50 First Dates (2004) [Widescreen Special Edition] – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Romance

*/**** Image A Sound A- Extras C+
starring Adam Sandler, Drew Barrymore, Rob Schneider, Sean Astin
screenplay by George Wing
directed by Peter Segal

by Walter Chaw The stupid version of Groundhog Day, or, more to the point, the capering warm-up act for Charlie Kaufman's Eternal Sunshine of the Spotless Mind, the latest Adam Sandler vehicle 50 First Dates is just like almost every other alleged comedy released in the first quarter of any year in that lacks pace and energy. I don't know when it got so hard to make a movie with forward momentum, but I can tell you that the point in the film where you start to count the "dates" to figure out when the damned thing is going to end comes early. Still, there's a moment in the picture involving a brain-damaged young woman making a decision to erase the love of her life from her memory that caught me off guard, causing me to realize how much I hold out hope that Sandler will do another film like Punch-Drunk Love. Sad fact is, though, that it may never happen.

Common Ground (2002) – DVD

Posted in2000s, Argentina, Authors: Travis Mackenzie Hoover, Drama, DVD, Spain

Lugares comunes
*½/**** Image A Sound A-
starring Federico Luppi, Mercedes Sampietro, Arturo Puig, Carlos Santamaria
screenplay by Adolfo Aristarain and Kathy Saavedra, based on the novel by Lorenzo F. Aristarain
directed by Adolfo Aristarain

by Travis Mackenzie Hoover Watching the paralytically subdued spectacle of Common Ground, I had to wonder: what would my old Latin American Cinema prof make of this film? As he generally had us watching agitprop rip-snorters like The Hour of the Furnaces, my first guess is that he'd probably want to punch director Adolfo Aristarain square in the jaw for broaching the subject of the Argentine economic collapse in such flabby, bourgeois terms. True, Aristarain shows exactly what the middle class had to face once the World Bank shellacked the local economy, but he depicts it in such an insular and anesthetized fashion that Common Ground doesn't register very loudly as a protest. In fact, the film's only major distinction is its ability to make enormous economic upheaval seem like a cramp in the style of its formerly comfortable leads, and to block out the rest of the country in its slow crawl to its central character's final destination.

Garfield (2004)

Posted in2000s, Animation, Authors: Walter Chaw, Comedy, Family, Theatrical, ZERO STARS

ZERO STARS/****
starring Breckin Meyer, Jennifer Love Hewitt, Stephen Tobolowsky, Bill Murray
screenplay by Joel Cohen & Alec Sokolow, based on the Jim Davis comic strip
directed by Peter Hewitt

by Walter Chaw The sell-by date on a big-screen version of Jim Davis's flyblown syndicated comic strip-cum-merchandising empire "Garfield" expired at least twenty years ago, explaining in part why this Bill Murray-voiced abomination looks and acts so much like a giant hunk of rotten meat. It's corpse-soft, shambling along without much direction from its jellied brain, instantly alienating children with its snarky in-jokes about the cat's once-ubiquitous advertising appeal and pissing off adults with its die-cast dedication to being as worthless as possible. Parcelled off in little segments that approximate the rat-a-tat texture and length of the Sunday funnies but without the colour and for about seventeen times the price and potential headache, Garfield is trying so hard that it transfers its strain to anyone unfortunate enough to have gotten to the theatre after their first three choices were already sold-out.

