Sundance ’06: The Proposition

January 27, 2006Posted in2000s, Australia, Authors: Alex Jackson, Crime, Drama, Film Festivals, Sundance, UK, Western
*/****starring Guy Pearce, Ray Winstone, Danny Huston, John Hurtscreenplay by Nick Cavedirected by John Hillcoat by Alex Jackson In his review of Rene Cardona's exploitation quickie about the Jonestown Massacre Guyana: Cult of the Damned, Roger Ebert describes how Cardona ends the film with photos of the real-life victims while the audience is solemnly reminded "that those who forget the past are doomed to repeat it," prompting Ebert to crack, "So remember, don't drink cyanide." I only wish that John Hillcoat's The Proposition were that lucid in delivering its Important Lesson. This is a movie at least as gory and…

The Alan Clarke Collection – DVD

January 24, 2006Posted in1970s, 1980s, Authors: Travis Mackenzie Hoover, Blue Underground, Crime, Documentary, Drama, DVD, Esoterica, Prison, Television, UK
SCUM (BBC VERSION) (1977) ***½/**** starring Ray Winstone, Phil Daniels, David Threfall screenplay by Roy Minton directed by Alan Clarke SCUM (THEATRICAL VERSION) (1979) ***½/**** starring Ray Winstone, Phil Daniels, Mick Ford screenplay by Roy Minton directed by Alan Clarke MADE IN BRITAIN (1982) ***½/**** starring Tim Roth, Eric Richard, Terry Richards screenplay by David Leland directed by Alan Clarke THE FIRM (1989) ***/**** starring Gary Oldman, Lesley Manville, Phillip Davis screenplay by Al Hunter directed by Alan Clarke ELEPHANT (1989) ***½/**** screenplay by Bernard MacLaverty directed by Alan Clarke DIRECTOR: ALAN CLARKE (1991) **/**** directed by Corin Campbell-Hill by…

Looking for Comedy in the Muslim World (2006) + Why We Fight (2006)

January 20, 2006Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Denmark, Documentary, France, Satire, Theatrical, UK, War

LOOKING FOR COMEDY IN THE MUSLIM WORLD
*/****
starring Albert Brooks, John Carroll Lynch, Sheetal Sheth, Fred Dalton Thompson
written and directed by Albert Brooks

WHY WE FIGHT
**/****
directed by Eugene Jarecki

by Walter Chaw The most frustrating thing about Albert Brooks's crushingly boring, infuriatingly unfunny Looking for Comedy in the Muslim World (hereafter Comedy) is the possibility that such was the intention all along. 'Lost in Arabia' (well, India and Pakistan–let's not get crazy, here) finds Brooks doing a high-wire act with post-modernism–the same one he's been doing his whole career, as it happens. At some point, though, it's fair to wonder how long you can push self-awareness before it finally flies apart in a storm of narcissistic deconstruction. Mull over, if you will, a moment where Brooks (as Brooks) recreates one of his classic gags–involving the world's most ironically-tragic ventriloquist–in the middle of an interminable stand-up routine staged in a New Delhi auditorium, closing his act with the dummy (the wooden one) drinking a glass of water. It's Brooks, and Brooks's film, in microcosm: a man who returns the term "mortification" to ritual and religion while being incapable of subsuming the belief that he's still the smartest guy in the room. The trick of Comedy is that in making a movie that isn't very funny about a man who isn't very funny in the middle of a gulf of cultural misunderstanding that's especially not very funny, Brooks hopes to draw a corollary between how the troubles of the world boil down to everybody's inability to communicate. As revelations go, it's not earth-shattering. Guess it goes without saying that it's also not worth the effort to get there.

