The Princess and the Frog (2009)

December 11, 2009Posted in2000s, Adventure, Animation, Authors: Ian Pugh, Comedy, Disney, Family, Fantasy, Musical, Romance, Theatrical

*½/****
screenplay by Ron Clements & John Musker & Rob Edwards
directed by Ron Clements & John Musker

Princessfrogby Ian Pugh Disney has resurrected its traditional (i.e., 2-D) animation department only to plunder plots and themes from its own vault, but because we're all familiar with what Disney represents in this day and age, we're meant to accept it with a wink and a nod. This is the same old Cinderella trope located firmly within the "Family Guy" generation, the film's hip acknowledgment of genre conventions (the absurdity of talking animals, the modern irrelevance of royalty) nevertheless failing to capitalize on that newfound consciousness in any meaningful way. So while it offers the reasonable assertion that the importance of love and family shouldn't be lost in the pursuit of a dream, it still ends with a message of no-happiness-without-marriage straight outta the 16th century. And whatever PR folderol you've read about The Princess and the Frog representing the company's "first black princess," be aware that Bold Leaps Forward are hardly the priority here, the common but wholly-valid criticism being that the characters spend more screentime as frogs than as people.

Brothers (2009) + Everybody’s Fine (2009)

December 9, 2009Posted in2000s, Action, Authors: Ian Pugh, Drama, Road Movie, Robert De Niro, Romance, Theatrical, Thriller, War

BROTHERS
***/****
starring Tobey Maguire, Jake Gyllenhaal, Natalie Portman, Mare Winningham
screenplay by David Benioff, based on the motion picture Brødre by Susanne Bier
directed by Jim Sheridan

EVERYBODY'S FINE
*/****
starring Robert De Niro, Drew Barrymore, Kate Beckinsale, Sam Rockwell
screenplay by Kirk Jones, based on an earlier screenplay by Massimo De Rita & Tonio Guerra & Giuseppe Tornatore
directed by Kirk Jones

by Ian Pugh If you're feeling charitable towards Susanne Bier's Brødre, you'll probably consider Jim Sheridan's Brothers an extraordinarily faithful remake–one that follows the original recipe so closely it could be considered a step-by-step recreation. But a quick survey of what screenwriter David Benioff excised and expanded reveals that he wasn't merely a glorified script doctor, having squeezed some real pathos from a tactless source. It's still the story of a loving father, Sam (Tobey Maguire), who is forced to perform unspeakable acts as a POW in Afghanistan. Because Sam's presumed dead, his ex-con brother Tommy (Jake Gyllenhaal, finding the perfect balance between guilt and innocence) straightens out his life and grows ever closer to Sam's wife (Natalie Portman) and children. Sam's sudden reappearance in their lives is further complicated by the onset of the soldier's post-traumatic stress, but gone are the heavy-handed lines about the nature of good, evil, and death from Bier's film. In their place, moments of shaky acceptance as new members are integrated into a family–followed by stares of betrayal as loved ones become interlopers in their own home.

The Young Victoria (2009) + Antichrist (2009)

December 4, 2009Posted in****/****, 2000s, Authors: Walter Chaw, Biopic, Denmark, Directors: Lars von Trier, Drama, Esoterica, France, Germany, Horror, Italy, Poland, Romance, Sweden, Theatrical, Thriller, UK

THE YOUNG VICTORIA
**/****
starring Emily Blunt, Rupert Friend, Paul Bettany, Miranda Richardson
screenplay by Julian Fellowes
directed by Jean-Marc Vallée

ANTICHRIST
****/****
starring Willem Dafoe, Charlotte Gainsbourg
written and directed by Lars von Trier

