Milk Money (1994) + I.Q. (1994) – DVDs

MILK MONEY
*½/**** Image B Sound B
starring Melanie Griffith, Ed Harris, Michael Patrick Carter
screenplay by John Mattson
directed by Richard Benjamin

I.Q.
**/**** Image B+ Sound B
starring Meg Ryan, Tim Robbins, Walter Matthau, Charles Durning
screenplay by Andy Breckman and Michael Leeson
directed by Fred Schepisi

by Walter Chaw The first preteen sex comedy I’ve ever seen, Richard Benjamin’s inexplicable Milk Money is a fascinating example of a movie that was never a good idea brought to life in a presentation that is every bit as misguided as its appalling premise would suggest. Melanie Griffith is a hooker who flashes her goodies for a bag of change collected by a trio of pre-pubescent youngsters who seem to live in 1994 but act like they’re from 1950. They’ve idealized The City in an impossibly provincial “aw shucks” country-mouse sort of way, proclaiming it the place where anything can happen and, more importantly, anything can be bought. It’s stupid, but at least its naivety is echoed in the way they earn their cash, the cool “Fonzie” kid selling a brief turn with his leather jacket for a handful of change. I’m not certain what freakish netherworld Benjamin and writer John Mattson (responsible for this and two Free Willy sequels) dragged themselves out of, but Milk Money is a product of the same kind of autumnal bullshit-spring from which wells magnificent falderal like The Majestic.

Beyond Borders (2003) + Radio (2003)

BEYOND BORDERS
*/****
starring Angelina Jolie, Clive Owen, Linus Roache, Teri Polo
screenplay by Caspian Tredwell-Owen
directed by Martin Campbell

RADIO
*/****
starring Cuba Gooding Jr., Ed Harris, Riley Smith, Sarah Drew
screenplay by Mike Rich
directed by Michael Tollin

Beyondradioby Walter Chaw Some pharaohs spent their reign building mighty pyramid tributes to themselves, so in that respect we should feel lucky that Angelina Jolie and Cuba Gooding Jr. have only used up the latter part of their plummeting careers constructing towering monuments to their splendid ideological isolation. The real wonder of it all is that there's room enough in the universe for both of their dangerously inflated senses of self-satisfaction, simultaneously reaching their respective pinnacles in a pair of atrocious films that at least have the virtue of being really funny, albeit for all the wrong reasons. For Jolie, her desire to save the entire third world, one orphan at a time, manifests itself in a picture that poses the big-lipped beauty carefully as a fashion plate and a sainted martyr; a debutante with an amazing wardrobe and a UN worker with a streak of activism; and a figure in its way as ridiculous as Gooding Jr.'s caricature of a severely mentally-disabled man (James Robert Kennedy) that reminds, of all things, of that acorn-crazed, pre-verbal prehistoric squirrel from Ice Age.

DIFF ’03: Bitter Jester

***/****directed by Maija DiGiorgio by Walter Chaw Bitter Jester is a hard-to-watch record of an irritating, dangerously self-destructive stand-up comedienne named Maija (director Maija DiGiorgio) who, with a video camera and goombah ex-boxer boyfriend Kenny in tow, imposed herself on the frighteningly neurotic underworld of stand-up performers. With the endorsement of Kenny's legend-in-the-stand-up-world pal Richard Belzer and Maija's dead therapist, the pair set out to make a documentary on the effectiveness of throwing oneself at the mercy of antagonistic comedy-club audiences as therapy for working out childhood trauma and pathological personality defects. What results is a surreal, Hunter S. Thompson-esque…

L’auberge espagnole (2002)

***/****
starring Romain Duris, Judith Godrèche, Audrey Tautou, Cécile De France
written and directed by Cédric Klapisch

Laubergeespagnoleby Travis Mackenzie Hoover Cédric Klapisch is the director of a mid-'90s gem called When the Cat's Away; although it wasn't of great shattering importance, it understood that, and turned out to be enjoyably funky nonetheless. Alas, the intervening years have taken their toll on Klapisch's sense of self-importance, because now he's made L'auberge espagnole–a film with the potential to be another enjoyably funky little movie that instead pushes banal life lessons and shallow cultural observations. L'auberge espagnole might have squeaked by had its tale of a French student in a Barcelona rooming house just been a sex farce with low ambitions, but as it stands, it's a sex farce that thinks that it's actual drama, making for some serious head-slapping when it drags out the ersatz "importance."

