Understanding the Words: FFC Interviews Chris Tucker

Posted in2000s, 2007, Authors: Ian Pugh, Interviews

Ctuckerinterviewtitle

The Twenty-Five Million Dollar Man on working with a master director…and Brett Ratner

August 12, 2007|Two interview offers recently found their way to my inbox: one with the cast of the Bratz movie, the other with Rush Hour 3 co-conspirators Chris Tucker and Brett Ratner. Though I do wonder how the toy-line movie interview would have gone, the choice was obvious: Ratner’s films certainly inspire plenty of witty rhetoric ’round the pages of FILM FREAK CENTRAL (as far as critical tidbits go, the opening line of Walter’s X-Men: The Last Stand review stands as a personal favourite), and I welcomed the opportunity to sit down and talk to the man about the accusations that dog him in these parts. As for my own personal experience with Ratner’s movies, it ranged from hazily positive recollections of a theatrical viewing of Red Dragon to an astoundingly negative reaction to X-Men: The Last Stand. It was time to get educated, once and for all.

The Guns of Navarone (1961) [2-Disc DVD Set] – DVD

The Guns of Navarone (1961) [2-Disc DVD Set] – DVD

Posted in1960s, 2007, Action, Adventure, Authors: Travis Mackenzie Hoover, Drama, DVD, UK, War

*½/**** Image A- Sound A Extras B
starring Gregory Peck, David Niven, Anthony Quinn, James Darren
screenplay by Carl Foreman, based on the novel by Alistair MacLean
directed by J. Lee Thompson

by Travis Mackenzie Hoover My brother Oliver is fond of citing movies where you actually root for the Nazis. Not because you like what they stand for, of course, but because the cinematic alternative suddenly seems much worse: fact of the matter is those fucking Von Trapps will simply not shut up in The Sound of Music, while anyone who would voluntarily off Jon Bon Jovi, as the Nazis do in U-571, can’t possibly be ALL bad. To this very short list we may add the inexplicably popular guy-movie staple The Guns of Navarone. Supposedly trading on the selfless heroism of a commando unit behind enemy lines, the film has such a hair up its ass about the virtue of grim determination that it manages to bore you into an early grave within the first five minutes. Nearly three hours of watching Gregory Peck and his group of he-men bicker over ethics and strategy would make any thinking adult pray for some kind of violent deliverance. Nazis, Italian Fascists, the Mormon Tabernacle Choir–I’m not choosy about who shoots these jerks dead, just as long as somebody does it.

Summer School (1987) [Life’s a Beach Edition] – DVD

Summer School (1987) [Life’s a Beach Edition] – DVD

Posted in1980s, 2007, Authors: Travis Mackenzie Hoover, Comedy, DVD, Romance, Teen

*½/**** Image A Sound A- Extras B-
starring Mark Harmon, Kirstie Alley, Robin Thomas, Patrick Labyorteaux
screenplay by Jeff Franklin
directed by Carl Reiner

by Travis Mackenzie Hoover We at FFC ride ourselves on sussing out the subtleties in what is widely condemned as popular junk, and more power to us. But if you’re expecting a review of Summer School that illuminates the film’s hidden complexities, you’ve sadly come to the wrong place. Although there are certain thematic features that identify it as an atypical entry in the ’80s teen-comedy genre, not the least of which a sort-of social conscience that suggests National Lampoon’s Degrassi High, these anomalous credentials are largely wiped out by a thudding lack of wit and a functional ugliness of craft that makes the film barely tolerable at the best of times. While the actors generally convey personality beyond the limited means of the production, they’re fighting an uphill battle against a pervasive laziness behind the camera.

