Treasure Planet (2002) – DVD

**½/**** Image A Sound A- Extras B-
screenplay by Ron Clements & John Musker and Rob Edwards, based on the novel Treasure Island by Robert Louis Stevenson
directed by John Musker & Ron Clements

by Walter Chaw Beginning as a clever updating of Robert Louis Stevenson’s kiddie adventure classic Treasure Island, by its end, Disney’s Treasure Planet washes out as another bombastic familial reconciliation fable that marks the flat trajectory of most Disney “boy” animations. Released just a few months removed from Hayao Miyazaki’s Spirited Away in North America, Treasure Planet‘s narrative and character shortfalls are all the more glaring for their studied lack of depth and the picture’s general overreliance on excess, broad comic relief, and all of the stale portfolio of hackneyed Disneyisms. Treasure Planet even comes complete with that most irritating of cutesy crutches: an anthropomorphic globular whatzit created with what appears to be more of a concern for ease of holiday season polymer mass-reproduction than narrative foundation. The existence of one slapstick comic-relief gag not enough, enter Martin Short as homosexual robot B.E.N.–an animated caricature of Short’s Ed Grimley character whose appearance mid-film is as handy a signal as any that Treasure Planet, for all serious intents and aesthetic purposes, is over.

Love Liza (2002) – DVD

***½/**** Image B Sound A- Commentary B+
starring Philip Seymour Hoffman, Kathy Bates, Jack Kehler, Sarah Koskoff
screenplay by Gordy Hoffman
directed by Todd Louiso

by Walter Chaw Philip Seymour Hoffman is Dante and the slings and arrows of mendacity are his Virgil, chasing him through the inferno of his day-to-day. A remarkable actor at his frequent best when deserted by a lover, Hoffman in Love Liza is Wilson Joel, a man whose wife has just killed herself and left a sealed letter behind. It becomes his albatross, toted around unexamined, as Wilson descends on a spiral of juvenile addiction (gasoline huffing) and avoidance. He sleeps on the floor outside his bedroom and does his best to dodge his mother-in-law (Kathy Bates)–hiding the sharp odour of his addiction behind the lie of becoming a radio-controlled airplane pilot.

The Hot Chick (2002) – DVD

ZERO STARS/**** Image A Sound B+ Extras B-
starring Rob Schneider, Rachel McAdams, Anna Faris, Andrew Keegan
screenplay by Tom Brady & Rob Schneider
directed by Tom Brady

by Walter Chaw What to think of a variation on Teen Wolf wherein the victim of the lycanthropic puberty metaphor is a young girl who turns into Rob Schneider? What to make of a film that wrests its central conceit of enchanted jewellery from the long-putrefied grasp of Mannequin 2? And what to make of a film released in the year 2002 that is this misogynistic, homophobic, racist, and cruel to the obese? Rather than postulate that our culture has regressed to the hale cultural morass of the mid-1980s, it’s doubtless more fruitful to examine the ways in which film is becoming as self-reflexive, meta-critical, and free of irony as television.

Darkwolf (2003) – DVD

Dark Wolf
ZERO STARS/**** Image B Sound B- Extras C
starring Samaire Armstrong, Ryan Alosio, Andrea Bogart, Jaime Bergman
screenplay by Geoffrey Alan Holliday
directed by Richard Friedman

by Walter Chaw Something to do with hybrid werewolves and full-breed werewolves and how one hybrid biker werewolf is interested in mating with the last full-bred matriarch bitch in order to preserve the line of the pure-blood werewolves, the direct-to-video DarkWolf at least has the decency to open in a strip club and continue into a fairly decent gore set-piece before launching into its incomprehensible lore. Tied to the creatures of the id-horror subgenre (the best example of which is probably Neil Jordan’s psychosexual A Company of Wolves), a recent glut of lycanthropic fare (Ginger Snaps, Dog Soldiers) holds a curious candle to the idea that, despite Arab belief to the contrary, Western civilization seems to be regressing into a puritanical sexual hysteria that proves fertile ground for horror films about the cycle of sexual repression/aggression. It’s possible, also, that guys (and dolls) in fur suits are just cool again.