DIFF ’03: A Slipping-Down Life

**½/****screenplay by Toni Kalem, based on the novel by Anne Tylerdirected by Toni Kalem by Walter Chaw With an excellent first hour and a less impressive, almost sprawling second, Toni Kalem's hyphenate debut A Slipping-Down Life finds an excellent cast in the employ of a Southern Gothic about a young woman "awakened" by the "shout outs" of a small-time backwater singer/songwriter. With tunes by Peter Himmelman and nice performances from Guy Pearce and Lili Taylor (too pretty to play the overweight teen protagonist of the Anne Tyler novel on which the film is based), what starts out as unusual and…

School of Rock (2003) + Intolerable Cruelty (2003)

SCHOOL OF ROCK
**/****
starring Jack Black, Joan Cusack, Mike White, Sarah Silverman
screenplay by Mike White
directed by Richard Linklater

INTOLERABLE CRUELTY
**½/****
starring George Clooney, Catherine Zeta-Jones, Geoffrey Rush, Cedric the Entertainer
screenplay by Robert Ramsey & Matthew Stone and Ethan Coen & Joel Coen
directed by Joel Coen

by Walter Chaw Maverick filmmaker Richard Linklater takes a break from his experiments in narrative and philosophy to helm what is essentially a mélange of the most tried and true mainstream formulas: the underdog kids uplift (The Bad News Bears, et. al); the inspirational teacher uplift (Dead Poets Society, et. al); the slacker whose best friend is dating an uptight harridan uplift (Saving Silverman, et. al); the burnout loser makes good uplift (Bill & Ted’s Excellent Adventure, et. al); and the rebel who reforms a restrictive institution led by an icy task-mistress uplift (One Flew Over the Cuckoo’s Nest, et. al). Not to say that School of Rock is without its merits, but the whiff of originality–which every film of Linklater (and Mike White, who wrote the script) has possessed to some degree or another up to now–is not among them.

Daisy Miller (1974) – DVD

***/**** Image B+ Sound A- Extras B+
starring Cybill Shepherd, Barry Brown, Mildred Natwick, Eileen Brennan
screenplay by Frederic Raphael, based on the novella by Henry James
directed by Peter Bogdanovich

by Travis Mackenzie Hoover Daisy Miller is that rare literary adaptation that improves when considered next to its source. Not content to deliver the consumption porn that would later define Merchant-Ivory and their fellow travellers, director Peter Bogdanovich instead serves up a bittersweet evocation of an oblivious life lost and an all-too-conscious one wasted in check, employing the tools of cinema–not just art direction–to make his aesthetic/emotional case. Here, one feels the pressures of late-19th century mores as they close in on the title character and the civilized restraint that keeps its protagonist from acting on impulse; the costumes and furnishings, though lavish enough, are not the main event. And while the self-contained nature of the piece (endemic to the Henry James source) keeps the film from touching greatness, it's still very sensitive work in a genre that is normally beneath contempt.

Enigma (2001) [Special Edition] – DVD

**½/**** Image A- Sound A- Extras A-
starring Dougray Scott, Kate Winslet, Jeremy Northam, Saffron Burrows
screenplay by Tom Stoppard, based on the novel by Robert Harris
directed by Michael Apted

by Walter Chaw The easy thing to say is that the Mick Jagger-produced Enigma is enigmatic–it's more difficult to pinpoint the exact reasons why. Stars Dougray Scott, Kate Winslet, and Jeremy Northam are fine, Tom Stoppard's screenplay would on the surface surely seem fine, and Michael Apted's polished, if unremarkable, direction is the very definition of just fine. So the onus must fall on the material adapted, Robert Harris's follow-up to his much-lauded Fatherland, which promised a Ken Follett romantic espionage page-burner while delivering a staid and occasionally incomprehensible period bodice-ripper crushed under the dual gorgons of the sophomore jinx and the Tom Clancy "guess I'm not very good at dialogue" bogey. Enigma's problems begin and end with its inability to overcome the essential faults of its inherited plot, its most interesting aspect–WWII cryptologists at London's Bletchley Park–subsumed by a run-of-the-mill mystery and a never-in-doubt love story. It appears the curse of many historical fictions that attempt to familiarize the "long ago" with a "universal" romantic story arc dooms Enigma's period and historical detail to function as mere decorative flourish.