Reign Over Me (2007) + TMNT (2007)|TMNT – DVD

Posted in2000s, 2007, Action, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Family, Hong Kong, Sci-Fi, Theatrical

REIGN OVER ME
**/****
starring Adam Sandler, Don Cheadle, Jada Pinkett Smith, Liv Tyler
written and directed by Mike Binder

TMNT
*/**** Image C- Sound A Extras B
written and directed by Kevin Munroe

by Walter Chaw In response to the charge that critics are “downers” because they’re too judgmental, a colleague and friend said on a panel that I participated in that some films only deserve judgment. It’s a wonderfully bleak declaration, and dead on–think of it as an expansion of Pauline Kael’s belief that no one ever takes the time to bash terrible pictures. But there’s more to it than simply that brittle shattering of cinema’s impregnable mythic mystique. I think certain movies deflect even judgment–movies that are the exact equivalent of, say, Michael Bolton and Kenny G collaborating on a cover of a Richard Marx song. Rail against them if you must, but there’s no sport in it, and definitely no swaying of the assembled masses. There are films that are what they are, deserving neither praise nor condemnation in providing precisely the comfort of a tattered terry cloth robe worn ritualistically until disintegration. It’s possible to meticulously, ruthlessly, intellectually deconstruct the aesthetic and functional properties of a favourite pair of sneakers, you know, but it’s masturbatory and redundant and like swatting a fly with a Buick. I suspect that deep down everyone knows films like Reign Over Me and TMNT are as worthless as a plug nickel, that their appeal lies entirely in the fact that they’ll present no surprises along with their usual meek payload of cheap emotional prattle and pocket uplift. And I’m not saying there’s nothing wrong with that, either–I’m just saying I feel like I don’t have much more to say after reviewing the same fucking movie about a dozen times a year.

The Bourne Ultimatum (2007)

Posted in2000s, 2007, Action, Adventure, Authors: Walter Chaw, Espionage, France, Germany, Mystery, Spain, Theatrical, Thriller

***/****
starring Matt Damon, Julia Stiles, David Strathairn, Joan Allen
screenplay by Tony Gilroy and George Nolfi, based on the novel by Robert Ludlum
directed by Paul Greengrass

by Walter Chaw I look at the first film in this very fine trilogy as Jason Bourne embodying Harrison Ford’s Deckard character from Blade Runner: someone with hidden potential and a certain confusion about his place in the world–and the kind of figure Matt Damon is best at portraying, as it happens. I see the second film as Bourne-as-Roy Batty: robotic, violent, inexorable, and at the end of his string, valuing life and looking to make what amends he can. This third film, The Bourne Ultimatum, directed again by Paul Greengrass and welcoming several key players (Joan Allen, Julia Stiles, Damon, screenwriter Tony Gilroy, DP Oliver Wood) back into the fold, ties both strings together: Bourne inhabiting his potential as something of an unparalleled killing machine while, simultaneously, becoming more human in his machine-like purposefulness. If there’s a feeling we’ve been here before, mark that down as the inevitable side-effect of staying just a little too long with a series that, to this point, had yet to make any missteps, minor or otherwise. Consequently, this film, more than the other two, feels like a straight line: less improvisation, more inevitability, all of it leading to the moment where our hero, the merciless assassin, decides whether his training to be an instrument overrules his instinct to be a human. It can’t be a surprise anymore, so all that’s left is that it be true.

Shirley Temple: America’s Sweetheart Collection, Volume 5 – DVD

Posted in1930s, 1940s, 2007, Authors: Alex Jackson, Comedy, Drama, Family, Fantasy, Musical

MAURICE MAETERLINCK’S THE BLUE BIRD (1940)
**½/**** Image C Sound B-
starring Shirley Temple, Spring Byington, Nigel Bruce, Gale Sondergaard
screenplay by Ernest Pascal
directed by Walter Lang

THE LITTLE PRINCESS (1939)
**½/**** Image B Sound B
starring Shirley Temple, Richard Greene, Anita Louise, Ian Hunter
screenplay by Ethel Hill and Walter Ferris, based on the novel by Frances Hodgson Burnett
directed by Walter Lang