The Chronicles of Riddick (2004)

Posted in2000s, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

***½/****
starring Vin Diesel, Colm Feore, Thandie Newton, Judi Dench
written and directed by David Twohy

by Walter Chaw David Twohy constructs films from ideas and images borrowed from the well of archetype–Shakespeare (“Julius Caesar” and “Macbeth” in particular), Greek theatre and mythology, Joseph Campbell by way of George Lucas and Steven Spielberg–and he sometimes does so at the expense of transitional scenes or traditional narrative sense. There’s a gestalt to his work, if not much linearity, sparing no time for niceties like how a character arms himself, or how such nifty details as the hero’s ability to navigate like a biological sextant come into play, but in the case of Twohy and, in particular, The Chronicles of Riddick, the gestalt is enough. The picture is a survey of George Lucas’s original Star Wars trilogy, of all four Alien films, of dashes of Jeunet and Caro’s French phantasms, and of David Lynch’s Dune, with–and I mean this in a good way–just a smidge of Flash Gordon factored in: a parade of black leather-clad grotesqueries inhabit a lushly imagined future (breaking records for lumber usage in its Vancouver construction) in a film that attempts to tell old stories in a new way and, for the most part, succeeds with an agreeable level of whiz-bang. Occasionally, it succeeds brilliantly, as in a late shot of its anti-hero Riddick (Vin Diesel) slumped on a Giger throne before throngs of rubber jack-suited storm troopers, which stimulates not just for the audacity of its scale, but also for the comparisons it summons to the “Orestiea” and “Titus Andronicus.”

The Stepford Wives (2004)

Posted in2000s, Authors: Walter Chaw, Comedy, Satire, Sci-Fi, Theatrical, Thriller

*/****
starring Nicole Kidman, Bette Midler, Matthew Broderick, Christopher Walken
screenplay by Paul Rudnick, based on the novel by Ira Levin
directed by Frank Oz

by Walter Chaw At one time Jim Henson’s right hand, Frank Oz is the index finger that you close your book around when you get up to answer the door. An afterthought of a place-holder of a director, his cameo as the evidence officer in The Blues Brothers (“One prophylactic…one soiled”) is as succinct a statement as any of the man’s non-Muppet contributions to the films he directs. His visual style flat, his rapport with non-plush actors non-existent, Oz instinctively arranges everything as he would puppets on a soundstage: sightlines clear, movement in straight lines, and coverage that establishes the marvel of place but no sense that living things exist there. He’s not a bad choice at first glance, then, for the second adaptation of Ira Levin’s paranoia classic The Stepford Wives (already a mediocre camp classic 1975 movie starring Katharine Ross), the saga of a lovely young woman who discovers, Rosemary’s Baby-like (another Levin source), that her husband is kind of a pig and her exclusive suburban neighbourhood is populated by vacuous femme-bots imagined as ideal wife-replacements by their pigs of husbands. Like the first film, an impossibly lovely woman is cast as the empowered lead to lend the premise a little more ironic horror, but Nicole Kidman, unlike Ross, is already an automaton and has been cast as such in films like To Die For and Eyes Wide Shut. The greatest special effect in Kidman’s career is her sometime ability to simulate warmth–something that’s not required in The Stepford Wives, and so again it would seem as though her involvement in this project makes a great deal of sense. Because of this, it’s sort of amazing how genuinely bad are the results.

Love Me If You Dare (2003) + Valentin (2002)

Posted in2000s, Argentina, Authors: Walter Chaw, Belgium, Comedy, Drama, France, Italy, Netherlands, Romance, Spain, ZERO STARS

Jeux d’enfants
ZERO STARS/****
starring Guillaume Canet, Marion Cotillard, Thibault Verhaeghe, Joséphine Lebas-Joly
screenplay by Jacky Cukier & Yann Samuell
directed by Yann Samuell

VALENTIN
**/****
starring Julieta Cardinali, Carmen Maura, Jean Pierre Noher, Mex Urtizberea
written and directed by Alejandro Agresti

