Looney Tunes: Reality Check (2003) + Looney Tunes: Stranger Than Fiction (2003) – DVDs

December 5, 2003Posted in2000s, Animation, Authors: Travis Mackenzie Hoover, Comedy, DVD, Looney Tunes, Satire

LOONEY TUNES: REALITY CHECK
½*/**** Image A Sound B Extras B-

LOONEY TUNES: STRANGER THAN FICTION
½*/**** Image A Sound B Extras B-

by Travis Mackenzie Hoover So it's come to this: after decades of revelling in the hair-trigger-timed, artfully-drawn, beautifully lush fruits of the old Warner Brothers animation stable, we are now reduced to badly animated web broadcasts slapped haphazardly onto DVD. This cynical cash-grab has nothing to do with the craft of classic-Hollywood Looney Tunes and everything with trying to muscle in on an animation market largely dominated by Disney. But the iron that forged the greatness of the old shorts has largely run cold, replaced by the pathetic brandishing of the only other big cartoon trademarks in town–making for something from which only the very young or the very easily amused could derive any pleasure.

Boat Trip (2003) [The Unrated Version] – DVD

December 4, 2003Posted in2000s, Authors: Walter Chaw, Comedy, DVD, Germany

*/**** Image B- Sound B Extras C-
starring Cuba Gooding, Jr., Horatio Sanz, Vivica A. Fox, Roselyn Sanchez
screenplay by Mort Nathan & William Bigelow
directed by Mort Nathan

by Walter Chaw Scraping bottom, he said adding to the pool of limp entendre that comprises the whole of Mort Nathan’s excrescent Boat Trip–scraping bottom describing not only the film, but also–this was possible?–Cuba Gooding Jr.’s career. Booked onto a gay cruise by a vengeful travel agent, jilted Jerry (Gooding Jr.) and his pal Nick (Sanz), an interesting odd couple in that both are career second-fiddles (imagine Garfunkel and Oates and you’re close to the mark), try a little too hard to prove their heterosexuality before Gooding Jr. again demonstrates that his career more typically leans towards the mute Stepin Fetchit sidekick of Lightning Jack than it does Rod Tidwell. It’s no shocker that Jerry will fall for a fetching steward Gabriella (Roselyn Sanchez) while being unable, Jack Tripper-like, to reveal to her his affection for the weaker sex; complicating matters is a gaggle of Swedish swimsuit models needing a lift, offering a healthy dose of leering misogyny to the already lethal stew of screaming homophobia. If anything, Boat Trip is an extraordinary monument to bad decisions and bad timing–a picture so ill-conceived and, at its heart, so mean-spirited that it’s nigh impossible to understand how any person in their right mind could have thought this was a bright idea.

Chitty Chitty Bang Bang (1968) [Special Edition] – DVD

December 2, 2003Posted in1960s, Adventure, Authors: Walter Chaw, DVD, Family, Fantasy, Musical, UK

*/**** Image A Sound B Extras B-
starring Dick Van Dyke, Sally Ann Howes, Lionel Jeffries, Gert Frobe
screenplay by Roald Dahl and Ken Hughes
directed by Ken Hughes

by Walter Chaw Released the same year as the marginally less excrescent The Love Bug, Ken Hughes's Chitty Chitty Bang Bang helped mark 1968 as not only one of the most tumultuous years in American history, but also one of the most puzzling in regards to its mainstream kidsploitation fare. Why bad entertainment involving anthropomorphized automobiles erupts during corrupt regimes (see also: "My Mother the Car", from LBJ's term (1965), and Reagan's British Trans Am in "Knight Rider" (1982)) is one of those things someone should ponder someday.

Amandla!: A Revolution in Four-Part Harmony (2002) – DVD

December 2, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Documentary, DVD, Music, South Africa

**½/**** Image B+ Sound A Extras C+
directed by Lee Hirsch

by Travis Mackenzie Hoover Personal desires have a nasty habit of stepping on good intentions. It’s easy to think that by taking an interest in one corner of an issue/cause/milieu, you’re talking about all of it, and it’s just as easy to treat that corner on film while centring on that one thing you really like about it. Such is the case with Lee Hirsch, the well-meaning director of Amandla!: A Revolution in Four-Part Harmony (hereafter Amandla!). Anyone can see that he really, really, really likes South African freedom music, and with the examples his film gives, it’s not difficult to see why. But he’s so taken with its beauty and power that he ascribes to it magical powers it can’t possibly possess. Nobody can deny the importance of music to the South African struggle, but Amandla! is so in love with it that it makes it the entire struggle, a position there’s no chance in hell of it proving.

