Inception (2010) – Blu-ray + DVD + Digital Copy

**/**** Image A Sound A Extras B
starring Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Michael Caine
written and directed by Christopher Nolan

by Walter Chaw I dunno, the wordiness of The Dark Knight didn't bother me that much. I suppose it has something to do with it being a comic-book movie and plot-driving pronouncements seeming the order of the day. I find it impossible now to think of The Dark Knight without seeing it as a corollary to No Country For Old Men: the one composed of broad, garish strokes, the other of grace notes you hesitate to call delicate, but that's just what they are. With Inception, Christopher Nolan's correlative piece is Charlie Kaufman's Synecdoche, NY, and the comparison in this instance doesn't prove mutually evocative so much as devastating to Nolan's film, exposing his shtick as reams of deadening exposition interrupted by the occasional virtuoso set-piece. It is, in other words, aggressively nothing-special, save for a few astonishing zero-g sequences. As it happens, saying the best part of Inception is its weightlessness is a pretty pithy criticism of the whole damned enterprise. For a film about dreams, it's distinctly light on possibility: Armed with the power to shape reality, our erstwhile dream-weavers fold a city in half in a dorm-room Escher shout-out but decline to, you know, fly and stuff. More, Inception doesn't confront archetypes of any kind, instead retreating into some basic stuff about projections and the architecture of the unconscious being a freight elevator while relying overmuch on the built-in gravitas of father and dead-wife issues. And in case you miss any of that, Nolan crams it into the dialogue like one crams elephants into elevators. Rule of thumb: if a movie uses the word "deep" as much as this one does, it probably isn't.

The Color Purple (1985) [Two-Disc Special Edition] – DVD | Blu-ray Disc (DigiBook) + Eve’s Bayou (1997) [Lions Gate Signature Series] – DVD

THE COLOR PURPLE
***/****
DVD – Image A- Sound A- Extras A-
BLU-RAY – Image A Sound A Extras A-
starring Whoopi Goldberg, Danny Glover, Adolph Caesar, Margaret Avery
screenplay by Menno Meyjes, based on the novel by Alice Walker
directed by Steven Spielberg

EVE'S BAYOU
**½/**** Image B Sound B Extras B+

starring Samuel L. Jackson, Lynn Whitfield, Debbi Morgan, Vondie Curtis-Hall
written and directed by Kasi Lemmons

by Bill Chambers In the prologue to Steven Spielberg's The Color Purple, black sisters Celie (Desreta Jackson) and Nettie (Akosua Busia) play patty-cake in a field of blue-pink flowers. Celie, the ugly duckling, is pregnant with her second illegitimate child, and when she has the baby, her father (Leonard Jackson) cruelly whisks it away to a new home, as he did her firstborn. Later, her father disposes of Celie, too, betrothing her to Albert, a.k.a. "Mister" (Danny Glover), a vicious stranger on horseback seeking Nettie's hand in marriage. Concerned with more than just lonely Celie (Whoopi Goldberg as an adult) summoning the confidence to defy Albert (less through her own sexual awakening, as in The Color Purple's source material, than through a cultivated sisterhood with the women in her orbit), the picture examines a generation of emancipated African-American men who, poisoned by the slave mentality, treat their women like Cinderella in a misguided salvo to independence. Shit rolls downhill, in other words.

The Amityville Horror (2005) – Blu-ray Disc

½*/**** Image A- Sound A Extras F
starring Ryan Reynolds, Melissa George, Jesse James, Jimmy Bennett
screenplay by Scott Kosar, based on the novel by Jay Anson and the screenplay by Sandy Stern
directed by Andrew Douglas

