Century Hotel (2001) – DVD

May 20, 2002Posted in2000s, Authors: Walter Chaw, Canada, Drama, DVD, Esoterica

**½/**** Image B+ Sound A Extras A+
starring Joel Bissonnette, Lindy Booth, Colm Feore, David Hewlett
screenplay by David Weaver and Bridget Newson
directed by David Weaver

by Walter Chaw A little of Mystery Train, a little of Barton Fink and Hotel Room, a little of Million Dollar Hotel and Aria, and eventually too much of Four Rooms, Canadian David Weaver’s debut feature is the flawed Century Hotel. Rife with the Freudian implications of a hotel composed of one hall and one room (and all its attendant illicit sexual fixations), the picture carries seven storylines in seven different periods set in the same room of (presumably) the titular inn. Without a traditional framing story and united only by a common theme of individual freedoms as expressed through sexuality, Century Hotel is the very definition of representational ambition (though I could have done without a champagne bottle cork transition emerging out of a homosexual kiss). In a film aspiring to fable with its virgins and whores, the critical lack of mothers and crones speaks to a certain lack of balance to the piece.

Five Aces (1999) – DVD

May 20, 2002Posted in1990s, Authors: Walter Chaw, Comedy, Drama, DVD

**½/**** Image B+ Sound A- Extras C
starring Charlie Sheen, Christopher McDonald, David Sherrill, Jeff Cesario
screenplay by David Sherrill & David Michael O’Neill
directed by David Michael O’Neill

by Walter Chaw Men’s coming-of-age pictures fall into the categories of finding a dead body by the side of the train tracks, making a bet during a personal summer of ’69 concerning getting laid, or going away with the buddies on the eve of marriage (or the aftermath of a suicide, though some might say, “Same difference”). They are films, in other words, about courage, about a journey, and about sex and rituals of mortality. Hyphenate David Michael O’Neill’s Five Aces is another in that long-standing tradition of pseudo-nostalgic man-sensitive buddy flicks, this one free of the stultifying voice-over narration but not of the contracted timeframe and forced epiphanies. On these masculine journeys of self-discovery, you see, the spotlight shines on each pilgrim in his turn like a twisted middle-class milk dud version of The Canterbury Tales.

The Starz Independent FilmCenter Project, Vol. 5

May 17, 2002Posted in2000s, Authors: Walter Chaw, Coming of Age, Drama, New Zealand, Romance, Theatrical

by Walter Chaw

RAIN (2001)
***/****
starring Alicia Fulford-Wierzbicki, Sarah Peirse, Marton Csokas, Alistair Browning
screenplay by Christine Jeffs, based on the novel by Kirsty Gunn
directed by Christine Jeffs

Based on a Kirsty Gunn novel, Christine Jeffs's hyphenate debut Rain is a dulcet, haunting evocation of that moment of crisis in a young woman's life as she's poised on the precipice of sexual maturity. The film is golden and beautiful, edged in its understanding that a desire for sex almost always precedes an emotional or intellectual ability to cope with the fallout of the act itself. In honouring that concept, Rain makes no distinction between adults playing as children and children playing the grown-ups in scenes juxtaposed in ways whimsical and poignant. As much as it is a coming of age for a young woman, Rain is very much about the broader issue of power in gender politics as it defines family and relational dynamics.

On the Edge (2001) – DVD

May 13, 2002Posted in2000s, Authors: Walter Chaw, Drama, DVD, Ireland

**½/**** Image A Sound A
starring Cillian Murphy, Tricia Vessey, Stephen Rea, Jonathan Jackson
screenplay by Daniel James and John Carney
directed by John Carney

by Walter Chaw John Carney’s On The Edge is sort of a Gaelic One Flew Over the Cuckoo’s Nest: an irreverent teen Murphy (“Cillian Murphy” as it happens, playing a character named Jonathan Breech) inspires a batch of ruined adolescents in a County Dublin asylum to restore themselves through the healing power of petty rebellion. It’s formulaic and derivative at the least, but the soundtrack, performances, and smooth look of the piece elevate its stagnant material into something–at least fitfully–emotionally engaging, if not intellectually involving.

