Thriller Archives - Page 47 of 70

The Tenants (2006) – DVD

April 20, 20062000s, 2006, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Germany, Romance, Thriller

**½/**** Image A- Sound A-
starring Dylan McDermott, Snoop Dogg, Rose Byrne, Seymour Cassel
screenplay by David Diamond, based on the novel by Bernard Malamud
directed by Danny Green

by Travis Mackenzie Hoover Parts of The Tenants are very good indeed. Most of them involve the live-wire presence of Snoop Dogg, who, as an angry black writer named Willie Spearmint, acts as conscience/spur/romantic rival to Jewish novelist Harry Lesser (Dylan McDermott). While Snoop doesn't quite convince as a product of the film's '70s milieu, he's right on the money as a resentful, easily-provoked hard case seeking humiliating assistance from Lesser. Every time he has to flip-flop on some bit of respect or contempt for the cringing whitey, he shoots the movie straight through the ceiling–so much so that The Tenants often seems to have more to it than it actually does. As it stands, the film doesn't know what to do with source novelist Bernard Malamud's mash-up between a dithering Jew and a motor-mouthed black with nothing in common except their oblivious monomania for writing.

High Anxiety (1977) – DVD

April 17, 20061970s, 2006, Authors: Bill Chambers, Comedy, DVD, Mystery, Satire, Thriller

**/**** Image B Sound B
starring Mel Brooks, Madeline Kahn, Cloris Leachman, Harvey Korman
screenplay by Mel Brooks, Ron Clark, Rudy DeLuca, Barry Levinson
directed by Mel Brooks

by Bill Chambers There are three clever sight gags in Mel Brooks’s disingenuous love letter to Alfred Hitchcock High Anxiety, all of which poke fun at Hitchcock’s invasive camera. As far as I can tell, the remaining laughs have no real precedent in the Master’s work, while riffs on signature moments from Vertigo, Psycho, and The Birds elicit nary a titter. (It doesn’t help that filmmakers straight-faced and tongue-in-cheek alike had plundered those pictures long before Brooks came along; the movie was destined to be impotent in a Brian De Palma world.) Choosing the misbegotten Spellbound, oddly, as its jumping-off point, High Anxiety stars Brooks as acrophobic Dr. Richard H. Thorndyke, the new Chief of Staff at “The Psycho-Neurotic Institute for the Very, Very Nervous.” After stumbling upon some corrupt bookkeeping, Thorndyke is hustled off to a psychiatric convention by the scheming Nurse Diesel (Cloris Leachman, perhaps doing Rebecca‘s Mrs. Danvers) and her S&M-craving toady Dr. Charles Montague (Harvey Korman, doing Harvey Korman), where he meets the requisite blonde bombshell (Madeline Kahn) and becomes a murder suspect.

Wet Asphalt (1958) – DVD

April 12, 20061950s, 2006, Authors: Walter Chaw, Drama, DVD, Thriller, West Germany, ZERO STARS

Nasser Asphalt
ZERO STARS/**** Image D+ Sound C-
starring Horst Buccholz, Martin Held, Maria Perschv, Gert Frobe
screenplay by Will Tremper
directed by Frank Wisbar

by Walter Chaw Unbearably padded with stock footage and stilted segues around the alleged intrigue of newspaper ethics, Frank Wisbar’s abominable Wet Asphalt might discover contemporary relevance for the conceit that a lie about war becomes the biggest story in the world–but probably only if you’re so blinded by rage that the picture’s shortcomings are secondary. Directed by the obscure Frank Wisbar and starring the recalcitrant punk (Horst Buchholz) from The Magnificent Seven and One, Two, Three, the film follows the trials of a ghostwritten young reporter who gets his name attached to a bit of nonsense about Germans living underground after the war. Maybe it’s an offshoot of the apocryphal tales of Japanese soldiers crawling out of the Pacific bush years after VJ-Day; more likely, it’s the product of a belief that cheapo genre horseshit like this would earn its investment back before people got wise and stayed away in droves. Oh, and there’s also some claptrap revolving around a perfunctory love story with wallpaper Bettina (Maria Perschy), to say nothing of the sitting room moralizations with smarmy boss Cesar (Martin Held).

