The PianoTuner of EarthQuakes (2006); Mutual Appreciation (2006); Unknown (2006)

January 19, 2006Posted in2000s, Animation, Authors: Walter Chaw, Crime, Drama, Esoterica, Family, Fantasy, France, Germany, Music, Mystery, Romance, Theatrical, Thriller, UK

THE PIANOTUNER OF EARTHQUAKES
*½/****
starring Amira Casar, Gottfried John, Assumpta Serna, César Saracho
screenplay by Alan Passes and The Quay Brothers
directed by The Quay Brothers

MUTUAL APPRECIATION
***½/****
starring Justin Rice, Rachel Clift, Andrew Bujalski, Seung-Min Lee
written and directed by Andrew Bujalski

UNKNOWN
½*/****
starring Jim Caviezel, Greg Kinnear, Bridget Moynahan, Joe Pantoliano
screenplay by Matthew Waynee
directed by Simon Brand

by Walter Chaw The Quay Brothers, Stephen and Timothy, are marvellous animators, having shepherded stop-motion and a disquieting biomechanical ethic into a series of notably discomfiting shorts, more than one of which pays tribute to their hero/mentor Jan Svankmajer. I met their 1995 transition to live-action features (Institute Benjamenta) with equal parts excitement, curiosity, and trepidation–I believed they'd be a little like either fellow animator-turned-director Tim Burton or those masters of a form who overreach by switching to a different medium, à la Michael Jordan. The truth is somewhere in-between, as the Quays have retained a bit of their glacial patience and a marked affection for created environments but have miscalculated the extent to which our fascination with animate clockworks translates into a commensurate fascination with people sitting around, staring at a wall. The former inspires existential thoughts on the nature of sentience; the latter generally inspires boredom. No question in my mind that something's lurking in the Quays' underneath, but it's important to mark that fine line distinguishing fascination from obtuseness for the sake of itself. Exploring the waking/dreamlife divide is interesting–but it's neither original nor terribly useful when the main tactic seems to be to conjure up pomposity-inspired sleepiness.

Tristan + Isolde (2006)

January 13, 2006Posted in2000s, Action, Authors: Walter Chaw, Czech Republic, Drama, Germany, Romance, Theatrical, UK, War

*/****
starring James Franco, Sophia Myles, Rufus Sewell, David O'Hara
screenplay by Dean Georgaris
directed by Kevin Reynolds

Tristanisoldeby Walter Chaw After bravely transforming the Robin Hood legend into a case of thirtysomething love jones with Robin Hood: Prince of Thieves, Kevin Costner's well-known ex-best friend Kevin Reynolds turns the Tristan + Isolde legend into a WB/TIGER BEAT-friendly, mouth-breathing bodice-ripper indicated by lots of backlighting, orgasmic slow-mo, and dialogue purple enough to blind a Bronte sister. It's shot like a perfume commercial and written like a florid creative-writing exercise, one packed with such AM Gold, Luther Ingram treasures as: "Why does loving you feel so wrong?" Well, it might have something to do with said love being the basis for the Guinevere/Lancelot adultery story in which a woman comes between a king and his most trusted knight, leading to the ideological and literal collapse of a kingdom. Or it might have something to do with the fact that the actors playing the lovers in question never for a moment manage to spark the soggy tinder packed beneath the story. This allows a great deal of time for the sentient beings left in the audience after the ten-minute-mark exodus to suss out why this thing was delayed, then dumped in the middle of the January dead zone. It also, incidentally, caused me to fantasize about somehow harnessing the ability of films like this to make 125 minutes feel like six days for youth-giving effects and racing box scores.

