Rocco and His Brothers (1960)

August 2, 2002Posted in1960s, Authors: Travis Mackenzie Hoover, Crime, Drama, France, Italy, Sports, Theatrical

Rocco e i suoi fratelli
***/****
starring Alain Delon, Renato Salvatori, Annie Girardot, Katina Paxinou
screenplay by Luchino Visconti and Vasco Pratolini and Suso Cecchi d’Amico, based on the novel Il ponte della Ghisolfa by Giovanni Testori
ritten and directed by Luchino Visconti

by Travis Mackenzie Hoover Once, decades ago, Luchino Visconti was a name to conjure with. Not only was his Ossessione recognized as a torrid precursor of Italian Neo-Realism, but his tragic characters on the cusp of societal change and fragmentation were greeted with the respect commonly afforded to what used to be known as high culture. Now, he’s barely remembered in North America, punished for the crime of quietly going about his business. La terra trema notwithstanding, he was less movement-defining than high neo-realists like DeSica or Rossellini; nor was he an inventor of modernist forms, like Antonioni and Resnais. And as his literary, aristocratic bent was less formally bracing than a nouvelle vague hotshot, Visconti’s films seem to the uninitiated too much like just movies–they didn’t change how you looked at the medium, they simply inhabited it, for good or for ill.

The Starz Independent FilmCenter Project, Vol. 11

August 2, 2002Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Coming of Age, Crime, Drama, Teen, Theatrical

by Walter Chaw

SWIMMING (2002)
***/****
starring Lauren Ambrose, Jennifer Dundas Lowe, Joelle Carter, Josh Pais
screenplay by Lisa Bazadona, Robert J. Siegel, Grace Woodard
directed by Robert J. Siegel

An insightfully-written, delicately-performed coming-of-age piece that is good enough not to be cheapened by that genre appellation, Robert Siegel's Swimming captures one summer at tourist-filthy Myrtle Beach. (A film professor, Siegel directs his first feature here in some 20 years.) Frankie (Lauren Ambrose) works at her family's restaurant, right on the main drag next to childhood pal Nicola's (Jennifer Dundas) piercing parlour. Frankie's plain and pale, Nicola's brash and blonde; their banal day-to-day is interrupted by the introduction of floozy bombshell Josee (Joelle Carter), who begins as the standard catalytic plot device but ends as something complicated and possessed of unusual depth. The same could be said of the rest of the cast, from Dundas's volatility to Ambrose's amazingly transparent and tricky performance. Even-handedly negotiating the tricky shoals of hormone-addled actions and emotions, Swimming excels in presenting the sort of small-town yearning I most associate with Steve Earle's early production, the cruelty of teens on the make smartly presented with the same kind of nostalgic affection as the moment when a plain girl recognizes the strength of her decency and the inimitable quality of her difference. Observations of the ebbs and flows of adolescent angst are interesting in Swimming, though not interesting enough to make this charming adolescent melodrama resonate with the melancholia of Bogdanovich's similarly themed The Last Picture Show, and the picture runs out of steam with a goofy subplot involving a sweet-natured ganja-burner played by Jamie Harrold.

The Business of Fancydancing (2002)

August 2, 2002Posted in2000s, Authors: Walter Chaw, Drama, Music, Theatrical

**½/****
starring Evan Adams, Michelle St. John, Gene Tagaban, Swil Kanim
written and directed by Sherman Alexie

by Walter Chaw Reading a little like an anguished autobiography of a certain kind of success and the ethnic price of it, Sherman Alexie’s The Business of Fancydancing demands an examination of the compulsion to use “Native American author” as a prefix to Alexie’s name. It’s not a success in a conventional sense and that’s actually somewhat to its credit–having made a living as a Native American author with a mostly white readership, Alexie’s aim here seems to be one of defying traditional Western narrative forms in favour of the liquidity of a more aboriginal oral tradition. If its performances are uneven and some of its characters and events completely superfluous, The Business of Fancydancing gets a great deal of leeway based solely on the raw intimacy of Alexie’s uncompromising point of view.

