Book of Shadows: Blair Witch 2 (2000) – DVD + CD

*½/**** Image B+ Sound A Extras B-
starring Jeffrey Donovan, Kim Director, Erica Leerhsen, Tristine Skyler
screenplay by Dick Beebe and Joe Berlinger
directed by Joe Berlinger

by Bill Chambers Despite the brainy posturing of director/co-writer Joe Berlinger, Book of Shadows: Blair Witch 2 will probably never be canonized in a sequel debate, that lunchtime activity of film freaks everywhere which has brought a nerdish ascendancy to, among the handful, The Godfather Part II and The Empire Strikes Back. Why? Well, for starters, it’s pretentious as hell; when the DVD liner notes–written by no less than Berlinger himself–for a fast-tracked cash-grab include such descriptive phrases as “mollify the cynics” and “post-modern approach,” you know you’re in for everything but a good time.

In the Mouth of Madness (1995) – DVD

John Carpenter’s In the Mouth of Madness
*½/**** Image B+ Sound A- Extras C

starring Sam Neill, Jurgen Prochnow, Julie Carmen, Charlton Heston
screenplay by Michael DeLuca, from stories by H. P. Lovecraft
directed by John Carpenter

by Vincent Suarez John Carpenter’s In the Mouth of Madness opens as John Trent (Sam Neill) is being dragged into an insane asylum, with characters making vague references to a seemingly-widespread epidemic of madness. After Trent covers his padded cell, face, and clothing with black crosses (an image featured in the trailer and which hooked me, proving that while a picture may be worth a thousand words, it may not be worth 95 minutes of one’s time), he recounts the events leading to his current state, and the film proceeds in flashback.

Urban Legends: Final Cut (2000) – DVD

*½/**** Image B Sound B Extras B
starring Jennifer Morrison, Matthew Davis, Hart Bochner, Joseph Lawrence
screenplay by Paul Harris Boardman & Scott Derrickson
directed by John Ottman

by Bill Chambers The absent piece of biographical info in John Ottman’s “talent file” on Columbia TriStar’s DVD release of his directorial debut, Urban Legends: Final Cut, is that the USC vet actually attended film school in a fairytale world of limited oversight and unlimited resources. This quasi-sequel to Urban Legend-minus-the-“s” is perhaps the least conscientious of modern slasher flicks by virtue of setting up myriad Spielberg wannabes for disappointment. It’s (just barely) amusing in that regard to people like myself who consider themselves “in the know,” but misleading to cineaste undergrads and the people who already hate them on principle.

What Lies Beneath (2000) [Widescreen] – DVD

***/**** Image A+ Sound A- Extras B
starring Harrison Ford, Michelle Pfeiffer, Diana Scarwid, Miranda Otto
screenplay by Clark Gregg
directed by Robert Zemeckis

by Travis Mackenzie Hoover What Lies Beneath isn't very nasty, but it's nice. The film takes Polanski-style horror, the kind where the environment itself seems to be falling apart and the individual has to navigate through miles of decay, and gives it a white-enamel Hollywood gloss that makes it fearfully cold and sinisterly antiseptic. It's a given from the get-go that this pure whiteness will, by film's end, be defiled by the blood of the innocent and the violence of the guilty. It's only a matter of time before it gets there, but the travel involved is bracing and loaded with suspense. While the end of What Lies Beneath wallows in some rather familiar horror-movie scare tactics, the rest of it is a nicely understated affair that cleverly plays on your nerves without relying too much on brutality or not enough on jolt.

