DVD Archives - Page 36 of 85 - FILM FREAK CENTRAL

Dark Victory (1939) – DVD

February 21, 20061930s, Authors: Walter Chaw, Drama, DVD, Romance

*/**** Image B- Sound B Extras D
starring Bette Davis, George Brent, Humphrey Bogart, Geraldine Fitzgerald
screenplay by Casey Robinson
directed by Edmund Goulding

by Walter Chaw There’s been almost as much written about the life of Bette Davis as there has about her work, and I must confess that, with few exceptions, I consider her life to be far more interesting than her films. The best Davis picture from start to finish is probably The Letter–and the most honoured of her superfluity of clunkers is Edmund Goulding’s really quite dreadful Dark Victory, released in the annus mirabilis of 1939. Fanatics point to La Davis’s performance in this one as her most stirring, but all I see is a terminal ham pretending to have a brain tumor and cinematic blindness. Nothing wrong with that in and of itself, I suppose, but then there’s the vomitous condescension of the hero doctor, the woeful miscasting of Humphrey Bogart as an Irish stable hand, and the wish unfulfilled that the great Geraldine Fitzgerald, in her screen debut, would take centre stage. The picture is also horribly dated, playing today like some weird, contrived burlesque of common sense as a terminally ill patient isn’t told of her condition, has to ask someone what “negative” means, and doesn’t inform her husband that she has about three hours to live. It’s not to say that there isn’t material of interest here, just that the material of interest doesn’t live organically with the narrative. Thus there exists on the one hand the possibility of appreciating the picture in an aloof way, and, on the other, a situation where respect and conventional enjoyment veers into something as ugly as camp appreciation.

Bambi II (2006) – DVD

February 20, 20062000s, Adventure, Animation, Australia, Authors: Travis Mackenzie Hoover, Disney, Drama, DVD, Family, Romance

Bambi 2: The Great Prince of the Forest
**/**** Image A Sound A- Extras C-
screenplay by Alicia Kirk
directed by Brian Pimental

by Travis Mackenzie Hoover It would be faintly disingenuous to cry bloody murder over a straight-to-video Bambi sequel: given Uncle Walt's own propensity for denaturing children's classics (and milking the new "classics" for cash), it's only fitting that the cream of his own canon would be whored out for what the market will bear. Still, Bambi is no ordinary Disney movie, but one whose awesome craft is matched only by its singular horror of the adult world. It's ludicrous, then, to pick up the story after the deer-kid has learned to talk and show him that being a grown-up isn't so bad. Not only does it generally contradict the original, but it also blows off the primal fear and sadness that make Bambi as potent as it is.

Walk the Line (2005) [Widescreen] – DVD

February 20, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Drama, DVD, Germany, Music, Romance

**½/**** Image B Sound A- (DD)/A+ (DTS) Extras B
starring Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick
screenplay by Gill Dennis & James Mangold
directed by James Mangold

by Walter Chaw I'm no longer certain what kind of currency there is in producing a biography of an iconoclast whose life is an exact simulacrum of every other iconoclast's life. Here's an entirely respectable film about Johnny Cash that begins in his childhood, proceeds into the Big Break, then segues from there into the euphoria of fame; the drug abuse and the groupies; the "Come to Jesus"; the rehabilitation; and the closing obituary. (It's like Denis Leary said about Oliver Stone's The Doors: "I'm drunk. I'm nobody. I'm drunk. I'm famous. I'm drunk. I'm fucking dead.") Though it claims not to be a hagiography, Walk the Line (like last year's Ray) featured the freshly-dead legends as advisors up until their untimely demises, a kind of personal involvement (and Cash's son John Carter is one of Walk the Line's executive producers, just as Ray Robinson Charles Jr. was for Ray) that precludes, methinks, most controversy in the telling. That's fine, I guess, this new vogue for these modern Gene Krupa Storys and Eddy Duchin Storys and Glenn Miller Storys–I mean, really, who does it hurt? But after praising the almost supernatural channelling of very public figures by talented actors, the only thing left is the drive home, a hot bath, dreamless sleep, and maybe the impulse purchase of the soundtrack at Starbucks in a couple of weeks.