The PianoTuner of EarthQuakes (2006); Mutual Appreciation (2006); Unknown (2006)

January 19, 2006Posted in2000s, Animation, Authors: Walter Chaw, Crime, Drama, Esoterica, Family, Fantasy, France, Germany, Music, Mystery, Romance, Theatrical, Thriller, UK

THE PIANOTUNER OF EARTHQUAKES
*½/****
starring Amira Casar, Gottfried John, Assumpta Serna, César Saracho
screenplay by Alan Passes and The Quay Brothers
directed by The Quay Brothers

MUTUAL APPRECIATION
***½/****
starring Justin Rice, Rachel Clift, Andrew Bujalski, Seung-Min Lee
written and directed by Andrew Bujalski

UNKNOWN
½*/****
starring Jim Caviezel, Greg Kinnear, Bridget Moynahan, Joe Pantoliano
screenplay by Matthew Waynee
directed by Simon Brand

by Walter Chaw The Quay Brothers, Stephen and Timothy, are marvellous animators, having shepherded stop-motion and a disquieting biomechanical ethic into a series of notably discomfiting shorts, more than one of which pays tribute to their hero/mentor Jan Svankmajer. I met their 1995 transition to live-action features (Institute Benjamenta) with equal parts excitement, curiosity, and trepidation–I believed they'd be a little like either fellow animator-turned-director Tim Burton or those masters of a form who overreach by switching to a different medium, à la Michael Jordan. The truth is somewhere in-between, as the Quays have retained a bit of their glacial patience and a marked affection for created environments but have miscalculated the extent to which our fascination with animate clockworks translates into a commensurate fascination with people sitting around, staring at a wall. The former inspires existential thoughts on the nature of sentience; the latter generally inspires boredom. No question in my mind that something's lurking in the Quays' underneath, but it's important to mark that fine line distinguishing fascination from obtuseness for the sake of itself. Exploring the waking/dreamlife divide is interesting–but it's neither original nor terribly useful when the main tactic seems to be to conjure up pomposity-inspired sleepiness.

Transamerica (2005) + Mrs. Henderson Presents (2005)

January 18, 2006Posted in2000s, Adventure, Authors: Walter Chaw, Comedy, Drama, Music, Road Movie, Theatrical, UK, War

TRANSAMERICA
**/****
starring Felicity Huffman, Kevin Zegers, Fionnula Flanagan, Graham Greene
written and directed by Duncan Tucker

MRS. HENDERSON PRESENTS
*½/****
starring Judi Dench, Bob Hoskins, Will Young, Christopher Guest
screenplay by Martin Sherman
directed by Stephen Frears

by Walter Chaw Duncan Tucker makes his hyphenate debut with Transamerica, one of the first pictures distributed by the Weinsteins under their new aegis. Predictably, all the earmarks of the earnest indie genre Miramax blazed are cemented into place: it's over-written when it's not overreliant on a soundtrack of ethnically-cued melodies (the wood flute marks the appearance of an Indian, for instance) and folksy ballads (I challenge you not to 'pit up when a tune about a rose blooming accompanies our hero swapping his "outie" for an "innie"); narratively creaky; and hangs its hopes on its star, Felicity Huffman, to impose nuance where there is none. Huffman's performance being the sort of stunt in a minor independent film that plays fast and loose with smug liberal paternalism should guarantee her an Oscar nomination–and it can't hurt that another Leonardo DiCaprio doppelgänger arrives post-Michael Pitt in the form of Kevin Zegers, trailing a little pathos and a little inappropriate titillation on his thin shoulders.

Match Point (2005)

January 13, 2006Posted in2000s, Authors: Walter Chaw, Drama, Luxembourg, Romance, Scarlett Johansson, Theatrical, Thriller, UK

***/****
starring Jonathan Rhys Meyers, Scarlett Johansson, Emily Mortimer, Matthew Goode
written and directed by Woody Allen

Matchpointby Walter Chaw Match Point is a quasi-Patricia Highsmith flick about a rudderless Ripley cruising like a shark amongst England's polite society, and the extent to which it works has to do with the degree to which its philosophy of chance and living with ghosts attaches itself to the zeitgeist. The picture opens with a shot of a tennis ball lobbed low and in slow-motion into the top of a net, an image that has as its echo a key moment where a wedding ring tossed towards a river rebounds against a fence into the street. The voiceover talks about the common fear that our lives are governed by happenstance and entropy, transforming the ball going forward into a metaphor for winning–and back into one for losing. Using this as gospel, it's interesting to wonder what it means that, when push comes to shove, our hero's victory is defined by his defeat. Match Point is Woody Allen's best film in some time, which is a left-handed compliment at best; better to say that it's another decent millennial fable about class, the vicissitudes of fate, the reptilian hunger of infiltrating the social strata, and living with ghosts.

