The China Syndrome (1979) [Special Edition] – DVD

November 11, 2004Posted in1970s, Authors: Travis Mackenzie Hoover, Drama, DVD, Thriller

**½/**** Image B- Sound A- Extras A-
starring Jane Fonda, Jack Lemmon, Michael Douglas, Scott Brady
screenplay by Mike Gray & T.S. Cook and James Bridges
directed by James Bridges

by Travis Mackenzie Hoover For long passages, The China Syndrome is the usual Hollywood liberal tripe. A compendium of "social issues" more name-checked than dealt with, it was clearly assembled for the greater glory of a bunch of rich white entertainment professionals rather than for the oppressed and threatened individuals who have been forced from centre stage. So obsessed with the spectacle of the principal cast being heroic is The China Syndrome that for an agonizing stretch, it fails to communicate anything besides the nobility of Hanoi Jane. But though the film is boring to look at and painful to listen to for an hour or so, once it sorts out its priorities, it has a certain grip as a spooky end-of-days industrial thriller. What the film says about nuclear power could be fit into twenty words or less, but it says it loudly and clearly and with enough editorial skill to help you forget the sins of that sluggish first half. Whether that serves the "message" I leave entirely up to you.

I’ll Sleep When I’m Dead (2004) – DVD

November 11, 2004Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Thriller, UK

***½/**** Image A Sound B
starring Clive Owen, Charlotte Rampling, Jonathan Rhys Meyers, Malcolm McDowell
screenplay by Trevor Preston
directed by Mike Hodges

by Walter Chaw Mike Hodges has only made a handful of films in the last three decades, even disowning a couple of them along the way because they were taken from him and edited to accommodate someone else's vision. Hodges's first film is the legendary revenge flick Get Carter featuring a never-better Michael Caine, and his latest, I'll Sleep When I'm Dead, functions very much as a bookend to his directorial debut: it's the tale of a man of few words on a mission to avenge a wrong. Reuniting Hodges with Clive Owen, star of his modest hit Croupier, I'll Sleep When I'm Dead is beautifully-lensed by long-time DP Michael Garfath in a manner that, although the picture was shot in London, looks extraordinarily like an Edward Hopper painting. Hodges, beyond being a narrative stylist, has evolved into something of a visual stylist as well. In this way, he suggests a British Wim Wenders.

Mickey’s Twice Upon a Christmas (2004) + It’s a Very Merry Muppet Christmas Movie (2002) [Special Edition] – DVDs

November 10, 2004Posted in2000s, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Christmas, Comedy, Disney, DVD, Family, Muppets, Musical

*½/**** Image A+ Sound A Extras C
directed by Matthew O'Callaghan

by Bill Chambers 2-D animation is dead, long live 2-D. Mickey Mouse and his apostles move into the realm of 3-D with Mickey's Twice Upon a Christmas, cementing this maddeningly disposable gewgaw's place in the history books next to far more sublime firsts like 1928's Steamboat Willie (Mickey's debut) and 1935's The Band Concert (Mickey's colour debut). But while it's tempting to lob cheap shots along the lines of "Uncle Walt is spinning in his grave," fact is Disney's frosty remains were already a veritable "Price is Right" wheel by the early '70s, and if he'd lived to see the digital revolution, he probably would've been one of its pioneers. In other words, it's not sacrilege to experiment with a CGI Mickey, but the results probably never should've seen the light of day.

Mr. & Mrs. Smith (1941) – DVD

November 9, 2004Posted in1940s, Authors: Walter Chaw, Comedy, Directors: Alfred Hitchcock, DVD, Romance

*½/**** Image B Sound B Extras C+
starring Carole Lombard, Robert Montgomery, Harry E. Edington, Gene Raymond
screenplay by Norman Krasna
directed by Alfred Hitchcock

