Ginger Snaps (2001) [Collector’s Edition] – DVD

October 8, 2001Posted in2000s, Authors: Bill Chambers, Canada, Drama, DVD, Horror, Teen, Werewolf

**/**** Image A Sound A- Extras B+
starring Emily Perkins, Katharine Isabelle, Kris Lemche, Mimi Rogers
screenplay by Karen Walton
directed by John Fawcett

by Bill Chambers Ginger Snaps is so eager to have its double meanings understood, like a kid with a secret, that the text upon its subtext becomes transparent–and when you can see through a film, it's just not as much fun. About a month ago, I watched John Landis's An American Werewolf in London for the first time in years and gradually came to understand how and why I'd identified with it as an adolescent: After being inflicted with the werewolf's curse, David, the hero, goes through a second adolescence. Ginger Snaps makes David into a literal teenager–and a girl, a Carrie White-esque late-bloomer named Ginger (Katharine Isabelle) who survives a werewolf attack only to misinterpret the next 30 days as a particularly harsh growth spurt.

Liam (2001)

October 5, 2001Posted in2000s, Authors: Walter Chaw, Coming of Age, Drama, France, Germany, Italy, Theatrical, UK

**½/****
starring Ian Hart, Claire Hackett, Anthony Borrows, David Hart
screenplay by Jimmy McGovern
directed by Stephen Frears

by Walter Chaw Liam is an Irish coming-of-age story that has more in common with John Boorman’s The General and Hope and Glory than it does with Alan Parker’s Angela’s Ashes. It balances the deprivation and desperation of growing up with crippling unemployment, a peculiarly sadistic brand of Irish Catholicism, and rising anti-Semitism with a good sense of humour and a lively feeling for pace that better captures the seesawing emotion of childhood than unrelenting horror or unleavened bliss. The truth of childhood, after all, lies somewhere in the grey liminal spaces between William Blake’s songs of innocence and songs of experience, though liberal time is spent in both extremes. In other words, the true power of Liam is not in the now-familiar images of scrounging for bread and cigarettes while enduring whippings at the hand of Sadeian priests, but in the shame of a little boy who walks in on his mother bathing and the embarrassment of a stuttering child unable to say his own name.

Our Lady of the Assassins (2000)

October 5, 2001Posted in2000s, Authors: Walter Chaw, Colombia, Crime, Drama, France, Spain, Theatrical

La virgen de los sicarios
**½/****
starring Germán Jaramillo, Anderson Ballesteros, Juan David Restrepo, Manuel Busquets
screenplay by Fernando Vallejo
directed by Barbet Schroeder

by Walter Chaw At his best (Barfly, Idi Amin Dada, Reversal of Fortune), Barbet Schroeder is mercilessly unblinking. He delves into the sundry with such a dedicated nihilism that it makes the horror of his situations palatable somehow. The same kind of thing Cronenberg does with grotesquery, Schroeder does with atrocity: we are led behind the curtain to where the real ugliness lies with a casual air that defuses sensationalism and murders prurience through protagonists–at least the best ones (Charles Bukowski, Idi Amin, Claus von Bulow)–drawn from the insipid impiety of real life. That’s perhaps the source of my discomfort with the anti-hero of Our Lady of the Assassins (La virgen de los sicarios“), an only semi-autobiographical writer first brought to life in Fernando Vallejo’s 1994 novel of the same name and now embodied in the lanky frame of Latin actor Germán Jaramillo. He is an existentialist philosopher torn by the eternal conflict between passion for life and passion for destruction, but he has no grounding in the mundane that would make the character something more than a wandering gadfly. If Vallejo, a jaded chronicler of a train-wreck who has no connection to the evolving horror, is the projection of a first-world consciousness observing the travails of a disintegrating third world, the greatest irony of the failure and success of the film is in its own triumphant disconnection.

