Greenberg (2010) – Blu-ray Disc

Posted in****/****, 2000s, 2010, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, FFC Must-Own, Romance

****/**** Image A Sound A Extras D
starring Ben Stiller, Greta Gerwig, Rhys Ifans, Jennifer Jason Leigh
written and directed by Noah Baumbach

FFC Must-Ownby Walter Chaw The ideal follow-up to his Dorothy Parker-cum-Rohmer shrine Margot at the Wedding, Noah Baumbach’s Greenberg is a deepening of the filmmaker’s examinations of the peculiar voids over which we stretch the niceties of interaction betwixt the miserable intellectual elite. It’s the Algonquin Roundtable reconstituted as wits without an audience: all outrage without an outlet, there’s even this sense of panic attached to Greenberg’s little whorls of nervous intellectualism, as if Jonathan Edwards’s penitents were literati at risk of being cast into the hell of everyone else. Just as ignorance is bliss, the opposite is most assuredly also true, and it’s the product of that deep, consuming contemplation of the navel that is the foundation for Baumbach’s films, from his post-grad Kicking and Screaming through to his portraits of agonizing relational disintegrations The Squid and the Whale and Margot at the Wedding. The anxiety that drives his work is the fear that the armour equipped to defend against the perception of ordinariness doesn’t fit well, and that the discovery of the idiot driving the sage is not merely likely but inevitable. His are films, then, of a certain deep discomfort with the projection of the self–and Greenberg, ironically, is an examination of all of Baumbach’s issues carried off with what seems like absolute confidence. If Baumbach suffers from the same self-doubt as his characters, he’s no longer showing it in his films.

Sex and the City 2 (2010) + Prince of Persia: The Sands of Time (2010) – Blu-ray + DVD + Digital Copy

Posted in2000s, 2010, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Disney, Drama, DVD, Fantasy, Romance, Theatrical, ZERO STARS

SEX AND THE CITY 2
ZERO STARS/****
starring Sarah Jessica Parker, Cynthia Nixon, Kristin Davis, Kim Cattrall
written and directed by Michael Patrick King

PRINCE OF PERSIA: THE SANDS OF TIME
ZERO STARS/**** Image A Sound A Extras C
starring Jake Gyllenhaal, Ben Kingsley, Gemma Arterton, Alfred Molina
screenplay by Doug Miro & Carlo Bernard
directed by Mike Newell

by Walter Chaw One may be a misguided liberal screed and the other a misguided conservative screed, but Sex and the City 2 and Prince of Persia: The Sands of Time (hereafter Prince of Persia) are very much alike in that they’re what a Tea Party meeting would look like with a budget. They’re politically-confused hodgepodges of bad ideas and misplaced, incoherent outrage–most of it gleaned from the one or two times some idiot accidentally read the A-section of a newspaper, the rest gathered from Dummies primers on how to be cursorily informed in the Information Age. They’re similarly infused with healthy doses of arrogance and cultural empiricism that speak directly to the reasons the United States is the target of fundamentalist whackos convinced we’re all just like the randy quartet of aging bitches on a hedonism bender in the Middle East in Sex and the City 2. Hateful, vile, both films are also indicated by a distinct lack of artistry, representing a world post-Michael Bay in which a goodly portion of movies are dependent on not only other cultural touchstones (a TV series, a videogame) for the entirety of their alleged appeal, but on some of the most vapid cultural touchstones in the brief history of our popular culture, period.

A Scanner Darkly (2006) – Blu-ray Disc

A Scanner Darkly (2006) – Blu-ray Disc

Posted in****/****, 2000s, 2006, 2010, Animation, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Richard Linklater, Drama, FFC Must-Own, Mystery, Sci-Fi, Thriller

****/**** Image A+ Sound A- Extras C
starring Keanu Reeves, Robert Downey Jr., Woody Harrelson, Winona Ryder
screenplay by Richard Linklater, based on the novel by Philip K. Dick
directed by Richard Linklater

