Michael Jordan to the Max (2000) – DVD
**/**** Image A Sound A+ Extras B
narrated by Laurence Fishburne
directed by James D. Stern and Don Kempf
by Bill Chambers
"Up close some heroes get even bigger."
Urban Legends: Final Cut (2000) – DVD
*½/**** Image B Sound B Extras B
starring Jennifer Morrison, Matthew Davis, Hart Bochner, Joseph Lawrence
screenplay by Paul Harris Boardman & Scott Derrickson
directed by John Ottman
by Bill Chambers The absent piece of biographical info in John Ottman’s “talent file” on Columbia TriStar’s DVD release of his directorial debut, Urban Legends: Final Cut, is that the USC vet actually attended film school in a fairytale world of limited oversight and unlimited resources. This quasi-sequel to Urban Legend-minus-the-“s” is perhaps the least conscientious of modern slasher flicks by virtue of setting up myriad Spielberg wannabes for disappointment. It’s (just barely) amusing in that regard to people like myself who consider themselves “in the know,” but misleading to cineaste undergrads and the people who already hate them on principle.
What Lies Beneath (2000) [Widescreen] – DVD
***/**** Image A+ Sound A- Extras B
starring Harrison Ford, Michelle Pfeiffer, Diana Scarwid, Miranda Otto
screenplay by Clark Gregg
directed by Robert Zemeckis
by Travis Mackenzie Hoover What Lies Beneath isn't very nasty, but it's nice. The film takes Polanski-style horror, the kind where the environment itself seems to be falling apart and the individual has to navigate through miles of decay, and gives it a white-enamel Hollywood gloss that makes it fearfully cold and sinisterly antiseptic. It's a given from the get-go that this pure whiteness will, by film's end, be defiled by the blood of the innocent and the violence of the guilty. It's only a matter of time before it gets there, but the travel involved is bracing and loaded with suspense. While the end of What Lies Beneath wallows in some rather familiar horror-movie scare tactics, the rest of it is a nicely understated affair that cleverly plays on your nerves without relying too much on brutality or not enough on jolt.
Shadow of the Vampire (2000)
**/****
starring John Malkovich, Willem Dafoe, Catherine McCormack, Eddie Izzard
screenplay by Steven Katz
directed by E. Elias Merhige
by Bill Chambers They certainly dressed the part in those days. As the pre-eminent German filmmaker F.W. Murnau, John Malkovich declares: “We are scientists engaged in the creation of memory.” On set, before the lamps are fired up and action is called, Murnau and his crew don tinted aviator goggles, looking as if they’re about to launch an atomic bomb. This was standard practice during cinema’s formative years, when it took an intense amount of light to satisfactorily expose an image. (It was not uncommon for those who didn’t take precautions to go blind later in life.) But Malkovich/Murnau is not describing costumes; he’s probably, in fact, speaking for the makers of the gothic comedy in which he appears as the catalyst, Shadow of the Vampire. Director E. Elias Merhige, working from a screenplay by Steven Katz, forges a new memoir of Nosferatu, Murnau’s unauthorized, silent-film-era take on Bram Stoker’s Dracula that was rumoured to star a real vampire.
Twin Dragons (1992) – DVD
**½/**** Image C Sound B+ Extras D
starring Jackie Chan, Maggie Cheung, Nina Li, Teddy Robin
screenplay by Barry Wong and Tsui Hark and Cheung Tung Jo and Wong Yik
directed by Tsui Hark
by Bill Chambers The day Steven Seagal inflicts two performances on us within the same film I’ll hang up my film critic’s apron and call it a life. Soap opera actors and fighting stars, you see, are not so much nonimmune as prone to landing the dual role of identical twins, and one muumuu-wearin’ aikido “master” is already too much to bear. But a couple of Jackie Chans, that I can and did handle: Chan’s 1992 action-comedy (emphasis on comedy) Twin Dragons isn’t as seedy as the similarly plotted Van Damme vehicle Double Impact. With action auteurs Tsui Hark and, purportedly, Ringo Lam at its helm, though, and choreographer Yuen Wo Ping (Crouching Tiger, Hidden Dragon) behind the stuntwork, one has every reason to expect more combat and spectacle than Twin Dragons actually delivers.
