596 items found for your search. If no results were found please broaden your search.
(04/03/03 5:00am)
"Jackass: The Movie" is one of the most misleading "film" titles of all time. "Jackass" isn't a movie so much as it is a super-sized, uncensored episode of the infamous MTV show, and for that reason alone it's loveable. There is no plot, no characterization -- just random acts of mind-numbingly hilarious idiocy.\nJohnny Knoxville, Bam Margera, Chris "Party Boy" Pontius, Steve-O, Dave England, Ryan Dunn, Jason "Wee Man" Acuña, Preston Lacy, Ehren McGhehey and all the other jackasses have reassembled better and dumber than before for this big screen opus. With this motley crew aboard, both popular convention and good taste are thrown zealously out and through the window. Stunts range from sticking a matchbox car in a condom, lubing it up, inserting said confection into the rectum and having x-rays done, to launching bottle rockets from one's anus. Some might say these dudes have their heads firmly shoved up their butts, and yet they'd be wrong, as something else is most assuredly wedged up there already.\nThe humor of "Jackass: The Movie" extends well beyond the flick itself, as the DVD is stacked. The disc boasts two commentary tracks. The first features director Jeff Tremaine, cinematographer Dimitry Elyashkevich and Knoxville, while the second sports the rest of the "Jackass" ensemble. Other extras include an uncut variation on MTV's "Making of Jackass: The Movie," 27 minutes of additional footage, an outtake reel, "Jackass: The Movie" promo spots (which are hilarious, as they star Margera's oft-abused parents, Phil and April) and music videos by Roger Alan Wade and Andrew W.K. All of this stuff is reasonably entertaining and serves as a natural extension to the film. The transfer itself is about as good as should be expected for a film shot entirely on DV camcorders and pinhole cameras.\nThose who didn't dig the original incarnation of "Jackass" shouldn't even bother with the DVD, as it's more of the same only cruder. But for fans with strong stomachs, it's a must-own.
(04/02/03 3:04pm)
"Jackass: The Movie" is one of the most misleading "film" titles of all time. "Jackass" isn't a movie so much as it is a super-sized, uncensored episode of the infamous MTV show, and for that reason alone it's loveable. There is no plot, no characterization -- just random acts of mind-numbingly hilarious idiocy.\nJohnny Knoxville, Bam Margera, Chris "Party Boy" Pontius, Steve-O, Dave England, Ryan Dunn, Jason "Wee Man" Acuña, Preston Lacy, Ehren McGhehey and all the other jackasses have reassembled better and dumber than before for this big screen opus. With this motley crew aboard, both popular convention and good taste are thrown zealously out and through the window. Stunts range from sticking a matchbox car in a condom, lubing it up, inserting said confection into the rectum and having x-rays done, to launching bottle rockets from one's anus. Some might say these dudes have their heads firmly shoved up their butts, and yet they'd be wrong, as something else is most assuredly wedged up there already.\nThe humor of "Jackass: The Movie" extends well beyond the flick itself, as the DVD is stacked. The disc boasts two commentary tracks. The first features director Jeff Tremaine, cinematographer Dimitry Elyashkevich and Knoxville, while the second sports the rest of the "Jackass" ensemble. Other extras include an uncut variation on MTV's "Making of Jackass: The Movie," 27 minutes of additional footage, an outtake reel, "Jackass: The Movie" promo spots (which are hilarious, as they star Margera's oft-abused parents, Phil and April) and music videos by Roger Alan Wade and Andrew W.K. All of this stuff is reasonably entertaining and serves as a natural extension to the film. The transfer itself is about as good as should be expected for a film shot entirely on DV camcorders and pinhole cameras.\nThose who didn't dig the original incarnation of "Jackass" shouldn't even bother with the DVD, as it's more of the same only cruder. But for fans with strong stomachs, it's a must-own.