The Temp (1993) – DVD

May 10, 2002Posted in1990s, Authors: Walter Chaw, Drama, DVD, Horror, Thriller

***/**** Image A- Sound B
starring Timothy Hutton, Lara Flynn Boyle, Dwight Schultz, Oliver Platt
screenplay by Kevin Falls
directed by Tom Holland

by Walter Chaw The Temp borders on brilliant. A thriller from director Tom Holland, he of the “better than they ought to be” Fright Night and Child’s Play, the picture plays with corporate and gender politics in a fashion similar to the first half of Mike Nichols’s Wolf. Similarly, neither can The Temp hold its centre through to the end, resorting to cheap genre tactics and fright gags where a more faithful treatment of its workplace paranoia would far better serve the rapier instincts and execution of the rest of the piece.

The Starz Independent FilmCenter Project, Vol. 4

May 10, 2002Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Cyprus, Drama, France, Germany, Greece, Italy, Romance, Theatrical, UK

by Walter Chaw

THE CHERRY ORCHARD (2000)
*/****
starring Tushka Bergen, Frances de la Tour, Charlotte Rampling, Gerard Butler
screenplay by Michael Cacoyannis, based on the play by Anton Chekhov
directed by Michael Cacoyannis

Written at the end of his life in 1904, "The Cherry Orchard" is the last of Anton Chekhov's great masterpieces, so ethereal it verges on the surreal and so circular it approaches the ineffable and the serene. The work is as balanced between its condemnation as it is winsome in its distillation of a lifetime spent in observation. By turns, it is also humanistic and mordantly funny, capturing a period of time (just prior to the Russian Revolution of 1905) in a way that perhaps no other play ever has any other period. Produced under some duress from Moscow Art Theater co-founders Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko, Chekhov began work on "The Cherry Orchard" in 1903–putting off the MAT pair with vague promises of a new farce or vaudeville. What he finally presented was what Stanislavsky feared: "…Instead of a farce again we shall have a great big tragedy."

The Gambler (1974) – DVD

May 8, 2002Posted in1970s, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD

**½/**** Image A- Sound B+
starring James Caan, Paul Sorvino, Lauren Hutton
screenplay by James Toback
directed by Karel Reisz

by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. Somewhere near the beginning of The Gambler, we see Axel Freed (James Caan) teaching a college course in literature. Taking his cues from Dostoevsky, he announces that any idiot can say that two plus two equals four, but the man who says that they equal five is riding on sheer will. Whether he knows that the declaration is false or not is irrelevant–he is transcending truth to make his own rules. This deliciously summarizes not only The Gambler itself, but also the whole shaky decade of art-pop that was the Seventies. This was the era in which cartoon heroes jousted improbably with literature and politics and when a torrent of homages created whole films piece by appropriated piece. The Gambler‘s Freed is all too typical of the type, with its literary pretensions mixed in with a helping of macho declarations that could only come from a lifetime of hero-worship at the movies.

Watership Down (1978) – DVD

May 8, 2002Posted in1970s, Adventure, Animation, Authors: Walter Chaw, Drama, DVD, Esoterica, Thriller, UK

***/**** Image B Sound B
screenplay by Martin Rosen, based on the novel by Richard Adams
directed by Martin Rosen

by Walter Chaw Unsentimental and terrifying and set against lovely, John Constable-esque watercolour backgrounds, Martin Rosen’s adaptation of the Richard Adams novel Watership Down arose in that extended lull between Disney’s heyday and its late-Eighties resurrection. (This period also saw, in addition to Rosen’s film of Adams’s The Plague Dogs, Rankin & Bass’s The Last Unicorn and Ralph Bakshi’s most productive period, which included 1978’s The Lord of the Rings.) Watership Down points to the dwindled potential for American animation to evolve into what anime has become: a mature medium for artistic expression of serious issues. A shame that this flawed piece is possibly the pinnacle of animation’s ambition on these shores, Richard Linklater’s Waking Life notwithstanding.