Red Eye (2005) [Widescreen] + Four Brothers (2005) [Special Collector’s Edition – Widescreen] – DVDs

February 15, 20062000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Revenge, Thriller, Wes Craven

RED EYE
***/**** Image A Sound A Extras B-
starring Rachel McAdams, Cillian Murphy, Brian Cox, Jack Scalia
screenplay by Carl Ellsworth
directed by Wes Craven

FOUR BROTHERS
*/**** Image A Sound A Extras B
starring Mark Wahlberg, Tyrese, André 3000, Garrett Hedlund
screenplay by David Elliot & Paul Lovett
directed by John Singleton

by Walter Chaw If it barely registers at under ninety minutes, Wes Craven's high-concept thriller Red-Eye is carried along by a couple of excellent lead performances (from Cillian Murphy and Rachel McAdams) and a revenge subtext that lends surprising gravity to the lingering sensitivity of a sexual assault victim's scars. Red-Eye plays its 9/11 hand–and what else would you expect from a film about an assassination attempt on the Director of Homeland Security that takes place mostly on an airplane–as a metaphor for rape, because rape, after all, is as good a metaphor as any for a terrorist attack on native soil. Look to the glut of home invasion films (of which this is also one) in 2005 as further clarification of that connection–aliens of an inscrutable nature and purpose (and morality, it goes without saying) have come into the places we thought most sacred and taken what they wanted of our innocence: our once inviolate sense of security. Heady stuff for a film that is essentially Nick of Time on a plane, and indeed it may ultimately be too slight a framework to support the amount of topical sociology I'm tempted to ask it to bear, but there are moments now and again weighted with so much proverbial baggage that Red-Eye, with its melancholy regret, sucks the air right out of the theatre.

La scorta (1993) – DVD

February 14, 20061990s, Action, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Italy, Thriller

**/**** Image B+ Sound A Extras B+
starring Claudio Amendola, Enrico Lo Verso, Carlo Cecchi, Ricky Memphis
screenplay by Graziano Diana and Simona Izzo
directed by Ricky Tognazzi

by Travis Mackenzie Hoover There's no way to put a fine point on this: La scorta is Backdraft with bodyguards. That is to say, it's one of those unsung-hero movies that: a) takes its subject very seriously; b) tries to give voice to a voiceless few; and c) fails to avoid every pitfall of the genre. The film is perhaps less heinous in its cinematic crimes than that Ron Howard schlockfest, but it's relentlessly mediocre, full of scenes that telegraph their significance and constantly reduce the characters to shorthand or macho clichés. Though La scorta does a good job of running down the outrageous risks faced by police bodyguards of judges, it doesn't bring their plight alive, choosing to make a gift of "white-knuckle tension" instead of dealing with the very real fear our heroes face. It's a smiley-faced version of pure, screaming terror–which, unfortunately, most people would probably prefer to something more free-form.

Separate Lies (2005) – DVD

February 13, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Romance, Thriller, UK

**/**** Image A- Sound B+ Extras C-
starring Emily Watson, Tom Wilkinson, Rupert Everett, John Neville
screenplay by Julian Fellowes, based on the novel A Way Through the Wood by Nigel Balchin
directed by Julian Fellowes

by Walter Chaw You could call Separate Lies either a second pass at Asylum or just another drop in the English prestige bucket that finds the stuffy upper-crust married to silly women who bring down their country estates of cards. It hinges on performances when it can no longer surprise with its domestic meltdowns, and because its stable of English actors is stocked with more thoroughbreds than the Kentucky Derby, it gains a lot of currency in doing so. But Julian Fellowes's very British symphony of "sorry"s is extraordinarily familiar–an Adrian Lyne film without slickness or sex about what happens when a desperate housewife dabbles in the dangerous and the commensurate desperation with which her stiff-upper-lip husband scrambles to keep his dignity and status intact. It'd make a bigger impression if we learned more about the class struggle in Britain, I think, but without experience in the whys and wherefores of that caste system, what we're left with is a superbly-performed melodrama with a strained premise dissected in airless, suffocating situations.

