Down in the Valley (2006) [Widescreen] – DVD

*/**** Image B- Sound B+ Extras C-
starring Edward Norton, Evan Rachel Wood, David Morse, Rory Culkin
written and directed by David Jacobson

Downinthevalleycap

by Walter Chaw Almost worth it for a scene on the set of a western where our deranged fabulist hero Harlan (Edward Norton) finally finds a home, David Jacobson's Down in the Valley is otherwise so much pretentious hoohah waving its indie banner like a parasol. Rather than serve to illustrate a point about form and function à la Gus Van Sant's shot-for-shot remake of Psycho, what Jacobson's film does is strain its affection for (affectation of?) Taxi Driver, to the point of re-enacting the sacred "You talkin' to me?" sequence–to the point of actually perverting Scorsese's satire into your typical avenging-father/straying-daughter intrigue. It's possible of course to boil Travis Bickle's odyssey down to that, but to call Down in the Valley "reductive" is too kind: this is Taxi Driver recast as a protect-your-children-from-bad-dates picture, one that turns its back on the dreamlife of a crocodile in favour of the restoration of familial strata. It fails the courage test–going so far as to subtly pose an anti-Second Amendment suggestion–after failing, more damnably, to rationalize its pilfering of perhaps the definitive yawp in modern American cinema. Shake Down in the Valley hard enough and out falls another produced-by vanity piece for Norton to exercise his blank (as in Miyazaki-forest-sprite blank), squinty-eyed Method for the approval of his rapidly-shrinking circle of admirers. As far as the Norton mystique goes, Ryan Gosling is cheaper and prettier.

Man of the Year (2006) [Widescreen] – DVD

½/**** Image A Sound A Extras C-
starring Robin Williams, Christopher Walken, Laura Linney, Jeff Goldblum
written and directed by Barry Levinson

Manoftheyearcap

by Walter Chaw Notorious dullard Barry Levinson's second try at Wag the Dog, the Robin Williams vehicle Man of the Year is a limp wrist waved weakly at no more pathetic a target than new voting technology. The story, such as it is, involves a late-night political comedian/talk show pundit (in the Jon Stewart mold, I guess, if Jon Stewart were stupid, unfunny, and irritating) named Tom Dobbs (Williams) who carries his antiquated shtick all the way to Pennsylvania Avenue on the back of a faulty computerized voting system. Frail egghead techie Eleanor (Laura Linney, too good for this shit) discovers her company's HAL-like flaw (hardly godlike in her erudition, she puzzles out that the digital voting booths choose winners alphabetically), and then promptly goes on the lam after an inexplicable and out-of-tune assault hays her wires and inspires her to seek out the freshly-minted POTUS-elect to inform him of the error. Meanwhile, Dobbs keeps acting like that asshole Robin Williams, desperately in need of a strong hand at his reins lest he run roughshod over his co-stars, the script, sense, respectability, plausibility, and so on down the line.

The Last Kiss (2006) [Widescreen] + Trust the Man (2006) – DVDs

THE LAST KISS
ZERO STARS/**** Image B+ Sound B Extras D
starring Zach Braff, Jacinda Barrett, Casey Affleck, Tom Wilkinson
screenplay by Paul Haggis, based on the screenplay for L'Ultimo Bacio by Gabriele Muccino
directed by Tony Goldwyn

TRUST THE MAN
½/**** Image A- Sound C Extras D

starring Billy Crudup, David Duchovny, Maggie Gyllenhaal, Julianne Moore
written and directed by Bart Freundlich

by Walter Chaw Zach Braff's auto-elevation into the rarefied air of Ed Burnsian self-satisfaction has required a fraction of the smarmcoms, if a meaningful assist from an obscenely-popular TV show that's running on fumes at this point. Garden State is dreadful, of course, swarming with awkward, overwritten, creepy alt-folk montages and pocket epiphanies (just like "Scrubs", albeit with half the rage and exploitation of frailty), but team up former "The Facts of Life" scribe (and Oscar-winning screenwriter) Paul Haggis with instant-brand Braff–he's like sea monkeys: just add grease–for The Last Kiss and discover in the alchemy a more pungent, twice-as-stale vintage of a type of picture that used to be done with grace and wit by people like Whit Stillman and Hal Hartley, cheapened by noxious voice-overs and skeezy dialogues obsessed with the female orgasm without having the honesty to actually show one. What we get instead is the idea that this shit sells to a privileged "indie"-craving hipster demographic oblivious to the fact that "indie" films are as homogenous a ghetto as any other now. (Independent of what? Alternative to what?) There's nothing genuine about these "relationshit" flicks (thanks to blogger John Landis for the term); they're a sloppily-baited hook dangling in a waitlisted stucco bistro.

