Wimbledon (2004)

*½/****
starring Kirsten Dunst, Paul Bettany, Kyle Hyde, Robert Lindsay
screenplay by Adam Brooks and Jennifer Flackett & Mark Levin
directed by Richard Loncraine

by Walter Chaw If you go see Wimbledon, the umpteenth edition of Tired Romantic Comedy Theater, it's only because you have a checklist in your head and aren't content with a film that doesn't satisfy every contrivance. There's the meet-cute, the unlikely match, the handsome rival, the gay best friend, the falling-in-love montage, the plot conflict (spouse, parents), the break-up montage, the public apology, the triumphant reunion. Director Richard Loncraine's tepid foray into Richard Curtis territory is rife with the kind of familiar hallmarks that lull throngs of lonesome Mia Farrows to the warm embrace of The Purple Rose of Cairo–a brief respite from the used paperback bookstores that rely on a steady trade of romance novels the way that independent movie stores rely on porn. In fact, there's not that much of a difference between Wimbledon and porn: plot is predictable and secondary to the performers, who provide whatever interest there might be in the enterprise. Everything else is plug and play, so to speak.

The Mangler (1995) – DVD

*/**** Image A Sound B Extras C-
starring Robert Englund, Ted Levine, Daniel Matmor
screenplay by Tobe Hooper, Stephen Brooks and Peter Welbeck
directed by Tobe Hooper

by Walter Chaw I think there's probably profit in taking the tactic that Tobe Hooper's The Mangler is his shot at the lurid comic book genre and, more specifically, the weird self-abnegating prosthetics opera of Warren Beatty's Dick Tracy. But I'm not the guy to do it. Sufficed to say that Robert Englund appears in fright latex, affecting equal parts Dr. Strangelove and Lionel Barrymore's Mr. Potter as Mr. Gartley, the decrepit, despotic owner of an old industrial steam laundry that features as its centerpiece the massive, four-story long Hadley Watson Model-6 Steam Ironer & Folder, which sits in the middle of his brick sweatshop belching steam like the boiler in The Overlook Hotel.

TIFF ’04: I ♥ Huckabees

i ♥ huckabeesI Heart Huckabees**/****starring Dustin Hoffman, Isabelle Huppert, Jude Law, Jason Schwartzmanscreenplay by David O. Russell & Jeff Baenadirected by David O. Russell by Bill Chambers David O. Russell's debut feature Spanking the Monkey now bears the mark of Kane. (Citizen, that is.) A funny, caustic mood-piece that heralded the Second Coming of Hal Ashby, it was also an impossible thing to live up to--or down, for that matter, Spanking the Monkey's mother-son incest plot in some ways a modern correlative to Citizen Kane's taboo-shattering demystification of William Randolph Hearst. Russell's work since (Flirting with Disaster, Three Kings) has…

The Martian Chronicles (1980) – DVD

½*/**** Image B- Sound B-
starring Rock Hudson, Gayle Hunnicutt, Bernie Casey, Roddy McDowell
screenplay by Richard Matheson, based on the novel by Ray Bradbury
directed by Michael Anderson

by Walter Chaw There is and probably always will be a warm place in my heart for Ray Bradbury. The author of my childhood in many ways, Bradbury taught me about poetry in "April Witch," about fear in The Dark Carnival and Something Wicked This Way Comes, about dry irony in "A Sound of Thunder" and "There Will Come Soft Rains," and about vengeance reptilian and cold in "The Veldt." His only real work of science-fiction, Fahrenheit 451, remains an interesting touchstone of unintentional messages couched in seriomythic terminologies, but his output is moored deep, intractably deep, in the literary. Bradbury doesn't transpose well to different mediums (and a book of poetry, When Elephants Last in the Dooryard Bloomed, was somehow even more disastrous than the multiple attempts to export the author to television and film)–he's too purple, his philosophies too immature, his worldview embarrassingly simplistic and only really current for children or the childish. I'll never be able to exactly express the thrill, the horror, of my first reading of "Mars is Heaven" when I was in third grade. Nor have I been able to replicate it by reading it again since.