City of Ghosts (2003) – DVD

November 28, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Crime, Drama, DVD, Thriller

**½/**** Image A Sound A- Extras B
starring Matt Dillon, James Caan, Natascha McElhone, Gérard Depardieu
screenplay by Matt Dillon & Barry Gifford
directed by Matt Dillon

by Travis Mackenzie Hoover It pains me to have to pan something as accomplished as Matt Dillon's directorial debut City of Ghosts. On a technical level, the film is unimpeachable, moving at a comfortable click and remarkably seamless in its creation and assembly; it's not genius, perhaps, but it's certainly capable and, considering that it's a first feature, surprisingly at ease with the mechanics of image-making. Alas, image-making is not the only criteria by which we judge a movie, and so it must be regretfully said that the story that City of Ghosts has to tell is at best condescending and at worst casually racist, with a tourist's eye for the Phnom Penh setting viewing one more Marlow looking for his Kurtz.

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

November 26, 2003Posted in2000s, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Superhero, Vampire, ZERO STARS

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

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

Timeline (2003)

November 26, 2003Posted in2000s, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical, ZERO STARS

ZERO STARS/****
starring Paul Walker, Frances O'Connor, Gerard Butler, Billy Connolly
screenplay by Jeff Maguire and George Nolfi, based on the novel by Michael Crichton
directed by Richard Donner

Timelineby Walter Chaw So it's come to this: "Renaissance Fair: The Movie." A costume thriller based on another terrible Michael Crichton potboiler, Timeline isn't so much disinterested in plausibility as it is interested in pitching itself to the stupidest kid in class. It takes pains to bring along a guy fluent in French on its time travel adventure to fourteenth century France when it would have behooved them to find someone fluent in Middle French or, for that matter, Middle English. Guys weren't talking like Black Adder in 1357, they were talking like Chaucer, and what bothers me isn't that the filmmakers either don't know or don't care about that, but that they've taken pains to illogically address the language barrier, this happy group of time-tripping scientists, and the filmmakers are confident that no one stupid enough to buy a ticket for this film will know the difference. On second thought, they may have a point there.

Bruce Almighty (2003) [Widescreen] – DVD

November 25, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Fantasy

½*/**** Image B+ Sound A- Extras B-
starring Jim Carrey, Jennifer Aniston, Morgan Freeman, Lisa Ann Walter
screenplay by Steve Koren & Mark O'Keefe and Steve Oedekerk
directed by Tom Shadyac

by Walter Chaw There's something blissfully broken about the state of our self-esteem when first The Emperor's Club and now Bruce Almighty come shambling onto the silver screen wearing candy-coloured clothes while stumping subversive messages apropos to never being able to overcome one's shortcomings. And there's something blissfully broken about popular Christianity when within two weeks comes a high profile film about a wooden surfer unifier of nature and machine (Blake's Old and New Testament in The Matrix Reloaded) and this malignant high profile stillbirth, which answers Job's question with, "Let's see if you can do any better"–the one a politically-correct gloss on Christianity as survey movie spirituality, the other a politically-correct–and facile–view of the Christian walk with an entirely unredeemable (and unredeemed) protagonist who plays into our current theocratic leadership's belief that the imitation of Christ includes vengeance and greed.

X2: X-Men United (2003) [Widescreen] – DVD

November 23, 2003Posted in2000s, Action, Authors: Bill Chambers, Authors: Walter Chaw, DVD, Sci-Fi, Superhero, Thriller

X2
**½/**** Image A Sound A+ Extras A-
starring Patrick Stewart, Hugh Jackman, Ian McKellen, Halle Berry
screenplay by Michael Dougherty & Dan Harris
directed by Bryan Singer

X2dvdcap

by Walter Chaw Where the first film opened with a Holocaust backstory, the second instalment begins in the White House with a quote from Abraham Lincoln's inaugural address and a cool doubling of Aaron Shikler's pensive portrait of John F. Kennedy. X-Men is setting itself up as a high-minded comic book franchise, one unusually committed to relating its empowerment panel soap-opera with solid performances, decent scripting, and direction from a filmmaker, Bryan Singer, interested in the sanctity of narrative. The problems with X2's (a.k.a. X-Men 2 and X2: X-Men United) premise and its wrangling of so large an ensemble are fairly obvious: there are no real limits placed on the powers of the "X-Men" mutants and there is little time afforded to the proper establishment of relational conflict.

