Elizabeth: The Golden Age (2007)

October 12, 2007Posted in2000s, Authors: Walter Chaw, Biopic, Drama, France, Germany, UK, War

½*/****
starring Cate Blanchett, Geoffrey Rush, Clive Owen, Samantha Morton
screenplay by William Nicholson and Michael Hirst
directed by Shekhar Kapur

Elizabeth2by Walter Chaw I don't mind historical pictures that aren't historically accurate until that historical inaccuracy–like in U-571, for instance–becomes so fucking retarded that it lowers the temperature of the room. Elizabeth: The Golden Age is just that fucking stupid. Should being dumb not be reason enough to avoid this movie, know that it's also unintentionally hilarious, appears to have had its screenplay ghost-written by Bob Dylan, and casts Catholics and Spaniards as Skeksis in some perverse re-imagining of The Dark Crystal as a psychodrama about the cherry-busting beheading of Mary, Queen of Scots (Samantha Morton, dreadfully wasted) and penile conjugation-by-double-proxy of rapscallion Walter Raleigh (Clive Owen) into the hallowed womb (and womb-like cathedral interiors of this England). Cate Blanchett reprises her role from director Shekhar Kapur's first Bollywoodization of British history (he made one other, The Four Feathers, in between) as the Virgin Queen born fully-formed from the school of Arch and Tic. (I wonder if soon there'll be any actresses left who haven't played one Elizabeth or another–seems the distaff "Hamlet" proving ground of our time.) There's a Nostradamus character for whatever goddamned reason, a candlelit bath scene only because it's mandated in sub-BBC pieces of shit like this, and a thinly-veiled CIA spook, Sir Francis Walsingham (Geoffrey Rush), who acts as Elizabeth's chief intelligence officer.

Fracture (2007) [Widescreen] – DVD

October 11, 2007Posted in2000s, Authors: Ian Pugh, Crime, Drama, DVD, Germany, Mystery, Thriller

**/**** Image B Sound A Extras D+
starring Anthony Hopkins, Ryan Gosling, David Strathairn, Rosamund Pike
screenplay by Daniel Pyne and Glenn Gers
directed by Gregory Hoblit

by Ian Pugh SPOILER WARNING IN EFFECT. Although the term "cat-and-mouse" has already become synonymous with Gregory Hoblit's Fracture, it's something of a misnomer in that it implies a clever battle of wits. The film actually hinges on precisely two turnarounds of one-upsmanship between the designated cat and mouse: the revelation of the convoluted, coincidence-dependent plan to commit the perfect murder, and the fatal flaw in said plan (the "fracture," get it?) that eventually brings its perpetrator to justice–and as both are telegraphed far in advance, it's impossible to play along with the expectation for surprise. So inevitable are these conclusions, in fact, that I just gave up and accepted the ending, which sidesteps a first-glance case of double jeopardy with such vague dialogue, recited in such a bland tone of sotto voce, that I only got the basic gist of how we got from Point A to Point B. With Point B such a shrug-worthy certainty, I wasn't nearly confused enough to care besides.

Funny Face (1957) [50th Anniversary Edition] – DVD

October 9, 2007Posted in1950s, Authors: Travis Mackenzie Hoover, Comedy, DVD, Musical, Romance

***/**** Image A Sound A- Extras B
starring Audrey Hepburn, Fred Astaire, Kay Thompson, Michael Auclair
screenplay by Leonard Gershe
directed by Stanley Donen

by Travis Mackenzie Hoover There was a time, long, long ago, when we all thought we could get away with saying that pop movies were subversive. Not "could be" subversive, but were subversive: full stop, end sentence, new paragraph. To a certain extent, the penetration of pop culture into the academy was a necessary step to level the playing field and make every avenue of culture viable for discussion. The thing is, the playing field didn't stay level for long: instead of an environment that could handle Jacques Rivette and Judy Garland, the former got chucked aside as students and teachers raided their TV/movie/music greatest hits collections and wilfully misread their cheesy favourites as deep and complex texts. This was based less on a populist impulse than on a desire to not challenge oneself; it's way easier to deal with the pleasures in front of your face than it is to hunt in the dark for new things and grapple with their potentially difficult forms and subjects. While I wouldn't trade Douglas Sirk or Anthony Mann or Nicolas Ray for anything, one has to be honest about the situation. Sometimes Hollywood can disturb the status quo, but it can also use its professionalism, wit, and artfulness to pull off something as entertainingly retrograde as Stanley Donen's Funny Face.

