Thriller Archives - Page 48 of 67

Criminal (2004) – DVD

May 4, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Crime, Drama, DVD, Thriller

*½/**** Image A Sound A-
starring John C. Reilly, Diego Luna, Maggie Gyllenhaal, Peter Mullan
screenplay by Gregory Jacobs & Sam Lowry, based on the screenplay for Nueve reinas by Fabián Bielinsky
directed by Gregory Jacobs

by Walter Chaw As an assistant director, Gregory Jacobs has been involved in so many good projects (his resume includes Miller's Crossing, Hal Hartley's Amateur, and Steven Soderbergh's Solaris) that his directorial debut raises expectations. Too many, perhaps, as Criminal, an adaptation of Argentine director Fabián Bielinsky's Nine Queens, from just a couple of years ago, barely qualifies as something as cut-rate and devalued as one of those cookie-cutter, self-conscious, tedious David Mamet capers. It's badly miscast, with John C. Reilly in the lead as a well-travelled huckster on the prowl for that one Big Score that looms like El Dorado for the larcenous breed. (Reilly is fine as a cuckolded husband, nonplussed by a woman he doesn't deserve–not so fine as someone who lives by trip-hammer reflex and quicksilver wit.) And in place of the oil-derrick rhythms of a caper flick, there's something suspiciously like manners and formalism in Criminal–it's a jazz improvisation performed by robots and metered by a drum machine. All the elements are there, but there's no soul to it.

xXx: State of the Union (2005)

April 29, 20052000s, Action, Adventure, Authors: Walter Chaw, Crime, Sci-Fi, Theatrical, Thriller, ZERO STARS

ZERO STARS/****
starring Ice Cube, Willem Dafoe, Scott Speedman, Peter Strauss
screenplay by Simon Kinberg
directed by Lee Tamahori

by Walter Chaw Just a total waste of life no matter how you slice it, xXx: State of the Union is cinema as penance. Forget the rosary–watch this colossal turdbath a couple of times and short of actually being responsible for it, you're instantly absolved of most any sin. The screenplay, by the suddenly-ubiquitous Simon Kinberg (also the scribe behind the upcoming X-Men 3, Fantastic Four, and Mr. and Mrs. Smith–let me go on record first saying that this film does not bode well), is a foul compost of flaccid catchphrases and boggle-eyed declarations, squeezed like old cheese between action sequences so poorly conceptualized and executed that not only is it impossible to ever tell for a moment what the hell's going on, but the film also actually reminded me in its over-processed way of outtakes from Tron. Ice Cube is awful, Samuel L. Jackson (who used to claim he would never work with a rapper) is awful, Scott Speedman is awful, Sunny Mabrey is awful–everyone is awful. Everything about xXx: State of the Union is awful, from its stupid prologue on some dairy farm to its stupid epilogue, in which another sequel is set up in as many words. It's possible to see the entire exercise as a postmodern smirk, but being aware that you're stupid doesn't always make you meta–sometimes it just means you're tragically self-aware and no less stupid.

The Manson Family: Unrated Version (2004) [2-Disc Special Edition] + 99 Women (1969) – DVDs

April 25, 20051960s, 2000s, Action, Authors: Walter Chaw, Blue Underground, Crime, Drama, DVD, Germany, Horror, Italy, Liechtenstein, Prison, Thriller, UK, West Germany

THE MANSON FAMILY
***½/**** Image A Sound A+ Extras A+
starring Marcello Games, Marc Pitman, Leslie Orr, Maureen Alisse
written and directed by Jim VanBebber

Der heiße Tod
**½/**** Image A Sound B Extras B
starring Maria Schell, Mercedes McCambridge, Maria Rohm, Rosalda Neri
screenplay by Peter Welbeck
directed by Jess Franco

