It Might Get Loud (2009) – Blu-ray Disc

**½/**** Image A Sound A- Extras B
directed by Davis Guggenheim

by Bryant Frazer In the U2 concert film Rattle and Hum, Bono finishes speechifying about Apartheid in the middle of the song “Silver and Gold” by growling an acid faux-apology: “Am I buggin’ ya? Don’t mean to bug ya.” Then he says, “OK, Edge–play the blues,” and The Edge holds up his guitar and goes WEEDLE-DEEDLE-DEEDLE-DEEDLE-DEEDLE-DEEDLE-DEEDLE! Watching the movie with friends in college, I always savoured the absurdity of that moment. We imagined Bono scrunching up his face in a grimace and scolding The Edge for reverting to his ordinary clamour. “Aw, Edge,” he might say, “that ain’t the blues. That’s the same shit you always play.” And I’d collapse in helpless laughter.

This Is It (2009) – Blu-ray Disc

This Is It (2009) – Blu-ray Disc

**/**** Image A Sound A+ Extras B-
directed by Kenny Ortega

by Ian Pugh Cobbled together from the rehearsals for Michael Jackson’s planned fifty-show tour, the almost-concert film This Is It is intended to provide a simulacrum of the man’s “vision” before his untimely death. However, its primary attraction may very well be the rumble you feel from the unforgettable basslines of “Smooth Criminal” and “Beat It” when played in a movie theatre. It proves an experience unto itself, as does watching Jackson perform his greatest hits with impossible elegance–but the picture stumbles whenever it slows things down to hold a love-in for Jacko, which is pretty often. This Is It gets itself into trouble off the bat, with the unending praise from the singer’s tearfully grateful dancers (pre-audition/pre-mortem) giving way to a screen bathed in white light and a choir of angels; the whole affair is so beatific that it crosses the line from loving eulogy to revival tent. It’s a feeling the film never quite shakes.

Hannah Montana: The Movie (2009) – Blu-ray + DVD + Digital Copy

Hannah Montana: The Movie (2009) – Blu-ray + DVD + Digital Copy

**/**** Image A- Sound A Extras B-
starring Miley Cyrus, Emily Osment, Jason Earles, Billy Ray Cyrus
screenplay by Dan Berendsen
directed by Peter Chelsom

by Bill Chambers Peter Chelsom may have sold his soul when he joined the ranks of Lasse Hallstrom and John Madden to become a house director for Miramax, but going to work at Disney–on a feature-film vehicle for one of the company’s biggest brands, no less–is a mercenary move, pure and simple. So it’s surprising, considering he probably could’ve treated the job as a paid vacation without incurring the wrath of “Hannah Montana” fans (who’ve been weaned on a particularly low-rent sitcom), to say nothing of the suits in charge (Disney favours foremen to filmmakers, after all), that Chelsom seems legitimately inspired by the material more often than not. The ‘Hannah Montana’ concept itself needs only gentle pushes to yield something resembling a story, but Chelsom doesn’t exactly coast on it; anyone who’s involuntarily endured the collected works of Kenny Ortega or Andy Fickman will notice a more idiosyncratic hand at the helm almost immediately. While I can’t say I’ve ever thought much of Chelsom’s films (they’re a bit twinkly for my tastes), he appears to have found his niche. As a work of Hollywood imperialism goes, it’s certainly preferable to his remake of Shall We Dance?.

Stop Making Sense (1984) – Blu-ray Disc

Stop Making Sense (1984) – Blu-ray Disc

****/**** Image B Sound A Extras A-
directed by Jonathan Demme

FFC Must-Ownby Bryant Frazer Stop Making Sense opens sparely, with a close-up of a man striding onto an empty stage. By “empty stage,” I don’t mean a bare stage, exactly. I mean a big empty theatre space–it’s basically a rectangular room behind a proscenium, illuminated by bare light bulbs dangling overhead–with furniture, ladders, scaffolding, and the like cluttered near the walls. It feels less like a performance is about to begin than like a rehearsal or, maybe more to the point, an audition. And by “close-up,” I don’t mean a tight shot on the man’s face. Rather, we are looking at his lower extremities–white shoes, white pants–in a Steadicam shot that follows him to a waiting microphone stand. He plops a boombox down beside him and announces, in a faux-naïf voice, “I have a tape I want to play.” If you know the Talking Heads, you’ll recognize this immediately as David Byrne’s shtick. But if this film is your introduction to the band–as it was for teenaged me–there may be something off-putting about the whole precious set-up. “What’s up with this fucking twerp,” I remember thinking, “and his art-damaged affectations?” I quickly learned the joke was on me.