The Wild Thornberrys Movie (2002) – DVD

The Wild Thornberrys
***/**** Image A Sound A Extras D

screenplay by Kate Boutilier
directed by Jeff McGrath and Cathy Malkasian

by Walter Chaw Preaching its message of courage, family, and self-confidence with grace and a bare minimum of soapbox grandstanding and mawkish sentimentality, The Wild Thornberrys Movie is a picture of warmth and imagination. Its globe-trotting wildlife-show family, the titular Thornberrys, have as their most conspicuous member gawky Eliza (voiced by Lacey Chabert), a freckled, bespectacled, orthodontically challenged little girl who earns the power to communicate with animals through an act of kindness. The locating of a traditionally unattractive young female as the superhero at the centre of an adventure serial (the picture is based on a Nickelodeon series) is so rare an idea in American animation that its appearance here makes for one of the more bracing, genuinely exciting creations of the modern popular culture. Its mainstay status in Chinese martial arts and Japanese anime films remains a gulf that U.S. culture, in its occasional simple-mindedness, remains far from bridging.

Young Guns (1988) [Special Edition] – DVD

*/**** Image C+ Sound B Extras B-
starring Emilio Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen
screenplay by John Fusco
directed by Christopher Cain

by Bill Chambers I know a thing or two about Billy the Kid, having written a thoroughly researched, if thoroughly awful, 240-page screenplay about him. It was just after finishing this magnum opus that I discovered Sam Peckinpah’s Pat Garrett & Billy the Kid and realized that everything I’d tried to say had already been said much more poetically, thus exiling “For What It’s Worth: The Life of Billy the Kid” permanently to the bottom drawer. But at the time, I only wanted to outdo Young Guns and Young Guns II–a mission more challenging than you might think, given the films’ infamy as second-generation Brat Pack fodder. John Fusco’s scripts for both pictures are historically accurate, action-packed, and have a good ear for the vernacular of not only the Old West, but also the western genre. Yet the original Young Guns, especially, is miscast, directed by Christopher Cain (The Principal) like an episode of “Best of the West”, and fails to either humanize Billy the Kid or justify his lore. As played by Emilio Estevez, you get the feeling that Billy’s unhinged because he’s running low on mousse.

Stanley: Hop to It (2003) + Stanley: Spring Fever (2003) – DVDs

Image B+ Sound B+ Extras B-

by Jarrod Chambers My first encounter with “Stanley” was at Walt Disney World in Orlando, at the Disney-MGM Studios. There is a show combining live actors and puppets at Playhouse Disney, and Stanley and his goldfish Dennis were among the attractions. When they announced that they were going to look up gorillas in The Great Big Book of Everything, every kid in the place leaped to their feet and sang along with the Great Big Book of Everything song. I quickly realized that I was one of the few who had not heard of “Stanley”.

Biggie & Tupac (2002) – DVD

***/**** Image B- Sound B Extras B+
directed by Nick Broomfield

by Bill Chambers A few days ago in THE HOT BUTTON, Dave Poland distinguished Nick Broomfield from his peers in the documentary field better–or, at least, more succinctly–than I’ve ever seen it done: “[Broomfield] creates an atmosphere in which you connect emotionally not with the characters in the film, but with his plight in trying to get his film made.” That’s certainly true of Broomfield’s Biggie & Tupac, in which almost every sequence carries the subtext of peril: A bona fide Dante in headphones, Broomfield latches onto a Virgil (ex-police officer Russell Poole) who escorts him, more or less, through circles of Hell (the gang-marked territories of Compton, the rap-music industry, and finally prison). An alarming number of the director’s interviews in Biggie & Tupac begin with a summary of attempts on the subject’s life, and in a deleted scenes section on the DVD, we see that Broomfield tried and failed to chat with the owner of L.A.’s notorious “Last Resort,” a bar at which gangbangers receive an ace-of-spades merit badge for their first killshot. A red ace means a flesh wound; a black ace means fatality.

