The Magic Christian (1969) – DVD

*½/**** Image A- Sound A-
starring Peter Sellers, Ringo Starr, Isabel Jeans, Caroline Blakiston
screenplay by Terry Southern & Joseph McGrath, based on Southern's novel
directed by Joseph McGrath

by Travis Mackenzie Hoover The worst thing about The Magic Christian is that it thinks it's good for you. Essentially a series of blackout sketches in which people are induced by cash to do embarrassing and/or unprincipled things, it comes on like it's revealing some hitherto concealed facet of "straight" society, the better to seem irreverent and "with-it" in that vaguely-defined Sixties kind of way. But a movie where a rich guy with a briefcase full of money delights in its power to destroy other people's self-image is more than a little cynical, and sure enough, The Magic Christian seems to like its self-appointed judge/jury/executioner roles too much for comfort. The more it tries to convince you that it's everyone else who's rotten and corrupt, the more the film reveals its own misanthropy–and its mean-spirited nature thwarts whatever meagre stabs at merriment it attempts.

Little Secrets (2002) – DVD

**/**** Image A- Sound B+ Extras B
starring Evan Rachel Wood, Michael Angarano, David Gallagher, Vivica A. Fox
screenplay by Jessica Barondes
directed by Blair Treu

by Bill Chambers Little Secrets, a movie about the fear of honesty we have when we’re children, begins in the vein of a Joe Dante suburban satire but ends, oh so detrimentally, like a nightmare of Chris Columbus pap. Directed with genuine zest by Blair Treu, a man whose resume includes a film with the title “Just Like Dad” and episodes of the quickly-jettisoned television adaptation of Chicken Soup for the Soul, Little Secrets grows so self-involved that the dial of its own moral compass comes off its hinge: Treu (ironic spelling, don’t you think, for the director of a film dealing with the subject of lying?) and screenwriter Jessica Barondes steer their picture irreversibly south in the final minutes in what amounts to an act of belligerence–the filmmakers are too proud to admit they’ve made a gross miscalculation of plot, leading not only to the most aggravating closing smooch in a kids’ flick since Columbus’s own Adventures in Babysitting, but also Little Secrets‘ misogynistic aftertaste.

How to Lose a Guy in 10 Days (2003)

*½/****
starring Kate Hudson, Matthew McConaughey, Adam Goldberg, Michael Michele
screenplay by Kristen Buckley & Brian Regan and Burr Steers, based on the book by Michele Alexander and Jeannie Long
directed by Donald Petrie

Howtoloseaguyin10daysby Walter Chaw In the rush to anoint Gore Vidal blood relation Burr Steers the next Dylan Kidd (writer-director of Roger Dodger), I wonder how many people suspected that Steers’s follow-up act to Igby Goes Down would be the conceptual lollapalooza of habitual bad director Donald Petrie’s How to Lose a Guy in 10 Days. Only one of three scribes to blame for this mess, Steers seems to have contributed a certain smug misanthropy to the picture of the variety that fuelled the overpraised Salinger ape Igby, with Brian Regan and Kristen Buckley, the brain trust behind 102 Dalmatians, apparently responsible for the sentimental slapstick garbage that comprises the rest of the piece. What emerges is a shrunken chimera of a movie, hobbled by a pair of competing mainstream romantic movie contrivances (“One of them is lying. So is the other,” assures the tagline), a self-knowledge of its own crapulence coupled with an inability to do anything about it, and a middle that, surprisingly, doesn’t totally stink.

blind date: UNCENSORED (2002) – DVD

**½/**** Image B+ Sound B+

by Bill Chambers The only reality-TV (whatever that oxymoron means) series I watch, “blind date” has a crack writing staff, photogenic–and certifiable–‘contestants,’ and editing that’s breezy without feeling clipped. For the uninitiated: Cameras follow a couple apparently arbitrarily but more often, one imagines, cruelly matched on their first date and, in the vein of pop-up video, word balloons and subtitles provide patronizing though often uproarious and surreal commentary on the proceedings. My personal favourite moment of the show to date is the oblivious bodybuilder who is asked what he is thinking by his companion: a thought-bubble appears above his head containing a chicken smoking a cigarette. Mostly these asides are, as Homer Simpson would say, funny ’cause they’re true.

