Authors: Walter Chaw Archives - Page 72 of 146

The Stendhal Syndrome (1996) [2-Disc Special Edition] – DVD|Blu-ray Disc

November 24, 20081990s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Directors: Dario Argento, DVD, Horror, Italy, Mystery, Thriller

La sindrome di Stendhal
**½/****
DVD – Image B Sound C+ Extras B
BD – Image B+ Sound B+ Extras B
starring Asia Argento, Thomas Kretschmann, Marco Leonardi
written and directed by Dario Argento

by Walter Chaw It's hard for me to reconcile the Dario Argento of the Seventies through to 1982's Tenebre with the Dario Argento ever after (at least until what I've heard is a remarkable comeback, the upcoming completion of his Three Mothers trilogy). The inventor almost by himself of two distinct genres of film in Italy (and just the concept of the arthouse slasher in the world), a co-writer of Sergio Leone's Once Upon a Time in the West, and a revolutionizer of horror-movie music became this guy who stopped aping Hitchcock and started aping…Jeunet? Himself? Even with Max Von Sydow in the fold (Non ho sonno), the pictures post-Tenebre are cheap auto-knockoffs devoid of innovation and lacking the amazingly imaginative gore that marked Argento's early gialli, the archetypal resonance of his supernaturals, or the transcendent, sometimes sublime lawlessness of his hybrids (like Suspiria, for instance, still a towering achievement). They're almost to a one these gaudy, derivative, exhausted pieces of shit.

Girl on the Bridge (1999) – DVD

November 19, 20081990s, Authors: Walter Chaw, Comedy, Drama, DVD, France, Romance

***½/**** Image C+ Sound B
starring Vanessa Paradis, Daniel Auteuil, Frédéric Pfluger, Demetre Georgalas
screenplay by Serge Frydman
directed by Patrice Leconte

by Walter Chaw Patrice Leconte's immaculately-constructed Girl on the Bridge is a lovely, hopelessly romantic little bauble that catches the light no matter how you turn it. The picture stars gamine Vanessa Paradis as Adèle, a suicide girl broken by the lack of a soul mate and a flurry of Parisian bedsheets contemplating a George Bailey-style leap off the edge of a bridge. Her Clarence is Gabor (Daniel Auteuil), a professional knife-thrower who trolls for winsome targets looking to ride the eternity express; and together they paint the world a Fellini shade of red. The similarity is more than cosmetic: in its carnival-of-life (or better, life-as-carnival) atmosphere, the romance that develops between Gabor and Adèle is sublimated into the act of extended, trembling foreplay–lots of knives hurled at naked thighs and only a few nicks here and there to show for it. The act of actual sex is seen as something less than penetrating (Adèle pillow-hops like an adrenalized bunny), but when the pair rushes off to an abandoned train car to be alone, true intimacy only comes once Gabor starts in with the cutlery. Breathless in love like P.T. Anderson's Punch-Drunk Love or Fellini's Nights in Cabiria (which likewise sports a woman of loose morals looking for love in Rome), Girl on the Bridge, Leconte's lightest confection, manages still to convey the director's themes of the mystery of luck as it governs chance meetings and meaningful hits and misses.

Madagascar: Escape 2 Africa (2008) + Role Models (2008)

November 7, 20082000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Germany, Theatrical

MADAGASCAR: ESCAPE 2 AFRICA
½*/****
screenplay by Etan Cohen and Eric Darnell & Tom McGrath
directed by Eric Darnell & Tom McGrath

ROLE MODELS
***/****
starring Seann William Scott, Paul Rudd, Christopher Mintz-Plasse, Elizabeth Banks
screenplay by Paul Rudd & David Wain & Ken Marino
directed by David Wain

