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.

Storytelling (2002) [Unrated and R-rated Versions] – DVD

**½/**** Image B+ Sound B+
starring Selma Blair, Leo Fitzpatrick, Robert Wisdom, Paul Giamatti
written and directed by Todd Solondz

by Walter Chaw The line between love and misanthropy is thin, and Todd Solondz is a cunning cartographer of that precarious divide. He sees political correctness as an insidious product of the kind of paternalistic racism that discards truth in favour of generally held truisms, a crutch for well-meaning racists who lack the wit to grasp that the basic misunderstanding of difference driving a desire to discriminate against minorities is identical to that which drives a desire to protect minorities. Solondz’s films are confrontational in the extreme, full-frontal assaults on the hypocrisy that fuels most relationships and stark dissections of the politics of cruelty.

Fathom (1967) – DVD

*/**** Image A- Sound B
starring Tony Franciosa, Raquel Welch, Ronald Fraser, Greta Chi
screenplay by Lorenzo Semple Jr.
directed by Leslie H. Martinson

by Walter Chaw There’s something desperately wrong with veteran television director Leslie H. Martinson’s spy spoof Fathom, and it took me the whole movie to figure it out: Raquel Welch, as the titular va-va-va-voom dental hygienist cum parachutist cum superspy spends the entire film running from symbols of aggressive virility. Clad fetchingly in a variety of swimsuits and tight shirts (but never pants), our Fathom is pursued by a man with a speargun, by a Russian paramour mistaking our heroine for a prostitute, through various tunnels, and through a train. In its barest form, Fathom appears to be a rape fantasy involving a helpless, screaming, occasionally castrating Welch (though, tellingly, the only person she kills is another woman), who plays a variation on her standard cocktease and–naturally–deserves getting prodded about by a bull while a collection of bad guys poke at her with phallic shunts.

Hart’s War (2002) – DVD

**½/**** Image A- Sound A Extras B-
starring Bruce Willis, Colin Farrell, Terrence Dashon Howard, Vicellous Reon Shannon
screenplay by Billy Ray and Terry George, based on the novel by John Katzenbach
directed by Gregory Hoblit

by Walter Chaw Director Gregory Hoblit’s fourth consecutive celluloid guilty pleasure, Hart’s War constantly dances the razor’s edge of offensively pat (equating Nazi Germany with Macon, GA circa 1944) while providing enough canned tension and studied theatricality to put A Few Good Men to shame. With Bruce Willis as a smirky secondary character and largely-untested Irishman Colin Farrell asked to shoulder the brunt of the courtroom hijinks, Hart’s War is an exceptionally well-done bad movie that hums along on its earnestness. Though if you think about the film at all after the lights come up, best not to contemplate the plot, which is littered with holes like P-51 rocket craters.

Jimmy Neutron: Boy Genius (2001) – DVD

***/**** Image A Sound A Extras B
screenplay by John A. Davis and David N. Weiss & J. David Stem and Steve Oedekerk
directed by John A. Davis

by Jarrod Chambers There is a new innocence abroad. You can see it in movies such as Spider-Man and the Academy Award-nominated Jimmy Neutron: Boy Genius, which feel no need to undercut the goodness of their heroes or the morality of the story with black irony. They tell us, in effect, that it is okay to be a nice guy whose heart is in the right place, who uses his abilities in the service of good, who makes mistakes and pays for them without becoming bitter or psychotic. I, for one, think it’s a breath of fresh air after the dark, depressing visions of the Tim Burton Batman era.

Pearl Harbor (2001) [60th Anniversary Commemorative Edition]|Pearl Harbor: The Director’s Cut [VISTA Series] – DVDs

*½/****
ACE DVD – Image A+ Sound A (DD) A+ (DTS) Extras C+
VISTA DVD – Image A+ Sound A+ Extras A+
starring Ben Affleck, Josh Hartnett, Cuba Gooding, Jr., Tom Sizemore
screenplay by Randall Wallace
directed by Michael Bay

by Travis Mackenzie Hoover I must shamefully admit that I greeted the approach of Pearl Harbor‘s release with a mixture of moral righteousness and secret anticipation. I knew that no good could come from the intersection of the WWII nostalgia wave and the craven instincts of producer Jerry Bruckheimer; anyone who had seen Top Gun, his earlier effort in military pornography, would have to surmise that his new film’s potential for right-wing jingoism was clearly off the scale. These suspicions were confirmed once I saw the trailer, its sickening combination of swelling music, explosions, dashing soldiers and the FDR “Day of Infamy” speech promising propaganda of Riefenstahlian proportions. Anyone who reads me would expect me to give it a good shellacking, and so I hoped for a total outrage to crucify without remorse–reaping me the happy side effect of securing me the moral high ground from which to preach.

