Mystery Archives - Page 13 of 29

Lost: The Complete First Season (2004-2005) – Blu-ray Disc

February 11, 20102000s, 2010, Adventure, Authors: Walter Chaw, Blu-ray Disc, Drama, Fantasy, Mystery, Sci-Fi, Television, Thriller

Image A- Sound A+ Extras B+
"Pilot," "Tabula Rasa," "Walkabout," "White Rabbit," "House of the Rising Sun," "The Moth," "Confidence Man," "Solitary," "Raised by Another," "All the Best Cowboys Have Daddy Issues," "Whatever the Case May Be," "Hearts and Minds," "Special," "Homecoming," "Outlaws," "…In Translation," "Numbers," "Deus Ex Machina," "Do No Harm," "The Greater Good," "Born to Run," "Exodus"

by Walter Chaw From the two-part pilot, I gotta tell you, I don't trust it. I like the gore, I like the United Colors of Benetton centrefold models as castaway chic, I love Terry O'Quinn and invisible dinosaurs… What I don't like so much is this sinking feeling that "Lost" is a throw-it-all-at-the-wall creation cashing in on post-9/11 discomfort and zeitgeist Ludditism that was genuinely surprised to be asked to hang around for six years. Meaning I have my doubts that any of this cool-ass shit has been remotely plotted out to provide for a commensurately cool-ass resolution–especially since it's not on HBO and therefore not privy to HBO's seemingly bottomless roster of brilliant short-form, long-term dramatists.

Mystic River (2003) [Widescreen Edition] – DVD|Blu-ray Disc

February 10, 20102000s, 2010, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Clint Eastwood, Crime, Drama, DVD, Mystery, Thriller

**½/****
DVD – Image A Sound A Extras B
BD – Image B+ Sound A Extras B
starring Sean Penn, Tim Robbins, Kevin Bacon, Laurence Fishburne
screenplay by Brian Helgeland, based on the novel by Dennis Lahane
directed by Clint Eastwood

by Walter Chaw Opening like a Stephen King story of a group of friends falling from innocence into experience, Clint Eastwood’s latest elegy for the myth of man strains at the edge of hysterical, offering up a testosterone-rich soup of In the Bedroom parental melodrama that compels for its pervasive doom, but disappoints for its didactic simplicity. Still, there’s something to the tribal primitivism of the picture, the idea that man at his essence is composed of balanced portions of nobility and violence and that our society, perhaps, is no different–the past being the muddy headwaters of the titular mystic river. The picture is a rhyme of Eastwood’s A Perfect World, complete with spiralling shots of the sky through branches–the evocation of a Naturalism at war with any illusion of moral spirituality or humanism, with its heroes criminals shaded equally by the instinct to violence and the instinct to nurture.

Dear John (2010)

February 5, 20102000s, 2010, Authors: Ian Pugh, Drama, Mystery, Romance, Theatrical, Thriller, War, ZERO STARS

ZERO STARS/****
starring Channing Tatum, Amanda Seyfried, Henry Thomas, Richard Jenkins
screenplay by Jamie Linden, based on the novel by Nicholas Sparks
directed by Lasse Hallström

by Ian Pugh Movies based on Nicholas Sparks novels–sentimental drivel, functionally identical–usually just bounce off my chest, but we all have our limits. Once more into the breach as Princess Prettygirl (Seyfried) falls head over heels for Johnny Bluecollar (Tatum) in a spectacularly awful Harlequin romance that juggles metaphors about coins and the size of the moon while boasting only the vaguest understanding of the English language. Dear John is little more than a rehash of The Notebook, a movie I found tedious but, again, ultimately innocuous. Yet there’s a mysterious “x” factor at work in this one that attacked some vital nerve and reduced my brain to petroleum jelly. Could be that Lasse Hallström finally found the perfect vessels for the source author: Amanda Seyfried and Channing Tatum–actors, both, whose deadwood talents fail to stretch past sheer bewilderment. (I kind of hate Ryan Gosling as an actor, but he undoubtedly elevated The Notebook.) There’s a point very early on where Seyfried remarks, “Wow, you made a fire,” as her future beau demonstrates his ability to jumpstart a little kindling–and the complete lack of sarcasm (or really any emotion) in her voice led me to wonder if Tatum was going to club her over the head and drag her back to his cave. It’s not an unreasonable conclusion: most of these movies forge conflict out of the idea that women are property, and Dear John is no different.

