TIFF ’08: Lorna’s Silence

September 3, 2008Posted in2000s, Authors: Bill Chambers, Belgium, Directors: Jean-Pierre and Luc Dardenne, Drama, Film Festivals, France, Germany, Italy, TIFF
Le silence de Lorna***½/****starring Arta Dobroshi, Jérémie Renier, Fabrizio Rongione, Alban Ukajwritten and directed by Jean-Pierre Dardenne & Luc Dardenne by Bill Chambers That figures: I'm finally ready to get on board the Dardenne Brothers bandwagon and everyone's bailing. What I like--maybe love--about their latest, Lorna's Silence (Le Silence de Lorna), is that it zigs when you expect it to zag, which may peg me as superficial (some reviews of the film have admonished it for having a plot) but which nevertheless strikes me as a refreshing change of pace from the neorealist wallowing of their earlier work. (To my…

Death Race (2008)

August 21, 2008Posted in2000s, Action, Authors: Walter Chaw, Germany, Sci-Fi, Theatrical, Thriller, UK

*/****
starring Jason Statham, Tyrese Gibson, Ian McShane, Joan Allen
written and directed by Paul W.S. Anderson

Deathraceby Walter Chaw Paul W.S. Anderson makes one kind of movie: the kind with lots of explosions and girls and loud music and hyperkinetic editing. The shitty kind. Whether or not these pictures work has nothing to do with the head. Death Race, a "remake" of Roger Corman's Death Race 2000, is a middling Anderson joint: it's not so bad that you want to put a cigarette out on your eye, but it's also not so bad that it's good–though it is almost so bad that it's great. Jason Statham is Frankenstein, a guy framed for the murder of his wife who happens to be a former racecar driver–a past that, in the near future, is a premium in the privatized penal system. After being laid off from his blue-collar job in an entirely superfluous prologue that only really establishes the picture as one made in the second W. administration, Frank gets "recruited" to drive in the titular pay-per-view reality program involving hardened criminals participating in televised bloodsport. His arch-rival in the Big House is Machine Gun Joe (marble-mouthed Tyrese), his pit chief is gravel-voiced Coach (Ian McShane), and his zombie-voiced co-pilot is hot-looking Latin mannequin Case (Natalie Martinez). If you're surprised to see McShane in a piece of shit like this (sadly, McShane seems to only be in pieces of shit post-"Deadwood"), you should get a load of Joan Allen as evil bitch warden Hennessey, a creature one part genre prison bull, one part television executive. If she's also a lawyer and a film critic, start looking around for four horsemen.

The Sum of All Fears (2002) [Special Collector’s Edition] – DVD|Blu-ray Disc

July 27, 2008Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Canada, Drama, DVD, Espionage, Germany, Thriller, War

**/****
DVD – Image A- Sound B Extras A-
BD – Image B+ Sound A Extras A-
starring Ben Affleck, Morgan Freeman, James Cromwell, Liev Schreiber
screenplay by Paul Attanasio and Daniel Pyne, based on the novel by Tom Clancy
directed by Phil Alden Robinson

by Walter Chaw The Sum of All Fears is a well-made techno-horror film based on a reasonably well-written (by Tom Clancy standards) techno-horror novel. It's a studio marketing department's worst nightmare post-9/11 (the movie revolving around a pilfered nuclear weapon and a terrorist plot to destabilize the universe) and a critic's wet dream: finally, something meaty to write about in popular film. Or so it would seem, for alas, The Sum of All Fears is just a well-made techno-horror film–in theme and suggestion, it's as moldy and stately as a Le Carré master plot with little comment regarding the state of our world besides "Bad people do bad things despite the best efforts of good people." See, we know that already; while I'm the first to decry the pathological dedication of mainstream pictures to provide easy solutions for life's injustices, The Sum of All Fears is a remarkably ill-timed piece that plays essentially like the sharp twist of a buried knife.