Joe Somebody (2001) – DVD

July 27, 2002Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, ZERO STARS

ZERO STARS/**** Image A- Sound A- Extras B-
starring Tim Allen, Julie Bowen, Kelly Lynch, Greg Germann
screenplay by John Scott Shepherd
directed by John Pasquin

by Walter Chaw There is no life to Joe Somebody; it is a rotting, derelict husk of a film that drifts anchorless in a sea of dead jokes and plot detritus. It has no excuse for existing, and should be held up as the prime example whenever conversation turns to what’s wrong with our culture in general and the movies in particular. Joe Somebody is so sloppily put together that when it comes time at last to end this cinematic thumbscrew, its moments of uplift make little, if any, sense because of the lack of care taken to establish a place for them. If you have a moment to which the entire film is supposedly building, I humbly offer that it’s probably not good when that epiphany appears with neither warning nor justification. It’s like having a story that is not otherwise about a playwright wrapping up with a playwright having her first play produced. Exactly like that, in fact.

The Starz Independent FilmCenter Project, Vol. 10

July 26, 2002Posted in2000s, Authors: Walter Chaw, Crime, Drama, Romance, Theatrical, Thriller
by Walter Chaw READ MY LIPS (2001)Sur mes lèvres***½/****starring Vincent Cassel, Emmanuelle Devos, Olivier Gourmet, Olivia Bonamyscreenplay by Jacques Audiard and Tonino Benacquistadirected by Jacques Audiard Suffused with intelligence, courage, and the unmistakable taint of life, Jacques Audiard's remarkable Read My Lips is a brilliant picture with a few problems that, because they exist in so carefully structured a film, will probably iron themselves out under more careful reconsideration. At the bottom of a corporate jungle inhabited by wild boors, Carla (Emmanuelle Devos, winner of the 2001 Best Actress César for this film) is a kettle of repressed sexual desire…

Jan Dara (2001)

July 26, 2002Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, Romance, Thailand, Theatrical

*½/****
starring Suwinit Panjamawat, Santisuk Promsiri, Christy Chung, Eakarat Sarsukh
screenplay by Nonzee Nimibutr, Sirapak Paoboonkerd, based on the novel The Story of Jan Dara by Utsana Phleungtham
directed by Nonzee Nimibutr

by Travis Mackenzie Hoover It’s a testament to the failure of Nonzee Nimibutr’s Jan Dara that it contains parental sex, adolescent sex, inter-generational sex, lesbian sex, light bondage sex, even ice-cube sex–and still manages to wear out its welcome. You’d think that with all that screwing, you couldn’t help but be a little titillated, but after half an hour of its melodramatic excesses, it wears on you so heavily that you may decide you have a headache and just go to bed. Sure, Jan Dara contains the sordid detail and shocking revelations that make for really good melodrama, but it turns them all on their head: Instead of releasing the madness that lurks beneath the surface, it chastely peels away the hysterical rind to suck on the virginal fruit beneath. For the sensualist likes of me, this is totally unacceptable, as it takes what could have been a rakish romp and makes it a hypocritical object lesson in the virtues of clean living.

Tadpole (2002)

July 25, 2002Posted in2000s, Authors: Walter Chaw, Comedy, Coming of Age, Drama, Romance, Theatrical

**/****
starring Sigourney Weaver, Aaron Stanford, John Ritter, Bebe Neuwirth
screenplay by Heather McGowan & Neils Mueller
directed by Gary Winick

by Walter Chaw An underwritten indie The Graduate (a connection the film makes itself) that plays a little more like one of J.D. Salinger’s terrible short stories than like Wes Anderson’s dead brilliant Rushmore (which it aspires to be at every turn), Tadpole emerges as exactly the kind of self-conscious product that crowds equate, knee-jerk-like, with independent credibility. Buoyed at times by an occasional sweetness and Bebe Neuwirth’s fantastic performance as a hippie still flying her freak flag (or at least her free-love banner), Tadpole hints at what it might have been had it the courage to follow through on the ramifications of a fifteen-year-old boarding school Voltaire-quoting brat using the language of his absent mother to attempt to win his stepmother Eve (Sigourney Weaver) away from his ineffectual academic of a dad (John Ritter).