The Fighting Temptations (2003)

*/****
starring Cuba Gooding Jr., Beyoncé Knowles, Chloe Bailey, Demetress Long
screenplay by Elizabeth Hunter and Saladin K. Patterson
directed by Jonathan Lynn

Fightingtemptationsby Walter Chaw It's fair to wonder at some point what it is, exactly, about Cuba Gooding Jr. that appeals the most. Is it the broad mugging? The amazingly insulting material? Or is it the kind of manic energy that proves so enervating to most people too old to be entertained by insulting, mugging clowns? And while The Fighting Temptations isn't quite as bad as Snow Dogs, Boat Trip, or Men of Honor, it's somehow less of a movie than either–a collection of flimsy narrative excuses for musical numbers that manages to suggest that poor southern African-Americans are slavishly devoted to the word of New York advertising executives while confirming that there are some characters so revolting as to indeed be above redemption. In its zeal to graft a few uplift dramas to its gospel-highlights showcase, The Fighting Temptations finds in its protagonist an appalling yaw of moral cess and, worse, a lack entire of much of anything resembling a recognizable humanity. Gooding Jr. is typecast in the part, in other words, and things don't appear to be looking up with the dreaded upcoming disability opera Radio.

Sleeping Beauty (1959) [Special Edition – 2-Disc Set] – DVD

***½/**** Image A Sound A Extras A+
story adaptation Erdman Penner, from the Charles Perrault version
directing animators Milt Kahl, Frank Thomas, Marc Davis, Ollie Johnston, John Lounsbery; supervising director Clyde Geronimi; sequence directors Eric Larson, Wolfgang Reitherman, Les Clark

by Bill Chambers

"Heralded by audiences and critics alike, Sleeping Beauty was the final fairy tale to be produced by Walt Disney himself. Now fully restored with revolutionary digital technology, its dazzling colors, rich backgrounds, and Academy Award-nominated orchestrations shine brighter than ever. When an enchanted kingdom and the most fair princess in the land falls prey to the ultimate mistress of evil, the fate of the empire rests in the hands of three small fairies and a courageous prince's magic kiss. Their quest is fraught with peril as the spirited group must battle the evil witch and a fire breathing dragon if they are to set the Beauty free. From spectacular action to the breathtaking pageantry of the princess and her kingdom, Sleeping Beauty has something to charm every member of your family." — Sleeping Beauty DVD liner summary

SleepingbeautycapThe second animated feature shot in CinemaScope after Disney's own Lady and the Tramp, Sleeping Beauty looks on the widescreen frame as a vast frame for the spread of darkness. This is Snow White and the Seven Dwarfs with twenty years' worth of successes and failures factored in, Disney's most fatalistic vision and one of their most gratifying when all's said and done. The picture is so doomy that its happy ending feels more coma-dream than fairy-tale resolution, something like the conclusion to Taxi Driver; in its world of medieval tapestries come to life, joy looks out of place. Joy, in fact, becomes nothing less than a magnet for evil, with villain Maleficent dooming Princess Aurora on the festive occasion of her birth to an untimely grave (by a poisonous prick from a spinning wheel on her sixteenth birthday–a menstrual nightmare from which the animators do not flinch) and later stumbling upon the secreted-away Aurora by scouting the kingdom for excess merriment.

Cleopatra (1963) [Five Star Collection]; Lawrence of Arabia (1962) [Exclusive Limited Edition|Superbit]; The Mummy (1999) [Ultimate Edition] – DVDs

CLEOPATRA
**/**** Image A Sound A Extras A+
starring Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown
screenplay by Joseph L. Mankiewicz, Ranald MacDougall and Sidney Buchman
directed by Joseph L. Mankiewicz

MustownLAWRENCE OF ARABIA
****/****
ELE DVD – Image A Sound A Extras B
Superbit DVD – Image A Sound A
starring Peter O'Toole, Alec Guinness, Anthony Quinn, Omar Sharif
screenplay by Robert Bolt and Michael Wilson
directed by David Lean

THE MUMMY
**/**** Image A Sound A (DD)/A+ (DTS) Extras A-
starring Brendan Fraser, Rachel Weisz, John Hannah, Arnold Vosloo
screenplay by Stephen Sommers
directed by Stephen Sommers

by Bill Chambers Cleopatra, meet T.E. Lawrence. Now allow me to introduce the two of you to…Rick O'Connell?