by Walter Chaw When filmmakers leave nothing to the imagination, you're left with the product of their imaginations, which almost without exception is an arid thing born of equal parts imitation and an eye to the bottom line. Innovation is frowned upon when it comes to big-budget horror (terms that mix together uneasily at best), leaving whatever was subversive about the premise to get blunted by this need to rake in a lot of money from a timid public looking for a rollercoaster instead of sociology. So it is with the latest instalment in the worst horror franchise in history, a remake of The Amityville Horror directed by commercial hack Andrew Douglas (who at least seems self-aware in interviews) that professes to be "truer" to the "true"* source material–meaning, essentially, that no one is going to die and that it's going to be poorly written. (I snuck a peak at the 1979 film when I was in the care of a horrible babysitter, only to experience one of my earliest instances of realizing that something sucked.) It tacks on some crap about the house in question being built on the site of an old Indian mental hospital/Abu Ghraib, replacing the innocuous little red room of the original film with a chamber of flash-edited horrors à la Thir13en Ghosts. In so doing, it introduces a little flaccid White Man's Guilt subtext into this Wonder Bread wonderland that it studiously refuses to examine.

Eat Pray Love (2010) – Blu-ray Disc

ZERO STARS/**** Image B Sound B+ Extras D
starring Julia Roberts, James Franco, Richard Jenkins, Javier Bardem
screenplay by Ryan Murphy & Jennifer Salt, based on the book by Elizabeth Gilbert
directed by Ryan Murphy

by Walter Chaw It's a little tempting to not take the piss out of this latest instalment of How Julia Got Her Tube Packed, but the sins of Ryan Murphy's unwatchable Eat Pray Love are such that it's nigh impossible for any sentient human to resist. More interesting might be to chart the route America's sweetheart has taken to becoming one of the most irritating and hateful personas in the modern pantheon–how the once top-earning female star is lately this pinched, drawn, graceless thing trying her best and in vain to recapture the sociopathic sprightliness of her early successes. It could simply be the natural process of aging that makes it harder for her wronged-woman act to cull any sympathy: a 43-year-old woman making pouty lips and acting out is a much different animal than her 23-year-old self doing same. If she were to poison her husband or steal her best friend's bridegroom now, it would play very differently. And play differently it does as she dumps her non-descript/non-character hubby (Billy Crudup, typecast), buys an Italian phrasebook ("Every word in Italian is like a truffle!" the moron says), and travels to Bali in search of wisdom at the feet of adorably helpful minorities who only exist in movies like this to help coddled, rich, white people be content with their unimaginable privilege. If On the Waterfront was Kazan's apologia for singing like a canary, then Julia's late career seems an apologia for buying someone else's husband and getting away with it, for the most part, in the court of public opinion.

Fantasia (1941)/Fantasia 2000 (2000) [4-Disc Special Edition] – Blu-ray + DVD

Fantasiacap

FANTASIA
***/**** Image A Sound A- Extras B+
story direction by Joe Grant and Dick Huemer
directed by James Algar, Samuel Armstrong, Ford Beebe, Norm Ferguson, Jim Handley, Thornton Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, and Paul Satterfield

FANTASIA 2000
*½/**** Image A Sound A Extras B+
directed by Pixote Hunt, Hendel Butoy, Eric Goldberg, James Algar, Francis Glebas, Gaetan Brizzi, Paul Brizzi, and Don Hahn

by Bryant Frazer More than twenty years ago, I sat in Stan Brakhage’s office at the University of Colorado, handling original frames of 65mm IMAX film stock that the avant-garde filmmaker had hand-painted with swirling layers of colour. He explained that IMAX had commissioned him to create an abstract film specifically for presentation on the huge screens of their theatres. It was a great idea, and I wondered when the film had screened. Never, Brakhage told me. The IMAX people eventually lost interest in the idea, and “Night Music” was shown instead in 16mm prints, drastically reduced from the large-gauge film stock. Although IMAX were bold enough to approach Brakhage in the first place, the company got cold feet when it came time to actually exhibit non-narrative cinema–even for only 30 seconds!–for a paying audience.