The Devil’s Rejects (2005) [Two-Disc Director’s Cut] – DVD

December 7, 2005Posted in2000s, Authors: Walter Chaw, DVD, Germany, Horror

***/**** Image A- Sound A Extras A+
starring Sid Haig, Bill Moseley, Sheri Moon Zombie, William Forsythe
written and directed by Rob Zombie

by Walter Chaw The Devil's Rejects is a minor grindhouse classic that betrays writer-director Rob Zombie as a self-hating cinephile (he inserts a movie critic character only to abuse him) who saddles his villains with Marx Brothers aliases and cribs scenes from sources as varied as The Texas Chain Saw Massacre and Taxi Driver. His family of Ed Geins (Baby (Sheri Moon Zombie), her brother Otis (Bill Moseley), their uncle Captain Spaulding (Sid Haig)) proceed to Petrified Forest a family of rodeo cowboys (Geoffrey Lewis and Priscilla Barnes and others) at a motor inn after a rousing break from a siege on their farmhouse of horrors, then get hunted down and tortured by avenging angel Sheriff Wydell (William Forsythe). His tongue firmly in cheek, Zombie casts a couple of '80s sitcom queens from TV shows worried about family dynamics (Barnes of "Three's Company" and Deborah Van Valkenburgh of "Too Close for Comfort") in meatbag roles while spinning southern rock classics like The Allman Brothers' "Midnight Rider" over a virtuoso credit sequence (shades of Scott Caan's exceptional debut Dallas 362) and Lynrd Skynrd's "Free Bird" during its conclusion in a way that actually manages not to feel ironic or snarky. That's the tightrope Zombie walks here and he walks it with a surplus of style and skill: it's an exploitation flick about audience culpability, a splatter flick about morality, and a post-modern film that actually cares about movies.

DIFF ’05: The Matador

November 16, 2005Posted in2000s, Authors: Walter Chaw, Comedy, Crime, DIFF/SDFF, Film Festivals, Germany, Ireland, Mexico, Thriller
**½/****starring Pierce Brosnan, Greg Kinnear, Hope Davis, Philip Baker Hallwritten and directed by Richard Shepard by Walter Chaw Wearing a sleazebag moustache and an ugly print shirt, Pierce Brosnan watches a bartender shake his drink instead of stirring it and the film slows down and blurs accordingly. It's post-modernism as gauzy, lazy hallucination--a swoon that suggests a minor, nearly-imperceptible tremor in reality and the only moment in which hyphenate Richard Shepard acknowledges the irony of the former 007's presence in another licensed-to-kill role as assassin-for-hire Julian Noble. Fond of bottomless tequila and "sucky-fucky" instead of "blushy-blushy," Noble is an unctuous,…

DIFF ’05: The White Countess

November 15, 2005Posted in2000s, Authors: Walter Chaw, China, DIFF/SDFF, Drama, Film Festivals, Germany, Romance, UK, War
**/****starring Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Lynn Redgravescreenplay by Kazuo Ishigurodirected by James Ivory by Walter Chaw Even without recently-deceased partner-in-crime Ismail Merchant, stalwart period-costume-drama codger James Ivory delivers the slavishly middlebrow, meandering, Anglo-centric goods with The White Countess, the tale of a sightless American ex-diplomat, Jackson (Ralph Fiennes), who falls for refugee Russian countess Sophia (Natasha Richardson) in Shanghai on the eve of Japanese occupation. Packed to the rafters with Redgraves (Lynn and Vanessa also appear) and meticulously airless accents, the picture represents a certain ossified breed of prestige picture of the A Room with a View and…

The War Within (2005) + Paradise Now (2005)

November 4, 2005Posted in2000s, Authors: Walter Chaw, Crime, Drama, France, Germany, Israel, Netherlands, Palestine, Theatrical, Thriller, War

THE WAR WITHIN
**/****
starring Ayad Akhtar, Firdous Bamji, Nandana Sen, Sarita Choudhury
screenplay by Ayad Akhtar, Joseph Castelo, Tom Glynn
directed by Joseph Castelo

