Con Express (2001) – DVD

½*/**** Image D Sound C
starring Sean Patrick Flannery, Arnold Vosloo, Ursula Karven, Tim Thomerson
screenplay by Terry Cunningham, Paul Birkett
directed by Terry Cunningham

by Walter Chaw A mosaic of stock footage and terrible acting that makes Extreme Limits look decent, Con Express is a Jim Wynorski cheapie that happens to be directed this time around by a pretender to the “king of knock-off schlock” crown named “Terry Cunningham.” Titled with honesty, Con Express is a scam promising thrills that takes you for a stultifying ride. It’s a direct-to-video howler promising the guy who played The Mummy (Arnold Vosloo) playing Anton, a villain of the non-zombie variety (a rogue Russian general–as if there were any other kind) again bent on taking over the world. Arrayed against him are beautiful Slavic agent Natalya (Ursula Karven) and hunky customs agent Brooks (Sean Patrick Flannery), who (gasp) develop romantic feelings for one another even though they start out hating one another. Between South African Vosloo, German Karven, Enemy at the Gates, and K-19, I begin to wonder if there are any such things as actual Russians or if they’re just a mythological Hollywood bogey manufactured as a bottomless well of nostalgic Red menace-dom.

Reservoir Dogs (1992) [Ten Years – Special Edition] – DVD

***½/**** Image A- Sound A- Extras A+
starring Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi
written and directed by Quentin Tarantino

by Bill Chambers

"They were perfect strangers, assembled to pull off the perfect crime. Then their simple robbery explodes into a bloody ambush, and the ruthless killers realize one of them is a police informer. But which one?"
–DVD liner summary for Reservoir Dogs

I came around to being a fan of Reservoir Dogs after Quentin Tarantino's standing had crested and the backlash was kicking in. It's impossible for me to see now why I didn't take to it initially–solid flick, as they say. Stylish, knowing, but not necessarily pretentious. Well-performed. And moving, in its macho way: Let us not forget that Reservoir Dogs ends in tears and an embrace.

Kids in the Hall: Brain Candy (1996) – DVD

**½/**** Image B+ Sound B+
starring David Foley, Bruce McCulloch, Kevin McDonald, Mark McKinney, Scott Thompson
screenplay by Norm Hiscock & David Foley & Bruce McCulloch & Kevin McDonald & Mark McKinney & Scott Thompson
directed by Kelly Makin

by Travis Mackenzie Hoover The mad Scotsman John Grierson, documentary king and architect of Canada's National Film Board, often made the naïve assertion that those who wanted to make Canadian fiction films should go to Hollywood and make them there. He would have been pleased to learn that in 1996, the Kids in the Hall did just that: left without any pop-film infrastructure on their home turf, they made a bid for Yankee stardom with Kids in the Hall: Brain Candy, shooting a Hollywood film that's Canadian to the core–for good and for ill.

The Business of Strangers (2001) – DVD

***/**** Image A- Sound A-
starring Stockard Channing, Julia Stiles, Frederick Weller
written and directed by Patrick Stettner

by Walter Chaw Julie (Stockard Channing) is a hardened businesswoman on a lecture trip who becomes certain that her last day on the job draws nigh. When young Paula (Julia Stiles) arrives to a presentation late, Julie unleashes all her fears and frustrations on the hapless girl. Written with an ear for dialogue and a wicked edge, Julie’s enthusiastic upbraiding of Paula sets the stage for three elements that drive The Business of Strangers to its conclusion. The first is the discomfort arising from Julie and Paula being stuck in the same hotel overnight due to grounded flights, the second is a possible explanation of the antagonism between the pair that culminates in a disturbingly open-ended finale, and the final is the idea that in Stettner’s interpersonal corporate nightmare, fear is the mechanism that catalyzes the characters towards generosity, friendship, and cruelty.

Wolfen (1981) – DVD

**½/**** Image A- Sound B-
starring Albert Finney, Diane Venora, Gregory Hines, Tom Noonan
screenplay by David Eyre and Michael Wadleigh, based on the novel by Whitley Strieber
directed by Michael Wadleigh

by Bill Chambers Wolfen goes through the paces of a typical detective thriller, but it’s far from conventional. I crave to understand this picture’s somewhat literal bleeding heart better and thought the DVD would be of more assistance–unfortunately, the advertised commentary track with actors Gregory Hines and Edward James Olmos and director/co-writer Michael Wadleigh is AWOL. My mother calls Wolfen “a werewolf movie from the werewolf’s point of view,” and that’s not a bad take on it, since the homicidal title creatures are in essence the good guys of the piece. Certainly, the film’s preponderance of “wolf P.O.V.” shots make it less than figuratively so.