Dragonfly (2002) [Widescreen] – DVD

July 24, 2002Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Fantasy, Germany, Mystery, Romance, Thriller

*/**** Image A- Sound B+ Extras B-
starring Kevin Costner, Joe Morton, Kathy Bates, Ron Rifkin
screenplay by David Seltzer and Brandon Camp & Mike Thompson
directed by Tom Shadyac

by Walter Chaw Emergency-room sawbones Joe Darrow (Kevin Costner) loses his do-gooder wife Emily (Susanna Thompson) when she’s killed in a rockslide in Venezuela. Soon he and his bald parrot believe that Emily has returned from the dead with a message about rainbows. I like Kevin Costner and his oeuvre. I find him to be a charming simpleton in the Gary Cooper mould. Until Dragonfly, his films never felt condescending to me, largely because Costner appears to be learning things at the same pace as his screenplay. His guileless wonder (‘Can you believe we did this to the Indians? Holy smokes!‘) sits well with me and makes him peculiarly suited to play the traditional American hero: good-looking, witless, and dull as dishwater. Casting Costner as a doctor is a mistake: the other person he played who had an advanced degree was New Orleans DA Jim Garrison in Oliver Stone’s JFK, and that character was clearly insane. Costner just doesn’t have the spark of erudition necessary to convince as a serious individual with letters after his name (not unless those letters are LHP), and his performance in Dragonfly is unconvincing, joyless, and scattershot.

The Starz Independent FilmCenter Project, Vol. 9

July 20, 2002Posted in2000s, Authors: Walter Chaw, Biopic, Crime, Documentary, Drama, France, Theatrical

by Walter Chaw

MURDEROUS MAIDS (2000)
Les Blessures assassines
***/****
starring Sylvie Testud, Julie-Marie Parmentier, Isabelle Renauld, Dominique Labourier
screenplay by Jean-Pierre Denis & Michèle Pétin, based on the novel L'affaire Papin by Paulette Houdyer
directed by Jean-Pierre Denis

Heavenly Creatures by way of Henry James, Jean-Pierre Denis's Murderous Maids–based on the true story of two sisters who, in 1933, murdered and mutilated the bodies of their employers in a small French town–is haunting and uncompromising. Denis proposes that taciturn Christine (Sylvie Testud) and open, elfin Léa (Julie-Marie Parmentier) were engaged in an incestuous relationship; that this relationship was founded on the basis of a deep resentment of a mother (Isabelle Renauld) who hired them out as housemaids and collected their salaries to fund her "love of life"; and that this relationship–arrested sexuality, repressed beneath a veneer of unbearable religiosity (a third sister, supposedly raped by a long-absent father, joins a convent) and the humiliations of the master/servant dynamic–eventually imploded into an orgy of bloodlust and madness. Denis's unwillingness to sensationalize (let alone explain) first incest and then murder results in a certain harshness that magnifies every bourgeoisie slight against the long-suffering proletariat into a potentially triggering event, yet also prevents very much in the way of suture with either the sisters or their eventual victims. The bloodletting made as sterile as the eroticism in an affectively airless chamber piece, Murderous Maids falls short of Claude Chabrol's brilliant La Cérémonie and Nancy Meckler's underseen Sister, My Sister, in that the same reserve that allows its actresses to shine (Testud, in particular) inhibits very much in the way of actual involvement or tension beyond a kind of clinical interest. Still, the weight of the piece, the unerring professionalism of the chilly production, and the fascination embedded in the lurid topic prove recommendation enough.

