Sinbad: Legend of the Seven Seas (2003)

July 1, 2003Posted in2000s, Adventure, Animation, Authors: Walter Chaw, Comedy, Family, Fantasy, France, Theatrical, UK

**/****
screenplay by John Logan
directed by Patrick Gilmore & Tim Johnson

by Walter Chaw Making almost no impression at all, DreamWorks’ latest animated flick is a lot like their last animated flick, Spirit: Stallion of the Cimarron: an endlessly-reproducible light romantic cartoon heavy on the derring-do and gender slapstick, and light on anything that could possibly be construed as memorable. The most noteworthy thing about the picture, in fact, is that it exposes the surprising quickness with which DreamWorks’ has become that which it most disdains: Disney redux–its sixth animated feature satisfying the maxim of joining what can’t be beaten and getting as entrenched and boring as Treasure Planet in the process. As soon as it’s declared that the quest of the film is for the “Book of Peace,” it’s already past time to let the eye-rolling commence.

From the Terrace (1960) – DVD

June 30, 2003Posted in1960s, Authors: Walter Chaw, Drama, DVD, Romance

*/**** Image A Sound B Extras D+
starring Paul Newman, Joanne Woodward, Myrna Loy
screenplay by Ernest Lehman
directed by Mark Robson

by Walter Chaw The term “melodrama” comes from the Greek and the French, finding its literal meaning in something like “musical drama,” and Mark Robson’s From the Terrace (1960)–packed front to back with Elmer Bernstein’s gorgeous but intrusive and, in at least a few moments, hysterical orchestrations–fits the bill nicely. Adapted from a John O’Hara bodice-ripper by chronic adaptor Ernest Lehman and released during the gap between the Lehman-scripted marvels North by Northwest and West Side Story, the picture drips with the charged sexual innuendo of the former (and of Robson’s Peyton Place, come to think of it) while falling short of the caustic social commentary of the latter.

The Documentarian Becomes the Documented: FFC Interviews Andrew Jarecki

June 28, 2003Posted in2000s, Authors: Walter Chaw, Documentary, Interviews

AjareckiinterviewtitleJune 29, 2003|When it came to light in 1987 that retired teacher/patriarch Arnold Friedman was a practicing pedophile, and that he and his youngest son Jesse had been accused of dozens of counts of child molestation, the mild-mannered, middle-class Friedman clan were caught up in a whirlwind. Being caught in a whirlwind is also what's happened to director Andrew Jarecki, who sold his company Moviefone to AOL in 1999 for an amount in excess of $350M and somehow wound up writing the theme song for TV's "Felicity" before finding himself at the helm of Capturing the Friedmans, a documentary feature (Jarecki's first film) that has already landed him the Grand Jury Prize for a documentary feature at this year's Sundance Film Festival, a featured hour on NPR's "Fresh Air", an article in THE NEW YORKER, and a record opening in New York, all of which has the picture poised to be the most talked-about of the year. And being caught in a whirlwind is the circumstance that found me talking to Mr. Jarecki–each on a burping cell phone, driving to other appointments in cities across the country from one another.

Ten (2002) + Lilya 4-Ever (2002)

June 27, 2003Posted in2000s, Authors: Walter Chaw, Coming of Age, Crime, Denmark, Drama, Esoterica, France, Iran, Sweden

Dah
**½/****
starring Mania Akbari, Amin Maher, Kamran Adl, Roya Arabashi
written and directed by Abbas Kiarostami

Lilja 4-Ever
***/****
starring Oksana Akinshina, Artyom Bogucharsky, Lyubov Agapova, Liliya Shinkaryova
written and directed by Lukas Moodysson

by Walter Chaw The plight of women in oppressive and/or emerging cultures, on film, is a slipstream metaphor for the travails of all the citizenry of that place and, from there, the existential struggle of modern man–a heavy burden, to be sure, and one that forever teeters on the precipice of trite to the one side, affected to the other. (With “condescending” the great beast, crouched and ready to pounce.) Women are too often grail repositories of fear and loathing–indicator species, much like children in film, to be examined for hints of what’s toxic in the spirit of the time. That two foreign films by male directors find their way to the United States in fast company of one another, dealing with the plight of women (all women, all society, all the world) in ways frank and raw, is arguably not so much coincidence, then, as a synchronicity that, no matter their relative success, represents a sharp spur and a whip to the collective flank.

