Authors: Walter Chaw Archives - Page 89 of 146

The War Within (2005) + Paradise Now (2005)

November 4, 20052000s, Authors: Walter Chaw, Crime, Drama, France, Germany, Israel, Netherlands, Palestine, Theatrical, Thriller, War

THE WAR WITHIN
**/****
starring Ayad Akhtar, Firdous Bamji, Nandana Sen, Sarita Choudhury
screenplay by Ayad Akhtar, Joseph Castelo, Tom Glynn
directed by Joseph Castelo

PARADISE NOW
***/****
starring Kais Nashef, Ali Suliman, Lubna Azabal, Amer Hlehel
screenplay by Hany Abu-Assad, Bero Beyer, Pierre Hodgson
directed by Hany Abu-Assad

by Walter Chaw Two films, one by New Jersey filmmaker Joseph Castelo, the other by Palestinian lenser Hany Abu-Assad, begin to make inroads into what is perhaps the most inscrutable phenomenon of the so-called War on Terror: suicide bombing. They’re important films, I think, mostly because suicide bombers, like the Japanese Kamikaze pilots of WWII, make it easier to generalize and dehumanize/demonize the enemy as faceless zealots. Every manned car-bomb, every explosives-strapped martyr, creates ideological schisms on either side–more so and deeper, I’d offer, than conventional missiles or rifle shells do, because here we’re striking at the very heart of the way we perceive life and the afterlife: holiness and sin, valour and cowardice. If there’s ever to be some sort of olive branch in this millennia-old conflict, it has to start with an agreement not only to recognize the humanity beneath the atrocities committed by both sides in the name of defending home and hearth, but also to admit that centuries-old texts about the supernatural are piss-poor signposts pointing the light of right reason.

Save the Green Planet! (2003) – DVD

November 3, 20052000s, Authors: Walter Chaw, Comedy, Drama, DVD, Fantasy, Sci-Fi, South Korea, Thriller

Jigureul jikyeora!
***½/**** Image A Sound A Extras A
starring Shin Ha-gyun, Baik Yun-shik, Hwang Jung-min
written and directed by Jang Joon-hwan

by Walter Chaw The first third of hyphenate Jeong Joon-hwan's cinematic debut Save the Green Planet! (Jigureul jikyeora!) is sort of like Fargo if David Fincher had directed it, the second third like Sleuth if Terry Gilliam had directed it, and the final third like a mescaline hallucination, complete with a portly/heroic high-wire artist (Sooni (Hwang Jeong-min) and a swarm of murderous bees thrown into action by a jar of royal jelly. There's a crucifixion, entirely unspeakable and lawless references to 2001 and Blade Runner, and, without warning, a flashback to the unhappy childhood of our hero, Lee (Shin Ha-Kyun), composed with a lyrical sadness that brings a wholly-unexpected tear to the eye. Save the Green Planet! has been shot with scary confidence in a style long on provocative evocation and clarity and short on pyrotechnics for their own sake–something astonishing given that the plot revolves around alien invasion, gruesome torture, serial murder, corporate malfeasance, and Korea's tumultuous recent history. It's indescribable, is what I'm trying to say, but I do know that I was rapt through two screenings, seduced by its sprung logic and affected during its wordless epilogue of a child at play with his parents in a past unrecoverable full of light and love.

Millions (2005) – DVD

November 1, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Crime, Drama, DVD, Family, UK

**/**** Image A- Sound A- Extras C+
starring James Nesbitt, Daisy Donovan, Alex Etel, Lewis McGibbon
screenplay by Frank Cottrell Boyce, based on his novel
directed by Danny Boyle

