Lady Sings the Blues (1972) [Special Collector’s Edition] – DVD

January 10, 2006Posted in1970s, Authors: Travis Mackenzie Hoover, Biopic, Drama, DVD, Music, Romance

*½/**** Image A- Sound B Extras B
starring Diana Ross, Billy Dee Williams, Richard Pryor, James T. Callahan
screenplay by Terence McCloy and Chris Clark and Suzanne De Passe
directed by Sidney J. Furie

by Travis Mackenzie Hoover Billie Holliday never really surfaces in her ostensible biopic, Lady Sings the Blues. There's somebody using her name, of course, somebody who pouts and shrieks and cries copious tears–but no matter how much Diana Ross knocks herself out "emoting," she doesn't do justice to her predecessor. Nor, for that matter, does the movie she's in. The supremely jaundiced Sidney J. Furie has seen fit to jettison any real mention of either Holliday's music or her convictions, replacing them with a blackface Valley of the Dolls–the story of not one of jazz's premier vocalists, but a sad little girl hooked on heroin. Ross is a solid junkie, all right, yet she and everybody else connected with the production are wrong to impose this on someone who should be remembered for a few things beyond sordid melodrama.

The Jazz Singer (1980) [25th Anniversary] – DVD

December 22, 2005Posted in1980s, Authors: Travis Mackenzie Hoover, Drama, DVD, Music, Romance

*½/**** Image B Sound A- (DD)/B+ (DTS) Extras D
starring Neil Diamond, Laurence Olivier, Lucie Arnaz, Catlin Adams
screenplay by Herbert Baker, adaptation by Stephen H. Foreman, based on the play by Samson Raphaelson
directed by Richard Fleischer

by Travis Mackenzie Hoover Having always had a knack for turning schlock into symptomatic gold, J. Hoberman once worked his magic on the remake of The Jazz Singer by comparing the original’s vision of Jewish cultural schizophrenia against the 1980 version’s post-Israel reversal. I recommend the essay (from his collection Vulgar Modernism) not merely for its brilliance, but also to discharge you from seeing the movie–because the only thing Hoberman gets wrong is that it’s “a mediocre film but a resonant one.” Mediocre it may be, but resonant it ain’t, entirely too careful as it is to soft-pedal some traumatic material so as not to upset star Neil Diamond’s MOR constituency. The Jazz Singer has all of the singer’s sentimental weaknesses without the attendant cheesy bombast that makes him entertaining. It’s a singularly bland film that doesn’t quite hurt but that feels like a chore as it trickles towards the end.

The Tales of Hoffmann (1951) [The Criterion Collection] – DVD

December 6, 2005Posted in****/****, 1940s, Authors: Travis Mackenzie Hoover, DVD, Fantasy, FFC Must-Own, Music, Musical, Romance, The Criterion Collection, UK

Mustown****/**** Image A Sound A Extras B
starring Moira Shearer, Robert Helpmann, Leonide Massine, Robert Rounseville
written and directed by Michael Powell & Emeric Pressburger

Talesofhoffmancapby Travis Mackenzie Hoover No doubt thinking of their gushy ballet epic The Red Shoes, Pauline Kael once dismissed the pretensions of Michael Powell and Emeric Pressburger by declaring the duo “the Franco Zefferellis of their day.” This annoyed me intensely. Putting aside the fact that the erotic-sadist Archers seem natural Kael material, her smug put-down completely misapprehends their levelling approach to popular and elite art. A poser, Zefferelli reduces Shakespeare to soap opera and pretends it’s still Shakespeare. His ideas are schlocky and titillating, yet he insists that they’re the citadel of culture, in effect dishonouring both the articulation of what used to be called “high” art and the honest reasons we keep wallowing in trash. The Archers, meanwhile, were aware of the high/low distinction–they simply refused to enforce it, instead commingling with the sublime and the ridiculous as though they were equally critical to a healthy aesthetic diet, thus upholding Kipling’s dictum (frequently repeated in Powell’s memoirs) that “all art is one, man–one!”

