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Give My Regards to Broad Street (1984) + Paul McCartney: The Music and Animation Collection – DVDs

May 13, 20041980s, 1990s, 2000s, Animation, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Family, Fantasy, Music, Short Films, UK

GIVE MY REGARDS TO BROAD STREET
**/**** Image B Sound B+
starring Paul McCartney, Bryan Brown, Ringo Starr, Barbara Bach
screenplay by Paul McCartney
directed by Peter Webb

PAUL McCARTNEY: THE MUSIC AND ANIMATION COLLECTION
*½/**** Image B+ Sound B+ Extras B+
directed by Geoff Dunbar

by Travis Mackenzie Hoover Self-absorption is probably an occupational hazard at a certain level of fame: once the world lays itself at your feet, pelts its money at you, and replaces your mirrors with airbrushed portraits, it's well-nigh impossible not to be nudged a little closer to the realm of the narcissistic. Such is the case with Paul McCartney, who, having been canonized during his stint with The Beatles, apparently came to believe that anything involving his personage would be a celestial experience for all. The ego trips of 1984's Give My Regards to Broad Street and his more current forays into animation show a McCartney trapped in his own private hall of mirrors, one whose past musical triumphs are looking ever more distant from the tepid easy-listening of his present-day output.

We’re Not Married (1952) – DVD

May 10, 20041950s, Authors: Bill Chambers, Comedy, DVD, Romance

We're Not Married!***/**** Image A- Sound B+starring Ginger Rogers, Fred Allen, Victor Moore, David Waynescreenplay by Nunnally Johnsondirected by Edmund Goulding by Bill Chambers With the advent of television, the movie business was suddenly floundering. While the long-term solution proved to be increasing the literal scale of motion pictures, the short-term fix found studios filching conceits tailored for the small screen. Like a number of Fox programmers from the early Fifties, We're Not Married! takes its cue from the anthology format of televised theatre; thanks to an agile Nunnally Johnson screenplay and the zesty direction of Dark Victory's Edmund Goulding,…

Millennium Actress (2002) + Tokyo Godfathers (2003)

May 9, 20042000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Drama, DVD, Fantasy, Japan, Romance

MILLENNIUM ACTRESS
***½/**** Image A- Sound A Extras B
screenplay by Satoshi Kon and Sadayuki Murai
directed by Satoshi Kon

TOKYO GODFATHERS
**½/**** Image A Sound A Extras C+
screenplay by Keiko Nobumoto and Satoshi Kon
directed by Satoshi Kon and Shôgo Furuya

by Walter Chaw Four years separate Satoshi Kon's astonishing Perfect Blue and his astonishing Millennium Actress; it seems that what the intervening period brought to Kon's palette is a strong sense of visual humour and an affecting pathos to cut the existential dread of his identity crises–the year or two distancing Tokyo Godfathers from Millennium Actress further refining Kon as a humorist even as it blunted his razor's edge. Where Perfect Blue is the first film in decades to use Hitchcock correctly in a sentence, it still fails for the most part to jump from horror to hilarity on the turn of a heel, making its story of an actress being stalked by a doppelgänger brilliant, no question, but also relentlessly grim. Millennium Actress takes many of the same themes (down to the same basic structure) of performance and meta-reality, stage and screen, cradling them in a story about a man's lifetime of unrequited love for an actress, herself suffering from a lifetime's unrequited love for a mysterious revolutionary. Both threads entwine in a mutual affection for the life of the cinema, which, by film's end, serves as the ends and the means by which their respective love stories are resolved. Like Perfect Blue, Millennium Actress is about living with ghosts, but where the one is all shadow, Millennium Actress is all alight.

Miracle (2004) [Widescreen] + Club Dread (2004) – DVDs

May 6, 20042000s, Authors: Bill Chambers, Biopic, Canada, Comedy, Disney, Drama, DVD, Family, Horror, Sports, Thriller

MIRACLE
**/**** Image A Sound A Extras A-
starring Kurt Russell, Patricia Clarkson, Noah Emmerich, Eddie Cahill
screenplay by Eric Guggenheim
directed by Gavin O'Connor

