The Year Without a Santa Claus (2006) – DVD

December 21, 2006Posted in2000s, Authors: Ian Pugh, Christmas, Comedy, DVD, Family, Musical, ZERO STARS

ZERO STARS/**** Image B- Sound B
starring John Goodman, Ethan Suplee, Delta Burke, Chris Kattan
written by Larry Wilson and Tom Martin, based on the book by Phyllis McGinley
directed by Ron Underwood

by Ian Pugh I'm not really sure how anyone could consider Santa Claus the cure for December commercialism in this day and age, but it appears to be a popular sentiment right now. Before I knew that the network-television abortion The Year Without a Santa Claus existed, I suffered through The Santa Clause 3: The Escape Clause, a film that carries the same awful message in a way that's worth mentioning. Tricked by Martin Short's Jack Frost into relinquishing the job of Santa Claus to him, Tim Allen's Scott Calvin returns to the North Pole to discover that Christmas has become "Frostmas," an overwrought celebration of capitalism with all the child-screaming and toy-grabbing that implies. With Jack-Santa having literally taken the "Christ" out of Christmas, Tim Allen strangely becomes a surrogate Jesus figure attempting to reclaim his holiday from the money-grubbing fat man of false jolliness, who of course represents the holiday season as we know it in reality. The Santa Clause 3 essentially amounts to an episode of Allen's sitcom "Home Improvement", which is to say not only that it's terrible, but also that its attempt at a metaphor is crude and obvious–come on, Santa Claus saving Christmas from himself? In retrospect, though, I have to admit that its joyfully malevolent predisposition to be such a balls-out hypocrite is a real head-scratcher worthy of further dissection.

Eragon (2006)

December 13, 2006Posted in2000s, Action, Adventure, Authors: Walter Chaw, Family, Fantasy, Hungary, Theatrical, UK, ZERO STARS

ZERO STARS/****
starring Edward Speleers, Jeremy Irons, Sienna Guillory, John Malkovich
screenplay by Peter Buchman and Lawrence Konner & Mark Rosenthal, based on the novel by Christopher Paolini
directed by Stefen Fangmeier

Eragonby Walter Chaw Fears that veteran F/X man Stefen Fangmeier's directorial debut Eragon, a feature-length adaptation of a fifteen-year-old trying on Anne McCaffrey's jodhpurs, would be the sequel to Dragonheart nobody wanted prove unwarranted, as Eragon is actually the sequel to BloodRayne that nobody wanted. It's ugly as sin, with the much-vaunted dragon at its centre (voiced by Rachel Weisz), designed by skilled craftspeople from both Peter Jackson's WETA workshop and Industrial Light and Magic, looking fatally inorganic to its environment. Not helping matters, the titular rider (Edward Speleers) resembles a younger, equally rubbery David Lee Roth and sports the acting chops of the same. Eragon is the towheaded farmboy who heeds a call to glory to save Sienna Guillory's beautiful Princess Arya ("Help me Eragon, you're my only hope") while gaining a mysterious old hermit mentor (Jeremy Irons–the poor sod should've learned his lesson with Dungeons & Dragons) who dies during a daring raid on the Death Star–er, on the castle keep of Darth Vader, er, King Galbatorix (John Malkovich). Alas, this Luke Skywalker also has an Uncle Owen (Uncle Garrow (Alun Armstrong)), and his Darth Vader has a henchman (Robert Carlyle) who at one point kills an underling general and declares the second-in-command "promoted." Eragon is a rip-off and a bad one, a carbon copy made on one of those old mimeograph machines: washed out, juvenile (even weighed against the not-exactly-mature example of Star Wars), and nigh unbearable for anyone so much as cursorily familiar with genre fare.