The Hard Word (2002)

June 27, 2003Posted in2000s, Action, Australia, Authors: Walter Chaw, Comedy, Crime, Drama, Theatrical, Thriller, UK

*½/****
starring Guy Pearce, Rachel Griffiths, Robert Taylor, Joel Edgerton
written and directed by Scott Rogers

Hardwordby Walter Chaw You’d think that POME (“Prisoners of Mother England”) would be better at making a crime drama, but Scott Roberts’s hyphenate debut The Hard Word is a flaccid ripper of Kubrick’s The Killing thick in avuncular vernacular and notably thin of any real meat. Between a few funny throwaways (a character refers to Philip K. Dick’s A Scanner Darkly, Dick’s autobiographical survey of paranoia and drug psychosis, as a primer for modern marriage), and some decidedly David Lynch-ian violence, the picture feels a lot like a mish-mash of post-mod noir ideas (the butcher, the redeemed femme, cannibalism) arranged with little respect for rhyme and reason. Style over substance, the whole thing is delivered in accents so under-looped and thick that it occasionally falls out as a cast of Brad Pitt’s Snatch pikeys performing Tarantino outtakes.

Charlie’s Angels: Full Throttle (2003)

June 27, 2003Posted in2000s, Action, Adventure, Authors: Walter Chaw, Comedy, Crime, Theatrical

½*/****
starring Cameron Diaz, Drew Barrymore, Lucy Liu, Demi Moore
screenplay by John August and Cormac Wibberley & Marianne Wibberley
directed by McG

Charliesangelsfullthrottleby Walter Chaw Even its subtitle an onanistic entendre, McG’s excrescent Charlie’s Angels: Full Throttle takes self-awareness to the level of pornography in what boils down to one of the most queasily interesting trainwrecks in recent memory. It leaves the joyful goofiness of the first film in the dust of the “wanton slut” school of feminism, uncomfortable innuendo (incest just isn’t all that funny), and a parade of star cameos that would have derailed the film were it not already a mere series of references to other films. What the picture represents, in a very real way, is the death of cinema, swallowed whole by the same instinct that drives television: strobe cuts, shallow titillation, barely subsumed fetishism, gleeful stupidity… all fuelled entirely by a knowledge of medium. The picture doesn’t have any sort of meaning outside of the cinematic–it’s essentially a warm spasm of pop cultural goop, an extended succession of money shots with none of that distracting filler (plot, character, tension, purpose) that weighs down pictures exhibiting some measure of non-commercial ambition.

Capturing the Friedmans (2003)

June 26, 2003Posted in****/****, 2000s, Authors: Walter Chaw, Crime, Documentary, Theatrical

****/****
directed by Andrew Jarecki

“Only that which has no history is definable”
-Nietzsche, The Genealogy of Morals, 1887

by Walter Chaw The rare film to encapsulate the macro and the micro with eloquence and no little existential disquiet, Andrew Jarecki’s amazing documentary Capturing the Friedmans tackles issues like the nature of film, the slipperiness of memory, and the unreliability of identity in ways that are uncomfortable and prickly. The revelations in the film about modern cultural anthropology are indescribably delicious, speaking to pleasure in a way that Jonathan Rosenbaum once identified as including the sensations of fear and unbalance–as an experience, the picture is as exhilaratingly unnerving as only an illicit document can be. When, early in the piece, eldest son of the Friedman clan David addresses the camera directly in what he warns is a personal journal, Capturing the Friedmans subverts the exploitive voyeurism that defines cinema, particularly pornographic cinema, in a way that is as cannily, uniquely, ironically filmic as Michael Powell’s Peeping Tom. It’s something we feel we shouldn’t be watching–a realization that, once established (within the first minutes of the picture), finds the audience formulated helpless and naked before the film’s reptilian regard.

The Wild Dogs (2003)

June 26, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Canada, Drama, Theatrical

***/****
starring Thom Fitzgerald, David Hayman, Alberta Watson, Rachel Blanchard
written and directed by Tom Fitzgerald

Wilddogsby Travis Mackenzie Hoover There’s a lot to be said against Thom Fitzgerald’s The Wild Dogs, a film that, when faced with abject poverty and suffering, doesn’t really know how to resolve its feelings and compensates by resorting to bad doom-laden metaphors. But as it flails wildly in the hopes of hitting a target, there’s no denying that the film occasionally does, and that when it does it often scores a direct hit. Even if Fitzgerald can’t solve the problems of a crumbling Bucharest, he evokes the state of wanting to extremely well, thus saving his film from the sanctimony that another director might have brought to the subject.

