One Hour Photo (2002) [Widescreen] – DVD

**/**** Image A- Sound A Extras B
starring Robin Williams, Connie Nielsen, Michael Vartan, Gary Cole
written and directed by Mark Romanek

by Walter Chaw There is a keystone moment in the middle of One Hour Photo where lonely SavMart photo-technician Sy (Robin Williams) mourns his impending layoff by providing uncanny approximations of the comedy and tragedy masks in fast succession. Long our weeping velvet-clown chronicler of the twee ironic comedy of life in balance with death (hence his affection for misusing cancer-riddled kids and turning every film, including this one, into a Jacko-esque kid-love pulpit), Williams isn’t stretching here to play a lonely and disturbed old guy who becomes fixated on a pretty family so much as he’s indulging yet again in an aspect of his persona always fluttering under the surface of his more frenetic characterizations.

The Bourne Identity (2002) – DVD

****/**** Image A- Sound A Extras B
starring Matt Damon, Franka Potente, Clive Owen, Chris Cooper
screenplay by Tony Gilroy and William Blake Herron, based on the novel by Robert Ludlum
directed by Doug Liman

Mustownby Walter Chaw The Bourne Identity is a composition of gestures stripped of romance and presented in their barest forms. It is the most cannily cinematic film of the year and one that, during its first half-hour, boasts blissfully of but one minute of dialogue. The picture recognizes that Matt Damon is best as an everyman with potential by presenting him as a character born at the age of thirty-three. And the Oedipal detective story that forms the centre of the tale (“Who am I?”) is so ripe for examination that it may flower in time to be as debated and revered a fantasy as Ridley Scott’s Blade Runner (which likewise features the murder of The Father prior to a kind of manhood and subsequent mate choice). Very loosely based on Robert Ludlum’s novel of the same name, indie punk Doug Liman (director of Swingers) has constructed a parable of self-discovery that can as easily be read as a subversion of the conventions of the thriller genre, a discussion of the ways in which the audience participates in the process of genre fiction, or as a science-fiction piece in which strangely robotic über menschen run amuck in a technocratic world metropolis.

Freddy Vs. Jason (2003) [New Line Platinum Series] – DVD

***/**** Image A Sound A+ Extras A+
starring Robert Englund, Monica Keena, Ken Kirzinger, Kelly Rowland
screenplay by Damian Shannon & Mark Swift
directed by Ronny Yu

by Walter Chaw Though it doesn’t work at all as a scary movie (with even its jump scares curiously tepid), there is the possibility with Freddy Vs. Jason to engage in an anagogical discussion as rich and fascinating as any offered before by the already meaty respective franchises, Friday the 13th and A Nightmare on Elm Street. Pitting Freddy Krueger–razor-fingered child murderer, victim of vigilante justice, and avatar of the sins of the literal fathers–against Jason Voorhees, hockey-masked victim of the cruelty of adolescence and the fear of sensuality, is amazingly fertile ground and handled herein with a seriousness that understands the death that post-modern cleverness represents for horror’s slasher subgenre. This is not to say that the film doesn’t make nods to Signs and 2001: A Space Odyssey, just to suggest that its story proper is firmly grounded in its own hermetic mythology, the curiously heady equation of its titular bogeys to some sort of modern holy pantheon.

Cherish (2002) – DVD

**½/**** Image B Sound B Extras B
starring Robin Tunney, Tim Blake Nelson, Brad Hunt, Liz Phair
written and directed by Finn Taylor

by Walter Chaw A marked improvement over his sporadically interesting but ultimately flat Dream with the Fishes, indie wunderkind Finn Taylor’s Cherish is one-half a fantastic film tied to one-half a terrible film. It leaves plot threads hanging, has a great deal of uncertain character motivation, and transforms into a Tom Tykwer film near the end for no good reason. But Cherish is also home to what is easily Robin Tunney’s best performance to date, another smart and quirky turn by Tim Blake Nelson, a disabled person in a heroic and human role, and a premise that is sharp, intriguing, and original. That it features two Hall & Oates songs on the soundtrack only helps its cause.

