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.

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.

The Replacements (2000)

ZERO STARS/****
starring Keanu Reeves, Gene Hackman, Brooke Langton, Jack Warden
screenplay by Vincent McKewin
directed by Howard Deutch

by Bill Chambers Did the makers of The Replacements realize that Major League had already been reinvented as a football movie, under the title Necessary Roughness? (So indiscreetly, in fact, that the former's sunglasses-wearing baseball logo was transmogrified into a sunglasses-wearing football one.) Given how many other motion pictures The Replacements–which, for what it's worth, appears to have been edited with a blender–openly (and badly) plagiarizes, I'm sure the answer is "yes." "But," they'd very possibly tell you, "our movie has Keanu Reeves and Gene Hackman. Theirs had Sinbad and Kathy Ireland."

Here on Earth (2000) – DVD

*/**** Image B+ Sound B
starring Chris Klein, Leelee Sobieski, Josh Hartnett, Annette O'Toole
screenplay by Michael Seitzman
directed by Mark Piznarski

by Bill Chambers In Here on Earth, prep-school valedictorian Kelley (Chris Klein) leaves campus after curfew in his new Mercedes and gets embroiled in a game of chicken that winds up leaving the small town next door short one gas station ("here on Earth" even Hallmark movies have explosions) and restaurant. Kelley and the other boy, a local with permanent bedhead named Jasper (Josh Hartnett), are sentenced to a summer of rebuilding the diner, which I'm sure sounds like wise, character-building justice until the headline "ROOF OF RESTAURANT BUILT BY TEENAGE RIVALS WITH NO CONSTRUCTION EXPERIENCE COLLAPSES, KILLING PATRONS." A girl comes between them, the latter's long-time sweetheart Sam (Leelee Sobieski). She spies on the preppie delivering the graduation speech he could've made to the birds and the trees, and is touched enough to want to jump his bones.

The Beach (2000) [Special Edition] – DVD

**½/**** Image A+ Sound A Extras B+
starring Leonardo DiCaprio, Tilda Swinton, Virginie Ledoyen, Guillaume Canet
screenplay by John Hodge, based on the book by Alex Garland
directed by Danny Boyle

by Bill Chambers When we meet Richard, the U.S.-born narrator/hero of The Beach, he has succumbed to the idea that finding adventure necessitates getting the hell out of his homeland–drinking snake's blood and sleeping with roaches play pleasantly into his romantic notions of danger. And as he roams the steamy streets of Bangkok in search of the next hedonistic-masochistic delight, Richard appears cutely oblivious to the American infiltration of Asian culture ("The Simpsons" episodes on TV, the constant bubblegum music sounding from ghetto blasters, etc.). The Beach is about how we as earthlings can't escape Western civilization, and the futility of trying.

The Kid (2000)

Disney's The Kid
**/****
starring Bruce Willis, Spencer Breslin, Emily Mortimer, Lily Tomlin
screenplay by Audrey Wells
directed by Jon Turteltaub

by Bill Chambers Hurling overwrought insults at just about everyone he meets, Russell Duritz (a dour Bruce Willis) is an image consultant with G-rated impatience for the world at large. Enter Russell, age eight (Spencer Breslin, only slightly less annoying than I had braced for)–Duritz's chubby younger self has somehow materialized to teach him a few Valuable Life Lessons. The trouble with a hyped-to-the-gills high-concept movie is, of course, that by the time we're lining up to see it, we've digested and come to terms with the central conceit–the fantasy premise is why we're there. Thus, the wait for a protagonist to accept what we already have can be excruciating, as it is here. The rest of Disney's The Kid's (so you don't mistake it for Chaplin's, I guess) concerns the two Russells trying to determine the cosmic moral behind their unlikely meeting, with both of them equally appalled by how the other lives his life. (This being Disney, the film only agrees with the younger, workaholic one.)

Dead Again (1991) – DVD

***½/**** Image B Sound B Extras B
starring Kenneth Branagh, Emma Thompson, Andy Garcia, Derek Jacobi
screenplay by Scott Frank
directed by Kenneth Branagh

by Jarrod Chambers A convicted murderer on death row, about to be executed. A stolen pair of scissors, he lunges–a woman wakes up screaming. It was all a dream, or was it? The door opens, a flash of lightning, illuminating a silver cross dangling from the neck of an attendant nun.