by Walter Chaw Even a cursory glance at Alfred Hitchcock's favoured themes would find the idea of rules–particularly as they're expressed by written forms of communication–to be the ineffectual rein seeking to subdue the protean tumult of human identity, greed, and passion. The way that books hide the body in Rope, for instance; the newspaper headlines discovered too late in Shadow of a Doubt; the contracts and penny dreadfuls of Suspicion; Norman Bates's hotel book; the profession of Foreign Correspondent; Carlotta's engraved headstone and Mozart's mathematical structure in Vertigo; Melanie's birthday wishes in The Birds; the beckoning empty cages in Rutland's house in Marnie; or how the lines of a ledger page predict North by Northwest's astonishing play on humans reduced to numbers before a brilliant bit of business involving a message written inside a matchbook cover. In Mr. and Mrs. Smith, Hitchcock pairs with good friend Carole Lombard (on her second-to-last film before a plane crash ended her life), a prototypical Hitchcock blonde for whom the term "screwball comedy" was invented, to produce what's widely seen as an anomaly in Hitchcock's career: a slapstick romantic imbroglio. And indeed, the film is different from nearly anything Hitchcock ever did (though it shares a similar plot with Rich and Strange and a similar antic energy with The Trouble with Harry), but not because it deviates from his themes. Rather, Mr. and Mrs. Smith seems to be a film that outlines what it is exactly about rules and written communication that Hitchcock perceives to be so fundamentally unstable and misleading.

The Clearing (2004) + Before Sunset (2004) – DVDs

November 9, 2004Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Directors: Richard Linklater, Drama, DVD, France, Germany, Mystery, Romance, Thriller, UK

THE CLEARING
*½/**** Image B+ Sound B+ Extras B-
starring Robert Redford, Helen Mirren, Willem Dafoe, Alessandro Nivola
screenplay by Justin Haythe
directed by Pieter Jan Brugge

BEFORE SUNSET
***½/**** Image A Sound B+ Extras B-
starring Ethan Hawke, Julie Delpy
screenplay by Richard Linklater & Julie Delpy & Ethan Hawke
directed by Richard Linklater

by Walter Chaw Nothing much happens in Pieter Jan Brugge's The Clearing–so little happens, in fact, that it's difficult to pinpoint what all the to-do was about by film's end. Laid-off everyman schlub Arnold Mack kidnaps car rental magnate Wayne Hayes (Robert Redford) from the front gate of his palatial estate. He leads Hayes through the woods to meet up with his partners-in-crime, having a heart-to-heart concerning the dissatisfactions of modern living along the way. Hayes's wife Eileen (Helen Mirren) and grown children (Alessandro Nivola and glassy-eyed Melissa Sagemiller) gather with disaffected FBI agent Fuller (Matt Craven) to field ransom demands and likewise have heart-to-hearts about the dissatisfactions of modern living. Brugge plays with time in interesting ways: the events of the first day with Wayne and Arnold are intercut with the events of several weeks with the Hayes clan. But the picture's biggest trick is making ninety minutes seem like an eternity.

Elf (2003) [Infinifilm] – DVD

November 8, 2004Posted in2000s, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Christmas, Comedy, DVD, Family, Fantasy, Romance

**/**** Image A Sound A- Extras A
starring Will Ferrell, James Caan, Zooey Deschanel, Mary Steenburgen
screenplay by David Berenbaum
directed by Jon Favreau

by Walter Chaw Some of the preview spots for Jon Favreau's Elf are hysterical, leading me to think that the film's failure to be very funny has a lot to do with bad direction, editing, or maybe both. It's a lightweight, unapologetically warm-hearted picture that earns a lot of respect for avoiding scatological humour en route to honouring nearly every other ingredient of the The Jerk bumpkin-out-of-water formula. Like Steve Martin, Will Ferrell announces himself with this film (and Old School) as a smart comedian unusually committed to effect and the directions his performance might take him. Ferrell isn't a chaotic jester. His clowning compels because it has the quality of internal logic, enough so that it's somehow possible to accept his man-raised-by-elves creation at face value.

Christmas in Connecticut (1992) + Jingle All the Way (1996) – DVDs

November 8, 2004Posted in1990s, Adventure, Authors: Walter Chaw, Christmas, Comedy, DVD, Family, Romance, Schwarzenegger, ZERO STARS

CHRISTMAS IN CONNECTICUT
ZERO STARS/**** Image C Sound C+
starring Dyan Cannon, Kris Kristofferson, Richard Roundtree, Tony Curtis
screenplay by Janet Brownell, based on the screenplay by Lionel Houser and Adele Comandini and story by Aileen Hamilton
directed by Arnold Schwarzenegger