Broken Lizard's Club Dread
**/**** Image A Sound A- Extras C+
starring Brittany Daniel, Kevin Heffernan, Steve Lemme, Jordan Ladd
screenplay by Broken Lizard
directed by Jay Chandrasekhar

by Bill Chambers That it's well-cast, well-shot, and well-edited leads one to conclude that Miracle is, in fact, well-directed (by Tumbleweeds' Gavin O'Connor). It's therefore invaluable, really, as proof that nothing can save a hackneyed screenplay. The film, which recreates a rink-bound pissing contest between the U.S. and Soviet hockey teams at the 1980 Olympics that retroactively came to stand for a Seabiscuit-like national uplift, is so self-critiquing that watching it is purely a formality and only an occasional joy, not for its underdog intrigue, but for its technical proficiency and the ever-dependable Kurt Russell. (If there are better actors than Russell, there certainly aren't better movie stars.) Surmounting a number of aesthetic obstacles, including a moptop that looks scalped from his character in The Computer Wore Tennis Shoes, Russell skillfully essays real-life coach Herb Brooks, a failed puck-slinger looking to live vicariously through a gold medal line-up.

Envy (2004)

May 4, 20042000s, Authors: Walter Chaw, Comedy, Satire, Theatrical

**½/****
starring Ben Stiller, Jack Black, Rachel Weisz, Amy Poehler
screenplay by Steve Adams
directed by Barry Levinson

by Walter Chaw Reminding a great deal of the masticated wonderlands of Joe Dante's The 'burbs and his own Toys, Barry Levinson's Envy operates within a carefully constructed artifice. It's a fantasy of suburbia filthy with arrested men-children and the dolls who love them, helplessly acting out music-box morality plays against a backdrop of outsized slapstick. At it's best, the film evokes the diorama lollapalooza of Tim Burton's Edward Scissorhands (indicated by its affection for the image of a snow globe), floating along on the undercurrent of meanness that defines Burton's Pee-Wee's Big Adventure like a twisted form beneath a multi-coloured blanket. Disturbingly unmoored monologues about the joy of running a pretzel stand and an invitation to catharsis as "let it tumble out like circus freaks" are made all the more peculiar by the delivery of Christopher Walken, playing a character named obliquely–after Kafka or Christ–J-Man. Redemption and oppression in one Camus parcel, Envy is the story of an everyman toiling under the yoke of the peculiarly American sickness of being completely average while nursing a sense of outrageous entitlement.

The Triplets of Belleville (2003) – DVD

May 4, 2004****/****, 2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Belgium, Canada, Comedy, Drama, DVD, FFC Must-Own, France, Latvia, Music, UK

****/**** Image A Sound A Extras B+
written and directed by Sylvain Chomet

by Walter Chaw An extraordinary, melancholy ode to the endless, mercurial peculiarity of life, Sylvain Chomet's The Triplets of Belleville (Les Triplettes de Belleville) finds as its existential constant the persistence of art, the familial ties that bind, and the echoing green of synchronicity. It is the finest film of its kind since Babe: Pig in the City, Gallic in the best implications of the term: self-conscious, intelligent, envelope-pushing. Its scope is immense both literally and philosophically, a series of dog dreams within providing a bit of core disquiet that work at you like the best poetry can. It's easy to forget the power of metaphor when it's bandied about like so much corrupt currency in sub-par product aching for subtext–in fact, The Triplets of Belleville is so close to poetry, something by William Carlos Williams, perhaps, that it touches something pure in art and archetype, reminding in the process of what symbolic language can do when wielded with a skilled, steady hand.

Love Actually (2003) [Widescreen] – DVD

April 27, 20042000s, Authors: Bill Chambers, Authors: Walter Chaw, Christmas, Comedy, Drama, DVD, France, Romance, UK, ZERO STARS

ZERO STARS/**** Image B+ Sound A- Extras A-
starring Alan Rickman, Bill Nighy, Colin Firth, Emma Thompson
written and directed by Richard Curtis

by Walter Chaw I actively, aggressively dislike this film. Richard Curtis's Love Actually says something of its intentions in a subplot involving an aged rocker (Bill Nighy) who knows he's creating a reprehensible piece of garbage in an attempt to cash in on the gaffed demographic that champions boy bands as the pinnacle of the art. The picture is a sex comedy in the worst senses of the genre: It's puerile, misogynistic, and breathtakingly stupid, with a keen focus on pratfalls and serendipity–all the while hoping that you won't notice the inappropriateness of its plays for heart-warming uplift. Curtis, after scoring a couple of times in the genre as screenwriter with Notting Hill and The Tall Guy, chooses Love Actually as his directorial debut, and its hatefulness speaks to the source of the comprehensive misanthropy of Rowan Atkinson's Mr. Bean (Atkinson makes a cameo; Curtis is a writer for "Mr. Bean"). A shame that Curtis's hyphenate turn begins to betray the man as ugly and self-indulgent.