by Walter Chaw Unbelievably sentimental and, finally, corrupt with a hideous paternalism (how a flick like this ends first at a child’s Nativity pageant à la Love Actually, then in Africa, where a well is being dug for dying Africans, is one of those all-timers), Millions finds director Danny Boyle, after last year’s brief return to some semblance of Shallow Grave/Trainspotting form with 28 Days Later…, returning to his A Life Less Ordinary/The Beach form in all its excrescent glory. It’s the tale of two adorable, buck-toothed British urchins (the rage after Finding Neverland) who stumble upon pilfered millions in the form of the soon-to-be-Euros British Pounds Sterling and, Shallow Grave-like, ultimately hide the money in an attic with cunningly-placed slats in the floorboards for panicked eyeballs. It’s Pay It Forward, with younger Damien (Alex Etel) obsessed with the lives and messy deaths of saints and dedicated to giving the wealth to the poor (even Mormons, whom the film portrays as evil little twats), and it’s Luis Buñuel’s Viridiana in the poor’s reaction to getting rich, sporting its own version of the beggar’s banquet Last Supper from Buñuel’s picture in a scene set in a pizza parlour. And it’s Pay It Forward again in its subversion of that film’s “teach the world to sing” finale: a genuinely disturbing mob scene starring the superstars of organizations asking for your money to save the world from itself. But finally, it’s just another Danny Boyle film–a little meat and a lot of showing off with CGI pyrotechnics and confused editing.

Into the Blue: FFC Interviews Ira Sachs

October 29, 20052000s, Authors: Walter Chaw, Interviews

October 30, 2005|He has the potential to sound pretentious and he's nervous about it–but there is wrapped up in this self-awareness the Catch-22, as they say, that if he knows he sounds a certain way, he probably isn't that way. It's a hard thing and you see it a lot these days, that if you're qualified, you downplay it–if you're knowledgeable, you pretend not to be–because there is no bigger social crime in these United States than to know more than the next guy. I had a chance to talk to Ira Sachs, co-writer and director of the fantastic Forty Shades of Blue, about cracking the hard skin that's formed over the pudding of the indie dysfunctional-family genre. Set in his hometown Memphis, where Mr. Sachs grew up "gay and Jewish," the picture–like Sachs himself, he's quick to affirm–is about compressing multiple lives into one journey.

Forty Shades of Blue (2005)

October 26, 2005****/****, 2000s, Authors: Walter Chaw, Drama, Music, Romance, Theatrical

****/****
starring Rip Torn, Dina Korzun, Darren Burrows, Paprika Steen
screenplay by Michael Rohatyn and Ira Sachs
directed by Ira Sachs

by Walter Chaw Muscovite Laura (Dina Korzun) lives with her boyfriend, legendary music producer Alan James (Rip Torn), in Memphis. He's twice her age, they have a young son together, and when Alan's grown son Michael (Darren E. Burrows) comes home to visit, Laura begins to realize that although she's living her dream of prosperity, she's a stranger in a strange land, divorced from her ambitions and beginning to cramp from the positions her little deceptions demand of her. She's defined almost entirely by her sometime- lover and keeper–at restaurants, people ask her if Mr. James will be showing up later, and when an impulse has her shopping for Michael, she's asked if she's picking something up for Mr. James. Most films that share a set-up with Forty Shades of Blue are about how it is that the Alans of the world can have everything but be incapable of maintaining a marriage, muddying the relationships with their children with the same brusque inconsiderateness. Just as likely is the film about the vagabond son trying to build a bridge back to his larger-than-life father–the chiseller trophy wife as background decoration and occasional plot lubricant.

Desperate Housewives: The Complete First Season (2004-2005) – DVD

October 24, 20052000s, Authors: Walter Chaw, Comedy, Drama, DVD, Mystery, Television

Image A+ Sound A Extras B+
"Pilot," "Ah, But Underneath," "Pretty Little Picture," "Who's That Woman?," "Running to Stand Still," "Anything You Can Do," "Guilty," "Suspicious Minds," "Come Back to Me," "Move On," "Every Day a Little Death," "Your Fault," "Love Is in the Air," "Impossible," "If It's Brown, Flush It Down," "There Won't Be Trumpets," "Children Will Listen," "Live Alone and Like It," "Fear No More," "Sunday in the Park with George," "Goodbye for Now," "One Wonderful Day"

by Walter Chaw The writing on Marc Cherry's "Desperate Housewives" is astringent and bright for the first dozen episodes or so. For more than half the first season, the show works as an effervescent satire of evening potboilers like "Dallas" or "Falcon Crest": It understands the attraction/repulsion dynamic of venerable bodice-ripping soapers and boils them down to their base elements of women, houses, relationships, and desperation. Eventually, though, the series falls off the tightrope all satires walk between commentary and indulgence–it starts having too good a time pretending to be that which it disdains and, in so doing, reveals its true colours as a drag revue played by women, ultimately freeing it of irony. Just look to the reports of on-set strife and photo-shoot jealousy to see that the tabloid has overtaken the snark, with intelligence and purpose quick to follow.

