Say It Isn’t So (2001) – DVD

*/**** Image A Sound B Extras C+
starring Heather Graham, Chris Klein, Orlando Jones, Richard Jenkins
screenplay by Peter Gaulke & Gerry Swallow
directed by J.B. Rogers

by Walter Chaw A gross-out comedy in the vein of the Farrelly Brothers’ There’s Something About Mary, Say It Isn’t So (produced by the Farrellys) is a blander-than-bland bit of formula fluff that miscalculates badly, for starters, in handing over its lead romantic roles to warmed-over oatmeal actors Chris Klein and Heather Graham. Though it begins promisingly enough, with an agreeably shocking family dinner and Klein reprising his well-meaning oaf from Election, as soon as the main love story surrounding Klein and Graham kicks up in earnest, Say It Isn’t So slows to an awkward standstill with a curiously lacklustre series of punchless gags and forced madcap. The film reminds the most, in fact, of a straining stand-up comedian, a sheen of flop-sweat decorating his upper-lip as joke after rhythm-less joke falls on an increasingly hostile and distracted audience.

The Claim (2000) – DVD

***½/**** Image A Sound A
starring Wes Bentley, Milla Jovovich, Nastassia Kinski, Peter Mullan
screenplay by Frank Cottrell Boyce
directed by Michael Winterbottom

by Walter Chaw Cold and barren as the winter’s landscape it inhabits, Michael Winterbottom’s exceptional retelling of Thomas Hardy’s The Mayor of Casterbridge is the delicate and maddening The Claim. It’s told in undertones and sidelong glances, gathering its strength from the inexorable tides of fate and the offhand caprices of nature that reflect the essential chaos at the centre of every man’s character. Hardy stated about The Mayor of Casterbridge that “it is not improbabilities of incident but improbabilities of character that matter,” and the subtitle of the novel is, consequently, “A Man of Character.” Though it’s possible to take the subtitle as ironic seeing as the titular main character is guilty in the first chapter (an incident related in the film as a flashback) of an act that is at the very least heinous, both novel and film are earnest in exploring the sticky gradations of morality without value judgment.

Two Family House (2000) + Panic (2001) – DVDs

TWO FAMILY HOUSE
***/**** Image A- Sound B+
starring Michael Rispoli, Kelly Macdonald, Katherine Narducci, Kevin Conway
written and directed by Raymond De Felitta

PANIC
***½/**** Image B+ Sound B+ Extras B
starring William H. Macy, Neve Campbell, Tracey Ullman, John Ritter
written and directed by Henry Bromell

by Bill Chambers Two Family House and Panic, a pair of overlooked films hopefully not destined to become overlooked DVDs, have more in common than a passing glance suggests, and their joint failure to earn even a pittance sounds the death knell for independent cinema as we knew it in the early-’90s. These days, only the import indies get a shot at the big time, which would be quite the statement on an improved national tolerance of foreign-language entertainment were such hits as Billy Elliot and Life is Beautiful not as warm and fuzzy as a Care Bear’s behind. The market’s unresponsiveness to the winsome New York story Two Family House, in particular, generates the following theory: American moviegoers now feel guilty for seeing The Mummy Returns twice instead of something less promoted once; they take the least painful route of cultural redemption by buying tickets to the most domestic thing with accents available, thus developing a distrust of or distaste for the genuine article.

Love Potion #9 (1992) – DVD

ZERO STARS/**** Image D+ Sound C-
starring Tate Donovan, Sandra Bullock, Mary Mara, Dale Midkiff
written and directed by Dale Launer

by Walter Chaw Love Potion #9 is an indescribably bad film that elicits so many feelings of true hatred it should be classified as a post-expressionist nihilist experiment rather than a romantic comedy. It is a gimmick flick based on a novelty song that manages to be worse than the stillbirth of an idea that spawned it. I can only surmise that it's being resurrected now on the DVD format because of the inexplicable fame of Sandra Bullock–a realization that makes me not only want to sleep with the lights on, but also begin to dread the inevitable digital remastering of Religion, Inc..