28 Weeks Later (2007) – DVD

October 8, 2007Posted in****/****, 2000s, Authors: Walter Chaw, DVD, Horror, Sci-Fi, Spain, Thriller, UK, Zombie

****/**** Image N/A Sound A Extras B
starring Robert Carlyle, Rose Byrne, Jeremy Renner, Idris Elba
screenplay by Rowan Joffe, Juan Carlos Fresnadillo, E.L. Lavigne, Jesús Olmo
directed by Juan Carlos Fresnadillo

Walter Chaw It’s phenomenal. Where 28 Days Later… was saddled with ambition that exceeded its reach and, in Danny Boyle, a director who not only disdained the genre but has otherwise proven himself a grade-A tool as well, Juan Carlos Fresnadillo’s sequel 28 Weeks Later is brutally graceful in its vision of a nuclear family’s dissolution as the metaphor for a broader, collective unrest. The triumph of the picture, though, is that it’s as succinct and eloquent as a heart attack; as a parable of the Iraq War (popularly called “The War in Iraq,” a subtle semantic distancing technique particularly trenchant to this discussion), it’s all about aftermath and occupation. It’s impossible not to compare it to the years and tens of thousands of fatalities since the declaration of “mission accomplished” when the picture begins with the reassurance that everything’s peachy in dead-as-a-doornail England. Repatriation and reconstruction have begun six months after the outbreak of the first film’s “rage virus,” reuniting two kids, Tammy (future superstar Imogen Poots) and Andy (Harry Potter-named Mackintosh Muggleton), with their tightly-wound da’, Don (Robert Carlyle). In an end-of-the-world opening in what only appears to be night (it’s the first of several brilliant reversals), we see how a fissure develops in Don’s marriage to wife Alice (Catherine McCormack), and of how that stress fracture becomes the foundation for the rest of the picture’s relationships and politics.

Heroes: Season 1 (2006-2007) + Superman: Doomsday (2007) – DVDs

October 7, 2007Posted in2000s, Action, Adventure, Animation, Authors: Ian Pugh, Drama, DVD, Sci-Fi, Superhero

HEROES: SEASON 1
Image A Sound A Extras C
"Genesis," "Don't Look Back," "One Giant Leap," "Collision," "Hiros," "Better Halves," "Nothing to Hide," "Seven Minutes to Midnight," "Six Months Ago," "Fallout," "Godsend," "The Fix," "Distractions," "Run!," "Unexpected," "Company Man," "Parasite," ".07%," "Five Years Gone," "The Hard Part," "Landslide," "How to Stop an Exploding Man"

Superman/Doomsday
*½/**** Image B+ Sound B+ Extras C
screenplay by Duane Capizzi
directed by Bruce Timm, Lauren Montgomery & Brandon Vietti

by Ian Pugh "Heroes" is perhaps best described as a network-television attempt to recast Alan Moore and Dave Gibbons's seminal Watchmen for the mainstream market. It actively reworks that masterpiece's major plot points for mass consumption, yes, but more to the point, it tries to bring superheroes into real-life situations–all the while harbouring, very much unlike Watchmen, an uneducated contempt for comic books. Offering lame turn-arounds and mocking references to superhero clichés without any apparent knowledge of comics published after 1960, "Heroes" believes that the medium is, now and forever, uniformly steeped in silly costumes, fatuous storylines, and unambiguous divisions between good and evil. This contrarian attitude towards its perceived progenitors leads it to pawn off its own superficial characters, scenarios, and rambling diatribes about fate and destiny as infinitely-superior and more complex alternatives. The fact that the final episode of the first season gives us a slightly-tinkered version of Evil Dead II's hilariously downbeat ending should leave no doubt as to the essential falseness of "Heroes" and its pretense of originality: the desire to move what is seen as a cartoonish enterprise into a more mature arena has already been explored countless times by countless artists over the last few decades, often from within the medium itself.

