Conquest (1983); Contraband (1980); Zombie (1979) – DVDs + Zombie (1979) [2-Disc Ultimate Edition] – Blu-ray Disc

Posted in1970s, 1980s, 2012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Crime, Drama, Fantasy, Horror, Italy, Mexico, Morocco, Spain, Zombie

CONQUEST
½*/**** Image D+ Sound C
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

Luca il contrabbandiere
**/**** Image B Sound B
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

by Walter Chaw There’s something decidedly uncinematic about the films of Lucio Fulci (excepting Don’t Torture a Duckling and Four of the Apocalypse, which actually sort of rock). If not for his fascination with gore effects and his propensity for casting irritating children in irritating children parts, it’d be hard to find anything to separate his work from the grindhouse ghetto of, say, Jess Franco. As it is, the stilted claims at auteurism (he’s known as the master of eye violence, mainly for a few juicy bits from The Beyond and Zombie) do more, perhaps, to relegate his work to a sort of camp gulag: the Siberia of legitimate cinema, where adolescent tools congregate for midnight showings armed with irony and a crippling baggage of disdain and contempt. I liked “Mystery Science Theater 3000” and believed that I liked it because I was sophisticated; in time, you realize that you like it because you’re an officious prick who sort of gets off on mocking movies. I think a lot of people would argue that this is the role of the film critic, but I’d offer that a critic–a good one–loves film so much that he or she is offended when a movie is terrible. There’s no real joy in defiling altars, particularly when they’re your own.

Batman: Year One (2011) – Blu-ray + DVD + Digital Copy

Posted in2011, 2012, Action, Animation, Authors: Jefferson Robbins, Blu-ray Disc, Crime, DVD, Superhero

***/**** Image A- Sound A Extras B
screenplay by Tab Murphy, from the comics story by Frank Miller
directed by Sam Liu and Lauren Montgomery

by Jefferson Robbins Before he was a grouchy and politically nearsighted old man with enough clout to cast Scarlett Johansson in a $60M fetish video, Frank Miller truly did change the face of mainstream superhero comics. Doing so brought him fame as a visionary, a label that implies prophetic or pioneering concepts but–at least in comics art–is most commonly applied to artists fusing pre-existing styles into a successful hybrid, or distilling an old story to its barest elements. Miller did both. In fact, between 1986’s “The Dark Knight Returns” and the 1987 “Batman: Year One” arc, his reengineering of the Batman mythos wasn’t so much a thrusting of the character forward into the 1980s as a slingshotting back to the 1970s. The core fact of Batman, viewed in the light of Taxi Driver, is that he’s Travis Bickle with a cape and lots of money. What is Travis’s mohawk if not a costume to strike fear into the hearts of criminals? What is his trick pistol sling, fashioned from a typewriter carriage, but a blue-collar utility belt? And what is the hardboiled dialogue Miller puts in Bruce Wayne’s mouth–better read than spoken–but Bicklean self-justification? No coincidence that Batman’s first, badly-botched outing as a crimefighter in “Year One” involves the violent rescue of an underaged prostitute.

The Shawshank Redemption (1994) – Blu-ray Disc (Steelbook)

Posted in1990s, 2011, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, Prison, Stephen King

**/**** Image B+ Sound A- Extras A
starring Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler
screenplay by Frank Darabont, based on the novella Rita Hayworth and the Shawshank Redemption by Stephen King
directed by Frank Darabont

by Walter Chaw SPOILER WARNING IN EFFECT. There’s a moment in the middle of writer-director Frank Darabont’s commentary track for the tenth-anniversary DVD and now Blu-ray release of The Shawshank Redemption in which he marvels at how swiftly and completely that Christian fundamentalists embraced the film (thus allying it with other modern klatch classics like Christmas with the Kranks, The Passion of the Christ, and George W. Bush). He feared, he says, that because the demonic Warden Norton (Bob Gunton) is the film’s only overtly Christian character, the herd would flock to decry it. Apart from his shocking disingenuousness (if there’s a more blatant Christ parable than The Shawshank Redemption, I don’t know what it is), Darabont obviously doesn’t understand that for the reborn mind, the longer the climb, the better the proselytizing–hence the desertion, the nepotism, and the DUIs actually augmenting Dubya’s holiness instead of casting suspicion on it.