Tristan + Isolde (2006)

January 13, 2006Posted in2000s, Action, Authors: Walter Chaw, Czech Republic, Drama, Germany, Romance, Theatrical, UK, War

*/****
starring James Franco, Sophia Myles, Rufus Sewell, David O'Hara
screenplay by Dean Georgaris
directed by Kevin Reynolds

Tristanisoldeby Walter Chaw After bravely transforming the Robin Hood legend into a case of thirtysomething love jones with Robin Hood: Prince of Thieves, Kevin Costner's well-known ex-best friend Kevin Reynolds turns the Tristan + Isolde legend into a WB/TIGER BEAT-friendly, mouth-breathing bodice-ripper indicated by lots of backlighting, orgasmic slow-mo, and dialogue purple enough to blind a Bronte sister. It's shot like a perfume commercial and written like a florid creative-writing exercise, one packed with such AM Gold, Luther Ingram treasures as: "Why does loving you feel so wrong?" Well, it might have something to do with said love being the basis for the Guinevere/Lancelot adultery story in which a woman comes between a king and his most trusted knight, leading to the ideological and literal collapse of a kingdom. Or it might have something to do with the fact that the actors playing the lovers in question never for a moment manage to spark the soggy tinder packed beneath the story. This allows a great deal of time for the sentient beings left in the audience after the ten-minute-mark exodus to suss out why this thing was delayed, then dumped in the middle of the January dead zone. It also, incidentally, caused me to fantasize about somehow harnessing the ability of films like this to make 125 minutes feel like six days for youth-giving effects and racing box scores.

The Bridge of San Luis Rey (2004) – DVD

December 15, 2005Posted in2000s, Authors: Walter Chaw, Drama, DVD, France, Robert De Niro, Romance, Spain, UK

½*/**** Image A Sound A
starring F. Murray Abraham, Gabriel Byrne, Geraldine Chaplin, Robert De Niro
screenplay by Mary McGuckian, based on the novel by Thornton Wilder
directed by Mary McGuckian

by Walter Chaw Given its cast as well as its presumption to chart the hazy intersection between predestination and circumstance, Mary McGuckian's excruciatingly dull The Bridge of San Luis Rey, the third adaptation of Thornton Wilder's Pulitzer Prize-winning novel, might be the biggest miscalculation of the year. Start with Robert De Niro as the corrupt Archbishop of Lima, presiding over the inquisition of Brother Juniper (Gabriel Byrne). Six years previous Juniper witnessed the unceremonious snapping of the titular bridge, which sent five random people to their howling doom. Had they known how boring our good brown-robed pilgrim would make them out to be, I wouldn't wonder why they didn't try to float. No, Brother Juniper has decided that he's going to write the world's dullest book about this quintet of unfortunates so as to perhaps accidentally ken the mysterious workings of the Almighty in the small lives of small people.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

December 9, 2005Posted in2000s, Adventure, Authors: Walter Chaw, Disney, Family, Fantasy, Theatrical, UK

**½/****
starring Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell
screenplay by Ann Peacock and Andrew Adamson and Christopher Markus & Stephen McFeely
directed by Andrew Adamson

by Walter Chaw I'm offended by the marketing for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (hereafter Narnia 1)–not the trailers (which are pedestrian) or the print ads, per se, but the campaign to pre-screen reels to churches and church groups, including Colorado's wildly divisive rightwing activist organization Focus on the Family. It's not something I'm terribly surprised to see from Walden Media–but it's something that strikes me as peculiar coming from the gay-friendly Walt Disney Pictures, a studio currently "suffering" a boycott from Focus on the Family that aims, in part, to force Disney to explain their "Jekyll and Hyde" products and policies. Of the two hypocrisies, fiduciary vs. ideological, I guess I'd favour one over the other, not being in the business of weighing sins, as it were.