The Sweetest Thing (2002) [Unrated] – DVD

ZERO STARS/**** Image B+ Sound B Extras B-
starring Cameron Diaz, Christina Applegate, Thomas Jane, Selma Blair
screenplay by Nancy M. Pimental
directed by Roger Kumble

by Walter Chaw Roger Kumble’s The Sweetest Thing presents a good news/bad news situation. On the one hand, it’s barely eighty minutes long–on the other, for those eighty minutes it’s repugnant beyond words. On the one hand, the worst film of 2002 has already appeared with eight months to go, and on the other, I not only had to watch the benighted thing, I am now required by my vocation to relive it in detail. I am forced, for instance, to remember a scene in which the only Jewish Laundromat owner in all of San Francisco’s Chinatown tastes a semen stain to determine that it’s such; to recall the moment where a woman with a penis stuck in her throat mumbles Aerosmith‘s “I Don’t Wanna Miss a Thing” to clear her air passage. Yes, The Sweetest Thing is crass and moronic, this much goes without saying (that Cameron Diaz plays another emetic simpleton is also not much of a surprise). What is a shock is that Parker Posey cameos late in the game and even she’s not funny. If it takes a brilliant director to make a bad actor look good, the corollary holds, too.

Hell’s Gate (2002) – DVD

Bad Karma
ZERO STARS/**** Image C Sound A-
starring Patsy Kensit, Patrick Muldoon, Amy Locane
screenplay by Randall Frakes
directed by John Hough

by Walter Chaw An inept hybrid of Time After Time, Fatal Attraction, and Dead Again, John Hough’s (Watcher in the Woods) cheapo slasher flick Hell’s Gate (a.k.a. Bad Karma) suggests that Jack the Ripper had a girlfriend and that they’ve been reincarnated as mental patient Agnes (Patsy Kensit) and her shrink, Trey (Patrick Muldoon). The film opens in flashback as a younger version of Agnes (the character is named “Laurie Hatcher” but the actress playing her is uncredited in the closing credits) strips out of her parochial school outfit and wiggles into a pair of see-through panties, only to get kidnapped by a sicko who jolts her with a car battery until she “remembers” her past life as The Ripper’s squeeze. (I say “younger” because the film says so–it seems unlikely, however, that any thirteen-year-old bombshells have lipo and implant scars.) Breaking out of the loony bin after biting off an orderly’s prosthetic tongue, “old” Agnes floozes her way across the countryside on the trail of robotic Trey, his insipid wife Carly (Amy “I’m in a Coma, I Just Haven’t Stopped Moving Yet” Locane), and his piping daughter Theresa (Aimee O’Sullivan).

Exorcist II: The Heretic (1977) – DVD

ZERO STARS/**** Image B Sound B
starring Linda Blair, Richard Burton, Louise Fletcher, Kitty Winn
screenplay by William Goodhart
directed by John Boorman

by Bill Chambers Possibly the worst film ever made and surely the worst sequel ever made, Exorcist II: The Heretic is the last of an uneven trilogy to hit DVD. Understand that while I would only recommend a purchase to my arch-enemy, the picture is definitely worth seeking out in the way that one likes to see the Leaning Tower of Piza or Easter Island before leaving this world–it’s the greatest unnatural wonder known to cinema. I’ve now endured it twice (please send my Medal of Honor for self-sacrifice in the line of duty in care of this website), the second time so that I could compile a list of my favourite bits; apologies in advance if this review reads too dada for its own good.

Lauryn Hill: MTV Unplugged No. 2.0 (2002) – DVD

ZERO STARS/**** Image B+ Sound A+
directed by Joe De Maio

by Walter Chaw A seemingly endless series of repetitive, politically embarrassing diatribes, Lauryn Hill: MTV Unplugged No. 2.0 (since released on CD as the singer/songwriter’s follow-up to her acclaimed debut “The Miseducation of Lauryn Hill”) is extraordinarily hard to watch and even harder to listen to. Over the course of thirteen largely indistinguishable four-chord folk tracks, Ms. Hill proselytizes in ways so mindless and nasty that the cumulative effect of her (racist, adolescent, and naïve) ranting is one of ever-mounting shrillness: one-note and off-key.

The Time Machine (2002) [Widescreen] – DVD

*/**** Image A- Sound A- Extras B-
starring Guy Pearce, Jeremy Irons, Philip Bosco, Phyllida Law
screenplay by David Duncan and John Logan, based on the novel by H.G. Wells
directed by Simon Wells

by Walter Chaw A cacophonous mess of misguided revisionism and misplaced emphasis, Simon Wells’s (and an uncredited Gore Verbinski’s) updating of H.G. Wells’s poli-sci-fi schlock masterpiece The Time Machine is a miasmic disaster, a sinkhole of shrug-worthy special effects, matte paintings, relentless music, and dangling plotlines and motivations. It isn’t that The Time Machine is incoherent; it’s that the film aspires after several rewrites to one day become incoherent. Not even the best efforts of the always-excellent Guy Pearce can save what is in essence a pathetic cutting-room attempt to wrest the movie back from the abyss of a director suffering a nervous breakdown with eighteen days to go in the shooting schedule and a governing philosophy that believes Orlando Jones would make a good HAL-9000.

