Thriller Archives - Page 41 of 67

Man of the Year (2006) [Widescreen] – DVD

February 19, 20072000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Romance, Thriller

½/**** Image A Sound A Extras C-
starring Robin Williams, Christopher Walken, Laura Linney, Jeff Goldblum
written and directed by Barry Levinson

by Walter Chaw Notorious dullard Barry Levinson's second try at Wag the Dog, the Robin Williams vehicle Man of the Year is a limp wrist waved weakly at no more pathetic a target than new voting technology. The story, such as it is, involves a late-night political comedian/talk show pundit (in the Jon Stewart mold, I guess, if Jon Stewart were stupid, unfunny, and irritating) named Tom Dobbs (Williams) who carries his antiquated shtick all the way to Pennsylvania Avenue on the back of a faulty computerized voting system. Frail egghead techie Eleanor (Laura Linney, too good for this shit) discovers her company's HAL-like flaw (hardly godlike in her erudition, she puzzles out that the digital voting booths choose winners alphabetically), and then promptly goes on the lam after an inexplicable and out-of-tune assault hays her wires and inspires her to seek out the freshly-minted POTUS-elect to inform him of the error. Meanwhile, Dobbs keeps acting like that asshole Robin Williams, desperately in need of a strong hand at his reins lest he run roughshod over his co-stars, the script, sense, respectability, plausibility, and so on down the line.

Looker (1981) – DVD

January 29, 20071980s, Action, Authors: Bill Chambers, Drama, DVD, Sci-Fi, Thriller

**½/**** Image B Sound C+ Extras B-
starring Albert Finney, James Coburn, Susan Dey, Leigh Taylor-Young
written and directed by Michael Crichton

by Bill Chambers Michael Crichton's Looker is a kinky paranoia thriller in which an unlikely sleuth teams up with the nearest bimbo to solve a murder mystery. It is, in other words, vintage De Palma, and if he'd actually helmed it, legions of cinephiles would've flameproofed it by now. At the risk of further estranging myself from De Palma geeks, I must admit I rather enjoyed watching a Body Double without Armond White guilt-tripping my subconscious–which is not to say that Looker circumvents an auteurist reading altogether, but the idiosyncrasies that betray it as 'Crichtonian' (like a novelistic conceit that starts off each new act with a placard indicating the day of the week^*) are less than venerable and thus hardly lend themselves to an apologia.

Smokin’ Aces (2007) + Seraphim Falls (2007)

January 26, 20072000s, Action, Authors: Walter Chaw, Comedy, Crime, Drama, France, Theatrical, Thriller, UK, War, Western

SMOKIN' ACES
½*/****
starring Ben Affleck, Jason Bateman, Common, Andy Garcia
written and directed by Joe Carnahan

SERAPHIM FALLS
*/****
starring Liam Neeson, Pierce Brosnan, Angie Harmon, Anjelica Huston
screenplay by Abby Everett Jaques & David Von Ancken
directed by David Von Ancken

by Walter Chaw Director Joe Carnahan replicates a heart attack in the prologue of Narc, and David Von Ancken, in the action-packed opening to his feature debut Seraphim Falls, simulates a mildly hysterical bout of narcolepsy–but more on that later. Carnahan's third film, Smokin' Aces, is drawing a lot of unfavourable comparisons to Guy Ritchie's gangster sagas, but the real lineage can be traced to whatever strain of viral ADD infected Tony Scott. The film is so like Scott's Domino in its visual affectations and uniform incompetence that the two pictures could exchange scenes willy-nilly without losing a step. (Compare it to Wayne Kramer's similarly canted Running Scared for a mini-primer on when lawless misanthropy and the coked-up editor aesthetic can be wielded with delighted, visceral purpose as opposed to simply wielded.) Ultimately, Smokin' Aces is little more than a parade of sad "didn't you used to be…" stunt cameos installed for the missing "edge" that buckets of blood, rains of bullets, and a few power tools seem incapable of manifesting. With Narc, Carnahan showed real growth from his directorial debut (Blood, Guts, Bullets & Octane, which is actually not unlike the new one at all). Now he's just showing off.