Capote (2005)

October 21, 20052000s, Authors: Walter Chaw, Biopic, Canada, Crime, Drama, Theatrical

**/****
starring Philip Seymour Hoffman, Catherine Keener, Clifton Collins, Jr., Chris Cooper
screenplay by Dan Futterman, based on the novel by Gerald Clarke
directed by Bennett Miller

by Walter Chaw You hear him before you see him: Truman Capote (Philip Seymour Hoffman), raconteur, socialite, showman, standing at the centre of the kind of swinging party immortalized in the glossy, offensive film version of his Breakfast at Tiffany's. He's telling a story in a claustrophobic storm of admirers, his reedy, almost-falsetto voice broken now and again by his wheezing, self-conscious laugh. He's flirting with his own persona, I think (Hoffman, not Capote), and the tiny moments I'm able to see through the barrage of misdirection thrown up by screenwriter Dan Futterman and director Bennett Miller (all three old friends–the film plays smug like an exclusive reunion) to strike at the heart of Hoffman's own situation as a sensitive soul trapped in the body of a second fiddle (Kevin Smith syndrome–or, more flatteringly, Charles Laughton), are the moments Capote means something to me beyond another exhumation of the Clutter Family murders already chronicled (and exploited twice already by Capote's In Cold Blood and Richard Brooks's magnificent film treatment of the same) and mythologized. It's as Americana as Grant Wood, marking this tiny Kansas landscape with the same brush as Ed Gein's Wisconsin–and making Capote sexy in a ghoulish way when it fails to be sexy in a revelatory way.

North Country (2005)

October 21, 20052000s, Authors: Walter Chaw, Drama, Theatrical

*/****
starring Charlize Theron, Frances McDormand, Sissy Spacek, Woody Harrelson
screenplay by Michael Seitzman
directed by Niki Caro

by Walter Chaw North Country is a sensationalistic, pandering film that crafts from a landmark legal case a cinematic martyrdom the equivalent of Christ’s and Joan of Arc’s rolled up into the noble, trembling lips of Charlize Theron (who once had the temerity to chastise the press for focusing on her appearance in Monster whilst wearing a see-through, painted-on size-4 gold dress). I’m not decrying the stunt-casting of a statuesque blond in the role of the tiny Minnesotan mine worker the life upon which this film is ever-so-loosely based, nor am I begrudging, per se, the natural instinct of Roger Ebert and the Academy to foam over turns like this from starlets undergoing extreme make-unders. No, what I really don’t like are movies like North Country that fudge humanity in all its ugliness and imperfection so tragically that the real issues of the picture end up looking like one of those glossy fashion mag covers Theron will grace as she embarks on her promotional turn. According to the world of North Country, it’s not terrible enough that awful things happen to a real live person–no, awful things have to happen to Mother-freakin’-Teresa.

Doom (2005) + Stay (2005)

October 21, 20052000s, Action, Adventure, Authors: Walter Chaw, Czech Republic, Drama, Germany, Horror, Mystery, Sci-Fi, Theatrical, UK

DOOM
½*/****
starring The Rock, Karl Urban, Rosamund Pike, DeObia Oparei
screenplay by David Callaham and Wesley Strick
directed by Andrzej Bartkowiak

STAY
*½/****
starring Ewan McGregor, Naomi Watts, Ryan Gosling, Janeane Garofalo
screenplay by David Benioff
directed by Marc Forster

by Walter Chaw For a split second, the clouds part and I think I’ve kenned a glimmer of an idea in Andrzej Bartkowiak’s video game adaptation Doom that doesn’t involve homoerotic gun worship or ripping off everything from Aliens save its humanity. Semper Fi, gung ho, muscle-bound jarhead Sarge (Dwayne “The Rock” Johnson) takes it upon himself to order his own mini-Mai Lai because he’s a stickler for details, and his stock marines balk to varying degrees of morality-inspired mutiny. Suddenly, and just for that split second, Doom of all things becomes Casualties of War (and, in fact, literalizes that film’s tagline of “In war, innocence is the first casualty”), and although what’s leading up to the moment isn’t that great, I was ready to roll with this totally unexpected, thought-provoking tickle. Alas–it flees like hope so often does, leaving fifteen minutes of semi-gory first-person perspective to simulate the first-person perspective of the video game (marking this as the first–and probably last–time someone thought that ripping off Uwe Boll was a good idea), ending with the sort of mano-a-mano showdown between its warring alpha males that everyone’s seen enough of by now.