Derailed (2005) [Widescreen Edition (Unrated)] – DVD

April 6, 20062000s, 2005, 2006, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Thriller, UK, ZERO STARS

ZERO STARS/**** Image B Sound B+ Extras D+
starring Clive Owen, Jennifer Aniston, Vincent Cassel, Melissa George
screenplay by Stuart Beattie
directed by Mikael Håfström

by Walter Chaw Okay, here’s the deal: if I tell you that Derailed has a big plot twist, you’re going to figure it out from the trailers; and if I don’t, you’re going to figure it out at around the ten-minute mark–it’s just that stupid. So I’m simply going to say that Jennifer Aniston is like an old studio starlet trying on her ill-fitting acting shoes in a thriller that wants to turn her into a bad girl done wrong but quails at every moment of truth. The ultimate effect of her “metamorphosis” from America’s sweetheart is the uncomfortable feeling that you just saw Donna Reed (or your best friend’s mom) in an S&M outfit. It makes the already-spoiled rape scene (unless ENTERTAINMENT WEEKLY is an underground publication nowadays) a non-event because as you’re watching it, tickling at the back of your head is the knowledge that they’d never rape Rachel in a mainstream middlebrow thriller (even if professional creep Vincent Cassel is the rapist). More, because the whole thing unfolds from the point of view of a very groggy paramour Charles (Clive Owen), the rape becomes something that’s only very inconvenient for our married white male adulterer. It’s despicable, is what it is–compounded by a lie later on and ultimately invalidated by our tired twist, which finds at the end our Charles the spitting image of Travis Bickle but without any trace of irony.

The Losers (1970) – DVD

March 23, 20061970s, 2006, Action, Authors: Travis Mackenzie Hoover, Drama, DVD, Thriller, War

Nam’s Angels
**/**** Image A Sound A Extras B
starring William Smith, Bernie Hamilton, Adam Roarke, Houston Savage
screenplay by Alan Caillou
directed by Jack Starrett

by Travis Mackenzie Hoover Figuring out the ideology of an exploitation movie is a tricky proposition. The libertarian leanings of a form generally concerned with sex, violence, and loose living lend themselves to right and left interpretations, often within the same movie. Consider The Losers: in one corner, it’s a biker exploitation number given to sticking it to the man and getting it on in mass quantities, but in the other, it’s one of the few pre-Rambo movies to be unambiguously positive about the Vietnam war. This cross-genre mélange basically charts the right-left mix of biker gangs themselves, which could ally themselves with the counterculture or claim themselves to be the real free Americans in the same breath. Pity, then, that they have to do their free living at the expense of “slopes” and “slants”–evidence that freedom is a one-way street.

Everything is Illuminated (2005) + A History of Violence (2005)|A History of Violence [New Line Platinum Series] – DVD

March 13, 2006****/****, 2000s, 2005, 2006, Action, Authors: Bill Chambers, Authors: Walter Chaw, Canada, Comedy, Crime, Directors: David Cronenberg, Drama, DVD, Theatrical Release, Thriller

EVERYTHING IS ILLUMINATED
**/****
starring Elijah Wood, Eugene Hutz, Boris Leskin, Laryssa Lauret
screenplay by Liev Schreiber, based on the novel by Jonathan Safran Foer
directed by Liev Schreiber