The X Files: Black Oil; The X Files: Colonization; The X Files: Super Soldiers [Four-Disc Mythology Collection] – DVDs

February 13, 20061990s, 2000s, Authors: Walter Chaw, Drama, DVD, Mystery, Sci-Fi, Television, Thriller

THE X FILES: BLACK OIL – FOUR-DISC MYTHOLOGY COLLECTION (1995-1997)
"Nisei," "731," "Piper Maru," "Apocrypha," "Talitha Cumi," "Herrenvolk," "Tunguska," "Terma," "Memento Mori," "Tempus Fugit," "Max," "Zero-Sum," "Gethsemane," "Redux," "Redux II"

THE X FILES: COLONIZATION – FOUR-DISC MYTHOLOGY COLLECTION (1998-2000)
"Patient X," "The Red and the Black," "The End," "The Beginning," "S.R. 819," "Two Fathers, One Son," "Biogenesis," "The Sixth Extinction," "The Sixth Extinction II: Amor Fati," "Sein Und Zeit," "Closure," "En Ami," "Requiem," "Within," "Without"

THE X FILES: SUPER SOLDIERS – FOUR-DISC MYTHOLOGY COLLECTION (2001-2002)
"Par Manum," "This is Not Happening," "Deadalive," "Three Words," "Vienen," "Essence," "Existence," "Nothing Important Happened Today," "Trust No 1," "Provenance," "Providence," "William," "The Truth"

Image A Sound A Extras B

by Walter Chaw Even if you're curious, you're probably not curious enough to wade through the sixteen DVDs that constitute "The X Files"' "mythology" (a.k.a. "Oh, no, not another one of these episodes"), compiled by creator Chris Carter in a quartet of four-disc collections that chronologically recap the ostensible "Truth" in the series' "The Truth is Out There" tagline. After the first set, "Abduction", comes "Black Oil", then "Colonization", then "Super Soldiers", the four of them parceling out the vital information that our government's struck a deal with aliens to turn us into human-alien hybrids; that most of the universe has been colonized by a virus that moves around in (or as) a black, oily substance; that some people are transformed by said alien entity into super-beings; and that there are other aliens out there hoping to prevent the spread of this contagion in the universe. That's it. Oh yeah, Scully and Mulder kiss–and it's dreamy. Happy?

Wall (2004) – DVD

February 10, 20062000s, Authors: Travis Mackenzie Hoover, Documentary, DVD, France, Israel

Mur
***/**** Image A- Sound A-
directed by Simone Bitton

by Travis Mackenzie Hoover Wall's greatest strength–its serene pictorialism–is also its greatest limitation. On the one hand, the film asks us to think long and hard about the sheer presence of the massive concrete edifice designed to keep terrorists out of Israel and whether that presence is necessary. To that end, it features some skilful photography of the towering edifice in all its intrusive glory. On the other hand, Wall pushes the surrounding populace onto an abstract plane, letting the Kafkaesque spectacle drive the movie when really it ought to be providing more, pardon the pun, concrete information. It's a tough call, as the film manages to gently grip instead of blind with the alienating rage the subject understandably attracts–it gets you to listen, but at the expense of a certain kind of perspective. Still, considering the passionate hysteria this topic usually incites, perhaps it's offering a necessary stretch of distance.

In America (2003) + Big Fish (2003)|Big Fish [“Fairy Tale for a Grown-Up” Edition] – DVD

February 7, 20062000s, Authors: Walter Chaw, Comedy, Directors: Tim Burton, Drama, DVD, Fantasy, Theatrical

IN AMERICA
***½/****
starring Paddy Considine, Samantha Morton, Sarah Bolger, Emma Bolger
screenplay by Jim Sheridan & Naomi Sheridan
directed by Jim Sheridan

BIG FISH
***/**** Image A Sound A Extras B+
starring Ewan McGregor, Albert Finney, Billy Crudup, Jessica Lange
screenplay by John August, based on the novel by Daniel Wallace
directed by Tim Burton

by Walter Chaw Jim Sheridan's In America sees the nation's shores as the limits of a grand, dilapidated moviehouse, introduced at the border with The Lovin' Spoonful's "Do You Believe in Magic?" and sustained by the ideas that all deaths are dimpled with nobility, and that all life is instilled with the fever dream of an insomniac's carnival. Sheridan's all-night ice cream parlors are, of course, Edward Hopper paintings populated by pink-clad waitresses, while screaming men haunt his rundown tenement brownstones ("This house isn't haunted, it's a magic house"–referring to the domicile, then America), artists and mystics marooned on emotional floes by some seismic existential divorce. And his heroes are a family, aliens in America illegally who discover that their only ward against life's necessary evils is a faith in imagination and a fingernail declaration of hope.

