Authors: Walter Chaw Archives - Page 72 of 145

Shotgun Stories (2008) – DVD

September 3, 20082000s, Authors: Walter Chaw, Drama, DVD, Thriller

**½/**** Image B- Sound B Extras B
starring Michael Shannon, Douglas Ligon, Barlow Jacobs, Natalie Canerday
written and directed by Jeff Nichols

by Walter Chaw I’m sick of the kind of exceptional that Shotgun Stories represents–sick enough that I wonder if it doesn’t actually reflect a certain faddism attending the creation of the picture. How many times is it seemly to invoke Faulkner before the prestige of it sours into eye-rolling familiarity? To call Shotgun Stories an American classic ignores that it’s a tonal clone of David Gordon Green’s idylls, which themselves owe their cadences to Terrence Malick’s true American classics (which themselves owe a tremendous debt to Charles Laughton’s singular Night of the Hunter). That’s just the cinematic legacy. At the end of all that impeccable menace, that twisted Grant Wood Americana and surreal, gravid Norman Rockwellian perversity, is this post-millennial, post-9/11 moral that revenge is strange and bitter fruit. As it goes, it’s not much; and as the novelty of it’s faded like the cheap denim spent in the telling of it, the only thing left is this faint after-image of better, more pioneering films in the genre. Like so much that begins as alternative fare, Shotgun Stories ends up the normative mean to which prestige indies inevitably tend. There’s a lot to admire about this film, I just feel like I’ve seen it about a dozen times by now.

Kill Bill, Volume 1 (2003) – Blu-ray Disc

September 1, 2008****/****, 2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Quentin Tarantino, Drama, Esoterica, FFC Must-Own, Hong Kong, Martial Arts, Revenge, Road Movie, Thriller

Kill Bill, Vol. 1
****/**** Image A- Sound A Extras C+
starring Uma Thurman, Lucy Liu, Vivica A. Fox, David Carradine
written and directed by Quentin Tarantino

by Walter Chaw There is a palpable, undeniable perversity to Quentin Tarantino's fourth feature film, a taste for the extreme so gleeful and smart that its references are homage and its puerility virtue. I seem to find a reason between every Tarantino film to dislike him, to cast aspersions on my memories of his films, but I'm starting to think the source of my dislike is jealousy. Tarantino is the director Spielberg is too timid to be: a gifted visual craftsman unafraid of the contents of his psychic closet, and a film brat whose teachers happen to be blaxploitation, samurai epics, and Shaw Brothers chop-socky instead of John Ford and Alfred Hitchcock. And it isn't that I have aspirations of becoming a filmmaker, it's just that I want to be as good at something as Tarantino is at making movies.

Death Race (2008)

August 21, 20082000s, Action, Authors: Walter Chaw, Germany, Sci-Fi, Theatrical, Thriller, UK

*/****
starring Jason Statham, Tyrese Gibson, Ian McShane, Joan Allen
written and directed by Paul W.S. Anderson

by Walter Chaw Paul W.S. Anderson makes one kind of movie: the kind with lots of explosions and girls and loud music and hyperkinetic editing. The shitty kind. Whether or not these pictures work has nothing to do with the head. Death Race, a "remake" of Roger Corman's Death Race 2000, is a middling Anderson joint: it's not so bad that you want to put a cigarette out on your eye, but it's also not so bad that it's good–though it is almost so bad that it's great. Jason Statham is Frankenstein, a guy framed for the murder of his wife who happens to be a former racecar driver–a past that, in the near future, is a premium in the privatized penal system. After being laid off from his blue-collar job in an entirely superfluous prologue that only really establishes the picture as one made in the second W. administration, Frank gets "recruited" to drive in the titular pay-per-view reality program involving hardened criminals participating in televised bloodsport. His arch-rival in the Big House is Machine Gun Joe (marble-mouthed Tyrese), his pit chief is gravel-voiced Coach (Ian McShane), and his zombie-voiced co-pilot is hot-looking Latin mannequin Case (Natalie Martinez). If you're surprised to see McShane in a piece of shit like this (sadly, McShane seems to only be in pieces of shit post-"Deadwood"), you should get a load of Joan Allen as evil bitch warden Hennessey, a creature one part genre prison bull, one part television executive. If she's also a lawyer and a film critic, start looking around for four horsemen.