2009 TIFF Bytes #3: A Gun to the Head; Genius Within: The Inner Life of Glenn Gould

Too long for Twitter, too brief for the capsule page, some quick takes on films screened at this year’s TIFF:
A Gun to the Head (d. Blaine Thurier)
Those who, like me, missed Male Fantasy, the sophomore feature of Blaine Thurier, may find themselves at a loss to distinguish between Thurier’s growth as a filmmaker and advancements in digital video since his directorial debut, the better-in-retrospect Low Self Esteem Girl. Thurier’s latest, the Vancouver-lensed A Gun to the Head, is comparatively polished, yet the film, with its focus again on suburban drug culture, feels dismayingly unevolved coming from someone who leads a prolific life that includes a steady gig as the keyboardist for the indie-rock supergroup The New Pornographers–even as it cops to a certain anxiety about abandoning comfortable milieux via Trevor (Tygh Runyan), a newlywed struggling with the demands of marriage in the face of his old freedoms. Basically a bush-league Mikey and Nicky, the picture has Trevor ferrying paranoid cousin Darren (Paul Anthony) all over town on a drug run just to avoid the dinner party his wife (Marnie Robinson, the spitting image of Jordana Spiro) is throwing back home; eventually the two run afoul of Darren’s suppliers, who have already shown themselves capable of murder. I will say that Thurier is good with actors–this cast really brings it, with the suddenly-vivacious Sarah Lind a particular standout. (Revealing hidden comic chops, she plays a nasal-voiced bimbo who only picked up the word for “um” on her trip to Japan.) Lead baddie Hrothgar Mathews unfortunately bears a sometimes-striking resemblance to Glenn Gould the same year a documentary about the famous pianist plays alongside A Gun to the Head at the TIFF. Which leads me to… (**/4, by the way.)

What Makes Sammy Run? (1959) – DVD

***½/**** Image C Sound C Extras B-
starring Larry Blyden, John Forsythe, Barbara Rush, Dina Merrill
teleplay by Budd & Stuart Schulberg, based on Budd’s novel
directed by Delbert Mann

by Jefferson Robbins In adapting his hit 1941 novel What Makes Sammy Run? for a planned live TV broadcast, writer Budd Schulberg dropped two elements: driven Hollywood producer Sammy Glick as union-buster; and Glick as self-hating Jew. In an interview with Schulberg featured on the telecast’s DVD release, he cops to scrubbing the former but not the latter. “I didn’t think I would have enough time and space to adequately describe what the Writers Guild was and what the whole problem was,” he says. Although Schulberg’s not queried on Sammy’s Judaism, it’s safe to assume that throughline was a non-starter for a network (NBC) trying to capture Middle-American living rooms in 1959.

Jonas Brothers: The 3D Concert Experience (2009) [Deluxe Extended Movie] – Blu-ray Disc

Jonas Brothers: The 3D Concert Experience (2009) [Deluxe Extended Movie] – Blu-ray Disc

**/**** Image B+ Sound B Extras B-
directed by Bruce Hendricks

by Bryant Frazer There’s nary an unguarded moment on display in Jonas Brothers: The 3D Concert Experience, a fluffy rock-concert documentary on a lighter-than-air boy band that’s packed to the gills with generic rock-star moves and odes to highly appreciative, wholly uncritical fandom. Running under 90 minutes even in the “deluxe extended” version issued on home video, it at least boasts brevity as a virtue. In everything else, it’s overstuffed. Documentary footage pads the running time, but the vérité stuff feels stage-managed at best. (The opening scene, in which an actress pretends to be an infatuated room-service girl attending the sleepy brothers at breakfast in their hotel suite, is transparently phoney.) A little later, the film explicitly references Beatlemania, as the boys are seen watching a TV program that draws a line from Lennon/McCartney to the Jonases. In their cutesy, aw-shucks hijinks offstage, these kids may ape The Beatles, who represented the beginning of the modern rock era, but it’s quite possible that the Jonas Brothers represent the tail-end of rock culture. Delivered into the homes of America via cable-TV, they are a group of squeaky-clean, enthusiastically unthreatening, market-focused popsters, their surname so synonymous with state-of-the-art fun that the name above the title is Walt Disney’s.