Laws of Attraction (2004) – DVD

**/**** Image B- Sound A- Extras C-
starring Pierce Brosnan, Julianne Moore, Parker Posey, Michael Sheen
screenplay by Aline Brosh McKenna and Robert Harling
directed by Peter Howitt

by Walter Chaw Utterly mediocre and hence better than most of the romantic comedies cranked out by the Hollywood schmaltz factory these days, Peter Howitt's Adam's Rib throwback Laws of Attraction has the over-polished sheen of an apple waxed and stroked so many times that it's more aesthetically impressive than palatable. The film bears a Sandra Bullock/Julia Roberts checklist for a screenplay, with blacked-out boxes next to: meet-cute (she sticks a pencil in his ear); two musical montages (one happy, one sad); a celebration of bad behaviour (binge-drinking); fetishizing of one metaphor-laden item (broken leprechaun figurine); baguette sticking out of a grocery bag; betrayal of half-hearted feminist tenets by making heroine bedazzled by jewellery and men; betrayal of female gender by having model-perfect heroine have the "earthy" habit of binge-eating and not vomiting; quirky elderly/gay/parental comic relief figure; a scene where heroine falls down; a scene where hero does/admits to bad thing; travel/architectural pornography; and temporary break-up leading to nauseating epilogue. Yep, Laws of Attraction is pounded earth complete with a tiresomely whimsical score by Ed Shearmur, opening titles lifted from "Dynasty", and a streak of potential subversion so neutered that it's completely childlike.

The Princess Diaries (2001) [Special Edition – 2-Disc Collector’s Set] – DVD

*½/**** Image A- Sound B+ Sound B-
starring Anne Hathaway, Heather Matarazzo, Hector Elizondo, Mandy Moore
screenplay by Gina Wendkos, based on the novel by Meg Cabot
directed by Garry Marshall

by Travis Mackenzie Hoover Mention the word "movies" and you're generally deluged with syrupy talk of "dreams" and "fantasy" and "adventure" and all that jazz, yet no matter how much you see this as the devalued coin of our entertainment-journalism realm, you have to admit that this image means an awful lot to an awful lot of people. The least a pop movie can do is live up to such reverence and be a holy object worthy of some worship, marshalling all the beauty and craft that has generally been Hollywood cinema's one redeeming virtue. But somehow, movies that dishonour this basic pact with the audience not only get made, but also ring the box-office bell to the tune of $108-million–that's how much The Princess Diaries managed to rake in during its 2001 theatrical run, despite the fact that it's as beautiful and dreamlike as a sheet of particle board. Once again, I am left with the dilemma: should I hate the filmmakers for generating this slop, or should I blame the audience for swilling it with pleasure?

Thunderbirds International Rescue Edition – DVD

THUNDERBIRDS ARE GO (1966)
**½/**** Image A- Sound A- Extras B+
screenplay by Gerry Anderson & Sylvia Anderson
directed by David Lane

THUNDERBIRD 6 (1968)
*/**** Image A- Sound A- (DD)/A (DTS) Extras B+
screenplay by Gerry Anderson & Sylvia Anderson
directed by David Lane

by Travis Mackenzie Hoover Why is it that "Thunderbirds", the marionette sci-fi TV series of 1960s vintage, exerts such weird fascination? Narratively, it's nothing to get excited about–just the usual conservative guff involving stiff-necked operators of sci-fi machinery, all of whom are given one trait each and are as pure in heart as they are heavy on exposition. One wants to make an obvious joke about the delivery being as wooden as the puppets, except that to do so would be missing the point: the erotics of the series are powerful specifically because everything is made of wood. The figures themselves are as rigid and rock-solid as the meticulously-designed machinery, making the stylization of the series total and more convincing than if it were superimposed over the documentary image of mere human flesh. Nowhere is this more apparent than in the two lavish and colourful movies made under the "Thunderbirds" brand, which, despite their formulaic tendencies, manage to hold our attention with a rich and affective sense of necrophilia.