Hellraiser: Hellworld (2005); The Boogeyman (1980)/Return of the Boogeyman (1984); The Fallen Ones (2005) – DVDs

October 18, 20051980s, 1990s, 2000s, Adventure, Authors: Walter Chaw, DVD, Horror, Romania, ZERO STARS

HELLRAISER: HELLWORLD
*/**** Image A Sound A Extras B
starring Lance Henriksen, Katheryn Winnick, Christopher Jacot, Doug Bradley
screenplay by Carl Dupre
directed by Rick Bota

The Boogey Man
½*/**** Image B Sound B
starring Suzanna Love, Ron James, John Carradine
written and directed by Ulli Lommel

RETURN OF THE BOOGEYMAN
ZERO STARS Image D Sound D
starring Suzanna Love, Kelly Galinda, Richard Quick
directed by Deland Nuse

THE FALLEN ONES
** Image A Sound A Extras B+
starring Casper Van Dien, Kristen Miller, Geoffrey Lewis, Navid Negahban
written and directed by Kevin VanHook

by Walter Chaw The only genre that boasts more direct-to-video fare than horror is porn, and since we haven't quite reached the point of quiet desperation needed to begin reviewing porn, find here a smelted cheddar of four dtv horror features (actually, The Boogeyman got a theatrical release in 1980, though I can't understand why): the eighth film in Clive Barker's venerable horror octology, Hellraiser: Hellworld; The Boogeyman and its second sequel, the legitimately straight-to-video Return of the Boogeyman; and Kevin VanHook's The Fallen Ones. The only thing that binds them together, of course, is the general disrepute of their genre, doubled by their status as never having secured "legitimate" distribution–but, what with us teetering on the eve of the major studios embarking on a grand experiment in franchising their licenses for direct-to-video treatment, now seems as good a time as any to give these films a look. First we had a couple of Wild Things sequels, then The Sandlot 2 and a Carlito's Way prequel, and soon Single White Female will follow in the Disney footsteps of producing DVD cheap product for fast returns and an eternity gathering dust and puzzled glances in drugstore dollar bins. It's the equivalent of turning Idahoan runaways into crack whores before discarding them for the next small-town beauty led astray.

Trauma (1993) + The Card Player (2004) – DVDs

October 17, 20051990s, 2000s, Authors: Walter Chaw, Directors: Dario Argento, DVD, Horror, Italy, Mystery, Thriller

Dario Argento's Trauma
**/**** Image A Sound B+ Extras B-
starring Christopher Rydell, Asia Argento, Laura Johnson, Piper Laurie
screenplay by Dario Argento & T.E.D. Klein
directed by Dario Argento

Il cartaio
**½/**** Image B+ Sound B+ Extras A
starring Stefania Rocca, Liam Cunningham, Silvio Muccino, Claudio Santamaria
screenplay by Dario Argento, Franco Ferrini
directed by Dario Argento

by Walter Chaw Listening to Dario Argento himself call Trauma "classic Argento" shakes the validity of author intentionality. The man's a legend, but he has no idea about the qualities that used to shine in his own work, and what comes clear for a fan of the "Italian Hitchcock" after a screening of Trauma is that the thrill is gone. It's one of those George Lucas situations where if it were anyone else shitting all over the legacy, there'd be a violent hue and cry instead of this collective embarrassed averting of gaze–a cheap ripper that steals scenes whole from better Argento flicks without a commensurate level of understanding of how to use them. Was a time that Argento redefined the slasher flick in the same way that countryman Sergio Leone redefined the Western; that Argento (like American rival and doppelgänger Brian DePalma) was appropriating bits and pieces from Alfred Hitchcock and rejuvenating them in films exhilarating for their willingness to do absolutely anything to anyone at any moment. Once lawless, Argento's pictures feel inconsequential now. Light and aimless.

