Italy Archives - Page 5 of 8 - FILM FREAK CENTRAL

Mondovino (2004) – DVD

August 1, 20062000s, Argentina, Authors: Travis Mackenzie Hoover, Documentary, DVD, France, Italy

***½/**** Image A- Sound A Extras A-
directed by Jonathan Nossiter

by Travis Mackenzie Hoover

"I like order, but I also like disorder."
-Hubert de Montille, Mondovino

Like a lot of people unconnected to the better households, I always viewed the obsessive discernment of wine lovers with a dash of incredulity. Cultivating taste in the arts, now that seemed to make sense: it was where the beliefs of a culture were stored, where competing values duked it out for the right to call themselves a representation of reality. But wine? The other grape juice? Something didn't jibe–which made me nervous about approaching Jonathan Nossiter's Mondovino. Yet the film's subject isn't really wine at all: this is a tract on how globalization is sucking local identity and individual quirk out of everything it touches. The subject could be art or food or, dare I say it, film. It's a preview of what we're going to be stuck with, and a message to those atomized in their fields that things are tough all over.

Street Law (1974) + The Big Racket (1976) + The Heroin Busters (1977) – DVDs

July 26, 20061970s, Action, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Drama, DVD, Italy, Thriller

STREET LAW
Il cittadino si ribella
**/**** Image A Sound A Extras B-
starring Franco Nero, Giancarlo Prete, Barbara Bach, Renzo Palmer
screenplay by Massimo de Rita and Dino Maiuri
directed by Enzo G. Castellari

THE BIG RACKET
Il grande racket
**/**** Image A Sound A Extras B+
starring Fabio Testi, Vincent Gardenia, Renzo Palmer
screenplay by Arduino Maiuri, Massimo de Rita, Enzo G. Castellari
directed by Enzo G. Castellari

THE HEROIN BUSTERS
La via della droga
*½/**** Image A- Sound A Extras B-
starring Fabio Testi, David Hemmings, Sherry Buchanan
screenplay by Massimo de Rita and Enzo G. Castellari
directed by Enzo G. Castellari

by Travis Mackenzie Hoover There comes a point in every man's life when he finds himself pushed too far. By "too far," I naturally mean the moment where a) criminal thugs are roaming the streets, and b) innocent bystanders are completely expendable in their apprehension and/or bloody death. And if Blue Underground is to be believed, Enzo G. Castellari long ago reached that point. The champagne of exploitation labels has lavished infinite care on three of the master's most lurid exploits: the Death Wish precursor Street Law; the police-vigilante epic The Big Racket; and the relatively routine drug drama The Heroin Busters. Each of these films does away with such nuisances as due process and respect for public safety. Castellari's oeuvre reveals the dark underbelly of '70s permissiveness, which on one hand extended the hippie mandate to less shaggy extremes but on the other encouraged right-wingers to embrace police-brutality extravaganzas.

Gabrielle (2005) – DVD

July 20, 20062000s, Authors: Travis Mackenzie Hoover, Drama, DVD, France, Germany, Italy, Romance

***½/**** Image A- Sound A- Extras N/A
starring Isabelle Huppert, Pascal Greggory, Claudia Coli, Thierry Hancisse
screenplay by Patrice Chéreau & Anne-Louise Trividic, based on the novel The Return by Joseph Conrad
directed by Patrice Chéreau

by Travis Mackenzie Hoover It's official: the heritage movie is dead. Long the bane of young rowdies and middlebrow-haters the world over, the form breathed its last breaths earlier this century following a couple of decades of uncritical support. Witness Patrice Chéreau's outstanding literary adaptation Gabrielle, which manages to avoid the pitfalls of the genre while simultaneously critiquing its lesser examples. There is no comfort to be had in well-appointed houses or the tasteful appreciation of "the arts"–only, after Joseph Conrad's The Return, a vain and selfish man who uses such accoutrements for his self-aggrandizement. The film snatches away the cheap pleasures of heritage, blowing up its shallow comforts and rocking you in ways a mere "period piece" never could.