The Ant Bully (2006) [Widescreen] – DVD

December 4, 2006Posted in2000s, Adventure, Animation, Authors: Travis Mackenzie Hoover, Comedy, DVD, Family

*½/**** Image A Sound B+ Extras C
screenplay by John A. Davis, based on the book by John Nickle
directed by John A. Davis

Antbullycapby Travis Mackenzie Hoover If you read reviews with any degree of seriousness, you're probably not seeing that many animated kidpix anyway, and so remarking that The Ant Bully is several cuts below the genre's low standards will fall on deaf ears. Still, I can't imagine an audience undemanding enough to not see through the film's cashing in on both the cachet of its source material (a storybook by John Nickle) and the CGI animation gold rush itself. The film is so unenthusiastic about doing its job that it's completely transparent, exposing its worship of the dollar at every turn of the screw. Even the creators of Shrek and their ilk seem to want to make the movie: there's no evidence of that with John A. Davis and his team of unmoved movers of pixels.

The Nativity Story (2006) + 3 Needles (2006)

December 1, 2006Posted in2000s, Authors: Walter Chaw, Canada, Drama, Family, Theatrical

THE NATIVITY STORY
*/****
starring Keisha Castle-Hughes, Oscar Isaac, Hiam Abbass, Shaun Toub
screenplay by Mike Rich
directed by Catherine Hardwicke

3 NEEDLES
½*/****
starring Shaun Ashmore, Stockard Channing, Olympa Dukakis, Lucy Liu
written and directed by Thom Fitzgerald

Nativityby Walter Chaw The nativity, consigned primarily in my imagination to bad children's pageants and gaudy lawn displays, gets a third image in my own private trinity with Catherine Hardwicke's The Nativity Story: a thunderously boring film so circumscribed in scope and crippled in execution that it's destined to be a minor hit fuelled by the line of buses stretching from your local bible chapel. It's another teen melodrama from Hardwicke, complete with disapproving adults and pregnant little girls batting doe-eyes at rough-and-tumble shepherds; you see Hardwicke occasionally attempting an anachronistic Fast Times at Golan Heights à la Sofia Coppola's Marie Antoinette, but Coppola, for all her dips into self-pity, is a filmmaker of note, while Hardwicke is just beating someone else's drum on someone else's dime. (Proof positive is that despite the uniformity of Hardwicke's output across three identically-non-descript flicks, there is still no sense that decisions are being made, or that anything more than a sickly colony from a thin scrape across the John Hughes petri dish has been born.) Mary is played by young Maori actress Keisha Castle-Hughes–her race of note because if there's something important about the instantly forgotten pic, it's that its cast is comprised of people who look like people might have looked in Nazareth around two thousand years ago and not like Andy Gibb. A shame that Castle-Hughes is dreadful (and not helped a bit by another dreadful, pop-eyed screenplay courtesy Mike Rich of Radio and Finding Forrester fame) and that Oscar Isaac (as Joseph)–who is not dreadful–is trapped in this prosaic sinkhole. Tempting to use terms like "sanctimonious" and "smug," but The Nativity Story is more accurately dissected with the observation that it's a faithful telling of a story that has as its only purpose the drumming up of ecstatic anticipation for a foregone conclusion.

It’s a Wonderful Life (1946) – DVD

October 30, 2006Posted in1940s, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Christmas, Drama, DVD, Family, Fantasy, Romance

***/****
OUV DVD – Image B+ Sound A- Extras C
AE DVD – Image A Sound A- Extras C
starring James Stewart, Donna Reed, Lionel Barrymore, Beulah Bondi
screenplay by Frances Goodrich, Albert Hackett and Frank Capra
directed by Frank Capra

by Travis Mackenzie Hoover The year was 1990. I was 17, and had managed to elude the silver-backed beast known as It's a Wonderful Life for most of my young life. Having heard of the corn factory known as Frank Capra, I, a hard-bitten cynic, naturally feared the worst–I was more interested in corrosive (and recent) films like Do the Right Thing or Drugstore Cowboy than in some schmaltzy old battleaxe starring Jimmy Stewart. But I was working in a video store at Christmastime, which meant only one thing: the constant rotation of It's a Wonderful Life on the store monitor. And I was shocked to discover that the movie is pretty disturbing; it may have come dressed as the lamb of sentimentality, but inside it was a howling wolf, seething with failure and loneliness and wishing for something to take it all away.

