The Cat o’ Nine Tails (1971) – DVD|Blu-ray Disc

June 7, 2011Posted in1970s, 2011, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Directors: Dario Argento, DVD, France, Horror, Mystery, Thriller, West Germany

Il gatto a nove code
**½/****
DVD – Image B+ Sound B+ Extras A
BD – Image A+ Sound A Extras A-
starring James Franciscus, Karl Malden, Catherine Spaak, Pier Paolo Capponi 
written and directed by Dario Argento

by Walter Chaw Nicknamed "The Italian Hitchcock," Dario Argento is more aptly classified "The Italian DePalma": a director with his own set of stylistic excesses who, especially early in his career, borrowed many tropes from the Master of Suspense en route to crafting his own distinctive thrillers. Again like DePalma, Argento of late has fallen on hard times, creating a series of clunkers that have blundered from the brilliant homage of his nascence to the tired and derivative garbage of his twilight. Indicated by somewhat straightforward mystery plots that elaborate death scenes and gory climaxes serve to punctuate, the giallo (so named for the colour of the covers–yellow–that enshrouded Italian penny dreadfuls) genre of thriller reached its stylistic apex with Argento's 1975 Deep Red, just prior to the director experimenting in the "supernatural" sub-genre of Italian horror with his masterpiece, Suspiria. Argento's first three films, the so-called "animal trilogy" (The Bird with the Crystal Plumage, The Cat o' Nine Tails, Four Flies on Grey Velvet) deepened the giallo as introduced to cinema by the late, great Mario Bava.

The Silent House (2011) + Rubber (2010)

May 24, 2011Posted in2010, 2011, Adventure, Authors: Walter Chaw, Comedy, Drama, Esoterica, France, Horror, Mystery, Theatrical, Thriller, Uruguay

La casa muda
***½/****
starring Florencia Colucci, Abel Tripaldi, Gustavo Alonso, María Salazar
screenplay by Oscar Estévez
directed by Gustavo Hernández

RUBBER
½*/****
starring Stephen Spinella, Roxanne Mesquida, Jack Plotnick, Wings Hauser
written and directed by Quentin Dupieux

by Walter Chaw Billed as being filmed in a single shot (though the skeptical–and those taken in by the "unedited" long takes of Alfonso Cuarón's Children of Men–should wonder why an editor is credited), Gustavo Hernández's zero-budget conceptual experiment The Silent House (La casa mudi) has found a way not only to suggest a gimmick successfully carried through, but also to weave that gimmick into a richer thematic tapestry. Here, the digital camera isn't carried by a protagonist, Blair Witch-like, but instead floats around the victim of the movie's horrors, one Laura (Florencia Colucci), who's endeavouring with father Wilson (Gustavo Alonso) to clean up an old abandoned house in preparation of its sale. The camera does take on the point-of-view of someone at some point, then jumps back to an objective place, then plays that trick Evil Dead II plays with perspective in the scene where Ash wakes up in a clearing and looks around in a panning 360-degree take, only for the audience to discover that the camera eye is both character and commentator, more physical in its way than a first-person point-of-view could ever be. In a genre dependent on cutting for its scares, in fact, The Silent House's accomplishments are all the more impressive. It's suffocating (I'd never considered how liberating edits were from a complete immersion into a film) and at times unbearably tense–and though some will point to the airlessness of Hitch's Rope or the fluid choreography of Alexander Sokurov's Russian Ark, The Silent House is a different beast altogether.