Caché (2005) – DVD

June 26, 2006****/****, 2000s, Austria, Authors: Walter Chaw, Drama, DVD, FFC Must-Own, France, Germany, Italy, Mystery, Thriller

Hidden
****/**** Image A Sound A Extras A
starring Daniel Auteuil, Juliette Binoche, Maurice Bénichou, Annie Girardot
written and directed by Michael Haneke

by Walter Chaw Gone uncommented-upon in greater detail, a glimmer of hope does exist in Michael Haneke’s difficult Funny Games, the scabrous Austrian auteur’s last picture that dealt with a brutal home invasion. Therein, the victims overcome their tormentors and are well on their way to freedom when Haneke inserts himself as the capricious godhead of his own piece (indeed, a director is never anything else) and rewinds the film like videotape, providing a different eventuality for his players. It’s a move as audacious and wry as anything in Kurt Vonnegut Jr. (and as existentially devastating as anything in Pirandello), something that’s earned Haneke his reputation for uncompromising–some would say sadistic (or intellectually austere)–morality plays about apocalypses proximate and ultimate.

The Forbidden Photos of a Lady Above Suspicion (1970) – DVD

May 11, 20061970s, Authors: Travis Mackenzie Hoover, Blue Underground, DVD, Italy, Mystery, Spain, Thriller

Le foto proibite di una signora per bene
**/**** Image A+ Sound A Extras B+
starring Dagmar Lassander, Pier Paolo Capponi, Simon Andreu, Susan Scott
screenplay by Ernesto Gastaldi
directed by Luciano Ercoli

by Travis Mackenzie Hoover Minou (Dagmar Lassander) is speaking of her beloved spouse Peter (Pier Paolo Capponi): "He's been everything to me," she says, "husband, father…" Yes, it's 1970, and women were still expected in some quarters to be adoring children gazing upward at their supermen companions. To be sure, The Forbidden Photos of a Lady Above Suspicion tries to disabuse its luscious red-haired protag of her habit, but not before preying on her trusting nature in the name of lurid shenanigans and psychological abuse. More than feel the S&M knot tightening, you get the sneaking suspicion that this would be the result if Hugh Hefner had decided to direct Diabolique. Throw in a manipulative sex offender (Simon Andreu) and a racy best friend named Dominique (Susan Scott) with a penchant for porn and you've got a delightfully retrograde giallo that's as childish as it is lurid.

Mission: Impossible III (2006)

May 5, 20062000s, Action, Adventure, Authors: Walter Chaw, China, Espionage, Germany, Italy, Theatrical, Thriller, Tom Cruise

*/****
starring Tom Cruise, Philip Seymour Hoffman, Ving Rhames, Billy Crudup
screenplay by Alex Kurtzman & Roberto Orci & J.J. Abrams
directed by J.J. Abrams

by Walter Chaw SPOILER WARNING IN EFFECT. That classic combination of a film that doesn't make any sense with one that doesn't inspire anyone to invest an iota of emotion in giving a crap, J.J. Abrams's Mission: Impossible III (hereafter M:i:III) isn't convoluted like the first two instalments so much as it's just incoherent and loud. It's the camera-in-a blender-school of action filmmaking: There's so little understanding of spatial relationships that the whole thing plays like that Naked Gun gag where the gunfight is taking place between two people within arm's reach of one another. An extended heist sequence set in Vatican City, for instance, features the four members of IMF ("Impossible Mission Force") hotshot Ethan Hunt's (Tom Cruise) team (Ving Rhames, Jonathan Rhys Meyers, and the requisite hot Asian chick (Maggie Q)) running around in completely anonymous locations, sticking doodads to walls, and confirming to one another that they're "ready" and "in place." But without knowledge of their plan, their location (respective to one another and their goal, whatever that might be), their peril, or the stakes, you're left with four people doing something for some reason, necessitating our willingness to play along with the charade that we know who these people are, what their goal is, and why we should care. Consider a helicopter chase through a wind farm, too, and the many lovely visuals that such an enticing premise suggests–then look to the end-product, which is a lot of tight shots of helicopters in the middle of the night, parts of giant windmills, a bad soundtrack, and multiple decibel screaming about "incoming" and "they've got a lock on us." Who does? And where are they going on that wind farm? And why does the promise of an instrument-factory explosion induce yawns?

