Snow White and the Seven Dwarfs (1937) [The Signature Collection] – Blu-ray + DVD + Digital HD

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****/**** Image A Sound A Extras A-
story adaptation Ted Sears, Richard Creedon, Otto Englander, Dick Richard, Earl Hurd, Merrill De Maris, Dorothy Ann Blank, Webb Smith
supervising director David Hand

by Bill Chambers Walt Disney was shooting for the moon with 1937’s Snow White and the Seven Dwarfs, not just his first but the first animated feature. He of the Silly Symphony wanted it to have prestige, fostering an obsessive-compulsive streak within the studio that is curiously reflected in the film’s epic preoccupation with orderliness, cleanliness, and labour. It has the air of manifesto when one considers that of the eight songs on the soundtrack, two, “Whistle While You Work” and “Heigh-ho,” are about the satisfaction of work1 while a third, “Bluddle-Uddle-Um-Dum,” is a set of bathing instructions subtitled “The Dwarfs’ Washing Song.” In her unrelenting fastidiousness, Snow White reeks of self-portraiture (armchair Freuds might speculate on Snow White’s other qualities, such as her being so perfect as to drive the competition mad, as they apply to Disney, already an Ozymandian figure armed with multiple Academy awards by the time of production), and it’s because of this that her predilection for housework doesn’t feel like the typical chauvinism abundant in the Disney canon. When she scolds two squirrels for sweeping dirt under the carpet, it’s difficult not to hear it as an ethos.

Zoolander (2001) [Special Collector’s Edition] – DVD|Blu-ray Disc (2016)

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**½/****
DVD – Image A Sound A Extras A
BLU-RAY – Image B+ Sound A Extras A

starring Ben Stiller, Owen Wilson, Will Ferrell, Christine Taylor
screenplay by Drake Sather & Ben Stiller and John Hamburg
directed by Ben Stiller

by Walter Chaw Ben Stiller has a very particular genius for satirical imitation. When he says that he based Derek Zoolander on “some cross between Jason Priestly and Luke Perry,” one can be sure that the offspring is an uncomfortably dead-on collection of insouciant pouts, long blank stares, and dim-witted pronouncements. We know that Stiller is good at destroying celebrity; the bigger question is can an extended sketch featuring one of his burlesques sustain interest and consistently inspire laughter? The answer is “fitfully,” so, yes and no.

The Intern (2015) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A Extras D+
starring Robert De Niro, Anne Hathaway, Rene Russo, Anders Holm
written and directed by Nancy Meyers

by Bill Chambers Back to back, literally, Robert De Niro made Mean Streets, The Godfather Part II, Taxi Driver, 1900, The Last Tycoon, New York, New York, The Deer Hunter, Raging Bull, True Confessions, The King of Comedy, and Once Upon a Time in America. Brazil, The Mission, Angel Heart, Midnight Run, Goodfellas, Cape Fear, This Boy’s Life, Casino, and Heat punctuate his next ten years as a working actor. So I’ve never really felt the urge to bash De Niro for his late-period career choices, which are mostly about maintaining a standard of living, funding entrepreneurial bids, and mellowing with age. (This is not a man who owes us anything.) And his persona–whatever it is, can we agree that his most volatile roles inform it?–has not been so debauched by decades of ham that there’s not a bit of a subversive kick to seeing him play Mary Poppins, complete with luggage though sans umbrella, in Nancy Meyers’s The Intern.