STAND UP AND CHEER! (1934)
***½/**** Image D+ Sound C+
starring Shirley Temple, Warner Baxter, James Dunn, Nigel Bruce
story by Will Rogers and Philip Klein, dialogue by Ralph Spence
directed by Hamilton MacFadden

by Alex Jackson As you might know, Shirley Temple had been considered for the role of Dorothy Gale in The Wizard of Oz but was eventually passed over either because her singing voice was inadequate or because MGM and 20th Century Fox couldn’t come up with a satisfactory trade. In an attempt to beat MGM at their own game, Fox bought the rights to playwright Maurice Maeterlinck’s “L’Oiseau Bleu” (“The Blue Bird”) with an eye on Temple for the lead. Ironically, The Blue Bird became her very first box-office dud and signalled the end of her career as a child actress.

Mr. Skeffington (1944) + The Star (1952) – DVDs

Mr. Skeffington (1944) + The Star (1952) – DVDs

Posted in1940s, 1950s, 2007, Authors: Walter Chaw, Drama, DVD, Romance

MR. SKEFFINGTON
½*/**** Image B Sound B Extras B
starring Bette Davis, Claude Rains, Walter Abel, Richard Waring
screenplay by Julius J. Epstein & Philip G. Epstein
directed by Vincent Sherman

THE STAR
*/**** Image B Sound B Extras D
starring Bette Davis, Sterling Hayden, Natalie Wood, Warner Anderson
screenplay by Katherine Albert and Dale Eunson
directed by Stuart Heisler

by Walter Chaw Biographers and geeks would be right to point out that Bette Davis spent her late career–on screen and, abortively, on stage–getting in her own way, while cynics and realists would be right to point out that the one most probably led to the other, if we’re to take “the other” as autobiographical. Even people resistant to the auteur theory tend to recognize that matinee idols shoulder at least a fair share of the blame for picking vanity pieces and assorted flaming trainwrecks from the piles of projects offered them. If there’s a fair modern, distaff analogue to Bette Davis’s embarrassing epilogue in self-abnegating camp artifacts, it’s Burt Reynolds’s own squandering of his status as the biggest thing on planet Hollywood for a series of vainglorious redneck “gorsh!” spectacles that tied him eternally with Dom DeLuise and, oh my, Hal Needham. Consider that both have earned a small, rabid band of indefatigable defenders of their late, self-inflicted careers (gay men for Bette, assholes for Burt) for nothing more than confirming their respective lifestyles of bitchy flamboyance on the one side and dimwitted macho rebellion on the other. They’re cults of personality by the very definition of “cultism,” founded on the shale of limited appeal and the arrested desire to emulate someone you admire. (See also: the army of SAHMs shuffling after Oprah.) I guess you could say that although I get it, I’m not down with the cult of Bette.

Curse of the Golden Flower (2006) – DVD

Curse of the Golden Flower (2006) – DVD

Posted in2000s, 2006, 2007, Action, Authors: Walter Chaw, China, Drama, DVD, Hong Kong, Romance

**½/**** Image B Sound A Extras D
starring Chow Yun Fat, Gong Li, Jay Chou, Liu Ye
screenplay by Zhang Yimou, Wu Nan, Bian Zhihong
directed by Zhang Yimou