Day Night Day Night (2007) – DVD

October 3, 2007Posted in2000s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, France, Germany, Thriller

**/**** Image B+ Sound B+ Commentary B+
starring Luisa Williams, Josh P. Weinstein, Gareth Saxe, Nyambi Nyambi
written and directed by Julia Loktev

by Travis Mackenzie Hoover Somehow, Day Night Day Night proposes the logical impossibility of content-free terrorists. Normally such persons come armed to the teeth with ideological baggage (to say nothing of emotional baggage), yet writer-director Julia Loktev has decided to take one suicide bomber (Luisa Williams, billed as "The Girl"), drain her of any sort of political objective or personal motive, and just sort of follow her as she confirms everything with her superiors in a motel and moves on to her Times Square site of terror. The idea, I think, is to watch her do all sorts of mundane, quotidian things, then marvel at how they coincide with that ultimate act of violence. Perhaps inevitably, by about twenty minutes in you start to crave a little more than Williams playing with her cell phone–to yearn for a fuller understanding of her as a person. No such luck: Loktev is so committed to her minuscule hook that she empties her film of interest beyond crisp visuals, streamlined action, and tedious emptiness.

Wrong Turn 2: Dead End (2007) – DVD

October 2, 2007Posted in2000s, Adventure, Authors: Walter Chaw, Canada, DVD, Germany, Horror

*½/**** Image N/A Sound C+ Extras C
starring Erica Leerhsen, Henry Rollins, Texas Battle, Aleksa Palladino
screenplay by Turi Meyer & Al Septien
directed by Joe Lynch

by Walter Chaw As the first half is so abominable, colour me surprised that the second half of Joe Lynch's DTV sequel Wrong Turn 2 is actually good in a nominal way, dipping into the backwoods family well in a wonderfully derivative banquet sequence (borrowing from the first and third Texas Chain Saw Massacre pictures) and offering up bits of inventive, comic-book gore along the way. It's never scary and never tense, but it does feature scream queen Erica Leerhsen in another performance that's leagues better than the film she's in deserves. What's missing is that sense of pathos that defines the horror pictures of the '70s: Where the first film replaced it with glib ugliness, this one replaces it with smirking self-consciousness–neither tactic doing much to honour the idea that the family that slays together, etc., making the late-game sparks of brilliance ring suspiciously like glad-handing, happy horseshit. I appreciate that the cannibal hillbillies are given a family structure by the end of the piece–I just wish that that family wasn't the Cosbys. It's not really supposed to feel like a sitcom, is it?

Voyage to the Bottom of the Sea (1961) [Global Warming Edition] – DVD

October 1, 2007Posted in1960s, Action, Adventure, Authors: Alex Jackson, DVD, Fantasy

**/**** Image B Sound A Extras B
starring Walter Pidgeon, Joan Fontaine, Barbara Eden, Peter Lorre
screenplay by Irwin Allen and Charles Bennett
directed by Irwin Allen

by Alex Jackson Take a gander at the sleeve for Fox's "Global Warming Edition" of Voyage to the Bottom of the Sea. The title is contained in a downward arrow in drippy, bright-red lettering. It's guiding us towards the main action, a gleaming submarine and lime-green scuba divers fighting off a one-eyed, giant red squid. Dig the curvy brushstrokes, the action lines around the charging submarine, and the flecks of paint signifying bubbles. The cast, meanwhile, is in the top-left corner: there's Walter Pidgeon with a Vincent Price moustache, Joan Fontaine with a face of granite, a gasping Barbara Eden, and behind them all, Peter Lorre pointing up at God knows what. Doesn't it just get your juices flowin'? If I were browsing the video store and happened upon this, I'd be tempted to purchase it sight-unseen, and I'd like to think it's rare that a DVD's mere packaging could encourage me to do that.