When Harry Met Sally… (1989) [Special Edition] + Prelude to a Kiss (1992) – DVDs
WHEN HARRY MET SALLY…
***½/**** Image A Sound B Extras B+
starring Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby
screenplay by Nora Ephron
directed by Rob Reiner
PRELUDE TO A KISS
***/**** Image B Sound B
starring Alec Baldwin, Meg Ryan, Kathy Bates, Ned Beatty
screenplay by Craig Lucas, based on his play
directed by Norman Rene
by Bill Chambers Meg Ryan, the Princess of Perk, gets a makeshift career retrospective this month with the DVD releases of three high-profile gigs: When Harry Met Sally…, Prelude to a Kiss, and The Doors. I’m forsaking any further mention of The Doors to focus on the first two–delightful, whimsical films, unlike The Doors–and Ryan’s romantic-comedy stranglehold. Call it the curse of the button nose: the actress, who is more talented than anyone, myself included, is willing to admit, seems out of her element by a country mile in pictures that don’t require her to meet cute and kvetch over the subsequent courtship. And now that she’s pushing 40, Ryan is becoming to chick flicks what Stallone and Schwarzenegger were to actioners after Clinton got elected: we’re sick to death of seeing her in these Nora Ephron-type movies–yet, as Proof of Life, um, proved, we also don’t want to see her in anything but.
Chuck & Buck (2000) – DVD
***½/**** Image B- Sound B Extras B
starring Mike White, Chris Weitz, Lupe Ontiveros, Beth Colt
screenplay by Mike White
directed by Miguel Arteta
by Travis Mackenzie Hoover Can a film be unpleasant and valuable at the same time? On the one hand, I was made truly uncomfortable by Chuck & Buck, which centres on a character so obnoxious and so deluded that he would hardly be tolerated in polite society. His single-minded obsession with a man with whom he had a childhood friendship is so invasive and toxic that he repeatedly strains audience sympathy; further, it traps us in his myopic point of view and makes us watch in horror as he plans another assault on his former friend’s life, for the sake of some deeply confused homoerotic desires that he can barely articulate. And yet, I found myself profoundly moved at the end of this singular film, which never wavers in its unconditional love for its screwed-up protagonist and seeks for him a place in the world that he sadly cannot make for himself. I don’t exactly know what I can do with the information it gives me about this man, but I can certainly say that Chuck & Buck gave me more of an experience than the majority of fireballing studio products from 2000.
Film Freak Central’s Top 10 of 2000
The following Ten Best list reflects only the opinions of Bill Chambers–FILM FREAK CENTRAL's webmaster–and not necessarily those of this site's other contributors.
The Virgin Suicides (2000) – DVD
***/**** Image A- Sound B+ Extras C+
starring James Woods, Kathleen Turner, Kirsten Dunst, Josh Hartnett
screenplay by Sofia Coppola, based on the novel by Jeffrey Eugenides
directed by Sofia Coppola
by Bill Chambers The Virgin Suicides is perverse, but I don't mean dirty. Everything about it is a little bit lopsided–James Woods, of all people, is cast as a henpecked husband, for instance. But its director, Sofia Coppola, doesn't play it as pop kink; instead, she strives for the reverie quality of David Lynch at his most suburban, which makes everything that's in principle out of the ordinary seem in tune, even unexotic. Watching The Virgin Suicides, a fractured nostalgia piece, is like trying to deduce the story of someone's life from a box of snapshots. It's wispy yet substantial (let's call it ethereal), and it stumbles upon a few great images and many more lasting ones.
Loser (2000) – DVD
*/**** Image B+ Sound A-
starring Jason Biggs, Mena Suvari, Greg Kinnear
written and directed by Amy Heckerling
by Bill Chambers SPOILER WARNING IN EFFECT. As with most of her films, director Amy Heckerling’s latest, Loser, seesaws between unpleasant and artificial, and is sometimes both at once. When she tackles big issues, such as abortion in Fast Times at Ridgemont High, it’s impossible to tell whether she’s being matter-of-fact or glib about them (they carry an almost documentary starkness), but whatever the case, she continually refuses political comment. Such is the sitcom tendency of her work: to jeopardize the innocence of her characters and then hit the reset button. This fear of drama soured me on Fast Times…, Look Who’s Talking, Clueless, and now Loser, in which Ms. Heckerling also demonstrates, for the first time, zero affinity for the milieu.
Chicken Run (2000) [Special Edition] – DVD
***/**** Image A+ Sound A- Extras B+
screenplay by Karey Kirkpatrick
directed by Nick Park & Peter Lord
by Travis Mackenzie Hoover Chicken Run is slight but savoury. While it doesn't have the conceptual punch that, say, a Disney spectacular might have, it has a great deal less malice than most other films aimed at the same segment of the market. Instead of a highly manipulative, emotionally overwrought run through the wringer, we have a sweet and good-natured exercise in whimsy and friendliness. While this means that the film loses something in terms of dramatic impact, it also means that it relies more on wit than it does on action. What could have been garish and brazen is here sweet and mild-tempered, and it sweeps you up in its goodwill until the final frames.