Trouble Every Day (2001)

July 20, 2002Posted in****/****, 2000s, Authors: Walter Chaw, Directors: Claire Denis, Drama, France, Germany, Horror, Japan, Theatrical, Thriller, Vampire

****/****
starring Vincent Gallo, Tricia Vessey, Béatrice Dalle, Alex Descas
screenplay by Claire Denis & Jean-Pol Fargeau
directed by Claire Denis

by Walter Chaw Plaintive and sad, Claire Denis’s remarkable Trouble Every Day is a rare combination of honesty, beauty, and maybe even genius. It isn’t enough to say that the picture captures the barbarism festering at the core of gender dynamics, nor is it sufficient to express my frank amazement at how Denis subverts genre in ways perverse and powerful. Here’s a canny director who knows the vocabulary of cinema as well as the cruel poetics of sexual anthropology; perhaps it’s enough to say that Trouble Every Day captures something ineffably true about the sex act with images vital, frank, and unshakable.

The Final Hit (2001) – DVD

July 14, 2002Posted in2000s, Authors: Walter Chaw, Comedy, Drama, DVD

The Last Producer
½*/**** Image C Sound B+
starring Burt Reynolds, Lauren Holly, Sean Astin, Benjamin Bratt
screenplay by Clyde Hayes
directed by Burt Reynolds

by Walter Chaw Seeing himself as Hollywood’s last angry man (the film was originally and just as inexplicably called “The Last Producer”), Burt Reynolds, in the twilight of his benighted resurrection, jumps behind the camera to helm his self-starred anti-Hollywood tirade The Final Hit, which washes out as equal parts senior citizen grotesquery and unfocused satire. Wall-to-wall with Peter M. Robinson’s excrescent scatty woo-bop score, The Final Hit, in discussing how Tinsel Town disdains the older generation of actors, proceeds to give the stage back to that same older generation and, in the process, demonstrates exactly why these people aren’t getting much work.

Storytelling (2002) [Unrated and R-rated Versions] – DVD

July 12, 2002Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Esoterica, Romance, Satire

**½/**** Image B+ Sound B+
starring Selma Blair, Leo Fitzpatrick, Robert Wisdom, Paul Giamatti
written and directed by Todd Solondz

by Walter Chaw The line between love and misanthropy is thin, and Todd Solondz is a cunning cartographer of that precarious divide. He sees political correctness as an insidious product of the kind of paternalistic racism that discards truth in favour of generally held truisms, a crutch for well-meaning racists who lack the wit to grasp that the basic misunderstanding of difference driving a desire to discriminate against minorities is identical to that which drives a desire to protect minorities. Solondz’s films are confrontational in the extreme, full-frontal assaults on the hypocrisy that fuels most relationships and stark dissections of the politics of cruelty.

The Starz Independent FilmCenter Project, Vol. 8

July 12, 2002Posted in2000s, Authors: Walter Chaw, Crime, Drama, Mystery, Theatrical, Thriller
by Walter Chaw THE SALTON SEA (2002)**/****starring Val Kilmer, Vincent D'Onofrio, Doug Hutchison, Peter Sarsgaardscreenplay by Tony Gaytondirected by D.J. Caruso The Salton Sea opens with a trumpeter-in-Hell kind of thing, sort of a Chet Baker in Drugstore Cowboy image where Danny Parker (Val Kilmer) plays a mournful Miles in a cool hat while bundles of cold cash burn like little pyres to the bluesman's lost ideals. We know there'll be a dame he shouldn't have trusted (Deborah Kara Unger, beaten up on screen yet again) and a gallery of rogues fervid in their multiplicity of deformities (Vincent D'Onofrio's redneck…

Lola (1961)

July 8, 2002Posted in1960s, Authors: Travis Mackenzie Hoover, Drama, France, Italy, Romance, Theatrical

***½/****
starring Anouk Aimée, Marc Michel, Jacques Harden, Alan Scott
written and directed by Jacques Demy

by Travis Mackenzie Hoover Lola is a film that makes froth do the work of genius. Like The Red Shoes and The Quiet Man, it’s one-hundred percent movie-movie horse manure, a series of contrived romantic adventures that elicits a velveteen agony no sensible adult could possibly mistake for the real thing. But just like those movies, it makes you think it’s doing more than its Leonard Maltin entry would otherwise suggest–and, in fact, does more than perhaps even creator Jacques Demy ever realized. In doting prettily on its collection of picturesque no-hopers, Lola manages to be profound in spite of itself; the film bestows a divine aesthetic light on people who would normally be passed over for attention, and in so doing gives their life a value that a social-realist film might degrade into a heap of misery.