Femme Fatale (2002) – DVD

*½/**** Image A Sound A- Extras C
starring Rebecca Romijn-Stamos, Antonio Banderas, Peter Coyote, Eriq Ebouaney
written and directed by Brian De Palma

FEMME_FATALE07by Walter Chaw The first script written solely by Brian De Palma since his 1992 film Raising Cain, Femme Fatale, like that film, rips off the famous murderer-reveal of Dario Argento’s Tenebre. Come to think of it, the picture is essentially a rehash in one way or another of every film De Palma’s ever written (the voyeurism and body switch of Body Double, the phallic film equipment of Blow Out, the steamy stall-sex of Dressed to Kill, the evil twin thing and split-screen of Sisters, the voyeurism again of Hi, Mom!, and so on)–and because De Palma’s best films and screenplays were iterations of Hitchcock (and sometimes Argento, the Italian Hitchcock), Femme Fatale is as stale and detached as the third-generation copy that it is.

Darkness Falls (2003) [Special Edition] – DVD

**/**** Image B- Sound A Extras B-
starring Chaney Kley, Emma Caulfield, Joshua Anderson, Andrew Bayly
screenplay by John Fasano and James Vanderbilt and Joe Harris
directed by Jonathan Liebesman

by Walter Chaw Two years removed from Victor Salva’s Jeepers Creepers (and on the eve of a sequel to that film), Darkness Falls whets cult appetites by being nearly a scene-for-scene recreation of that film’s inferior second half. Essentially a series of “I don’t believe your story–hey, why did the lights go out?” scenarios and unearned jump scares, the picture opens with a nice fairytale prologue and a nifty “12 years ago” introduction that hints at the promise of a murderous Tooth Fairy. As soon as the action jumps to the present day with a warbling youngster, her hot sister, and our troubled hero, however, any pretense of a creepy, coherent mythology flies out the window as the flick devolves into an inexorable killer flick amped-up to “11.”

Red Dragon (2002) [2-Disc Director’s Edition] – DVD

*/**** Image A Sound A- Extras B-
starring Anthony Hopkins, Edward Norton, Ralph Fiennes, Harvey Keitel
screenplay by Ted Tally, based on the novel by Thomas Harris
directed by Brett Ratner

by Walter Chaw Because Thomas Harris’s haunting novel of the same name is flawed in someone’s eye, Red Dragon hacks and slices the piece with a rude imprecision that would inspire pop icon Hannibal Lecter to sharpen his carving tools. The picture opens with a ridiculous and awkwardly-staged Lecter backstory (meaning it plays like the rest of the Lecter additions) that gives a self-parodying Anthony Hopkins a ponytail in place of the self-respect to which he can no longer lay claim, bringing to mind the unwieldy cameos of Cannonball Run.

Sordid Lives (2001) – DVD

ZERO STARS/**** Image D Sound D Extras C
starring Olivia Newton-John, Beau Bridges, Delta Burke, Bonnie Bedelia
written and directed by Del Shores

by Walter Chaw Essentially an extended drag shtick captured on surveillance-quality DV, Del Shores’s Sordid Lives finds the playwright’s stage production translated literally to the big screen (well, to the television screen) without, one presumes, the pace and the busyness that would have made it bearable. Poorly-aimed pot-shots at dysfunction (sexual, familial) share the stage with the classic “gathered for a funeral” plot that forms the basis of so many community theatre productions, mainly because no matter how ribald the comedy becomes, there will always be the opportunity for a sickening dose of sentiment at the final curtain. There’s nothing suburban middlebrow consumers like better than a shot of the ol’ pulpit to forgive all sins: round-in-the-round as buffet-dinner confessional.

