The League of Extraordinary Gentlemen (2003) [Widescreen] – DVD

ZERO STARS/**** Image A- Sound A Extras B+
starring Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran
screenplay by James Dale Robinson, based on the comic books by Alan Moore and Kevin O'Neill
directed by Stephen Norrington

Leagueofexcapby Walter Chaw Though I'm a fan of Alan Moore, it's pointless to address the myriad departures made by the cinematic adaptation of his graphic novel The League of Extraordinary Gentlemen–doing so would not only take too much time, but also miss the point entirely. Stephen Norrington's The League of Extraordinary Gentlemen isn't appallingly bad only because it departs completely from its source material, but rather because it's a work of extreme cynicism and incompetence on every appreciable level, too. Five minutes into the film, a steam-powered tank has already stormed its way into a London bank (demonstrating a technical superiority for the bad guys that instantly invalidates the main conflict of the film) and a German zeppelin factory has gone the way of the Hindenberg–both scenes marked carefully by unhelpful title cards (London 1899; Germany 1899) that become something of an unintentional running joke, the only vaguely amusing thing to follow in what amounts to one of the most painful experiences to be had this year short of dental surgery, an Andrew Lloyd Weber revival-in-the-round, or getting stabbed in the eye with a knitting needle.

The Santa Clause 2 (2002) [Widescreen] – DVD

ZERO STARS/**** Image A Sound A- Extras D+
starring Tim Allen, Elizabeth Mitchell, Eric Lloyd, David Krumholtz
screenplay by Ken Daurio and Cinco Paul and Steve Rudnick and Ed Decter & John J. Strauss
directed by Michael Lembeck

by Walter Chaw There is a scene about midway through Tim Allen's latest genuinely bad movie in which Allen and his screen family gather for dinner wielding McDonald's food in perfect bags, held in such a way so as not to obscure the golden arches for the duration of the shot. A 90-second commercial embedded in what passes for entertainment too often nowadays, it's driven home by the disconcerting realization that this picture's animatronic reindeer talk like The Hamburglar. (Warble blarble warble.) In addition to being misogynistic, racist, and apparently trying to plumb the humour of fascist regimes, The Santa Clause 2, then, is also home to one of the most sinister marketing ploys since Pokémon.

Watchers/Watchers II [Double Feature] – DVD

WATCHERS (1988)
*/**** Image C- Sound C
starring Corey Haim, Barbara Williams, Michael Ironside
screenplay by Bill Freed and Damian Lee, based on Watchers by Dean R. Koontz
directed by Jon Hess

WATCHERS II (2002)
ZERO STARS/**** Image C Sound C
starring Marc Singer, Tracy Scoggins, Jonathan Farwell, Irene Miracle
screenplay by Henry Dominic
directed by Thierry Notz

by Walter Chaw Lassie vs. Link in what amounts to one of the stupidest films ever made: an adaptation of a Dean Koontz (one of the stupidest novelists ever made) novel, Watchers looks cheap, plays cheap, and stars Corey Haim as a Lita Ford-looking, ambiguously gay teen who’s upstaged by a dog yet again (see: The Lost Boys and, in a way, Silver Bullet). At least he’s not upstaged by Corey Feldman this time around, which, frankly, can’t be good for anyone’s career or self-respect. A tale of a genetically engineered orangutan warring with a genetically engineered golden retriever in the upscale suburbs of Anywhere, America that looks like Vancouver and boasts of the entire Mayberry police force, Watchers is aided now and again by a trademark ridiculous performance from Michael Ironside, the poor man’s Jack Nicholson, but is generally an unredeemable tale of military paranoia and dog love. As the mutt gazes intently off-screen at the commands of his invisible handler (and Haim the same), the film has as its only vaguely interesting moment one where a fat kid named “Piggy” and Jason Priestly try to out-bike the killer monkey, restaging The Lord of the Flies as a BMX downhill derby. Oh, the humanity.