by Walter Chaw SPOILER WARNING IN EFFECT. As the beginning of an emotional history for Queen Victoria, Jean-Marc Vallée's The Young Victoria makes for an interesting bookend to John Madden's Mrs. Brown. A lavish, romantic depiction of the monarch's courtship with future husband Prince Albert (Rupert Friend), it's the very definition of a quotidian costume drama, skirting over the major issues of the early years of Victoria's reign to speak in broader terms about her idealism, the problems presented to her by her youth, and the manipulation of her affections by courtly politics. It's something like the older sister to Sofia Coppola's Marie Antoinette: less hip, but still in love with its naivety, its evergreen youth. It says something to me that in 2009, there's a film about Queen Victoria that's less interested in the stuffiness for which the Monarch is probably most popularly known than in her liberalism, her progressive attitude towards the humanism inspired by first the Colonies, then the French Revolution, then Britain's own Reform Act, enacted just five years before her coronation. An early film churned up in the wake of the optimism engendered by an Obama presidency? It's tempting to read it as such, not simply because you do hope this administration is better than the last, but also because, as the decade of the aughts draws a curtain on nine years of increasing outer and inner dark, there's at least the faint hope for some cloudbusting in the cinema, too.

The Blind Side (2009)

December 2, 2009Posted in2000s, Authors: Walter Chaw, Drama, Sports, Theatrical, ZERO STARS

ZERO STARS/****
starring Sandra Bullock, Tim McGraw, Quinton Aaron, Kathy Bates
screenplay by John Lee Hancock, based on the book by Michael Lewis
directed by John Lee Hancock

Blindsideby Walter Chaw Just in time for Christmas, professional schmaltz peddler John Lee Hancock updates Richard Pryor's The Toy by giving another privileged white brat a black man he can fuck with, call his victories his own, and keep in the guest room. This Michael Oher–as played sub-vocally by gentle, Lenny-ian giant Quinton Aaron–is not only the Super Duper Magic Negro who heals a household of rich shitkickers ("Shoot! We done gots a Black Man living with us 'fore we ever even MET a Democrat! Hoot!"–forgetting that wealthy southern landowners have a long tradition of keeping black people on their grounds without commensurately progressive attitudes), but is the passive, mute object around which every single person who likes The Blind Side convinces themselves they aren't racist for the liking of it. If this movie doesn't piss you off, if it doesn't make you nauseated with its dangerous smugness, you're part of the problem.

The Bad Lieutenant – Port of Call: New Orleans (2009); Planet 51 (2009); Me and Orson Welles (2009)

November 26, 2009Posted in****/****, 2000s, Adventure, Animation, Authors: Ian Pugh, Comedy, Crime, Directors: Richard Linklater, Directors: Werner Herzog, Drama, Family, Nicolas Cage, Sci-Fi, Theatrical

THE BAD LIEUTENANT – PORT OF CALL: NEW ORLEANS
****/****
starring Nicolas Cage, Eva Mendes, Val Kilmer, Alvin “Xzibit” Joiner
screenplay by William Finkelstein, based on the film by Abel Ferrara
directed by Werner Herzog

PLANET 51
*/****
screenplay by Joe Stillman
directed by Jorge Blanco, Javier Abad & Marcos Martinez

ME AND ORSON WELLES
**/****
starring Claire Danes, Zac Efron, Christian McKay, Zoë Kazan
screenplay by Holly Gent Palmo & Vincent Palmo, based on the book by Robert Kaplow
directed by Richard Linklater

by Ian Pugh Playing against his sadistic instincts, police sergeant Terrence McDonagh (Nicolas Cage) saves a man from drowning in a flooded prison during the aftermath of Hurricane Katrina, earning him not only a promotion to lieutenant but also a debilitating spinal injury. A subsequent addiction to prescription painkillers inevitably leads McDonagh to harder drugs and casual abuses of his newfound power as he attempts to solve the murder of a Senegalese drug dealer and his family. Trading Abel Ferrara’s sulphuric New York for a no-less-hellish Louisiana noir, Werner Herzog’s in-name-only remake of Bad Lieutenant is a work of delirious madness. That should come as no surprise from the man who’s spent the last forty years cataloguing human obsession, but I don’t think I’d ever really understood the method behind it until The Bad Lieutenant – Port of Call: New Orleans (hereafter Bad Lieutenant 2). Madness is about possibility, and what better complement to that philosophy than Nicolas Cage, an actor who–at his best, like Herzog–apparently regards the conventions and boundaries of his craft as simple suggestions that must be defied? A quick look at what they’re capable of accomplishing together and you’re a little surprised they haven’t teamed up before. As McDonagh, Cage projects the dangerous unpredictability of Kinski* and the sympathetic brutality of Bruno S.: you don’t fear him, exactly, but you’re afraid of what he might become; you don’t feel sorry for him, but you lament what he could have been. (“I’ll kill ‘im,” he says at one point, the frightening indifference in his voice leaving uncertain if–or how–he plans to act on that idle threat.) Halfway through the film, after the stakes in play are thoroughly established, Cage/McDonagh suddenly adopts a muted, cotton-mouthed accent. Why?

