1900 (1976) [Two-Disc Collector’s Edition] + La Commune (Paris, 1871) (2000) – DVDs

December 18, 2006Posted in****/****, 1970s, 2000s, Authors: Travis Mackenzie Hoover, Drama, DVD, Esoterica, France, Italy, Pseudo-Documentary, Robert De Niro, War, West Germany

1900
**½/**** Image A- Sound B+ Extras B+
starring Robert De Niro, Gerard Depardieu, Dominique Sanda, Francesca Bertini
screenplay by Franco Arcalli, Giuseppe Bertolucci, Bernardo Bertolucci
directed by Bernardo Bertolucci

LA COMMUNE (PARIS, 1871)
****/**** Image B- Sound C+ Extras C+
directed by Peter Watkins

1900capby Travis Mackenzie Hoover In this corner, Bernardo Bertolucci, weighing in with a massive budget courtesy of Alberto Grimaldi and a cast that includes De Niro, Depardieu, Sutherland, Lancaster, Hayden, and Sanda. Over here we have Peter Watkins, working for peanuts on a single soundstage with a cast of nobodies recruited from Paris and its environs. The fight, as it turns out, is more than one over who can make the longest movie (5hrs15mins for Bertolucci, 5hrs45mins for Watkins) or grab the most attention. The issue is: what are the conditions necessary for a revolutionary epic–moreover, what conditions get in the way? This is the real purpose of comparing 1900 and La Commune (Paris, 1871) (hereafter La Commune), for each film throws down for the Communist cause but only one is conscious of the nuances. Where Watkins and his troupe constantly reframe the idea of what it means to foment revolution, Bertolucci thinks he's got the idea–and proves, through mindless repetition, that he really doesn't.

Lady in the Water (2006) + Sympathy for Lady Vengeance (2005)|Lady in the Water [Widescreen Edition] – DVD

December 18, 2006Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Directors: M. Night Shyamalan, Drama, Fantasy, Mystery, Revenge, South Korea, Theatrical, Thriller, ZERO STARS

LADY IN THE WATER
ZERO STARS/**** Image B+ Sound A Extras B-
starring Paul Giamatti, Bryce Dallas Howard, Bob Balaban, Jeffrey Wright
written and directed by M. Night Shyamalan

Chinjeolhan geumjassi
****/****
starring Lee Yeong-ae, Choi Min-sik, Kim Shi-hoo, Kwon Yea-young
written and directed by Park Chanwook

by Walter Chaw The creeping, inescapable feeling is that M. Night Shyamalan would like to be known as “M. Christ Shyamalan”: a guy who wants you to drink the Kool-Aid; a messiah with a shrinking flock preaching a platform that his increasingly deluded, astonishingly arrogant fables are actually themselves the secret to world peace. He claims to hear voices–the first couple of times he did so (here in the stray interview, there in The Buried Secret of M. Night Shyamalan, that abhorrent mock-documentary he did for the Sci-Fi Channel), I thought he was kidding. Hell, the first couple of times he did it, he probably was kidding. But I don’t think he’s kidding anymore. And there’s no longer any currency in playing this ethereal shaman card. Prancing about like a mystic while shitting away millions of other people’s money isn’t a pastime with longevity: it’s something only a zealot would do. I think he’s gone off the deep end, hubris first, overfed to bloating on a steady diet of his own press and the tender ministrations of yes-men too afraid to set off Shyamalan’s diseased persecution complex by telling him that while he might be good at a few things, Lady in the Water was unsalvageable. When Disney executives did approximately that, Shyamalan took his ball and went across the street to Warner Brothers.

The Pursuit of Happyness (2006)

December 13, 2006Posted in2000s, Authors: Walter Chaw, Biopic, Drama, Theatrical, Will Smith

*/****
starring Will Smith, Thandie Newton, Jaden Christopher Syre Smith, Brian Howe
screenplay by Steven Conrad
directed by Gabriele Muccino