The Town (2010) – Blu-ray + DVD + Digital Copy

***½/**** Image A- Sound A Extras B
starring Ben Affleck, Jon Hamm, Rebecca Hall, Chris Cooper
screenplay by Peter Craig and Ben Affleck & Aaron Stockard, based on the novel Prince of Thieves by Chuck Hogan
directed by Ben Affleck

by Walter Chaw If I'm still not entirely sold on Ben Affleck as an actor of depth, I'm completely sold on him as a director of depth. A director good enough, as it happens, to identify and avoid the actor's own weaknesses and augment his strengths, and to guide Affleck the actor to his best performance in a picture, The Town, that would be something like a revelation were Affleck's directorial debut, Gone Baby Gone, not so exceptional. Absolutely filthy with its story of place, count The Town as a tough-love love letter to Boston suburb Charlestown, a place established in the film as a breeding ground for bank robbers. Affleck plays Doug MacCray, the head of one such crew that also includes childhood buddy Jimmy (Jeremy Renner, excellent again) in an echo of the macho/familial dynamic established in the Aussie bank robber drama Animal Kingdom. More about the ties that bind men to a place and an idea of manhood than about the crimes themselves, The Town compensates for what it lacks in originality with its patience and its bracing trust in its screenplay and cast. Monologues that could be didactic are laced with what feels like genuine yearning; a moment in which Doug tells new girlfriend Claire (Rebecca Hall) about his childhood could have (should have) been embarrassing, but comes off under Affleck's surprising wisdom as heartfelt, even resonant.

The Other Guys (2010) [The Unrated Other Edition] – Blu-ray Disc

****/**** Image A- Sound A Extras B+
starring Will Ferrell, Mark Wahlberg, Eva Mendes, Dwayne Johnson
screenplay by Adam McKay & Chris Henchy
directed by Adam McKay

Mustownby Ian Pugh SPOILER WARNING IN EFFECT. Think about what sort of film would place Will Ferrell's schlubby physique and vacant grin against Mark Wahlberg's sharp, furrowed brow. More than just comically mismatched, these two actors belong in different movies, different genres…on different planets, even. They share something resembling a love-hate "chemistry," but from the get-go the pairing feels off–different. Eventually you figure out that The Other Guys is the kind of movie that thrives on bizarre contradictions–the kind of movie where gun-toting heroes are sent to end corporate malfeasance, where their vehicles of choice are a Prius and a Gran Torino that runs on "100% vegetable oil," where they loudly defend not the awesomeness of Star Wars but its scientific accuracy.1 A quintessentially American response to the quintessentially British Hot Fuzz, Adam McKay's The Other Guys is the funniest, most delirious comedy I've seen in a long while, and it matches and exceeds the sharp cultural satire of McKay's Talladega Nights in tackling not so much the conventions of the buddy-cop genre as the childish drama that attends them.

One Flew Over the Cuckoo’s Nest (1975) [Two-Disc Special Edition] – DVD + One Flew Over the Cuckoo’s Nest (’08 release + ’10 reissue) – Blu-ray Discs

****/****
DVD – Image A Sound B+ Extras B+
'08 BD – Image A- Sound A- Extras B+
'10 BD – Image A- Sound A- Extras A+
starring Jack Nicholson, Louise Fletcher, William Redfield, Will Sampson
screenplay by Lawrence Hauben and Bo Goldman, based on the novel by Ken Kesey
directed by Milos Forman

Oneflewoverthecuckoosnestdvdcap

by Bill Chambers Philosophically sound, motivational, inspirational, Czech director Milos Forman's One Flew Over the Cuckoo's Nest is one of a small number of Best Picture winners to actually deserve the statuette. Arriving at the crest of a European-influenced period of filmmaking, before "brats" Spielberg and Lucas hijacked Hollywood once and for good, One Flew Over the Cuckoo's Nest is not popularly considered a seminal movie of its cinematically lauded decade, though it did change the tenor of Jack Nicholson's career (he'd always played loose cannons, but of a squarer breed) and became the first film since 1934's It Happened One Night to sweep the five major Oscar categories: Picture, Actor, Actress, Director, and Screenplay.