by Walter Chaw Rote and routine, Eric Darnell and Tom McGrath's follow-up to their popular Madagascar takes the usual sequel route towards magnification with the obnoxious Madagascar: Escape 2 Africa (henceforth Madagascar 2). At the heart of it is a weird, feral mix of Lord of the Flies and Swiss Family Robinson as a group of New Yorkers gets lost on safari–commentary, if you want to formulate one, on the incursion of Americans into the rest of the world. It's not a bad thing to try to impose on this film in this historic election year, particularly since you're not likely to be distracted by very much else in the picture. It's even interesting to wonder how it is that lion Alex, voiced by Jewish Ben Stiller, could have been sired by daddy Zuba (Bernie Mac) and a nameless mom (Sherri Shepherd)–shades of Simba (Matthew Broderick) somehow springing from the loins of Mufasa (James Earl Jones). What's most potentially interesting about the piece, however, is the interspecies miscegenation (is it "bestiality" if they're both animals? Sort of like is it still necrophilia if it's Keanu Reeves and Charlize Theron?) suggested between giraffe Melman and hippo Gloria (voiced by isn't-he-Jewish David Schwimmer and black Jada Pinkett Smith, respectively), eventually equated ironically with the union of a penguin and a bobble-head hula doll.

The Final Countdown (1980) [2-Disc Limited Edition] – DVD|Blu-ray Disc

November 3, 20081980s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Sci-Fi, Time Travel

**½/****
DVD – Image A Sound A- Extras B
BD – Image A Sound A- Extras B-
starring Kirk Douglas, Martin Sheen, Katharine Ross, James Farentino
screenplay by David Ambrose & Gerry Davis
directed by Don Taylor

by Walter Chaw The first nine times I saw The Final Countdown, I was on a blanket on the hood of my parents' car, a chimichanga in one hand and a Coke in the other. This was August and September of 1980, and earlier that year I thought I'd seen the best movie ever: The Empire Strikes Back. The next summer, I'd take in–at the drive-in, at the Cooper, at the Lakeside Twin–Raiders of the Lost Ark, Superman II, and Dragonslayer. I believed this to be the way movies naturally were, unaware then that I was poised at the cusp of a decade of filmmaking that would redefine fantasy and science-fiction, setting precedents for the genre with films like Back to the Future and Predator, E.T., and Blade Runner, Near Dark, and Miracle Mile–the well was as deep for flights of fancy in the Eighties as it was for incomparable character-driven paranoia in the Seventies. It was an amazing and specific time to come of age in the movies, I see in retrospect; and I owe the embarrassing chills I still get watching big-budget mainstream previews to this day to my maturation in the church of the blockbuster.

Zack and Miri Make a Porno (2008)

October 30, 20082000s, Authors: Walter Chaw, Comedy, Romance, Theatrical, ZERO STARS

ZERO STARS/****
starring Seth Rogen, Elizabeth Banks, Craig Robinson, Jason Mewes
written and directed by Kevin Smith

by Walter Chaw There’s something wrong with Kevin Smith. Which is not to say that there isn’t something wrong with most artists, just that in the case of Smith, it’s become steadily apparent that whatever’s wrong with him is manifesting itself in genuinely sad ways. Zack and Miri Make a Porno (hereafter Zack and Miri) is dreadful in the unique style of that guy who traps you in a conversation and proceeds to drop lame Star Wars references and ancient race riffs laced with pathetic interludes about his syrupy, jejune concept of romantic love. Afraid to seem “uncool,” this guy will leaven his horny-dork shtick with dusty “blue” material–but every step along the way, all Smith does is demonstrate that he’s not funny anymore (if he ever was), and that if there was a time that he slipped in under the zeitgeist, that time is over.

The Polar Express (2004) [Two-Disc Widescreen Edition] – DVD|The Polar Express Presented in 3-D – Blu-ray Disc

October 29, 20082000s, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Christmas, Comedy, Directors: Robert Zemeckis, DVD, Family, Fantasy, Musical

**/****
DVD – Image A Sound A- Extras C
BD – Image A Sound A Extras C
screenplay by Robert Zemeckis & William Broyles Jr., based on the book by Chris Van Allsburg
directed by Robert Zemeckis

by Walter Chaw Robert Zemeckis's The Polar Express seems to be the culmination of a lot of his weird obsessions: his celebration of middle-class Aryan heroes; his tendency towards the tense and anxious; his love of casting an actor in multiple roles; Tom Hanks; Eddie Deezen; and that subtle quality of nightmare that infects even the most innocuous of his movies. (Zemeckis produces horror films in his spare time under the "Dark Castle" imprint; I wonder if he'll ever, What Lies Beneath notwithstanding, just cut the bushwah and make a straight shocker.) When Christopher Lloyd's Nazi-esque Judge Doom from Zemeckis's Who Framed Roger Rabbit "dips" an adorable animated shoe into a corrosive sludge, Zemeckis foreshadows the engine that drives all of The Polar Express. It's infernal entertainment and comparisons to Leni Riefenstahl's Triumph of the Will are unavoidable (particularly in a disturbing rally scene), but it's hard to know how much of that intense martial creepiness is intended as satire, and how much of it is just what lies beneath.