A HISTORY OF VIOLENCE
****/**** Image A Sound A Extras A
starring Viggo Mortensen, Maria Bello, Ed Harris, William Hurt
screenplay by Josh Olson, based on the graphic novel by John Wagner and Vince Locke
directed by David Cronenberg

by Walter Chaw A year after a glut of films about the past being wilfully stifled by the present, find Liev Schreiber’s Everything is Illuminated and David Cronenberg’s A History of Violence, literal calls to awake following the nightmare of the night before–or, better, avenues through which we might recognize that suppressing a collective shadow mainly serves to nourish it until it explodes, monstrous, back into our consciousness. The one is based on an Anthony Burgess-like book of great linguistic imagination by Jonathan Safran Foer, the other a spare graphic novel by John Wagner and Vince Locke–and just the obliqueness of the respective source materials speaks to the primacy of their message: “Everything is illuminated by the past.” The keystone line in Schreiber’s picture, this serves as a mission statement of sorts for both films, locating in the middle of this first decade of the new millennium something that feels like a weary acceptance that not only are we products of our trauma and misdeeds, but also that our trauma and misdeeds are beyond redress and completely inescapable. To parse the best line in Kenneth Branagh’s Dead Again, it’s the karmic payment plan: buy now, pay forever.

The Hills Have Eyes (2006)

March 10, 20062000s, 2006, Authors: Walter Chaw, France, Horror, Morocco, Theatrical Release, Thriller, Wes Craven

*/****
starring Aaron Stanford, Kathleen Quinlan, Vinessa Shaw, Emilie de Ravin
screenplay by Alexandre Aja & Grégory Levasseur, based on the screenplay by Wes Craven
directed by Alexandre Aja

by Walter Chaw Alexandre Aja’s follow-up to his hateful but effective High Tension is a hateful but not particularly effective remake of Wes Craven’s The Hills Have Eyes. Opening exactly as Dr. Strangelove ends, with a montage of mushroom clouds set to soothing WWII-era croons (shock-cut with babies deformed by Agent Orange), the film all but declares itself a sardonic satire of the madness driving the United States’ military policy where the original was pretty much a look at the country’s simmering caste divide. Aja hopes to draw a line from the atrocities committed in Vietnam to atrocities committed in the desert against enemies of Our Own Making–and along the way, should a throwaway jab at the plight of subsistence miners be hurled and a few mutants get impaled by sharpened American flags, well, so be it. I’m not saying that there’s nothing rotten in the state of Denmark, I’m saying that I don’t care for a French filmmaker making a contemptuous, smug, proselytizing allegory about the legacy of Yankee colonial/expansionist violence. I don’t buy Aja’s outrage as anything more than practiced and ill-considered, the equivalent of those sick fuckers who drive around with pictures of aborted fetuses on the sides of their vans or set up haunted houses in their churches with any number of right-winger nightmares. As it doesn’t teach anything new in any ways that are imaginative or truly horrifying, only the true believers are gratified, and then only by those same florid, ignorant little jabs.

The War of the Worlds (1953) [Special Collector’s Edition] – DVD

March 7, 20061950s, 2006, Action, Authors: Walter Chaw, DVD, Sci-Fi, Thriller

***/**** Image A Sound B Extras A+
starring Gene Barry, Ann Robinson, Les Tremayne
screenplay by Barré Lyndon, based on the novel by H.G. Wells
directed by Byron Haskin

by Walter Chaw Opening with a newsreel and ending with a peculiar bit of religiosity, Byron Haskin’s (really George Pal’s) The War of the Worlds runs the gamut of H.G. Wells’s seminal bit of seriocosmic/pseudo-scientific allegory, assaulting colonialism by dooming spoilers to strange diseases in faraway places. You could call it “God;” I think Wells would have called it “kismet.” In any case, the business in-between in this The War of the Worlds was as visually dazzling for its time as Steven Spielberg’s frightening and reprehensible 9/11 redux version is for ours, and it holds the same sort of micro/macro fascination of Armageddon courtesy mysterious beings raining death from above. Obviously a Cold War parable, the film arguably has as its best quality its sound design, which finds through an ominous thrum of silence a rattlesnake rattle in the noise the baddies produce once they finally emerge from their smouldering crater. It was the stuff of nightmares for me when I caught it on Saturday afternoon television as a child; revisiting it for a film series and now in conjunction with the long-awaited re-release of the film on DVD, I find most interesting the fact that screeching little girl Dakota Fanning replaces the Ann Robinson character in the remake in what can only be described as a horizontal substitution.