Lost in Translation (2003) – Blu-ray Disc + Anything Else (2003) – DVD

LOST IN TRANSLATION
***½/**** Image B- Sound A- Extras B
starring Bill Murray, Scarlett Johansson, Giovanni Ribisi, Anna Faris
written and directed by Sofia Coppola

ANYTHING ELSE
ZERO STARS/**** Image A- Sound B+
starring Woody Allen, Jason Biggs, Christina Ricci, Danny DeVito
written and directed by Woody Allen

Lostintranslationby Walter Chaw It feels a lot like life is an endless succession of heartsickness and anticipation of heartsickness. After a while, taking a line from Tender Mercies, it's hard to trust happiness anymore when happiness feels so ephemeral compared to the weight of grief. Sofia Coppola's Lost in Translation is about the wear of time and the unbearable burden of experience–it's about how even what's new and fresh is darkened by the ghosts of regret and time. When Bill Murray's fading star Bob Harris arrives in Tokyo to lend his image to a top-shelf whiskey, he is suffused with so much of the sadness of living that the surprise of life has become something to be viewed with suspicion. Newness fades and that familiar malaise, weary and grey, inevitably takes its place, sometimes even before the exhilaration of newness can reinvigorate. Bob meets Charlotte (Scarlett Johansson) in the hotel bar; she's in town with her photographer husband (Giovanni Ribisi), and together Bob and Charlotte paint the town blue.

Mars Attacks! (1996) – Blu-ray Disc

***/**** Image A- Sound C
starring Jack Nicholson, Glenn Close, Annette Bening, Pierce Brosnan
screenplay by Jonathan Gems
directed by Tim Burton

by Jefferson Robbins When Tim Burton calls in his Hollywood chips, it's usually, to our benefit, to facilitate his darker impulses. 1989's Batman gave him free reign to make Edward Scissorhands, for instance, and Warner Bros. incubated the bitter confection of Sweeney Todd after raking in more traditional bucks on Charlie and the Chocolate Factory. I daresay one of those Burton Unbound documents is his A-list romp Mars Attacks!, which today gives off strange vibrations that echo forward as well as back. It's a '50s UFO-invasion flick farce, of course, based on a 1962 trading card set illustrated by, among others, comics great Wally Wood. It's anarchic, unexpected ("Wha? Trading cards?" we all said at the time), and darkly funny. It plays in the massive footprint of the same year's Independence Day, and in its more biting moments, it somehow speaks to the great collapses of the subsequent decade.

Fight Club (1999) [10th Anniversary Edition] – Blu-ray Disc

***/**** Image A Sound A+ Extras A
starring Brad Pitt, Edward Norton, Helena Bonham Carter, Meat Loaf Aday
screenplay by Jim Uhls, based on the novel by Chuck Palahniuk
directed by David Fincher

by Walter Chaw SPOILER WARNING IN EFFECT. My on-again/off-again love affair with David Fincher began with a PREMIERE article I read about how much of an asshole he was on the set of Alien3, dumping a few-hundred baby crickets on a pretty surprised, pretty pissed, pretty skivvies-clad Sigourney Weaver. But I didn't really prick up my ears until his urban/ecclesiastical serial killer masterpiece Se7en revealed to me a key to unlocking the Coens' Barton Fink–being, as they were, thematic doppelgängers. Soaked in wet and Hemingway, Fincher declares the world a scam and appoints himself the snake-oil barker shilling from the proscenium on the wagon; Barton Fink, also stained sepia brown, also ostensibly engaged in the pursuit of a serial killer and the excoriation of deadly sins, is the spirit to Se7en's flesh. Even as he flounders at the heartbeat, Fincher finds the headlong of his carnal lather again in his adaptation of Chuck Palahniuk's Fight Club, establishing his mission statement as subterranean explorations of masculine aggression and explaining to me my tendency to confuse Fincher's films with those of Michael Mann. Focusing on the testosterone in Fincher's pictures offers partial explanation of the movies in his oeuvre that don't work (and, within those failures, the parts that do). Too, it's explanation of why it is that Fight Club's ending is so jarringly unsatisfying–"You met me at kind of a strange time in my life" the nancy punchline to two-plus hours of quintessential asshole cinema.

