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.

Casper: A Spirited Beginning (1997) + Casper Meets Wendy (1998) – DVDs

CASPER: A SPIRITED BEGINNING
ZERO STARS/****
starring Steve Guttenberg, Lori Loughlin, Rodney Dangerfield, Michael McKean
screenplay by Jymn Magon, Thomas Hart
directed by Sean McNamara

CASPER MEETS WENDY
½*/****
starring Cathy Moriarty, Shelley Duvall, Teri Garr, George Hamilton
screenplay by Jymn Magon
directed by Sean McNamara

by Walter Chaw Taking place in a scary netherworld where up is down, black is white, and Steve Guttenberg, Rodney Dangerfield, Lori Loughlin, Pauly Shore, and Richard Moll still have careers, Casper: A Spirited Beginning is one long spiritless harangue designed for the kid with the helmet and the drool cup. Shockingly awful computer animation coupled with simply appalling acting wrapped around a plot that rips off Beetlejuice at every turn (newly-deceased goes through the process of denial before finding a handbook and a sympathetic morbid kid to help him/them adapt to the afterlife), Casper: A Spirited Beginning at the least honours the quality of those Harvey comics you used to read in the barbershop while trying to sneak a peak at the PLAYBOYs under the mirror.

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.

Three DVDs That Commemorate 9/11

by Walter Chaw Distilling raw viscera into heartbreaking stories at once the most dangerous thing that we as an American culture do and the thing at which we are the best, the first anniversary of the September 11th attacks on the United States finds three documentaries on DVD to go with the around-the-clock soft-milking of the events on what seems like every channel on the dial. While the endless cascade of now-familiar images continues to enrage and shock, too often the intention of the coverage is to find the "human" stories in the midst of the suggested carnage; to tug the heartstrings (and, truly, what human cannot be moved by orphaned children, widowed wives, widowed husbands, progeny-less parents, and martyred heroes) is fine so long as there is an accompanying resolve.

Serving Sara (2002)

ZERO STARS/****
starring Matthew Perry, Elizabeth Hurley, Vincent Pastore, Bruce Campbell
screenplay by Jay Scherick & David Ronn
directed by Reginald Hudlin

Servingsaraby Walter Chaw Reginald Hudlin’s Serving Sara is a miserable, listless, pathetic excuse for a movie. It’s already dreadful by the time Matthew Perry finds himself shoulder-deep in a bull’s rectum, after which it defies a few natural laws by somehow getting worse. There are no laughs to be found in the whole of this lugubrious shipwreck–even the sight of Perry getting the tar beaten out of him by a pair of Italian caricatures is a sour, joyless affair. Seeing as being physically humiliated is Perry’s sole silver-screen reason for being (see also: The Whole Nine Yards), that his getting kicked and punched is not ever at all amusing says a great deal about the relentless excrescence of this exercise. I would add that at least it’s better than the amazingly awful Perry vehicle Almost Heroes, except that it’s not.

The Sweetest Thing (2002) [Unrated] – DVD

ZERO STARS/**** Image B+ Sound B Extras B-
starring Cameron Diaz, Christina Applegate, Thomas Jane, Selma Blair
screenplay by Nancy M. Pimental
directed by Roger Kumble

by Walter Chaw Roger Kumble’s The Sweetest Thing presents a good news/bad news situation. On the one hand, it’s barely eighty minutes long–on the other, for those eighty minutes it’s repugnant beyond words. On the one hand, the worst film of 2002 has already appeared with eight months to go, and on the other, I not only had to watch the benighted thing, I am now required by my vocation to relive it in detail. I am forced, for instance, to remember a scene in which the only Jewish Laundromat owner in all of San Francisco’s Chinatown tastes a semen stain to determine that it’s such; to recall the moment where a woman with a penis stuck in her throat mumbles Aerosmith‘s “I Don’t Wanna Miss a Thing” to clear her air passage. Yes, The Sweetest Thing is crass and moronic, this much goes without saying (that Cameron Diaz plays another emetic simpleton is also not much of a surprise). What is a shock is that Parker Posey cameos late in the game and even she’s not funny. If it takes a brilliant director to make a bad actor look good, the corollary holds, too.