FFC Must-Ownby Walter Chaw Our reality has almost outstripped Philip K. Dick’s paranoid fantasies, and Richard Linklater’s grim A Scanner Darkly is the slipperiest take yet on the war between perception vs. reality in a year that knows United 93. Keanu Reeves, so often woefully miscast, is wonderfully imagined here as a guy in a “scramble suit”: his appearance constantly shifting in a kaleidoscope of mismatched parts–the uniform of future-narcs (seven years from now, announce the opening titles) sent undercover to ferret out the dopers and dealers of Substance D. It’s a hallucinogen that eventually causes a rift in the individual consciousness (the left hemisphere atrophies and the right tries to compensate) and Reeves’ Agent Fred is sent to find out where dealer Donna (Winona Ryder) is getting her shit. But the scramble suits seem mainly used to keep the vice squad’s identities from one another instead of their quarry, meaning that Fred goes underground as himself, Robert Arctor, in full grunge, inhabiting his once-cozy suburban nook with tweaked conspiracy theorists Ernie (Woody Harrelson) and Barris (Robert Downey Jr.). Meaning, too, that Fred is asked to spy on Arctor, and that Barris, in a pair of hilarious scenes, informs on Arctor to Arctor. It’s not the labyrinthine audacity of Dick’s delusions that so enthrals, but rather the mendacity of them. What’s complicated about A Scanner Darkly isn’t the compression of identity or the various plots to which its characters imagine themselves hero and victim, but the idea that reality conforms itself to belief–that because life has stopped making sense to you, life has stopped making sense, period.

Let Me In (2010)

Posted in2000s, 2010, Authors: Walter Chaw, Drama, Horror, Mystery, Sweden, Theatrical, Thriller, UK, Vampire

**/****
starring Kodi Smit-McPhee, Chloë Grace Moretz, Richard Jenkins, Elias Koteas
screenplay by Matt Reeves, based on the novel Låt den rätte komma in by John Ajvide Lindqvist
directed by Matt Reeves

by Walter Chaw SPOILER WARNING IN EFFECT. Matt Reeves’s redux of Swede Tomas Alfredson’s lovely, understated, doom-laden Let the Right One In finds magnification in the wrong places while betraying what seems to be its better nature in order to present something more “palatable” to a popular audience. Wrong to call it a “dumbing down”–better to say that elements left unspoken or at arm’s length in the original film are presented in Let Me In in as confrontational, uncontroversial a way as possible. More’s the pity, as the movie begins with Ronald Reagan quoting Alexis de Tocqueville in his “Evil Empire” speech (delivered to the National Association of Evangelicals on March 8, 1983) on a television in a snowed-in New Mexico E.R.: “Not until I went into the churches of America and heard her pulpits aflame with righteousness did I understand the greatness and the genius of America… America is good. And if America ever ceases to be good, America will cease to be great.” It’s a thread of Christian fervour that weaves through much of the first twenty minutes of the picture, through the introduction of our hero, Owen (a tremendous Kodi Smit-McPhee), suffering an extended Grace delivered by a faceless mother (Cara Buono) and, later, an admonition by an also-faceless father over the telephone that Owen’s mother is unbalanced and should stow her Christian shit a bit more tightly. The lack of the father as a physical presence in the film becomes a poignant elision in this respect: in a film about good and evil, the divorce between Father and Son, as it were, is a pithy one.

TIFF 2010: Wrap It Up

Posted in2010, Action, Authors: Bill Chambers, Blog, Canada, Comedy, Crime, Documentary, Drama, Film Festivals, France, Horror, Music, Mystery, Sci-Fi, South Korea, Superhero, Thriller, TIFF, TIFF 10, Time Travel