How to Kill a Judge (1971) – DVD

April 3, 20061970s, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Drama, DVD, Italy

Perché si uccide un magistrato?
***/**** Image A+ Sound A Extras B+
starring Franco Nero, Françoise Fabian, Marco Guglielmi, Mico Cundari
screenplay by Damiano Damiani, Fulvio Gicca-Palli, Enrico Ribulsi
directed by Damiano Damiani

by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. There's no way to discuss the thematic failure of How to Kill a Judge without discussing the tacky success that makes it possible. As either a political thriller or a social document, the movie doesn't fare terribly well, priming you for a massive exposé that never arrives and delivering a trickle of an ending that doesn't even begin to compensate. Yet I found myself enjoying the sight of Franco Nero in various clunky '70s outfits, sporting a massive orange caterpillar on his upper lip in a role that allows him to be dashing. The film basically facilitates opportunities for our hero to arrive at the scene of various terrible events looking horrified and then question people while looking swank–and the spectacle turns out to be big, cheesy fun in spite of itself.

La scorta (1993) – DVD

February 14, 20061990s, Action, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Italy, Thriller

**/**** Image B+ Sound A Extras B+
starring Claudio Amendola, Enrico Lo Verso, Carlo Cecchi, Ricky Memphis
screenplay by Graziano Diana and Simona Izzo
directed by Ricky Tognazzi

by Travis Mackenzie Hoover There's no way to put a fine point on this: La scorta is Backdraft with bodyguards. That is to say, it's one of those unsung-hero movies that: a) takes its subject very seriously; b) tries to give voice to a voiceless few; and c) fails to avoid every pitfall of the genre. The film is perhaps less heinous in its cinematic crimes than that Ron Howard schlockfest, but it's relentlessly mediocre, full of scenes that telegraph their significance and constantly reduce the characters to shorthand or macho clichés. Though La scorta does a good job of running down the outrageous risks faced by police bodyguards of judges, it doesn't bring their plight alive, choosing to make a gift of "white-knuckle tension" instead of dealing with the very real fear our heroes face. It's a smiley-faced version of pure, screaming terror–which, unfortunately, most people would probably prefer to something more free-form.

Seven Deaths in the Cat’s Eye (1973) – DVD

December 2, 20051970s, Authors: Travis Mackenzie Hoover, Blue Underground, DVD, France, Horror, Italy, Mystery, Thriller, West Germany

Seven Deaths in the Cat's Eyes
La morte negli occhi del gatto
***/**** Image A Sound A Extras C+
starring Jane Birkin, Hiram Keller, Anton Diffring, Serge Gainsbourg
screenplay by Antonio Margheriti and Giovanni Simonelli
directed by Anthony M. Dawson

by Travis Mackenzie Hoover You could complain–and someone surely has–that Seven Deaths in the Cat's Eye is a rote, decadent-rich-people intrigue with a bit of roving-camera patina for flavour. But that kind of sexy fluff has its qualities late at night when you're not interested in explanations–and really, the sight of elfin Jane Birkin looking befuddled at a string of murders in the family castle doesn't require much in the way of an excuse. What's refreshing about this bit of giallo naughtiness is that it commits totally to the sensuality of its milieu: rather than mete out absurd Catholic punishment for loose living, it feels for its damaged freaks like Douglas Sirk trapped somewhere on the Scottish moors. None of this adds up to more than good, racy fun, but it's genuinely enjoyable as opposed to insanely earnest. It gives you illicit pleasure instead of tearing a strip off you with nastiness.

Trauma (1993) + The Card Player (2004) – DVDs

October 17, 20051990s, 2000s, Authors: Walter Chaw, Directors: Dario Argento, DVD, Horror, Italy, Mystery, Thriller

Dario Argento's Trauma
**/**** Image A Sound B+ Extras B-
starring Christopher Rydell, Asia Argento, Laura Johnson, Piper Laurie
screenplay by Dario Argento & T.E.D. Klein
directed by Dario Argento

