Two Family House (2000) + Panic (2001) – DVDs

TWO FAMILY HOUSE
***/**** Image A- Sound B+
starring Michael Rispoli, Kelly Macdonald, Katherine Narducci, Kevin Conway
written and directed by Raymond De Felitta

PANIC
***½/**** Image B+ Sound B+ Extras B
starring William H. Macy, Neve Campbell, Tracey Ullman, John Ritter
written and directed by Henry Bromell

by Bill Chambers Two Family House and Panic, a pair of overlooked films hopefully not destined to become overlooked DVDs, have more in common than a passing glance suggests, and their joint failure to earn even a pittance sounds the death knell for independent cinema as we knew it in the early-’90s. These days, only the import indies get a shot at the big time, which would be quite the statement on an improved national tolerance of foreign-language entertainment were such hits as Billy Elliot and Life is Beautiful not as warm and fuzzy as a Care Bear’s behind. The market’s unresponsiveness to the winsome New York story Two Family House, in particular, generates the following theory: American moviegoers now feel guilty for seeing The Mummy Returns twice instead of something less promoted once; they take the least painful route of cultural redemption by buying tickets to the most domestic thing with accents available, thus developing a distrust of or distaste for the genuine article.

Nightwatch (1994) – DVD

Nattevagten
***/**** Image A- Sound B Extras C
starring Nikolaj Waldau, Sofie Graaboel, Kim Bodnia, Lotte Andersen
written and directed by Ole Bornedal

by Walter Chaw Dark and moody with a dash of post-modern relational philosophy, Ole Bornedal’s Nightwatch (Nattevagten) is a taut and unusual thriller that has been remade by the same director into the English-language Nightwatch, starring Ewan McGregor, Nick Nolte, and Patricia Arquette. In its original Dutch-language incarnation (seen by over 15% of the entire Dane population), Nattevagten is lent a good deal of weight by a satisfying subplot involving the nature of love and the rites of passage young men endure to become men in one another’s eyes. It sounds a little heady for what boils down to fairly typical serial-killer intrigue, but the uniformly fine performances, the uncompromising though tasteful direction, and the sharp screenplay (by Bornedal) combine to make the film something a little finer than what its barest plot synopsis would indicate. It reminds most of another foreign thriller largely ignored on American shores released in the same year, Anthony Waller’s Mute Witness.

The Boys Next Door (1986)

*½/**** Image B Sound C
starring Maxwell Caulfield, Charlie Sheen, Patti D’Arbanville
screenplay by Glen Morgan & James Wong
directed by Penelope Spheeris

by Walter Chaw Wearing the white undershirt and blue jeans popularized as the uniform of disenfranchised youth since James Dean, Charlie Sheen’s Bo Richards in The Boys Next Door dresses the dress, but doesn’t exactly walking the walk. The first thing that should spring to mind when Sheen the younger staggers in from stage right in a thriller-killer film is his father, Martin, playing the same role in Terence Malick’s middle-American masterpiece Badlands fourteen years previous. The key difference is that not only is there a decade in which Martin Sheen used to be able to act (not so, Charlie), but that where Martin’s Kit Carruthers is the proactive force behind his murderous rampage, Charlie plays more the wilting, Sissy Spacek tagalong.

Manhunter (1986) – DVD (THX)

***½/**** Image A Sound A Extras B
starring William L. Petersen, Kim Greist, Joan Allen, Brian Cox
screenplay by Michael Mann, based on the Thomas Harris novel Red Dragon
directed by Michael Mann

by Walter Chaw Director Michael Mann’s third film is the remarkable Manhunter, the second cinematic adaptation of a Thomas Harris novel (the first being 1977’s John Frankenheimer-helmed Black Sunday) and the first to feature Harris’s dark serial killer antihero, Hannibal Lecter (spelled “Lecktor” in Manhunter). It is visually lush and possessed of the attention to craft and detail that has become a hallmark of Mann’s work; to say that it’s superior in nearly every way to the much-lauded and wildly popular The Silence of the Lambs would be something of an understatement.

The Pledge (2001) – DVD

***½/**** Image A- Sound A-
starring Jack Nicholson, Benicio Del Toro, Aaron Eckhart, Helen Mirren
screenplay by Jerzy Kromolowski & Mary Olson Kromolowski, based on the novel by Fredrich Durrenmatt
directed by Sean Penn

by Bill Chambers The Pledge implicates anyone and everyone, especially its viewers. There are critics who like to remain situated on a high horse looking down at the movies: that group loathed The Pledge, because it knocked the saddle out from under them. Their reviews are full of defensive posturing, refusing to deal with the film head-on, denouncing exploitation before deciding on whom or what is being exploited. It’s easy to call The Pledge “sick,” for instance, because of the moment where Jack Nicholson’s Jerry Black sifts through crime-scene photographs of slain children and, because the camera is over his shoulder, so do we.