by Walter Chaw Attempting exactly the same thing as Mel Gibson's bloodier and no less exploitive telling of a hippie religious leader whose teachings produced immediately sanguine results (with Gibson's martyr going on to establish what is possibly the bloodiest nation in the history of the planet), Jim VanBebber's laudably disquieting The Manson Family is distinguished by its self-awareness as a document of hate rather than one of hosanna on high. Fifteen years in the making, it demonstrates a commensurate level of passion in its creation, the same obsession with recreating the period in the mode of its predominant artform (static representation for the one, drive-in cinema for the other), culminating in an orgy of violence that's gotten a bad rap precisely because there's no prurient thrill to be gained from it. Close examination reveals, in fact, that the deeds of Manson's merry men and women aren't shown in as much detail as they could have been–the chief excision being the fate of Sharon Tate and her in utero baby. The madness of King VanBebber, then, seems to have a method: not to, like Gibson's blood-soaked reverie, revel in every minute detail of flayed viscera and spilled humours, but to recreate the uncomfortable viciousness of loose ideology set free in the schizophrenic fin de siècle sandwiched between free love and its Vietnam War bloodletting counterweight. The Manson Family is about how tragic is the loss of mind and life; The Passion of the Christ is about how tragic it is, for their sake, that the Jews and the Romans didn't know what a bad motherfucker they were messing with. Context is everything.

Film Freak Central does “The Art of Silent Film” series

April 19, 2005****/****, 1920s, 1930s, Action, Authors: Walter Chaw, Comedy, Directors: Charles Chaplin, Drama, Family, Film Festivals, Germany, Romance, Soviet Union, Thriller

by Walter Chaw Denver Art Museum curator Tom Delapa is a one-man production. He books the prints, rents the space, does the research, and twice annually puts on a show consisting of possibly the most historically vital revivals in the Mile High City. Past years have seen screenings of pictures as varied as The Fountainhead and It Came From Outer Space in its original 3-D form–and now, over the course of seven consecutive Tuesdays at Denver's Starz Filmcenter beginning April 5, Mr. Delapa brings us "The Art of Silent Film." It's an ambitious program consisting of lesser-known pieces or rare prints from well-regarded artists of the silent era, giving cineastes the opportunity to see King Vidor's The Crowd (as yet unreleased on DVD) in 16mm with live accompaniment from pianist Hank Troy, as well as 35mm prints of both Buster Keaton's The Navigator and Charlie Chaplin's defiant Modern Times. These share the bill with 16mm presentations of Sergei Eisenstein's Strike, F.W. Murnau's The Last Laugh, Erich von Stroheim's Foolish Wives, and G.W. Pabst's bleak, profound Diary of a Lost Girl. While the audience has grown for the Denver Art Museum film series, the truism remains that for as much lip service as is paid to the dearth of quality cinema in the heartland, if you don't get out and support essential institutions like this one, then they'll just go away.

The Lone Gunmen: The Complete Series (2001) – DVD

April 19, 20052000s, Authors: Travis Mackenzie Hoover, Canada, Comedy, Drama, DVD, Mystery, Sci-Fi, Television, Thriller

Image A- Sound A- Extras B+
"Pilot," "Bond, Jimmy Bond," "Eine Kleine Frohike," "Like Water for Octane," "Three Men and a Smoking Diaper," "Madam, I'm Adam," "Planet of the Frohikes," "Maximum Byers," "Diagnosis: Jimmy," "Tango De Los Pistoleros," "The Lying Game," "The "Cap'n Toby" Show," "All About Yves"

by Travis Mackenzie Hoover To paraphrase your high school guidance counsellor: respect for yourself is essential for respect from your audience. Let's say you have a show called "The Lone Gunmen". It's a spin-off from the successful (and successfully self-serious) "The X Files", which took somewhat far-fetched material and sold it, most of the time, with a straight face and a stern look. It deals with much the same subject matter but features nerdy misfits John Byers (Bruce Harwood), Melvin Frohike (Tom Braidwood), and Richard Langly (Dean Haglund), to whom you're somehow unwilling to commit total sympathy. So you make excuses by mocking them, as if apologizing for their unworthiness of the attention–which raises the question of why you're bothering in the first place. Complete self-deprecation usually results in discomfort, shunning, and, in this case, premature cancellation.

