Love Potion #9 (1992) – DVD

ZERO STARS/**** Image D+ Sound C-
starring Tate Donovan, Sandra Bullock, Mary Mara, Dale Midkiff
written and directed by Dale Launer

by Walter Chaw Love Potion #9 is an indescribably bad film that elicits so many feelings of true hatred it should be classified as a post-expressionist nihilist experiment rather than a romantic comedy. It is a gimmick flick based on a novelty song that manages to be worse than the stillbirth of an idea that spawned it. I can only surmise that it's being resurrected now on the DVD format because of the inexplicable fame of Sandra Bullock–a realization that makes me not only want to sleep with the lights on, but also begin to dread the inevitable digital remastering of Religion, Inc..

Donovan’s Reef (1963) – DVD

*½/**** Image A Sound B
starring John Wayne, Lee Marvin, Elizabeth Allen, Jack Warden
screenplay by James Edward Grant and Frank Nugent
directed by John Ford

by Walter Chaw One of legendary director John Ford’s last films, and his final collaboration with John Wayne, Donovan’s Reef is, like much of Ford’s later work, a derivative amalgam of his earlier successes. Curmudgeonly and vicious, it’s a lighter-than-air farce with a black heart that feels suspiciously like the mad rantings of an old soldier describing his vision of a bucolic Valhalla to which he one day hopes to return. Released in the same year (1963) that saw Sidney Poitier become the first black man to win an Oscar in a major category (for Lilies in the Field), Donovan’s Reef is a shockingly, unapologetically racist and misogynistic film about braggadocio, therapeutic rape, and belittling the natives. In other words, John Ford apologists need to work overtime to dig their favorite auteur out from under this surreal bilge.

Lara Croft: Tomb Raider (2001)

*½/****
starring Angelina Jolie, Daniel Craig, Leslie Phillips, Mark Collie
screenplay by Simon West and Patrick Massett & John Zinman
directed by Simon West

by Walter Chaw To say that Lara Croft: Tomb Raider is completely incomprehensible is not entirely accurate, for the basic plot appears to be pretty straightforward. The British Lara Croft (played by the American Angelina Jolie) is a sort of jet-setting archaeologist in the Indiana Jones mold who is extremely well outfitted by a gadget man in the James Bond mold, and who boasts of a loyal, shotgun-packing butler in the Batman mold. Her task is to discover two pieces of a triangular artifact before the Illuminati do on the day that a rare syzygy coincides with a solar eclipse, allowing the triangle-bearer to control time.

Cash Crop (1999) – DVD

Harvest
*½/**** Image B Sound B- Extras C
starring James Van Der Beek, Jeffrey DeMunn, Mary McCormack, Fred Weller
screenplay by Jim Biederman, Stuart Burkin, David M. Korn
directed by Stuart Burkin

by Walter Chaw A micro-budget independent venture shot in twenty-six days, Stuart Burkin’s auteur debut Cash Crop (a.k.a. Harvest) is a pro-pot film (not to be confused with The Killing Fields, a Pol Pot film) that has as its headliner TIGER BEAT icon James Van Der Beek (Varsity Blues), who does indeed lend his Bert-browed visage to about five minutes at the beginning of the movie. The real stars of the show, however, are B-list veterans John Slattery (Traffic, Eraser) and the always excellent Mary McCormack (The Alarmist) as a rural Pennsylvania sheriff and a DEA agent, respectively. It is their performances alone which nearly rescue Cash Crop from its awkward plot progression, a handful of embarrassing subplots, and a few secondary turns that run the gamut from “torturous” to “unwatchable.” Slattery and McCormack don’t make Cash Crop a good movie, don’t get me wrong, they just make it a barely “not as terrible as it would otherwise have been” movie that I’ll forget, Lord willing, in a day or two.

O Brother, Where Art Thou? (2000) – DVD

**½/**** Image A+ Sound A
starring George Clooney, John Turturro, Time Blake Nelson, Charles Durning
screenplay by Ethan Coen & Joel Coen
directed by Joel Coen

by Travis Mackenzie Hoover We can start by making two things perfectly clear. One: despite an opening credit to the contrary, the new Coen Brothers opus, O Brother, Where Art Thou?, has almost nothing to do with Homer's Odyssey–a few episodes notwithstanding, the bulk of the film is radically different from the great classical work. Two: it bears only a passing resemblance to the films of Preston Sturges, whose Sullivan's Travels provides the title; a ridiculous deus ex machina ending aside, it has none of the affection–if all of the wildness–of that writer-director's memorable oeuvre. So, having been smokescreened by these red-herring references, you have to ask: If it has nothing to do with Homer or Sturges, what the heck does it have to do with?