Hell’s Gate (2002) – DVD

Bad Karma
ZERO STARS/**** Image C Sound A-
starring Patsy Kensit, Patrick Muldoon, Amy Locane
screenplay by Randall Frakes
directed by John Hough

by Walter Chaw An inept hybrid of Time After Time, Fatal Attraction, and Dead Again, John Hough’s (Watcher in the Woods) cheapo slasher flick Hell’s Gate (a.k.a. Bad Karma) suggests that Jack the Ripper had a girlfriend and that they’ve been reincarnated as mental patient Agnes (Patsy Kensit) and her shrink, Trey (Patrick Muldoon). The film opens in flashback as a younger version of Agnes (the character is named “Laurie Hatcher” but the actress playing her is uncredited in the closing credits) strips out of her parochial school outfit and wiggles into a pair of see-through panties, only to get kidnapped by a sicko who jolts her with a car battery until she “remembers” her past life as The Ripper’s squeeze. (I say “younger” because the film says so–it seems unlikely, however, that any thirteen-year-old bombshells have lipo and implant scars.) Breaking out of the loony bin after biting off an orderly’s prosthetic tongue, “old” Agnes floozes her way across the countryside on the trail of robotic Trey, his insipid wife Carly (Amy “I’m in a Coma, I Just Haven’t Stopped Moving Yet” Locane), and his piping daughter Theresa (Aimee O’Sullivan).

The Master of Disguise (2002)

ZERO STARS/****
starring Dana Carvey, Mark Devine, Jennifer Esposito, Harold Gould
screenplay by Dana Carvey & Harris Goldberg
directed by Perry Andelin Blake

Masterofdisguiseby Walter Chaw Produced by Adam Sandler’s Happy Madison company and directed by one of Sandler’s sycophantic toadies (Perry Andelin Blake), The Master of Disguise is every bit as soul-sucking and painful as one of the comedian’s own plodding star vehicles. Graceless and dunderheaded, the film’s only message is that slapping people across the face is the best way to achieve empowerment, and its only reason for being is to serve as proof positive of the Peter Principle. Edited with a hacksaw and presenting an insipid child character (Austin Wolff) used for slapstick laughs before getting kicked to the curb, The Master of Disguise represents a lot of what’s wrong with movies in the United States today. That it happens to be the sequel-in-spirit of Dana Carvey’s “breakthrough” film Opportunity Knocks (1990) is what folks in the business call “sadistic.”

Exorcist II: The Heretic (1977) – DVD

ZERO STARS/**** Image B Sound B
starring Linda Blair, Richard Burton, Louise Fletcher, Kitty Winn
screenplay by William Goodhart
directed by John Boorman

by Bill Chambers Possibly the worst film ever made and surely the worst sequel ever made, Exorcist II: The Heretic is the last of an uneven trilogy to hit DVD. Understand that while I would only recommend a purchase to my arch-enemy, the picture is definitely worth seeking out in the way that one likes to see the Leaning Tower of Piza or Easter Island before leaving this world–it’s the greatest unnatural wonder known to cinema. I’ve now endured it twice (please send my Medal of Honor for self-sacrifice in the line of duty in care of this website), the second time so that I could compile a list of my favourite bits; apologies in advance if this review reads too dada for its own good.

Elvis: His Best Friend Remembers (2002) – DVD

ZERO STARS/**** Image B Sound B Extras D+
directed by Terry Moloney

by Walter Chaw Cynically timed to coincide with the twenty-fifth anniversary of The King’s August 16th death, Elvis: His Best Friend Remembers, the “video scrapbook” of Elvis’s best friend “Diamond Joe” Esposito, is a mawkish self-parody that plays like some weird Masterpiece Theater sketch with neither a point-of-view nor a compelling reason for being.

Joe Somebody (2001) – DVD

ZERO STARS/**** Image A- Sound A- Extras B-
starring Tim Allen, Julie Bowen, Kelly Lynch, Greg Germann
screenplay by John Scott Shepherd
directed by John Pasquin

by Walter Chaw There is no life to Joe Somebody; it is a rotting, derelict husk of a film that drifts anchorless in a sea of dead jokes and plot detritus. It has no excuse for existing, and should be held up as the prime example whenever conversation turns to what’s wrong with our culture in general and the movies in particular. Joe Somebody is so sloppily put together that when it comes time at last to end this cinematic thumbscrew, its moments of uplift make little, if any, sense because of the lack of care taken to establish a place for them. If you have a moment to which the entire film is supposedly building, I humbly offer that it’s probably not good when that epiphany appears with neither warning nor justification. It’s like having a story that is not otherwise about a playwright wrapping up with a playwright having her first play produced. Exactly like that, in fact.