Normal Life (1996) – DVD

April 17, 20051990s, Authors: Bill Chambers, Crime, Drama, DVD, Romance, Thriller

***½/**** Image A Sound A
starring Ashley Judd, Luke Perry, Bruce Young, Jim True
screenplay by Peg Haller & Bob Schneider
directed by John McNaughton

by Bill Chambers I might be apocryphally attributing this to Pauline Kael, but I’m fairly confident that it was she who said there’s no such thing as bad acting, only bad casting. When people hear that John McNaughton’s Normal Life stars Luke Perry and Ashley Judd, they tend to lose interest, but to quote another of my favourite critics, Alex Jackson, “a great performance incorporates and molds a persona. It deals with it. Their body, voice, and persona are inescapable facts [and] the greatness of a performance lies in nothing more [than] the acknowledgment of these facts.” It’s interesting that the contemporary actors most likely to be credited with soul-searching to find the emotional truths of a character–Johnny Depp, Sean Penn, even Mark Ruffalo–are heirs apparent to Lon Chaney, gradually transforming themselves from without. In the same piece quoted above, a review of Midnight Express published just prior to last year’s Academy Awards, Jackson says he values Christina Ricci’s work in Monster over that of her co-star Charlize Theron: Where Ricci plumbs the depths of her established screen persona, Theron’s aesthetically-assisted turn is so anomalous in terms of her career as to register as standoffish. “I suspect that it takes more courage to be an icon than an actor,” Jackson brilliantly surmises.

Incident at Loch Ness (2004) – DVD

April 13, 20052000s, Adventure, Authors: Walter Chaw, Comedy, DVD, Horror, Mystery, Pseudo-Documentary, Sci-Fi, Thriller

**½/**** Image A Sound B Extras A
directed by Zak Penn

by Walter Chaw You could say that Werner Herzog has been hunting monsters for the whole of his career. (Chasing demons: even better.) Find in that the reason the satirical Incident at Loch Ness works to the extent that it does. The picture locates the mad German on the Scottish loch, where he's ostensibly shooting a documentary on Nessie under the auspices of Hollywood wunderkind Zak Penn while a film crew, led by veteran cinematographer John Bailey, shoots Herzog for a piece on the director's method called "Herzog in Wonderland." It's a fake documentary about the making of a fake documentary, in other words, commenting at several points about authenticity in a way that pings off the whimsical existentialism of Being John Malkovich at its best–and off the sudden shift into darkness of the same at its worst. Mocking the capricious ignorance of Hollywood moneymen is always sporting, I guess, and as Penn simultaneously acts the monster (he insists on the crew wearing matching jumpsuits) and surreptitiously slips a plastic monster-bot into the wake, the picture can be satisfying in a familiar way. But by this point in our progressive cynicism, anyone watching the film–and, more particularly, anyone at all familiar with Herzog–could say the same things regarding the venality of the blockbuster mentality with less effort. This doesn't mean that the film's closing shot of a sunglasses-wearing Herzog walking in front of his team in a Michael Bay heroic slow-motion is any less funny, but it does add up to a generally empty, if fitfully amusing, experience.

Lost Embrace (2004); Hard Goodbyes (2002); Walk on Water (2004)

April 12, 20052000s, Argentina, Authors: Walter Chaw, Comedy, Coming of Age, Drama, France, Germany, Greece, Israel, Italy, Mystery, Spain, Sweden, Theatrical, Thriller

El Abrazo partido
*/****
starring Daniel Hendler, Adriana Aizemberg, Jorge D’Elía, Sergio Boris
screenplay by Marcelo Birmajer, Daniel Burman
directed by Daniel Burman

Hard Goodbyes: My Father
Diskoli apocheretismi: O babas mou
***/****
starring Yorgos Karayannis, Stelios Mainas, Ioanna Tsirigouli, Christos Stergioglou
written and directed by Penny Panayotopoulou

WALK ON WATER
**/****
starring Lior Ashkenazi, Knut Berger, Caroline Peters, Gideon Shemer
screenplay by Gal Uchovsky
directed by Eytan Fox

