Blue Thunder (1983) [Special Edition] – DVD|Blu-ray Disc

July 20, 2009Posted in1980s, Action, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Blu-ray Disc, Crime, Drama, DVD, Thriller

**/****
DVD – Image B+ Sound A Extras A-
BD – Image A Sound A Extras A-
starring Roy Scheider, Warren Oates, Candy Clark, Daniel Stern
screenplay by Dan O'Bannon & Don Jakoby
directed by John Badham

by Travis Mackenzie Hoover When I was in university, the off-campus students always had a cast-off '80s couch in their shared houses and apartments–you would go to a party and without fail encounter something upholstered in what looked like tan burlap with a collection of thick and thin brown or rust stripes close to the centre. I honestly couldn't remember seeing anything so horrid in anyone's house I knew during the '80s, but now that it was there in front of me, it brought back all the uncool childhood memories that the decade's official style story lives to deny. Blue Thunder is exactly like that couch: it's a ridiculous farrago of clichés intended to turn the cop movie into Star Wars (and The Parallax View into both) that winds up roping in a variety of cheesy tropes most people would rather forget they once responded to–though I dare say anyone of a certain generation will grin at least a little at what once passed for entertainment.

Public Enemies (2009)

June 30, 2009Posted in2000s, 2009, Action, Authors: Walter Chaw, Biopic, Crime, Directors: Michael Mann, Drama, Gangster, Japan, Theatrical

**/****
starring Johnny Depp, Christian Bale, Marion Cotillard, Billy Crudup
screenplay by Ronan Bennett and Michael Mann & Ann Biderman
directed by Michael Mann

Publicenemiesby Walter Chaw It's possible that Johnny Depp in a zoot suit, firing a Tommy gun from the running board of a vintage Ford, is so distractingly perfect an image that all other considerations are shunted to the soft shoulder–possible for the audience to only realize afterwards that there was nothing much of substance revealed about John Dillinger in Michael Mann's gorgeous Public Enemies. (Possible for Mann, too, who in the process of creating another of his odes to masculinity and bloodshed, accidentally crafted this pedestal upon which to worship the cult of iconic stardom.) Maybe no accident at all, as the movie closest to this one is Terrence Malick's Badlands–right down to a scene amongst law-enforcement officials in which our Johnny is treated like a Hollywood demiurge of a street-thug bank robber. And if Mann is trying to craft a film along similarly fetishistic, Americana-informed lines, then the media is the massage as they say. Aside from that, somewhere down the road from today, we may look back and wonder about the sudden proliferation late in this decade of films centred on Robin Hoods literal and allegorical, robbing from a broken system of fiscal governance to give to (or, at least, not directly take from) the common guy. From our current vantage, though, what we see is the biggest movie star on the planet playing the most famous and admired "public enemy" of the outlaw era, 1931-1935 edition. While there are intimations now and again of darker contextual rumblings, they don't feel convicted; and in the end, there's left just a collection of beautiful pictures as inert as a coffee-table book.

The Taking of Pelham 1 2 3 (2009)

June 12, 2009Posted in2000s, 2009, Action, Authors: Walter Chaw, Crime, Directors: Tony Scott, Theatrical, Thriller, UK, ZERO STARS

ZERO STARS/****
starring Denzel Washington, John Travolta, John Turturro, James Gandolfini
screenplay by Brian Helgeland, based on the novel by John Godey
directed by Tony Scott