Pan (2015) – Blu-ray + DVD + Digital HD

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***½/**** Image B Sound A Extras C
starring Hugh Jackman, Garrett Hedlund, Rooney Mara, Levi Miller
screenplay by Jason Fuchs
directed by Joe Wright

by Walter Chaw Paired with Hanna, his take on the Little Red Riding Hood story, Joe Wright’s Pan suggests that the director’s closest career analogue is that of J.J. Abrams. Wright’s askew take on Anna Karenina hints at a sympathetic penchant for ebullient reinterpretation–no less so his adaptations of Atonement (by an author essentially making a career of taking a piss) and Pride & Prejudice, which, in its sparseness and emotional economy, could stand alongside Andrea Arnold’s magnificent Wuthering Heights. Hanna, his best film, achieves at least a portion of its greatness through its bull-headed perversity. No premise is too fanciful to be presented seriously by Wright. In Pan, when we’re introduced to the pirate Blackbeard (Hugh Jackman), a Fury Road‘s collection of orphan miners sing-chants “Smells Like Teen Spirit” in obeisance to their monstrous overlord. It’s something born of Brian Helgeland’s anachronistic A Knight’s Tale and of Terry Gilliam in its antic set design and costuming and of David Lynch, even, in a sequence where Blackbeard dons a mask aboard his flying ship to breathe deep something that resembles the Spice. There’s another sequence in which a pirate ship, a 16th-century galleon, engages in midair with a trio of British Hawker Hurricanes (I think) defending Mother England against the German blitz before breaking through the clouds for a brief, weightless moment.

Mission: Impossible – Rogue Nation (2015) – Blu-ray + DVD + Digital HD

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***½/**** Image A Sound A+ Extras B+
starring Tom Cruise, Jeremy Renner, Simon Pegg, Alec Baldwin
screenplay by Christopher McQuarrie
directed by Christopher McQuarrie

by Walter Chaw At some point, sneakily, wonderfully, Tom Cruise became our Jackie Chan. It happened when the storyline shifted away from his essential ickiness–the Scientology thing, the Katie Holmes thing, and all the attendant nightmare gossip–and onto his fearlessness and absolute willingness to perform his own stunts wherever possible. (I realize of course that said storyline may never shift for some.) There were murmurs when he did the rock-climbing in the second Mission: Impossible flick–the one where he recruited John Woo, who was at the time the best action director on the planet. Those murmurs turned to grudging admiration once it was revealed that Cruise let himself be suspended for real outside the Burj Khalifa in Brad Bird’s superior Ghost Protocol; and now, with Christopher McQuarrie’s fleet, intelligent, immanently professional Rogue Nation, for which Cruise hung from an airplane in flight and held his breath for six minutes, Cruise’s bravado is a big part of the draw.

San Andreas (2015) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A+ Extras B
starring Dwayne Johnson, Carla Gugino, Alexandra Daddario, Paul Giamatti
screenplay by Carlton Cuse
directed by Brad Peyton

by Bryant Frazer Back in the 1970s, Hollywood thrillers broke a sweat trying to depict a single terrible event–just one burning building, overturned luxury liner, or airship disaster. These days, the imagery has gotten a lot more freewheeling. Armed with powerful computer algorithms that generate cartoonish eruptions of earth, fire, wind, and water, today’s VFX supervisors have a mandate to make bad things happen on screen–all of the bad things, preferably at the same time. In San Andreas, the terrible, horrible, no-good very bad day includes a disintegrating Hoover Dam and a container ship that cartwheels end-over-end into the Golden Gate Bridge. Skyscrapers collapse in on themselves, generating 9/11 flashback clouds of dust and debris that blast through city streets. A tsunami and its attendant flooding sends murky water pulsing through the floors of submerged high-rises, trapping helpless victims inside like goldfish behind glass. It would all be a little hard to take if the visual effects were more convincing (they’re cartoonish) or the action scenes at all naturalistic (ditto), but director Brad Peyton isn’t especially ambitious. His operative aesthetic is purely Theme Park.