The Twilight Saga: New Moon (2009)

November 20, 2009Posted in2000s, Adventure, Authors: Walter Chaw, Drama, Romance, Teen, Theatrical, Vampire, Werewolf, ZERO STARS

ZERO STARS/****
starring Kristen Stewart, Robert Pattinson, Taylor Lautner, Dakota Fanning
screenplay by Melissa Rosenberg, based on the novel by Stephenie Meyer
directed by Chris Weitz

Newmoonby Walter Chaw Let's play a Mad Libs game with Chris Weitz's appalling The Twilight Saga: New Moon (hereafter New Moon) and, by so doing, avoid talking about how a new moon is actually the absence of a moon in the sky, or how moon cycles remind me of menstruation, which would be a terrible thing to happen to heroine Bella (Kristen Stewart) around her boyfriend Ed (Robert Pattinson). Let's replace every time they say "do it"–and by that they mean "bite me and make me a member of the walking undead"–with "fuck" and see if this whole Twilight atrocity still appears the benign thing for your daughters to gobble up whole. When Bella implores Ed to fuck her after she graduates from high school, for instance, and Ed says that he won't fuck her until she turns twenty-one and they can get married…well, listen, this is a fairytale without any teeth, meaning it's a really, really dangerous fairytale. More, it's illiterate, invasive, moronic proselytizing from some Mormon housewife's blinkered belief system. Unconvinced? Consider that it's stated early on in this instalment of the saga that the reason Ed doesn't want to turn Bella into a vampire–oops, I mean, fuck her–is that he's afraid he'll damn her soul to eternal hellfire.

Fantastic Mr. Fox (2009) + The Road (2009)

November 13, 2009Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Directors: Wes Anderson, Drama, Theatrical, Thriller

FANTASTIC MR. FOX
**/****
animated; screenplay by Wes Anderson & Noah Baumbach, based on the book by Roald Dahl
directed by Wes Anderson

THE ROAD
*½/****
starring Viggo Mortensen, Guy Pearce, Robert Duvall, Charlize Theron
screenplay by Joe Penhall, based on the novel by Cormac McCarthy
directed by John Hillcoat

by Walter Chaw There's nothing much going on in Wes Anderson's stop-motion adaptation of Roald Dahl's Fantastic Mr. Fox–which is a terrible shock, because there's generally so much going on in Anderson's and Dahl's respective canons. With Anderson's every attempt to infuse this piffle with his brand of Salinger-esque autumnal, familial melancholy registering as ever-so-slightly desperate, it strikes particularly pale in such close proximity to Spike Jonze's magnificent Where the Wild Things Are. Missing is the vein of emotionality that runs rich in Anderson's best films, the idiosyncrasies of his misfit family groups somehow rendered ordinary transplanted into foxes and opossums. I wonder if it isn't something to do with the idea that "cute" animation as a genre and not a medium has "quirk" as its bread and butter. More to the point, it probably has something to do with the fact that for all those charges of "pretentious" Anderson has collected over the course of a career, when you pile all of his pathos into a film that seems mainly interested in being adorable, they're actually deserved.

Cirque du Freak: The Vampire’s Assistant (2009)

October 23, 2009Posted in2000s, Action, Adventure, Authors: Ian Pugh, Fantasy, Teen, Theatrical, Thriller, Vampire

**/****
starring John C. Reilly, Ken Watanabe, Josh Hutcherson, Salma Hayek
screenplay by Paul Weitz and Brian Helgeland, based on the “Cirque du Freak” series of books by Darren Shan
directed by Paul Weitz

