Spaceballs (1987) [Collector’s Edition] – DVD|Blu-ray Disc

**/****
DVD – Image A- Sound A- Extras B+
BD – Image A- Sound A Extras B+
starring Mel Brooks, John Candy, Rick Moranis, Bill Pullman
screenplay by Mel Brooks & Thomas Meehan & Ronny Graham
directed by Mel Brooks

Spaceballscapby Bill Chambers Neither the audacity of Mel Brooks's perpetually relevant Blazing Saddles nor the movie-love that manifested itself in his uncanny genre parodies Young Frankenstein and High Anxiety inhabit Brooks's Spaceballs, a spoof tailored to the undiscriminating palate of preteens and people who can't resist a joke at the expense of Star Wars hobbyists. It is, in other words, Brooks's very own Return of the Jedi, and although it's being reissued in a Collector's Edition DVD to capitalize on the release of Star Wars: Episode III – Revenge of the Sith, it's not really in a position to take the piss out of the new Star Wars trilogy. In fact, the most interesting thing about Spaceballs circa 2005 is that what was once spectacularly stale–by the time it came out, the first wave of Star Wars mania had passed–now elicits nostalgia for a Star Wars saga that was so classical and (visually / narratively / allegorically) uncluttered as to lend itself to burlesque. Because nothing in the current "episodes" has a prayer of becoming an institution, a contemporary Spaceballs would just be a succession of insults–you can't mock Jar Jar Binks with any affection.

Roxanne (1987) – Blu-ray Disc

*½/**** Image A- Sound A-
starring Steve Martin, Daryl Hannah, Shelley Duvall, Rick Rossovich
screenplay by Steve Martin, based on the play “Cyrano de Bergerac” by Edmond Rostand
directed by Fred Schepisi

by Walter Chaw After The Devil’s Playground and The Chant of Jimmie Blacksmith–both appearing in the middle of the Australian New Wave–the conventional wisdom was that Fred Schepisi was someone to watch. Then Hollywood called and he did what fellow ‘wavers Peter Weir and Phillip Noyce did, punching the timecard on shit like Patriot Games, Sliver, and Dead Poets Society. A re-telling of Cyrano de Bergerac, Edmund Rostand’s play about a proboscis-challenged swordsman armed with the Blarney (in spades), Schepisi’s noxious Roxanne stars a downhill-sliding Steve Martin and a Daryl Hannah who didn’t yet know that Blade Runner and Splash would be the only things anyone would know her for until a career resurrection of sorts some 15 years later with Kill Bill. I used to love this film. Time has been unkind.

Taken (2008) [2-Disc Extended Cut] – Blu-ray Disc

***/**** Image A- Sound A Extras B
starring Liam Neeson, Maggie Grace, Leland Orser, Famke Janssen
screenplay by Luc Besson & Robert Mark Kamen
directed by Pierre Morel

by Ian Pugh Director Pierre Morel's last film was that cookie-cutter nonsense District B13, while co-writers Luc Besson and Robert Mark Kamen have in recent times mainly presided over the Transporter series. So what surprises most about the trio's Taken is that, given its pedigree of orgiastic excess, every single one of its attributes is delivered in quantities that are just enough. All of its action sequences are just tightly edited enough to be exciting without becoming hyperactive; all of its characters are just developed enough to warrant analysis without interfering with the thrills; and its screaming misanthropy is just equal-opportunity enough to not feel like xenophobia. There's certainly a pathetic loneliness to ex-Black Ops agent Bryan Mills (Liam Neeson), still taking ersatz family photos with a disposable camera and struggling to direct the attention of his teenaged daughter Kim (25-year-old Maggie Grace, in a borderline grotesque woman-child performance) away from the rich asshole (Xander Berkeley) now married to his ex-wife (Famke Janssen). But when Kim is kidnapped by sex traffickers in Paris, it's a chance to utilize his training and indulge in wish-fulfillment of the most literal variety. Blowing past government procedure and busting up prostitution rings run by the upper class, Bryan's search eventually culminates in a violent showdown with a Middle Eastern sheikh.