Wendigo (2002) – DVD

****/**** Image A- Sound A Extras B+
starring Patricia Clarkson, Jake Weber, Erik Per Sullivan, John Speredakos
written and directed by Larry Fessenden

mustown-1059860by Walter Chaw Larry Fessenden’s Wendigo plays like a chthonic rite: it’s terrifying in its brutal purity and delicious in its ability to pull domestic trauma into the well of archetype where it festers. The film is a further examination of what William Blake cajoles in his “Marriage of Heaven and Hell”–that “men forgot that all deities reside in the human breast,” and it justifies itself beautifully in a Romanticist discussion, a Jungian explication, even a socio-political and historical examination. Wendigo is an extraordinarily thorny film, no question; that it manages to be so without pretension while providing an experience that is terrifying and gorgeous is a remarkable achievement. It’s why we go to the cinema: to be fed through the eye, the heart, the mind.

Narc (2002)

***/****
starring Ray Liotta, Jason Patric, Chi McBride, Busta Rhymes
written and directed by Joe Carnahan

Narcby Walter Chaw Anchored by a powerhouse performance from Ray Liotta, Joe Carnahan’s Narc is a police procedural buddy psychodrama that reminds a great deal of Sidney Lumet’s underappreciated Q&A. The first film mounted in part by Liotta’s new production company, the film is fond of the kind of fluid tracking shots popularized by Martin Scorsese (and Goodfellas, as it happens) and has a crackling ear for dialogue that sadly doesn’t translate into a gift for monologue. Still, there’s a rough intelligence and visceral edge to the film–hewn from its tough-talking vernacular and graphic violence–that feels great in an era where both sides of the ratings divide: PG and R, are hell-bent on edging into the grey PG-13 arena where mental adolescents and the easily-diverted play. Narc works largely because it’s a mature film for adults, smoothing over some of the rough spots where the film begins to lose itself in a labyrinth of flashbacks and surprise revelations.

‘R Xmas (2001) + Serpico (1973) – DVDs

‘R XMAS
***/**** Image A+ Sound A- Extras C
starring Drea De Matteo, Lillo Brancato, Jr., Ice-T, Victor Argo
screenplay by Scott Pardo, Abel Ferrara
directed by Abel Ferrara

SERPICO
**½/**** Image A- Sound B+ Extras C+
starring Al Pacino, Jack Kehoe, John Randolph, Biff McGuire
screenplay by Waldo Salt and Norman Wexler, based on the book by Peter Maas
directed by Sidney Lumet

by Bill Chambers Arriving on DVD within a week of each other, Abel Ferrara’s ‘R Xmas and Sidney Lumet’s Serpico share a preoccupation with the fate of dirty money. Minimum-wagers are seen as honourable by Lumet, with Detective Frank Serpico proudly leading the starving-artist’s life from behind a cop’s badge, while in Ferrara’s view, there are few such romantic distinctions to be made between the haves and have-nots. But the corrupting influence of money defines the people we’re dealing with in both films, which, although they illustrate rather contained moral dilemmas, share a somewhat epic ambition despite rarely stepping outside their respective milieux. Watched back-to-back, they’re like Traffic pulled in two.

Equilibrium (2002)

ZERO STARS/****
starring Christian Bale, Emily Watson, Taye Diggs, Angus MacFadyen
written and directed by Kurt Wimmer

Equilibriumby Walter Chaw After cutting his teeth as a director on the Brian Bosworth vehicle One Tough Bastard, Kurt Wimmer proves himself grotesquely unprepared for his hyphenate debut: the futuristic stink-fest Equilibrium, starring Christian Bale, Emily Watson, and Taye Diggs. Set in the post-apocalypse via a series of tired title cards and voice-overs, the film is immediately recognizable as an ironically illiterate rip-off of Ray Bradbury’s Fahrenheit 451 and George Lucas’s Aldous Huxley photocopy THX-1138. Pulling scenes entire from Blade Runner, Citizen Kane, and The Matrix while pulling philosophies entire from–yes, I was surprised, too–Gymkata, Equilibrium is another Dimension genre film made for no money that stinks a lot like Gary Fleder’s excrescent Impostor from earlier this year, though it somehow manages to be considerably funnier.