Cirquedufreaktvaby Ian Pugh Maybe it’s a cop-out to dismiss Cirque du Freak: The Vampire’s Assistant (hereafter The Vampire’s Assistant) with that banal X-meets-Y idiom (“Twilight collides with The Golden Compass!”), but what other choice does one have? Three weeks before little brother Chris continues the Twilight saga, Paul Weitz gets the ball rolling on another vampire property based on another popular series of novels for young adults–and getting the ball rolling is more or less all he does. It’s a handy parallel to Chris’s own The Golden Compass in the sense that you’re expected to immerse yourself in a fantasy world where no one does anything of particular note and nothing is accomplished. People are bitten, people are transformed, and the fulfillment of legends is foretold–but when the credits roll, can you say you’ve actually seen anything? In its own laborious foundation-laying, Harry Potter and the Sorcerer’s Stone still managed a dreaded brush with Voldemort; what does The Vampire’s Assistant have to offer? Willem Dafoe and Ken Watanabe under pounds of latex–made up to look like Vincent Price and Incredible Hulk nemesis The Leader, respectively–standing around, making bold pronouncements with the implied message that they’ll have more to do if the powers-that-be greenlight the next instalment.

Law Abiding Citizen (2009)

October 21, 2009Posted in2000s, Action, Authors: Ian Pugh, Crime, Drama, Prison, Theatrical, Thriller

*½/****
starring Gerard Butler, Jamie Foxx, Bruce McGill, Colm Meaney
screenplay by Kurt Wimmer
directed by F. Gary Gray

Lawabidingcitizenby Ian Pugh SPOILER WARNING IN EFFECT. The most that can be said for Law Abiding Citizen is that it understands the dichotomy of Gerard Butler, the Scottish beefcake whose schizoid career has him playing a screaming grunt one month and a kindly, rough-around-the-edges dad/love interest the next. After murdering a notable percentage of Philadelphia’s legal system, Butler’s black-ops such-and-such Clyde Shelton warns that, if he is not immediately released with all charges against him dropped, he will “KILL. EVERYONE.” Coming from a character who is initially introduced to us as Joe Average, that priceless bit of leaden melodrama almost single-handedly consigns Law Abiding Citizen to the “camp” drawer–but, improbably, it’s also an uncomfortable moment that perfectly captures Butler’s nebulous, malleable status as a movie star. The dumb joke/terrifying conjecture being that, with 300 still lingering in the air, you have no idea how far he’ll go in “killing everyone.” Is it a coincidence that the film should give Clyde comic-book disguises with which to evade capture and lure his prey? Of course not, because Butler belongs in a comic book. It’s not just his cold stare or his steel jaw, it’s the fact that, at the mercy of practically any working writer, he can represent anything or anyone, villain or hero, with preposterous ease. This time, he’s concocting bloody, convoluted vengeance against the men who destroyed his family and the system that doled out questionable justice–and in so doing, he becomes an amalgam of the Joker, the Riddler, and the Abominable Dr. Phibes.

Couples Retreat (2009)

October 9, 2009Posted in2000s, Authors: Ian Pugh, Comedy, Romance, Theatrical

½*/****
starring Vince Vaughn, Jason Bateman, Jon Favreau, Faizon Love
screenplay by Jon Favreau and Vince Vaughn & Dana Fox
directed by Peter Billingsley

Couplesretreatby Ian Pugh Peter Serafinowicz–a creepy, irony-free Christopher Walken prototype who appears to have strolled in from a different movie entirely–keeps Couples Retreat out of the running for Worst Film of 2009. What is it with these romantic comedies, exactly, that the characters left in orbit are always crafted with more care and love than the ones with whom you're forced to spend the most time? I look at this latest trainwreck of clichés and I can only see it as director and former child star Peter Billingsley's payback for being trapped in the amber of A Christmas Story and Hershey's Syrup commercials in the decades since. A few ill-placed dick jokes are there to force the medicine down–call it the equivalent of Bob Saget's stand-up career. To be fair, early trailers featuring adulterous parking-lot trysts seem to indicate that test screenings may have taken some substantial bite out of the filmmakers' original intentions. But even with that in mind, this is still the kind of film that saves a few moments for the lead character's precocious toddler (Colin Baiocchi), who, like an ersatz Olsen twin, regurgitates whatever elementary dialogue is fed to him. This is also the kind of film that saves the same little urchin for the last image before the credits, as he takes a shit in a display toilet. Coo and scream with laughter where appropriate–and realize that whatever the movie's original intentions might have been, it's doubtful that a few backseat hump sessions would have tied them together.