Under the Cherry Moon (1986); Graffiti Bridge (1990); Purple Rain (1984) [Two-Disc Special Edition] – DVDs|Purple Rain – Blu-ray Disc

September 27, 2007Posted in1980s, 1990s, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Comedy, Drama, DVD, Music, Romance

UNDER THE CHERRY MOON
***/**** Image B+ Sound B+
starring Prince, Kristin Scott Thomas, Jerome Benton, Steven Berkoff
screenplay by Becky Johnston
directed by Prince

GRAFFITI BRIDGE
*/**** Image A- Sound B+
starring Prince, Morris Day, Jerome Benton & The Time, Jill Jones
written and directed by Prince

by Travis Mackenzie Hoover There's something cinematic about the artist known as Prince, and it's not just his effeminate charisma (though there's that) or his flair for theatre (though there's that, too): The whole sensual package that is his deliciously weird sensibility–a blend of satin-laced fetishism and self-loving exhibitionism–all but cries out to be photographed. The question is, was The Artist himself filmmaker enough to bring that to the screen? Making for a split decision are the two films that bear his directorial stamp, both of which have finally hit DVD. In one corner stands Under the Cherry Moon, a savagely-underrated romance that suggests that with someone else's script, he's got the right stuff; in the other corner sits Graffiti Bridge, a grotesque white elephant that suggests Prince left to his own devices turns from funk idol into sadly inebriated schoolgirl.

Eastern Promises (2007)

September 26, 2007Posted in****/****, 2000s, Authors: Walter Chaw, Canada, Crime, Directors: David Cronenberg, Drama, Mystery, Theatrical, Thriller, UK

****/****
starring Viggo Moretensen, Naomi Watts, Vincent Cassel, Armin Mueller-Stahl
screenplay by Steve Knight
directed by David Cronenberg

by Walter Chaw As executed by our pre-eminent insect anthropologist, David Cronenberg’s Eastern Promises is more fairytale than thriller, one that finds new muse Viggo Mortensen as Nikolai, the rising star of an émigré Russian mob family taken root in the heart of London within the red velvet-lined walls of a restaurant innocuously-/romantically-named “Trans-Siberian.” Self-described as “wolfish,” this pack is led by grandfatherly Semyon (Armin Mueller-Stahl), who’s disappointed with his ineffectual son Kirill (Vincent Cassel) and looking to replace him with a surrogate heir. The rot of that familial discord throws its roots back to ferocious opening minutes that see first a vicious throat-slashing, then a fourteen-year-old, pregnant prostitute haemorrhaging on the floor of a drugstore after she’s told that, for Methadone, the pharmacist will need a prescription. Cronenberg’s London is a cess seething beneath a veneer of “normalcy”; regarded as a toxic tabernacle in Spider, the city is transformed here into a garish, meticulously theatrical wonderland. The central problem of the picture has a lot to do with the idea that Cronenberg has again taken a pre-existing script and reordered it along distinctly Cronenbergian lines–that what must have read initially as a sociological text on another facet of the immigrant experience (much like screenwriter Steve Knight’s Dirty Pretty Things) now plays like one of Cronenberg’s investigations into the difficulty of parsing concepts like “normal” and “family” in the crushing crucible of bugs pretending to be human among humans.