Tora! Tora! Tora! (1970) [Special Edition] – DVD

***½/**** Image A Sound B+ Extras A
starring Martin Balsam, Joseph Cotten, E.G. Marshall, Tatsuya Mihashi
screenplay by Larry Forrester, Ryuzo Kikushima, Hideo Oguni
directed by Richard Fleischer and Kinji Fukasuka & Toshio Masuda

by Walter Chaw A joint project between a Japanese film crew and veteran American director Richard Fleischer (20,000 Leagues Under the Sea), Tora! Tora! Tora! had Akira Kurosawa assigned as the lead Japanese director, poised to make his American debut with a mammoth script weighing in at well over four-hundred pages–and that just for the Japanese side of the story. Accustomed to complete autonomy in his projects, Kurosawa bowed out after several weeks following a series of run-ins with Fox executives over not only the unwieldiness of his vision, but also disagreements concerning the shade of white used in the interiors of the Japanese carrier ward rooms! Unfortunately, Kurosawa’s initial involvement with the picture resulted in his regular cohort Toshiro Mifune turning down the role of Admiral Yamamoto (a role he would play in Jack Smight’s 1976 Midway and in 1968’s Yamamoto biopic Rengo kantai shirei chôkan: Yamamoto Isoroku), as the two titans of Japanese cinema had lingering bad feelings over their last collaboration, the underseen Akahige.

Love Potion #9 (1992) – DVD

ZERO STARS/**** Image D+ Sound C-
starring Tate Donovan, Sandra Bullock, Mary Mara, Dale Midkiff
written and directed by Dale Launer

by Walter Chaw Love Potion #9 is an indescribably bad film that elicits so many feelings of true hatred it should be classified as a post-expressionist nihilist experiment rather than a romantic comedy. It is a gimmick flick based on a novelty song that manages to be worse than the stillbirth of an idea that spawned it. I can only surmise that it's being resurrected now on the DVD format because of the inexplicable fame of Sandra Bullock–a realization that makes me not only want to sleep with the lights on, but also begin to dread the inevitable digital remastering of Religion, Inc..

Donovan’s Reef (1963) – DVD

*½/**** Image A Sound B
starring John Wayne, Lee Marvin, Elizabeth Allen, Jack Warden
screenplay by James Edward Grant and Frank Nugent
directed by John Ford

by Walter Chaw One of legendary director John Ford’s last films, and his final collaboration with John Wayne, Donovan’s Reef is, like much of Ford’s later work, a derivative amalgam of his earlier successes. Curmudgeonly and vicious, it’s a lighter-than-air farce with a black heart that feels suspiciously like the mad rantings of an old soldier describing his vision of a bucolic Valhalla to which he one day hopes to return. Released in the same year (1963) that saw Sidney Poitier become the first black man to win an Oscar in a major category (for Lilies in the Field), Donovan’s Reef is a shockingly, unapologetically racist and misogynistic film about braggadocio, therapeutic rape, and belittling the natives. In other words, John Ford apologists need to work overtime to dig their favorite auteur out from under this surreal bilge.

Cash Crop (1999) – DVD

Harvest
*½/**** Image B Sound B- Extras C
starring James Van Der Beek, Jeffrey DeMunn, Mary McCormack, Fred Weller
screenplay by Jim Biederman, Stuart Burkin, David M. Korn
directed by Stuart Burkin

by Walter Chaw A micro-budget independent venture shot in twenty-six days, Stuart Burkin’s auteur debut Cash Crop (a.k.a. Harvest) is a pro-pot film (not to be confused with The Killing Fields, a Pol Pot film) that has as its headliner TIGER BEAT icon James Van Der Beek (Varsity Blues), who does indeed lend his Bert-browed visage to about five minutes at the beginning of the movie. The real stars of the show, however, are B-list veterans John Slattery (Traffic, Eraser) and the always excellent Mary McCormack (The Alarmist) as a rural Pennsylvania sheriff and a DEA agent, respectively. It is their performances alone which nearly rescue Cash Crop from its awkward plot progression, a handful of embarrassing subplots, and a few secondary turns that run the gamut from “torturous” to “unwatchable.” Slattery and McCormack don’t make Cash Crop a good movie, don’t get me wrong, they just make it a barely “not as terrible as it would otherwise have been” movie that I’ll forget, Lord willing, in a day or two.