WarGames (1983) [25th Anniversary Edition] + Saturday Night Fever (1977)/Staying Alive (1983) [Double Feature] – DVDs|Saturday Night Fever [30th Anniversary Special Collector’s Edition]- Blu-ray Disc

WarGames (1983) [25th Anniversary Edition] + Saturday Night Fever (1977)/Staying Alive (1983) [Double Feature] – DVDs|Saturday Night Fever [30th Anniversary Special Collector’s Edition]- Blu-ray Disc

War Games
***½/**** Image B Sound C Extras A
starring Matthew Broderick, Dabney Coleman, John Wood, Ally Sheedy
screenplay by Lawrence Lasker & Walter F. Parkes
directed by John Badham

SATURDAY NIGHT FEVER
****/****
DVD – Image B Sound B+ Extras C
BD – Image A Sound A Extras B-
starring John Travolta, Karen Gorney, Barry Miller, Joseph Cali
screenplay by Norman Wexler
directed by John Badham

STAYING ALIVE
ZERO STARS/**** Image C+ Sound B+
starring John Travolta, Cynthia Rhodes, Finola Hughes, Steve Inwood
screenplay by Sylvester Stallone and Norman Wexler
directed by Sylvester Stallone

by Walter Chaw I hadn’t realized until I watched the 25th Anniversary Edition DVD of it how intimately WarGames is embedded in my psyche. I saw it in the theatre as a ten-year-old in 1983 and, for the rest of that decade (the prime of my excited filmgoing experience), I didn’t know that movies were ever different. The first time, in fact, that I recognized that movies were human was the first time they revealed themselves as something that could fail to inspire any kind of response at all–and I wonder if that initial moment of disappointment had more to do with the development of my cynicism than any one picture’s deficiency. Film is a progressive addiction, says one theory: the more sophisticated you get as a viewer, the harder it is to find the fix. WarGames presented me with the idea of eroticism through mild scatological exhibitionism. It had a young man in his room, alone with a young woman, excusing himself to urinate in the next room–an act unthinkable to me as a ten-year-old and holding with it the thrill of taboo. The next time they meet, the world starts to explode and, better yet, the girl traps the boy between her legs when he tries to edge by.

The Soloist (2009)

*½/****
starring Jaime Foxx, Robert Downey Jr., Catherine Keener, Tom Hollander
screenplay by Susannah Grant
directed by Joe Wright

by Walter Chaw Black, crazy, homeless, and a prodigy–it’s A Beautiful Mind and Searching for Bobby Fischer and The Fisher King and The Green Mile all wrapped up in a tight little Oscar ball. And The Soloist is a true story, of course, from LA TIMES columnist Steve Lopez’s affecting series on homeless guy Nathaniel Ayers, which he turned into a book that’s been adapted into a movie scripted by seasoned middlebrow emotional rapist Susannah Grant and directed by rapidly-developing first-class hired-hack Joe Wright. A problem, you’ll agree, that it was pushed by its own studio out of the catbird seat late last year to make room for, of all things, that non-starter Revolutionary Road. The issue–arguably the only issue–of exploitation is raised, and well, in the film’s most honest scene: at an awards banquet feting Lopez (Robert Downey Jr.) for his profile of Nathaniel (Jaime Foxx), the former’s editor/ex-wife Mary (Catherine Keener) excoriates Lopez for his reluctance to fully engage what had at that point become his near-total responsibility. If that central issue of the picture lies fallow until an ill-fated recital (set up by ill-used, slapstick laughing-stock Christian cellist Graham Claydon (Tom Hollander)) ends with a few wild swings of a nail-studded bat, at least it’s introduced as an elephant in a room full of people in that darkened theatre clucking at how adorable and somehow inspirational it is that a hobo is a world-class cellist.