by Walter Chaw Former animator Yann Samuell’s Love Me If You Dare (Jeux d’enfants) is painfully, dedicatedly unwatchable. It’s vile and perverse in a puerile way that bears no discernible fruit. For a romantic comedy, it’s conspicuously lacking in romance and comedy, and for a dark, satirical look at the Hobbesian baseness of human love and nature, it’s astonishingly childish. The picture is the equivalent of a little boy eating a worm to impress the little girl he has a crush on: a tireless series of schoolyard transgressions portrayed in the whip-pan jack-in-the-box way of Jean-Pierre Jeunet’s Amélie that shares with that film a strong thread of misanthropic mischief, but reveals itself the classless poseur in its constant keening for attention. Love Me If You Dare is so awful that its constant “hip” references to George Lucas films not only somehow make Kevin Smith seem current again, but also suggest of all things a rom-com directed by the clown-prince of Skywalker Ranch himself. There’s an idea gnawing in my head that the reason this picture was so popular in France has something to do with a failure to translate the satirical dimensions of a film that succeeds so spectacularly in alienating its audience, yet, like Roberto Benigni’s Pinocchio (the Italian version of which Jonathan Rosenbaum proclaimed one of the best films of 2002), whatever’s happened in transit has handily transformed any rewarding subtext into a rising din.

Searching for Debra Winger (2002) – DVD

Posted in2000s, Authors: Walter Chaw, Documentary, DVD

*/**** Image B+ Sound B+
"experienced" by Rosanna Arquette

by Walter Chaw Group therapy for once and future A-list actresses, Rosanna Arquette's bizarre foray into auto-confessional documentary essays a fairly impressive selection of talent waxing blue on the struggles of balancing stardom with family. Artists as variegated as Daryl Hannah and Samantha Mathis, JoBeth Williams and Emmanuelle Béart, Frances McDormand and Meg Ryan, Holly Hunter and Robin Wright Penn, Diane Lane and Sharon Stone, Salma Hayek and Charlotte Rampling, and Whoopi Goldberg and Tracey Ullman kvetch about how shitty their gilded lives are while sitting in leather-lined, candlelit restaurants or against the palatial backdrops of their impossible homes and yards. The title, Searching for Debra Winger (referring to the inspiration that triggered the film: to discover why it is that Winger retired from show business), is made ironic by the fact that Winger has come out of retirement since to appear in her husband's shitty Big Bad Love.

Posse (1975) – DVD

Posted in1970s, Authors: Travis Mackenzie Hoover, DVD, Western

*½/**** Image C+ Sound B
starring Kirk Douglas, Bruce Dern, Bo Hopkins, James Stacy
screenplay by William Roberts and Christopher Knopf
directed by Kirk Douglas

by Travis Mackenzie Hoover Posse performs the not-inconsiderable feat of taking the iconoclastic spirit of '70s cinema and rendering it completely banal, going through the motions without believing in any of them and repeating gestures it fails to completely understand. Whether this is due to it being the directorial debut of star Kirk Douglas–who doesn't exactly belong to the Film Generation his film mechanically apes–is unclear, but Posse's simple inversion of authority and criminality is so inadequate as a genre critique that it spits more in the eye of the audience than in that of its limply-invoked Man. What remains is a series of blunt narrative events lacking in formal resonance to the extent that they seem to have been communicated through tin cans linked by string.

Secret Window (2004) – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Mystery, Stephen King, Thriller

**/**** Image B+ Sound A- Extras A
starring Johnny Depp, Maria Bello, Timothy Hutton, John Turturro
screenplay by David Koepp, based on the novella "Secret Window, Secret Garden" by Stephen King
directed by David Koepp

by Walter Chaw Secret Window is a checklist for Stephen King fans in exactly the same way his bloated fiction from the last ten years is a rehash of past material (and like old King material is a rehash of classic EC Comics/"Outer Limits" plots). It's an intensely wearying public window into how a popular writer has taken to auto-consumption and automatic regurgitation when inspiration flags. Typewriter intrigue? "Redrum"-like mantra? Curious wife? Lovable black sidekick dispatched with a hatchet à la Kubrick's The Shining? Check, all. Weird religious iconography, wide-brimmed Amish hats, some sort of sinister cornfield à la Children of the Corn? Surely. Popular writer tortured by an obsessive fan who wants him to write something special, à la Misery? You got it. Mysterious alter-ego nom de plume that appears to have been made manifest à la The Dark Half? Uh huh. Murdered pet and secluded woodland retreat à la Pet Sematary? Even that. Country mouse à la The Green Mile? Believe it or not. In fact, the only thing about Secret Window that doesn't stink of the King perpetual mimeograph machine (The Tommyknockers, "Ballad of the Flexible Bullet") is Johnny Depp's sly comic timing and the smooth direction by Stir of Echoes hyphenate David Koepp.