Macy’s Day: FFC Interviews William H. Macy

November 23, 2003Posted in2000s, Authors: Walter Chaw, Interviews

WilliamhmacyinterviewtitleNovember 23, 2003|Backstage at the Auraria Campus of the University of Colorado's newly refurbished King Center is a network of hallways and dressing rooms that remind a little of that part in This is Spinal Tap where the boys get lost on their way to the stage. William H. Macy, taller than I expected and with a force of personality at odds with his milquetoast screen persona, makes a comment about this in a dead-on Nigel Tufnel ("We've got armadillos in our trousers") as we usher the actor to a clips show and awards ceremony at the 26th Denver International Film Festival, which is honouring him with the event's John Cassavetes Award for contributions to independent cinema. Gracious, humble, genuinely gratified by the tribute, Macy, in a light mood, tells a story about an actor friend who got lost in the tunnels backstage en route to his entrance in a play, erupting triumphantly at last stage left, but alas in the wrong production. "But how was the performance?" I asked. "Compromised," Macy deadpanned.

Escape from New York (1981) [Special Edition – DVD Collector’s Set] – DVD

November 23, 2003Posted in1980s, Action, Adventure, Authors: Bill Chambers, Directors: John Carpenter, DVD, Sci-Fi

John Carpenter’s Escape from New York
***½/**** Image B+ Sound A- Extras B+
starring Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence
screenplay by John Carpenter & Nick Castle
directed by John Carpenter

by Bill Chambers Is there a person alive who can hear the opening theme from John Carpenter’s Escape from New York and resist the urge to tap the keys of an invisible synthesizer? Composed by the director himself (who knows how to write memorable bad music, as much an asset as the ability to write good music), the Mike Post-in-spurs riff is a fitting anthem for The Apocalypse, as well as a textbook example of how to draw, nay, ease the audience into a film that will feel the whole time like you’re staring through a filter at other films, chiefly those belonging to the western, vigilante, and zombie genres. The gift for acclimatizing an audience to his idiosyncratic vision through a simple, melodic overture is one that Carpenter shares with idol Sergio Leone; another is an affinity for the ‘scope aspect ratio, although he steers clear of the extreme close-up (Leone’s signature), probably half out of plagiarism-worry and half because he’s not a sensualist. Carpenter barely even bothered to exploit cheesecake-ready Adrienne Barbeau the two times he directed her–even if she was his wife back then, that takes indifference. I think that men love John Carpenter movies, especially his early shoot-’em-ups, because Carpenter’s action figures are so chaste as to evoke the sexless joy of boyhood roughhousing.

Darling (1965) – DVD

November 21, 2003Posted in1960s, Authors: Travis Mackenzie Hoover, Drama, DVD, Romance, UK

*½/**** Image B Sound B+
starring Julie Christie, Laurence Harvey, Dirk Bogarde
screenplay by Frederic Raphael
directed by John Schlesinger

by Travis Mackenzie Hoover Marking the point where Britain's realist directors turned from the proletariat to Swinging London, Darling is determined to show you all the depravity the latter milieu entails–and then make you suffer for it. The film is stultifying in its old-bourgeois disapproval of what used to be condescendingly referred to as "the younger generation," and as it ticks off the sins of its titular protagonist, Darling only makes you hate the filmmakers for being so high and mighty. There's no real analysis of what motivates the picture's aimless and amoral heroine, and no appreciation of the complexity of her plight; there is only smug moral judgment and a curt dismissal. The film is so self-consciously "serious" that it counts out any and all pleasure as shallow and destructive, leaving a grimy austerity that is as taken with surfaces as the woman it's supposed to be indicting.

