The Painted Veil (2006) – DVD; The Good Shepherd (2006); The Good German (2006) – DVD

May 21, 2007Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Canada, China, Directors: Steven Soderbergh, Drama, DVD, Espionage, Mystery, Robert De Niro, Romance, Thriller, War

THE PAINTED VEIL
***/**** Image B- Sound A-
starring Naomi Watts, Edward Norton, Liev Schreiber, Diana Rigg
screenplay by Ron Nyswaner, based on the novel by W. Somerset Maugham
directed by John Curran

THE GOOD SHEPHERD
**/****
starring Matt Damon, Angelina Jolie, Robert De Niro, Alec Baldwin
screenplay by Eric Roth
directed by Robert De Niro

THE GOOD GERMAN
*½/**** Image A Sound A-
starring George Clooney, Cate Blanchett, Tobey Maguire, Jack Thompson
screenplay by Paul Attanasio, based on the novel by Joseph Kanon
directed by Steven Soderbergh

by Walter Chaw PaintedgermanshepherdOne of seemingly dozens of pretentious, self-produced vanity pieces from the Edward Norton grist mill, The Painted Veil, John Curran's adaptation of Somerset Maugham's story of colonial malaise, is a pleasant surprise. Naomi Watts and Toby Jones are fabulous (and Norton is steady); it's not terribly paternalistically racist despite being another Western film in which white people exert their magical influence in foreign lands; and even though it's all about prestige and hedonism, it manages now and again to actually be about prestige and hedonism. But like the simultaneously-opening Soderbergh noir The Good German, it's mostly interesting in the meta. What keeps this updating of the old Greta Garbo weeper from being literally better is the lack of immediacy in its tale of emotionally distant scientists and their flapper wives, adrift in the boiler pot of 1920s Shanghai. Not timeless in its remove but instead ineffably dated by it, it's an Old Hollywood production in both epic scale and lack of subtext, making the picture a lovely trifle not unlike other well-done bits of instantly-forgotten prestige (see: Philip Noyce's The Quiet American).

Shrek the Third (2007)

May 17, 2007Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Eddie Murphy, Family, Fantasy, Japan, Romance, Theatrical

½*/****
screenplay by Jeffrey Price & Peter S. Seaman and Chris Miller & Aron Warner
directed by Chris Miller

Shrek3by Walter Chaw A bad franchise reaches its nadir as DreamWorks Animation's flat-awful Shrek the Third (hereafter Shrek 3) tackles the King Arthur mythos in eighty unwatchable minutes of thunderously boring and occasionally moralizing shit, puke, and hitting gags. The only thing mildly entertaining in the whole mess is a prolonged death scene for a frog followed by a chorus of the things singing a Wings song–entertaining, though not in any way inspired or satirical. As calling the movie dumb would constitute a recommendation for people actually interested in seeing it, better to call it the kind of life-suck where you can feel the irretrievable minutes siphoning out your eyes. To say that children would enjoy it is a smokescreen for the mentally-underdeveloped and emotionally immature to indulge in lowest-common-denominator slapstick and the type of hollow banter that passes for wit in great swaths of greater primate societies. All else fails and toss in a cover of Heart's "Barracuda" by that champion of women's rights and humps Fergie–paired in facile shorthand with a throwaway gag featuring one of the pantheon of fairy tale princesses burning her bra. (Describing it is already more funny and clever than the action itself is in the film.) Prescribing medieval Ever After revisionist feminism to something as essentially useless and inert as Shrek 3 is jarring to the point of total incoherence. If anything, this film is the prime example of what happens when the aim of crafting something for the express purpose of entertaining dullards, mental defectives, and toddlers results in something so middlebrow that it tends toward a vacuum. In its "defense," it's more likely to cause naps than to cause hyperactivity.