PARADISE NOW
***/****
starring Kais Nashef, Ali Suliman, Lubna Azabal, Amer Hlehel
screenplay by Hany Abu-Assad, Bero Beyer, Pierre Hodgson
directed by Hany Abu-Assad

by Walter Chaw Two films, one by New Jersey filmmaker Joseph Castelo, the other by Palestinian lenser Hany Abu-Assad, begin to make inroads into what is perhaps the most inscrutable phenomenon of the so-called War on Terror: suicide bombing. They’re important films, I think, mostly because suicide bombers, like the Japanese Kamikaze pilots of WWII, make it easier to generalize and dehumanize/demonize the enemy as faceless zealots. Every manned car-bomb, every explosives-strapped martyr, creates ideological schisms on either side–more so and deeper, I’d offer, than conventional missiles or rifle shells do, because here we’re striking at the very heart of the way we perceive life and the afterlife: holiness and sin, valour and cowardice. If there’s ever to be some sort of olive branch in this millennia-old conflict, it has to start with an agreement not only to recognize the humanity beneath the atrocities committed by both sides in the name of defending home and hearth, but also to admit that centuries-old texts about the supernatural are piss-poor signposts pointing the light of right reason.

Doom (2005) + Stay (2005)

October 21, 2005Posted in2000s, Action, Adventure, Authors: Walter Chaw, Czech Republic, Drama, Germany, Horror, Mystery, Sci-Fi, Theatrical, UK

DOOM
½*/****
starring The Rock, Karl Urban, Rosamund Pike, DeObia Oparei
screenplay by David Callaham and Wesley Strick
directed by Andrzej Bartkowiak

STAY
*½/****
starring Ewan McGregor, Naomi Watts, Ryan Gosling, Janeane Garofalo
screenplay by David Benioff
directed by Marc Forster

by Walter Chaw For a split second, the clouds part and I think I’ve kenned a glimmer of an idea in Andrzej Bartkowiak’s video game adaptation Doom that doesn’t involve homoerotic gun worship or ripping off everything from Aliens save its humanity. Semper Fi, gung ho, muscle-bound jarhead Sarge (Dwayne “The Rock” Johnson) takes it upon himself to order his own mini-Mai Lai because he’s a stickler for details, and his stock marines balk to varying degrees of morality-inspired mutiny. Suddenly, and just for that split second, Doom of all things becomes Casualties of War (and, in fact, literalizes that film’s tagline of “In war, innocence is the first casualty”), and although what’s leading up to the moment isn’t that great, I was ready to roll with this totally unexpected, thought-provoking tickle. Alas–it flees like hope so often does, leaving fifteen minutes of semi-gory first-person perspective to simulate the first-person perspective of the video game (marking this as the first–and probably last–time someone thought that ripping off Uwe Boll was a good idea), ending with the sort of mano-a-mano showdown between its warring alpha males that everyone’s seen enough of by now.

Crash (2005) [Widescreen] – DVD

October 10, 2005Posted in2000s, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Crime, Drama, DVD, Germany, Thriller

*/**** Image A Sound A- Extras B-
starring Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito
screenplay by Paul Haggis & Bobby Moresco
directed by Paul Haggis

Crash2005cap

by Walter Chaw In peeking under the satin-slick bedclothes of the latest crop of high-falutin' liberal diatribes tarted-up with matinee idols and compromised ideals, one finds that whatever the trappings of sophistication, we're still making Stanley Kramer movies, all of grand speeches and peachy endings. Seems to me the common denominator among the Interpreters and Constant Gardeners and Lord of Wars is a good unhealthy dollop of white man's guilt, that could-be beneficial malady that afflicts the affluent and socially well-established once in a while so they'll pay lip service to Africa, and race, and class. (Just as long as it has nothing to do with actual activism.) They're issues considered phantom offices at which to give and then leave with a sense of closure at best or, at the least, a feeling that all the tempests in the world are fit for a teacup you can put away somewhere in a mental cupboard. Race as a fable, Africa as a fantasy–and the last reel interested in beautiful, rich white people falling in love; I think about Preston Sturges's Sullivan's Travels and a couple of challenges presented therein to white, privileged, "morbid rich" filmmaker Sully, played by Joel McCrea: "What do you know about trouble?" and, later, "I have never been sympathetic to the caricaturing of the poor and needy, sir." To which Sully responds: "Who's caricaturing?"