Here Comes Mr. Jordan (1941) – DVD

**/**** Image A- Sound B+
starring Robert Montgomery, Claude Rains, Evelyn Keyes, Rita Johnson
screenplay by Sidney Buchman and Seton I. Miller, from the play "Heaven Can Wait" by Harry Segall
directed by Alexander Hall

by Travis Mackenzie Hoover Here Comes Mr. Jordan shakes your faith in the idea of Hollywood as Dream Factory. It's a film about a prizefighter (Robert Montgomery, playing Joe Pendleton) meeting an untimely end in a plane crash and having his consciousness transferred into the body of a murdered millionaire. (When his plane takes a nosedive via the magic of a camera off its axis, so, too, do the clouds in the sky.) There's a patrician, Mr. Roarke-ish afterlife overseer–the titular Mr. Jordan (Claude Rains)–and much switcheroo'ing involving bodies and identities and romance; it would take quite an effort for this to be less than light on its feet. But despite it all, the film hits the ground with a thud and sits there without a truly fanciful thought in its head. Not only is the script so impressed with itself that you can hear the writers crack up at every single feeble joke, but director Alexander Hall has also decided to shoot everything in cold, wide master shots that see everything and suggest nothing. It must be the least wondrous fantasy in Tinseltown history.

Sundance ’07: Year of the Fish

**/****starring Tsai Chin, Randall Duk Kim, Ken Leung, An Nguyenwritten and directed by David Kaplan by Alex Jackson I'm not quite sure why David Kaplan's Year of the Fish doesn't work, but I think it might have something to do with a fundamentally tainted central concept: the Cinderella story retold with a Chinese girl being sold into slavery in New York's Chinatown district. Cinderella is Ye Xian (An Nguyen), which was Cinderella's real name in the original Chinese folktale published a good 800 years before the better-known Perrault version. Xian must reimburse her benefactor for the cost of her room,…

Because I Said So (2007)

ZERO STARS/****
starring Diane Keaton, Mandy Moore, Gabriel Macht, Stephen Collins
screenplay by Karen Leigh Hopkins & Jessie Nelson
directed by Michael Lehmann

by Walter Chaw From the guy who once upon a time made Heathers–a film that remains the pithiest commentary on school violence and the sea of troubles faced by adolescents lost in the blackboard jungle–comes a fearsome rampage against mankind and art, the excrescent Because I Said So. The best that can be said about this early contender for the worst film of 2007 is that it’s properly keystone’d by Diane Keaton, who, between this and The Family Stone, cements her position as the most smug, insufferable, unwatchable persona in a long and tumescent line of such personae. She embodies the absolute worst of every single stereotype of the domineering mother: dotty, ditzy, Luddite, sexless/oversexed, cruel, racist, otherwise intolerant, and above all hysterical. Throw her psychotic mommy dearest from The Other Sister into the stew and it’s hard to find a more stalwart movie monster in the last ten years than Keaton, who’s gone from a charming neurotic to a cobwebbed, cell-phone-wielding vagina dentata.

The Addams Family: Volume One (1964-1965) + Bones: Season One (2005-2006) – DVDs

THE ADDAMS FAMILY: VOLUME ONE
Image B Sound B- Extras B+
"The Addams Family Goes to School," "Morticia and the Psychiatrist," "Fester's Punctured Romance," "Gomez, the Politician," "The Addams Family Tree," "Morticia Joins the Ladies League," "Halloween with the Addams Family," "Green-Eyed Gomez," "New Neighbors Meet the Addams Family," "The Addams Family Meets the V.I.P.s," "Morticia, the Matchmaker," "Lurch Learns to Dance," "Art and the Addams Family," "The Addams Family Meets a Beatnik," "The Addams Family Meets the Undercover Man," "Mother Lurch Visits the Addams Family," "Uncle Fester's Illness," "The Addams Family Splurges," "Cousin Itt Visits the Addams Family," "The Addams Family in Court," "Amnesia in the Addams Family"