To Catch a Thief (1955) [Special Collector’s Edition] – DVD

May 8, 2007Posted in1950s, Authors: Walter Chaw, Directors: Alfred Hitchcock, DVD, Mystery, Romance, Thriller

Tocatchathief

**/**** Image A- Sound B Extras C
starring Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams
screenplay by John Michael Hayes, based on the book by David Dodge
directed by Alfred Hitchcock

by Walter Chaw If Rear Window is Hitchcock's "testament" movie to that point in 1954 (post-North by Northwest, the term no longer has much meaning), then To Catch a Thief, appearing just a year later, recovers the only element missing from Hitchcock's black chest in Rear Window's exhausting exhumation: homosexuality. Note the way that Cary Grant's cat burglar John Robie is greeted by a former accomplice in scenic Nice: as Grant descends a staircase to an outdoor café run by all the reformed dregs of society once involved with Robie and now resentful that Robie appears to be back on the prowl, the head waiter pops a champagne cork in the first of several ejaculatory similes. I do wonder whether the entire film could in fact be read as a gay "reclamation"–its most famous sequence, the juxtaposition of the central seduction sequence with fireworks over Cannes, begins with Robie being teased for his asexuality, recalling an earlier flirtation with rival Danielle (Brigitte Auber) that ends with Robie asking her to cover her legs. More blatantly, Robie is approached by a muscle stud on the beach as Grace Kelly lounges in the background; and when offered on a picnic the choice between a "breast or a leg," Robie demurs, "You make the choice." Clever double entendres, no question, but what exactly is the second "understanding" that we come to in this series of innuendos? Moreover, what to make of the mother figure, reappearing at key erotic moments in body or direct reference (indeed, Kelly's Frances accuses Robie of thinking of her mother during their first kiss) and comprising the punchline of the picture as Frances threatens to make them a household of three (a literal "ménage a trios"–particularly given the film's setting). That kind of mother-love doesn't reach its apotheosis until Psycho five years hence, but there's something along the way to Hitch's complex Oedipal materphobia that suggests here a certain Freudian gay arrest.

Manufactured Landscapes (2006) – DVD

May 3, 2007Posted in****/****, 2000s, Authors: Walter Chaw, Canada, Documentary, DVD, FFC Must-Own

****/**** Image A Sound A Extras A
directed by Jennifer Baichwal

Mustownby Walter Chaw There's something about Jennifer Baichwal's profiles of artists. After debuting with a nicely-modulated piece on writer Paul Bowles, Baichwal heard her muse with The True Meaning of Pictures, a profile of Appalachian portrait photog Shelby Lee Adams that, without overtly politicizing the subject, digs gratifyingly deep into the question of where representation becomes exploitation and, trickier still, how the audience might have as much to do with that difficult equation as the essayist himself. With Manufactured Landscapes, Baichwal looks at the work of Canadian photographer Edward Burtynsky, an artist who shoots landscapes of industrial wastelands that reveal men to be astonishingly productive beasts–and destructive, too, in the same procreative stroke. It's hard to imagine the industry necessary to manufacture the scale of the freighters getting dismantled in the ship-breaking yards to which Baichwal travels with Burtynsky (I've heard a similar sense of awe attends a visit to the Vehicle Assembly Building at NASA)–hard to assimilate the amount of Nietzschian will-to-power necessary to even contemplate the construction of titans.

Free Zone (2005) + The Secret Life of Words (2005) – DVDs

May 3, 2007Posted in2000s, Adventure, Authors: Walter Chaw, Belgium, Comedy, Drama, France, Ireland, Israel, Road Movie, Romance, Spain

FREE ZONE
*/**** Image C- Sound B Extras F
starring Natalie Portman, Hanna Laslo, Hiam Abbass
written and directed by Amos Gitai

THE SECRET LIFE OF WORDS
*½/**** Image A- Sound B+
starring Sarah Polley, Tim Robbins, Javier Cámara, Julie Christie
written and directed by Isabel Coixet

Freezonecapby Walter Chaw The not-at-all-hamfisted allegory of an Israeli woman and a Palestinian woman trekking across the disputed land to find an American who will settle some non-specific debt, Amos Gitai's tediously strident Free Zone opens with ten minutes, uninterrupted, of Natalie Portman weeping over what we discover to be the end of a love affair. It's showy and about as subtle as a kidney-punch–ditto the conception of Portman's passive Rebecca (Portman), the American on the sidelines, a matinee-beautiful beacon who stands by as impassively as Milton's God. That said, the device of a long, car-bound road trip narrated by flashbacks of the protagonists' separate journeys to this journey is, at least for a while, intoxicating. The problem–and it's a doozy–is that Gitai's picture is so blatant an allegory that nothing any of the characters say comes free of dramatic distance or irony, making it impossible to take the film seriously as anything other than ventriloquism for Gitai's, let's face it, unsurprising politics. Nothing wrong with Wailing Wall lamentations about the state of the world, but watching someone shake a fist at a dead horse, long past the hope of resurrection, for upwards of two hours, is tiring and futile. Is there traction in proposing that the film merely mirrors the hopelessness of the Middle East conflict? I guess, but then how many people–specifically, how many people renting a film called Free Zone directed by Amos Gitai–are going to feel edified by that?

