Authors: Walter Chaw Archives - Page 56 of 146

Killer Klowns from Outer Space (1988) – Blu-ray Disc

October 30, 20121980s, 2012, Authors: Walter Chaw, Blu-ray Disc, Comedy, Horror, Sci-Fi

***/**** Image C+ Sound B- Extras A
starring Grant Cramer, Suzanne Snyder, John Allen Nelson, John Vernon
screenplay by Charles Chiodo & Stephen Chiodo
directed by Stephen Chiodo

by Walter Chaw Boy, you know, I really like the Chiodo Brothers’ Killer Klowns from Outer Space. I can’t help it. I like it more than Night of the Creeps, more than Matinee, more than any other film that would see 1950s creature features resurrected, be it through homage or farce or satire. I like it because it’s unapologetic, and because its high concept is broad enough that there are sufficient gags to peanut-butter across the entire runtime. I like, too, that they don’t end a scene without a groaner, meaning they’re unerringly true to their stated mission of erecting a shrine to Irvin S. Yeaworth’s The Blob (truer, even, than the contemporaneous remake of The Blob) and doing it with a relentlessly light touch. It’s never scary (unless you’re a true coulrophobe), but it is often uproarious–like when one of the titular alien Bozos squirts angry Officer Mooney (John Vernon, just fantastic) with gag flowers, to which Mooney, out of proportion to the affront, responds, “I oughta shoot you right now.” I also appreciated the moment when head girl Debbie (Suzanne Snyder) asks why they’re being shot with popcorn and her boyfriend Mike (Grant Cramer) replies, “Popcorn? Because they’re clowns!” Well, no shit, Debbie, try to pay attention.

Night of the Living Dead (1990) – Blu-ray Disc

October 28, 20121990s, 2012, Authors: Walter Chaw, Blu-ray Disc, Directors: George A. Romero, Horror, Zombie

Notld6

**½/**** Image C- Sound B Extras B
starring Tony Todd, Patricia Tallman, Tom Towles, McKee Anderson
screenplay by George A. Romero, based on the screenplay by John A. Russo and Romero
directed by Tom Savini

by Walter Chaw SPOILER WARNING IN EFFECT. George Romero’s Night of the Living Dead is a watershed: a quintessential drive-in/B-movie that demonstrated without equivocation how horror/exploitation pictures are often “indicator species” in the cultural swamp–the ones that most quickly, most effectively locate the toxins in the ecosystem. Appearing in 1968, Night of the Living Dead addressed the rise of televangelism in its legion of communion-taking, slow-walking white people; predicted the generation gap (alongside Rosemary’s Baby) and a spate of evil-children flicks that appeared in the early-’70s; and spoke to the Civil Rights war in its blithe casting of black actor Duane Jones and not-so-blithe murder of his character by a posse of hillbilly vigilantes in the final frames. There’s something super-charged in the image of Jones holing up in a farmhouse with whiter-than-white, meeker-than-meek Barbra (Judith O’Dea), something explosive in the social microcosm represented by survivors trying, unsuccessfully, to work together to affect their escape from what’s really just a metaphorical threat. The movie resonated then; it resonates still.

Steel Magnolias (1989) – Blu-ray Disc

October 25, 20121980s, 2012, Authors: Walter Chaw, Blu-ray Disc, Drama

*/**** Image B Sound B Extras D+
starring Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah
screenplay by Robert Harling, based on his play
directed by Herbert Ross

by Walter Chaw Submitted for your approval, shrill, neo-Tennessee Williams actress-posturing from the pantheon of late-’80s harpies, featuring a special martyr performance from a Julia Roberts just months away from achieving sociopathic superstardom as a high-priced whore in Pretty Woman. Not being able to relate to Herbert Ross’s demographically-precise Steel Magnolias in any way, I nevertheless see in its popularity an opportunity for introspection about how little I actually understand other peoples’ tastes. From my vantage, Steel Magnolias is two hours of nattering and bon mots set in a home-salon run by Truvy (Dolly Parton, the very definition of down-home warmth and genuineness), assisted by dizzy Arnelle (Daryl Hannah), and frequented by diabetic Shelby (Roberts), her mother M’Lynn (Sally Field), happy widow Clairee (Olympia Dukakis), and cranky widow Ouiser (Shirley MacLaine). Ouiser basically stalks around swearing like a sailor and getting shat on by birds, Clairee floats on momentum won (and fast flagging) from Moonstruck, and M’Lynn turns into MacLaine from Terms of Endearment. My favourite is when she force-feeds Shelby a glass of orange juice in a vision of Hell I’d like to one day mash-up with the brainwashing sequence from A Clockwork Orange. Along the way, the young ones become pregnant, a stray man wanders through now and again, and each of the grey old iron ladies gets a moment to demonstrate her humanity and humour in the face of life’s little, and big, tragedies.