BONES: SEASON ONE
Image A Sound A+ Extras C-
"Pilot," "The Man in the S.U.V.," "A Boy in a Tree," "The Man in the Bear," "A Boy in a Bush," "The Man in the Wall," "The Man on Death Row," "The Girl in the Fridge," "The Man in the Fallout Shelter," "The Woman in the Airport," "The Woman in the Car," "The Superhero in the Alley," "The Woman in the Garden," "The Man on the Fairway," "Two Bodies in the Lab," "The Woman in the Tunnel," "The Skull in the Desert," "The Man with the Bone," "The Man in the Morgue," "The Graft in the Girl," "The Soldier in the Grave," "The Woman in Limbo"

by Ian Pugh Charles Addams's darkest cartoons for THE NEW YORKER were routinely hilarious, not just for their brazen denial of the nuclear family unit, but also because, unlike so many of the publication's other strips, they take their one-panel restrictions to heart without coming off as smarmy. Moreover, Addams's scenarios were simple without being stupid, e.g., family of ghouls about to dump boiling oil on Christmas carollers. The problem in turning these characters into a half-hour sitcom, namely "The Addams Family", should be self-evident: it bloats the brisk silliness into a particularly tiresome game of "Opposite Day"–thirty minutes of a family that cheerfully approves of the macabre and homicidal while despising normalcy and respectability.

Elizabeth Taylor-Richard Burton: The Film Collection – DVD

THE V.I.P.S (1963)
½*/**** Image C+ Sound B
starring Elizabeth Taylor, Richard Burton, Elsa Martinelli, Margaret Rutheford
screenplay by Terence Rattigan
directed by Anthony Asquith

THE SANDPIPER (1965)
½*/**** Image B Sound B- Extras C-
starring Elizabeth Taylor, Richard Burton, Eva Marie Saint, Morgan Mason
screenplay by Dalton Trumbo and Michael Wilson
directed by Vincente Minnelli

MustownWHO'S AFRAID OF VIRGINIA WOOLF? (1966)
****/**** Image A+ Sound A- Extras B
starring Elizabeth Taylor, Richard Burton, George Segal, Sandy Dennis
screenplay by Ernest Lehman, based on the play by Edward Albee
directed by Mike Nichols

THE COMEDIANS (1967)
*½/**** Image B Sound B- Extras C-
starring Richard Burton, Elizabeth Taylor, Alec Guinness, Peter Ustinov
screenplay by Graham Greene, based on his novel
directed by Peter Glenville

by Walter Chaw Also called International Hotel, The V.I.P.s–the first chronologically-released vehicle for Richard Burton and Elizabeth Taylor following the initiation of their legendary infidelities on the set of Cleopatra–is unwatchable dreck of the Old Hollywood variety. When people say "They don't make 'em like they used to," it's a good corrective to start listing off dusty artifacts like this one. As it was something of a financial windfall at the time (though not enough of one to offset the impending disaster of Cleopatra), one assumes that audiences flocked to theatres to sniff the musky odour of Burton/Taylor's forbidden l'amour that had dominated the world's lascivious imagination as production on an epic failure (or failed epic) dragged on for months and years. For me, the curiosity about The V.I.P.s, currently available in Warner's freshly-minted box set of Burton/Taylor pictures made during the height of their notoriety, has a lot more to do with Richard Burton, who was, to my mind, his generation's Russell Crowe. Like Crowe, Burton is thick with virility and gravitas and the ability, by himself, to carry a picture on his broad shoulders; I wonder if his seduction by a relic of Old Hollywood glamour hasn't tainted his legacy irrevocably. My voyeuristic impulse ultimately isn't so different from that of contemporary viewers, in fact, though I do offer the slight caveat that I'm in it to see how touching a match to Burton's already-boundless explosiveness would infect, for good or for ill, what are essentially vanity pieces for a couple drunk on the cult of themselves.

Fiddler on the Roof (1971) [2-Disc Collector’s Edition] – DVD

***/**** Image A Sound A Extras B
starring Topol, Norma Crane, Leonard Frey, Molly Picon
screenplay by Joseph Stein, based on his play
directed by Norman Jewison

Fiddlerontheroofcapby Travis Mackenzie Hoover Fiddler on the Roof is sort of the transition point between the late-'60s Twilight of Old Hollywood and the American Renaissance of the '70s. In one sense, it's the very last of the king-sized Broadway adaptations the industry kept churning out to no avail before the advent of Easy Rider, and there's no denying that the film is over-scaled and over-orchestrated in that manner. Yet there's a genuine sensibility going on here beyond masonry and screeching violins: incredibly, director Norman Jewison has managed to infuse the expensive proceedings with a certain emotional honesty–enough to keep you rapt in fascination without sending your blood-sugar level through the roof, if not enough to make Fiddler on the Roof the masterpiece its status as a home-video perennial would suggest.