Inland Empire (2006)

April 27, 2007Posted in****/****, 2000s, Authors: Walter Chaw, Directors: David Lynch, Drama, Esoterica, France, Horror, Mystery, Poland, Theatrical, Thriller

****/****
starring Laura Dern, Jeremy Irons, Justin Theroux, Grace Zabriskie
written and directed by David Lynch

by Walter Chaw Nikki (Laura Dern) is an actress landing her dream role opposite Devon (Justin Theroux) in a film directed by the great Kingsley Stewart (Jeremy Irons). Alas the project, “On High in Blue Tomorrows”, has a history in which a previous, doomed production ended as reality seeped into its fiction and the film’s onscreen/offscreen lovers were killed. For a moment, it seems as though David Lynch’s Inland Empire might be as straightforward as a haunted Hollywood genre exercise–but time slips, it’s suddenly the next day, and as one character says to another, you’re sitting over there. Displaced, distracted, the picture is a masterpiece that, for the patient, the active, and the curious, may be the most literal definition of “dread” captured on film. That feeling you get when Henry Spencer contemplates his feral baby in Eraserhead is the same species of disgusted, familiar fascination that infects this film like a murder of maggots.

Hot Fuzz (2007)

April 20, 2007Posted in2000s, Action, Authors: Walter Chaw, Comedy, France, Mystery, Theatrical, Thriller, UK

***/****
starring Simon Pegg, Nick Frost, Jim Broadbent, Timothy Dalton
screenplay by Edgar Wright & Simon Pegg
directed by Edgar Wright

Hotfuzzby Walter Chaw Edgar Wright, Simon Pegg, and Nick Frost return after the triumph of Shaun of the Dead with the nominal success of Hot Fuzz: the one a dead-on skewering of/homage to the zombie genre, the latter an equally-dead-on skewering of/homage to the buddy-cop genre that leads one to conclude that the zombie genre is infinitely more fulsome a target than the buddy-cop genre. Though it's clearly the product of smart guys who care about the films they lampoon, there's obviously a difference between making a movie that can stand proudly alongside George Romero's body of work and making one that could keep good company with Michael Bay's. (There's a lot of meat to be mined in a clever dissection of the zombie genre, in other words, whereas most action flicks of this type are already self-parodying exercises in excessive hetero-affirmation amidst much piece-fondling and weeping.) What works best about Hot Fuzz isn't its admirable respect for and similarly keen understanding of films like Robin Hardy's The Wicker Man and Richard Rush's fondly-remembered Freebie and the Bean, but that it, like Shaun of the Dead, functions remarkably well as an example of the genre–something of which most parodies (i.e. arbitrary garbage like Shrek) are completely incapable.

Notes on a Scandal (2006) – DVD

April 15, 2007Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Romance, Thriller, UK

**/**** Image A Sound A- Extras B-
starring Judi Dench, Cate Blanchett, Bill Nighy, Andrew Simpson
screenplay by Patrick Marber, based on the novel by Zoë Heller
directed by Richard Eyre

by Walter Chaw When Judi Dench's brittle enunciation breathes life into the prologue of Richard Eyre's Notes on a Scandal, there's a hope, however fleeting, that the film will deserve the performance. Her tweedy, support-hosed teacher Barbara Covett is set up as a distaff Richard III, looking to subvert the beautifuls acting as the royals in her school's social strata–the newest member of which, Sheba Hart (Cate Blanchett), attracts the greatest amount of envy and desire. The characters' names are embarrassing (why not call them "Barbara Lust" and "Sheba Love"?), and it's not long before the picture follows suit, becoming as obvious and stillborn as its first half hour is scabrous and dangerous. Adapted from the Zoë Heller novel, it reminds of screenwriter Patrick Marber's Closer and how Mike Nichols's film adaptation similarly suffered from a gradual slackening of shock with the realization that its umbrella of misanthropy doesn't cast a dark shadow on all of us so much as it provides a vicarious thrill, like watching a cockfight, say, or a mantis eating its mate: though foul, its pungency is isolatable.