13 Going on 30 (2004)

April 23, 20042000s, Authors: Walter Chaw, Comedy, Romance, Theatrical, Time Travel

**/****
starring Jennifer Garner, Mark Ruffalo, Judy Greer, Christa B. Allen
screenplay by Cathy Yuspa & Josh Goldsmith and Niels Mueller
directed by Gary Winick

by Walter Chaw Threatening at any moment to veer off the populist tracks and become something legendarily, unpleasantly subversive, the middling 13 Going on 30 is really little more than a collection of "I Love the '80s" vignettes presided over by Jennifer Garner's peculiar mien. It's also peculiar that the genre of body-swapping/quick-aging jibber-jabber is making a resurgence now a couple of decades after the last spate (18 Again, Vice Versa, Big), and peculiar again that with Mark Waters's Freaky Friday and Gary Winick's 13 Going on 30, the genre is being re-imagined through the prism of young women. (Perhaps not so strange when you consider that the key demographic slavered over by studio wonks has shifted from the pre-adolescent boys of the mid-'80s to post-Titanic pre-adolescent girls.) It's clear that this film is meant to satisfy some sort of wish-fulfillment fantasy for 13-year-old members of the babysitters' club, but with Eighties references that can only be amusing to people who've passed the third-decade mark, it manages mostly to be a wish-fulfillment fantasy for thirtysomething men who want emotionally immature, sexually malleable women who happen to resemble television starlets.

Young Adam (2003); Millennium Mambo (2001); Secret Things (2002)

April 23, 2004****/****, 2000s, Authors: Walter Chaw, Comedy, Crime, Drama, Esoterica, France, Romance, Taiwan, Theatrical, UK

YOUNG ADAM
**½/****
starring Ewan McGregor, Tilda Swinton, Peter Mullan, Emily Mortimer
screenplay by David Mackenzie, based on the novel by Alexander Trocchi
directed by David Mackenzie

Qian xi man po
****/****
starring Shu Qi, Jack Kao, Tuan Chun-hao, Chen Yi-Hsuan
screenplay by Chu T'ien-wen
directed by Hou Hsiao-hsien

Choses secrètes
***½/****
starring Coralie Revel, Sabrina Seyvecou, Roger Mirmont, Fabrice Deville
written and directed by Jean-Claude Brisseau

by Walter Chaw David Mackenzie's Young Adam opens with a shot from below of a duck paddling placidly along the surface of a lake that's replaced by a woman's corpse, then replaced by a filthy barge-worker and his mate fishing the cadaver out with a gaffing hook. Young Adam is a beautiful picture, really, its interiors sepia-tinged like a cameo photograph and its exteriors bleached and desperate, and as a film about surfaces, it marches to its own logic with the dyspeptic malaise, if not the consistent nihilistic poetry, of a Kiyoshi Kurosawa. Surfaces include skin, of course, and a scene where tattooed Les (Peter Mullan) washes his hired help Joe (Ewan McGregor) is as blandly erotic as a scene where Joe performs cunnilingus on Les's wife Ella (Tilda Swinton), an act that wins him the fried egg he was denied at breakfast. Consumption suggesting sustenance seeps into a scene where Joe covers his girlfriend, Cathie (Emily Mortimer), with custard, ketchup, and mustard before caning and raping her. Joe's furnace is unquenchable: as Biblical doppelganger, his carnal curiosity is constantly stoked by the invitation of moribund English housewives and widows–and his ire is only aroused when an appropriate mate choice threatens to free him from his fleshy fixations. Young Adam is about being trapped and listless, about the lost generation afflicted by a plague of ennui–paddling in a circle, floating between updrafts in the widening gyre.

