Theatrical Archives - Page 47 of 65

The Dust Factory (2004)

October 27, 20042000s, Authors: Walter Chaw, Drama, Family, Theatrical, ZERO STARS

ZERO STARS/****
starring Armin Mueller-Stahl, Hayden Panettiere, Ryan Kelley, Michael Angarano
written and directed by Eric Small

by Walter Chaw Stunning in its incompetence, Eric Small's The Dust Factory highlights by its existence the unpopular truisms that there are as many awesomely bad independent films as there are mainstream ones; that the terms non-genre and non-traditional usually indicate a directionless mess; and that working with kid actors is not now, nor has it ever been, anything other than a plugger's bet. It raises the question of why there aren't more mimes acting as Greek Choruses in movies before it answers it, and most damnably, it seems to ascribe some sort of moral failing to seniors afflicted with Alzheimer's. See, in Small's fantasy world of The Dust Factory, souls in limbo can choose to "take the leap" off a trapeze tower into the arms of some faceless metaphor: miss and they're returned to the "dust" of their lives; catch and they're thrown to "the next level," which is Heaven or a video game, though stupid either way. The sticky part about it (aside from the stupid part, which is all of it, really) is that it requires courage to take that leap. The suggestion then becomes that if you have Alzheimer's disease, in some part of your brain you're a coward for not dying or "returning"–that you have in fact chosen to remain in a state of declining capacity. It's one thing to pose an Afterschool Special about how kids in comas need a will to power, another thing altogether to suggest that grandpa's a coward for contracting a degenerative brain condition.

Around the Bend (2004)

October 27, 20042000s, Authors: Walter Chaw, Comedy, Drama, Theatrical

*/****
starring Michael Caine, Jonah Bobo, Josh Lucas, Glenne Headly
written and directed by Jordan Roberts

by Walter Chaw SPOILER WARNING IN EFFECT. There’s nothing alive in Around the Bend, a story of three generations of men healing one another during a road trip. It’s just as bad as it sounds: one contrivance piled upon another while Kentucky Fried Chicken looms large in nearly every scene and, by narrative necessity, figures in every critical plot point. The central metaphor for the film is a series of KFC bags, crumpled up and stuffed inside each other like Russian dolls–each entrusted with a couple of post-it notes containing cryptic messages that send our cardboard boys on a scavenger hunt across the Four Corners area of the western United States. It’s the manner in which grand patriarch Henry (Michael Caine) decides he’ll reveal to his grandson Jason (Josh Lucas) why and how his leg doesn’t work right anymore. Jason has been raised by Henry ever since Jason’s father, Turner (Christopher Walken), ran out on them when Jason was just a crippled tot; now Jason has a moppet of his own, saucer-eyed Zach (Jonah Bobo). Zach, regrettably, is saddled with the task of being the precious/precocious font of the film’s alleged humour and the lion’s share of its bittersweetness as well. Bad enough that Caine and Walken agreed to be in this mess; they consented to playing second fiddle to Tiny Tim, too.

The Final Cut (2004)

October 22, 20042000s, Authors: Walter Chaw, Canada, Drama, Germany, Sci-Fi, Theatrical, Thriller

*/****
starring Robin Williams, Mira Sorvino, James Caviezel, Mimi Kuzyk
written and directed by Omar Naim

by Walter Chaw It's interesting to me in an esoteric way that Robin Williams consistently seeks out projects that position him as some sort of levitating guru detached from the travails of the common man, floating above the madding crowd with a beatific smile on his god's-eye mug. Think of, among the many shrinks, ex-shrinks, serial killers, and genies Williams has played, his "Wizard of Oz"-ian Dr. Know from A.I., his demented developer Sy from One Hour Photo, or his sainted Dr. Chris from What Dreams May Come. By all accounts, Williams is a nice fellow–a little manic and arrested, perhaps, but pleasant and even philanthropic. So what is it about the camera that turns him into an auto-consumptive egoist with a bizarre saviour complex, into this sad clown, velvet or otherwise, who finds humour in tragedy (so the theory goes) but lately has worked pretty hard at just being gloweringly melancholic in "psychological thrillers" long on sterile atmosphere and short on any sort of resonance? Williams has this air of feeling sorry for humanity that doesn't seem pious as much as it seems self-satisfied and superior. I'm not sure what the holy land for his crusade is, but I hope that he and Kevin Spacey conquer it soon so they can get back to not being irritating pricks with delusions of Christ.