Color Me Kubrick (2006) + The Hoax (2007)

April 10, 2007Posted in2000s, Authors: Walter Chaw, Biopic, Comedy, Drama, France, Isle of Man, Theatrical, UK

Colour Me Kubrick: A True…ish Story
½*/****
starring John Malkovich, Jim Davidson, Richard E. Grant, Luke Mably
screenplay by Anthony Frewin
directed by Brian W. Cook

THE HOAX
**½/****
starring Richard Gere, Alfred Molina, Marcia Gay Harden, Stanley Tucci
screenplay by William Wheeler
directed by Lasse Hallström

Colormehoaxby Walter Chaw Suffice it to say that any picture featuring a sped-up version of the "William Tell Overture" is so drunk on its own whimsy that it most likely sucks with a dedicated vigour. Case in point: Brian W. Cook's twee Color Me Kubrick, which chronicles, sort of, the life and times of impostor Alan Conway (John Malkovich) as he sashays through days of getting free drinks and the occasional hummer by telling people he's the eponymous director. Never mind that Conway doesn't appear to know the difference between Stanleys Kubrick and Kramer, or that Malkovich's portrayal of him is so offensively fey that it could be used as a fright vid at "Focus on the Family" scare revivals–Color Me Kubrick is a grand drag revue without a rudder, and because it's not particularly entertaining, it harbours no purpose great or small. Malkovich is only ever Malkovich in all his alien glory, neatly eclipsing his supporting cast, any momentum in the script or direction, and, ultimately, any pathos in Conway's sad need to be someone else. (More egregiously unexamined is everyone else's sadder need to be in the orbit of celebrity.) Unimaginatively shot and, it can't be reiterated enough, abominably written (one scene has Conway suggesting he's cast John Malkovich in 3001: A Space Odyssey, to which his dinner mate asks, "John who?"–droll, no?), the picture is mainly interesting because, after having sat on the shelf for a while, it's finally surfaced in tandem with Lasse Hallström's similarly-mothballed film about another fabulist, Clifford Irving.

Grindhouse (2007)

April 5, 2007Posted in****/****, 2000s, Action, Authors: Walter Chaw, Canada, Esoterica, Horror, Theatrical, Thriller

***/****
Planet Terror (**/****): starring Rose McGowan, Freddy Rodriguez, Michael Biehn, Jeff Fahey
written and directed by Robert Rodriguez
Death Proof (****/****): starring Kurt Russell, Rosario Dawson, Vanessa Ferlito, Zoe Bell
written and directed by Quentin Tarantino

Grindhouseby Walter Chaw Robert Rodriguez is better at making an old exploitation movie and Quentin Tarantino is better at capturing the joy of watching old exploitation movies, meaning that the Rodriguez half of Grindhouse is exuberant, post-modern camp and the Tarantino half is, as Tarantino's films usually are, pure delight. Rodriguez winks and tries maybe too hard; Tarantino, being the sui generis of a very specific kind of film, proceeds to create something that resembles Vanishing Point and Two-Lane Blacktop while steering clear of irony, self-indulgence, and post-modernism in its reverence. The mistake is in seeing some of Tarantino's casting choices as ironic: what's wrong with the careers of the world's Travoltas and Pam Griers and even De Niros is that they started cashing in on the ironic value of their brand. No, what Tarantino does is remember why they became a brand in the first place. A moment where Kurt Russell, as Tarantino's bogey Stuntman Mike, flashes a giant, shit-eating grin right through the fourth wall doesn't come off as self-congratulatory so much as it shows an old genre vet excited to be back in the saddle. While Rodriguez's Planet Terror is fun in a back-clapping way, Tarantino's Death Proof is a profound insight into the sort of dick-raising entertainments that made Tarantino who he is as fanboy artist. Rodriguez likes to show off–Tarantino can only make the movies he makes: it's not the pulpiness of the subject matter that feels like the true faith in Tarantino's films, it's the sense that for all the artificiality of his aesthetic, there's not an ounce of pretense in his decisions. In short, Rodriguez is the Salieri to Tarantino's Mozart.