by Bill Chambers

  • The films are fading fast in the rearview for me (no reflection on them, necessarily), but before they become too vestigial I want to at least highlight the rest of what I saw at this year’s TIFF, starting with a movie called White Irish Drinkers (*/****). How I wound up catching this flick is fairly embarrassing: the director is “John Gray,” which I misread in my bleary, end-of-festival state as “James Gray.” I was severely late for the flick, so I don’t want to pummel it (or even officially rate it), but keen auteurist that I am, I figured out my mistake pretty quickly: James Gray just wouldn’t have a naked girl (the maddeningly familiar Leslie Murphy) run around a cemetery with “free spirit” music cued up on the soundtrack–he’s not a de facto film student anymore. Though it turns out that John Gray has an extensive TV-movie resume, having done everything from The Marla Hanson Story to the remake of Brian’s Song, this feels very much the work of a novice, not a little for its pretensions to be the next Mean Streets. Because Stephen Lang salvaged Public Enemies virtually single-handedly, I was hopeful when he turned up here, but his character may be even more one-note than the one he played in Avatar. As his put-upon wife, Karen Allen has seemingly recovered from the stupefying euphoria of getting to resurrect her iconic Marion in Kingdom of the Crystal Skull. Strangely, I missed said goofy grin, yet she makes the most of a thankless role that indirectly references her previous brush with this genre, Philip Kaufman’s The Wanderers. The rest of the cast is made up of baby-faced thugs who have to be given black eyes at regular intervals in order to pass for tough. On a related note, I never could shake the feeling that this is exactly the sort of project Vinnie Chase would be hot for on “Entourage”.

The Karate Kid (2010) – Blu-ray Disc

Posted in2000s, 2010, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, China, Drama, Family, Hong Kong, Jackie Chan, Martial Arts, Sports, Will Smith

**/**** Image A Sound A Extras B-
starring Jaden Smith, Jackie Chan, Taraji P. Henson, Wenwen Han
screenplay by Christopher Murphey
directed by Harald Zwart

by Walter Chaw So here’s the thing: there’s something really powerful about the archetype of a child losing his father and finding a mentor and, on the flipside, of a father losing a son and finding an apprentice. Easy to scoff, it’s also the worn-through, threadbare foundation for stuff like the Dardennes’ arthouse favourite The Son, Beat Takeshi’s Kikujuro, and Pixar’s Up–so why not another go-round with a remake of The Karate Kid? The only places it truly fails are in its deviations from formula: a little too much faithless razzle-dazzle here, a bit too much equivocal bullshit there, and a whole lot of nepotism as overmatched Jaden Smith (spawn of producers Will and Jada Pinkett) grimaces his way through a cipher of a character. It’s high-concept fat that clogs the arteries of a lean, John G. Avildsen-sculpted framework, this inner-city-to-Forbidden-city crap that sees li’l Dre (Smith) jetting off to Beijing when mommy (Taraji P. Henson) gets a job at an auto plant. Should there be an undercurrent of irony here about moving from Detroit to Beijing to work on cars? Doesn’t matter, as in the place of subtext, The Karate Kid quickly introduces a deeply uncomfortable love story between 12-year-old Dre and little Mei (Han Wenwen) that culminates in a stolen kiss and a sexy dance set to Lady Gaga that has blank Dre slacking his jaw in the very approximation of Forrest Gump finally fucking Jen-nay. Is there a racial element when bully Cheng (Wang Zhenwei) warns Dre to “stay away from all of us”? Doesn’t matter, as in the place of all that stuff about internment camps that so beautifully complicated the 1984 flick is the drama of Mr. Han née Miyagi (Jackie Chan) losing control of his car on a dark and stormy night (because just as every chink knows kung fu, none of them can drive–Han totals a car in the film while it’s parked in his living room), thus opening the door for a ragamuffin to come calling like some funked-up changeling.

Wall Street: Money Never Sleeps (2010) + Legend of the Guardians: The Owls of Ga’Hoole (2009)

Posted in2000s, 2009, 2010, Action, Adventure, Animation, Australia, Authors: Ian Pugh, Drama, Family, Fantasy

WALL STREET: MONEY NEVER SLEEPS
**/****
starring Michael Douglas, Shia LaBeouf, Josh Brolin, Frank Langella
screenplay by Allan Loeb and Stephen Schiff
directed by Oliver Stone