The Return of the Living Dead (1985) – DVD (2002) + Collector’s Edition DVD|Blu-ray + DVD

***/****
'02 DVD – Image B+ Sound B Extras A
'07 DVD – Image B+ Sound B Extras A
BD – Image B+ Sound B+ Extras A
starring Clu Gulager, James Karen, Don Calfa, Thom Mathews
written and directed by Dan O'Bannon

Returnofthelivingdeadcapby Walter Chaw Sort of a cross between Dawn of the Dead and Valley Girl, Dan O'Bannon's hysterical The Return of the Living Dead most resembles in the final analysis O'Bannon's own cult favourite Dark Star, directed by John Carpenter. Both pictures exist in an insular environment, both skewer genre and societal mores, and both, oddly enough, have something of a political conscience. Positing that Night of the Living Dead was based on a true story and that the remnants of that zombie conflagration have been stored in barrels accidentally shipped to the Uneeda Medical Supply Company (where goofy stock manager Frank (a fabulous James Karen) carelessly starts the horror cycle), The Return of the Living Dead turns a satirical eye on Reagan's hawkish heart, the sprung logic of Italian zombie movies, and John Hughes's brat-pack films.

The Kids Are All Right (2010) – Blu-ray Disc

**/**** Image A Sound A Extras B
starring Annette Bening, Julianne Moore, Mia Wasikowska, Josh Hutcherson
screenplay by Lisa Cholodenko & Stuart Blumberg
directed by Lisa Cholodenko

by Bill Chambers Joni (Mia Wasikowska) and her younger brother Laser (Josh Hutcherson) are the offspring of lesbian couple Nic (Annette Bening) and Jules (Julianne Moore) and an anonymous sperm donor named Paul (Mark Ruffalo). Nic and Jules shared the burden of pregnancy, and though The Kids Are All Right never comes right out and says who gave birth to whom, the dispositional echoes, subtle shows of favouritism, and even just the kids’ names suggest that gynecologist Nic had the overachieving Joni and hippie-dippy Jules bore impressionable, impetuous Laser. But the movie’s more intriguing when the dots are harder to connect. Nic, for instance, gets off on watching a tape of two guys fornicating as Jules pleasures her. And Laser has to guilt goodie-goodie Joni into contacting their biological father, yet it’s Joni who takes an immediate shine to the man, while Laser sniffs, “I think he’s a little into himself”–directly mirroring Nic’s subsequent assessment of Paul as “self-satisfied.” A critical callback, it shows that Nic and Jules aren’t two single mothers sharing a roof à la “Kate & Allie”, but parents whose dynamic jointly influences their children. It’s also more convincing evidence of their togetherness than their bedtime nicknames for each other (“chicken” and “pony”), which the actresses can barely utter without giving away the blooper reel.

Bored to Death: The Complete First Season (2010) – Blu-ray Disc

Image B Sound B Extras C+
"Stockholm Syndrome," "The Alanon Case," "The Case of the Missing Screenplay," "The Case of the Stolen Skateboard," The Case of the Lonely White Dove," "The Case of the Beautiful Blackmailer," "The Case of the Stolen Sperm," "Take a Dive"

by Jefferson Robbins With its accomplished but psychologically malformed boy-men, the first season of novelist-screenwriter Jonathan Ames's "Bored To Death" feels like a Judd Apatow joint transplanted to Tom Wolfe's outer boroughs. Its characters all want to be Masters of their particular Universes, but they're either hamstrung by their own neuroses or carting them along like luggage in spite of success. We know we're watching an HBO comedy, though it's often hard to discern where the comedy is supposed to be located. In Woody Allen nebbishism? In misdirection and error? In slapstick? In satirizing the hip, self-satisfied artistes of millennial New York's most fashionable burg? Barring a few episodes that succeed on the other points, the latter feels most likely.

