20,000 Leagues Under the Sea (1954) [Special Edition] + Atlantis: Milo’s Return (2003) – DVDs

May 20, 2003Posted in1950s, 2000s, Action, Adventure, Animation, Authors: Bill Chambers, Disney, DVD, Family, Fantasy, Sci-Fi

20,000 LEAGUES UNDER THE SEA
***/**** Image B- Sound A- Extras A+
starring Kirk Douglas, James Mason, Paul Lukas, Peter Lorre
screenplay by Earl Felton, based on the novel by Jules Verne
directed by Richard Fleischer

ATLANTIS: MILO’S RETURN
*½/**** Image C+ Sound A- Extras D+
screenplay by Thomas Hart & Henry Gilroy & Kevin Hopps & Tad Stones & Steve Englehart & Marty Isenberg
directed by Victor Cook, Toby Shelton, Tad Stones

“Climb aboard the Nautilus…and into a strange undersea world of spellbinding adventure! Kirk Douglas, Paul Lukas and Peter Lorre star as shipwrecked survivors taken captive by the mysterious Captain Nemo, brilliantly portrayed by James Mason. Wavering between genius and madness, Nemo has launched a deadly crusade across the seven seas. But can the captive crew expose his evil plan before he destroys the world?” –DVD liner summary for 20,000 Leagues Under the Sea

by Bill Chambers The trained seal is impressive, but enough about Kirk Douglas. Disney’s epic live-action adaptation of the Jules Verne novel, 20,000 Leagues Under the Sea proves three things over the course of its thick running time: that director Richard Fleischer (the man who brought us Fantastic Voyage, the film that inspired Innerspace) was a gifted special-effects marshall–20,000 Leagues Under the Sea is still eye- popping/fooling 49 years after its release; that James Mason essayed the cinema’s definitive Bligh archetype; and that there’s always some asshole in a striped shirt in submarine movies. (Here it’s Douglas’s scurvy harpoonist Ned Land.) What’s surprising is how prosaic the film can be with so many assets in place, i.e., Mason, the Seussian interiors of the Nautilus, head-hunters, an enthralling killer squid, a seal with the charisma of Fred Astaire, and an especially vein-popping Douglas.

A Guy Thing (2003) [Special Edition] – DVD

May 18, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Romance

**½/**** Image B+ Sound A- Extras B
starring Jason Lee, Julia Stiles, Selma Blair, James Brolin
screenplay by Greg Glienna & Pete Schwaba and Matt Tarses & Bill Wrubel
directed by Chris Koch

by Walter Chaw Paul (Jason Lee) is a big-grinning milquetoast one week away from marrying chilly Karen (Selma Blair) when he wakes up next to free-spirit Tiki girl Becky (Julia Stiles) and begins to reassess his straight-arrow existence. Battling a case of the crabs, an excess of fantasy sequences, and the sort of embarrassing in-law situations that remind suspiciously of co-screenwriter Greg Glienna’s Meet the Parents, Paul takes about ninety minutes longer than the audience to realize that he belongs with Becky.

Fahrenheit 451 (1966) + The Man Who Fell to Earth (1976) (Anchor Bay) – DVDs

May 18, 2003Posted in****/****, 1960s, 1970s, Authors: Walter Chaw, Drama, DVD, Esoterica, FFC Must-Own, Satire, Sci-Fi, UK

FAHRENHEIT 451
****/**** Image A- Sound A Extras A
starring Julie Christie, Oskar Werner, Cyril Cusack, Anton Diffring
screenplay by Francois Truffaut and Jean-Louis Richard, based on the novel by Ray Bradbury
directed by Francois Truffaut

THE MAN WHO FELL TO EARTH
****/**** Image A- Sound A Extras A
starring David Bowie, Rip Torn, Candy Clark, Buck Henry
screenplay by Paul Mayersberg, based on the novel by Walter Tevis
directed by Nicolas Roeg

by Walter Chaw SPOILER WARNING IN EFFECT. The second film of Francois Truffaut’s “Hitchcock Period” (and the Nouvelle Vague legend’s first English-language feature), Fahrenheit 451 is swathed in dread and melancholy–a sense belying cinematographer Nicolas Roeg’s bright, elemental colour scheme and simply blocked mise-en-scéne, though a sense completely in line with Roeg’s subsequent work as auteur. The weight of Roeg’s compositions–and arguably the genius of them–is the way in which he uses the weak side of the screen to introduce an element of disquiet into otherwise innocuous situations. The brilliance of the man’s eye in locating the menace and ineffable sadness in the midst of the bright and the mundane.