(04/02/03 3:01pm)
"Head of State" is far better than the trailers would suggest, but still not as good as it could've and should've been. The film is a political comedy with no true political stance, nor any fully earned belly laughs. It's a mild diversion and nothing more.\nChris Rock stars as Mays Gilliam, a good-hearted Washington D.C.-based alderman. When both the presidential and vice presidential candidates of an unnamed party (obviously Democratic) die in a head-on campaign-plane-smash-up, a replacement is sought. Inexplicably, Mays is that replacement.\nMays has his hand held during the first couple weeks of his campaign by a pair of overbearingly square advisers, Martin (Dylan Baker) and Debra (Lynn Whitfield). That is until his slaphappy, bail bondsman of an older brother, Mitch (Bernie Mac) intercedes. He tells Mays to speak his mind, and speak his mind he does. Not only does Mays' campaign transmogrify itself into a wheel-based, hip-hop parody, but he also names the outspoken Mitch as his running mate.\n"Head of State," co-written, produced and directed by Rock, lacks much of the conscience and weight of his stand-up act, but still manages a few pointedly funny barbs. Mays is supplied with an around-the-clock prostitute because, as Geller explains, "We got tired of getting caught up in sex scandals, so we commissioned our own team of superwhores." He also imagines his inauguration… as interrupted by a sniper's bullet.\nRock is likable and occasionally funny, but has yet to develop a formidable on-screen presence. Mac is hilarious and has good chemistry with Rock, but is underused. Women get the short shrift in "Head of State" as "Head of the Class" refugee, Robin Givens, gives an annoying, one-note performance as Mays' shrill, stalker-like ex-girlfriend, and Tamala Jones, while cute, figures into a rather hackneyed romantic subplot. "SNL" staple Tracy Morgan makes good, goofy use out of his few minutes of screen time as a stolen meat-selling hooligan.\n"Head of State" is Rock's directorial debut, and as such, it's not bad. Many of the jokes are recycled and then reiterated one too many times, but the flick is not without merit. Hopefully, Rock will inject more of the razor sharp wit he's honed to perfection onstage into his next big screen project.
(03/27/03 5:00am)
Having never read Stephen King's novel "Dreamcatcher" puts me at a slight disadvantage in discerning what exactly unfurled during writer/director Lawrence Kasdan's cinematic adaptation/abortion of the same name. Many cite it as King's worst book to date and, if the film's any indication, they're probably right on the money. \n"Dreamcatcher" centers on four lifelong friends: Henry (Thomas Jane), Beaver (Jason Lee), Jonesy (Damian Lewis) and Pete (Timothy Olyphant). United as children when rescuing a mentally retarded classmate named Duddits (played in adult form by former New Kids on the Block member Donnie Wahlberg), the four are endowed with poorly defined telepathic powers. As adults, the men gather for a hunting trip in the wintry woods of Maine in which their preternatural abilities are put to the ultimate test when an alien invasion occurring within their midst transforms these hunters into the hunted. \nSoon, the soldiers are deployed, led by the megalomanical Col. Curtis, a none-too-thinly veiled reference to Marlon Brando's character in "Apocalypse Now," as portrayed in career-worst fashion by Morgan Freeman. He's assisted by Capt. Owen Underhill, a drastically underused Tom Sizemore. What ensues is a disjointed mishmash of "Invasion of the Body Snatchers," Kasdan's "The Big Chill" and King's "Stand By Me" (titled "The Body" in novella form) with a healthy dose of poop and fart humor thrown in for good mix. \nThe beginning portions of the film, while odd, are actually pretty entertaining, as is much of the acting. Lewis, who's best known for his work in the critically acclaimed HBO mini-series "Band of Brothers," shines as Jonesy. In implementing his faux American and native British accents in differentiating the human and alien sides of his character, he doesn't fail to impress. Lee and Olyphant also bring humor to this otherwise dunderheaded enterprise.\nWhere "Dreamcatcher" ultimately fails is in its scripting. Kasdan (who wrote both "Raiders of the Lost Ark" and "The Empire Strikes Back" prior to directing) and his legendary co-writer William Goldman (the pen behind such classics as "Butch Cassidy and the Sundance Kid," "All the President's Men," "The Princess Bride" and the masterful King adaptation "Misery") should have known better. Their prose is cluttered with poor dialogue and the worst climax I've seen in sometime. Also, any flick in which an alien enters and exits its human vessel via the anus isn't scary, it's crude and laughable, much like "Dreamcatcher" itself.