Mother Night (1996) + Waking the Dead (2000) – DVDs
MOTHER NIGHT
***/**** Image A- Sound B+ Extras A
starring Nick Nolte, Sheryl Lee, Alan Arkin, John Goodman
screenplay by Robert B. Weide, based on the novel by Kurt Vonnegut
directed by Keith Gordon
WAKING THE DEAD
****/**** Image A- Sound A- Extras A
starring Billy Crudup, Jennifer Connelly, Molly Parker, Janet McTeer
screenplay by Robert Dillon, based on the novel by Scott Spencer
directed by Keith Gordon
by Bill Chambers In Timequake, the most recent and arguably most flawed of Kurt Vonnegut, Jr.’s novels (like many of his fans, I found it only intermittently readable), the author writes: “…I have never used semicolons. They don’t do anything, don’t support anything. They are transvestite hermaphrodites.” Perhaps Keith Gordon’s Mother Night is one of the few artistically successful cinematic adaptations of a Vonnegut work because Gordon avoids semicolons in his filmmaking–there is no straining to cohere, here.
Rules of Engagement (2000) – DVD
**/**** Image A Sound A+ Extras B-
starring Tommy Lee Jones, Samuel L. Jackson, Guy Pearce, Bruce Greenwood
screenplay by Steven Gaghan
directed by William Friedkin
by Bill Chambers In an absurd bit of pop irony, director William Friedkin's biggest smash post-The Exorcist is…The Exorcist. His 1973 horror masterpiece just returned theatres as you've never seen it before–meaning it has been radically altered to fit the George Lucas model of re-release. Starting from scratch today, I doubt Friedkin could have made something half as trenchant as even this tailored-to-the-Nineties version of The Exorcist; for all its unnecessary underscore and pandering CGI, the film retains a purity of emotion he's rarely pursued–or hit upon–since. With Rules of Engagement, which bows on DVD this month, Friedkin seems jazzed by a good cast and implosive subject matter, but at the end of the day I'd be hard-pressed to call it anything but hollow.
Me Myself I (1999) + Passion of Mind (2000) – DVDs
ME MYSELF I
**/**** Image B Sound A Extras C
starring Rachel Griffiths, David Roberts, Sandy Winton, Yael Stone
written and directed by Pip Karmel
PASSION OF MIND
**/**** Image A Sound B+
starring Demi Moore, Stellan Skarsgård, William Fichtner, Peter Riegert
screenplay by Ron Bass and David Field
directed by Alain Berliner
by Bill Chambers SPOILER WARNING IN EFFECT. With a bumper crop of "what if?" movies hitting screens over the past couple of years–enough of them, perhaps, to signify a genre–the time is nigh to examine, in the hope of capping, this Cinema of Regret, a marriage propagandist's dream. Both Me Myself I and Passion of Mind arrive (coincidentally?) on DVD this week, and each in its roundabout way encourages its existentially lost central character to attach sentimentalism to family values. Dan Quayle must be happy as a clam.
The Fly/The Fly 2 [Fox Double Feature] – DVD
THE FLY (1986)
***½/**** Image A Sound B
starring Jeff Goldblum, Geena Davis, John Getz
screenplay by Charles Edward Pogue and David Cronenberg
directed by David Cronenberg
The Fly II (1989)
*/**** Image B- Sound B
starring Eric Stoltz, Daphne Zuniga, Lee Richardson, Harley Cross
screenplay by Mick Garris and Jim & Ken Wheat and Frank Darabont
directed by Chris Walas
by Vincent Suarez
“Long live the new flesh.” — Max Renn, David Cronenberg’s Videodrome (1983)
“I must not know enough about the flesh. I’ve got to learn more.” — Seth Brundle, David Cronenberg’s The Fly (1986)
“I want it out of my body … now!” — Veronica Quaife, David Cronenberg’s The Fly (1986)
SPOILER WARNING IN EFFECT. David Cronenberg’s most memorable and profound films are a unique blend of fascination, celebration, inquisitiveness, and horror with regard to the possibilities of the flesh. Hollywood’s most memorable and profound monster movies (Bride of Frankenstein, King Kong (1933), Bram Stoker’s Dracula (1992)) are a similarly mystical mingling of romance, repulsion, and overwhelming sympathy with regard to the creature. It’s no wonder, then, that Cronenberg’s The Fly is essentially the genetic splicing of his trademark obsessions with these hallowed genre conventions. In making the material his own, the pathos generated by Cronenberg’s fusion of elements raises the film’s status from mere remake of the campy 1958 original to masterpiece.