The Buddy Holly Story/La Bamba – DVD

November 21, 2005Posted in1960s, 1970s, Authors: Travis Mackenzie Hoover, Biopic, Drama, DVD, Music

THE BUDDY HOLLY STORY (1978)
***/**** Image B Sound B+ Extras A
starring Gary Busey, Don Stroud, Charles Martin Smith, Conrad Janis
screenplay by Robert Gittler
directed by Steve Rash

LA BAMBA (1987)
**/**** Image B+ Sound A Extras B-
starring Esai Morales, Lou Diamond Phillips, Rosana DeSoto, Elizabeth Peña
written and directed by Luis Valdez

by Travis Mackenzie Hoover I don't know enough about music to pass judgment on the legacies of Buddy Holly and Ritchie Valens. Everybody knows they had their mutual rendezvous with destiny (and Don McLean) in a plane crash that helped end the first phase of rock-and-roll, but their legends are the distorted shotgun marriage of crazy fame and early death that makes totalling their actual achievements a tad difficult. Strangely, their movie biopics (now available on DVD in a two-pack) don't really try. The Buddy Holly Story is really an ode to people sitting in rooms playing music regardless of anyone's relative fame, while La Bamba is a family story hinged on the rise of a credit to his community. The real pleasures of these films are strangely incidental to hero worship, and passing judgment on them is a matter of aesthetics: where Buddy triumphs by attempting something modest and nailing it with a vengeance, La Bamba bites off more than it can chew and sails into the waters of respectable mediocrity.

Forty Shades of Blue (2005)

October 26, 2005Posted in****/****, 2000s, Authors: Walter Chaw, Drama, Music, Romance, Theatrical

****/****
starring Rip Torn, Dina Korzun, Darren Burrows, Paprika Steen
screenplay by Michael Rohatyn and Ira Sachs
directed by Ira Sachs

40shadesofblueby Walter Chaw Muscovite Laura (Dina Korzun) lives with her boyfriend, legendary music producer Alan James (Rip Torn), in Memphis. He's twice her age, they have a young son together, and when Alan's grown son Michael (Darren E. Burrows) comes home to visit, Laura begins to realize that although she's living her dream of prosperity, she's a stranger in a strange land, divorced from her ambitions and beginning to cramp from the positions her little deceptions demand of her. She's defined almost entirely by her sometime- lover and keeper–at restaurants, people ask her if Mr. James will be showing up later, and when an impulse has her shopping for Michael, she's asked if she's picking something up for Mr. James. Most films that share a set-up with Forty Shades of Blue are about how it is that the Alans of the world can have everything but be incapable of maintaining a marriage, muddying the relationships with their children with the same brusque inconsiderateness. Just as likely is the film about the vagabond son trying to build a bridge back to his larger-than-life father–the chiseller trophy wife as background decoration and occasional plot lubricant.

Follow the Fleet (1936); Shall We Dance (1937); The Barkleys of Broadway (1949) – DVDs

September 27, 2005Posted in1930s, 1940s, Authors: Travis Mackenzie Hoover, Comedy, DVD, Music, Musical, Romance

FOLLOW THE FLEET
**½/**** Image B+ Sound A- Extras B+
starring Fred Astaire, Ginger Rogers, Randolph Scott, Harriet Hilliard
screenplay by Dwight Taylor and Allan Scott, based on the play "Shore Leave" by Hubert Osborne
directed by Mark Sandrich

SHALL WE DANCE
***/**** Image A- Sound A- Extras B+
starring Fred Astaire, Ginger Rogers, Edward Everett Horton, Eric Blore
screenplay by Allan Scott and Ernest Pagano
directed by Mark Sandrich

THE BARKLEYS OF BROADWAY
**½/**** Image B+ Sound A Extras B+
starring Fred Astaire, Ginger Rogers, Oscar Levant, Billie Burke
screenplay by Betty Comden and Adolph Green
directed by Charles Walters

by Travis Mackenzie Hoover Every partnership has its ups and downs, as our soaring divorce rate will attest. Fred Astaire and Ginger Rogers were no different, and a selection of their B-list titles–one of which is widely considered the beginning of the end and another of which trades on memories rather than on the present–bears this out: Although Follow the Fleet, Shall We Dance, and The Barkleys of Broadway are far from quintessential, they have their quintessential moments and show the pair and their creative partners colouring outside the lines. One of these, the sometimes-maligned Shall We Dance, is actually very good, and the bumpy rides of the other two are occasionally enthralling.