W. (2008) + Trouble the Water (2008)

October 28, 20082000s, Australia, Authors: Walter Chaw, Biopic, China, Comedy, Documentary, Drama, Hong Kong, Switzerland, Theatrical

W.
**½/****
starring Josh Brolin, James Cromwell, Elizabeth Banks, Ellen Burstyn
screenplay by Stanley Weiser
directed by Oliver Stone

TROUBLE THE WATER
**½/****
directed by Carl Deal & Tia Lessin

by Walter Chaw John Powers once called Nixon-era Oliver Stone our most Nixonian director: smart, driven, divisive, unlikeable. So the neatest trick of Stone's latest biopic, W., is to make George W. Bush–arguably the most reviled, detached, ideologically arrogant president since James Buchanan–a figure of genuine pathos. Never mind that this incurious, adolescent, fundamentalist fanatic is our proverbial Nero, fiddling while every foundational tenet of Lincoln's party is fed to anti-intellectualism and evangelical Christianity. George Orwell said something once about how the end of democracy is heralded by millionaires leading dishwashers; what's unexpected for me is the extent to which the Republican party in the new millennium has not only convinced the blue-collar to vote against its own self-interests by waging class warfare against liberals, but also begun to turn against the intellectuals in its own party. "Georgetown cocktail party" conservatives are now painted with the same broad brushstroke as "Latte-sipping" lefties–and this idea of abandoning the middle class takes on the onus of not just money and privilege, but education and eloquence as well. The logical end-point of wanting a President as ill-read, venal, and feckless as your alcoholic born-again Uncle Festus is a figure like Governor Sarah Palin, whose chief qualification appears to be her ability to blend into your local chapter of Oprah's Fan Club without a ripple. Hate, division, ugly innuendo, and racism: sowing fear and reaping the political benefits until the house falls down.

Stuck (2008) – Blu-ray Disc

October 26, 20082000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Crime, Drama, Germany, Horror, Thriller, UK

***/**** Image B Sound A Extras B-
starring Mena Suvari, Stephen Rea, Russell Hornsby, Rukiya Bernard
screenplay by John Strysik
directed by Stuart Gordon

by Walter Chaw Stuart Gordon, the man who gave us the Lovecraftian splatter film, has, lately, gone in for non-supernatural frights: first with the snake-infested well of man's self-interest in the irresistibly pulpy King of the Ants; then with his superb Mamet adaptation Edmund; and now with his inspired-by-a-true-story drive-in high-concept flick Stuck. The transition from Lovecraft's Cthulhu Mythos to the mendacity of mere humanity is less a leap in that Gordon to me has always been best when dealing with how the mundane is often just the thin candy shell over the boiling mess of our fetid Id–whether that Id manifests as the cellar of elder gods or, just as unspeakable, the lizard brain for which Lovecraft's bogeys are the metaphor, anyway. Stuck takes as its inspiration the story of 25-year-old nurse's aid Chante Mallard, who, one night flying high on alcohol and X, embedded one Gregory Biggs in her windshield and left him to die there over the course of two days. Gordon's film wonders what would've happened should Biggs have survived and, over the course of those same two days, gathered enough wits and strength to exact some measure of justice on his torturer. A delicious conceit, free of irony and post-modern self-awareness, it's funny without being snarky about it, delighting in the solipsistic desire of his Mallard, nursing home aide Brandi (Mena Suvari, dirtying up better here than in Spun), to not jeopardize a pending job promotion by reporting that guy stuck in her windshield. The guy, Tom (Stephen Rea), has fallen on hard times himself; if anything, Stuck is a diary of the modern malady of what happens when people can't make a living doing honest work and so find themselves stripped of dignity (sometimes literally) and exiled from civilization.