Lord of War (2005) [2-Disc Special Edition] – DVD

March 6, 20062000s, 2005, 2006, Action, Authors: Walter Chaw, Crime, Drama, DVD, France, Germany, Nicolas Cage, Thriller

**/**** Image A Sound A+ Extras B
starring Nicolas Cage, Jared Leto, Bridget Moynahan, Ethan Hawke
written and directed by Andrew Niccol

by Walter Chaw At times the film that Paul Brickman’s brilliant screenplay for Deal of the Century promised, Aussie futurist Andrew Niccol crafts with Lord of War a sometimes transcendent, sometimes finger-wagging fable about a ridiculously successful gunrunner, Yuri (Nicolas Cage), prowling the hot spots of the Third World like a vampire in trenchcoat and shades. (I’m not convinced it wasn’t the effect Niccol was going for, what with the obvious connection between spreading pestilence and feeding on death–and, of course, what with Cage’s best role arguably being the quasi-vampire in Vampire’s Kiss.) Without much of a narrative, even subplots concerning Yuri’s mad, druggie brother Vitaly (Jared Leto) and model wife Ava (Bridget Moynahan) seem like way-stations along a dotted line. Too often, the picture lives and dies on its ability to keep the pace fluid–but just that need for momentum suggests something amiss at the heart of the piece, a certain surface tension that would pop should the rock-star protagonist we envy ever collide against the satire of the kind of colossal moral vacuity required of his vocation. It’s the embedded problem of what Hitchcock observed as a character we like because he does his job well: what if that job is essentially reprehensible and, moreover, what if the ultimate desire of the film is that we experience righteous repugnance?

16 Blocks (2006)

March 3, 20062000s, 2006, Action, Authors: Walter Chaw, Canada, Crime, Drama, Germany, Theatrical Release, Thriller, UK

*½/****
starring Bruce Willis, Mos Def, David Morse, Cylk Cozart
screenplay by Richard Wenk
directed by Richard Donner

by Walter Chaw There’s a lot to like about Richard Donner’s ultimately simpering retread of the long-dormant corrupt-cop/asphalt-jungle genre 16 Blocks. Among the highlights is Bruce Willis’s drunken, crooked detective Jack, who–sporting a pot belly, a gimpy leg, bad facial hair, flop sweat, and breath you can practically smell through the screen–makes a decision early on to be the hero at odds with ex-partner Frank (David Morse) in transporting his charge Eddie (Mos Def) the titular sixteen city blocks so that Eddie can testify against New York’s finest. Standing in their way: an arbitrary time limit and a whole department of collectors for the widows and orphans club, looking to exact a little Giuliani on the suddenly-vigilante pair. Comparisons to Firewall, that other picture buried in the first quarter 2006 starring an over-the-hill tough guy, are inevitable–and revealing, too, in charting the extent to which ego allows Ford and Willis to age as action heroes (Ford: not at all; Willis: a good bit) and, consequently, how successful these films are in crafting their respective scenarios. The standard against which 16 Blocks will be held, however, is one established by the likes of Prince of the City and Serpico (or even a later Sidney Lumet like Q&A)–it’s they to which Donner clearly aspires, what with the picture’s setting, its admittedly spurious exposé of bad apples on the force, and at least the first hour of Willis’s performance, equal parts broken-down gunsel and brown-bagging wino.