Starstruck (1982) – DVD

August 31, 2005Posted in1980s, Australia, Authors: Travis Mackenzie Hoover, Blue Underground, Comedy, Drama, DVD, Music, Musical

***/**** Image A Sound A (DD)/A+ (DTS) Extras B
starring Jo Kennedy, Ross O'Donovan, Margo Lee, Max Cullen
screenplay by Stephen MacLean
directed by Gillian Armstrong

by Travis Mackenzie Hoover By all rights, Starstruck shouldn't be as much fun as it turns out to be. Chief amongst the film's faults is its insistence on laying a '70s template over an '80s milieu: the harsh straight lines of new wave get rounded off, making for a completely incongruous let-it-all-hang-out attitude. Things are not improved by the tentative approach of director Gillian Armstrong, not known for extroverted behaviour in the past and seemingly unsure of herself here. Yet although it's rather like watching Meat Loaf belt out Gary Numan's "Cars" at the top of his lungs, the combination of bright happy colours and an aw-shucks demeanour is undeniably infectious. You wind up grinning uncontrollably despite Starstruck's decidedly uncool approach to being cool.

The Blues Brothers (1980) [25th Anniversary Edition (Widescreen)] – DVD

August 29, 2005Posted in1980s, Action, Adventure, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Music, Musical, Road Movie

**/**** Image A- Sound A- Extras B
starring John Belushi, Dan Aykroyd, James Brown, Cab Calloway
screenplay by Dan Aykroyd and John Landis
directed by John Landis

by Travis Mackenzie Hoover Long before Quentin Tarantino would run a tear across the super soul sounds of the '70s, there was the strange case of John Belushi and Dan Aykroyd in the deadly "Blues Brothers" affair. Sitting somewhere at the low end of White Negro trickle-down, the Blues Brothers were two conspicuously white soul singers who made up for in enthusiasm what they lacked in talent–though their "Saturday Night Live" clowning conveniently omitted this bit of information, half-expecting us to take them seriously as they tumbled and caterwauled their way through various musical numbers. Where a true hipster would have meticulously re-created their favoured forms, Joliet Jake Blues (Belushi) and his brother Elwood (Aykroyd) had nothing but "heart" and "sincerity"–a nice way of saying they were rank amateurs doing primitive karaoke. They were compellingly frantic performers, but they weren't the blues and never would be.

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.

The Beat That My Heart Skipped (2005); Hustle & Flow (2005); Last Days (2005)

July 21, 2005Posted in****/****, 2000s, Action, Authors: Walter Chaw, Biopic, Crime, Directors: Gus Van Sant, Drama, France, Music, Theatrical, Thriller

De battre mon coeur s'est arrêté
***/****
starring Romain Duris, Niels Arestrup, Jonathan Zaccaï, Gilles Cohen
screenplay by Jacques Audiard, Tonino Benacquista, based on the screenplay for Fingers by James Toback
directed by Jacques Audiard

HUSTLE & FLOW
*/****
starring Terrence Howard, Anthony Anderson, Taryn Manning, Taraji P. Henson
written and directed by Craig Brewer

LAST DAYS
****/****
starring Michael Pitt, Lukas Haas, Asia Argento, Scott Green
written and directed by Gus Van Sant

by Walter Chaw On my better days, I still think of film as the quintessential artform of the last century–a medium for expression uniquely suited to our Modernist Yeatsian decomposition, what with its malleability beneath the knife, as it were, cut and spliced back together again as the un-spooling literalization of some patchwork Prometheus. Likewise, in its 24 flickers a second, it's an illusion of life, teased from the amber of still photography, drawing, painting; mixed with symphonies; blended with dance and movement; enslaved to the syncopation of words and imaginary drum beats. It's a miracle, a golem, capable of illuminating the rawest humanity in one stroke and of exhuming the most abject failure of human impulse in the very next. Its tractability is astonishing–protean, not too much to say magical; in describing his first film experience as a visit to "the kingdom of shadows," Maxim Gorky brushes up against the ineffable sublimity of a medium that mimics the eye, stimulates the ear, and has as one of the key elements of its academic study a concept that suggests the moment a viewer finds himself "sutured" into the text. Like all fine art, then, when it's right, its "rightness" is indescribable–Frank Zappa's "dancing about architecture." And like the stratification of art imposed by some in varying orders to describe the proximity of each to the inexpressibility of their souls (prose to dance to painting to poesy to music, for me), when film aspires to combine the more abstract elements of human expression in its mélange, the results, always mixed, at least have the potential to be grand.