O Brother, Where Art Thou? (2000) – DVD

**½/**** Image A+ Sound A
starring George Clooney, John Turturro, Time Blake Nelson, Charles Durning
screenplay by Ethan Coen & Joel Coen
directed by Joel Coen

by Travis Mackenzie Hoover We can start by making two things perfectly clear. One: despite an opening credit to the contrary, the new Coen Brothers opus, O Brother, Where Art Thou?, has almost nothing to do with Homer's Odyssey–a few episodes notwithstanding, the bulk of the film is radically different from the great classical work. Two: it bears only a passing resemblance to the films of Preston Sturges, whose Sullivan's Travels provides the title; a ridiculous deus ex machina ending aside, it has none of the affection–if all of the wildness–of that writer-director's memorable oeuvre. So, having been smokescreened by these red-herring references, you have to ask: If it has nothing to do with Homer or Sturges, what the heck does it have to do with?

Teenage Caveman (2001) – DVD

**/**** Image B+ Sound B+ Extras D+
starring Andrew Keegan, Tara Subkoff, Richard Hillman, Tiffany Limos
screenplay by Christos Gage
directed by Larry Clark

by Bill Chambers Larry Clark’s first official foray into the horror genre, Teenage Caveman simply introduces gore to his usual hedonistic admixture. Part of Cinemax’s “Creature Features” line-up (glossy re-imaginings of Sam Arkoff monster movies overseen by Arkoff heir Lou, actress Colleen Camp, and F/X man Stan Winston), Teenage Caveman, if nothing else, handily demonstrates the auteur theory, as rather than suggest the work of a director-for-hire, the film evinces little regard for the series’ presumed directive.

Hamlet (2000) – DVD

***½/**** Image B+ Sound B+
starring Ethan Hawke, Kyle MacLachlan, Diane Venora, Liev Schrieber
screenplay by Michael Almereyda, based on the play by William Shakespeare
directed by Michael Almereyda

by Bill Chambers This review of Michael Almereyda’s Hamlet has long gestated, and the good thing is, the film does not suffer the ravages of memory. My expectations for this modern-dress Shakespeare adaptation were low enough that I presumed its impact would be short-term at best (the play will always transcend approach and performance to a certain degree), having been effectively show-stopped by Kenneth Branagh’s definitively faithful take of 1996. Prior to spinning the DVD, I also internally debated Almereyda’s talked-about corporate setting, a milieu that would seem a better fit for the political backstabbing of “Macbeth” or “Julius Caesar”.

The Apartment (1960) – DVD

**/**** Image B Sound B
starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston
screenplay by Billy Wilder and I.A.L. Diamond
directed by Billy Wilder

by Travis Mackenzie Hoover I’ve never been able to fully accept the idea of Billy Wilder as a great director. While I have to admit that many of his films are solid entertainment–Some Like It Hot and Sunset Boulevard especially–they’re crippled by a tired, laboured sensibility that keeps them from rising to greatness. They have structure, all right, and snappy, cutting dialogue, but the rigidity of their conception stops us from reading between the lines: Wilder and his writing partners tend to tell us exactly what to think and expect us to accept their words as the word of God Himself. And because ultimately nobody can be this sure of themselves–even in a Hollywood noted for sweeping moral certainties–it becomes obvious that even Wilder isn’t falling for the phoney cynicism he passes off as wisdom. I can appreciate his craft, but his joyless inflexibility makes it hard for me to accept him as a great artist with a vision.

Two Girls and a Guy (1998) – DVD

**/**** Image B+ Sound B Commentary B
starring Robert Downey Jr., Heather Graham, Natasha Gregson Wagner
written and directed by James Toback

by Travis Mackenzie Hoover Viewers of Toback's 1977 cult classic Fingers will find no new ground covered in 1998's Two Girls and a Guy. Once again, we have a young-turk artiste (Robert Downey Jr. in this incarnation) who's too wrapped up in what his mother thinks of him. We also have his wanton sexual behaviour, and his attempts to put his chaotic life in order. This time, however, we are to believe that he's being properly grilled by his two girlfriends, who meet by chance when they get the same idea of surprising him on his doorstep.

The Muppets Take Manhattan (1984) – DVD

**/**** Image A- Sound B
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Frank Oz and Tom Patchett & Jay Tarses
directed by Frank Oz

by Bill Chambers The third and final Muppet feature to which the dearly departed Jim Henson contributed, The Muppets Take Manhattan is a hodgepodge of terminally ’80s show tunes and ill-considered plotting that ransacks The Muppet Movie‘s basic premise–colourful nobodies seeking stardom–while gutting it of its thematic resonances, including the power of interracial harmony, i.e., “the Rainbow Connection.” What we’re left with is something that sparks but never ignites; The Muppets Take Manhattan is a Muppet film largely without Muppets save Kermit the Frog, and when you get right down to it, Kermit is only as interesting as his sparring partner. Like most leading men, he’s handsome but a bit of a blank slate.