Once Upon a Zeitgeist: Blue City (1986); Top Gun (1986); The Lost Boys (1987); Bull Durham (1988)

August 5, 20081980s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Directors: Tony Scott, Drama, DVD, Horror, Sports, Teen, Thriller, Tom Cruise, Vampire

BLUE CITY – DVD
ZERO STARS/**** Image C- Sound C-
starring Judd Nelson, Ally Sheedy, Paul Winfield, Scott Wilson
screenplay by Lukas Heller and Walter Hill, based on the novel by Ross MacDonald
directed by Michelle Manning

TOP GUN [Widescreen Special Collector’s Edition] – DVD + [Special Collector’s Edition] Blu-ray Disc
*/****
DVD – Image B Sound B+ Extras B
BD – Image B+ Sound A+ (DTS) A- (DD) Extras B
starring Tom Cruise, Kelly McGillis, Val Kilmer, Anthony Edwards
screenplay by Jim Cash & Jack Epps, Jr.
directed by Tony Scott

THE LOST BOYS [Two-Disc Special Edition] – DVD
***/**** Image B+ Sound B Extras C+
starring Corey Feldman, Jami Gertz, Corey Haim, Dianne Wiest
screenplay by Janice Fischer & James Jeremias and Jeffrey Boam
directed by Joel Schumacher

BULL DURHAM [Collector’s Edition] – DVD
**/**** Image B+ Sound B+ Extras B+
starring Kevin Costner, Susan Sarandon, Tim Robbins, Trey Wilson
written and directed by Ron Shelton

by Walter Chaw Released in 1986 and tonally identical to contemporary suck classics The Wraith and Wisdom, the Brat Pack travesty Blue City represents the nadir of a year that produced Blue Velvet, Down By Law, The Mosquito Coast, Henry: Portrait of a Serial Killer, Sid and Nancy, Aliens, Ferris Bueller’s Day Off, The Fly, Big Trouble in Little China, Something Wild, Mona Lisa, and Night of the Creeps, for starters. It’s the quintessence of why people remember the 1980s as a terrible decade for film, poor in every single objective measure of quality. Consider a central set-piece where our hero Billy (Judd Nelson) and his buck-toothed cohort Joey (David Caruso) stage a weird re-enactment of the heist from The Killing at a dog track that includes not only such bon mots as “I’m new at this! Give me a break!” but also the dumbest diversionary tactic in the history of these things as Joey tosses a prime cut on the track in front of a frankly startled/quickly delighted pack of muzzled greyhounds. Then again, it’s not a bad metaphor for the Me Generation and its blockbuster mentality. After cracking wise a few times in a way that makes one wonder if he’s suddenly become a Republican, Billy blows on the barrel of his gun in his best John Ireland-meets-Montgomery Clift and professional bad editor Ross Albert (the whiz kid behind Bushwhacked, The Beverly Hillbillies, and The Pest) cracks a little wise himself by cutting to a rack of hot dogs. Unfortunately, suggesting that Judd Nelson is gay as a French holiday is only mildly wittier than suggesting the same of clearly gay Tom Cruise. More on that when we get to Top Gun.

Encounters at the End of the World (2008) + Frozen River (2008)

August 1, 20082000s, Authors: Walter Chaw, Crime, Directors: Werner Herzog, Documentary, Drama, Theatrical

ENCOUNTERS AT THE END OF THE WORLD
***½/****
directed by Werner Herzog

FROZEN RIVER
*½/****
starring Melissa Leo, Misty Upham, Charlie McDermott, Mark Boone Junior
written and directed by Courtney Hunt

by Walter Chaw It’s a source of endless delight for me that Werner Herzog–the man who refers to nature as “obscene”–has become known of late for delivering mordant, mildly condescending nature documentaries. His Grizzly Man is a modern classic of Bavarian madness–now find Herzog in Antarctica, declaring at regular intervals in Encounters at the End of the World that “something doesn’t seem right” with a perfectly-preserved hut used by Shackleton a hundred years ago, or with a demented penguin making its way to certain doom on an inexplicable march to the inland. With an opening that has Herzog immodestly laying out his mission statement as wishing to discover, in a roundabout way, why it is that men are obsessed with riding their metaphorical steeds into the wild unknowns, he illustrates the conundrum with a sideswipe at mankind, equating us with ants that hold other insect species as “slaves” and wondering why chimps, despite their intellectual sophistication, decline to domesticate goats to ride them on their own existential pursuits.