Sundance ’10: Winter’s Bone

February 3, 20102000s, Authors: Alex Jackson, Drama, Film Festivals, Mystery, Sundance

**/****starring Jennifer Lawrence, John Hawkes, Dale Dickey, Garret Dillahuntscreenplay by Debra Granik & Anne Rosellinidirected by Debra Granik by Alex Jackson Those who loved Courtney Hunt's Frozen River are welcome to a second helping with Winter's Bone. I fear it might signal the start of a new genre: grass-and-granola cinema nobly detailing the plight of the working poor crossed with pulpy film noir. (Granola noir, perhaps?) The problem with these movies is that grass-and-granola and film noir just do not mix. The "plight of the working poor" is grossly oversimplified when narratively expressed in noir terms. The gangsters in Winter's…

Blue Valentine (2010); All Good Things (2010); Rabbit Hole (2010)

January 7, 20102000s, 2010, Authors: Walter Chaw, Crime, Drama, Mystery, Romance, Theatrical, Thriller

BLUE VALENTINE
***/****
starring Ryan Gosling, Michelle Williams, John Doman, Faith Wladyka
screenplay by Derek Cianfrance, Joey Curtis and Cami Delavigne
directed by Derek Cianfrance

ALL GOOD THINGS
*/****
starring Ryan Gosling, Kirsten Dunst, Frank Langella, Philip Baker Hall
screenplay by Marcus Hinchey and Marc Smerling
directed by Andrew Jarecki

RABBIT HOLE
*/****
starring Nicole Kidman, Aaron Eckhart, Dianne Wiest, Sandra Oh
screenplay by David Lindsay Abaire, based on his play
directed by John Cameron Mitchell

by Walter Chaw In the Who’s Afraid of Virginia Woolf end-of-year awards-bait sweepstakes, the ingredients for prestige seem pretty clear: one part Ryan Gosling (or Ryan Gosling substitute), one part beautiful starlet going the Full Monty (it’s good to be Gosling), and one part sad arguing. Mix well and reap a bounty of critics raving about career performances of intensity and courage (translation: lots of crying, lots of naked if girl), introduce bored-but-not-admitting-it audiences to indie-rock darlings like Grizzly Bear, and present the awards-season cinephiles with rosters of once and future Sundance savants. Films like Blue Valentine, All Good Things, and Rabbit Hole generally impress festival audiences and people who can’t afford to go to festivals but wish they could–there’s a certain hunger for movies screened in rarefied air that proffer misery and Sandra Oh for the arthouse schadenfreude freakshow. A long time in the company of people we’re glad we don’t know, call it reality television for assholes who don’t admit they watch reality television. For my money, the gold standards for such remain Eye of God and Lars Von Trier’s Antichrist.

Paranormal Activity (2009) [2-Disc Digital Copy Edition] – Blu-ray Disc

January 1, 20102000s, 2009, 2010, Authors: Walter Chaw, Blu-ray Disc, Horror, Mystery