The Tarzan Collection – DVD + Greystoke: The Legend of Tarzan, Lord of the Apes (1984) – DVDs

TARZAN THE APE MAN (1932)
***/**** Image B- Sound B+
starring Johnny Weissmuller, Neil Hamilton, C. Aubrey Smith, Maureen O’Sullivan
adaptation by Cyril Hume; dialogue by Ivor Novello
based on characters created by Edgar Rice Burroughs
directed by W.S. Van Dyke

Tarzancoltheapemancapby Bill Chambers As with most “origin” Tarzan films, Tarzan himself is an off-screen promise for the first third of Tarzan the Ape Man, though his famous yodel (which the studio maintains was artificially created) portends his appearance about ten minutes before he actually materializes. Likewise, as with most origin Tarzans, this one has become something of a viewing formality: The basics of Tarzan are pop-culture fundamentals passed down through the generations as if by osmosis, and so any film that aims to tell the story from scratch is bound to seem a little sluggish. It’s remarkable, then, that Tarzan the Ape Man, in addition to exhibiting a surprising immunity to the ravages of time, is also mostly spared the contempt born of familiarity. Cutie-pie Maureen O’Sullivan essays the talkies’ first Jane, who joins her father James’s (C. Aubrey Smith) expedition in Africa and immediately casts a spell on dad’s right-hand man, Harry Holt (Neil Hamilton). Once they begin their treacherous journey across the Mutia escarpment, beyond which allegedly lies an elephant graveyard that James and co. plan to raid for its ivory, Jane meets her true intended, the monosyllabic, acrobatic Tarzan (Johnny Weissmuller). Though Tarzan more or less abducts Jane, their compatibility is such that she refutes her father’s claim that Tarzan belongs to the jungle when she’s reunited with the caravan. “Not now. He belongs to me,” she pouts.

The Belly of an Architect (1990) – DVD

***/**** Image B+ Sound A-
starring Brian Dennehy, Chloe Webb, Lambert Wilson
written and directed by Peter Greenaway

by Travis Mackenzie Hoover Living as I do in Toronto’s rapidly-gentrifying Queen West gallery district, I am often subjected to graffiti and other detritus romantically asserting the social necessity of art and aesthetics–as if a fresh coat of paint and some nicely-arranged furniture will somehow go towards solving the homeless problem. I find this hilarious, because despite the left-wing cast that the artistic community has acquired, it can all too easily turn into the plaything of the rich, as has happened with local hotspot the Drake Hotel, a former transient lodge transformed into a posh art venue and nightclub for pretentious scenesters. Peter Greenaway’s The Belly of an Architect simultaneously addresses and embodies the creative hubris that overlooks this fact, whipsawing between annoyance at its corpulent hero’s placement of aesthetic considerations above all human interactions and wistfully lamenting the fact that such considerations often add up to nothing. If the results are imperfect, they’ll at least give the art-minded a certain amount of pause.

Agent Cody Banks 2: Destination London (2004) [Special Edition]; The Cheetah Girls (2003); Confessions of a Teenage Drama Queen (2004) – DVDs

AGENT CODY BANKS 2: DESTINATION LONDON
*½/**** Image A- Sound A- Extras C-
starring Frankie Muniz, Anthony Anderson, Cynthia Stevenson, Daniel Roebuck
screenplay by Don Rhymer
directed by Kevin Allen

THE CHEETAH GIRLS
*/**** Image C Sound B Extras C-
starring Raven, Adrienne Bailon, Kiely Williams, Sabrina Bryan
screenplay by Alison Taylor, based on the series of books by Deborah Gregory
directed by Oz Scott

by Travis Mackenzie Hoover Here’s how it works. The entertainment machine churns out low-quality wish-fulfillment fantasies for ‘tweens and teenagers, then print and web outlets assign grown men and women to review them. Yes, the logic behind this weird symbiosis is elusive, as few teenagers are savvy enough to read reviews and few adult reviewers (beyond the occasional junket flunky) are possibly going to recommend them to anyone else. But somebody somewhere must benefit from this arrangement, because I have two such discs staring me in the face right now: one is the Frankie Muniz vehicle Agent Cody Banks 2, the other is a Disney Channel TV movie called The Cheetah Girls. Both are fantasies of juvenile mastery, both are scrubbed clean and chaste, both seem to have been dashed off in an afternoon by drunken hacks, and I guarantee you that both will make anyone over the age of fifteen want to poke their eyes out with a metal spike. But that’s just me. I’m 31.