The Girls Next Door: Season One (2005) + Stacked: The Complete Series (2005-2006) – DVDs

THE GIRLS NEXT DOOR: SEASON ONE
Image A Sound A Extras D+
"Meet the Girls," "New Girls in Town," "Happy Birthday, Kendra," "What Happens in Vegas," "Fight Night," "Operation Playmate," "Just Shoot Me," "Midsummer Night's Dream," "Under the Covers," "Ghostbusted," "Grape Expectations," "I'll Take Manhattan," "My Kind of Town," "Clue-Less," "It's Vegas Baby!"


STACKED: THE COMPLETE SERIES
Image B+ Sound C Extras D
"Pilot," "Beat the Candidate," "A Fan for All Seasons," "Gavin's Pipe Dream," "The Ex-Appeal," "Nobody Says I Love You," "Two Faces of Eve," "Darling Nikki," "Crazy Ray," "iPod," "Heavy Meddle," "Goodwizzle Hunting," "After Party," "Romancing the Stones," "You're Getting Sleepy," "The Third Date," "The Day the Music Died," "Poker," "The Headmaster"

by Ian Pugh I'm pretty sure it was Jon Stewart who described "lad mags" like MAXIM and STUFF as "porn for people too timid to buy porn," and under that category we could probably also file PLAYBOY reality series "The Girls Next Door" and the Pamela Anderson sitcom "Stacked": softcore pap for those too afraid to have God's honest filth appear on their rental history or cable bill. I'm inclined to believe those same people are apt to use the phrase "turn your brain off" while justifying their love of these silicone parades–which in this case means, what, "shut up and masturbate"? PLAYBOY and Anderson are both cultural artifacts and thus demand scrutiny; protest, however, and you'll just be dismissed as a double-plus-bad thought cop bringing intelligence to a discussion where it isn't wanted. You know, the brainiac killjoy who has to say, "Why are you watching this garbage?" The programs themselves shout you down, in fact, before you have a chance to complain: each invokes Shakespeare on a whim ("Girls" in a party and episode named for "A Midsummer Night's Dream", "Stacked" in one of its sarcastic faux-intellectual quotations)–not for any genuine comparison, but as a surrogate for intelligence, introduced for the sole purpose of deriding it as impertinent. You're the idiot, apparently, for harbouring the desire for something substantial out of one of the most widespread and influential media of the last century.

A Star is Born (1976) – DVD

**/**** Image B+ Sound A- Extras B+
starring Barbra Streisand, Kris Kristofferson, Gary Busey, Oliver Clark
screenplay by John Gregory Dunne & Joan Didion and Frank Pierson
directed by Frank Pierson

Starisborn76capby Travis Mackenzie Hoover It was no doubt celestially preordained that Barbra Streisand would unleash herself on some cherished Old Hollywood warhorse. But while the Janet Gaynor/Judy Garland hand-me-downs that ultimately felt her musical wrath were nobody's idea of untouchable masterpieces, they at least played their cards right in terms of credulity towards celebrity and damaged spouses. The Streisand/Kristofferson A Star is Born lacks genuine investment in its central relationship between alcoholic rock star John Norman Howard (Kris Kristofferson) and his protégé/lover Esther Hoffmann (Streisand). We're supposed to take their epic love on faith, to say nothing of the burned-out cynicism of the descendant rocker; there's a lot of talk about disaffection and anguish, but Frank Pierson's camera never catches it and the actors never quite express it.

Conversations with Other Women (2005) – DVD

**½/**** Image A- Sound A Extras B
starring Aaron Eckhart, Helena Bonham Carter, Nora Zehetner, Eric Eidem
screenplay by Gabrielle Zevin
directed by Hans Canosa

by Travis Mackenzie Hoover There's no real arguing with Conversations with Other Women–you either buy into its common program of relationship angst and mid-life crisis or you don't. Although director Hans Canosa tries to juice things up with a split-screen technique that's less unctuous than the description might suggest, it's still the same Woody Allen-ish trip through romantic failure via witty banter. There's an extent to which this can be entirely watchable, and at no point does the film grind to a halt and become a chore to sit through. Its concept is a tad far-fetched, however, and the insights gleaned from the chance encounter of two people at a wedding reception are nothing you can't find in the pages of any major glossy mag.