Happy Endings (2005)

July 14, 2005Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Music, Theatrical, Thriller

½*/****
starring Tom Arnold, Jesse Bradford, Bobby Cannavale, Steve Coogan
written and directed by Don Roos

Happyendingsby Walter Chaw As abortion dramedies go, this year's already seen Todd Solondz's far superior Palindromes and will soon see the abhorrent right-wing stem cell flick The Island, and for bellwethers of such things, there's still Hal Hartley's timeless Trust from fifteen years back. (Not incidentally, Don Roos's best and first film as a director, the teen-pregnancy drama The Opposite of Sex, features Trust's Martin Donovan.) So Roos's Happy Endings isn't just irritating, it's superfluous, too: a gimmicky way to tackle the tired romantic roundelay format that should be viewed in a double feature with Miranda July's almost-as-irritating Me and You and Everyone We Know just so you can say you've done your time this year in the indie coal mine. Truth is, if you can suffer through Roos's device of insouciant half-screen captions that periodically comment on the action, critique his characters, broadly clarify his themes, and make predictions about their futures (a lot like the video for Van Halen's "Right Now") without punching the person in front of you, you're made of sterner stuff than I. They've honestly handed out Purple Hearts for less.

My Mother (2004) + Exiles (2004)

July 14, 2005Posted in2000s, Adventure, Austria, Authors: Bill Chambers, Drama, France, Japan, Music, Portugal, Spain, Theatrical

Ma mère
*½/****
starring Isabelle Huppert, Louis Garrel, Emma de Caunes, Joana Preis
screenplay by Christopher Honoré, based on the novel by Georges Bataille
directed by Christopher Honoré

Exils
***/****
starring Romain Duris, Lubna Azabal, Leila Makhlouf, Habib Cheik
written and directed by Tony Gatlif

Mamereexilsby Bill Chambers Even after the Hays Office lost its stranglehold on the screen trade, mainstream American erotica remained a largely intellectual affair. Rather than try to get you off, films like Paul Mazursky’s Bob and Carol and Ted and Alice and Mike Nichols’s Carnal Knowledge were interested in examining the fallout from sex. Meanwhile, France was cranking out Sylvia Kristel movies, and the raincoat crowd could enjoy even such highbrow fare as Last Tango in Paris for long stretches. If the legit French sex cinema ultimately bore a closer resemblance to red-blooded American filth in the ’70s (and not just ethically: the ‘X aesthetic’ was like dumbed-down nouvelle vague), it makes sense that it would chart a course parallel with stateside porno’s gradual descent into the penetration abyss. But while the (d)evolution itself is an organic one born of desensitization, things have progressed along a more self-conscious path in recent years, with the incendiary work of Catherine Breillat, Gaspar Noé, and Michael Haneke helping to foster the impression of contemporary Gallic life as a veritable Sodom and Gomorrah.

Best of “The Muppet Show”: Bob Hope, Dom DeLuise, George Burns (1977) – DVD

June 29, 2005Posted in1970s, Authors: Walter Chaw, Comedy, DVD, Family, Muppets, Music, Television

Image C+ Sound C Extras D

by Walter Chaw In a summer whose renewed interest in variety shows has brought us embarrassing spectacles ranging from a peculiar celebrity dance competition where ex-heavyweight champ Evander Holyfield does a Karloff in tuxedo pants to the hard-to-witness disinterring of moldy oldsters and one-hit-wonders croaking out their old hits and covering new ones, look back to the heyday of "The Muppet Show" and wonder how something like it ever made it to the air. The themes that Jim Henson's electric Kool-Aid acid trip tackles through its tacky sketches, instantly-dated guest stars, and cobwebbed musical interludes run the gamut from loneliness (a disturbing rendition of Jim Croce's "Time in a Bottle" in which a Muppet mutilates and pickles himself) to war (a version of Buffalo Springfield's "For What It's Worth" sung by forest animals being terrorized by mad redneck hunters) to exotic burlesques that predict the melancholia lacing The Dark Crystal and the eternally underestimated The Muppet Movie. Running concurrently with Jimmy Carter's presidency (1976-1981), it's the product, as it can only be, of the Carter administration in the United States: all goofy good intentions, bad fashion, rampant hickism, and confusion.