State of Mind: FFC Interviews “Synecdoche, New York” Writer-Director Charlie Kaufman

October 25, 20082000s, Authors: Walter Chaw, Charlie Kaufman, Interviews

Riding a mental rollercoaster with one of our heroes.

October 26, 2008 | I meet Charlie Kaufman in a dark little passage beneath Denver’s Hotel Monaco, both of us surveying a spread of cold cuts and a nice salad of greens and gorgonzola on the final day of a gruelling month-long junket in support of Kaufman’s new film and hyphenate debut, Synecdoche, New York. His first interview of the day following a late-night, (packed) post-screening Q&A at the University of Colorado, I confided in Kaufman that I’d been vying for a chance to speak with him for over four years now after being thwarted at a junket for Eternal Sunshine of the Spotless Mind–an experience I documented in an essay that developed a fun second life, probably got one of my local publicists fired, and doomed me to never getting offered another junket again. Mr. Kaufman asked me what it was like. I said it was like being a bug buoyed on the back of an ant colony and finally expelled not for smelling bad, but for smelling bad in the wrong way. We’d come back to this a few minutes later.

Synecdoche, New York (2008)

October 24, 2008****/****, 2000s, Authors: Walter Chaw, Charlie Kaufman, Comedy, Drama, Esoterica, Theatrical

****/****
starring Philip Seymour Hoffman, Samantha Morton, Michelle Williams, Catherine Keener
written and directed by Charlie Kaufman

by Walter Chaw SPOILER WARNING IN EFFECT. I don’t feel up to writing about Charlie Kaufman’s Synecdoche, New York (hereafter Synecdoche), because, as with something like Mulholland Drive, it’s in the writing about it that one is bound to discover one has said altogether too much about oneself and altogether not enough about the film. The picture is a lot like Nietzsche’s abyss, you know: the more it’s examined, the more it’s a dissection of the critic’s own fears and prejudices. There’s a scene early on where theatre director Caden (Philip Seymour Hoffman–cast because he’s fabulous, and maybe because “Hoffman” incidentally rhymes with “Kaufman”) sits by himself on the floor next to a telephone and we notice more than he does that there are a couple of strange boils growing on his leg. It’s just something Caden lives with, and this visual comes sandwiched in the middle of an extended, uncomfortable sequence that begins with a gash to the forehead (and a glimpse into Caden’s vanity when he’s told it will scar), progresses through gum surgery and the revelation that Caden’s contracted a virus that’s made it difficult for him to salivate, and ends with his wife (Catherine Keener) and five-year-old daughter abandoning him, moving to Germany with monstrous nanny Maria (Jennifer Jason Leigh).

Sweeney Todd: The Demon Barber of Fleet Street (2007) + Persepolis (2007)|Sweeney Todd: The Demon Barber of Fleet Street (2007) – Blu-ray Disc

October 23, 2008****/****, 2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Tim Burton, Drama, FFC Must-Own, Horror, Musical, Thriller, War

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET
****/**** Image A Sound A Extras B+
starring Johnny Depp, Helena Bonham Carter, Alan Rickman, Sacha Baron Cohen
screenplay by John Logan, based on the musical by Stephen Sondheim and Hugh Wheeler
directed by Tim Burton

PERSEPOLIS
***½/****
screenplay by Vincent Paronnaud & Marjane Satrapi, based on the novel by Satrapi
directed by Vincent Paronnaud & Marjane Satrapi

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

by Walter Chaw Sweeney Todd: The Demon Barber of Fleet Street is easily Tim Burton's best film. It's uncompromised, deceptively uncomplicated, perverse in the most delightful way, and, maybe most importantly, it represents at last the full potency of Burton's German Expressionist vision. No surprise that it's closest allayed to Burton's previous career-pinnacle, his self-contained fairytale Edward Scissorhands–sporting, like that film, a black-clad protagonist festooned with blades who achieves his adolescence (and purpose) in a slanted attic chamber. This is another gothic romance, no explanation for snow but instead demonstration of the frugal repast of revenge's dish served cold. It's best described as a diary of the unrequited, a journal of terminal, irresolvable frustration. A violent, giallo-lurid succession of leering throat-slashings with a soupçon of cannibalism (I'm kind of shocked, truth be told, that the picture was completed in this form), this adaptation of Stephen Sondheim's genius 1979 musical is a timely film, boasting the sort of contemporary topicality of which only eternal works like Sondheim's are capable. Whatever the circumstances of its creation, watching it in this way speaks explicitly to the dismal tide of 2007, the desire to recover the illusory past (its hero speaks of his younger self as "naïve")–the recognition at the last that things are only ever as terrible as they've ever been; and that the only refuge from despair is embracing the tiny moments of human connection that make life liveable.