Team America: World Police (2004)

October 19, 20042000s, Action, Authors: Walter Chaw, Comedy, Esoterica, Germany, Satire, Theatrical

*½/****
screenplay by Trey Parker & Matt Stone & Pam Brady
directed by Trey Parker

by Walter Chaw The comedy bits that work in Matt Stone and Trey Parker's Team America: World Police are the most vile, the most puerile. The now-notorious puppet sex scene is uproarious–the consumption of Hans Blix by a catfish and the attempts at having marionettes fight one another in hand-to-hand combat are pretty funny, too, and though it's a little oblique, I appreciated our intrepid band's endeavour to disguise one of their own as a gentle-puppet of Middle Eastern decent. But we reach a point during this experiment in neo-"Thunderbirds" cinema where it becomes clear that the satirical sharpness that defines the duo's at-times incandescently brilliant "South Park" has been shunted aside in favour of vomit gags and screaming homophobia. It's faint praise to say that Team America is sometimes as funny as Steve Oedekerk's "thumb" movies, but more often it's just protracted and uninspired.

Shall We Dance (2004)

October 15, 20042000s, Authors: Walter Chaw, Comedy, Drama, Romance, Theatrical

½*/****
starring Richard Gere, Jennifer Lopez, Susan Sarandon, Stanley Tucci
screenplay by Audrey Wells, based on the screenplay by Masayuki Suo
directed by Peter Chelsom

by Walter Chaw Shall We Dance sits on the screen like an unwelcome dinner guest, or a corpulent toad. It's a remake of a mediocre-but-popular Japanese film that jettisons the question mark after "Dance" on its title screen, the inflectionless phrase squatting there as this movie's moniker a curiously apt description of the dismal marionette's-waltz to follow. The only thing more inscrutable than Jennifer Lopez's self-effacing slide into the territory of Melanie Griffith's mumbling kewpie doll career is the filmmakers' concept of Richard Gere as a comic actor capable of carrying off long takes and haughty deliveries. After all, it's hard enough to believe that the glowering, pinched vision of J.Lo staring fixedly out a dance-studio picture window at Chicago's hurtling elevated train would serve as an invitation instead of a dire warning. The romance of the El has gone decidedly downhill since Tom Cruise, Rebecca DeMornay, and Tangerine Dream took a ride in Risky Business.

Primer (2004)

October 8, 20042000s, Authors: Walter Chaw, Drama, Sci-Fi, Theatrical, Thriller, Time Travel

*½/****
starring Shane Carruth, David Sullivan, Casey Gooden, Anand Upadhyaya
written and directed by Shane Carruth

by Walter Chaw SPOILER WARNING IN EFFECT. There's something of the word walls of Gertrude Stein or Eugene Ionesco about Primer, the indie Sundance sensation that would have been rode out of town on a rail if it weren't about time travel in addition to being obscure (thus garnering it nervous intellectual comparisons to La Jetée instead of a more accurate likening to David Mamet-cum-István Szabó). I suspect that a lot of people are afraid to admit they don't understand what's happening in the film, which talks too much in too stultifying a fashion, obscuring its heart of glass with blizzards of expositive candy in the faint hope that people are too dazzled by the rhetoric to ever consider the little guy behind the curtain. Whatever genre can do to fabulize lizard fears into metaphorical eurekas!, it can also lend a pre-emptive weight to flimsy pieces presented for the approval of audiences perhaps unaccustomed to science-fiction. In truth, Primer is more Theatre of the Absurd than sci-fi, with yuppie iterations of Vladimir and Estragon having an endless circular conversation while waiting for a Godot who never really comes. Taken as such, there arises the possibility of seeing the film as commentary on the essential listless, deconstructive jingo-babble of engineers and white-shirt-print-tie professions–though I suspect Primer has a lot more to do with a decision somewhere along the line to make a "what if?" time-travel flick as dense and protracted as possible.