Pursuitofhappynessby Walter Chaw They should pass out insulin plungers with the purchase of a ticket to the new Will Smith vehicle The Pursuit of Happyness, which sports a subtle tickle of plantation politics that's overwhelmed by a sense of smug entitlement and ugly elitism. Inspired by the true story of Eighties Wall Street bootstrap wizard Chris Gardner, it's a telling in a way of the Hercules legend, complete with insurmountable, fickle tasks and divine inheritance. Our mythological hero solves the Rubik's Cube in the back of a taxi for the bemused delight of potential employer Jay Twistle (Brian Howe); deals with the abandonment of his frustrated wife (Thandie Newton); and figures out a way to retrieve a pair of the bone-density scanners (the sale of which were his profession pre-Dean Witter) stolen by the homeless peers he disdains. It's true: the picture–even with its ghetto-cred misspelled title and restroom-to-boardroom fable–is intolerant of people consigned to the impoverishment the film contorts to assure us will be Chris' plight for only the time it takes his uplift to ripen.

Blood Diamond (2006) + Apocalypto (2006)

December 8, 2006Posted in2000s, Action, Adventure, Authors: Walter Chaw, Drama, Germany, Mexico, Theatrical, Thriller, UK

BLOOD DIAMOND
*/****
starring Leonardo DiCaprio, Jennifer Connelly, Djimon Hounsou, Michael Sheen
screenplay by Charles Leavitt
directed by Edward Zwick

APOCALYPTO
***/****
starring Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead
screenplay by Mel Gibson & Farhad Safinia
directed by Mel Gibson

Bloodapocalyptoby Walter Chaw After sending Matthew Broderick to head a Negro battalion in the Civil War and Tom Cruise to witness–and survive–the end of Feudal Japan, director Edward Zwick dispatches Leonardo DiCaprio and Jennifer Connelly to Sierra Leone and its own diamond-fuelled Civil War to moralize endlessly from the superior ethical vantage afforded by time and privilege. (That they also lend a much-needed nougat centre to Blood Diamond's thin chocolate coating goes without saying.) The Denzel Washington/Ken Watanabe token this time around is the oft-similarly-abused Djimon Hounsou: as the DC Comics-sounding Solomon Vandy, Hounsou seeks to trade a rare pink diamond for the life of his son, who's been molded by the evil Sierra Leonians into a soulless murdering/raping machine.

DIFF ’06: The Aura

December 6, 2006Posted in2000s, Argentina, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, France, Spain, Thriller
El aura***½/****starring Ricardo Darín, Dolores Fonzi, Pablo Cedrón, Nahuel Pérez Biscayartwritten and directed by Fabián Bielinsky by Walter Chaw The late Argentine director Fabián Bielinsky's swan song, The Aura (El Aura) is a throwback in spirit and execution to the grim, inward-gazing paranoia dramas of the 1970s. Hero Esteban (Ricardo Darin) is an epileptic taxidermist who wakes up, as the film opens, in a bank vestibule; we proceed to follow him into a credits sequence that sees him resurrecting, in his meticulous craft, a fox for a museum panorama. The title The Aura might refer to that illusion of life…

The Wreck of the Mary Deare (1959) [Gary Cooper: The Signature Collection] – DVD

December 5, 2006Posted in1950s, Adventure, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Mystery, Thriller, UK

***/**** Image A Sound A-
starring Gary Cooper, Charlton Heston, Michael Redgrave, Emlyn Williams
screenplay by Eric Ambler, based on the novel by Hammond Innes
directed by Michael Anderson

by Travis Mackenzie Hoover Here's another Coop-travaganza whose pleasures lie naked on the surface. Like Springfield Rifle, Michael Anderson's The Wreck of the Mary Deare is largely uninterested in subtextual undertow or other fodder for term papers, announcing its true intentions by casting strong, silent Cooper opposite hard man-of-action Charlton Heston–the two movie stars least likely to quietly brood or have an Achilles heel to render them even a little unsympathetic. Though Coop has a shady past to overcome, it's largely in the aid of martyring him to a system that refuses to listen; Heston, meanwhile, is possessed of the old I-have-a-hunch-to-trust-the-underdog brotherhood instinct that keeps us trusting despite overwhelming evidence to the contrary. Students of gender politics (assuming there are any left) might want to put it through the symptomatic wringer, but mostly it's a couple of cool dudes laying down the law and fighting insurmountable odds.

