Angels at the Multiplex: FFC Interviews Peter O’Fallon and John-Paul Macleod & Louise Clark Goddard

Posted in2000s, Authors: Walter Chaw, Interviews

AngelsinthemultiplexApril 19, 2002|The Catholic Church's auto-immolation at the soiled hands of pederast priests unable to live in the imitation points to a crisis of perception for those hoping to proselytize the Christian walk. For a faith of which most of its sects are evangelical, the popular secular opinion that Christians are patronizing, hypocritical, close-minded, corrupt, and smug–mostly dormant since the heyday of the Bakkers and Swaggerts, though the occasional book-banning and Darwin-bashing keeps it breathing–is resurrected again in our current climate with an Old Testament fury. A spate of terrible Christian films the last couple of years (The Omega Code, Left Behind) has led to a spate of wildly-uneven offerings in just the last several months, pictures that were greenlighted and produced prior to this most recent need for a little low profile.

Burnt Money (2000)

Posted inArgentina, Authors: Walter Chaw, Crime, Drama, Romance, Spain, Theatrical, Thriller, Uruguay

Plata quemada
**½/****
starring Eduardo Noriega, Leonardo Sbaraglia, Pablo Echarri, Leticia Brédice
screenplay by Marcelo Figueras, Marcelo Piñeyro, based on the novel Plata Quemada by Ricardo Piglia
directed by Marcelo Piñeyro

by Walter Chaw Pushing the submerged homoeroticism of Strangers on a Train to the surface, Burnt Money‘s homage begins with Jean-Pierre Melville’s genre cool and Hitchcock’s cigarettes and lighters at a carnival and ends with a certain Wellesian noir seediness (complete with The Lady From Shanghai‘s ill-fated passion, Touch of Evil‘s corrupt officials, and even Citizen Kane‘s totemic paperweight). Burnt Money is deliriously beautiful to look at–all pale greens and mute browns–but its overt politicism in the closing moments begins to dispel the film’s magic in favour of overheated parable. It’s an expert genre piece that tries to bear the brunt of all of Argentina’s national cynicism and economic corruption (a leaden socio-political platform reflected by its title), and despite his cineaste smarts, director Marcelo Piñeyro just isn’t up to the task.

Scratch (2002)

Posted in2000s, Authors: Walter Chaw, Documentary, Music, Theatrical

**/****
directed by Doug Pray

by Walter Chaw Doug Pray’s non-fiction Scratch, about the men behind the dual turntables digging new grooves into much-abused vinyl, presents a fitfully fascinating glimpse into the DJ music scene. The problem with the film is that it’s more of a performance piece than a documentary, spending too much time extolling the questionable and specific virtues of the music while giving little insight into what it is that makes said music attractive to a growing audience. The picture’s strength lies in the curious revelation that in resurrecting old and forgotten “breaks” (beats embedded in vintage tunes), these generally uneducated “turntable-ists” are engaged in the same process as T.S. Eliot was: the reclamation of art as it is filtered through the prism of artists who see themselves as the repository of the whole of a particular Western media.

The Scorpion King (2002)

Posted in2000s, Action, Adventure, Authors: Walter Chaw, Belgium, Comedy, Fantasy, Germany, Theatrical

*/****
starring The Rock, Steven Brand, Kelly Hu, Michael Clarke Duncan
screenplay by David Hayter and Wil Osborne and Stephen Sommers
directed by Chuck Russell

by Walter Chaw I stopped marking the rip-offs perpetrated in The Scorpion King once Kelly Hu’s jiggle priestess recreated a scene entire from Mike Hodges’s legendary craptavaganza Flash Gordon. Sadly, The Scorpion King doesn’t have the benefit of a Queen soundtrack to push the “just bad” into campy. It steals the rolling gong gag from Indiana Jones and the Temple of Doom, the cave murders and human bow-hunting of Rambo III, the feral kid of The Road Warrior, and its overriding ethos, apparently unintentionally, from Sergio Aragonés’s comic book barbarian “Groo.” If you manage to stifle a chuckle when Dwayne Johnson (a.k.a. The Rock) suffers all manner of horrendous falls and physical mortifications with a confused expression that all but screams, “Did I err?”…well, you’re a better man than I.