The Raven (2012) – Blu-ray + DVD Combo Pack

October 24, 20122012, Authors: Walter Chaw, Blu-ray Disc, Crime, DVD, Horror, Hungary, Mystery, Spain, Thriller, ZERO STARS

ZERO STARS/**** Image B+ Sound A Extras C
starring John Cusack, Luke Evans, Alice Eve, Brendan Gleeson
screenplay by Ben Livingston & Hannah Shakespeare
directed by James McTeigue

by Walter Chaw I’m no nineteenth-century cop, but I personally would begin by interrogating the guillotine-pendulum maker. James McTeigue’s abominable The Raven posits legendary Marylander Edgar Allan Poe (John Cusack) as a crazed, alcoholic, frustrated-artist type who has a bar tab the length of his arm to go with a fiery temper and a quite-requited, it turns out, affair with toothy Emily (from Aardman Studios: Alice Eve), daughter of Captain Hamilton (Brendan Gleeson). Alack-alay, what should happen but a wax museum breaks out as a critics-hating serial killer (just like Theatre of Blood, which I should’ve revisited instead) enacts scenes from Poe’s stories whilst dressed in the hat and cape of McTeigue’s V for Vendetta protag. Good copper Det. Fields (Luke Evans) is hot on the miscreant’s trail, enlisting Poe as a Poe expert to try to get one step ahead of the well-read marauder. There is, alas, no ratiocination the equal of the mystery of Ben Livingston and Hannah Shakespeare’s (no relation, I hope) bewilderingly bad screenplay. No one, no one, could deliver these lines–a mush of anachronistic phrases and “period” posh–with conviction, much less the miscast Cusack and a motley band of supporting players. The good news is that The Raven is funny. The bad news is that it’s so awful, it makes you the kind of person who watches a movie just to be superior to it.

Cloud Atlas (2012)

October 23, 20122012, Authors: Walter Chaw, China, Drama, Esoterica, Germany, Hong Kong, Mystery, Sci-Fi, Singapore, Spain, Theatrical, Thriller, UK

**/****
starring Tom Hanks, Halle Berry, Jim Broadbent, Hugh Grant
screenplay by Lana Wachowski & Tom Tykwer & Andy Wachowski, based on the novel by David Mitchell
directed by Lana Wachowski & Tom Tykwer & Andy Wachowski

by Walter Chaw It speaks to the extraordinary hubris of the tripartite godhead behind Cloud Atlas (the Wachowskis and Tom Tykwer) that in the middle of a 172-minute film composed of interminable exposition and multiple timelines, they would invoke long-winded Russian prisoner Solzhenitsyn without fear of ironic reprisal. More, it speaks to their hubris that they would make a film this sprawling and messianic about the Disney maxim that you’re never too puny to change the world, so don’t stop trying, tiger! If you’re at all offended by white people doing the “ah, so” thing in yellow-face, by the way: relax, because there’re also white people doing the evil Fu Manchu thing in yellow-face. What there isn’t is white people doing blackface, suggesting that if you’re about to make the argument that Cloud Atlas is about how we’re all the same under the skin to the extent that we could have been different races in past and future lives, then don’t bother. That doesn’t stop the movie, though, from talking about the evils of slavery with a super-duper, plantation-attitudes-changing Magic Negro, or from positing a future-Korea that clones wage-slaves before paying off never-accidental post-modern self-referents. If you were to take Cloud Atlas remotely seriously, in fact, you’d have to address it as an attempt to create a completely post-modern artifact in a world that didn’t already have “Beavis and Butt-Head”. Quick, look, the author of that manuscript the old editor in the 2012 timeline is reading was written by the kid from the 1973 timeline who had a crush on one of the black versions of Halle Berry (the one playing Pam Grier)! Did I mention that Berry has a timeline in whiteface? Or that Hugo Weaving and Ben Whishaw have ones in drag?