The Devil’s Double (2011) – Blu-ray Disc

Posted in2011, Authors: Angelo Muredda, Belgium, Biopic, Blu-ray Disc, Crime, Drama, Netherlands, Thriller

*/**** Image A Sound A Extras B-
starring Dominic Cooper, Ludivine Sagnier, Philip Quast, Raad Rawi
screenplay by Michael Thomas
directed by Lee Tamahori

by Angelo Muredda The Devil’s Double might be the first bad movie about which you can non-figuratively say, “That looked like piss.” Director Lee Tamahori, who started off decently with 1994’s Once Were Warriors but has since become a dependable franchise killer (Along Came A Spider, Die Another Day, xXx: State of the Union) and a Hollywood hack behind the occasional Nicolas Cage abortion (Next), bathes every shot in garish yellow lights that transform white leather couches into urine-stained gilded bars. If you’re willing to excuse this aesthetic for the first few seconds of every shot as an uncomfortable and weirdly xenophobic bit of formalism–what better way to depict Iraq than to give it a nice golden shower?–good luck with the rest. When characters reposition themselves in the frame, they often seem to block the light source and thrust their companions into the dark for no good reason. DP Sam McCurdy surely considers this a clever trick, as he executes it over and over again, yet Tamahori’s film, a hollow adaptation of Latif Yahia’s unconfirmed autobiographical account of serving for many years as Uday Hussein’s political decoy, is such a bore that the effect is one of watching someone throw buckets of neon paint on a blank canvas.

Elite Squad – The Enemy Within (2010)

Posted in2000s, 2010, 2011, Action, Authors: Angelo Muredda, Brazil, Crime, Drama, Theatrical, Thriller

Tropa de Elite 2 – O Inimigo Agora É Outro
***/****
starring Wagner Moura, Irandhir Santos, Andre Ramiro, Milhelm Cortaz
screenplay by Bráulio Mantovani & José Padilha
directed by José Padilha

by Angelo Muredda Early in Elite Squad – The Enemy Within (hereafter The Enemy Within) José Padilha’s blustery follow-up to his 2007 hit Elite Squad, deluxe cop Lt. Colonel Nascimento (Wagner Moura, Brazil’s answer to Mark Ruffalo) promises to give us a history of Rio that happens to coincide with his life story. It’s a tall order, but Padilha and co-screenwriter Bráulio Mantovani are ambitious and foolish enough to undertake it, returning to the favelas they brought to boot-stomping life in the first Elite Squad while shifting focus this time from drug lords to corrupt cops. No one would call their work subtle, but they strike a surprisingly watchable balance between Goodfellas-type insider confessional and incendiary political exposé, ditching the tight timeframe and local scope of the original and going for a more sprawling survey of Rio as Hell on Earth. Yet as much as The Enemy Within deserves solemn back-pats for its anaesthetized, everybody’s-guilty project, it really takes off in brutally violent set-pieces that forgo neutrality. Cut loose from his earnest ambitions to tell an ambivalent political fable that clucks its tongue equally at anti-poverty activists and conservative law-and-order types, Padilha shows his directorial hand in testosterone-charged gunfights where either all the right people get shot or all the good ones go down as martyrs, and it’s the hand of a vigilante sympathizer drawn to the romance of man-to-man violence. Fascist? No doubt. But as ideologically suspect apologies for rogue justice go, this one’s pretty well-executed, and at times just plain more fun than the hemming and hawing of The Dark Knight.