McKay While the Sun Shines: FFC Interviews Jim McKay

Posted in2000s, Authors: Walter Chaw, Interviews, UK

MckaytitleApril 19, 2002|With a background in BBC television as well as two well-regarded short features under his belt (Doom and Gloom (1996) and Wet and Dry (1997)), John McKay’s uneven and somewhat inauspicious feature-length debut Crush has garnered a slew of bad reviews until the only reviewers that really matter to most of North America, Ebert and Roeper, chimed in with their golden digits upraised. Yet the problems of the film remain unsolved by that increasingly devalued ascription of merit: what begins as something along the lines of Four Weddings and a Funeral takes a funereal turn into punitive plot twists and a general misanthropy at its conclusion. The tonal shift is one thing, the eleventh-hour attempt to gloss over what’s happened as something forgivable and perversely light-hearted is another altogether.

Canadian National Cinema – Books

Posted in2000s, Authors: Travis Mackenzie Hoover, Books About Movies, Canada

FFC rating: 7/10
by Christopher E. Gittings

by Travis Mackenzie Hoover Canadian National Cinema is a valiant stab at something that had previously not existed: a work on Canadian cinema that includes all Canadians. Taking on the not inconsiderable task of levelling the playing field for those who do not fit the white hetero male standards that serve as its default position, author Christopher E. Gittings, a professor at the University of Alberta, sees through official culture and de-centers centralized discourses that distort and oppress. While his sheepish methods ultimately boomerang on him and constrict the scope of his discussion, there’s no denying he’s created an excellent introductory text that clearly establishes the important issues in Canadian film studies.

Not Another Teen Movie (2001) [Special Edition] – DVD

Posted in2000s, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Teen, ZERO STARS

ZERO STARS/**** Image B+ Sound B Extras B+
starring Chyler Leigh, Chris Evans, Jaime Pressly, Deon Richmond
screenplay by Mike G. Bender & Adam Jay Epstein & Andrew Jacobson and Phil Beauman & Buddy Johnson
directed by Joel Gallen

by Walter Chaw The first thing one notices about Joel Gallen’s Not Another Teen Movie is that it appears to have been shot on 16mm stock off the back of someone’s truck–grainy and shaky, it’s easily the cheapest-looking major studio release of the year. After a brief prologue in which our heroine Janey Briggs (Chyler Leigh, whose character’s name appears to spoof “Jason Biggs,” the star of American Pie–that’s as clever as the film gets) is caught by her entire extended family and clergy en flagrante with a giant mechanized dildo, the second thing one notices about Not Another Teen Movie is that it has no sense of timing, no sense of shame, and no reason for being.

Heavy Hitters of the New Argentine Cinema: FFC Interviews Juan Jose Campanello and Fabian Bielinsky

Posted in2000s, Argentina, Authors: Walter Chaw, Interviews

ArgentinecinematitleApril 15, 2002|The film industry in Argentina reached its pinnacle in the 1930s and '40's when five-thousand artisans produced an average of forty-two films annually, each of them honouring popular and political themes primarily interested in social criticism. The prohibitive censorship of the first Peron presidency in 1943, however, precipitated the decline of the Argentine movie industry by forcing native films to turn their backs on the homegrown issues that spoke to the common audience. As Argentine cinema steadily lost viewership, foreign product (mostly from the United States, natch) gained a large foothold in the Argentine market. The problem eventually became so bad that Argentina tried to curb the influx with the Cinema Law of 1957, which, while not doing much to stem the influx of Yankee product, established the Instituto Nacional de Cinematografía to provide education and funding.