Nightbreed: The Director’s Cut (1990) [Blu-ray + DVD Combo Pack] + Clive Barker’s Lord of Illusions (1995) [Collector’s Edition] – Blu-ray Discs

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Clive Barker’s Nightbreed
**/**** Image B+ Sound B+ Extras A
starring Craig Sheffer, Anne Bobby, David Cronenberg, Charles Haid
screenplay by Clive Barker, based on his novel Cabal
directed by Clive Barker

CLIVE BARKER’S LORD OF ILLUSIONS
*½/**** Image B Sound B Extras C+
starring Scott Bakula, Kevin J. O’Connor, Famke Janssen, Daniel Von Bargen
written for the screen and directed by Clive Barker

by Walter Chaw Clive Barker’s too-brief directing career, capping his time as the Stephen King-anointed prince of horror (“I have seen the future of horror and his name is Clive Barker,” went King’s famous endorsement), produced three cult classics: Hellraiser, Nightbreed, and Lord of Illusions. His Hollywood trajectory traces the familiar tale of enfant terrible allowed full reign on his first project, only to find subsequent efforts bowdlerized by non-believers. Director’s cuts of Nightbreed and Lord of Illusions have circulated in some form over the years, with fans claiming–particularly in the case of Nightbreed–that masterpieces had been corrupted, hidden from sight. It’s the kind of intrigue that forms the basis of much of Barker’s work: the hidden grotto, arcane knowledge secreted away, art too beautiful for human eyes. There’s something of the fury of H.P. Lovecraft’s cult of personality in this–something more of the cosplay phenomenon. Each of Barker’s movies evokes the absolute acceptance that outsiders encounter at genre conventions: they are explosions of the internal, actings-out of repressed desires. Find in this explanation of the coda, surprisingly sticky despite the bad pun, to his short-story anthologies: “Everybody is a book of blood; wherever we’re opened, we’re red.” Clive Barker is the Douglas Sirk of splatter.

Tomorrowland (2015) – Blu-ray + DVD + Digital HD

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***/**** Image A+ (ultra) Sound A+ Extras C+
starring George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy
screenplay by Damon Lindelof and Brad Bird
directed by Brad Bird

by Walter Chaw Brad Bird’s Tomorrowland is a mess and it knows it. It’s unruly, barely contained, just this side of completely falling apart. There are many and distracting continuity errors, and though it makes a joke of it, it’s clear immediately that the movie doesn’t know how to start, much less end. It has an engaging, irrepressible heroine it strands at the moment she should be doing something (“Am I supposed to be…doing something?” she actually asks), and it has a visit to a memorabilia/collectibles store run by unusual proprietors that is packed to the girders with Brad Bird ephemera of the Iron Giant and Incredibles variety. Tomorrowland has hanging about it, in other words, all the elements of disaster: winky meta references, lack of narrative cohesion, desperation-born mistakes, bad screenwriter/Nick-Riviera-bad script doctor Damon Lindelof as Bird’s co-author…and yet it’s good somehow. Credit Bird, who knows his way around spatial relationships, and credit a simple, plaintive idea that the world can be better if we believe that it can be better. If the sign of a great filmmaker is his ability to make a bad actor seem good, Bird is a frickin’ genius for making something Lindelof worked on not an utter catastrophe. It’s big and simple and corny in a Lone Ranger, Captain America, Silver Age Superman kind of way–the kind of big and simple and corny I can get behind.

Aladdin (1992) [Diamond Edition] – Blu-ray + DVD + Digital HD

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***½/**** Image A Sound A Extras A+
screenplay by John Musker & Ron Clements and Ted Elliott & Terry Rossio
directed by John Musker & Ron Clements

Portions of this review, including the first four paragraphs, were originally published on October 5, 2004.

by Bill Chambers Jeffrey Katzenberg may have revived the American animated feature while he was at Disney, but only one of the hits his reign yielded is worth a second viewing. Where 1989’s The Little Mermaid and especially 1991’s nauseating Beauty and the Beast tried to pass themselves off as Golden Age Disney (1937 (Snow White and the Seven Dwarfs)-1950 (Cinderella), for argument’s sake), before a certain stateliness loosened its grip on the house style, 1992’s Aladdin took its cue from Uncle Walt’s twilight years, the Sixties, when he was interested in telling–as he geared up to pass the torch, perhaps–mentor stories (The Sword in the Stone and The Jungle Book) and pop culture had finally caught up with his incongruous predilections for psychedelia and bohemianism. It’s a risk to emulate the period considered the birth of the studio’s Dark Ages, and Aladdin is the least spurious movie of Disney’s renaissance because of it.