by Walter Chaw I recently had the opportunity to see for the first time the cut of Zhang Yimou’s virtuoso Hero prepared for Yankee viewers, complete with the subtitles and framing cards slapped on by American distributors. Before now, the only contact I’d had with the film was through a region-free DVD from Hong Kong that preceded the U.S. theatrical release by a couple of years. (After buying the rights to it, Miramax, you’ll recall, decided to sit on it until such time as its unleashing wouldn’t somehow interfere with timeless masterpieces of misguided schlock like Cold Mountain.) Anyway, I was appalled. The extent to which Hero has been dumbed-down–the insertion of “our country” for a term that means, in Mandarin, “beneath the sky” drums up this weird nationalistic gumbo at the end, where, before, it was sober and idealistic–manages to paint Zhang as the worst kind of toad. There’s an animated map at the beginning now, I guess to show the great unwashed American moron that there is land outside the range of purple mountains majesty, while much mystical bullshit about “over two thousand years ago” mainly obscures the fact that Hero takes place well over two thousand years ago. I feel a lot of anger towards what’s been done to one of the best films ever to come out of the Mainland to make it more suited for white consumption, both because of the sacrilege and because whoever’s responsible has a lot of answering to do for how far they’ve undersold the intelligence of Western audiences. I finally understand why a lot of people in the United States didn’t think much of Hero: the version I saw was a Zhang Yimou picture, whereas the version most in this country saw was a Miramax picture.

Regarding Henry: FFC Interviews Henry Rollins/Henry Rollins: Uncut from NYC + The Henry Rollins Show: Season One – DVDs

Posted in2000s, 2007, Authors: Walter Chaw, DVD, Esoterica, Interviews, Music, Television
Hrollinsinterviewtitle
HENRY ROLLINS: UNCUT FROM NYC (2006)
*1/2 (out of four)
THE HENRY ROLLINS SHOW: SEASON ONE (2006)
*** (out of four)
INTERVIEWING HENRY ROLLINS (2007)
Priceless

July 22, 2007|Black Flag was the first hardcore punk band in the United States, spearheading a mad Southern California scene that belched forth this idea that James Taylor was not the voice of a generation in much the same way that the cinema of the ’60s rejected that of the ’50s. Marked by violence and speed, the band–the brainchild of guitarist Greg Ginn–went through multiple rosters before Henry Rollins, a 20-year-old fan living his dream as a roadie for the band, replaced Dez Cadena (who lost his voice and ambition to front the group at the end of the summer of 1981) as its lead singer. Instantly the spokesman for the group, the heavily-tattooed Rollins, muscular to the point of looking like a bullet with eyes and known for performing shirtless in black shorts (as well as getting into fistfights with audience members), also demonstrated a great deal of verbal agility and improvisational ability. A tireless, stubborn autodidact, he was quick on his feet, and final shows saw the band jumping into jazz-like improvisational bursts with Rollins shouting things as they came to his mind. Think about it for a minute and it has the potential to be retarded; but Rollins, for everything he is and isn’t, has an amazingly nimble mind and a pit of outrage that seems bottomless.

Hairspray (2007)

Posted in2000s, 2007, Authors: Walter Chaw, Canada, Comedy, Drama, Musical, Romance, Teen, Theatrical, UK

***/****
starring Nikki Blonsky, John Travolta, Michelle Pfeiffer, Queen Latifah
screenplay by Leslie Dixon
directed by Adam Shankman

by Walter Chaw It’s pretty easy to take the neo-hipster stance of having been there when Divine ate dog shit and, because of status conferred by said endurance of John Waters at his most insouciantly “fuck you,” to denounce the Broadway-ification of his already-mainstream-courting Hairspray–now turned into a movie based on a musical based on the original movie–as “Waters-lite.” Except that Waters’s satire at its best has always been a gloss on cults of pop (this is a guy who made an iconic cameo on “The Simpsons”, for God’s sake)–and after Polyester, all of his movies run like book for the plastic-fantastic of the Great White Way anyway. Artificiality is actually the point, affectedness another; like Italian, the only way to speak the language is to exaggerate past the point of embarrassment. Still, the key to Waters is the requirement that by assembling a collection of misfits to play his assembly of misfits, not a one of them takes to their duty ironically. Waters is the same kind of archivist as Quentin Tarantino in that way: the casting can be interpreted as a post-modern joke, but the performances need to be true to the essential nostalgia driving the casting. John Travolta in Pulp Fiction, in other words, needed very much to play it as straight as John Travolta is capable of playing it.