Evelyn (2002) [Special Edition] – DVD

*/**** Image C+ Sound B- Extras B+
starring Pierce Brosnan, Julianna Margulies, Aidan Quinn, Stephen Rea
screenplay by Paul Pender
directed by Bruce Beresford

by Walter Chaw It seems as though “inspired” in the phrase “inspired by a true story” is the operative word as the 2002 Christmas season presents to us a rotten couplet of films “inspired” by true stories that, in all likelihood, were pretty interesting prior to the whitewashed variety of “inspiration” dished out in most high profile biopics. Headliner Antwone Fisher (a rancid piece of garbage I like to refer to as “Good Antwone Fishing” or “Finding Fisher-er”) gains esteem just by the association of twinkly-eyed Denzel Washington behind the camera (and stentorian Denzel in front), while small foreign film Evelyn will probably gain esteem by dint of its small and foreign status. (Just like its cute-as-a-button titular waif.) Like so many horrible movies of this mongrel breed, however, both Antwone Fisher and Evelyn are so uncompromising in their saccharine manipulations that nurses should stand at theatre entrances, passing out hypodermics of insulin.

Far from Home: The Adventures of Yellow Dog (1995) – DVD

**/**** Image B Sound B
starring Bruce Davison, Mimi Rogers, Jesse Bradford, Tom Bower
written and directed by Phillip Borsos

by Walter Chaw Though shot with a nice eye for vistas, Phillip Borsos’s ponderously titled Far From Home: The Adventures of Yellow Dog (hereafter Yellow Dog) is decidedly modest in scope. It’s a wilderness fantasy/adventure involving a boy and his dog that follows along so closely to the set-up/pay-off structure that the build-up to the inevitable marooning is almost sadistic in its inevitability. Think of every moment dad teaches his boy to build a fire as the children’s-movie equivalent of a green foot soldier in a war flick showing a picture of his sweetheart to his buddy right before a big action scene.

Gentlemen’s Agreement (1947) [Studio Classics] – DVD

*/**** Image A Sound B+ Extras C
starring Gregory Peck, Dorothy McGuire, John Garfield, Celeste Holm
screenplay by Moss Hart, based on the novel by Laura Z. Hobson
directed by Elia Kazan

by Travis Mackenzie Hoover Gentleman’s Agreement is a painful film to sit through. Not only is its construction long-winded and lopsided, not only is its look only marginally more attractive than life insurance fine print, but it is part of that horrible genre of liberal “message” movies that haunts us to this day. I’d like to say that post-post-modern cynicism has rendered it obsolete, and thus quaint and unthreatening, but what angered me most about it was that its particular strain of self-satisfaction continues to ravage the Hollywood corpus. Rather than depict the cruelty of prejudice, the film is determined to give the audience untouched by prejudice something over which to feel superior, and it acts as a model for all the cynical do-gooding fools who have followed in its wake.

Malevolent (2002) – DVD

½*/**** Image B- Sound C+
starring Lou Diamond Phillips, Kari Wuhrer, Edoardo Ballerini, Gwen McGee
screenplay by Dennis Shryack & Peter Bellwood
directed by John Terlesky

by Walter Chaw A castration/redemption picture with the most ineffectual central character in any film south of Polanski, direct-to-video thriller Malevolent casts Lou Diamond Phillips as an eternally-framed homicide detective and Kari Wuhrer as an ex-softcore goddess now reduced to acting badly in a variety of scoop-necked blouses.

Abandon (2003) + Dawson’s Creek: The Complete First Season (1998) – DVDs

ABANDON
***½/**** Image A Sound A Extras B

starring Katie Holmes, Benjamin Bratt, Charlie Hunnam, Zooey Deschanel
written and directed by Stephen Gaghan