Q&A (1990) + I’ll Do Anything (1994) – DVDs

Q&A
***/**** Image A- Sound B
starring Nick Nolte, Timothy Hutton, Armand Assante, Luis Guzman
written and directed by Sidney Lumet, based on the novel by Edwin Torres

I’LL DO ANYTHING
***/**** Image A- Sound A-
starring Nick Nolte, Albert Brooks, Julie Kavner, Joely Richardson
written and directed by James L. Brooks

by Bill Chambers When news of Nick Nolte’s arrest for driving under the influence of the date-rape drug hit the Toronto International Film Festival last year, just days after he’d made a strong showing there with Neil Jordan’s The Good Thief, I immediately flashed back to the time I met Nolte–“met,” alas, a figure of speech in this case: We crossed paths in the lobby of the Park Hyatt Hotel. His beanstalk frame sheathed in an emasculating banana-yellow housecoat, Nolte wore a pair of bookish specs that offset his craggy mug, and his snow-coloured hair stood unnaturally on end, as though he’d just seen a ghost. On his way to record interviews for Breakfast of Champions (and looking a lot more like that film’s Kilgore Trout than like the erstwhile Tom Wingo), Nolte growled this to a gawping me in passing:

Swept Away (2002) – DVD

**/**** Image A Sound A Extras B
starring Madonna, Adriano Giannini, Jeanne Tripplehorn, Bruce Greenwood
screenplay by Guy Ritchie, based on the screenplay by Lina Wertmüller
directed by Guy Ritchie

by Bill Chambers No, it's not a masterpiece, but the deck was already stacked against Guy Ritchie's Swept Away long before anyone saw the picture. That it was a remake (of Lina Wertmüller's squirm-inducing Swept Away… by an Unusual Destiny in the Blue Sea of August) was strike one; that it starred Madonna, a lousy film actress considered box-office poison, strike two; that Ritchie is married to Madonna, marking Swept Away as the kind of vanity project that power couples make to spend more time together than their private life allows, strike three. And every review you read of Swept Away–that I read, at least–parroted these three strikes, sizing them to fit a column's allotment; there's no doubt in my mind that, even though it became the whipping-boy of late-night talk-show hosts and assured its victory at the 2003 Golden Raspberrys with near-universal placement on year-end worst-of lists, you haven't any meaningful clue as to what's actually wrong with Swept Away.

Sweet Home Alabama (2002) – DVD

½*/**** Image A Sound A- Extras C+
starring Reese Witherspoon, Josh Lucas, Patrick Dempsey, Fred Ward
screenplay by C. Jay Cox
directed by Andy Tennant

by Walter Chaw The first clue as to the vileness of Andy Tennant's Sweet Home Alabama is that it's named after a Lynyrd Skynrd song (paving the way, one supposes, for Freebird: The Movie and Smokestack Lightning); the second clue is that it's the first Reese Witherspoon picture in a while to find a way to squander her almost preternatural ability to salvage terrible scripts and spent concepts floating her way post-Election. Extraordinarily boring and unfunny while redolent with the sort of bad behaviour-made-cutesy that made stars of Julia Roberts and Ashley Judd, Sweet Home Alabama at least has the unlikely distinction of rendering Witherspoon shrill, dull, and during one ugly drunken tirade, irredeemable.