Hara-Kiri: Death of a Samurai (2011)

October 18, 2012****/****, 2011, 2012, Action, Authors: Walter Chaw, Drama, Japan, Martial Arts, UK

****/****
starring Ebizo Ichikawa, Eita, Hikari Mitsushima, Naoto Takenaka
screenplay by Kikumi Yamagashi, based on the novel by Yasuhiko Takiguchi
directed by Takashi Miike

by Walter Chaw Masaki Kobayashi’s 1962 masterpiece Harakiri is the height of austere–almost Noh–Japanese filmmaking. It lands somewhere between Ozu’s pillow flicks and Kurosawa’s Throne of Blood, and, of course, as Kobayashi is the auteur behind the Human Condition trilogy, that martial austerity, that antiestablishment mien, is to be expected, if impossible to ever truly gird oneself against. It’s set in 1630, at the end of feudal Japan, when collapsing fiefdoms mean throngs of ronin overflowing into the countryside and, occasionally, asking for the right to commit ritual suicide in an “honourable” courtyard. Tsugumo is one such samurai, but before he’s granted the privilege of dragging a sword across his belly, House of Iyi counsellor Saito insists on telling him of a previous penitent, Chijiiwa, who claimed he wanted to kill himself but only really wanted a handout. Seeking to make an example of Chijiiwa and the effrontery he represents to the Bushido code, the Iyi clan decides to force the issue–even after it’s revealed that Chijiiwa has, somewhere along the way, pawned his iron for a bamboo stick with a hilt. It’s a kind of torture, and everyone watches. Kobayashi goes into flashback, unexpectedly, telling the story of the young samurai we, at first, are complicit in mocking. We participate in his torture. We believe he deserves it. By the end of the film, we don’t believe that anymore.

Wuthering Heights (2011)

October 18, 2012****/****, 2011, 2012, Authors: Walter Chaw, Drama, Theatrical, UK

****/****
starring Kaya Scodelario, James Howson, Solomon Glave, Nichola Burley
screenplay by Andrea Arnold, Olivia Hetreed, based on the novel by Emily Brontë
directed by Andrea Arnold

by Walter Chaw SPOILER WARNING IN EFFECT. The animalism, the absolute withering upheaval of the “feminized” Victorian-novel tradition, Emily Brontë’s Wuthering Heights has long been one of my favourite books. What’s never been properly captured in its myriad film adaptations is the earthiness that tethers its gothic, sometimes supernatural, trappings. Neither guilty pleasure nor bodice-ripper, it’s a wallow, a traipse through high heather that only hides the wet suck of the moors, and damned if it doesn’t, when all’s said and done, project something like a masculine gaze in its positioning of brooding, demonic Heathcliff at its centre. It’s a romance–a destructive, devouring romance constructed all of regrets and unconsummated desire; and Andrea Arnold’s wise, visceral take on it is the underbelly of Jane Campion’s brilliant Bright Star. Together, they would construct a poetic whole: the Romanticist yin of Bright Star to Wuthering Heights‘ roaring Victorian yang. Arnold’s film is so good, in fact, that it clarifies how it is that Romanticism, through Victorianism, eventually becomes Emerson’s Naturalism and then, ultimately, Modernism. It’s a continuum, isn’t it, and Wuthering Heights is the missing link in a very particular Darwin chart. The excitement of it for me is that it’s an example, pure and new, that film at its best is poetry.

Indiana Jones: The Complete Adventures – Blu-ray Disc

October 15, 2012****/****, 1980s, 2000s, 2012, Action, Adventure, Authors: Walter Chaw, Blu-ray Disc, Spielberg

RAIDERS OF THE LOST ARK (1981)
****/**** Image A Sound A+ Extras B-
starring Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey
screenplay by Lawrence Kasdan
directed by Steven Spielberg

INDIANA JONES AND THE TEMPLE OF DOOM (1984)
***½/**** Image A+ Sound A+ Extras C+
starring Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri
screenplay by Willard Huyck & Gloria Katz
directed by Steven Spielberg

INDIANA JONES AND THE LAST CRUSADE (1989)
**½/**** Image A+ Sound A+ Extras C
starring Harrison Ford, Sean Connery, Denholm Elliot, Alison Doody
screenplay by Jeffrey Boam
directed by Steven Spielberg