DAWSON’S CREEK: THE COMPLETE FIRST SEASON
Image C+ Sound B- Extras B-

“Pilot,” “Dance,” “Kiss,” “Discovery,” “Hurricane,” “Baby,” “Detention,” “Boyfriend,” “Road Trip,” “The Scare,” “Double Date,” “Beauty Contest,” “Decisions”

by Bill Chambers Abandon is a damn good movie detested in some quarters because, he hypothesized, it’s not very comforting, because it subverts the entrenched John Landis approach to depicting college life, and because it’s determined to be meaningful within the framework of a supernatural potboiler. The film stars Katie Holmes, whose career has caught its second wind with the near-simultaneous DVD releases of Abandon and the first season of “Dawson’s Creek”, in addition to the title role in 2003’s Sundance favourite Pieces of April and upcoming appearances in Keith Gordon’s The Singing Detective and the Joel Schumacher thriller Phone Booth. She’s also seeing the end of her aforementioned TV series “Dawson’s Creek”, which sails into the sunset this May after five years on the air. It will leave her more time for movies, and with her remarkable taste in film projects (see also: The Gift, Go, and The Ice Storm), I’m anxious to see where that freedom takes her. Especially if it’s anywhere near the territory of her poised work in Abandon.

Bang the Drum Slowly (1973) – DVD

**/**** Image B- Sound C+
starring Robert De Niro, Michael Moriarty, Vincent Gardenia
screenplay by Mark Harris, based on his novel
directed by John Hancock

by Walter Chaw Almost fatally hamstrung by an appalling score by Stephen Lawrence, John D. Hancock’s Bang the Drum Slowly is a character-driven adaptation of Mick Harris’s novel (Harris also wrote the screenplay) that evokes the odd twilit detachment of professional sports in general and baseball in particular with a tale made suddenly popular in 1973 by the success of Brian’s Song. Its baseball scenes almost tertiary to the friendship between a pitcher and his catcher (and the catcher and his hooker girlfriend), the picture feels a little like Of Mice and Men (complete with Steinbeck’s low American primitivism) in the doomed relationship between a blue-collar man and his retarded friend. The film is riddled with pitfalls from the start: the potential for maudlin excess, the trap of overwriting, and the allure of some sort of overriding message for humanity. And though Bang the Drum Slowly dances along the edge of those pitfalls for a good portion of its running time, ultimately it’s just another one of those films better remembered than revisited.

West Side Story (1961) [Special Edition – DVD Collector’s Set] – DVD

****/**** Image A Sound A Extras B+
starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris
screenplay by Ernest Lehman, based on the play by Arthur Laurents and Jerome Robbins
directed by Robert Wise & Jerome Robbins

Mustownby Walter Chaw With apologies to Frank Zappa, Jerome Robbins and Robert Wise’s West Side Story is dancing about the tumultuous social architecture of Manhattan’s West Side in the 1950s–a picture as political as it is ephemeral and, consequently, as timeless as it is exhilarating. It is one of those rare pictures that feels like the first time I’ve seen it every time I see it–renewing itself endlessly through its rare energy and meticulously choreographed nihilism. That it doesn’t hold together particularly well as a drama, much of the emotional power of its doomed love affair sapped by Richard Beymer’s amazingly bad performance as lead Tony, is secondary to the enduring effectiveness of the Leonard Bernstein score (with Sondheim’s amazingly current lyrics and Saul Chapin’s bright orchestration); Jerome Robbins’s ebullient dance sequences; Rita Moreno and George Chakiris; and the revelatory location work and lighting design.

Jonah: A VeggieTales Movie (2002) [2-Disc Collector’s Edition] – DVD

***/**** Image A Sound A Extras A+
written and directed by Paul Vischer and Mike Nawrocki

by Walter Chaw Sort of Monty Python-lite with a Christian message, the VeggieTales direct-to-video series of didactic sketches is, I’m told, the top-selling home video series in history, speaking at once to the creepy rise of grotesquely hypocritical religiosity in the United States and the fact that VeggieTales, judging by its first feature-length film Jonah, is extremely clever and entertaining. Packed with visual gags and semi-subtle references (a “Moby Blaster” video game in a seafood reference recalls Melville’s fondness for the Jonah tale), Jonah: A VeggieTales Movie is a bouncy Christian animated musical with a handful of compulsively catchy tunes and some crisp computer-imaging work. It occurred to me a few times during the course of the picture that as far as Christian entertainment goes, this is the first product that didn’t disqualify the term as an oxymoron.