Sundance ’07: Teeth

January 24, 20072000s, Authors: Alex Jackson, Film Festivals, Horror, Sundance, Thriller

*½/****starring Jess Weixler, John Hensley, Josh Pais, Hale Applemanwritten and directed by Mitchell Lichtenstein by Alex Jackson I was very excited when I first stumbled upon the notion of the vagina dentata, as it provides for a distinctly female version of sexual aggression: Unlike the male rape drive, it's not about power, it's about taking power away from men--cannibalism and castration. I should have known that Mitchell Lichtenstein's Teeth would not be the film to really explore this notion as soon as I learned that it's literally about a teenage girl who discovers she has teeth in her vaginal cavity.…

Children of Men (2006) + Letters from Iwo Jima (2006)

January 5, 2007****/****, 2000s, Action, Adventure, Authors: Walter Chaw, Clint Eastwood, Drama, Sci-Fi, Spielberg, Theatrical, Thriller, War

CHILDREN OF MEN
****/****
starring Clive Owen, Julianne Moore, Chiwetel Ejiofor, Charlie Hunnam
screenplay by Alfonso Cuarón & Timothy J. Sexton and David Arata and Mark Fergus & Hawk Ostby, based on the novel by P.D. James
directed by Alfonso Cuarón

LETTERS FROM IWO JIMA
***½/****
starring Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase
screenplay by Iris Yamashita, based on the book Picture Letters from Commander in Chief by Tadamichi Kuribayashi and Tsuyoko Yoshido
directed by Clint Eastwood

by Walter Chaw Stop on any single frame of Alfonso Cuarón's remarkable war idyll Children of Men–a film that's rarely in repose, sometimes seeming composed of one long, frantic shot–and I suspect the sharp-eyed, educated viewer would be able to cull a reference to modern art, most likely one about men reduced to their base animal nature. For me, the two visual landmarks come in the form of a cue to the cover design for Pink Floyd's 1977 "Animals" when hero Theo (Clive Owen) goes to see his industrialist cousin Nigel (Danny Huston) for help and a re-creation of Richard Misrach's remarkable series of 1987 photographs documenting, among other things, a dead-animal pit in Nevada purportedly used to dispose of victims of a plutonium "hot spot." Both share a space with surrealism in the positioning of animals (artificial or deceased) in industrial spaces (London's Battersea Power Station is the iconic backdrop of the "Animals" cover) as mute commentary, perhaps, on man's destructive relationship with his environment–a read that jibes comfortably with the thrust of Children of Men, in which we're told that one day in the not-too-distant future, humans suddenly stop reproducing. (Fertile ground for science-fiction, this obsession with progeny (see: everything from Frankenstein to I Am Legend).) The picture opens with a Fleet Street terrorist bombing, a little like Terry Gilliam's dystopic Brazil–though rather than take the easier route of satirizing our current state of instability and free-floating paranoia, Children of Men makes a serious attempt to allegorize it.

Lady in the Water (2006) + Sympathy for Lady Vengeance (2005)|Lady in the Water [Widescreen Edition] – DVD

December 18, 2006****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Directors: M. Night Shyamalan, Drama, Fantasy, Mystery, Revenge, South Korea, Theatrical, Thriller, ZERO STARS

LADY IN THE WATER
ZERO STARS/**** Image B+ Sound A Extras B-
starring Paul Giamatti, Bryce Dallas Howard, Bob Balaban, Jeffrey Wright
written and directed by M. Night Shyamalan