*/**** Image B Sound B
starring Katie Featherston, Michah Sloat, Mark Fredrichs, Ashley Palmer
written and directed by Oren Peli

by Walter Chaw It’s a good try from first-time hyphenate Oren Peli, but it’s ultimately an exercise bereft of satisfying, thoughtful payoffs–a couple of generally effective sequences only that way because they cause one to anticipate that something will come of them. Nothing does. Comparisons to The Blair Witch Project aren’t entirely off base, either, in that Paranormal Activity is about a decade past its sell-by date with a tale of irritating technophilia that would have felt more current in the Y2K Ludditism of 1999 than it did in the resigned technocracy of 2009–explanation in part for why it’s already out of the conversation and never stirred much outrage or controversy when it was causing audiences of teens to collectively fake-shudder the way festival audiences collectively fake-cathect. The new conversation is the one introduced by George Romero’s Diary of the Dead and Matt Reeves’s Cloverfield, where the unnatural instinct isn’t whipping out a digital camera or camera phone, but not. It’s a communal experience if it’s anything, and as far as such things go, there are still midnight showings of The Rocky Horror Picture Show floating around out there, aren’t there? Its pleasures aren’t replicable, in other words, and watching it at home reveals it to be little more than a one-trick pony with one brilliant moment that isn’t enough to justify the rest of it.

The Lovely Bones (2009) + The Imaginarium of Dr. Parnassus (2009)

December 25, 20092000s, 2009, Adventure, Authors: Walter Chaw, Canada, Comedy, Directors: Terry Gilliam, Drama, Fantasy, France, Mystery, New Zealand, Spielberg, Theatrical, Thriller, UK

THE LOVELY BONES
½*/****
starring Mark Wahlberg, Rachel Weisz, Susan Sarandon, Stanley Tucci
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, based on the novel by Alice Sebold
directed by Peter Jackson

THE IMAGINARIUM OF DR. PARNASSUS
½*/****
starring Heath Ledger, Christopher Plummer, Verne Troyer, Tom Waits
screenplay by Terry Gilliam & Charles McKeown
directed by Terry Gilliam

by Walter Chaw It’s all a little too Puff, the Magic Dragon, isn’t it. The Lovely Bones finds Peter Jackson regressing into his worst instincts and a newfound squeamishness in a film about, ick, a fourteen-year-old girl’s rape and murder, leaving the most unsavoury details of Alice Sebold’s revered source novel to the golden-lit imagination. (Give this to Precious: it’s exploitation with the decency to titillate.) This isn’t to say the book is worth much of a shit, but to say that it at least has the courage to talk about a rape and a murder where the film only has the mustard to romanticize loss and suggest that 1973 was so long ago the freak next door didn’t raise any flags. It’s also to say that what began its existence as a study of the bonds that hold a family together through the caprice of living has been reduced in its film adaptation to a murder mystery without a mystery, and a supernatural thriller that at every turn reminds of how much better Jackson’s The Frighteners is in dealing with almost the exact same set of themes.

Harry Potter and the Half-Blood Prince (2009) – Blu-ray Disc

December 10, 20092000s, 2009, Action, Adventure, Authors: Bill Chambers, Blu-ray Disc, Family, Fantasy, Mystery, UK

*/**** Image A- Sound A Extras B+
starring Daniel Radcliffe, Rupert Grint, Emma Watson, Jim Broadbent
screenplay by Steve Kloves, based on the novel by J.K. Rowling
directed by David Yates

by Walter Chaw It's easily worse than Mike Newell's go at The Goblet of Fire, and it's satisfying to note that it fails for many of the same reasons. For all the gorgeously-decayed gothic architecture, the German Expressionism, the bleached colour palette, etc., Harry Potter and the Half-Blood Prince (hereafter Harry Potter 6) isn't the moody requiem before the bloody mass of parts 7 and 7a in the next couple of years, but instead this ungainly tween romcom with a sudden horde of amphibious zombies (not unlike the aquatic sequence in Harry Potter 4), inexplicable cameos from Ursa, Non, and Zod, and silly broomstick rugby. Dark undercurrents? No question. But they're allowed to wither as the film focuses its attention on three non-professional actors doing their best to transform ridiculous, sweet-sixteen romantic imbroglios into Chekhov and Shakespeare, with the combined might of what seems the entire pantheon of great modern British movie actors milling around behind them. The problem isn't that the film is character driven; the problem is that the characters' problems are insipid. Gone is the intense, sticky, stunningly emotional father issues tackled by Alfonso Cuarón's Harry Potter and the Prisoner of Azkaban–the first real hint that this series could become the grown-up artifact the books never quite will given their much-publicized "meh" denouement. Gone is the continuation of that unsolvable Oedipal complexity that arose when the father figures were revealed as less than godlike in Yates's Harry Potter and the Order of the Phoenix (the best film of the series by a nose–and one of the best American films of that year). In their place is a lot of insufferable slapstick carried off by actors no one would assume capable of screwball in environments better suited to Hammer. horrors: it's "Abbott & Costello Meet the Dementors."