High Heels and Low Lifes (2001) – DVD

May 6, 2002Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Crime, Drama, DVD, UK

½*/**** Image A Sound A Extras C+
starring Minnie Driver, Mary McCormack, Kevin McNally, Mark Williams
screenplay by Kim Fuller
directed by Mel Smith

by Walter Chaw Mel Smith’s feminist crime farce High Heels and Low Lifes blares Aretha Franklin and the Eurythmics‘ “Sisters are Doin’ It For Themselves” over its closing credits, always a bad sign. Trying desperately to combine the only two types of British films that have seen commercial success in the last decade (the gangster farce and the Jane Austen empowerment fable), this product from the director of Bean and the screenwriter of Spice World is so rote that its frantic attempts at good natured quirk come off as grotesque and uncomfortable.

Waking Life (2001) – DVD

May 6, 2002Posted in****/****, 2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Directors: Richard Linklater, Drama, DVD, Esoterica, FFC Must-Own

****/**** Image A Sound A Extras A-
starring “Wiley Wiggins and an ensemble of 74 other actors”
written and directed by Richard Linklater

Mustownby Walter Chaw It begins with a child’s game that ends with the chilling premonition “Dream is destiny” and closes with what appears to be the fulfillment of that statement. Richard Linklater’s Waking Life is an anti-narrative with no discernible story arc: The film’s conflict arises between its characters’ varying cosmologies and the challenge that presents to the viewer’s own existential verities, such as Descartes’s dictum cogito ergo sum (“I think, therefore I am”). Waking Life is one of the most interesting and engaging films of a year that sports its fair share of complex, fascinating fare (Mulholland Drive, Va Savoir).

A Shot at Glory (2002)

May 3, 2002Posted in2000s, Authors: Walter Chaw, Drama, Sports, UK

*/****
starring Robert Duvall, Michael Keaton, Ally McCoist, Libby Langdon
screenplay by Denis O’Neill
directed by Michael Corrente

by Walter Chaw Edited by David Ray (an awfully dignified name, methinks, for a chimp with a razor), A Shot at Glory is easily the worst-assembled film I’ve seen in ages, so incomprehensibly inept that the idea of continuity is not merely abandoned but trod and spit upon. The film’s pacing is lax, there is never anything approaching tension, and there is such a disconnect between shots (let alone between scenes) that the whole exercise plays like a particularly pointless and chaotic montage. I suspect the only reason the thing makes any sense at all is through one’s overwhelming familiarity with the underdog sports intrigue and the UK working-class saga. In other words, we have an idea of what’s going on in A Shot at Glory because it’s Hoosiers meets The Full Monty–neither scrimping on the male nudity nor the crusty “working class schleps make good” formula that such a horrific union implies. That’s also probably why the film got made in the first place.

Late Marriage (2001)

May 3, 2002Posted in2000s, Authors: Travis Mackenzie Hoover, Comedy, Drama, France, Israel, Romance, Theatrical

Hatuna Meuheret
***/****
starring Lior Ashkenazi, Ronit Elkabetz, Moni Moshonov, Lili Koshashvili
written and directed by Dover Koshashvili

by Travis Mackenzie Hoover For those who have tired of funny family squabbles with magical reconciliations, relief is on the way. The new Israeli film Late Marriage (“Hatuna Meuheret”) takes the conventional pains of a hundred bad ethnic comedies and gives them added bite; instead of a traditional family causing “hilarious” havoc on their modernized progeny, we are given a nasty tug-of-war between a need to live one’s life and a desire for familial approval. Because there are no easy outs in its bitter turf battle for clashing sets of values, the film is surprisingly tense, uncomfortable, and refreshing in its serious examination of a situation that movies normally trivialize.