The Lookout (2007)

March 29, 2007Posted in2000s, Authors: Walter Chaw, Crime, Drama, Theatrical, Thriller

***/****
starring Joseph Gordon-Levitt, Jeff Daniels, Matthew Goode, Isla Fisher
written and directed by Scott Frank

Lookoutby Walter Chaw Perfectly workmanlike in execution, Scott Frank's hyphenate debut The Lookout is a mash of admirable capers (A Simple Plan, Memento, and Fargo are high in its pantheon of giants' shoulders), but it lacks suture in its crime arc, making one wish that its small character moments–highlighted by a superlative cast–were allowed to anchor its climax and epilogue. As Chris Pratt, a brain-damaged youth suffering after an act of high school chutzpah that resulted in the annihilation of his golden life, Joseph Gordon-Levitt continues to cement his claim as the best young actor of his generation, delivering a performance revolving around the life and death of the mind that is heartbreaking in its observation and subtlety. I think a lot about a moment near the end of the film where he makes change for an old acquaintance and lament that the twenty minutes or so that precede its conclusion–twenty minutes that drag The Lookout into convention and cheap formula–even happened. Until then, the picture drags some seriously dark shit out from under the psychic bed, such as how being a sports hero in high school can hide the fact that you're maybe an asshole setting yourself up for a fall, and how robbing anyone of virility and self-esteem (not to mention Everybody's All-American) can lead to dangerous explosions involving women and long firearms. Once exposed to this genre's sputtering arc light, however, all that darkness in The Lookout is suddenly at the mercy of a lot of travel-worn underdog revenge bullshit. The tightrope of genre pictures is that the first time I can predict what's going to happen is usually when it loses me for good.

Blades of Glory (2007)

March 29, 2007Posted in2000s, Authors: Walter Chaw, Comedy, Sports, Theatrical

*/****
starring Will Ferrell, Jon Heder, Will Arnett, Craig T. Nelson
screenplay by Jeff Cox & Craig Cox and John Altschuler & Dave Krinsky
directed by Will Speck & Josh Gordon

Bladesofgloryby Walter Chaw A goodly portion of Will Ferrell's fame has to do with his complete comfort with his body and sexuality. No surprise, then, that Blades of Glory's one-trick pony is straight men doing gay things in what is widely regarded as the gayest sport at the Winter Olympics. Not necessarily that figure skating is dominated by gay men (aside: isn't it?), but that the sight of men in spandex and codpieces pretending to be swans is uncomfortable for great swaths of middle-America and thus subject to ridicule and hatred. The first shot of the film suggests the divide as little Jimmy MacElroy (Zachary Ferrin as a child, the untalented Jon Heder as an adult) joyfully Salchows on an ice rink segregated from the "normals" playing hockey below. Recognized for his nascent useless talent, he's adopted by a megalomaniacal millionaire (William Fichtner in too small a role) who grooms little Jimmy into an Olympic champion whose only rival on the ice is portly sex machine Chazz (Will Ferrell). When the two get into a fistfight on the awards stanchion, they're banned from competing in their division–leading, of course, to their decision to return to glory in the pairs division. I'm not suggesting that Blades of Glory is hateful, really, so much as facile and easy. If you think Ferrell not wearing much as one half of the first man-man figure skating team is hysterical, and if you consider the gag of straight men touching each other's groins for the sake of a spectacle that's already beyond parody to be comedy gold, then have I got a movie for you.