TIFF ’05: Dear Wendy

September 26, 2005Posted in2000s, Authors: Bill Chambers, Comedy, Crime, Denmark, Drama, Esoterica, Film Festivals, France, Germany, Romance, TIFF, UK
*½/****starring Jamie Bell, Bill Pullman, Michael Angarano, Danso Gordonscreenplay by Lars von Trierdirected by Thomas Vinterberg by Bill Chambers It's a classic catch-22: Dear Wendy reveals that Jamie Bell was born to play Billy the Kid, but it probably also squanders his chances of doing so. As Dick, the orphaned son of a miner, Bell dons Michael J. Fox's effeminate cowboy duds from Back to the Future Part III and transforms the town's social lepers into a gang of gun fetishists known collectively as the Dandies; director Thomas Vinterberg and screenwriter Lars von Trier give us the gay burlesque version…

A Sound of Thunder (2005)

September 7, 2005Posted in2000s, Action, Adventure, Authors: Walter Chaw, Czech Republic, Germany, Horror, Sci-Fi, Theatrical, Thriller, UK, ZERO STARS

ZERO STARS/****
starring Edward Burns, Catherine McCormack, Ben Kingsley, Jemima Rooper
screenplay by Thomas Dean Donnelly & Joshua Oppenheimer and Gregory Poirier, based on the story by Ray Bradbury
directed by Peter Hyams

Soundofthunderby Walter Chaw Dr. Travis Ryer (Edward Burns) lives in 2055 Chicago, where he conducts hunting trips back to the same moment in the Cretaceous period to hunt the same dinosaur fated to die moments later in a tar pit. Cheap thrills for the future's bluebloods, the outfit is called "Time Safari," and it's owned by an evil capitalist, Hatton (Ben Kingsley), who, in trying to appease future-Chicago's strict time-travel regulatory agency, warns his clients to stay on the path and keep their hands to themselves lest the shockwaves of fucking with prehistory change the course of evolution. It's a term that A Sound of Thunder bandies about with some confidence, "evolution," but it does so without conveying the first idea of what evolution actually is or how it works. It's the kind of film that creationists and other retarded people will like because it mounts a pretty good case for the intelligent design-/flat earth-inspired "Heck, we don't know shit, anything could be true!" school of thought.

Transporter 2 (2005)

September 2, 2005Posted in2000s, Action, Authors: Walter Chaw, Crime, France, Germany, Theatrical, Thriller

*/****
starring Jason Statham, Alessandro Gassman, Amber Valletta, Kate Nauta
screenplay by Luc Besson & Robert Mark Kamen
directed by Louis Leterrier

by Walter Chaw After the unqualified triumph of Unleashed, the other Luc Besson/Louis Leterrier flick from 2005, my expectations were sky high for Transporter 2, the sequel to Cory Yuen's fitfully-entertaining, unapologetically puerile throwback to the delirious Hong Kong cinema of John Woo and Ringo Lam. (Yuen returns as choreographer.) What a disappointment, then, that this picture's even weaker than its predecessor in terms of character development and plotting, content as it is to be a Jackie Chan ripper with Man on Fire's plot. What so intoxicated about Jackie Chan was this gathering cult of personality born of the man's reckless disregard for his own well-being in the pursuit of fashioning a body of work (individual scenes, not films–the films mostly suck) that for a while resurrected Buster Keaton in every movie theatre outside American soil. Without that sense of Chan's legacy (no one is "collecting" Jason Statham's groovy but inorganic fight scenes), all that's left is a vacuous, utterly-disposable chop-socky flick that pervs on girls with the same kind of childishness with which it pervs on cars. Telling that the MacGuffin of the piece is a hyper-phallic syringe and that the chief henchman is Lola (Katie Nauta), an Aryan Grace Jones with a fondness for lingerie and submachine guns.