The Sum of All Fears (2002) [Special Collector’s Edition] – DVD|Blu-ray Disc

July 27, 20082000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Drama, DVD, Espionage, Germany, Thriller, War

**/****
DVD – Image A- Sound B Extras A-
BD – Image B+ Sound A Extras A-
starring Ben Affleck, Morgan Freeman, James Cromwell, Liev Schreiber
screenplay by Paul Attanasio and Daniel Pyne, based on the novel by Tom Clancy
directed by Phil Alden Robinson

by Walter Chaw The Sum of All Fears is a well-made techno-horror film based on a reasonably well-written (by Tom Clancy standards) techno-horror novel. It's a studio marketing department's worst nightmare post-9/11 (the movie revolving around a pilfered nuclear weapon and a terrorist plot to destabilize the universe) and a critic's wet dream: finally, something meaty to write about in popular film. Or so it would seem, for alas, The Sum of All Fears is just a well-made techno-horror film–in theme and suggestion, it's as moldy and stately as a Le Carré master plot with little comment regarding the state of our world besides "Bad people do bad things despite the best efforts of good people." See, we know that already; while I'm the first to decry the pathological dedication of mainstream pictures to provide easy solutions for life's injustices, The Sum of All Fears is a remarkably ill-timed piece that plays essentially like the sharp twist of a buried knife.

Stop-Loss (2008) + 21 (2008)|21 – Blu-ray Disc

July 20, 20082000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, Theatrical, Thriller, War

STOP-LOSS
*½/****
starring Ryan Phillippe, Abbie Cornish, Channing Tatum, Joseph Gordon-Levitt
screenplay by Mark Richard & Kimberly Peirce
directed by Kimberly Peirce

21
*/**** Image A Sound A Extras B-
starring Jim Sturgess, Kate Bosworth, Laurence Fishburne, Kevin Spacey
screenplay by Peter Steinfeld and Allan Loeb
directed by Robert Luketic

by Walter Chaw The only thing really wrong with MTV–besides the fact that they don't show music videos anymore–is that its branding on some of the most vacuous, appalling celebrations of vanity, stupidity, and acting-out in the not-exactly-sterling history of the medium has spawned a rash of imitative programming. It's cheap to turn a few cameras on pretty idiots fucking each other figuratively and literally in resort locales, and so now there are Tiffany versions of this ("Survivor") on broadcast networks and sewer versions of this (those Flava Flav things, Anna Nicole's old show) on struggling basic-cable outlets. (Cartoon Network even has an animated send-up of "The Real World".) And if the genre momentarily appeared to be on the verge of extinction, it suddenly found new life with the recent writers' strike. Because a good many films nowadays are populated by pre-fabricated tween (and post-tween) stars, I have no idea who they are until they're shoved into my consciousness as "stars"; indeed, MTV's dread influence on popular culture has extended itself (hand-in-hand with Titanic's mammoth babysitter's-club popularity) into the multiplex. Too ephemeral for any nickname (no "brat pack" here, just a revolving door of fresh meat), the real legacy of MTV might be that it functions as a microcosm for the lost youth phenomenon in the United States: In every Britney Spears, I see a Virginia Tech. Promise the terminally untalented the moon and repay them with a goat's portion of disappointment, disillusionment, and frustration bound to simmer to a foul boil.

Hellboy II: The Golden Army (2008)

July 11, 2008****/****, 2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Fantasy, Germany, Hungary, Sci-Fi, Superhero, Theatrical