The Office: The Complete Second Series (2002) – DVD

April 18, 20042000s, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Pseudo-Documentary, Television, UK

Image A Sound A- Extras C+

by Travis Mackenzie Hoover Fans of "The Office" are in for a lopsided evening if they plan to do a marathon of both seasons. Much as I loved series one, there's no denying that it deals purely with the inertia of office life, of living with the petty nuisances of an obnoxious boss (Ricky Gervais as David Brent), a "weasel-faced ass" (Mackenzie Crook as Gareth Keenan) at the desk across from you, and a long stretch of boredom as the mindless work you do stretches on into infinity. Creators Gervais and Stephen Merchant could have easily riffed on this for years and run out of ideas along the way, but wanting to go out with a bang ("The Office" is, by all accounts, finished), they decided to play the series out by throwing the office environment into flux. Thus we have "The Office: The Complete Second Series", a brilliant and unlikely cross between Basil Fawlty and Arthur Miller that starts off subtly hilarious and ends as one of the most wrenching tragedies ever to crash through the small screen.

Desk Set (1957) [Studio Classics] – DVD

April 16, 20041950s, Authors: Bill Chambers, Comedy, DVD, Romance

**½/**** Image A- Sound B- Extras C+
starring Spencer Tracy, Katharine Hepburn, Gig Young, Joan Blondell
screenplay by Phoebe and Henry Ephron, based on the play by William Marchant
directed by Walter Lang

by Bill Chambers One of the more effectively simple credits sequences opens Desk Set, with a telegraph situated on a Mondrian-inspired backdrop spitting out the names of cast and crew. This, it turns out, is the movie reduced to symbols. Modernities clash as Spencer Tracy's ironically oafish efficiency expert is deposited in the environment of Katharine Hepburn, who thinks and dresses geometrically but brings a splash of colour to the room. They're hip and as hip as each other, even if she's a Luddite and he pimps a supercomputer for IBM, because career comes first for both. Counterbalancing a general mistrust of the electronics revolution (and the typical politically-incorrect trappings of Fifties cinema), the movie embraces a progressive quality in its power-couple leads, who still seem remarkably contemporary because neither assumed aggressively gender-specific roles–they always played equals of different temperaments.

Bulletproof Monk (2003)

April 15, 20042000s, Action, Authors: Walter Chaw, Canada, Comedy, Fantasy, Theatrical

*/****
starring Chow Yun-Fat, Seann William Scott, Jamie King, Karel Roden
screenplay by Ethan Reiff & Cyrus Voris
directed by Paul Hunter

by Walter Chaw There is a moment in the middle of Bulletproof Monk: Chow Yun-Fat leaps to the top of a car, brandishing two pistols, his overcoat flaring in slow-motion as he rains down bullets on the bad guys. It's an homage to Brother Chow's work with John Woo, of course, in the seminal HK action flicks The Killer, Hard-Boiled, and A Better Tomorrow–and Woo is listed among the film's producers. It sort of makes you wonder why the pair doesn't stop dancing around and just make another movie together already, particularly since neither Chow nor Woo has really made a film worth a damn since sailing over to a Hollywood that doesn't understand them. The American film industry would rather marginalize them into racial caricatures than take advantage of their unique talents.

Connie and Carla (2004) + Japanese Story (2003)

April 15, 20042000s, Australia, Authors: Walter Chaw, Comedy, Crime, Drama, Music, Romance, Theatrical

CONNIE AND CARLA
*½/****
starring Nia Vardalos, Toni Collette, David Duchovny, Stephen Spinella
screenplay by Nia Vardalos
directed by Michael Lembeck

JAPANESE STORY
*/****
starring Toni Collette, Gotaro Tsunashima, Matthew Dyktynski, Lynette Curran
screenplay by Alison Tilson
directed by Sue Brooks

by Walter Chaw SPOILER WARNING IN EFFECT. Pity Toni Collette, her inability to land a lead role that might catapult her into the limelight bespeaking of either a general dearth of quality lead actress roles or an inability to choose her "breakthrough" projects carefully. The highlight of a lot of good movies (The Sixth Sense, Clockwatchers, About a Boy) and bad ones (Muriel's Wedding, Hotel Splendide), too, her latest chance to evolve beyond accomplished second fiddle has elicited a glorified supporting role in Nia Vardalos's latest bit of unwatchable crowd-pleasing garbage (Connie and Carla) and the ingenue part in an embarrassing bit of housewife Orientalism erotica that transplants the Yellow Peril of the American 1950s to a modern-day Outback setting (Japanese Story).

