The Rats (2002) – DVD

*/**** Image C Sound C Extras C+
starring Vincent Spano, Mädchen Amick, Shawn Michael Howard, Daveigh Chase
screenplay by Frank Deasy
directed by John J. Lafia

by Walter Chaw In a peculiar case of “how much do I cop to,” I admit that I felt a surge of excitement upon first beholding the cover for the DVD release of The Rats, largely because it resembles a great deal the artwork for an edition of English horror author James Herbert’s Rats from many moons ago. After searching the credits diligently (and futilely) for any mention of the hale Brit’s stamp of approval, it was with considerably less excitement that I beheld proper the latest from poor Vincent Spano and Mädchen “Didn’t you used to be on ‘Twin Peaks’?” Amick. The Rats is fairly typical monster-/Seventies disaster-movie fare, also following in the faded footsteps of Willard and Ray Milland’s perverse cult classic Frogs. The main difference being that in our post-modern amusement park (Entropy! Get your tickets now!), the picture isn’t so much about even something so banal as eco-paranoia, but about itself and the genre that it simultaneously lampoons and aspires to.

DIFF ’02: Dragonflies

DragonflyØyenstikker***½/****starring Maria Bonnevie, Kim Bodnia, Mikael Persbrandt, Tintin Anderzonscreenplay by Nikolaj Frobenius, based on the short story "Natt Til Mørk Morgen" by Ingvar Ambjørnsendirected by Marius Holst by Walter Chaw Marius Holst's haunted Dragonflies is weighted like a Terrence Malick film (or like Weir's Picnic at Hanging Rock) by the ominous, oppressive indifference of the Natural. Its drab Scandinavian landscapes as timeless and purposeless as the subterranean tides that govern human behaviour, it's a lovely, poetic thing then when we're introduced to Eddie (Kim Bodnia) floating on a lake and his lover Maria (Maria Bonnevie) wandering through high grass like Ruth…

Formula 51 (2001)

The 51st State
*/****
starring Samuel L. Jackson, Nigel Whitmey, Robert Jezek, Emily Mortimer
screenplay by Stel Pavlou
directed by Ronny Yu

by Walter Chaw Called The 51st State abroad, Formula 51‘s more redneck-friendly-sounding retitling can be read as an astonishing commentary on the Ronny Yu film itself. Astonishing because it implies not only that the picture is self-aware, but also that it has actually somehow identified which formula it adheres to by number–something that strikes me as terribly useful in a shorthand way.

Enough (2002) – DVD

ZERO STARS/**** Image A Sound A
starring Jennifer Lopez, Bill Campbell, Tessa Allen, Juliette Lewis
screenplay by Nicholas Kazan
directed by Michael Apted

by Walter Chaw So try this one on for size: a woman wronged by a world of evil men recuperates, studiously fails to call the police (too many men on the police force–men=bad; we’ll be returning to this equation often), and finally tracks down her tormentors with the express purpose of murdering them. This not only describes Michael Apted’s Enough, but also Meir Zarchi’s infamous exploitation flick I Spit on Your Grave, the main difference between the two being that Enough tries very hard to hide the fact that it’s an ugly bit of repugnant vigilantism masquerading as a feminist uplift drama.

Knockaround Guys (2002)

**½/****
starring Barry Pepper, Vin Diesel, Seth Green, Andrew Davoli
written and directed by Brian Koppelman & David Levien

Knockaroundguysby Walter Chaw Counting on one’s desire to see a legendarily hammy actor–a pair of them in fact–unleashed without fetters onto the unsuspecting world with nary a warning, Knockaround Guys is a surprisingly likeable kitsch artifact that astounds for its casual pretension and dangerous level of cheese. The film has John Malkovich trying unsuccessfully to channel his Valmont through a Brooklyn-made Guido and Dennis Hopper still out of control in a role intended, I think, to be bookish. Gathering dust on the shelf for a year or so now, the picture is finding a release in the early-fall doldrums one presumes for the meteoric rise of Vin Diesel, but stealing the show, as he so often does, is veteran character actor Tom Noonan as a laconic, nowhere Montana sheriff.