Outfoxed: Rupert Murdoch’s War on Journalism (2004) + Uncovered: The War on Iraq (2004)

October 6, 2004****/****, 2000s, Authors: Walter Chaw, Documentary, Theatrical

OUTFOXED: RUPERT MURDOCH'S WAR ON JOURNALISM
*½/****
directed by Robert Greenwald

UNCOVERED: THE WAR IN IRAQ
****/****
directed by Robert Greenwald

by Walter Chaw A poll was recently conducted: 20,000 people were asked what news show they rely upon for their campaign information, and then they were asked six questions about the respective campaign platforms of each candidate. The sector of the population scoring the lowest (also the sector, according to the Nielsens, least likely to have attended college) consisted of people who watch insane person Bill O'Reilly's "The O'Reilly Factor" over on Fox News, while the population scoring the highest (and most likely to have been to college–something like a 3:1 ratio compared to O'Reilly's audience) preferred Comedy Central's "The Daily Show with Jon Stewart". Tied in with that stat–the revelation of which is only surprising to the GED nation flocking to Fox, 80% of whom still believe that Iraq was directly involved in the 9/11 attacks–is an article in the sharp THE ONION that described liberals in a state of "outrage fatigue." See, satire is a difficult concept, but once grasped it's the quickest, truest way to get at the heart of any absurd situation. Without satire and irony, the issues of the day become reductive and deadening.

Ladder 49 (2004)

October 1, 20042000s, Action, Authors: Walter Chaw, Drama, Theatrical, Thriller

½*/****
starring Joaquin Phoenix, John Travolta, Jacinda Barrett, Morris Chestnut
screenplay by Lewis Colick
directed by Jay Russell

by Walter Chaw I hate this film. It's shameless treacle with the maudlin dialled at near-lethal levels. It's Backdraft II: Post 9/11, a soap opera hagiography of firefighters that's as soft and sentimental as any sweeps-week episode of Oprah–and just as unforgivably self-aggrandizing and smug. Ladder 49 is a convention of Midwestern middle-school teachers' idea of a good time, a collection of fatigued contrivances and squeaky clean, buttermilk-scrubbed cardboard characters posed carefully for maximum schmaltz. It's a big plate of nachos: lots of corn, lots of cheese, easy to swallow, hard to digest. I have a lot of contempt for this film because it has a lot of contempt for its audience: Call it the self-defense school of taking aim at a piece of crap, or a losing battle to save the folks sobbing loudly into their hankies when the lights come up. In its insidious way, Ladder 49 is as dangerous as other middlebrow epics like Radio and The Other Sister, pictures in which edgeless noble savages teach us through their selfless examples about life and about what it means to avoid real responsibility and community involvement. Weeping in a back-patting sort of way over a film like Ladder 49 is, for many, the equivalent of giving at the office.

Shark Tale (2004)

October 1, 20042000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Theatrical, Will Smith

*½/****
screenplay by Michael J. Wilson and Rob Letterman
directed by Vicky Jenson, Bibo Bergeron, Rob Letterman

by Walter Chaw Shark Tale is a soulless platform for the Will Smith persona, here voicing a duplicitous social climber called Oscar who disdains his legacy as a car wash (make that “whale wash”) employee in favour of a feckless dreamlife of bling and adulation. His wishes come true when a series of unfortunate events constructs the impression that little Oscar has slain Frankie (Michael Imperioli), favoured son of Godfather Don Lino (Robert De Niro), with Lino’s “other” son, Lenny (Jack Black), still missing. Dubbed “Shark Slayer” by all of a submerged fish-tropolis, Oscar finds himself a celebrity spokesman, complete with a posse composed of agent Sykes (Martin Scorsese), grouper groupie Lola (Angelina Jolie), and the girl-Friday-next-door with the heart of gold, Angie (Renée Zellweger).

The Motorcycle Diaries (2004)

September 24, 20042000s, Adventure, Argentina, Authors: Walter Chaw, Biopic, Brazil, Chile, Drama, France, Germany, Peru, Theatrical, UK

***/****
starring Gael García Bernal, Rodrigo De la Serna, Mía Maestro, Mercedes Morán
screenplay by Jose Rivera, based on the books Notas de viaje by Ernesto Guevara and Con el Che por America Latina by Alberto Granado
directed by Walter Salles

by Walter Chaw Adapting respective memoirs by then-young Cuban-by-way-of-Argentine revolutionary Ché Guevara (Gael García Bernal) and his best friend Alberto Granado (Rodrigo De la Serna) that documented their Kerouac-ian odyssey down the spine of South America to find the soul of their country, Walter Salles's The Motorcycle Diaries is difficult at best. It's a road movie and a good one, as far as it goes, but it lacks the fire of change of something like Easy Rider in its substitution of a picaresque travelogue lightly spiced with delightful romantic misunderstandings for Peter Fonda's swiftly tilting planet and deserts of the real. Easy Rider talks about the dying of the light; The Motorcycle Diaries talks about how doe-eyed Ernesto Guevara became Ché, the Hoffa of Latin America and eventually the most reproduced and mass-marketed image since Marilyn Monroe's.