Pulp Fiction (1994) + Jackie Brown (1997) – Blu-ray + Digital HD

Pulp Fiction (1994) + Jackie Brown (1997) – Blu-ray + Digital HD

Posted in****/****, 1990s, 2011, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Directors: Quentin Tarantino, Drama, FFC Must-Own, Palme d'Or Winner, Robert De Niro, Romance, Thriller

PULP FICTION
****/**** Image A+ Sound A+ Extras A+
starring John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis
written and directed by Quentin Tarantino

JACKIE BROWN
****/**** Image A Sound A+ Extras A
starring Pam Grier, Samuel L. Jackson, Robert Forster, Robert De Niro
screenplay by Quentin Tarantino, based on the novel Rum Punch by Elmore Leonard
directed by Quentin Tarantino

by Walter Chaw Seventeen years on, Pulp Fiction still works like a motherfucker. It might, indeed, benefit from the shock of its gleeful use of “nigger,” the surprise of its sodomy and ultra-violence, and the sheer pleasure of hearing Sam Jackson say those lines and John Travolta dance again in a movie having faded. What’s left is this appreciation of a film that is delighted with cinema and experimental without being a jerk about it (very much like Lars Von Trier’s Zentropa, specifically in a black-and-white rear-process cab ride with none of that feeling that Tarantino’s trying to make a point as opposed to recognizing something that looks cool and feels right)–a film that is Tarantino in all his gawky, hyperactive, movie-geeking, idioglossic splendour, fully-formed and trying only a bit too hard. Beginning life as a proposed portmanteau to be helmed by a trio of directors (à la Tarantino’s later, disastrously-received foray into the anthology format, Four Rooms), the picture retains elements of its three-headed inception by intertwining a trilogy of hard-boiled crime stories in a way superior, it’s clear now, to Frank Miller’s career-long attempts at the same. Tarantino’s purer. The stakes for him are simpler. Pulp Fiction is evidence not of someone with something to prove but of an artist entirely, and genuinely, in love with his medium. He loves film enough to push it to be everything. And Pulp Fiction almost gets there.

The Interrupters (2011)

Posted in2011, Authors: Angelo Muredda, Crime, Documentary, Theatrical

***/****
directed by Steve James

by Angelo Muredda There’s a bracing moment late in Steve James’s new documentary The Interrupters when a host of Chicago neighbourhood teens pay their respects to Derrion Albert, a 16-year-old beaten to death in a gang skirmish outside his school. Fidgeting in their pews and adjusting their hats (for the camera?) at his memorial service, they take in their surroundings as if, as one commentator opines, they’re at a dress rehearsal for their own funerals. The Interrupters is full of such alarming insights. A fly-on-the-wall chronicle of a year in the life of three so-called violence interrupters, it puts us on the frontlines of a number of intense encounters on Chicago streets without losing sight of the generational crisis that undergirds each of these potentially shattering exchanges between kids who don’t expect to live past 30. Both James and producer Alex Kotlowitz, whose NEW YORK TIMES MAGAZINE article on the violence-prevention efforts of an organization called CeaseFire inspired the film, ensure that the stakes are high; the camera frequently catches ephemeral stuffed-animal memorials, charting a haunted path through marked playgrounds and bus stops. If the filmmakers’ subdued reverence for their protagonists sometimes keeps them from fully exploring their complex subject, the result is nevertheless a devastating polemic about retraining fatalistic teens to think of themselves as having a future.

Scarface (1983) [Limited Edition] – Blu-ray Disc

Posted in1980s, 2011, Al Pacino, Authors: Bryant Frazer, Blu-ray Disc, Crime, Directors: Brian De Palma, Gangster

Scarface1

***/**** Image B Sound B+ Extras B
starring Al Pacino, Steven Bauer, Michelle Pfeiffer, Robert Loggia
screenplay by Oliver Stone
directed by Brian DePalma

by Bryant Frazer One of the most powerful moments in Scarface is the culmination of a violent, perfectly judged sequence of events crafted for maximum impact by screenwriter Oliver Stone and staged with ferocious efficiency by director Brian De Palma. It takes place at the end of a night when Al Pacino's Cuban gangster, a feisty little hard-on named Tony Montana, has survived an attempt on his life that left him with a bullet in his shoulder. He has overseen the execution of his boss, who was behind the hit. He has shot dead a corrupt cop who was extorting his cash and favours. And he has just been upstairs to collect from between satin sheets his boss's woman, a sleek blonde dressed in white who is his prize. The camera zooms out from a medium close-up on Pacino's face as, still bleeding, arm in a sling, exhaustion writ large across his face, Tony Montana peers through 20-foot-tall glass windows, staring dumbly into a Giorgio Moroder sunrise as an advertising blimp floats over the water, its pithy slogan an empty promise of greatness yet to come: "The World Is Yours…."