Eloise at the Plaza (2003) – DVD

November 21, 2003Posted in2000s, Adventure, Authors: Travis Mackenzie Hoover, Comedy, Disney, Drama, DVD, Family, UK

***/**** Image A- Sound B+ Extras C
starring Julie Andrews, Jeffrey Tambor, Sofia Vassilieva, Christine Baranski
screenplay by Janet Brownell, based on the book written by Kay Thompson & illustrated by Hilary Knight
directed by Kevin Lima

by Travis Mackenzie Hoover I never thought I'd hear myself saying this, but Eloise at the Plaza is made with far greater skill and care than a Disney TV-movie would normally warrant. Derived from the much-loved children's books by Kay Thompson and Hilary Knight, the film goes out of its way to reproduce their junior-NEW YORKER tone, only in a heavily formalist, hyper-real manner that thrives on perfect shape and well-timed movement. So accomplished is the look of the film that it makes one forget the mealy-mouthed sentiment of some of the dialogue–the clockwork archness of the production transforms its clichés into pure narrative form, so that they might give pleasure in their deployment and execution. In short, it's much better than it had to be and not half bad on its own terms, even by the standards of devoted cynics like me.

Bubba Ho-Tep (2003)

November 21, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Drama, Horror, Mystery, Theatrical

***/****
starring Bruce Campbell, Ossie Davis, Reggie Bannister, Bob Ivy
screenplay by Don Coscarelli, based on the novel by Joe R. Lansdale
directed by Don Coscarelli

by Walter Chaw Joe R. Lansdale is best known for his tales of the “weird west,” a genre mixing splatterpunk with alternate-history western almost entirely defined by the author in the early-Nineties. His work reads a little like the sort of folklore in which Mark Twain dabbled (or the gothic in which Flannery O’Connor was involved), but with zombies and gore, while Don Coscarelli’s Bubba Ho-Tep, an adaptation of a Lansdale short story, is steeped in the same sort of bent sensibility that informs the author’s work, performing something like a masterstroke in casting Bruce Campbell as Elvis and Ossie Davis as JFK–if ultimately falling a little short of the astonishing audacity of Lansdale’s prose. (That very ballsiness what has kept any film prior to this one being made from Lansdale’s work, methinks.) What distinguishes the picture, however, is what feels like a genuine concern for the difficulties of aging and the aged, a melancholy tone to the proceedings that, fascinatingly, equates a mummy unquiet for being buried nameless with a pair of American folk heroes declining, also anonymous, in a retirement facility in East Texas.

The Missing (2003)

November 21, 2003Posted in2000s, Adventure, Authors: Walter Chaw, Theatrical, Thriller, Western

*½/****
starring Tommy Lee Jones, Cate Blanchett, Evan Rachel Wood, Jenna Boyd
screenplay by Ken Kaufman, based on the novel The Last Ride by Thomas Edison
directed by Ron Howard

Lookee what we have here--one-a them frontier elvesby Walter Chaw Probably best described as Ron Howard’s The Searchers, the really quite awful The Missing (the first clue is a James Horner score) and its tale of bad Indians vs. sacrificial Indians vs. white settlers unfolds during a frontier period that, the last time Howard dabbled, unleashed Far and Away. With Horner’s help, Howard proves with The Missing that there’s no source material too bleak (not schizophrenia, not reality television, not space mishaps) for him to shine his dimwitted, beatific smile upon. He transforms Thomas Eidson’s bleak frontier western (The Last Ride) into a curious sort of faux-feminist uplift melodrama (“Mildred Pierce, Medicine Woman”), demonstrating, along the way, that he has no idea what issues he’s raising, much less any idea how to honour them.

National Lampoon’s Animal House (1978) [Double Secret Probation Edition – Widescreen] – DVD

November 20, 2003Posted in1970s, Authors: Walter Chaw, Comedy, DVD

***½/**** Image B+ Sound B+ Extras A
starring John Belushi, Tim Matheson, John Vernon, Verna Bloom
screenplay by Harold Ramis, Douglas Kenny & Chris Miller
directed by John Landis

by Walter Chaw Films that spawn genres are unusual, and if twenty-five years and dozens of imitators have diluted the sex and scatology formula of John Landis’s National Lampoon’s Animal House a bit, nothing touches the tightness of an enterprise that finds a golf ball hit into cafeteria stew in one scene and John Belushi casually eating that golf ball a few minutes later. The picture doesn’t so much cover the bases as draw the diamond, casting the evil dean of a small college, Wormer (John Vernon), against a band of fun-loving frat boys led by smooth Otter (Tim Matheson), animalistic Bluto (Belushi), hapless Flounder (Stephen Furst), and audience surrogate Pinto (Tom Hulce). What distinguishes Animal House‘s irreverence from feckless anarchy is the same thing that distinguishes the films of the Farrelly Brothers, the true inheritors of the picture’s legacy: a strong feeling for character and a congenial willingness to transgress that rings as honest even as it tickles at inappropriate.