American Gangster (2007); I’m Not There (2007); No Country for Old Men (2007) + No Country for Old Men [’08 BD + 2-Disc Collector’s Edition] – Blu-ray Discs

American Gangster (2007); I’m Not There (2007); No Country for Old Men (2007) + No Country for Old Men [’08 BD + 2-Disc Collector’s Edition] – Blu-ray Discs

AMERICAN GANGSTER
***/****
starring Denzel Washington, Russell Crowe, Chiwetel Ejiofor, Cuba Gooding, Jr.
screenplay by Steven Zaillian
directed by Ridley Scott

I’M NOT THERE
***½/****

starring Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere
screenplay by Todd Haynes & Oren Moverman
directed by Todd Haynes

FFC Must-OwnNO COUNTRY FOR OLD MEN
****/****
’08 BD – Image A+ Sound A+ Extras B-
CE – Image A+ Sound A+ Extras B+

starring Tommy Lee Jones, Javier Bardem, Josh Brolin, Kelly Macdonald
screenplay by Joel Coen & Ethan Coen, based on the novel by Cormac McCarthy
directed by Joel Coen & Ethan Coen

by Walter Chaw Consider the moment when an overly enthusiastic police search results in the demolition of a replica dresser commissioned by Harlem drug lord Frank Lucas (Denzel Washington) for the Carolina plantation he’s bought to house his extended family. In one canny instant, there’s the suggestion that nothing ever changes: the things we lose in time we will always lose. The image Ridley Scott provides for us as he moves the Lucas clan into their new digs is loaded and dangerous, with a group of African-Americans walking up the lush green lawn of an antebellum plantation–usurpers of a corrupt American Dream that, American Gangster posits, is still corrupt and in essentially the same way. True, there’s a cartoon bogey in a New York cop (Josh Brolin) erected as the straw man for all of New York’s Finest who’s profiting off French Connection junk (gasp, he shoots a dog, and probably also smokes)–but the real villainy in the picture is the idea that the path to true status and achievement in the United States is on the backs of not just others, but entire groups of others.

Cadillac Records (2008) – Blu-ray Disc

**½/**** Image A- Sound A Extras C+
starring Adrien Brody, Jeffrey Wright, Gabrielle Union, Beyoncé Knowles
written and directed by Darnell Martin

by Bryant Frazer Curiously underdistributed on its release last December, when it opened on fewer than 700 screens across the U.S. despite a reasonably big-name cast, Cadillac Records is a labour of love that has problems but is hard to dislike. Writer-director Darnell Martin is probably too ambitious for her own good, struggling to mount not just a Muddy Waters biopic and/or the Chess Records story, but also a conflicted look at the business acumen and chicanery that attended the rapid evolution of rock-and-roll in the 1950s. While the film suffers from kitchen-sink syndrome, at its best it’s an engaging piece of advocacy for the bluesmen who transformed American music.

High School Musical (2007) [Remix] – Blu-ray + DVD; High School Musical 2 (2008) [Extended Edition] – Blu-ray Disc; High School Musical 3: Senior Year (2009) [Deluxe Extended Edition] – Blu-ray + DVD + Digital Copy

High School Musical (2007) [Remix] – Blu-ray + DVD; High School Musical 2 (2008) [Extended Edition] – Blu-ray Disc; High School Musical 3: Senior Year (2009) [Deluxe Extended Edition] – Blu-ray + DVD + Digital Copy

HIGH SCHOOL MUSICAL
**/**** Image A- Sound B+ Extras C+
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
written by Peter Barsocchini
directed by Kenny Ortega


HIGH SCHOOL MUSICAL 2
½*/**** Image B Sound B+ Extras C-
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
written by Peter Barsocchini
directed by Kenny Ortega

HIGH SCHOOL MUSICAL 3: SENIOR YEAR
*½/**** Image A Sound A- Extras B-
starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, Lucas Grabeel
screenplay by Peter Barsocchini
directed by Kenny Ortega

by Ian Pugh Not exactly the cultural apocalypse its Disney Channel roots and preteen popularity would have you believe, High School Musical is no worse, really, than any other cookie-cutter musical in recent memory. A by-product of pandering to a young, young audience, its biggest sin is that it alleges a greater basis in reality than its more “adult” contemporaries: The movie endeavours to give credence to the familiar tropes of storybook romance and rags-to-riches by applying them to the politicized zoo known as high school. Troy (Zac Efron) is captain of the basketball team and Gabriella (Vanessa Hudgens) is a brainiac, but all it takes is one happenstance karaoke duet for them to discover they both enjoy singing a whole lot, and their pursuit of that mutual interest throws the entire clique-driven society of East High into disarray. Although it’s bolstered by a few genuine chuckles, the premise can’t hide the fact that the high-school backdrop actively highlights how inconsequential the whole blasted thing truly is.