Chinjeolhan geumjassi
****/****
starring Lee Yeong-ae, Choi Min-sik, Kim Shi-hoo, Kwon Yea-young
written and directed by Park Chanwook

by Walter Chaw The creeping, inescapable feeling is that M. Night Shyamalan would like to be known as “M. Christ Shyamalan”: a guy who wants you to drink the Kool-Aid; a messiah with a shrinking flock preaching a platform that his increasingly deluded, astonishingly arrogant fables are actually themselves the secret to world peace. He claims to hear voices–the first couple of times he did so (here in the stray interview, there in The Buried Secret of M. Night Shyamalan, that abhorrent mock-documentary he did for the Sci-Fi Channel), I thought he was kidding. Hell, the first couple of times he did it, he probably was kidding. But I don’t think he’s kidding anymore. And there’s no longer any currency in playing this ethereal shaman card. Prancing about like a mystic while shitting away millions of other people’s money isn’t a pastime with longevity: it’s something only a zealot would do. I think he’s gone off the deep end, hubris first, overfed to bloating on a steady diet of his own press and the tender ministrations of yes-men too afraid to set off Shyamalan’s diseased persecution complex by telling him that while he might be good at a few things, Lady in the Water was unsalvageable. When Disney executives did approximately that, Shyamalan took his ball and went across the street to Warner Brothers.

Blood Diamond (2006) + Apocalypto (2006)

December 8, 20062000s, Action, Adventure, Authors: Walter Chaw, Drama, Germany, Mexico, Theatrical, Thriller, UK

BLOOD DIAMOND
*/****
starring Leonardo DiCaprio, Jennifer Connelly, Djimon Hounsou, Michael Sheen
screenplay by Charles Leavitt
directed by Edward Zwick

APOCALYPTO
***/****
starring Rudy Youngblood, Dalia Hernandez, Jonathan Brewer, Morris Birdyellowhead
screenplay by Mel Gibson & Farhad Safinia
directed by Mel Gibson

by Walter Chaw After sending Matthew Broderick to head a Negro battalion in the Civil War and Tom Cruise to witness–and survive–the end of Feudal Japan, director Edward Zwick dispatches Leonardo DiCaprio and Jennifer Connelly to Sierra Leone and its own diamond-fuelled Civil War to moralize endlessly from the superior ethical vantage afforded by time and privilege. (That they also lend a much-needed nougat centre to Blood Diamond's thin chocolate coating goes without saying.) The Denzel Washington/Ken Watanabe token this time around is the oft-similarly-abused Djimon Hounsou: as the DC Comics-sounding Solomon Vandy, Hounsou seeks to trade a rare pink diamond for the life of his son, who's been molded by the evil Sierra Leonians into a soulless murdering/raping machine.

DIFF ’06: The Aura

December 6, 20062000s, Argentina, Authors: Walter Chaw, Crime, DIFF/SDFF, Drama, Film Festivals, France, Spain, Thriller

El aura***½/****starring Ricardo Darín, Dolores Fonzi, Pablo Cedrón, Nahuel Pérez Biscayartwritten and directed by Fabián Bielinsky by Walter Chaw The late Argentine director Fabián Bielinsky's swan song, The Aura (El Aura) is a throwback in spirit and execution to the grim, inward-gazing paranoia dramas of the 1970s. Hero Esteban (Ricardo Darin) is an epileptic taxidermist who wakes up, as the film opens, in a bank vestibule; we proceed to follow him into a credits sequence that sees him resurrecting, in his meticulous craft, a fox for a museum panorama. The title The Aura might refer to that illusion of life…

The Wreck of the Mary Deare (1959) [Gary Cooper: The Signature Collection] – DVD

December 5, 20061950s, Adventure, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Mystery, Thriller, UK