Over the Hedge (2006) [Widescreen] – DVD

October 18, 2006Posted in2000s, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Family

**/**** Image A- Sound A- Extras B-
screenplay by Len Blum and Lorne Cameron & David Hoselton and Karey Kirkpatrick, based on the comic strip by Michael Fry and T Lewis
directed by Tim Johnson & Karey Kirkpatrick

Overthehedgecapby Walter Chaw It's just a largely inoffensive, vaguely environmentalist (inasmuch as being anti-sprawl is pro-environment) assembly-line animation featuring the usual passel of aging and/or second-run celebrities subbing for trained voice performers as anthropomorphic CGI animal bodies engaged in slapstick, stink jokes, and other interchangeable ephemera for the delight of our toddlers. If you feel as though you've seen Over the Hedge a hundred times already, that's because it's been cobbled together from a hundred other identical pictures; and if you have a little trouble afterwards remembering a thing about it, well, it's only natural that something with no nutritional value would pass right through you. That's not to say there's no fertile ground to be mined here in exploring the line between the natural-natural and the human natural (a line that the Japanese puzzler Pom Poko attempts to describe to similar effect)–safe to say, in fact, that a great satire lies in the suburban morass as viewed through the eyes of the "un-civilized." But Over the Hedge is a slave to the theoretical peanut gallery, resorting to manufacturing a villain and then staging a series of boom/crash operas. Though Pixar's Cars can pretty fairly be described as awful, it's Pixar's legacy of brilliant children's entertainments that DreamWorks has tried to ape with its puerile, art-destroying, post-pop Shrek series, and if Over the Hedge at least resists the scatology that marks Shrek as low entertainment for the lowest common denominator, it still can't quite make that jump from loud noises to real insight and value.

Hoot (2006) [New Line Platinum Series] – DVD

August 30, 2006Posted in2000s, Adventure, Authors: Travis Mackenzie Hoover, Comedy, DVD, Family

*½/**** Image A- Sound A Extras C+
starring Luke Wilson, Logan Lerman, Brie Larson, Tim Blake Nelson
screenplay by Wil Shriner, based on the novel by Carl Hiaasen
directed by Wil Shriner

by Travis Mackenzie Hoover On the subject of keeping young people away from R-rated movies, Pauline Kael once remarked: "How are kids supposed to appreciate movies if they only see the crap that's aimed at them?" That "crap," of course, is usually stuff that's been interrogated for controversial subject matter and aesthetic interest alike, as if a sweeping camera or a finely-tuned mise-en-scène would disturb the kiddies. And on past performance, Walden Media is a leading exponent of this kind of subdued mediocrity: not only did they issue that ultra-bland C.S. Lewis adaptation from last winter, but they also cranked out the thoroughly innocuous Hoot to disastrous box office this spring. It's a movie that treats potentially charged material like No Big Deal–which is the supposed position to take with young minds in the room.

Yours, Mine & Ours (2005) [Special Collector’s Edition – Widescreen] – DVD

August 1, 2006Posted in2000s, Authors: Walter Chaw, Comedy, DVD, Family, Romance

½*/**** Image A- Sound A Extras C-
starring Dennis Quaid, Rene Russo, Rip Torn, Linda Hunt
screenplay by Ron Burch & David Kidd, based on the screenplay by Melville Shavelson and Mort Lachman
directed by Raja Gosnell

by Walter Chaw Hand it to deal-with-the-devil Raja Gosnell's Yours, Mine & Ours, a worthless update of the mostly worthless Henry Fonda/Lucille Ball original: at least it hurries up and cranks Admiral Frank (Dennis Quaid) and hippie-chick Helen (Rene Russo) into holy matrimony. But then, it's not about the parents–it's about getting covered in goop and obnoxious kid gags, so once we jettison the only two possible reasons to see this shipwreck (ignoring poor Rip Torn and Linda Hunt in perfunctory supporting roles), we're offered eighteen adorable reasons to open our wrists and tie our tubes. You know the drill: disgusting food jokes, barf jokes, fart and poop and piss and pet jokes, sped-up moments, weird references to The Parent Trap, and then the obligatory soupy plot machinations that get the arch-enemy family camps to join forces to manufacture a feel-good throb of family against all odds. As Robert Altman himself couldn't work a miracle with these twenty-two main characters (eighteen of them pre-adolescent), maybe it's not fair to expect Gosnell to conjure something watchable from this infernal clips reel of children screaming–but one did have the reasonable expectation that he wouldn't twice humiliate Quaid in silly-noise-augmented slapstick scenarios.