The John Frankenheimer Collection – DVD|French Connection II (1975) + The Manchurian Candidate (1962) – Blu-ray Discs

May 17, 2011Posted in****/****, 1960s, 1970s, 1990s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: John Frankenheimer, Drama, DVD, France, Italy, Thriller, UK, War

THE YOUNG SAVAGES (1961)
**/**** Image B Sound C
starring Burt Lancaster, Dina Merrill, Edward Andrews, Vivian Nathan
screenplay by Edward Anhalt and J.P. Miller, based on the novel A Matter of Conviction by Evan Hunter
directed by John Frankenheimer

THE MANCHURIAN CANDIDATE (1962)
****/****
DVD – Image A Sound A Extras B+
BD – Image A Sound C+ Extras B+
starring Frank Sinatra, Laurence Harvey, Janet Leigh, Angela Lansbury
screenplay by George Axelrod, based on the novel by Richard Condon
directed by John Frankenheimer

THE TRAIN (1964)
****/**** Image C- Sound C
starring Burt Lancaster, Paul Scofield, Michel Simon, Jeanne Moreau
screenplay by Franklin Coen and Frank Davis, based on the novel Le front de l'art by Rose Valland
directed by John Frankenheimer

FRENCH CONNECTION II (1975)
**½/**** Image A- Sound B Extras B+
starring Gene Hackman, Fernando Rey, Bernard Fresson, Philippe Léotard
screenplay by Alexander Jacobs and Robert Dillon & Laurie Dillon
directed by John Frankenheimer

RONIN (1998)
**½/**** Image B Sound B Extras B
starring Robert De Niro, Jean Reno, Natascha McElhone, Stellan Skarsgård
screenplay by J.D. Zeik and Richard Weisz
directed by John Frankenheimer

by Walter Chaw There weren't many American directors who enjoyed a hotter streak in the Medium Cool '60s than John Frankenheimer. He had the pulse of the mid-decade sea change from the relative conservatism of the '50s, having clearly been cognizant of the long burn of the Civil Rights conversation and the constant, fraying wear-and-tear of HUAC and the Cold War. He rubbed elbows with the Kennedys, hosting Bobby at his house in Malibu the day before/of Bobby's assassination at the Ambassador, whereupon it's fairly inarguable that Frankenheimer began to lose his way. He'd continue to helm interesting films and damned impressive ones, too, like The Iceman Cometh and 52 Pick-Up, but none would have the urgent subtlety of his mid-'60s output. Instead, they'd become increasingly…remote? Detached, at least, if not occasionally outright embarrassing for everyone involved. (Prophecy, for instance–a film that tries to ride the contemporary-issue train but shows its fatigue and desperation in every ridiculous, strained minute.) In a way, Frankenheimer's Seconds, with its alienation and bodily remove, presages his own artistic transformation. I wonder whether he lost the nerve to surf the edge of the zeitgeist, leaving the low arc of our collective tendency towards self-destruction to its own shrinking concentric hells. It's possible that after The Manchurian Candidate's dead-eyed paranoia and Seconds' alarming prescience about the impotence of the American icon-as-hero, Frankenheimer was tired of being right. If it sounds like I'm ascribing something supernatural to his artistic acuity, maybe I am. Frankenheimer in this period is that rare filmmaker who works half in technical perfection and half in the unconscious, in the thrall of what Coleridge used to refer to as The Artist as Aeolian Harp. He was an instrument at the caprice of the winds of the age. He was, that is, until about 1968, when being the vessel of portent became, should we conjecture, painful enough that he tried drowning himself in booze and regret.

13 Assassins (2010)

May 13, 2011Posted in****/****, 2000s, 2010, 2011, Action, Adventure, Authors: Walter Chaw, Drama, Japan, Theatrical, Thriller, UK

****/****
starring Koji Yakusho, Takayuki Yamada, Yusuke Iseya, Ikki Sawamura
screenplay by Daisuke Tengan
directed by Takashi Miike