by Walter Chaw SPOILER WARNING IN EFFECT. Woody Allen’s been on something like a two-decade slide, so if there’s a little voice in your head telling you that the last thing you need to see is an Argentine version of a Woody Allen “where’s daddy” neurosis opera: listen to it. Daniel Burman’s Lost Embrace (El Abrazo partido) is an interminable slog through the congested headspace of one Ariel Makaroff (Daniel Hendler), an insufferable, navel-gazing Pol expat living out his self-loathing strut and fret in the ridiculous family lingerie shop of a cut-rate shopping centre. (Yeah, it’s Scenes from a Mall in Spanish.) Burman likes breaking the fourth wall, likes humourless inter-titles that separate his film into a dozen awkward sketches, and really likes dense monologues about, essentially, why no one is ever happy. The extent to which you will cotton to Lost Embrace has a lot to do with how much you enjoy wallpaper narration and old Jewish-Polish grandmothers singing homey folk songs square to the camera–how much you delight in Jewish mothers nudzhing their schlemiel sons before divesting their aggressively middle-class closets of ancient infidelities set against intra-mall flings with an Internet café bimbo. Ennui, listlessness, and gab gab gab, Lost Embrace earns the occasional moment of interest or topicality in stuff like a semi-amusing interview Ariel endures before the Polish consulate (during which he expresses admiration for the recently-deceased Polish Pope), but the film spends most of its goodwill on masturbating with a furious, chafing intensity. Oh, and it’s mawkishly sentimental, too.

p.s. (2004) + Birth (2004)|Birth (2004) – DVD

April 10, 2005****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Esoterica, FFC Must-Own, France, Germany, Mystery, Romance, Theatrical, Thriller, UK

p.s.
**½/****
starring Laura Linney, Topher Grace, Gabriel Byrne, Marcia Gay Harden
screenplay by Helen Schulman and Dylan Kidd, based on the novel by Helen Schulman
directed by Dylan Kidd

BIRTH
****/**** Image A Sound A
starring Nicole Kidman, Cameron Bright, Danny Huston, Lauren Bacall
screenplay by Jean-Claude Carrière, Milo Addica, Jonathan Glazer
directed by Jonathan Glazer

by Walter Chaw Second chances, erasing memories, manipulating perception–films this year like Eternal Sunshine of the Spotless Mind, Code 46, The Forgotten, The Manchurian Candidate, The Village, The Butterfly Effect, Before Sunset, 50 First Dates, The Final Cut, and so on suggest a collective desire to wash the slate clean, put on blinkers, and regain a little of that sweet, blithe ignorance of the day before yesterday. It's never as easy as all that, of course, since things have a tendency of coming back–and when an artifact of the past intrudes on the present it carries with it (along with all those memories of green) an aggressive payload of unexpected reactions. You can never go home again, nor can home ever return to you. Nevertheless, it tries to in a pair of films, two sophomore efforts, as it happens: Dylan Kidd's p.s. and Jonathan Glazer's Birth. Curiously, just the idea of the first film after a triumphant debut is tangled with the desire to recapture a little of the magic of the past.

Oldboy (2003) + The Ballad of Jack and Rose (2005)

April 7, 2005****/****, 2000s, Action, Authors: Walter Chaw, Drama, Mystery, Revenge, South Korea, Theatrical, Thriller

OLDBOY
****/****
starring Choi Min-sik, Yu Ji-tae, Kang Hye-jeong, Ji Dae-han
screenplay by Hwang Jo-yun, Lim Chun-hyeong, Park Chan-wook
directed by Park Chan-wook

THE BALLAD OF JACK AND ROSE
**½/****
starring Daniel Day-Lewis, Catherine Keener, Camilla Belle, Paul Dano
written and directed by Rebecca Miller

by Walter Chaw

"I, the Wrath of God, will marry my own daughter, and with her I will found the purest dynasty the earth has ever seen." -Aguirre, Aguirre: The Wrath of God

A Greek tragedy, an opera, a showcase for South Korean cinema, and one exhilaratingly sick piece of cinema, Park Chan-wook's Oldboy is like the three plays of the "Oresteia" distilled into one pure, malevolent, volatile essence. It's vengeance served hot and perverse like a Medeaen stew, a story of settling scores old enough to be archetype married to sounds and images so invasively intimate that the process of working through the film is a little like getting physically violated. It's vital stuff, this Oldboy, its very title suggesting an ironic superhero alter ego–sketching anti-hero Oh Dae-Su (Choi Min-sik) as a fright-mask of arrested development, a child raging against its prematurely-aged body. We meet him one drunken night as he's bailed out of a night in the tank only to spend the next fifteen years in a solitary-confinement prison cell masquerading as a chintzy backwater motor inn room. He watches TV there, mostly cable news and its horrorshow of buildings and bridges falling, with periodic gassings allowing his anonymous captors to stitch up his wrists and gather biological mementos to leave at the scenes of crimes he didn't commit. When he's finally released, it's not clear if he's been falsely led to believe that he's free, if he's escaped by the graces of an ingenious plan involving a chopstick and a lot of time, or if he's died and this is his demented brain's oxygen-starved fantasy of what he woulda done to the lousy sons o'bitches if only he'd lived.