(03/27/03 5:00am)
What is with the state of cinematic comedy these days? Now, more than ever, we as filmgoers need to take our minds off the war horrors force-fed to us via the idiot box. Yet, nothing even resembling a masterfully made comedy (excep "Old School") is in our midst.\nAudiences apparently yearn to laugh, and as such the Steve Martin/Queen Latifah "comedy" "Bringing Down the House" has been raking in the dough. Honestly, this saddens me. I've yet to see the film, nor do I have any plans of doing so -- the trailer alone is enough to make me retch. When will oily-haired, bespectacled execs clad in Armani suits stop playing the race card to elicit cheap laughs? When will the utterance of "You got me straight trippin', boo" as spoken by a pie humper's dad (i.e. Eugene Levy) finally exit public consciousness? When will we as audience members smarten up and see films actually worth seeing? And when will Martin actually muster up the cajones to make another flick as stupidly funny as "The Jerk?" He'd be better off mining old "Saturday Night Live" bits.\nSadly, I see none of these things happening. Just look at the commercials for Chris Rock's upcoming film, "Head of State," which serves only to further this annoying trend we've all unfortunately been bombarded by lately. I have no problems with the prospect of a black president either in fictitious fluff or in reality, but I do have problems with a once edgy comedian making what looks to be a pansified PG-13 bomb, void of substantive political issues or foul-mouthed shenanigans. Instead, we're saddled with something that looks as though it's unworthy of airing in sitcom format on the WB. \nRock seems to be taking a path somewhat akin to his "SNL" predecessor, Eddie Murphy. Though Murphy actually made some funny films ("48 Hours," "Trading Places," "Beverly Hills Cop" and "Coming to America") before riding the gravy train to hacksville, Rock's successes came through cult movies no one's seen ("CB4" and "Nurse Betty") and his brief stints in Kevin Smith films ("Dogma" and "Jay and Silent Bob Strike Back"). Why sell out now? Rock and Co. are using tepid, reverse racism recycled from Adam Sandler's 1998 effort, "The Wedding Singer," to schill this drivel. Rapping, hip-hop-obsessed, elderly honkeys weren't funny then and they sure aren't funny now. Yet both "House" and "State" ripoff this dated, stupid gag. Somewhere Joe Piscopo is blushing in embarrassment. Between Rock, comedian du jour, Bernie Mac and Tracy Morgan (the only watchable "SNL" cast member these days), "State" could've been something special, even hilarious. It could have been Rock's "Trading Places." Instead, it's looking far more akin to Murphy's 1992 dungheap, "The Distinguished Gentleman."\nSo where does one find decent comedy these days? Well, certainly not in Cuba "Show me the money" Gooding Jr.'s homophobic romp, "Boat Trip." Certainly not in Gwyneth "I have an Oscar" Paltrow's vapid flight attendant flick, "View from the Top." \nWhy not try TV? Wedged between our nationalistic, war-mongering media machine lots of hilarious, observational humor can be found on cable. Comedy Central is ruling Wednesday nights with its one-two punch of new "South Park" episodes and recent debut, "Chappelle's Show." Who can fault an hour block of television featuring a taco-bodied alien who poops ice cream and a blind, black, white-supremacist? Trey Parker and Matt Stone are two of the keenest, most underappreciated satirists working today, and Dave Chappelle is seemingly filling the shoes of Richard Pryor, whereas Rock and Murphy are currently failing/flailing. \nHBO has also become a haven for comedy enthusiasts with taste, so long as you avoid "Arli$$" like gonorrhea. Both "Da Ali G Show" and "Real Time with Bill Maher" are hilarious new additions to the network. If you haven't seen Ali G naively interview a DEA agent or Maher grill conservative pundits beyond the constraints of ABC's (his former TV home) overzealous censors, you're missing out. Now more than ever humor is needed -- just be selective in where you go to find it.