September Tapes (2004)

September 22, 20042000s, Authors: Walter Chaw, Drama, Pseudo-Documentary, Theatrical, Thriller, War, ZERO STARS

Septem8er Tapes
ZERO STARS/****
starring George Calil, Wali Razaqi
screenplay by Christian Johnston & Christian Van Gregg
directed by Christian Johnston

by Walter Chaw Exactly the kind of exploitative garbage that fellow post-9/11er The Guys was, September Tapes recasts The Blair Witch Project as a hunt for Osama Bin Laden in the wilderness of Afghanistan. It's this sort of film that takes collective tragedy and renders it something several degrees south of inconsequential, boiling horror down to soups and bones. The film is a vile, thick reduction, making a 9/11 victim's last cries the catalyst for a dimwitted first-person shooter with an unsympathetic protagonist and such stunning–and stunningly unsubstantiated–claims as, "America's not serious about tracking down Bin Laden." Maybe so, maybe not, but September Tapes isn't about politics, it's about bad filmmakers armed with a bad idea teaching an audience they imagine is less-informed than they are a lesson in seeking vengeance like a man. It's the "let's roll" school of Yankee machismo, the "bring it on" theory of diplomacy and warfare, and when the flick turns into the nightmare revisionist cartoon of Rambo, that susurration you hear isn't tension, it's resignation and maybe disgust. 9/11 has to be more than an excuse to make bad action/adventure flicks or (like The Guys) self-pitying chamber dramas.

Silver City (2004)

September 22, 20042000s, Authors: Walter Chaw, Comedy, Drama, Mystery, Satire, Theatrical, Thriller

*½/****
starring Chris Cooper, Richard Dreyfuss, Billy Zane, Danny Huston
written and directed by John Sayles

by Walter Chaw The Summitville Mine Disaster in Colorado left over 20 miles of the Alamosa river "dead," so contaminated by waste materials (cyanide chief among them) that it very simply killed all the fish. A good thing, I guess, that there wasn't a sizable human population downstream. A superfund site now and fast becoming a sore election point in a Senate race between A.G. Ken Salazar and beer magnate Pete Coors as third-party interests begin a round of misleading, venomous attack ads, Summitville represents in a way a handy microcosm of the ugliness of the Kerry/Bush presidential election. There's a point when third-party interests and smear campaigns, on either side of the divide, start to demean all of us as a people, feeding on our worst instincts and treating us like dumb, mute animals. The political discourse in our country has devolved into a playground jibe match where it's easy to forget in the mud storm who's the rubber and who's the glue; no great surprise that the general death of conversation in our culture includes the whole spectrum of politics.

Wimbledon (2004)

September 17, 20042000s, Authors: Walter Chaw, Comedy, France, Romance, Sports, Theatrical, UK

*½/****
starring Kirsten Dunst, Paul Bettany, Kyle Hyde, Robert Lindsay
screenplay by Adam Brooks and Jennifer Flackett & Mark Levin
directed by Richard Loncraine

by Walter Chaw If you go see Wimbledon, the umpteenth edition of Tired Romantic Comedy Theater, it's only because you have a checklist in your head and aren't content with a film that doesn't satisfy every contrivance. There's the meet-cute, the unlikely match, the handsome rival, the gay best friend, the falling-in-love montage, the plot conflict (spouse, parents), the break-up montage, the public apology, the triumphant reunion. Director Richard Loncraine's tepid foray into Richard Curtis territory is rife with the kind of familiar hallmarks that lull throngs of lonesome Mia Farrows to the warm embrace of The Purple Rose of Cairo–a brief respite from the used paperback bookstores that rely on a steady trade of romance novels the way that independent movie stores rely on porn. In fact, there's not that much of a difference between Wimbledon and porn: plot is predictable and secondary to the performers, who provide whatever interest there might be in the enterprise. Everything else is plug and play, so to speak.