LEGEND OF THE GUARDIANS: THE OWLS OF GA’HOOLE
*½/****
screenplay by John Orloff and Emil Stern, based on the novel Guardians of Ga’Hoole by Kathryn Lasky
directed by Zack Snyder

by Ian Pugh SPOILER WARNING IN EFFECT. Oliver Stone has a penchant for writing himself into living history, and normally, it’s quite fascinating. By making movies about historical events whose ramifications have not yet fully materialized, he engages in a battle of wits with the unfamiliar. He tries to understand what’s unfolding at this very moment, constantly on the lookout for something resembling closure. From that perspective, Wall Street: Money Never Sleeps (hereafter Wall Street 2) suffers from Stone’s familiarity with the subject. Having already made a movie about the chaos of the free market, he knows exactly what he wants to say from the outset. Our boy Gordon Gekko (Michael Douglas) spent the Clinton years behind bars, leaving his personal life in shambles. Beloved son Rudy has died of a drug overdose, and hitherto-unmentioned daughter Winnie (Carey Mulligan) is–irony of ironies!–a lefty blogger who won’t have anything to do with him. Enter her fiancé, Jake Moore (professional protégé Shia LaBeouf, who’s convincing enough; and the character’s name is More, get it?), an ambitious green-energy investor who wants to learn a few moves from a living legend. As fate would have it, the two men share a mutual enemy in Bretton James (Josh Brolin), the slimy businessman who sent Gekko to the slammer and spread a few market rumours that prompted Jake’s mentor/father figure (Frank Langella) to commit suicide. Gekko sees the chance to rekindle his relationship with Winnie, while Jake wants to make a mint founded on revenge. Alliances are forged, tricks are played, trust is abused, and, above all, greed continues to rule the day. When the bottom falls out, you’d best be prepared for a lot of hand-wringing in the executive boardroom–but hell, you know there are more important things floating around here, right? Winnie announces her pregnancy on the very same day that the 2008 economy does its final nosedive. Where do you think Wall Street 2 is going to end up?

I’m Still Here (2010)

Posted in****/****, 2000s, 2010, Authors: Ian Pugh, Comedy, Documentary, Drama, Esoterica, Jack Nicholson, Music, Satire, Theatrical

****/****
starring Joaquin Phoenix, Antony Langdon, Casey Affleck, Sean “P. Diddy” Combs
screenplay by Casey Affleck and Joaquin Phoenix
directed by Casey Affleck 

by Ian Pugh It’s far too easy to believe that Casey Affleck’s I’m Still Here hinges on whether or not its subject has perpetrated a hoax. Joaquin Phoenix grows a lunatic’s beard, declares he’s quitting acting, and starts planning a hip-hop career? Surely, he can’t be serious. But here’s how it ends, kids: yes, I guess you could call it a “put-on” in the strictest sense of the word–yet at the same time, he is deadly serious. What needs to be understood about Phoenix, and this film, is that there was a kernel of truth to everything the man mumbled through that maniacal persona. I do believe that Phoenix is tired of acting (or, at least, tired of stardom), and, for his farewell performance, he’s blurred the line between actor and role so completely as to obliterate all our preconceived notions of who he is and what he is supposed to represent. The false Phoenix–the bedraggled, abusive prophet spouting non-sequiturs–is, for all intents and purposes, the “real” Phoenix, the iconic artist who pulls a disappearing act by forcing the art and the iconography to consume his entire being. You can’t call I’m Still Here a mockumentary, exactly, because, inside and outside of the “act,” that is precisely what happened. And what came out of it is a harrowing thought exercise about artistic failure and the baggage of celebrity.