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)
**½/**** Image A Sound A+ Extras C-
starring Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf
screenplay by David Koepp
directed by Steven Spielberg

by Walter Chaw Let’s talk about hats–fedoras, in particular, and how they evolved from the image of the hard-boiled detective in the American noir cycle into the chapeau-of-choice for Coppola’s gangsters in the anti-hero ’70s. How Harrison Ford’s Deckard from Blade Runner was originally conceived with one of the hats to go with his trench coat before Raiders of the Lost Ark made an American icon out of Ford’s swashbuckling archaeologist Indiana Jones, and how that didn’t stop child-killing child-molester Freddy Krueger from getting a fedora (singed and blood-stained, but so was Indy’s) in 1984–the same year, as it happens, that Steven Spielberg and George Lucas turned their American icon into the star of his own horror movie with Indiana Jones and the Temple of Doom. The relationship between Americans and the hats their heroes wear is a complicated one. A Freudian would offer that hats are tumescent–the loci of masculine power, a metaphor for the penis/head–and that losing a hat is the equivalent of castration. My favourite example of that theory in practice is Joel McCrea losing his in a field of windmills to the trilling, mocking laughter of ladylove Laraine Day in Foreign Correspondent. The Coen Brothers make it a throughline in Miller’s Crossing, too, as Tom loses and reclaims his hat in cycles of power and powerlessness. I think it means something in the fourth Indiana Jones flick that evil Russkie Spalko tips the brim of Indy’s hat in an attempt to read his mind instead of knocking it off entirely.

All the President’s Men (1976) – Blu-ray Disc (DigiBook)

October 7, 2012****/****, 1970s, 2012, Authors: Walter Chaw, Blu-ray Disc, FFC Must-Own, Mystery, Thriller

****/**** Image A Sound B Extras A
starring Robert Redford, Dustin Hoffman, Jack Warden, Jason Robards
screenplay by William Goldman, based on the book by Carl Bernstein and Bob Woodward
directed by Alan J. Pakula

by Walter Chaw The final film in director Alan J. Pakula’s loose “paranoia trilogy,” All the President’s Men does the impossible by making heroes of newspaper reporters and a thriller out of telephone calls and follow-up interviews. Based on Bob Woodward and Carl Bernstein’s exposé of the Watergate Scandal and President Richard Nixon’s involvement in felonious dirty tricks, it’s more than just a cunningly-crafted docudrama–it’s a key film in the best era of the medium’s history. It’s a picture that highlights the period’s mistrust in our leadership while establishing highly unconventional heroes for whom the stakes couldn’t possibly be higher. And though we know how it all works out, it seems more poignant for our knowing how everything works out.

Walking Tall: The Trilogy [2-Disc Collector’s Edition] – Blu-ray Disc

September 26, 20121970s, 2012, Action, Authors: Walter Chaw, Blu-ray Disc, Crime, Scream/Shout! Factory

WALKING TALL (1973)
***/**** Image B- Sound C
starring Joe Don Baker, Noah Beery, Jr., Elizabeth Hartman, Rosemary Murphy
screenplay by Mort Briskin
directed by Phil Karlson

WALKING TALL PART 2 (1975)
*/**** Image B Sound C- Extras B
starring Bo Svenson, Richard Jaeckel, Bruce Glover, Robert Doqui
screenplay by Howard B. Kreitsek
directed by Earl Bellamy

FINAL CHAPTER WALKING TALL (1977) ***½/****
Image B- Sound C- Extras D
starring Bo Svenson, Margaret Blye, Forrest Tucker, Morgan Woodward
screenplay by Howard B. Kreitsek
directed by Jack Starrett

by Walter Chaw A hicksploitation flick that can hold its head up high among its blaxploitation contemporaries, Phil Karlson’s combustible, if risible, Walking Tall features a moment where a small-town judge (Douglas Fowley) warns vigilante Buford Pusser (Joe Don Baker) to cut out his foolishness, and another where the hero’s folksy grandpa Carl (Noah Beery, Jr.) declares that there’s a “ragin’ social disease” out there called “black equality.” Yet the Pussers are the good guys, or should I say good ol’ boys, and when I stumbled upon Walking Tall on late-night television as a kid, it instantly lodged itself against my red-white-and-blue heart. Watching the Coens’ Raising Arizona and True Grit years later, I hear and see echoes of Walking Tall‘s high-dudgeon. Of course it’s right there on the surface of Quentin Tarantino’s films, too, and right there in any serious conversation about the transfiguration (metastasis?) of noir—Walking Tall is a remake, as Glenn Erickson aptly notes, of director Karlson’s own tough-minded The Phenix City Story. More proximately, Walking Tall is the common-man’s Straw Dogs. Both begin with the appearance of our hero in the middle of a rural environment, and both involve the eruption of the Natural through the thin scrim of civilization. All three films–Phenix, Walking Tall, and Straw Dogs–identify with a noir idea that the hero’s morality, regardless of the laws of country and state, is the only, possibly last, light in the world.