Constantine (2005) – Blu-ray Disc

October 13, 20082000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Fantasy, Germany, Horror, Mystery

*/**** Image A+ Sound A+ Extras B
starring Keanu Reeves, Rachel Weisz, Shia LaBeouf, Tilda Swinton
screenplay by Kevin Brodbin and Frank Cappello, based on the DC comic
directed by Francis Lawrence

by Walter Chaw The problem with casting Keanu Reeves in the role of DC Comics anti-hero John Constantine, a chain-smoking, blue-collar bloke who happens to have a foot in a supernatural parallel world occupied by angels and demons, is that because of the actor's ethereal–some would say "stoned"–demeanour, he never for a moment convinces that his is the sympathetic point of view. Imagine Robert Redford as Snake Plisskin, or Pierce Brosnan playing Ash in the Evil Dead films: Constantine, if they were insisting on an American actor, should have been Denis Leary. By inserting Reeves as your avatar, suddenly the whole shooting match is about CGI effects and impossible things doing impossible things (witness the last two Matrix films). But even without Reeves as the central distraction, Constantine avoids much of what made the "Hellblazer" mythology so compelling (that Lucifer is beautiful, that Constantine is genuinely an asshole instead of a lovable loser), with its worst crime coming in making the film something of an anti-smoking tract. Displaying the Surgeon General's warning centre stage in one fiery moment and having the hero quit in the movie's worst, most toadying, most cowardly joke, Constantine amounts to a straw man.

Bright Lights, Big City (1988) [Special Edition] – DVD

October 8, 20081980s, Authors: Walter Chaw, Drama, DVD

*/**** Image B Sound C+ Extras A
starring Michael J. Fox, Kiefer Sutherland, Phoebe Cates, Dianne Wiest
screenplay by Jay McInerney, based on his novel
directed by James Bridges

by Walter Chaw Jay McInerney's nouveau second-person Bright Lights, Big City was my Catcher in the Rye (or, more precisely, his nameless protagonist was my Holden Caulfield), because I caught that bug in the same time of life that most people discover Salinger. I remember a 15-year-old me being disappointed when I saw James Bridges's Bright Lights, Big City on the big screen–not because Michael J. Fox wasn't poised for a dramatic breakthrough (he'd have one the following year in Casualties of War), but because Bridges is one of those old-timey directors without any discernible style who can be counted on for the same exhausted, completely lifeless movie no matter the era or the subject. No one else makes a nuclear meltdown (The China Syndrome) exactly as interesting as an aerobics class (Perfect) and Harvard Law (The Paper Chase). I mean, seriously, this is the guy who went out of his way to work with Debra Winger and John Travolta twice during the Eighties. Bridges's picture, surprise to no one, is a limp dick. The vibrancy–the exhilarated, doomed hedonism–of the McInerney novel gets subsumed under cotton-packed fathoms of complete incomprehension of what the source offered in spades: that note of melancholy in the lovelorn and the lost, that feeling of being swept up in something bigger than you. The Bridges picture is flyblown, devoid of pace and heat; it's such a mortician's slab that it's hard to even tell if the Fox performance is wasted on it, though I suspect it is. It's a bigger crime because someone else should have done this book.