Monster House (2006)

July 20, 2006Posted in2000s, Animation, Authors: Walter Chaw, Comedy, Family, Horror, Mystery, Spielberg, Theatrical

***/****
screenplay by Dan Harmon & Rob Schrab and Pamela Pettler
directed by Gil Kenan

Monsterhouseby Walter Chaw There's a lightness to the heroes of Monster House, as well as a certain callous insouciance in the way the film handles itself as a metaphor for puberty, but the effects for the titular monster and the care with which it sketches the human monster living inside it make the picture fascinating. When it's humming, above and below, the contraption identifies the malady of adolescence as loneliness, as becoming an outcast caste of one ("This is why we sit by ourselves at lunch"), if in mind only. It knows the sudden, emboldening rush of recognizing a girl's charms, and it sees in friendship the bonds and courage that time hasn't yet had the chance to disdain. None of this is surprising, particularly, especially since its executive producers are Robert Zemeckis and Steven Spielberg–who, between them, have fashioned some of our finest monuments to the cult of childhood. But then Monster House throws a curveball and makes its bad guys…tragic. And not just tragic but unbearably tragic–tragic enough that they become ennobled through their tragedy; by the end of the film, with its surprising declaration of "freedom," what could have been a trite affirmation of the ironic swap of the fears of childhood for the anxieties of the teenage years is transformed into a more ecumenical discussion about how life is sacrifice and love is sometimes unrequited, and about loyalty to causes in which we believe and the people in whom we invest ourselves.

Nanny McPhee (2005) [Widescreen] – DVD

July 18, 2006Posted in2000s, Authors: Walter Chaw, Comedy, DVD, Family, France, UK

**½/**** Image A Sound A- Extras B
starring Emma Thompson, Colin Firth, Angela Lansbury
screenplay by Emma Thompson, based on the "Nurse Matilda" books by Christianna Brand
directed by Kirk Jones

by Walter Chaw Often as garish and shrill as it is magical and enchanting, Kirk Jones' Nanny McPhee throws into sharp relief the difficulty of describing the tightrope so artfully navigated by Babe: Pig in the City. In its favour, there are strong, fairytale-sinister undercurrents to it that feel authentic where the darkness of the slick Lemony Snicket's A Series of Unfortunate Events felt, on the whole, manufactured and arch, and the film finds its surest footing in an idea essential to children's entertainment: that every action has a consequence. The answer to the question of what, exactly, is Nanny McPhee (Emma Thompson), or what generator produces these Mary Poppinses like sexless, befrocked clergy attending wayward British moppets, is that Nanny McPhee is stuffy consequence personified–the element of parents and/or society that, often with something like a supernatural hand in the eyes of a child, embeds itself in a growing moral conscience. There's something grand and mysterious about these figures, and Jones allows Nanny the freedom to be as enigmatic, omniscient, and omnipotent as a superego on the wax.