TIFF ’11: Paradise Lost 3: Purgatory (ds. Joe Berlinger & Bruce Sinofsky) + Into the Abyss: A Tale of Death, a Tale of Life (d. Werner Herzog)

Posted in2011, Authors: Bill Chambers, Crime, Directors: Werner Herzog, Documentary, Film Festivals, Germany, TIFF, TIFF 11, UK

On August 19 of this year, the West Memphis Three–the no-longer-young men railroaded in a triple homicide that left a humble Arkansas town mobbishly seeking justice–were finally released from prison, making Paradise Lost 3: Purgatory, which premiered at the TIFF on September 11, instantly obsolete. (The film reveals their parole in a postscript that feels laughably abrupt after 100 minutes of handwringing.) Where 1996’s Paradise Lost: The Child Murders at Robin Hood Hills dealt with the role of religious paranoia in the scapegoating of the West Memphis Three (who were accused of killing a trio of boys as part of a Satanic ritual) and its 1999 sequel, Paradise Lost 2: Revelations, was profoundly if not explicitly about the ineffectuality of the original as an agent of change, Paradise Lost 3: Purgatory is mostly a lot of housekeeping, a refresher course for viewers of the first two films and a lint trap for details about the case that have emerged in the media over the past decade. More a glorified DVD supplement than a documentary, the picture’s at its best when it shows how easy it is to work up a head of righteous anger for dead kids by framing one of the fathers of the victims, Mark Byers, as the killer with “evidence” no less flimsily circumstantial than that which was used to condemn the West Memphis Three. (He had priors, his son’s death didn’t curb his criminal lifestyle–he must have done it!) In fact, Byers is compelled by his moment on the other side of the torch-wielding villagers to write a letter of apology to Damien Echols, the only one of the West Memphis Three on Death Row, whose head he called for back in ’93. But by the end of the piece, another of the fathers, Terry Hobbs, has implicated himself in the killings by virtue of suing the Dixie Chicks‘ Natalie Maines for slander, and Byers hastily commits to this new version of events, drafting a giant pros-and-cons list that seals Hobbs’s guilt in his eyes. Hobbs may well be the culprit (the DNA does not work in his favour), but the point is, eighteen years later, nobody has learned to let nature take its course–except the Zen-patient West Memphis Three.

Drive (2011)

Posted in****/****, 2011, Action, Authors: Walter Chaw, Crime, Drama, Revenge, Theatrical, Thriller

****/****
starring Ryan Gosling, Carey Mulligan, Bryan Cranston, Albert Brooks
screenplay by Hossein Amini, based on the novel by James Sallis
directed by Nicolas Winding Refn 

by Walter Chaw The pink, cursive font of the opening credits immediately calls to mind ’80s classics like Smooth Talk while the obsessive interest in functionality and work (and Cliff Martinez’s awesome Tangerine Dream soundtrack) recalls Michael Mann’s Thief, but it’s that certain quality of masculine stillness that marks Drive as another Nicolas Winding Refn masterpiece. Its story is boilerplate noir: loner (Ryan Gosling) falls for young mother (Carey Mulligan) and is forced by circumstance to protect her and her son (Kaden Leos) against all the bad men. Drive is, in other words, Taxi Driver if Mann had made it in the eighties, a meticulous character study done in long, drawn-out takes and extended silences punctuated now and again by extreme violence. It’s a smart movie–a quintessentially L.A. one, too, in its self-awareness (the nameless hero is a stuntman, Richard Rush fans take note), and it has an extraordinary quality of stillness that paints in confident strokes what it feels like to be completely alone by luck you call choice. A late scene with “Driver” holding himself around the middle, then getting in his car as Refn splashes neon on him and The Chromatics play on the soundtrack is something like a perfect moment in a film indicated by them.