The Constant Gardener (2005)

August 25, 2005Posted in2000s, Authors: Walter Chaw, Drama, France, Germany, Kenya, Mystery, Romance, Switzerland, Theatrical, Thriller, UK

**/****
starring Ralph Fiennes, Rachel Weisz, Danny Huston, Bill Nighy
screenplay by Jeffrey Caine, based on the novel by John Le Carré
directed by Fernando Meirelles

Constantgardnerby Walter Chaw An interesting companion piece to both Philip Noyce’s The Quiet American and Andrew Niccol’s upcoming Lord of War, non-antipodean Fernando Meirelles’s follow-up to City of God, the John Le Carré adaptation The Constant Gardener, is beautifully shot in the murky style of David Fincher or high-fashion photography. Not a bad thing–indeed, The Constant Gardener is one of the most technically proficient pictures of the year–but not a great thing, either, when talking about children killing children in Brazil’s favelas or, as is the case here, a British diplomat confronting his culture’s pathological politeness in the plague-fields of Kenya. What recommends The Constant Gardener is the uniform tonal perfection of the performances, and even if the film itself seems to glamorize (and condescend to) the plight of starving and exploited African nations, it at least demonstrates, along with its cinematic brethren (add The Interpreter and Stephen Gaghan’s forthcoming Syriana to that list), cinema’s willingness to take a more global stance. A paternalistic one, for the most part, but a global one just the same.

The Best of Youth (2003) + Saraband (2003)

August 9, 2005Posted in****/****, 2000s, Austria, Authors: Walter Chaw, Denmark, Directors: Ingmar Bergman, Drama, Finland, Germany, Italy, Music, Norway, Romance, Sweden, Television, Theatrical

La Meglio gioventù
****/****
starring Luigi Lo Cascio, Alessio Boni, Adriana Asti, Sonia Bergamasco
screenplay by Sandro Petraglia, Stefano Rulli
directed by Marco Tullio Giordana

SARABAND
**½/****
starring Liv Ullmann, Erland Josephson, Börje Ahlstedt, Julia Dufvenius
written and directed by Ingmar Bergman

by Walter Chaw Television is the great bogey of the modern era. Newton Minnow’s vast wasteland. Marshall McLuhan’s “massage.” The corruptor of youth and the opiate of the people. The glass teat. Although it’s been excoriated as the prime example of what happens to art when commerce intrudes upon it, when the moneymen at the gates break through to undermine the best intentions of television artists yearning to break free, I think it’s more complicated than that. I think that television, like any other popular medium, is a cathode stethoscope held against the chest of the spirit of the world–a conduit to both what’s good and what’s venal in any culture. There are as many, maybe more, classics being produced for television now as there were during its Golden Age (and the good old days weren’t always good, besides), it’s just that we have more chaff to sift through before we get to the wheat nowadays–but more wheat, too. Say this for TV: it seems more capable of recognizing a hunger for quality than film does. Credit the smaller budgets and quicker turnarounds–something that’s put cinema in the catch-up position in the early years of the new millennium.

Monster-in-Law (2005) [Platinum Series] – DVD

August 7, 2005Posted in2000s, Authors: Walter Chaw, Comedy, DVD, Germany, Romance, ZERO STARS

ZERO STARS/**** Image A Sound A- Extras D
starring Jennifer Lopez, Jane Fonda, Michael Vartan, Wanda Sykes
screenplay by Anya Kochoff
directed by Robert Luketic

by Walter Chaw I felt real pain as Monster-in-Law unfolded. It was the variety of headache that begins behind the eyes before settling somewhere in the gorge. Two whole lines in my notebook were devoted to the word "hate," and true enough, it took all of five minutes for me to know that I despised this film. Five minutes being the same amount of time it takes for the picture to resort to a dog-humping gag, something that has never been funny in any incarnation and is always, always a sign that the oft-dredged barrel bottom is getting scraped once more, with feeling. Monster-in-Law has Jane Fonda playing a fossilized Barbara Walters manqué who attacks a Britney Spears manqué on the day that Fonda's Viola Fields is fired. (The faux-Britney has mistaken Roe Vs. Wade for a boxing match, a crime of ditz maybe less egregious than, say, cheerfully having your picture taken on a North Vietnamese gun battery circa 1972.) Meanwhile, Jennifer Lopez continues to do a whinier, Puerto Rican Melanie Griffith. But the picture isn't about the age issue or the class issue or the race issue–how could it be when Viola owns an eye-rolling, foolishness-talking mammy slave archetype named Ruby (Wanda Sykes)? No, Monster-in-Law isn't about anything on purpose except Fonda's too-real desperation, great draughts of random ugliness, and extorting money from people who will say once the dust settles that I'm out of touch.