Heights (2005); Mysterious Skin (2005); It’s All Gone Pete Tong (2005)

June 22, 2005Posted in2000s, Authors: Walter Chaw, Biopic, Canada, Comedy, Coming of Age, Drama, Music, Netherlands, Romance, Theatrical, UK

HEIGHTS
**½/****
starring Glenn Close, Elizabeth Banks, Jesse Bradford, James Marsden
screenplay by Amy Fox, based on her play
directed by Chris Terrio

MYSTERIOUS SKIN
*½/****
starring Joseph Gordon-Levitt, Brady Corbet, Elisabeth Shue, Michelle Trachtenberg
screenplay by Gregg Araki, based on the novel by Scott Heim
directed by Gregg Araki

IT’S ALL GONE, PETE TONG
**½/****
starring Paul Kaye, Beatriz Batarda, Kate Magowan, Mike Wilmot
written and directed by Michael Dowse

by Walter Chaw Obsessed with doors and passages, façades and captured images, Chris Terrio’s Heights takes on the dour, dark, and twisted interpersonal machinations of The Scottish Play its diva Diana (Glenn Close) rehearses for some of the 24-hour period covered therein. Heights is a sexual film steeped in betrayals and unmaskings at its root, clothed in symbols for discovery and disguise that are almost literary in their uniform complexity. It’s therefore through a cloud of signs that its insular roundelay emerges. Wedding photographer Isabel (Elizabeth Banks), daughter of Diana and fiancée of Jonathan (James Marsden), is fired from her job on the day–on the hour, almost–that a once-in-a-lifetime opportunity to cover a foreign war is offered her by an ex-boyfriend. Jonathan, meanwhile, has an ex-boyfriend of his own to suppress as pretty young actor Alec (Jesse Bradford) catches Diana’s eye in the hours before she discovers her husband is honouring their open marriage with her understudy. Questions of female sexual jealousy abound, hand in hand with the ruthless barbs of ambition (the price of success weighed against the cost of failure), tied into a messy bow by big ugly truths and the inescapability of our pasts.

Get Rich or Die Tryin’ (2005) [Widescreen Edition] – DVD

June 15, 2005Posted in2000s, Authors: Walter Chaw, Biopic, Canada, Crime, Drama, DVD, Music

*/**** Image A Sound A Extras C
starring Curtis "50 Cent" Jackson, Terrence Howard, Joy Bryant, Bill Duke
screenplay by Terence Winter
directed by Jim Sheridan

by Walter Chaw Another in the recent cycle of slick biopics overseen in whole or part by either the subjects themselves or relatives of the same, Jim Sheridan's Get Rich or Die Tryin', the peculiarly flaccid hagiography of two-bit rapper 50 Cent, is an overlong, overly-familiar, wholly sentimental look at a nobody who became a somebody primarily known for getting shot a few times. It's a companion piece of sorts to the also-white-guy-directed Hustle & Flow, a means through which the majority culture tries to reconfigure the minority culture into comfortable terms (minstrel/criminal) that are so entrenched they've been assimilated by the offended. Assimilated to the point, in fact, that it's hard to know if these images, words, and messages are even offensive anymore. Bill Cosby has taken a lot of heat over the past couple of years for his comments about African-American culture losing its mind, but, shocker, he's right. For that matter, arguably no one in popular culture has earned the right to speak out about blacks in the American mainstream more than Cosby.

November (2005); Brothers (2004); Ladies in Lavender (2005)

June 9, 2005Posted in2000s, Authors: Walter Chaw, Denmark, Drama, Music, Mystery, Romance, Theatrical, Thriller, UK, War

NOVEMBER
*/****
starring Courteney Cox, James LeGros, Michael Ealy, Nora Dunn
screenplay by Benjamin Brand
directed by Greg Harrison

Brødre
**½/****
starring Connie Nielsen, Ulrich Thomsen, Nikolaj Lie Kaas, Bent Mejding
screenplay by Anders Thomas Jensen
directed by Susanne Bier