Takingofpelham09by Walter Chaw It's amazing that a film that takes place on a metal tube in a dank tunnel should have no trace of come in it. Less amazing when one considers that it's Tony Scott at the helm of this redux–the same Tony Scott who arguably reached the zenith of his potential with his vampire-erotica cult debut The Hunger, whose best film is the result of a superior screenplay by Quentin Tarantino (True Romance), and whose main claim to fame may be that he's behind one of the most homoerotic sequences ever captured on film in his gay amusement park Top Gun. Scott's The Taking of Pelham 1 2 3 (hereafter Pelham) is packed to the gills with meaningless, hyperactive visual gawping every bit as bad here as it is in his unwatchable Domino, so frantic that it has the opposite effect oPublishn the audience by rendering itself static and boring. (There's a lot going on in a screen full of snow, too, but all it does is put you to sleep.) The picture reunites Scott with his go-to leading man Denzel Washington, whose Garber, an MTA operator fallen under suspicion of taking a bribe, replaces Walter Matthau's weary, hangdog transit cop from the Joseph Sargent original. When ridiculous goon Ryder (John Travolta) hijacks the titular subway car with a pack of the usual suspects (including Luis Guzmán, of course), it's up to smooth-talking every-dude Garber to cover up the deficiencies of hostage negotiator Camonetti (John Turturro), the gasbag Mayor (James Gandolfini), and all the bumblefuck NYPD who manage to accidentally snipe one of the bad guys, crash a car racing through Manhattan, and decorate a couple of baddies with a good twenty clips of ammunition in the middle of Uptown. It also, as a way to give the film a contemporary slant against which the terminally un-hip Scott is well over-matched, demonizes Wall Street by having its chief baddie be a former securities trader who hatches a plan to fuck the stock market by making New Yorkers afraid that his plot is a terrorist attack. Pelham is, in other words, rather tasteless in addition to being awful.

Seattle International Film Festival ’09: Fifty Dead Men Walking

June 6, 2009Posted in2000s, 2009, Authors: Jefferson Robbins, Crime, Drama, Thriller, UK
**/****starring Ben Kingsley, Jim Sturgess, Kevin Zegers, Rose McGowanwritten and directed by Kari Skogland by Jefferson Robbins You're watching the wrong guy if you keep your eye on Martin McGartland (Jim Sturgess), a Special Branch mole in the Belfast IRA circa 1988. The one to mark in Fifty Dead Men Walking is his handler, codenamed "Fergus" and played by Ben Kingsley under a hairpiece that makes him look astonishingly like Ben Gazzara. As he transitions from mere manipulation of his charge to fatherly love, Fergus reveals himself to be the only character made valid by the script and fully fleshed…

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

June 3, 2009Posted in1990s, Authors: Bill Chambers, Authors: Vincent Suarez, Blu-ray Disc, Coen Brothers, Comedy, Crime, Drama, DVD, Thriller, UK

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

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

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

May 26, 2009Posted in2000s, 2009, Action, Adventure, Authors: Ian Pugh, Blu-ray Disc, Comedy, Crime, DVD, Family, Fantasy, Romance, Sci-Fi, ZERO STARS

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

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

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

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

May 5, 2009Posted in****/****, 2000s, 2009, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Quentin Tarantino, FFC Must-Own, Mystery, Thriller

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

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

State of Play (2009)

April 16, 2009Posted in2000s, 2009, Authors: Ian Pugh, Crime, Drama, Mystery, Theatrical, Thriller, UK

*½/****
starring Russell Crowe, Ben Affleck, Rachel McAdams, Helen Mirren
screenplay by Matthew Michael Carnahan and Tony Gilroy and Billy Ray, based on the BBC television series created by Paul Abbott
directed by Kevin Macdonald

Stateofplayby Ian Pugh If it were smart, Kevin Macdonald's State of Play would stick to lamenting the ignominious death of newsprint at the hands of Internet sensationalism and all that that implies. As a veteran reporter and a U.S. Congressman–college roommates once known as rabblerousing muckrakers in their respective fields–turn to each other when their worlds collapse, you'd think that maybe the film had in mind a meditation on the dissolution of the Old Boys' clubs. Done in by our demystifying familiarity with the subjects under scrutiny (cops and politicians) and an unwillingness to inject new blood into their veins, right? Hell, even Watergate is brought up as an incidental location, as Macdonald sends a sweeping camera across the notorious hotel. You can't tell me there isn't something to be said here about how a reliance on outmoded tactics and an obsession with decades-old victories has only sped up their obsolescence.