Repo Man (1984) [Collector’s Edition] – DVD

February 6, 20061980s, Action, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Esoterica, Sci-Fi, Thriller

***/**** Image A Sound A- Extras B+
starring Harry Dean Stanton, Emilio Estevez, Tracey Walter, Olivia Barash
written and directed by Alex Cox

by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. The question I ask after a screening of Repo Man is this: is it punk? And if it isn't punk, what is it? Those used to the anarcho-communitarian (i.e., "nice") ideals adopted by punk's intelligentsia would have no truck with the mentality of this film, whose hero, Otto Maddox (Emilio Estevez), is in it for cheap thrills and hasn't got an ideal in his head. Indeed, once he gets sucked into the more "intense" world of car repossessor Bud (Harry Dean Stanton) and thus gainful employment, he distances himself from his punk friends–as represented by the three mohawk'd chumps whose idea of "doing crimes" is "let's order sushi and not pay!" But the repo gig leads to another dead end, as Bud turns out to be a blowhard full of idiot rules and his compatriots prove more unstable than Otto's old friends. There is no future to Otto's dreaming–just the cul-de-sac of punk's dark flipside: nihilism.

Just Like Heaven (2005) – DVD

February 6, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Romance, ZERO STARS

ZERO STARS/**** Image A Sound A Extras C
starring Reese Witherspoon, Mark Ruffalo, Donal Logue, Dina Waters
screenplay by Peter Tolan and Leslie Dixon, based on the novel If Only It Were True by Marc Levy
directed by Mark Waters

by Walter Chaw SPOILER WARNING IN EFFECT. I’m reminded of another magic-realist romantic comedy named after a song: Emile Ardolino’s sweet, all-but-forgotten Chances Are, starring Robert Downey Jr. as the reincarnate of a man killed en route to meeting his sweetie Cybill Shepherd. He falls in love with Shepherd’s daughter Mary Stuart Masterson, then falls back in love with Shepherd. This is a circuitous, distressingly disinteresting route towards expressing that Mark Waters’s Just Like Heaven is not only a movie I really hate, but also a movie that’s been done so many times before that instead of needing to follow along with the rigid requirements of the picture, you have time to comb the memory banks for obscure films that are better variations on this theme. (Stuff like Ghost, natch, but even relentlessly creepy garbage like Return to Me (also titled after a song) or Heart Condition or Always–or Truly, Madly, Deeply or The Bishop’s Wife. Or the pinnacles of the ghost-love genre, Laura and Rebecca.) Just the fact that it turns The Cure‘s titular tune into a big sloppy glob of Lilith Fair saliva is enough to turn this child of the ’80s right off, sure, but Just Like Heaven is also exactly the kind of piss that uses pop songs to narrate the action.

Thunder and Lightning (1977) – DVD

February 3, 20061970s, Action, Adventure, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Romance

**/**** Image B+ Sound B+
starring David Carradine, Kate Jackson, Eddie Barth, Roger C. Carmel
screenplay by William Hjortsberg
directed by Corey Allen

by Travis Mackenzie Hoover A long time ago…I saw Thunder and Lightning with my family on a drive-in double-bill with Star Wars. I remember the experience of the former being not only uncomfortable for my 6-year-old self, but in fact the polar opposite of the elaborate fantasy I was there to see (again). Yet aside from a couple of scenes that stuck, I later drew a complete blank on what it was all about. In one of those grail quests exclusive to sedentary movie nerds, the idea that I had to find out never stopped bothering me, though I now know there was a reason for my initial discomfort: it turns out that Thunder and Lightning takes entirely serviceable moonshine B-movie tropes and does as little as possible with them.