Fantastic Four (2005)

July 7, 2005Posted in2000s, Action, Adventure, Authors: Walter Chaw, Germany, Sci-Fi, Superhero, Theatrical

½*/****
starring Ioan Gruffudd, Michael Chiklis, Jessica Alba, Chris Evans
screenplay by Michael France and Mark Frost, based on the Marvel comic
directed by Tim Story

Fantasticfourby Walter Chaw Terrible. Tim Story's Fantastic Four is just terrible. It's not overly offensive, not sociologically damaging, and the only way it'll pervert your children is by making them stupider. But if you love and respect the cinema as a medium capable of giving life to fantasy and passion to the impossible, the picture's crimes are no less egregious. Fantastic Four is a prime example in every respect of how not to make a movie: it's badly cast, poorly written, clumsily-directed, respects no internal logic, and looks extremely ugly to boot–it resembles those '80s production-line comedies (Police Academy, Hot Dog: The Movie) populated by fashion-plate superheroes instead of fashion-plate stoners. The pacing is so mortally off that it feels like days have been slipped in there in place of minutes, and there's so little rapport among the cast that it often appears as though the actors were filmed separately and later composited in some dork's basement mainframe. You can feel your life being siphoned away by this thing. Did I fail to mention that the special effects are bad? It's a lot of things simultaneously: a nightmare; a joke; a disaster. I dropped my notebook at one point during the screening and spent the rest of the time wondering if I should just leave it there as Fantastic Four finally dribbled to a close. It's bad enough to put you off movies for good.

Invincible (2002) – DVD

July 6, 2005Posted in2000s, Authors: Walter Chaw, Directors: Werner Herzog, Drama, DVD, Germany, Ireland, UK, War

***/**** Image A Sound A+
starring Tim Roth, Jouko Ahola, Anna Gourari, Jacob Wein
written and directed by Werner Herzog

by Walter Chaw With casting, in true Herzog fashion, being the lion’s portion of performance, Finnish strongman Jouka Ahola starring as legendary Jewish strongman Zishe Breitbart in Herzog’s Invincible is a stroke of inspired madness. Herzog fashions Ahola’s total lack of experience and guile into something like an ecstatic holiness. He’s done this before, of course, with madmen Bruno S. in The Enigma of Kaspar Hauser and Stroszek and the certifiable Klaus Kinski in some five astonishing pictures (astonishing not only for their quality, but also for the fact that there were five), so although extratextual complexity ever-threatens to become a distraction in Herzog’s films, it’s the sort of distraction that edifies Herzog’s preoccupation with blurring the distinction between performance and naturalism, fiction and documentary. No less so than in Invincible: The first time Herzog has returned to the pre-Bellum Nazi period in Germany since his directorial debut, Signs of Life, it pits one of Herzog’s classic social naïfs against a creature of pure manipulative malevolence, Hanussen (Tim Roth), who is, naturally, the kind of master showman/entertainer Herzog has always mistrusted.

I, Robot (2004) [Widescreen + All-Access Collector’s Edition] – DVDs

July 3, 2005Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Germany, Mystery, Sci-Fi, Thriller, Will Smith

*/****
DVD – Image A Sound A+ Extras C
DVD (CE) – Image A Sound A+ Extras B-
starring Will Smith, Bridget Moynahan, Bruce Greenwood, James Cromwell
screenplay by Jeff Vintar and Akiva Goldsman
directed by Alex Proyas

by Walter Chaw Alex Proyas makes movies about men who don’t know who they are. The Crow, Dark City, and, to an extent, his underachieving small-band-doesn’t-make-good dramedy Garage Days, feature main characters forced to come to terms with their identities before becoming empowered by them. It would appear, then, that Proyas is the perfect fit for the faux-philosophical science-fiction epic I, Robot, wherein a Luddite detective, played by Will Smith, struggles with his stupid past while an Aryan robot, played by Alan Tudyk, wonders if it’s a person. But instead of the existential grief of 2001: A Space Odyssey, Blade Runner, or even A.I., I, Robot is a mess of spare parts cannibalized from superior models and victimized by bad wiring. Poor Isaac Asimov is sparking in his grave–good thing the movie was only “suggested by a book by,” which at some point simply means “has the same title as.”