Dreamers (1999) – DVD

½*/**** Image B+ Sound B+ Extras B-
starring Jeremy Jordan, Courtney Gains, Portia Dawson
written and directed by Ann Lu

by Travis Mackenzie Hoover There's a film-within-the-film in Ann Lu's Dreamers that underlines everything that makes Dreamers itself so terrible. Ethan (Mark Ballou), Dreamers' chief wannabe auteur, shoots a fantasy sequence involving an asylum-style treatment program for those who suffer from movie love; the idea would seem to be that would-be filmmakers are martyrs, regardless of talent. It becomes obvious that this aspirant has nothing else to put on film but annoyance at his frustrated ambitions, and we'd wonder who'd watch such an empty exercise in self-pity if we were not, in fact, watching one just like it at the time. I don't recommend that you become part of that elite club of Dreamers-watchers, because, despite an incidental evocation of squalid life on the fringes of film, it has little reason to live–save as a warning to all indie dreamers not to follow its shabby path to destruction.

S1m0ne (2002) – DVD

***½/**** Image A- Sound A- Extras C+
starring Al Pacino, Catherine Keener, Jason Schwartzman, Winona Ryder
written and directed by Andrew Niccol

“Pygmalion saw so much to blame in women that he came at last to abhor the sex, and resolved to live unmarried. He was a sculptor, and had made with wonderful skill a statue of ivory, so beautiful that no living woman came anywhere near it… His art was so perfect that it concealed itself and its product looked like the workmanship of nature.” – Bulfinch’s Mythology

Andrew Niccol’s brilliant S1m0ne is an updating of the Pygmalion myth substituting a sculptor of clay for a sculptor of film and his disdain for women for disdain towards the peccadilloes of actors. The ending, however, stays the same.

Shampoo (1975) – DVD

***½/**** Image B- Sound B
starring Warren Beatty, Julie Christie, Goldie Hawn, Lee Grant
screenplay by Robert Towne and Warren Beatty
directed by Hal Ashby

by Bill Chambers SPOILER WARNING IN EFFECT. To put things in perspective, Tootsie is, arguably, a remake of Hal Ashby’s carefully cultivated 1975 classic Shampoo, except that it goes one step farther in feminizing the lead by putting him in drag–and takes a step backward in deciding the fallout of his deceptions. Making fantasy out of Tootsie‘s ending, Shampoo comes to terms with the reality of a lothario getting his foot caught in his own trap by giving the last word to The Beach Boys: “You know it seems the more we talk about it,” they sing of unfeasible marital bliss in the film’s closing song (“Wouldn’t It Be Nice”), “it only makes it worse to live without it.”

About a Boy (2002) [Widescreen] – DVD

**½/**** Image A- Sound A- Extras B
starring Hugh Grant, Toni Collette, Rachel Weisz, Isabel Brook
screenplay by Peter Hedges and Chris Weitz & Paul Weitz, based on the novel by Nick Hornby
directed by Paul Weitz & Chris Weitz

by Walter Chaw Will Freeman (Hugh Grant) is a philanderer and a playboy. Independently wealthy because of residuals from his father’s authorship of an inexplicably successful Christmas tune, he spends his feckless days in carefully scheduled thirty-minute “units.” (One unit for taking a bath; three for lunch.) Finally feeling a void in the middle of his rootless life at the tender age of thirty-eight, Will–after a scheme to feign single-parentage backfires roughly–finds himself involved with a mordant thirteen-year-old named Marcus (Nicholas Hoult) and Marcus’s suicidally-depressed mother, Fiona (Toni Collette). Rachel Weisz plays the girl too good for the pre-evolution rapscallion, her late appearance ultimately best described as the plot point that drives act three.

Kangaroo Jack (2003)

ZERO STARS/****
starring Jerry O’Connell, Anthony Anderson, Estella Warren, Christopher Walken
screenplay by Steve Bing & Scott Rosenberg
directed by David McNally

by Walter Chaw Irresponsible to the extreme, Jerry Bruckheimer’s latest production is sleazy, violent, and packed with the sort of feckless, hateful messages that indicate an almost total disregard for an audience’s intelligence. Kangaroo Jack is, therefore, business as usual for a Bruckheimer production, save for the fact that it’s aimed at a very young audience. The picture is a malignance: it’s bad (for a film about a CGI kangaroo wearing a red “Brooklyn” jacket stealing fifty grand of the mob’s money, that much goes without saying), but what really impresses about the picture is its magnificent inappropriateness.