Cellular (2004)

September 10, 20042000s, Action, Authors: Walter Chaw, Crime, Germany, Theatrical, Thriller

*/****
starring Kim Basinger, Chris Evans, Eric Christian Olsen, Jessica Biel
screenplay by Chris Morgan
directed by David R. Ellis

by Walter Chaw At last, a film for all the yahoos with a cell phone soldered onto their ears–a giant eighty-minute billboard for Nokia with characters constantly extolling the virtues of what the Chinese call their hand-engines: "Amazing thing these new cell phones. They take digital video, remember the last fifty numbers that call it…" Stuntman-turned-director David Ellis follows up Final Destination 2 with Cellular, its top-heavy gimmick flick dreamed up by the king of high-concept, one-trick ponies, Larry Cohen, who cobbles together the story at the heart of the thing from the odds-and-ends of his last telecommunications thriller, Phone Booth. It's Strange Days married to Nick of Time, Falling Down, and Ferris Bueller's Day Off, where Asians are still Orientals (and boy, are they stupid) and black people are sassy back-talkers working at impound lots. Yet, understand that it's not so much racist as it is prehistoric–ossified and bone-weary.

Ju-On: The Grudge (2003)

September 3, 20042000s, Authors: Walter Chaw, Horror, Japan, Theatrical

*½/****
starring Megumi Okina, Misaki Ito, Misa Uehara, Yui Ichikawa
written and directed by Takashi Shimizu

by Walter Chaw There are a couple of startling moments in Takashi Shimizu's Ju-On: The Grudge buried in a mountain of mendacity. It looks cheap and it feels cheap–something like Takashi Miike's Visitor Q without the barrier-breaking, society-challenging audacity, or a television drama with low production values and a hilariously inept cast. It's kids playing at spooky: It'll work a time or two, but mostly it'll be clumsy and stilted. Mainly, it seems as though Ju-On: The Grudge hopes that you haven't seen the movies of Hideo Nakata and Kiyoshi Kurosawa, because suddenly we're not even talking the same ballpark anymore.

Hero (2002)

August 27, 2004****/****, Action, Adventure, Australia, Authors: Walter Chaw, China, Hong Kong, Martial Arts, Theatrical

****/****
starring Jet Li, Tony Leung Chiu Wai, Maggie Cheung, Ziyi Zhang
screenplay by Li Feng, Zhang Yimou, Wang Bin
directed by Zhang Yimou

by Walter Chaw Zhang Yimou's Hero is perhaps the most ravishing, most seductively alien fantasy since a pair of 1964 releases: Michelangelo Antonioni's Red Desert and Hiroshi Teshigahara's Woman of the Dunes. It is a telling of the oft-told (in Chinese cinema) story of how the first emperor of China, Qin (an imperious Daoming Chen), was targeted by an assassin on the eve of uniting all the warring city-states of China into a kingdom, the centre of the world that calls itself to this day the "Middle Kingdom." To bridge the prescribed physical gap between commoner and emperor, X (Jet Li) tells the story of how he vanquished three of the realm's greatest killers in the function of a low-ranking magistrate–earning proximity as a result of his service to Qin with each tall tale. The body of Hero is the stories told by X, with Qin the rapt, but skeptical audience, taking his sense of manifest purpose as aegis against any attacker.

Intimate Strangers (2004)

August 24, 20042000s, Authors: Walter Chaw, Drama, France, Romance, Theatrical, Thriller

Confidences trop intimes
**/****
starring Sandrine Bonnaire, Fabrice Luchini, Michel Duchaussoy, Anne Brochet
screenplay by Jérôme Tonnerre
directed by Patrice Leconte

by Walter Chaw Loony Anna (Embeth Davidtz doppelgänger Sandrine Bonnaire) opens the wrong literal/metaphorical door and ends up spilling her guts to befuddled tax attorney William (Fabrice Luchini), who, as the mistaken identity crisis prolongs, seeks council of his own in the form of Dr. Bonnier (Michel Duchaussoy). William pretends to be something he's not, then, aping the words and insights of Dr. Bonnier–and Anna may not be who she seems, potentially fabricating for her "therapist" a control-freak husband and his various sexual demands. Leconte plays with the idea that talking about things is sexier than doing them, at once recalling Bibi Andersson's erotic monologue in Ingmar Bergman's Persona and playing with the thought that film is better at suggesting than showing.