The Social Network (2010)

Posted in****/****, 2000s, 2010, Authors: Walter Chaw, Biopic, Directors: David Fincher, Drama, Theatrical

****/*****
starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer
screenplay by Aaron Sorkin, based on the book The Accidental Billionaires by Ben Mezrich
directed by David Fincher

by Walter Chaw An asshole movie about an asshole, David Fincher’s The Social Network is an exacting, brutal celluloid treatise on the theory that the only reason anything ever gets made in this world is because some smart guys don’t get laid enough. It’s the misandrous analogue to Camille Paglia’s once-inflammatory assertion in her Sexual Personae that if women were in charge of civilization, we’d still be living in grass huts. Freud at its mud-wallow base, The Social Network isn’t thoughtful–it’s not a conversation unto itself, not much more than pocket philosophizing easily turned into a weapon for either side. In the end, it’s just a series of loose, out-of-sequence vignettes chronicling the creation of a 25-billion-dollar enterprise on the back of a painful break-up and a best friend getting into an exclusive campus club that said 25-billion-dollar enterprise’s creator could not. But it’s good. Good because Fincher and screenwriter Aaron Sorkin have tapped into a vein of male anxiety in a way that feels like mainlining a particularly hot, particularly angry fix. It’s Fight Club again, but with an ending that’s more about the toothed pit at the middle of male loneliness and obsession–drawing that line between genius and psychosis instead of, as in Fight Club, pandering to some notion of a romantic solution capable of soothing eons of atavistic penis crises. It’s Fight Club without Marla.

American Beauty (1999) [The Awards Edition] + Forrest Gump [Special Collector’s Edition] – DVDs + American Beauty [Sapphire Series] – Blu-ray Disc

American Beauty (1999) [The Awards Edition] + Forrest Gump [Special Collector’s Edition] – DVDs + American Beauty [Sapphire Series] – Blu-ray Disc

Posted in1990s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Blu-ray Disc, Comedy, Directors: Robert Zemeckis, Drama, DVD, Romance

AMERICAN BEAUTY
**/****
DVD – Image C+ Sound B- Extras C-
BD – B Sound A- Extras C
starring Kevin Spacey, Annette Bening, Thora Birch, Chris Cooper
screenplay by Alan Ball
directed by Sam Mendes

FORREST GUMP
*/**** Image B Sound B+ Extras B-
starring Tom Hanks, Robin Wright, Gary Sinise, Sally Field
screenplay by Eric Roth, based on the novel by Winston Groom
directed by Robert Zemeckis

by Walter Chaw People who say the Oscars suck aren’t entirely wrong, but saying this tends to obscure the fact that most Best Picture honourees aren’t terrible so much as dedicatedly mediocre. They’re masterpieces of toeing the centreline, and in so doing they manage to offend neither side of the divide overly: The great American strive, Hollywood-style, isn’t to rewire the mousetrap, as it were, any more than it is to produce a pile of crap on purpose. No, the goal is to achieve medium buoyancy. Too bloated to float, too fat to sink; if you don’t reach too ambitiously, you won’t get slapped down–and a career constructed around formula-prestige, 140-minute pictures is suddenly within your grasp, Ron Howard-like. The trick is to appeal as broadly as possible without appearing to do so–to recast convention in vague middlebrow hot-button terms and neither speak above the heads of your audience nor be obvious in your condescension.

TIFF 2010: On “Womb”

Posted in2010, Authors: Bill Chambers, Drama, Film Festivals, France, Germany, Hungary, Romance, Sci-Fi, TIFF, TIFF 10

by Bill Chambers I found the imposed misery of Never Let Me Go a lot less provocative and haunting than the self-inflicted kind one encounters in Benedek Fliegauf’s Womb, whose one-word title seems to not-unduly affiliate the picture with Jonathan Glazer’s great Birth. I love this movie, but it took me a few days to digest it, and I’m not sure I’d have the patience to sit through it again. It’s challenging from the get-go, what with the quasi-kiddie porn of its opening sequences, in which a beautiful young boy and girl start sleeping together, and the girl caresses her skin, then the boy’s, as if trying to decipher some message between them written in Braille. (For pure eroticism, though, nothing trumps the pair watching a snail writhe across a kitchen table–and it’s here that I wish I possessed Walter Chaw’s vocabulary for discussing suggestively Romantic images such as these.) The girl, Rebecca, moves to Tokyo, and grows up to be played by Eva Green. She returns to the little beach community where she met the boy, Thomas (Matt “Doctor Who” Smith as an adult), and looks him up, having transparently spent the intervening years pining for him. When they meet again, he’s so thunderstruck that he dumps his current girlfriend on the spot, and the two impulsively begin a life together as eco-activist–an amateur entomologist, he breeds cockroaches, speaking to indelibility and infestation–and muse. Just as suddenly, Thomas is killed on the way to a protest, and Rebecca, feeling cosmically robbed, has and implements the lunatic idea to be artificially inseminated with Thomas’s clone and cultivate in the child an Oedipal complex, so that at some point in the future she will get to be with a facsimile of her lover, even if he is, technically, her son. What ensues is a distaff Lolita that makes up for in controversy (the incest angle) what it may lack in guts (all things considered, this is a fairly chaste film), though the Zen patience with which Rebecca courts Thomas II only affirmed the intelligence of the piece for me: you’re just not going to see a woman exhibit the immoral lust of Humbert Humbert with the same urgency.