Il cartaio
**½/**** Image B+ Sound B+ Extras A
starring Stefania Rocca, Liam Cunningham, Silvio Muccino, Claudio Santamaria
screenplay by Dario Argento, Franco Ferrini
directed by Dario Argento

by Walter Chaw Listening to Dario Argento himself call Trauma "classic Argento" shakes the validity of author intentionality. The man's a legend, but he has no idea about the qualities that used to shine in his own work, and what comes clear for a fan of the "Italian Hitchcock" after a screening of Trauma is that the thrill is gone. It's one of those George Lucas situations where if it were anyone else shitting all over the legacy, there'd be a violent hue and cry instead of this collective embarrassed averting of gaze–a cheap ripper that steals scenes whole from better Argento flicks without a commensurate level of understanding of how to use them. Was a time that Argento redefined the slasher flick in the same way that countryman Sergio Leone redefined the Western; that Argento (like American rival and doppelgänger Brian DePalma) was appropriating bits and pieces from Alfred Hitchcock and rejuvenating them in films exhilarating for their willingness to do absolutely anything to anyone at any moment. Once lawless, Argento's pictures feel inconsequential now. Light and aimless.

TIFF ’05: All the Invisible Children

September 20, 20052000s, Authors: Bill Chambers, Directors: John Woo, Directors: Ridley Scott, Directors: Spike Lee, Drama, Film Festivals, France, Italy, TIFF

**½/****
directed by Mehdi Charef, Emir Kusturica, Spike Lee, Jordan Scott and Ridley Scott, Kátia Lund, Stefano Veruso, John Woo

by Bill Chambers Named after an initiative of the Italian Development Cooperation's Ministry of Foreign Affairs that supports Unicef and other global charities, this omnibus project assembles seven short subjects about children from a handful of world-class directors, all of whom were instructed to locate their contributions in their home and native land. Poverty seems to be the unifying theme until Jordan and Ridley Scott's vaguely autobiographical segment, which sticks out like a sore thumb but subversively suggests that if All the Invisible Children proper has any lessons to impart, they revolve around the auteur theory. Having never seen a film by Mehdi Charef or Stefano Veneruso, I don't know how closely their episodes hew to their previous work, but I can tell you that Emir Kusturica, Spike Lee, the Scotts, Kátia Lund, and John Woo tread familiar ground in a borderline egotistical fashion.

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

August 9, 2005****/****, 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.

Saving Face (2005) + High Tension (2003)

May 26, 20052000s, Authors: Walter Chaw, Comedy, Drama, France, Horror, Italy, Mystery, Romance, Romania, Theatrical, Thriller, Will Smith

SAVING FACE
**/****
starring Joan Chen, Lynn Chen, Jin Wang, Guang Lan Koh
written and directed by Alice Wu

Haute tension
***/****
starring Cécile De France, Maïwenn Le Besco, Philippe Nahon, Franck Khalfoun
screenplay by Alexandre Aja, Grégory Levasseur
directed by Alexandre Aja

by Walter Chaw SPOILER WARNING IN EFFECT. Lesbians are pretty much invisible in American culture–banished, actually, to the ghetto that gay men tend to complain about even though, in truth, gay men were never more visible than they are now that they've been gifted with the lofty honour of being the only minority everyone can agree to hate with hilarious impunity. A couple of programs on Showtime notwithstanding, lesbians in the popular conversation are still either flannel-wearing she-males, the other daughter, or male fantasies of the voracious woman desperate for a good therapeutic dick to set her back on the straight and narrow. When a lesbian appears in a Western film (like in Bridget Jones: The Edge of Reason), the audience, myself included, regards her appearance as a kind of alien visitation. For a while, it's possible to forget that she's a sexual creature at all, so foreign are her Sapphic ways in our cultural conversation. Thus a pair of films featuring lesbian heroes front and centre happening upon these strange shores almost simultaneously is cause for some sort of modest celebration despite that one of them, Alice Wu's Saving Face, is a lot like an ethnic sitcom and the other, Alexandre Aja's High Tension, appears to hate lesbians with an unusual ugliness.