Spartan (2004) – DVD

Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, Crime, Drama, DVD, Mystery, Thriller

½*/**** Image B+ Sound A- Commentary C+
starring Val Kilmer, Derek Luke, William H. Macy, Ed O'Neill
written and directed by David Mamet

by Walter Chaw Because we hate Arabs (and women almost as much as we think that Arabs hate women, those hateful Arabs), there are films like David Mamet's patently ridiculous, relentlessly offensive, unintentionally hilarious Spartan. A brilliant theatre man, the very definition of a keen cultural philosopher (his book of essays Some Freaks is must-reading), Mamet as film auteur has grown increasingly esoteric to the point now that his exclusive playpens of linguistic masturbation are so alien and self-conscious that they begin instantly to function as satires of themselves. His action is action as imagined by an egghead, all awkward movement and frustrated invective. His is the school of anti-casual cool, the drama club suiting up for the Friday night football game, and his supporters are cut from the same cloth, believing that there's a point to be made in Beckett for the brute while ignoring that Beckett is best staged with Spartan minimalism and left in the theatre besides. The films Mamet has directed range from sophomoric (House of Games) to grating (State and Main) to just incompetent (Heist), though Spartan reminds the most of one he only wrote: the wilderness howler The Edge, with its machismo over-examined and placed in a context that isn't allegorical as it must be, but hardboiled realism as it can't be. It's P.G. Wodehouse adapted for the screen by John Milius, and predictably awful.

Reality Bites (1994) [10th Anniversary Edition] – DVD

Reality Bites (1994) [10th Anniversary Edition] – DVD

Posted in1990s, Authors: Bill Chambers, Comedy, Drama, DVD, Romance

***/**** Image A Sound A- Extras A+
starring Winona Ryder, Ethan Hawke, Ben Stiller, Janeane Garofalo
screenplay by Helen Childress
directed by Ben Stiller

by Bill Chambers If Some Kind of Wonderful is just an inverted Pretty in Pink, then Reality Bites is Some Kind of Wonderful inverted back again, with a proud young woman positioned at the apex of a love triangle and flanked by suitors from opposite poles of class who share a sincere affection for their mutual inamorata. More than conceivable that screenwriter Helen Childress was influenced by these John Hughes productions (whether or not she consciously chose to emulate them), it’s probable: Childress was of breakfast-club age when they were released, and as any child of the ’80s will tell you, they were too reverent of teenage travails to inspire much in the way of hipster backlash. (While some have speculated that Ferris Bueller is Hughes through the looking glass, the speech from that eponymous film in which a secretary canonizes Ferris–“The sportos, the motorheads, geeks, sluts, bloods, waistoids, dweebies, dickheads…they all adore him: they think he’s a righteous dude”–suggests that Ferris is nothing less than the personification of Hughes’s cottage industry.) What’s interesting is that Reality Bites‘ loyalty to a proven formula only traps it in the same adolescent mindset it purports to preach against (“grow up” is a major refrain): If it were about the consequences of our heroine’s choice of mate instead of about the choice itself once more, it might’ve satisfied Hughes’s maturing constituency on a deeper level.