The Tales of Hoffmann (1951) [The Criterion Collection] – DVD

December 6, 2005Posted in****/****, 1940s, Authors: Travis Mackenzie Hoover, DVD, Fantasy, FFC Must-Own, Music, Musical, Romance, The Criterion Collection, UK

Mustown****/**** Image A Sound A Extras B
starring Moira Shearer, Robert Helpmann, Leonide Massine, Robert Rounseville
written and directed by Michael Powell & Emeric Pressburger

Talesofhoffmancapby Travis Mackenzie Hoover No doubt thinking of their gushy ballet epic The Red Shoes, Pauline Kael once dismissed the pretensions of Michael Powell and Emeric Pressburger by declaring the duo “the Franco Zefferellis of their day.” This annoyed me intensely. Putting aside the fact that the erotic-sadist Archers seem natural Kael material, her smug put-down completely misapprehends their levelling approach to popular and elite art. A poser, Zefferelli reduces Shakespeare to soap opera and pretends it’s still Shakespeare. His ideas are schlocky and titillating, yet he insists that they’re the citadel of culture, in effect dishonouring both the articulation of what used to be called “high” art and the honest reasons we keep wallowing in trash. The Archers, meanwhile, were aware of the high/low distinction–they simply refused to enforce it, instead commingling with the sublime and the ridiculous as though they were equally critical to a healthy aesthetic diet, thus upholding Kipling’s dictum (frequently repeated in Powell’s memoirs) that “all art is one, man–one!”

War Gods of the Deep (1965)/At the Earth’s Core (1976) [Double Feature] – DVD

November 29, 2005Posted in1960s, Adventure, Authors: Walter Chaw, DVD, Fantasy, Sci-Fi, UK

War-Gods of the Deep
The City Under the Sea
½*/**** Image A Sound B
starring Vincent Price, Tab Hunter, Susan Hart, David Tomlinson
screenplay by Charles Bennett and Louis M. Heyward
directed by Jacques Tourneur

AT THE EARTH'S CORE
½*/**** Image A Sound B
starring Doug McClure, Peter Cushing, Caroline Munro, Cy Grant
screenplay by Milton Subotsky, based on the novel by Edgar Rice Burroughs
directed by Kevin Connor

by Walter Chaw Jacques Tourneur kicks all kinds of ass. He shone in the Forties with his Val Lewton collaborations and his magnificent, atmosphere-laden pictures Night of the Demon and Out of the Past. Having turned his attention primarily to moody Joel McCrea westerns and adventure pulpers in the Fifties, Tourneur, by the time the Sixties rolled around, unfortunately found himself outside his black-and-white comfort zone (his last great work is probably an episode of the original "The Twilight Zone", "Night Call") and at the helm of productions starring people like Steve Reeves and Vincent Price. One of his last pictures–1965's abominable War-Gods of the Deep–finds its way onto DVD via MGM's admirable "Midnite Movies" line as the front end of a double feature. It's a flat, fish-eyed stinker that positions itself as a ripper of both the Price-anchored Roger Corman/Edgar Allan Poe films and the bona fide cycle of Jules Verne spectacles that began with Disney's 20,000 Leagues Under the Sea (1954), continued through From the Earth to the Moon (1958) and Journey to the Center of the Earth (1959), and culminated in 1964's still-creepy First Men in the Moon, to which this film might owe its greatest debt. Ostensibly based on a Poe poem called "The City in the Sea," War-Gods of the Deep grafts its gothic settings (complete with another voiceover intro of Price reading a poem) to a Verne-like tale of a mysterious egomaniac (named "The Captain," of course, and played by Price) living in a giant, velvet-lined mansion beneath the sea, just off the coast of Cornwall.