Hannah Montana: The Complete First Season (2006-2007) + Alvin and the Chipmunks (2007) [Special Edition] – DVD

HANNAH MONTANA: THE COMPLETE FIRST SEASON
Image C Sound C+ Extras D+

“Lilly, Do You Want to Know a Secret?,” “Miley Get Your Gum,” “She’s a Super Sneak,” “I Can’t Make You Love Hannah If You Don’t,” “It’s My Party and I’ll Lie If I Want To,” “Grandma Don’t Let Your Babies Grow Up to Play Favorites,” “It’s a Mannequin’s World,” “Mascot Love,” “Ooh, Ooh Itchy Woman,” “O Say Can You… Remember These Words?,” “Oops! I Meddled Again,” “You’re So Vain, You Probably Think This Zit is About You,” “New Kid in School,” “More Than a Zombie to Me,” “Good Golly, Miss Dolly,” “Torn Between Two Hannahs,” “People Who Meet People,” “Money for Nothing, Guilt for Free,” “Debt it Be,” “My Boyfriend’s Jackson And There’s Gonna Be Some Trouble,” “We Are Family–Now Get Me a Water!,” “Schooly Bully,” “The Idol Side of Me,” “Smells Like Teen Sellout,” “Bad Moose Rising”

ALVIN AND THE CHIPMUNKS
½*/**** Image B- Sound B- Extras D+
starring Jason Lee, David Cross, Cameron Richardson, Jane Lynch
screenplay by Jon Vitti and Will McRobb & Chris Viscardi
directed by Tim Hill

by Ian Pugh Contemplating the factors that pushed Hannah Montana into the limelight is automatically more interesting than devoting the least amount of attention to the eponymous Disney sitcom that introduced her to her gullible constituency. The concept behind the show, a kind of rock star wish-fulfillment that teaches its tweener audience that if you tell enough people you’re famous, you’ll get there eventually, has proved the foundation on which to make a mint. But sit down to watch “Hannah Montana” itself and you won’t see much more than the same episodic drivel from the Disney Channel–standardized junior-high antics cushioned by lame slapstick. Any significance you cull from a deeper reading invariably leads back to the construction of the carefully groomed personality that serves as its centrepiece. Flanked by her best friends (Mitchel Musso and Emily Osment) and supported by her manager/father (Billy Ray Cyrus) and brother Jackson (Jason Earles), Miley Stewart (Miley Cyrus) divides her time between a typical teenage life and a tour through fame as bubblegum diva Hannah Montana. What she actually does with that time hardly matters.

Shine a Light (2008) + Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour (2008) – Blu-ray Discs

Shine a Light (2008) + Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour (2008) – Blu-ray Discs

SHINE A LIGHT
**/**** Image A Sound A Extras B+
directed by Martin Scorsese

HANNAH MONTANA/MILEY CYRUS: BEST OF BOTH WORLDS CONCERT TOUR
½*/**** Image A Sound A Extras C
directed by Bruce Hendricks

by Bill Chambers Film critic and snarkmeister extraordinaire Glenn Kenny recently blogged, “When Martin Scorsese’s Shine a Light hit theaters in April, it gave movie critics, myself included, a chance…to weigh in on just what they thought of [the Rolling Stones]. It sure was fun, kinda, but rather missed a point, which is that having an opinion on The Stones these days is like having an opinion about Mount Rushmore. No one really gives a shit.” While I’m inclined to agree, does that not make a concert from “The Stones these days” tantamount to a sightseeing tour of Mt. Rushmore? What, then, does Shine a Light leave us to talk about? Sadly, not a lot.

Square Pegs: The Like, Totally Complete Series… Totally (1982-1983) + Girls Just Want to Have Fun (1985) – DVDs

SQUARE PEGS
Image B+ Sound B Extras B+
“Square Pegs (Pilot),” “A Cafeteria Line,” Pac-Man Fever,” “Square Pigskins,” “Halloween XII,” “A Simple Attachment,” “Weemaweegate,” “Open 24 Hours,” “Muffy’s Bat Mitzvah,” “Hardly Working,” “A Child’s Christmas in Weemawee,” “It’s All How You See Things,” “Merry Pranksters,” “It’s Academical!,” “The Stepanowicz Papers,” “To Serve Weemawee All My Days,” “No Substitutions,” “No Joy in Weemawee,” “The Arrangement”