Orphan (2009) – Blu-ray Disc

November 27, 20092000s, 2009, Authors: Walter Chaw, Blu-ray Disc, Canada, France, Germany, Horror, Mystery, Thriller

*½/**** Image B Sound B Extras D
starring Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, CCH Pounder
screenplay by David Leslie Johnson
directed by Jaume Collet-Serra

by Walter Chaw Jaume Collet-Serra's Orphan is a cheap, schlocky, shameless kid-peril flick with an unlikely–cowardly, even–twist and standard resolution. But I'll be damned if it isn't, despite all that, almost worth it just for its nastiness. Alas, in the end, it's not nasty enough. Without a thought in its head, without much understanding of how to earn legitimate frights without maiming (or threatening to maim) adorable children, it joins this year's similarly lost zombie girl-baby flick Grace among end-of-a-cycle, misogynistic shots at the Bad Seed genre. It's the kind of film that's more interesting for the fact of its relationship to other bad-seed flicks post-9/11 (e.g., Japanese redux The Ring and little-seen creeper Soft For Digging) than for anything it does itself. Interesting, too, that it's a relatively big-budget, mainstream picture starring a couple of extremely appealing actors (Peter Sarsgaard as John and Vera Farmiga as his wife, erm, Kate) as the patsies who adopt the titular hellchild, a Russian immigrant named Esther (Isabelle Fuhrman), from one of those autumnal orphanages run by nuns like cuddly Sister Abigail (CCH Pounder). Unfortunately, it's loaded with–there's that word again–cheap jump scares that, at least half the time, are so self-aware as to be parodies of themselves. Post-modernism it ain't, though–post-modernism is smart.

Lie to Me: Season One (2009) – DVD

November 24, 20092000s, 2009, Authors: Jefferson Robbins, Crime, Drama, DVD, Mystery, Television, Thriller

Image A Sound A- Extras C-
"Pilot," "Moral Waiver," "A Perfect Score," "Love Always," "Unchained," "Do No Harm," "The Best Policy," "Depraved Heart," "Life is Priceless," "The Better Half," "Undercover," "Blinded," "Sacrifice"

by Jefferson Robbins When did we collectively decide we want to be rescued by assholes? There's a definite arc to the modern police-procedural hero, be it the off-putting but tolerable Gil Grissom of the original "CSI", deep-sea humanoid Horatio Caine of "CSI: Miami", or the despicable Dr. Gregory House. (Yes, "House M.D." is a procedural–its perps just happen to be microbes, household cleansers, and anything else that qualifies as not-lupus.) These prodigies trend towards purer and purer strains of antisocial dickishness, and their techniques of inquiry grow ever more demeaning and emotionally brutal. They use their powers of detection to heal society but in the process get to sneer at its mores.