The Big Lebowski (1998) – [Limited Edition] Blu-ray Disc

The Big Lebowski (1998) – [Limited Edition] Blu-ray Disc

Posted in****/****, 1990s, 2011, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Coen Brothers, Comedy, Crime, Mystery, Sports, UK

****/**** Image C+ Sound A Extras B
starring Jeff Bridges, John Goodman, Julianne Moore, Steve Buscemi
screenplay by Ethan Coen & Joel Coen
directed by Joel Coen

by Walter Chaw I think that once the book closes on the Coen Brothers, they’ll be seen as the premier interpreters of our time: the best literary critics; the Mark Twains. I used to believe they were simply genre tourists on this mission to do one for every genre, but it becomes apparent with each new No Country for Old Men and True Grit unlocking each vintage Miller’s Crossing and The Hudsucker Proxy that they were interpreting genres long before they took on specific pieces as a whole. Coming full circle from the wry noir of Blood Simple and Fargo and presenting itself eventually as of a piece with a later Coen noir, The Man Who Wasn’t There (just as A Serious Man is a companion piece to Barton Fink), The Big Lebowski serves as the transition point in that process while also moving the brothers from broad genre takedowns to a very specific kind of literary adaptation. That they would follow it up with O Brother, Where Art Thou?, their take on The Odyssey, speaks to a mission statement of sorts: like it, The Big Lebowski is a distillation of a classic piece of literature (Raymond Chandler’s The Big Sleep) that completely understands its simultaneous responsibility to its own medium and to its source material. It’s not as easy as it sounds.

Breaking Bad: The Complete Second Season (2009) + Breaking Bad: The Complete Third Season (2010) – Blu-ray Discs

Posted in2009, 2010, 2011, Authors: Bryant Frazer, Blu-ray Disc, Crime, Drama, Television, Thriller

Breakingbads23cap

Season 2 – Image A Sound B+ Extras B+
“Seven Thirty-Seven,” “Grilled,” “Bit by a Dead Bee,” “Down,” “Breakage,” “Peekaboo,” “Negro y Azul,” “Better Call Saul,” “4 Days Out,” “Over,” “Mandala,” “Phoenix,” “ABQ”

Season 3 – Image A- Sound B+ Extras B+
“No Mas,” “Caballo sin Nombre,” “I.F.T.,” “Green Light,” “Mas,” “Sunset,” “One Minute,” “I See You,” “Kafkaesque,” “Fly,” “Abiquiu,” “Half Measures,” “Full Measure”

by Bryant Frazer “Breaking Bad”‘s first season delivered a pulpy, compulsively watchable crime drama. I was a fan, but I found a lot to complain about, too. The show seemed ready to burst with hackneyed family drama, inane narrative tangents, and placeholder characters who pointed the way to tense moments without earning their screentime. I didn’t even like AMC’s key art for that first year, a dopey shot of protagonist Walter White (Bryan Cranston) standing in the middle of the desert, pantsless and packing heat. It turns out that “Breaking Bad”‘s debut season, truncated to seven episodes by a writer’s strike, was just an overture. The second season is a big, meaty pot roast of a show, cooking slow and low for eleven long hours. And that tour-de-force is damn near eclipsed by Season Three, which sees the series growing leaner and meaner than before, more forceful and more focused in its almost playfully outsized sense of menace.

Horrible Bosses (2011)

Posted in2011, Authors: Ian Pugh, Comedy, Crime, Theatrical

***½/****
starring Jason Bateman, Charlie Day, Jason Sudeikis, Jamie Foxx
screenplay by Michael Markowitz and John Francis Daley & Jonathan Goldstein
directed by Seth Gordon