Scary Movie 3 (2003)

ZERO STARS/****
starring Anna Faris, Charlie Sheen, Regina Hall, Denise Richards
screenplay by Craig Mazin and Kevin Smith and David Zucker
directed by David Zucker

Scarymovie3by Walter Chaw Even without the Wayans Brothers, the latest Scary Movie sequel is unspeakably bad. A disjointed series of set-piece recreations from popular films (Signs, The Matrix Reloaded, The Ring, 8 Mile) populated by idiots and scripted with a flat collection of obvious fall-down gags and scatology, the picture doesn't even respect the movies it mocks enough to understand what it is about them that fails. More, with the absence of the Wayans (who are replaced by David Zucker, one-third of the braintrust behind successful spoofs like Airplane! and The Naked Gun), the repeated shout-outs to heroes of hip-hop (an entire record label shows up in cameo bits) and attendant disrespect of the culture land with disturbing racial undertones. The film is aimed specifically at an African-American demographic: That's one thing when the filmmakers are African-American, another thing altogether when they're not.

House of 1000 Corpses (2003) + Waxwork/Waxwork II: Lost in Time [Double Feature] – DVD

HOUSE OF 1000 CORPSES
**/**** Image A Sound A Extras A
starring Sid Haig, Bill Moseley, Sheri Moon, Karen Black
written and directed by Rob Zombie

WAXWORK (1988)
*/**** Image D Sound D
starring Zach Galligan, Deborah Foreman, Michelle Johnson, Dana Ashbrook
written and directed by Anthony Hickox

WAXWORK II: LOST IN TIME (1991)
ZERO STARS/**** Image C Sound C
starring Zach Galligan, Alexander Godunov, Monika Schnarre
written and directed by Anthony Hickox

by Walter Chaw Curiously, compulsively watchable in a grindhouse exploitation sort of way, neo-glam shock-rocker Rob Zombie follows in Twisted Sister Dee Snider’s capering footsteps with a derivative flick that mainly goes a long way towards demonstrating how hard it is to make a coherent movie. More Richard Donner’s The Goonies than Tobe Hooper’s The Texas Chain Saw Massacre, House of 1000 Corpses is a shoestring series of hyperactive camera movements and disjointed images culled from what seems too many films to count, from Bloodsucking Freaks to Near Dark to Maniac to The Serpent and the Rainbow to Halloween to Hellbound: Hellraiser 2 and so on, with no reason except to demonstrate how many horror movies Zombie has seen. The only thing missing from the picture–besides actual dread–is a helpful annotation so that youngsters intrigued can check out the real deal.

Ghoulies (1985)/Ghoulies II (1988) [Double Feature] + Troll (1988)/Troll 2 (1990) [Double Feature] – DVDs

GHOULIES
*/**** Image B Sound A-
starring Peter Liapis, Lisa Pelikan, Michael Des Barres, Jack Nance
screenplay by Luca Bercovici and Jefery Levy
directed by Luca Bercovici

GHOULIES II
*½/**** Image B Sound B+
starring Damon Martin, Royal Dano, Phil Fondacaro, J. Downing
screenplay by Charlie Dolan and Dennis Paoli
directed by Albert Band

TROLL
**/**** Image B+ Sound B+
starring Noah Hathaway, Michael Moriarty, Shelley Hack, Jenny Beck
screenplay by Albert Band
directed by John Buechler

TROLL 2
ZERO STARS/**** Image B+ Sound C
starring Michael Stephenson, Connie McFarland, George Hardy, Margo Prey
written and directed by Drago Lloyd

by Travis Mackenzie Hoover What's the only thing worse than a DVD of a bad '80s monster movie? A DVD with two of them. That's the conclusion I've reached after subjecting myself to some warmed-over chillers recently unleashed on disc–detritus from or inspired by the defunct B-mill Empire Pictures that only Forrest J. Ackerman could love. I'd like to say that they're enjoyably tacky nostalgia items for those old enough to barely remember them, but the truth is that they skimp on the crass goods that make a good bad movie: attempting to find a broader audience through a PG-13 rating, they lack the sex and violence that a true exploitation film would deliver, and the films are so cheap that the remaining attraction of monster effects are by necessity curtailed. What's left are scripts and direction at best enervating and at worst maddening.