(03/26/03 8:46pm)
What is with the state of cinematic comedy these days? Now, more than ever, we as filmgoers need to take our minds off the war horrors force-fed to us via the idiot box. Yet, nothing even resembling a masterfully made comedy (excep "Old School") is in our midst.\nAudiences apparently yearn to laugh, and as such the Steve Martin/Queen Latifah "comedy" "Bringing Down the House" has been raking in the dough. Honestly, this saddens me. I've yet to see the film, nor do I have any plans of doing so -- the trailer alone is enough to make me retch. When will oily-haired, bespectacled execs clad in Armani suits stop playing the race card to elicit cheap laughs? When will the utterance of "You got me straight trippin', boo" as spoken by a pie humper's dad (i.e. Eugene Levy) finally exit public consciousness? When will we as audience members smarten up and see films actually worth seeing? And when will Martin actually muster up the cajones to make another flick as stupidly funny as "The Jerk?" He'd be better off mining old "Saturday Night Live" bits.\nSadly, I see none of these things happening. Just look at the commercials for Chris Rock's upcoming film, "Head of State," which serves only to further this annoying trend we've all unfortunately been bombarded by lately. I have no problems with the prospect of a black president either in fictitious fluff or in reality, but I do have problems with a once edgy comedian making what looks to be a pansified PG-13 bomb, void of substantive political issues or foul-mouthed shenanigans. Instead, we're saddled with something that looks as though it's unworthy of airing in sitcom format on the WB. \nRock seems to be taking a path somewhat akin to his "SNL" predecessor, Eddie Murphy. Though Murphy actually made some funny films ("48 Hours," "Trading Places," "Beverly Hills Cop" and "Coming to America") before riding the gravy train to hacksville, Rock's successes came through cult movies no one's seen ("CB4" and "Nurse Betty") and his brief stints in Kevin Smith films ("Dogma" and "Jay and Silent Bob Strike Back"). Why sell out now? Rock and Co. are using tepid, reverse racism recycled from Adam Sandler's 1998 effort, "The Wedding Singer," to schill this drivel. Rapping, hip-hop-obsessed, elderly honkeys weren't funny then and they sure aren't funny now. Yet both "House" and "State" ripoff this dated, stupid gag. Somewhere Joe Piscopo is blushing in embarrassment. Between Rock, comedian du jour, Bernie Mac and Tracy Morgan (the only watchable "SNL" cast member these days), "State" could've been something special, even hilarious. It could have been Rock's "Trading Places." Instead, it's looking far more akin to Murphy's 1992 dungheap, "The Distinguished Gentleman."\nSo where does one find decent comedy these days? Well, certainly not in Cuba "Show me the money" Gooding Jr.'s homophobic romp, "Boat Trip." Certainly not in Gwyneth "I have an Oscar" Paltrow's vapid flight attendant flick, "View from the Top." \nWhy not try TV? Wedged between our nationalistic, war-mongering media machine lots of hilarious, observational humor can be found on cable. Comedy Central is ruling Wednesday nights with its one-two punch of new "South Park" episodes and recent debut, "Chappelle's Show." Who can fault an hour block of television featuring a taco-bodied alien who poops ice cream and a blind, black, white-supremacist? Trey Parker and Matt Stone are two of the keenest, most underappreciated satirists working today, and Dave Chappelle is seemingly filling the shoes of Richard Pryor, whereas Rock and Murphy are currently failing/flailing. \nHBO has also become a haven for comedy enthusiasts with taste, so long as you avoid "Arli$$" like gonorrhea. Both "Da Ali G Show" and "Real Time with Bill Maher" are hilarious new additions to the network. If you haven't seen Ali G naively interview a DEA agent or Maher grill conservative pundits beyond the constraints of ABC's (his former TV home) overzealous censors, you're missing out. Now more than ever humor is needed -- just be selective in where you go to find it.