The Good, the Bad and the Ugly (1966) [2-Disc DVD Collector’s Set – Special Edition] – DVD|Blu-ray Disc

Il buono, il brutto, il cattivo (Extended English-language Version)
***/****

DVD – Image A- Sound A- Extras A
BD – Image B+ Sound A Extras A
starring Clint Eastwood, Lee Van Cleef, Eli Wallach, Aldo Giuffrè
screenplay by Age & Scarpelli & Luciano Vincenzoni & Sergio Leone
directed by Sergio Leone

Goodthebadandtheuglycapby Travis Mackenzie Hoover Perhaps it had been too long between screenings, or perhaps my mind had been playing tricks on me, but my most recent viewing The Good, the Bad and the Ugly wasn't as good as the others. There was still much to admire: the wild structure, which doesn't properly introduce its MacGuffin until about half an hour in; the hilariously cavalier attitude towards human decency; the raw-meat attitude towards bodies and faces; and, of course, the idea of Eli Wallach playing a Mexican, which is always appealing. But all of this seems somehow only fitfully successful now, the film's conceptual high points surrounded by the same arid desert that nearly finishes off two out of three of the protagonists. Perhaps I should chalk it up to the distance of memory–even downgraded, the experience has something bizarre for just about everybody, whether their memories will be kind to it or not.

Robin Hood: Prince of Thieves (1991) [Extended Version] – Blu-ray Disc + Waterworld (1995) [2-Disc Extended Edition] – DVD

ROBIN HOOD: PRINCE OF THIEVES
½*/**** Image C Sound B Extras B
starring Kevin Costner, Morgan Freeman, Christian Slater, Mary Elizabeth Mastrantonio
screenplay by Pen Densham & John Watson
directed by Kevin Reynolds

WATERWORLD
***/**** Image B Sound B
starring Kevin Costner, Dennis Hopper, Jeanne Tripplehorn, Tina Majorino
screenplay by Peter Rader and David Twohy
directed by Kevin Reynolds

by Walter Chaw In the “careful what you wish for” sweepstakes, here’s Kevin Costner, fresh off an Oscar victory for his naïve idyll Dances with Wolves, spending his hard-won Hollywood currency indulging best buddy Kevin Reynolds in a trilogy of pictures (Robin Hood: Prince of Thieves, Rapa Nui, Waterworld) he produced for the express purpose of giving Reynolds more than enough rope. If you’re in the sport of charting the positively Greek decline of the late-’80s box-office king, mark 1991 as Exhibit A, as his sad attempt at an English accent for Robin of Loxley was notoriously overdubbed in post-production after being deemed the stuff of legend in initial cuts. Aside from providing schadenfreudians endless fodder, it was the first real evidence that the Golden Boy’s tragic flaw was the belief that his charm was based on something other than Gary Cooper’s mantle of Everybody’s All-American Doofus.

Friday the 13th (2009) [Killer Cut – Digital Copy Special Edition] – Blu-ray Disc

*/**** Image C+ Sound A- Extras C
starring Jared Padalecki, Danielle Panabaker, Amanda Righetti, Travis van Winkle
screenplay by Damian Shannon & Mark Swift, based on characters created by Victor Miller
directed by Marcus Nispel