Ed Wood (1994) – [Special Edition] DVD + Blu-ray Disc

September 16, 20121990s, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Blu-ray Disc, Comedy, Directors: Tim Burton, Drama, DVD

***½/****
DVD – Image A Sound A Extras A
BD – Image A Sound A Extras A
starring Johnny Depp, Martin Landau, Sarah Jessica Parker, Patricia Arquette
screenplay by Scott Alexander & Larry Karaszewski
directed by Tim Burton

by Walter Chaw Raging Bull for starfuckers, Ed Wood is in a lot of ways the quintessential dissection of the allure of Hollywood, allying it more closely, perhaps, with a different Martin Scorsese film, The King of Comedy. (It’s The King of Comedy recast with the stalked celebrity a willing participant in the stalker’s obsessive lunacy.) Ed Wood diverges from most biopics in director Tim Burton’s tactic of skewing the film towards the same sort of kitsch-surreal of Wood’s films, managing in so doing the trick that David Cronenberg performed with Naked Lunch: a hagiography that’s as much critical analysis as hommage. It engages in a conversation about how Wood’s films are seen at the same time that it endeavours to tell the highlights of Wood’s life. The result is a picture that bridges the gap between cult and camp classic; the melancholic and the melodramatic; and the difference between a director of vision and a director with a vision that sucks.

Gray’s Anatomy (1996) [The Criterion Collection] + And Everything is Going Fine (2010) [The Criterion Collection] – Blu-ray Discs

September 4, 2012****/****, 1990s, 2000s, 2010, 2012, Authors: Walter Chaw, Blu-ray Disc, Directors: Steven Soderbergh, Documentary, Esoterica, The Criterion Collection

GRAY’S ANATOMY
**½/**** Image A- Sound B Extras B
directed by Steven Soderbergh

A PERSONAL HISTORY OF THE AMERICAN THEATER
***½/****
directed by Skip Blumberg

AND EVERYTHING IS GOING FINE
****/**** Image N/A Sound B Extras A
directed by Steven Soderbergh

SEX AND DEATH TO THE AGE 14
***/****
directed by Dan Weissman and Brad Ricker

by Walter Chaw The first ten minutes of Steven Soderbergh’s Gray’s Anatomy are obnoxious, and though there are few artists as interesting to me or as influential in my own life as Spalding Gray, the last 109 don’t exactly blow my skirt up, either. Let me back up. I tripped over Swimming to Cambodia in English class, Freshman year, then procured my own copy at Boulder’s invaluable The Video Station so that I could go back to it and, sure, impress Liberal Arts girls with it on a double-bill with Stop Making Sense. You might say that Gray and David Byrne were my wingmen for a couple of years there; it’s fitting that my VHS copies of both those pieces are now and forever in the possession of ex-girlfriends and love interests. I wonder if I would ask for the tapes back were I to run into them again. I know that one of them, after I was married, tried to return Swimming to Cambodia, and I asked her to please keep it. If you don’t know what Swimming to Cambodia is, it’s Spalding Gray’s unbelievably great performance-“monolog” about his time on set, on location, shooting Roland Joffe’s The Killing Fields. I’ve never heard Joffe speak, but I have Gray’s impersonation of Joffe–calling out to a tripping-balls Gray, floating in shark-infested surf in the South China Sea–lodged in my brain. I pull it out once in a while at a party, just as a sonar ping to see if anyone could possibly identify the echo of the echo.

Romeo Must Die (2000) + Cradle 2 the Grave (2003) – Blu-ray Discs

September 2, 20122000s, 2012, Action, Authors: Walter Chaw, Blu-ray Disc, Martial Arts, ZERO STARS

ROMEO MUST DIE
ZERO STARS/**** Image B Sound B Extras C
starring Jet Li, Aaliyah, Isaiah Washington, Delroy Lindo
screenplay by Eric Bernt and John Jarrell
directed by Andrzej Bartkowiak