Happy Feet (2006) [Widescreen Edition] – DVD

March 18, 2007Posted inAdventure, Animation, Antarctica, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Family, Music, Musical, New Zealand, Romance

***/**** Image A- Sound A Extras B-
screenplay by George Miller, John Collee, Judy Morris, Warren Coleman
directed by George Miller

Happyfeetcapby Walter Chaw For no other purpose, really, than that I loved its unabashed perversity and darkness, I used to make an annual ritual of watching George Miller’s Babe: Pig in the City. The image of Mickey Rooney in full clown regalia, sopping at an ice cream cone, is the stuff of nightmares, as well as a marvellous example of how much Aussie director George Miller got away with halfway around the world from his financiers. As a kid’s show, Babe II‘s success has a lot to do with it recognizing how familiar is fear and isolation in the life of a youngster, and providing solutions to things that alarm instead of denying their existence. Watching the director’s latest, Happy Feet, the moment Mumble (voiced by Elijah Wood, danced by Savion Glover) woke up in a zoo after an odyssey in pursuit of a commercial fishing vessel and was told by his inmate, a HAL-voiced fellow penguin, “Try the water, Dave. The water’s real, Dave,” I realized that we were down the same rabbit hole with Miller, seeing zoo animals as insane at best, made so by the drudgery of routine and the inability to communicate with their jailers. It’s a fertile image amidst Happy Feet‘s most fertile passage (and its connection to the Starchild sequence in 2001 is the second such allusion in a film this month (see also: The Fountain)), one that ends with Mumble tying the secret of interspecies understanding to that old minstrel trick of tap-dancing for a very particular audience of otherwise disinterested aliens.

Premonition (2007)

March 15, 2007Posted in2000s, Authors: Walter Chaw, Drama, Mystery, Theatrical, Thriller, ZERO STARS

ZERO STARS/****
starring Sandra Bullock, Julian McMahon, Nia Long, Peter Stormare
screenplay by Bill Kelly
directed by Mennan Yapo

Premonitionby Walter Chaw There's a scene in the middle of Mennan Yapo's thunderously bad Premonition where two little moppets do a little "Who Killed Cock Robin?" hopscotch that is meant, I think, to mirror their mother's tripping back and forth through time to before and after her husband's timely/untimely death. See? I get it. Premonition, with its faux-spiritual, quasi-pretentious, Hallmark Hall of Fame-enshrined machinations, not only thinks pretty highly of itself in its Lake House fashion, but also corroborates a whole new genre behind the ample wake generated by newly-solemn Sandra Bullock involving fractured narratives (see also: Crash), often time travel (The Lake House), and pat morals having to do–like the ironic moral to another time travel fable–with being excellent to one another. Not even the sight of a severed head rolling around at a funeral or Peter Stormare as the voice of reason lends the picture the slightest flicker of life. It's less damning than Bullock's primary career as the poor man's Julia Roberts in vaguely misogynistic romantic comedies, I suppose, though the best that could be said about Bullock's dreary new path is that while the films are still appallingly bad, at least they're not especially popular. This predilection for knocking off Nicholas Sparks master plots should be a short-lived one.

The Rodgers & Hammerstein Collection (1934-1965) – DVD

March 12, 2007Posted in****/****, 1930s, 1940s, 1950s, 1960s, Authors: Walter Chaw, Best Picture (Academy Awards), Comedy, Drama, DVD, Family, Fantasy, Musical, Romance, War, Western

THE SOUND OF MUSIC (1965)
*½/**** Image B Sound B Extras B+
starring Julie Andrews, Christopher Plummer, Richard Haydn, Eleanor Parker
screenplay by Ernest Lehman
directed by Robert Wise

MustownTHE KING AND I (1956)
****/**** Image A Sound A Extras A
starring Deborah Kerr, Yul Brynner, Rita Moreno, Martin Benson
screenplay by Ernest Lehman, based on Margaret Landon’s play “Anna and the King of Siam”
directed by Walter Lang

SOUTH PACIFIC (1958)
*½/**** Image A+ (Theatrical) A (Roadshow) Sound B Extras C+
starring Rossano Brazzi, Mitzi Gaynor, John Kerr, Ray Walston
screenplay by Paul Osborn, based on Tales of the South Pacific by James A. Michener
directed by Joshua Logan

CAROUSEL (1956)
**/**** Image A Sound A Extras C
starring Gordon MacRae, Shirley Jones, Cameron Mitchell, Barbara Ruick
screenplay by Phoebe and Henry Ephron, based on the Ferenc Molnár’s play “Liliom”
directed by Henry King