13assassinsby Walter Chaw 13 Assassins, Takashi Miike's costume-period retro-cross-cultural updating of Sam Peckinpah's The Wild Bunch (and more horizontal homage to obvious antecedents by countrymen Kurosawa, Kobayashi, and Chushingura), initially seems a surprise choice for someone who's made his name (80+ times in the last twenty years) with transgressive, flamboyantly outré Yakuza and horror pictures. But Miike hinted at this exact marriage of a specific Spaghetti Western tradition and the Samurai flicks that were its inspiration with his arch Sukiyaki Western Django–choosing this time around to present the material "straighter," allowing his cast the language and trappings of late-Feudal Japan. The result is possibly the best Samurai movie since Yoji Yamada's Twilight Samurai (and its unofficial sequel, Hidden Blade), a picture meticulous in its details that is nonetheless only possible to fully appreciate within a working conversation with the traditions (including those of Miike's own work) that inform it. It's like a Coen Brothers film in that respect: very much the post-modern artifact, very much the solipsistic auto-critical exercise in genre, but also so technically brilliant and thematically rich that it's possible to enjoy it without much of that prior knowledge.

Blow Out (1981) [The Criterion Collection] – Blu-ray Disc

May 3, 2011Posted in****/****, 1980s, 2011, Authors: Bryant Frazer, Blu-ray Disc, Directors: Brian De Palma, Espionage, FFC Must-Own, The Criterion Collection, Thriller

Blowoutcap2

****/**** Image A Sound A- Extras B+
starring John Travolta, Nancy Allen, John Lithgow, Dennis Franz
written and directed by Brian De Palma

Mustownby Bryant Frazer Blow Out begins with a broadly visual joke, nearly four minutes long, about filmmaking. It ends with a second joke on the same subject, this one more complex, pointed, and black as tar. Over the course of the narrative, the material has turned rancid, so discoloured and malodorous that it’s hardly funny. That’s because, between the two grand gestures that bookend the film, writer-director Brian De Palma has traced a hero’s journey from idealism and optimism to disillusionment and despair. If cynicism were a superhero franchise, Blow Out would be its origin story.

Maniac (1980) [30th Anniversary Edition] + Vigilante (1983) – Blu-ray Discs

April 13, 2011Posted in1980s, 2011, Action, Authors: Walter Chaw, Blu-ray Disc, Blue Underground, Crime, Drama, Horror, Revenge, Thriller

MANIAC
**/**** Image B+ Sound B Extras A+
starring Joe Spinell, Caroline Munro
screenplay by C.A. Rosenberg and Joe Spinell
directed by William Lustig

VIGILANTE
*½/**** Image A Sound B+ Extras B
starring Robert Forster, Fred Williamson, Richard Bright, Woody Strode
screenplay by Richard Vetere
directed by William Lustig

by Walter Chaw William Lustig reduces exploitation cinema to the filthy stepchild of Sams Peckinpah and Fuller: one part animal logic, one part tabloid paranoia. He wallows in impulse, and his sensibility is 42nd Street grindhouse through and through, from kitchen-sink production values to disjointed vignette presentations to a generally lawless indulgence towards atrocity. If Lustig's pictures have achieved a kind of cult lustre, credit his ability to alternate action sequences with B-legends showcases. It would be a mistake to attribute more to Lustig's pictures than workmanlike efficiency as applied to formula prurience, though there's something to be said for knock-off garbage done with a lack of pretension–done, in fact, with a distinct, naïve childishness that doesn't quite get down there with Jess Franco or Herschell Gordon Lewis (nor up there with Mario Bava or Dario Argento), but manages a little interest despite itself now and again, probably by (who cares?) accident.

Fair Game (2010) – Blu-ray Disc

April 10, 2011Posted in2010, 2011, Authors: Walter Chaw, Biopic, Blu-ray Disc, Drama, Thriller, United Arab Emirates