City Hunter (1993) – DVD

ZERO STARS/**** Image C Sound C Extras D
starring Jackie Chan, Joey Wong, Kumiko Goto, Chingmy Yau
written and directed by Wong Jing

by Walter Chaw There’s a scene towards the middle of Jackie Chan’s unwatchable City Hunter where starving, womanizing Ryô (Chan) leers at a pretty bimbo, and director Wong Jing provides a point-of-view shot that replaces her breasts with hamburgers and her arms and legs with corresponding fried chicken parts. The film never gets any funnier. City Hunter is garbage–fetid and painful from its prologue to a conclusion 100 minutes later that feels for all the world like a week-and-a-half later. It’s misogynistic, which is not really a surprise as almost all of Jackie Chan’s modern-era films are virulently so, but it does what I wouldn’t have suspected to be possible: it makes Chan a smarmy, oafish reptile. The modern Buster Keaton is here recast as Lorenzo Llamas, with the level of violence towards women in the film so extreme and unacceptable that it feels not so much prehistoric as something of a first.

How to Deal (2003)

ZERO STARS/****
starring Mandy Moore, Allison Janney, Alexandra Holden, Peter Gallagher
screenplay by Neena Beber, based on the novels Someone Like You and That Summer by Sarah Dessen
directed by Clare Kilner

Howtodealby Walter Chaw Based on a pair of Sarah Dessen novels that apparently deal with the tribulations of a particularly sour adolescent girl, Clare Kilner’s How to Deal is a disastrously twee Judy Blume knock-off that compacts every ill of growing up female into a hysterical parcel of over-reaching and hollow sanctimony. It’s the kind of movie that has its maudlin protagonist reading Madame Bovary to parse, I guess, some portion of romantic martyrdom when the irony of the reference is that at the root of Emma Bovary’s problems arguably lies her infatuation with mealy romance novels into which she might substitute herself for the heroines (not forgetting the role of Dessen’s books in the first place). Irony and incompetence being the two rules of the day as Kilner and her cinematographer Eric Alan Edwards (once Gus Van Sant’s DP, now relegated to stuff like this and Britney Spears’s Crossroads) make unforgivable decisions in lighting and camera placement that cast How to Deal as an unintentional horror film with at least three scenes loaded with tension and free-floating anxiety for no good reason save that the filmmakers don’t seem to know what the hell they’re doing.

Family Reunion: The Movie (2003) – DVD

ZERO STARS/**** Image D Sound C+ Extras D
starring Red Grant, Reynaldo Rey, Bebe Drake, Sommore Jamal
written and directed by Red Grant

by Walter Chaw The sort of movie where Klansman dressed in the Teletubby rainbow are brutally beaten in a Southern Methodist church when they submit themselves to the mercy of the Lord, Red Grant’s Family Reunion: The Movie is a scattershot Def Comedy Jam routine filmed with a noxious, hostile artlessness made all the more impotent by its desire to be whimsical. Rather than being the sort of amateurish gut-rot that can make a claim to activism through its nihilistic misanthropy and racism, it’s the redheaded stepchild of the Friday series: screwball ethnic humour long on volume and short on laughs.

Dumb and Dumberer: When Harry Met Lloyd (2003)

ZERO STARS/****
starring Eric Christian Olsen, Derek Richardson, Luis Guzmán, Eugene Levy
screenplay by Robert Brenner & Troy Miller
directed by Troy Miller

Dumbanddumbererby Walter Chaw Harry (Derek Richardson) and Lloyd (Eric Christian Olsen) are imbecile best friends played by two young actors doing their best (which is pretty good) Jeff Daniels and Jim Carrey impersonations. Meet-cute’ing in a high school being bilked by an evil administrator (Eugene Levy) and his lunch lady squeeze (Cheri Oteri), the pair tick off the litany of Farrelly-inspired gross-out gags with neither the heart nor the timing. Asians are made great sport of in an antiquated sort of way that isn’t so much offensive as slack, scat-like material is smeared all over a bathroom, Bob Saget gets a paycheck, and Mimi Rogers makes out with Rachel Nichols in a Hef grotto. On the plus side, its entendre-laden script isn’t actually worse than Down With Love‘s.