Teenage Caveman (2001) – DVD

**/**** Image B+ Sound B+ Extras D+
starring Andrew Keegan, Tara Subkoff, Richard Hillman, Tiffany Limos
screenplay by Christos Gage
directed by Larry Clark

by Bill Chambers Larry Clark’s first official foray into the horror genre, Teenage Caveman simply introduces gore to his usual hedonistic admixture. Part of Cinemax’s “Creature Features” line-up (glossy re-imaginings of Sam Arkoff monster movies overseen by Arkoff heir Lou, actress Colleen Camp, and F/X man Stan Winston), Teenage Caveman, if nothing else, handily demonstrates the auteur theory, as rather than suggest the work of a director-for-hire, the film evinces little regard for the series’ presumed directive.

Hamlet (2000) – DVD

***½/**** Image B+ Sound B+
starring Ethan Hawke, Kyle MacLachlan, Diane Venora, Liev Schrieber
screenplay by Michael Almereyda, based on the play by William Shakespeare
directed by Michael Almereyda

by Bill Chambers This review of Michael Almereyda’s Hamlet has long gestated, and the good thing is, the film does not suffer the ravages of memory. My expectations for this modern-dress Shakespeare adaptation were low enough that I presumed its impact would be short-term at best (the play will always transcend approach and performance to a certain degree), having been effectively show-stopped by Kenneth Branagh’s definitively faithful take of 1996. Prior to spinning the DVD, I also internally debated Almereyda’s talked-about corporate setting, a milieu that would seem a better fit for the political backstabbing of “Macbeth” or “Julius Caesar”.

The Apartment (1960) – DVD

**/**** Image B Sound B
starring Jack Lemmon, Shirley MacLaine, Fred MacMurray, Ray Walston
screenplay by Billy Wilder and I.A.L. Diamond
directed by Billy Wilder

by Travis Mackenzie Hoover I’ve never been able to fully accept the idea of Billy Wilder as a great director. While I have to admit that many of his films are solid entertainment–Some Like It Hot and Sunset Boulevard especially–they’re crippled by a tired, laboured sensibility that keeps them from rising to greatness. They have structure, all right, and snappy, cutting dialogue, but the rigidity of their conception stops us from reading between the lines: Wilder and his writing partners tend to tell us exactly what to think and expect us to accept their words as the word of God Himself. And because ultimately nobody can be this sure of themselves–even in a Hollywood noted for sweeping moral certainties–it becomes obvious that even Wilder isn’t falling for the phoney cynicism he passes off as wisdom. I can appreciate his craft, but his joyless inflexibility makes it hard for me to accept him as a great artist with a vision.

Two Girls and a Guy (1998) – DVD

**/**** Image B+ Sound B Commentary B
starring Robert Downey Jr., Heather Graham, Natasha Gregson Wagner
written and directed by James Toback

by Travis Mackenzie Hoover Viewers of Toback's 1977 cult classic Fingers will find no new ground covered in 1998's Two Girls and a Guy. Once again, we have a young-turk artiste (Robert Downey Jr. in this incarnation) who's too wrapped up in what his mother thinks of him. We also have his wanton sexual behaviour, and his attempts to put his chaotic life in order. This time, however, we are to believe that he's being properly grilled by his two girlfriends, who meet by chance when they get the same idea of surprising him on his doorstep.

The Muppets Take Manhattan (1984) – DVD

**/**** Image A- Sound B
starring Kermit the Frog, Miss Piggy, Fozzie Bear, Gonzo
screenplay by Frank Oz and Tom Patchett & Jay Tarses
directed by Frank Oz

by Bill Chambers The third and final Muppet feature to which the dearly departed Jim Henson contributed, The Muppets Take Manhattan is a hodgepodge of terminally ’80s show tunes and ill-considered plotting that ransacks The Muppet Movie‘s basic premise–colourful nobodies seeking stardom–while gutting it of its thematic resonances, including the power of interracial harmony, i.e., “the Rainbow Connection.” What we’re left with is something that sparks but never ignites; The Muppets Take Manhattan is a Muppet film largely without Muppets save Kermit the Frog, and when you get right down to it, Kermit is only as interesting as his sparring partner. Like most leading men, he’s handsome but a bit of a blank slate.