Driven (2001) – DVD

September 26, 2001Posted in2000s, Action, Authors: Walter Chaw, Drama, DVD, Sports, Stallone

*/**** Image A- Sound A Extras A
starring Sylvester Stallone, Burt Reynolds, Kip Pardue, Til Schweiger
screenplay by Sylvester Stallone
directed by Renny Harlin

by Walter Chaw A homoerotic cock-opera showing the sad and pathetic multiplicity of forms that mid-life crises can take, Driven, Renny Harlin’s ode to thick necks and macho poses, is more “programmed” than “directed.” The film resembles a particularly irritating and impenetrable video game juxtaposed with pages torn from the jug-heavy EASY RIDER magazine and scenes paraded out of the Big Book of Movie Clichés, all performed by a cast that provides a definitive example of the way “legendary” can be used in a derisive sense.

Glitter (2001)

September 26, 2001Posted in2000s, Authors: Walter Chaw, Drama, Music, Romance, Theatrical, ZERO STARS

ZERO STARS/****
starring Mariah Carey, Max Beesley, Eric Benet, Vondie Curtis Hall
screenplay by Kate Lanier and John Wilder
directed by Vondie Curtis Hall

Glitterby Walter Chaw About halfway through Glitter’s bloated running time (105 minutes of unique hell), a foreign video director sagely complains: “The glitter can’t overpower the artist!” The two problems with Glitter are that the glitter does overpower the artist, and that the glitter itself is preposterous, dreary, and dull. Billie (Mariah Carey) is enlisted as the backup singer for an entirely talentless woman, and her voice is hijacked in a Singin’ in the Rain intrigue, natch. But even as I was resigning myself to a customary “VH1 Movies That Rock” piece of dreck about the girl singing behind the curtain getting rewarded for her saintliness on the opening night of a national tour, Dice the DJ (Max Beesley) swoops in and makes Glitter an interracial version of screenwriter Kate Lanier’s own What’s Love Got To Do With It?. Only Glitter‘s Ike is a pretty nice guy, despite his jealousy/management problems, and this Tina is as expressive as a person on a horse’s ration of Thorazine. When Billie told Dice, after some very chaste lovemaking, that she has trouble trusting people, I whispered to the screen, “Honey, you probably shouldn’t start at a guy named ‘Dice’ who sports a large gold pendant that says ‘DICE.'”

Together (2000)

September 14, 2001Posted in2000s, Authors: Walter Chaw, Comedy, Denmark, Drama, Italy, Romance, Sweden, Theatrical

Tillsammans
**/****
starring Lisa Lindgren, Michael Nyqvist, Emma Samuelsson, Sam Kessel
written and directed by Lukas Moodysson

by Walter Chaw A cross between Lars von Trier’s The Idiots and an irritating home video made by flower children, Swedish phenom Lukas Moodysson’s Together (Tillsammans) is an aggressively affable, ultimately simplistic film that displays almost nothing in the way of the craft or sensitivity of an Ingmar Bergman, his mentor in spirit and most vocal supporter. It is a film that defies criticism by beating critics to the punch: “These people are unlikable hypocritical idiots? My point exactly,” says Moodysson. “It’s filmed with almost no knowledge of even the basics of filmmaking? What better way to show the rawness of real life?” But I don’t buy it, not when we’re eternally two steps ahead of the gutless screenplay and consistently pulled from the drama by the same repetitive series of establishing zooms and shaky framing. Tillsammans looks as bad as any Dogme 95 film.

15 Minutes (2001) [Infinifilm] – DVD

August 26, 2001Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Germany, Thriller