DIFF ’06: Starfish Hotel

December 4, 2006Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, Japan
*½/****starring Kôichi Satô, Kiki, Tae Kimura, Akira Emotowritten and directed by John Williams by Walter Chaw Stylishly shot, enough so that the neophyte might mistake it for a sparkling example of J-horror, Starfish Hotel addresses that old saw of a character wondering if he's a "character" as mysterious events unfold around him. Handled with more care and intelligence by the first 4/5ths of Marc Forster's Stranger Than Fiction, Starfish Hotel acts as a survey of other pictures (most notably the mascot motifs of Donnie Darko and Kontroll) as it goes on its merry non-horror, In the Mouth of Madness way.…

The Devil Wears Prada (2006) [Widescreen Edition] – DVD

December 4, 2006Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, France

*½/**** Image A- Sound B+ Extras B-
starring Meryl Streep, Anne Hathaway, Stanley Tucci, Simon Baker
screenplay by Aline Brosh McKenna, based on the novel by Lauren Weisberger
directed by David Frankel

Devilwearspradacapby Walter Chaw "Sex and the City" fashion porn married to The Princess Diaries 'tween ugly-duckling uplift, David Frankel's facile sitcom The Devil Wears Prada allows Meryl Streep free reign to craft the titular, nattily-attired hellspawn. Her presence here gives the film the kind of starfuck quotient tied to Jack Nicholson genre vehicles once upon a time; without much effort, one can imagine a carnival barker pulling the wide-eyed bumpkins into the freak tent with the promise of blue-chip capering. Alas, Streep disappoints by turning in a human performance as an Anna Wintour manqué, drifting about as "Miranda Priestly" in Cruella DeVil mane and couture, operating a publishing empire (fictional RUNWAY MAGAZINE substituting for VOGUE, though Madonna's "Vogue" features prominently in the soundtrack for the terminally dim) with a soft voice and a sibilant brittleness.

DIFF ’06: The Architect

December 2, 2006Posted in2000s, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, Romance, ZERO STARS
ZERO STARS/****starring Anthony LaPaglia, Viola Davis, Isabella Rossellini, Hayden Panettierewritten and directed by Matt Tauber by Walter Chaw I am sick to death of pieces of shit like Matt Tauber's The Architect--sick of the White Guilt Trip, which here finds architect Leo (Anthony LaPaglia) the boogeyman behind all the cultural evils housed in the Cabrini-Green tenement he designed. When he protests to neo-Alfre Woodard Neely (Viola Davis) that he's just the mastermind behind the building's outline and thus unaccountable for the collapse of urban civilization housed therein, the effect is one of outrage not at the arrogance of The Man,…

The Nativity Story (2006) + 3 Needles (2006)

December 1, 2006Posted in2000s, Authors: Walter Chaw, Canada, Drama, Family, Theatrical

THE NATIVITY STORY
*/****
starring Keisha Castle-Hughes, Oscar Isaac, Hiam Abbass, Shaun Toub
screenplay by Mike Rich
directed by Catherine Hardwicke

3 NEEDLES
½*/****
starring Shaun Ashmore, Stockard Channing, Olympa Dukakis, Lucy Liu
written and directed by Thom Fitzgerald

Nativityby Walter Chaw The nativity, consigned primarily in my imagination to bad children's pageants and gaudy lawn displays, gets a third image in my own private trinity with Catherine Hardwicke's The Nativity Story: a thunderously boring film so circumscribed in scope and crippled in execution that it's destined to be a minor hit fuelled by the line of buses stretching from your local bible chapel. It's another teen melodrama from Hardwicke, complete with disapproving adults and pregnant little girls batting doe-eyes at rough-and-tumble shepherds; you see Hardwicke occasionally attempting an anachronistic Fast Times at Golan Heights à la Sofia Coppola's Marie Antoinette, but Coppola, for all her dips into self-pity, is a filmmaker of note, while Hardwicke is just beating someone else's drum on someone else's dime. (Proof positive is that despite the uniformity of Hardwicke's output across three identically-non-descript flicks, there is still no sense that decisions are being made, or that anything more than a sickly colony from a thin scrape across the John Hughes petri dish has been born.) Mary is played by young Maori actress Keisha Castle-Hughes–her race of note because if there's something important about the instantly forgotten pic, it's that its cast is comprised of people who look like people might have looked in Nazareth around two thousand years ago and not like Andy Gibb. A shame that Castle-Hughes is dreadful (and not helped a bit by another dreadful, pop-eyed screenplay courtesy Mike Rich of Radio and Finding Forrester fame) and that Oscar Isaac (as Joseph)–who is not dreadful–is trapped in this prosaic sinkhole. Tempting to use terms like "sanctimonious" and "smug," but The Nativity Story is more accurately dissected with the observation that it's a faithful telling of a story that has as its only purpose the drumming up of ecstatic anticipation for a foregone conclusion.