****/****
starring Ron Perlman, Selma Blair, Doug Jones, John Hurt
written and directed by Guillermo del Toro

by Walter Chaw It’s at the forefront of one’s mind during Hellboy II: The Golden Army (hereafter Hellboy II), Guillermo del Toro’s brilliant dance along an ephemeral tightrope between pop and Puccini, that David Cronenberg and Howard Shore recently converted their remake of The Fly into a full-fledged opera: I can see the same thing happening with a lot of del Toro’s pictures. The director’s said that after his Pan’s Labyrinth “something popped” in regards to his restraint in allowing the menagerie of monsters in his brain free rein over his imagination–and that he endeavoured to bring all the madness of Mike Mignola’s “Hellboy” universe to the big screen with or without a commensurately giant budget. (Of Summer ’08’s blockbusters, Hellboy II, costing around 85 million dollars, might be the most frugal.) The result is a film so crammed to the gills with invention that a bit of background business in a scene set at a bazaar hidden beneath the Brooklyn Bridge (this is the second great genre film this year after Cloverfield to make a pit stop at that particular locale) wherein a creature plays a pipe made out of a tanned human corpse is left uncommented-upon and is somehow ultimately unremarkable. The wonders of Hellboy II as experienced through our avatars Hellboy (Ron Perlman), Liz (Selma Blair), and Abe (Doug Jones, this time vocalizing the character as well)–team members for a covert government agency that deals with supernatural intrusions–are the way the world is, and it’s fascinatingly left for the normals in the audience to crane for a better look.

Hancock (2008)

July 1, 20082000s, Action, Authors: Walter Chaw, Drama, Fantasy, Superhero, Theatrical, Will Smith

***/****
starring Will Smith, Charlize Theron, Jason Bateman, Jae Head
screenplay by Vy Vincent Ngo & Vince Gilligan
directed by Peter Berg

by Walter Chaw I’m an unabashed Peter Berg fan. I think that his Very Bad Things is naughty and transgressive in ways that Judd Apatow could only pretend; that his The Rundown is the first film since Herzog’s Even Dwarfs Started Small to use little people correctly in a rollicking, rousing sentence; and that his Friday Night Lights did a very fine job of essaying the insular madness of Texas high-school football. Berg’s last picture, The Kingdom, is the finest pop explication of the brief history of (and our relationship with) the Kingdom of Saudi Arabia, and now his superhero epic Hancock has the temerity to try to address the colour barrier in comics as it relates, uneasily, to these United States. Talking about it tells everything, so beware the major spoiler, but Hancock has at its centre an indestructible, airborne, super-strong black man with a white wife who, should he spend too much time near her, renders him completely, utterly mortal and thus subject to the world that would see them apart. Consider that this is a mega-budget, 4^th of July blockbuster starring Will Smith, the black guy all America can agree on, doing the old miscegenation tango with the whitest white girl on the planet, South African lovely Charlize Theron, which should have aged white Republicans twisted up in their Confederate-flag panties. We’re only really forty years removed from Selma, Alabama, and here’s forty-year-old Will Smith planting a big wet one on Theron’s lips in a tentpole flick the summer that Barack Obama became the first black man chosen as the Democratic nominee for the President of the United States. God bless America, free(r) at last.

Bridge to Terabithia (2007) [Widescreen]; The Seeker: The Dark is Rising (2007); The Spiderwick Chronicles [2-Disc Field Guide Edition] – DVDs

June 30, 20082000s, Action, Adventure, Authors: Walter Chaw, Disney, Drama, DVD, Family, Fantasy, Thriller

BRIDGE TO TERABITHIA
**½/**** Image A Sound A- Extras C
starring Josh Hutcherson, Annasophia Robb, Robert Patrick, Zooey Deschanel
screenplay by Jeff Stockwell and David Paterson, based on the book by Katherine Paterson
directed by Gabor Csupo

THE SEEKER: THE DARK IS RISING
½*/**** N/A
starring Alexander Ludwig, Christopher Eccleston, Ian McShane, Frances Conroy
screenplay by John Hodge, based on the book by Susan Cooper
directed by David L. Cunningham

THE SPIDERWICK CHRONICLES
**/**** Image A Sound A Extras C-
starring Freddie Highmore, Mary-Louise Parker, Nick Nolte, David Strathairn
screenplay by Karey Kirkpatrick and John Sayles, based on the books by Tony DiTerlizzi and Holly Black
directed by Mark Waters

by Walter Chaw In the genre of wide-eyed, hyperactive ‘tween bullshit, there seems a common thread of missing parents or siblings with all the attendant Oedipal complexities upon which to coat-hanger every genus of just-pubescent, Uncle Joe Campbell shenanigans. (Oh, I get it, it’s a metaphor for strange hair, jerking-off, and embarrassing hard-ons–no wonder I identify with these things again as I get older.) More underground than overt adolescent emo rock-star/rapist fantasies like vampirism, the flicks of this type that work–such as Sam Raimi’s Spider-Man trilogy, or the third and fifth Harry Potters, or The Passion of the Christ–incorporate the uncertainty and body horror of growing up with hero/martyr fantasies and, ultimately, the melancholy of childhood’s end. The result of a job well done is a piece of enduring, often befuddling, resonance, owing in part to the canny hijacking of some existing folklore or mythology (including comic books) and the gratifying recognition that at the end of all that hormonal devastation is the justification of manhood. Psychosexual psychodrama at least, the new crop of boy-into-man-boy flicks, in the wake of the astounding success of that certain boy wizard (and, shit, probably Shrek‘s, too), takes a new interest in fantasy as a means to specific ontological ends. For this unabashed fan of Matthew Robbins’s idyllic, laden Dragonslayer, it’s not entirely bad news.

