The Life and Times of Hank Greenberg (2000) – DVD

**½/**** Image B Sound B- Extras A-
directed by Aviva Kempner

by Walter Chaw Thirteen years in the making, Aviva Kempner’s The Life and Times of Hank Greenberg is an exhaustive and affectionate, if tunnel-visioned, documentary about “the Jewish Jackie Robinson”: Detroit Tigers slugger Hank Greenberg, who broke cultural barriers during the anti-Semitic Father Coughlin/Henry Ford years, just prior to the onset of WWII. Towering over his teammates at 6’4″ and 210lbs, Greenberg became a stereotype-busting role model for an entire generation of Jewish youngsters and, unlike many of his modern athletic counterparts, Greenberg didn’t take his responsibility for granted.

Jeepers Creepers (2001) [Special Edition] – DVD

**½/**** Image B- Sound A- Extras A-
starring Gina Philips, Justin Long, Jonathan Breck, Patricia Belcher
written and directed by Victor Salva

by Walter Chaw Set on the rural highways and dirt byways of Anywhere, America during a long, hot summer, Victor Salva’s Jeepers Creepers is a film of two distinct halves–the first astonishingly good, the second derivative–drawn together by a finale that is both fair and surprising. It could have been much better overall had it isolated its sympathetic heroes in the middle of a Texas Chain Saw Massacre nightmare, and indeed, the parts of it that work best are those that most recall Tobe Hooper’s rustic nightmare. (Particularly the suddenness of the initial attack and the subsequent discovery of the beast’s abattoir lair.) Once policemen and bumpkins are introduced in a series of repetitive “I don’t believe your story–hey, why did the lights go out” scenarios, however, Jeepers Creepers, while retaining Salva’s indisputably cinematic eye, becomes something a good deal more predictable and consequently safer. The creation of a comfort zone halfway through is a terrible shame, not because it’s horrible in and of itself, but because for almost an hour, Jeepers Creepers holds great promise.

Freddy Got Fingered (2001) – DVD

**½/**** Image A Sound B Extras A
starring Tom Green, Rip Torn, Marisa Coughlan, Eddie Kaye Thomas
screenplay by Tom Green & Derek Harvie
directed by Tom Green

by Walter Chaw Tom Green’s Freddy Got Fingered is the most startling debut since Luis Buñuel’s Un chien andalou, with which it has a few things in common: both are constructed with a wilful disdain towards narrative; both are aimed at the outer limits of shocking imagery; both display an open hostility for the cultural status quo; and both joke on their audience’s entrenched preconceptions of film form. Even more admirably seditious, Freddy Got Fingered, unlike Un chien andalou, was actually backed and released by a major studio. (It’s extremely instructive to read Roger Ebert’s review of Un chien andalou as the definitive piece on Freddy Got Fingered, though I suspect Ebert would object to that notion.) The crucial of many differences between the two films is that Buñuel and Salvador Dali’s experiment in inciting an audience was only seventeen minutes long while Freddy Got Fingered is an excruciating eighty-seven. That said, it is destined for instant cult status and eventual critical respect.

Guadalcanal Diary (1943) + Wing and a Prayer (1944) – DVDs

GUADALCANAL DIARY
*/**** Image B Sound C+
starring Preston Foster, Lloyd Nolan, William Bendix, Richard Conte
screenplay by Jerry Cady, based on the book by Richard Tregaskis
directed by Lewis Seiler

Wing and a Prayer (The Story of Carrier X)
*½/**** Image B- Sound C+

starring Don Ameche, Dana Andrews, William Eythe, Charles Bickford
screenplay by Jerome Cady
directed by Henry Hathaway

by Walter Chaw Filmed just months after the actual invasion of Guadalcanal late in 1942 and based on Richard Tregaskis’s wildly popular (but excessively jingoistic and poorly-written) memoir of the same, Guadalcanal Diary is interesting for a glimpse at the Hollywood propaganda machine of WWII, if not for any other reason. With predictable inflammatory dialogue and plotting and broad burlesque performances by a gaggle of recognizable character actors in familiar stereotypes, Guadalcanal Diary is a rush job notable today for an early appearance by Anthony Quinn, in a role as the token ethnic fellow meant to inspire volunteerism in the barrio.