Hanging Up (2000) – DVD

*/**** Image B Sound A- Extras C+
starring Meg Ryan, Diane Keaton, Lisa Kudrow, Walter Matthau
screenplay by Delia Ephron & Nora Ephron, based on the book by Delia
directed by Diane Keaton

by Bill Chambers In Hanging Up, only Eve, the middle child between two sisters, accepts responsibility for their ailing dad, and we wish that he–and his eldest and youngest daughters, for that matter–would die already so that Eve could go off and lead a life actually worth making/watching a movie about. As Eve, Meg Ryan is in typical perky-panic mode. What’s got her whipped into a tizzy this time? Well, a Nixon exhibit that she, a party planner, is hosting (a nod to co-writer Nora Ephron’s first husband, Watergate whistle-blower Carl Bernstein?), the impending death of her dementia-addled father (Walter Matthau, Dick Clark’s opposite in that he has always looked 80 years old), the fallout from a car accident, and the realization that her sisters (Diane Keaton and Lisa Kudrow) are complete and utter parasites are all converging at once. Eve juggles her responsibilities over the telephone, through convoluted multi-line conversations that give the film its title as well as its raison d’être.

Sweet and Lowdown (1999) – DVD

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

by Bill Chambers Woody Allen movies of late are eager to indict the creepy misanthrope who's been a staple of the writer-director-actor's oeuvre at least since Allen stepped into the shoes of Annie Hall's Alvy Singer. But in the final analysis, Allen has continued to pardon his alter egos, deflecting blame for their shortcomings by casting a negative light on everybody they know, too. If Sweet and Lowdown, the movie Deconstructing Harry wasn't ready to be, is any indication, the Woodman's work is, at last, becoming more nakedly confessional.

Titan A.E. (2000)

****/****
screenplay by Ben Edlund and John August and Joss Whedon
directed by Don Bluth & Gary Goldman

by Jarrod Chambers The true test of an animated film is whether it can make you forget that it is animated. Pixar has had great success in this regard: both Toy Story and A Bug's Life are so engrossing that I completely forgot that I was watching state-of-the-art computer animation. This was also the case with last year's The Iron Giant, and now we can add Titan A.E. to the list.

The Green Mile (1999) – DVD

**½/**** Image A Sound A Extras D
starring Tom Hanks, Michael Clarke Duncan, David Morse, Doug Hutchison
screenplay by Frank Darabont, based on the serialized novel by Stephen King
directed by Frank Darabont

by Vincent Suarez In his review of The Thin Red Line, your host at FILM FREAK CENTRAL laments that viewers often are inclined to choose whether they prefer that film or its contemporary, Saving Private Ryan. I find that the same unfortunate phenomenon exists among those who’ve seen both of Frank Darabont’s first two films, The Shawshank Redemption and The Green Mile. (Curiously, Tom Hanks stars in each pair of films.) While the two share many traits (their prison setting, their writer-director, and their source material: short stories by Stephen King), they are vastly different films. For while The Shawshank Redemption is an institutional morality tale, The Green Mile is a death-row fairy tale.

Shaft (2000)

**½/****
starring Samuel L. Jackson, Vanessa WIlliams, Jeffrey Wright, Christian Bale
screenplay by Richard Price and John Singleton & Shane Salerno
directed by John Singleton

by Travis Mackenzie Hoover Shaft is a weird combination of action drama and problem picture that never quite jells as either. Its namesake, a 1971 crime flick featuring a super-stud black private eye, barely resembles this cop-heavy, moralizing film. The updated Shaft wants to score points as both a thriller and a message movie, and only winds up defeating both purposes; nevertheless, the attempt at both is highly suggestive. The combination of the classic Shaft with an ensemble of new characters and villains is irresistible, and the performances patch over the holes in the script to create a film that, if not entirely successful, manages to give us plenty at which to look.

F/X (1986) + FX2 (1991) – DVDs

F/X
**½/**** Image C+ Sound B-
starring Bryan Brown, Brian Dennehy, Diane Venora, Cliff DeYoung
screenplay by Robert T. Megginson & Gregory Fleeman
directed by Robert Mandel

BUY @ AMAZON.COM

FX2
**/**** Image B+ Sound B
starring Bryan Brown, Brian Dennehy, Rachel Ticotin, Joanna Gleason
screenplay Bill Condon
directed by Richard Franklin

BUY @ AMAZON.COM

by Bill Chambers F/X is only 14 years old, and yet it seems to be in a forgotten language like those modern-dress Shakespeare adaptations. I'm risking hyperbole here because practical effects are a dying art in the face of CGI. Today's motion-picture illusionist is primarily a computer animator, a trade that just doesn't lend itself to the sort of ingenuity the movie celebrates. The Tom Savinis of this world are rapidly becoming an endangered species.