***/**** Image A Sound A-
starring Gary Cooper, Charlton Heston, Michael Redgrave, Emlyn Williams
screenplay by Eric Ambler, based on the novel by Hammond Innes
directed by Michael Anderson

by Travis Mackenzie Hoover Here's another Coop-travaganza whose pleasures lie naked on the surface. Like Springfield Rifle, Michael Anderson's The Wreck of the Mary Deare is largely uninterested in subtextual undertow or other fodder for term papers, announcing its true intentions by casting strong, silent Cooper opposite hard man-of-action Charlton Heston–the two movie stars least likely to quietly brood or have an Achilles heel to render them even a little unsympathetic. Though Coop has a shady past to overcome, it's largely in the aid of martyring him to a system that refuses to listen; Heston, meanwhile, is possessed of the old I-have-a-hunch-to-trust-the-underdog brotherhood instinct that keeps us trusting despite overwhelming evidence to the contrary. Students of gender politics (assuming there are any left) might want to put it through the symptomatic wringer, but mostly it's a couple of cool dudes laying down the law and fighting insurmountable odds.

Springfield Rifle (1952) [Gary Cooper: The Signature Collection] – DVD

November 28, 20061950s, Authors: Travis Mackenzie Hoover, DVD, Thriller, War, Western

***/**** Image B+ Sound A-
starring Gary Cooper, Phyllis Thaxter, David Brian, Paul Kelly
screenplay by Charles Marquis Warren & Frank Davis
directed by André De Toth

by Travis Mackenzie Hoover Springfield Rifle is a fat-free, plot-centric Gary Cooper western with a difference. While its counter-intelligence plot bears a passing resemblance to that of Henry Hathaway's docu-noir The House on 92^nd Street, it's mostly about brisk movement through rough terrain as we wait for a climax in which the newly-minted Springfield rifle will prove its worth on the battlefield. There's absolutely no serious need to look for subtexts (director André De Toth keeps everything (moving quickly) on the surface), but it's a reasonably entertaining time-killer that's never exactly smart yet never exactly boring. Coming as it did on the heels of the star's High Noon, it could perhaps be considered counter-programming.

Wild at Heart (1990) [Special Edition] – DVD

November 28, 20061990s, Authors: Travis Mackenzie Hoover, Comedy, Crime, Directors: David Lynch, Drama, DVD, Esoterica, Palme d'Or Winner, Road Movie, Thriller

**½/**** Image A+ Sound A Extras B
starring Nicolas Cage, Laura Dern, Willem Dafoe, Crispin Glover
screenplay by David Lynch, based on the novel by Barry Gifford
directed by David Lynch

by Travis Mackenzie Hoover Back when I ran my website DAYS OF THUNDER, I identified the problem with David Lynch in general (and with Mulholland Drive in specific) as that of a man who didn't want to know: his films tend to revolve around bland milquetoast heroes and heroines who open Pandora's Box and then either become destroyed or must stuff horrible people back inside. But when I wrote that, I had repressed the memory of Wild at Heart, which chucks Velveeta America entirely and imagines a world run by Frank Booth and his ilk. Indeed, Wild at Heart wallows in the kinds of kinky horrors that are viewed in Lynch's other films from a distance, and it's not a pretty sight. Here is the fallen Eden, Lynch-style, where everyone has eaten from the Tree of Knowledge and been cast out of paradise to fuck, shoot, and act unnaturally before meeting untimely, gory ends.

DIFF ’06: The Lives of Others

November 24, 20062000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Film Festivals, France, Germany, Mystery, Thriller

Das Leben der Anderen***/****starring Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukurwritten and directed by Florian Henckel von Donnersmarck by Walter Chaw Florian Henckel von Donnersmarck makes his hyphenate debut with The Lives of Others (Das Leben der Anderen), a picture revolving around the days leading up to and immediately following the fall of the Berlin Wall as experienced by prominent playwright Dreyman (Sebastian Koch), his actress girlfriend Christa (Martina Gedeck), and the Stasi investigator Wiesler (Ulrich Mühe) assigned to listen in on their conversations for evidence of dissent. The premise--monster grows a soul in the presence of humanity--is tired,…

DIFF ’06: Rescue Dawn

November 22, 20062000s, Action, Adventure, Authors: Walter Chaw, Biopic, DIFF/SDFF, Directors: Werner Herzog, Drama, Film Festivals, Luxembourg, Thriller, War