**½/**** Image B+ Sound C Commentary C
starring Naomi Watts, Sean Penn, David Andrews, Sam Shepard
screenplay by Jez Butterworth & John-Henry Butterworth, based on the books The Politics of Truth by Joe Wilson and Fair Game by Valerie Plame Wilson
directed by Doug Liman

by Walter Chaw I remember distinctly somewhere in year two of W.'s administration the feeling of extreme "outrage fatigue"–that burnout that occurs when you've spent so much time incredulous that you realize you're the idiot for expecting something different. Subsequently, I recall being the only one in my circle of friends to predict W.'s re-election, as well as the only one not surprised when we didn't find any WMDs. It's not that I'm particularly smart, it's that I'm dick enough to be right half the time. Why fight it? Bad movies tend to win the weekly box office, bad music dominates the charts, bad TV gets renewed; rather than declare it a new phenomenon, take cold comfort in knowing that it was always this way and it's not necessarily worse now. Sophocles wasn't selling out the Coliseum, after all. So if Fair Game, Doug Liman's adaptation of Valerie Plame's memoir of her betrayal by the Bush Administration for the sins of her big-mouthed, self-righteous husband Joe Wilson, doesn't have shock and outrage going for it, it at least has the smarts to portray Joe as a deeply ambiguous figure. He's a jackass, but he's right, and Sean Penn's portrayal of him is uncompromised, unflattering, and completely in keeping with stuff like his Into the Wild and The Assassination of Richard Nixon: liberal shots that don't offend the conversation.

48Hrs. (1982) – Blu-ray Disc

April 6, 2011Posted in****/****, 1980s, 2011, Action, Authors: Walter Chaw, Blu-ray Disc, Comedy, Eddie Murphy, Thriller

****/**** Image B- Sound B
starring Nick Nolte, Eddie Murphy, Annette O’Toole, Frank McRae
screenplay by Roger Spottiswoode and Walter Hill & Larry Gross and Steven E. de Souza
directed by Walter Hill

by Walter Chaw A genuinely tetchy, risky race comedy, Walter Hill’s finest box-office hour reveals itself to be his finest hour, period. There’s a moment in 48Hrs. where dishevelled grizzly bear of a cop Jack (Nick Nolte, typecast) apologizes to the convict in his charge, Reggie (Eddie Murphy), for calling him a “nigger” and a “watermelon,” to which a smiling Reggie responds that, you know, there’s not always an explanation or an excuse for things sometimes. And it’s that moment that defines the film–defines it as a prototype for the modern buddy comedy but, moreover, defines this picture and this man, Murphy (then finishing up his second year on SNL), as the most important African-American actor since Sidney Poitier, in a meatier, more meaningful role than Poitier ever had. He is unapologetically a criminal–not the Desperate Hours/Stanley Kramer-ized Christ-like criminal or the super-duper Green Mile magic Negro con, but a horny, profane, violent, venal criminal measuring the angles and deciding to help the fuzz because there’s something attractive to him about becoming rich off the spoils of the heist that landed him in the pen in the first place. Reggie, in other words, is smart as hell, as well as the product of a certain reality that would drive Spencer Tracy and Katharine Hepburn absolutely insane. Better still, Jack is smart as hell, too, and fifteen years after In the Heat of the Night here, finally, is a dynamic between a black guy and a white guy solving a case that rings with all the pain, injustice, and social weight necessary to tell the unsolvable calamity of race in our country.

Insidious (2011)

April 3, 2011Posted in2011, Authors: Walter Chaw, Canada, Horror, Mystery, Theatrical, Thriller

*½/****
starring Patrick Wilson, Rose Byrne, Lin Shaye, Barbara Hershey
screenplay by Leigh Whannell
directed by James Wan

Insidiousby Walter Chaw A fairly well-done, old-fashioned child-imperilment/haunted-house movie until it falls completely off the rails and starts playing like Phantasm II (but not in a good way), James Wan's jump-scare-athon Insidious is chiefly influenced, for what it's worth, by Poltergeist, though it also references that "Twilight Zone" episode where a girl falls into a parallel universe. It sports a spirit medium and a crack team of ghost-hunters, naturally, as well as a little kid lost and a bombastic third act about braving the Other Side that deeply dishonours whatever minor pleasures there were to be had in the previous two. All of which would be more the pity if that dreary, extended set-up amounted to much more than the real dread of a child fallen mysteriously ill surrounded by the usual crap about doors creaking open, phantoms visiting the half-asleep (in the film and in the audience), and a baby crying for an hour before she disappears when the film no longer feels it can continue to exploit it without actually killing it. It's that unwillingness to present bigger stakes that hamstrings Insidious; a lot like the creeping morality underpinning Wan's Saw (and the DIY sequels it spawned), the picture reveals itself to be pretty safe in its worldview, therefore freeing it of dread in favour of non-stop startle that fades, quickly, into fatigue. If it's not going to go there, it's only ever going to be what it is.