TIFF ’03: Danny Deckchair

**/****starring Rhys Ifans, Miranda Otto, Justine Clarke, Rhys Muldoonwritten and directed by Jeff Balsmeyer by Bill Chambers Danny Deckchair is so aware of being a formula fish-out-of-water comedy that it leaves some of the more crucial gestures of plot off its checklist, resulting in a film equally unsatisfying for its clichés and for its lack thereof. Rhys Ifans, that starved Allman brother, plays Danny Morgan, a Walter Mitty-ish construction worker stuck in a dead-end relationship with Trudy (Glenda Lake), a fame-hungry travel agent seeing a TV newsman on the side. Aware that Trudy is sick of his weird inventions, Danny…

TIFF ’03: The Cooler

*½/****starring William H. Macy, Alec Baldwin, Maria Bello, Shawn Hatosyscreenplay by Frank Hannah & Wayne Kramerdirected by Wayne Kramer by Bill Chambers A lame exercise in Mamet posturing, The Cooler has been subject to inexplicable pre-release hype for both its tame (by post-Irréversible standards) sex scenes and, allegedly, for being good. William H. Macy plays another variation on his stock nebbish, this one employed by the Shangri-La Casino to "cool" gamblers on a hot streak with his contagious bad luck--a premise that contains the potential to expose the heart of the most superstitious city in America. But writers Frank Hannah…

TIFF ’03: Bon Voyage

*½/****starring Isabelle Adjani, Gérard Depardieu, Virginie Ledoyen, Yvan Attalwritten and directed by Jean-Paul Rappeneau by Bill Chambers "And I'll huff, and I'll puff, and I'll boorrre the hell out of you." Jean-Paul Rappeneau's Bon Voyage labours harder than any film in recent memory to entertain, but the result is so draining I don't remember grooving with it once. In the opening scene, the latest vehicle for champagne starlet Viviane Denverts (Isabelle Adjani, who at 48 should be too old to play an ingénue, but looks at least half her age--it's quite miraculous, really) leaves rapt the attendees of a French…

TIFF ’03: The Barbarian Invasions

Les Invasions barbares**½/****starring Rémy Girard, Stéphane Rousseau, Marie-Josée Croze, Marina Handswritten and directed by Denys Arcand by Bill Chambers Denys Arcand's The Decline of the American Empire belongs to the homecoming genre of films like Lawrence Kasdan's The Big Chill and John Sayles's Return of the Secaucus Seven, but its quasi-sequel, twice honoured at this year's Cannes Film Festival (for Marie-Josée Croze's performance and Arcand's screenplay), is a Muppet movie with socialists. When embittered poli-sci professor Rémy (Rémy Girard) is diagnosed with untreatable cancer, his estranged, millionaire son Sébastien (David Duchovny look-alike Stéphane Rousseau) seeks out Rémy's Marxist friends of…

Never on Sunday (1960) + The Man from Elysian Fields (2002) – DVDs

Pote tin Kyriaki
***/**** Image A Sound B
starring Melina Mercouri, George Foundas, Titos Vandis
written and directed by Jules Dassin

THE MAN FROM ELYSIAN FIELDS
**½/**** Image B+ Sound B+ Extras C-
starring Andy Garcia, Mick Jagger, Julianna Margulies, Olivia Williams
screenplay by Phillip Jayson Lasker
directed by George Hickenlooper

by Walter Chaw They could be sisters in philosophy. The school of happy-go-lucky hookers perfected by Billy Wilder and his Irma La Douce (1963) also graduated Melina Mercouri’s Ilya three years previous in expatriated filmmaker Jules Dassin’s ebullient Never on Sunday (1960). Dassin and Wilder are involved in a perverse sort of mythmaking–fed by the artifice of classic theatre for Dassin, and for Wilder, more, the hysterical artifice of musical theatre, reclaiming the state of whore to the state of Madonna in what feels like a mania for order in a world without it. The whore as pacific nurturer, Rose of Sharon recast as Xaviera Hollander, represents a cynic’s compromise: the font of life and hearth nursed in the oft-fondled breast of a wanton woman. Mary Magdalene, unrepentant–ascendant.