American Gangster (2007); I’m Not There (2007); No Country for Old Men (2007) + No Country for Old Men [’08 BD + 2-Disc Collector’s Edition] – Blu-ray Discs

April 15, 2009Posted in****/****, 2000s, 2009, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Biopic, Blu-ray Disc, Canada, Coen Brothers, Crime, Directors: Ridley Scott, Drama, DVD, Esoterica, FFC Must-Own, France, Gangster, Germany, Music, Theatrical, Thriller, UK

AMERICAN GANGSTER
***/****
starring Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Cuba Gooding, Jr.
screenplay by Steven Zaillian
directed by Ridley Scott

I'M NOT THERE
***½/****
starring Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere
screenplay by Todd Haynes & Oren Moverman
directed by Todd Haynes

NO COUNTRY FOR OLD MEN
****/****
'08 BD – Image A+ Sound A+ Extras B-
CE – Image A+ Sound A+ Extras B+
starring Tommy Lee Jones, Javier Bardem, Josh Brolin, Kelly Macdonald
screenplay by Joel Coen & Ethan Coen, based on the novel by Cormac McCarthy
directed by Joel Coen & Ethan Coen

Americangangsterby Walter Chaw Consider the moment when an overly enthusiastic police search results in the demolition of a replica dresser commissioned by Harlem drug lord Frank Lucas (Denzel Washington) for the Carolina plantation he's bought to house his extended family. In one canny instant, there's the suggestion that nothing ever changes: the things we lose in time we will always lose. The image Ridley Scott provides for us as he moves the Lucas clan into their new digs is loaded and dangerous, with a group of African-Americans walking up the lush green lawn of an antebellum plantation–usurpers of a corrupt American Dream that, American Gangster posits, is still corrupt and in essentially the same way. True, there's a cartoon bogey in a New York cop (Josh Brolin) erected as the straw man for all of New York's Finest who's profiting off French Connection junk (gasp, he shoots a dog, and probably also smokes)–but the real villainy in the picture is the idea that the path to true status and achievement in the United States is on the backs of not just others, but entire groups of others.

Lakeview Terrace (2008) – Blu-ray Disc

April 6, 2009Posted in2000s, 2009, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, Thriller, Will Smith

***/**** Image A- Sound A- Extras A
starring Samuel L. Jackson, Patrick Wilson, Kerry Washington, Jay Hernandez
screenplay by David Loughery and Howard Korder
directed by Neil LaBute

by Walter Chaw It's wrong to say that Neil LaBute's Lakeview Terrace, despite its literal miscegenation subplot and the openness of its main character's intolerance, is about race and racism in a year that's already seen its fair share of the renewal of the race conversation in the United States, both in and out of the cineplex. Because it's a LaBute picture, closer to the truth that Lakeview Terrace is a film about misanthropy–that no matter the cloth, the uniform is the general shittiness with which we treat each other–and, more, how easily we shed the raiments of civilization when confronted with the brute, caveman essence of competing for sex. It's not as scabrous as LaBute's early work, but I wonder if that isn't a function in part of the spirit of a year that found miscegenation as a secondary conceit of the mainstream's Fourth of July tentpole flick, Hancock. The twist in Lakeview Terrace is that the bigot front and centre is a black man (named after Biblical Abel, no less) and that it's all been genre-mixed in the cop-gone-rogue, Internal Affairs/Unlawful Entry tradition, speaking ultimately to the distinct '70s feeling of paranoia towards authority that's resurfaced in films of the last eight Bush years while trying, with some success, to refocus racism into generalized rage, confusion, frustration, and intolerance. After seven years of examining the lines against which society coalesces when the world falls down, here's a film about the tenuous handshake that tenants of the new world order have with the re-gelling of society. In a lot of ways, Lakeview Terrace belongs in a conversation about the recent spate of flicks concerning war veterans returning from the front (like The Lucky Ones, or Home of the Brave (also starring Samuel L. Jackson)) of an unpopular war broken, angry, and unfit for the hypocrisy of peaceful coexistence.