LILIOM (1934)
****/**** Image B Sound B Extras B+
starring Charles Boyer, Madeleine Ozeray, Robert Arnoux, Roland Toutain
screenplay by Robert Liebmann, dialogue by Bernard Zimmer, based on the play by Franz (a.k.a. Ferenc) Molnár
directed by Fritz Lang

STATE FAIR (1945)
½*/**** Image B- Sound B- Extras A
starring Jeanne Crain, Dana Andrews, Dick Haymes, Vivian Blaine
screenplay by Oscar Hammerstein II, based on the novel by Philip Strong
directed by Walter Lang

STATE FAIR (1962)
**/**** Image A Sound A Extras C
starring Pat Boone, Bobby Darin, Pamela Tiffin, Alice Faye
screenplay by Richard Breen; adaptation by Oscar Hammerstein II, Sonya Levien, Paul Green
directed by José Ferrer

OKLAHOMA! (1955)
***/**** Image A (CinemaScope) C (Todd-AO) Sound B+ Extras B-
starring Gordon MacRae, Gloria Grahame, Shirley Jones, Gene Nelson
screenplay by Sonya Levien and William Ludwig
directed by Fred Zinnemann

Rodgerssoundofmusiccapby Walter Chaw God, The Sound of Music is so freakin’ nice. Nazis are the bad guys, no controversy there; raindrops on roses and whiskers on kittens–have you no heart, man? But when I like Rodgers & Hammerstein–and I like them quite a lot, truth be wrenched–I like their ambiguity, their irony, their goddamned fatalism in the face of eternal romantic verities. Consider the animal (jungle?) heat of “Shall We Dance,” cut off like a faucet by the fascistic abortion of The King and I‘s secondary love story; or the persistence of love despite abuse and abandonment in Carousel; or the slapdash kangaroo court that justifies love in Oklahoma!. This is all so much more than the slightly shady (and ultimately redeemed) shyster of The Music Man–this is reality in the midst of the un-, sur-, hyper-reality of the musical form. Yet what The Sound of Music offers up is a military man shtupping an ex-nun with no corresponding sense of fetishistic eroticism. How is it that the two most popular adult Halloween costumes engaged in naughty Alpine sexcapades could be totally free of va-va-va-voom? It’s so relentlessly wholesome that of course it’s the most beloved artifact of its kind in the short history of the movie musical: If you’re of a certain age, the plot of the thing is almost family mythology, resurrected every holiday like a dusty corpse at a decades-long Irish wake gone tragically awry. That ain’t a grin, baby, it’s a rictus.

Casino Royale (2006) [2-Disc Widescreen] – DVD

March 12, 2007Posted in2000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Bahamas, Czech Republic, DVD, Espionage, Germany, James Bond, Thriller, UK

Casinoroyalecap

***/**** Image A- Sound A Extras B
starring Daniel Craig, Eva Green, Mads Mikkelsen, Judi Dench
screenplay by Neal Purvis & Robert Wade and Paul Haggis, based on the novel by Ian Fleming
directed by Martin Campbell

by Walter Chaw A genuinely good updating of the James Bond mythos from plastic, moldering relic to bloody, sweaty sociopath drunk on his own virility and general misanthropy, Martin Campbell’s Casino Royale–though the umpteenth chapter in a decades-old testosterone fever dream–is very much a part of this day and age. It’s a film that makes sense of the franchise using a modern vernacular of vengeance, terrorism, Texas Hold ‘Em, and paranoia. It’s unnecessarily padded by at least fifteen minutes, but when it switches into gear it announces itself a worthy peer to the Jason Bourne films with action that’s fantastically choreographed and alive with weight and violence. Most importantly, it finally has a protagonist who is, if not already, well on his way to becoming a serious psycho–post-modern man. What Daniel Craig brings to the role is a feral intelligence, this self-awareness that he’s a bad person. Any good that he does is tainted by the knowledge that this Bond’s only in it for the cheap thrills (drugs and murder, in particular) that lube his insect brain. Casino Royale summarizes the trend of detached, savage pictures from the last couple of years (Miami Vice, in particular, another bleak updating of a camp curio); when we talk about good action films now, we seem to be talking about the degree to which we have, as a culture, regressed to the Old Testament in matters of the heart and the hand. Call it “caveman vérité.”