*½/**** Image A Sound A Extras A-
starring Robert De Niro, Edward Burns, Kelsey Grammer, Avery Brooks
written and directed by John Herzfeld

by Walter Chaw There’s a thing that happens about an hour into John Herzfeld’s 15 Minutes that is as bald and shameless a foreshadowing device as any in the tired pantheon of movie-groaners. It’s as bad as telling someone that you’ll marry them just as soon as you get back from this trip to Africa; as bad as showing the guys a picture of your corn-fed sweetie right before you charge that machine gun embankment. It is a moment of stunning conventionality in the middle of a film that is otherwise engaging and, for a moment or two, even shocking and provocative. 15 Minutes is defined by this scene in a great many ways: It’s a Hollywood film struggling with a controversial topic that finds a comfort zone in a script that tries to soften some images by obfuscation and others by a timidity that ultimately undermines its subject. The last time a big-budget picture tried to tackle a media culture involved in exploitation of the darkest crannies of the human heart was Joel Schumacher’s reprehensible and simpering 8MM. Sharing that film’s ignominious demise at the box office, it can be no real surprise that 15 Minutes is almost as repugnantly apple-polishing an experience.

The Last Warrior (2000) – DVD

August 26, 2001Posted in2000s, Action, Authors: Walter Chaw, Drama, DVD, Sci-Fi, Thriller

The Last Patrol
½*/**** Image B Sound C-
starring Dolph Lundgren, Sherri Alexander, Joe Michael Burke, Rebecca Cross
screenplay by Stephen J. Brackely and Pamela K. Long
directed by Sheldon Lettich

by Walter Chaw I thought I was following along with The Last Warrior pretty well until star Dolph Lundgren met up with a school bus full of “Fat Albert” extras, led by the mystical shaman cum flower child, Rainbow (Brook Susan Parker). Set in a post-a-quake-alyptic California, where the Golden state is an island hemmed in by ocean and crawling with loonies and mutants, our story follows a small band of military types who have established some sort of refuge in the desert. When Captain Nick Preston (Lundgren) reminisces about the before-time, in the long, long ago when he befriended Rainbow the hippie and her cute-costumed tribe of Cosby-style moppets, The Last Warrior goes from being an incomprehensible and dull bit of cheap-o nonsense to an incomprehensible and dull bit of cheap-o new age psychobabble nonsense. I consoled myself with the supposition that the flashback is meant to provide a Lilies in the Field moment of uplift and an “in” to the inevitable pyrotechnics of the final act, but when Rainbow reappears from nowhere at the conclusion and makes it rain by gibbering incoherently and dancing in a circle, I sort of gave up.

Skeletons in the Closet (2001) – DVD

August 25, 2001Posted in2000s, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Thriller

**/**** Image A Sound B Extras B
starring Treat Williams, Linda Hamilton, Jonathan Jackson, Gordon Clapp
screenplay by Donna Powers & Wayne Powers
directed by Wayne Powers

by Walter Chaw An example of the sort of generational paranoia film that cropped up following the flower-power strangeness of the late-Sixties, Skeletons in the Closet is a definite product of the post-Columbine cinematic zeitgeist: it all but demands a re-examination of our relationships with our disenfranchised youth. In a very real way, it plays as an interesting companion piece to McGehee and Siegel’s arthouse thriller The Deep End. Both are interested in how single parents deal with criminal delinquency (real or imagined) in their confused children, and both are showcases for actors who are either relatively unknown (Tilda Swinton in The Deep End), or sadly marginalized (Treat Williams).

L.I.E. (2001)

August 24, 2001Posted in2000s, Authors: Walter Chaw, Coming of Age, Crime, Drama, Theatrical

***½/****
starring Paul Franklin Dano, Billy Kay, Brian Cox, Bruce Altman
screenplay by Stephen M. Ryder and Michael Cuesta & Gerald Cuesta
directed by Michael Cuesta

by Walter Chaw A marriage of Harmony Korine and Larry Clark’s bleak suburban sensibilities and Michael Mann’s smooth visual sense, veteran commercial director Michael Cuesta’s debut film L.I.E. (“Long Island Expressway”) is a coming-of-age drama that includes a trio of knock-out performances, a gritty, wise screenplay, and directorial choices that are pitch perfect. It opens like Korine’s Gummo, with a child on an overpass and a voice-over providing brief backstory and mood. Like Gummo, L.I.E. betrays itself as a subversive literary piece: Korine’s work following the major tropes of John Keats’s Ode to a Grecian Urn and Cuesta’s film faithful to the philosophy and tone of Whitman’s Leaves of Grass. Further, L.I.E. sets itself up as one of the most technically accomplished (and restrained) members of the dissident teen social genre, lending a direct thematic explication to the generational paranoia subtexts of 1970s cinema paid visual tribute by Korine/Clark and Todd Solondz.