Mad Max: Fury Road (2015) – Blu-ray + DVD + Digital HD

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***½/**** Image A+ Sound A+ Extras B+
starring Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne
written by George Miller, Brendan McCarthy, Nico Lathouris
directed by George Miller

by Walter Chaw The best parts of Mad Max: Fury Road (hereafter Fury Road) are, as it happens, those that are most like Mad Max Beyond Thunderdome. The parts about civilization rising from the ruins of an atomic war; the parts about misplaced hope and how unlikely alliances can sometimes speak to the human tendency towards faith and the possibility of eternity. The series was always about the myth of the lone hero, striding into whatever situation and facilitating a return to a prelapsarian (pre-poc-y-clypse?) state before disappearing again. Shane, for instance, where a child’s development–or in the case of Thunderdome, a great many children’s development–has been mythologized as the intervention of a mysterious stranger who appears from nowhere and returns there. Max is a metaphor. For courage, heart, intelligence, the yearning for home; he touches in turn each of The Wizard of Oz‘s quartet of self-actualization while keeping the Wizard behind the curtain. If there’s a specific modern mythology to which this series most obviously hews, it’s the Arthur myth, and in Thunderdome, when asked if he’s the return of the fabled Captain Walker, Max responds that he isn’t. But we know that he is.

Sleepaway Camp II: Unhappy Campers (1988) [Collector’s Edition] + Sleepaway Camp III: Teenage Wasteland (1989) [Collector’s Edition] – Blu-ray + DVD Combo Packs

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SLEEPAWAY CAMP II: UNHAPPY CAMPERS
*½/**** Image B+ Sound B Extras B+
starring Pamela Springsteen, Renée Estevez, Brian Patrick Clarke, Walter Gotell
written by Fritz Gordon
directed by Michael A. Simpson

SLEEPAWAY CAMP III: TEENAGE WASTELAND
½*/**** Image B+ Sound B Extras B+
starring Pamela Springsteen, Tracy Griffith, Michael J. Pollard
written by Fritz Gordon
directed by Michael A. Simpson

by Bryant Frazer Say what you will about the original Sleepaway Camp–you can’t accuse it of lacking ambition. All writer-director Robert Hiltzik had to do to sell a movie with that title in that era was cast a bunch of teenagers in a wan Friday the 13th knock-off and splash some Karo blood around in the woods. Yet he made something dark and unique, with queer undertones: the first gender-identity horror film. The story goes that Hiltzik’s script for a follow-up was rejected by producer Jerry Silva, who thought it was too dark. Instead, he forged ahead with plans to shoot two overtly-comic sequels back-to-back in Georgia under the direction of local talent Michael A. Simpson. A 24-year-old writer named Fritz Gordon got the gig on a recommendation from U.S. distributor Nelson Entertainment.

Unfriended (2015) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A
starring Shelley Hennig, Moses Storm, Renee Olstead, Jacob Wysocki
written by Nelson Greaves
directed by Leo Gabriadze