William Shakespeare’s The Merchant of Venice (2004) + The Assassination of Richard Nixon (2004) – DVDs

May 25, 20052000s, Al Pacino, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Crime, Drama, DVD, Italy, Luxembourg, Mexico, Romance, Shakespeare, Thriller, UK

WILLIAM SHAKESPEARE'S THE MERCHANT OF VENICE
*½/**** Image A Sound A Extras B+
starring Al Pacino, Jeremy Irons, Joseph Fiennes, Lynn Collins
screenplay by Michael Radford, based on the play by William Shakespeare
directed by Michael Radford

THE ASSASSINATION OF RICHARD NIXON
**/**** Image B+ Sound B+
starring Sean Penn, Naomi Watts, Don Cheadle, Jack Thompson
screenplay by Niels Mueller & Kevin Kennedy
directed by Niels Mueller

by Walter Chaw As we comb through the continuing fallout of the Bush Jr. administration's first term, themes begin to assert themselves on our movie screens as clear as the words of prophets written on tenement halls. Colorized misogyny and race-baiting spectacles share time with protest pictures that are oftentimes more strident and dogmatic than the party line–it's the Eighties neo-Cleavers at war with postmodern B-pulpers, which many moons ago manifested themselves as one of the most fertile periods in the history of science-fiction and now resurface as part of a new wave of existential science-fiction. We're all about Blade Runner these days, deep into Philip K. Dick territory where memories and dreams are manipulated and franchised for you dirt-cheap. Images have become the jealous currency traded in the underground of a land where one sad breast was flashed in the middle of our annual orgy of violence, sex (sometimes incestual, lesbian sex as sold by primogenetic neocon Pete Coors–"And twins!"), and unrestrained plea for/rewarding of mass consumption. It was enough to send my beloved nation's vocal demographic of selectively pious idiots into paroxysms of…what? Outrage? Righteousness? I don't know. What I do know is that in the United States, it ain't the suggestion of sex, it's the actual, pale, flaccid appendage that feeds the sometimes-joyous result of sex that offends. Women need to be protected from showing the outsides of their bodies in the same way they need to be protected from having a say in what happens to the insides of their bodies in the same way they need to be prevented from reading, voting, or holding a job. When a society gets really frightened, see, we must protect people from themselves. Let's start at the girls and the darkies and work our way up.

Kingdom of Heaven (2005)

May 6, 20052000s, Action, Adventure, Authors: Walter Chaw, Directors: Ridley Scott, Drama, France, Germany, Italy, Morocco, Spain, Theatrical, UK, War

**/****
starring Orlando Bloom, Liam Neeson, David Thewlis, Eva Green
screenplay by William Monahan
directed by Ridley Scott

by Walter Chaw The hero of Ridley Scott’s film about the Crusades would rather not discuss that whole “God” thing. It’s a stance that renders Kingdom of Heaven the second such impotent “prestige” picture to grace the early-summer screens after Sydney Pollack’s simpering, stance-less The Interpreter, as well as another wondrously bland example of the toll that small minds and political correctness have taken on our popular culture. In The Interpreter‘s defense, it only slaughtered a few hundred thousand imaginary black people to get its white heroes making doe-eyes at one another–to get Kingdom of Heaven‘s cuties batting eyelashes, it takes tens of millions of real dead infidels. French Balian (Orlando Bloom) is a 12^th century blacksmith who has just lost his wife and child when his long lost father Godfrey (Liam Neeson) rides in with a small band of merry Crusaders to offer Balian lordship of a little town in the Middle East. Balian accepts, has run-ins with religious fanatic Templars Guy de Lusignan (Marton Csokas) and his henchman Reynald (Brendan Gleeson), and gains the trust of leper king Baldwin IV (Edward Norton) and ideological martyr Tiberias (Jeremy Irons).

The Manson Family: Unrated Version (2004) [2-Disc Special Edition] + 99 Women (1969) – DVDs

April 25, 20051960s, 2000s, Action, Authors: Walter Chaw, Blue Underground, Crime, Drama, DVD, Germany, Horror, Italy, Liechtenstein, Prison, Thriller, UK, West Germany

THE MANSON FAMILY
***½/**** Image A Sound A+ Extras A+
starring Marcello Games, Marc Pitman, Leslie Orr, Maureen Alisse
written and directed by Jim VanBebber