Private Fears in Public Places (2006) – DVD

September 25, 2007Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, DVD, France, Italy

Couers
***/**** Image A Sound A
starring Sabine Azéma, Isabelle Carré, Laura Morante, Claude Rich
screenplay by Jean-Michel Ribes, based on the play by Alan Ayckbourn
directed by Alain Resnais

by Travis Mackenzie Hoover Some time ago, there was a contretemps in the pages of another writing venue of mine, REVERSE SHOT. The estimable Nick Pinkerton had written a rather tepid assessment of Alain Resnais’s Private Fears in Public Places (Coeurs): he claimed that its inclusion in the New York Film Festival was an “obligatory slot-filling by one of the ‘Old Masters of the Sixties’ art-house.” NYFF programmer Kent Jones shot back with a dryly-hilarious note confirming such selection criteria, which enthused that the film “had exactly the lack of urgency, the unexceptionable hominess, and the scanty charm we were looking for.” The whole thing was pretty funny, but it illustrated the pitfalls of playing certain critical lines. While Pinkerton is mostly correct that Private Fears in Public Places is a disappointingly inconsequential film by someone who had previously defined styles and moved mountains, this is punishing Resnais unduly: just because you’re not making a masterpiece doesn’t mean you lack any point at all.

300 (2007) [Two-Disc Special Edition] – DVD|Blu-ray Disc

September 24, 2007Posted in2000s, Action, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Bulgaria, Canada, Drama, DVD, War

*/****
DVD – Image B+ Sound A Extras B
BD – Image A Sound A+ Extras B
starring Gerard Butler, Lena Headey, David Wenham, Dominic West
screenplay by Zack Snyder & Kurt Johnstad and Michael B. Gordon, based on the graphic novel by Frank Miller
directed by Zack Snyder

300capby Walter Chaw There's an idea in the ancient world about a "beautiful death," achievable for the warrior only in mortal, one-on-one wartime combat–an idea that may have contributed to the length of the Trojan siege, and an idea vocalized by one of the captains serving under Spartan King Leonides (Gerard Butler) in Zack Snyder's 300. Based on Frank Miller's graphic novel of the same name, the film betrays a lot of the same macho aesthetic as Robert Rodriguez's adaptation of Miller's Sin City–but rather than content itself with the literally bestial terms of glory in the masculine psyche, it makes a play for allegory and equivocal morality (of all things) in the valorization of Sparta and the romanticization of a crushing military defeat. It's not that Leonides is seen martyred in the end in a tableau explicitly meant to evoke the passion of St. Sebastian, but that he goes out pining for his wife like a lovesick hamster, thus completing 300's devolution from remorseless Spartan militarism into gushy democratic idealism and all manner of liberal maladies. There's little profit in establishing the rules of this universe as uncompromising and brutal (it opens on a field of infant skulls–victims of a Spartan culling ritual of its own kind) if its intentions split time between justifying, in non-chest-beating terms, the decision to pit three-hundred against thousands while denying the Spartans their individual moments of "beautiful death" in favour of some collective date with pyrrhic immortality. History suggests that the Spartans, having exhausted their arms, died scratching and clawing with their bare hands; 300 suggests they died calling for their mothers and wives.

Eat My Dust (1976) [Roger Corman: Supercharged Edition] – DVD

September 24, 2007Posted in1970s, Action, Authors: Travis Mackenzie Hoover, Comedy, DVD, Romance

***½/**** Image B- Sound B Extras C+
starring Ron Howard, Christopher Norris, Brad David, Kathy O'Dare
written and directed by Charles B. Griffith

by Travis Mackenzie Hoover In one sense, Eat My Dust fails completely at its stated goal–that is, to be a raucous car-chase comedy with squares goosed at every turn. Not that cops don't crash their rides and girls don't swoon at reckless drivers, but the movie isn't really interested in setting up the very obvious payoffs required by the genre. Director Charles B. Griffith, a long-time writer for the Roger Corman factory, is more interested in the ambiance of a racetrack, the genial nature of teenagers, and an easygoing feeling of freedom quite opposed to the hyped-up version in which these things usually traffic. True, Griffith fumbles for his vision more often than he nails it, and he fluffs every joke and action scene from his own, hopelessly-standard screenplay. But for a teen flick starring Ron Howard, Eat My Dust has plenty to keep you diverted and even mildly surprised–if not enough that it sticks to your bones.