by Ian Pugh SPOILER WARNING IN EFFECT. It's both surprising and disappointing that, after ten Friday the 13th films (or rather, ten Jason films), it took a crossover with Freddy Krueger to coax genuine pathos out of a hulking man-child who refused to die until he could sufficiently please Mommy. So it was to my great pleasure and delight that Marcus Nispel seemed poised to exploit that potential and separate it from its less savoury aspects. (He even starts things off with a pinch of disdain for the '80s nostalgia that brought this project to life, with the victims-to-be making weightless references to Blue Velvet and rocking out to Night Ranger.) Ironically enough, though, the remake reduces this worn-out scenario to something less complex. Using the bare essentials of the original film and its first sequel as backstory–a headless mother, oblivious campers in search of weed, and a backwoods monstrosity with a bag over his head–the amazing pre-title sequence implies that Jason Voorhees (Derek Mears) is most effective as a rumour whispered around the campfire, specifically designed to keep you awake at night. Might be heresy to say it, but in this opening salvo, Nispel's Jason promises to become a presence of terror equal to his immediate antecedent, John Carpenter's trend-setting Michael Myers. He's not an amorphous bogeyman ready to leap from the shadows, but a piece of teenage folklore that by all rights shouldn't exist, brought to murderous life by overactive imaginations.

The Fall (2008) – Blu-ray Disc

*½/**** Image A+ Sound A Extras C+
starring Lee Pace, Justine Waddell, Catinca Untaru
screenplay by Dan Gilroy and Nico Soultanakis & Tarsem
directed by Tarsem

by Walter Chaw Beware the film that positions itself as being told from the perspective of a child, because unless you’re a child or that specific child’s parent, you’re eventually going to wish that someone would slap the kid in question. Tarsem’s labour of love The Fall, his unlikely follow-up to his serial killer movie as shot by Salvador Dali-cum-Caspar David Friedrich The Cell, is such a film, told from a child’s perspective–and rather than as an artistic decision, it plays as a plea for leniency. It’s a fairytale about a little girl’s emergence into maturity… No, it’s a fairytale about the delicacy of life… No, it’s not anything much of anything. By touching on a suicidal movie star’s convalescence after an impressively shot accident on a film set (involving a horse, Tarsem scholars take note), the picture seems to want to access some discussion concerning artificiality and its intrusion into reality–something that would make sense if The Fall positioned itself as a dyad with The Cell (which was, after all, only about film as a dream medium that acts as the brain does), but it doesn’t really do that, either. All it does, in fact, is provide Tarsem an excuse to indulge his prurience and affection for elaborate set-pieces awash in saturated colours and tableaux that often border on the grotesque. Freed of the necessity to be coherent, freed of much understanding of Bruno Bettelheim or Jung or Freud, it’s a fairytale without purpose and pretentious to boot, reminding more than a little of the also-pretty, also-empty Neil Gaiman/Dave McKean collaboration Mirrormask. It’s too bad, really, as there are images in here genuinely affecting for their visual splendour. I wonder if it’s unforgivable heresy to say The Cell is badly underestimated and due for revisionism while The Fall, despite its relative obscurity (no J-Lo anywhere in sight), is badly overestimated.

True Blood: The Complete First Season (2008) – Blu-ray Disc

Truebloodcap1

Image A- Sound A- Extras B-
“Strange Love,” “The First Taste,” “Mine,” “Escape from Dragon House,” “Sparks Fly Out,” “Cold Ground,” “Burning House of Love,” “The Fourth Man in the Fire,” “Plaisir d’amour,” “I Don’t Wanna Know,” “To Love Is to Bury,” “You’ll Be the Death of Me”

by Bryant Frazer The notion of vampires and werewolves as romantic leads isn’t exactly cutting-edge. Anyone who ever spent time in the ’80s and ’90s with cosplayers, Dungeons & Dragons enthusiasts, SF conventioneers, and/or habitués of certain USENET newsgroups knows of a thriving subculture that imagines vamps and other shapeshifters to be highly potent sexual partners, if not outright preferable to human companions. In a cinematic climate where former nerd icons like Frodo Baggins, Iron Man, and even Alan Moore’s Watchmen have been reinterpreted as big-budget propositions by the men in the suits, the eventual mainstreaming of vampire erotica shouldn’t come as much surprise. In the romance aisles of your local bookstore, where “paranormal” is the preferred rubric for a burgeoning category of supernatural bodice-ripper, a reader may now find that vampires and werewolves really are that into you. On the other end of the spectrum, the brooding, outrageously popular Twilight book and film series pussyfoots around the central metaphor of vampirism, detonating a no-intercourse-before-marriage payload in the hearts and minds of a generation of teenaged girls enraptured by the idea of an impossibly ravishing, possibly fatal affair with a stormy Count Dracula type whose feelings for an awkward young thing from Arizona are stronger than his love of a virgin’s blood.