Quantum of Solace (2008)

March 23, 2009Posted in2000s, 2009, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Espionage, James Bond, Thriller, UK

½/**** Image A+ Sound A+ Extras C
starring Daniel Craig, Olga Kurylenko, Mathieu Amalric, Judi Dench
screenplay by Paul Haggis and Neal Purvis & Robert Wade
directed by Marc Forster

by Walter Chaw Sex without foreplay, Marc Forster's limp dick of a James Bond flick Quantum of Solace takes the kinetic, angry ugliness of Casino Royale and, together with Paul Haggis's Dances with Wolves screenplay of affected naivety and wide-eyed, late-blooming outrage, fashions a most-unwelcome return to the hoary Bond franchise of old. As if aware that all that stuff about Bolivian peasants pining for water might be connected, and queasily, to Indiana Jones and the Temple of Doom (a daring cargo-jet escape is similarly cribbed from that film), Quantum of Solace does its level best to strip entire set-pieces from the Bourne series (a knife fight, the close-quarters disarming of government agents, the roof-top flight), forgetting in the process to port over the coherence of Doug Liman or Paul Greengrass choreography. The picture's idea of an action sequence consists of extreme close-ups of two vehicles involved in some kind of ill-defined skirmish intercut with extreme close-ups of Bond and some bad guy who looks just like him intercut with flashes and body parts, ending in Bond walking away with a wry grimace on his face. What a real director could have done with the prologue on a winding mountain road in Italy that has a truck nudged off it by the baddies almost pancake 007 on the way down. And what a real screenwriter could have done with the concept of Bond as the remorseless liquid terminator from T2. Instead we get admittedly only the logical offspring of this ill-begotten union between the guy who directed The Kite Runner and Finding Neverland and the asshole who wrote Crash and a few episodes of "The Facts of Life". Whoever had the bright idea that this would be the magical, gritty duo to continue the resuscitation of Albert Broccoli's dusty old wet-dream of a crusading GOP avatar desperately needs to be shown the door.

The French Connection (1971) [Five Star Collection] – DVD|Blu-ray Disc

March 10, 2009Posted in1970s, Action, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Best Picture (Academy Awards), Blu-ray Disc, Crime, Directors: William Friedkin, Drama, DVD, Thriller

***/****
DVD – Image A Sound B+ Extras A+
BD – Image D+ Sound B- Extras A+
starring Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco
screenplay by Ernest Tidyman
directed by William Friedkin

by Travis Mackenzie Hoover There's no denying the skill that went into The French Connection. It's the runner-up exciting film about people doing almost nothing, second only to All the President's Men–and I'm only half-joking when I say that. It takes a director with vision to make a couple of guys tailing a couple of other guys interesting, and William Friedkin definitely has the vision: he single-handedly creates the meaning that holds the sketchy script together and keeps us caring about whether our heroic flatfoots get their dubious man. That meaning, however, ought to give us pause, as it makes that same year's hit Dirty Harry look like Easy Rider by comparison.

Gomorrah (2008) + Slumdog Millionaire (2008)

February 20, 2009Posted in2000s, 2009, Authors: Walter Chaw, Best Picture (Academy Awards), Crime, Drama, Germany, Italy, Romance, Theatrical, Thriller, UK

Gomorra
***½/****
starring Salvatore Abruzzese, Simone Sacchettino, Salvatore Ruocco, Vincenzo Fabricino
screenplay by Maurizio Braucci & Ugo Chiti & Gianni Di Gregorio & Matteo Garrone & Massimo Gaudioso & Roberto Saviano, based on the book by Saviano
directed by Matteo Garrone

SLUMDOG MILLIONAIRE
*/****
starring Dev Patel, Freida Pinto, Madhur Mittal, Anil Kapoor
screenplay by Simon Beaufoy, based on the novel Q & A by Vikas Swarup
directed by Danny Boyle and Loveleen Tandan

by Walter Chaw Dropping us in the middle of Italian slum Scampia, itself smack dab in the middle of nothing, Matteo Garrone's Gomorrah (Gomorra) is the Hud of gangster flicks, all deglamourized, harsh, expressionist stripping-away of illusions and idealism to reveal the gasping, grasping emptiness underneath. Like Hud, the source of that idealism is years of cinema supporting a romanticized iconography: the American western in Martin Ritt's film, the collected works of Francis Coppola and Martin Scorsese in Garrone's peek inside the ways of this thing of ours. Unlike Hud, there's no intimation of a "happy" ending for the sociopaths of Gomorrah–no feeling that for whatever the cost to a normalized (idealized?) existence, the outcasts and opportunists living their lives in imitation of Tony Montana are doomed to their tough-guy surfaces and the anonymous deaths predicted for them during a brutal prologue. Non-narrative and populated by a non-professional cast of locals and unusual suspects, the picture, however steeped in naturalism, is finally a formalist piece about as free of structure as Sartre–and every bit as meticulous. This "No Exit" (and the French title of Sartre's play fascinatingly translates, when applied to a discussion of a film, as "In Camera") and its unlocked oubliette is Scampia: The players in organized crime are imprisoned there by choice, trapped by the validation they desire from one another.