Hard Lessons (1986) – DVD

May 2, 2002Posted in1980s, Authors: Walter Chaw, Biopic, Drama, DVD, Television

The George McKenna Story
*/**** Image C- Sound C
starring Denzel, Lynn Whitfield, Akosua Busia, Richard Masur
screenplay by Charles Eric Johnson
directed by Eric Laneuville

by Walter Chaw Hot on the heels of Denzel Washington’s second Oscar–which was sort of a relieved, honorary accolade for avoiding the umpteenth resurrection of his Glory performance, another collaboration with Spike Lee, and a third slain civil rights leader–comes Artisan’s hasty repackaging of 1986’s TV movie The George McKenna Story, ironically dubbed Hard Lessons and refurbished with new promotional art.

Flesh and Bone (1993) – DVD

April 28, 2002Posted in****/****, 1990s, Authors: Walter Chaw, Drama, DVD, Mystery, Romance

****/**** Image B Sound A-
starring Dennis Quaid, James Caan, Meg Ryan, Gwyneth Paltrow
written and directed by Steve Kloves

by Walter Chaw Steve Kloves’s follow-up to his exceptional The Fabulous Baker Boys is Flesh and Bone, a dark-hued journey through the Southern Gothic that represents career pinnacles for Meg Ryan and (until The Royal Tenenbaums) Gwyneth Paltrow. That Flesh and Bone–a doom-filled piece that glowers with malevolence from its horrifying opening sequence to its unsettling conclusion–never received a great deal of attention upon its initial release isn’t as much of a surprise as the fact that not even the passage of time has cemented it as a minor classic. There are few pictures more deserving of critical revisionism.

Performance (1970) – DVD

April 26, 2002Posted in1970s, Authors: Walter Chaw, Crime, Drama, DVD, Esoterica, Gangster, Music, UK

Performancecap

***½/**** Image B+ Sound C Extras C
starring James Fox, Mick Jagger, Anita Pallenberg, Michele Breton
screenplay by Donald Cammell
directed by Donald Cammell and Nicolas Roeg

by Walter Chaw Emerging in the middle of one of the most experimental, challenging periods in cinematic history, Performance–completed in 1968 but shelved until 1970–is a product at once ahead of its time and two years too late. Had its trippy-dippy, anachronistic cross-cutting and madly-inappropriate scoring appeared in 1968 (the year of Rosemary’s Baby, Night of the Living Dead, If…, 2001: A Space Odyssey, and the film to which it perhaps owes its greatest allegiance, Once Upon a Time in the West), Performance would’ve found traction and good company as a foundational film for the American New Wave instead of as a picture that, for all its foment and formal revolution, seemed hysterical against a maturing, more sedate(d) mainstream avant-garde parade of stuff like El Topo, Zabriskie Point, MASH, and Five Easy Pieces.

Y tu mamá también (2001)

April 26, 2002Posted in2000s, Authors: Walter Chaw, Drama, Mexico

***/****
starring Maribel Verdú, Gael García Bernal, Diego Luna, Marta Aura
screenplay by Alfonso Cuarón & Carlos Cuarón
directed by Alfonso Cuarón

Ytumamaby Walter Chaw In the midst of their own kind of “Nouvelle vague,” the Mexican cinema seems invested in the creation of unmannered, free-floating humanist pieces that follow disenfranchised protagonists through the grim straits of their day-to-day. Alfonso Cuarón’s Y tu mamá también takes on the dimensions of a Truffaut film, or a hyper-sexualized Antoine Doniel film, perhaps–one that fits between the child of The 400 Blows and the eighteen-year-old of Antoine et Colette. Structurally, it most resembles another Truffaut, Jules et Jim, and while Y tu mamá también is also ostensibly about a woman whose freedom of spirit functions as a catalyst for the maturation of two young men (and while it has its share of non-sequitur conversations and undercurrents of political exposition), it takes a far more visceral tactic to its tale.