Fargo (1996) – DVD|[Special Edition] – DVD|Blu-ray Disc

***½/****
DVD – Image B Sound A-
SE DVD – Image A- Sound A- Extras B
BD – Image B+ Sound A Extras B-
starring Frances McDormand, William H. Macy, Steve Buscemi, Harve Presnell
screenplay by Joel Coen and Ethan Coen
directed by Joel Coen

by Vincent Suarez The critics' knock against the Coen brothers has always admonished the filmmakers for seemingly valuing style over substance–their flamboyant camerawork frequently seemed the raison d'être for rather loosely-plotted films like Raising Arizona. It's fitting, then, that Fargo, their most celebrated work (but not their best–that distinction belongs to the severely underrated Miller's Crossing), champions the virtues of simplicity at nearly every level. Not only is Fargo the Coens' most straightforwardly-told film, lacking their typical stylistic flourishes, but its cautionary tale highlights the dangers of permitting life to become more complicated than necessary. Indeed, had the title not already been assigned to their debut film, Fargo would have been more aptly christened Blood Simple.

2010: The Year We Make Contact (1984) – Blu-ray Disc

2010
*/**** Image B- Sound B- Extras F
starring Roy Scheider, John Lithgow, Helen Mirren, Bob Balaban
screenplay by Peter Hyams, based on the novel 2010: Odyssey Two by Arthur C. Clarke
directed by Peter Hyams

by Walter Chaw As we slide ever closer to the reality of artificial intelligence, the question of functional equivalence becomes ever more pressing to our sense of ourselves. It's because of this, I think, that Peter Hyams's 2010 seems more pertinent now than it necessarily did in 1984. I watched Stanley Kubrick's 2001: A Space Odyssey for the first time just a few months before I saw 2010 (this would be the summer of '84; I was twelve years old), and to that pre-teen me, 2010 gave the impression in most ways of being the better film. It appeals to the pragmatist instead of the philosopher, to the childish belief that there is nothing without an explanation under the sun and that should we encounter an alien intelligence, it will inevitably have the same desires and motivations we do. My first viewing of 2001 left me feeling angry and bored–the moments that tickled at something greater weren't moments I was able to isolate and examine (I wouldn't learn the term mysterium tremens until at least a decade later)–and in a sense 2010 allowed me to appreciate the Kubrick picture as a linear narrative. Which is, after all, not the point, and perhaps even ultimately destructive of 2001. It's easy to understand benevolence (whether it's from an alien "creator" to us, its possible creations, or from us to our machine creations), because benevolence is within the human capacity to comprehend. It's much harder to understand an astronaut waking up in a hotel room after a trip down the rabbit hole and then coming back to Earth as a glowing fetus.

Revolutionary Road (2008) + Doubt (2008) – Blu-ray Discs

REVOLUTIONARY ROAD
*½/**** Image A+ Sound A Extras B

starring Leonardo DiCaprio, Kate Winslet, Michael Shannon, Kathy Bates
screenplay by Justin Haythe, based on the novel by Richard Yates
directed by Sam Mendes