The Whole Ten Yards (2004)

April 9, 20042000s, Authors: Walter Chaw, Comedy, Crime, Gangster, Theatrical, Thriller, ZERO STARS

ZERO STARS/****
starring Bruce Willis, Matthew Perry, Amanda Peet, Kevin Pollak
screenplay by George Gallo
directed by Howard Deutch

by Walter Chaw Oz (Matthew Perry, racing Ray Romano for title of television personality least suited for the big screen) is a dentist married to ex-moll Cynthia (Natasha Henstridge) and ex-hitman Jimmy (Bruce Willis) is married to ex-dental hygienist Jill (Amanda Peet). Oz is constantly mugging, falling down, running into things, and making funny faces, which leads me to believe that Oz might be afflicted by some toxic stew of epilepsy, Tourette’s Syndrome, and limited comic actor’s disease–the last of which the sort of thing that otherwise dull or homely children contract to get attention in class. Through a devastatingly disinteresting sequence of convoluted events, our whimsical quartet is menaced by Hungarian mobster Lazlo Gogolak (Kevin Pollak, in his fourth decade of needing a bullet to the head) and his dimwit son Strabo (Frank Collison)–resulting in a shootout and a desperate series of speeches that don’t do a thing to explain how Jimmy pretending to be a housewife in a David Lee Roth wig relates to stealing millions from the mob.

Rana’s Wedding (2003) + Osama (2003)

April 8, 20042000s, Afghanistan, Authors: Walter Chaw, Comedy, Drama, Netherlands, Palestine, Theatrical, United Arab Emirates

Al Qods Fee Yom Akhar
***½/****
starring Clara Khoury, Khalifa Natour, Ismael Dabbag, Walid Abed Elsalam
screenplay by Liana Badr, Ihab Lamey
directed by Hany Abu-Assad

OSAMA
*½/****
starring Marina Golbahari, Arif Herati, Zubaida Sahar, Gol Rahman Ghorbandi
written and directed by Siddiq Barmak

by Walter Chaw About thirty minutes into Hany Abu-Assad’s Rana’s Wedding (Al Qods Fee Yom Akhar), an old Palestinian man sets a small table down outside his building in Israeli-occupied Jerusalem, places a typewriter on top of it, and watches as Rana (Clara Khoury) is almost shot by an Israeli patrol when her cell phone is briefly mistaken for a revolver. The moment isn’t commented upon, and the next scene finds her wondering, as she’s wondered for the first parts of the film, where her true love is on this, the day that her father demands that she marry one of the suitors he’s approved for her or leave for Egypt to continue her schooling. The deadline sends Rana careening across the country in an increasingly complex quest to assemble the right people together to allow her to marry the man that she loves–the one who “understands me, and puts up with me when I’m angry.” The line is funny as the sentiment is familiar–it’s a grace note in a picture that somehow cloaks its ferocity in a sheath of gentility. Make no mistake that not commenting on the Israeli/Palestinian situation is not the same as avoiding the Israeli/Palestinian situation; as political films go, Rana’s Wedding is high among the films finding release in election year 2004 (Osama, The Fog of War, Broken Wings).

Reefer Madness (1938) [Special “Addiction”] – DVD

April 7, 20041930s, Authors: Travis Mackenzie Hoover, Comedy, Crime, Drama, DVD, Esoterica

*/**** Image B (B&W) F (Colorized) Sound A- (DD) A (DTS) Extras D
starring Dorothy Short, Dave O'Brien, Thelma White, Carleton Young
screenplay by Arthur Hoerl
directed by Louis Gasnier

by Travis Mackenzie Hoover I don't really have much to say about Reefer Madness (original title: Tell Your Children) that hasn't been said a million times in a million hazy dorm rooms. Yes, the film is hysterical. Yes, it's inaccurate. Yes, it's stilted and clumsy and generally ridiculous. And still, I sat largely stone-faced throughout the entire film, barely snickering at some of its gaffes and performances. The truth is that while it has the ineptitude we look for in camp, it lacks a visionary quality that could elevate it to classic status–there is no virtuoso technical insanity in the manner of Ed Wood, no gorilla creature questioning its existence à la Robot Monster, no rending of the fabric of reality as only great bad filmmakers can. Though I imagine it improves after a few bong hits.