Mulholland Drive (2001) – DVD

Mulholland Drive (2001) – DVD

Posted in****/****, 2000s, Authors: Bill Chambers, Authors: Walter Chaw, Directors: David Lynch, Drama, DVD, Esoterica, FFC Must-Own, France, Mystery, Thriller

Mulholland Dr.
****/**** Image A- Sound A
starring Justin Theroux, Naomi Watts, Laura Elena Harring, Ann Miller
written and directed by David Lynch

by Walter Chaw

Was it a vision, or a waking dream?
 Fled is that music — Do I wake or sleep?
– John Keats, Ode to a Nightingale

David Lynch’s Mulholland Drive contends that the answer to the eternal struggle between what is real and what is fantasy comes in the form of a Keatsian confusion–it’s the difference between Adam’s dream and Eve rendered flesh, blurred in the mind of the creator and his audience. A film is a dream of the director made tangible, a conceit familiar from the fourth-wall-breaking in Ingmar Bergman’s Persona (banishing any mystery there might have been regarding the visual references to that film in Lynch’s piece), and a movie’s characters therefore become projections of its maker’s sublimated longing (clarifying too the auteur’s use of wardrobe and colour schemes from Hitchcock’s meditation on objectification, Vertigo, as well as those of his first collaboration with inamorata Tippi Hedren, The Birds).

Less Than Zero (1987) – DVD

Posted in1980s, Authors: Walter Chaw, Crime, Drama, DVD, Romance

***/**** Image A- Sound B-
starring Andrew McCarthy, Jami Gertz, Robert Downey Jr., James Spader
screenplay by Harley Peyton, based on the novel by Bret Easton Ellis
directed by Marek Kanievska

by Walter Chaw The quality of dislocation in Marek Kanievska’s Less Than Zero is startling and sinister. It creeps up on you after a confusing opening that skips forward six months from a high school graduation before flashing back a month and then reorienting itself again in Beverly Hills at Christmastime in 1987. But by the middle of the film, the temporal decisions made during its disorienting prologue suddenly make perfect sense: while Less Than Zero will never be as narratively jumpy again, the pervasive mood of the piece remains disconnected and frightened. It feels breathless in a way that movies about drug addiction must. Though Less Than Zero seems, despite its sterile apocalyptic blight, almost naïve in the wake of Aronofsky’s Requiem for a Dream, it retains (especially in retrospect, given the lost spirit of the Eighties and Robert Downey Jr.’s offscreen problems), something approaching the laden nostalgia of Romanticism. Something by Thomas de Quincey, no doubt.

Red Green’s Duct Tape Forever (2002)

Posted in2000s, Authors: Travis Mackenzie Hoover, Canada, Comedy, Theatrical

Duct Tape Forever
½*/****
starring Steve Smith, Patrick McKenna, Bob Bainborough, Wayne Robson
screenplay by Steve Smith
directed by Eric Till

Redgreensducttapeforeverby Travis Mackenzie Hoover Lord knows I don’t ask much of a Red Green film. Just a little mild guy humour with some obvious set-ups and payoffs, cliché riffs on tools and machinery, and a little Canadian self-deprecation to keep it from degenerating into macho head-slamming. Not too much to expect, is it? But while the Red Green show, modest though it is, understands precisely what can be done within its means, the atrocious Red Green movie is so clearly a cash-grabbing afterthought that it appears to have been shot and edited over a kegger weekend at Steve Smith’s cottage. I defy anyone to derive even mild amusement from its age-old plot, unfunny jokes, and astonishing technical ineptitude: not only are the gags from deep in the vaults, but their execution is so clumsy and their delivery so broad that they make Mack Sennett look like Noel Coward by comparison.

Film Freak Central Does Hot Docs 2002 Canadian International Documentary Festival – The Opening Press Conference

Posted in2000s, Authors: Travis Mackenzie Hoover, Blog, Canada, Documentary, Film Festivals, Hot Docs

The Revival, Toronto, April 8|The swellegant club/restaurant Revival, with its yellow-brick interiors and Japanese-paper chandeliers, was the appropriately modern setting for the unveiling of the 2002 Hot Docs festival line-up. As the press gallery filtered in (after a stop at the food table), the programmers gravitated towards the mic and announced program highlights culled from the 104 documentaries on offer in their expanded ten-day event, which runs from April 26th to May 5th.