Source Code (2011) + Certified Copy (2010)

April 1, 2011Posted in****/****, 2000s, 2010, 2011, Action, Authors: Walter Chaw, Belgium, Canada, Drama, Esoterica, France, Germany, Iran, Italy, Mystery, Romance, Sci-Fi, Theatrical, Thriller

SOURCE CODE
****/****
starring Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
screenplay by Ben Ripley
directed by Duncan Jones

Copie conforme
****/****
starring Juliette Binoche, William Shimell
written and directed by Abbas Kiarostami

by Walter Chaw The one part of Source Code that isn't duck-ass tight poses so many questions about the nature of our hero's heroism and the aftermath of the film that it opens up what initially seems a hermetically-sealed conceit into something of real depth and fascination. Far from the solipsism of failures interesting (Timecrimes) and not (Primer), different from marginal successes like 12 Monkeys and Déjà Vu, Duncan Jones's sophomore feature (after the similarly thorny Moon) plays most like a child of Last Year at Marienbad and a companion piece to Abbas Kiarostami's contemporaneous Certified Copy. It speaks in terms of quantum physics and string theory, but without pretension, achieving the almost impossible by introducing difficult concepts at the same pace with which its characters–not a dummy among them–are able to understand them without gassing (or worse, falling well behind) the audience. That it presents itself as a mainstream, popular entertainment is more to its credit, giving lie to the notion that Hollywood is bankrupt of ideas. Rather, it's the destination for gifted filmmakers–some of them smart enough, and resourceful enough, to hold fast to their idealism and intelligence for, if not an entire career, then at least long enough to set a bar.

Limitless (2011)

March 23, 2011Posted in2011, Authors: Ian Pugh, Sci-Fi, Theatrical, Thriller

**½/****
starring Bradley Cooper, Abbie Cornish, Andrew Howard, Robert De Niro
screenplay by Leslie Dixon, based on the novel The Dark Fields by Alan Glynn
directed by Neil Burger

Limitlessby Ian Pugh SPOILER WARNING IN EFFECT. Its plot follows a drably straight line and its Joe Gillis narration is tiresome; the most original idea that Limitless has is that, hey, maybe drug abuse isn’t such a bad thing after all. That snarky notion extends past the actual narrative into the presentation itself. Whether that’s enough to sustain your interest is, ultimately, up to you. Eddie (Bradley Cooper) is a down-and-out novelist when his ex-brother-in-law Vernon (Johnny Whitworth) introduces him to NZT, a miracle pill that increases his creative and intellectual prowess to the nth degree. With a wealth of suppressed knowledge suddenly at his disposal, Eddie is overcome with, yes, limitless ambition: he completes his long-stalled novel in four days and goes on to learn new skills, talents, and languages in the blink of an eye. As the drug’s power only increases with time and dosage and won’t let him stand still, he applies his newfound intelligence to the stock market (leading to an encounter with a corporate big shot (one of Robert De Niro’s trademark extended cameos)) and plans to further increase his wealth with money borrowed from the mob (leading to an encounter with a lowlife thug (Andrew Howard)). Then come the unexpected side effects–such as the random murders and hired goons who seem to follow him everywhere. If Limitless isn’t about the horrors of drug addiction, then what is it about? How the attempt to “enhance” one’s own identity removes that identity completely, perhaps? Maybe the overconfidence that attends brilliance? No on both counts, but it’s a wild ride while it lasts. And that, in itself, is sort of the point.