Speed (1994) [Five Star Collection] – DVD

***/**** Image A Sound A Extras A-
starring Keanu Reeves, Sandra Bullock, Dennis Hopper, Jeff Daniels
screenplay by Graham Yost
directed by Jan de Bont

by Bill Chambers At the risk of calling it generic, Speed is such a perfect title for the film to which it belongs that you’re almost reminded of those unornamented yellow boxes dotting the aisles of grocery stores everywhere–the ones labelled simply “SALT,” “FLOUR,” “BRAN FLAKES”…you get the picture. Though “Speed” gives it permission to be about anything, the film, to its credit, actually practices velocity and momentum. It puts the action movies that preceded it on fast-forward, so that in each sequence is packed the sum thrills of a Jean-Claude Van Damme or Steven Seagal joint. It’s one of the few films in which propulsion forgives stupidity because it makes the point-blank claim of being an amphetamine.

Elvis: His Best Friend Remembers (2002) – DVD

ZERO STARS/**** Image B Sound B Extras D+
directed by Terry Moloney

by Walter Chaw Cynically timed to coincide with the twenty-fifth anniversary of The King’s August 16th death, Elvis: His Best Friend Remembers, the “video scrapbook” of Elvis’s best friend “Diamond Joe” Esposito, is a mawkish self-parody that plays like some weird Masterpiece Theater sketch with neither a point-of-view nor a compelling reason for being.

Innerspace (1987) – DVD

**½/**** Image A- Sound A- Commentary B+
starring Dennis Quaid, Martin Short, Meg Ryan, Kevin McCarthy
screenplay by Jeffrey Boam and Chip Proser
directed by Joe Dante

by Bill Chambers Fifties monster movies and grindhouse sludge bookended Joe Dante’s coming-of-age, and these twin species of B cinema–sisters in spirit if not in execution–often squish up against each other in his work as a director. The man who gave us the loving but danger-filled tribute to showman William Castle and Castle’s acolytes Matinee (a better Cuban Missile crisis picture, he said ducking tomatoes, than Thirteen Days) preceded his tenure with neo-Castle Roger Corman (for whom he made Piranha) by covering every last exploitation picture of the early-Seventies for THE FILM BULLETIN.

Joe Somebody (2001) – DVD

ZERO STARS/**** Image A- Sound A- Extras B-
starring Tim Allen, Julie Bowen, Kelly Lynch, Greg Germann
screenplay by John Scott Shepherd
directed by John Pasquin

by Walter Chaw There is no life to Joe Somebody; it is a rotting, derelict husk of a film that drifts anchorless in a sea of dead jokes and plot detritus. It has no excuse for existing, and should be held up as the prime example whenever conversation turns to what’s wrong with our culture in general and the movies in particular. Joe Somebody is so sloppily put together that when it comes time at last to end this cinematic thumbscrew, its moments of uplift make little, if any, sense because of the lack of care taken to establish a place for them. If you have a moment to which the entire film is supposedly building, I humbly offer that it’s probably not good when that epiphany appears with neither warning nor justification. It’s like having a story that is not otherwise about a playwright wrapping up with a playwright having her first play produced. Exactly like that, in fact.

Mad Monster Party (1967) – DVD

Mad Monster Party?
***/**** Image A+ Sound B+ Extras B

screenplay by Forrest J Ackerman, Leo Korobkin, Harvey Kurtzman
directed by Jules Bass

by Walter Chaw From Arthur Rankin Jr. and Jules Bass, the creators of such disturbing “animagic” fare as Rudolph the Red-Nosed Reindeer and the unintentionally terrifying Frosty the Snowman comes 1967’s Mad Monster Party?, a sort of Jay Ward Lite stop-motion revue featuring the vocal talents of Boris Karloff (shudder) and Phyllis Diller (shudder) as well as Allen Swift doing his best Jimmy Stewart, Peter Lorre, and Bela Lugosi.