GIRLS JUST WANT TO HAVE FUN
ZERO STARS/**** Image B- Sound B
starring Sarah Jessica Parker, Helen Hunt, Shannen Doherty, Lee Montgomery
screenplay by Amy Spies
directed by Alan Metter

by Ian Pugh The “square pegs” of the title are brainiac Patty (Sarah Jessica Parker, already having settled into a halting conversational style that never left her) and “fat girl” Lauren (Amy Linker), newly-initiated freshmen at Weemawee High School who pledge during the opening narration of each episode that this year, this year, they’re going to be popular. Unfortunately, their never-ending–maybe even Wile E. Coyote-esque–bid to break into Weemawee’s social elite always results in half-baked schemes and humiliating compromises. (Upon being ousted from a table in a crowded diner by the popular crowd, Lauren rationalizes that “having them sit where we were just sitting is almost as good as sitting with them.”) While “Square Pegs” never fails to empathize with the folks who are young and foolish enough to believe in such a ridiculous enterprise–because it’s all they know at this stage of their lives–what really makes the series special is how it forces older viewers to contemplate the people they were in high school and who they are now.

Coyote Ugly (2000) [The Unrated Extended Cut] – DVD|Blu-ray Disc

Coyote Ugly (2000) [The Unrated Extended Cut] – DVD|Blu-ray Disc

*½/****
DVD – Image A Sound B+ (DD)/A- (DTS) Extras C
BD – Image A Sound A- Extras C
starring Piper Perabo, Adam Garcia, Maria Bello, Melanie Lynskey
screenplay by Gina Wendkos
directed by David McNally

by Travis Mackenzie Hoover J. Hoberman once nailed the work of ’80s trash director Adrian Lyne by calling it “the spectacle of female self-actualization (as enacted for a male viewer).” This shrewd playing of both sides of the gender fence figures heavily into Coyote Ugly, which combines a cheesy uplift story with bounce-and-jiggle eye candy to maximize the number of potential ticket buyers. But though it was produced by former Lyne benefactor Jerry Bruckheimer and practically channels the director’s empty-calorie flash, the his ‘n’ hers formula doesn’t work this time around: whatever else could be said against the dissipated Brit, there was a hysterical urgency to Lyne that his substitute, David McNally, can’t match. You see the flesh, you hear the pain, but aside from some very obvious body-double skin added to the film for DVD, none of it adds up to anything you can’t get from Moses Znaimer on a Sunday night.

Walk Hard: The Dewey Cox Story (2007) [2-Disc Unrated Widescreen Edition] – Blu-ray Disc

Walk Hard: The Dewey Cox Story (2007) [2-Disc Unrated Widescreen Edition] – Blu-ray Disc

WALK HARD: THE DEWEY COX STORY
AMERICAN COX: THE UNBEARABLY LONG, SELF-INDULGENT DIRECTOR’S CUT
**½/**** Image A Sound A+ Extras B+
starring John C. Reilly, Jenna Fischer, Tim Meadows, Kristen Wiig
screenplay by Judd Apatow & Jake Kasdan
directed by Jake Kasdan

by Bill Chambers In a recent magazine profile, Judd Apatow blamed the box-office failure of Walk Hard: The Dewey Cox Story (hereafter Walk Hard) on its opening-weekend competition, National Treasure: Book of Secrets and Sweeney Todd: The Demon Barber of Fleet Street. I could definitely see the combination of those movies hoarding the demographic spectrum, but I’d like to propose a different theory: I think that Walk Hard bombed because the laser precision with which it mercilessly dissects singer-songwriter biopics ultimately shamed audiences for falling for their literalminded epiphanies (see: Reese Witherspoon’s June Carter telling Joaquin Phoenix’s Johnny Cash that he’s unable to “walk the line”), Freudian claptrap, and whitewashed characterizations in the first place. The picture drips with contempt–not for the individuals who inspire these celluloid monuments (as I had initially feared), but for the institutionalized paradigm into which the lives of artists as disparate as Cash, Ray Charles, and Bobby Darin could each be comfortably slotted. For the middlebrow establishment, Walk Hard is the equivalent of getting teased for complimenting the emperor on his new wardrobe.

