Spider-Man 3 (2007) – Blu-ray Disc

Spider-Man 3 (2007) – Blu-ray Disc

***½/**** Image A+ Sound A+ Extras A-
starring Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church
screenplay by Sam Raimi & Ivan Raimi and Alvin Sargent
directed by Sam Raimi

by Walter Chaw It’s hard for me at this point to look at the Spider-Man franchise literally. Literally, after all, it’s riddled with inconsistencies, plot holes the size of Buicks, abrupt shifts in tone, important subplots given short shrift, and on and on. But as iconography, as allegory (who can forget the timeliness of the first film’s 9/11 parable?), as an essentially self-aware product of our image-ravenous culture, it achieves a kind of spectral, magical grace. Though I prefer the personal evolution of the second picture (and the third Harry Potter film for the same reasons), the trying-on and jettisoning of father figures along the path of boy-into-man, there are moments in Spider-Man 3 so supremely well-crafted as visual poetry, so gloriously tangled and knotty, that they batter defenses raised against another Iraq War tale of unimaginable losses and the cold comfort of vengeance. The whole of the film is a case of rolling with the punches, really, of choosing early whether to hang with director Sam Raimi’s sense of broad slapstick melodrama and greeting-card symbolism or reject it as incoherent, populist mugging. If you accept its roundhouse swings and Evil Dead-era zooms at face value, though, it has for you in return a moment where something struggles to be born, but can only finish its nascence with the help of an image of its sick daughter; a breathless action sequence that revolves around the recovery of a sentimental artifact; and, as a bonus, a “Three Stooges” bit where old pal Bruce Campbell plays an unctuous, over-eager maître d’.

Wolf Creek (2005) [Widescreen Edition – Unrated Version] – DVD + Hostel (2006) [Unrated Widescreen Cut] – DVD|[Director’s Cut] – Blu-ray Disc

Wolf Creek (2005) [Widescreen Edition – Unrated Version] – DVD + Hostel (2006) [Unrated Widescreen Cut] – DVD|[Director’s Cut] – Blu-ray Disc

WOLF CREEK
*½/**** Image A Sound A- Extras B
starring John Jarratt, Nathan Phillips, Cassandra Magrath, Kesti Morassi
written and directed by Greg McLean

HOSTEL
**/****
DVD – Image A- Sound A Extras B+
BD – Image A- Sound A Extras A-
starring Jay Hernandez, Derek Richardson, Eythor Gudjonsson, Barbara Nedeljakova
written and directed by Eli Roth

by Walter Chaw When I say that I enjoy a nihilistic film on occasion, I don’t mean movies that aren’t about anything. There are films that adhere to the philosophy that life is meaningless, that there’s not much hope, that we might be in Hell or, better, a godless maelstrom of happenstance and entropy. And then there are ostensibly nihilistic films like Wolf Creek and Hostel that are more accurately examples of nihilism. Both inspired by real-life events*, they seem to use their basis in fact as protection against not actually telling a story with gravity or purpose. They’re not governed by a prevailing philosophy or buoyed by any artistry–they have nothing beneath their grimy veneers to reward a careful deconstruction (though we’ll try). Worse, they know only enough about their genres to (further) discredit them in the popular conversation. I look at these films as though I were observing an alien artifact, an insect with solid black eyes. If there’s intelligence to them, it’s not a kind I understand.

300 (2007) [Two-Disc Special Edition] – DVD|Blu-ray Disc

300 (2007) [Two-Disc Special Edition] – DVD|Blu-ray Disc

*/****
DVD – Image B+ Sound A Extras B
BD – Image A Sound A+ Extras B
starring Gerard Butler, Lena Headey, David Wenham, Dominic West
screenplay by Zack Snyder & Kurt Johnstad and Michael B. Gordon, based on the graphic novel by Frank Miller
directed by Zack Snyder

by Walter Chaw There’s an idea in the ancient world about a “beautiful death,” achievable for the warrior only in mortal, one-on-one wartime combat–an idea that may have contributed to the length of the Trojan siege, and an idea vocalized by one of the captains serving under Spartan King Leonides (Gerard Butler) in Zack Snyder’s 300. Based on Frank Miller’s graphic novel of the same name, the film betrays a lot of the same macho aesthetic as Robert Rodriguez’s adaptation of Miller’s Sin City–but rather than content itself with the literally bestial terms of glory in the masculine psyche, it makes a play for allegory and equivocal morality (of all things) in the valorization of Sparta and the romanticization of a crushing military defeat. It’s not that Leonides is seen martyred in the end in a tableau explicitly meant to evoke the passion of St. Sebastian, but that he goes out pining for his wife like a lovesick hamster, thus completing 300‘s devolution from remorseless Spartan militarism into gushy democratic idealism and all manner of liberal maladies. There’s little profit in establishing the rules of this universe as uncompromising and brutal (it opens on a field of infant skulls–victims of a Spartan culling ritual of its own kind) if its intentions split time between justifying, in non-chest-beating terms, the decision to pit three-hundred against thousands while denying the Spartans their individual moments of “beautiful death” in favour of some collective date with pyrrhic immortality. History suggests that the Spartans, having exhausted their arms, died scratching and clawing with their bare hands; 300 suggests they died calling for their mothers and wives.