De-Lovely (2004)

*/****
starring Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McNally
screenplay by Jay Cocks
directed by Irwin Winkler

De-lovely

by Walter Chaw Tempting to fall back on clever insults ("de-readful" or "de-reary") when summarizing genuinely bad director Irwin Winker's De-Lovely, a musical biography about the life and times of Cole Porter that's de-adening in its execution. The picture's framework sees old Cole Porter (Kevin Kline)–looking a lot like Carl Reiner–sitting in an empty theatre with some sort of angel of death (Jonathan Pryce) as the events of Porter's life unfold like a Broadway musical before them. The film will be interrupted periodically by old Porter screaming at young Porter (still Kline) that he's an idiot or that No, no, no, it didn't happen that way, just to be reminded by Death that nobody can hear him. It's as stupid as it sounds.

For Queen & Country (1989) – DVD

**½/**** Image B Sound B+
starring Denzel Washington, George Baker, Amanda Redman, Dorian Healy
screenplay by Martin Stellman and Trix Worrell
directed by Martin Stellman

by Travis Mackenzie Hoover I've asked it before, and I'll ask it again: what the hell happened to British cinema? I don't just mean that the quality of the images has slipped–the general sense of contemporary life that it championed in the late '70s and '80s has vanished without a trace. Something in the water during the dark days of Thatcher's reign produced blunt, bracing films about subjects that would be demeaned by the tag 'social issues': the great, nimble Stephen Frears/Hanif Kureishi collaborations, for instance, or the brutally frank teleplays of Alan Clarke, demonstrated that you could engage working-class, non-white, and gay realities without looking like Tony Richardson or hiding in Merchant/Ivory denial. To be sure, For Queen & Country isn't in the league of the abovecited examples, and it isn't even very good on its own terms, but even its half-flubbed earnestness was committed enough to make me nostalgic for a cinema that was dedicated and fleet-footed–if not for the economic conditions that made it necessary.

King Arthur (2004)

*/****
starring Clive Owen, Kiera Knightley, Stellan Skarsgård, Stephen Dillane
screenplay by David Franzoni
directed by Antoine Fuqua

Kingarthurby Walter Chaw King Arthur wants to have it both ways. It wants to be smart and it wants to be stupid, too. It wants to appeal to eggheads, so it opens with a title card that promises what follows is based on "new" archaeological evidence; then, for the alleged delight of the peanut gallery, it trots out the same period epic dog-and-pony show to which we've been repeatedly subjected since Zulu Dawn. Strangely enough, this new archaeological evidence apparently dates feminism back to the fifth century (witness the dominatrix version of Guinevere, decked out at one point like Grace Jones), in addition to facilitating a clumsy political satire of twenty-first century America's religiosity, arrogance, and imperialism. Needless to say, when something tries to please everyone, everyone is seldom pleased; King Arthur is both stupid and boring, and the revelation that, stripped of tragedy, controversy, and resonance, Arthurian legend is as banal as and similar to Tears of the Sun (director Antoine Fuqua's previous film) displeases indeed.

The Mother (2003)

**/****
starring Anne Reid, Daniel Craig, Cathryn Bradshaw, Peter Vaughan
screenplay by Hanif Kureishi
directed by Roger Michell

Motherby Bill Chambers The latest from Roger Michell, The Mother seems die-cut for Stephen Frears (it was scripted by Hanif Kureishi, author of Frears's My Beautiful Laundrette and Sammy and Rosie Get Laid), and one can imagine it having attracted Ken Loach or Mike Leigh with only minor tweaks. If we're not exactly stuck with Michell, he's florid in a way that Frears is not and in a way The Mother does not call for; the movie's look, though attractive in and of itself, is a syntax error. From the three Michell pictures I've seen (Titanic Town (which I barely remember), Notting Hill (which I like), and Changing Lanes (which I really like)), the director's specialty seems to be equalizing peculiar material through dynamic imagery, thus imbuing it with commercial appeal. It's a phenomenal talent, but one that betrays him on The Mother by making glib the film's subject matter. In Michell's hands, a relatively working-class set of characters becomes incongruously bourgeois through sensuous camera moves and catalogue-ready tableaux accentuated by not only walls of Kubrickian white, but also a decidedly 'upscale' piano score.

