screenplay by Jay Cocks and Steven Zaillian and Kenneth Lonergan
directed by Martin Scorsese

by Walter Chaw Beginning as Martin Scorsese’s Apocalypse Now, Gangs of New York, at the end of the auteur’s thirty-year dream of it, more resembles his Titanic. Buoyed on a tsunami of dark rumours of behind-the-scenes clashes (the line “Please don’t make that sound again, Harvey” registering as either a jab or a plea to Miramax head Harvey Weinstein), eleventh-hour cuts, and release delays pushing the film nearly a year from its projected release date, the picture is a booming, period-exact mess: disinteresting, unbalanced, and burdened by the weight of too much ambition blinding an artist to his celluloid offspring’s congenital, mortal defects–hubris redefined for the postmodern age. Though sprawling, it reduces to a series of vaguely connected dramatic snippets that largely fail to anchor the film to any specific place (the exception being a visually, viscerally arresting stream of coffins unloaded from ships ferrying the dead from the frontlines of the Civil War). It’s a malady exacerbated by the fact that the same five or six characters–played, with one stunning exception, as tepid variations on banal–seem to be everywhere in New York at all times.