All the Right Moves (1983) – DVD

Posted in1980s, Authors: Walter Chaw, Drama, DVD, Romance, Sports

½*/**** Image C Sound C-
starring Tom Cruise, Craig T. Nelson, Lea Thompson, Charles Cioffi
screenplay by Michael Kane
directed by Michael Chapman

by Walter Chaw Seedy in that ineffable Eighties way, Michael Chapman’s All the Right Moves is a star vehicle for a young Tom Cruise, following up his leading role in Risky Business with what is essentially a feature-length Steve Earle song about a downtrodden Pennsylvania steel town. Think Flashdance (released in the same year, strangely enough) with teenage boys instead of merely for them. Turmoil on a high-school football team (the Ampipe Bulldogs) functions as the microcosm for factory layoffs, teen pregnancy, and the existential angst embedded in the image of a horrible Lea Thompson playing a mournful saxophone on a street corner. Though there are a few moments of “was this ever cool” cheeseball nostalgia sprinkled here and again, All the Right Moves is teeth-clenchingly awful: half “The White Shadow”, half somehow more embarrassing and dated than even that popular TV series.

Black Knight (2001) – DVD

Posted in2000s, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Comedy, DVD, Fantasy, Romance, Time Travel

**/**** Image B Sound A- Extras B
starring Martin Lawrence, Tom Wilkinson, Marsha Thomason, Vincent Regan
screenplay by Darryl J. Quarles and Peter Gaulke & Gerry Swallow
directed by Gil Junger

by Walter Chaw Jamal Walker (Martin Lawrence) is a groundskeeper at an all-black amusement park who, just prior to falling in a stagnant moat, is given a dressing down for being “selfish” and not community-minded enough. (“Community” referring to the African-American populace of South Central Los Angeles.) Sharp-eyed viewers should instantly recognize that Black Knight will at some point metastasize from a farce to a public service announcement. (Luckily, we’re given a solid first act and a few moments in the second before it does.) When Jamal goes into the moat in pursuit of a golden medallion, he surfaces from a fetid stew in a never-never land where the plain protagonist becomes the keystone in a kingdom-wide intrigue.

Suspicious River (2002)

Posted in2000s, Authors: Travis Mackenzie Hoover, Canada, Drama, Theatrical

*½/****
starring Molly Parker, Callum Keith Rennie, Mary Kate Welsh, Joel Bissonnette
screenplay by Lynne Stopkewich, based on the novel by Laura Kasischke
directed by Lynne Stopkewich

by Travis Mackenzie Hoover Suspicious River is the dying of the light against a rage. While it knows full well that its heroine is bored, damaged, and begging for some escape, it can’t bring itself to pull the protagonist out of her doldrums; instead, it leads her down a degrading primrose path until disaster drives her back into the arms of safe ennui. Though the film feigns interest in her mission to ditch her boring hometown and ugly past, it’s largely interested in demonstrating the futility of her efforts and leaves her with Margaret Atwood’s model of the Canadian condition: “Endurance, survival, but no victory.”

Maya (2001)

Posted in2000s, Authors: Travis Mackenzie Hoover, Drama, India, Theatrical

***/****
starring Anant Nag, Mita Vasisht, Nitya Shetty, Nikhil Yadav
screenplay by Emmanuel Pappas and Digvijay Singh
directed by Digvijay Singh

by Travis Mackenzie Hoover Maya is a surprisingly natural movie that could have easily degenerated into histrionics. Despite dealing with an outlawed but still-active Indian ceremony in which newly-pubescent girls are raped, it never resorts to sensationalistic horror. Instead, it sketches a portrait of a girl, her cousin, and a family that shows both the person about to be crushed and the mentality that allows it to happen. While it occasionally descends into obviousness and smoothes out some hard edges, it distinguishes itself from hand-wringing problem pictures by sketching the violation of a person instead of just a body.

Highlander (1986) [The Immortal Edition] – DVD

Posted in1980s, Action, Adventure, Authors: Walter Chaw, DVD, Fantasy, UK

*½/**** Image A Sound B Extras B
starring Christopher Lambert, Roxanne Hart, Clancy Brown, Sean Connery
screenplay by Gregory Widen and Peter Bellwood & Larry Ferguson
directed by Russell Mulcahy

by Walter Chaw It is perhaps the very definition of a cult classic: a film so bad it breaks through that fetid envelope into the heady climes of “camp.” So much is forgiven when a picture’s earnest ineptness translates into that subterranean rhythm heard by those “in the know,” and the twelve-year-old in me remembers the derision I ladled upon those who just didn’t “get” the coolness of Russell Mulcahy’s Highlander. The passage of seventeen years brings the realization that not only have I gotten very old very fast, but that I may have arrived at the age where it is no longer wise to revisit films that I liked as a child.