In Her Shoes (2005) [Widescreen] – DVD

January 30, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Germany, Romance, UK

**½/**** Image B Sound B+ Extras B-
starring Cameron Diaz, Toni Collette, Shirley MacLaine, Mark Feuerstein
screenplay by Susannah Grant, based on the novel by Jennifer Weiner
directed by Curtis Hanson

by Walter Chaw It looks like exactly the kind of formula chick-lit/chick-flick I detest, and not just because, for the most part, when you call something a "chick-" anything, you're doing it at the expense of the "Sex and the City" bimbos you imagine flock to this garbage like a swarm of Jimmy Choo shoe-flies. But Curtis Hanson, with In Her Shoes, overcomes (for an hour or so) that pigeonholing the same way he survived working with Eminem and Brittany Murphy–the same way he brought an adaptation of James Ellroy's un-adaptable L.A. Confidential to the screen and managed to tremor the delicate, carefully-sheathed grace nerve of Michael Chabon in Wonder Boys. His protagonists are worried about their weight, their bank account, and their shoes, of course, but Hanson (whose biggest accomplishment may be in disguising screenwriter Susannah Grant's propensity to pander to her audience in nasty, hypocritical strokes) makes those worries seem important in dissecting the psychology and interpersonal dynamics of his feuding sisters and wizened grandmamma. He shoots Philadelphia as though it were a blight and Florida like a shimmering summer daydream (or a Coppertone commercial)–and I thought that the moment that I would lose respect for it would come around the corner of every single epiphany, but it didn't arrive until admirably late in the game. It's a chick-flick, no question, but it's one with half a brain. Not much, but half a brain is half more than expected.

Pickpocket (1959) [The Criterion Collection] – DVD

January 30, 2006****/****, 1950s, Authors: Walter Chaw, Drama, DVD, FFC Must-Own, France, The Criterion Collection

****/**** Image A Sound A Extras A+
starring Martin La Salle, Marika Green, Jean Pelegri, Dolly Scal
written and directed by Robert Bresson

by Walter Chaw Manny Farber described the films of Robert Bresson as “crystalline,” and it’s hard to argue with the singular idea of purity represented by that word: they’re all of gesture and implication, reduced down to the purest grist so that the powder of dramatic movements, rubbed together, might hum in miniature perfection. Diderot, Tolstoy, and especially Dostoevsky are sent to the kiln in Bresson, emerging at the end as a distillation thick with the observation that human behaviour, winnowed down, is only as mysterious as the mechanical motions of insects. When you use a term like “crystalline,” you evoke clockwork–the inner workings of music boxes, say. It’s wilfully, damnably, emotionally inscrutable, of course, and if it also calls to mind a watchmaker and his intricate art, then find another explanation for Bresson’s fascination with, and eroticizing of, the secret life of hands.

Jerry Lewis: The “Legendary Jerry” Collection – DVD

January 27, 20061950s, 1960s, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Family, Music, Romance, Sci-Fi

by Travis Mackenzie Hoover If you're savvy enough to read film criticism, you probably know it's supposed to be funny that the French love Jerry Lewis. We all have a big, self-satisfied laugh when we first hear that, as if anyone could take Jerry Lewis seriously. (We certainly didn't.) But the thing is, there aren't a lot of people who will admit to actually seeing one of his movies–the Lewis hate-on has become so intense that the only thing remaining of him is the joke; he's the scapegoat of anti-French resentment and anti-intellectual hostility, as if only frogs and eggheads could possibly find anything redemptive in his work. Thus a generation has shunned his films, never to know if there really is a centre to the onion, something more than mugging to the Lewis mystique.

We at FILM FREAK CENTRAL have decided to put a stop to this. Over the next ten weeks, we will be interrogating the Lewis canon (as it relates to Paramount's recently released DVD box set "Jerry Lewis: The 'Legendary Jerry' Collection") for traces of artistic merit–assuming there are some to be found. We may come up with revelations; we may come up with suggestive patterns; or we may come up with nothing whatsoever. By the end, though, we hope to have definitively answered the question of whether the French are onto something–and if we can really point fingers in a culture that conversely embraces Betty Blue. And Luc Besson. And Amélie. Originally published: November 11, 2005.