The Dreamers (2004); Rhinoceros Eyes (2003); Stealing Beauty (1996) – DVD|The Dreamers (2004) [Original Uncut NC-17 Version] – DVD

THE DREAMERS
**½/**** Image A Sound A- Extras A
starring Michael Pitt, Louis Garrel, Eva Green, Robin Renucci
screenplay by Gilbert Adair
directed by Bernardo Bertolucci

RHINOCEROS EYES
***½/****
starring Michael Pitt, Paige Turco, Gale Harold, Matt Servitto
written and directed by Aaron Woodley

Dreamerscapby Walter Chaw The danger is getting lost in fantasy, of being consumed by the lunar flame of lamplight filtered through celluloid. And the irony is that directors, the good ones, are already lost and have been for years. There have been pictures about an all-devouring cinephilia before (Cinema Paradiso, say, or ), and now a pair of films by two directors at opposite ends of their careers–Bernardo Bertolucci's The Dreamers and Aaron Woodley's 2003 TIFF Discovery Award-winner Rhinoceros Eyes–strive to blur the line between movies and reality in twin tales of sexual maturation, of coming of age in a movie house–of, to parse The Judybats, learning how to kiss watching James Dean movies. Fascinatingly, the two films share Michael Pitt, forging a path for himself as the archon for the modern dreamer raised on lethal doses of popular culture, and weaning himself from that luxuriant udder only with great difficulty.

Brother Sun, Sister Moon (1973) – DVD

**½/**** Image A- Sound B+
starring Graham Faulkner, Judi Bowker, Alec Guinness, Leigh Lawson
screenplay by Susio Cecchi D'Amico, Kenneth Ross, Lina Wertmüller, Franco Zeffirell
directed by Franco Zeffirelli

by Travis Mackenzie Hoover So: how do you get the young people back into church when they'd rather be out running wild and getting it on? If you're Mel Gibson, you break out the whips and chains and pour on the gore (an effective approach, to be sure), but if you're Franco Zeffirelli, you choose another path. You'll recall that Zeffirelli was the chap who brought kids back to Shakespeare by turning Romeo and Juliet into a make-out movie, scoring a few Oscar nominations in the bargain–but you can make certain sexy allowances for Shakespeare that you can't with the word of God. Against all odds, the man managed to make a religious tract in tune with the hormonal post-hippie youth of 1973 called Brother Sun, Sister Moon, which cleverly addresses the tender feelings of burgeoning bodies while glorifying a chaste life in the service of the Lord. Like Romeo and Juliet, though it's ludicrous in the extreme, its combination of low cunning and gawky earnestness makes it fascinating as a curio, if not as a fully functioning film on its own.

Bandolero! (1968); Myra Breckinridge (1970); Mother, Jugs & Speed (1975); One Million Years B.C. (1966) – DVDs

BANDOLERO!
**/**** Image A Sound B
starring James Stewart, Dean Martin, Raquel Welch, George Kennedy
screenplay by James Lee Barrett
directed by Andrew V. Mc Laglen

MYRA BRECKINRIDGE
**/**** Image A Sound A- Extras A+
starring Mae West, John Huston, Raquel Welch, Rex Reed
screenplay by Michael Sarne and David Giler
directed by Michael Sarne

MOTHER, JUGS & SPEED
***/**** Image B+ Sound B
starring Bill Cosby, Raquel Welch, Harvey Keitel, Allen Garfield
screenplay by Tom Mankiewicz
directed by Peter Yates

by Walter Chaw Very much the product of its time, Andrew V. McLaglen's Bandolero!, the last of the three westerns the director made with Jimmy Stewart, appeared in 1968, the same year as the end of Sergio Leone's Spaghetti Western cycle (Once Upon a Time in the West) and alongside such seminal generational discomfort flicks as Rosemary's Baby and Night of the Living Dead. And while it's not nearly so good as McLaglen/Stewart's devastating Civil War idyll Shenandoah, Bandolero! is still better than it probably should be, saved by its above-the-line talent. With Raquel Welch as a freshly widowed Mexican woman ("I was a whore when I was 12–my family never went hungry"–and so it went in Welch's career) and a good, if woefully miscast Dean Martin as Stewart's no-account, bank-robbin' outlaw brother, the picture is a border film, the basis in many ways for Larry McMurtry's Lonesome Dove and one that contents itself with tepid character melodrama unfolding at a snail's pace along the road to Ensenada.