Family Reunion: The Movie (2003) – DVD

June 24, 2003Posted in2000s, Authors: Walter Chaw, Comedy, DVD, ZERO STARS

ZERO STARS/**** Image D Sound C+ Extras D
starring Red Grant, Reynaldo Rey, Bebe Drake, Sommore Jamal
written and directed by Red Grant

by Walter Chaw The sort of movie where Klansman dressed in the Teletubby rainbow are brutally beaten in a Southern Methodist church when they submit themselves to the mercy of the Lord, Red Grant’s Family Reunion: The Movie is a scattershot Def Comedy Jam routine filmed with a noxious, hostile artlessness made all the more impotent by its desire to be whimsical. Rather than being the sort of amateurish gut-rot that can make a claim to activism through its nihilistic misanthropy and racism, it’s the redheaded stepchild of the Friday series: screwball ethnic humour long on volume and short on laughs.

The Big Trail (1930) – DVD

June 24, 2003Posted in1930s, Adventure, Authors: Travis Mackenzie Hoover, Drama, DVD, Romance, Western

**½/**** Image B Sound B
starring John Wayne, Marguerite Churchill, El Brendel, Tully Marshall
screenplay by Hal G. Evarts
directed by Raoul Walsh

by Travis Mackenzie Hoover The Big Trail is the kind of movie that comes wrapped in a big piece of butcher’s paper with the word WESTERN stamped on it. It offers the barest structural skeleton of the genre, with pioneers fulfilling their Manifest Destiny over terrain both harsh and unforgiving, and it sticks with its forward march to Oregon with only minor narrative flourishes to distract from the standard-issue myth of America. Later westerns would meditate on the nature of both the lone-wolf cowboy hero and the value of the westward expansion, but this early John Wayne vehicle is quaintly naïve in its taking it all for granted, making for great film-historical fascination when the drama and the intrigue flag.

Phone Booth (2003) – DVD

June 22, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Crime, DVD, Mystery, Thriller

**½/**** Image B+ Sound A Commentary A
starring Colin Farrell, Kiefer Sutherland, Forest Whitaker, Radha Mitchell
screenplay by Larry Cohen
directed by Joel Schumacher

by Walter Chaw Responsible for some of my favourite weirdo low-tech cult films (Q, God Told Me To, It’s Alive!), underground auteur Larry Cohen’s output is a lollapalooza of high-concept hokum invested equally in the Catholic and the apocalyptic. Joining forces with master hack Joel Schumacher (who’s made a mean schlock classic or two himself–Flatliners, The Lost Boys, The Incredible Shrinking Woman) on the unfortunately-timed sniper fantasy Phone Booth, Cohen’s script reveals the man up to his old tricks: a barely feature-length product (about seventy-five minutes without credits) set inside a confessional-cum-8th Avenue phone booth that mires an anti-hero in an old-school oasis amidst our sterile technological wasteland. What should have been an agreeable bit of nonsense, however, gets tangled up in Cohen’s desire to proselytize, transforming the potential for a paranoid piece of B-sociology into something empty and pretentious–a tale directed by an idiot, full of some admittedly innovative sound design and a surplus of Method fury.

Empire Records (1995) [Remix! Special Fan Edition] – DVD

June 22, 2003Posted in1990s, Authors: Bill Chambers, Comedy, Drama, DVD, Music, Romance, Teen

Empire Records: Remix!
*½/**** Image B Sound A- Extras C-
starring Liv Tyler, Anthony LaPaglia, Renee Zellweger, Maxwell Caulfield
screenplay by Carol Heikkinen
directed by Allan Moyle

by Bill Chambers Allan Moyle’s Empire Records has defenders too staunch to disregard–and because I listened to them, I’m left with the sensation that I chewed a piece of bubblegum until well after its flavour ran dry. The Canadian Moyle, whose inauspicious directorial debut was the 1977 tax-shelter crime flick The Rubber Gun, discovered teenagers three years later with his oddity of a second film Times Square and has rarely looked back since. Yet although his cinematic beginnings predate those of John Hughes, Moyle’s Pump Up the Volume and Empire Records are eclipsed by even the lesser entries in Hughes’s teen canon, such as Sixteen Candles and the Hughes-produced Pretty in Pink.

Resurface: FFC Interviews Scott McGehee & David Siegel

June 21, 2003Posted in2000s, Authors: Walter Chaw, Film Festivals, Interviews

McgeheesiegelinterviewtitleJune 22, 2003|Aspen's NXT lounge and nightclub has, off its main floor, a series of smaller rooms and bars decorated in various shades of dirty opulence. Serving as the base of operations for the 12th Aspen Shortsfest, there I met dark complected Scott McGehee and silver-haired David Siegel–co-hyphenates behind icy technical pictures Suture and The Deep End–in a 20' x 30', glass-walled room sporting three over-stuffed love seats and little padded ottomans with Corinthian flares that I'm sure have a name and work well as a tape-recorder stand. After a brief, bonding conversation about the sorry state of modern film criticism (fed by the sorry state of modern major-daily entertainment editors) and the lack of a critical tradition in the United States in comparison to Europe, we moved on to Suture.