Xena: Warrior Princess – Season One (1995-1996) – DVD

May 17, 2003Posted in1990s, Action, Adventure, Authors: Walter Chaw, Drama, DVD, Fantasy, Television

Image C- Sound B- Extras A-
“Sins of the Past,” “Chariots of War,” “Dreamworker,” “Cradle of Hope,” “The Path Not Taken,” “The Reckoning,” “The Titans,” “Prometheus,” “Death in Chains,” “Hooves and Harlots,” “The Black Wolf,” “Beware of Greeks Bearing Gifts,” “Athens City Academy of the Performing Bards,” “A Fistful of Dinars,” “Warrior… Princess,” “Mortal Beloved,” “The Royal Couple of Thieves,” “The Prodigal,” “Altared States,” “Ties That Bind,” “The Greater Good,” “Callisto,” “Death Mask,” “Is There a Doctor in the House?”

by Walter Chaw With a show title that appears to mean “Alien: Warrior Princess,” what’s not to like about Sam Raimi’s and Rob Tapert’s foray into the realm of cheesecake camp cinema? The distaff queer version of “Highlander: The Series”, it occurs fairly early on that while there will be many aborted love affairs, the only consistent sexual tension will be between Xena (Lucy Lawless) and her talkative, Willow-esque geek sidekick Gabrielle (Reneé O’Connor). Tackling the series from the pink triangle is tempting, but fairly self-defeating: A scene in the second episode where a wounded Xena commands that a farmer stick his poker into the fire pretty much defeats a snarky approach to the material. That bridge has already been crossed–not to say that I’m above crossing it again.

Better Luck Tomorrow (2003); Manic (2003); Cinemania (2003)

May 15, 2003Posted in2000s, Authors: Walter Chaw, Crime, Documentary, Drama, Germany, Romance, Theatrical

BETTER LUCK TOMORROW
***/****
starring Parry Shen, Jason J. Tobin, Sung Kang, Roger Fan
screenplay by Ernesto Foronda & Justin Lin & Fabian Marquez
directed by Justin Lin

MANIC
*½/****
starring Joseph Gordon-Levitt, Zooey Deschanel, Elden Henson, Don Cheadle
screenplay by Michael Bacall & Blayne Weaver
directed by Jordan Melamed

CINEMANIA
*½/****
directed by Angela Christlieb & Stephen Kijak

by Walter Chaw Justin Lin’s feature debut caused something of a minor firestorm at this year’s Sundance Film Festival, where it was charged that Asian-American stereotypes of the “model minority” were being indulged by Better Luck Tomorrow‘s tale of honor-roll gangsters amuck in SoCal. The truth is that the picture, for all its narrative faults, is a complicated exploration of what happens when the societal stereotypes imposed on any minority are bought into and manipulated by the minority itself–the sort of double-edged sword that marginalizes even as it shields. (With African-Americans, a possible opportunity to work beneath the radar of “white” society; with Asian-Americans, the possibility to deflect suspicion of criminal activity with straight “A”s and memberships to the all-geek extracurricular club pantheon.) A scene following a party crash and armed intimidation comes close to instant classic status as our quartet of first-generation ABC hoods pulls up alongside Hispanic gang members of a more traditional Southern California breed, the cultural tension erupting in a recognition of racial transference that borders on brilliant. It’s the traffic jam scene from Office Space transferred onto an urban crime drama.