The Nomi Song (2004) – DVD

June 6, 2005Posted in2000s, Authors: Travis Mackenzie Hoover, Documentary, DVD, Germany, Music

***/**** Image A- Sound A- Extras A-
directed by Andrew Horn

by Travis Mackenzie Hoover Though I'm only peripherally acquainted with the current '80s New Wave revival, it's hard for me not to see Klaus Nomi as singular even within its context. As Andrew Horn's documentary The Nomi Song points out, he was a professional among amateurs, a trained opera singer who put his then-unmarketable falsetto skills to use by crashing the goofy East Village art scene and becoming the very fusion of pop and high art that was only half-seriously proposed by its core scenesters. Sealing the deal of his act–an androgynous amalgam of Weimar cabaret, kabuki stylization, and assorted dada inflections–was an ethereal voice that indeed made him seem like the creature from another planet. Sad, then, to note that he not only wound up cheating collaborators integral to his initial fame, but also died of AIDS before he could make an end run on the mainstream like the one he did on the underground.

Lords of Dogtown (2005)

June 2, 2005Posted in2000s, Authors: Walter Chaw, Biopic, Drama, Germany, Sports, Teen, Theatrical

*½/****
starring Emile Hirsch, Victor Rasuk, John Robinson, Michael Angarano
screenplay by Stacy Peralta
directed by Catherine Hardwicke

Lordsofdogtownby Walter Chaw Because Catherine Hardwicke never met a rack zoom she didn't massage or a hard-luck adolescent's lament she didn't exploit, seeing her as a match for Stacy Peralta's semi-autobiographical account of the Zephyr skateboard team's halcyon days doesn't require that much of a squint. Directed like a heart attack and edited in such a way that most every scene ends with something breaking or someone running away, the picture is what baseball folks would call a "loud out"–a ball hit with pepper that peters out on the warning track; it doesn't even get an asterisk on the scorecard. Lords of Dogtown is the fictionalization of Peralta's interesting if overlong documentary Dogtown and Z-Boys, which detailed how the skateboard fad evolved from a combination of a lack of good surfing, the invention of urethane wheels, and a drought that created backyard terror-domes of skater-bliss in forcing California residents to drain their swimming pools. And what Lords of Dogtown lacks in characterization and narrative meat it makes up for in epileptic flash-edits, jittery camera work, and two interpretive dance sequences that drag on for long enough to point a long finger at the silliness of the whole endeavour. Call it S.E. Hinton for the new millennium, the romanticization of bad behaviour in a frantic stew turgid enough to embalm instead of bronze. Between this and her hysteria opus thirteen, Hardwicke is making a name for herself as the world's coolest aunt: arrested development in one hand, shot of Jack in the other, bail money in her back pocket.

Suspect Zero (2004) [Widescreen] – DVD

May 23, 2005Posted in2000s, Authors: Walter Chaw, Crime, DVD, Germany, Horror, Mystery, Thriller, UK

***½/**** Image A Sound A Extras B
starring Aaron Eckhart, Ben Kingsley, Carrie-Anne Moss, Harry J. Lennix
screenplay by Zak Penn and Billy Ray
directed by E. Elias Merhige

by Walter Chaw A metaphysical serial killer film, E. Elias Merhige's Suspect Zero is implications and shadows married to exploitation and shock: a queasy stew dredging the well of archetype that disturbs with the blasted nihilism of its vision. With its wastelands and its bloated, appallingly fertile cadavers reaching into their own wounds, it reminds of Merhige's own avant-garde silent film Begotten; and it reminds of Dario Argento's Deep Red, literally in the reveal of a wallpaper-palimpsest and figuratively in the intrusion of the supernatural into the mendacity of a crime story. This is the only kind of police procedural film possible after Se7en, one that doesn't go over the same theological ground but rather forges paths through more philological terrain–the serial killer genre as Thomas Harris tried to redefine it for the literary elite. Suspect Zero is smart and anxious.