(03/26/03 8:42pm)
Having never read Stephen King's novel "Dreamcatcher" puts me at a slight disadvantage in discerning what exactly unfurled during writer/director Lawrence Kasdan's cinematic adaptation/abortion of the same name. Many cite it as King's worst book to date and, if the film's any indication, they're probably right on the money. \n"Dreamcatcher" centers on four lifelong friends: Henry (Thomas Jane), Beaver (Jason Lee), Jonesy (Damian Lewis) and Pete (Timothy Olyphant). United as children when rescuing a mentally retarded classmate named Duddits (played in adult form by former New Kids on the Block member Donnie Wahlberg), the four are endowed with poorly defined telepathic powers. As adults, the men gather for a hunting trip in the wintry woods of Maine in which their preternatural abilities are put to the ultimate test when an alien invasion occurring within their midst transforms these hunters into the hunted. \nSoon, the soldiers are deployed, led by the megalomanical Col. Curtis, a none-too-thinly veiled reference to Marlon Brando's character in "Apocalypse Now," as portrayed in career-worst fashion by Morgan Freeman. He's assisted by Capt. Owen Underhill, a drastically underused Tom Sizemore. What ensues is a disjointed mishmash of "Invasion of the Body Snatchers," Kasdan's "The Big Chill" and King's "Stand By Me" (titled "The Body" in novella form) with a healthy dose of poop and fart humor thrown in for good mix. \nThe beginning portions of the film, while odd, are actually pretty entertaining, as is much of the acting. Lewis, who's best known for his work in the critically acclaimed HBO mini-series "Band of Brothers," shines as Jonesy. In implementing his faux American and native British accents in differentiating the human and alien sides of his character, he doesn't fail to impress. Lee and Olyphant also bring humor to this otherwise dunderheaded enterprise.\nWhere "Dreamcatcher" ultimately fails is in its scripting. Kasdan (who wrote both "Raiders of the Lost Ark" and "The Empire Strikes Back" prior to directing) and his legendary co-writer William Goldman (the pen behind such classics as "Butch Cassidy and the Sundance Kid," "All the President's Men," "The Princess Bride" and the masterful King adaptation "Misery") should have known better. Their prose is cluttered with poor dialogue and the worst climax I've seen in sometime. Also, any flick in which an alien enters and exits its human vessel via the anus isn't scary, it's crude and laughable, much like "Dreamcatcher" itself.
(03/13/03 5:00am)
Tears of the Sun" is one of the worst movies I've seen in sometime. The only real compliment I could bestow upon this ethnocentric, feature-length, militaristic recruitment ad is that it's timely. But that is also its greatest drawback. In attempting to embrace issues pertinent to an audience on the verge of war, while simultaneously eschewing such matters in favor of poorly executed sequences of mindless combat, "Tears" squanders what little credibility it had.\nLt. Waters (Bruce Willis), a Navy SEAL, and his war hardened, 7-man squadron, parachute into Nigeria in order to rescue Dr. Lena Kendricks (Monica Bellucci) and a trio of Catholic missionaries doing God's work deep within the bush.\nThe objective is to save these four, and only these four, which sits none-too-well with the fiery Kendricks, who refuses to leave her patients. Waters sneakily promises to take the ones who can walk. But upon reaching the rendezvous, he hoists Kendricks into a chopper and is splitsville.\nIn exiting, they fly over Kendricks' mission, which has since been obliterated by rebel troops -- anyone who remained was slain. Waters has a sudden case of conscience (which, annoyingly, is never fully developed or explained) and insists that the helicopters turn around. Bullets, bombs and blood ensue as Waters and Co. attempt to escort Kendricks and the villagers into the safety of Cameroon. Think of it as "Three Kings" transplanted to Africa, only minus the wit and sophistication, and plus the heavy-handed sentimentality.\nWillis is entirely too restrained as Waters. He has a couple decent one-liners and certainly looks the part of a badass. Apparently that's enough. Bellucci, who rocked as a hooker/assassin in "Brotherhood of the Wolf," is annoying as the incessantly whining Kendricks. Her only saving grace comes as a result of not knowing how to dress herself properly. Without fail, her blouse is half unbuttoned throughout. Director Antoine Fuqua dispels of the skills used in making "Training Day" and makes a flick far more akin to his earlier works, "The Replacement Killers" and "Bait." \n"Tears" concludes with an Edmund Burke quote stating, "The only thing necessary for the triumph of evil is for good men to do nothing." While essentially true, in the context of this cinematic nationalism machine, it's a tad offensive -- just like the movie.