CRADLE 2 THE GRAVE
ZERO STARS/**** Image B+ Sound B+ Extras D
starring Jet Li, DMX, Anthony Anderson, Gabrielle Union
screenplay by John O’Brien and Channing Gibson
directed by Andrzej Bartkowiak

by Walter Chaw There are a lot of interesting things about Jet Li’s sad run through Hollywood, among them the fairly simple question of why, in Romeo Must Die, this particular yellow Romeo must die. But then he doesn’t die, and he also doesn’t get to kiss the girl, who isn’t white but Aaliyah (black)–mitigating, I would have thought, the taboo against Asian men in American cinema having any kind of sexuality that isn’t ridiculous (see: Long Duk Dong) or that involves a white lady. In his next film, Kiss of the Dragon, Jet teams up with a white prostitute (Bridget Fonda) and, belying the sly Orientalist promise of the title, doesn’t get to kiss her, either–and she’s a fucking hooker. It’s a cultural ban so stringent that there’s a specific category of porn, deeply perverse, that is not only interracial, but specifically Asian man on white woman. Not long after 2003’s Cradle 2 the Grave, Li played an Asian man kept on a leash who, at a word, is made to perform martial arts for his white master’s favour. Danny the Dog (retitled Unleashed in the United States…why, again? Because of Hollywood’s sensitivity?) is probably the most poignant expression of the plight of the Asian action hero in the United States: castrated, humiliated, valued for the single trait of knowing kung fu–even if, as it was for Jackie Chan in the Karate Kid reboot, Chinese “kung fu” is reconfigured as Japanese “karate.” Chris Tucker’s favourite joke in the Rush Hour movies, after all, is to mistake the two cultures–a favour to neither and funny, probably, only to Tucker.

Swamp Water (1941) – Blu-ray Disc

August 29, 20121940s, 2012, Authors: Walter Chaw, Blu-ray Disc, Directors: Jean Renoir, Drama

***/**** Image A Sound B- Extras C
starring Walter Brennan, Walter Huston, Anne Baxter, Dana Andrews
screenplay by Dudley Nichols, based on the novel by Vereen Bell
directed by Jean Renoir

by Walter Chaw Jean Renoir’s Swamp Water stands out as an example of how an artist’s genius can assert itself even when his product has been taken away from him, re-edited and in some places reshot. Renoir’s insistence on actually shooting on location in Georgia’s Okefenokee, declared a Federal Wildlife Refuge by FDR in 1937, resulted in a grassroots movement lobbying Darryl Zanuck to hold the premiere locally. It was an artistic choice Godard would later say “revolutionized Hollywood.” I’m not sure what Okefenokee residents must have thought of the picture, one that is equal parts offensive cornpone melodrama and haunted, gravid Romanticism. There’s an indelible, hard-to-quantify melancholy to the film that’s at odds with its boilerplate narrative; it feels like a Joseph Conrad, even if it reads like a Vereen Bell. It’s an interesting case study, too, because it might never have happened were Renoir’s masterpiece The Rules of the Game not savaged by critics and audiences in his native France, where it would go on to be radically recut, twice-banned, and destroyed in a bombing raid. I like this story, because I think Americans get a bad rap for not recognizing the fruit of their creativity. I like it even more because the French get a lot of credit for being the ones who do.

Unstoppable (2010) – Blu-ray + Digital Copy

August 27, 20122010, 2012, Action, Authors: Walter Chaw, Blu-ray Disc, Directors: Tony Scott, Thriller

**½/**** Image A Sound A- Extras B
starring Denzel Washington, Chris Pine, Rosario Dawson, Ethan Suplee
screenplay by Mark Bomback
directed by Tony Scott

by Walter Chaw It’s strange to be writing this review a couple of days after Tony Scott ended his life by walking off a bridge in California–an event that inspired me to revisit my favourite of his films (Enemy of the State and Déjà Vu) and one that spurred me, too, to finally give Scott’s Unstoppable another look after finding I had little use for it upon initial release. I have an aversion to Scott’s movies in general; I don’t have the muscle or sensitivity to distinguish between them and other stuttering, grandiloquent pictures that have resulted in things like Michael Bay. Believe me, the temptation is high to present a critical re-evaluation of his work immediately upon his passing. Positioning oneself as the guy who knew that Chris Farley was John Belushi is one of those vantages every critic wishes he had, if only for the brief respite from charges of elitism it might bring. But listen, The Taking of Pelham 1 2 3, Domino, Spy Game, The Fan, Days of Thunder, and Beverly Hills Cop 2–there’s really no defense for any of it. And when I say that I like stuff like The Hunger, True Romance, The Last Boy Scout, or even Scott’s Jim Harrison adaptation Revenge, I’m not saying I love them. Tony Scott’s an auteur, sure–proof that “auteur” doesn’t by itself confer a positive or a pejorative connotation. I’ll give him this, though: He shot a Tarantino script as a remake of Badlands and produced a sneaky sequel to The Conversation, so, yeah, I’ll miss the bastard, too.