Crash (2005) [Widescreen] – DVD

October 10, 20052000s, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Crime, Drama, DVD, Germany, Thriller

*/**** Image A Sound A- Extras B-
starring Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito
screenplay by Paul Haggis & Bobby Moresco
directed by Paul Haggis

by Walter Chaw In peeking under the satin-slick bedclothes of the latest crop of high-falutin' liberal diatribes tarted-up with matinee idols and compromised ideals, one finds that whatever the trappings of sophistication, we're still making Stanley Kramer movies, all of grand speeches and peachy endings. Seems to me the common denominator among the Interpreters and Constant Gardeners and Lord of Wars is a good unhealthy dollop of white man's guilt, that could-be beneficial malady that afflicts the affluent and socially well-established once in a while so they'll pay lip service to Africa, and race, and class. (Just as long as it has nothing to do with actual activism.) They're issues considered phantom offices at which to give and then leave with a sense of closure at best or, at the least, a feeling that all the tempests in the world are fit for a teacup you can put away somewhere in a mental cupboard. Race as a fable, Africa as a fantasy–and the last reel interested in beautiful, rich white people falling in love; I think about Preston Sturges's Sullivan's Travels and a couple of challenges presented therein to white, privileged, "morbid rich" filmmaker Sully, played by Joel McCrea: "What do you know about trouble?" and, later, "I have never been sympathetic to the caricaturing of the poor and needy, sir." To which Sully responds: "Who's caricaturing?"

It’s All in the Thumbs: FFC Interviews Mike Mills & Lou Taylor Pucci

October 8, 20052000s, Authors: Walter Chaw, Interviews

October 9, 2005|With wistful "it" boy Lou Pucci turning cartwheels on the berber carpet and his Thumbsucker director Mike Mills horsing around in a way more fraternal than paternal, I suddenly found myself in a conference room with a couple of guys who have no use for "cool." What I vetted from these unaffected souls not caring in the slightest what I thought of their rumpus room acrobatics was this sense, undeniable, that they couldn't care less that I was even there–and less still what species of banal question I had ratting around in my proverbial pet carrier. But it wasn't arrogance (I've been around that a lot–been the arrogant one, too, if tales told out of school are to be heeded): it was something more like fatigue driven to the grist of blithe indifference–that feeling you get during finals week when you realize that after a semester's worth of fear and tension, you just don't give a good crap anymore.

The Legend of Zorro (2005)

October 8, 20052000s, Action, Adventure, Authors: Walter Chaw, Mexico, Romance, Spielberg, Theatrical, Thriller, Western

½*/****
starring Antonio Banderas, Catherine Zeta-Jones, Rufus Sewell, Nick Chinlund
screenplay by Roberto Orci & Alex Kurtzman
directed by Martin Campbell

by Walter Chaw It's Amblin Entertainment's version of Once Upon a Time in the West, which only serves as a reminder that it's been too long since the last time you saw Once Upon a Time in the West. Martin Campbell's dedicatedly underwhelming The Legend of Zorro goes through the motions of knock-off action sequels like this with a tired fidelity and–until a semi-sadistic conclusion–a squeamishness about enemy casualties that smacks of that peculiar morality for which there's ever an acceptable way to portray mindless carnage to the kiddie set. I'm not saying your moppets should be shielded from the ugliness of the world, I'm saying that should they witness someone getting pushed off a thirty-foot tower into a cactus patch with the tip of a sword, they ought not be shielded from the consequences. By the umpteenth time Campbell uses the classic "A-Team" tactic of showing the bad guys crawling away from a scene of mayhem in a slow-motion, "Hey, no harm done" shot, you don't feel comforted by the innocuousness of the thing so much as coddled for being a ninny who doesn't understand that more harm's done in assuring your kids that frenetic swordplay never results in somebody getting hurt.

Wallace & Gromit: The Curse of the Were-Rabbit (2005)

October 7, 20052000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Horror, Mystery, Sci-Fi, UK