JINGLE ALL THE WAY
ZERO STARS/**** Image B Sound C+
starring Arnold Schwarzenegger, Sinbad, Phil Hartman, Rita Wilson
screenplay by Randy Kornfield
directed by Brian Levant

by Walter Chaw A man of many talents (a jag-off of all trades, let’s say), the honourable Arnold A. Schwarzenegger made his directorial debut with the 1992 telefilm Christmas in Connecticut, a remake of a 1945 Barbara Stanwyck flick and the sort of unqualified failure that finds something like thirty dozen ways to redefine “fatuous.” Dyan Cannon, she of the toothy, shark-like grin, stars as Elizabeth Blane, a popular cooking-show host without any actual cooking skills who’s led around by her pert snoot by her queen of a producer, Alexander (Tony Curtis, playing Harvey Fierstein). When heroic Colorado park ranger Jefferson Jones (Kris Kristofferson, one definition of “fatuous” all by his own self) saves a kid from the wilderness, Alexander hatches the brilliant plan to capitalize on Grizzly Adams’s national hero status by inviting him to a live broadcast of a fake dinner at a fake house in Connecticut populated by a family of terrible actors and an unspeakable mammy stereotype. It’s hard to draw the line between fiction and reality sometimes, isn’t it?

Work De Soleil: FFC Interviews Soleil Moon Frye

November 7, 2004Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Documentary, Film Festivals, Interviews

SmfryeinterviewtitleNovember 7, 2004|Petite, pretty, and irrepressible, Soleil Moon Frye (pronounced "So-Lay," like the Cirque) is probably still best known to folks of a certain age as Punky Brewster, though a memorable cameo on "Friends" as the girl who punches Joey a lot (ah, wish fulfillment) may have provided her a new pop-cultural brand for that generation. Soleil, though, is looking to make her mark as a filmmaker, and judging from a pair of documentaries she helmed, she might have the chops to do it. In person, Soleil Moon Frye is a bundle of energy whose emotions are ever close to the surface. And so when we sat down to talk about her documentary, Sonny Boy, which screened at the 27th Starz Denver International Film Festival last month, her demeanor was serious–intense, even; as we spoke in detail about the tragedy of our health-care state and the reticence of our leadership to affect change long-in-coming, she would lift off the sofa to perch in the space between us. Sonny Boy captures a two-week trip that Ms. Frye took with her father, Virgil Frye–he, stricken with Alzheimer's Disease, looking to reconcile with a daughter from whom he'd spent much of her life estranged, as well as to revisit the places of his life before his memories of them are swallowed by the long night of his affliction.

Alfie (2004)

November 5, 2004Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Romance, Theatrical, UK

*½/****
starring Jude Law, Marisa Tomei, Omar Epps, Nia Long
screenplay by Elaine Pope & Charles Shyer, based on the play and screenplay by Bill Naughton
directed by Charles Shyer

Alfie2004by Walter Chaw I haven’t liked any of the six films that Charles Shyer directed before his remake of Lewis Gilbert’s Alfie, so I guess there’s something to the auteur theory after all. Minus one fab performance from the suddenly omnipresent Jude Law, Shyer’s Alfie is a toothless affair–not surprising given modern cinema’s propensity for turning out lifeless twaddle, but somewhat dismaying given that the film’s source material is one of the most scabrous flicks in the annals of misogyny captured on celluloid. Contrasting the 1966 and 2004 versions of Alfie would be like an essay on how the movies have lost their edge over the course of the past four decades: we’ve moved from the medium cool of Sixties films, with their yearning to break free from the oppression of the Fifties, to the stagnant pond of the now, with its films too scared to offend the priggish States, filthy as they are with the descendants of pilgrims and Puritans. Come to think of it, a comparison between the two pictures also functions as an examination of the general difference between Europe and America–or an overview of religiosity in all its florid and degenerative influences on art.