(03/13/03 5:00am)
Upon release, many critics compared Sam Mendes' sophomore directorial effort to Francis Ford Coppola's "The Godfather," and while both films revolve around the world of organized crime, the similarities stop there. "Road to Perdition" is a mafia film, but first and foremost it's a tale of fathers and sons.\nTom Hanks bravely tackles a role far removed from his likable, all-American persona with Michael Sullivan, a stone-cold killer working for the Rock Island branch of the Chicago mob, circa 1931. Sullivan works for his surrogate father, John Rooney (Paul Newman). But Rooney has a son of his own, Connor (Daniel Craig), who's jealous of the mutual adulation the men share for one another. \nConnor eventually has the chance to rid himself of Sullivan when his curious, young son, Michael Jr. (newcomer Tyler Hoechlin), witnesses firsthand what his father does for a living. Soon after, the elder Sullivan's personal and professional collide, as he and the boy are pursued by a depraved, rival assassin named Maguire (Jude Law).\n"Perdition" is a viscerally and emotionally charged film with style to burn. The late Conrad Hall (who also shot Mendes' "American Beauty") infuses every frame with grace and splendor. The world he creates is one of foreboding darkness, which shines on this first-rate, anamorphic transfer. Thomas Newman's (another "Beauty" alum) haunting score coalesces beautifully with these images in a sterling DTS sound mix. \nSo far as extras are concerned, the disc's a mixed bag. There's not a whole lot offered, but what is there is good. Mendes' commentary track is a decent listen as he discusses the different themes and motifs of the story, visualizing the film and giving insights into different actor's performances. But the real meat of this disc comes from the 11 deleted scenes offered with optional director's commentary. Especially the ones featuring Anthony LaPaglia of TV's "Without a Trace" as Al Capone, and another in which Law perversely snoops around the Sullivan home. Strangely, no trailer is included. \nThose who missed "Perdition" during its theatrical run, or enjoyed it the first time, would be well advised to either rent or purchase this DVD. The film enclosed is a subtle yet effective gangster yarn guaranteed to entertain.
(03/12/03 9:23pm)
Upon release, many critics compared Sam Mendes' sophomore directorial effort to Francis Ford Coppola's "The Godfather," and while both films revolve around the world of organized crime, the similarities stop there. "Road to Perdition" is a mafia film, but first and foremost it's a tale of fathers and sons.\nTom Hanks bravely tackles a role far removed from his likable, all-American persona with Michael Sullivan, a stone-cold killer working for the Rock Island branch of the Chicago mob, circa 1931. Sullivan works for his surrogate father, John Rooney (Paul Newman). But Rooney has a son of his own, Connor (Daniel Craig), who's jealous of the mutual adulation the men share for one another. \nConnor eventually has the chance to rid himself of Sullivan when his curious, young son, Michael Jr. (newcomer Tyler Hoechlin), witnesses firsthand what his father does for a living. Soon after, the elder Sullivan's personal and professional collide, as he and the boy are pursued by a depraved, rival assassin named Maguire (Jude Law).\n"Perdition" is a viscerally and emotionally charged film with style to burn. The late Conrad Hall (who also shot Mendes' "American Beauty") infuses every frame with grace and splendor. The world he creates is one of foreboding darkness, which shines on this first-rate, anamorphic transfer. Thomas Newman's (another "Beauty" alum) haunting score coalesces beautifully with these images in a sterling DTS sound mix. \nSo far as extras are concerned, the disc's a mixed bag. There's not a whole lot offered, but what is there is good. Mendes' commentary track is a decent listen as he discusses the different themes and motifs of the story, visualizing the film and giving insights into different actor's performances. But the real meat of this disc comes from the 11 deleted scenes offered with optional director's commentary. Especially the ones featuring Anthony LaPaglia of TV's "Without a Trace" as Al Capone, and another in which Law perversely snoops around the Sullivan home. Strangely, no trailer is included. \nThose who missed "Perdition" during its theatrical run, or enjoyed it the first time, would be well advised to either rent or purchase this DVD. The film enclosed is a subtle yet effective gangster yarn guaranteed to entertain.