Legacy: FFC Interviews Mario & Melvin Van Peebles

Posted in2000s, Authors: Walter Chaw, Interviews

VanpeeblesinterviewtitleJune 6, 2004|Sweet Sweetback's Baad Asssss Song (1971) is arguably the most influential African-American film of the modern age, a zero-budget independent picture hailing back to a time in the early-Seventies when the term still meant something outside the studio boutique and the Weinstein brothers' Miramax Xanadu. The man behind the picture, writer/director/star Melvin Van Peebles, still has the sort of aura around him at the age of 72 that suggests just how good it is to be the king. A giant figure in any study of black popular culture (earning entire chapters in Donald Bogle's survey history Toms, Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks in American Film and Black American Cinema, edited by Manthia Diawara), Van Peebles has interviewed Malcolm X, borrowed money from Bill Cosby, been nominated for three Grammys, won an Emmy, written a few books, collected no fewer than eleven Tony nominations, and received the French Legion of Honor. A kind of socio-political renaissance man, then, Van Peebles is still best known in the United States as the director of a curious little exploitation film that became, for a time, not only the highest-grossing independent picture in history, but also a polarizing force in spawning a race dialogue in American cinema, with an entire genre, Blaxploitation, flowering briefly in the aftermath of its release. Not a solution by any means, Sweet Sweetback's Baad Asssss Song represents a great start–the hope now that filmmakers like Antoine Fuqua, the Hughes Brothers, and Spike Lee can begin to/continue to bear up against the slings and arrows, the siren's call allure, of outrageously offensive mainstream fluff. (For a victim of temptation, look no further than John Singleton.)

Harry Potter and the Prisoner of Azkaban (2004)

Posted in****/****, 2000s, Adventure, Authors: Walter Chaw, Family, Fantasy, Mystery, Theatrical, Time Travel, UK

****/****
starring Daniel Radcliffe, Rupert Grint, Emma Watson, Gary Oldman
screenplay by Steven Kloves, based on the novel by J.K. Rowling
directed by Alfonso Cuarón

Harrypotterprisonerazkabanby Walter Chaw There's real poetry in Alfonso Cuarón's Harry Potter and the Prisoner of Azkaban (hereafter Harry Potter 3), encapsulated in a moment where Harry mistakes a vision of himself for the phantom of his dead father. It's another of the Mexican director's magic-realism conversations about children coming of age emotionally and sexually, marking the picture as a lovely companion piece to his A Little Princess and identifying Cuarón as a gifted, eloquent voice for the rage and the rapture of adolescence. Opening with the 13-year-old Harry (Daniel Radcliffe) fiddling with his wand beneath a blanket, the theme of self-discovery unfolds along jagged, de-romanticized lines like the rough rhythms of an Irish lyric or, more to the heart of the matter, a Mexican folk tale, all of blood, dirt, and heroic fervour.

Barbershop 2: Back in Business (2004) [Special Edition] – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD

***/**** Image A Sound A Extras B-
starring Ice Cube, Cedric the Entertainer, Sean Patrick Thomas, Eve
screenplay by Don D. Scott
directed by Kevin Rodney Sullivan

by Walter Chaw If not for a cringe-worthy conclusion and the awkwardness of an entire Queen Latifah subplot too clearly an embedded trailer for the upcoming Beauty Shop, Barbershop 2: Back in Business would not only be better than the first film, but also almost worthy of consideration as a lighthearted version of Do the Right Thing. Firmly rooted in politics, the opening credit sequence–which charts black history through the evolution of the afro haircut, with each image group ending, incisively, with a shot that demonstrates how white culture invariably hijacks black trends–is alone worth the price of admission. It summarizes a sticky, Ouroborosian circle of self-consumption, owing to the fact that hip-hop culture itself takes elements of white culture and redefines them through its own prism. What's the explanation for Vanilla Ice's ski-slope pompadour in the bigger picture of race relations and cultural diffusion? A look at the progression of Michael Jackson would seem the cheap shot, and it would have been out of this context, but while no mention of Wacko Jacko fails to inspire reflexive groans anymore, Barbershop 2 actually, wordlessly, scores a poignant, precise, eloquent point about the state of our state. Taking a swipe at the King of Pop is easy–having it score in a way fresh with insight is invaluable.