Harry Potter and the Goblet of Fire (2005)

November 18, 2005Posted in2000s, Adventure, Authors: Walter Chaw, Family, Fantasy, Mystery, Theatrical, UK

**/****
starring Daniel Radcliffe, Rupert Grint, Emma Watson, Robbie Coltrane
screenplay by Steven Kloves, based on the novel by J.K. Rowling
directed by Mike Newell

Harrypotter4by Walter Chaw Just as Harry and the other arms of his archetypal triangle stumbled into adolescence with aplomb and poetry under the guidance of Alfonso Cuarón in Harry Potter and the Prisoner of Azkaban, they awkward-and-gangly their way into a holding pattern in Mike Newell's puttering Harry Potter and the Goblet of Fire (hereafter Harry Potter 4). It looks grungy and it lacks grace: the moments meant to inspire are tired and the moments meant to edify are portentous and unbearably drawn-out. There's not a lot here for the non-fanatic, with screenwriter Steve Kloves failing the material for the first time and Newell showing himself to be exactly the kind of director who would make slick, protracted nothings like Mona Lisa Smile and Pushing Tin. The Newell film Harry Potter 4 most resembles, however, is Four Weddings and a Funeral (his conduit to the big time and, consequently, the one he's most likely to cannibalize when handed the golden ticket), in that this third sequel tries to worry itself about the trials of youngsters falling in puppy love, going to their first formals, and learning that there are such things in the world as death and taxes. A noble pursuit, chasing characters as they grow from chapter to chapter, from innocence to churlishness to experience (we presume)–but for me, at least, Harry Potter 4 is the first wholly dispensable instalment, repeating the best parts of Cuarón's film and adding to the conversation only the disturbing resurrection of archenemy Voldemort.

DIFF ’05: The White Countess

November 15, 2005Posted in2000s, Authors: Walter Chaw, China, DIFF/SDFF, Drama, Film Festivals, Germany, Romance, UK, War
**/****starring Ralph Fiennes, Natasha Richardson, Vanessa Redgrave, Lynn Redgravescreenplay by Kazuo Ishigurodirected by James Ivory by Walter Chaw Even without recently-deceased partner-in-crime Ismail Merchant, stalwart period-costume-drama codger James Ivory delivers the slavishly middlebrow, meandering, Anglo-centric goods with The White Countess, the tale of a sightless American ex-diplomat, Jackson (Ralph Fiennes), who falls for refugee Russian countess Sophia (Natasha Richardson) in Shanghai on the eve of Japanese occupation. Packed to the rafters with Redgraves (Lynn and Vanessa also appear) and meticulously airless accents, the picture represents a certain ossified breed of prestige picture of the A Room with a View and…

DIFF ’05: Tristram Shandy: A Cock and Bull Story

November 11, 2005Posted in2000s, Authors: Walter Chaw, Comedy, DIFF/SDFF, Esoterica, Film Festivals, UK
***/****starring Steve Coogan, Rob Brydon, Gillian Anderson, Keeley Hawesscreenplay by Martin Hardy, based on the novel The Life and Opinions of Tristram Shandy, Esq. by Laurence Sternedirected by Michael Winterbottom by Walter Chaw This whole idea of post-modern meta-movies just doesn't thrill me the way it used to. Nonetheless, Brit maverick Michael Winterbottom's once around on the Adaptation. wheel is buoyed by a game cast and an actual purpose: rather than the impossibility of a blocked writer trying to adapt a bad novel, find here a post-modern film about a novel that predicted, in a way, post-modernism itself. Winterbottom addresses…

Breakfast on Pluto (2005)

November 8, 2005Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Ireland, Theatrical, UK

**½/****
starring Cillian Murphy, Stephen Rea, Brendan Gleeson, Liam Neeson
screenplay by Neil Jordan and Patrick McCabe, based on McCabe's novel
directed by Neil Jordan

by Walter Chaw It would seem impossible that Neil Jordan could maintain the ebullient energy of Breakfast on Pluto, and sure enough, it peters out somewhere in the film's second hour. But for as long as it lasts, the picture stands as Jordan's most cheerful, mining joy from the resilience of an Irish transvestite in London as he squeezes all of the Irish experience through his insouciant prism. It mixes magic realism with a certain fairytale sensibility that has been the hallmark of Jordan's career (his hero even wakes in a castle at one point), used here as something like a Miltonic homily along the lines of "The mind is its own place, and in itself, can make heaven of Hell, and a hell of Heaven." A film about the influences of religion, fanaticism, politics, friendship, and love on identity, it's also a survey history of the Irish/English conflict from the trippy, mod '60s into the '70s, and, by the end, an actors' workshop on how to build a performance based on quirks into a character based in emotion.