Night Watch (2004)

March 3, 20062000s, 2006, Action, Authors: Walter Chaw, Fantasy, Horror, Russia, Theatrical Release, Thriller, Vampire

Nochnoy dozor
*/****
starring Konstantin Khabensky, Vladimir Menshov, Valeri Zolotukhin, Mariya Poroshina
screenplay by Timur Bekmambetov and Laeta Kalogridis
directed by Timur Bekmambetov

by Walter Chaw When it’s not frantically whipping up arbitrary rules in its supernatural universe like the world’s most convoluted (and expensive) game of Calvin-ball, Russian sensation Timur Bekmambetov’s epileptic fusion of Highlander and The Matrix, Night Watch, comes off as every bit the puerile lightshow that such a union would imply. Consider the premise: Light and dark “Others” live amongst humans, sometimes not knowing that they’re not human, frozen in a centuries-old truce policed through night and day watches (and a dusk watch, too, judging by the proposed title of the third film in this planned trilogy) that ensure both sides refrain from killing one another. They’re all vampires, I guess, though some are also shapeshifters (or instead are shapeshifters, who knows?) and some are those Indian fakir surgeons who used to pretend to reach into human body cavities and yank out chicken guts. It’s telling that no positive review of this film is complete without a mention of the sequel and, with it, the rationalization that the many narrative crimes of Night Watch are explicable within the need for extended exposition in the first chapter. (See also: The Phantom Menace.) Telling, also, that the best proof presented for the quality of the film is that it’s the top-grossing film in Russian history–that is, until its sequel recently eclipsed its $16M gross with a $33M haul of its own.

Good Night, and Good Luck. (2005) + Domino (2005) [New Line Platinum Series|Widescreen] – DVD

March 2, 20062000s, 2005, 2006, Action, Authors: Bill Chambers, Authors: Walter Chaw, Biopic, Crime, Directors: Tony Scott, Drama, DVD, France, Japan, Theatrical Release, Thriller, UK, ZERO STARS

GOOD NIGHT, AND GOOD LUCK.
**½/****
starring David Strathairn, Patricia Clarkson, George Clooney, Jeff Daniels
screenplay by George Clooney & Grant Heslov
directed by George Clooney

DOMINO
ZERO STARS/**** Image A Sound A Extras B+
starring Keira Knightley, Mickey Rourke, Edgar Ramirez, Delroy Lindo
screenplay by Richard Kelly
directed by Tony Scott

by Walter Chaw Rigorous and principled, George Clooney’s Good Night, and Good Luck. is a curiously slight film for more reasons than the fact that almost a third of it is comprised of archival footage integrated semi-successfully into the story. It’s a recreation of a very specific battle in a very specific war that resonates with our Patriot Act/Guantanamo Bay situation, and indeed, that’s the target Clooney seems most interested in striking. But without a larger context (the sort that would have weakened its allegorical usefulness), the picture sets itself up as something as obvious as it is minor and feather-light. It’s a professional, high-minded, and staid biopic is what I’m saying, a film that says what it says with the stark B&W cinematography of a Dr. Strangelove, but in its icy, humourless way, it’s the same stark B&W cinematography of a Fail-Safe, too. It’s close and under-populated–and even with so insular and finely-focused a spotlight, it contains at least two completely superfluous characters.

Freedomland (2006)

February 17, 20062000s, 2006, Authors: Walter Chaw, Crime, Drama, Mystery, Theatrical Release, Thriller

**/****
starring Samuel L. Jackson, Julianne Moore, Edie Falco, Ron Eldard
screenplay by Richard Price, based on his novel
directed by Joe Roth