The Starz Independent FilmCenter Project, Vol. 3

April 26, 2002Posted in2000s, Authors: Walter Chaw, Drama, Finland, Germany, Italy, Norway, Romance, Sweden, Theatrical

by Walter Chaw

FAITHLESS (2000)
Trolösa
***/****
starring Lena Endre, Erland Josephson, Krister Henriksson, Thomas Hanzon
screenplay by Ingmar Bergman
directed by Liv Ullman

It is perhaps most instructive to look back at the beginning of a life when contemplating the end of one. Swedish auteur Ingmar Bergman spent his nineteenth year in The Skerries (a Stockholm archipelago), a tumultuous period during which he lost the girl he loved, lost his faith in religion, and finally lost a close male friend to death. That year, when married with the all-pervasive influence of playwright Strindberg and a tireless love of the theatre, provides the root concerns shooting through Bergman's filmography: the idea that marriage is a constant negotiation of losses (abortions and suicides included in that mix) and that should God exist, He is grown apathetic.

Metropolis (2001) – DVD

April 22, 2002Posted in2000s, Action, Adventure, Animation, Authors: Walter Chaw, Drama, DVD, Japan, Sci-Fi, Thriller

***½/**** Image A+ Sound A+ Extras A
screenplay by Katsuhiro Ôtomo, based on the comic book by Osamu Tezuka
directed by Rintaro

by Walter Chaw There is a sense of wonder inherent in the exploration of new mediums. A young Maxim Gorky’s 1896 review of one of the first Lumiére Cinématographe shows in Russia begins, “Last night I was in the Kingdom of Shadows.” As I began exploring the anime medium (not a “genre,” I am assured, and I have come to concur) a scant couple of years ago, I felt similarly the interloper in a dreamscape conjured by a culture steeped in tradition, mythology, and the sort of artistic sensibility that could only evolve from the only people victimized by the most terrible weapon of mass destruction humans have devised. Anime is–perhaps predictably, then–often-post-apocalyptic (its themes exploring the existential by way of William Gibson’s cyberpunk and Philip K. Dick’s identity crisis) finding elements of the rapture in such rapturous fantasies as the lyrical Princess Mononoke, the viscerally charged Ninja Scroll, and the ferocious yet delicate Nausicaä of the Valley of Wind.

Crush (2002)

April 19, 2002Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Germany, Romance, Theatrical, UK

*/****
starring Andie MacDowell, Imelda Staunton, Anna Chancellor, Kenny Doughty
written and directed by John McKay

Crushby Walter Chaw A punitive film that has one of the more unpleasant third acts of any film in recent memory, John McKay’s Crush is an atonal estrogen opera that demonizes feminism while gifting the most sympathetic male of the piece with a nice vomit bath at his wedding. It isn’t political but rather misanthropic, a film that begins genially but ends with enough open contempt for each of its three protagonists that Crush seems something of an anti-romantic comedy. That would not be a bad thing save for the fact that the film aims for frothy uplift on the one hand and a heart-wrenching Love Story twist of fate on the other, with nary a whiff of satire or self-awareness to be found in-between.

The Starz Independent FilmCenter Project, Vol. 2

April 19, 2002Posted in2000s, Authors: Walter Chaw, Drama, Norway, Romance, Sweden, Theatrical, UK

by Walter Chaw

ONE WEEK (2000)
*/****
starring Kenny Young, Saadiqa Muhammad, Eric Lane, Milauna Jackson
screenplay by Carl Seaton, Kenny Young
directed by Carl Seaton

One of the pleasures of junior high (towards the end of the year, once teachers have exhausted lesson plans and their patience) was the educational reel, that impossibly dated relic of the Fifties or Sixties that advised against, in the most stultifying terms possible, such sundry indiscretions as driving too fast or wandering around in the desert without extra water and a hat. The armed forces upped the ante with cautionary tales of green grunts succumbing to the wiles of Third-World call girls and the attendant itches of perdition. The only thing that separates Carl Seaton's zero-budget morality tirade One Week and scatological G.I. shock schlock is the fact that it's in colour (though the lighting in many scenes makes that distinction moot), and that it lacks a chiding talking condom.