The Starz Independent FilmCenter Project, Vol. 1

Posted in****/****, 1950s, 1990s, 2000s, Animation, Authors: Walter Chaw, Comedy, Crime, Czech Republic, Drama, Fantasy, France, Horror, Japan, Mexico, Mystery, Netherlands, Satire, Theatrical, Thriller, UK

by Walter Chaw

BOB LE FLAMBEUR (1956)
***½/****
starring Isabelle Corey, Daniel Cauchy, Roger Duchesne, Guy Decomble
screenplay by Jean-Pierre Melville, dialogue by Auguste Le Breton
directed by Jean-Pierre Melville

With every minute of Henri Decaё’s cinematography looking like a Eugène Atget photograph, Jean-Pierre Melville’s Bob Le Flambeur is a visually stunning film from a director who influenced filmmakers as diverse as Jean-Luc Godard (who quotes Bob Le Flambeur at least twice in Breathless) and John Woo (whose The Killer takes its basic plot from Melville’s Le Samourai). It is film noir of the highest order, reminding in its ensemble intricacy of Kubrick’s The Killing (released a year later in 1956) and evoking the kind of chiaroscuro, gin-joint, smoke-drenched milieu where every ashtray has a name. It’s a love letter to the grim American gangster drama of the Forties that subverts the genre even as it reinvents it as a lyrical ballad to gamblers, losers, hoods, and wayward dames–a snapshot of the Montmarte district of Paris 47 years before Jean-Pierre Jeunet’s reinvention of the same.

Big Trouble (2002)

Posted in2000s, Authors: Walter Chaw, Comedy, Crime, Theatrical, Thriller

**½/****
starring Tim Allen, Omar Epps, Dennis Farina, Ben Foster
screenplay by Robert Ramsey & Matthew Stone, based on the novel by Dave Barry
directed by Barry Sonnenfeld

Bigtroubleby Walter Chaw My opinion of Dave Barry is that as an essayist, he’s no P.J. O’Rourke, and as a novelist, he’s no Carl Hiaasen–anyone who agrees to have Harry Anderson play him on a weekly sitcom is begging to have his work re-evaluated through that prism. And yet Barry Sonnenfeld’s Big Trouble, the long-delayed (because of 9/11) adaptation of Barry’s novel of the same name, is, despite a slow opening featuring just too much of Tim Allen, frenetic and often hilarious–facts likely obscured by an understandable squeamishness in this climate towards mocking airline security and the easy acquisition of weapons of mass destruction.

Husbands and Wives (1992) – DVD

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

***½/**** Image A Sound C+
starring Woody Allen, Blythe Danner, Judy Davis, Mia Farrow
written and directed by Woody Allen

by Bill Chambers Husbands and Wives is a rawer tapestry of couples in flux from Woody Allen than his paternalistic Hannah and Her Sisters. It's reasonable to consider this Woody's Cassavetes movie, just as the previous Shadows and Fog was his Fellini (the title sounds like a sequel to Cassavetes's Husbands)–although Cassavetes wouldn't have couched the film's scenario in a faux-documentary framework, as Allen has. That's closer to Bob Fosse's turf; one imagines that Woody sees more of himself in Fosse, the entertainer, than he does Cassavetes, the brute poet. Shot in vérité handheld with an urgency that perhaps feels contrived, the film begins with the break-up of long-time marrieds Jack (a brilliant Sydney Pollack) and Sally (Oscar-nominated Judy Davis) and goes on to measure the shockwaves this sends through the lives of their friends, Gabe Roth (Allen) and his wife Judy (Mia Farrow). Sexually frustrated Jack falls into a relationship with a woman many years his junior (the lissome Sam (Lysette Anthony)), planting the seed for Gabe to act on his attraction to one of his writing students (Juliette Lewis). Judy, meanwhile, hooks Sally up with a co-worker, Michael (Liam Neeson). It's Judy's way of dealing with her own feelings for the guy, and needless to say, she didn't think it through.