Jaws (1975) – Blu-ray + DVD + Digital Copy

August 25, 2012****/****, 1970s, 2012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, FFC Must-Own, Horror, Spielberg

****/**** Image A Sound A- Extras A+
starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary
screenplay by Peter Benchley and Carl Gottlieb, based on the novel by Benchley
directed by Steven Spielberg

by Walter Chaw What’s not mentioned in very many conversations about Jaws is the pleasure it takes in work. That it’s one of the most influential films of all time–a picture commonly identified as the one responsible for the studio summer-blockbuster mentality–is a given by now. The miracle of it, though, is that it gets better every time you see it. I have the movie memorized at this point; I can recite it like a favourite song. I still jump when Ben Gardner appears in the hole in the hull of his boat, and I still laugh when Hooper helps himself to Brody’s uneaten dinner. More than a fright flick, Jaws is a beautifully rendered character piece, establishing Spielberg as–a little like Stephen King, oddly enough–a master of the easy moment. (They’re artists I’ve conflated in my head for their popularity with and influence on a generation of people my age.) It’s a little nasty, too, Jaws is, in throwaway moments like the one on the beach where, after a giant fin appears in the water, Spielberg cuts to a group of old men picking up their binoculars. They’re there to looky-loo; they’re expecting carnage. It’s not a Hitchcockian moment of audience critique (though it functions that way), but a brilliant character beat expressed with Spielberg’s savant-like visual genius. But above all, Jaws is about function and work–not unlike Star Wars, the final nail in the New American Cinema, will be two years later.

Compliance (2012)

August 23, 20122012, Authors: Walter Chaw, Theatrical, Thriller

***/****
starring Ann Dowd, Dreama Walker, Pat Healy, Bill Camp
written and directed by Craig Zobel

by Walter Chaw Craig Zobel’s Compliance comes with a payload of controversy trailing from a notorious Sundance screening where various audience members registered their displeasure in a post-film Q&A–going so far, if reports are to be trusted, as to sexually harass lead actress Dreama Walker in one of the more ironic attempts at defending her honour. I’ve said it before (and it’s only gotten worse), I prefer to watch a movie with a mainstream, middlebrow audience than with any festival audience under any circumstance. Sure, they applaud Michael Bay movies, but at least they don’t act like their shit don’t stink. Thinking back, there’s the example of Sundance’s old-lady reaction to Lucky McKee’s The Woman, a movie that, upon closer inspection, reveals itself as shocking in neither its execution nor its conception–it’s just not that controversial, and its backlash demonstrates the kind of knee-jerk liberalism that venerates easy stuff like Rabbit-Proof Fence. If you declare yourself a feminist outraged by a film that is so clearly also feminist, you identify yourself as a fucking moron and an asshole to boot. Sundance confirms the middlebrow; it celebrates uncomplicated messages wrapped in indie-glamour. When was the last time Sundance pushed something like, say, Valhalla Rising, or Synecdoche, New York? Something difficult, something remarkable, something festivals like it are supposed to champion? Or is the modus for the festival meaningless garbage that congratulates its audience for making easy connections like Beasts of the Southern Wild and anything starring John Hawkes. Fish Tank? Winter’s Bone? So Compliance, which would never be mistaken for something transcendent and enduring, is actually more interesting than it first appears, not only for a couple of the decisions it makes, but also for the degree to which its audience is pulled into identification with the picture’s bland torturers. It’s a Milgram Experiment for the viewer.

