Hot Docs ’03: Driving Me Crazy (1988)
Speed Racer (1967) [Collector’s Edition] – DVD
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
**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
Hot Docs ’03: Hush!
Owning Mahowny (2003)
****/****
starring Philip Seymour Hoffman, Minnie Driver, Maury Chaykin, John Hurt
screenplay by Maurice Chauvet, based on the Gary Stephen Ross book Stung: The Incredible Obsession of Brian Molony
directed by Richard Kwietniowski
by Walter Chaw Richard Kwietniowski’s Owning Mahowny charts the mendacity of addiction with something like a poet’s lyrical melancholy. The director’s follow-up to his surprisingly gentle take on Thomas Mann, Love and Death on Long Island, finds another story of obsessive love that is itself obsessed with the importance of place in defining the accumulated essence of identity and desire. Kwietniowski’s films seem to be about secret outsiders finding themselves at some point swept out to proverbial sea, the land fading fast. While in Love and Death on Long Island that divorce illustrates the reach traversed by reclusive novelist Giles De’Ath (John Hurt) to claim his inamorata, in Owning Mahowny, the widening gyre is considerably (and deliciously) more complicated; the film marks Kwietniowski’s emergence as the most promising cartographer of self-confessional mortification since countryman Terence Davies. And Kwietniowski does it all with gentle, uncompromising humour.
The Dancer Upstairs (2002)
**/****
starring Javier Bardem, Laura Morante, Juan Diego Botto, Elvira Mínguez
screenplay by Nicholas Shakespeare, based on his novel
directed by John Malkovich
by Travis Mackenzie Hoover Why do people insist on making movies as though all Latin-American countries are the same? How is it that they can get away with ignoring cultural differences and national identities as though they were nothing? The same first-world writers who set their scripts “somewhere in Latin America” would surely find an Ecuadorian or a Peruvian presumptuous for setting his or her own tale “somewhere in Western Europe.” But these jokers have no guilt about herding millions and millions of people into the same leaky boat, and defining the stretch from Mexico to Argentina as one big, ugly banana republic. The results are usually not pretty, and The Dancer Upstairs is no exception to the rule.
Hot Docs ’03: The Day I Will Never Forget
Hot Docs ’03: Rockets Redglare!
Hot Docs ’03: And Along Came a Spider
Hot Docs ’03: Stupidity
Hot Docs ’03: Kim’s Story (1997)
Hot Docs ’03: How High is the Mountain + How Deep is the Ocean
HOW HIGH IS THE MOUNTAIN
***/****
directed by Shiang-Chu Tang
HOW DEEP IS THE OCEAN
***½/****
directed by Shiang-Chu Tang
by Travis Mackenzie Hoover These are two tangentially related films by the Taiwanese director Shiang-Chu Tang, and they're like nothing else in the Hot Docs festival. They're neither as overly schematic as so many socially-minded documentaries nor overly aestheticized like the school of Errol Morris. In fact, those poles don't really apply to these films, which record social processes through the examples of individuals and which have a formal beauty to them that is totally non-coercive. Watching them, you don't feel forced into taking a stance–you are provided with the stuff of peoples' lives to draw your own conclusions as to how they ended up the way they did.
Love Liza (2002) – DVD
***½/**** Image B Sound A- Commentary B+
starring Philip Seymour Hoffman, Kathy Bates, Jack Kehler, Sarah Koskoff
screenplay by Gordy Hoffman
directed by Todd Louiso
by Walter Chaw Philip Seymour Hoffman is Dante and the slings and arrows of mendacity are his Virgil, chasing him through the inferno of his day-to-day. A remarkable actor at his frequent best when deserted by a lover, Hoffman in Love Liza is Wilson Joel, a man whose wife has just killed herself and left a sealed letter behind. It becomes his albatross, toted around unexamined, as Wilson descends on a spiral of juvenile addiction (gasoline huffing) and avoidance. He sleeps on the floor outside his bedroom and does his best to dodge his mother-in-law (Kathy Bates)–hiding the sharp odour of his addiction behind the lie of becoming a radio-controlled airplane pilot.
Hot Docs ’03: Generation of Hate
Hot Docs ’03: The Lost Boys (2002)
Mr. Intense: FFC Interviews James Foley
April 27, 2003|Discovered at a student party by director Hal Ashby, one of the more tragic figures of the American New Wave of the ’70s, James Foley is at his best when detailing the brash social textures of the United States and the intricacies of male relationships (and, by extension, male relationships arrayed around dangerous women) in his canny shrines to the film noir genre. His new film Confidence returns Foley to the mean streets of his Glengarry Glen Ross in a caper film that defies the odds by not only being an entertaining and cohesive heist flick (after the high-profile flops that were David Mamet’s Heist and Frank Oz’s The Score), but also by finding a role for the aggressively unlikable Ed Burns that actually suits him. Foley’s best film, however, remains the brilliant After Dark, My Sweet–the only film, curiously, that he’s ever written, and the only screen adaptation of Jim Thompson that rings with the lewd authenticity of a Thompson novel.