Red Riding (2009) [Special Edition] – Blu-ray Disc

RED RIDING
**½/**** Image B+ Sound B Extras C

THE YEAR OF OUR LORD 1974
**½/****
starring Andrew Garfield, Sean Bean, Warren Clarke, Rebecca Hall
screenplay by Tony Grisoni, based on the novel Red Riding: Nineteen Seventy-Four David Peace
directed by Julian Jarrold

THE YEAR OF OUR LORD 1980
***/****
starring Paddy Considine, Jim Carter, Warren Clarke, Sean Harris
screenplay by Tony Grisoni, based on the novel Red Riding: Nineteen Eighty David Peace
directed by James Marsh

THE YEAR OF OUR LORD 1983
**/****
starring Mark Addy, David Morrissey, Jim Carter, Warren Clarke
screenplay by Tony Grisoni, based on the novel Red Riding: Nineteen Eighty-Three David Peace
directed by Anand Tucker

by Bryant Frazer Red Riding, adapted by screenwriter Tony Grisoni into three movies from four novels by David Peace, is an awfully downbeat thing that's difficult to classify. It's not really a mystery, because the central crimes are barely the point (at least in the first two films), and the question isn't whodunit, but who among all those involved is not yet corrupt. It's not a police procedural, because the only effective police work we see is of the thuggish, back-room variety. In its specificity of time and place–nine years in Yorkshire, a county in northern England–it recalls James Ellroy's novels about Los Angeles cops in the 1940s and '50s. But Ellroy's stories were bracing because their point of view came from inside a department dominated by bigotry and machismo and tormented by its own failings. Each of the Red Riding stories comes at the situation mostly from an outsider's perspective, elevating a principled crusader to the high ground, then having the corrupt institution take potshots at him, decimating his footing.

The Treasure of the Sierra Madre (1948) [Two-Disc Special Edition] – DVD|Blu-ray Disc

****/****
DVD – Image A Sound B+ Extras A+
BD – Image A- Sound A- Extras A
starring Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett
screenplay by John Huston, based on the novel by B. Traven
directed by John Huston

Mustownby Walter Chaw John Ford isn’t America’s Akira Kurosawa, John Huston is, and The Treasure of the Sierra Madre, an intimate epic that unfolds against the backdrop of the Mexican Revolution, is Huston’s Throne of Blood. Huston also draws comparisons to Ernest Hemingway, not just for being a man’s man in life, but for his precision and economy in art. There isn’t any flab on The Treasure of the Sierra Madre–it’s as sleek as a dancer in its waltz between complex character drama on the one side and broad social commentary on the other. There haven’t been many better American films (it’s Huston’s best film next to Fat City and maybe The Misfits, and it boasts of Humphrey Bogart’s best performance without question), and when it’s spoken of, it’s spoken of in terms of one of those films that decided careers in the cinema for generations of filmmakers.

The Prowler (1981) – Blu-ray Disc

**½/**** Image B Sound B- Extras C-
starring Farley Granger, Vicky Dawson, Christopher Goutman, Cindy Weintraub
screenplay by Glenn Leopold and Neal E. Barbera
directed by Joseph Zito

by Jefferson Robbins Was it that the flicks got less suspenseful, or that I got savvier? Joseph Zito's The Prowler boasts an intimidating slasher (although "stabber" or "puncturer" is more apt, since he tends to pitchfork and bayonet his victims to death), a complement of gore F/X from the estimable Tom Savini, a compelling backstory that touches on the legacy of war, and a Final Girl (Vicky Dawson) who's fleet, smart, next-door pretty, and resourceful. Its closest equivalent is probably Friday the 13th Part 2, released just six months prior, which likewise coped with horror passed down through the generations. What it lacks, though, is tension and surprise–at least in retrospect. There are no real shocks to be had, beyond the graphic nature of the killings and the choice to open a scare flick with stock '40s newsreel footage.