Hellboy II: The Golden Army (2008)

July 11, 2008Posted in****/****, 2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Fantasy, Germany, Hungary, Sci-Fi, Superhero, Theatrical

****/****
starring Ron Perlman, Selma Blair, Doug Jones, John Hurt
written and directed by Guillermo del Toro

Hellboyiiby Walter Chaw It’s at the forefront of one’s mind during Hellboy II: The Golden Army (hereafter Hellboy II), Guillermo del Toro’s brilliant dance along an ephemeral tightrope between pop and Puccini, that David Cronenberg and Howard Shore recently converted their remake of The Fly into a full-fledged opera: I can see the same thing happening with a lot of del Toro’s pictures. The director’s said that after his Pan’s Labyrinth “something popped” in regards to his restraint in allowing the menagerie of monsters in his brain free rein over his imagination–and that he endeavoured to bring all the madness of Mike Mignola’s “Hellboy” universe to the big screen with or without a commensurately giant budget. (Of Summer ’08’s blockbusters, Hellboy II, costing around 85 million dollars, might be the most frugal.) The result is a film so crammed to the gills with invention that a bit of background business in a scene set at a bazaar hidden beneath the Brooklyn Bridge (this is the second great genre film this year after Cloverfield to make a pit stop at that particular locale) wherein a creature plays a pipe made out of a tanned human corpse is left uncommented-upon and is somehow ultimately unremarkable. The wonders of Hellboy II as experienced through our avatars Hellboy (Ron Perlman), Liz (Selma Blair), and Abe (Doug Jones, this time vocalizing the character as well)–team members for a covert government agency that deals with supernatural intrusions–are the way the world is, and it’s fascinatingly left for the normals in the audience to crane for a better look.

The Love Guru (2008) + Get Smart (2008)

June 19, 2008Posted in2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Espionage, Germany, Romance, Theatrical, UK, ZERO STARS

THE LOVE GURU
ZERO STARS/****
starring Mike Myers, Jessica Alba, Justin Timberlake, Ben Kingsley
screenplay by Mike Myers & Graham Gordy
directed by Marco Schnabel

GET SMART
***/****
starring Steve Carell, Anne Hathaway, Dwayne Johnson, James Caan
screenplay by Tim J. Astle & Matt Ember
directed by Peter Segal

Loveguruby Walter Chaw Dick this, cock that, penis penis penis–let me mention in the interest of full, ahem, disclosure that I don't think Mike Myers is funny; that Chris Farley's death was a great shame for a lot of reasons, among the worst that his passing opened the door for Myers to voice Shrek; and that it's not amusing in the slightest to make an endless stream of johnson jokes. The Love Guru has Myers sort of taking a wave at a cheap Indian accent in a redux of that Eddie Murphy triumph Holy Man–which means, essentially, that he proves himself not as committed as Will Ferrell and not as feral as Adam Sandler and not as neutered, as it happens, as Eddie Murphy. Myers, in other words, is less than his peers, doomed to be upstaged at every turn by anyone unfortunate enough to share a scene with him. (Doomed, too, to be constantly undermined by his inability to resist mugging for the camera.) Myers is Guru Pitka, a writer of Dr. Phil-cum-Deepak Chopra self-help volumes hired by the owner of the Toronto Maple Leafs, Jane (Jessica Alba), to cure star winger Roanoke (Romany Malco) of his sudden case of the shakes. Thus Myers marries his two passions (hockey and not being funny) into one noxious ball of shit and wiener jokes, in the process taking a colossal dump on an entire culture with puerile wordplays like "Guru Satchabigknoba" and "Guru Tugginmypudha" (Ben Kingsley, playing it cross-eyed). It was funny when Monty Python did it, yes, because Monty Python was made up of people who were funny.

Youth Without Youth (2007) – Blu-ray Disc

June 9, 2008Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Francis Ford Coppola, Drama, Esoterica, France, Germany, Italy, Mystery, Romance, Romania, Sci-Fi

***½/**** Image A+ Sound A+ Extras A
starring Tim Roth, Alexandra Maria Lara, Bruno Ganz, André M. Hennicke
screenplay by Francis Ford Coppola, based on the novella by Mircea Eliade
directed by Francis Ford Coppola

by Walter Chaw Set in just-antebellum Europe, Francis Ford Coppola’s Golden Age superhero fantasy Youth Without Youth finds mild-mannered ancients professor Dominic (Tim Roth) transmogrified by a bolt of lightning into a being who appears to not only have regained his youthful appearance, but also developed the ability to alter physical objects with his mind. Dominic is in 1938 Romania when 1.21 gigawatts of electricity send him back to the future, able to absorb entire volumes with a single touch, learn dead languages in his sleep, and have contentious conversations with himself reflected in mirrors literal and figurative. It’s a superhero movie in the same sense as Kasi Lemmons’s sorely underestimated The Caveman’s Valentine: based on a literary source, it’s itself intensely literate, sprinkling Mandarin and Sanskrit in with, late in the game, a language of our hero’s own devising to which he devotes reels of obsessive notes. All that’s missing is a purpose for our hero–something remedied as the picture moves forward past WWII and Dominic encounters Veronica (Alexandra Maria Lara) en route to her own collision with cosmic destiny.