DIFF ’02: The Weight of Water

*½/****starring Catherine McCormack, Sarah Polley, Sean Penn, Josh Lucasscreenplay by Alice Arlen and Christopher Kyle, based on the novel by Anita Shrevedirected by Kathryn Bigelow by Walter Chaw Sort of a "Crucible" of period repression and sexual hysteria tied uncomfortably to Roman Polanski's Bitter Moon, Kathryn Bigelow's unreleased and maybe unreleasable The Weight of Water looks to parallel two distinct genres by mining the sexual tension in both. The problem with such a conceit is not its ambition--the picture's sort of admirable in a soggy, pretentious way--but rather the essential misunderstanding of the disparateness of the sources of that tension:…

The Mummy: Quest for the Lost Scrolls (2002) – DVD

*/**** Image A Sound B- Extras C-

by Walter Chaw Universal and Kids’ WB present the abominable and derivative The Mummy: Quest for the Lost Scrolls, the first three episodes of a tragically bad action-adventure cartoon based on characters from Stephen Sommers’s live-action blockbuster The Mummy Returns. After Aryan-izing Fraser’s Rick O’Connell and his irritating moppet Alex (who is, predictably, the star of the show), the animators proceed to rip-off sources as disconcertingly varied as The Evil Dead, Star Wars, and Sommers’s Mummy saga, natch, all while perpetuating myths of the wilting femme and the foppish Brit that, shockingly, its adult counterparts never did.

The Tuxedo (2002)

*/****
starring Jackie Chan, Jennifer Love Hewitt, Jason Isaacs, Debi Mazar
screenplay by Michael J. Wilson and Michael Leeson
directed by Kevin Donovan

Tuxedoby Walter Chaw Between watching Jennifer Love Hewitt’s breasts consistently upstage her (and be constantly commented upon besides) and Jackie Chan try hard to erase his legacy as the best physical comedian of the talkies, it’s tempting to declare that The Tuxedo is a bankrupt entertainment and a remorseless time pit. Tempting and not entirely inaccurate, but in truth The Tuxedo is more than just cheerfully misogynistic (and most of Chan’s films are, in one way or another, woman-hating), cartoonish, and even racist in a Green Hornet/Kato sort of way–The Tuxedo is a symptom of a far deeper concern involving the inability of the West to ever make proper use of hijacked foreign commodities or construct an action film anymore that doesn’t resort to slapstick childishness and/or grotesque violence.

Blade II (2002) [New Line Platinum Series] – DVD

***½/**** Image A+ Sound A+ Extras A+
starring Wesley Snipes, Kris Kristofferson, Ron Perlman, Luke Goss
screenplay by David S. Goyer
directed by Guillermo del Toro

by Walter Chaw Detailing the uncomfortable alliance of Blade and his arch-enemy vampires against a mutant “crack-addict” form of vampire called “Reapers,” Blade II introduces the hints of a twice-illicit romance between Blade (Wesley Snipes) and a succubus princess Nyssa (Leonor Varela) that blossoms after a meet-cute involving the threat of beheading and castration (awww), as well as an unusually pithy look at strange bedfellows in a mutually beneficial conflagration.

Ballistic: Ecks vs. Sever (2002)

ZERO STARS/****
starring Antonio Banderas, Lucy Liu, Roger R. Cross, Ray Park
screenplay by Peter M. Lenkov and Alan B. McElroy
directed by Kaos

Ballisticby Walter Chaw Walking away with the title of Most Incomprehensible Film of 2002 (walking away is also, incidentally, what you should do when presented with the prospect of seeing this film), Wych Kaosayananda’s ponderously branded Ballistic: Ecks Vs. Sever is a collection of puzzling explosions married to a series of alternately stunning and hilarious line deliveries of, to be fair, unspeakable exposition. It hopes to obscure its awfulness with its volume or, failing that, to dress up its stupidity with backlit shots of a woman communing with a captive manatee.