Sergeant York (1941) [Two-Disc Special Edition] – DVD

***½/**** Image A- Sound A Extras B
starring Gary Cooper, Walter Brennan, Joan Leslie, George Tobias
screenplay by Abem Finkel & Harry Chandlee and Howard Koch & John Huston
directed by Howard Hawks

by Travis Mackenzie Hoover Before it settles into the martial flag-waver it clearly wants to be, Sergeant York is a terrific movie. Its story of Tennessee-born WWI hero Alvin York, heavily supervised by the man himself, is one of not just a military coup, but an evolving conscience as well–and if that conscience eventually cons itself into supporting that most pointless of international conflicts, the film is nevertheless a moving story of personal growth. Though it barely betrays the hand of Howard Hawks (it lacks the team spirit that courses through his oeuvre), the director tells the tale with the kind of conviction and nuance a lesser director couldn’t provide. The movie feels York’s progress from alcoholic ne’er-do-well to industrious would-be farmer and prospective husband, and instead of taking his emotions for granted, it expresses them with a noted lack of condescension.

The Holiday (2006)

ZERO STARS/****
starring Cameron Diaz, Kate Winslet, Jude Law, Jack Black
written and directed by Nancy Meyers

Holidayby Walter Chaw There are bad movies, and then there are Nancy Meyers movies (first What Women Want, followed by the similarly excrescent Something’s Gotta Give): chick flicks in the most damning, insulting sense of the patronizing term and reason enough to question the wisdom of ever spending money to see a movie. If you go to Meyers’s latest, not only are you about to watch what is easily the worst movie of the year–you’re most likely going to do it in the company of people who’ll actually like it. The Holiday is appallingly written and icky besides in that familiar way of this brand of Love Actually/The Family Stone yuletide romantic refuse, casting Cameron Diaz and Jude Law as lovers fucking away the hours inside a Thomas Kincaid painting while Diaz’s frumpy house-swap buddy, played by Kate Winslet, finds meaning in Santa Monica by propping up a fossil (Eli Wallach) and falling for a James Horner-esque composer of horrible soundtracks (Jack Black). Parliament on the Thames is featured as prominently as the Pacific Coast Highway to underscore either how vacuous the filmmakers are or how stupid they think the audience is while Hans Zimmer’s soul-sucking, teddy bears-humping score saps away the last hints of credibility anyone has after participating in this gingerbread death march. If the opening voiceover narration by Winslet’s lovelorn Iris isn’t warning enough, consider that the narrative crutch used by Diaz’s emetic movie trailer editor Amanda is a series of fake movie trailers about Amanda’s romantic imbroglios.

DIFF ’06: The Architect

ZERO STARS/****starring Anthony LaPaglia, Viola Davis, Isabella Rossellini, Hayden Panettierewritten and directed by Matt Tauber by Walter Chaw I am sick to death of pieces of shit like Matt Tauber's The Architect--sick of the White Guilt Trip, which here finds architect Leo (Anthony LaPaglia) the boogeyman behind all the cultural evils housed in the Cabrini-Green tenement he designed. When he protests to neo-Alfre Woodard Neely (Viola Davis) that he's just the mastermind behind the building's outline and thus unaccountable for the collapse of urban civilization housed therein, the effect is one of outrage not at the arrogance of The Man,…

DIFF ’06: Breaking and Entering

*½/****starring Jude Law, Juliette Binoche, Robin Wright Penn, Ray Winstonewritten and directed by Anthony Minghella by Walter Chaw Carefully modulated for maximum inoffensiveness and awards-season consideration, Anthony Minghella's King's Cross diary Breaking and Entering plays less like a London native's Crash than like Woody Allen's solipsistic version of the same. Find the Aryan faction led by architect Will (Jude Law) and girlfriend Liv (Robin Wright Penn) and the foreigners by Croatian single-mom Amira (the increasingly one-note Juliette Binoche) and, in another star-making turn by Vera Farmiga, a Polish hooker named Oana. A weary detective (Ray Winstone) verbalizes the social schism…