**½/****starring Christian Bale, Steve Zahn, Jeremy Davies, Marshall Bellwritten and directed by Werner Herzog by Walter Chaw Though a perfectly serviceable actioner, one that avoids almost every pitfall and cliché of the POW genre while supporting a singularly eccentric performance, Werner Herzog's Rescue Dawn, sadly, could have been directed by any one of a dozen directors. Gripping but not especially memorable, it lacks the mad Bavarian's insanity: his belief that nature is obscene, as well as his ability to make a trance from the mendacity of routine. (Because Herzog is a rare talent, his films butt up against greater expectations.) The…

Déjà Vu (2006)

November 22, 20062000s, Action, Authors: Walter Chaw, Crime, Directors: Tony Scott, Sci-Fi, Theatrical, Thriller, UK

**½/****
starring Denzel Washington, Val Kilmer, Paula Patton, Jim Caviezel
screenplay by Bill Marsilii & Terry Rossio
directed by Tony Scott

by Walter Chaw Who woulda thunk that crap-meister Tony Scott could be so in tune with the spirit of the times? Scott follows up Man on Fire–a vile piece of revenge-on-foreign-soil wish-fulfillment schlock–and Domino (another slice of the vigilante kind) with Déjà Vu, a time-travel fantasy complete with a horrifying act of domestic terrorism that noble ATF agent Carlin (Denzel Washington) is offered the chance, through the providence of limited time travel, to prevent. It’s one of those questions, right? Would you smother infant Hitler in his cradle to prevent the tears that will follow–and, if you did, would it change the course of history or just substitute that Adolf for another? Alas, Scott ultimately degrades this fun cocktail party conundrum into an action-movie finale involving heartbreakingly beautiful love interest Claire (Paula Patton), clean-Marine grassroots sicko Carroll (Jim Caviezel, doing High Crimes all over again), and a ferryboat full of people crossing over from Katrina-ravaged New Orleans. Working in the picture’s favour is that it’s thick with national calamity, making one wonder if Scott would even get a movie made anymore were he not so quick to jab a needle into the collective jugular. The pall of our recent history hangs over the proceedings like a borrowed mourning veil, but Scott muse Washington is so good–and the film’s premise so loopy–that en route to touching the steadily more tiresome post-9/11 bases of illegal/omniscient surveillance and sour regret, Déjà Vu actually breathes a little. It’s the best Tony Scott film since the underestimated, unofficial The Conversation sequel Enemy of the State, which ran over on the same technophobic ground. Call it another science-fiction romance to join this season’s already-bursting slate of Children of Men, Stranger Than Fiction, and The Fountain.

A Good Year (2006) + Harsh Times (2006)

November 10, 20062000s, Action, Authors: Walter Chaw, Comedy, Crime, Directors: Ridley Scott, Drama, Romance, Theatrical, Thriller, UK

A GOOD YEAR
½*/****
starring Russell Crowe, Albert Finney, Marion Cotillard, Freddie Highmore
screenplay by Marc Klein, based on the book by Peter Mayle
directed by Ridley Scott

HARSH TIMES
**/****
starring Christian Bale, Freddy Rodriguez, Eva Longoria, Terry Crews
written and directed by David Ayer