by Walter Chaw Given that Joe Roth (America’s Sweethearts, Christmas with the Kranks) directed it, Freedomland‘s first and biggest surprise is that it’s not worse than it is. Maybe that has something to do with Samuel L. Jackson delivering his best performance since Changing Lanes, or a Richard Price screenplay (adapted from his own novel) that, while overwritten throughout and unforgivably histrionic by its end, manages to present its tensions with topicality and a passing familiarity, at least, with the complexities of race relations. It’s deliberately set in 1999, just a few years after South Carolina mommy Susan Smith drowned her two children in a lake and blamed a non-descript “black man” in a knit cap for their carjacking/abduction, and the similarities to the Smith story continue through to incredulity in the black community and the involvement of activist parental groups. (Freedomland, meanwhile, takes place a decade after another case it seems to be based on: Bostonian Charles Stuart killing his pregnant wife and blaming a black guy, stirring nearby black suburb Roxbury to outrage.) Marc Klaas to the film’s Susan Smith is child-safety advocate Karen Collucci (Edie Falco), while the New Jersey barrens–and, in its narrative fulcrum, a burned-out children’s asylum called “Freedomland”–stand in for the wilds of the Deep South. The picture abounds with such similes and ironies, existing in a bizarre, terrifying version of the United States where iron-willed armies of the bereaved march through the blighted wastes of urban decay with sticks and resignation, looking for lost children they know, more likely than not, to be dead and, more, victims of their own parents.

Red Eye (2005) [Widescreen] + Four Brothers (2005) [Special Collector’s Edition – Widescreen] – DVDs

February 15, 20062000s, 2005, 2006, Action, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Revenge, Thriller, Wes Craven

RED EYE
***/**** Image A Sound A Extras B-
starring Rachel McAdams, Cillian Murphy, Brian Cox, Jack Scalia
screenplay by Carl Ellsworth
directed by Wes Craven

FOUR BROTHERS
*/**** Image A Sound A Extras B
starring Mark Wahlberg, Tyrese, André 3000, Garrett Hedlund
screenplay by David Elliot & Paul Lovett
directed by John Singleton

by Walter Chaw If it barely registers at under ninety minutes, Wes Craven’s high-concept thriller Red-Eye is carried along by a couple of excellent lead performances (from Cillian Murphy and Rachel McAdams) and a revenge subtext that lends surprising gravity to the lingering sensitivity of a sexual assault victim’s scars. Red-Eye plays its 9/11 hand–and what else would you expect from a film about an assassination attempt on the Director of Homeland Security that takes place mostly on an airplane–as a metaphor for rape, because rape, after all, is as good a metaphor as any for a terrorist attack on native soil. Look to the glut of home-invasion films (of which this is also one) in 2005 as further clarification of that connection–aliens of an inscrutable nature and purpose (and morality, it goes without saying) have come into the places we thought most sacred and taken what they wanted of our innocence: our once inviolate sense of security. Heady stuff for a film that is essentially Nick of Time on a plane, and indeed it may ultimately be too slight a framework to support the amount of topical sociology I’m tempted to ask it to bear, but there are moments now and again weighted with so much proverbial baggage that Red-Eye, with its melancholy regret, sucks the air right out of the theatre.

La scorta (1993) – DVD

February 14, 20061990s, 2006, Action, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Italy, Thriller

**/**** Image B+ Sound A Extras B+
starring Claudio Amendola, Enrico Lo Verso, Carlo Cecchi, Ricky Memphis
screenplay by Graziano Diana and Simona Izzo
directed by Ricky Tognazzi

by Travis Mackenzie Hoover There’s no way to put a fine point on this: La scorta is Backdraft with bodyguards. That is to say, it’s one of those unsung-hero movies that: a) takes its subject very seriously; b) tries to give voice to a voiceless few; and c) fails to avoid every pitfall of the genre. The film is perhaps less heinous in its cinematic crimes than that Ron Howard schlockfest, but it’s relentlessly mediocre, full of scenes that telegraph their significance and constantly reduce the characters to shorthand or macho clichés. Though La scorta does a good job of running down the outrageous risks faced by police bodyguards of judges, it doesn’t bring their plight alive, choosing to make a gift of “white-knuckle tension” instead of dealing with the very real fear our heroes face. It’s a smiley-faced version of pure, screaming terror–which, unfortunately, most people would probably prefer to something more free-form.