American Psycho 2 (2002) – DVD

American Psycho II: All American Girl
*/**** Image B- Sound B Extras B
starring Mila Kunis, Geraint Wyn Davies, William Shatner, Robin Dunne
screenplay by Alex Sanger and Karen Craig
directed by Morgan J. Freeman

by Walter Chaw That William Shatner is the best actor in Morgan J. Freeman’s direct-to-video American Psycho 2 (a.k.a. American Psycho II: All American Girl), as easy a barnside to strike as almost any in popular culture, is one of those things that is taken with ironic mirth when it should be taken as a stern warning. Rachel (an overmatched Mila Kunis) as a little girl kills Patrick Bateman–the anti-hero of Mary Harron’s sometimes-brilliant ’80s exposé American Psycho–while he’s in the act of murdering her babysitter. That Bateman is not actually a killer doesn’t seem all that important to the makers of this picture, a moronic cross between Murder 101 and Heathers with none of the camp value of the former and none of the intelligence of either.

TIFF ’02: Femme Fatale

**/****starring Antonio Banderas, Rebecca Romijn-Stamos, Peter Coyote, Gregg Henrywritten and directed by Brian De Palma by Bill Chambers Given the genre affiliation of its title and that it opens with a clip from Double Indemnity, Brian De Palma's Femme Fatale is unapologetically a film noir--which is not to say the picture has nothing to apologize for. Oh, for a pair of Armond White's De Palma goggles to beautify Femme Fatale, a flat, trés familiar, idly tongue-in-cheek caper starring Rebecca Romijn-Stamos in a role she's not dangerous enough to play, that of a bisexual American thief who switches places with her…

TIFF ’02: Assassination Tango

**½/****starring Robert Duvall, Rubén Blades, Frank Gio, Katherine Micheaux Millerwritten and directed by Robert Duvall by Bill Chambers As dawdling and peculiar as Robert Duvall's previous directorial outing, The Apostle, Assassination Tango has many checks in its 'pro' column, not the least of which a lead performance from writer-director Duvall that finds common ground between his character's two modes: volatile sociopath and lovestruck romantic. Duvall plays John J., a ponytailed hitman sent to Buenos Aires on a high-stakes job for his potential to camouflage with the locals. Once settled in, he discovers he can't carry out his execution for another…

City by the Sea (2002)

*/****
starring Robert De Niro, Frances McDormand, James Franco, Eliza Dushku
screenplay by Ken Hixon, based on an article by Michael McAlary
directed by Michael Caton-Jones

by Walter Chaw Leaden with mock gravitas and embarrassing aspirations to the Shakespearean, Michael Caton-Jones’s aggressively uninteresting City by the Sea is a purported true story (based on an article by Michael McAlary) that proves to be just another by-the-numbers police procedural crunched with an abortive middle-age romance and a stultifying Oedipal complication. Opening with archive newsreel footage of Long Beach as a place of fun and hope before juxtaposing the burnt-out crack-house dead wonderland of the Long Beach of just a couple of years ago (a conceit carried out with far more grace in Stacy Peralta’s Dogtown and Z-Boys), the picture quickly reveals itself to be infatuated with a certain kind of dramatic irony in which the stock characters are unaware that they are clumsy allegorical pawns in a metaphorical landscape.

TIFF ’02: The Good Thief

***/****starring Nick Nolte, Tcheky Karyo, Said Taghmaoui, Nutsa Kukhianidzewritten and directed by Neil Jordan by Bill Chambers A loose remake of Jean-Pierre Melville's Bob le Flambeur (director Neil Jordan seems to have cast Tcheky Karyo for the way "Bob le flambeur" rolls off his tongue), The Good Thief is a minor-ish work from Jordan that benefits mightily, as most movies would, from Chris Menges's cinematography. Nolte inherits Roger Duchesne's role as Bob Montagne, an expert gambler and larcenist who in this film is hooked on heroin out of what appears to be sheer boredom. (A hilarious scene finds him stumbling…

Frailty (2002) – DVD

***½/**** Image A- Sound A Extras B+
starring Bill Paxton, Matthew McConaughey, Powers Boothe, Matthew O’Leary
screenplay by Brent Hanley
directed by Bill Paxton

by Walter Chaw Dad (Bill Paxton) gets lists of demons from God. He has also provided Dad with three weapons with which to dispatch said demons: a pair of work gloves, a length of pipe, and an axe named “Otis.” Oldest boy Fenton (Matthew O’Leary) and his little brother Adam (Jeremy Sumpter) are left to decide whether Dad is indeed touched by divine hand or just another redneck serial killer in a white van.