Mother Night (1996) + Waking the Dead (2000) – DVDs

MOTHER NIGHT
***/**** Image A- Sound B+ Extras A
starring Nick Nolte, Sheryl Lee, Alan Arkin, John Goodman
screenplay by Robert B. Weide, based on the novel by Kurt Vonnegut
directed by Keith Gordon

WAKING THE DEAD
****/**** Image A- Sound A- Extras A
starring Billy Crudup, Jennifer Connelly, Molly Parker, Janet McTeer
screenplay by Robert Dillon, based on the novel by Scott Spencer
directed by Keith Gordon

by Bill Chambers In Timequake, the most recent and arguably most flawed of Kurt Vonnegut, Jr.’s novels (like many of his fans, I found it only intermittently readable), the author writes: “…I have never used semicolons. They don’t do anything, don’t support anything. They are transvestite hermaphrodites.” Perhaps Keith Gordon’s Mother Night is one of the few artistically successful cinematic adaptations of a Vonnegut work because Gordon avoids semicolons in his filmmaking–there is no straining to cohere, here.

Me Myself I (1999) + Passion of Mind (2000) – DVDs

ME MYSELF I
**/**** Image B Sound A Extras C
starring Rachel Griffiths, David Roberts, Sandy Winton, Yael Stone
written and directed by Pip Karmel

PASSION OF MIND
**/**** Image A Sound B+
starring Demi Moore, Stellan Skarsgård, William Fichtner, Peter Riegert
screenplay by Ron Bass and David Field
directed by Alain Berliner

by Bill Chambers SPOILER WARNING IN EFFECT. With a bumper crop of "what if?" movies hitting screens over the past couple of years–enough of them, perhaps, to signify a genre–the time is nigh to examine, in the hope of capping, this Cinema of Regret, a marriage propagandist's dream. Both Me Myself I and Passion of Mind arrive (coincidentally?) on DVD this week, and each in its roundabout way encourages its existentially lost central character to attach sentimentalism to family values. Dan Quayle must be happy as a clam.

The Omen (1976) [Special Edition] – DVD

***½/**** Image A- Sound A- Extras A-
starring Gregory Peck, Lee Remick, David Warner, Billie Whitelaw
screenplay by David Seltzer
directed by Richard Donner

by Bill Chambers I kind of enjoyed having nightmares as a child because they produced the most intense sensations then within my ken; the threat of death, as was so often the crux of these bad dreams, made me feel gloriously alive. Thus, when The Omen came into my life at the tender age of nine, it became an instant favourite, for it closely approximated the terrifying experiences I'd had with my eyes wide shut. In other words: it scared the pants off me.

Dead Again (1991) – DVD

***½/**** Image B Sound B Extras B
starring Kenneth Branagh, Emma Thompson, Andy Garcia, Derek Jacobi
screenplay by Scott Frank
directed by Kenneth Branagh

by Jarrod Chambers A convicted murderer on death row, about to be executed. A stolen pair of scissors, he lunges–a woman wakes up screaming. It was all a dream, or was it? The door opens, a flash of lightning, illuminating a silver cross dangling from the neck of an attendant nun.

The Green Mile (1999) – DVD

**½/**** Image A Sound A Extras D
starring Tom Hanks, Michael Clarke Duncan, David Morse, Doug Hutchison
screenplay by Frank Darabont, based on the serialized novel by Stephen King
directed by Frank Darabont

by Vincent Suarez In his review of The Thin Red Line, your host at FILM FREAK CENTRAL laments that viewers often are inclined to choose whether they prefer that film or its contemporary, Saving Private Ryan. I find that the same unfortunate phenomenon exists among those who’ve seen both of Frank Darabont’s first two films, The Shawshank Redemption and The Green Mile. (Curiously, Tom Hanks stars in each pair of films.) While the two share many traits (their prison setting, their writer-director, and their source material: short stories by Stephen King), they are vastly different films. For while The Shawshank Redemption is an institutional morality tale, The Green Mile is a death-row fairy tale.