Separate Lies (2005) – DVD

February 13, 20062000s, 2005, 2006, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Romance, Thriller, UK

**/**** Image A- Sound B+ Extras C-
starring Emily Watson, Tom Wilkinson, Rupert Everett, John Neville
screenplay by Julian Fellowes, based on the novel A Way Through the Wood by Nigel Balchin
directed by Julian Fellowes

by Walter Chaw You could call Separate Lies either a second pass at Asylum or just another drop in the English prestige bucket that finds the stuffy upper-crust married to silly women who bring down their country estates of cards. It hinges on performances when it can no longer surprise with its domestic meltdowns, and because its stable of English actors is stocked with more thoroughbreds than the Kentucky Derby, it gains a lot of currency in doing so. But Julian Fellowes’s very British symphony of “sorry”s is extraordinarily familiar–an Adrian Lyne film without slickness or sex about what happens when a desperate housewife dabbles in the dangerous and the commensurate desperation with which her stiff-upper-lip husband scrambles to keep his dignity and status intact. It’d make a bigger impression if we learned more about the class struggle in Britain, I think, but without experience in the whys and wherefores of that caste system, what we’re left with is a superbly-performed melodrama with a strained premise dissected in airless, suffocating situations.

The X Files: Black Oil; The X Files: Colonization; The X Files: Super Soldiers [Four-Disc Mythology Collection] – DVDs

February 13, 20061990s, 2000s, 2006, Authors: Walter Chaw, Drama, DVD, Mystery, Sci-Fi, Television, Thriller

THE X FILES: BLACK OIL – FOUR-DISC MYTHOLOGY COLLECTION (1995-1997)
“Nisei,” “731,” “Piper Maru,” “Apocrypha,” “Talitha Cumi,” “Herrenvolk,” “Tunguska,” “Terma,” “Memento Mori,” “Tempus Fugit,” “Max,” “Zero-Sum,” “Gethsemane,” “Redux,” “Redux II”

THE X FILES: COLONIZATION – FOUR-DISC MYTHOLOGY COLLECTION (1998-2000)
“Patient X,” “The Red and the Black,” “The End,” “The Beginning,” “S.R. 819,” “Two Fathers, One Son,” “Biogenesis,” “The Sixth Extinction,” “The Sixth Extinction II: Amor Fati,” “Sein Und Zeit,” “Closure,” “En Ami,” “Requiem,” “Within,” “Without”

THE X FILES: SUPER SOLDIERS – FOUR-DISC MYTHOLOGY COLLECTION (2001-2002)
“Par Manum,” “This is Not Happening,” “Deadalive,” “Three Words,” “Vienen,” “Essence,” “Existence,” “Nothing Important Happened Today,” “Trust No 1,” “Provenance,” “Providence,” “William,” “The Truth”

Image A Sound A Extras B

by Walter Chaw Even if you’re curious, you’re probably not curious enough to wade through the sixteen DVDs that constitute “The X Files”‘ “mythology” (a.k.a. “Oh, no, not another one of these episodes”), compiled by creator Chris Carter in a quartet of four-disc collections that chronologically recap the ostensible “Truth” in the series’ “The Truth is Out There” tagline. After the first set, “Abduction”, comes “Black Oil”, then “Colonization”, then “Super Soldiers”, the four of them parceling out the vital information that our government’s struck a deal with aliens to turn us into human-alien hybrids; that most of the universe has been colonized by a virus that moves around in (or as) a black, oily substance; that some people are transformed by said alien entity into super-beings; and that there are other aliens out there hoping to prevent the spread of this contagion in the universe. That’s it. Oh yeah, Scully and Mulder kiss–and it’s dreamy. Happy?