Hart’s War (2002) – DVD

July 7, 2002Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, War

**½/**** Image A- Sound A Extras B-
starring Bruce Willis, Colin Farrell, Terrence Dashon Howard, Vicellous Reon Shannon
screenplay by Billy Ray and Terry George, based on the novel by John Katzenbach
directed by Gregory Hoblit

by Walter Chaw Director Gregory Hoblit’s fourth consecutive celluloid guilty pleasure, Hart’s War constantly dances the razor’s edge of offensively pat (equating Nazi Germany with Macon, GA circa 1944) while providing enough canned tension and studied theatricality to put A Few Good Men to shame. With Bruce Willis as a smirky secondary character and largely-untested Irishman Colin Farrell asked to shoulder the brunt of the courtroom hijinks, Hart’s War is an exceptionally well-done bad movie that hums along on its earnestness. Though if you think about the film at all after the lights come up, best not to contemplate the plot, which is littered with holes like P-51 rocket craters.

Lagaan: Once Upon a Time in India (2001)

July 6, 2002Posted in2000s, Authors: Walter Chaw, Drama, India, Musical, Sports, UK

***/****
starring Aamir Khan, Gracy Singh, Rachel Shelley, Paul Blackthorne
screenplay by Kumar Dave, Sanjay Dayma, Ashutosh Gowariker
directed by Ashutosh Gowariker

by Walter Chaw With the subtitle “Once Upon a Time in India,” Ashutosh Gowariker’s Lagaan holds a kinship to Tsui Hark’s Once Upon a Time in China in more than just appellation and an abiding dislike of the Colonial British. Other than substituting elaborate musical numbers–as is Bollywood’s wont–for Hong Kong’s martial arts features, Lagaan is in fact as interested in the sociology of enslavement before the rush of technology (embodied in cameras and firearms) as its farther-eastern brethren. The rather serious-minded attack of India’s own caste system and the ineffectualness of its Raj ruling structure lends additional layers to the picture’s surprising depths, yet all the politicized subtext in the world does little to suppress the essential exuberance of the gaudy visceral Bollywood experience.

The Films of John Sayles (1980-2002)

July 6, 2002Posted in****/****, 1980s, 1990s, Adventure, Authors: Walter Chaw, Comedy, Crime, Disability, Drama, Family, Fantasy, Ireland, Mexico, Mystery, Romance, Sci-Fi, Sports, Thriller, Western

Filmsofjohnsayles

Return of the Secaucus Seven (1980)
**/****
Buy DVD at Amazon.com
John Sayles's directorial debut has taken on the aura of a folk tale, the details of its genesis are that well known: With a $40,000 budget raised largely from the quadruple-threat's (writer/editor/director/actor) work for the scripts for Roger Corman's Battle from Beyond the Stars, Piranha, and Alligator, Sayles shot a film at a rented lake house with friends possessed of neither experience nor know-how and redefined the American indie movie scene. Return of the Secaucus Seven had two separate New York runs, made appearances on several year-end lists, and became a cause célèbre for snobs "in the know" deriding Kasdan's The Big Chill as a Secaucus rip-off. Twenty-some years later and the bloom is off the rose, so to speak: Return of the Secaucus Seven reveals itself to be sloppily made, overwritten, and horrendously performed (with the exception of David Strathairn and Gordon Clapp). Still, there are moments of truth in the picture that are pure: an embarrassing interlude when two old friends pass on their way to an unfortunately placed bathroom, and another during a feverish pick-up basketball sequence that steadily develops a delicious subtext. Gathering for what might be an annual reunion, the titular seven reminisce about characters who never appear, discuss past indiscretions (legal and sexual), and locate themselves on the verge of their third decade unmoored from the virulent liberalism of their flower-powered youth. Stealing the show is nerdy "straight" man Chip (Clapp), demonstrating the kind of unaffected naturalism indicative of Sayles's later work but a naturalism buried for the most part here by oodles of hanging plots, mismanaged character moments, odd editing choices, and a peculiarly literate lack of focus indicative of a brilliant novelist moonlighting as a filmmaker. 104 minutes