TIFF ’07: Lust, Caution

September 22, 2007Posted in2000s, Authors: Bill Chambers, China, Drama, Film Festivals, Romance, Taiwan, Thriller, TIFF, War
***/****starring Tony Leung Chiu Wai, Tang Wei, Joan Chen, Wang Leehomscreenplay by Wang Hui Ling and James Schamus, based on a short story by Eileen Changdirected by Ang Lee by Bill Chambers Blessed with an achingly beautiful score by Alexandre Desplat, Ang Lee's Lust, Caution is a more tasteful Blackbook, which is odd considering how much more graphic it is in its depiction of not just sexuality but, thanks to a darkly-comic homage to Torn Curtain, violence as well. Where Blackbook director Paul Verhoeven is a vulgarian, though, Lee projects civility and cultivation. That's how he so often manages to…

TIFF ’07: The Tracey Fragments

September 20, 2007Posted in2000s, Authors: Bill Chambers, Canada, Drama, Esoterica, Film Festivals, TIFF
½*/****starring Ellen Page, Ari Cohen, Max McCabe-Lokos, Max Turnbullscreenplay by Maureen Medved, based on her noveldirected by Bruce McDonald by Bill Chambers When I say that The Tracey Fragments applies the Tarnation method to fiction filmmaking, I say it exasperated with the whole Pied Piper mentality that follows any aesthetic innovation. I admire Tarnation, don't misunderstand, but a big part of that admiration rests in the picture's total invention and definitive application of a form that fits its function. Unfortunately, for every E.T., there's a Mac and Me--and for every original like Jonathan Caouette there's a dilettante-in-waiting like Bruce McDonald.…

Going To Pieces: The Rise and Fall of the Slasher Film (2006) [Unrated] – DVD

September 19, 2007Posted in2000s, Authors: Alex Jackson, Documentary, DVD, Horror

***/**** Image B+ Sound A- Extras B+
director uncredited

by Alex Jackson My cardinal rule about documentaries: they shouldn't just coast on the gravitas of their subject matter. They have to have some kind of perspective and work on their own terms. With that said, documentaries about movies are a bit of a blind spot for me, as I have a particularly strong difficulty separating my affection for the film and my affection for what it's about. I know that This Film Is Not Yet Rated isn't very good–it's childish and doesn't mount a terribly convincing case against the MPAA. But come on, I could talk for hours about the MPAA if I could find somebody who would want to listen. Cinemania? Yeah, the filmmakers didn't do much more than point and laugh at those guys. God help me, though, I had a little envy for them: I only wish I could theatre-hop in New York City, exclusively watching the films that interest me without worrying about money or having to review them. I could feel that my critical capacities were being tested in these cases, but I survived. However, when you have a documentary that isn't about merely the movies, but about slasher movies specifically–well, shit, any pretense of objectivity on my part has officially gone out the window.

Dexter: The First Season (2006) – DVD

September 18, 2007Posted in2000s, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Television, Thriller

Image B+ Sound A Extras C-
"Dexter," "Crocodile," "The Popping Cherry," "Let's Give the Boy a Hand," "Love American Style," "Return to Sender," "Circle of Friends," "Shrink Wrap," "Father Knows Best," "Seeing Red," "Truth Be Told," "Born Free"