Nacho Libre (2006)

June 26, 2006Posted in2000s, Authors: Walter Chaw, Comedy, Family, Sports, Theatrical

½*/****
starring Jack Black, Ana de la Reguera, Héctor Jiménez, Peter Stormare
screenplay by Jared Hess & Jerusha Hess & Mike White
directed by Jared Hess

Nacholibreby Walter Chaw Nearly unwatchable from an aesthetic perspective, Nacho Libre is also invasively offensive and cheap-feeling in its gags, its performances, and its targets. Lampooning Mexican professional wrestling seems an onanistic pursuit at best insomuch as, clearly, the sport is already busily in the process of self-parody–but letting Jared Hess (single-handedly bringing the Special Olympics to Wes Anderson) tackle it along with Jack Black doing an "oh Ceeesco" accent in skin-tight tights is a particular kind of torture. The film's going to have its defenders (Uwe Boll has his defenders, too, I hasten to add, as does Hess's Napoleon Dynamite), and I'm thinking that it's going to be along the lines of "Well, sure, it's not Citizen Kane." But does anyone go to anything expecting it to be Citizen Kane? Moreover, have people who like this bullshit actually seen Citizen Kane? It's germane to talk about this because sooner or later it has to be pointed out that pictures like Nacho Libre exist because pictures like Napoleon Dynamite were popular: mean pictures about small-minded folks picking fun for no profit at slow-witted caricatures of racial groups and social classes. Pictures like this exist because people are used to lowering their expectations so much that they're actually irked when someone doesn't. It's most instructive to take a minute to look at how low we go now to construct the straw dogs we mock.

Cars (2006)

June 9, 2006Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Pixar, Sports

*½/****
screenplay by John Lasseter & Philip Loren & Kiel Murray
directed by John Lasseter

Carsby Walter Chaw Soulless and anchorless, Pixar's Cars is the company's first all-around failure. It's got something to do with the lack of a human grounding: the only other time Pixar stumbled was with its similarly bleak A Bug's Life (that picture resorting, like Cars, to racial caricature as its primary tentpole), which is also the only other time the company has neglected to ground its story with homo sapien ballast. It's telling that a company pioneering machine-tooled animation so relies on that hint of humanity for its effectiveness; in its place, Cars resorts to cheap name-games (all the cities are car-parts except, dubiously, Los Angeles) as its primary gag and relies on a string of racing in-jokes (Darrell Cartrip, get it? Yeah, me neither) to lubricate its worn-down gears. It's the product of the "Larry the Cable Guy" school of redneck effacement tacked onto a tired redemption romantic comedy, even more tired fish-out-of-water malarkey, and finally an inexplicable blanket criticism of all things urban. Sub-vaudeville gags with weak payoffs and rudderless execution are the things one would rightly expect from a DreamWorks flick–pity that their strain of high-concept lack of inspiration seems to respect no host.

Dumbo (1941) [60th Anniversary] – DVD + Dumbo [Big Top Edition] – DVD

June 8, 2006Posted in1940s, Adventure, Animation, Authors: Bill Chambers, Disability, Disney, Drama, DVD, Family, Musical

***/****
60TH ANNIVERSARY DVD – Image B Sound B Extras B
BTE DVD – Image B+ Sound B Extras B
screenplay by Joe Grant and Dick Huemer, based on the book by Helen Aberson & Harold Perl
directed by Ben Sharpsteen

Dumbocapby Bill Chambers With Snow White and the Seven Dwarfs and Pinocchio, Walt Disney had established two story prototypes between which he would all but vacillate over the next couple of decades. In 1937's Snow White, the eponymous heroine trusts that Prince Charming will one day steal her away from life's ills; in 1940's Pinocchio, a misfit innocent is navigated by his surrogate conscience (Jiminy Cricket) through an unkind world back to the parental figure he left behind. Disney didn't really return to the Prince Charming myth until the Fifties, when he began a run that includes Cinderella, Sleeping Beauty, and Peter Pan (a movie about a swashbuckler's repeated rescue of the damsel in distress who fancies him)–Pinocchio's template just seemed to have more resonance during the war years.