Superman II: The Richard Donner Cut (1981/2006) – DVD

***/**** Image A Sound A Extras A-
starring Gene Hackman, Christopher Reeve, Ned Beatty, Jackie Cooper
screenplay by Mario Puzo, David Newman and Leslie Newman
directed by Richard Lester

Supermaniicapby Bill Chambers SPOILER WARNING IN EFFECT. A would-be victim of its own London After Midnight-esque mystique, the "Richard Donner Cut" of Superman II is marginally superior to Richard Lester's mutilation, but mitigating circumstances prevent it from being a totally viable alternative. Reconstructed from suppressed outtakes with due diligence (if a journeyman sensibility) according to pre-Lester drafts of the screenplay, the film follows the same basic storyline, though it's a little more efficiently plotted. (While a few Lester bits remain, there is almost certainly less Lester-generated footage here than there is Donner-generated footage in the theatrical version.) Gone is the Eiffel Tower set-piece, replaced by a charming sequence better allied–aesthetically speaking–with the previous Superman in which Lois tries to call Clark's bluff by jumping out a window of THE DAILY PLANET's headquarters; now the weapon of mass destruction responsible for freeing the three supervillains from the Phantom Zone is an errant missile from the climax of the original, which is clever but probably made more sense before they transposed the dopey turning-back-time conceit from the second film onto the first. (More on that later.)

DIFF ’06: Americanese

**½/****starring Chris Tashima, Allison Sie, Sab Shimono, Munda Razookiscreenplay by Eric Byler, based on the novel by Shawn Wongdirected by Eric Byler by Walter Chaw Eric Byler's follow-up to his haunted, blue Charlotte Sometimes is this adaptation of Shawn Wong's American Knees, which, like Charlotte Sometimes, follows the day-to-day of Asian-Americans--though unlike that film, it fails to find that buried thrum to tie together the little glimpses comprising the whole. It's not for lack of trying, as Byler (over)uses the dissolve as his primary editing tactic in what tracks as an attempt to poeticize the essentially mundane and to literalize what, in the novel,…

The Fountain (2006)

****/****
starring Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis
written and directed by Darren Aronofsky

Fountainby Walter Chaw As deeply emotional and damnably frustrating as any work of pure individual vision must be, Darren Aronofsky's long-gestating The Fountain is officially devastating from about thirty-minutes in and buoyed by its singular vision for the remainder. A film that defines the fatigued term "ambitious," it's the story of Man's need to transcend the physical, to defeat mortality, to address the divine that takes the form of what the director has called "science-fiction for the new millennium." Is it arrogant to seek to redefine an entire genre? No doubt–but it's that exact genus of hubris under the microscope in The Fountain, with its three interwoven storylines concerning the courage to explore new worlds armed and shielded only (and enough) by dogged, ragged faith, and so Aronofsky's arrogance becomes, only as it should be, the connective fibre that binds his film together. The Fountain is philosophy, posing questions about the nature of art, of communication, of the truly big questions of existence. And because it's good philosophy, it doesn't seek to answer the mysteries of our intellectual life, but rather offers as the only humanist answer another mystery: love. It's oblique to the point of opaque for long stretches of its "future" passage (involving the voyage to a nebula wrapped around a dying star in what appears to be a bubble housing a hilltop and a tree) and verges on the brink of camp in "past" segments set during the Age of Discovery and the Spanish Inquisition, yet it finds its core–its thematic and emotional anchor–in the "present" with a research scientist's race against his wife's voracious cancer.

The Fountainhead (1949) – DVD

**½/**** Image A Sound A Extras D
starring Gary Cooper, Patricia Neal, Raymond Massey, Kent Smith
screenplay by Ayn Rand, based on her novel
directed by King Vidor

by Travis Mackenzie Hoover By now, it's tedious to recount the many intellectual sins of Ayn Rand. Anyone with the intelligence to put two and two together knows that her "radical individualism" is mere solipsism with a pretty face, but this of course has not stopped teenagers of all ages from thrilling to her Freudian, sexed-up literature, which preaches the "virtue of selfishness," i.e., whatever the audience decides is in its best interest. Still, one has to attest to the compelling nature of her screwball oeuvre, and the film version of her The Fountainhead pretty much sums up why she's so hilariously entertaining. The problem isn't that she's not acquainted with reason, but that she's not acquainted with human behaviour; her script is so outrageously presumptive of how the mediocre and the mob-driven think that it's impossible to keep from laughing long and heartily.