(03/12/03 9:18pm)
Tears of the Sun" is one of the worst movies I've seen in sometime. The only real compliment I could bestow upon this ethnocentric, feature-length, militaristic recruitment ad is that it's timely. But that is also its greatest drawback. In attempting to embrace issues pertinent to an audience on the verge of war, while simultaneously eschewing such matters in favor of poorly executed sequences of mindless combat, "Tears" squanders what little credibility it had.\nLt. Waters (Bruce Willis), a Navy SEAL, and his war hardened, 7-man squadron, parachute into Nigeria in order to rescue Dr. Lena Kendricks (Monica Bellucci) and a trio of Catholic missionaries doing God's work deep within the bush.\nThe objective is to save these four, and only these four, which sits none-too-well with the fiery Kendricks, who refuses to leave her patients. Waters sneakily promises to take the ones who can walk. But upon reaching the rendezvous, he hoists Kendricks into a chopper and is splitsville.\nIn exiting, they fly over Kendricks' mission, which has since been obliterated by rebel troops -- anyone who remained was slain. Waters has a sudden case of conscience (which, annoyingly, is never fully developed or explained) and insists that the helicopters turn around. Bullets, bombs and blood ensue as Waters and Co. attempt to escort Kendricks and the villagers into the safety of Cameroon. Think of it as "Three Kings" transplanted to Africa, only minus the wit and sophistication, and plus the heavy-handed sentimentality.\nWillis is entirely too restrained as Waters. He has a couple decent one-liners and certainly looks the part of a badass. Apparently that's enough. Bellucci, who rocked as a hooker/assassin in "Brotherhood of the Wolf," is annoying as the incessantly whining Kendricks. Her only saving grace comes as a result of not knowing how to dress herself properly. Without fail, her blouse is half unbuttoned throughout. Director Antoine Fuqua dispels of the skills used in making "Training Day" and makes a flick far more akin to his earlier works, "The Replacement Killers" and "Bait." \n"Tears" concludes with an Edmund Burke quote stating, "The only thing necessary for the triumph of evil is for good men to do nothing." While essentially true, in the context of this cinematic nationalism machine, it's a tad offensive -- just like the movie.
(03/06/03 5:00am)
The Rules of Attraction" went woefully unseen in its theatrical run this past fall. Many expected a funny, randy collegiate romp, but the flick is based upon a novel by "American Psycho" author Bret Easton Ellis. The film that unfurled was a funny, randy collegiate romp, albeit a pitch black one. \nJames Van Der Beek headlines as Sean, a disillusioned, yuppie drug-peddler. Sean longs for little more than his next high, that is, until he meets Lauren (Shannyn Sossamon), an elusive little skater chick. Then his thoughts immediately turn to bedding her. She previously dated Paul (Ian Somerhalder), a gay dude who's currently lusting for Sean. But ideally, Lauren would like to sleep with Victor (Kip Pardue), a self-loving lothario in the midst of a drug-induced European pilgrimage.\nAll the players in this serio-comedic collegiate nightmare are morally reprehensible. They swig, smoke, snort and screw like it's going out of style. The fact that all this debauchery is presented in such a cool, detached manner rife with ironic humor is the film's saving grace. \nThe DVD, while good, is not quite up to snuff with the flick itself. Rumors are afoot that writer/director Roger Avary is prepping an unrated 2.5 hour director's cut for release on DVD later this year. So perhaps this disc is just a primer? Regardless, what's here ain't too shabby. \nFans of commentary tracks should have a heyday with the disc. There are five revolving door commentaries, in which the cast and crew discuss their specific scenes, and a solo track by everyone's favorite, fire-haired comedian. No, not Kathy Griffin -- Carrot Top. This, despite the fact he had absolutely no involvement with the film whatsoever. Surprisingly, he's funny. There's also an episode of the Sundance Channel's "Anatomy of a Scene," which chronicles the lensing of the flick's "money" shot -- a split-screen melding together a singular image. Really cool, interesting stuff. \nAvary injects "Rules" with style to burn. The film is told in a nonlinear manner and is brimming with cinematic razzle-dazzle. As such, it's one of 2002's best and least seen flicks. Now that it's available on DVD, any adventurous cineaste worth his or her salt would be well advised to check it out.