The Champ (1931) – DVD

May 1, 2006Posted in1930s, Authors: Walter Chaw, Drama, DVD, Family, Sports

*/**** Image B Sound C Extras C
starring Wallace Beery, Jackie Cooper, Irene Rich, Rosco Ates
screenplay by Francis Marion and Leonard Praskins
directed by King Vidor

by Walter Chaw So dated now as to seem nigh prehistoric, King Vidor's silent era-bound The Champ is broad melodrama of the underdog-uplift/precocious-kid variety, and though it's sorely tempting to condescend to it by placing it within its historical context, watching it now is like getting a screw drilled into your forehead. Doing road work with his lovable boy Dink (Jackie Cooper, more than a marionette, less than a creature of flesh and blood), The Champ (Wallace Beery) is a cartoon of a lush and a punch-drunk boxer who makes silly shadow-boxing gestures in long, unbroken takes, requiring Beery to ad-lib business that segues uneasily late in the film when the same Beery shtick must carry pathos. We can't think that a Vaudevillian's conception of a retarded drunk and a compulsive gambler is adorable and then reorient ourselves into thinking he's feeble without confronting the same conundrum the film itself presents a modern viewer. Either The Champ is fabulous–for a picture made in 1931, that is–or it's only accessible for a theoretical, contemporaneous audience, lacing any ascriptions of quality with that one major caveat and thus rendering them exactly as useless as that kind of equivocation always is.

RV (2006)

April 28, 2006Posted in2000s, Adventure, Authors: Walter Chaw, Comedy, Family, Germany, Theatrical, UK

½*/****
starring Robin Williams, Jeff Daniels, Cheryl Hines, Kristin Chenowith
screenplay by Geoff Rodkey
directed by Barry Sonnenfeld

Rvby Walter Chaw Shit, feral raccoons, hillbillies, tits, white-boy Ebonics, more shit, and oodles of forced sentimentality to propel the septic stew down our collective throat as we strain towards it, baby bird-like. Or so the theory goes. In the interest of complete disclosure, the reason Barry Sonnenfeld's excrescent RV dodged a zero-star rating from me is that I actually laughed at a perversely perfect sewage geyser. It's one thing when you're all about the slapstick gross-out gag; another when, National Lampoon's Vacation-style (the film that, structurally, RV, Johnson Family Vacation, Are We There Yet?, and so on most resemble), your trip across the middle of the United States yields insights into the caste and racial strata of our expansive country. Then you have a feckless relic like this that pulls its punches even in regards to the bigotry it directs at rednecks. There's nothing to hold onto in RV, and it tries so hard to please that there's not much joy in taking it down. It's like kicking a puppy, with the puppy trying to lick your boot as you do it.

Howl’s Moving Castle (2005) – DVD

April 25, 2006Posted in2000s, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Disney, DVD, Family, Fantasy, Japan

*½/**** Image B Sound A- Extras B
screenplay by Hayao Miyazaki (American adaptation by Cindy Davis Hewitt & Donald H. Hewitt), based on the novel by Diana Wynne Jones
directed by Hayao Miyazaki

Howlsmovingcastlecap

by Walter Chaw I've never liked it much when the Japanese are drawn to Victoriana, finding parallels as they sometimes seem to between that reserved, sexually-repressive culture and their own, because it most often results in garbage like Katsuhiro Ôtomo's exhausting Steamboy and now master Hayao Miyazaki's disappointing Howl's Moving Castle. Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard-to-dispute badness of war.

Whisper of the Heart (1995) – DVD

April 20, 2006Posted in1990s, Animation, Authors: Walter Chaw, Drama, DVD, Family, Japan, Music, Romance

***/**** Image B Sound B- Extras D
screenplay by Hayao Miyazaki
directed by Yoshifumi Kondo

by Walter Chaw Three years after directing Studio Ghibli's Hayao Miyazaki-scripted Whisper of the Heart, and before he was able to complete a second picture for the venerable Japanese institution, ace animator and Miyazaki protégé Yoshifumi Kondo passed away of an aneurysm at the age of 47. Knowledge of Kondo's fate colours the already wistful Whisper of the Heart with another layer of blue (especially if you're a fan of Kondo's behind-the-scenes work on landmark anime like Grave of the Fireflies and Princess Mononoke), but it doesn't completely rescue its remarkable humanity from frequent descents into culturally-alien specificity. The obsession with reworking John Denver's hilljack schmaltz classic "Country Road" into an un-ironic ode to the "concrete roads" of the picture's Tokyo-bound little girl protagonist (Shizuku (Youko Honna)), for instance, almost by itself renders Whisper of the Heart a Hello Kitty! for that particular brand of Japanese, Yank-ophile, cross-eyed badger shit. It's a better film if you're Japanese–kind of an amazing thing to say, I know, but the moments that don't reconstitute American "popular" culture through a Nipponese filter manage a fair-to-amazing job of evoking the overwhelming rush of first love. Shame, then, that John Denver appears at regular intervals to remind us of how peculiar a beast cultural diffusion can be.