The Matrix Reloaded (2003)

May 15, 2003Posted in2000s, Action, Authors: Walter Chaw, Esoterica, Martial Arts, Sci-Fi, Theatrical

**½/****
starring Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne, Hugo Weaving
written and directed by Lana Wachowski & Lilly Wachowski

by Walter Chaw In the middle of a scene where Keanu Reeves's trench-coated Neo fights dozens of Hugo Weaving's Mr. Smiths in a Brooklyn schoolyard, it occurred to me that, what with its wah-chuka-chuka soundtrack and meticulously choreographed (read: programmed) simulacrum of violence, The Matrix Reloaded is at this moment the nuttiest redux of West Side Story, in addition to the very definition of neo-blaxploitation. Cool vehicles, cool weapons, cool tunes, villains cast as endless iterations of The Man in monkey suits (and a set of albino kung fu twins), all with attitude to spare… Call it "techsploitation," perhaps–the hijacking of native cultures in the service of a Romanticist struggle against machine gods rendered, ironically, by mainframes and hackers.

Film Freak Central Does Film Forward

May 13, 2003Posted in****/****, 2000s, Authors: Walter Chaw, Chile, Comedy, Drama, Film Festivals, Horror, Romance, Thriller

MadstonefilmforwardlogoMay 13th, 2003|An interesting move from an interesting company, Madstone Theaters is releasing six undistributed films, each for a one-week alternating run called "Film Forward". The first thought that comes to mind is that undistributed films are most likely that way for a reason. There's an old Tinsel Town axiom that applies to most of the stuff that winds up shelved for a lengthy period of time (View from the Top, A Man Apart, The Weight of Water): studios often don't know when something's good, but they almost always know when something's bad. The idea of "Film Forward" should be appealing, at least intellectually, for the movie-savvy audience that Madstone is trying to cultivate; the question with currency is, as it always is, whether self-confessed movie snobs will put their money where their mouths are.

The Jimmy Show (2002) – DVD

May 12, 2003Posted in2000s, Authors: Bill Chambers, Drama, DVD

**/**** Image B- Sound B-
starring Frank Whaley, Carla Gugino, Ethan Hawke, Lynn Cohen
screenplay by Jonathan Marc Sherman, based on his play “Veins and Thumbtacks”
directed by Frank Whaley

by Bill Chambers There’s depressing and then there’s depressing. The Jimmy Show, actor Frank Whaley’s heartfelt follow-up to his nakedly personal hyphenate debut Joe the King, is so faithful to the doldrums of its lower-middle-class milieu as to have viewers recoiling from the reality check. It’s here that I become hypocritical, having championed my share of sad and perhaps discouraging films, yet one looks for their despair to be tempered by a sense of the romantic–even in the bleak Jude, the suffering is admittedly idealized by the setting, the weather, the period flavour. The Jimmy Show is no exaltation of the common man, but rather a snapshot of a tedious, miserable life–it could be called “The Sad State of Affairs,” though it’s actually based on a Jonathan Marc Sherman play entitled, rather evocatively, “Veins and Thumbtacks”.

The Ampersand Man: FFC Interviews Nick Broomfield

May 11, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Film Festivals, Hot Docs, Interviews, UK

Nbroomfieldinterviewtitleby Travis Mackenzie Hoover Say what you will about Nick Broomfield: that he's shallow, that he's an ambulance-chaser, that he is, as one reviewer put it, "the unobservant voyeur." But whatever else they are, his films are compulsive viewing. His modus operandi–collecting a group of arresting individuals surrounding other, more central and elusive (or dead) ones–sucks the viewer into their vortex as testimonial after testimonial reveals both the film's subject and, as Broomfield would put it, the "soul" of the interviewer. The tapestry he weaves out of these apparently disparate interviewees is often overwhelming, even when you're not sure about the director's motives, and it keeps you watching to the final frames.