The Omen (1976) [Special Edition] – DVD
***½/**** Image A- Sound A- Extras A-
starring Gregory Peck, Lee Remick, David Warner, Billie Whitelaw
screenplay by David Seltzer
directed by Richard Donner
by Bill Chambers I kind of enjoyed having nightmares as a child because they produced the most intense sensations then within my ken; the threat of death, as was so often the crux of these bad dreams, made me feel gloriously alive. Thus, when The Omen came into my life at the tender age of nine, it became an instant favourite, for it closely approximated the terrifying experiences I'd had with my eyes wide shut. In other words: it scared the pants off me.
TIFF ’00: Low Self Esteem Girl
Low Self-Esteem Girl
***/****
starring Corrina Hammond, Ted Dave, James Dawes, Rob McBeth
written and directed by Blaine Thurier
Guys want her body.
Zealots want her soul.
–Low Self Esteem Girl‘s honest tagline
by Bill Chambers A few minutes into Low Self Esteem Girl, I got the distinct feeling I was watching an episode of “Candid Camera” in which the recording device itself, and not the camera’s subjects, was the one being had. First-time director Blaine Thurier, a former cartoonist for Vancouver’s TERMINAL CITY, zigzags his digital video camera about the house of Lois (Corrina Hammond) like a spy who has unwittingly stumbled upon a stage exercise: Lois and Gregg (Ted Dave), her one-night stand, conduct a pillow-fight with overtones of rape, and then she offers him a beer–at which point I half-expected a drama teacher to call time-out, step into the frame, and critique their performances.
Not One Less (1999) – DVD
一個都不能少
Yi ge dou bu neng shao
***/**** Image A Sound B-
starring Wei Minzhi, Zhang Huike, Tian Zhenda, Enman Gao
screenplay by Shi Xiangsheng
directed by Zhang Yimou
by Travis Mackenzie Hoover SPOILER WARNING IN EFFECT. Zhang Yimou's Not One Less, while suffering from a disease of nonspecificity, nevertheless manages to make its points with style and grace. It's not an especially deep film, railing as it does against a poverty that has no known source and, thus, no possible remedy. But even as nonspecific as it tries to keep itself, the film does sink you deep into the problem of poverty in China. The film is at least a cri de cœur for the lost futures of China's rural children, trapped as many are between education and supporting their families. And the cry is voiced beautifully by Hou Yong's cinematography, giving even an impoverished village and dirty city the visual élan that is the hallmark of Zhang's craft. If some subtler analysis gets lost in the interim, you can't have everything.
Titus (1999) – DVD
***½/**** Image A Sound A Extras A
starring Anthony Hopkins, Jessica Lange, Alan Cumming, Colm Feore
screenplay by Julie Taymor, based on William Shakespeare's "Titus Andronicus"
directed by Julie Taymor
by Bill Chambers Soldiers bedecked in Roman fighting garb, blue warpaint icing their faces. Marching. Drumming. And then, the motorcycles.
Supernova (2000) [Never-Before-Seen R-Rated Version!] – DVD
*½/**** Image A- Sound A-
starring James Spader, Angela Bassett, Peter Facinelli, Lou Diamond Phillips
screenplay by David Campbell Wilson
directed by “Thomas Lee”
by Bill Chambers
“In the farthest reaches of deep space, the medical vessel Nightingale keeps a lonely vigil for those in trouble. When a frantic cry for help pierces the void, the crew responds with a near fatal, hyper-space dimension jump into the gravitational pull of a dying star. The disabled ship rescues a shuttlecraft containing a mysterious survivor and a strange alien artifact. Now the crew must unravel a chilling secret and escape the nearby imploding star before the forming supernova blasts them and the entire galaxy into oblivion!”
–Supernova DVD jacket synopsis“If you can’t take the heat, get out of the universe!” –Supernova trailer tagline
Common Hollywood practice: In pursuit of an inclusionary MPAA rating (be it G, PG, or PG-13), a motion picture, irrespective of subject matter, is toned down for its theatrical release, only to see the excised footage restored for home video, because nothing moves tapes faster than the great Unrated promise. Both are commercial considerations to maximize profit: it’s a notorious marketing paradox that allows the studio to have its cake and eat it, too–to seem like arbiters of good taste during the period of heaviest public scrutiny, and then to exploit the repressed appetites of the renting public.