V for Vendetta (2006) – Blu-ray Disc

May 29, 2008Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Germany, Revenge, Satire, Sci-Fi, Thriller, UK

***½/**** Image B+ Sound B Extras B-
starring Natalie Portman, Hugo Weaving, Stephen Rea, John Hurt
screenplay by The Wachowski Brothers, based on the graphic novel by Alan Moore & David Lloyd
directed by James McTeigue

by Walter Chaw As documents for the opposition go, V for Vendetta may be the ballsiest, angriest picture of the current administration, flashing without apology images of naked prisoners of the state, shackled in black hoods and held in clear acrylic boxes while a febrile talking head and his cloistered intimates (called "fingers") form a closed fist around them. It surmises a future where the government plants stories in centrally-owned media conglomerates, controlling groupthink by providing just one point of view. Woe be unto those with a critical mind because what, after all, is more dangerous to a dictatorial theocracy than a question? But more, the picture is an impassioned plea for alternative lifestyles, exposing the melodrama of Brokeback Mountain to be embarrassed, even polite, when the struggle for equal regard is something that should be undertaken with passion and brio–it's life and death, and V for Vendetta presents it as such. There are no half measures in a film that takes as its hero an eloquent monologist in a Guy Fawkes mask (Hugo Weaving), his erstwhile, reluctant sidekick a young woman, Evey (Natalie Portman), transformed through the government-sanctioned abduction of her parents and a period of torture and imprisonment into not an avenging angel, but a voice of reason. How fascinating that the reasonable solution in the picture is the destruction of Britain's Parliament on the Thames.

Speed Racer (2008)

May 8, 2008Posted in2000s, Action, Adventure, Australia, Authors: Walter Chaw, Comedy, Drama, Esoterica, Family, Germany, Japan, Sci-Fi, Sports, Theatrical

*/****
starring Emile Hirsch, Christina Ricci, John Goodman, Matthew Fox
written and directed by The Wachowski Brothers

by Walter Chaw This generation’s Tron lands with unsurprisingly little fanfare early in the 2008 blockbuster sweepstakes, the victim of niche nostalgia and bottomless kitsch as well as the theory that total indulgence from all involved will prevent The Wachowski Brothers’ Speed Racer from turning out to be their Spruce Goose. I’ve seen just enough “Speed Racer” cartoons to recognize when people like John Goodman are impersonating badly-drawn ’60s television anime (as opposed to Goodman impersonating badly-drawn ’60s Hanna-Barbera)–and just enough, too, to futilely hope against hope that there wouldn’t be a chimp and a chubby tyke who stow away in a racecar’s trunk now and again. But I haven’t seen nearly enough of the TV series to want to see more of it, and after enduring the Cool World live-action version of “Speed Racer”, I confess I’ve sort of lost the will to live. In other words, I was never a fan of the cartoon and was mainly interested in this trainwreck on the strength of Bound and The Matrix. Still, I’d be a hypocrite if I didn’t take a moment to laud the brothers on their audacity–the very quality I appreciated in the two Matrix sequels, which were, by most analysis, disasters. It seems like sour grapes to knock the picture besides–or at least it seems futile, because the Wachowskis don’t appear to care what people think of them along their road to wearing Kleenex boxes on their feet and saving their pee in mason jars. Speed Racer is exhibit one in the case that the Wachowskis aren’t in it for praise (they’re not going to get any credible praise here) or money (they’re already loaded), but rather to luxuriate in the contents of their den’s shelves: first Alan Moore comics with V for Vendetta, now this excruciatingly faithful reproduction of an inexplicable camp artifact. Perhaps we should count our blessings that they weren’t huge fans of “Voltron.”