A Serious Man (2009); The Invention of Lying (2009); Capitalism: A Love Story (2009)

October 7, 2009Posted in2000s, Authors: Ian Pugh, Coen Brothers, Comedy, Crime, Documentary, Drama, Esoterica, France, Romance, Satire, Theatrical, UK

A SERIOUS MAN
***½/****
starring Michael Stuhlbarg, Richard Kind, Fred Melamed, Sari Lennick
written and directed by Joel Coen & Ethan Coen

THE INVENTION OF LYING
*½/****
starring Ricky Gervais, Jennifer Garner, Jonah Hill, Tina Fey
written and directed by Ricky Gervais & Matthew Robinson

CAPITALISM: A LOVE STORY
**½/****
directed by Michael Moore

by Ian Pugh The appropriate, even inevitable capper to a loose nihilist trilogy following No Country for Old Men and Burn After Reading, the Coen Brothers' A Serious Man is so utterly dark and dire that it almost plays like self-reflexive parody–an adaptation of Barton Fink's "beautiful" wrestling script, perhaps, or an honest-to-gosh realization of the O Brother, Where Art Thou? Preston Sturges imagined once upon a time. Even the title is sarcastic. This is a scenario whereby life-altering misfortunes fall with ridiculous timing and precision; the dismal tides and the coming storms are now damningly literal, such that it's nearly impossible to take it with any semblance of seriousness. In making time during the game to explain Heisenberg's uncertainty principle, our hapless Job, physics professor Larry Gopnik (Michael Stuhlbarg), offers, if you haven't surmised, a fairly concise metaphor for everything that happens in this film. Why are the Coens being so on-the-nose about themes they've lately approached with a legitimately intimidating brilliance? Maybe it's because their mordant philosophy has amassed unprecedented critical and commercial acceptance over their last two pictures. Maybe the idea that anyone could actually commiserate with them strikes the Coens as so terrifying that the time has come to cast such notions aside in the most punishing way possible.1 For now, anyway.

Zombieland (2009)

October 1, 2009Posted in2000s, Adventure, Authors: Walter Chaw, Comedy, Horror, Sci-Fi, Theatrical, Zombie

½*/****
starring Woody Harrelson, Jesse Eisenberg, Emma Stone, Abigail Breslin
screenplay by Rhett Reese & Paul Wernick
directed by Ruben Fleischer 

by Walter Chaw Bad by every measurable, objective standard, Ruben Fleischer’s Zombieland is a shining, sterling example of what happens when a bunch of idiots get together with their asshole high-concept and proceed to make an abominable hash of it. It’s a conversation halfwits have: what would happen if you married the teen romance with the zombie flick? The problem being that Fleischer and writers Rhett Reese and Paul Wernick don’t have much of a grasp on what it is about teen romances and zombie flicks that are interesting in the first place. It’s the right choice, casting the poor man’s Michael Cera, Jesse Eisenberg, in his second “-land” movie of the year (after the fantastic coming-of-age flick Adventureland); it’s entirely the wrong choice to have Eisenberg provide film-long voiceover narration that takes the piss–without the benefit of wit or trenchant observation–out of zombie flicks before dropping him in the middle of that old familiar wistful love intrigue. The object of his desire is a fellow survivor of an apocalyptic zombie plague, Wichita (Emma Stone, deee-lish), who is travelling with little sis Little Rock (Abigail Breslin). Ohio (Eisenberg), meanwhile, has hooked up with Woody Harrelson’s redneck-with-a-heart-of-gold Tallahassee–yes, if these characters are actually named after the places from which they hail, they have some ‘splainin’ to do. Our four ragamuffin protags proceed through the long middle of the movie with no zombies in sight, alone with reams of smug, moronic, self-satisfied dialogue that has as the basis of every punchline how much of a virgin pussy is Ohio, and how much of an inbred thug is Tallahassee.

9 (2009)

September 9, 2009Posted in2000s, Action, Adventure, Animation, Authors: Walter Chaw, Drama, Mystery, Sci-Fi, Theatrical, Thriller

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

9by 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.