Disturbia (2007) [Widescreen] – DVD|Blu-ray Disc

Disturbia (2007) [Widescreen] – DVD|Blu-ray Disc

**/****
DVD – Image A- Sound A Extras C+

BD – Image B+ Sound A- (DD)/A (DTS) Extras C+
starring Shia LaBeouf, David Morse, Sarah Roemer, Carrie-Anne Moss
screenplay by Christopher Landon and Carl Ellsworth
directed by D.J. Caruso

by Travis Mackenzie Hoover I’m not terribly upset that Disturbia directly steals from the infinitely superior Rear Window. If ever there was a time to resurrect the lesson in voyeurism that is Hitchcock’s masterpiece, it’s now, at the dawn of the closed-circuited twenty-first century. The problem with the newer film isn’t that it’s a rip-off, but that it fundamentally misunderstands its source. The terribly ambiguous stance on Jimmy Stewart’s Peeping Tom tendencies has become 100% gung-ho support of illegal surveillance, a development problematic for reasons that go beyond ethical considerations and political ramifications. I get that nobody involved means for Disturbia to champion creep behaviour–they’re merely fulfilling the hormonal wishes of the adolescents who made it a surprise hit last spring. It’s just that, stripped of any theme beyond catching a killer, Rear Window‘s not that interesting to watch.

Taking Lives (2004) [Widescreen Edition – Unrated Director’s Cut] – DVD|[Extended Cut] – Blu-ray Disc + Gia (1998) [Unrated] – DVD

TAKING LIVES
***/****
DVD – Image A- Sound A- Extras C+
BD – Image B+ Sound A Extras C+
starring Angelina Jolie, Ethan Hawke, Kiefer Sutherland, Gena Rowlands
screenplay by Jon Bokenkamp, based on the novel by Michael Pye
directed by D.J. Caruso

by Walter Chaw The more cynical among us would note that the title might also refer to the time that movies exactly like Taking Lives have stolen from hapless audiences, but the fact of it is that if not for our mortal curiosity, we might have missed genuinely good mad-dog killer flicks like Henry: Portrait of a Serial Killer, Manhunter, The Untold Story, and Se7en. On a reptile level, I think it behooves the herd to slow down at the scene of a gory end, the flock imprinting another’s messy mortal lesson as an explanation for our fascination with train wrecks and splatter flicks. But where a film like The Silence of the Lambs perversely reassures its captive audience that no matter the procreative ingenuity of a predator’s unslakeable bloodlust, there’s always a corn-fed, buttermilk-scrubbed farm girl there to put him away (and Taking Lives falls into this camp), there are films like granddaddy In Cold Blood (and great-grandpappy Psycho) that disdain the easy treatment of societal cancers. The one is appeasement and equivocation-bordering-on-exploitation, the other is always disquieting and sometimes even thought-provoking.

David Cronenberg Re-examines David Cronenberg: A Retrospective Interview

Cronenberg Re-Examines Cronenberg

March 9, 2003 | Offered the opportunity to visit with David Cronenberg a second time recently, I sat down with the legendary director the morning after moderating a post-screening Q&A with him at Denver’s Landmark Mayan Theater (where a sell-out crowd of over 450 was enthusiastically in attendance for a sneak of Spider) to discuss his work from student films Stereo and Crimes of the Future all the way through to what is arguably his best–certainly his most mature–film, the oft-delayed Spider. Dressed in casual cool as is the director’s habit, Mr. Cronenberg exudes supreme confidence; gracious in the extreme and unfailingly polite, not given to displays of false modesty or overly interested in compliments, his speech is pleasant and carefully modulated–a sort of intellectual detachment that has marked even his earliest, “tax shelter” work. It seemed clear to me that Mr. Cronenberg was not generally accustomed to talking of his earlier work on the junket circuit. Speaking only for myself, it was a wonderful break from the usual stump.Walter Chaw