The Peacemaker (1997) – Blu-ray Disc

*/**** Image C Sound B- Extras F
starring George Clooney, Nicole Kidman, Armin Mueller-Stahl, Marcel Iures
screenplay by Michael Schiffer
directed by Mimi Leder

VIEW IN iTUNES – USA|CANADA

by Walter Chaw With boring being the one thing from which an action movie can't recover, studio supergroup DreamWorks SKG marking their debut by giving professional director of boring action movies Mimi Leder the bank suggests they were asking to make a terrible first impression. I guess, in their defense, Leder showed promise after a storied career helming boring television episodes–"ER" the place where executive producer John Wells spied her "potential" to one day direct motherfucking Pay It Forward. Wells's own participation in The Peacemaker likewise explains the presence of George Clooney (still trying to pop the balloon of A-list opener) and, later, of Clooney's "ER" replacement Goran Visnjic in an eye-blink cameo. But of all the things the curiously-prescient The Peacemaker predicts*, the lasting one is Leder's incandescent career as a truly awful filmmaker and DreamWorks as a particularly well-funded curiosity that has only confirmed everyone's suspicions about the eponymous Spielberg, Katzenberg, and Geffen. It takes the acceptance of Kathryn Bigelow's The Hurt Locker over a decade later to restore the idea that an American woman is able to direct a smart, terse action film (which Bigelow had been doing since the mid-'80s)–to undo the damage of high-profile Leder-helmed disasterpieces like this and Deep Impact. No surprise that Leder soon retreated to the boob tube, where she, if not belongs, at least can do the same damage less spectacularly.

Disney’s A Christmas Carol (2009) [Blu-ray + DVD] + The Fourth Kind (2009)

DISNEY'S A CHRISTMAS CAROL
**½/**** Image A- Sound A Extras B
screenplay by Robert Zemeckis, based on the novel by Charles Dickens
directed by Robert Zemeckis

THE FOURTH KIND
ZERO STARS/****
starring Milla Jovovich, Will Patton, Corey Johnson, Elias Koteas
written and directed by Olatunde Osunsanmi

by Ian Pugh If Robert Zemeckis hasn't quite left the Uncanny Valley behind, at the very least, the heart missing from his latest effort–what seems like the trillionth retelling of Charles Dickens's A Christmas Carol, and the billionth animated one–correlates directly to its absence of personality, rather than to an absence of humanity. A backhanded compliment, to be sure, but the character designs finally resemble something closer to artistic interpretation than to a failed attempt at replicating human beings exactly as they are, with Marley (Gary Oldman) and Scrooge (Jim Carrey), for example, rendered almost expressionistically to evoke rotten apples and hunched skeletons. From that standpoint, the actors' sudden bursts of acrobatic grace, no longer so incongruous, capture some of computer-animated cinema's wonder, the kind at which Zemeckis has grasped since The Polar Express–a true example of bringing the impossible to life. The only problem is that Zemeckis's own script isn't worth more than a shrug, and the film relies too much on its visuals to carry the extra weight.

The Player (1992) – Blu-ray Disc

***/**** Image B+ Sound B+ Extras B
starring Tim Robbins, Greta Scacchi, Fred Ward, Whoopi Goldberg
screenplay by Michael Tolkin, based on his novel
directed by Robert Altman

by Alex Jackson SPOILER WARNING IN EFFECT. In the opening scene of Robert Altman's The Player–an uninterrupted tracking shot lasting 7 minutes and 45 seconds–chief of studio security Walter Stuckel (Fred Ward) discusses long tracking shots with mailboy Jimmy (Paul Hewitt). Stuckel talks at length about Rope and Touch of Evil and says directors back then knew how to shoot a film. Jimmy mentions Bernardo Bertolucci's then-recent The Sheltering Sky and Julien Temple's Absolute Beginners as having terrific long shots, but Stuckel shrugs and mumbles that he hasn't seen them. It appears that Altman and screenwriter Michael Tolkin (adapting his novel of the same name) are illustrating a point about the insularity of the studio system and how the studios have no reference point outside their own past. Today, a complaint like that seems positively churlish. I honestly would not expect any of the newer executives to know or appreciate Rope or Touch of Evil, much less any current chiefs of security! In my view, anybody familiar with American cinema to that extent is already distinguished from your typical capitalist.