Sleepy Hollow (1999) – DVD

**/**** Image A+ Sound A Extras C+
starring Johnny Depp, Christina Ricci, Miranda Richardson, Michael Gambon
screenplay by Andrew Kevin Walker
directed by Tim Burton

by Bill Chambers Googly eyes that spring forth from a ghoulish figure. A burning windmill. Ghostly choir music. Jeffrey Jones. Sleepy Hollow is Tim Burton's Greatest Hits. The trouble with most compilation albums is that they're superficial, a bunch of songs connected by one flimsy context: retrospection. If this latest gloomfest from Burton doesn't make you yearn for the days when you were witnessing his directorial flourishes for the first time, we saw different films. The storytelling is as shallow as the setting is hollow.

Double Jeopardy (1999) [Widescreen] – DVD

**/**** Image A Sound A Extras D+
starring Tommy Lee Jones, Ashley Judd, Bruce Greenwood, Annabeth Gish
screenplay by David Weisberg & Douglas S. Cook
directed by Bruce Beresford

by Bill Chambers Imprisoned for the murder of her husband, whose apparently dismembered body was never recovered from the deep blue sea, Libby Parsons (Ashley Judd, who’s very good) calls her little boy from a phone bank and hears him say this: “Daddy!” It’s Double Jeopardy‘s most convincing moment, relying as it does on the ignorance of a child–so persuasive, in fact, that you may wonder at film’s end if it had been imported from another screenplay altogether.

Scream 3 (2000)

*/****
starring Neve Campbell, Courtney Cox Arquette, David Arquette, Parker Posey
screenplay by Ehren Kruger
directed by Wes Craven

by Bill Chambers Miramax "disinvited" online media from press screenings of Scream 3. They ostensibly feared that folks like me would write spoiler-filled reviews and post them prior to the film's February 4th release date–unsound reasoning. You see, 'net critics established enough to be on any sort of VIP list are professionals–Miramax surely knows the difference between an upstanding member of The On-Line Film Critics Society (OFCS) and the type of fanboy who submits spy reports to Ain't It Cool News. No, the 'mini major' was afraid we'd let a bigger cat out of the bag than whodunit: that Scream 3 is a dismal conclusion to the beloved (by this writer, at least) franchise.

Brokedown Palace (1999) – DVD

**/**** Image B+ Sound B+
starring Claire Danes, Bill Pullman, Kate Beckinsale, Lou Diamond Phillips
screenplay by David Arata
directed by Jonathan Kaplan

by Bill Chambers It’s somebody’s idea of a cruel joke: hire two of the most beautiful actresses in the known universe and slather them in grime and grit and stink for the better part of 100 minutes. While the characters don’t seem to mind (“I’ve had worse haircuts,” remarks Claire Danes’s Alice Marano of being sentenced to 33 years in a foreign prison–though her bob-crop is quite fetching), the intended audience for Brokedown Palace–teenagers unfamiliar with Midnight Express–had a rather adverse reaction to the thought of watching a couple of starlets wallow in a world of piss and roaches and Bill Pullman lawyers and Lou Diamond Phillips embassy officials, if the pitiful box-office is any indication. So why did they bother sanitizing it for younger viewers?

The General’s Daughter (1999) [Widescreen Collection] – DVD

**/**** Image A+ Sound A- Extras B+
starring John Travolta, Madeleine Stowe, James Cromwell, James Woods
screenplay by Christopher Bertolini and William Goldman, based on the novel by Nelson DeMille
directed by Simon West

by Bill Chambers The General’s Daughter is prettified trash, a sulphur-coloured pulp movie of dubious ambitions. Undeniably effective in fits and starts, this adaptation of Nelson DeMille’s popular novel dies when it succumbs to the lurid urges of a too-visceral director. The nude body of Captain Elisabeth Campbell (Leslie Stefanson) has been discovered strangled to death on an army base in Georgia. Elisabeth’s father, vice-presidential hopeful General Joseph Campbell (!) (James Cromwell), summons beefy army cop Paul Brennan (John Travolta), an acquaintance of the deceased, to close the case before the FBI moves in–and before the media gets wind of the situation. Working with ex-girlfriend Sarah “Sun” Sunhill (Madeleine Stowe), Paul quickly uncovers the secrets of the late captain’s double-life as a dominatrix.