Millions (2005) – DVD

November 1, 2005Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Crime, Drama, DVD, Family, UK

**/**** Image A- Sound A- Extras C+
starring James Nesbitt, Daisy Donovan, Alex Etel, Lewis McGibbon
screenplay by Frank Cottrell Boyce, based on his novel
directed by Danny Boyle

Millionscapby Walter Chaw Unbelievably sentimental and, finally, corrupt with a hideous paternalism (how a flick like this ends first at a child’s Nativity pageant à la Love Actually, then in Africa, where a well is being dug for dying Africans, is one of those all-timers), Millions finds director Danny Boyle, after last year’s brief return to some semblance of Shallow Grave/Trainspotting form with 28 Days Later…, returning to his A Life Less Ordinary/The Beach form in all its excrescent glory. It’s the tale of two adorable, buck-toothed British urchins (the rage after Finding Neverland) who stumble upon pilfered millions in the form of the soon-to-be-Euros British Pounds Sterling and, Shallow Grave-like, ultimately hide the money in an attic with cunningly-placed slats in the floorboards for panicked eyeballs. It’s Pay It Forward, with younger Damien (Alex Etel) obsessed with the lives and messy deaths of saints and dedicated to giving the wealth to the poor (even Mormons, whom the film portrays as evil little twats), and it’s Luis Buñuel’s Viridiana in the poor’s reaction to getting rich, sporting its own version of the beggar’s banquet Last Supper from Buñuel’s picture in a scene set in a pizza parlour. And it’s Pay It Forward again in its subversion of that film’s “teach the world to sing” finale: a genuinely disturbing mob scene starring the superstars of organizations asking for your money to save the world from itself. But finally, it’s just another Danny Boyle film–a little meat and a lot of showing off with CGI pyrotechnics and confused editing.

Doom (2005) + Stay (2005)

October 21, 2005Posted in2000s, Action, Adventure, Authors: Walter Chaw, Czech Republic, Drama, Germany, Horror, Mystery, Sci-Fi, Theatrical, UK

DOOM
½*/****
starring The Rock, Karl Urban, Rosamund Pike, DeObia Oparei
screenplay by David Callaham and Wesley Strick
directed by Andrzej Bartkowiak

STAY
*½/****
starring Ewan McGregor, Naomi Watts, Ryan Gosling, Janeane Garofalo
screenplay by David Benioff
directed by Marc Forster

by Walter Chaw For a split second, the clouds part and I think I’ve kenned a glimmer of an idea in Andrzej Bartkowiak’s video game adaptation Doom that doesn’t involve homoerotic gun worship or ripping off everything from Aliens save its humanity. Semper Fi, gung ho, muscle-bound jarhead Sarge (Dwayne “The Rock” Johnson) takes it upon himself to order his own mini-Mai Lai because he’s a stickler for details, and his stock marines balk to varying degrees of morality-inspired mutiny. Suddenly, and just for that split second, Doom of all things becomes Casualties of War (and, in fact, literalizes that film’s tagline of “In war, innocence is the first casualty”), and although what’s leading up to the moment isn’t that great, I was ready to roll with this totally unexpected, thought-provoking tickle. Alas–it flees like hope so often does, leaving fifteen minutes of semi-gory first-person perspective to simulate the first-person perspective of the video game (marking this as the first–and probably last–time someone thought that ripping off Uwe Boll was a good idea), ending with the sort of mano-a-mano showdown between its warring alpha males that everyone’s seen enough of by now.