Dude, Where’s My Car? (2000) – DVD

*/**** Image A Sound A Extras B-
starring Ashton Kutcher, Seann William Scott, Kristy Swanson, Jennifer Garner
screenplay by Philip Stark
directed by Danny Leiner

by Travis Mackenzie Hoover Anyone who cares about film doesn't need me to warn him or her away from Dude, Where's My Car?, and anyone who doesn't probably wouldn't listen to me, anyway. But for what it's worth, here's the skinny: Jesse (Ashton Kutcher) and Chester (Seann William Scott) are a pair of stoners living in what appears to be sunny California. Recently, they have managed to get themselves in a bit of a fix: After a night of intense partying, they find that they cannot remember what happened the day before. This wouldn't be a problem if it weren't for the fact that Jesse's car, on which their addled lives depend, has mysteriously vanished–presumably in the massive frolic mentioned earlier. Thing is, today is their anniversary with their girlfriends (The Twins), their gifts are in their car, and they trashed the Twins' house in the previous night's revelries to begin with, making it necessary to get back in their good books. And so they must ask, "Dude, Where's My Car?"

The House of Mirth (2000) – DVD

**½/**** Image B- Sound B Extras C
starring Gillian Anderson, Dan Aykroyd, Eleanor Bron, Terry Kinney
screenplay by Terence Davies, based on the novel by Edith Wharton
directed by Terence Davies

by Walter Chaw Terence Davies's adaptation of an Edith Wharton novel, The House of Mirth is ultimately a languid and luxurious failure, though always a lavish and often a compelling one. Gillian Anderson and Eric Stoltz are vaguely miscast as the Titian leads, while an appearance by Dan Aykroyd in a distracting role as a lascivious cad nearly sinks the production with every moment of his Elwood Blues quick-talking shyster patter, yet Davies's ability to infuse each of his films with a charge of self-confessional mortification lends the piece an air of sad gravity and outrage. The almost unbearable claustrophobic weight of alienation that flavours his non-linear portfolio (Death and Transfiguration, Distant Voices Still Lives, The Long Day Closes) can be traced to Davies himself feeling

Nine Months (1995) – DVD

*/**** Image B+ Sound B
starring Hugh Grant, Julianne Moore, Tom Arnold, Joan Cusack
screenplay by Chris Columbus, based on the film Neuf mois by Patrick Braoude

directed by Chris Columbus

by Walter Chaw That Chris Columbus consistently gets opportunities to direct films in Hollywood is not a result of his talent or wit, but rather the American box-office’s indefatigable hunger for empty cinematic calories. When such unforgivably unpleasant and sentimental Columbus pap as Home Alone, Home Alone 2, Mrs. Doubtfire, Only the Lonely, and Stepmom drop like lead balloons into the cineplex to the approving chorus of the terminally uncritical and the incurably dim-witted, there is no possible reason for studios to try to create something of quality and value. Psst! Wanna make a fortune? Toss a cheap and manipulative tearjerker peppered with mean-spirited slapstick to Chris Columbus, and watch the money pour in.

Jaws 2 (1978) [Widescreen] – DVD

**½/**** Image A- Sound B Extras A-
starring Roy Scheider, Lorraine Gary, Murray Hamilton, Joseph Mascolo
screenplay by Carl Gottlieb and Howard Sackler
directed by Jeannot Szwarc

by Bill Chambers Some key players besides Roy Scheider stuck around for this second helping of Jaws, which accounts for the tonal continuity and touch of class that are absent in the subsequent sequels. Producers David Brown and Richard D. Zanuck prostituted their box-office sensation because, according to Brown in Jaws 2's DVD documentary, "We decided if we didn't make it somebody else would make it. We felt very protective about it." Screenwriter Carl Gottlieb again returned to do the production draft. Production designer Joe Alves exhumed, and expanded the scope of, Amity Island. John Williams adapted his indelible Jaws score for a more youth-oriented adventure. And on screen, Lorraine Gary, Murray Hamilton, and Bruce reprised their roles as Mrs. Chief Brody, the unconscionable mayor (who, in the movie's darkest joke, is still in power), and the mechanical shark, respectively.