Max Payne (2008) – DVD|Blu-ray Disc

February 19, 2009Posted in2000s, 2009, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, DVD, Mystery, Thriller

**/****
DVD – Image N/A Sound B Extras C
BD – Image A Sound A+ Extras B-
starring Mark Wahlberg, Mila Kunis, Beau Bridges, Olga Kurylenko
screenplay by Beau Thorne
directed by John Moore

by Walter Chaw Valkyries: a staple of Norse mythology, right? Picking sides in fights, flying the fallen to Valhalla, and becoming winged waitstaff in that eternal beer hall in the sky. (Or fat women in Wagner.) First thing that comes to mind isn't a mind-blowing, Timothy Leary-esque freak out–unless you're John Moore's ridiculous Max Payne. That isn't the worst thing about Max Payne, but it's one of them. And while there's no crime in appropriating concepts you don't entirely understand, there probably should be. This is not a smart movie, and it doesn't know whether it should be a faithful adaptation of its videogame source material or a post-modern take on films noir, though it should be said that it looks beautiful anyway, a successful iteration of the Sin City aesthetic. The only thing really missing from its retinue of noir tropes is a stoic anti-hero at its centre; Max Payne badly miscalculates not in casting professional lump of meat Mark (Talks to Animals) Wahlberg, but in subsequently allowing him to attempt a fully fleshed-out performance when his usual monotone would've fit the pomo/homage portion of this film perfectly.

The International (2009)

February 18, 2009Posted in2000s, 2009, Action, Authors: Walter Chaw, Crime, Drama, Espionage, France, Germany, Mystery, Theatrical, Thriller, UK

*/****
starring Clive Owen, Naomi Watts, Armin Mueller-Stahl, Brian F. O’Byrne
screenplay by Eric Warren Singer
directed by Tom Tykwer

Internationalby Walter Chaw There’s a shootout at the Guggenheim in the late-middle of The International that is the only real clue director Tom Tykwer had anything to do with the film. The rest of it, despite its title reminding of that Christopher Walken SNL skit about velvet smoking jackets and attempted rape, is just more of the same musty prestige-y Topical Picture™ that usually stars people like Sean Penn or Kevin Costner instead of, as The International does, Clive Owen and Naomi Watts. Bland and blander, as it turns out. A rumpled Owen is Salinger, some kind of ill-defined crusader for justice with a badge from Interpol and a dark past from Syd Field, while Watts, as ADA Elly, who spends her first scene with a Boston/Newark accent and the rest with her standard-issue Yank. They’re tepid on the trail of a big giant bank that has a nefarious plan to control debt, which I confess is what I thought banks do. With the picture more interested in mashing its thumb against the “Relevant” button than in creating characters of interest, villains who frighten, and situations that involve, Tykwer, for his part, seems at a loss as to how to employ his agile camera and so trusts a premise that’s already feeling a little mothballed for the collapse and bailout of our banking system. It doesn’t matter that The International doesn’t know what to be from one minute to the next–what matters is that it’s an exact replica of The Interpreter in every way that counts and is, therefore, completely, immanently, blessedly forgettable.