Chat Room (2002) – DVD

The Chatroom
ZERO STARS/**** Image D Sound B-
starring Brian Hooks, Darryl Bronson, Christopher Richards, Troy Winbush
screenplay by Barry Bowles & Carl Washington
directed by Barry Bowles

by Walter Chaw A feature-length episode of “What’s Happening!!” minus the nuance and sophistication of that late lamented blaxploitation garbage, Chat Room shares with the Seventies sitcom an unholy diner-hangin’ trinity of fat one, dumb one, and the one with whom we’re supposed to identify. Following this trio of miscreants during an online booty call, Chat Room begins with a You’ve Got Mail sequence of the guys “chatting” in the titular chatrooms edited together so hopelessly as to suggest, oh so hilariously, that these horny dudes are actually talking to each other.

The Wash (2001) – DVD

ZERO STARS/**** Image A Sound A Extras C
starring Snoop Dogg, Dr. Dre, George Wallace
written and directed by D.J. Pooh

by Walter Chaw A bit of free advice: if you undertake a drinking game in which the trigger word is “n***a” while watching D.J. Pooh’s The Wash, you’re probably going to die. Another word to the wise: if you don’t imbibe lethal doses of some variety of libation while watching The Wash, you’re probably going to die regardless. The only sensible way to approach The Wash is, apparently, with rubber gloves and one of those plastic bags dispensed at public walking trails.

Corky Romano (2001) – DVD

ZERO STARS/**** Image A- Sound A- Extras C
starring Chris Kattan, Peter Falk, Peter Berg, Roger Fan
screenplay by David Garrett & Jason Ward
directed by Rob Pritts

by Walter Chaw There’s an apocryphal tale from the set of John Sturges’s The Magnificent Seven concerning Steve McQueen consistently upstaging Yul Brynner until the bald-pated thespian, fresh off his Oscar for The King and I, threatened to take off his hat during McQueen’s scenes. An amusing anecdote about Hollywood egos and the urge to steal the limelight, it enters into a discussion of the abominable Corky Romano because a very curious thing happens in the film to its star, Chris Kattan.

Not Another Teen Movie (2001) [Special Edition] – DVD

ZERO STARS/**** Image B+ Sound B Extras B+
starring Chyler Leigh, Chris Evans, Jaime Pressly, Deon Richmond
screenplay by Mike G. Bender & Adam Jay Epstein & Andrew Jacobson and Phil Beauman & Buddy Johnson
directed by Joel Gallen

by Walter Chaw The first thing one notices about Joel Gallen’s Not Another Teen Movie is that it appears to have been shot on 16mm stock off the back of someone’s truck–grainy and shaky, it’s easily the cheapest-looking major studio release of the year. After a brief prologue in which our heroine Janey Briggs (Chyler Leigh, whose character’s name appears to spoof “Jason Biggs,” the star of American Pie–that’s as clever as the film gets) is caught by her entire extended family and clergy en flagrante with a giant mechanized dildo, the second thing one notices about Not Another Teen Movie is that it has no sense of timing, no sense of shame, and no reason for being.

Sexual Predator (2001) – DVD

ZERO STARS/**** Image C- Sound C+
starring Angie Everhart, Richard Grieco, Kevin Fry, Elizabeth Barondes
screenplay by Ed Silverstein
directed by Robert Angelo

by Walter Chaw SPOILER WARNING IN EFFECT. Lacking the camp quality of Zandalee and the sleazy titillation of Wild Orchid, Robert Angelo’s neo-Zalman King/soft-porn/direct-to-video abomination Sexual Predator (a.k.a. Last Cry) is full of Richard Grieco moments like the one where he fondles straight razors, huskily droning, “This, this is my favourite,” as well as Angie Everhart showcasing her newfound, Mamie Van Doren-esque compulsion to get naked. It is a purported psychosexual thriller that establishes Grieco as the new Mickey Rourke and Everhart as the new Shannon Tweed while simultaneously verifying that both actors have given up.