TIFF 2010: On “Let Me In”

Posted in2010, Authors: Bill Chambers, Drama, Film Festivals, Horror, Mystery, Sweden, Thriller, TIFF, TIFF 10, UK, Vampire
by Bill Chambers The logo for the refurbished Hammer Films that opens Let Me In is a little like the one for Marvel Films, only images of Christopher Lee and Peter Cushing flutter past instead of Spider-Man and other "-men." I think it may have caused me to squee, as the girls say. The movie itself doesn't labour to honour the Hammer legacy per se--I had secretly hoped it'd find room for at least one slutty Victorian barmaid--but it does reverentially emulate its key source, the 2008 Swedish film Let the Right One In, which Walter Chaw and I had on our Top 10 lists for that…

TIFF 2010 Day 2: Jack Goes Boating; Curling; Never Let Me Go

Posted in2010, Authors: Bill Chambers, Canada, Comedy, Drama, Esoterica, Film Festivals, Romance, Sci-Fi, TIFF, TIFF 10, UK

by Bill Chambers Friday began with Jack Goes Boating, the directorial debut of Philip Seymour Hoffman, who also stars as the title character. Jack is an airport limo driver who’s been the third wheel in the lives of his married friends Clyde (John Ortiz) and Lucy (Daphne Ruben-Vega) for so long that they’ve decided to intervene by setting him up with the mousy but receptive Connie (Amy Ryan). The movie, adapted–and, one suspects, significantly “opened up”–by Bob Glaudini from his own Off-Broadway play, casually parallels their burgeoning romance with the evaporation of Clyde and Lucy’s relationship. In a fall preview on his delightful blog, Nick Davis summed up his level of anticipation for Jack Goes Boating thusly: “Loved Synecdoche but can’t take much more schlub.” Truer words, etc. Jack isn’t just a schlub, he’s the ur-schlub, a maddeningly static individual who has to be nudged into action like a soccer ball, and Hoffman lights and poses himself to look as appetizing as Grimace from the Happy Meals. I much prefer another passion project of Hoffman’s, Love Liza: although it operates on the same demented frequency as Jack Goes Boating, there’s a whole slew of theatrical affectations to contend with this time around. (You can eventually set your watch to Jack’s nervous throat-clearing.) Ortiz is tremendously winning, though, in a bromantic role that reveals a lot more range, not to mention teeth, than Hollywood’s ever given him a chance to show. Jack Goes Boating reminded one woman I spoke to of Rocky; I can see it if I squint.

TIFF 2010 Day 1: Stone; I’m Still Here

Posted in2010, Action, Authors: Bill Chambers, Drama, Esoterica, Film Festivals, Jack Nicholson, Music, Mystery, Pseudo-Documentary, Robert De Niro, Thriller, TIFF, TIFF 10

by Bill Chambers I started the morning off on a bum note by boarding the wrong subway train (which caused me to miss The Town), but other than that, the day went off without a hitch. I found the new homebase of the Festival okay, spotted Karina Longworth (who like most critics of note looks part cartoon character), got mistaken for a stand-up comic (am I the only one who feels bizarrely contrite when this happens?), and managed to park my ass in a cinema just as Stone was beginning to unspool. As an aside, I now see a real upside to holding the press screenings at the Scotiabank instead of the Varsity, as the larger auditoriums are cutting down on the last-minute scrambles to find a seat; at both of my movies today, the first few neck-straining rows were almost entirely empty. It’s a throwback, really, to the good old days of the Uptown.