Leatherheads (2008)

April 4, 2008Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Germany, Romance, Sports, Theatrical

*½/****
starring George Clooney, Renée Zellweger, John Krasinski, Jonathan Pryce
screenplay by Duncan Brantley & Rick Reilly
directed by George Clooney

Leatherheadsby Walter Chaw George Clooney's Leatherheads is a lifeless, desperate-feeling vacuum that arrives without much reason for being other than to underscore that the Coen Brothers' Intolerable Cruelty was pretty underestimated as an attempt to revive the screwball farce. It's deeply flawed as a comedy, given that the only real laugh has to do with someone being set on fire. And while the instinct is to give it a pass because it's innocuous and slickly done, the other side of that is this giant diagram of a slippery slope. The film's first mistake is casting the flat, increasingly insipid Renée Zellweger as a Rosalind Russell/Kate Hepburn type; the second is its expectation that a screenplay by SPORTS ILLUSTRATED scribes Duncan Brantley and Rick Reilly could have the same kind of oomph as a Charles Lederer or Brackett/Wilder piece; and the third and last is a slowing down of the patter from 45 to 33 to accommodate modern actors' relative inability to do rapid-fire delivery, thus highlighting the first and second mistakes anew. Zellweger further perfects her walking-on-a-rail-whilst-sucking-on-a-lemon shtick (she moves and acts like a puckering hat rack), leaving Clooney–a gifted physical comedian, as his work with the Coens would attest–to carry the load. No help that the Ralph Bellamy in the standard triangle is the American "The Office"'s Jon Krasinski, who'd better get Lloyd's of London on the horn about that fourth-wall smirk. Without it, he's wallpaper.

Bad Santa (2003) [The Unrated Version and Director’s Cut] – Blu-ray Disc

November 27, 2007Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Christmas, Coen Brothers, Comedy, Crime, Drama, Germany

Badder Santa (The Unrated Version)
*/**** Image B Sound A- Extras B
Bad Santa (Director's Cut)
**/**** Image B+ Sound A- Extras B
starring Billy Bob Thornton, Tony Cox, Lauren Graham, John Ritter
screenplay by Glenn Ficarra & John Requa
directed by Terry Zwigoff

by Walter Chaw With a premise and producing credit for the Coen Brothers and direction by Ghost World's Terry Zwigoff, the film with the best pedigree of the season is Bad Santa, making its failure particularly depressing. Its tale of ace safecracker and dangerous drunk Willie (Billy Bob Thornton), brought on board an annual mall Santa scam by criminal mastermind Marcus (Tony Cox), isn't all that inventive upon closer scrutiny, with Zwigoff's interest in the peculiarities of loneliness exhibiting themselves this time as caustic to no end and displeasingly bitter. Worse, there are two shots in the film that appear to be direct cribs of Coen Brothers shots–the first a crash zoom into an alarm clock, the second a collapse by Willie identical to a shot of Frances McDormand falling into bed in Blood Simple; what alarms isn't the instinct to borrow from innovative filmmakers, but rather the feeling of desperation that flashy camera movements in an otherwise statically shot film indicates.

Elizabeth: The Golden Age (2007)

October 12, 2007Posted in2000s, Authors: Walter Chaw, Biopic, Drama, France, Germany, UK, War

½*/****
starring Cate Blanchett, Geoffrey Rush, Clive Owen, Samantha Morton
screenplay by William Nicholson and Michael Hirst
directed by Shekhar Kapur

Elizabeth2by Walter Chaw I don't mind historical pictures that aren't historically accurate until that historical inaccuracy–like in U-571, for instance–becomes so fucking retarded that it lowers the temperature of the room. Elizabeth: The Golden Age is just that fucking stupid. Should being dumb not be reason enough to avoid this movie, know that it's also unintentionally hilarious, appears to have had its screenplay ghost-written by Bob Dylan, and casts Catholics and Spaniards as Skeksis in some perverse re-imagining of The Dark Crystal as a psychodrama about the cherry-busting beheading of Mary, Queen of Scots (Samantha Morton, dreadfully wasted) and penile conjugation-by-double-proxy of rapscallion Walter Raleigh (Clive Owen) into the hallowed womb (and womb-like cathedral interiors of this England). Cate Blanchett reprises her role from director Shekhar Kapur's first Bollywoodization of British history (he made one other, The Four Feathers, in between) as the Virgin Queen born fully-formed from the school of Arch and Tic. (I wonder if soon there'll be any actresses left who haven't played one Elizabeth or another–seems the distaff "Hamlet" proving ground of our time.) There's a Nostradamus character for whatever goddamned reason, a candlelit bath scene only because it's mandated in sub-BBC pieces of shit like this, and a thinly-veiled CIA spook, Sir Francis Walsingham (Geoffrey Rush), who acts as Elizabeth's chief intelligence officer.