Adventureland (2009) + Alien Trespass (2009)|Adventureland (2009) – Blu-ray + Digital Copy

September 1, 2009Posted in2000s, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Comedy, Coming of Age, Drama, Horror, Romance, Satire, Sci-Fi, Teen, Theatrical, Thriller

ADVENTURELAND
***½/**** Image A- Sound A- Extras B
starring Jake Eisenberg, Kristen Stewart, Martin Starr, Margarita Levieva
written and directed by Greg Mottola

ALIEN TRESPASS
***/****
starring Eric McCormack, Jenni Baird, Robert Patrick, Dan Lauria
screenplay by Steven P. Fisher
directed by R. W. Goodwin

by Ian Pugh In everyone's life there's a summer of '42, but of course it was never as wonderful as you remember. Although Greg Mottola's Adventureland is set in 1987, that's almost incidental–it really takes place in that hazy cloud known as "the past," full of fly-by-night jobs rife with fraud and deceit, fairweather friends who sock you in the crotch, and, of course, the music that brings to mind painful experiences perhaps best left forgotten. (Funny to think that this might be the ideological inverse of another great 2009 film about memory, The Uninvited: unhealthily obsessive instead of unhealthily in denial.) The key to understanding the film, I think, lies in Falco's New Wave anthem "Rock Me Amadeus," here serving as an inescapable nightmare at the titular amusement park, where it's pumped through the sound system ad nauseam ("Can you give me an ice pick that I can just jam into my ears?"). But then the romantic confusion driving the plot unravels in a series of betrayals, and that same song becomes a damning elegy. Seems strange that the director of Superbad, an instant classic of maturity-through-childishness and nostalgia-without-precedent, should deliver something so angry and contradictory for a follow-up. Perhaps it is strange–but Adventureland is also a more honest, more personal, and, most importantly, more mature film than Superbad.

Inglourious Basterds (2009)

August 21, 2009Posted in****/****, 2000s, Adventure, Authors: Walter Chaw, Directors: Quentin Tarantino, Drama, Theatrical, War

****/****
starring Brad Pitt, Christoph Waltz, Michael Fassbender, Mélanie Laurent
written and directed by Quentin Tarantino

Inglouriousbasterdsby Walter Chaw There are two stars in Inglourious Basterds (Quentin Tarantino and Christoph Waltz), the one to be expected, the other a shoo-in for Oscar consideration in what’s easily the most mesmerizing, commanding performance I’ve seen in any film this year. The opening sequence, in which Waltz’s SS Col. Hans Landa interrogates a French dairy farmer as to the whereabouts of a Jewish family that’s gone missing, is, how to say this, perfect, but unlike the other perfect sequences of 2009 (the prologue of Up, the main titles of Watchmen), Inglourious Basterds matches this exceptional moment with another as Landa has a little confection with a rare survivor of his attentions, Shosanna (a stunning Mélanie Laurent); then another as German actress Bridget von Hammersmark (Diane Kruger) does her best to cover for her three suspicious pals in an underground speakeasy; then another with Landa again as he asks von Hammersmark to put her foot in his lap. At first glance two separate films that only fit together roughly, if at all, it becomes clear during Inglourious Basterds‘ final chapter, as the ghostly image of a beautiful woman cackles in the smoke above a burning auditorium (“This is the face of Jewish vengeance!”), that this is Tarantino no longer making something new and strange out of his obsessive movie-love, but something dangerous and risky about the ethics of vengeance and the shifting ground beneath moral quagmires we thought we’d put to bed. What better conflict than the last popular war to stage a conversation about whether or not the only reason the winners weren’t held accountable for their atrocities is that they were the winners.

District 9 (2009)

August 14, 2009Posted in****/****, 2000s, Authors: Walter Chaw, Canada, New Zealand, Sci-Fi, South Africa, Theatrical, Thriller

****/****
starring Sharlto Copley, Jason Cope, Nathalie Boltt, Sylvaine Strike
screenplay by Neill Blomkamp and Terri Tatchell
directed by Neill Blomkamp