Halls of Montezuma (1950) – DVD

***½/**** Image A Sound B
starring Richard Widmark, Jack Palance, Reginald Gardiner, Neville Brand
screenplay by Michael Blankfort
directed by Lewis Milestone

by Walter Chaw Released in 1950, Lewis Milestone's Halls of Montezuma is gritty and fascinating, free of a good deal of the jingoism that flavoured earlier WWII studio productions and as influential as they come within the genre. A haunting sequence set during a nighttime rocket attack and lit only by occasional strobes while an unseen enemy screams out at frayed Marines recalls a similar one from Coppola's Apocalypse Now, while Richard Widmark's reluctant Lt. Anderson (a quiet former schoolteacher beset by doubt and anger) and Neville Brand's Sgt. Zelenko are clearly the prototypes for Tom Hanks's Capt. John Miller and Tom Sizemore's Sgt. Horvath, respectively, in Saving Private Ryan. The film's most impressive to the war-movie vocabulary is its ambiguous philosophy: Halls of Montezuma is alive with the creeping suspicion that war may not be all it's cracked up to be–that it might in fact be hell. While there's certainly nothing shocking about that sentiment in our post-Vietnam, post-Korea psyches, that kind of philosophical dissention was rare in the pre-Korea 1950s, and in regards to the unflagging "popularity" of WWII, uncommon even today.

America’s Sweethearts (2001) + Legally Blonde (2001) [Special Edition] – DVDs

AMERICA’S SWEETHEARTS
*/**** Image A Sound A- Extras C-
starring Julia Roberts, Billy Crystal, Catherine Zeta-Jones, John Cusack
screenplay by Billy Crystal & Peter Tolan
directed by Joe Roth

LEGALLY BLONDE
**/**** Image A Sound A- Extras B
starring Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis
screenplay by Karen McCullah Lutz & Kirsten Smith, based on the novel by Amanda Brown
directed by Robert Luketic

by Bill Chambers This week, two of last summer’s comedies, Legally Blonde and America’s Sweethearts, transfer their competition to the video store. Neither film has a high-concept that’s fruitful–they’re both pitches without a paddle buoyed only by star power. I’ll take the former over the latter, however, because America’s Sweethearts is a shrill, lumpy stinker that sends up the movie business so vapidly it’s like a parody of Hollywood satires. Legally Blonde is watchable, at least, and you don’t have to suffer through the de facto Miss America, Julia Roberts, pretending as though she’s blending in with the furniture.

Planet of the Apes (2001) [Special Edition] – DVD

*½/**** Image A Sound A Extras A+
starring Mark Wahlberg, Tim Roth, Helena Bonham-Carter, Estella Warren
screenplay by William Broyles Jr. and Lawrence Konner & Mark Rosenthal
directed by Tim Burton

by Walter Chaw A failure of sense, a failure of cohesion, and, most remarkably for director Tim Burton, a failure of atmosphere, Planet of the Apes is a messianic space opera fantasy in the Dune mold that never goes anywhere and takes its time getting there. Rick Baker’s special effects make-up is spectacular, no question, but the screenplay by William Broyles Jr., Lawrence Konner, and Mark Rosenthal is a trite, bloated thing further crippled, ironically, by the make-up (which tends to slur speech), and by the abominable last-minute slap-dash editing that condemns Planet of the Apes to a conspicuous lack of poetry. The script’s failings should come as no surprise: These three hack screenwriters have produced between them such cinematic dead weight as Apollo 13, Superman IV: The Quest for Peace, The Jewel of the Nile, and Star Trek VI: The Undiscovered Country. What does come as a considerable shock–as well as a considerable disappointment–is the almost total lack of anything resembling the quirky neo-expressionistic ethos that has made Tim Burton one of our most vital and interesting directors.