Fracture (2007) [Widescreen] – DVD

October 11, 2007Posted in2000s, Authors: Ian Pugh, Crime, Drama, DVD, Germany, Mystery, Thriller

**/**** Image B Sound A Extras D+
starring Anthony Hopkins, Ryan Gosling, David Strathairn, Rosamund Pike
screenplay by Daniel Pyne and Glenn Gers
directed by Gregory Hoblit

by Ian Pugh SPOILER WARNING IN EFFECT. Although the term "cat-and-mouse" has already become synonymous with Gregory Hoblit's Fracture, it's something of a misnomer in that it implies a clever battle of wits. The film actually hinges on precisely two turnarounds of one-upsmanship between the designated cat and mouse: the revelation of the convoluted, coincidence-dependent plan to commit the perfect murder, and the fatal flaw in said plan (the "fracture," get it?) that eventually brings its perpetrator to justice–and as both are telegraphed far in advance, it's impossible to play along with the expectation for surprise. So inevitable are these conclusions, in fact, that I just gave up and accepted the ending, which sidesteps a first-glance case of double jeopardy with such vague dialogue, recited in such a bland tone of sotto voce, that I only got the basic gist of how we got from Point A to Point B. With Point B such a shrug-worthy certainty, I wasn't nearly confused enough to care besides.

Day Night Day Night (2007) – DVD

October 3, 2007Posted in2000s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, France, Germany, Thriller

**/**** Image B+ Sound B+ Commentary B+
starring Luisa Williams, Josh P. Weinstein, Gareth Saxe, Nyambi Nyambi
written and directed by Julia Loktev

by Travis Mackenzie Hoover Somehow, Day Night Day Night proposes the logical impossibility of content-free terrorists. Normally such persons come armed to the teeth with ideological baggage (to say nothing of emotional baggage), yet writer-director Julia Loktev has decided to take one suicide bomber (Luisa Williams, billed as "The Girl"), drain her of any sort of political objective or personal motive, and just sort of follow her as she confirms everything with her superiors in a motel and moves on to her Times Square site of terror. The idea, I think, is to watch her do all sorts of mundane, quotidian things, then marvel at how they coincide with that ultimate act of violence. Perhaps inevitably, by about twenty minutes in you start to crave a little more than Williams playing with her cell phone–to yearn for a fuller understanding of her as a person. No such luck: Loktev is so committed to her minuscule hook that she empties her film of interest beyond crisp visuals, streamlined action, and tedious emptiness.

Wrong Turn 2: Dead End (2007) – DVD

October 2, 2007Posted in2000s, Adventure, Authors: Walter Chaw, Canada, DVD, Germany, Horror

*½/**** Image N/A Sound C+ Extras C
starring Erica Leerhsen, Henry Rollins, Texas Battle, Aleksa Palladino
screenplay by Turi Meyer & Al Septien
directed by Joe Lynch

by Walter Chaw As the first half is so abominable, colour me surprised that the second half of Joe Lynch's DTV sequel Wrong Turn 2 is actually good in a nominal way, dipping into the backwoods family well in a wonderfully derivative banquet sequence (borrowing from the first and third Texas Chain Saw Massacre pictures) and offering up bits of inventive, comic-book gore along the way. It's never scary and never tense, but it does feature scream queen Erica Leerhsen in another performance that's leagues better than the film she's in deserves. What's missing is that sense of pathos that defines the horror pictures of the '70s: Where the first film replaced it with glib ugliness, this one replaces it with smirking self-consciousness–neither tactic doing much to honour the idea that the family that slays together, etc., making the late-game sparks of brilliance ring suspiciously like glad-handing, happy horseshit. I appreciate that the cannibal hillbillies are given a family structure by the end of the piece–I just wish that that family wasn't the Cosbys. It's not really supposed to feel like a sitcom, is it?