Venus in Furs (1969) – DVD

April 7, 20051960s, Authors: Travis Mackenzie Hoover, Blue Underground, DVD, Esoterica, Italy, Thriller, UK, West Germany

Paroxismus
**/**** Image A Sound A Extras A-
starring James Darren, Barbara McNair, Maria Rohm, Klaus Kinski
screenplay by Jess Franco & Malvin Wald
directed by Jess Franco

by Travis Mackenzie Hoover Masterpiece is such a relative term. The keepcase for Venus in Furs (a.k.a. Paroxismus) anoints this rough jewel in Jess Franco's crown as "the one fans and critics alike call his masterpiece," but all this means is that next to some of the other films in Franco's dissipated oeuvre, Venus in Furs is comparatively competent, hangs together decently, and won't cause the intense eye-rolling of something like the same year's The Girl from Rio. But though it's slick and watchable, it's still a conceptual mess, combining a blithe pretentiousness with a total inability to suggest cause and effect–not to mention Franco's usual sophomoric sexuality. Or does being propositioned by Dean Martin while on acid count as a masterpiece?

Ocean’s Twelve (2004) [Widescreen Edition] – DVD

April 5, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Crime, Directors: Steven Soderbergh, DVD, Thriller

**/**** Image A- Sound B+
starring George Clooney, Brad Pitt, Matt Damon, Catherine Zeta-Jones
screenplay by George Nolfi
directed by Steven Soderbergh

by Walter Chaw It's all so very beautiful that it's easy to be seduced by it. The people, of course, are gorgeous. The locations in Amsterdam and Lake Como, Italy are gorgeous. The soundtrack? Gorgeous. Cinematography, direction: gorgeous, gorgeous. None too pretty, though, is that sniffy feeling of crashing a party where you stick out like a sore thumb–where everybody knows everybody else and you keep asking the wrong questions. In that, at least, Steven Soderbergh's Ocean's Twelve is more faithful to the Rat Packer Ocean's Eleven than his own remake of the same–this picture's prequel–was. Ocean's Twelve amounts to a martini-and-lounge party at which everybody's having a really great time as you watch from your chair in the corner, daydreaming of looking like Julia Roberts, talking like brandy in a warm snifter, having more fame than The Beatles, and being richer than God.

Undertow (2004) – DVD

April 3, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, Coming of Age, Drama, DVD, Road Movie, Thriller

**½/**** Image A Sound B- Extras A-
starring Jamie Bell, Josh Lucas, Dermot Mulroney, Devon Alan
screenplay by Joe Conway and David Gordon Green
directed by David Gordon Green

by Walter Chaw David Gordon Green's collaboration with cinematographer Tim Orr has borne George Washington and All the Real Girls–fruit from the tree of Americana, nourished at its roots by the twilit legacy of Terrence Malick. Taking its cue from another source, Malick's progenitor Charles Laughton and Laughton's only film as a director, Night of the Hunter, Green's latest, Undertow, just isn't as good as his previous work: it's too sunny at its end, too mannered in its middle, and it fails to live up to the standards both it sets for itself and the limited oeuvre of Green sets for it.

Panic in the Streets (1950) – DVD

March 21, 20051950s, Authors: Travis Mackenzie Hoover, Crime, Directors: Elia Kazan, Drama, DVD, Thriller

***/**** Image A- Sound B+ Extras A-
starring Richard Widmark, Paul Douglas, Barbara Bel Geddes, Jack Palance
screenplay by Richard Murphy
directed by Elia Kazan

by Travis Mackenzie Hoover Did Elia Kazan really direct Panic in the Streets? Nothing in his grandstanding filmography–not the staring-at-particle-board virtue of Gentleman's Agreement, not the prosaic rationalizing of On the Waterfront, not the great but still morally show-offy A Streetcar Named Desire–describes the scene, evokes the mood, or gets to the point quicker than this marginalized but delicious 1950 semi-noir. For once, Kazan isn't telling you how to sympathize, opting instead to show you the issue and let you draw your own conclusions. The result is speedy, gripping, and affecting like nothing in his turgid oeuvre, and makes the people stick with you longer than the pasteboard symbols in Kazan's other films.