The Prisoner: The Complete Series (1967-1968) – Blu-ray Disc

November 17, 20091960s, Authors: Walter Chaw, Blu-ray Disc, Drama, Esoterica, Mystery, Prison, Sci-Fi, Television, UK

Image A Sound A- Extras B
"Arrival," "The Chimes of Big Ben," "A, B, and C," "Free for All," "The Schizoid Man," "The General," "Many Happy Returns," "Dance of the Dead," "Checkmate," "Hammer into Anvil," "It's Your Funeral," "A Change of Mind," "Do Not Forsake Me Oh My Darling," "Living in Harmony," "The Girl Who Was Death," "Once Upon a Time," "Fall Out"

by Walter Chaw The closest television came to true surrealism until the inception of "Twin Peaks", Patrick McGoohan's remarkable, landmark brainchild "The Prisoner" is the headwaters for a dizzying array of modern genre confections. It's audacious in its ironclad refusal to provide the happy ending; in its determination to bugger expectation with every complex set-up and sadistic resolution, the show effectively honours the surrealist manifesto of defeating classification. The fact of it is the function of it–the delight of it being that the series functions as a tonal sequel to Antonioni's Blowup, using the disappearance of that film's photog protag as the launching point for its hero's imprisonment in his Welsh oubliette. Colourfully, quintessentially mod, it even looks the part, after all, acting in 1967 as prescient post-modern (po-Mod?) commentary on the elasticity of this genre model (Bond films in particular, the lead in said franchise McGoohan was offered, er, once upon a time) as allegory for the plastic-fantastic of a progressively absurd world. In its setting of a small town, isolated and beset by what seems a common psychosis, find a connection to Robin Hardy and Anthony Schaffer's claustrophobic The Wicker Man (1973), John Frankenheimer's similar-feeling Seconds (1966), and, yes, Godard's structuralist textbook Alphaville. Of all the ways to approach "The Prisoner", in fact, the most fulsome–if also potentially the most obscure–is that, like Alphaville, it establishes itself as a structuralist (as in Claude Levi-Strauss) exercise while predicting through its execution the post-structuralism/deconstructionism (and eventually surrealism) of, say, a Jacques Derrida.

North by Northwest (1959) – DVD|North by Northwest (1959) [50th Anniversary Edition] – Blu-ray Disc

November 11, 2009****/****, 1950s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Alfred Hitchcock, DVD, Espionage, FFC Must-Own, Mystery

****/****
DVD – Image A Sound B Extras A
BD – Image A+ Sound B+ Extras A
starring Cary Grant, Eva Marie Saint, James Mason, Jessie Royce Landis
screenplay by Ernest Lehman
directed by Alfred Hitchcock

by Walter Chaw Roger Thornhill (Cary Grant) is Alfred Hitchcock’s most mercurial anti-hero, the soup bone reduction of the Master’s wrong-man theme. An advertising executive so at ease with changing his identity at the fall of a hammer, he has, by film’s end, become/done all of the things he’s wrongfully accused of being/doing at the beginning of the film. Indeed, Hitchcock would never again mine the idea of the wrong man with this kind of heat–veering off as he did into a more metaphysical kind of guilt transference à la Vertigo with The Birds, Psycho, and Marnie. As North by Northwest opens, Thornhill gives his regards to a night porter’s wife (“We’re not talkin’!”), steals a cab from a Good Samaritan, and instructs his secretary to send a neglected lover a box of gold-wrapped candy because “she’ll think she’s eating money.” He’s a charmer–and he’s as oily, despicable, and fast-talking as almost every one of Grant’s romantic comedy heroes. Hitch undermines and exploits Grant for the fourth and final time here as a guy we love until we stop for a second to catch our breath and take stock of the myriad ways in which we’ve been bribed, glad-handed, misled, and led-on.

H.P. Lovecraft’s From Beyond (1986) [Unrated Director’s Cut] + Blood and Black Lace (1964) [Unslashed Collectors’ Edition] – DVDs

November 6, 2009****/****, 1960s, 1980s, Authors: Walter Chaw, DVD, FFC Must-Own, France, Horror, Italy, Mystery, Sci-Fi, Thriller, West Germany

From Beyond
**½/**** Image B Sound C+ Extras B
starring Jeffrey Combs, Barbara Crampton, Ken Foree, Ted Sorel
screenplay by Dennis Paoli
directed by Stuart Gordon