Me Without You (2001) – DVD

June 20, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Coming of Age, Drama, DVD, Germany, UK

***/**** Image F Sound B-
starring Anna Friel, Michelle Williams, Oliver Milburn, Kyle MacLachlan
screenplay by Sandra Goldbacher and Laurence Coriat
directed by Sandra Goldbacher

by Walter Chaw Sandra Goldbacher’s Me Without You is feral and alive and home to two of the best performances of last year, courtesy Michelle Williams and Anna Friel. One of the more uncompromising films about the things women do to one another over the course of a long friendship, it becomes a bit repetitive by the end and a bit like a Jane Austen novel (“Emma, actually,” the film helpfully informs) transplanted to the England of the past three decades, but its conventions skate with the honesty of performances from its main trio of Williams, Friel, and Oliver Milburn as the prototypical rakish, misunderstood Austen hero.

Alex & Emma (2003)

June 20, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Romance, Theatrical

*/****
starring Luke Wilson, Kate Hudson, Rob Reiner, Sophie Marceau
screenplay by Jeremy Leven
directed by Rob Reiner

Alexandemmaby Walter Chaw We’ve been here with Rob Reiner before, the whimsical fantasy film manifesting in the pretty good (but pretty overrated) The Princess Bride (as well as the cheerfully awful North), while the romance between a prototypical thug and a difficult woman found shape in the Woody Allen film that everyone could agree on, When Harry Met Sally… (and the grotesquely unwatchable The Story of Us). Watching a Reiner film, then, at least post-’80s, is a little like playing Russian Roulette with a pair of eye-gouging forks–and, too often, playing to lose. Not so much an auteur as a bookmark and a warm body, Reiner is the Mantovani of movie directors, and the extent to which you like a tongue bath is a succinct barometer of how much you’ll appreciate his later films. With that in mind, Alex & Emma is so free of conflict and originality that watching it is actually a little like watching good avant-garde cinema: Freed from the constraints of narrative, one enters something like a fugue state, where the images flit by on screen in the simulacrum of sense, eliciting meanings in ironic counterpoint to traditional significance.

Tsui Hark’s Vampire Hunters (2003)

June 20, 2003Posted in2000s, Action, Authors: Walter Chaw, Hong Kong, Horror, Japan, Netherlands, Theatrical, Vampire

The Era of Vampires
*/****
starring Chan Kwok Kwan, Ken Chang, Suet Lam, Michael Chow Man-Kin
screenplay by Tsui Hark
directed by Wellson Chin

by Walter Chaw An incomprehensible bit of garbage produced and written by legendary Hong Kong filmmaker Tsui Hark, Vampire Hunters juggles at least three plots and drops each of them repeatedly and egregiously. Its lore is confused and its heroes are unremarkable but for the unusual degree to which they’re inept and disinteresting. The promise inherent in a chop-socky wuxia opus concerning a quintet of fearless vampire hunters and a cadre of zombies is almost infinite, making the abject failure of the piece something almost awe-inspiring. Though it’s tempting to blame director Wellson Chin’s propensity to stage fight scenes in unrelieved murk, the real culprit of the piece may be a bad guy who looks and moves a lot like a mannequin on a string. William Castle, eat your heart out.

Tycoon (2002); Under the Skin of the City (2001); Stone Reader (2003)

June 19, 2003Posted in2000s, Authors: Walter Chaw, Crime, Documentary, Drama, France, Germany, Iran, Russia, Theatrical

Oligarkh
Tycoon: A New Russian
*½/****
starring Vladimir Mashkov, Mariya Mironova, Levani Outchaneichvili, Aleksandr Baluyev
screenplay by Aleksandr Borodyansky, Pavel Lungin, Yuli Dubov, based on Dubov’s novel Bolshaya pajka
directed by Pavel Lungin

Zir-e poost-e shahr
Under the City’s Skin
***/****
starring Golab Adineh, Mohammad Reza Forutan, Baran Kosari, Ebrahin Sheibani
screenplay by Rakhshan Bani Etemad, Farid Mostafavi
directed by Rakhshan Bani Etemad