Hamlet (1996) – Blu-ray Disc

Posted in1990s, 2010, Authors: Jefferson Robbins, Blu-ray Disc, Drama, Shakespeare, UK

***½/**** Image A Sound B- Extras B-
starring Kenneth Branagh, Julie Christie, Billy Crystal, Gérard Depardieu
screenplay by Kenneth Branagh, based on the play by William Shakespeare
directed by Kenneth Branagh

by Jefferson Robbins You could tell it was an epic: it had an intermission. Kenneth Branagh’s four-hour version of William Shakespeare’s Hamlet may be the last mainstream film to feature an honest-to-goodness, seriously-I-gotta-pee-now pause-point in its theatrical release.1 How daring was that, in a period when studios demanded 90-minute runtimes to crowd more asses in seats? When, just a year later, people would unironically say “epic” and mean Titanic?

Fame (1980) – Blu-ray Disc + Fame (2009) [Extended Dance Edition] – DVD

Posted in1980s, 2000s, 2009, 2010, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, DVD, Music, Musical, Romance, Teen

FAME (1980)
**/**** Image B Sound B Extras B
starring Irene Cara, Lee Curreri, Laura Dean, Antonia Franceschi
screenplay by Christopher Gore
directed by Alan Parker

FAME (2009)
*/**** Image N/A Sound C Extras D
starring Debbie Allen, Charles S. Dutton, Kelsey Grammer, Megan Mullaly
screenplay by Allison Burnett, based on the screenplay by Christopher Gore
directed by Kevin Tancharoen

by Walter Chaw Alan Parker seems to fancy himself a bit of a sociologist–a chronicler of Truth surveying man’s inhumanity to man and the injustices perpetrated in the United States especially, offering up pictures that seek to expose just exactly what’s wrong with his non-native land. When he makes a good movie, like Angel Heart, it’s good because he’s not proselytizing about corruption so much as he’s indulging in his suspicions about the Home of the Brave. (Filthy with evil, right?) The matinee of appreciation for Parker is not surprisingly around fifteen, when stuff like Mississippi Burning and Midnight Express has the weight of sagacity rather than the reek of puerile outrage and unbecoming grandstanding. He’s Stanley Kramer with a drug and counterculture fixation that marks him as a product less of Mod than of Free Love. Fame is the perfect Parker vehicle because it’s an anthology of Parker’s perception of inner-city woes, and as it appears at the end of the Seventies, the decade that was America’s crucible of self-reflection, the sort of prison-wallet Passion Play of which Parker’s most fond finds a more tolerable climate. It’s perfect, too, because Parker’s background in commercials often leads him to make films that are told in images impossible to misconstrue with concepts that aren’t necessarily substantial enough for a feature. (See: his big-screen adaptations of Pink Floyd‘s “The Wall” and Webber’s awful Evita.) Fame‘s structure is a sequence of vignettes and its characters a collection of types, so that the demand to sustain itself over the course of two hours is ameliorated by the fact that it’s basically an anthology piece.

Dexter: The Fourth Season (2009) – Blu-ray Disc

Posted in2000s, 2009, 2010, Authors: Bill Chambers, Blu-ray Disc, Crime, Drama, Mystery, Television, Thriller

Image A Sound A Extras D+
“Living the Dream,” “Remains to be Seen,” “Blinded by the Light,” “Dex Takes a Holiday,” “Dirty Harry,” “If I Had a Hammer,” “Slack Tide,” “Road Kill,” “Hungry Man,” “Lost Boys,” “Hello, Dexter Morgan,” “The Getaway”

by Bill Chambers SPOILER WARNING IN EFFECT. Previously on “Dexter”: Jimmy Smits set the Latin-American image back 100 years; Dexter married his stepsister* (*may have only happened offscreen); and the show ran out of flashbacks, forcing James Remar into the present-day narrative as the ghost of Hamlet’s father. And now, the continuing misadventures of America’s cuddliest serial killer.