Girl with a Pearl Earring (2003) – DVD

**/**** Image B- Sound A Extras B-
starring Scarlett Johansson, Colin Firth, Tom Wilkinson, Judy Parfitt
screenplay by Olivia Hetreed, based on the novel by Tracy Chevalier
directed by Peter Webber

by Bill Chambers It's a tad perverse to shoot a film about the world of Johannes Vermeer in 'scope, considering the artist's own cramped reflection of that world on portable canvasses. A shut-in, if we interpret his life through his surviving pictures, Vermeer didn't just paint in a lambent room on the upper level of his mother-in-law's house in Delft, he painted the room itself–the begrimed walls, the half-stained furniture, the Gingerbread-house windows that caught his human subjects (often, it appears, members of the servant class) in a tractor beam of light.

Jim Henson’s The Storyteller: The Complete Collection (1987) – DVD

Image C Sound B
“The Soldier and Death,” “Fearnot,” “The Luck Child,” “A Story Short,” “Hans My Hedgehog,” “The Three Ravens,” “Sapsorrow,” “The Heartless Giant,” “The True Bride”

by Walter Chaw For the span of nine delirious, enchanted episodes, “The Storyteller”, Jim Henson’s too-brief foray into mature anthology fantasy television, is gorgeous for its faithfulness to its mythic source material. Although the show’s longevity was certainly not helped by Henson’s hard-to-shake reputation as the benevolent primogenitor of “Sesame Street” and “The Muppet Show”, looking closer at Henson’s twin, sterling blue masterpieces The Muppet Movie (which he didn’t direct but definitely spearheaded) and The Dark Crystal reveals an artist steeped in a tradition of stung, existential melancholy. It’s easy to laugh at Kermit’s swamp lament or to dismiss, albeit less easily, the heroism of a soon-to-be-extinct species desperate to save a dying world that has all but snuffed them out, but from a perspective of legacy, it’s unwise to file Henson under “kid’s stuff” and leave well enough alone.

Around the World in 80 Days (2004)

½*/****
starring Jackie Chan, Steve Coogan, Robert Fyfe, Jim Broadbent
screenplay by David Titcher and David Benullo & David Andrew Goldstein, based on the novel by Jules Verne
directed by Frank Coraci

by Walter Chaw I’ve spent all the bile and disappointment I’m going to spend on Jackie Chan and what’s become of possibly the biggest star on the planet since his relocation to Hollywood. The rumour that this iteration of Jules Verne’s Around the World in 80 Days is to be Chan’s American swan song fuels the suspicion that even folks unfamiliar with the stuff that once earned Chan comparisons to Buster Keaton have begun to wish, like any majority culture member towards any outcast in any community, that they would stop taking the abuse and just go home. There must be a breaking point for Centurion scourers when pity (revulsion?) overtakes zeal for punishment, and the lengths to which Chan has voluntarily subjugated himself in the role of sidekick, comic relief, and yellow Stepin Fetchit have progressed beyond paternalistic bemusement into the raw area of salt into an open wound. The old Jackie Chan would have done this film and taken the role of Phileas Fogg–new Jackie Chan is content to be Kato. (Burt Kwouk’s, not Bruce Lee’s.) I was one of three Asians in a large high school in the middle of one of the whitest, most conservative states in the Union, where Chan bootlegs provided by one of South Federal’s Vietnamese groceries were among my few lifelines to a positive Chinese media role model amidst all the Long Duck Dongs, Short Rounds, and Ancient Chinese Secret launderers. For me now to feel more apathy than outrage at Chan selling out–dancing, singing, and acting the fool for the charity of the dominant culture–represents a death of a lot of things essential about me. It happens this way: the tide of ignorance wins out not with a bang but with a whimper.