Bee Season (2005) – DVD

March 27, 2006Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Family, Germany

*/**** Image A Sound A- Extras B-
starring Richard Gere, Juliette Binoche, Flora Cross, Max Minghella
screenplay by Naomi Foner Gyllenhaal, based on the novel by Myla Goldberg
directed by Scott McGehee & David Siegel

Beeseasoncapby Walter Chaw A lot of mortal liberties were taken with Myla Goldberg's Bee Season on its way to the big screen under the pen of Naomi Foner Gyllenhaal and direction of Scott McGehee and David Siegel, most of them having to do with softening the suffocating fanaticism and sensuality of the novel in favour of the soothing neutral tones of the fearful doorstop demographic. It's not that the book is better, it's that the book is entirely different: the one has a point of view while the other mainly boasts an air of pusillanimous equivocation that turns a vaguely threatening story concerning Kaballah and Hebrew mysticism into Searching for Bobby Fischer. The problem might be that Richard Gere's Saul is a hotshot college professor in this version, and completely reasonable and charming to boot. The problem might be, in other words, that Gere is too good for this movie.

Chicken Little (2005) – DVD

March 27, 2006Posted in2000s, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Disney, DVD, Family, Sci-Fi

*/**** Image A- Sound A- Extras C
screenplay by Ron Anderson, Steve Bencich and Ron J.Friedman
directed by Mark Dindal

Chickenlittlecapby Walter Chaw Frantic, frenetic, anxious, obnoxious: the ideal audience for Chicken Little should be in bed by seven, and Disney's umpteenth cry of "sure-fire comeback project" looks, appropriately, like another convulsive episode of corporate crying-wolf. Chicken Little, for instance, makes pop culture references that don't mean anything in the context of a film whose sole purpose appears to be instructing your children to be fearful and hyper. They're just there to give parents, alternately stunned and bored, a little rootless pleasure in the middle of epileptic flash; what's left isn't clever (or kinetic) enough for us to ignore its essential emptiness. What Chicken Little is more than anything else is exhausting. You could by rights hope that it's is a send-up of the Fifties cycle of Martian invasion pictures (it name-checks War of the Worlds for no good reason) as The Incredibles was a send-up of Golden Age superhero comics, but even a cursory comparison between the two films shows that Disney's desperation to make Pixar's looming secession a non-issue is as limp and impotent as the Nevada State Boxing Commission.

Dimples (1936) + Mad Hot Ballroom (2005) – DVDs

March 17, 2006Posted in1930s, 2000s, Authors: Alex Jackson, Documentary, DVD, Family, Musical

DIMPLES
**/**** Image F (colorized)/C (b&w) Sound C
starring Shirley Temple, Frank Morgan, Robert Kent, Stepin Fetchit
screenplay by Arthur Sheekman and Nat Perrin
directed by William A. Seiter

MAD HOT BALLROOM
*/**** Image B Sound B
directed by Marilyn Agrelo

Dimplescapby Alex Jackson When Chuck Workman juxtaposed Shirley Temple with Adolf Hitler in his underseen 1995 documentary The First 100 Years, he was dramatizing America's suckling on the opium pipe of Temple musicals while Hitler rose to power in Germany. This is reflective of the general attitude towards Temple in the 1940s: not only was she no longer cute, she also embodied a sense of brain-dead frivolousness in American film that the zeitgeist started snuffing out through soppy sentimentality, hardened disillusionment, or some combination of the two. Movies got heavy in the Forties, and Temple could not keep up with them.