DOUBT
**/**** Image A- Sound A Extras B-
starring Meryl Streep, Philip Seymour Hoffman, Amy Adams, Viola Davis
written and directed by John Patrick Shanley

by Walter Chaw Impeccably acted and playing out what seems to be a collective cultural fascination with the pre-Flower Power '60s (not quite Ward and June, not quite Jimi and Janis), Sam Mendes' Revolutionary Road and John Patrick Shanley's Doubt help 2008 meet its quota of prestige-y actor's studio pieces. Both are based on well-regarded (renowned, in the case of the first) literary sources, both sport high-octane casts in the pursuit of that delicate balance in adaptations between literal and spiritual faithfulness, and both, ultimately, have considerably less to say than the surrounding hullabaloo would suggest. Revolutionary Road plots another point on the graph of Mendes's steeply-declining returns–he's a stage director whose greatest weakness is his desire for little epiphanies that play like Everest off the boards, and he's guilty of too much intoxication with the medium besides. Mendes spends so much time fiddling around with his camera to a noodling Thomas Newman score that you feel like giving him some privacy.

Resident Evil: Degeneration (2008) – Blu-ray Disc

*/**** Image B+ Sound B+ Extras B
animated; screenplay by Shotaro Suga
directed by Makoto Kamiya

by Bryant Frazer One of the more obnoxious trends in current filmmaking and distribution is the move towards cheapjack fansploitation movies. Masquerading as original, feature-film content, these low-budget theatrical and home-video releases are little more than expansive knock-offs of an existing, lucrative property that function as extended promos for yet another upcoming instalment of said franchise. In other words, they're commercials, bought and paid for by the very fanbase to which they're marketed. Not so long ago, we saw the theatrical bow of a decidedly sub-par feature animation, Star Wars: The Clone Wars, whose only reason for existence was its function as a come-on for the already-in-production Cartoon Network series. Then there's Resident Evil: Degeneration (henceforth Degeneration), an extended videogame cut-scene created to flog the upcoming release of AAA console title "Resident Evil 5". Taking place in the Capcom videogame's universe and filling in the narrative gap between "Resident Evil"s 4 and 5, it has nothing to do with the popular live-action film series starring Milla Jovovich.

Paul Blart: Mall Cop (2009) – Blu-ray Disc + Bedtime Stories (2008) – Blu-ray + DVD + Digital Copy

PAUL BLART: MALL COP
*/**** Image B+ Sound B Extras C
starring Kevin James, Jayma Mays, Keir O'Donnell, Shirley Knight
screenplay by Kevin James & Nick Bakay
directed by Steve Carr

BEDTIME STORIES
ZERO STARS/**** Image A Sound A Extras D
starring Adam Sandler, Keri Russell, Guy Pearce, Russell Brand
screenplay by Matt Lopez and Tim Herlihy
directed by Adam Shankman

by Ian Pugh For Kevin James and his co-writer, the talking cat from "Sabrina the Teenage Witch", it's not enough that Paul Blart (James) is a fat moron prone to knocking things over with the sheer force of his girth–he must also be completely oblivious, fully convinced that he possesses more power and responsibilities as a mall cop than any reasonable person would believe. So what to do when Paul's newest trainee (Keir O'Donnell) turns out to be a Hans Gruber wannabe who takes over the mall with his hip young gang in a bid to clean it out? A feature-length parody of Die Hard has long stopped being an enticing prospect, given that Die Hard itself has been deconstructed to death by the fact of its enormous influence on the action genre (to the degree that the "Die Hard in an X" template actually became the dominant model for action movies in the 1990s), with the proverbial final nail driven in by a third sequel, Live Free or Die Hard, that concluded there was no point in still pretending our everyman hero was anything but invincible. As Paul Blart: Mall Cop sees it, the only way to endue the John McClane archetype with any tension is to make him fat and stupid. The first time we see Paul, he's shovelling food into his mouth, his sweater stained with perspiration from beneath his man-boobs, shortly before his hypoglycaemia kicks in and sidelines him from joining the police academy. But he's got a big heart or something, and that's what counts, right?