Ghost Rider (2007) [Widescreen Edition] – DVD

Ghost Rider (2007) [Widescreen Edition] – DVD

Posted in2000s, 2007, Australia, Authors: Travis Mackenzie Hoover, DVD, Superhero, Thriller

*½/**** Image A- Sound A (DD)/A- (DTS) Extras B-
starring Nicolas Cage, Eva Mendes, Wes Bentley, Peter Fonda
written and directed by Mark Steven Johnson

by Travis Mackenzie Hoover Never let it be said that I have my finger on the pulse of the public. Wild horses couldn’t have dragged me into a theatre showing Ghost Rider when it opened in the first quarter of this year, but that didn’t stop it from ringing the box-office bell more times than it ever deserved. As it turns out, my aversion to the film proved largely justified: Though one can savour Ghost Rider‘s campier elements (i.e., the toploading of Nicolas Cage with nutty things to do), it’s otherwise a pretty pallid affair, with professional but uninspired direction and a ludicrous screenplay both courtesy Daredevil perpetrator Mark Steven Johnson. The film cries out for the gonzo treatment of a Joe Dante, whereas Johnson acts like nothing untoward is happening as his characters say and do absurd things. Even the centrepiece action sequences have no flavour because he hasn’t invested anything other than budget in the proceedings.

The Dukes of Hazzard: The Beginning (2007) [Unrated] – DVD

The Dukes of Hazzard: The Beginning (2007) [Unrated] – DVD

Posted in2000s, 2007, Action, Adventure, Authors: Ian Pugh, Comedy, DVD

*/**** Image B- Sound A Extras D
starring Jonathan Bennett, Randy Wayne, April Scott, Christopher McDonald
written by Shane Morris
directed by Robert Berlinger

by Ian Pugh Jay Chandrasekhar’s The Dukes of Hazzard is not one of the worst movies ever made, but it’s almost certainly one of the most depressing. As it essentially amounts to an episode of the eponymous television series given to brief flashes of self-awareness, it reveals itself as a Beckett-esque nightmare in which the characters have been granted a dim perception that they’re trapped in a world of hate and marginalization (particularly in regards to Daisy’s contemplation of her uselessness except as eye candy) with no means of escape. In the hands of television hack Robert Berlinger, The Dukes of Hazzard: The Beginning (hereafter Dukes 2) is a loose prequel to some hybrid of the movie/TV franchise that jettisons Chandrasekhar’s brushes with the fourth wall in favour of an “ignorance is bliss” policy that ends up being only marginally less depressing. The film encompasses the story of how teenage cousins Bo (Jonathan Bennett) and Luke Duke (Randy Wayne) left a promising future of generic juvenile delinquency, cobbled together The General Lee, popped their cherries, and found themselves in a never-ending cycle of car chases and frat-boy leering. Never mind that “The Dukes of Hazzard” rarely bothered to rationalize its own exploitation of those small-screen vices–the prequel applies more of the same and seems to promise countless adventures to come, but really it just represents an entry point into that oppressive, infinite loop. It’s a moment of stark inevitability comparable to another, similarly titled prequel (The Texas Chainsaw Massacre: The Beginning) and its sad march into the void of madness.

Rally ‘Round the Flag, Boys! (1958) + The Awful Truth (1937) – DVDs

Posted in1930s, 1950s, 2007, Authors: Bill Chambers, Authors: Travis Mackenzie Hoover, Comedy, DVD, Romance

RALLY ‘ROUND THE  FLAG, BOYS!
**½/**** Image A Sound B+ Extras D+
starring Paul Newman, Joanne Woodward, Joan Collins, Jack Carson
screenplay by Claude Binyon and Leo McCarey
directed by Leo McCarey

by Travis Mackenzie Hoover I have conflicting feelings about Leo McCarey’s Rally ‘Round the Flag, Boys!. Part of me thinks it’s a professional, well-crafted comedy that happily stops just this side of vulgarity; another part of me wishes it had actually crossed into the land of the vulgar and settled in Frank Tashlin’s hometown. To its advantage, it’s an extremely polished film with a nice feeling for shape and colour that’s very well acted in all the major roles. But I still wish that someone like Tashlin had directed it and turned it into the rowdy shambles it so desperately wants to be.