WALL·E (2008)

June 27, 20082000s, Adventure, Animation, Authors: Walter Chaw, Family, Pixar, Sci-Fi

***½/****
screenplay by Andrew Stanton & Jim Reardon
directed by Andrew Stanton

by Walter Chaw What curbs Andrew Stanton’s WALL·E from being a complete triumph is an extended Battle Royale in the middle of the film between a ship’s captain and his HAL-like autopilot–more Mack Sennett than Stanley Kubrick, it’s a moment that panders to the diaper set instead of, as the rest of the picture does, elevating animation ever-so-delicately into a medium in the United States instead of a genre. Here in this children’s film, find a blasted post-apocalyptic wasteland–a ruined Manhattan with towers of trash stacked higher than its abandoned skyscrapers by a robot, WALL·E, left behind for seven hundred years while humanity waits in orbit for Earth to become inhabitable again. It’s never clear what devastated the planet, though there are suggestions aplenty that it has something to do with unfettered consumerism and terminal neglect by its human stewards, as the film opens with an elegant, eloquent, wordless forty-minutes of WALL·E nursing a connection with his absent masters through endless viewings of the “Put on Your Sunday Clothes” sequence from Hello, Dolly!–the one that ends with a lovely moment of hands held in new love, which becomes the central image of longing in the piece. The song’s refrain is haunting to me now–in a way that I never expected anything sung by Babs could be–similar to how the phrase “meet me in Montauk” has post-Eternal Sunshine of the Spotless Mind. If WALL·E had stayed on this uninhabitable Earth scoured by 250 mph windstorms, especially with our hero discovering a plant sprouting in an abandoned refrigerator, I don’t know that I could bear the sadness of it.

Cloverfield (2008) – DVD|Blu-ray Disc

June 25, 20082000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Horror, Pseudo-Documentary, Sci-Fi, Thriller

***½/****
DVD – Image A Sound A Extras A
BD – Image A Sound A+ Extras A
starring Lizzy Caplan, Jessica Lucas, T.J. Miller, Michael Stahl-David
screenplay by Drew Goddard
directed by Matt Reeves

by Walter Chaw I love this movie. I love its freedom and its exuberance, its sense of fun and its creativity. I love that it uses The Blair Witch Project as a launchpad for its low-tech, found-footage brilliance; I love its genius-level viral marketing campaign and its Ludditism and overt technophobia. Where The Blair Witch Project skewered trust-fund kids picking a particularly unfortunate senior project, Cloverfield takes on twentysomething urbanites on top of the world in Manhattan, celebrating the departure of one of their own on the night the chickens come home to roost. There's no explanation of the mayhem in Cloverfield beyond that a monster has attacked and that the recoil its rampage spawns inevitably resembles memories of our collective scarring by 9/11. All it does, really, is clarify that when people at Ground Zero referred to the falling of the WTC as "just like in a movie," it didn't point to a divorce from reality but to an inability, utterly, to conceive of anything so epoch-shaking as possible outside the prism of our precious, silver-graven images. The history depicted in our films is the only history we know.

10,000 BC (2008) – Blu-ray Disc

June 22, 20082000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Fantasy, Sci-Fi, South Africa, ZERO STARS