Oliver! (1968) [Special DVD & CD Gift Set!] – DVD

October 17, 2005Posted in1960s, Authors: Travis Mackenzie Hoover, Best Picture (Academy Awards), Drama, DVD, Family, Musical, UK

***/**** Image A- Sound A-
starring Ron Moody, Oliver Reed, Harry Secombe, Mark Lester
screenplay by Vernon Harris, based on the novel by Charles Dickens and the play by Lionel Bart
directed by Carol Reed

by Travis Mackenzie Hoover There’s an exception to every rule, and Oliver! bucks one of the most depressing: that every bloated, twilight-of-old-Hollywood musical is crass and overblown. To be sure, Carol Reed was far from his The Third Man/Outcast of the Islands heyday when he directed this Oscar-winning roadshow, and one can sense a sigh of resignation as he puts on the mega-musical feedbag. But unlike the once-great craftsmen who started turning in horrors like Hello, Dolly!, the movie has style and credibility–Reed is genuinely interested in the narrative and the mood, as opposed to what other declining directors would highlight: the production design and the money. Oliver! is still sealed in an expensive cocoon, but what’s inside is a world worth watching and enjoying.

Wallace & Gromit: The Curse of the Were-Rabbit (2005)

October 7, 2005Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Horror, Mystery, Sci-Fi, UK

***/****
screenplay by Steve Box & Nick Park, Mark Burton and Bob Baker
directed by Nick Park and Steve Box

Wererabbitby Walter Chaw Perfectly innocuous even though it's (very) occasionally mildly naughty (a pair of melon jokes, a makeshift fig leaf labelled "contains nuts"), Aardman's Wallace & Gromit: The Curse of the Were-Rabbit (hereafter Were-Rabbit) doesn't break a lot of new ground in the claymated pair's misadventures in serving up a workmanlike tale of love, loyalty, gardening, gadgets, and misguided medical experimentation. It takes an unusually long time to get started, for one, re-establishing the best-pals relationship between cheese-loving, jug-eared inventor Wallace and his faithful mutt Gromit (theirs is an Inspector Gadget/Brain sort of dynamic) with the kind of leisurely pace that feels more like a valedictory procession than something born of necessity. "Wallace & Gromit" cartoons have, after all, become a standby on the festival circuit, functioning as buffers between films and the palette-cleanser in all-shorts programs. But it's that very function, as the whimsical interstitial, that makes a feature-length presentation just a charming diversion that outstays its welcome ever so slightly. Unlike its feature-length predecessor Chicken Run, there isn't the bite of satire in Were-Rabbit–no light shed on the British social caste system and, likewise, few inroads made in the traditional love vs. status romance. What coalesces is an appreciation for the craft involved in realizing the picture and a suspicion that you're going to be hungry again in about an hour.

Oliver Twist (2005) + Kings & Queen (2004)

October 5, 2005Posted in2000s, Authors: Walter Chaw, Crime, Czech Republic, Drama, Esoterica, France, Romance, Theatrical, UK

OLIVER TWIST
**/****
starring Ben Kingsley, Barney Clark, Leanne Rowe, Mark Strong
screenplay by Ronald Harwood, based on the novel by Charles Dickens
directed by Roman Polanski

Rois et reine
***½/****
starring Emmanuelle Devos, Mathieu Amalric, Catherine Deneuve, Maurice Garrel
screenplay by Roger Bohbot, Arnaud Desplechin
directed by Arnaud Desplechin

by Walter Chaw Roman Polanski is an architectural director. By that I mean he moves his camera in careful, constructed motions, and the characters he places within these movements are best when they seem restrained by them, oppressed by the presence of the director in a way similar to Hitchcock’s protagonists. Indeed, Polanski at his best (Repulsion, Knife in the Water, The Tenant, Rosemary’s Baby, Macbeth, Chinatown) makes films that Hitchcock might have made: alight with social revulsion, weighted by claustrophobic set-pieces, and thick with subtext. But Polanski at his worst (Bitter Moon, The Ninth Gate, Frantic, Pirates, Tess) betrays a tendency towards the frenetic–an unbecoming manic energy that leans towards the childish instead of what I think is the intended demoniacal. Polanski close to the vest is Polanski at his best, and when midway through something tending towards mediocre like The Pianist, he erected a literal wall within which to restrain his antihero (tellingly, the best Polanski protagonists are acted-upon)–that architectural boundary allowing the director to regain his footing, if only for the last part of the film.