The Island of Dr. Moreau (1996) [Unrated Director’s Cut] – Blu-ray Disc

August 19, 20121990s, 2012, Adventure, Authors: Walter Chaw, Blu-ray Disc, Directors: John Frankenheimer, Horror, Satire, Sci-Fi, Thriller

**½/**** Image B Sound B+ Extras F
starring Marlon Brando, Val Kilmer, David Thewlis, Fairuza Balk
screenplay by Richard Stanley and Ron Hutchinson
directed by John Frankenheimer

by Walter Chaw This is a tough one. As an avowed if guarded fan of director John Frankenheimer, his involvement with The Island of Dr. Moreau is something like a gobsmacker. Sure, he’d ventured into genre before with the ridiculous Prophecy, while, arguably, his two best films–The Manchurian Candidate and Seconds, his masterpiece–are genre pieces, too. But I think at the time, bringing in Frankenheimer three days into a troubled shoot to replace that assclown Richard Stanley was more an act of expediency than of ingenuity. If New Line thought they were getting a closer, they were right; if they thought they were getting someone who could corral the downward-spiralling Val Kilmer, they were less right (“Will Rogers never met Val Kilmer,” Frankenheimer famously said). What they probably weren’t expecting was that Frankenheimer would turn in something that, though critically-savaged at the time, had some legs. No, The Island of Dr. Moreau isn’t a whole, falling apart as it does in the last half-hour or so, but it is the sort of movie that hints at larger issues and boasts enough indelible moments to deserve another look. Truth is, only movies this odd and discomfiting earn this amount of misdirected ire. It’s not to say there’s not a lot wrong with the film, but rather to suggest that the chief criticisms of it being strange and “a mess” aren’t among them.

Lethal Weapon Collection – Blu-ray Disc

August 12, 20121980s, 1990s, 2012, Action, Authors: Walter Chaw, Blu-ray Disc, Christmas, Comedy, Thriller, ZERO STARS

LETHAL WEAPON (1987)
**/**** Image B- Sound B Extras D
starring Mel Gibson, Danny Glover, Gary Busey, Tom Atkins
screenplay by Shane Black
directed by Richard Donner

LETHAL WEAPON 2 (1989)
**½/**** Image B Sound B Extras D
starring Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland
screenplay by Jeffrey Boam
directed by Richard Donner

LETHAL WEAPON 3 (1992)
ZERO STARS/**** Image B+ Sound B Extras D
starring Mel Gibson, Danny Glover, Joe Pesci, Rene Russo
screenplay by Jeffrey Boam and Jeffrey Boam (sic) & Robert Mark Kamen
directed by Richard Donner

LETHAL WEAPON 4 (1998)
*/**** Image A Sound B+ Extras D
starring Mel Gibson, Danny Glover, Joe Pesci, Rene Russo
screenplay by Channing Gibson
directed by Richard Donner

by Walter Chaw It’s tough to convey exactly how fresh Lethal Weapon seemed in 1987. The leap that Woody Boyd’s girlfriend–half-naked in frilly bloomers–takes off a high-rise in the early going, the character of unstable police sergeant Martin Riggs (Mel Gibson, before we knew he wasn’t acting), even the buddying up of Riggs with “too old for this shit” partner Murtaugh (Danny Glover), were smart and groundbreaking. I must’ve watched this movie thirty times in those halcyon days when VHS made stuff like this and porn middle-class pursuits to be pursued in private. Lethal Weapon holds for me, still, this gritty, dirty allure: sexy, violent, nihilistic–like the first time a kid truly reads the Old Testament.

The Campaign (2012)

August 9, 20122012, Authors: Walter Chaw, Comedy, Satire, Theatrical

*/****
starring Will Ferrell, Zach Galifianakis, Jason Sudeikis, Brian Cox
screenplay by Chris Henchy & Shawn Harwell
directed by Jay Roach

by Walter Chaw Empty, apolitical, and ultimately cowardly, Jay Roach’s The Campaign appears this election year with a promising head of steam that fast dissipates. Honestly, the only thing really memorable about the film to me is that the high-powered rifle that shoots Will Ferrell’s corrupt Democratic congressman through the leg is a crossbow in the ubiquitous TV spots. Blowback from the Aurora shooting? Possibly–but if that’s the case, why wasn’t it changed in the movie proper? And if it is changed some time between the press screening and Friday’s opening, what will they do with the next scene when someone says something about how great it is that a candidate received a bump in the polls for shooting someone? A better question is how all of this could go down without mention of the National Rifle Association. Being more comfortable with assaulting the general stupidity of rednecks, gentried or free-range, than the dangerous politicism of the NRA is just one example of how The Campaign never misses a chance to miss a chance. Except for a couple of brief swipes, it doesn’t even take on the Bible Belt, or gay marriage, or the hypocrisies of our representatives beyond the not-stunning revelation that Big Money controls the course of our country’s political fortunes. On the scale of observations, that one fits snugly between “duh” and “no shit.”