Indiana Jones and the Kingdom of the Crystal Skull (2008) [2-Disc Special Edition] – Blu-ray Disc

October 6, 20082000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Spielberg

**/**** Image A Sound A+ Extras B
starring Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf
screenplay by David Koepp
directed by Steven Spielberg

by Walter Chaw There's a moment in the first thirty minutes of Indiana Jones and the Kingdom of the Crystal Skull (hereafter Indy 4) that is so iconic, so breathtaking in its construction and implication within and without the text, that I was frankly glad to be alive at this point in our cinematic history. Well into its second century, the movies have become the wellspring of our past–enough that more than a few people, I'd wager, will debate whether or not mammoths had something to do with the construction of the pyramids and, more insidiously, whether, as U-571 asserts, the Americans had anything to do with the recovery of a working German Enigma machine. As early as The Man Who Shot Liberty Valance (1962) and before, films began to comment on how they'd become the opaque overlay to actual history–and perhaps, you know, history was the better for it: prettier, fancier, taller, with a better screenwriter and Edith Head at the threads. The question with currency, then, becomes what happens to our concept of history when the digital age renders any phantasm a compelling one. The image of which I speak (it's a minor, minor spoiler, so avert thy gaze if you're easily offended), of Indiana Jones (Harrison Ford) silhouetted against a mushroom cloud, is something that people like Baudrillard would/should worry over for entire volumes of critical theory. As Indy is permanently, pregnantly implanted on the collective psyche of the blockbuster generation, I do wonder if I'll ever see a depiction of a nuclear blast again without looking at it through the prism of this avatar's eyes. It's like picturing Marty McFly jumping into the Holocaust, or Forrest Gump at Dealey Plaza–I won't be able to help myself.

Body of Lies (2008)

October 3, 20082000s, Action, Authors: Walter Chaw, Directors: Ridley Scott, Drama, Romance, Theatrical, Thriller, UK, War

**/****
starring Leonardo DiCaprio, Russell Crowe, Mark Strong, Golshifteh Farahani
screenplay by William Monahan, based on the novel by David Ignatius
directed by Ridley Scott

by Walter Chaw Perfectly workmanlike, unimpeachably prestige-y, achingly contemporary, and a near-complete failure as revelation, Ridley Scott's Body of Lies tells the tale of modern spook-dom complete with spy satellites, cell-phone eavesdropping, torture, and terrorists. A compelling stew, one would think, yet something that a decade ago would be seen as science-fiction and as recently as a few years ago as satire today offers no surprises–no discernible sharp edges, smooth as a river stone worn down by a few fast years of crippling cynicism. So the United States is a fingernail factory skating on the razored edge of impossible technologies and still, because of two-minutes-ago wisdom and dusty bureaucrats, unable to exterminate subjects and achieve minimal objectives in our ideological war. The film advises that we trust no one, that the issues are complex, that our enemies aren't stupid, and that there will always be a super-suave Sharif-ian Arab in pictures like this lest we forget how much we're capable of getting behind the Disneyfied Aladdin portrait of the Near East when push comes to shove. It reminds that Russell Crowe can get fat with the best of them even if, after The Insider, no one was wondering–and it reminds that Leonardo DiCaprio is pretty good at this intense young man shtick (although no one was wondering that, either). The problem with Body of Lies isn't its craft (indeed, it's one of the most handsomely-mounted, professionally-executed pictures of the year)–the problem is that it's got nothing to say in a media-rich environment awash with pundits, alive with YouTube, and actually awake for all the sleepiness in our mid-section. The irony of Body of Lies is that it's about intelligence but its own is at least a few months behind the curve.

Appaloosa (2008)

October 3, 20082000s, Authors: Walter Chaw, Crime, Drama, Romance, Western

*/****
starring Viggo Mortensen, Ed Harris, Renée Zellweger, Jeremy Irons
screenplay by Robert Knott & Ed Harris, based on the novel by Robert Parker
directed by Ed Harris