Sei donne per l'assassino
****/**** Image A- Sound B Extras A+
starring Cameron Mitchell, Eva Bartok, Thomas Reiner, Mary Arden
screenplay by Giuseppe Barilla, Marcel Fonda, Marcello Fondato and Mario Bava
directed by Mario Bava

BLOOD AND BLACK LACE

by Walter Chaw Stuart Gordon's follow-up to his flat-awesome Re-Animator reunites that film's Jeffrey Combs and Barbara Crampton with source material by H.P. Lovecraft for From Beyond¹, a nominal splatter classic that lacks the energy and cohesiveness of Re-Animator, even as it establishes Gordon as a director with a recognizable, distinctive vision. A picture that arrived concurrently with Clive Barker's "The Hellbound Heart" (the source material for Hellraiser), it's useful as a means by which Lovecraft's and Barker's fiction can be paired against one another as complementary halves of a symbolist, grue-soaked whole. With the latter's cenobites, his most enduring contribution to popular culture², consider that Barker's vision of an alternate, infernal reality shimmering just beneath the surface of the mundane has its roots in Lovecraft's Cthulhu Mythos–a dimension of Elder Gods lurking behind the doors of perception. Lovecraft and Barker give description to the indescribable, name to the nameless. They are in pursuit of the sublime and their quest underscores the idea that any such chase is, at its heart, inevitably a spiritual one.

TIFF ’09: Mother

September 19, 20092000s, Authors: Bill Chambers, Crime, Drama, Film Festivals, Mystery, South Korea, Thriller, TIFF

Madeo***/****directed by Bong Joon-ho by Bill Chambers Bong Joon-ho's deliciously serpentine Mother is the story of an aging mom (Kim Hye-ja, awesome) who has supported her mentally-challenged son, Yoon Do-joon (Bin Won), into adulthood; monitoring him from afar while chopping roots, she's so watchful that she doesn't notice herself cutting off her own finger. She even sleeps in the same bed with him, though Bong doesn't sink to Bad Boy Bubby depths of depravity. When Yoon Do-joon is scapegoated in the killing of a schoolgirl, Mother makes it her sole (soul? Seoul?) mission in life to prove his innocence, which…

9 (2009)

September 9, 20092000s, 2009, Action, Adventure, Animation, Authors: Walter Chaw, Drama, Mystery, Sci-Fi, Theatrical, Thriller

**/****
screenplay by Pamela Pettler
directed by Shane Acker

by Walter Chaw There's something missing from Shane Acker's 9, and I'm having a hard time putting my finger on it. I think it's that for as much as I like my nihilism, there's a flavour to this year's variety of Apocalypse that suggests to me the only thing left to win is the Wasteland. There's no moral stake in scrambling for scraps, just this Pyrrhic duty to compete, lust fast-cooling on the proverbial sheets, damp and rumpled as they are from a lot of impotent thrusting. So 9 exists in an Industrial Revolution Steamboy alternate universe, ended when an evil fascist dictator creates, with the help of a scientist (Alan Oppenheimer–weird, non?), a sentient machine capable of building other machines to do its bidding. Imagined as a weapon of peace, no surprise that it turns on Man and apparently kills all living creatures, blots out the sun, and spends its time hunting down little burlap rag dolls animated with the scientist's–wait for it–soul. It's the second Terminator film of the summer, in other words, as well as the second to mention the idea of horcruxes after Harry Potter 6. Accordingly, it's a pretty empty, if visually startling, picture. Based on a celebrated, Oscar-nominated short, 9 hasn't made the transition to feature-length with much of an emotional, or intellectual, payload to justify its extended runtime. The best comparison is to Ralph Bakshi's Lord of the Rings, alas: the seed of something left fallow.