The Deep End (2001)

August 21, 2001Posted in2000s, Authors: Walter Chaw, Crime, Drama, Mystery, Romance, Theatrical, Thriller

**/****
starring Tilda Swinton, Goran Visnjic, Jonathan Tucker, Peter Donat
screenplay by Scott McGehee & David Siegel, based on the short story “The Blank Wall” by Elisabeth Sanxay Holding
directed by McGehee & Siegel

by Walter Chaw There is a moment at the very beginning of Scott McGehee and David Siegel’s The Deep End wherein our maternal heroine Margaret Hall (Tilda Swinton) fills in a crossword puzzle line with “glacier.” It is an early clue to Margaret’s glacial temperament, the cool blue colour suffusions that dominate the film’s lighting schemes, and, unfortunately, the feeling of icy detachment one experiences during the course of the film. The Deep End is neither a noir nor a Hitchcockian thriller, but rather a somewhat conventional, vaguely derivative Mildred Pierce-ian estrogen melodrama that plays a lot like a Lifetime bodice-ripper written by David Mamet. It is essentially a lifeless version of Blood Simple, complete with misunderstandings, extortion, and a hide-the-corpse intrigue inspired by the urge to protect a loved one. Not to say The Deep End is a bad film, exactly, rather it’s a forgettable one that is remarkable only for its almost complete lack of distinction.

Hannibal (2001) [Special Edition] – DVD

August 21, 2001Posted in2000s, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Crime, Directors: Ridley Scott, Drama, DVD, Thriller, UK

**/**** Image A Sound A- Extras A-
starring Anthony Hopkins, Julianne Moore, Ray Liotta, Frankie R. Faison
screenplay by David Mamet and Steven Zaillian, based on the novel by Thomas Harris
directed by Ridley Scott

by Travis Mackenzie Hoover It is perhaps unfair to compare a sequel to its predecessor, especially one with as tenuous a connection to its predecessor as Hannibal has. With most of the original The Silence of the Lambs personnel having refused to sign on due to various creative differences, the sequel's total stylistic disconnection from its beloved 1991 precursor was probably inevitable. Couple that with the fact that the novel on which it draws can be charitably described as a desperate grasp for royalties and you have a no-win situation that would confound the most dedicated adaptor. Eager though he or she might be to remain faithful to the original's spirit, our hypothetical filmmakers would be forced to define something perfectly contrary to the parent film, something that would be its own picture–a rare enough commodity in the best of times.

Dead Simple (2000) – DVD

August 20, 2001Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Crime, Drama, DVD, Music

Viva Las Nowhere
**/**** Image B+ Sound B Extras B
starring Daniel Stern, Patricia Richardson, Lacey Kohl, Sherry Stringfield
screenplay by Richard Uhlig and Steven Seitz
directed by Jason Bloom

by Walter Chaw A bizarre cross between Psycho, Something Wild and Tender Mercies, Jason Bloom’s Dead Simple is one of those derivatively named direct-to-video productions that attempts the black comedy genre with a reasonable amount of aplomb and wide-eyed enthusiasm. It’s a Very Bad Things farce of escalating atrocities, and though Dead Simple never achieves the kind of sustained comic brilliance and continual nastiness of that movie, it does manage a few edged moments and keen performances from a cast that includes legendary bug-eyed hambones Daniel Stern and James Caan.