Der heiße Tod
**½/**** Image A Sound B Extras B
starring Maria Schell, Mercedes McCambridge, Maria Rohm, Rosalda Neri
screenplay by Peter Welbeck
directed by Jess Franco

by Walter Chaw Attempting exactly the same thing as Mel Gibson's bloodier and no less exploitive telling of a hippie religious leader whose teachings produced immediately sanguine results (with Gibson's martyr going on to establish what is possibly the bloodiest nation in the history of the planet), Jim VanBebber's laudably disquieting The Manson Family is distinguished by its self-awareness as a document of hate rather than one of hosanna on high. Fifteen years in the making, it demonstrates a commensurate level of passion in its creation, the same obsession with recreating the period in the mode of its predominant artform (static representation for the one, drive-in cinema for the other), culminating in an orgy of violence that's gotten a bad rap precisely because there's no prurient thrill to be gained from it. Close examination reveals, in fact, that the deeds of Manson's merry men and women aren't shown in as much detail as they could have been–the chief excision being the fate of Sharon Tate and her in utero baby. The madness of King VanBebber, then, seems to have a method: not to, like Gibson's blood-soaked reverie, revel in every minute detail of flayed viscera and spilled humours, but to recreate the uncomfortable viciousness of loose ideology set free in the schizophrenic fin de siècle sandwiched between free love and its Vietnam War bloodletting counterweight. The Manson Family is about how tragic is the loss of mind and life; The Passion of the Christ is about how tragic it is, for their sake, that the Jews and the Romans didn't know what a bad motherfucker they were messing with. Context is everything.

Lost Embrace (2004); Hard Goodbyes (2002); Walk on Water (2004)

April 12, 20052000s, Argentina, Authors: Walter Chaw, Comedy, Coming of Age, Drama, France, Germany, Greece, Israel, Italy, Mystery, Spain, Sweden, Theatrical, Thriller

El Abrazo partido
*/****
starring Daniel Hendler, Adriana Aizemberg, Jorge D’Elía, Sergio Boris
screenplay by Marcelo Birmajer, Daniel Burman
directed by Daniel Burman

Hard Goodbyes: My Father
Diskoli apocheretismi: O babas mou
***/****
starring Yorgos Karayannis, Stelios Mainas, Ioanna Tsirigouli, Christos Stergioglou
written and directed by Penny Panayotopoulou

WALK ON WATER
**/****
starring Lior Ashkenazi, Knut Berger, Caroline Peters, Gideon Shemer
screenplay by Gal Uchovsky
directed by Eytan Fox

by Walter Chaw SPOILER WARNING IN EFFECT. Woody Allen’s been on something like a two-decade slide, so if there’s a little voice in your head telling you that the last thing you need to see is an Argentine version of a Woody Allen “where’s daddy” neurosis opera: listen to it. Daniel Burman’s Lost Embrace (El Abrazo partido) is an interminable slog through the congested headspace of one Ariel Makaroff (Daniel Hendler), an insufferable, navel-gazing Pol expat living out his self-loathing strut and fret in the ridiculous family lingerie shop of a cut-rate shopping centre. (Yeah, it’s Scenes from a Mall in Spanish.) Burman likes breaking the fourth wall, likes humourless inter-titles that separate his film into a dozen awkward sketches, and really likes dense monologues about, essentially, why no one is ever happy. The extent to which you will cotton to Lost Embrace has a lot to do with how much you enjoy wallpaper narration and old Jewish-Polish grandmothers singing homey folk songs square to the camera–how much you delight in Jewish mothers nudzhing their schlemiel sons before divesting their aggressively middle-class closets of ancient infidelities set against intra-mall flings with an Internet café bimbo. Ennui, listlessness, and gab gab gab, Lost Embrace earns the occasional moment of interest or topicality in stuff like a semi-amusing interview Ariel endures before the Polish consulate (during which he expresses admiration for the recently-deceased Polish Pope), but the film spends most of its goodwill on masturbating with a furious, chafing intensity. Oh, and it’s mawkishly sentimental, too.