by Bill Chambers SPOILER WARNING IN EFFECT. Unfriended‘s formal constrictions–the action unfolds entirely as a screenshot–aren’t unique (the Canadian short film Noah got there first, and then there was that one segment of V/H/S), but they still make for a novel storytelling engine, especially in the uncharted realm of feature filmmaking, where Unfriended‘s closest precursor may be 2000’s hugely-dated Thomas in Love. (Dated less by its technological crudity than by its unprophetic view of cyber-living as deviant behaviour.) It’s fascinating to see the effect that being tethered to a computer monitor has on cinematic syntax. The task of laying out the horror-bogey’s tragic backstory is here accomplished with a couple of YouTube clips, for instance, and this kind of graceless infodump in lieu of structured flashbacks or verbal exposition feels perfectly valid. Moreover, the moment the protagonist, Blaire (former Miss Teen USA Shelley Hennig), is revealed via webcam feed as the computer’s owner, these videos–conveying the suicide of a high-school student named Laura Barns (Heather Sossaman)–become retroactively poignant: the idle guilt-surfing of a teenage girl. Everything is diegetic in Unfriended; even the on-the-nose soundtrack cues come straight from Blaire’s playlist. For a century, people have argued the superiority of books over movies because the latter “can’t tell you what a character is thinking,” but Unfriended and its ilk have stumbled on something: To espy a person’s mouse-clicks is to be privy to their mood, their impulses, their leaps of logic. It’s like reading their mind. While I wouldn’t want to watch too many movies in this narcissistic key, the innovation is undeniable.

The Gunman (2015) – Blu-ray + DVD + Digital HD

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*½/**** Image A Sound A
starring Sean Penn, Idris Elba, Ray Winstone, Javier Bardem
screenplay by Don McPherson, Pete Travis, Sean Penn, based on the novel The Prone Gunman by Jean-Patrick Manchette
directed by Pierre Morel

by Bill Chambers Sean Penn seems like the last guy who would walk into his agent’s office and say, “Give me the Liam Neeson™,” because his work doesn’t operate on that kind of cynicism. Even I Am Sam, in which he courts an Oscar by playing mentally-challenged, fits neatly into a career whose primary auteurist concern has been the sanctity and fragility of daughters’ lives (see also: The Crossing Guard, The Pledge, 21 Grams, and Mystic River). So it’s reassuring, sort of, to see him use The Gunman as a pulpit for his humanitarian concerns (presuming I’ve correctly extrapolated the political firebrand’s credited contribution to the screenplay), but there is a disappointing transparency to the character, as if he’s afraid that reinventing himself too much in the Neeson mold will reveal, God forbid, a desire to stay popular in a profession he has threatened to quit numerous times. In The Gunman, one of our most transformative actors–a guy who as recently as 2011 turned himself into the spitting image of The Cure‘s Robert Smith and affected a childlike drawl for the length of a feature–comports himself with a tedious self-seriousness, makes time to surf, and smokes way too much to be a credible action hero. He’s Sean Penn in all but name, and he’s kind of a drag.

Get Hard (2015) [Unrated] – Blu-ray + DVD + Digital Copy

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½*/**** Image A Sound A Extras Oy
starring Will Ferrell, Kevin Hart, Alison Brie, Craig T. Nelson
screenplay by Jay Martel & Ian Roberts and Etan Cohen
directed by Etan Cohen

by Walter Chaw The title pretty much says it all, as screenwriter Etan Cohen’s gay-panic directorial debut Get Hard works as the exact antidote to his own work on the smart, occasionally vital Tropic Thunder. It’s puerile and indelicate–that much to be expected, I suppose, but it’s laboured, too, and flat as a pancake. If Get Hard were a middle-aged man, you’d be calling an ambulance for all the wheezing. Two scenes: in the first, Wall Street wolf James King (Will Ferrell) does a patented Will Ferrell freak-out, mistaking attendant Darnell (Kevin Hart) for a carjacker, ending with Darnell saying, “I didn’t mean to freak you out, man;” in the second, two scary-looking Boyz N the Hood-era gangbangers say, “Wall Street is where the real criminals at!” The former demonstrates how poorly matched are the improvisational styles of the leads, with Ferrell needing a deadpan straight world to his shenanigans; one wonders at the wisdom of casting two alpha-comedians in a film–with no one setting up the jokes, there’s never anything to pay off. (It’s why Jeff Daniels is Jim Carrey’s counterpart in the Dumb and Dumber movies and not Robin Williams.) The latter demonstrates how desperate the film is in trying to be smart and relevant. What could be more sophisticated and racially sensitive, after all, than a screenplay written by a bunch of identical-looking white guys imagining a Los Angeles street gang called the Crenshaw Kings transitioning their drive-by and street-smart jive business into day-trading?