Festival Express (2004) [2-Disc Set] – DVD

November 5, 2004Posted in2000s, Authors: Travis Mackenzie Hoover, Concert Doc, Documentary, DVD, Music, Netherlands, UK

***/**** Image A- Sound A (DD)/A+ (DTS) Extras B
directed by Bob Smeaton

by Travis Mackenzie Hoover JULY 30, 2004. We are so inundated with directives to be entertained that we've lost track of those few entertainments that don't smack us hard in the face with their laboured irrelevance. Simple, innocent pleasures have been replaced by exercises in industrial power that make you feel guilty for looking anywhere beyond them or for anything milder than their artificial amplifications. Surrounded as I find myself by these faceless giants (i.e., virtually every studio film released this summer), I find I am thankful for anything that features some fine music, a few good stories, and a wistful memory of a more innocent time before the entertainment industry was totally corrupted–something like the rock documentary Festival Express. If the film boasts of no miracles, neither does it have any pretenses of miracle-making. It asserts the pleasures of pleasure-making instead of the crushing weight of its force.

Father & Son (2003) – DVD

November 3, 2004Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, DVD, France, Germany, Italy, Netherlands, Russia

Father and Son
Otets i syn
**/**** Image C+ Sound B+
starring Andrev Shchetinin, Aleksey Neymyshev
screenplay by Sergey Potepalov
directed by Alexander Sokurov

by Travis Mackenzie Hoover After Alexander Sokurov's Russian Ark, I was ready to accept almost anything Sokurov did–a TV movie, some Wheaties ads, those trivia slides before the show starts, anything. Surely in the wake of the dense, virtuoso track of that earlier film, I could expect more philosophical fireworks, more challenging juxtapositions, more dazzling movements. Alas, it was not in the cards: Sokurov's follow-up Father & Son turns out to be the same old homosocial militarism familiar to a million lesser talents, tarted up with elite finery. (Think Top Gun with Tchaikovsky instead of Kenny Loggins.) Though the controversy surrounding its alleged homoeroticism is a red herring inasmuch as it fails to consider other sources (the film is about the mortal flesh of religious painting, not the pornographic bodies of pop), it's all in the service of the ain't-boys-grand, I-love-a-man-in-uniform vagueness that might be profundity but also suggests Tony Scott with a haircut and a new suit.

The Greatest Show on Earth (1952) – DVD

November 2, 2004Posted in1950s, Authors: Travis Mackenzie Hoover, Best Picture (Academy Awards), Drama, DVD, Family, Romance

***/**** Image A Sound B+
starring Betty Hutton, Cornel Wilde, Charlton Heston, Dorothy Lamour
screenplay by Fredric M. Frank, Barré Lyndon and Theodore St. John
directed by Cecil B. DeMille

by Travis Mackenzie Hoover Cecil B. DeMille's The Greatest Show on Earth is pretty close to being the Biggest Crock on Film. A lame assortment of soapy intrigues, bloated set-pieces, and garish colours, it's calculated to alienate the highbrows and haunt Guy Debord's nightmares. Some allege that it's the worst film ever to win the Best Picture Oscar, a hard claim to challenge no matter how unquantifiable the distinction. But while The Greatest Show on Earth is aimed squarely at those loathsome people who speak of films as "rollercoaster thrill-rides," there's no denying that it was made with a zesty vulgarity and executed with loving care. It's professional in both senses of the word: too much of a static thing to have artistic merit, yet big fun to watch as a well-engineered Rube Goldberg vehicle captained by Jack Smith across a field of giant marshmallows.

The Hunting of the President (2004) – DVD

November 1, 2004Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Documentary, DVD

**½/**** Image A Sound A Extras B-
directed by Harry Thomason and Nickolas Perry

by Walter Chaw Galling to the abused outrage assimilator is Nickolas Perry's and Harry Thomason's The Hunting of the President, based on a book by Joe Conason and Gene Lyons (subtitled The Ten-Year Campaign to Destroy Bill and Hillary Clinton) in which the "massive right-wing conspiracy" is given a face (Kenneth Starr) and an agenda. Eighty million of our taxpayer dollars were funnelled into discovering whether or not our then-Commander-and-Chief got a blowjob in the Oval Office. I wonder how many of us would trade that worry for the ones we have now? Probably not enough. The horror of it all is the general horror of it all: the idea that justice in the United States has become a plaything for the rich and powerful. Worse is that I begin to wonder if it hasn't always been this way (presidents getting hummers under the Lincoln Archway; presidents hiring their undergrad boosters to decide how to distribute reconstruction money in a country we've summarily invaded)–whether corruption and constitutional manipulation knows no party lines.