ZERO STARS/**** Image A Sound A Extras B-
starring Steven Strait, Camilla Belle, Cliff Curtis, Joel Virgel
screenplay by Roland Emmerich & Harald Kloser
directed by Roland Emmerich

by Walter Chaw Gather 'round, younglings, pull up a rock. Comfortable? Good. Roland Emmerich's 10,000 BC is about a young warrior named "D'Leh" (Steven Strait) who has the bad judgment to fall in love with doll-eyed Evolet (Camilla Belle)–who herself has the bad judgment to be kidnapped by slave traders. The movie starts in the Himalayas, I think, and ends there following an interminable foray in a rainforest as well as an Egyptian detour. I know it's Egypt because we see them building Pyramids in the desert, though I confess to being a little confused by the revelation that mammoths are beasts of burden in 10,000 BC, forced to participate in the construction of said pyramids. I had time to wonder aloud about how this is the second film after Jumper in 2008's deadly winter-doldrums sweepstakes to go to Egypt's Valley of Kings, and about how D'Leh and his mentor Tic'Tic (Cliff Curtis) could not only make the hike from Nepal (or somewhere) to Egypt wearing sandals and standard-issue Tarzan gear, but also why they were dressed like that on an exposed, snow-covered mountain in the first place. 10,000 BC's first mistake is giving the audience time to think at all, seeing as how the same courtesy was not afforded to anyone on the production side of things–thus allowing for domesticated sabre-toothed tigers and mammoths to decorate this epic™ quest in pursuit of a damsel so under-developed that when it's revealed she has scars in the shape of the constellation Orion, I genuinely had no idea why it mattered. Still don't.

The Love Guru (2008) + Get Smart (2008)

June 19, 20082000s, Action, Adventure, Authors: Walter Chaw, Comedy, Espionage, Germany, Romance, Theatrical, UK, ZERO STARS

THE LOVE GURU
ZERO STARS/****
starring Mike Myers, Jessica Alba, Justin Timberlake, Ben Kingsley
screenplay by Mike Myers & Graham Gordy
directed by Marco Schnabel

GET SMART
***/****
starring Steve Carell, Anne Hathaway, Dwayne Johnson, James Caan
screenplay by Tim J. Astle & Matt Ember
directed by Peter Segal

by Walter Chaw Dick this, cock that, penis penis penis–let me mention in the interest of full, ahem, disclosure that I don't think Mike Myers is funny; that Chris Farley's death was a great shame for a lot of reasons, among the worst that his passing opened the door for Myers to voice Shrek; and that it's not amusing in the slightest to make an endless stream of johnson jokes. The Love Guru has Myers sort of taking a wave at a cheap Indian accent in a redux of that Eddie Murphy triumph Holy Man–which means, essentially, that he proves himself not as committed as Will Ferrell and not as feral as Adam Sandler and not as neutered, as it happens, as Eddie Murphy. Myers, in other words, is less than his peers, doomed to be upstaged at every turn by anyone unfortunate enough to share a scene with him. (Doomed, too, to be constantly undermined by his inability to resist mugging for the camera.) Myers is Guru Pitka, a writer of Dr. Phil-cum-Deepak Chopra self-help volumes hired by the owner of the Toronto Maple Leafs, Jane (Jessica Alba), to cure star winger Roanoke (Romany Malco) of his sudden case of the shakes. Thus Myers marries his two passions (hockey and not being funny) into one noxious ball of shit and wiener jokes, in the process taking a colossal dump on an entire culture with puerile wordplays like "Guru Satchabigknoba" and "Guru Tugginmypudha" (Ben Kingsley, playing it cross-eyed). It was funny when Monty Python did it, yes, because Monty Python was made up of people who were funny.

There Will Be Blood (2007) – DVD|Blu-ray Disc

June 15, 2008****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Paul Thomas Anderson, Drama, DVD, FFC Must-Own

****/****
DVD – Image A- Sound A Extras B+
BD – Image A Sound A+ Extras B+
starring Daniel Day-Lewis, Paul Dano, Kevin J. O'Connor, Ciarán Hinds
screenplay by Paul Thomas Anderson, based on the novel OIL! by Upton Sinclair
directed by Paul Thomas Anderson