Sleuth (2007) – Blu-ray Disc

August 10, 20092000s, Authors: Walter Chaw, Blu-ray Disc, Drama, Mystery, Thriller, UK

*/**** Image B+ Sound A- Extras B
starring Michael Caine, Jude Law
screenplay by Harold Pinter, based on the play by Anthony Shaffer
directed by Kenneth Branagh

by Walter Chaw Call it an actor's workshop, if you must, but it's more like an actor's mausoleum, and the Anthony Shaffer source material, as punched-up by Harold Pinter just prior to Pinter's death in the classic unfilmable Pinter style, is hopelessly stagebound and déclassé. It's old people playing at Patrick Marber, falling into the exact trap that most adaptations of Ian McEwan have fallen: mistaking the author fucking with us for great insights into the human condition. Sleuth, Kenneth Branagh's reboot of Joseph L. Mankiewicz's museum piece starring Laurence Olivier and a thirty-six-years-younger Michael Caine, brings Caine back in the Olivier role, with Jude Law once again taking over for Caine after the Alfie remake. It's terrible stuff, stiff and laboured and crippled by self-importance, self-aggrandizing camera trickery, and foreground symbolism that fails from its Osterman Weekend surveillance paranoia all the way through to its willing suspension of disbelief in a pair of performances that never for a moment feel like anything but performances. Most disappointingly, there's a conspicuous lack of fun in a picture that seems more interested in the antagonists' psychology than in exploiting the possibilities of a piece surgically tuned to being a lark. Excavations of male psychology beyond the urge to gamesmanship have absolutely no place in Sleuth: you can talk about why guys lay their dicks on the bar, but you shouldn't do it for an entire feature. Branagh's strength as a director of Shakespeare is as an ambassador for the Bard's latent themes of sociological aggression and animism, while his Dead Again proved that even without Shakespeare, his ear for the operatic could carry the day in an artfully campy supernatural melodrama. But in applying his anthropologist's touch to Sleuth, he's met his match: there's nothing to unearth because the dig site is, frankly, sterile.

Dollhouse: Season One (2009) – DVD | Blu-ray Disc

August 5, 20092000s, 2009, Authors: Jefferson Robbins, Blu-ray Disc, Drama, Mystery, Sci-Fi, Television, Thriller

DVD – Image N/A Sound N/A Extras N/A
BLU-RAY – Image A- Sound B Extras B
"Ghost," "The Target," "Stage Fright," "Gray Hour," True Believer," "Man On the Street," "Echoes," Needs," "A Spy In the House of Love," "Haunted," "Briar Rose," "Omega"
—
"Epitaph One," "Echo"

by Jefferson Robbins They're committing a grand social experiment over there at FOX, using some of the most loyal genre lovers in fandom as their rhesus monkeys. The disease they seek to wipe out, it appears, is the intermediary of the critic. Take much-abused, much-adored TV creator Joss Whedon; kick dirt in the face of his latest brainchild, "Dollhouse", when the poor thing is too weak to stand; and then, upon achieving maximum buzz by holding back longed-for portions of the resulting science-fiction series, release them through a hidden proxy and pretend it's a leak. It's pandering to geeks' idea of the Internet as a wild frontier, where the dispossessed can build a community and you can't stop the Signal, man. Meanwhile, for critics with a yen to stay independent of the studio's manipulation, they send out watermarked, shit-quality burns minus the fourth disc in the "Dollhouse" home video release. That missing platter features basically all the supplements any reasonable person would expect with their purchase, as well as the original, scrapped pilot "Echo" and the unaired thirteenth episode, "Epitaph One." So any critical analysis–like the one I'm about to perform–can be written off as sour grapes, spilt milk, the breast-beating of a self-appointed arbiter of good taste who's just mad because he didn't see it first.