The Ring (2003) [2-Disc Collector’s Set] – DVD

March 16, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Horror, Mystery, Thriller

***½/**** Image A Sound A Extras B
starring Naomi Watts, Martin Henderson, David Dorfman, Brian Cox
screenplay by Ehren Kruger, based on the novel Ringu by Kôji Suzuki and the screenplay Ringu by Hiroshi Takahashi
directed by Gore Verbinski

by Walter Chaw Handsomely mounted and undeniably disconcerting, Gore Verbinski's The Ring, the American remake of the first of Japanese horror auteur Hideo Nakata's "Ring Trilogy" (itself based on a series of novels by Kôji Suzuki), lacks a good deal of the original's subtlety but makes up for it with the kind of electronic paranoia that is Yankee stock and trade. The ideas of an unfolding technical mystery, of a protagonist perhaps gifted with second sight, of being a cog at the will of a malignant machine, are borrowed with intelligence and profit from Coppola's masterpiece, The Conversation. The picture even lifts part of that film's dream sequence, a setting within a warehouse before a bank of media equipment, and a quiet tableau of individuals dwarfed by identical apartment units in the sterile honeycomb of modern inner-city housing.

The Ring Two (2005)

March 14, 20052000s, Authors: Walter Chaw, Horror, Mystery, Theatrical, Thriller

*/****
starring Naomi Watts, Simon Baker, David Dorfman, Elizabeth Perkins
screenplay by Ehren Kruger
directed by Hideo Nakata

by Walter Chaw The hope that Hideo Nakata’s The Ring Two will be as pleasant a surprise as Gore Verbinski’s The Ring lasts all of five minutes. Two high school kids (Ryan Merriman and Emily VanCamp), alone without the parents, cuddle up to watch a video but, lo, the boy is just in it to get the girl “in trouble” so that he’ll be off the hook while proving to a chortling pal on the telephone that he is, indeed, mas macho. All the reasons we had for doing the awful things we did in high school find a wonderful vehicle in a demonic videotape that, like a really bad venereal disease, kills anyone who indulges in it seven days after they “do” it. But the premise that carried the first film (and the original Japanese trilogy and mini-series)–the idea of a media-borne STD (or drug addiction), transformed here into something carried aloft by the virulence of peer pressure–is instantly discarded along with its deadline gimmick in favour of about two hours of garbage involving killer deer, a somnambulantly possessed kid (if demonic possession renders your nine-year-old docile as a fawn, that’s a trade-off some might be willing to make), and poor Naomi Watts huffing and puffing and delivering awful, repetitive monologues at her catatonic kid.

Hostage (2005)

March 11, 20052000s, Action, Authors: Walter Chaw, Crime, Drama, Germany, Theatrical, Thriller

½*/****starring Bruce Willis, Kevin Pollak, Jonathan Tucker, Ben Fosterscreenplay by Doug Richardson, based on the novel by Robert Craisdirected by Florent Emilio Siri by Walter Chaw A film about child endangerment that is not otherwise about child endangerment, videogame director Florent Siri's Hostage is a package advertised by its trailers as being about a terror cell when it is, in fact, about three juvenile delinquents looking for a car to jack who accidentally find themselves the heavies in a hostage situation. Maybe "terror cell" applies to the filmmakers, as "hostage situation" pretty accurately describes the experience of being trapped in…

The Witch Who Came from the Sea (1976) [Special Edition] + The Loveless (1982) – DVDs

March 5, 20051970s, 1980s, Authors: Walter Chaw, Blue Underground, Drama, DVD, Horror, Thriller

THE WITCH WHO CAME FROM THE SEA
**½/**** Image B+ Sound B Extras C
starring Millie Perkins, Lonny Chapman, Vanessa Brown, George "Buck" Flowers
screenplay by Robert Thom
directed by Matt Cimber