The Trumpet of the Swan (2001) – DVD

August 20, 2001Posted in2000s, Animation, Authors: Walter Chaw, Drama, DVD, Family, India, Musical, South Korea

½*/**** Image C Sound C Extras C
starring Jason Alexander, Mary Steenburgen, Reese Witherspoon, Seth Green
screenplay by Judy Rothman Rofe, based on the book by E.B. White
directed by Richard Rich, Terry L. Noss

by Walter Chaw Gracelessly-animated, unevenly voice-acted, and so carelessly told that it’s often unintentionally disturbing (our human hero fries eggs for breakfast when he meets our swan hero), Rich-Crest Animation’s The Trumpet of the Swan is an embarrassing cut-rate cartoon based on E.B. White’s melancholy 1970 novel. It strips White’s wonderful prose to its base essentials, inserts vulgar slapstick involving a skunk, a jive-turkey squirrel, and an aborted Graduate intrigue, and opens with an off-putting and borderline tasteless Lamaze egg-birthing prologue. Its catalogue of atrocity is so variegated and pungent that to list them all would be more effort than has in fact gone into the film’s production. Absolutely the only saving grace for this slack entertainment is its modest length–which, at a brisk 75 minutes, still plays like a film twice as long.

Apocalypse Now Redux (1979/2001)

August 16, 2001Posted in****/****, 1970s, 2000s, Authors: Walter Chaw, Directors: Francis Ford Coppola, Drama, Mystery, Palme d'Or Winner, Theatrical, War

Apocalypse Now
****/****
starring Marlon Brando, Robert Duvall, Martin Sheen, Frederic Forrest
screenplay by John Milius and Francis Coppola, narration by Michael Herr
directed by Francis Coppola

by Walter Chaw Taking his cue from Orson Welles’s aborted screen translation of Joseph Conrad’s Heart of Darkness, Francis Ford Coppola’s Apocalypse Now sought to transplant Marlow’s journey down the Congo in pursuit of mad ivory trader Kurtz to Vietnam during the war. America’s involvement in Southeast Asia is, of course, a good fit with what Conrad calls “one of the dark places of the world,” and Apocalypse Now, easily one of the most literary big-budget blockbusters of the modern era, is utterly faithful to the intellectual and visceral impact of Conrad’s vision. Apocalypse Now is so overheated and pretentious, in fact, that the best way to explain its thematic core might be through an examination of the ways it uses three T.S. Eliot poems (The Wasteland, The Love Song of J. Alfred Prufrock, The Hollow Men) and nods obliquely towards a fourth (The Dry Salvages, which refers to the animalism of rivers as the “brown god”).

Ordinary People (1980) – DVD

August 15, 2001Posted in1980s, Authors: Bill Chambers, Best Picture (Academy Awards), Drama, DVD

***½/**** Image B- Sound C+
starring Donald Sutherland, Mary Tyler Moore, Judd Hirsch, Timothy Hutton
screenplay by Alvin Sargent, based on the novel by Judith Guest
directed by Robert Redford

by Bill Chambers It’s not a fashionable thing to say, but here goes: I don’t mind that Robert Redford’s Ordinary People beat out Martin Scorsese’s Raging Bull for Best Picture at the 1981 Academy Awards. I was irate when Kevin Costner’s Dances with Wolves trumped Scorsese’s Goodfellas at the 1991 ceremony (and to have twice lost Best Director to actors-turned-first-time helmers is an especially salty twist of fate for Scorsese), but cinephiles–and yes, I consider myself one–tend to be a little stubborn about Raging Bull, a movie in grave danger of becoming a designated classic, a default selection on Top 10 lists everywhere. Although Ordinary People went home with Oscar, history ultimately swapped its place with Raging Bull as the black sheep of that infamous race.*

Sweet November (2001) – DVD

August 6, 2001Posted in2000s, Authors: Walter Chaw, Drama, DVD, Romance, ZERO STARS