Red Riding Hood (2011)

March 11, 2011Posted in2011, Authors: Walter Chaw, Canada, Fantasy, Horror, Mystery, Romance, Theatrical, Thriller, Werewolf, ZERO STARS

ZERO STARS/****
starring Amanda Seyfried, Gary Oldman, Billy Burke, Julie Christie
screenplay by David Leslie Johnson
directed by Catherine Hardwicke

Redridinghoodby Walter Chaw That Catherine Hardwicke keeps getting jobs speaks to a deep, ugly dysfunction in the Hollywood dream factory. Not the thought that money talks, but the idea that people like Hardwicke and Adam Sandler and Michael Bay are handed the keys to the executive washroom because they understand what it is that certain critically-deficient demographics want and proceed to provide it in massive, deadly draughts. In other industries, there would be regulatory agencies–though it’s fair to consider that checking the poster for Red Riding Hood would give you all the nutritional information you probably need. Namely that Hardwicke is the main ingredient, and that had I remembered this before the screening, I never, ever would have gone, in exactly the same way I wouldn’t eat scrapple again. I’m sure a lot of people like that shit, but grey pig-mush is grey pig-mush. Red Riding Hood is easily the worst movie I’ve seen since probably all the way back to A Sound of Thunder, and in a lot of the same ways: horribly written; horribly performed (but they didn’t have a chance); directed by someone that cameras should file a restraining order against; and edited by a cast-iron moron (make that pair of morons: long-time Hardwicke accomplice Nancy Richardson and poor Julia Wong). At least there’s Gary Oldman along for the ride to order his Moorish henchmen to, at one point, “put him in the elephant!”

The Adjustment Bureau (2011)

March 4, 2011Posted in2011, Authors: Walter Chaw, Romance, Sci-Fi, Theatrical, Thriller

½*/****
starring Matt Damon, Emily Blunt, Anthony Mackie, Terence Stamp
screenplay by George Nolfi, based on the story "Adjustment Team" by Philip K. Dick
directed by George Nolfi

Adjustmentbureauby Walter Chaw George Nolfi, writer of Ocean's Twelve, The Sentinel, The Bourne Ultimatum, and other movies I can't really remember if I've seen returns to his "Renaissance Fair: The Movie" (a.k.a. Timeline) roots with this howler of a hyphenate debut. Somehow mushing together the worst elements of bad films as disparate as The Box and Return to Me with an uncannily bad ear for dialogue and the instincts of a twelve-year-old Catechism student, The Adjustment Bureau jollily romps through Christian quandaries of predestination vs. free will by pitting fedora'd Wim Wenders angels against milquetoast Matt Damon and his badly-slumming object of desire Emily Blunt during their Satanic (I guess) quest to be married to each other. It doesn't take a stand one way or the other, having its host and eating it, too, all the way through to a genuinely stupid conclusion in which it's revealed that the almighty DIRECTOR is neither and both male and female and appears to all of us in His/Her own way. I suppose you could say that The Adjustment Bureau is a Wim Wenders movie if Wenders were a douchebag given to sackless pop-Christianity musings scored (by the up-and-down Thomas Newman) with what sounds like the music from Field of Dreams as performed by an orchestra of baby deer.

The American (2010) – Combo Blu-ray + DVD + Digital Copy

March 3, 2011Posted in2000s, 2010, 2011, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Drama, DVD, Thriller, UK