DIFF ’06: Breaking and Entering

November 30, 2006Posted in2000s, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, Romance, UK
*½/****starring Jude Law, Juliette Binoche, Robin Wright Penn, Ray Winstonewritten and directed by Anthony Minghella by Walter Chaw Carefully modulated for maximum inoffensiveness and awards-season consideration, Anthony Minghella's King's Cross diary Breaking and Entering plays less like a London native's Crash than like Woody Allen's solipsistic version of the same. Find the Aryan faction led by architect Will (Jude Law) and girlfriend Liv (Robin Wright Penn) and the foreigners by Croatian single-mom Amira (the increasingly one-note Juliette Binoche) and, in another star-making turn by Vera Farmiga, a Polish hooker named Oana. A weary detective (Ray Winstone) verbalizes the social schism…

Wild at Heart (1990) [Special Edition] – DVD

November 28, 2006Posted in1990s, Authors: Travis Mackenzie Hoover, Comedy, Crime, Directors: David Lynch, Drama, DVD, Esoterica, Palme d'Or Winner, Road Movie, Thriller

**½/**** Image A+ Sound A Extras B
starring Nicolas Cage, Laura Dern, Willem Dafoe, Crispin Glover
screenplay by David Lynch, based on the novel by Barry Gifford
directed by David Lynch

Wildatheartcapby Travis Mackenzie Hoover Back when I ran my website DAYS OF THUNDER, I identified the problem with David Lynch in general (and with Mulholland Drive in specific) as that of a man who didn't want to know: his films tend to revolve around bland milquetoast heroes and heroines who open Pandora's Box and then either become destroyed or must stuff horrible people back inside. But when I wrote that, I had repressed the memory of Wild at Heart, which chucks Velveeta America entirely and imagines a world run by Frank Booth and his ilk. Indeed, Wild at Heart wallows in the kinds of kinky horrors that are viewed in Lynch's other films from a distance, and it's not a pretty sight. Here is the fallen Eden, Lynch-style, where everyone has eaten from the Tree of Knowledge and been cast out of paradise to fuck, shoot, and act unnaturally before meeting untimely, gory ends.

DIFF ’06: The Lives of Others

November 24, 2006Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, France, Germany, Mystery, Thriller
Das Leben der Anderen***/****starring Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukurwritten and directed by Florian Henckel von Donnersmarck by Walter Chaw Florian Henckel von Donnersmarck makes his hyphenate debut with The Lives of Others (Das Leben der Anderen), a picture revolving around the days leading up to and immediately following the fall of the Berlin Wall as experienced by prominent playwright Dreyman (Sebastian Koch), his actress girlfriend Christa (Martina Gedeck), and the Stasi investigator Wiesler (Ulrich Mühe) assigned to listen in on their conversations for evidence of dissent. The premise--monster grows a soul in the presence of humanity--is tired,…

DIFF ’06: Americanese

November 24, 2006Posted in2000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Drama, Film Festivals, Romance
**½/****starring Chris Tashima, Allison Sie, Sab Shimono, Munda Razookiscreenplay by Eric Byler, based on the novel by Shawn Wongdirected by Eric Byler by Walter Chaw Eric Byler's follow-up to his haunted, blue Charlotte Sometimes is this adaptation of Shawn Wong's American Knees, which, like Charlotte Sometimes, follows the day-to-day of Asian-Americans--though unlike that film, it fails to find that buried thrum to tie together the little glimpses comprising the whole. It's not for lack of trying, as Byler (over)uses the dissolve as his primary editing tactic in what tracks as an attempt to poeticize the essentially mundane and to literalize what, in the novel,…