District9by Walter Chaw An unlikely marriage of Alien Nation and David Cronenberg's The Fly, Neill Blomkamp's remarkable District 9 is that occasional genre picture that's both topical and so good it made my stomach knot. Set in South Africa, it opens by rejecting the Eurocentrism of most science-fiction pictures. Here, the little green men don't hover over the Lincoln Memorial or the Eiffel Tower, but rather Johannesburg, where the malnourished, crustacean-like denizens (they're called, derogatorily, "prawns") of a giant mothership are quickly relegated to a barbed-wire enclosed slum, the titular "District 9." Its parallel to Alien Nation is obvious, down to that film's equation of aliens with Chinese immigrants in San Francisco; these are the "bestial" blacks of Afrikaner nightmares: physically powerful, engaged in illicit activities, and blamed for every casualty outside their heavily-segregated "district." But where Alien Nation identified the threat to that immigrant community as an insidious ghost of its traditional past (an opium allegory? How 18th-century), District 9 satirizes the numbing effect of cable news networks, as well as the dangers faced by any outcast culture trying to eke out subsistence existences on the fringes of majority society. In a very real way, District 9 is a film about not only the corrosive potential of grossly-overfed public perception, but also the immigration debate that rages on worldwide.

Paper Heart (2009)

August 6, 2009Posted in2000s, Authors: Ian Pugh, Comedy, Drama, Esoterica, Romance, Theatrical

*½/****
starring Charlyne Yi, Jake Johnson, Michael Cera
screenplay by Nicholas Jasenovec & Charlyne Yi
directed by Nicholas Jasenovec

Paperheartby Ian Pugh The twain where mainstream comedy conventions and a certain vogue-ish indie aesthetic meet, Paper Heart is desperate to be seen as an earnest exploration of love but done in by an almost suffocating desire to please. Any emotion or profundity to be taken from this hybrid documentary is rendered irrelevant by its attempts to increase its entertainment value through cheap laughs. Comic Charlyne Yi (Knocked Up) is touring the nation asking passersby from all walks of life their thoughts on the nature of love when a chance encounter with young gadabout Michael Cera (Michael Cera)–more or less Yi's ideological soul mate–convinces her documentary's director, Nick Jasenovec (played on camera by an affable Jake Johnson), that they've found the perfect opportunity for romantic skeptic Yi to experience love first hand. It's a prefab narrative scenario meant to complement the documentary footage, though it's not exactly a "standard" love story since it casts doubt on whether anyone is actually in love. The problem is that it employs the worn-out tactics of pretty much every lame juvenile laffer from the last four years: bad jokes are told, then let out in the air to die–and everyone stares at each other for longer than is deemed socially acceptable. Because even the documentary aspects aren't enough to stand on their own, each story of true love is recreated by one of Yi's intentionally-amateurish puppet shows/third-grade dioramas, with the major players represented by Popsicle-stick people and every metaphor literalized to the point of ridiculousness.

Sunshine Cleaning (2009); The Last House on the Left (2009); Race to Witch Mountain (2009)|Race to Witch Mountain – Blu-ray + DVD + Digital Copy

August 2, 2009Posted in2000s, Adventure, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Comedy, Crime, Disney, Drama, DVD, Family, Horror, Sci-Fi, Theatrical, Thriller, UK, Wes Craven

SUNSHINE CLEANING
**½/****
starring Amy Adams, Emily Blunt, Alan Arkin, Jason Spevack
screenplay by Megan Holley
directed by Christine Jeffs

THE LAST HOUSE ON THE LEFT
**½/****
starring Garret Dillahunt, Sara Paxton, Monica Potter, Tony Goldwyn
screenplay by Adam Alleca and Carl Ellsworth, based on the motion picture written and directed by Wes Craven
directed by Dennis Iliadis

RACE TO WITCH MOUNTAIN
*½/**** Image A- Sound B+ Extras C
starring Dwayne Johnson, AnnaSophia Robb, Carla Gugino, Ciarán Hinds
screenplay by Matt Lopez and Mark Bomback, based on the book Escape to Witch Mountain by Alexander Key
directed by Andy Fickman