Gosford Park (2001) [Collector’s Edition] – DVD

***/**** Image B- Sound A- Extras B+
starring Kristin Scott Thomas, Stephen Fry, Emily Watson, Ryan Phillippe
screenplay by Julian Fellowes
directed by Robert Altman

by Walter Chaw A thematic continuation of The Player‘s violent iconoclasm, Robert Altman takes on the very British “Upstairs, Downstairs” class struggle in Gosford Park, a film that resolves itself as another full-frontal assault on the Hollywood studio system. Misanthropic, smug, and pessimistic, it behaves like an Agatha Christie chamber mystery, complete with secretive service staff, bumbling policemen, and the usual upper-crust suspects, but it’s ultimately little more than an unavoidable homage to Renoir’s The Rules of the Game and a dig at a system outside of which Altman eternally finds himself. Thankfully, Gosford Park more resembles the genre-bending Altman of Kansas City than the truculently proselytizing Altman of Dr. T & the Women.

Black Hawk Down (2001) – DVD

****/**** Image A- Sound A+
starring Josh Hartnett, Ewan McGregor, Tom Sizemore, Eric Bana
screenplay by Ken Nolan, based on the book by Mark Bowden
directed by Ridley Scott

Mustownby Walter Chaw Black Hawk Down is a living, seething animal, full of courage and heroism, stinking of blood and gunpowder. It lacks the paternalistic moralizing of Saving Private Ryan as well as much of the poetry of The Thin Red Line, but it captures the best images of both while discarding the chaff of the former. One scene towards the end of the film, as exhausted U.S. Rangers are led to safety by a group of Somali children, is a fine example of that brute synergy. Ridley Scott’s film is the only big budget spectacle film of the last several years (Pearl Harbor, The Perfect Storm, all the way back to Titanic) that actually has the nerve to honour the event it seeks to recreate. The characters aren’t stock movie stereotypes–in fact, they’re so minimally portrayed that the general homogeny of its soldiers in battle serves to highlight mainly a minimalist “us against them” mentality. Black Hawk Down trusts its audience; it is perhaps the first and only time that this will be said of a Jerry Bruckheimer production.

A Beautiful Mind (2001) [The Two-Disc Awards Edition (Widescreen)] – DVD

**/**** Image A- Sound B Extras A-
starring Russell Crowe, Ed Harris, Jennifer Connelly, Paul Bettany
screenplay by Akiva Goldsman, based on the book by Sylvia Nasar
directed by Ron Howard

by Walter Chaw Mathematician John Forbes Nash, Jr. gained his reputation in theoretical economics and/by discerning patterns in impossibly complicated numerical models. A Beautiful Mind, a film based very loosely upon his life, likewise deals with theoretical economics (in regards to Christmas box office), but offers bland predictable patterns in place of complexity. For example, because this is DreamWorks’/Universal’s Oscar tentpole, the running time falls safely in the “adult contemporary holiday respectable” range of 130-145 minutes, and it features a big name actor in a role that requires him to be some combination of mentally disabled (I Am Sam, Forrest Gump, Rain Man), insane (As Good As It Gets), or that delicate combination of the two: a genius (Good Will Hunting, Finding Forrester).

Clint Eastwood: Out of the Shadows (2000)

***/**** Image B Sound A
directed by Bruce Ricker

by Walter Chaw Directed by Bruce Ricker, Clint Eastwood: Out of the Shadows is a particularly good biographical account featuring clips from dozens of the titular subject’s work, interviews with former Eastwood co-stars as diverse as Meryl Streep and Richard Burton, and a smooth narration read by Morgan Freeman that links the periods of the actor’s professional life with grace and alacrity. Of particular interest are the moments in which such admirers as French director Bertrand Tavernier discuss Eastwood’s reception overseas. Blissfully lacking scrutiny into the actor’s personal life, the picture is more A&E than E!, choosing the road less travelled in tracing the actor’s evolution from studio stable hand to one of the most powerful directors in the United States.

Frank Herbert’s Dune (2000) – DVD|Frank Herbert’s Dune [Special Edition: Director’s Cut] – DVD

***/****
DVD – Image C+ Sound C+ Extras C+

DVD (SEDC) – Image A Sound A Extras A-
starring William Hurt, Alec Newman, Saskia Reeves, James Watson
screenplay by John S. Harrison, based on the novel by Frank Herbert
directed by John Harrison

by Jarrod Chambers On the whole, I enjoyed the 2000 miniseries Frank Herbert’s Dune, which was adapted and directed by John Harrison. It has a sustained mood, it conveys some of the spirit of its source material, and it is entertaining, especially the last episode. The plot, stated baldly: Paul Atreides (Alec Newman), the young son of Duke Leto Atreides (William Hurt) comes to a desert planet called Arrakis, notable as the only source in the universe of the mysterious substance “spice.” The spice unleashes psychic powers in young Paul, who, along with his mother, Jessica (Saskia Reeves), is driven from his home and must join the Fremen, a group of desert nomads. He grows up with the tribe and eventually leads a rebellion against House Harkonnen, who now rule Arrakis, finally brokering peace with Emperor Shaddam IV (Giancarlo Giannini) and the mysterious Spacing Guild, which owns all the spaceships.