Donovan’s Reef (1963) – DVD

*½/**** Image A Sound B
starring John Wayne, Lee Marvin, Elizabeth Allen, Jack Warden
screenplay by James Edward Grant and Frank Nugent
directed by John Ford

by Walter Chaw One of legendary director John Ford’s last films, and his final collaboration with John Wayne, Donovan’s Reef is, like much of Ford’s later work, a derivative amalgam of his earlier successes. Curmudgeonly and vicious, it’s a lighter-than-air farce with a black heart that feels suspiciously like the mad rantings of an old soldier describing his vision of a bucolic Valhalla to which he one day hopes to return. Released in the same year (1963) that saw Sidney Poitier become the first black man to win an Oscar in a major category (for Lilies in the Field), Donovan’s Reef is a shockingly, unapologetically racist and misogynistic film about braggadocio, therapeutic rape, and belittling the natives. In other words, John Ford apologists need to work overtime to dig their favorite auteur out from under this surreal bilge.

Hamlet (2000) – DVD

***½/**** Image B+ Sound B+
starring Ethan Hawke, Kyle MacLachlan, Diane Venora, Liev Schrieber
screenplay by Michael Almereyda, based on the play by William Shakespeare
directed by Michael Almereyda

by Bill Chambers This review of Michael Almereyda’s Hamlet has long gestated, and the good thing is, the film does not suffer the ravages of memory. My expectations for this modern-dress Shakespeare adaptation were low enough that I presumed its impact would be short-term at best (the play will always transcend approach and performance to a certain degree), having been effectively show-stopped by Kenneth Branagh’s definitively faithful take of 1996. Prior to spinning the DVD, I also internally debated Almereyda’s talked-about corporate setting, a milieu that would seem a better fit for the political backstabbing of “Macbeth” or “Julius Caesar”.

The Apartment (1960) – DVD

**/**** Image B Sound B
starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston
screenplay by Billy Wilder and I.A.L. Diamond
directed by Billy Wilder

by Travis Mackenzie Hoover I’ve never been able to fully accept the idea of Billy Wilder as a great director. While I have to admit that many of his films are solid entertainment–Some Like It Hot and Sunset Boulevard especially–they’re crippled by a tired, laboured sensibility that keeps them from rising to greatness. They have structure, all right, and snappy, cutting dialogue, but the rigidity of their conception stops us from reading between the lines: Wilder and his writing partners tend to tell us exactly what to think and expect us to accept their words as the word of God Himself. And because ultimately nobody can be this sure of themselves–even in a Hollywood noted for sweeping moral certainties–it becomes obvious that even Wilder isn’t falling for the phoney cynicism he passes off as wisdom. I can appreciate his craft, but his joyless inflexibility makes it hard for me to accept him as a great artist with a vision.

The Muppets Take Manhattan (1984) – DVD

**/**** Image A- Sound B
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Frank Oz and Tom Patchett & Jay Tarses
directed by Frank Oz

by Bill Chambers The third and final Muppet feature to which the dearly departed Jim Henson contributed, The Muppets Take Manhattan is a hodgepodge of terminally ’80s show tunes and ill-considered plotting that ransacks The Muppet Movie‘s basic premise–colourful nobodies seeking stardom–while gutting it of its thematic resonances, including the power of interracial harmony, i.e., “the Rainbow Connection.” What we’re left with is something that sparks but never ignites; The Muppets Take Manhattan is a Muppet film largely without Muppets save Kermit the Frog, and when you get right down to it, Kermit is only as interesting as his sparring partner. Like most leading men, he’s handsome but a bit of a blank slate.

The House of Mirth (2000) – DVD

**½/**** Image B- Sound B Extras C
starring Gillian Anderson, Dan Aykroyd, Eleanor Bron, Terry Kinney
screenplay by Terence Davies, based on the novel by Edith Wharton
directed by Terence Davies

by Walter Chaw Terence Davies's adaptation of an Edith Wharton novel, The House of Mirth is ultimately a languid and luxurious failure, though always a lavish and often a compelling one. Gillian Anderson and Eric Stoltz are vaguely miscast as the Titian leads, while an appearance by Dan Aykroyd in a distracting role as a lascivious cad nearly sinks the production with every moment of his Elwood Blues quick-talking shyster patter, yet Davies's ability to infuse each of his films with a charge of self-confessional mortification lends the piece an air of sad gravity and outrage. The almost unbearable claustrophobic weight of alienation that flavours his non-linear portfolio (Death and Transfiguration, Distant Voices Still Lives, The Long Day Closes) can be traced to Davies himself feeling