Lucky You (2007) [Widescreen] – DVD

September 17, 2007Posted in2000s, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Germany, Romance, Sports

**/**** Image A- Sound A- Extras B-
starring Eric Bana, Drew Barrymore, Robert Duvall, Debra Messing
screenplay by Eric Roth & Curtis Hanson
directed by Curtis Hanson

Luckyyoucapby Walter Chaw Trapped in the doldrums between Robert Duvall doing his elderly, patting people on the hand while he's talking bit and Drew Barrymore enunciating every word as though she's trying not to let the marble fall out, Eric Bana struggles against stardom once again but states a case for it just the same. The vehicle this time is Curtis Hanson's Lucky You, a mainstream poker picture that re-establishes Hanson as a less ambitious James L. Brooks (which isn't altogether a bad thing). Bana is compulsive gambler Huck Cheever, named after an American writer and an antiquated term for a wheeler/dealer, thus neatly encapsulating his character as not only a con-man and a bit of an asshole but also moony and eloquent. There's nothing at all surprising about the way the film moves towards its conclusion, and even its twist loses its lustre beneath the steady drone of its interiors. It's an un-ironic love story featuring a problem gambler, a girl fresh off the bus, and a father/son subplot packing all the subtlety of a heart attack–which makes it, of course, suddenly Pollyannaish when it yearns so mightily for world-weary. Lucky You looks like a gambler, but it acts like a diagram instead of a train accident.

Succubus (1968) – DVD

August 20, 2007Posted in1960s, Authors: Alex Jackson, Blue Underground, DVD, Germany, Horror

Necronomicon – Geträumte Sünden
**/**** Image C+ Sound B- Extras B-
starring Janine Reynaud, Jack Taylor, Howard Vernon, Adrian Hoven
screenplay by Pier A. Caminnecci
directed by Jess Franco

by Alex Jackson Jess Franco's Succubus begins with heroine Lorna (Janine Reynaud) torturing and molesting a man chained to a stake while his similarly bound, bloodied, and partially-nude lover watches. The lover protests, so Lorna tortures her some until she passes out. She then goes to the man and plays with him a bit before skewering him with her ceremonial knife. The lights fade up and an audience applauds. The snuff scene was simulated. It's part of an act Lorna performs at a chic nightclub. This opening is the most eloquent and lucid scene in the film, for it establishes that director Jess Franco no longer has a responsibility to be eloquent and lucid. Succubus is going to be told subjectively through the perspective or Lorna, who is going schizophrenic (or something) and is increasingly unable to distinguish between reality and fantasy. Thus, whatever we see might actually be happening–and then again it might not be. We never really know.

The Bourne Ultimatum (2007)

August 2, 2007Posted in2000s, Action, Adventure, Authors: Walter Chaw, Espionage, France, Germany, Mystery, Spain, Theatrical, Thriller

***/****
starring Matt Damon, Julia Stiles, David Strathairn, Joan Allen
screenplay by Tony Gilroy and George Nolfi, based on the novel by Robert Ludlum
directed by Paul Greengrass

Bourneultimatumby Walter Chaw I look at the first film in this very fine trilogy as Jason Bourne embodying Harrison Ford’s Deckard character from Blade Runner: someone with hidden potential and a certain confusion about his place in the world–and the kind of figure Matt Damon is best at portraying, as it happens. I see the second film as Bourne-as-Roy Batty: robotic, violent, inexorable, and at the end of his string, valuing life and looking to make what amends he can. This third film, The Bourne Ultimatum, directed again by Paul Greengrass and welcoming several key players (Joan Allen, Julia Stiles, Damon, screenwriter Tony Gilroy, DP Oliver Wood) back into the fold, ties both strings together: Bourne inhabiting his potential as something of an unparalleled killing machine while, simultaneously, becoming more human in his machine-like purposefulness. If there’s a feeling we’ve been here before, mark that down as the inevitable side-effect of staying just a little too long with a series that, to this point, had yet to make any missteps, minor or otherwise. Consequently this film, more than the other two, feels like a straight line: less improvisation, more inevitability, all of it leading to the moment where our hero, the merciless assassin, decides whether his training to be an instrument overrules his instinct to be a human. It can’t be a surprise anymore, so all that’s left is that it be true.