Unfaithful (2002) [Widescreen Special Edition] – DVD

**½/**** Image A- Sound B+ Extras A-
starring Diane Lane, Richard Gere, Erik Per Sullivan, Olivier Martinez
screenplay by Alvin Sargent and William Broyles Jr., based on the screenplay for La Femme Infidele by Claude Chabrol
directed by Adrian Lyne

by Walter Chaw The designer’s eye and yen for the seedy of Adrian Lyne–sort of the Ridley Scott of soft-porn–manifest themselves in Unfaithful, the latest permutation of Lyne’s ongoing upper-middle-class angst cycle: blood-pounding eroticism into passionate bloodletting. The kind of Jacques Tati wind that carries off Kansas farm-girls sends Diane Lane’s Big Apple gal Connie into the brawny arms of book-dealing Frenchman Paul Martel (Olivier Martinez). Connie dabbles in adultery, though she is not exactly unhappily married to armoured car company owner Edward (Richard Gere); call it the milk-fed blues. She’s just bored enough to take an eleventh-year slackening of attention and a forgotten overcoat as an excuse to tryst in an impossible Soho loft.

The Quiet American (2002)

***/****
starring Michael Caine, Brendan Fraser, Do Thi Hai Yen, Rade Sherbedgia
screenplay by Christopher Hampton and Robert Schenkkan, based on the novel by Graham Greene
directed by Phillip Noyce

Quietamericanby Walter Chaw Walking a fine line between nostalgia and regret, irony and earnestness, Philip Noyce’s The Quiet American, adapted from the novel by Graham Greene, is a lovely film that captures, like Hemingway’s A Farewell to Arms, the delicate balance between romance in the immediate foreground and the backdrop of war and politics. Evoking the colonial decay of Greene’s work while evincing one of the best performances of Michael Caine’s career, The Quiet American stars Caine as a British journalist in Vietnam who falls in a hopeless kind of love with a beautiful girl a third his age. His subsequent desperation and jealousy feel real; take note of an anguished scene in a bathroom stall–Caine suddenly seems to be getting better with every role.

Vulgar (2002) – DVD

ZERO STARS/**** Image C+ Sound B+ Extras A
starring Brian Christopher O’Halloran, Jerry Lewkowitz, Matthew Maher, Ethan Suplee
written and directed by Bryan Johnson

by Walter Chaw Beginning as Shakes the Clown and segueing into I Spit on Your Grave before finally settling on Death to Smoochy, the discordant, hideously unpleasant Vulgar is the kind of puerile vanity piece that gives exploitation and egotism bad names. Produced by Kevin Smith and seeking to be a creation mythology for Smith’s View Askew mascot (just another example of Smith overestimating the inherent interest in his cult of personality), the picture is the hyphenate debut for Smith crony Bryan Johnson, making Smith, along the way, just the next nepotistic “Happy Madison” pinhead king of diminished returns.

Reign of Fire (2002) – DVD

**/**** Image A- Sound A Extras B-
starring Matthew McConaughey, Christian Bale, Izabella Scorupco, Gerard Butler
screenplay by Gregg Chabot & Kevin Peterka and Matt Greenberg
directed by Rob Bowman

by Walter Chaw Opening concurrent to Sam Mendes’s Road to Perdition, it occurs to me that both it and Reign of Fire are grim, shadowy elegies to lost ages that rely upon gloomy landscapes to convey deeper resonances their stories basic fail to provide. The surprising difference is that Rob Bowman’s post-apocalyptic dragon opera actually has a cannier allegorical foundation. Where Road to Perdition is ultimately an empty broadside attempt at equating the semi-Rockwellian loss of innocence of a little boy to the semi-Rockwellian loss of innocence of the United States in the Twenties and Thirties, Reign of Fire appears to be a story of the Blitz and the first days of American involvement in WWII. The French even make a cameo to try to claim a little piece of “Berlin” during the otherwise incomprehensible epilogue.