Animal Kingdom (2010) + Valhalla Rising (2010)

Posted in****/****, 2000s, 2010, Action, Adventure, Australia, Authors: Walter Chaw, Crime, Denmark, Drama, Esoterica, Fantasy, Theatrical, Thriller, UK

ANIMAL KINGDOM
***½/****
starring Ben Mendelsohn, Joel Edgerton, Luke Ford, Guy Pearce
written and directed by David Michôd

VALHALLA RISING
****/****
starring Mads Mikkelsen, Maarten Stevenson, Gordon Brown, Andrew Flanagan
screenplay by Roy Jacobsen & Nicolas Winding Refn
directed by Nicolas Winding Refn

by Walter Chaw David Michôd’s Animal Kingdom respects its audience, a rare commodity during the best of times. The film flatters us by leaving exposition and backstory to our knowledge of anthropology–in fact, Animal Kingdom is best indicated by its unwavering reserve–a reluctance, almost–to say too much when slow, fluid tracking motions and static, medium-distance establishing shots may suffice. Consider a frankly gorgeous tableau late in the film as three people meet in Melbourne’s National Gallery of Victoria: framed against an open space, Michôd allows an extra beat, then another, before continuing with his family gothic. The story isn’t an afterthought, but the dialogue, however minimal, seems to be. The picture’s told through its actions and its images and, in that way, reminds of a Beat Takeshi film, of all things, what with its focus on criminality and its enthralling slowness. If there’s another indie demiurge to which Michôd pays obeisance, it’s Michael Mann–and the success of the picture (as shrine to masculinity, as introspective character study) suggests that cribbing from Kitano and Mann, if it’s as successful a larceny as this, can be successful in no other way.

Flaming Star (1961) – DVD

Posted in1960s, 2010, Action, Authors: Bill Chambers, Drama, DVD, Western

Flamingstarcap

***½/**** Image B Sound B+
starring Elvis Presley, Dolores Del Rio, John McIntire, Steve Forrest
screenplay by Clair Huffaker and Nunnally Johnson, based on the novel Flaming Lance by Huffaker
directed by Don Siegel

by Bill Chambers SPOILER WARNING IN EFFECT. In his compulsively readable autobiography A Siegel Film, Flaming Star director Don Siegel recounts a conversation he had with the film’s producer, David Weisbart. Told that Elvis Presley has replaced Marlon Fucking Brando as the lead in their Nunnally Johnson-scripted western, a baffled Siegel observes, “He’s no Marlon Brando.”

“On the other hand, Brando’s no Presley,” Weisbart retorts, creating a kind of Lewis Carroll logic loop from which the only escape is to concur. Siegel is later ironically relieved to hear that the esteemed Johnson has bailed on the project in protest, as it confirms he’s not the only one not taking the recasting lightly.

Get Low (2010)

Posted in2000s, 2010, Authors: Walter Chaw, Drama, Germany, Mystery, Poland, Theatrical

**/****
starring Robert Duvall, Bill Murray, Sissy Spacek, Lucas Black
screenplay by Chris Provenzano and C. Gaby Mitchell
directed by Aaron Schneider

by Walter Chaw Affable, warm, kinda boring, and decidedly minor, Aaron Schneider’s Get Low doesn’t really do anything wrong so much as it presents as an edgeless, inconsequential, protracted encounter with someone you feel you should be interested in but mostly want to politely usher out the door. It’s a conversation killer: a movie about a performance, a particular kind of calling card bespeaking comfort with name actors who might be capable of delivering an awards-season prestige picture for a splinter company interested in a medium-return on a small investment. That’s it. At the least, for what it’s worth, Get Low operates with a great deal of compassion for its small-town denizens, resisting the easy shot at their provinciality in favour of something more along the lines of a Sling Blade. On that note, this South is neither as ugly nor as impoverished as Billy Bob’s.