The Other Side of Heaven (2002) – DVD

ZERO STARS/**** Image A Sound A Extras D
starring Christopher Gorham, Anne Hathaway, Nathaniel Lees, Joseph Folau
written and directed by Mitch Davis

by Walter Chaw To call The Other Side of Heaven “appalling” would be to underestimate just how dangerous entertainments like it can be. The film positions itself as “based on a true story” and “based on a memoir” without understanding that the two are often mutually exclusive. Then, without apology, it proceeds to manufacture scenes for maximum manipulation, everything from the messianic to the mundane. An opening dance sequence set in a Cleaver American Fifties features more stunt people, professional dancers, and trampolines than Cirque du Soleil, its artificiality setting the tone for the rest of the film, while the scene’s conclusion (with the picture’s hero trapping the celebrants in a giant dance hall, dooming them to death should a fire break out) serves as a pretty succinct summary of the film’s feckless themes and carelessness.

The Hot Chick (2002) – DVD

ZERO STARS/**** Image A Sound B+ Extras B-
starring Rob Schneider, Rachel McAdams, Anna Faris, Andrew Keegan
screenplay by Tom Brady & Rob Schneider
directed by Tom Brady

by Walter Chaw What to think of a variation on Teen Wolf wherein the victim of the lycanthropic puberty metaphor is a young girl who turns into Rob Schneider? What to make of a film that wrests its central conceit of enchanted jewellery from the long-putrefied grasp of Mannequin 2? And what to make of a film released in the year 2002 that is this misogynistic, homophobic, racist, and cruel to the obese? Rather than postulate that our culture has regressed to the hale cultural morass of the mid-1980s, it’s doubtless more fruitful to examine the ways in which film is becoming as self-reflexive, meta-critical, and free of irony as television.

It Runs in the Family (2003)

ZERO STARS/****
starring Michael Douglas, Kirk Douglas, Cameron Douglas, Diana Douglas
screenplay by Jesse Wigutow
directed by Fred Schepisi

Itrunsinthefamilyby Walter Chaw Appalling at its best, Fred Schepisi’s It Runs in the Family is a congenital disaster best described as an interminable episode of “Old People Say the Darndest Things”. Between this and Last Orders, Aussie director Schepisi seems to desire cornering the market on gravid meditations on decrepitude and death. He finds himself here a far cry from his Seventies output (The Devil’s Playground, The Chant of Jimmie Blacksmith), which, much like countryman Bruce Beresford’s early work, announced an important filmmaker who has, in the intervening years, become a hired hand and a coin of considerably devalued worth. It Runs in the Family is so relentlessly mawkish that it does give insight into the state of mind that allows condescension to become comfortable status quo by habitually marginalizing the elderly and demented as adorable dispensers of quaint homilies and spunky vulgarity.

Darkwolf (2003) – DVD

Dark Wolf
ZERO STARS/**** Image B Sound B- Extras C
starring Samaire Armstrong, Ryan Alosio, Andrea Bogart, Jaime Bergman
screenplay by Geoffrey Alan Holliday
directed by Richard Friedman

by Walter Chaw Something to do with hybrid werewolves and full-breed werewolves and how one hybrid biker werewolf is interested in mating with the last full-bred matriarch bitch in order to preserve the line of the pure-blood werewolves, the direct-to-video DarkWolf at least has the decency to open in a strip club and continue into a fairly decent gore set-piece before launching into its incomprehensible lore. Tied to the creatures of the id-horror subgenre (the best example of which is probably Neil Jordan’s psychosexual A Company of Wolves), a recent glut of lycanthropic fare (Ginger Snaps, Dog Soldiers) holds a curious candle to the idea that, despite Arab belief to the contrary, Western civilization seems to be regressing into a puritanical sexual hysteria that proves fertile ground for horror films about the cycle of sexual repression/aggression. It’s possible, also, that guys (and dolls) in fur suits are just cool again.