Bad Company (2002)

ZERO STARS/**** Image A Sound A-
starring Anthony Hopkins, Chris Rock, Gabriel Macht, Garcelle Beauvais
screenplay by Jason Richman and Michael Browning
directed by Joel Schumacher

by Walter Chaw Apparently named after a dinosaur rock band for no other reason than that it is a logy, prehistoric stillbirth imbued with the corpulent stench of excess (and probably a scattershot popularity attributable to a feeble-minded few), Bad Company would be the worst film I have seen this year had I not attended Cameron Diaz’s The Sweetest Thing. It’s professional hack extraordinaire Joel Schumacher’s latest sloppy bucket of pyrotechnic tripe, and not coincidentally the umpteenth summer skinny dip in Jerry Bruckheimer’s putrid pond of retread action twaddle. The collaboration of Schumacher and Bruckheimer, incidentally, should be warning enough to most sentient beings–the addition of Chris Rock and Anthony Hopkins, only overkill.

One Last Score (2002) + The Shipment (2002) – DVDs

If… Dog… Rabbit
*/**** Image C+ Sound C
starring Matthew Modine, John Hurt, Kevin O’Connor, David Keith
written and directed by Matthew Avery Modine

THE SHIPMENT
ZERO STARS/**** Image C Sound C-
starring Matthew Modine, Elizabeth Berkley, Nick Turturro, Paul Rodriguez
screenplay by Rich Steen
directed by Alex Wright

by Walter Chaw Matthew Modine has made a career of acting the idiosyncratic man of action–that scattershot chortle masking some unusual skill and the kind of laconic intelligence that Eric Stoltz has utilized to far different effect. Peaking early as Pvt. Joker in Kubrick’s Full Metal Jacket (and scoring a couple times before that in the deceptively interesting Vision Quest and Alan Parker’s moody war idyll Birdy), Modine has treaded water ever since in stuff like Cutthroat Island and Bye Bye Love while actually appearing as himself in a couple of films (Notting Hill, Bamboozled)–an indulgence that’s never a good sign, with very few exceptions, for an actor still serious about his career.

I Spy (2002)

*/****
starring Eddie Murphy, Owen Wilson, Famke Janssen, Malcolm McDowell
screenplay by Marianne Sellek Wibberley & Cormac Wibberley and David Ronn & Jay Scherick
directed by Betty Thomas

Ispyby Walter Chaw The best bit of dialogue in Betty Thomas’s abysmal I Spy, a film saddled with a hack director and a too-many-cooks scenario that translates adroitly into the screenwriting process (the script is credited to Marianne Wibberley, Cormac Wibberley, Jay Scherick, and David Ronn), is a bit where Eddie Murphy “Cyranos” Owen Wilson to the tune of Marvin Gaye’s “Sexual Healing.” That out of a mercifully brief 90-minute film the best moment comes courtesy a cheap gag involving an R&B classic and a flash of panty is, really, statement enough about the wisdom and ingenuity of the entire enterprise. Proof positive, if more proof is needed of the fecklessness of this shipwreck, is the fact that Wilson, easily the most gifted screenwriter on set, was not among the many asked to put pen to paper for I Spy.

The Pool (2001) – DVD

Swimming Pool – Der Tod feiert mit
ZERO STARS/**** Image B Sound B Extras D

starring Kristen Miller, Elena Uhlig, Thorsten Grasshoff, Cordelia Bugeja
screenplay by Lorenz Stassen and Boris Von Sychowski
directed by Boris Von Sychowski

by Walter Chaw In an ineffable way, Boris von Sychowski’s The Pool reminds of those old Eighties television teensploitation summer camp movies starring the butch from “Facts of Life” and the fascist from “Family Ties”: poor production values enslaved to the straitjacket of rigid formula filmmaking, wrapped around G-rated titillation that at least in The Pool recognizes is the result in some part of submerged menace. Cabin date rape and teen pregnancy are represented here by the rude insertion of phallic blades through water slides.