The Mummy: Tomb of the Dragon Emperor (2008) [2-Disc Deluxe Edition]; Wanted (2008) [2-Disc Special Edition]; Mamma Mia! [2-Disc Special Edition] – DVDs

February 17, 2009Posted in2000s, 2009, Action, Adventure, Authors: Walter Chaw, Canada, China, Crime, DVD, Fantasy, Germany, Musical, Romance, Thriller, UK, War, ZERO STARS

THE MUMMY: TOMB OF THE DRAGON EMPEROR
ZERO STARS/**** Image A Sound A Extras D
starring Brendan Fraser, Jet Li, Maria Bello, Michelle Yeoh
screenplay by Alfred Gough & Miles Millar
directed by Rob Cohen

WANTED
*/**** Image A Sound A Extras D
starring James McAvoy, Morgan Freeman, Terence Stamp, Angelina Jolie
screenplay by Michael Brandt & Derek Haas and Chris Morgan, based on the comic books by Mark Millar and J.G. Jones
directed by Timur Bekmambetov

MAMMA MIA!
ZERO STARS Image B Sound A Extras C-
starring Meryl Streep, Pierce Brosnan, Colin Firth, Stellan Stellan Skarsgård
screenplay by Catherine Johnson, based on the songs of ABBA
directed by Phyllida Lloyd

by Walter Chaw Fast becoming the post-Welles RKO without a commensurate Val Lewton to grease the transition from art to filthy lucre, today's Universal Pictures finds itself a long, long way from Psycho with a bumper crop of genuinely bad movies reverse-engineered from past box-office champions. Each of them–The Mummy: Tomb of the Dragon Emperor, Wanted, and Mamma Mia!–broke the golden 100-million dollar mark, since they were made with just the Benjamins in mind; sadly, only the criticism of flaccid attendance was likely to curb an endless march of identical pictures this year. For the simpleminded, the success of these films despite the near-universal condemnation of them by anyone with a working prefrontal lobe is proof positive that critics are out of touch with the common man. On the contrary, I'd offer that, asked whether he thought the atrocious The Mummy: Tomb of the Dragon Emperor (hereafter The Mummy 3) would be financially successful, the average critic would have said he'd be surprised if it didn't do a hundred-mil in its first three weeks of release. Out of touch is believing that something is good because it makes a lot of money.

Zodiac (2007) [2-Disc Director’s Cut] – Blu-ray Disc

January 26, 2009Posted in2000s, 2009, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: David Fincher, Drama, Mystery, Thriller

***/**** Image A+ Sound A+ Extras A+
starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr., Anthony Edwards
screenplay by James Vanderbilt, based on the book by Robert Graysmith
directed by David Fincher 

by Walter Chaw The best film of its kind since All the President’s Men, David Fincher’s Zodiac is another very fine telephone procedural drawn from another landmark bit of investigative journalism–though more fascinatingly, it’s another time capsule of a very specific era, flash-frozen and suspended in Fincher’s trademark amber. Still, by the very nature of its subject matter, Zodiac deals in millennial anxieties: the un-‘catchable’ foe; the unknowable cipher; the futility of the best efforts of good and smart men; and the disintegration of the nuclear family smashed to pudding in a diving bell collapsed under the pressure of the sinking outside. The film is as remarkable as it is because it’s about something as simple and enchanted as the human animal–not just bedraggled San Francisco detective Toschi (Mark Ruffalo), but also Zodiac’s two female victims and, in a strange echo, two almost-invisible wives: Toschi’s (June Raphael) and that of newspaper cartoonist Robert Graysmith (Jake Gyllenhaal). Easy to say that actresses Raphael and Chloë Sevigny are wasted by being given nary anything to work with outside a terrified moment and a single speech, respectively; better to say that they assume the only function they can in a picture revolving around male cooperation and survival in a world that has reduced itself to the barbarous niceties of macho religions and arcane rituals. No accident that the Zodiac Killer’s partiality to a medieval code is central to a key revelation.

Touch of Evil (1958) [50th Anniversary Edition] – DVD

January 12, 2009Posted in****/****, 1950s, Authors: Alex Jackson, Crime, Directors: Orson Welles, DVD, FFC Must-Own, Thriller