Anaconda (1997) – Blu-ray Disc

**½/**** Image B- Sound B-
starring Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz
screenplay by Hans Bauer and Jim Cash & Jack Epps, Jr.
directed by Luis Llosa

by Walter Chaw Almost worth it just for Jon Voight's post-regurgitation wink, Luis Llosa's B-movie creature-feature Anaconda is a deadpan riff on the nature-amuck flicks of the mid-Seventies in general and Steven Spielberg's Jaws in particular. (Cinematographer Bill Butler shot both films.) It borrows the Moby Dick conceit of a mad hunter forcing a hapless crew to take a personal vision quest against an aquatic foe and post-modernizes it with a passel of genre in-references, an unusually dry script, and a supporting cast of accomplished character actors. The only real failure of the film in respect to its modest aspirations, in fact, is the snake itself, a frankly awful CGI phantom that destroys the tension with its every appearance. It's hard to be afraid of a glorified screen-saver.

Yes Man (2008) [Digital Copy Special Edition] – Blu-ray Disc

½*/**** Image A- Sound A Extras D
starring Jim Carrey, Zooey Deschanel, Bradley Cooper, Terence Stamp
screenplay by Nicholas Stoller and Jarrad Paul & Andrew Mogel, based on the novel by Danny Wallace
directed by Peyton Reed

by Walter Chaw I look at Jim Carrey nowadays with a little bit of bittersweetness, in that his attempts to go "legit" in movies like Man on the Moon and especially Eternal Sunshine of the Spotless Mind were essentially swatted aside, dismissed as brief indulgences between talking-asshole gigs. I believe that Carrey is a serious guy, possibly a melancholy guy, certainly a smart guy–and I believe the closest anyone's come to finding the right vehicle for his elasticity is Charlie Kaufman. Maybe they'll work together again. Until then, Carrey's fate is to shoehorn into endlessly reducible slapstick romcoms like Peyton Reed's Yes Man–easy cash-grabs with an ephemeral shelf-life doomed to be referenced for its one or two scenes that make any impact before becoming ancient history. The formula for this shit is etched in tintype by now: the Lovesick Dork Protag is Carl (Carrey), the High Concept is that he pathologically rejects everything, and the object of his l'amour fou is avant-garde punk band frontwoman Allison (Zooey Deschanel™). Can this button-up, white-collar stiff (Carl's a loan officer) learn to embrace spontaneity and break free of the workaday while setting up his own quirky business and saving the world in the process? Yes, man.

Being There (1979) – Blu-ray Disc

*/**** Image C+ Sound C+ Extras D
starring Peter Sellers, Shirley MacLaine, Jack Warden, Melvyn Douglas
screenplay by Jerzy Kosinski, based on his novel
directed by Hal Ashby

by Walter Chaw SPOILER WARNING IN EFFECT. Arguably the last film of note for New American Cinema director Hal Ashby, Being There (adapted from the Jerzy Kosinski novel by Kosinski himself) is oft-cited as a withering satire of punditry when to me it appears to be more a rather winsome look at the relationship between the artist and the audience. It suggests, after all, that it's not the messenger but the message–that a piece of art is only as important as the degree to which it's raked over by historians and critics, and that if there's a fundamental emptiness, a senselessness, in the creation of that art, then so be it. So long as the conduit is a true vessel for a larger cultural movement (like that reflected by television, for instance), 'gives a shit about the vessel anyway? More, Being There implies that the only true vessels might be empty ones.

Changing Lanes (2002) [Widescreen] – DVD|Blu-ray Disc

***½/****
DVD – Image A Sound A Extras B-
BD – Image A- Sound A- Extras B-
starring Ben Affleck, Samuel L. Jackson, Toni Collette, Amanda Peet
screenplay by Chap Taylor and Michael Tolkin
directed by Roger Michell

by Walter Chaw If not for its target-audience ending, Changing Lanes is, in nearly every measure of quality, a Seventies movie about helpless protagonists adrift in the midst of an insurmountable system with which they are eternally at odds. It deals with consequences in a way that films just do not anymore and presents two actors who have perhaps never been better in roles indicated by nuance, ambiguity, and intelligence. The screenplay, by newcomer Chap Taylor and (brilliant) veteran Michael Tolkin, is wonderfully balanced and observant and matched step for step in tone and pace by Christopher Tellefson's superior editing and Roger Michell's surprisingly chill directorial eye.