Sicko (2007)

Posted in2000s, 2007, Authors: Walter Chaw, Documentary, Theatrical

**/****
directed by Michael Moore

by Walter Chaw There’s a moment that stands out in my mind about Fahrenheit 9/11, which tied with The Passion of the Christ as my pick for the worst film of 2004 (one for the left, one for the right): it’s the moment when Michael Moore, in the middle of a riff about the “coalition of the willing” backing the United States into Iraq, descends through archival footage and rinky music to mock the countries that were actually our allies. The point being that America pretty much took matters into their own hands while breaking international law and flaunting its power over a largely impotent United Nations–and the effect being that Moore is a complete fucking asshole so concentrated on making a narrow, obvious point that he handily proves the widespread perception of Americans as xenophobic, arrogant, ignorant, and loudmouthed. Going after the Bush administration is enough like shooting fish in a barrel that most of Bush’s own party has turned against him (not helping, probably, is that a majority of soldiers losing their lives in Iraq come from economically disadvantaged families). Likewise, going after lax gun-control laws and a society of fear following the Columbine High School shootings; likewise, corporate superciliousness in the rise and fall of industry in industrial America. I think, in other words, that Moore has made a living shooting fish in barrels, and that his latest target in Sicko, the United States’ inhuman health care industry (and its lobbyists–four per congressman!, Moore informs), is just another one of those arguments no one is taking the other side on.

Live Free or Die Hard (2007) + Transformers (2007)

Posted in2000s, 2007, Action, Adventure, Authors: Walter Chaw, Crime, Directors: Michael Bay, Sci-Fi, Spielberg, Theatrical, Thriller

LIVE FREE OR DIE HARD
***½/****
starring Bruce Willis, Justin Long, Timothy Olyphant, Cliff Curtis
screenplay by Mark Bomback
directed by Len Wiseman

TRANSFORMERS
*/****
starring Shia LaBeouf, Tyrese Gibson, Josh Duhamel, Jon Voight
screenplay by Roberto Orci & Alex Kurtzman
directed by Michael Bay

by Walter Chaw I remember the way I felt as a lad of fifteen when I saw John McTiernan’s Die Hard, that tingly excitement of not being able to figure out how we were going to get out of this fine mess. The bad guys were smarter than the good guys, their plan was perfect, the henchmen were ruthless eurotrash, and the hero didn’t have shoes. Understand it wasn’t fear that the baddies would win, but trust that the filmmakers knew what they were doing even though their methods were mysterious: I could let myself relax because the heavy-lifting was already done for me. I felt the same way as Live Free or Die Hard (hereafter Die Hard 4) unspooled its tale of computer hackers running the world from the basements of their mothers’ homes: if the bad guys could hijack anything controlled by a computer (that is, pretty much everything), then what hope would a bald, 52-year-old, Luddite cop with an estranged family and a worn-out smirk have? The film plays on that despair and, unlike in the second (awful) and third (excellent) instalments of this series, John McClane (Bruce Willis) seems fresh again, a walking revelation that even action heroes get old and obsolete to the point where they’re cautionary tales for young studs and metaphors for their own careers. Remember Harrison Ford in Firewall? Instead of acknowledging that the world eventually passes you by, leaving you embittered and bellicose (as Die Hard 4 shows), Ford’s character in Firewall is not only good with a knuckle sandwich, but also a “with it” computer stud. As miscalculations go, that’s more pathetic than most.