***/****
screenplay by Steve Box & Nick Park, Mark Burton and Bob Baker
directed by Nick Park and Steve Box

by Walter Chaw Perfectly innocuous even though it's (very) occasionally mildly naughty (a pair of melon jokes, a makeshift fig leaf labelled "contains nuts"), Aardman's Wallace & Gromit: The Curse of the Were-Rabbit (hereafter Were-Rabbit) doesn't break a lot of new ground in the claymated pair's misadventures in serving up a workmanlike tale of love, loyalty, gardening, gadgets, and misguided medical experimentation. It takes an unusually long time to get started, for one, re-establishing the best-pals relationship between cheese-loving, jug-eared inventor Wallace and his faithful mutt Gromit (theirs is an Inspector Gadget/Brain sort of dynamic) with the kind of leisurely pace that feels more like a valedictory procession than something born of necessity. "Wallace & Gromit" cartoons have, after all, become a standby on the festival circuit, functioning as buffers between films and the palette-cleanser in all-shorts programs. But it's that very function, as the whimsical interstitial, that makes a feature-length presentation just a charming diversion that outstays its welcome ever so slightly. Unlike its feature-length predecessor Chicken Run, there isn't the bite of satire in Were-Rabbit–no light shed on the British social caste system and, likewise, few inroads made in the traditional love vs. status romance. What coalesces is an appreciation for the craft involved in realizing the picture and a suspicion that you're going to be hungry again in about an hour.

Oliver Twist (2005) + Kings & Queen (2004)

October 5, 20052000s, Authors: Walter Chaw, Crime, Czech Republic, Drama, Esoterica, France, Romance, Theatrical, UK

OLIVER TWIST
**/****
starring Ben Kingsley, Barney Clark, Leanne Rowe, Mark Strong
screenplay by Ronald Harwood, based on the novel by Charles Dickens
directed by Roman Polanski

Rois et reine
***½/****
starring Emmanuelle Devos, Mathieu Amalric, Catherine Deneuve, Maurice Garrel
screenplay by Roger Bohbot, Arnaud Desplechin
directed by Arnaud Desplechin

by Walter Chaw Roman Polanski is an architectural director. By that I mean he moves his camera in careful, constructed motions, and the characters he places within these movements are best when they seem restrained by them, oppressed by the presence of the director in a way similar to Hitchcock’s protagonists. Indeed, Polanski at his best (Repulsion, Knife in the Water, The Tenant, Rosemary’s Baby, Macbeth, Chinatown) makes films that Hitchcock might have made: alight with social revulsion, weighted by claustrophobic set-pieces, and thick with subtext. But Polanski at his worst (Bitter Moon, The Ninth Gate, Frantic, Pirates, Tess) betrays a tendency towards the frenetic–an unbecoming manic energy that leans towards the childish instead of what I think is the intended demoniacal. Polanski close to the vest is Polanski at his best, and when midway through something tending towards mediocre like The Pianist, he erected a literal wall within which to restrain his antihero (tellingly, the best Polanski protagonists are acted-upon)–that architectural boundary allowing the director to regain his footing, if only for the last part of the film.

Mirrormask (2005)

September 30, 20052000s, Adventure, Authors: Walter Chaw, Fantasy, UK

**/****
starring Stephanie Leonidas, Gina McKee, Rob Brydon, Jason Barry
screenplay by Neil Gaiman
directed by Dave McKean

by Walter Chaw Neil Gaiman and Dave McKean are responsible, between the two of them, for one of the seminal works of fiction from the 1990s: a run of comics called "The Sandman" (the success of which moved the World Fantasy Awards to forbid the comic medium from again winning that prize) that proposed a new mythological pantheon, "Endless," to hold sway over the vicissitudes of the world's belief systems. For as long as it lasted, it was an astonishing demonstration of post-mod pop art; with Gaiman writing the text and McKean providing the cover art, the two would collaborate on stand-alone series (like "Violent Cases" and a short run of "Miracle Man"), children's books (Mr. Punch and The Day I Swapped My Dad For Two Goldfish), and now a feature film and illustrated screenplay, Mirrormask, which finds Gaiman scripting and McKean behind the camera. I wish I could report that the results are more than murky, derivative, and hard to see. Taking place primarily in a digitally-created environment (à la Sky Captain and the World of Tomorrow), it looks, unfortunately, a lot like it was shot on last-generation digital video–even the non-fantasy portions of Mirrormask deliver the kind of grimy, ugly picture that Robert Rodriguez makes with his children. With a film version of "The Sandman" languishing in near-permanent hiatus, it's a shame that this first cinematic product from two of that project's major players is such a disappointment.