by Walter Chaw The Fighting Temptations, The Family Man–the list of sappy redemption flicks about terrible assholes is as long and lamentable as Ridley Scott's interminable A Good Year. Masquerading as a man-opause version of Under the Tuscan Sun, it is instead an incredibly cynical play for exactly the kind of audience Scott and Russell Crowe don't reach and, apparently, shouldn't bother trying to seduce. Imagine a light, frothy romantic comedy written by Dostoevsky and directed by David Lean: every pratfall registers like a cattle stampede, every delightful romantic misunderstanding like a nuclear disarmament talk. Meanwhile, all around it, golden-drenched landscape shots of Provence play the part of the grinning idiot, dancing like crazy to distract the potentially-duped. (Scott at his best works in palettes drained of warmth and heat. Even the sunny Thelma & Louise plays like twenty miles of rough road compared to A Good Year's pretty postcards and stultifying stereotypes.) With the whole mess paying off in the most unlikely and irritating sequence of happy endings in a film not directed by Garry Marshall (or his Limey equivalent, Richard Curtis), the choices are either that you believe Scott and Crowe to have lost their minds or that A Good Year is smug and strident for the very reason that its creators are supercilious jackasses long since detached from any notion of the possible. Moreover, the picture demonstrates a marked disdain for those poor sods who aren't millionaire stockbrokers or possessed of dead uncles with a sprawling villa to will to their heirs.

Bullets or Ballots (1936) – DVD

November 7, 20061930s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Gangster, Thriller

***/**** Image A- Sound A- Extras B
starring Edward G. Robinson, Joan Blondell, Barton MacLane
screenplay by Seton I. Miller
directed by William Keighley

by Travis Mackenzie Hoover On evidence of three films I've recently screened (the others being G Men and Each Dawn I Die), I'd say that William Keighley is a sadly underrated director, if not quite an auteur. He's the kind of lively entertainer who'd trade drinks with solid studio craftsmen like Michael Curtiz. The fact that he doesn't rate a mention in the Sarris canon is a bit surprising to me: on evidence of those two films and Bullets or Ballots, he deserved at least a footnote in the Lightly Likable section. "Lightly likable" also sums up the charms of Bullets or Ballots, which doesn't offer much of the meat and bone of art but moves briskly, offers the occasional smart line, and schools its audience in the ABCs of crime and punishment in a manner befitting a Warners crime melodrama.

Henry II: Portrait of a Serial Killer (1998) + Tales from the Crypt Presents Ritual (2002)

November 1, 20061990s, 2000s, Authors: Walter Chaw, Crime, DVD, Horror, Thriller, ZERO STARS, Zombie

Henry Part 2
Henry: Portrait of a Serial Killer, Part 2
ZERO STARS/**** Image C Sound D Extras D
starring Neil Giuntoli, Rich Komenich, Kate Walsh, Carri Levinson
written and directed by Chuck Parello

RITUAL
*½/**** Image B Sound B-
starring Jennifer Grey, Craig Sheffer, Daniel Lapaine, Kristen Wilson
screenplay by Rob Cohen and Avi Nesher, based on the screenplay for I Walked with a Zombie by Curt Siodmak and Ardel Wray
directed by Avi Nesher

by Walter Chaw John McNaughton's Henry: Portrait of a Serial Killer is that rare exploitation film that at once transcends and wallows in the ugly strictures of its sub-genre. A commentary on itself by dint of its honesty and intelligence, it lives and dies by the irony that despite the extremes to which it goes in its imagining and depiction of atrocity, it succeeds mainly through the quality of its reserve. It's maybe the first realistic-seeming film about a serial killer in that any prurient satisfaction one derives from the events depicted therein one suspects is entirely due to the angle of twist to one's own shadow. It's both a personality and an endurance test–and at the end of it we're left feeling as though we've witnessed some kind of emotional documentary about the psychic toll of murder on the societal organism. At its heart, it's an experiment in collectivism where the individual is tested against the insurgent: the body politic challenged to cohere against an anarchist. The power of Henry is that it engenders something like hope–an almost naïve belief that the humanity represented by the audience will identify with the dregs of society because said dregs, likable in no other way, are being preyed upon by something other than human. And humans, no matter how irredeemable, are still the "home team," as it were.