Led Zeppelin: The Song Remains the Same (1976) – Blu-ray Disc

Led Zeppelin: The Song Remains the Same (1976) – Blu-ray Disc

The Song Remains the Same
**½/**** Image A- Sound A Extras B-

starring John Bonham, John Paul Jones, Jimmy Page, Robert Plant
directed by Joe Massot and Peter Clifton

by Bill Chambers I was a closet Led Zeppelin fanboy throughout my teen years. It wasn’t because I thought their music reflected poor taste (no guilty pleasure, they–no need to sic Carl Wilson on me), but rather because there are connotations to liking them I felt misrepresented me and my affection for the band as facilitators of emotional catharsis. Affiliate yourself with The Cure and, at the very least, you’ll score points with hot goth girls; affiliate yourself with Led Zeppelin and expect to spend your Friday nights rolling 20-sided dice and/or mingling with ersatz hippies. In retrospect, I had basically separated the Led Zeppelin discography from the iconographic baggage that came with it; and I think part of the reason I could never get through The Song Remains the Same (the movie, not the album, although the album is no great shakes) as a teenager–other than the fact that, no matter how you slice it, it simply isn’t very good–was because its goofy non sequiturs and psychedelic glaze endeavoured to undo all my hard work. I found its imagery psychically intrusive on the seven minutes a day I spent moping to “The Rain Song.”

Honeydripper (2008) + Married Life (2008)

HONEYDRIPPER
*/****
starring Danny Glover, Charles S. Dutton, Lisa Gay Hamilton, Stacy Keach
written and directed by John Sayles

MARRIED LIFE
***/****
starring Pierce Brosnan, Chris Cooper, Patricia Clarkson, Rachel McAdams
screenplay by Ira Sachs & Oren Moverman, based on the novel Five Roundabouts to Heaven by John Bingham
directed by Ira Sachs

by Walter Chaw As a huge admirer of John Sayles’s middle-period body of work–a period marked by such pictures as Matewan, Eight Men Out, and Lone Star (still my pick for the best American film of the Nineties)–it pains me to look at something like Honeydripper and recognize in it everything I like about Sayles side-by-side with everything that’s fast making him irrelevant. He’s got a common touch, no question, something forged in the time he spent rolling up his sleeves, joining labour unions, hitchhiking across the country, and writing vital, committed novels about it all. Was a time his gift for how ordinary people talked and thought translated into definitive statements about the United States; now it seems that all he uses it for is passing, fleeting music in otherwise earthbound productions. Passion Fish is extraordinary in its effortlessness; Honeydripper is likewise effortless, but it lacks brio, and, more so than any of Sayles’s films before it, it doesn’t have one single reason for existing. Even flat, incontestable disasters like Silver City had going for it that Sayles-ian liberal dementia, and it boasted a performance in which long-time collaborator Chris Cooper hilariously channelled George W.’s reptilian, dangerous/dull political vacuum. Hold up Honeydripper to the least of Sayles’s pictures and discover that what he’s learned about craft remains while that indigent fire has apparently guttered to wax and ash. Pointedly, at a period in our country where it seems that some of the activism Sayles has spent much of his art trying to drum up has finally begun to manifest itself in voter-turnout among the young, Sayles has produced his most flaccid, middling film. Maybe this is the contented corncob pipe after a hard day in the fields.

Chappelle’s Show: The Series Collection (2003-2006) – DVD

Chappelle’s Show: The Series Collection (2003-2006) – DVD

Image B|B|B+ Sound B+|B+|B+ Extras C|B|B-
episodes 101-112
episodes 201-213
episodes 301-303

by Ian Pugh Dave Chappelle’s greatest asset and greatest liability both lie in his desire to be underestimated, which handily encapsulates the brilliance of Comedy Central’s “Chappelle’s Show” and why it lasted a scant two seasons. The series’ wraparound segments consist of stand-up from Chappelle that’s almost painful in its modesty–so much so that you never fail to be ambushed by his boisterous impersonations and trenchant observations. The same joke of “A Moment in the Life of Lil’ Jon” (2.6) improbably works every time it’s subsequently recycled, while Charlie Murphy’s “true Hollywood stories” about Rick James add up to one of the greatest half-hours to have ever aired on television, thanks to Murphy’s dynamic storytelling and Chappelle’s volcanic impression of James. But however unintentional it may have been, Chappelle’s infectious enthusiasm, his ability to subtly burrow into your brain, also tends to manifest itself as a collection of catchphrases, ultimately distracting from the deceptive simplicity of his social commentary.