STONE READER
*/****
directed by Mark Moskowitz

by Walter Chaw The collapse of oppressive regimes is a double-edged sword for a country’s film industry. Official censors are out of work, but they take their government’s sponsorship of the film industry with them. Entertaining a stream of strange bedfellows from the United States and France, the Russian cinema in the age of Perestroika struggled to find a balance between artistry and commerce–the same instinct that promoted the creation of underground trades in fake Levi’s spawned, too, a steadily gathering horde of cheap knock-off films designed, like their Yankee brothers, for minimal but satisfactory fiscal return. Departing quickly from the early optimism of pictures like Alexander Sokurov’s Days of Eclipse and Pavel Lungin’s Taxi Blues, the “Russian New Wave” (led like the French nouvelle vague by a cadre of critics) has expressed itself lately through cultural remakes of classics of world (including early Russian) cinema. The S. Dobrotvorsky-scripted Nicotine, an interesting take on Godard’s Breathless, is the best of the cultural doppelgängers; Lungin’s Tycoon is among the worst.

Laurel Canyon (2003) – DVD

June 18, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, Drama, DVD, Music

**½/**** Image A Sound A- Extras B-
starring Frances McDormand, Christian Bale, Kate Beckinsale, Natascha McElhone
written and directed by Lisa Cholodenko

by Walter Chaw Buoyed by a fantastic performance from Frances McDormand, Lisa Cholodenko’s follow-up to her deft, well-regarded High Art is the disappointing, sprawling, somewhat overreaching Laurel Canyon. In its ambition it resembles Rose Troche’s third film, The Safety of Objects–that picture also saddled with a large, veteran cast and a problem with focus, but most importantly with the responsibility of a young filmmaker given the opportunity, with a bigger budget and well-regarded performers, to produce a piece commensurate in scale to that perceived expectation. The problem with the situation is that more times than not it leads to the type of film that Laurel Canyon is: ostentatious in structure, but in that way also a departure from the succinct character observations that brought the young artist the opportunity in the first place.

The Incredible Hulk Returns (1988)/The Trial of the Incredible Hulk (1989) [2 Disc Set]; The Death of the Incredible Hulk (1990); The Incredible Hulk (1996) – DVDs

June 17, 2003Posted in1980s, 1990s, Action, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Drama, DVD, Espionage, Fantasy, Sci-Fi, Superhero

THE INCREDIBLE HULK RETURNS
**/**** Image B- Sound B Extras A+
starring Bill Bixby, Lou Ferrigno, Lee Purcell, Jack Colvin
written by Nicholas Corea
directed by Bill Bixby & Nicholas Corea

THE TRIAL OF THE INCREDIBLE HULK
*/**** Image B- Sound B Extras A+
starring Bill Bixby, Lou Ferrigno, Rex Smith, John Rhys-Davies
written by Gerald Di Pego
directed by Bill Bixby

by Walter Chaw It all comes back in a rush, the crosshairs fixing David Banner’s (Bill Bixby) face, the breathless narration summarizing the whole of the creation story in ninety seconds, the shots of long-haired Lou Ferrigno, in full body paint, embodying the rage and frustration of the flower-power generation in all its ripped-jean glory. Punked with a horse’s dose of gamma radiation, mild-mannered Dr. Banner turns into a ball of flexing id that gets most wroth until running across a kitten or something and calming down. Jekyll and Hyde for the “me” generation; that a research scientist disinterested in the particulars of cashing in turns into a giant green ball of type-A is one avenue for discussion, though a better one is the fact that Banner represents in a real way the idea of hope and compassion in a time more interested in “Hulk smash”–making the moldy Marvel hero a potentially good match for the reflective sensibilities of Ang Lee. That Banner’s pacifist nature is always defeated by his “anger” speaks volumes about the inevitability of the metamorphosis of hippie to yuppie, as well as the death of a dream that transformation encompasses.

Don’t Say No Before You’ve Seen the Bloke: FFC Interviews Bruce Beresford

June 14, 2003Posted in2000s, Australia, Authors: Walter Chaw, Interviews

BberesfordinterviewtitleJune 15, 2003|A large man in a rumpled suit with a large clutch of papers and a VHS screener tucked underneath one arm, Bruce Beresford, the Australian director of some of the best films of the past thirty years (and some of the worst films of the last ten), is the model of expansive, self-deprecating charm. An experienced opera director and a member of the Aussie New Wave, which began filling the void in the late-’70s and into the ’80s left by the American cinema succumbing to the call of corporate-fuelled decision-making, Mr. Beresford–whose made-for-cable epic And Starring Pancho Villa as Himself is set to debut in the near future–sat down with me at the 12th Aspen Shortsfest to talk about everything from the topicality of his Breaker Morant to the inexplicability of his Double Jeopardy.  I started with the underseen Beresford gem The Fringe Dwellers.