Dragonfly (2002) [Widescreen] – DVD

*/**** Image A- Sound B+ Extras B-
starring Kevin Costner, Joe Morton, Kathy Bates, Ron Rifkin
screenplay by David Seltzer and Brandon Camp & Mike Thompson
directed by Tom Shadyac

by Walter Chaw Emergency-room sawbones Joe Darrow (Kevin Costner) loses his do-gooder wife Emily (Susanna Thompson) when she’s killed in a rockslide in Venezuela. Soon he and his bald parrot believe that Emily has returned from the dead with a message about rainbows. I like Kevin Costner and his oeuvre. I find him to be a charming simpleton in the Gary Cooper mould. Until Dragonfly, his films never felt condescending to me, largely because Costner appears to be learning things at the same pace as his screenplay. His guileless wonder (‘Can you believe we did this to the Indians? Holy smokes!‘) sits well with me and makes him peculiarly suited to play the traditional American hero: good-looking, witless, and dull as dishwater. Casting Costner as a doctor is a mistake: the other person he played who had an advanced degree was New Orleans DA Jim Garrison in Oliver Stone’s JFK, and that character was clearly insane. Costner just doesn’t have the spark of erudition necessary to convince as a serious individual with letters after his name (not unless those letters are LHP), and his performance in Dragonfly is unconvincing, joyless, and scattershot.

Chat Room (2002) – DVD

The Chatroom
ZERO STARS/**** Image D Sound B-
starring Brian Hooks, Darryl Bronson, Christopher Richards, Troy Winbush
screenplay by Barry Bowles & Carl Washington
directed by Barry Bowles

by Walter Chaw A feature-length episode of “What’s Happening!!” minus the nuance and sophistication of that late lamented blaxploitation garbage, Chat Room shares with the Seventies sitcom an unholy diner-hangin’ trinity of fat one, dumb one, and the one with whom we’re supposed to identify. Following this trio of miscreants during an online booty call, Chat Room begins with a You’ve Got Mail sequence of the guys “chatting” in the titular chatrooms edited together so hopelessly as to suggest, oh so hilariously, that these horny dudes are actually talking to each other.

Kung Pow: Enter the Fist (2002) [The Chosen Edition] + Contract Killer (1998) – DVDs

KUNG POW: ENTER THE FIST
**½ Image B+ Sound A- Extras B
starring Steve Oedekerk
written and directed by Steve Oedekerk

CONTRACT KILLER
*/**** Image B Sound B
starring Jet Li, Eric Tsang, Simon Yam, Gigi Leung
screenplay by Chan Heng Ka, Vincent Kok, Cheng Kam Fa
directed by Tung Wai

by Bill Chambers In addition to putting the fear of God in us about CGI, Kung Pow: Enter the Fist (henceforth Kung Pow) makes us wish the technology it employed to seamlessly superimpose writer-director-star Steve Oedekerk into the 1977 kung fu movie Tiger and Crane Fists had been around circa Bruce Lee’s demise. Back then, the producers of Game of Death struggled to complete a half-finished star vehicle minus one star using cardboard cut-outs and a variety of unconvincing doubles. (Lee’s character, the hero, spends most of the picture with his back to the camera.) Oedekerk, playing the archetypal grown-up orphan seeking vengeance against “Master Pain” for his parents’ murder, spends most of Kung Pow looking into the lens with his tongue sticking out, the tongue itself adorned with a face that has its own tongue. Technological advances have always been either too dawdling or too hasty in serving the cinema, alas.

K-9: P.I. (2002) [Widescreen] – DVD

*/**** Image A Sound A
starring James Belushi, Gary Basaraba, Kim Huffman, Jody Racicot
screenplay by Gary Scott Thompson and Ed Horowitz
directed by Richard J. Lewis

by Walter Chaw Much more interesting than talking about a film called K-9: P.I. is talking about exactly the kind of mind it takes to embrace the idea of a standard buddy picture composed of one half mangy dog and one half German Shepherd not once, not twice, but thrice. On the night of their retirement, Dooley (James Belushi) and Jerry Lee (King) break up a microchip heist, which, of course, makes them the prime suspects of the crime in the eyes of the evil FBI. The feds are always wicked bumblers in films of this breed; the police chiefs always give the heroes a hard time; and there are always femmes fatale to briefly distract the hero from the super-bland "appropriate" love interest.

The Final Hit (2001) – DVD

The Last Producer
½*/**** Image C Sound B+
starring Burt Reynolds, Lauren Holly, Sean Astin, Benjamin Bratt
screenplay by Clyde Hayes
directed by Burt Reynolds

by Walter Chaw Seeing himself as Hollywood’s last angry man (the film was originally and just as inexplicably called “The Last Producer”), Burt Reynolds, in the twilight of his benighted resurrection, jumps behind the camera to helm his self-starred anti-Hollywood tirade The Final Hit, which washes out as equal parts senior citizen grotesquery and unfocused satire. Wall-to-wall with Peter M. Robinson’s excrescent scatty woo-bop score, The Final Hit, in discussing how Tinsel Town disdains the older generation of actors, proceeds to give the stage back to that same older generation and, in the process, demonstrates exactly why these people aren’t getting much work.