Hostage High (1997) [Director’s Uncut Version] – DVD

Detention: The Siege at Johnson High
**/**** Image B Sound C+ Extras C
starring Rick Schroder, Henry Winkler, Freddie Prinze Jr., Ren Woods
screenplay by Larry Golin
directed by Michael W. Watkins

by Walter Chaw Kids who go to Columbine High School and don't compete in organized athletics are referred to as "no sports." It's not a kind term. On the weekends in Littleton, crowds of teenagers driving new model Dodge Rams, BMWs, and SUVs collect in area parking lots to make a lot of noise and hoot at people driving by until the police arrive to disperse them–if they bother to come at all. If you're African-American like a good friend of mine, they'll sometimes make monkey noises; if you're Asian like myself, they do the Mr. Miyagi crane pose and laugh like loons. From my personal experience in this community, having 15 of their fellow students die in a hail of bullets did not teach a significant population of Columbiners compassion, tolerance, and respect. Maybe just the opposite.

The Calling (2000) – DVD

**/**** Image C Sound C
starring Laura Harris, Richard Lintern, Francis Magee, Alice Krige
screenplay by John Rice & Rudy Gaines
directed by Richard Caesar

by Walter Chaw A retelling of Polanski’s creep classic Rosemary’s Baby that plays more like its high-profile carbon copy The Astronaut’s Wife, Richard Caesar’s direct-to-video The Calling most recalls the good-bad Richard Donner movie The Omen. While that speaks to a small measure of gritty genre credibility, it still doesn’t forgive The Calling‘s many failings (including the lack of a dynamic villain figure and a distended second act) by a long shot. But at the least, The Calling doesn’t spend any time trying to be something other than an apocalyptic demon spawn flick, and that honesty of modest intention forgives a multitude of sins.

Opera (1987) – DVD

***/**** Image A+ Sound A Extras A-
starring Cristina Marsillach, Ian Charleson, Urbano Barberini, Daria Nicolodi
screenplay by Dario Argento, Franco Ferreni
directed by Dario Argento

by Walter Chaw The best of Dario Argento’s films rework themes and images from Alfred Hitchcock with a level of flamboyance and twisted creativity that transform would-be genre knock-offs into something truly rare and valuable. Argento utilizes the constructions of Hitchcock as a framework for lurid, colour-drenched images and wickedly inventive death sequences that are among the most shocking and agonizing in the history of cinema. Often called “The Italian Hitchcock,” I find the term “The Italian De Palma” to be closer to the mark, for their obsessions, for their mastery of highly technical mimicries, and, extra-textually, for both auteurs’ decades-long slides into mere imitation and schlock. (Despite their similarities, Argento and De Palma to this day hate each other with a white-hot passion.)

On the Waterfront (1954) [Special Edition] – DVD

****/**** Image A- Sound B Extras B
starring Marlon Brando, Karl Malden, Lee J. Cobb, Rod Steiger
screenplay by Budd Schulberg
directed by Elia Kazan

by Walter Chaw There is a moment in the middle of Elia Kazan’s On the Waterfront that stands out for me as one of the defining in my love of movies. Terry Malloy (Marlon Brando) confesses to his girlfriend Edie Doyle (Eva Marie Saint) that he was involved in the Union execution of her brother, but rather than listen to Terry rehash events with which we’re already familiar, a steam whistle drowns him out. The precise way that Terry moves his hands and the expression on Edie’s face, growing from a gentle concern to horror, is among the most cinematic moments in the history of the medium. It’s breathtaking in its simplicity and subtlety, revolutionary in its presentation and its eye, and exactly the right choice for the film at the right moment.

The Hobbit (1978) + The Return of the King (1980) – DVDs

THE HOBBIT
**/**** Image B- Sound C
screenplay by Romeo Muller,
based on the novel by J.R.R. Tolkien
directed by Jules Bass & Arthur Rankin Jr.

THE RETURN OF THE KING
**½/**** Image B- Sound C
screenplay by Romeo Muller,
based on the novel by J.R.R. Tolkien
directed by Jules Bass & Arthur Rankin Jr.

by Walter Chaw There are a couple of ways to tackle screen adaptations of J.R.R. Tolkien’s Lord of the Rings trilogy and its prequel, The Hobbit. One is to do as Ralph Bakshi did with his 1978 animation The Lord of the Rings and present a sexualized and disturbing vision of Middle Earth; the other is to make a film for children that omits the more troubling elements of Tolkien (the racism, homoeroticism, religiosity), as with Jules Bass and Arthur Rankin Jr.’s two feature-length television specials: The Hobbit (1978) and The Return of the King (1979).