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

November 18, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Canada, Christmas, Comedy, Disney, DVD, Family, Fantasy, ZERO STARS

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

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

Metal and Melancholy (1994) + Crazy (1999)

November 14, 2003Posted in1990s, Authors: Travis Mackenzie Hoover, Documentary, Netherlands, Theatrical

Metaal en melancholie
***½/****
directed by Heddy Honigmann

CRAZY
***½/****
directed by Heddy Honigmann

by Travis Mackenzie Hoover Where has Heddy Honigmann been all my life? Hidden amongst the well-intentioned sheep and voyeuristic wolves that usually crowd my stays at the Hot Docs documentary festival is her ferocious intelligence and shattering compassion–which, when combined, results in wrenching, haunting films that stand alone and put most other documentarians to shame. Like no other filmmaker, she shows people caught in the crossfire of forces beyond their control, and like no other filmmaker, she captures the creative ways in which people adapt to the environment created by those forces. Furthermore, there isn't a shred of liberal self-congratulation anywhere to be found–there is no distance from the pain of her subjects, and there is no escaping the surge of confusion at the situations in which they find themselves. Her films are direct, unpretentious, and highly articulate in their evocation of the people and places they describe.

Master and Commander: The Far Side of the World (2003)

November 14, 2003Posted in2000s, Action, Adventure, Authors: Walter Chaw, Drama, Theatrical, War

***½/****
starring Russell Crowe, Paul Bettany, James D’Arcy, Edward Woodall
screenplay by Peter Weir & John Collee, based on the novel by Patrick O’Brian
directed by Peter Weir

by Walter Chaw By turns brutal and majestic, Peter Weir’s Master and Commander: The Far Side of the World (hereafter Master and Commander) reunites the antipodean director with Russell Boyd, the cinematographer with whom he shot The Last Wave, Gallipoli, and The Year of Living Dangerously, and the two have produced a picture on par with those films: historically aware, but more notable for its epic beauty and scope. The effect of Master and Commander is rapture–it engulfs with its detail, finding time to flirt with the secrets of the Galapagos as parallel to the unfolding mystery of technology that finds the HMS Surprise outclassed by the French Acheron, stealthy and peerless enough to inspire speculations of supernatural origin. Issues of the old at war with the new (superstition vs. science, instinct vs. calculation) are nothing new for Weir, who is, after all, at his best when examining the dangers of individuals at odds with tradition, and the rewards for modern men able to assimilate the ancient into the new.

Dragonslayer (1981) – DVD

November 13, 2003Posted in1980s, Action, Adventure, Authors: Walter Chaw, DVD, Fantasy

***½/**** Image A- Sound A-
starring Peter MacNicol, Caitlin Clarke, Ralph Richardson, Chloe Salaman
screenplay by Hal Barwood & Matthew Robbins
directed by Matthew Robbins

WATCH IN iTUNES – USA|CANADA

by Walter Chaw Dragonslayer is epoch-slaying, a final salvo for the courageously nihilistic films of the Seventies that is surprisingly literal about the changing of the guard from the filmmaker-driven individualism of the American new wave to the banality of the big-budget formula mentality. Its tale is best taken in the context of the idea that an individual artist–a practitioner of arcane magics that have fallen out of favour in a contemporary environment–can still affect change even if credit of the work will ultimately be hijacked by monolithic organizations. The thread of melancholy that runs through the picture springs from the idea that what we witness is an end to dragons and wizards, the battle between apprentice and beast unfolding with a doomed resignation (something like the wild stallion wrangling in The Misfits) as compared against the neutering of the individual voice within the studio system. (Dragons and warriors, the death of Robert Evans and Francis Ford Coppola alike.) With The Empire Strikes Back and Raging Bull, Dragonslayer completes a troika of early-Eighties tales of unimaginable losses and swiftly tilting identities–pictures poised tremulously at the moment of decline and, as it happens, horribly self-aware.