DIFF ’06: Rescue Dawn

November 22, 2006Posted in2000s, Action, Adventure, Authors: Walter Chaw, Biopic, DIFF/SDFF, Directors: Werner Herzog, Drama, Film Festivals, Luxembourg, Thriller, War
**½/****starring Christian Bale, Steve Zahn, Jeremy Davies, Marshall Bellwritten and directed by Werner Herzog by Walter Chaw Though a perfectly serviceable actioner, one that avoids almost every pitfall and cliché of the POW genre while supporting a singularly eccentric performance, Werner Herzog's Rescue Dawn, sadly, could have been directed by any one of a dozen directors. Gripping but not especially memorable, it lacks the mad Bavarian's insanity: his belief that nature is obscene, as well as his ability to make a trance from the mendacity of routine. (Because Herzog is a rare talent, his films butt up against greater expectations.) The…

The Fountain (2006)

November 22, 2006Posted in****/****, 2000s, Authors: Walter Chaw, Canada, Directors: Darren Aronofsky, Drama, Esoterica, Mystery, Romance, Sci-Fi, Theatrical

****/****
starring Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis
written and directed by Darren Aronofsky

Fountainby Walter Chaw As deeply emotional and damnably frustrating as any work of pure individual vision must be, Darren Aronofsky's long-gestating The Fountain is officially devastating from about thirty-minutes in and buoyed by its singular vision for the remainder. A film that defines the fatigued term "ambitious," it's the story of Man's need to transcend the physical, to defeat mortality, to address the divine that takes the form of what the director has called "science-fiction for the new millennium." Is it arrogant to seek to redefine an entire genre? No doubt–but it's that exact genus of hubris under the microscope in The Fountain, with its three interwoven storylines concerning the courage to explore new worlds armed and shielded only (and enough) by dogged, ragged faith, and so Aronofsky's arrogance becomes, only as it should be, the connective fibre that binds his film together. The Fountain is philosophy, posing questions about the nature of art, of communication, of the truly big questions of existence. And because it's good philosophy, it doesn't seek to answer the mysteries of our intellectual life, but rather offers as the only humanist answer another mystery: love. It's oblique to the point of opaque for long stretches of its "future" passage (involving the voyage to a nebula wrapped around a dying star in what appears to be a bubble housing a hilltop and a tree) and verges on the brink of camp in "past" segments set during the Age of Discovery and the Spanish Inquisition, yet it finds its core–its thematic and emotional anchor–in the "present" with a research scientist's race against his wife's voracious cancer.

The Fountainhead (1949) – DVD

November 21, 2006Posted in1940s, Authors: Travis Mackenzie Hoover, Drama, DVD, Romance

**½/**** Image A Sound A Extras D
starring Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith
screenplay by Ayn Rand, based on her novel
directed by King Vidor

by Travis Mackenzie Hoover By now, it's tedious to recount the many intellectual sins of Ayn Rand. Anyone with the intelligence to put two and two together knows that her "radical individualism" is mere solipsism with a pretty face, but this of course has not stopped teenagers of all ages from thrilling to her Freudian, sexed-up literature, which preaches the "virtue of selfishness," i.e., whatever the audience decides is in its best interest. Still, one has to attest to the compelling nature of her screwball oeuvre, and the film version of her The Fountainhead pretty much sums up why she's so hilariously entertaining. The problem isn't that she's not acquainted with reason, but that she's not acquainted with human behaviour; her script is so outrageously presumptive of how the mediocre and the mob-driven think that it's impossible to keep from laughing long and heartily.

Bobby (2006) + Fast Food Nation (2006)

November 17, 2006Posted in2000s, Authors: Walter Chaw, Comedy, Directors: Richard Linklater, Drama, Mexico, Theatrical, UK

BOBBY
½*/****
starring Harry Belafonte, Joy Bryant, Nick Cannon, Emilio Estevez
written and directed by Emilio Estevez

FAST FOOD NATION
*/****
starring Patricia Arquette, Luis Guzman, Ethan Hawke, Ashley Johnson
screenplay by Eric Schlosser & Richard Linklater
directed by Richard Linklater