Kingdom Come (2001) – DVD

*½/**** Image B+ Sound C+ Extras B-
starring LL Cool J, Jada Pinkett Smith, Vivica A. Fox, Loretta Devine
screenplay by David Dean Bottrell & Jessie Jones, based on the play “Dearly Departed” by David Dean Bottrell
directed by Doug McHenry

by Walter Chaw A second-helping of Soul Food but seasoned this time around with a preponderance of syrupy good intentions and a hulking mess of stock burlesque caricatures, Kingdom Come vacillates between ridiculous and irritating: a far cry from the intended “heartwarming” and “funny.” Though it’s always nice to see a film with an all-African-American cast that doesn’t rely on gangsters and gunplay (ignoring a gun that is drawn and forgotten early on), I’m not certain that the opposite of that genre is necessarily forced dramedy camaraderie, complete with a sitcom narrative’s rise and fall, made popular by Waiting to Exhale. Still, for as simple-minded and shamelessly overacted as it is, the film is somewhat redeemed by an overall genial goodwill.

Recording ‘The Producers’: A Musical Romp with Mel Brooks (2001) – DVD

***/**** Image B Sound A Extras B-
directed by Susan Froemke

by Walter Chaw Sort of a cross between a documentary and a musical concert DVD but without much in the way of either in-depth information or audience response, Recording ‘The Producers’: A Musical Romp with Mel Brooks is a look at the recording sessions leading to the creation of the cast album for the smash Broadway show The Producers, which was, of course, based on Mel Brooks’s classic film. Well composited by director Susan Froemke, the straight-to-DVD production veers from Brooks reacting to in-studio performances by Nathan Lane, Matthew Broderick, and company to a few rough patches that are overcome through coaching and a surprising degree of professionalism. Although I’m somewhat handicapped by not having seen the actual play, I was dutifully impressed by the prodigious talents of the stars (who knew that Ferris Bueller could croon?) and mostly charmed by the still-engaging personality of Brooks as the proud papa of the most-lauded play in Tony Award history (winning twelve).

Along Came a Spider (2001) – DVD

*½/**** Image A Sound A
starring Morgan Freeman, Monica Potter, Michael Wincott, Penelope Ann Miller
screenplay by Marc Moss, based on the novel by James Patterson
directed by Lee Tamahori

by Walter Chaw The sole line to strike with truth in Lee Tamahori’s Along Came a Spider comes when professional dim-bulb Penelope Ann Miller, as the mother of a kidnapped child, wrings her hands, furrows her brow, and whines, “I… I don’t understand.” Springing as it no doubt does from a lifetime of repetition, Ms. Miller’s quandary also serves as a handy critique of the labyrinthine contortions that the film’s plot makes on its way to being utterly senseless and unengaging; its blandness takes on a cast of bellicosity. You begin to feel like the butt of some absurd joke or embroiled in a wilfully obscure Buddhist koan: What is the sound of one movie sucking?

Heathers (1989) – DVD

****/**** Image A Sound B- Extras A-
starring Winona Ryder, Christian Slater, Shannen Doherty, Lisanne Falk
screenplay by Daniel Waters
directed by Michael Lehmann

Mustownby Walter Chaw Veronica Sawyer (Winona Ryder) is the only non-Heather "Heather," one of four girls in Westerberg High's most popular and fashionable clique. The conscience of a harridan quartet responsible for much of the insecurity and intimidation at their institution, Veronica confides to new kid J.D. (Christian Slater), "I don't really like my friends." Nor is there much to admire about Westerberg's other clusters, who spend their time destroying overweight students, tormenting the "geek squad," and placing themselves in humiliating situations for the sake of imagined boosts to their ill-gained status. J.D., a rebel with a cause, functions as the catalyst for Veronica's revenge fantasies: The two begin a killing spree of the beautiful people, getting away with it by playing on grown-ups' propensity to romanticize teenage suicide.