Nine Months (1995) – DVD

*/**** Image B+ Sound B
starring Hugh Grant, Julianne Moore, Tom Arnold, Joan Cusack
screenplay by Chris Columbus, based on the film Neuf mois by Patrick Braoude

directed by Chris Columbus

by Walter Chaw That Chris Columbus consistently gets opportunities to direct films in Hollywood is not a result of his talent or wit, but rather the American box-office’s indefatigable hunger for empty cinematic calories. When such unforgivably unpleasant and sentimental Columbus pap as Home Alone, Home Alone 2, Mrs. Doubtfire, Only the Lonely, and Stepmom drop like lead balloons into the cineplex to the approving chorus of the terminally uncritical and the incurably dim-witted, there is no possible reason for studios to try to create something of quality and value. Psst! Wanna make a fortune? Toss a cheap and manipulative tearjerker peppered with mean-spirited slapstick to Chris Columbus, and watch the money pour in.

Forever Mine (2000) – DVD

**/**** Image B Sound B- Commentary B+
starring Joseph Fiennes, Ray Liotta, Gretchen Mol
written and directed by Paul Schrader

by Bill Chambers Paul Schrader’s fragmented, risqué melodrama Forever Mine tells the tale of an exceptionally well-read Miami Beach cabana boy named Alan (Joseph Fiennes) who steals the heart of Ella (Gretchen Mol, an old-fashioned bombshell), the wife of councilman Mark Brice (Ray Liotta), and pays for it: first by being sent to jail an innocent, then with a bullet in the head. (The jealous husband does the deed.) But Alan survives and, unbeknownst to Brice and Ella, steals a new identity for himself, that of a Miami druglord called upon fourteen years later to act as the politico’s criminal liaison in New York. Haunted Ella finds herself compelled by this scarred stranger and his thoughtful glances.

Lost and Delirious (2001) – DVD

*½/**** Image A Sound B
starring Piper Perabo, Jessica Pare, Mischa Barton, Jackie Burroughs
screenplay by Judith Thompson, based on the novel The Wives of Bath by Susan Swan
directed by Léa Pool

by Walter Chaw A teen-lesbian Phenomenon without the maggots and psychotic chimp, Lost and Delirious is gawky, breathy, and self-important–just like a teenage girl, I guess, which makes the film difficult to criticize in a conventional way. It does such a good job with the portentousness of that mawkish Shakespeare-quoting period in a young woman's life that some will and have mistaken its gaucherie for a portrayal of gaucherie. But mostly what Lost and Delirious succeeds in doing is helping The Virgin Suicides and its portrait of the dulcet, ephemeral cult of childhood impress even more by comparison.

Threesome (1994) – DVD

**/**** Image A- Sound B+ Commentary B-
starring Lara Flynn Boyle, Stephen Baldwin, Josh Charles, Alexis Arquette
written and directed by Andrew Fleming

by Bill Chambers I first saw Threesome during its theatrical run, which coincided with the end of my freshman year at university. I liked the film enough back then, for what it didn't reflect of my experiences it evoked, and its characters suggested people I had met at school, maybe myself at that point, in the exaggerated, nay, grotesque manner of political cartoons. Which is a scary thought seeing Threesome again some seven years later: maturity (mine?) recasts its protagonists in a dark, contemptible light.

All the Pretty Horses (2000) – DVD

**½/**** Image A+ Sound A
starring Matt Damon, Henry Thomas, Lucas Black, Penélope Cruz
screenplay by Ted Tally, based on the novel by Cormac McCarthy
directed by Billy Bob Thornton

by Travis Mackenzie Hoover The difference between Cormac McCarthy's novel All the Pretty Horses and its current, honourable film adaptation is a matter of weighting. There's nothing in the movie that doesn't happen in the novel, and the film's golden, sun-burnished look is gentle and humane. The film loves its wayward characters and sympathizes with their plight, but when it's over, it turns out to have merely been a story–a series of events with a dramatic payoff. The body is always imperilled, but the soul is never touched; it never puts together the motives the characters have in protecting their honour and desires, and it never suggests that there are powers beyond their control that force them to make decisions. While All the Pretty Horses is always friendly and never dull, there is a certain letdown in its refusal to make connections to larger forces and its clumsiness with the novel's very powerful symbolism–which, however questionable it might be, has a lesser dramatic force than its literary namesake.