The Starz Independent FilmCenter Project, Vol. 7

July 5, 2002Posted in1980s, 2000s, Best Picture (Academy Awards), Biopic, Czechoslovakia, Drama, France, Italy, Music, Theatrical

by Walter Chaw

PETER SHAFFER'S AMADEUS: DIRECTOR'S CUT (1984/2002)
***/****
starring F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow
screenplay by Peter Shaffer, based on his play
directed by Milos Forman

Bringing the highbrow to the status-hungry middle and lowbrow in the same way as those "Bach's Greatest Hits" collections and the awful faux-llies of Andrew Lloyd Weber, Milos Forman's bawdy, jittery adaptation of Peter Shaffer's fanciful play "Amadeus" is not so much about Mozart as it is about genius and its burden on the mediocre. Mozart (Tom Hulce) is an adolescent boor touched by the hand of God. Emperor Joseph's (Jeffrey Jones) court composer Salieri (F. Murray Abraham) becomes obsessed and desperately jealous of Mozart's gift, leading him to the madhouse and confessions of murder. Amadeus works because of Forman's gift for the seedy (and portraying asylums–he directed One Flew Over the Cuckoo's Nest) and Abraham's deeply-felt performance.

Diamond Men (2001)

July 4, 2002Posted in2000s, Authors: Walter Chaw, Drama, Theatrical, Thriller

**/****
starring Robert Forster, Donnie Wahlberg, Bess Armstrong, Jasmine Guy
written and directed by Dan Cohen

by Walter Chaw Much will be written about Robert Forster’s performance in Diamond Men, Dan Cohen’s sophomore hyphenate feature, and as Forster lands an executive producer credit (daughter Kate gets the “associate producer” tag), the veteran actor’s much-deserved critical buzz this time around is a product more of design than serendipity. That doesn’t lessen the picture as a nice vehicle for Forster’s hang-dog melancholia, the quality that Tarantino’s Jackie Brown used to magnificent effect (and the one with which David Lynch played in Forster’s tantalizing Mulholland Drive cameo), but what it does do is render Diamond Men unconvincing as a drama. It’s full of contrivances of the kind that cast a grimy patina over the rest of the film–a Things Change sort of deal where the line between positive senior characters and irritating grotesqueries makes the proceedings first unpleasant and then insufferable.

Pearl Harbor (2001) [60th Anniversary Commemorative Edition]|Pearl Harbor: The Director’s Cut [VISTA Series] – DVDs

June 30, 2002Posted in2000s, Action, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Drama, DVD, Romance, War

*½/****
ACE DVD – Image A+ Sound A (DD) A+ (DTS) Extras C+
VISTA DVD – Image A+ Sound A+ Extras A+
starring Ben Affleck, Josh Hartnett, Cuba Gooding, Jr., Tom Sizemore
screenplay by Randall Wallace
directed by Michael Bay

by Travis Mackenzie Hoover I must shamefully admit that I greeted the approach of Pearl Harbor‘s release with a mixture of moral righteousness and secret anticipation. I knew that no good could come from the intersection of the WWII nostalgia wave and the craven instincts of producer Jerry Bruckheimer; anyone who had seen Top Gun, his earlier effort in military pornography, would have to surmise that his new film’s potential for right-wing jingoism was clearly off the scale. These suspicions were confirmed once I saw the trailer, its sickening combination of swelling music, explosions, dashing soldiers and the FDR “Day of Infamy” speech promising propaganda of Riefenstahlian proportions. Anyone who reads me would expect me to give it a good shellacking, and so I hoped for a total outrage to crucify without remorse–reaping me the happy side effect of securing me the moral high ground from which to preach.