Thumbsucker (2005) + The Chumscrubber (2005) – DVDs

January 26, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Satire, Teen

THUMBSUCKER
**/**** DVD – Image A- Sound B+ Extras B
starring Lou Pucci, Tilda Swinton, Vincent D'Onofrio, Keanu Reeves
screenplay by Mike Mills, based on the novel by Walter Kirn
directed by Mike Mills

by Walter Chaw With the brief reprieve offered the Sundance imprint by Junebug now smelling a lot more like "fluke" than "trend," find Mike Mills's underwhelming Thumbsucker, another Sundance sensation so familiar in its affected suburban quirk that its peculiarities seem like formula and its attacks on middle-class perversity and malaise seem all too comfortable. There simply isn't much heart left in this pursuit, this punching of holes into the façade of planned communities and their plastic citizenry–this central conceit of broken people leaning on psychic crutches as the apocalypse of the day-to-day cascades in on them in blue, stylized waves.

The Alan Clarke Collection – DVD

January 24, 20061970s, 1980s, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Documentary, Drama, DVD, Esoterica, Prison, Television, UK

SCUM (BBC VERSION) (1977) ***½/**** starring Ray Winstone, Phil Daniels, David Threfall screenplay by Roy Minton directed by Alan Clarke SCUM (THEATRICAL VERSION) (1979) ***½/**** starring Ray Winstone, Phil Daniels, Mick Ford screenplay by Roy Minton directed by Alan Clarke MADE IN BRITAIN (1982) ***½/**** starring Tim Roth, Eric Richard, Terry Richards screenplay by David Leland directed by Alan Clarke THE FIRM (1989) ***/**** starring Gary Oldman, Lesley Manville, Phillip Davis screenplay by Al Hunter directed by Alan Clarke ELEPHANT (1989) ***½/**** screenplay by Bernard MacLaverty directed by Alan Clarke DIRECTOR: ALAN CLARKE (1991) **/**** directed by Corin Campbell-Hill by…

Flightplan (2005) [Widescreen] – DVD

January 23, 20062000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Mystery, Thriller

*½/**** Image B- Sound A Extras B+
starring Jodie Foster, Peter Sarsgaard, Erika Christensen, Sean Bean
screenplay by Peter A. Dowling and Billy Ray
directed by Robert Schwentke

by Walter Chaw The bad guys have a plan and to pull it off they need only total omniscience and omnipotence, putting Robert Schwentke's Flightplan in the company of hysterical caper flicks like Arlington Road–though it's also the kind of hysterical estrogen melodrama à la Mildred Pierce in which Jodie Foster specializes these days. Between this and Panic Room, it almost seems as if Foster is taking tough maternal roles to protect the over-exposed, maybe-exploited child actress she used to be, to the point where the quality of the project itself comes second.

Two for the Money (2005) [Widescreen] – DVD

January 19, 20062000s, Al Pacino, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Sports

**/**** Image B+ Sound A- Extras B-
starring Al Pacino, Matthew McConaughey, Rene Russo, Armand Assante
screenplay by Dan Gilroy
directed by D.J. Caruso

by Travis Mackenzie Hoover Finally, a movie as loud and incoherent as Al Pacino himself. He's the resident corruptor of Two for the Money, and the film gives him massive monologues of dubious insight just so the Duke of Hambone can do his thing. Sadly, he's not the one running the show–that honour belongs to the perpetually-ripped Matthew McConaughey, whose role requires him to look mesmerized as Pacino talks of things that "pucker your asshole to the size of a decimal point." Two for the Money sure has that effect: the experience is assaultive in so many ways that you're likely to be riveted even as you wish it would all go away.

The Scalphunters (1968) – DVD

January 17, 20061960s, Authors: Alex Jackson, Comedy, DVD, Western

**/**** Image A- Sound B
starring Burt Lancaster, Shelley Winters, Telly Savalas, Ossie Davis
screenplay by William Norton
directed by Sydney Pollack

by Alex Jackson In that glorious blow-job-thinly-disguised-as-a-documentary Stanley Kubrick: A Life in Pictures, director Sydney Pollack claims to remember Pauline Kael's pan of 2001: A Space Odyssey "very well." A decade later, he says, the film was considered a classic–suggesting that Kael was seriously out of touch when she reviewed it, I guess. Pollack fails to mention the punch line, though: in the same piece, a notorious essay called "Trash, Art, and the Movies," Kael exalts Pollack's own The Scalphunters! 2001 is pretty lousy art, she decided, while The Scalphunters is pretty great trash. Between the two, she frankly prefers The Scalphunters.