Bobbyfastfoodby Walter Chaw A completely pointless exercise in winsome, pathetic hand-wringing, the navel-gazing Bobby is just one of this year's inevitable examples of the power of nepotism in dictating who gets to continue churning out the worst films anyone's ever seen. Triple-threat Emilio Estevez (doing duties here as bad actor, bad director, and bad writer) continues his reign of terror unabated on the back of poor Bobby Kennedy, and those clips from RFK's speeches littering the picture are the only things remotely of interest. Bobby itself is a Crash-like roundelay of desperately manufactured bathos, covering the entire spectrum of miserable plotting and characterization from the old battleaxe (Sharon Stone) to the youngsters tripping on acid (to the tune of Jefferson Airplane and images of Vietnam carpet-bombing, natch) to the buttermilk-scrubbed ingénue (Lindsay Lohan) marrying her gay schoolmate (Elijah Wood–that casting admittedly the only hint that the schoolmate is gay) to save him from the draft to the non-drama of an Ambassador Hotel manager (William H. Macy) and his firing of a mildly-racist kitchen manager (Christian Slater). Is there any doubt that each and every one of these folks (and more: best to forget Martin Sheen and the still-execrable Helen Hunt pillow-talking until well-past the point of audience tolerance) will find themselves in the kitchen where/when Bobby meets his end? I imagine them as the cardboard cut-out "friends" Steve Martin's Lonely Guy uses to simulate a kickin' cocktail party, here repurposed to simulate "characters" in a movie that's supposed to mean something.

A Good Year (2006) + Harsh Times (2006)

November 10, 2006Posted in2000s, Action, Authors: Walter Chaw, Comedy, Crime, Directors: Ridley Scott, Drama, Romance, Theatrical, Thriller, UK

A GOOD YEAR
½*/****
starring Russell Crowe, Albert Finney, Marion Cotillard, Freddie Highmore
screenplay by Marc Klein, based on the book by Peter Mayle
directed by Ridley Scott

HARSH TIMES
**/****
starring Christian Bale, Freddy Rodriguez, Eva Longoria, Terry Crews
written and directed by David Ayer

Goodyearharshby Walter Chaw The Fighting Temptations, The Family Man–the list of sappy redemption flicks about terrible assholes is as long and lamentable as Ridley Scott's interminable A Good Year. Masquerading as a man-opause version of Under the Tuscan Sun, it is instead an incredibly cynical play for exactly the kind of audience Scott and Russell Crowe don't reach and, apparently, shouldn't bother trying to seduce. Imagine a light, frothy romantic comedy written by Dostoevsky and directed by David Lean: every pratfall registers like a cattle stampede, every delightful romantic misunderstanding like a nuclear disarmament talk. Meanwhile, all around it, golden-drenched landscape shots of Provence play the part of the grinning idiot, dancing like crazy to distract the potentially-duped. (Scott at his best works in palettes drained of warmth and heat. Even the sunny Thelma & Louise plays like twenty miles of rough road compared to A Good Year's pretty postcards and stultifying stereotypes.) With the whole mess paying off in the most unlikely and irritating sequence of happy endings in a film not directed by Garry Marshall (or his Limey equivalent, Richard Curtis), the choices are either that you believe Scott and Crowe to have lost their minds or that A Good Year is smug and strident for the very reason that its creators are supercilious jackasses long since detached from any notion of the possible. Moreover, the picture demonstrates a marked disdain for those poor sods who aren't millionaire stockbrokers or possessed of dead uncles with a sprawling villa to will to their heirs.

Bullets or Ballots (1936) – DVD

November 7, 2006Posted in1930s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Gangster, Thriller

***/**** Image A- Sound A- Extras B
starring Edward G. Robinson, Joan Blondell, Barton MacLane
screenplay by Seton I. Miller
directed by William Keighley

by Travis Mackenzie Hoover On evidence of three films I've recently screened (the others being G Men and Each Dawn I Die), I'd say that William Keighley is a sadly underrated director, if not quite an auteur. He's the kind of lively entertainer who'd trade drinks with solid studio craftsmen like Michael Curtiz. The fact that he doesn't rate a mention in the Sarris canon is a bit surprising to me: on evidence of those two films and Bullets or Ballots, he deserved at least a footnote in the Lightly Likable section. "Lightly likable" also sums up the charms of Bullets or Ballots, which doesn't offer much of the meat and bone of art but moves briskly, offers the occasional smart line, and schools its audience in the ABCs of crime and punishment in a manner befitting a Warners crime melodrama.