Secret Admirer (1985) – DVD

***/**** Image B+ Sound B
starring C. Thomas Howell, Lori Loughlin, Kelly Preston, Fred Ward
screenplay by Jim Kouf & David Greenwalt
directed by David Greenwalt

by Bill Chambers Blessed with one of the best non-Tangerine Dream synth scores of the 1980s, Secret Admirer arrives on DVD this month to remind such movies as Just Married and Kangaroo Jack just how a formulaic laff riot with a risqué slant is done. I confess I still adore this seminal film of my youth while conceding that its machinations seemed far more clever to me at the age of ten. On the other hand, when was the last time you saw a teen-targeted comedy that aspired to any cleverness? Or that opened with a piece as alternately mysterious and wistful as Jan “Miami Vice” Hammer’s lyrical main theme?

The Banger Sisters (2002) – DVD

**½/**** Image C+ Sound B+ Extras C+
starring Susan Sarandon, Goldie Hawn, Geoffrey Rush, Erika Christensen
written and directed by Bob Dolman

by Travis Mackenzie Hoover By any rational standards, The Banger Sisters is a terrible film: it’s ugly to look at, riddled with inconsistencies, stuffed to bursting with hoary clichés, and completely unencumbered by anything resembling intellectual rigour. And yet, it’s so sweetly lacking in malice that I forgave a lot of its sins–not enough for me to recommend it as anything other than a rental, but enough to say that those who dread the thought of a heartwarmer starring Goldie Hawn are in for a pleasant surprise. You’ll roll your eyes at its unearned sentimentalities and impoverished mise-en-scène and mourn the real movie that lurks beneath its crossed wires, but in challenging the rule of irony that poisons even the most well-meaning of films (The Good Girl, anyone?), it stands proudly and defiantly alone.

Cherish (2002) – DVD

**½/**** Image B Sound B Extras B
starring Robin Tunney, Tim Blake Nelson, Brad Hunt, Liz Phair
written and directed by Finn Taylor

by Walter Chaw A marked improvement over his sporadically interesting but ultimately flat Dream with the Fishes, indie wunderkind Finn Taylor’s Cherish is one-half a fantastic film tied to one-half a terrible film. It leaves plot threads hanging, has a great deal of uncertain character motivation, and transforms into a Tom Tykwer film near the end for no good reason. But Cherish is also home to what is easily Robin Tunney’s best performance to date, another smart and quirky turn by Tim Blake Nelson, a disabled person in a heroic and human role, and a premise that is sharp, intriguing, and original. That it features two Hall & Oates songs on the soundtrack only helps its cause.

My Wife is an Actress (2001) – DVD

Ma femme est une actrice
*/**** Image A- Sound A Extras B
starring Charlotte Gainsbourg, Yvan Attal, Terence Stamp, Noémie Lvovsky
written and directed by Yvan Attal

by Walter Chaw Yvan (Yvan Attal) is a sports writer (Yvan Attal is an actor) married to Charlotte (Charlotte Gainsbourg), who is a movie star (Charlotte Gainsbourg is also an actor, like her mother Jane Birkin–who was married to musician Serge Gainsbourg). Yvan Attal’s first film as writer-director, My Wife is an Actress (Ma femme est une actrice), is about–as its title would suggest–the somewhat predictable trials of being married to a successful actress. The film is not, however, as Attal will adamantly attest, autobiographical. This is evidenced by the fact that Terence Stamp plays an actor named “John” rather than an actor named “Terence.” In a wholly unrelated story (that is sadly in the same film), Noémie Lvovsky plays Yvan’s sister Nathalie, a woman demanding that her unborn son be circumcised upon delivery, much to the chagrin of her equally unpleasant husband Vincent (Laurent Bateau).