by Walter Chaw The jarring, discordant first notes of Jonny Greenwood's score announce that Paul Thomas Anderson's There Will Be Blood will realize the promise shown by the auteur's closest analog, Punch-Drunk Love. Almost experimental in its marriage of noise and vision, it's reminiscent in that regard of a Sergio Leone epic about the foundation of a specific aspect of the American character. Pithy that such a thing plays like watching an insect under glass: There Will Be Blood is accurately described as a piece of existential entomology–Kafka somehow married to Upton Sinclair (on whose OIL! the film is formally based). It's a modern, and modernist, take on The Treasure of the Sierra Madre, starring an actor who may be the best of his generation turning in a performance destined for legend, though I'd offer that when Daniel Day-Lewis actually does go off the rails in making a mad catchphrase out of "I drink your milkshake!", it's proof that the rest of his work here is really rather restrained. The best movie of the year if not for No Country For Old Men, it shares with that masterpiece this idea that money corrupts absolutely, its venom catalyzing on contact. Choosing to open with a silent 16-minute introduction that sees Daniel Plainview (Daniel Day-Lewis)–digging for riches by himself in what could be an outtake from Sierra Madre–discovering his share of silver and parlaying it into an oil empire that will eventually leave him alone, misanthropic, and finally insane, Anderson is clearly implying that material pursuits mine the humanity from mortal loam. While he has disdained political reads of the picture, the philosophical ramifications of Anderson's barren exteriors held up against Plainview's barren interiors–the both of them with endless potential, it would appear, for bottomless wells of bubbling black–are subtext enough, if not, of course, inextricable from politics.

The Happening (2008)

June 12, 20082000s, Authors: Walter Chaw, Directors: M. Night Shyamalan, Drama, Horror, India, Sci-Fi, Theatrical, Thriller

**/****
starring Mark Wahlberg, Zooey Deschanel, John Leguizamo, Betty Buckley
written and directed by M. Night Shyamalan

by Walter Chaw The number one, indisputable, biggest surprise of M. Night Shyamalan's The Happening is that it doesn't entirely suck–followed fast by the stunner that the director-writer-producer-demiurge doesn't appear anywhere in the film as Christ on a chariot. After his self-aggrandizing cameos in Signs (as catalyst to the story's existence and outcome), The Village (as star of the "twist" in the film's most complicated lighting/camera set-up), and Lady in the Water (as author of the Bible), it seemed that was the next logical step. Instead, The Happening is a Larry Cohen-esque thriller along the lines of God Told Me To, delivered with a heavy hand, to be sure, but full of some of the most delicious misanthropy to hit screens since Julia Roberts was making romantic comedies. Shyamalan, if we follow the auteur theory as closely as he claims to, hates his fellow man enough so that a coda revealing a blessed pregnancy is framed in such a way as to suggest that mankind is spelling its own doom with this urge to procreate. By extension, it's tempting to see it as a criticism of pictures that end in Spielberg town, with marriages and babies and a cabin in the woods for the precogs. If Shyamalan is to the point where he's actively flipping the bird to audiences and expectations, eschewing his life-support systems for twists and protracted takes in favour of ugly, flat, uninspired action sequences and blighted implications, then I might actually at this point be looking forward to his next one. Meaning, at the end of the day, that's the biggest surprise of The Happening.

The Incredible Hulk (2008)

June 12, 20082000s, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Superhero, Theatrical, Thriller

½*/****
starring Edward Norton, Liv Tyler, Tim Roth, William Hurt
screenplay by Zak Penn and Edward Harrison
directed by Louis Leterrier

by Walter Chaw Pretty much the unmitigated disaster its trailers predicted it to be, Louis Leterrier's noisome The Incredible Hulk is a cacophony of bad CGI, bad acting, and gravid serio-melodramatics that leaves only the disturbing image of Liv Tyler's acres of bangs standing in the aftermath of its absurd wreckage. It's a vanity piece for Edward Norton (as if Norton is ever in anything else these days) that washes out as one of the more puzzling examples of such, in that the only thing anyone's there to see is Hulk smash. Maybe not so puzzling upon further reflection; I heard someone describe Jim Carrey at a certain point in his career as the six-hundred pound gorilla–find Norton at the apogee of his own ego bloat in The Incredible Hulk. Rumoured to have rewritten wide patches of Zak Penn's script (and credited here as, tee hee, Edward Harrison), Norton strikes me as a player/coach in the mold of Sylvester Stallone but unburdened with Stallone's sense of temporal place and popular self-awareness. Norton's acts of persona-construction are involved with painting himself as more romantic and smarter (The Illusionist), more romantic and moral (The Painted Veil), or more romantic and mysterious (Down in the Valley) than the average bear (tragic Monsieur Curie Bruce Banner the amalgam of all three, of course), with little room in his Nietzschian self-regard for human frailty or much complexity. He's an actor capable of astonishing nuance, making it doubly frustrating that he seems to resent that in the Fight Club food chain, he's Edward Norton and not Brad Pitt. The Incredible Hulk is the hundred-pound weakling flexing in the mirror and answering the ad on the back of the comic book.