Fantastic Four: Rise of the Silver Surfer (2007) + Evan Almighty (2007)

June 22, 2007Posted in2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Family, Germany, Sci-Fi, Superhero, UK

Fantastic 4: Rise of the Silver Surfer
4: Rise of the Silver Surfer
½*/****
starring Ioan Gruffudd, Jessica Alba, Chris Evans, Michael Chiklis
screenplay by Don Payne
directed by Tim Story

EVAN ALMIGHTY
½*/****
starring Steve Carell, Morgan Freeman, Lauren Graham, John Goodman
screenplay by Steve Oedekerk
directed by Tom Shadyac

Fantasticalmightyby Walter Chaw The question arises as to whether the choice for comic book adaptations has to be between "existentially tortured" and "dumb as a bag of hammers." It's a given on which extreme Fantastic Four: Rise of the Silver Surfer (hereafter FF2), already lauded for being blissfully free of gravitas and subtext, resides; what's troubling is the underlying inference of this philosophy: that people deserve and want entertainment that's beneath them. It's easier by far to condemn the audience as morons, forking over their cash like roughneck flyovers voting for Big Business, but I prefer to look at the situation as a tragedy–a by-product of a generation of fervent anti-intellectualism that's made smart people afraid to question their own judgment. Far from a malady unique to Hollywood, it's more a reflection of the culture that would elect someone most perceive to be, if not outright stupider, then certainly more thoughtless, than themselves to the highest office in the land. Discouraged to exercise the foundational, instinctively American inclination to criticize our leadership, we're left without enough of a nutsack to properly place a work of art in its social context. I'd offer that FF2 is a symptom of a potentially mortal illness, another being the ghettoizing of the idea of "nuance."

Comedy of Power (2006) – DVD

May 23, 2007Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, DVD, France, Germany

L'Ivresse du pouvoir
**/**** Image A- Sound A- Extras A-
starring Isabelle Huppert, François Berléand, Patrick Bruel, Robin Renucci
screenplay by Odile Barski and Claude Chabrol
directed by Claude Chabrol

Comedyofpowercapby Travis Mackenzie Hoover Things were going great. Two Claude Chabrols (The Bridesmaid and Violette Nozière) had made their way into my FFC goodie bag, both of them entirely worthy entries in his oeuvre. Maybe they aren't masterpieces, but they're nonetheless solid pieces of filmmaking that don't disappoint. So when Comedy of Power (L'Ivresse du pouvoir) arrived on my doorstep, I clasped it to my chest just knowing that the third time's a charm. Alas, no. Turns out the movie is the most routine Chabrol I can remember: smug, lacking in ambiguity, and possessed of some of the feeblest writing in the director's career. It's an obvious movie by the master of misdirection, a blunt knee to the groin by someone you can usually count on to go for the throat. Even as satire, it's nothing you couldn't get any day from Jon Stewart (with twice the panache and funny to boot).

The Bridesmaid (2004) – DVD

May 22, 2007Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, DVD, France, Germany, Italy, Romance, Thriller

La Demoiselle d'honneur
***/**** Image C+ Sound B- Extras A-
starring Benoît Magimel, Laura Smet, Aurore Clément, Bernard Le Coq
screenplay by Pierre Leccia and Claude Chabrol, based on the novel by Ruth Rendell
directed by Claude Chabrol

Bridesmaidcapby Travis Mackenzie Hoover Comparisons of The Bridesmaid (La Demoiselle d'honneur) to Hitchcock are almost inevitable, not only because such assessments are the lazy default position of critics when referencing suspense yarns, but also because The Bridesmaid's director, Claude Chabrol, has carved out a career as the French heir apparent to the master's title. That said, the distinctions between the two filmmakers are probably more interesting than the similarities: Chabrol's overall style is considerably more relaxed than Hitchcock's, and his approach to character is finally less judgmental. Here, for instance, in lieu of assigning blame to the damaged femme fatale of the title, he notes the thrilling nature of her transgression and the unappetizing prospect of returning to normalcy after succumbing to her lethal charms. Chabrol has always put women in the driver's seat of perversity and sexual wilfulness–something Hitch never quite had either the guts or the sympathy to pull off.