Final Destination 3 (2006)

February 10, 20062000s, 2006, Authors: Walter Chaw, Canada, Horror, Theatrical Release, Thriller

***/****
starring Mary Elizabeth Winstead, Ryan Merriman, Kris Lemche, Crystal Lowe
screenplay by Glen Morgan & James Wong
directed by James Wong

by Walter Chaw Jettisoning any attempt to perpetuate the ponderous lore of the first two films, Final Destination 3 docks at the arrivals gate with a full payload of wry sadism and satirical high school archetypes and nothing but grim exploitation nihilism on its mind. It’s the perfect post-9/11 horror film in its way, and sure enough, 9/11 is invoked in an extraordinarily inappropriate photo of the WTC with the shadow of an airplane crossing its middle, which our dour, spoil-sport heroine presents in support of her thesis that photos taken of our soon-to-be-victims might provide clues as to their imminent demise. For the indoctrinated, the machinations of the picture are familiar: A small group of would-be teens avoids a Byzantine–and disgusting–fate, only to be hunted down by “death” (as a concept) and dismembered like flesh puppets ground in the gears of Rube Goldbergian contraptions. (Rube Goldberg with the unsavoury predilections of the Marquis de Sade, that is.) The calamity this time around is a hilariously sprung rollercoaster, and the dour, virginal OCD headcase who has the premonition and survives is Wendy (Mary Elizabeth Winstead), doing her level best to warn her fellow survivors but succeeding mainly in being our front-row surrogate witness to the most gleeful assemblage of remorseless bloodletting since, well, Final Destination 2.

Repo Man (1984) [Collector’s Edition] – DVD

February 6, 20061980s, 2006, Action, Authors: Travis Mackenzie Hoover, Comedy, Crime, DVD, Esoterica, Sci-Fi, Thriller

***/**** Image A Sound A- Extras B+
starring Harry Dean Stanton, Emilio Estevez, Tracey Walter, Olivia Barash
written and directed by Alex Cox

by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. The question I ask after a screening of Repo Man is this: Is it punk? And if it isn’t punk, what is it? Those used to the anarcho-communitarian (i.e., “nice”) ideals adopted by punk’s intelligentsia would have no truck with the mentality of this film, whose hero, Otto Maddox (Emilio Estevez), is in it for cheap thrills and hasn’t got an idea in his head. Indeed, once he gets sucked into the more “intense” world of car repossessor Bud (Harry Dean Stanton) and thus gainful employment, he distances himself from his punk friends–as represented by the three mohawk’d chumps whose idea of “doing crimes” is “let’s order sushi and not pay!” But the repo gig leads to another dead end, as Bud turns out to be a blowhard full of idiot rules and his compatriots prove more unstable than Otto’s old friends. There is no future to Otto’s dreaming–just the cul-de-sac of punk’s dark flipside: nihilism.

When a Stranger Calls (2006)

February 3, 20062000s, 2006, Authors: Walter Chaw, Horror, Theatrical Release, Thriller, ZERO STARS

ZERO STARS/****
starring Camilla Belle, Tommy Flanagan, Tessa Thompson, Brian Geraghty
screenplay by Jake Wade Wall, based on the screenplay by Steve Feke and Fred Walton
directed by Simon West

by Walter Chaw There’s nothing patently, obviously offensive about Simon West’s abominable remake of the already awful “thriller” When a Stranger Calls: It’s neither misogynistic nor racist nor really anything more than exactly what you’d expect from a project like this, dumped as it has been in the wasteland of another early-February. It’s so studiedly inoffensive, in fact, that you could take an elderly nun to it and there would be nary a flutter in her rigidly tender sensibilities. It tittles no ates, manufactures no suspense, and no one in a packed audience of four-hundred folks at the preview screening rustled an inch when the cat–not once, but twice–provided the false jump before the “real” one, though I confess the reason for that might be that by the time West and company get around to actually having something happen, most anyone with any kind of sense is asleep or halfway home. I’ve failed to mention that it’s acted by heavy-browed lead Camilla Belle (as babysitter Johnson, Jill Johnson) like a toy robot with her key only half-wound. Were she to have run out of juice negotiating a wall and leaned there motionless, I wouldn’t have batted an eyelash.