Stuck on You (2003) [Widescreen] – DVD

April 4, 20042000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD

**½/**** Image A- Sound A- Extras B-
starring Matt Damon, Greg Kinnear, Eva Mendes, Wen Yann Shih
screenplay by Peter Farrelly & Bobby Farrelly
directed by Bobby Farrelly & Peter Farrelly

by Walter Chaw It may not be funny in the slightest, but like Shallow Hal, the Farrelly Brothers' Stuck On You is often fascinating for the extent to which it seeks to dissect the exploitation of disability in film. The picture is surprisingly affecting when it's addressing the conjoined twins at its centre, pointing at once to where the Farrellys are headed with their art, and to the realization that where this picture really fails is in the fallacy that it needs to be a comedy at all. (The most glaring gaffe the casting of Cher as herself, a joke as out of tune as it is out of time.) What emerges from the film isn't the sort of scatological brinkmanship the brothers are credited with/derided for, but rather an often sharp examination of identity, the strength of familial bonds, and the courage to dream–elements each to be found woven in some fashion throughout the filmmakers' critically underestimated oeuvre.

The Prince & Me (2004)

April 2, 20042000s, Authors: Walter Chaw, Comedy, DVD, Romance, Theatrical

**/****
starring Julia Stiles, Luke Mably, Ben Miller, James Fox
screenplay by Jack Amiel & Michael Begler and Katherine Fugate
directed by Martha Coolidge

by Walter Chaw Surprisingly good not the same thing as genuinely good, Martha Coolidge's The Prince & Me returns the director to her Valley Girl formula of cross-cultural teen romantic hurlyburly with a few nice moments and the pleasing aura of a light fantasy, but the film finds itself weighed down at the end by the requirements of its exhausted genre. Moreover, The Prince & Me fails the courage test, needing desperately to have ended about ten minutes before it actually does, and though not a moment of it demands (nor could a moment of it bear) to be assessed through the prism of realism, the gadget of its finale is less "fairytale" than insipid. One cliffhanger is more than enough in most fables, so when The Prince & Me decides to follow twist fast with preordained turn, it exposes its structure as far too flimsy to support the burden of those contortions.

Hellboy (2004)

April 2, 20042000s, Action, Adventure, Authors: Walter Chaw, Comedy, Fantasy, Sci-Fi, Superhero, Theatrical

***/****
starring Ron Perlman, Selma Blair, Jeffrey Tambor, Karel Roden
screenplay by Guillermo del Toro, based on the comics by Mike Mignola
directed by Guillermo del Toro

by Walter Chaw A bona fide auteur in an age of facile pretenders, Guillermo del Toro is the pulp genre’s Martin Scorsese, his films filtering devout Catholic imagery through a lurid colour palette and obsessed with insectile machineries and mentor relationships between boys and old men. Del Toro’s pictures are deeply personal explorations of faith, of redemption and resurrection–he made of Blade II a tale of the prodigal son, and now with Hellboy he’s crafted a story of an evolving passion.

The Rundown (2003) [Widescreen] – DVD

April 1, 20042000s, Action, Adventure, Authors: Walter Chaw, Comedy, DVD, Schwarzenegger, Thriller

***/**** Image A+ Sound A+ Extras B+
starring The Rock, Seann William Scott, Christopher Walken, Rosario Dawson
screenplay by R.J. Stewart and James Vanderbilt
directed by Peter Berg

by Walter Chaw There’s an ebullient lustre to Peter Berg’s dedicatedly obnoxious The Rundown, an action film with so little pretension that it actually comes off as smart. It’s the same peculiar phenomenon that makes of Laurel & Hardy geniuses after the fact, banking on timing and carefully cultivated absurdity to at once define and rejuvenate the mismatched buddy-on-the-run genre. Consider a scene in which Dwayne “The Rock” Johnson fights a tribe of pygmy Brazilian freedom fighters, edited and choreographed like a Yuen Brothers wu xia married to a Weissmuller Tarzan flick. Delirious and ridiculous, exciting in spite of itself, The Rundown is the kind of adrenalized filmmaking that is, in fact, more intelligent and misanthropic than it seems. More, it’s not a fluke: Actor Berg’s directorial debut Very Bad Things remains, along with Doug Liman’s Go, one of the great underestimated time-capsule pitch-black comedies of the late-Nineties. If not for a few glaring moments where Berg displays the first symptoms of obfuscating Danny Boyle disease (CGI pullouts, nauseating zooms, and meaningless hyper-edits), particularly in its prologue, The Rundown would be something of a cult all-timer.