CJ7 (2008) – Blu-ray Disc

August 4, 20092000s, Authors: Bryant Frazer, Blu-ray Disc, China, Comedy, Esoterica, Family, Hong Kong, Horror, Mystery, Sci-Fi, Thriller

**½/**** Image A Sound A- Extras C+
starring Stephen Chow, Xu Jiao, Huang Lei, Kitty Zhang
screenplay by Vincent Kok, Tsang Kan Cheong, Sandy Shaw Lai King, Fung Chih Chiang, Lam Fung
directed by Stephen Chow

by Bryant Frazer Lord knows we need inspired lunatics like Stephen Chow. Chow is a genial, graceful physical comic in the mode of Jackie Chan, yet even sillier, if you can imagine that. Like Chan, he makes movies that feel conspicuously alien in a Hollywood context, in large part because he's expert in a discipline that Hollywood has lately devalued. In the U.S., the dominant style of comedy is verbally oriented, with quips, awkward characters, and contrived situations driving the gags. For Stephen Chow, comedy is largely body-oriented. It's not that he doesn't script situation comedy–a movie like God of Cookery, with its parody of celebrity-chef competitions (and John Woo movies!), is built on an elaborate sitcom frame–but that he's more obsessed with performance. Chow is preoccupied with people's faces, their body types, the way they approach one another, and how they stand in conversation or confrontation. By the time he did Shaolin Soccer and Kung Fu Hustle, it was easy to see how he found the newly-affordable field of digital VFX work to be an avenue for extending the reach of a physical gag, using digital doubles to subject characters to the kind of strain and abuse that wouldn't fly with real actors.

Southland Tales (2007)

July 28, 20092000s, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, Esoterica, France, Germany, Mystery, Sci-Fi, Thriller

½*/**** Image A Sound A Extras C-
starring Dwayne Johnson, Seann William Scott, Sarah Michelle Gellar, Justin Timberlake
written and directed by Richard Kelly

by Walter Chaw Call it professional vanity, or just vanity vanity, but I like to be the iconoclast. I want to be the one who understands the movie nobody else seems to understand–the lone champion of Unleashed as a sharp critique of popular East/West relationships, for instance. There are times, I think, it's the only reason I go to films that are riding waves of negative buzz or frankly otherwise lacking much cause for confidence. Southland Tales, Richard Kelly's follow-up to his cult classic Donnie Darko, had the bad buzz (from a legendarily jeered screening at Cannes) but a great pedigree despite the extent to which Kelly had begun to cast Donnie Darko as a fortuitous accident through his DVD commentary for that film, his ill-wrought Director's Cut of the same, and his script for the excrescent Domino.

Watchmen: Director’s Cut (2009) [Digital Copy Special Edition] – Blu-ray Disc

July 22, 20092000s, 2009, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Mystery, Sci-Fi, Superhero

**/**** Image A Sound A Extras B+
starring Malin Akerman, Billy Crudup, Matthew Goode, Carla Gugino
screenplay by David Hayter and Alex Tse, based on the graphic novel by ALAN MOORE and Dave Gibbons
directed by Zack Snyder

by Walter Chaw It knows the notes but doesn't hear the music. Watchmen, Zach Snyder's long-awaited, over-hyped adaptation of Alan Moore's venerated graphic novel, is technically proficient and occasionally beautiful-looking but also flat and nerveless. It has no heart and, more damning, no real understanding of the irony of itself, save for a title sequence set to the tune of Bob Dylan's "The Times They Are A-Changin'" that's bound to be the best five minutes I'm going to see in any movie this year. In this stirring montage, a travelogue through the three ages of comics against the backdrop of American history, Snyder captures the idea that what Moore accomplished in casting a conversation about idol-making through the most populist medium of pop culture is in fact translatable through film, this other most populist medium of pop culture. Where the picture missteps is in restoring the superhero group Watchmen to the heavens, resurrecting pop icons in impossible, perfect, virtual tableaux: the character designs are impeccable, the suits are clean, and the violence is obscene, yes, but glossy enough that when things stop for a moment to delve into one character's appalling creation story, it feels unearned and exploitive–so much so that the question that fast follows of why the rest of it feels removed and inhuman almost derails the entire enterprise. Coming from a guy who more admires the Moore source than loves it, it occurs to me that Watchmen is a movie made by Dr. Manhattan; it should've been made by Rorschach.