Eight Legged Freaks (2002) [Widescreen Edition] – DVD

**½/**** Image B Sound B+ Extras B
starring David Arquette, Kari Wuhrer, Scarlett Johansson, Scott Terra
screenplay by Jesse Alexander & Ellory Elkayem
directed by Ellory Elkayem

by Walter Chaw Ellory Elkayem’s Eight Legged Freaks (sic) is less a throwback to the giant-bug howlers of Gordon Douglas and Jack Arnold than just another post-modern fright comedy long on ironic genre in-references and short on any real thrills. In tone, it reminds a great deal of Joe Dante’s Gremlins II–more jokey than scary, in other words, and, like Gremlins II, Eight Legged Freaks works better than it ought to because of some fairly nifty special effects (I’ve seen worse CGI) and better-than-average performances from its B-list cast.

Film Freak Central Does San Franciso’s 2002 Dark Wave Film Festival

Darkwavelogoby Walter Chaw The question, and it's a question with currency, is why anyone in their right mind would subject themselves (and their long-suffering editors) to coverage of two concurrent film festivals. A pair of answers: the obvious is that I'm not in my right mind, but as obvious is the fact that San Francisco's Dark Wave, which ran from October 18-20, is one of the most exciting "small" film festivals in the United States. I wouldn't pass up the opportunity to talk about it, in other words–ulcers be damned. Presented by the hale San Francisco Film Society evenings and midnights at the historic Roxie, last year's presentation included one of this year's best films (Larry Fessenden's superb Wendigo) as well as the finest example of retro euro-horror (Lionel Delplanque's Deep in the Woods) since Dario Argento lost his marbles.

Desert Saints (2002) – DVD

**/**** Image C Sound C
starring Kiefer Sutherland, Melora Walters, Jamey Sheridan, Leslie Stefanson
screenplay by Rich Greenberg and Wally Nicols
directed by Rich Greenberg

by Walter Chaw Closer to Flashback than to Freeway, the Kiefer Sutherland vehicle Desert Saints is actually closer to Montana than either: a neo-Tarantino erstwhile buddy road trip that pairs Donald's son with a flighty dingbat channelling Rosanna Arquette. Kiefer is Banks, a hired killer who hatches a plan with woman-on-the-lam Bennie (Melora Walters) to play house, check into the same (!) hotel south of the border to do his wicked business, and evade the pair of feds, Scanlon and Marbury (Jamey Sheridan and Leslie Stefanson), hot on his trail. Soul-searching and gut-spilling lead to the kind of sudden reversals that shift power from Banks to Bennie and back before ending in what can only be described as a confusion of trick endings telegraphed from the start. It's less delightful than I make it seem.

Heaven (2002)

***½/****
starring Cate Blanchett, Giovanni Ribisi, Remo Girone, Stefania Rocca
screenplay by Krzysztof Kieslowski, Krzysztof Piesiewicz
directed by Tom Tykwer

Heavenby Walter Chaw There is something of the alchemical when two disparate talents discover that their collaboration is inspired. It is an inkling of the excitement at the promise of A.I. with Kubrick’s misanthropy and Spielberg’s cult of childhood–or the pop-cultural satisfaction embedded in the narrative genius of Stephen King mixing easily with the stiff overwriting of Peter Straub. Heaven is the product of a screenplay by the late Krzysztof Kieslowski (and writing partner Krzysztof Piesiewicz) and surprisingly sedate direction by previously hyperactive wunderkind director Tom Tykwer. The result is another of Tykwer’s unpredictable romances blending with another of Kieslowski’s carefully metered, studiously non-didactic discussions of morality and consequence. The result of their union is often amazing.