Dragstrip Girl (1994) – DVD

ZERO STARS/**** Image D Sound D
starring Raymond Cruz, Mark Dacascos, Natasha Gregson Wagner, Traci Lords
screenplay by Jerome Gary
directed by Mary Lambert

by Walter Chaw Unspeakably horrendous, Showtime’s excruciating Dragstrip Girl finds its way to home video eight years after its initial airing. There is nothing to recommend this film save perhaps a quarter of a Traci Lords breast glimpsed briefly from behind. It’s appalling in every conceivable measure of quality, from acting to screenplay to direction to editing; the only thing that kept me going is the ghoulish realization that the lovely Natasha Gregson Wagner (who is an exquisitely bad actress) now has a period drag-racing movie just like her mom Natalie Wood. (They even share the same costume in a particularly tasteless homage.) I can only think that Dragstrip Girl is getting a video release now because the surprise success of star Mark Dacascos’s Brotherhood of the Wolf might sucker a few people into renting the benighted thing. That avaricious, spur-of-the-moment thinking explains why the film’s DVD transfer is so awful, but it doesn’t explain why Dragstrip Girl itself is, too.

John Q. (2002)

ZERO STARS/****
starring Denzel Washington, Robert Duvall, Kimberly Elise, Eddie Griffin
screenplay by James Kearns
directed by Nick Cassavetes

by Walter Chaw John Q’s (Denzel Washington) chosen nom de guerre is a tripartite signifier meant to evoke Kafka, Black Muslims, and the everyman (“John Q. Public”). It’s the kind of import-laden affectation that almost always indicates a screenwriter in over his head. It is, in other words, only the first hint that John Q. is going to be the kind of populist bullshit to which Oprah Winfrey will inevitably devote an hour of her terrifying television show. According to the film, though, anyone even approaching the big O’s income bracket is part of The Problem.

Crossroads (2002)

ZERO STARS/****
starring Britney Spears, Zoe Saldana, Anson Mount, Taryn Manning
screenplay by Shonda Rhimes
directed by Tamra Davis

Crossroadsby Walter Chaw Crossroads is appalling and noxious. Consider how it maturely teaches that a young girl’s choice to lose her virginity should be one based on careful consideration, and then has its heroine bed a tattooed ex-con she met five days previous; this is Smooth Talk without recognition of consequences. It stars Lolita mega-tart Britney Spears in her first movie, and the first scene we share with her is in her bedroom as she jumps up and down on the mattress in teeny underwear, quickly followed by a shot of Ms. Spears in tiny pink Victoria’s Secret attire hopping into bed with her dorky lab partner before reconsidering the big leap. We also get shots of Spears in a sleazy Louisiana nightclub, where she finally erases any line left between her act and a strip show, and after that a few weird angles of her posing on the hoods of cars and in motel rooms while clad in towels and bikinis. The only thing separating Crossroads from a Showtime soft porn (it has all the excrescent acting, bad soundtrack, and vaguely suggestive dialogue) is the lack of any actual nudity. Like its star, the film is just a highly inappropriate tease.

The Object of My Affection (1998) – DVD

ZERO STARS/**** Image A Sound B
starring Jennifer Aniston, Paul Rudd, Alan Alda, Nigel Hawthorne
screenplay by Wendy Wasserstein, based on the novel by Stephen McCauley
directed by Nicholas Hytner

by Walter Chaw A fascinatingly unpleasant precursor to NBC’s “Will & Grace”, The Object of My Affection details the predominantly platonic friendship between a romantically tortured straight woman, Nina (Jennifer Aniston), and a prototypically sensitive gay man, George (Paul Rudd). The unbearably treacly score by long-time offender George Fenton immediately announces by its very presence (and Fenton’s very participation) that The Object of My Affection is going to be atrocious, and true to form, it’s really atrocious. Yet to say that it’s as predictable as it is sickening in its laziness (there’s a VH1 music video montage in which our odd couple attends a dance class) would be to downplay the actual visceral “wrongness” of the piece, something that has nothing to do with the subject matter.