Sweetnovember

ZERO STARS/**** Image B+ Sound B+ Extras D
starring Keanu Reeves, Charlize Theron, Jason Isaacs, Greg Germann
screenplay by Kurt Voelker, based on the 1968 screenplay by Herman Raucher
directed by Pat O’Connor

by Walter Chaw After Sara Deever (Charlize Theron) and the horribly named Nelson Moss (Keanu Reeves) meet-cute during a test at the DMV, Nelson offers to pay all of Sara’s expenses for a month to compensate for his part in her failure to have her license renewed. Indignant, Sara wonders aloud if Nelson treats all women like hookers. Hippie chick Sara, by the way, has no visible means of support, lives in a giant apartment in San Francisco, and bangs a different rich man for a month every month in some kind of Bull Durham sexual scholarship lottery arrangement. I can only assume that Sara’s specious offense at Norman’s innocuous “implication” is that she’s amazed that it shows.

Time and Tide (2000) – DVD

August 4, 2001Posted in2000s, Action, Authors: Bill Chambers, China, Crime, Drama, DVD, Hong Kong, Thriller

***/**** Image B+ Sound A- Extras B-
starring Nicholas Tse, Wu Bai, Anthony Wong, Joventino Couto Remotigue
written by Koan Hui & Tsui Hark
directed by Tsui Hark

by Bill Chambers Director Tsui Hark stands apart from his Chinese contemporaries by committing to a tone and relative congruity. Having made a couple of English-language pictures starring a Belgian (the Jean-Claude Van Damme vehicles Double Team and Knock-Off) and been schooled at a Southern Methodist university in Dallas, Hark is formally acquainted with the American mainstream, thankyouverymuch. His (post-Van Damme) Hong Kong import Time and Tide, while still a reminder of why it’s easy for us westerners to become a fan of HK cinema yet a bit of a chore to stay one, seems a learned genre concentrate. Although its plot is by and large in the Asia pulp tradition–that is, of an elusive logic–the film wins us over with phenomenal artistry and energy, and its breathers from the mayhem don’t feel like conceptual U-turns.

City on Fire (1987) – DVD

July 28, 2001Posted in1980s, Action, Authors: Bill Chambers, Crime, Drama, DVD, Hong Kong, Thriller

**½/**** Image B- Sound A-
starring Chow Yun-fat, Sun Yeuh, Lee Sau Yin Danny, Carrie Ng
written and directed by Ringo Lam

by Bill Chambers Although it inspired the quintessential U.S. crime picture of the past decade, Ringo Lam’s 1987 Hong Kong action-thriller City on Fire suffers in a freshly-Americanized form: Dubbed and revised dialogue does not Reservoir Dogs make it, and the few nods to western pop-culture induce groans. (One re-recorded villain exclaims, “Show me the money!”) This new version was overseen by Dimension Films, the Miramax subsidiary whose home-video division has carried on the proud tradition of importing Asian flicks of cult repute and turning them into unintentional laff riots. Since Hollywood rarely makes a decent action picture to save its life, this practice has transcended racism and is beginning to look like sour grapes.

Pollock (2000) [Special Edition] – DVD

July 25, 2001Posted in2000s, Authors: Bill Chambers, Biopic, Drama, DVD

***½/**** Image B Sound A- Extras A
starring Ed Harris, Marcia Gay Harden, Tom Bower, Jennifer Connelly
screenplay by Barbara Turner and Susan J. Emshwiller, based on the book Jackson Pollock: An American Saga by Steven Naifeh and Gregory White Smith
directed by Ed Harris

by Bill Chambers

“How do you know when you’re finished making love?”
-Jackson Pollock’s famous retort to a LIFE MAGAZINE reporter who asked how Pollock knows when he’s completed a painting

Jackson Pollock’s “making love” quote is famous, but in practically the same breath he said a much more constructive thing: “It’s like looking at a bed of flowers–tear your hair out over what it means.” It took him sixteen words to do as whole dissertations have tried and failed, that is, to equate God and abstract art and offer a kind of backhanded comfort to those confused to the point of resentment by the avant-garde. The biopic Pollock, actor Ed Harris’s directorial debut, reflects the second soundbite in how it accepts Pollock’s creations as part of the order of things, and should similarly disarm haters of fine art.