Never Say Never Again (1983) – Blu-ray Disc

*½/**** Image A- Sound B+ Extras B+
starring Sean Connery, Klaus Maria Brandauer, Max Von Sydow, Edward Fox
screenplay by Lorenzo Semple, Jr.
directed by Irvin Kershner

by Ian Pugh After decades of legal wrangling, producer Kevin McClory had finally won the right to make an autonomous James Bond flick out of Ian Fleming's Thunderball, and 1983 seemed like the perfect time to capitalize on it, what with resident Bond Roger Moore's age catching up with him and the original series running out of steam as a consequence. A household name, the character of Bond has enough cultural heft and influence that he warrants interpretations from independent sources besides, and given that Sean Connery was lured out of a twelve-year retirement from the character–hence the title, Never Say Never Again–as well as the room for improvement left by the original Thunderball, the film had the potential to be more than just a cynical cash-in.

A Bug’s Life (1998) – [2-Disc Collector’s Edition] DVD + Blu-ray Disc

**/****
DVD – Image A+ Sound A+ Extras A+
BD – Image A+ Sound A+ Extras A+
screenplay by Andrew Stanton and Donald McEnery & Bob Shaw
directed by John Lasseter and Andrew Stanton

Bugslifehirescap

by Walter Chaw The Seven Samurai by way of ¡Three Amigos!, Pixar's A Bug's Life stands as the company's sole artistic disappointment, suffering from a weightlessness that is particularly troubling given that it is also the only Pixar production whose characters don't interact with the human world. The revelation embedded in its relative failure is that the animation studio is better at satire than it is at fantasy–not a terrible thing, for sure (after all, anime legend Hayao Miyazaki has never made a film independent of the human realm), the picture still points to the damning difficulty of creating a fantasy unto itself and based on alien quirk that is more than an exercise in Flintstones-era visual punning wrapped around a familiar underdog-uplift narrative.

Sin City (2005) [Theatrical & Recut/Extended/Unrated Versions] – Blu-ray Disc

Frank Miller's Sin City
****/**** Image A Sound A Extras A
starring Jessica Alba, Benicio Del Toro, Brittany Murphy, Clive Owen
screenplay by Robert Rodriguez, based on the graphic novels by Frank Miller
directed by Frank Miller and Robert Rodriguez

Mustownby Walter Chaw Until Frank Miller's Sin City (hereafter Sin City), maverick Mexican director Robert Rodriguez frustrated the hell out of me: here's this guy with all the talent in the world–an eye, an ear, an internal metronome as unerring as a clock tick–making incoherent movies literally without finished screenplays. Falling off high wires without nets and trying to look cool doing it–it ain't smooth, man, it's arrogance and it's misplaced. I thought he'd spent himself on flotsam like the last two Spy Kids flicks, thought he'd really screwed the pooch on a fiasco like Once Upon a Time In Mexico, on which he mistook Sergio Leone's formalist genre Diaspora for a mess of ideas trailing camera flourishes. But here, right before he unleashes some 3-D thing about a shark boy, Rodriguez slides in a movie for which he resigned from the Directors' Guild of America just so he could credit comic book legend Frank Miller as his co-director. Here, in Sin City, is what Robert Rodriguez can do with brutal, draconian structure (what's harsher than the cell of a comic-book panel?); here, finally, is productive fruit from his reputation as a rebel without a crew. Here's Sin City down low, on the QT, and very, hush hush: the most anti-Hollywood Hollywood picture since Kill Bill, and a film that, likewise, feels like some kind of miracle it was ever produced, much less released.