Roswell: The Complete First Season (1999-2000) – DVD

Posted in1990s, 2000s, Adventure, Authors: Walter Chaw, Drama, DVD, Mystery, Romance, Sci-Fi, Teen, Television, Thriller

Image A Sound A Extras B
"Pilot," "The Morning After," "Monsters," "Leaving Normal," "Missing," "285 South," "River Dog," "Blood Brother," "Heat Wave," "The Balance," "Toy House," "Into the Woods," "The Convention," "Blind Date," "Independence Day," "Sexual Healing," "Crazy," "Tess, Lies and Videotape," "Four Square," "Max to the Max," "The White Room," "Destiny"

by Walter Chaw What begins as something romantic and mysterious ends as something predominantly memorable for the impact it had on Dido's wan career. Charting the WB's "Roswell"'s downward trajectory from a piquant, lovely pilot to the worst of "The X Files" and "Dawson's Creek" is a fascinating, instructive thing to watch–not only for the schadenfreude of it all, but also for the way that corporate perception of what an audience purportedly wants invariably leads to production of the same kind of dull crapulence over and over again. (Though, in the WB's defense, a grassroots letter-writing campaign that saved the series from oblivion at least once indicates a fervid devotion to this kind of garbage.) In the fine tradition of making a self-pitying clone of "thirtysomething" for teen-somethings played by a cast of twenty-somethings, "Roswell" is "Sweet Valley High" mixed with the Troll Books variety of soft-core science fiction, making that "My So-Called Life" feeling of middle school alienation literal in its tale of three or four actual aliens getting teased by jocks in Roswell, NM. It's the love child of Robert A. Heinlein and Judy Blume, and it ain't pretty.

The Lord of the Rings: The Return of the King (2003) [Widescreen] – DVD

Posted in2000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Best Picture (Academy Awards), Drama, DVD, Fantasy, New Zealand

**½/**** Image A+ Sound A+ Extras B-
starring Elijah Wood, Ian McKellen, Viggo Mortensen, Sean Astin
screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, based on the novel by J.R.R. Tolkien
directed by Peter Jackson

Returnofthekingeecap2

by Walter Chaw For the uninitiated few, Frodo (Elijah Wood) and Sam (Sean Astin) are diminutive hobbits making their way, with the treacherous Gollum (Andy Serkis) as their guide, through perilous lands on a quest to destroy the One Ring of power, forged by evil Sauron in a volcano called Mount Doom. Their story is set against a series of epic military manoeuvres and intimate Machiavellian machinations engaged in by elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies), wizard Gandalf (Ian McKellen), and the once and future human king, Aragorn (Viggo Mortensen).

The Company (2003) – DVD

Posted in****/****, 2000s, Authors: Walter Chaw, Directors: Robert Altman, Drama, DVD, FFC Must-Own, Germany, Music, Romance, UK

****/**** Image A Sound A Extras B-
starring Neve Campbell, Malcolm McDowell, James Franco, Barbara Robertson
screenplay by Barbara Turner
directed by Robert Altman

Mustownby Walter Chaw There is a moment in Robert Altman's beautifully metered The Company where we're introduced to a cook played by James Franco through a low angle shot hovering over the green, smoke-haloed expanse of a gin-joint pool table. Wordless, the sequence plays out as Ry (Neve Campbell, never better) shoots a rack to the cool blues slinking out of a corner jukebox, glancing up now and again to meet Josh's (Franco) frank interest with gradually thawing humour and heat. Discretely, the film cuts to the next morning as Josh cooks an omelette with what's available in the kitchen of Ry's artist's loft.