Even Cowgirls Get the Blues (1994) – DVD

November 1, 2004Posted in1990s, Authors: Travis Mackenzie Hoover, Comedy, Directors: Gus Van Sant, Drama, DVD, Esoterica, Romance, Western

***/**** Image A- Sound A- (DD)/A (DTS)
starring Uma Thurman, Lorraine Bracco, Angie Dickinson, Noriyuki "Pat" Morita
screenplay by Gus Van Sant, based on the novel by Tom Robbins
directed by Gus Van Sant

by Travis Mackenzie Hoover From its disastrous premiere at the Toronto International Film Festival (which prompted a hasty re-edit) to the unanimous critical drubbing it received a short while later, few films have had harder luck than Gus Van Sant's Even Cowgirls Get the Blues. The reviews were at best vague, alluding to some thing in the theatre that defied description as much as it discouraged it, while those brave souls not scared off by the word-of-mouth–even fans of Tom Robbins's 1973 source novel, people who could at least be said to have known what they were in for–came away hostile and perplexed. But anything that inspires this kind of uncomprehending panic is a special sort of film–that's right, I'm one of those lonely few who actually liked Even Cowgirls Get the Blues. And analyzing its successful failure is hugely instructive, specifically in showing how certain social forces, then as now, unfairly shape what is considered aesthetic treason.

Saw (2004)

October 29, 2004Posted in2000s, Authors: Walter Chaw, Horror, Mystery, Theatrical, Thriller

*/****
starring Leigh Whannell, Cary Elwes, Danny Glover, Monica Potter
screenplay by Leigh Whannell
directed by James Wan

Sawby Walter Chaw Pushed along by an inexplicable tide of buzz, James Wan's Saw is flat-out terrible. It features a career-worst performance from Cary Elwes–remarkable given that Elwes had already reached unwatchability in everything from Liar, Liar to Twister to Kiss the Girls to Ella Enchanted. (You can only ride the Princess Bride wave for so long before it falls out from under you in a crash of "it wasn't that great in the first place.") Between its hyperactive direction and hysterical script and performances, Saw locates itself as somewhere south of Rob Zombie's House of 1000 Corpses and, yep, even the much-maligned FearDotCom. The film isn't scary in the slightest, thinking that epileptic camerawork is a canny replacement for actual anxiety, and though there's some John Dickson Carr pleasure in the locked-room conundrum that opens the piece, by the end the film has become something like a wilting hothouse melodrama about the importance of family. Saw is outrageously stupid and, in its heart of hearts, more than a little desperate. Your slip is showing, boys.

Mulan (1998) [Special Edition] – DVD

October 28, 2004Posted in1990s, Adventure, Animation, Authors: Bill Chambers, China, Comedy, Disney, DVD, Eddie Murphy, Family, Fantasy, Musical, War

**/**** Image B+ Sound A Extras B-
screenplay by Rita Hsiao, Christopher Sanders, Philip LaZebnik, Raymond Singer & Eugenia Bostwick-Singer
directed by Barry Cook and Tony Bancroft

by Bill Chambers If Disney’s animated features can be reduced to a stable of alternating boy movies and girl movies, then the studio’s decision to make the cross-dressing fable Mulan at a juncture when they really needed mass approval (that is, after striking out post-Katzenberg with Pocahontas, The Hunchback of Notre Dame, and Hercules) comes across as conspicuously non-partisan–and the hero’s androgyny isn’t the only bet-hedging the filmmakers practice. A meticulous recreation of Imperialist China, for instance, is compromised by anachronisms cultural and temporal (the eponymous Mulan (voice of Ming-Na Wen), a pre-Tang Dynasty Chinese maiden, is introduced to us wearing a tank top and what resemble capri pants; later, she is served bacon and eggs for breakfast), while musical numbers, subversive humour, and Spielbergian spectacle perpetually collide like bumper cars. The end-product is neither fish nor fowl, though it certainly leans towards foul.