by Ian Pugh A straight-white-male fantasy of the most ridiculous order, Horrible Bosses begins with a trio of working shmoes who are, ironically, comfortable enough to go drinking every night and bemoan how their bosses are making their lives a living hell. Office jockey Nick (Jason Bateman, in his best performance in ages) has been passed up for a promotion by the sadistic Harken (Kevin Spacey); dental assistant Dale (Charlie Day) works under constant sexual harassment from Julia Harris, DDS (Jennifer Aniston, hilarious for a change); and chemical-plant employee Kurt (Jason Sudeikis) is suddenly thrust into the dominion of middle-aged frat boy Bobby Pellit (Colin Farrell, perfection). They can’t just quit their jobs because the economy’s in the toilet, so the only sane solution is for them to band together and kill their employers. The joke that propels the film is that their poorly conceived plans amount to little more than one of those online “kill your boss” simulators, and Horrible Bosses occasionally seems to acknowledge its plot as a grossly oversimplified game. A recon mission yields no intel that would be useful to these would-be hitmen, while Kurt puts Pellit’s toothbrush up his ass and Dale plays “Angry Birds” on his iPhone to work off an accidental coke binge.

The Boondock Saints II: All Saints Day (2010) – Blu-ray Disc

Posted in2000s, 2010, 2011, Action, Authors: Alex Jackson, Blu-ray Disc, Crime, Thriller

½*/**** Image A- Sound A- Extras B-
starring Sean Patrick Flannery, Norman Reedus, Clifton Collins Jr., Billy Connolly
written and directed by Troy Duffy

by Alex Jackson The first thing I did when I got a FACEBOOK account was look up Travis, my best friend from grade school, whom I hadn’t seen or heard from in the last twenty years. Looking at his profile, I saw that he listed “extensive” under music and “way too many to list here” for books, but under movies he had just one title: The Boondock Saints. The bands and books he loves are too numerous to mention, but there is a film that, in his mind, towers above all others. There is only one film that even bears mentioning. And that film is Troy Duffy’s The Boondock Saints. Is it petty of me not to put in that “friend” request? This seems to be all the update I need. Twenty years is a long time. The only things we really had in common were that we both went to the same school and both liked Nintendo and The Monster Squad. That’s hardly enough to inoculate a friendship against The Boondock Saints.

Cars 2 (2011)

Posted in2011, Adventure, Animation, Authors: Ian Pugh, Comedy, Crime, Disney, Family, Japan, Pixar, Sci-Fi, Sports, Theatrical

*½/****
screenplay by Ben Queen
directed by John Lasseter

by Ian Pugh SPOILER WARNING IN EFFECT. Trading the ’50s Americana of the original for ’60s British adventure, Cars 2 seems, for a moment there, like it might actually work. The inhumanity that Walter Chaw correctly attributed to Cars scores a few subversive points in this sequel, filled as it is with complicated stunts that are, amusingly, impossible for automobiles to perform. (Even sillier: all of the anthropomorphic spy cars are retrofitted with Gatling guns and assault rifles.) But all is lost as tow-truck hick Mater (voice of Larry the Cable Guy) takes centre-stage in a convoluted espionage scheme, meaning that Cars 2 stoops to the same mistaken-identity spy parody that children’s movies have beaten into the ground since 1966’s The Man Called Flintstone. The subversion runs completely dry after the pre-title sequence, as our resident Connery (?) Finn McMissile (Michael Caine) jumps and shoots his way across oil derricks, only to hand over the reins to the blander heroes of the previous film. So the same old car jokes prevail as Pixar keeps shovelling coal onto a dead fire. Find one more extraneous character in Finn’s liaison Holley Shiftwell (Emily Mortimer), whose primary function is to prove that Bondian double entendres don’t have much impact when everyone’s name is a double entendre.

Soylent Green (1973) – Blu-ray Disc

Posted in1970s, 2011, Authors: Walter Chaw, Blu-ray Disc, Crime, Mystery, Sci-Fi, Thriller