The Mothman Prophecies (2002) [Special Edition] – DVD

May 10, 2003Posted in2000s, Authors: Bill Chambers, Drama, DVD, Horror, Mystery, Thriller

**½/**** Image A Sound A- Extras B+
starring Richard Gere, Laura Linney, Will Patton, Debra Messing
screenplay by Richard Hatem, based on the novel by John A. Keel
directed by Mark Pellington

by Walter Chaw Inviting comparisons to “The X-Files” (comparisons the series made inevitable by setting several of its episodes in rural West Virginia and making mention of the “Mothman” in an excellent fifth season episode called “Detour”), Mark Pellington’s The Mothman Prophecies has a peculiarly muted quality to it that suggests the entire piece is best seen as shrouded in a caul. Allied with that idea, The Mothman Prophecies is about knowing certain things of the future and exorcising the past, about accepting that there are things in life that can’t be prevented. It’s got heady messages for a film based on a cultish bit of crypto-zoology reportage by John Keel (documenting eerie events in Point Pleasant, WV that stretched thirteen months from November 15, 1966 to December 15, 1967), and ultimately the relatively lightweight genre bedrock of the piece is not strong enough to support its broad philosophizing.

The Shape of Things (2003)

May 8, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Drama, France, Romance, Theatrical, UK

*½/****
starring Paul Rudd, Rachel Weisz, Gretchen Mol, Fred Weller
screenplay by Neil LaBute, based on his play
directed by Neil LaBute

by Walter Chaw Early in Neil LaBute’s The Shape of Things, a character mistakes “Medea” for “My Fair Lady”. Not an easy thing to do, for sure, it’s something that points to both LaBute’s instinct to proselytize and to his unpleasant air of smug intellectual superiority. LaBute’s films are science projects involved in the dissection of sexual politics; at their best, they illustrate the harshest salvos lobbed in the gender war, and at their worst, they serve mainly to confirm that LaBute has become so disdainful of his audience that first Possession and now The Shape of Things most resemble listless beasts over-burdened with broad symbol, churlishness, and portentous allusion. LaBute wants to hit you over the head and get away with something at the same time, his existential rage cooling in direct proportion to the self-pitying belief that no one understands him.

Daddy Day Care (2003)

May 8, 2003Posted in2000s, Authors: Walter Chaw, Comedy, Family, Theatrical

½*/****
starring Eddie Murphy, Anjelica Huston, Jeff Garlin, Steve Zahn
screenplay by Geoff Rodkey
directed by Steve Carr

by Walter Chaw A little like a drowned earthworm, Daddy Day Care is less repulsive than pathetic, an anemic, flaccid little curiosity with nary a hint of life nor much resemblance to what it was when it was alive–or maybe now I’m talking about its star, Eddie Murphy. After the year Eddie just endured, however, with the elusive “legendary flop” hat trick of Showtime, The Adventures of Pluto Nash, and I Spy, I wouldn’t be all that spry either. Eddie’s first flop of the new year is, as unlikely as it seems, somehow more listless and boring than his previous three films, taking its inspiration from the Bush economy and our failed childcare system and making of it a saccharine puff-piece heavy on manufactured epiphanies and potty humour. It’s Kindergarten Cop without the gratuitous violence; who knew that gratuitous violence in what advertises itself as a children’s entertainment would be missed?

The Emperor’s Club (2002) [Widescreen] – DVD

May 4, 2003Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Coming of Age, Drama, DVD

*½/**** Image B- Sound B+ Extras B-
starring Kevin Kline, Emile Hirsch, Embeth Davidtz, Rob Morrow
screenplay by Neil Tolkin, based on the short story “The Palace Thief” by Ethan Canin
directed by Michael Hoffman

by Walter Chaw Saccharine, derivative, and overlong, Michael Hoffman’s often-painful The Emperor’s Club is remarkable only for the extremes to which it goes to avoid the clichéd ending–and the sad karmic (and ironic, given the film’s carpe diem, hakuna matata catchphrase) completeness with which it fails to do so. Set in the Sixties at an exclusive all-boys prep school, The Emperor’s Club is immediately recognizable as another iteration of Dead Poets Society, even more so when one realizes that the film features the same quartet of student types (the troubled one, the trickster, the bookish one, the gregarious one–also the same breakdown you’ll find in Stand By Me, come to think of it) and the same crinkly-eyed inspirational professor who finds a lesson for young lives in the heartening words of dead versifiers. That The Emperor’s Club spends its second half flashed-forward twenty-five years as said crinkly-eyed scholar discovers that his truest legacy is the success of his students reduces it to a variation of the miserable Mr. Holland’s Opus.