Ratatouille (2007)

Posted in****/****, 2000s, 2007, Adventure, Animation, Authors: Walter Chaw, Comedy, Disney, Family, Pixar, Theatrical

****/****
written and directed by Brad Bird 

by Walter Chaw Brad Bird’s latest film Ratatouille is the auteur’s affirmation that it’s possible, no matter the station, to find genius among the rabble. It’s charmingly egalitarian, this idea that any class or creed can produce the next Einstein or Baryshnikov, and it seems a direct response to the critics of his The Incredibles, who would say that that superhero film’s mantra of “if everyone is super, no one is” is an embodiment of intolerance and classism. Ratatouille‘s answer is a lot like the one offered by Bird’s feature debut, The Iron Giant: that not only is it possible to overcome one’s basic programming, but also that choice supersedes predestination and, moreover, that a basic morality governs the actions of all things. A lot to put on the doorstep of a film about a rat, Remy (voiced by Patton Oswalt), who wishes he could be a chef in the kitchen of idol Gasteau (Brad Garrett)–but Bird, in the course of just three films (and stints with “The Simpsons” and “The Critic”), has forged a pretty formidable ideology based on, of all alien things, the sociology of common sense. Some people are more gifted than others, some people are assholes, and most people are idiots; just as an understanding of race and gender comes with the acceptance of basic differences, so, too, does understanding within a culture only come through a similar acceptance that some people are super and others are simply background.

The Cowboys (1972) [Deluxe Edition] – DVD

The Cowboys (1972) [Deluxe Edition] – DVD

Posted in1970s, 2007, Adventure, Drama, DVD, Western

***½/**** Image A Sound B Extras C+
starring John Wayne, Roscoe Lee Browne, Bruce Dern, Colleen Dewhurst
screenplay by Irving Ravetch & Harriet Frank, Jr. and William Dale Jennings, based on the novel by William Dale Jennings
directed by Mark Rydell

by Walter Chaw Based on a novel and co-written by William Dale Jennings, one of the co-founders of the Mattachine Society (a group interested in furthering the rights of homosexuals in society), Mark Rydell’s The Cowboys betrays at its best a crystalline throughline into what it means to be bullied. It’s a chronicle of oppression, a western at the genre’s terminus point that, beneath the wide-open skies of Colorado and New Mexico, paints an ugly picture of what happens when innocence is directed into experience by cruel hands and angry truths. I think of The Cowboys as John Wayne’s The Misfits; he’d go on to do six more films, but The Cowboys‘ insight into the end of the line, with its collection of mismatched parts driven to violence, locates this 1972 picture as very much a product of the American New Wave–and as Wayne’s final coming to terms with the mythologizing of violence. It’s fine work from Wayne, too, an actor who, like many of his generation and stature, is accused of being a personality but nevertheless gave a handful of truly great performances.

A Mighty Heart (2007)

Posted in2000s, 2007, Authors: Walter Chaw, Biopic, Drama, Theatrical, Thriller, UK, War

**/****
starring Angelina Jolie, Dan Futterman, Irrfan Khan, Archie Panjabi
screenplay by John Orloff, based on the book by Mariane Pearl
directed by Michael Winterbottom

by Walter Chaw An avowed Michael Winterbottom fan, I think he’s amazing even when he fails. I marvel at his Thomas Hardy adaptations–the devastating Jude and the redemptive The Claim (his take on The Mayor of Casterbridge)–and I hadn’t thought, before I actually saw him do it, that anyone but Charlie Kaufman would have a shot at turning Tristram Shandy into a viable film. When the extremely prolific Winterbottom decided to explore how music and sex evolve sympathetically in culture, he turned out a little unofficial trilogy (24 Hour Party People, Code 46, 9 Songs) in the span of two years. And now that he’s become politicized–something he would say he always was, with 1997’s vérité Welcome to Sarajevo as evidence–he’s turned out, in the same span, In This World, The Road to Guantanamo, and now A Mighty Heart. This is the story of Mariane Pearl, widow of WALL STREET JOURNAL reporter Daniel Pearl, who was infamously beheaded while covering Al-Qaeda in Pakistan in the early days leading up to our current boondoggle. As that fan of Winterbottom’s, I’m inclined to give the picture a benefit of a doubt I nevertheless wonder if it deserves. First run through my head, A Mighty Heart strikes me as pointless and unsurprising; Winterbottom is of course a better anthropologist than he is a political philosopher: if he’s trying to apply Donald Symons’s models of cultural evolution to ethics instead of more immediately compatible pursuits (music, or literature), then what’s emerged from the experiment is the revelation that ethics and morality appear to have nothing to do with the base nature of man–and, moreover, that Angelina Jolie will never be Nicole Kidman in her ability to be both herself and someone else.