The Films of Hayao Miyazaki (1979-2001)|Spirited Away (2001) – Blu-ray + DVD

Lupin III: The Castle of Cagliostro (Lupin the Third: The Castle of Cagliostro) (1979)
***/****
Buy DVD at Amazon.com|Buy Blu-ray at Amazon.com
Adapted from a Monkey Punch manga that was itself based on Maurice LeBlanc’s popular super-spy Lupin, Hayao Miyazaki’s first feature-length film The Castle of Cagliostro came about as an offshoot of his experiences producing television episodes of a popular Lupin series (1977-1981). As such, the animation and backgrounds are more simplistic, the story is more cartoonish (though the very basic Miyazaki hallmarks of a girl in transition, flight, and gadgetry are already in place) and one-dimensional, and the pace is more relentlessly breakneck than occasionally meditative. Beginning as a heist comedy and continuing as an impenetrable fortress/princess in a tower action adventure film, The Castle of Cagliostro is a light, irreverent slapstick exercise with a healthy share of nifty gadgets and derring-do. Missing is a sense of completion and the deeper examination of themes that one will come to associate with the director’s work, but The Castle of Cagliostro stands on its own merits; despite being shackled somewhat by the artistic and thematic requirements of an in-place franchise, the picture reveals the burgeoning promise of a filmmaker who would become the most important voice of the new anime medium. 100 minutes

Run All Night (2015) – Blu-ray + DVD + Digital HD

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*/**** Image A Sound A Extras C+
starring Liam Neeson, Joel Kinnaman, Vincent D’Onofrio, Ed Harris
screenplay by Brad Ingelsby
directed by Jaume Collet-Serra

by Walter Chaw Jaume Collet-Serra’s Run All Night fulfills every requirement of the Liam Neeson subgenre of elder-vengeance while simultaneously completing the Grumpy Old Men trilogy in an unexpected way. It’s a hollow stylistic exercise that mainly exposes how good We Own the Night was, and while some slight comparisons have been to Phil Joanou’s underestimated State of Grace, really the only thing Run All Night resembles is everything else Neeson has decided will be his legacy since the first Taken movie about seven years ago. What’s most painful, I think, is how consistently great Neeson is at doing this one thing over and over again. He makes it hard, in other words, to stop wishing he’d go back to doing something worthy of him.

Focus (2015) – Blu-ray + DVD + Digital HD

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**/**** Image A+ Sound A Extras C+
starring Will Smith, Margot Robbie, Rodrigo Santoro, Gerald McRaney
written and directed by Glenn Ficarra & John Requa

by Walter Chaw The world’s most polite heist/caper/con-man Charade thing, which feels it’s finally time to continue that death trudge towards completion of a Matchstick Men trilogy, John Requa and Glenn Ficarra’s Focus is a studiedly-inoffensive star vehicle for Will Smith that’s interesting only because of Will Smith’s casual attitude towards miscegenation. Easy to say that in 2015 a black guy with a white girl isn’t that big a deal, but I still can’t think of too many examples where a superstar like Smith is willing to repeatedly cast himself opposite a cross-racial leading lady. Smith is even a producer of Will Gluck’s intriguing Annie, which, in addition to being a very strange bookend to the surveillance-state nightmare of The Dark Knight, features at its centre an interracial love story between characters played by Jamie Foxx and Rose Byrne. I’m spending a lot of time on this, because Focus, aside from the sexy shenanigans of Smith’s expert con-man Nicky and his ingénue protégé Jess (Margot Robbie) and the fact of their race-mixing in a mainstream, medium-big studio flick, isn’t about anything and isn’t otherwise that interesting about it.