LADIES IN LAVENDER
*½/****
starring Judi Dench, Maggie Smith, Natascha McElhone, Daniel Brühl
screenplay by Charles Dance, based on the short story by William J. Locke
directed by Charles Dance

by Walter Chaw There are as many middling to miserable movies in the foreign and domestic independent market as in the oft-maligned mainstream. If there are around five hundred films released in a twelve-month period, after all, only thirty or so are ever in contention for the best of the year–and of those, maybe three will be remembered once the hosannas have died down. The vast majority of pictures are just rest areas between elation and outrage; capturing lightning in a bottle is as unlikely for movies as for any product of any other branch of the arts. Here, then, are three smaller films in fast succession caught in the twilight zone of instant forgetfulness and doomed to spend eternity as either the film that was the long lonesome whistle stop for someone's career, or the promising picture that pointed the way to bigger and brighter things.

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.

Beaches (1988) [Special Edition] – DVD

April 29, 2005Posted in1980s, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Music

**/**** Image C+ Sound B+ Extras A-
starring Bette Midler, Barbara Hershey, John Heard, Spalding Gray
screenplay by Mary Agnes Donoghue, based on the novel by Iris Rainer Dart
directed by Garry Marshall

by Travis Mackenzie Hoover It's long been easy sport to mock Beaches, whose sins are multiple and numerous. This is, after all, a so-called chick-flick starring Bette Midler, directed by Garry Marshall, and featuring an easy-listening hit that's even blander than the reputation of the film it supports. Yet despite these warning signs, somehow they fail to justify the contempt to which the film is typically subjected. Lord knows it's not a good movie, but its treatment of life for women beyond men is anomalous enough to make you wonder what might have happened with a filmmaker at the helm. Given that Marshall would never again direct a movie in which a female character achieved something on her own (he followed up Beaches with the horrible Pretty Woman and The Princess Diaries), the rarity of the occurrence keeps you mildly interested, if generally enervated.

Raise Your Voice (2004) – DVD

March 8, 2005Posted in2000s, Authors: Travis Mackenzie Hoover, Coming of Age, DVD, Family, Music, Musical, Romance, Teen

**/**** Image A- Sound B+ Extras C-
starring Hilary Duff, Rita Wilson, David Keith, Jason Ritter
screenplay by Sam Schreiber
directed by Sean McNamara

by Travis Mackenzie Hoover The best one can say for Raise Your Voice is that it was made with non-toxic materials–your impressionable 'tween will not be exposed to any really reprehensible behaviour. It's not a disguised infomercial for crass capitalism, it's not leeringly inappropriate in its sexual attitudes, and, save for a somewhat-patronized struggling black character, its politics are vague and inoffensive. Granted, this doesn't preclude Raise Your Voice from positing an alternate universe where music conservatories teach scratching and rock guitar, or wrapping up huge traumatic events with the ease of turning on a light, but the film does keep you from becoming disgusted with the corruption of kids' entertainment. You may feel bored and bewildered, but never disgusted.

Be Cool (2005)

March 4, 2005Posted in2000s, Authors: Walter Chaw, Comedy, Crime, Music, Satire, Theatrical

**/****
starring John Travolta, Uma Thurman, Vince Vaughn, Cedric the Entertainer
screenplay by Peter Steinfeld, based on the novel by Elmore Leonard
directed by F. Gary Gray

Becoolby Walter Chaw At some point you decide that you're either going to play pool with Be Cool or you're not. You're going to have to decide whether Dwayne "The Rock" Johnson's mincing caricature of a gay man is actually a self-parody of his own pumped-up, homoerotic image (see also Vin Diesel's simultaneously-opening Mr. Mom ape, The Pacifier), and whether this studied unkindness towards black people is actually only a satire of the bling-bling gangster culture that has all but defined rap music and young urban culture for the wider mainstream white audience. If you're resolved that Be Cool is meta-fiction that's more sociologically self-aware than other masturbatory cameo hustlers like Ocean's Twelve (and it might be), then it is indeed sort of liberating to give up and laugh along with the horde. (What could be funnier, really, than The Rock limping his wrist and doing a dialogue, solo, from cheerleading classic Bring It On?) But there's this lingering, disturbing thought I can't quite shake that Be Cool is only being a smartass part of the time–and maybe being a smug, insufferable prig all of the time.