Without a Paddle (2004)

August 17, 20042000s, Adventure, Authors: Walter Chaw, Comedy, Mystery, New Zealand, Theatrical, ZERO STARS

ZERO STARS/****
starring Matthew Lillard, Seth Green, Dax Shepard, Burt Reynolds
screenplay by Jay Leggett & Mitch Rouse
directed by Steven Brill

by Walter Chaw Steven Brill's Without a Paddle is relentless and brutal–like Alanis Morrissette's version of Cole Porter's "Let's Do It," the torment of it just never ends. Weathered CIA spooks would spill their mother's social security numbers after five minutes of enduring this kind of torture. It's not fair, really–normal people aren't equipped to withstand a cross between The Goonies, Bushwhacked, Deliverance, Surviving the Game, The Great Outdoors, The Pursuit of D. B. Cooper, American Pie, Southern Comfort, Swiss Family Robinson, and The Big Chill that borrows the cell phone gag from Jurassic Park III and even a little something from, I kid you not, Divine Secrets of the Ya-Ya Sisterhood. It is, in other words, a gross-out slapstick comedy set in the wilderness that is unkind to Appalachians while making a play for cuddly sentimentality despite more than a few moments that are needlessly graphic or just plain grotesque. Blame the brain trust of actors-turned-screenwriters Jay Leggett and Mitch Rouse–or, better yet, blame director Steven Brill, a Sandler crony who proves that sad nepotism does not a director make.

She Hate Me (2004)

August 12, 20042000s, Authors: Bill Chambers, Comedy, Directors: Spike Lee, Drama, Theatrical

*/****
starring Anthony Mackie, Kerry Washington, Ellen Barkin, Monica Bellucci
screenplay by Michael Genet and Spike Lee
directed by Spike Lee

by Bill Chambers SPOILER WARNING IN EFFECT. The crescendo to the opening credits of Spike Lee's ridiculous, desultory She Hate Me is a fluttering three-dollar bill with George W. Bush's face on it, an image as impotent as the poster for Fahrenheit 9/11 where Bush is clutching Michael Moore's hand through the miracle of Photoshop. (It's chatroom-prank as dogma.) Lee has a serious case of Moore envy, and it's reduced the long-time firebrand to making ad hominem attacks and casting too broad a net to accommodate fashionable targets like the current administration. While there's no such thing as a graceful segue in the majority of Lee's work as a hyphenate (two of his strongest films in the aftermath of Do the Right Thing have been adaptations of novels scripted by the novelists themselves, i.e., Clockers and the irreproachable 25^th Hour), the polemics of She Hate Me–the cutesily ebonical title a tip-off that it's second-tier Lee, à la Mo' Better Blues and He Got Game–are traumatizingly digressive and/or unmoored to any overriding motif.

Alien vs. Predator (2004) + Tom Dowd & the Language of Music (2004)

August 12, 20042000s, Action, Adventure, Authors: Walter Chaw, Documentary, Music, Sci-Fi, Theatrical

ALIEN VS. PREDATOR
½*/****
starring Sanaa Lathan, Raoul Bova, Lance Henriksen, Ewen Bremner
written and directed by Paul W.S. Anderson

TOM DOWD & THE LANGUAGE OF MUSIC
***/****
directed by Mark Moormann

by Walter Chaw Paul W.S. Anderson makes horrible movies from horrible ideas. He doesn't know how to shoot action scenes, he doesn't know how to shoot dialogue scenes, and he doesn't know how to craft a pleasurable B-movie. Early on in Alien Vs. Predator (a film trumped by not only every single other entry in the respective titular franchises, but also Freddy vs. Jason), someone's watching an old Universal horror film on television–I think it's House of Dracula–and it announces in a promisingly self-knowing way that the movie knows what its roots are and that it intends to honour them. As the story unfolds with the discovery of an ancient pyramid ("It's the first pyramid ever!") buried beneath two-thousand feet of Antarctic ice, visions of Howard Hawks's The Thing and Karl Freund's The Mummy dance happily in the head while the Queen Alien is awakened via Tesla Coil like James Whale's Bride. Unfortunately, all hopes for the picture are quickly dashed.