Love, Death & Gambling: FFC Interviews Richard Kwietniowski

May 3, 2003Posted in2000s, Authors: Walter Chaw, Interviews, UK

RkwietniowskiinterviewtitleMay 4, 2003|Small and soft-spoken, director Richard Kwietniowski is quietly emerging as one of the most exciting new “serious humanist” filmmakers of the last ten years. His two feature films, Love and Death on Long Island and Owning Mahowny, his latest, tackle issues of love and obsession with a deft visual sense and a surprisingly gentle touch. In Love and Death on Long Island, Kwietniowski fashions one of the most enigmatic and charming characters since Chauncey Gardner with John Hurt’s reclusive author Giles De’Ath: after a humiliating radio interview, the technology-shy De’Ath finds himself in the wrong theatre watching a cheap teensploitation flick starring “Tiger Beat” idol Ronnie Bostock (Jason Priestley); smitten, De’Ath embarks upon an unlikely quest for beauty and completion that brings him into the modern age and too close an association with the truth behind the fantasy.

Black Swan (2002) – DVD

May 3, 2003Posted in2000s, Authors: Walter Chaw, Canada, Comedy, Disability, Drama, DVD, Mystery

½*/**** Image D Sound C Extras B
starring Melanie Doane, Janet Monid, Michael Riley, Ted Dykstra
screenplay by Wendy Ord and Matt John Evans
directed by Wendy Ord

by Walter Chaw Wendy Ord’s Black Swan had me at “I’m tellin’ you, there were traces of blood on that feather.” The film is a dedicatedly stupid murder-mystery/small-town hick opera featuring your standard collection of comely waitresses bound for better things, saucy diner matrons, scumbags with sidekicks, stolid policemen, preternaturally bright children, and literal idiot savants. Set in a tiny hamlet in the Great White North (“Hopeville,” natch), the picture opens with an indecipherable prologue that cuts between three separate storylines: a bunch of teens in a car; the titular black swan doing whatever it is that large waterfowl do at night; and a pair of scumbags going through their nocturnal rituals. The rest of the film follows suit by stuttering between two children playing hooky, a cute waitress (Melanie Doane) flirting with a drifter while dreaming, Steve Earle-like, of getting out of Dodge, and of an investigation of a possible serial killer who leaves black swan feathers at the scenes of his crimes.

Hot Docs ’03: The Last Round

May 3, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Canada, Documentary, Film Festivals, Hot Docs
The Last Round: Chuvalo vs Ali***/****directed by Joseph Blasioli by Travis Mackenzie Hoover A look at the crazy, labyrinthine ways of boxing as seen through the eyes of Canadian heavyweight George Chuvalo. Ostensibly about the day in 1966 when he went head-to-head with Muhammad Ali and managed to last the full 15 rounds, it follows the contours of his career as he strives for the world championship belt. A precocious, driven athlete, he becomes Canadian champion at an early age and sets his sights on the world--but the world has other ideas for him, and his yearning for a title…

Hot Docs ’03: Driving Me Crazy (1988)

May 2, 2003Posted in1980s, 2000s, Authors: Travis Mackenzie Hoover, Documentary, Film Festivals, Hot Docs, UK, West Germany
**½/****directed by Nick Broomfield by Travis Mackenzie Hoover Of interest to pupils of documentary--and no one else--is Driving Me Crazy, a film in which Nick Broomfield, for better and for worse, reveals his own machinations on camera and upstages his ostensible subject. Hired by producer friend Andrew Braunsberg to document an Austrian stage production on African-American music, the director shamelessly inserts himself into the scene, recording the financial and political transactions that allow him to continue with his work. In so doing, he antagonizes many who work on the production and doesn't seem to care, concerned only with continuing the…