Crank (2007) [Widescreen] – DVD

February 27, 2007Posted in2000s, Action, Authors: Walter Chaw, Crime, DVD, Esoterica

**½/**** Image A Sound A Extras B
starring Jason Statham, Amy Smart, Jose Pablo Cantillo, Dwight Yoakam
written and directed by Neveldine/Taylor

by Walter Chaw Consider the moment where French-fu schlockmeister Jason Statham marches through downtown traffic clad in a hospital smock, black socks, and boots while sporting a giant erection and ask yourself what more you could want from a dumb action movie called Crank. Seriously. A crotch-first fusion of Rudolph Maté's D.O.A. and "Grand Theft Auto", it defines that genre of video game-inspired non-sequitur mayhem indicated by epileptic edits, CGI-aided wire-fu, and John Woo gunplay by offering a high concept (hero is dying of a rare Chinese toxin that can be held in abeyance only with a steady infusion of adrenaline) as its narrative/excuse to exist.

The Number 23 (2007)

February 23, 2007Posted in2000s, Authors: Walter Chaw, Crime, Mystery, Theatrical, Thriller

*/****
starring Jim Carrey, Virginia Madsen, Logan Lerman, Danny Huston
screenplay by Fernley Phillips
directed by Joel Schumacher

by Walter Chaw The wilted potential part of it reminding a great deal of Ramsey Campbell's The Count of Eleven, the new Jim Carrey vehicle The Number 23 finds professional hack Joel Schumacher returning to his Flatliners camp/schlock phase: a sort of supernatural thriller (sort of) that goes the Secret Window route towards absolute stunning mediocrity. Hardest to watch isn't Schumacher's umpteenth treatise on how to shine any project to a frictionless, dimwit, burlesque sheen, but rather Carrey's betrayal of himself by following Eternal Sunshine of the Spotless Mind with a limp Lemony Snicket's A Series of Unfortunate Events, a dreadful Fun with Dick and Jane, and now this. It suggests to me a lot of things, most of all the impression that Carrey, despite still wanting at least in part to be taken seriously as an actor, may have lost the critical facility first to avoid Schumacher projects and second to differentiate between high-concept dreck and Charlie Kaufman existential inspiration. Neither mysterious nor enthralling, The Number 23 is ridiculous, not for its complexity, but for its belief in its complexity–not for its Byzantine twists and turns, but for its utter self-delusion. It's READER'S DIGEST: the presumption that people who actually read would prefer to read this truncated, pandering, aggressively-neutered pap.

Down in the Valley (2006) [Widescreen] – DVD

February 21, 2007Posted in2000s, Authors: Walter Chaw, Drama, DVD, Romance, Thriller

*/**** Image B- Sound B+ Extras C-
starring Edward Norton, Evan Rachel Wood, David Morse, Rory Culkin
written and directed by David Jacobson

Downinthevalleycap

by Walter Chaw Almost worth it for a scene on the set of a western where our deranged fabulist hero Harlan (Edward Norton) finally finds a home, David Jacobson's Down in the Valley is otherwise so much pretentious hoohah waving its indie banner like a parasol. Rather than serve to illustrate a point about form and function à la Gus Van Sant's shot-for-shot remake of Psycho, what Jacobson's film does is strain its affection for (affectation of?) Taxi Driver, to the point of re-enacting the sacred "You talkin' to me?" sequence–to the point of actually perverting Scorsese's satire into your typical avenging-father/straying-daughter intrigue. It's possible of course to boil Travis Bickle's odyssey down to that, but to call Down in the Valley "reductive" is too kind: this is Taxi Driver recast as a protect-your-children-from-bad-dates picture, one that turns its back on the dreamlife of a crocodile in favour of the restoration of familial strata. It fails the courage test–going so far as to subtly pose an anti-Second Amendment suggestion–after failing, more damnably, to rationalize its pilfering of perhaps the definitive yawp in modern American cinema. Shake Down in the Valley hard enough and out falls another produced-by vanity piece for Norton to exercise his blank (as in Miyazaki-forest-sprite blank), squinty-eyed Method for the approval of his rapidly-shrinking circle of admirers. As far as the Norton mystique goes, Ryan Gosling is cheaper and prettier.