Dragon Forever (1988) – DVD

Dragons Forever
飛龍猛將
Fei lung mang jeung

***/**** Image C Sound A –
starring Jackie Chan, Samo Hung, Yuen Biao, Corey Yuen Kwai
screenplay by Szeto Cheuk Hon
directed by Sammo Hung & Corey Yuen

by Bill Chambers To my mind, the formation of “the three kung-fu-teers”–Sammo Hung, Jackie Chan, and Yuen Biao–was more of a shock than their eventual break-up. The latter two are portrayed as the former’s punching bags in Chan’s autobiography, I Am Jackie Chan, whose early chapters recount the Dickensian power structure at the China Drama Academy, known colloquially as the Peking Opera School. The school’s unforgiving master sanctioned his older pupils (collectively, “Big Brothers”) to administer swift, cruel punishments to the younger students; the wrath of Hung, the biggest Brother of them all (in body mass as well as reputation), seemed measureless and reserved explicitly for Chan and Biao. At least in Jackie’s memory.

When Harry Met Sally… (1989) [Special Edition] + Prelude to a Kiss (1992) – DVDs

WHEN HARRY MET SALLY…
***½/**** Image A Sound B Extras B+
starring Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby
screenplay by Nora Ephron
directed by Rob Reiner

PRELUDE TO A KISS
***/**** Image B Sound B
starring Alec Baldwin, Meg Ryan, Kathy Bates, Ned Beatty
screenplay by Craig Lucas, based on his play
directed by Norman Rene

by Bill Chambers Meg Ryan, the Princess of Perk, gets a makeshift career retrospective this month with the DVD releases of three high-profile gigs: When Harry Met Sally…, Prelude to a Kiss, and The Doors. I’m forsaking any further mention of The Doors to focus on the first two–delightful, whimsical films, unlike The Doors–and Ryan’s romantic-comedy stranglehold. Call it the curse of the button nose: the actress, who is more talented than anyone, myself included, is willing to admit, seems out of her element by a country mile in pictures that don’t require her to meet cute and kvetch over the subsequent courtship. And now that she’s pushing 40, Ryan is becoming to chick flicks what Stallone and Schwarzenegger were to actioners after Clinton got elected: we’re sick to death of seeing her in these Nora Ephron-type movies–yet, as Proof of Life, um, proved, we also don’t want to see her in anything but.

The Virgin Suicides (2000) – DVD

***/**** Image A- Sound B+ Extras C+
starring James Woods, Kathleen Turner, Kirsten Dunst, Josh Hartnett
screenplay by Sofia Coppola, based on the novel by Jeffrey Eugenides
directed by Sofia Coppola

by Bill Chambers The Virgin Suicides is perverse, but I don't mean dirty. Everything about it is a little bit lopsided–James Woods, of all people, is cast as a henpecked husband, for instance. But its director, Sofia Coppola, doesn't play it as pop kink; instead, she strives for the reverie quality of David Lynch at his most suburban, which makes everything that's in principle out of the ordinary seem in tune, even unexotic. Watching The Virgin Suicides, a fractured nostalgia piece, is like trying to deduce the story of someone's life from a box of snapshots. It's wispy yet substantial (let's call it ethereal), and it stumbles upon a few great images and many more lasting ones.

Loser (2000) – DVD

*/**** Image B+ Sound A-
starring Jason Biggs, Mena Suvari, Greg Kinnear
written and directed by Amy Heckerling

by Bill Chambers SPOILER WARNING IN EFFECT. As with most of her films, director Amy Heckerling’s latest, Loser, seesaws between unpleasant and artificial, and is sometimes both at once. When she tackles big issues, such as abortion in Fast Times at Ridgemont High, it’s impossible to tell whether she’s being matter-of-fact or glib about them (they carry an almost documentary starkness), but whatever the case, she continually refuses political comment. Such is the sitcom tendency of her work: to jeopardize the innocence of her characters and then hit the reset button. This fear of drama soured me on Fast Times…, Look Who’s Talking, Clueless, and now Loser, in which Ms. Heckerling also demonstrates, for the first time, zero affinity for the milieu.

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.