Ivanhoe (1952) – DVD

Posted in1950s, 2007, Adventure, Authors: Alex Jackson, Drama, DVD, Romance

**/**** Image B- Sound B Extras C+
starring Robert Taylor, Elizabeth Taylor, Joan Fontaine, George Sanders
screenplay by Noel Langley, based on the novel by Sir Walter Scott
directed by Richard Thorpe

by Alex Jackson Think of Ivanhoe as the 1952 version of Wolfgang Petersen’s Troy: a big-budget historical epic designed to garner prestigious Oscar buzz as well as blockbuster box-office results. Like Troy, the film’s fatal flaw is in favouring superficial fidelities over a meaningful interpretation of the subject matter. This is a masochistic and defensively middlebrow idea of art, not to mention naïve. Consider, for example, that there are no gods in Troy. Yes, this is perfectly reasonable when you consider what today’s filmgoers are likely to take seriously and what they are likely to laugh at; Laurence Olivier in Clash of the Titans is most definitely a camp object. Then, of course, there are the wiseasses who populate Sam Raimi’s dedicatedly silly TV series “Hercules” and “Xena”.

Rescue Me: The Complete Third Season (2006) – DVD

Rescue Me: The Complete Third Season (2006) – DVD

Posted in2000s, 2006, 2007, Authors: Walter Chaw, Comedy, Drama, DVD, Television

Image A Sound A Extras C
“Devil,” “Discovery,” “Torture,” “Sparks,” “Chlamydia,” “Zombies,” “Satisfaction,” “Karate,” “Pieces,” “Retards,” “Twilight,” “Hell,” “Beached”

by Walter Chaw SPOILER WARNING IN EFFECT. As much a product of our post-apocalypse as “Deadwood”, “Rescue Me”, like that David Milch masterpiece, is about the flattening of society and the reconstruction of it according to masculine, animal logic. Indeed, it’s a good argument that society has never been constructed any other way. As such, the series, Denis Leary and writing partner Peter Tolan’s brainchild and baby, demonstrates a wonderful insight into the male psyche: how it deals with grief, as well as its caveman attitude towards women. The two things are compatible, after all, and authors no less than Faulkner and Freud eventually gave up trying to write women. The only sensible thing is to let the nightmare of “Rescue Me”‘s exuberant misogyny wash over like a warm tide; why fight it? I’ve had a hard time watching Leary without wishing that they’d cast him as Garth Ennis’s John Constantine, but it occurred to me some time in the middle of “Rescue Me”‘s third season that Leary’s firefighter Tommy Gavin is as close to a consort of the devil as Constantine ever was. Perhaps closer. Tommy’s infernal, even demonic (I see that now), and the show he haunts is a very specific vision of a very personal hell. Women are bitch goddesses here: temptresses of mysterious purpose who reward misdeeds, punish valour, and steal children. They’re succubae that distribute venereal diseases and, worse, get pregnant. I wonder if the premise of the whole shebang is that nobody survived 9/11–that no matter the misdeed, Tommy is rewarded with gardens of earthly delight, the price being that he lives with ghosts in an empty city that periodically bursts into flame.