Venus in Furs (1969) – DVD

April 7, 20051960s, Authors: Travis Mackenzie Hoover, Blue Underground, DVD, Esoterica, Italy, Thriller, UK, West Germany

Paroxismus
**/**** Image A Sound A Extras A-
starring James Darren, Barbara McNair, Maria Rohm, Klaus Kinski
screenplay by Jess Franco & Malvin Wald
directed by Jess Franco

by Travis Mackenzie Hoover Masterpiece is such a relative term. The keepcase for Venus in Furs (a.k.a. Paroxismus) anoints this rough jewel in Jess Franco's crown as "the one fans and critics alike call his masterpiece," but all this means is that next to some of the other films in Franco's dissipated oeuvre, Venus in Furs is comparatively competent, hangs together decently, and won't cause the intense eye-rolling of something like the same year's The Girl from Rio. But though it's slick and watchable, it's still a conceptual mess, combining a blithe pretentiousness with a total inability to suggest cause and effect–not to mention Franco's usual sophomoric sexuality. Or does being propositioned by Dean Martin while on acid count as a masterpiece?

Ghost in the Shell 2: Innocence (2004); Sky Captain and the World of Tomorrow (2004); Time of the Wolf (2003)|Sky Captain and the World of Tomorrow (2004) [Special Collector’s Edition – Widescreen] – DVD

January 24, 2005****/****, 2000s, Action, Adventure, Animation, Austria, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, France, Germany, Italy, Japan, Mystery, Sci-Fi, Theatrical, Thriller, UK

イノセンス
Innocence
Inosensu: Innocence
****/****
written and directed by Mamoru Oshii

SKY CAPTAIN AND THE WORLD OF TOMORROW
**½/**** Image A Sound A Extras A
starring Jude Law, Gwyneth Paltrow, Angelina Jolie, Giovanni Ribisi
written and directed by Kerry Conran

Le Temps du loup
****/****
starring Isabelle Huppert, Béatrice Dalle, Patrice Chéreau, Rona Hartner
written and directed by Michael Haneke

by Walter Chaw For me, the most intoxicating visions of the future are those in which we’re drowning in an ocean of our past–garbage, wreckage, Romes burned to a cinder and heaped against the new Meccas of our collective tomorrows. Star Wars proffered a kind of aesthetic of dirt that appealed: a wonderland where the spaceships looked like they’d been flown and there were places like Mos Eisley that reeked of stale liquor, sawdust, and cigarettes. (The distance that George Lucas has gone to disinfect his grubby vision of the future is the same distance that esteem for the franchise has fallen amongst all but the most die-hard chattel.) Among the spearhead of a group of artists who redefined the science-fiction genre in film the same way that Sergio Leone and Sam Peckinpah scuffed-up the western in the Sixties, Ridley Scott evolved the idea of a functional future, with his Alien and Blade Runner serving as visual echoes of T.S. Eliot’s broken stones and fragments shored against our ruins. Terry Gilliam defined the aesthetic when describing his rationale for the look of Brazil (1985): he wanted it to seem as though the whole century had been compacted into a single moment. The timeless “someday soon” that is always just around a corner that never comes.

Alexander (2004)

November 24, 20042000s, Action, Adventure, Authors: Walter Chaw, Biopic, Drama, France, Germany, Italy, Morocco, Netherlands, Romance, Thailand, Theatrical, UK

*/****
starring Colin Farrell, Angelina Jolie, Val Kilmer, Jared Leto
screenplay by Oliver Stone and Christopher Kyle and Laeta Kalogridis
directed by Oliver Stone

by Walter Chaw SPOILER WARNING IN EFFECT. Oliver Stone's Alexander is packed tight to the girders with catchphrases like "By the sweet breath of Aphrodite" and "By Apollo's eye" and "By Dionysus yours is the very soul of Prometheus!" It's stuffed to the gills with sword-and-sandal histrionics and props that become kitsch artifacts the instant they're rolled out for display in this awards season's gaudiest rummage sale. If it's not going to set anybody's codpiece on fire, Alexander at least lays claim to being one of the funniest movies of the year. It would have worn the title Oliver! more comfortably, opening as it does with Virgil's "fortune favours the bold" and ending, after a ridiculously long time, with the not-stunning revelation that what Stone has done is imagine the travails of a fourth-century B.C. Macedonian king as his very own. Conspiracies abound, popularity in the court of public opinion fades, bottomless campaign budgets are squandered in faraway lands for mysterious personal reasons, Oedipus rears his travel-worn head, and gay subtext begins to feel a little homophobic because it's subtext. Rosario Dawson in all her animalized glory? No problem. Colin Farrell giving Jared Leto a little peck on the cheek? Not in this house, buddy.