Speed Racer (1967) [Collector’s Edition] – DVD

May 2, 2003Posted in1960s, Action, Animation, Authors: Bill Chambers, DVD, Family, Japan, Sci-Fi, Sports, Television

Image C Sound C Extras C+
"The Great Plan, Parts 1 & 2", "Challenge of the Masked Racer, Parts 1 & 2", "The Secret Engine, Parts 1 & 2", "The Race Against the Mammoth Car, Parts 1 & 2", "The Most Dangerous Race, Parts 1, 2 & 3"

by Bill Chambers The theme song says he's a demon on wheels, and in one traumatizing, out-of-step dream sequence, Trixie, Speed Racer's Girl Friday, meets a version of Speed Racer with a face like the Green Goblin's and scaly arms capable of summoning hellfire. Unmotivated by anything other than the fact that Trixie has fallen asleep, the scene embodies half the charm of the Americanized "Speed Racer": we're only given exposition if it matches the lip movements mapped out for the original Japanese scripts, leading to dialogue so profoundly aimless (but synchronized!) that US producer and former child model turned dubbing impresario Peter Fernandez should've called his version of the show "Samuel Beckett's Speed Racer". While the narration occasionally attempts to bridge story points A and C (with B either overdubbed into oblivion or lying on a cutting-room floor somewhere), for the most part it refamiliarizes us ad nauseam with the origin of Racer X, Speed's-older-brother-who-ran-away-from-home-when-he-crashed-Pops'-racecar-and-now-wears-a-facemask-to-conceal-his-true-identity.

Treasure Planet (2002) – DVD

May 1, 2003Posted in2000s, Adventure, Animation, Authors: Bill Chambers, Authors: Walter Chaw, Disney, DVD, Family, Sci-Fi

**½/**** Image A Sound A- Extras B-
screenplay by Ron Clements & John Musker and Rob Edwards, based on the novel Treasure Island by Robert Louis Stevenson
directed by John Musker & Ron Clements

by Walter Chaw Beginning as a clever updating of Robert Louis Stevenson’s kiddie adventure classic Treasure Island, by its end, Disney’s Treasure Planet washes out as another bombastic familial reconciliation fable that marks the flat trajectory of most Disney “boy” animations. Released just a few months removed from Hayao Miyazaki’s Spirited Away in North America, Treasure Planet‘s narrative and character shortfalls are all the more glaring for their studied lack of depth and the picture’s general overreliance on excess, broad comic relief, and all of the stale portfolio of hackneyed Disneyisms. Treasure Planet even comes complete with that most irritating of cutesy crutches: an anthropomorphic globular whatzit created with what appears to be more of a concern for ease of holiday season polymer mass-reproduction than narrative foundation. The existence of one slapstick comic-relief gag not enough, enter Martin Short as homosexual robot B.E.N.–an animated caricature of Short’s Ed Grimley character whose appearance mid-film is as handy a signal as any that Treasure Planet, for all serious intents and aesthetic purposes, is over.

Hot Docs ’03: Baader-Meinhof: In Love with Terror

May 1, 2003Posted in2000s, Authors: Travis Mackenzie Hoover, Documentary, Film Festivals, Hot Docs, UK
**/****directed by Ben Lewis by Travis Mackenzie Hoover Or rather, Ben Lewis: In Love with Obviousness. This brief history of the ultra-left Red Army Faction, whose terrorism swept West Germany during the '70s, doesn't really deal with the issues that created it; the film is far more interested in the sensational aspects of their rampage than in any of the questions that it raised. Admittedly, some of the details depicted are fascinating: I didn't realize that Andreas Baader's squeeze Gudrun Ensselin was a sex-movie queen, or that the BMW, RAF getaway car of choice, became known as the "Baader-Meinhof Wagon."…