Startup.com (2001) + Down from the Mountain (2001) – DVDs

STARTUP.COM
***/**** Image B Sound B+ Extras B-
directed by Jehane Noujaim and Chris Hegedus

DOWN FROM THE MOUNTAIN
***/**** Image A Sound A
directed by Nick Doob, Chris Hegedus and DA Pennebaker

by Bill Chambers With the advent (moreover, the industry-wide acceptance) of digital video, married partners in documentary-making Chris Hegedus and DA Pennebaker are more prolific than ever before. Artisan just released their two latest projects, Down from the Mountain and Startup.com, on DVD, and though the former is a concert film and the latter takes an inside look at the Internet boom, they sit together comfortably in the directors’ joint oeuvre. Consider that, between filming such music legends as Jerry Lee Lewis and Jerry Garcia, the pair has all but specialized in youthfully arrogant subjects–star Clinton campaigner George Stephanopoulos in The War Room, for example. There’s even been some crossover: Without Hegedus, Pennebaker captured both Bob Dylan (Don’t Look Back) and David Bowie (Ziggy Stardust and the Spiders from Mars) on the cusp of fame, the former abandoning artificiality, the latter embracing it to essentially the same end.

Dr. Seuss’ How the Grinch Stole Christmas (2000) [Collector’s Edition (Widescreen) + DVD Interactive Playset] – DVDs

*/**** Image A Sound A Extras B- Playset A-
starring Jim Carrey, Jeffrey Tambor, Christine Baranski, Molly Shannon
screenplay by Jeffrey Price & Peter S. Seaman, based on the book by Dr. Seuss
directed by Ron Howard

by Bill Chambers Dr. Seuss’ How The Grinch Stole Christmas? More like Dr. Strangelove’s. The Ron Howard film version of the children’s perennial has horror-movie limbs that spring up independently of Seussian intent, the most extended of them going by the name of Jim Carrey, who wants to be the only Grinch remembered and marks his territory with piss and vinegar. Then there are the subversive asides, reckless stabs at hipping up a classic story that hadn’t fallen out of fashion in the first place. So miscast as a director, Howard is guilty of trying too hard; so well-cast in the lead role, Carrey is also guilty of trying too hard–or maybe not hard enough. Improvising ten topical jokes to every five that succeed while smothered by a fuzzy-wuzzy bodysuit, Carrey suggests a green Robin Williams in maximum sellout mode.

Replicant (2001) – DVD

**/**** Image A Sound A- Extras B-
starring Jean-Claude Van Damme, Michael Rooker, Catherine Dent
screenplay by Lawrence David Higgins and Les Weldon
directed by Ringo Lam

by Bill Chambers Replicant is the best movie so far to feature Jean-Claude Van Damme in a dual role as identical twins. (That there's actually a choice in the matter is, however preposterous, secondary.) It transcends both Double Impact and Maximum Risk (from the same director as Replicant, Ringo Lam) by way of tight-ass Michael Rooker–who, like a human magnet, enters the story trailing pieces of his films Henry: Portrait of a Serial Killer and The 6th Day behind–and an irresistibly dopey ending that seems sentimental until you dwell on the particulars. What am I saying? The whole trying affair is irresistibly dopey. Kinetic, too.

Dr. Dolittle 2 (2001) [Special Edition] – DVD

**/**** Image B+ Sound B+ Extras B-
starring Eddie Murphy, Kristen Wilson, Jeffrey Jones, Kevin Pollak
screenplay by Larry Levin
directed by Steve Carr

by Bill Chambers There comes a day when you can no longer revile a bad movie with any urgency, because another one’s going to come along regardless, sure as the sun sets. So it goes with Dr. Dolittle 2, a sequel to a movie I’ve never seen that is in and of itself a “reimagining” of another movie I’ve never seen, which in and of itself was based on a series of Hugh Lofting stories I’ve never read. And not a second of Dr. Dolittle 2 inspired me to retrace its steps (this is the story of Dolittle, not “do lots”), but to call Dr. Dolittle 2 uninspired because it does not inspire would be to tell a half-truth. Certainly the special effects, designed by the wizards at Rhythm and Hues, reach a new plateau of believability for talking-animal CGI, and, computer-animation aside, the 2001 film has a distinctive, endearing Eighties flavour that’s unique to this era. I mean, it’s about evil land developers!