by Ian Pugh SPOILER WARNING IN EFFECT. Norah (Emily Blunt) is a sort of overripe Juno MacGuff: older but no wiser, quick-witted but shiftless. As she sticks her hand underneath a railroad track, pulling it out just before a train passes, the question is clear: why is she here, doing something so unbelievably stupid, when she should be out trying to get a life? Turns out this game of chicken reminds her of the day she and her sister Rose (Amy Adams) discovered that their mother committed suicide. Christine Jeffs's Sunshine Cleaning feels like a response to a recent spate of smarmy little indie films in the sense that it bothers to explore the self-aware idiosyncrasies typically taken for granted, and it comes to the startling conclusion that perhaps these "personality quirks" aren't the building blocks of individualism, but rather signposts for unresolved trauma and budding mental illness. (Given how contradictory this film is to the Little Miss Sunshine mentality (and Alan Arkin's presence makes the comparison inevitable), can we assume that its title is a double entendre?) You may laugh when Rose's son Oscar (Jason Spevack) is kicked out of school for licking his teacher's leg, or when her father Joe (Arkin) hustles unsuspecting business owners with one get-rich-quick scheme after another, yet the lingering question is whether or not they'd engage in "funny" behaviour if not for their inherited anguish. "It's tough raising a kid by yourself, huh?" Joe tells Rose after she asks him to babysit at an inconvenient time. "Try two." The attempt to mine humour from these tragic aftermaths doesn't make Sunshine Cleaning a morbid film, exactly–but it definitely makes for a haunted one.

Funny People (2009)

July 31, 2009Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Theatrical

*/****
starring Adam Sandler, Seth Rogen, Leslie Mann, Eric Bana
written and directed by Judd Apatow

Funnypeopleby Walter Chaw I liked the first hour of Judd Apatow's Funny People quite a lot–the last four not so much. Needless to say, focus and pacing are a problem. Focus and pacing are a problem for just about any film that runs two-and-a-half hours. It starts as something different and strange, an experiment that seems to be working whereby Adam Sandler's sociopathic persona is put under the microscope and left to squirm. And then it turns into a James L. Brooks melodrama, and then a Kevin Smith joint. (Its epilogue, taking place in a deli between two protagonists after the storm, is shot in exactly the same way as Brooks's conclusion to Broadcast News, while a late-film kiddie rendition of "Memory" from "Cats" exhumes musty memories of Jersey Girl's Sondheim desecration.) What I'm saying is that Funny People starts as Punch-Drunk Love, transmogrifies into Spanglish, and metastasizes into Jersey Girl. If this were a boxing match between film and audience, the rope's the only thing holding us up for the last six rounds. It would be wrong to say that I hated Funny People; it squanders so much potential that it's closer to the truth to say the overwhelming feeling it engenders is one of intense disappointment.

G-Force (2009)

July 23, 2009Posted inAction, Adventure, Authors: Ian Pugh, Comedy, Disney, Family, Nicolas Cage, Sci-Fi, Theatrical

**/****
starring Bill Nighy, Will Arnett, Zach Galifianakis, Kelli Garner
screenplay by The Wibberleys and Ted Elliott & Terry Rossio and Tim Firth
directed by Hoyt Yeatman

Gforceby Ian Pugh It's no small wonder, I suppose, that Disney's 3-D contraption G-Force isn't nearly as bad as it could–and by all rights should–be. Certainly, there are people at the Mouse House still convinced that an overload of genre clichés (here the conventions of the spy movie) are made instantly clever when applied to talking, farting animals (here guinea pigs), and that the company's morality factory hasn't already exhausted the virtues of makeshift families and believing in yourself. But encoded in the formula this time around is an odd, unspoken thesis about facing the hitherto-ignored consequences of cruelty towards those who can't defend themselves. Most intriguing to that end, the big-name actors roped into lending their voices to this mess are appropriately cast, their live-action personae transferred to a sticky CGI concoction of animal nature and human spite. Steve Buscemi cuts loose as an insane, sadistic hamster (his paranoid tendencies–he jealously guards his territory while mumbling to himself–born of "the psych ward at UCLA"), for instance, while Nicolas Cage, as an orphaned, star-nosed mole named "Speckles," improbably gives his best performance in years. Utilizing his weirdo inflections from Peggy Sue Got Married, Cage manages to channel his familiar space-case into an unlikely outlet and pump it with quiet desperation–dare I say pathos–without even the smallest hint of the self-parody that's plagued him of late. More than what the film deserves? Most definitely, although the high points of G-Force suggest that, at some stage of production, in some alternate universe, it may have actually deserved it.