Catch Me If You Can (2002)

****/****
starring Leonardo DiCaprio, Tom Hanks, Christopher Walken, Jennifer Garner
screenplay by Jeff Nathanson, based on the book by Frank W. Abagnale and Stan Redding
directed by Steven Spielberg

Catchmeifyoucanby Walter Chaw There’s an old Ray Bradbury story from 1948 called “Touch and Go” (since reprinted as “The Fruit at the Bottom of the Bowl”) that tells the tale of a burglar who surprises the homeowner in his house and accidentally kills him. Erasing his fingerprints from a few surfaces, the burglar panics and starts wiping objects in rooms he hadn’t visited and items, such as the fruit at the bottom of a bowl, he could not have handled. When the police find him hours later, he’s in the attic polishing old silverware. Like Bradbury’s thief, Spielberg is getting away with murder in most of his films post-Close Encounters of the Third Kind (particularly A.I., Minority Report, Schindler’s List, Empire of the Sun, and Saving Private Ryan) until self-doubt and paranoia consume him, seducing him to a fatal eleventh-hour appeal. Spielberg is the bad test-taker, changing his answers to damn his instincts.

Two Weeks Notice (2002)

*½/****
starring Sandra Bullock, Hugh Grant, Mark Feuerstein, Dorian Missick
written and directed by Marc Lawrence

Twoweeksnoticeby Walter Chaw Nearly the same movie as last week’s Maid in Manhattan (only with more likeable stars and more believable chemistry between them), Sandra Bullock and Hugh Grant’s Two Weeks Notice (sic) is essentially just another opportunity for Bullock to play her wound-up, frumpy pratfall princess (recently hijacked by Nia Vardalos and her hard-to-stomach My Big Fat Greek Wedding), and for Grant to do his insufferable prat routine, both against the backdrop of the impossibly romantic golden Manhattan that is not to be confused with Spike Lee’s impossibly dour boilerplate Manhattan. Bullock is Lucy Kelson, Harvard-educated lawyer who has taken on the Birkenstock cause in her crusade against big business. Grant is George Wade, uneducated baron of big business who is so zealous to knock down historic landmarks that even his wrecking balls are emblazoned with Wade-Co’s giant “W.”

Human Nature (2002) – DVD

½*/**** Image A Sound A-
starring Patricia Arquette, Rhys Ifans, Tim Robbins, Ken Magee
screenplay by Charlie Kaufman
directed by Michel Gondry

by Walter Chaw From the second screenplay by Charlie Kaufman, the ink-stained wretch behind Spike Jonze’s quirk classic Being John Malkovich, French music-video director Michel Gondry’s sadly misguided nature/nurture sex romp Human Nature scores once or twice but ultimately thuds like a brick zeppelin. It’s a film that thinks it a good idea for Rhys Ifans to appear either full monty or in a diaper for the majority of his performance, likewise that Patricia Arquette have a pelt of hair covering every curve of her Romanesque physique. (Though the latter is played for some surreal yuks as Ms. Arquette writhes on a miniature Empire State Building while a dwarf (Peter Dinklage) walks around in a biplane harness.) Human Nature, in short, isn’t nearly as funny as it thinks it is; neither is it as smart.

An Evening with Kevin Smith (2002) – DVD

***/**** Image A Sound B+
directed by J.M. Kenny

by Bill Chambers Love him or hate him, there are simply no two ways around the fact that An Evening with Kevin Smith is one of the most entertaining standup films, if it can indeed be called that, since the heyday of Richard Pryor. Well-shot footage–compiled by J.M. Kenny, showing better comic instincts than he did as producer of the Nancy Pimental mockumentary on The Sweetest Thing‘s DVD(s)–from Q&As in which the entrepreneurial Smith participated at various college campuses across the United States, this 225-minute presentation opens and closes with Smith discussing his on-screen alter ego Silent Bob, the rare idiot icon made famous by the performer rather than the other way around. (It’s why equating himself with such residents of the catchphrase graveyard as Pauly Shore is his least successful routine in An Evening with Kevin Smith–Silent Bob doesn’t epitomize Smith’s popularity.) Moreover, Smith is anything but bashful; you’ll only wish he was speechless as he describes open-sore intercourse with his wife-to-be.