Near Dark (1987) – DVD (THX)

****/**** Image A+ Sound A Extras A-
starring Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton
screenplay by Kathryn Bigelow and Eric Red
directed by Kathryn Bigelow

Mustownby Walter Chaw There is an element of the delirious in Kathryn Bigelow’s superb, genre-bending nomadic vampire fable Near Dark–an element of the hopelessly erotic, the melancholic, the breathless. Like the best vampire myths, it recognizes that the root of the monster lies in sexual consumption and addiction, in the interplay between nostalgia for the freedom of youth and the pricklier remembrance of the confused fever dreams of adolescence. (Hence the recurrence in modern myth of a Methuselah beast trapped in the soft body of a child.)

High Crimes (2002) – DVD

½/**** Image A Sound A Extras B
starring Ashley Judd, Morgan Freeman, James Caviezel, Adam Scott
screenplay by Yuri Zeltser & Cary Bickley, based on the novel by Joseph Finder
directed by Carl Franklin

by Walter Chaw Its title too easy a condemnation of the film itself, the otherwise-talented Carl Franklin’s High Crimes is a sickly, by-the-numbers member of a proud lineage of films that includes such abortive boondoggles as The Presidio, A Few Good Men, The General’s Daughter, True Crime, and eventually What Lies Beneath. It begs the question of whether Morgan Freeman, unquestionably the American actor with the most commanding presence and charisma, will ever get a film that’s truly worthy of him–and whether professional punching-bag Ashley Judd will meekly get the stuffing knocked out of her in the upcoming Catwoman as well. It confirms that Jim Caviezel should consider either a cup of coffee or a different career, that Amanda Peet was probably born sucking on a lollipop and wearing Daisy Dukes, and that after having seen some variation on High Crimes for the umpteenth uncountable time, I have grown, unquestionably, very weary of it.

Jacked Up (2001) – DVD

Jacked
**½/**** Image C Sound B Extras C

starring Ron Beaco Lee, Bizzy Bone, Alexis Fields, Anna Maria Horsford
written and directed by Timothy Wayne Folsome

by Walter Chaw Courageous and extremely well performed, Timothy Wayne Folsome’s zero-budget Jacked Up demonstrates a rare and surprising willingness to explore the moral consequences of a moment’s rash misadventure on victim and family alike. It is, in that sense, as unusual and compelling as Roger Michell’s brilliant Changing Lanes, even if the route that it takes to get to its revelations are circuitous at best and overly familiar at worst. Jacked Up is a showcase for a young filmmaker’s potential (otherwise missing from Folsome’s debut of a couple of years ago, An Uninvited Guest), but it also exposes Folsome as a bad visual stylist and a limited scenarist who depends too much upon the path most travelled. Good thing there are lots of flowers of interesting bouquet to sniff along the way.

Reservoir Dogs (1992) [Ten Years – Special Edition] – DVD

***½/**** Image A- Sound A- Extras A+
starring Harvey Keitel, Tim Roth, Chris Penn, Steve Buscemi
written and directed by Quentin Tarantino

by Bill Chambers

"They were perfect strangers, assembled to pull off the perfect crime. Then their simple robbery explodes into a bloody ambush, and the ruthless killers realize one of them is a police informer. But which one?"
–DVD liner summary for Reservoir Dogs

I came around to being a fan of Reservoir Dogs after Quentin Tarantino's standing had crested and the backlash was kicking in. It's impossible for me to see now why I didn't take to it initially–solid flick, as they say. Stylish, knowing, but not necessarily pretentious. Well-performed. And moving, in its macho way: Let us not forget that Reservoir Dogs ends in tears and an embrace.