****/**** Image A+ Sound A Extras A
starring Charlton Heston, Janet Leigh, Orson Welles, Joseph Calleia
screenplay by Orson Welles, based on the novel Badge of Evil by Whit Masterson
directed by Orson Welles

by Alex Jackson Particularly in light of its 50th Anniversary DVD reissue, which gathers together all three extant versions of the film, I find myself grouping writer-director Orson Welles’s Touch of Evil with multiple-incarnated masterworks like Blade Runner, Apocalypse Now, and, to a lesser extent, Dawn of the Dead and Brazil. Moreover, I don’t quite see it as a 1950s noir thriller from Universal, or even really as an Orson Welles picture–rather, I look at Touch of Evil as a canonical part of every young (male?) cinephile’s indoctrination. It occurs to me that you should be able to buy one-sheets for it at your local record store. So I was mildly surprised to hear Jonathan Rosenbaum admit in his audio commentary that he disliked the picture when he saw it as a teenager. He explains that he tied it too closely to the film noir genre and found it an unpleasant specimen. David Edelstein, in his theatrical review of the 1998 restoration, writes that he initially regarded it as one of the worst movies ever made. The picture neatly conformed to his preconceptions of what bad movies are like.

Revolver (2005) – DVD|Blu-ray Disc

January 6, 2009Posted in2000s, 2009, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, DVD, France, Mystery, Thriller, UK

*/****
DVD – Image A Sound A Extras C-
BD – Image A Sound A Extras C-
starring Jason Statham, Ray Liotta, Vincent Pastore, Andre Benjamin
written and directed by Guy Ritchie

Revolvercapby Walter Chaw Give Guy Ritchie a little credit for being ambitious and take a little away from him for being so relentlessly pussy-whipped that Revolver, his return to the neo-Mod gangster genre that made his name, is one part rumination on the mystical mumbo-jumbo of his then-wife's Kabbalah, one part exploration of the self-actualized ego, and every part pretentious, pseudo-intellectual garbage. It's so fascinated with itself that the yak-track on the film's DVD and Blu-ray releases finds Ritchie periodically consulting his assistant as an augur of whether or not Ritchie has gotten too complicated for the audience of nitwits not put off enough by the movie to avoid watching it again with the commentary activated. He believes he's created something of such vast, far-reaching, ungraspable, existential implication that this cheap, showy action pic is the ne plus ultra of modern experience, with Ritchie our schlock Zoroaster, guiding us through avatar Jake Green (Jason Statham) as he emerges from years of solitary confinement, during which he learned the parameters of the perfect con by intercepting the chess moves of the two prisoners on either side of him. Jake has claustrophobia, something Ritchie helpfully offers is a "metaphorical fear," by which I think he means that it's a metaphor for all fear; his clumsiness with the articulation of this single concept illustrates how it is that the rest of it is such a godawful mess. Consider Revolver's interesting only to the extent that Ritchie's self-absorption is ironic when applied to a picture about the internal struggle between Freud's personality strata–never mind that Jake's Super-Ego is André Benjamin and his Id appears to be motherfucking Big Pussy. Jesus, this is a stupid movie.

Pineapple Express (2008) [Unrated Special Edition] – Blu-ray Disc

January 5, 2009Posted in2000s, 2009, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime

**/**** Image A Sound A Extras B+
starring Seth Rogen, James Franco, Gary Cole, Danny McBride
screenplay by Seth Rogen & Evan Goldberg
directed by David Gordon Green

by Walter Chaw I'm willing to concede that I don't completely get it, but I'm still game to think about it because Pineapple Express has a peculiar pedigree. It boasts David Gordon Green as its director and his regular DP Tim Orr is in charge of shooting the gross-out gags and stone-faced stoner riffs. The union makes the most sense if we read the film as a throwback/homage to the Seventies cycle of grindhouse exploitation flicks (doobies and dismemberment), thus explaining the old-school wipes and funkadelic soundtrack, the mote-flecked cinematography, the cruel violence, and, if it's even possible, the air of reality throughout. Otherwise, the picture feels like a cynical patchwork stitching together this new comedy genre with a sensibility specifically designed to mock it. When über-stoner Saul (James Franco, in his Spicoli/The Dude breakout) runs through the dark woods, the flash I get isn't to Cheech & Chong but to the convulsive opening of Green's Undertow. And during an ending in an abandoned government research facility-turned-subterranean pot greenhouse, I couldn't shake Green's odd relationship with Asian stereotyping (remember the Feng Shui character from All the Real Girls?) in a troupe of black-clad Asian assassins clearly established as objects of derision. In truth, however, I don't know if the derision is levied at Asians or at the criticism levied against Green's perceived derision of the same.