Brazilian Western (2013) – Blu-ray + DVD Combo Pack

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Faroeste caboclo
**½/**** Image A Sound A Extras B-

starring Felipe Abib, Antonio Calloni, César Troncoso, Marcos Paulo
screenplay by Marcos Bernstein and Victor Atherino
directed by René Sampaio

by Jefferson Robbins If a few things fall too neatly into place in René Sampaio’s Brazilian Western–like beautiful Maria Lúcia (Isis Valverde) jumping into bed with fugitive João (Fabrício Boliveira), who just held her at gunpoint in her own bedroom–well, it’s a fable. That’s meant literally, since the film is adapted from a megahit ballad of roughly the same name: Legāio Urbana’s nine-minute barn-burner of calamity, bloodshed, love, and redemption spoke to something in the Brazilian psyche in 1987, charting João de Santo Christo’s fatal misadventures with the corrupt forces that kept a boot on the underclass. Sampaio’s adaptation has a lot to live up to in that respect, as well as in honouring the western genre to which the title nods. It winds up a Leone-ian Scarface of sorts, although the stakes are different–pot instead of coke, infatuation rather than the will to power, with imbalances of class and race at the forefront.

American Sniper (2014) – Blu-ray + DVD + Digital HD

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***/**** Image B+ Sound A+ Extras B-
starring Bradley Cooper, Sienna Miller, Kyle Gallner, Luke Grimes
screenplay by Jason Hall, based on the book by Chris Kyle
directed by Clint Eastwood

by Angelo Muredda After delivering the first funereal jukebox musical in Jersey Boys just last summer, Clint Eastwood returns to better-fitting material with American Sniper, his most muscular and dramatically charged work in years, for whatever that’s worth. The common thinking about Eastwood these days–at least, outside the critical circle that deems his every tasteful composition and mild camera movement a classical masterstroke–is that his internal compass for choosing projects has been off for a while, making him susceptible to the bad taste of undistinguished screenwriters. What’s interesting about American Sniper, which works from a dicey script by Jason Hall that’s always in danger of becoming either a rote action thriller meted out in shootouts or a rote antiwar melodrama about how veterans never quite make it back home, is how obstinately it resists this narrative. Contrary to the vision of Eastwood as an efficient director prone to gliding on autopilot, American Sniper shows him forging something tough and difficult to grasp out of what might have been on-the-nose material.

Herzog: The Collection [Blu-ray Disc] – Stroszek

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****/****
DVD – Image A Sound A Commentary A
BD – Image B Sound A- Commentary A
starring Bruno S., Eva Mattes, Clemens Scheitz, Wilhelm von Homburg
written and directed by Werner Herzog

by Walter Chaw I love this film. I’m enthralled by it. And every time I revisit it, it has a new gift for me. Bruno S. plays the titular Stroszek, a street performer released from a two-year institutionalization and left to his own devices with hooker girlfriend Eva (Eva Mattes) and pal Mr. Scheitz (Clemens Scheitz). There’s a transparency to the performances that transcends naturalism: you sense that the actors are not only playing themselves (more so than usual), but also that they’re playing themselves as allegorical figures in a metaphor for their lives. It’s Spider, but it’s at once more and less expressionistic than David Cronenberg’s film–and while the long, quiet, empty reaches of living in the giant abandoned warehouse of a mind in flux is a constant melancholy the two films share, there is something in Stroszek, crystallized in the haunting image of a premature baby pawing at its bedding, that does more to traumatize the human condition. When the film’s heroic triumvirate flees Germany for the gilded shores of Wisconsin (“Everybody’s rich there”), in a migration that reminds a little of Aguirre’s doomed hunt for El Dorado, Stroszek is suddenly a picture about pilgrimage to a holy land that exists solely in the windy spaces conjured by the promise of westward expansion.