***½/**** Image A+ Sound A Extras B-
starring George Clooney, Violante Placido, Thekla Reuten, Paolo Bonacelli
screenplay by Rowan Joffe, based on the novel A Very Private Gentlman by Martin Booth
directed by Anton Corbijn

by Walter Chaw Though nothing more than a well-made Jean-Pierre Melville shrine at first glance, Anton Corbijn's lovely The American leaves a surprising amount of aftertaste in a year of film that will probably be remembered for the number of "growers" among its roster of resonant pictures. An unusual take on the monotony of any profession (be it prostitution or engineering to-order weapons for assassins), it's more evidence that George Clooney, with this tribute to Melville, his Kaufman-scripted Confessions of a Dangerous Mind, and his Tarkovsky redux Solaris, is quietly becoming a visible, above-the-line champion for smart American genre flicks–fomenting his own little underground Nouvelle Vague with movies that audiences, for the most part, are anxious to dismiss. The American is provocatively self-conscious in the way of its best French antecedents; aware of the shoulders upon which it stands (everything from Le Samourai to Breathless to later stuff like the homegrown Eye of the Needle), it also has the gumption to title itself after the original title for Citizen Kane. In so doing, it announces itself as something like a commentary on how the passionate, bloody carnality at the foundation of the United States has aged into an almost bored functionality in the first decade post-9/11.

One Swayze Summer: A DVD Tribute to Patrick Swayze

February 24, 2011Posted in****/****, 1980s, 1990s, 2000s, 2011, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Drama, DVD, FFC Must-Own, France, Japan, Romance, Sports, Thriller, Tom Cruise, UK
Swayzedvdstitle

“Good-looking people turn me off. Myself included.”
–Patrick Wayne Swayze

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+
starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-
starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****
DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B
starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****
DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B
starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo’ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.

Justified: The Complete First Season (2010) – Blu-ray Disc

February 22, 2011Posted in2000s, 2010, 2011, Action, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, Television, Thriller

Image A- Sound B Extras B
"Fire in the Hole," "Riverbrook," "Fixer," "Long in the Tooth," "The Lord of War and Thunder," "The Collection," "Blind Spot," "Blowback," "Hatless," "The Hammer," "Veterans," "Fathers and Sons," "Bulletville"

by Jefferson Robbins Fish gotta swim, birds gotta fly, Timothy Olyphant gotta sidle. It's the actor's natural means of locomotion–he may approach an object or adversary or inamorata head-on at first, but by the time he's within arm's length, his gaze has tilted to squint at his target with one coyote eye dominant. It's the walk not only of an actor who's thoroughly considered the best way to present himself to a camera, but also of a man who might have to reach for his pistol at any time. It may be an actorly crutch, but Olyphant can alternately wield it as a wedge, a hook, or a truncheon to coerce a viewer into watching him more closely. We want to know what he sees that makes his glare go askance.

Due Date (2010) + Megamind (2010)|Due Date – Blu-ray Disc

February 21, 2011Posted in2000s, 2010, 2011, Action, Animation, Authors: Bill Chambers, Authors: Ian Pugh, Blu-ray Disc, Comedy, Crime, Drama, Family, Road Movie, Sci-Fi, Thriller

DUE DATE
***½/**** Image A Sound A Extras C-
starring Robert Downey Jr., Zach Galifianakis, Jamie Foxx, Michelle Monaghan
screenplay by Alan R. Cohen & Alan Freedland and Adam Sztykiel & Todd Phillips
directed by Todd Phillips

MEGAMIND
**/****
screenplay by Alan J. Schoolcraft & Brent Simons
directed by Tom McGrath

by Ian Pugh SPOILER WARNING IN EFFECT. Peter Highman (Robert Downey Jr.) is eager to fly out of Atlanta back to Los Angeles to witness the birth of his child, but a chance encounter with wannabe actor/lone weirdo Ethan Tremblay (Zach Galifianakis) lands the pair on a no-fly list and leaves Peter without his luggage or his wallet. With no alternatives, Peter becomes Ethan's unwilling passenger–taking a seat alongside a small dog and the ashes of Ethan's late father–on a road trip west. There appears to be a general consensus that the premise of Todd Phillips's Due Date too closely resembles that of John Hughes's Planes, Trains & Automobiles, but there's a vital difference in that Due Date's lead characters are legitimately crazy. The exasperated straight man is re-imagined as a sneering jerk full of jealousy and rage (Downey Jr. maintains a cold, sweaty stare throughout), while the lovable klutz is a dangerously irresponsible lout. Roger Ebert once wrote that the Hughes film was about "empathy [and] knowing what the other guy feels." So it is; by virtue of its characters, Due Date bypasses empathy altogether, yet it still talks about treating other people with a modicum of compassion. Phillips has finally made a naughty comedy that contemplates the consequences of its actions. Here's a movie in which a father-to-be grows so frustrated with an annoying boy that he socks him in the stomach, then unknowingly mocks a disabled veteran (Danny McBride) and gets his ass kicked for it.