**/**** Image B Sound B- Extras D+
starring Charlton Heston, Leigh Taylor-Young, Chuck Connors, Edward G. Robinson
screenplay by Stanley R. Greenberg, based on the novel Make Room! Make Room! by Harry Harrison
directed by Richard Fleischer

by Walter Chaw I’ve spent a lot of time in my life dancing with Richard Fleischer’s dystopian Soylent Green. Sometimes it leads, sometimes I do. For everything it does well, there are some things it does badly; and if the things it does well it does extremely well, the things it does badly it, likewise, does just awfully. No half-measures here. Beginning with the good, here’s Edward G. Robinson tapping his mortality (he succumbed to cancer less than two weeks after production wrapped), finding in his celluloid swan song a depth of despair he rarely touched in his career proper. It’s up there with Montgomery Clift’s devastated cameo in Judgment at Nuremberg–enough so that when he closes his eyes in appreciation of a leaf of lettuce his long-time companion Det. Thorn (Charlton Heston) has scavenged from the apartment of dead industrialist Simonson (Joseph Cotten, in his last role, too), it actually doesn’t make you want to laugh. Not so the incongruities of this dystopian, post-apocalyptic future in a Manhattan (and world) destroyed by over-population, but not to the point where the streets don’t empty in observance of a curfew. It presents a future in 2022 that seems unlikely not because we’re not currently on the verge of some great ecological disaster, but because rough math suggests that the Heston character would’ve been born the year before the film’s 1973 release and thus his declaration that he’d never seen a grapefruit (or grass, or cows) should worm its way into the audience consciousness as Soylent Green‘s statement that it’s not serious, thoughtful science-fiction, but rather soapbox and screed timed to coincide with, in 1972, the first international conference on climate change.

The John Frankenheimer Collection – DVD|French Connection II (1975) + The Manchurian Candidate (1962) – Blu-ray Discs

Posted in****/****, 1960s, 1970s, 1990s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: John Frankenheimer, Drama, DVD, France, Italy, Thriller, UK, War

THE YOUNG SAVAGES (1961)
**/**** Image B Sound C
starring Burt Lancaster, Dina Merrill, Edward Andrews, Vivian Nathan
screenplay by Edward Anhalt and J.P. Miller, based on the novel A Matter of Conviction by Evan Hunter
directed by John Frankenheimer

FFC Must-OwnTHE MANCHURIAN CANDIDATE (1962)
****/****
DVD – Image A Sound A Extras B+
BD – Image A Sound C+ Extras B+
starring Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
screenplay by George Axelrod, based on the novel by Richard Condon
directed by John Frankenheimer

THE TRAIN (1964)
****/**** Image C- Sound C
starring Burt Lancaster, Paul Scofield, Michel Simon, Jeanne Moreau
screenplay by Franklin Coen and Frank Davis, based on the novel Le front de l’art by Rose Valland
directed by John Frankenheimer

FRENCH CONNECTION II (1975)
**½/**** Image A- Sound B Extras B+
starring Gene Hackman, Fernando Rey, Bernard Fresson, Philippe Léotard
screenplay by Alexander Jacobs and Robert Dillon & Laurie Dillon
directed by John Frankenheimer

RONIN (1998)
**½/**** Image B Sound B Extras B
starring Robert De Niro, Jean Reno, Natascha McElhone, Stellan Skarsgård
screenplay by J.D. Zeik and Richard Weisz
directed by John Frankenheimer

by Walter Chaw There weren’t many American directors who enjoyed a hotter streak in the Medium Cool ’60s than John Frankenheimer. He had the pulse of the mid-decade sea change from the relative conservatism of the ’50s, having clearly been cognizant of the long burn of the Civil Rights conversation and the constant, fraying wear-and-tear of HUAC and the Cold War. He rubbed elbows with the Kennedys, hosting Bobby at his house in Malibu the day before/of Bobby’s assassination at the Ambassador, whereupon it’s fairly inarguable that Frankenheimer began to lose his way. He’d continue to helm interesting films and damned impressive ones, too, like The Iceman Cometh and 52 Pick-Up, but none would have the urgent subtlety of his mid-’60s output. Instead, they’d become increasingly…remote? Detached, at least, if not occasionally outright embarrassing for everyone involved. (Prophecy, for instance–a film that tries to ride the contemporary-issue train but shows its fatigue and desperation in every ridiculous, strained minute.) In a way, Frankenheimer’s Seconds, with its alienation and bodily remove, presages his own artistic transformation. I wonder whether he lost the nerve to surf the edge of the zeitgeist, leaving the low arc of our collective tendency towards self-destruction to its own shrinking concentric hells. It’s possible that after The Manchurian Candidate‘s dead-eyed paranoia and Seconds‘ alarming prescience about the impotence of the American icon-as-hero, Frankenheimer was tired of being right. If it sounds like I’m ascribing something supernatural to his artistic acuity, maybe I am. Frankenheimer in this period is that rare filmmaker who works half in technical perfection and half in the unconscious, in the thrall of what Coleridge used to refer to as The Artist as Aeolian Harp. He was an instrument at the caprice of the winds of the age. He was, that is, until about 1968, when being the vessel of portent became, should we conjecture, painful enough that he tried drowning himself in booze and regret.