Youth Without Youth (2007) – Blu-ray Disc

June 9, 20082000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Francis Ford Coppola, Drama, Esoterica, France, Germany, Italy, Mystery, Romance, Romania, Sci-Fi

***½/**** Image A+ Sound A+ Extras A
starring Tim Roth, Alexandra Maria Lara, Bruno Ganz, André M. Hennicke
screenplay by Francis Ford Coppola, based on the novella by Mircea Eliade
directed by Francis Ford Coppola

by Walter Chaw Set in just-antebellum Europe, Francis Ford Coppola’s Golden Age superhero fantasy Youth Without Youth finds mild-mannered ancients professor Dominic (Tim Roth) transmogrified by a bolt of lightning into a being who appears to not only have regained his youthful appearance, but also developed the ability to alter physical objects with his mind. Dominic is in 1938 Romania when 1.21 gigawatts of electricity send him back to the future, able to absorb entire volumes with a single touch, learn dead languages in his sleep, and have contentious conversations with himself reflected in mirrors literal and figurative. It’s a superhero movie in the same sense as Kasi Lemmons’s sorely underestimated The Caveman’s Valentine: based on a literary source, it’s itself intensely literate, sprinkling Mandarin and Sanskrit in with, late in the game, a language of our hero’s own devising to which he devotes reels of obsessive notes. All that’s missing is a purpose for our hero–something remedied as the picture moves forward past WWII and Dominic encounters Veronica (Alexandra Maria Lara) en route to her own collision with cosmic destiny.

Jumper (2008) – Blu-ray Disc

June 8, 20082000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Sci-Fi, Thriller

½*/**** Image A- Sound A Extras B+
starring Hayden Christensen, Jamie Bell, Rachel Bilson, Diane Lane
screenplay by David S. Goyer and Jim Uhls and Simon Kinberg, based on the novel by Steven Gould
directed by Doug Liman

by Walter Chaw Jumper is the first movie director Doug Liman hasn't been able to save with his amazing way with action sequences. Blame its glaring inconsistencies, the overuse of one nifty special effect that renders the picture's centrepiece an anticlimax, and a passel of squeezed-off performances as truncated–as brief–as the rest of the picture feels. It's over before it begins, wasn't much while it lasted, and is so brazen in its abuse of internal logic that the only audience that would see it will be irritated by it. Based on a Steven Gould cult novel I read years ago (but not long ago enough to love it), its high concept is that there are genetic anomalies among us who are capable of teleporting anywhere they've been before; the catch is that a group of witch hunters is eager to kill them because they're abominations before God. It's Highlander, essentially, or any vampire movie, a skylark about rock-star bandits that swaps immortality for the ability to zip around at will–with only some party-pooping senior citizen (it's snow-on-the-roof Samuel L. Jackson this time around, playing Illuminati-cum-Homeland Security bogie Roland) around to spoil the fun. The obligatory hot chick is dead-eyed Rachel Bilson as Millie, trading not so much up from Zach Braff in The Last Kiss as sideways to Hayden Christensen's protag "jumper" David. Millie and David have loved one another since high school, a misleadingly fun prologue tells us: what follows is about an hour of deadening, repetitive, useless nonsense that fails, completely, to provide a universe in which this stuff makes any kind of impact, even as escapism.

The Recruit (2003) – DVD|Blu-ray Disc

June 1, 20082000s, Action, Al Pacino, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, DVD, Switzerland, Thriller

*½/****
DVD – Image A Sound A Extras B-
BD – Image B Sound A Extras B-
starring Al Pacino, Colin Farrell, Bridget Moynahan, Gabriel Macht
screenplay by Roger Towne and Kurt Wimmer and Mitch Glazer
directed by Roger Donaldson

by Walter Chaw Aussie director Roger Donaldson's No Way Out is one of the better Cold War paranoia films: sexy, tricky, and packed with the sort of performances (from Kevin Costner, Sean Young, Gene Hackman, and Will Patton) that spin gold from proverbial straw. Donaldson's The Recruit is another derivative post-Cold War knockoff: boring, predictable, and laden with the sort of hackneyed turns that are not only immanently forgettable, but also doomed to eventually be left off the resumé during those Academy clip retrospectives. What a difference sixteen years makes.