Clueless (1995) [Whatever Edition] + Dead & Breakfast (2005) – DVDs

September 26, 20051990s, 2000s, Authors: Walter Chaw, Comedy, DVD, Horror, Musical, Romance, Teen, Zombie

CLUELESS
*/**** Image A Sound B Extras B-
starring Alicia Silverstone, Stacey Dash, Brittany Murphy, Paul Rudd
written and directed by Amy Heckerling

DEAD & BREAKFAST
**/**** Image C+ Sound B Extras B-
starring Ever Carradine, Portia de Rossi, David Carradine, Bianca Lawson
written and directed by Matthew Leutwyler

by Walter Chaw Clueless is the pinnacle of a certain kind of smarmy teensploitation/Classics Illustrated vogue that saw Shakespeare (10 Things I Hate About You) and, in this case, Jane Austen (i.e., Emma) squeezed through the sausage mill of swatch-guards and Prada bags. It's the Shrek school of satire: mythological creatures made to act out master-plots in unfunny, unimaginative ways in stock mythological landscapes. In place of literal trolls, find euphemistic trolls in Alicia Silverstone and Brittany Murphy, posed opposite one another as after/before shots of one-trick lightweights. (So light is Silverstone, in fact, that her most recent attempted comeback was essentially as this character ten years later in NBC's prophetically-named "Miss Match".) The only interest in watching this relic in its new, ten-year anniversary "Whatever Edition" (also prophetically-named) is in trainspotting current sitcom stars in what, in retrospect, is a piece of work every bit as smug and self-loathing as Pretty Persuasion or Saved!.

Proof (2005) + An Unfinished Life (2005)

September 20, 20052000s, Authors: Walter Chaw, Drama, Mystery, Theatrical

PROOF
*½/****
starring Gwyneth Paltrow, Anthony Hopkins, Jake Gyllenhaal, Hope Davis
screenplay by David Auburn and Rebecca Miller, based on the play by Auburn
directed by John Madden

AN UNFINISHED LIFE
*/****
starring Robert Redford, Jennifer Lopez, Morgan Freeman, Josh Lucas
screenplay by Mark Spragg & Virginia Korus Spragg
directed by Lasse Hallstrom

by Walter Chaw Gwyneth Paltrow sops through nearly every frame of John Madden's Proof with the sturdy dedication of a Method actress swallowed whole by a red-rimmed wet blanket. It's not a performance so much as a dip into her own navel, which, while not the worst fate I can imagine, is certainly not very interesting to watch. I find that contemporary American arthouse fare, thrilled to sift its way to the bottom of a mystic grain silo in a stately, lachrymose manner where the corn is alien, bears no relationship to any reality I've ever known–its sole purpose, at least to the extent that I can glean, to vet some collective desire to win the Good Will Hunting/A Beautiful Mind lottery by pretending to be really good at math (a fine excuse, after all, for being barmy).

Evil Dead II (1987) [The Book of the Dead Limited Edition] – DVD

September 20, 2005****/****, 1980s, Authors: Walter Chaw, Comedy, Directors: Sam Raimi, DVD, FFC Must-Own, Horror, Zombie

a.k.a. Evil Dead II: Dead by Dawn
****/**** Image A+ Sound A+ Extras A+
starring Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley
screenplay by Sam Raimi & Scott Spiegel
directed by Sam Raimi

by Walter Chaw More a remake with yuks than a sequel, Sam Raimi's astonishing Evil Dead II is a kitchen-sink splatter flick inspired by the drive-in spam-in-a-cabin tradition and leavened by an unhealthy fascination with The Three Stooges. Leading man and crash-test dummy Bruce Campbell (Bill Chambers referred to him once as "brick-jawed," and I can't improve on that, literally or figuratively) turns in a legend-making, career-defining performance, re-imagining his shemp Ash as a man of stage-melodrama, white-hat resolve who comes of age upon discovering his knack for slaying the undead. The great unspoken peculiarity of siege classics like George Romero's Night of the Living Dead is that there is somehow always discovered a hero who's biologically hardwired for the task of staying alive in the face of great demonic hordes. The crux is that it's unspoken no longer in Raimi's "Dead" trilogy (the third instalment the out-and-out comedy Army of Darkness), which, by the end, becomes a rags-to-rags fable about a retail clerk repelling an army of Harryhausen skeletons laying siege to a medieval castle. In its way, this is as canny a satire of the consumer/clerk relationship as anything in Dawn of the Dead.