Arlington Road (1999)

*½/****
starring Jeff Bridges, Tim Robbins, Joan Cusack, Hope Davis
screenplay by Ehren Kruger
directed by Mark Pellington

by Bill Chambers Wrote Josh Young, in issue #493 of ENTERTAINMENT WEEKLY: "With studios now viewing the mid-level, Oscar-nominated directors as a luxury they can no longer afford, established auteurs…are facing increasingly stiff competition from slick young music-video turks who'll work for a mere pittance." From its galling opening sequence, I wondered what Arlington Road would look like had it been sired by someone more established in movies than the director of Pearl Jam's "Jeremy" clip. Director Mark Pellington is so mindful of 'the image' that writer Ehren Kruger's plotting eventually drops off the tightrope of credibility. Could a veteran filmmaker, comparable in status to the late Alan J. Pakula, swindle us more successfully with the same screenplay?

Snake Eyes (1998) – DVD

**/**** Image B+ Sound A
starring Nicolas Cage, Gary Sinise, Carla Gugino, Stan Shaw
screenplay by David Koepp
directed by Brian De Palma

by Bill Chambers The setting: an Atlantic City hotel casino. Homicide detective Rick Santoro (Nicolas Cage) excitedly attends a big heavyweight showdown with his best bud, Commander Kevin Dunne (Gary Sinise), a Washington yes-man assigned to protect Kirkland, the Secretary of Defense (Joel Fabiani), who has a seat in the second row. As a buxom blonde (Carla Gugino) quietly converses with Kirkland, the fighter (Stan Shaw) is knocked down for the first time in his career. Simultaneously, sniper shots are fired into the crowd. An assassin is immediately caught, though not before Kirkland has expired and his mystery woman (farsighted and bereft of her specs) has escaped in the ensuing stampede. Santoro launches an impromptu investigation, his detective skills consisting mainly of screaming at people until they yield. He is the verbal correlative to the boxer in the picture.

Affliction (1998)

***½/****
starring Nick Nolte, Sissy Spacek, James Coburn, Willem Dafoe
screenplay by Paul Schrader, based on the novel by Russell Banks
directed by Paul Schrader

by Bill Chambers

Wade: "I get to feeling like a whipped dog some days, Rolfe. And some night I'm going to bite back."
Rolfe: "Haven't you already done a bit of that?"
Wade: "No, not really. I've growled a little, but I haven't bit."

Why Paul Schrader chose to adapt Russell Banks's disquieting literary novel Affliction is no great mystery: its story follows an arc similar to that of Schrader's best known works, such as his screenplays for Scorsese's Taxi Driver and his own Hardcore. Affliction's Wade Whitehouse (Nick Nolte), like Travis Bickle before him, is a man who fixates on exposing corruption in repression of his own violent past. In Bickle's case, planning the assassination of a governor perhaps defers the pain of Vietnam, from which he was honourably discharged; Wade has been afflicted for years by his father Glen's wickedness.

The Gingerbread Man (1998)

**½/****
starring Kenneth Branagh, Embeth Davidtz, Daryl Hannah, Robert Downey Jr.
screenplay by Robert Altman (as Al Hayes), based on a story by John Grisham
directed by Robert Altman

by Bill Chambers It's nice to see Robert Altman doing studio work again. After 1980's disastrously-received Popeye, the director steered clear of mainstream Hollywood entirely. Perhaps this is a chicken-egg scenario and it steered clear of him, but no matter: his return to a more formulaic brand of filmmaking showcases the director at his best and not-so. The Gingerbread Man is based on a dusty screenplay by John Grisham; curiously, for such an airport writer, several Important Filmmakers have adapted Grisham in the past (Sydney Pollack, Alan Pakula, and Francis Coppola), but nobody's done it with more personality than Altman.