by Walter Chaw "Dexter" sucks in that special Showtime way. It has nothing for the soul–not because it's nihilistic, but because it isn't. It's "The Facts of Life" crossed with "Matlock" starring a good-hearted serial killer; a superhero melodrama along the lines of "The Incredible Hulk" whose self-contained mysteries are held together ever so loosely by a season-long thread involving a manhunt. What I'm trying to say is that it's unbelievably patronizing. It's not nuanced, not laden with depth–it's a quirk machine, facile and shallow. See, a serial killer with heart isn't "deep," it's a sketch. It's the black guy who thinks he's white, the horny old lady, the hooker with a heart of gold. What begins as a really fun-seeming premise is undone utterly by a succession of weak scripts and, with the exception of Michael C. Hall's virtuoso turn as a sociopath working as a blood-spatter expert in Miami, slack performances. He's a lot better than the material deserves, it goes without saying, but like Mary-Louise Parker in the similarly pandering, similarly terrible Showtime series "Weeds", he's just good enough to prolong the show's already-lamentable existence. Maybe the real argument pertains to the wisdom of creating a series about something so heinous in such a way that it trips no sensitivity meters. It's a time bomb hidden in a teddy bear–and then the bomb doesn't go off.

Lucky You (2007) [Widescreen] – DVD

September 17, 2007Posted in2000s, Australia, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Germany, Romance, Sports

**/**** Image A- Sound A- Extras B-
starring Eric Bana, Drew Barrymore, Robert Duvall, Debra Messing
screenplay by Eric Roth & Curtis Hanson
directed by Curtis Hanson

Luckyyoucapby Walter Chaw Trapped in the doldrums between Robert Duvall doing his elderly, patting people on the hand while he's talking bit and Drew Barrymore enunciating every word as though she's trying not to let the marble fall out, Eric Bana struggles against stardom once again but states a case for it just the same. The vehicle this time is Curtis Hanson's Lucky You, a mainstream poker picture that re-establishes Hanson as a less ambitious James L. Brooks (which isn't altogether a bad thing). Bana is compulsive gambler Huck Cheever, named after an American writer and an antiquated term for a wheeler/dealer, thus neatly encapsulating his character as not only a con-man and a bit of an asshole but also moony and eloquent. There's nothing at all surprising about the way the film moves towards its conclusion, and even its twist loses its lustre beneath the steady drone of its interiors. It's an un-ironic love story featuring a problem gambler, a girl fresh off the bus, and a father/son subplot packing all the subtlety of a heart attack–which makes it, of course, suddenly Pollyannaish when it yearns so mightily for world-weary. Lucky You looks like a gambler, but it acts like a diagram instead of a train accident.

TIFF ’07: George A. Romero’s Diary of the Dead

September 15, 2007Posted in2000s, Authors: Bill Chambers, Directors: George A. Romero, Film Festivals, Horror, TIFF, Zombie

Fest2007dead***/****
written and directed by George A. Romero

by Bill Chambers The problem with 2005’s Land of the Dead is that it could’ve been made by virtually anybody at virtually any time. While I imagine that George A. Romero, stalwart hippie that he is, has an anticapitalist streak a mile wide, that picture’s “eat the rich” trajectory ultimately felt like a rather flimsy pretext for Romero to resume chronicling social change through the prism of his precious undead. Given that the “Dead” films have typically had long incubation periods, it’s surprising to see Romero return to the well so soon, but then it was probably best to hit the reset button post-haste. George A. Romero’s Diary of the Dead does just that in more ways than one: Here, Romero disentangles himself from the cul-de-sac of a zombie-human détente by starting from scratch in the present tense, making this the Casino Royale of the series.

TIFF ’07: Mother of Tears: The Third Mother

September 9, 2007Posted in2000s, Authors: Bill Chambers, Directors: Dario Argento, Film Festivals, Horror, Italy, TIFF

Fest2007tearsLa terza madre
***/****
directed by Dario Argento

by Bill Chambers Sanity and fatigue are ineluctable corrupting influences on an aging filmmaker, but it brings me great pleasure and no small relief to be able to report that while Mother of Tears: The Third Mother–Dario Argento’s long-gestating conclusion to his “Three Sisters” trilogy–is neither as artful as Suspiria nor as dreamlike as Inferno, it nevertheless surpasses expectations fostered by Argento’s recent work to emerge as his best movie in decades. Fitting that Argento should choose to tell the Rome-set story of Mater Lacrimarum last, marking this as a homecoming in more ways than one.