Dude, Where’s My Car? (2000) – DVD

*/**** Image A Sound A Extras B-
starring Ashton Kutcher, Seann William Scott, Kristy Swanson, Jennifer Garner
screenplay by Philip Stark
directed by Danny Leiner

by Travis Mackenzie Hoover Anyone who cares about film doesn't need me to warn him or her away from Dude, Where's My Car?, and anyone who doesn't probably wouldn't listen to me, anyway. But for what it's worth, here's the skinny: Jesse (Ashton Kutcher) and Chester (Seann William Scott) are a pair of stoners living in what appears to be sunny California. Recently, they have managed to get themselves in a bit of a fix: After a night of intense partying, they find that they cannot remember what happened the day before. This wouldn't be a problem if it weren't for the fact that Jesse's car, on which their addled lives depend, has mysteriously vanished–presumably in the massive frolic mentioned earlier. Thing is, today is their anniversary with their girlfriends (The Twins), their gifts are in their car, and they trashed the Twins' house in the previous night's revelries to begin with, making it necessary to get back in their good books. And so they must ask, "Dude, Where's My Car?"

The House of Mirth (2000) – DVD

**½/**** Image B- Sound B Extras C
starring Gillian Anderson, Dan Aykroyd, Eleanor Bron, Terry Kinney
screenplay by Terence Davies, based on the novel by Edith Wharton
directed by Terence Davies

by Walter Chaw Terence Davies's adaptation of an Edith Wharton novel, The House of Mirth is ultimately a languid and luxurious failure, though always a lavish and often a compelling one. Gillian Anderson and Eric Stoltz are vaguely miscast as the Titian leads, while an appearance by Dan Aykroyd in a distracting role as a lascivious cad nearly sinks the production with every moment of his Elwood Blues quick-talking shyster patter, yet Davies's ability to infuse each of his films with a charge of self-confessional mortification lends the piece an air of sad gravity and outrage. The almost unbearable claustrophobic weight of alienation that flavours his non-linear portfolio (Death and Transfiguration, Distant Voices Still Lives, The Long Day Closes) can be traced to Davies himself feeling

Nine Months (1995) – DVD

*/**** Image B+ Sound B
starring Hugh Grant, Julianne Moore, Tom Arnold, Joan Cusack
screenplay by Chris Columbus, based on the film Neuf mois by Patrick Braoude

directed by Chris Columbus

by Walter Chaw That Chris Columbus consistently gets opportunities to direct films in Hollywood is not a result of his talent or wit, but rather the American box-office’s indefatigable hunger for empty cinematic calories. When such unforgivably unpleasant and sentimental Columbus pap as Home Alone, Home Alone 2, Mrs. Doubtfire, Only the Lonely, and Stepmom drop like lead balloons into the cineplex to the approving chorus of the terminally uncritical and the incurably dim-witted, there is no possible reason for studios to try to create something of quality and value. Psst! Wanna make a fortune? Toss a cheap and manipulative tearjerker peppered with mean-spirited slapstick to Chris Columbus, and watch the money pour in.

Jaws 2 (1978) [Widescreen] – DVD

**½/**** Image A- Sound B Extras A-
starring Roy Scheider, Lorraine Gary, Murray Hamilton, Joseph Mascolo
screenplay by Carl Gottlieb and Howard Sackler
directed by Jeannot Szwarc

by Bill Chambers Some key players besides Roy Scheider stuck around for this second helping of Jaws, which accounts for the tonal continuity and touch of class that are absent in the subsequent sequels. Producers David Brown and Richard D. Zanuck prostituted their box-office sensation because, according to Brown in Jaws 2's DVD documentary, "We decided if we didn't make it somebody else would make it. We felt very protective about it." Screenwriter Carl Gottlieb again returned to do the production draft. Production designer Joe Alves exhumed, and expanded the scope of, Amity Island. John Williams adapted his indelible Jaws score for a more youth-oriented adventure. And on screen, Lorraine Gary, Murray Hamilton, and Bruce reprised their roles as Mrs. Chief Brody, the unconscionable mayor (who, in the movie's darkest joke, is still in power), and the mechanical shark, respectively.

Forever Mine (2000) – DVD

**/**** Image B Sound B- Commentary B+
starring Joseph Fiennes, Ray Liotta, Gretchen Mol
written and directed by Paul Schrader

by Bill Chambers Paul Schrader’s fragmented, risqué melodrama Forever Mine tells the tale of an exceptionally well-read Miami Beach cabana boy named Alan (Joseph Fiennes) who steals the heart of Ella (Gretchen Mol, an old-fashioned bombshell), the wife of councilman Mark Brice (Ray Liotta), and pays for it: first by being sent to jail an innocent, then with a bullet in the head. (The jealous husband does the deed.) But Alan survives and, unbeknownst to Brice and Ella, steals a new identity for himself, that of a Miami druglord called upon fourteen years later to act as the politico’s criminal liaison in New York. Haunted Ella finds herself compelled by this scarred stranger and his thoughtful glances.