Bend It Like Beckham (2002) [Widescreen Edition] – DVD

**½/**** Image A- Sound A Extras A-
starring Parminder Nagra, Keira Knightley, Jonathan Rhys-Meyers, Anupam Kher
screenplay by Gurinder Chadha, Guljit Bindra, Paul Mayeda Berges
directed by Gurinder Chadha

by Bill Chambers This year's British-import-pre-sold-as-a-hit Bend It Like Beckham coasts on its similitude to John Badham's magnificent Saturday Night Fever, but when all a picture is doing is reminding you of a better one without embarrassing itself, it can hardly be called a triumph. I'm surprised that more critics haven't picked up on the film's debt to Saturday Night Fever, actually, which extends to the set design and placement of key props. It's this kind of popular coding that has, I suspect, buoyed Bend It Like Beckham aloft the market doldrums of other mainstream-pitched East-meets-West comedies (East Is East, Bollywood/Hollywood): the subliminal affiliation of one ethnicity (orthodox Sikh) with another (Italian-Americans) that was long ago embraced by the masses.

Four Faces West (1948) + Blood on the Sun (1945) – DVDs

FOUR FACES WEST
*/**** Image B Sound B+
starring Joel McCrea, Frances Dee, Charles Bickford, Joseph Calleia
screenplay by C. Graham Baker, Teddi Sherman; adaptation: William Brent and Milarde Brent, based on the novel by Eugene Manlove Rhodes
directed by Alfred E. Green

BLOOD ON THE SUN
**½/**** Image F Sound B+
starring James Cagney, Sylvia Sidney, Porter Hall, John Emery
screenplay by Lester Cole, with additional scenes by Nathaniel Curtis
directed by Frank Lloyd

by Travis Mackenzie Hoover Auteurism giveth, auteurism taketh away. It’s generally assumed that if we gravitate to the director with the greatest skill and the most obvious “personal” style, we will be doing ourselves a big cultural favour and putting ourselves on the side of the angels. And indeed, we generally strive for the power and aesthetic purity of those “originals,” as they give us the most pleasure. But if we declare–regardless of whether that personality has anything to say or says anything halfway coherent–that the only criterion of value in a film is a director’s personality, we will be shutting ourselves off from the other thing that artists do, which is interpreting the world for us. And sometimes lesser filmmakers take on subjects that great artists ignore–creating, if not brilliant analyses, something to stand for or against.

Down with Love (2003) [Widescreen] – DVD

*/**** Image B Sound A Extras B+
starring Renée Zellweger, Ewan McGregor, David Hyde Pierce, Sarah Paulson
screenplay by Eve Ahlert & Dennis Drake
directed by Peyton Reed

by Walter Chaw Renée Zellweger doesn't look altogether well and Ewan McGregor appears a little bored in Peyton Reed's post-modern take on the three Doris Day/Rock Hudson innuendo operas of the late-'50s and early-'60s. An opening voiceover informs that it's "Now, 1962!" and the jokes don't get any funnier than that; Down with Love makes so many miscalculations about its cast and premise that its theatrical release concurrent with The Matrix Reloaded doesn't seem so much "counter-programming" as "hide the evidence." Its greatest crime isn't that its one joke is tiresome from the thirty-minute mark on, it's that at the end of the day the picture doesn't particularly convince as a romance, tickle as a comedy, or score as a satire of any kind.

City Hunter (1993) – DVD

ZERO STARS/**** Image C Sound C Extras D
starring Jackie Chan, Joey Wong, Kumiko Goto, Chingmy Yau
written and directed by Wong Jing

by Walter Chaw There’s a scene towards the middle of Jackie Chan’s unwatchable City Hunter where starving, womanizing Ryô (Chan) leers at a pretty bimbo, and director Wong Jing provides a point-of-view shot that replaces her breasts with hamburgers and her arms and legs with corresponding fried chicken parts. The film never gets any funnier. City Hunter is garbage–fetid and painful from its prologue to a conclusion 100 minutes later that feels for all the world like a week-and-a-half later. It’s misogynistic, which is not really a surprise as almost all of Jackie Chan’s modern-era films are virulently so, but it does what I wouldn’t have suspected to be possible: it makes Chan a smarmy, oafish reptile. The modern Buster Keaton is here recast as Lorenzo Llamas, with the level of violence towards women in the film so extreme and unacceptable that it feels not so much prehistoric as something of a first.