The Prestige (2006)

October 25, 20062000s, Authors: Walter Chaw, Directors: Christopher Nolan, Drama, Mystery, Scarlett Johansson, Theatrical, Thriller, UK

***/****
starring Hugh Jackman, Christian Bale, Scarlett Johansson, Michael Caine
screenplay by Jonathan Nolan and Christopher Nolan, based on the novel by Christopher Priest
directed by Christopher Nolan

by Walter Chaw It's possible to say that Christopher Nolan's perplexing chimera of a film, The Prestige, has something on its mind about not only the nasty, zero-sum game of vengeance but also the belief that if you cut one head off a malevolent beast it will, hydra-like, sprout another. It's a costume drama that feels like the world's darkest, dour-est, most inappropriate thriller serial, placing a series of increasingly complicated and unpleasant revenge-scenarios in chronological order and reminding of, if anything, just how bad Nolan's Memento makes you feel. The Prestige shares a heart of darkness, after all, with that film: a belief that men are essentially callow opportunists and liars who will misuse the people in their lives in order to maintain an illusion of command, however tenuous, over entropy. The manipulation of illusion is arguably the auteur mark of Nolan, who played with the idea of the manipulation of fear as a weapon in Batman Begins, the practical purpose of dream sleep in his remake of Insomnia, and of course of identity as fluid, ephemeral, and dangerously malleable in Memento and Following. Matching this director with a strange, campy film about turn-of-the-century magicians engaged in mortal combat makes a lot of sense.

Hard Candy (2006) + The King (2006) – DVDs

October 18, 20062000s, Authors: Bill Chambers, Drama, DVD, Esoterica, Thriller, UK

HARD CANDY
**/**** Image A Sound A Extras A
starring Patrick Wilson, Ellen Page, Sandra Oh, Odessa Rae
screenplay by Brian Nelson
directed by David Slade

THE KING
*½/**** Image B+ Sound C+ Extras C+
starring Gael García Bernal, Laura Harring, Paul Dano, William Hurt
screenplay by Milo Addica & James Marsh
directed by James Marsh

by Bill Chambers SPOILER WARNING IN EFFECT. Arriving on DVD with its cult status in the bag, Hard Candy was inspired by a Japanese crimewave that found underage girls posing as prostitutes to bait wealthy businessmen they subsequently drugged, robbed, and in some cases tortured. I think I'd rather see that movie–in dealing more with entrapment than with vigilantism, it probably wouldn't want for integrity like this one does. Hard Candy pulls its punches too often for its own good (mainly, it would appear, in the interest of sustaining momentum, pendulum-like), and its literalmindedness only makes things worse. The picture's chiaroscuro tableaux brazenly paraphrase Edward Hopper, for instance, and lest there be any doubt about artistic intentionality, the two lost souls at the centre of this chamber piece arrange to meet at Nighthawks Diner. But then a T-shirt with Hopper's seminal "Nighthawks" silkscreened onto it turns up as part of the narrative, which is overkill and self-defeating besides, as in reducing Hopper to a decal, Hard Candy itself becomes kitsch.

Dark Passage (1947) – DVD

October 17, 20061940s, Authors: Travis Mackenzie Hoover, Crime, DVD, Thriller

**½/**** Image A- Sound A- Extras B-
starring Humphrey Bogart, Lauren Bacall, Bruce Bennett, Agnes Moorehead
screenplay by Delmer Daves, based on the novel by David Goodis
directed by Delmer Daves

by Travis Mackenzie Hoover Dark Passage not only begins but also keeps going with the tricky technique of subjective camera. Vincent Parry, you see, is an escaped convict framed for the murder of his wife; he's also about to get plastic surgery, which necessitates obscuring the fact that he's played by Humphrey Bogart until the bandages come off. There were surely better ways to make the concealment of Vincent's face some kind of metaphor, or at least give it a measure of aesthetic unity, but writer-director Delmer Daves merely sees that he has to hide Bogie's visage and throws on subjectivity as a catchall. Thing is, he's very slick (as in spit-shine clean) about how he does it, so it doesn't really hurt too much; you're dissatisfied because he didn't dig deeper. And that pretty much sums up the Dark Passage experience.