by Walter Chaw There's a great moment early on in Ed Harris's howler of a vanity piece Appaloosa where gunman-for-hire Virgil Cole (Harris) and his sidekick Everett (Viggo Mortensen) have a friendly conversation with evil Briton Randall Bragg (Jeremy Irons) about law and order in the Old West. The rest of it is garbage. Comparisons of this film to Clint Eastwood's Unforgiven have been floating around, but where that picture is about the complexities of the promises men make to women that they can't keep, Appaloosa is macho juvenilia that espouses the idea of "bros before hos" and, thus, renders all the men unflawed in their limited, brutal glory and all the women bimbos, sluts, or bimbo-sluts. Enter Renée Zellweger's repugnant turn as mattress-back Allison French, her predilection for spreading her legs for the highest-ranking stud viewed not so much as a moral failing as one of those things women do either with principle (see: saloon girl Katie (Ariadna Gil)), or without (Allison). From her bizarre appearance (she looks like a swollen Bill Mumy) to that pinched, kewpie-doll chipmunk chitter-chatter she uses in the mawkish belief that it's an endearing quality in someone past the age of six, Zellweger would appear to be an easy target of blame for the film's general inadequacy. (Likewise shitting in the flan is composer Jeff Beal, whose theme for Allison is one of the most invasive, repugnant bits of musical hate-crime not composed by James Horner; Beal only increases the picture's cartoon feel.) Closer to the mark, though, would be to identify that Appaloosa falls on its ass because its worldview is arrested and incurious, content to offer that women are mercurial trollops and men, good or evil, are the bedrock of civilization. When Appaloosa is described as "old-fashioned," hear spin on more accurate terms like "ossified" and "badly-dated" and "naïve."

Blindness (2008) + Eagle Eye (2008)

October 1, 20082000s, Authors: Walter Chaw, Brazil, Canada, Drama, Germany, Japan, Mystery, Sci-Fi, Spielberg, Theatrical, Thriller

BLINDNESS
*/****
starring Julianne Moore, Mark Ruffalo, Alice Braga, Gael García Bernal
screenplay by Don McKellar, based on the novel by José Saramago
directed by Fernando Meirelles

EAGLE EYE
½*/****
starring Shia LaBeouf, Michelle Monaghan, Rosario Dawson, Billy Bob Thornton
screenplay by John Glenn & Travis Adam Wright and Hillary Seitz and Dan McDermott
directed by D.J. Caruso

by Walter Chaw Brazilian wunderkind Fernando Meirelles has the one-trick pony and he's beaten its corpse for all the slickefied, electrified, vaguely exploitive prestige pieces he's made his calling card since City of God exploded into the loving arms of the arthouse. His latest, Blindness, feels like just another stroll down the same moralizing path as the residents of some generic city go blind, with only the bleary, red-rimmed eyes of Julianne Moore left as the moral barometer and literal/spiritual guide. And like his stable of reliable steeds, Blindness reveals itself at the end as having nothing much to say beyond the Lord of the Flies truism that men left to their own devices are no better than animals. Moore's an unnamed dingbat housewife fond of drinking a little too much wine and tittering around the limited orbit of her optometrist husband (Mark Ruffalo). When The Doctor (none of the characters have names, because the movie is profound) encounters a Patient (Yusuke Iseya) who has gone spontaneously blind, it's not long before the typical end-of-times plague starts the high-concept hullabaloo in earnest. Soon, The Doctor and The Wife find themselves in the Spooky Deserted Hospital that The City uses as The Quarantine Ward, though more literary-minded viewers will choose to refer to it as The Microcosm.

Kill Bill, Volume 2 (2004) – Blu-ray Disc

September 7, 2008****/****, 2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Quentin Tarantino, FFC Must-Own, Martial Arts, Revenge, Road Movie, Thriller, Western

Kill Bill, Vol. 2
****/**** Image A Sound A Extras C+
starring Uma Thurman, David Carradine, Michael Madsen, Daryl Hannah
written and directed by Quentin Tarantino

by Walter Chaw Genre poetry from B-movies' poet laureate, Quentin Tarantino's conclusion to Kill Bill is marked by the filmmaker's carefully-calibrated celluloid insanity, as well as a deceptive maturity that allows a few powerfully-struck grace notes for the cult of femininity and the sanctity of motherhood. Its first portion overwhelming for its craft before lodging in the craw with its ever-present but tantalizingly difficult-to-nail moral code, Tarantino's epic whole clarifies a dedication to a sort of low, Samuel Fuller/Nicholas Ray tabloid cosmology, grounding itself eventually in the bold, lovely, curiously old-fashioned declaration that the last best reward is to be true to the primal clay of an idea of innate gender roles. The Bride (Uma Thurman) is so named not merely for camp grandeur's sake, but also to highlight the power of cultural archetypes and their roots in biology.

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.