Sundance ’11: If A Tree Falls: A Story of the Earth Liberation Front

February 6, 2011Posted in2011, Authors: Alex Jackson, Crime, Documentary, Drama, Film Festivals, Sundance, Thriller, UK
**/****directed by Marshall Curry by Alex Jackson I have officially reached the point in my life where when I see a cop beating up on a hippie, I identify with the cop. There's a shot in Marshall Curry's If A Tree Falls: A Story of the Earth Liberation Front in which the police spray two ELF members directly in the eyes with mace during a peaceful sit-in. Some audience members behind me interjected, I think by pure reflex, "That's not fair!" But I found myself feeling considerably less enraged. Yes, these protesters were being entirely non-violent, but what alternatives have…

Sundance ’11: Salvation Boulevard

February 6, 2011Posted in2011, Authors: Alex Jackson, Comedy, Crime, Drama, Film Festivals, Sundance, Thriller
*½/****starring Pierce Brosnan, Jennifer Connelly, Ed Harris, Greg Kinnearscreenplay by Doug Max Stone & George Ratliff, based on the novel by Larry Beinhartdirected by George Ratliff by Alex Jackson What a waste. The cast assembled for George Ratliff's Salvation Boulevard is one for the ages. You have Pierce Bronson as super-evangelist Reverend Dan Day, Jennifer Connelly as infatuated housewife Gwen Vandeveer, Ciarán Hinds as Gwen's hard-ass Naval vet father Billy, and Ed Harris as pompous, bearded intellectual Dr. Paul Blaycock. These are traditionally serious dramatic actors in roles that lend themselves to caricature, yet they invest these characters with history…

The Mechanic (2011)

January 28, 2011Posted in2011, Action, Authors: Ian Pugh, Crime, Theatrical, Thriller

**½/****
starring Jason Statham, Ben Foster, Tony Goldwyn, Donald Sutherland
screenplay by Richard Wenk and Lewis John Carlino
directed by Simon West

Mechanicby Ian Pugh SPOILER WARNING IN EFFECT FOR BOTH THIS FILM AND THE ORIGINAL THE MECHANIC. Michael Winner’s The Mechanic (1972) is nominally an action film, but it gets its point across with moments of extraordinary discomfort. As its primary attraction, it features Charles Bronson and Jan-Michael Vincent as contract killers with literally nothing to do, bored to tears as they stand around waiting for people to die. It’s a weird and disturbing scenario, but with modern box-office expectations being what they are, perhaps we shouldn’t be surprised that it’s been effortlessly transformed into an average Jason Statham vehicle. The particulars remain the same: Hitman Arthur Bishop (Statham) is forced to kill his mentor, Harry (Donald Sutherland), under a contract from his employer (Tony Goldwyn); perhaps feeling a pang of guilt, he takes Harry’s wayward son Steve (Ben Foster) under his wing to teach him about the rules and tools of his trade. But it’s all presented in a much sillier light. There’s no other way to put it. When one of our assassins is instructed to poison his quarry, the characters (and the movie) deem this plan much too boring, and the whole ordeal ends in a gory brawl in which both parties stab each other with whatever they can get their hands on. It’s ridiculously over-the-top, sure, and although that’s to its credit, there are still too many moments where the viewer is left wanting something more substantial.