Sordid Lives (2001) – DVD

ZERO STARS/**** Image D Sound D Extras C
starring Olivia Newton-John, Beau Bridges, Delta Burke, Bonnie Bedelia
written and directed by Del Shores

by Walter Chaw Essentially an extended drag shtick captured on surveillance-quality DV, Del Shores’s Sordid Lives finds the playwright’s stage production translated literally to the big screen (well, to the television screen) without, one presumes, the pace and the busyness that would have made it bearable. Poorly-aimed pot-shots at dysfunction (sexual, familial) share the stage with the classic “gathered for a funeral” plot that forms the basis of so many community theatre productions, mainly because no matter how ribald the comedy becomes, there will always be the opportunity for a sickening dose of sentiment at the final curtain. There’s nothing suburban middlebrow consumers like better than a shot of the ol’ pulpit to forgive all sins: round-in-the-round as buffet-dinner confessional.

The First $20 Million (2002) – DVD

The First $20 Million Is Always the Hardest
ZERO STARS/**** Image C Sound B-
starring Adam Garcia, Rosario Dawson, Jake Busey, Enrico Colantoni
screenplay by Jon Favreau and Gary Tieche, based on the novel by Po Bronson
directed by Mick Jackson

by Walter Chaw Food-obsessed Japanese girl band Cibo Matto plays quietly behind a weird commercial of pastel San Diego Chickens sky-diving within the first five minutes of The First $20 Million Is Always the Hardest, offering a benighted hope that the film won’t suck that is so ephemeral that its inevitable death is less cruel than perverse. Playing like a version of Real Genius that’s somehow worse, the idea of a hard-partying geek fraternity involved in changing the world one byte at a time is so disinteresting and bankrupt that its resounding failure isn’t nearly as surprising as the twin revelations that the otherwise bright-seeming Jon Favreau co-wrote the screenplay (and appears in a cameo with crap in his mouth), and that this dog pile of a script (based on a novel by Po Bronson) actually found suitors.

The Life of David Gale (2003)

ZERO STARS/****
starring Kevin Spacey, Kate Winslet, Laura Linney, Gabriel Mann
screenplay by Charles Randolph
directed by Alan Parker

Lifeofdavidgaleby Walter Chaw SPOILER WARNING IN EFFECT. One wonders if there isn’t, after all, a subtle right-wing conspiracy at work in the entertainment industry, where ultra-liberal stumps are turned into the sort of ostensibly pro-leftist propaganda reel that does serious harm to the pro-leftist agenda. If it’s not the reprehensible The Contender, with its Ayn Rand-ian hypothetical, it’s I Am Sam and its bizarre vilification of the child welfare system–or worse, John Q, with its curiously misdirected lament against our obviously broken health-care state. Trumping them all in terms of muddle and melodrama, however, is The Life of David Gale, an anti-death penalty tirade that, by the end, feels like a life sentence the audience wishes hadn’t been commuted. The only way to make any sense of the film is to suspect it of darker motives: Its ultimate message–and it’s not a bad one–seems to be that the criminal justice system the film so actively vilifies is, in fact, the only honest (though imperfect) force in the entire mess.

Kangaroo Jack (2003)

ZERO STARS/****
starring Jerry O’Connell, Anthony Anderson, Estella Warren, Christopher Walken
screenplay by Steve Bing & Scott Rosenberg
directed by David McNally

by Walter Chaw Irresponsible to the extreme, Jerry Bruckheimer’s latest production is sleazy, violent, and packed with the sort of feckless, hateful messages that indicate an almost total disregard for an audience’s intelligence. Kangaroo Jack is, therefore, business as usual for a Bruckheimer production, save for the fact that it’s aimed at a very young audience. The picture is a malignance: it’s bad (for a film about a CGI kangaroo wearing a red “Brooklyn” jacket stealing fifty grand of the mob’s money, that much goes without saying), but what really impresses about the picture is its magnificent inappropriateness.

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.

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.