THE LOVELESS
***/**** Image B+ Sound A Extras A
starring Willem Dafoe, Marin Kanter, Robert Gordon, J. Don Ferguson
written and directed by Kathryn Bigelow

by Walter Chaw Looking and feeling a lot like a classic 1970s Seka porno flick, Matt Cimber's seedy, disquieting The Witch Who Came from the Sea straddles an exploitation line in telling a simple tale with an unexpected degree of pretense and, if only occasionally, artistry. History suggests that most of this is due to the contribution of cinematographer Dean Cundey, working here early in his career in his preferred 'scope format and offering the sort of stunning seaside-tableaux counterweight he would employ to greater success in John Carpenter's underestimated The Fog. His landscapes dwarf the lost heroine of the picture, swallowing her whole in the ocean of her past, her obsession with television commercials, and the culture of machismo that manifests itself in 1976 Southern California as muscle beaches and professional football. Opening with Molly (Millie Perkins) telling a tale of her long lost sea captain father to her two nephews (shades, again, of The Fog), The Witch Who Came from the Sea finds its themes topical even when its presentation skews often and badly into the unfortunately-dated.

The Jacket (2005)

March 4, 20052000s, Authors: Walter Chaw, Drama, Esoterica, Germany, Horror, Mystery, Sci-Fi, Theatrical, Thriller

***½/****
starring Adrien Brody, Keira Knightley, Kris Kristofferson, Jennifer Jason Leigh
screenplay by Massy Tadjedin
directed by John Maybury

by Walter Chaw Lyrical, dislocated, and grim in the fashion of a Derek Jarman film (and director John Maybury served as editor on Jarman's The Last of England), The Jacket, like Altered States, Miracle Mile, Jacob's Ladder, and 12 Monkeys before it, is the sort of doom-filled genre romance that's regularly underestimated in popular contemporary conversation. Peter Deming (the cinematographer on David Lynch's Lost Highway and Mulholland Drive and on the Hughes Brothers' From Hell) shoots the film in a straightforward, beautifully-(under)lit fashion that is equally adept at underscoring the claustrophobia in some sequences and the breathless expanse of others. A scene where Adrien Brody, as Gulf War I vet Jack Starks, wanders away from his loony bin down a long tunnel in a Robert Frost wood and Dr. Lorenson (Jennifer Jason Leigh) stumbles after him demonstrates both, with Deming painting a beautiful landscape from paint pots full of bleak, oppressive isolation. Scored lightly by a series of Brian Eno compositions, The Jacket is an apocalyptic poem of love and loss that's unusually wise about its visual vocabulary–about ways of looking, the line between dreaming and reality, and how eyes on film can be a powerful and elastic metaphor for the audience engaged in a kind of liquid dreaming.

Exorcist: The Beginning (2004) [Widescreen Edition] – DVD

March 1, 20052000s, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Horror, Mystery, Thriller

½*/**** Image A Sound A Extras C
starring Stellan Skarsgård, Izabella Scorupco, James D'Arcy, Remy Sweeney
screenplay by Alexi Hawley
directed by Renny Harlin

by Walter Chaw Beginning with a kinky apocalypse that Ken Russell would surely have created had ever he the budget and equipment, Renny Harlin's Exorcist: The Beginning is good, old-timey drive-in exploitation garbage. It hates children with a unique fury, boasting the highest dead-kid count since Schindler's List, and sure enough, somehow Harlin manages to work in an uncomfortable subplot about exorcising Holocaust demons as our happy Catholics exorcise a literal one. I don't know if Paul Schrader, the man who helmed the first run at this troubled production (the very first director attached was the late John Frankenheimer)–ostensibly scrapped because it wasn't scary enough (and frankly, the guy who did the Nastassja Kinski Cat People should probably not be going near horror movies in the first place)–included a Holocaust subplot in his version of the flick, but I'm hoping not. Mainly because when you introduce a Holocaust subplot into a movie that also features hyenas ripping apart a little boy in protracted, excruciating detail, a woman giving birth to a maggot-infested infant, and another Holocaust survivor bleeding gallons from her Nazi-ruined vagina, you're wandering into the territory of cinema as audience punishment.