Maniac (1980) [30th Anniversary Edition] + Vigilante (1983) – Blu-ray Discs

Maniac (1980) [30th Anniversary Edition] + Vigilante (1983) – Blu-ray Discs

Posted in1980s, 2011, Action, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Crime, Drama, Horror, Revenge, Thriller

MANIAC
**/**** Image B+ Sound B Extras A+
starring Joe Spinell, Caroline Munro
screenplay by C.A. Rosenberg and Joe Spinell
directed by William Lustig

VIGILANTE
*½/**** Image A Sound B+ Extras B
starring Robert Forster, Fred Williamson, Richard Bright, Woody Strode
screenplay by Richard Vetere
directed by William Lustig

by Walter Chaw William Lustig reduces exploitation cinema to the filthy stepchild of Sams Peckinpah and Fuller: one part animal logic, one part tabloid paranoia. He wallows in impulse, and his sensibility is 42nd Street grindhouse through and through, from kitchen-sink production values to disjointed vignette presentations to a generally lawless indulgence towards atrocity. If Lustig’s pictures have achieved a kind of cult lustre, credit his ability to alternate action sequences with B-legends showcases. It would be a mistake to attribute more to Lustig’s pictures than workmanlike efficiency as applied to formula prurience, though there’s something to be said for knock-off garbage done with a lack of pretension–done, in fact, with a distinct, naïve childishness that doesn’t quite get down there with Jess Franco or Herschell Gordon Lewis (nor up there with Mario Bava or Dario Argento), but manages a little interest despite itself now and again, probably by (who cares?) accident.

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

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

Posted in2000s, 2010, 2011, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, DVD, Thriller, UK

***½/**** Image A+ Sound A Extras B-
starring George Clooney, Violante Placido, Thekla Reuten, Paolo Bonacelli
screenplay by Rowan Joffe, based on the novel A Very Private Gentlman by Martin Booth
directed by Anton Corbijn

by Walter Chaw Though nothing more than a well-made Jean-Pierre Melville shrine at first glance, Anton Corbijn’s lovely The American leaves a surprising amount of aftertaste in a year of film that will probably be remembered for the number of “growers” among its roster of resonant pictures. An unusual take on the monotony of any profession (be it prostitution or engineering to-order weapons for assassins), it’s more evidence that George Clooney, with this tribute to Melville, his Kaufman-scripted Confessions of a Dangerous Mind, and his Tarkovsky redux Solaris, is quietly becoming a visible, above-the-line champion for smart American genre flicks–fomenting his own little underground Nouvelle Vague with movies that audiences, for the most part, are anxious to dismiss. The American is provocatively self-conscious in the way of its best French antecedents; aware of the shoulders upon which it stands (everything from Le Samourai to Breathless to later stuff like the homegrown Eye of the Needle), it also has the gumption to title itself after the original title for Citizen Kane. In so doing, it announces itself as something like a commentary on how the passionate, bloody carnality at the foundation of the United States has aged into an almost bored functionality in the first decade post-9/11.

One Swayze Summer: A DVD Tribute to Patrick Swayze

One Swayze Summer: A DVD Tribute to Patrick Swayze

Posted in****/****, 1980s, 1990s, 2000s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Drama, DVD, FFC Must-Own, France, Japan, Romance, Sports, Thriller, Tom Cruise, UK

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+
starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-
starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****
DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B
starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****
DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B
starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo-ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.