Forever Mine (2000) – DVD

**/**** Image B Sound B- Commentary B+
starring Joseph Fiennes, Ray Liotta, Gretchen Mol
written and directed by Paul Schrader

by Bill Chambers Paul Schrader’s fragmented, risqué melodrama Forever Mine tells the tale of an exceptionally well-read Miami Beach cabana boy named Alan (Joseph Fiennes) who steals the heart of Ella (Gretchen Mol, an old-fashioned bombshell), the wife of councilman Mark Brice (Ray Liotta), and pays for it: first by being sent to jail an innocent, then with a bullet in the head. (The jealous husband does the deed.) But Alan survives and, unbeknownst to Brice and Ella, steals a new identity for himself, that of a Miami druglord called upon fourteen years later to act as the politico’s criminal liaison in New York. Haunted Ella finds herself compelled by this scarred stranger and his thoughtful glances.

Bamboozled (2000) [New Line Platinum Series] – DVD

***½/**** Image B+ Sound A Extras A-
starring Damon Wayans, Savion Glover, Jada Pinkett-Smith, Tommy Davidson
written and directed by Spike Lee

by Travis Mackenzie Hoover I can see from the negative press surrounding Bamboozled that Spike Lee has supposedly overshot the mark. Nobody, they say, really likes the racist imagery of the minstrel show anymore, and they say that Lee’s insistence that people might pretty much disqualifies his film from serious attention. But I wonder. I remember being in a college-dorm common room watching a horribly racist production number in the Marx Brothers’ A Day at the Races, to hear one viewer shrug it off simply because the participants “looked happy,” and I remember having a roommate who owned a publicity knick-knack of a black baby bursting out of an orange who had no idea how it could be construed as offensive.

Paradise Road (1997) – DVD

**/**** Image A+ Sound A
starring Glenn Close, Frances McDormand, Pauline Collins, Cate Blanchett
written and directed by Bruce Beresford

by Walter Chaw In 1976, Polish composer Henryk Gorecki composed his stunning orchestral and choral piece Symphony No.3 Op.36 “Symfonia pie¶ni ¿a³osnych” (“Symphony for Sorrowful Souls”), a collection of smaller movements comprising, much like Carl Orff’s Carmina Burana, varied texts both sacred and found. Among those sources used by Gorecki are a 15th-century lamentation of the Holy Cross Monastery; a folk song from the Opole region; and, most specifically, a young prisoner’s inscription on the wall of her cell in Zakopane’s Gestapo prison.

Orson Welles: A Critical View – Books

FFC rating: 8/10
by André Bazin

by Walter Chaw André Bazin is one of the most influential figures in cinema, not for his actions behind a camera, but for his actions as an active spectator–as that most loathsome and vital of creatures, the critic. A founder of the legendary arts magazine Cahiers du Cinéma, Bazin became the de facto father of the French Nouvelle Vague movement and a nearly literal father to director François Truffaut, whom he saved more than once from imprisonment and impoverishment. Writers employed by Cahiers du Cinéma include the “big five” French New Wave directors: Truffaut, Jean-Luc Godard, Claude Chabrol, Jacques Rivette and Eric Rohmer. Each began his career in cinema among its staunchest critics, and each would later endeavour to redefine film as a more “novelistic” and “authentic” method of expression.

Antitrust (2001) [Special Edition] – DVD

*/**** Image A+ Sound B+ Extras D
starring Ryan Phillipe, Rachael Leigh Cook, Claire Forlani, Tim Robbins
screenplay by Howard Franklin
directed by Peter Howitt

by Walter Chaw A fitfully entertaining throwback to the Pakula paranoia thrillers of the Seventies, Peter Howitt’s Antitrust is a cross between the techno-geekery of Wargames, the ‘gifted youngster getting a crash course in Machiavellian corruption’ of The Firm, the steal-the-air adolescent angst anthem of Pump Up the Volume, and the ‘rebel teen-geniuses unite’ malarkey of the simply-abominable Hackers. The great shame and irony of Antitrust is that after all the high concept–the creative use of sesame seeds, the Citizen Kane-esque skewering of a media tycoon, the constant reiterations of the hero’s intelligence–the film remains a conventional addition to the thriller genre that is slightly better than it should be because of its audacious goofiness, but far worse than it could have been because of its failure to be goofier. Antitrust, in other words, suffers from what I call the Wizard of Oz malady: no heart, no brain, no courage.