DIFF ’04: Tomorrow’s Weather

October 28, 2004Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Esoterica, Film Festivals, Poland
Pogoda na jutro**/****starring Jerzy Stuhr, Malgorzata Zajaczkowska, Roma Gasiorowska, Barbara Kaluznascreenplay by Mieczyslaw Herba & Jerzy Stuhrdirected by Jerzy Stuhr by Walter Chaw Polish institution Jerzy Stuhr fashions a peculiarly self-serving morality opera starring himself as a man who drops out for seventeen years to serve in a monastery, only to be "outed" one day by his jilted wife, two daughters, and son. Each child represents some newly-contracted ill that his beloved homeland has acquired since his auto-sequester: youngest Kilga (Roma Gasiorowska) is a dreadlocked hophead pushing dope to thirteen-year-olds; middle Ola (Barbara Kaluzna) is the star of a smutty…

DIFF ’04: Python

October 28, 2004Posted in2000s, Authors: Walter Chaw, DIFF/SDFF, Drama, Esoterica, Film Festivals, Latvia
PitonsThe Python***/****starring Juris Grave, Januss Johansons, Mara Kimelewritten and directed by Laila Pakalnina by Walter Chaw Latvian filmmaker Laila Pakalnina delivers Python (Pitons) somewhere in the netherland between Jean-Pierre Jeunet and Roman Polanski. Her first film in colour, it's a locked-room drama about a boarding school presided over by insane Nurse Ratched acolyte Mara Kimele, doggedly trying to match feces found in her school's attic to samples collected from the students in empty matchstick boxes. Favouring long, isolating tracking shots of children being children as madness and inanity erupt around them in a quiet fog, Python reduces to a series…

The Dust Factory (2004)

October 27, 2004Posted in2000s, Authors: Walter Chaw, Drama, Family, Theatrical, ZERO STARS

ZERO STARS/****
starring Armin Mueller-Stahl, Hayden Panettiere, Ryan Kelley, Michael Angarano
written and directed by Eric Small

by Walter Chaw Stunning in its incompetence, Eric Small's The Dust Factory highlights by its existence the unpopular truisms that there are as many awesomely bad independent films as there are mainstream ones; that the terms non-genre and non-traditional usually indicate a directionless mess; and that working with kid actors is not now, nor has it ever been, anything other than a plugger's bet. It raises the question of why there aren't more mimes acting as Greek Choruses in movies before it answers it, and most damnably, it seems to ascribe some sort of moral failing to seniors afflicted with Alzheimer's. See, in Small's fantasy world of The Dust Factory, souls in limbo can choose to "take the leap" off a trapeze tower into the arms of some faceless metaphor: miss and they're returned to the "dust" of their lives; catch and they're thrown to "the next level," which is Heaven or a video game, though stupid either way. The sticky part about it (aside from the stupid part, which is all of it, really) is that it requires courage to take that leap. The suggestion then becomes that if you have Alzheimer's disease, in some part of your brain you're a coward for not dying or "returning"–that you have in fact chosen to remain in a state of declining capacity. It's one thing to pose an Afterschool Special about how kids in comas need a will to power, another thing altogether to suggest that grandpa's a coward for contracting a degenerative brain condition.

Around the Bend (2004)

October 27, 2004Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Theatrical

*/****
starring Michael Caine, Jonah Bobo, Josh Lucas, Glenne Headly
written and directed by Jordan Roberts

Aroundthebendby Walter Chaw SPOILER WARNING IN EFFECT. There’s nothing alive in Around the Bend, a story of three generations of men healing one another during a road trip. It’s just as bad as it sounds: one contrivance piled upon another while Kentucky Fried Chicken looms large in nearly every scene and, by narrative necessity, figures in every critical plot point. The central metaphor for the film is a series of KFC bags, crumpled up and stuffed inside each other like Russian dolls–each entrusted with a couple of post-it notes containing cryptic messages that send our cardboard boys on a scavenger hunt across the Four Corners area of the western United States. It’s the manner in which grand patriarch Henry (Michael Caine) decides he’ll reveal to his grandson Jason (Josh Lucas) why and how his leg doesn’t work right anymore. Jason has been raised by Henry ever since Jason’s father, Turner (Christopher Walken), ran out on them when Jason was just a crippled tot; now Jason has a moppet of his own, saucer-eyed Zach (Jonah Bobo). Zach, regrettably, is saddled with the task of being the precious/precocious font of the film’s alleged humour and the lion’s share of its bittersweetness as well. Bad enough that Caine and Walken agreed to be in this mess; they consented to playing second fiddle to Tiny Tim, too.