Carandiru (2003)

Posted in2000s, Argentina, Authors: Walter Chaw, Brazil, Crime, Drama, Italy, Theatrical

*/****
starring Luiz Carlos Vasconcelos, Milton Gonçalves, Ivan de Almeida, Ailton Graça
screenplay by Hector Babenco, Fernando Bonassi, Victor Navas, based on the book Estação Carandiru by Dráuzio Varella
directed by Hector Babenco

by Walter Chaw Argentine director Hector Babenco's ninth film, Carandiru is his fourth that, at least in an ancillary fashion, has something to do with prison (the others being Lució Flávio, Pixote, and Kiss of the Spider Woman), and it's easily the least of them, justifying the men-behind-bars tropes and queen stereotypes by hiding behind its ostensible basis in Dráuzio Varella's non-fiction fiction. The film was adapted from a book that is based on a true story, the degrees of separation from reality dramatic enough as to render its hero doctor a smirking, condescending Virgil in a stock Inferno peopled with an all-too familiar panoply: smart con; murderous con who finds God; artistic elderly con; brutal street con; possibly innocent naïf con; philosophical con; and so on into nausea. The picture makes mistakes early and often, deciding to condense hundreds of stories into a few basic sketches and then choosing to recreate each of the pastiche criminal's life story in vignette flashbacks that do more to celebrate the brassy hedonism of São Paulo than underscore its underbelly of desperation and criminality. That carnival atmosphere comes off as a fragrant bouquet of patronizing pap that revels in its sordidness yet feels curiously naïve–"Oz" by a creative team that doesn't appear to know that the bar on prison dramas has been raised since Brute Force.

Crimson Gold (2003)

Posted in****/****, 2000s, Authors: Bill Chambers, Crime, Drama, Iran, Theatrical, Thriller

Talaye sorkh
****/****
starring Hussein Emadeddin, Kamyar Sheissi, Azita Rayeji, Shahram Vaziri
screenplay by Abbas Kiarostami
directed by Jafar Panahi

Crimsongoldby Bill Chambers Those planning on taking in Roland Emmerich's The Day After Tomorrow this weekend solely to judge the credibility of its disaster-movie hijinks would be better off buying a ticket to its competition in several North American markets, Jafar Panahi's Crimson Gold (Talaye sorkh), in which a scenario of inevitable, cyclical doom unfolds with astonishing veracity. The shooting of a jewellery-store owner by a thief who turned the gun on himself inspired master filmmaker Abbas Kiarostami to reverse-engineer the thief's motives in a screenplay written specifically for his former assistant director Panahi, fresh from the bittersweet triumph of The Circle. (Widely acclaimed everywhere, it was banned in his native Iran.) Some details specific to Iran's theocracy notwithstanding (a party is raided by police because men and women are dancing together), Crimson Gold is arguably a more globally inclusive film than The Circle, as it deals with the insidious threat of classism that on some level affects us all.

The Day After Tomorrow (2004)

Posted in2000s, Action, Adventure, Authors: Walter Chaw, Disaster Movie, Sci-Fi, Theatrical, Thriller

**/****
starring Dennis Quaid, Jake Gyllenhaal, Emmy Rossum, Dash Mihok
screenplay by Roland Emmerich & Jeffrey Nachmanoff
directed by Jeffrey Nachmanoff

Dayaftertomorrowby Walter Chaw Roland Emmerich's The Day After Tomorrow completes a trilogy for the German director in which he trashes New York City, revealing either a deep hatred of the United States or a shocking disdain for civil planning. Aliens and a radioactive Japanese iguana the culprits in Independence Day and Godzilla, respectively, Emmerich's cycle of NYC flicks continues the evolution of blame from extra-terrestrial to the whimsical side-effects of military testing to, with The Day After Tomorrow, the Bush Jr. administration. The picture is overtly political, going so far as to offer a Mutt and Jeff duo as his fictional executive branch, while less stridently it presents what is possibly the first semi-literal 9/11 film in its vision of Gotham devastated from without and all warnings ignored, its denizens putting aside differences to survive and its emergency workers heroic and iconic. To compare a modern Ice Age (repeatedly referred to as a permanent shift in climate (was it ever)) to 9/11 is inelegant but, in the long run, perhaps ideologically accurate.