(03/05/03 6:42pm)
The Rules of Attraction" went woefully unseen in its theatrical run this past fall. Many expected a funny, randy collegiate romp, but the flick is based upon a novel by "American Psycho" author Bret Easton Ellis. The film that unfurled was a funny, randy collegiate romp, albeit a pitch black one. \nJames Van Der Beek headlines as Sean, a disillusioned, yuppie drug-peddler. Sean longs for little more than his next high, that is, until he meets Lauren (Shannyn Sossamon), an elusive little skater chick. Then his thoughts immediately turn to bedding her. She previously dated Paul (Ian Somerhalder), a gay dude who's currently lusting for Sean. But ideally, Lauren would like to sleep with Victor (Kip Pardue), a self-loving lothario in the midst of a drug-induced European pilgrimage.\nAll the players in this serio-comedic collegiate nightmare are morally reprehensible. They swig, smoke, snort and screw like it's going out of style. The fact that all this debauchery is presented in such a cool, detached manner rife with ironic humor is the film's saving grace. \nThe DVD, while good, is not quite up to snuff with the flick itself. Rumors are afoot that writer/director Roger Avary is prepping an unrated 2.5 hour director's cut for release on DVD later this year. So perhaps this disc is just a primer? Regardless, what's here ain't too shabby. \nFans of commentary tracks should have a heyday with the disc. There are five revolving door commentaries, in which the cast and crew discuss their specific scenes, and a solo track by everyone's favorite, fire-haired comedian. No, not Kathy Griffin -- Carrot Top. This, despite the fact he had absolutely no involvement with the film whatsoever. Surprisingly, he's funny. There's also an episode of the Sundance Channel's "Anatomy of a Scene," which chronicles the lensing of the flick's "money" shot -- a split-screen melding together a singular image. Really cool, interesting stuff. \nAvary injects "Rules" with style to burn. The film is told in a nonlinear manner and is brimming with cinematic razzle-dazzle. As such, it's one of 2002's best and least seen flicks. Now that it's available on DVD, any adventurous cineaste worth his or her salt would be well advised to check it out.
(02/27/03 5:00am)
"Old School" desperately wants to be "National Lampoon's Animal House" (but then again, what campus comedy doesn't?), and will go to any lengths to elicit a guffaw, a chuckle or even a full-on piss-your-pants laugh- attack to prove it. Unlike many other flicks of its ilk, "Old School" actually fulfills this goal despite the occasional snag.\nLuke Wilson ably headlines as the likeably mellow Mitch. After returning home early from a business trip, he's startled to find his girlfriend (Juliette Lewis) hosting an orgy in their bedroom. Soon thereafter, he moves into a new pad bordering the local college campus. Alongside buddies, Frank (Will Ferrell) and Beanie (Vince Vaughn), Mitch conspires to foil a B.S. zoning clause sprung upon them by their former object of scorn and the university's current dean, Pritchard (Jeremy Piven). Their solution: start a multigenerational fraternity. Drunken hijinks and hilarity ensue in this battle of slobs versus snobs.\nOk, so the flick's plot is thinner than Lara Flynn Boyle on Dexatrim. But a comedy such as "Old School" often succeeds primarily in its casting -- and man, what a cast. Ferrell channels the spirit of Belushi as lunkheaded gentle giant, Frank the Tank. Whether bonging beers, shoving children, shooting himself in the jugular with animal tranquilizers or streaking about campus, Ferrell milks even the most absurd moments to their comedic peak. Vaughn is aces, further honing the hilarious smooth-talking jackass persona he established in "Swingers" and "Made." Wilson isn't nearly as funny as his two co-stars, but serves as a solid straight man. Cameos also litter the film. Seann William Scott's bit as a mullet-headed petting zoo wrangler is a hoot and a half, though Craig Kilborn, despite being naturally funny, can't act his way out of a paper sack.\nUnder the freewheeling script (co-written by director Todd Phillips and Scot Armstrong) and deftly comedic direction of Phillips ("Road Trip"), "Old School" is the funniest movie of the New Year -- a hilarious hybrid of "Animal House" and "Fight Club." Those who find the idea of a surly geriatric wrestling two topless co-eds in a baby pool chock-full of KY Jelly funny should see "Old School." All others need not apply.
(02/26/03 10:09pm)
"Old School" desperately wants to be "National Lampoon's Animal House" (but then again, what campus comedy doesn't?), and will go to any lengths to elicit a guffaw, a chuckle or even a full-on piss-your-pants laugh- attack to prove it. Unlike many other flicks of its ilk, "Old School" actually fulfills this goal despite the occasional snag.\nLuke Wilson ably headlines as the likeably mellow Mitch. After returning home early from a business trip, he's startled to find his girlfriend (Juliette Lewis) hosting an orgy in their bedroom. Soon thereafter, he moves into a new pad bordering the local college campus. Alongside buddies, Frank (Will Ferrell) and Beanie (Vince Vaughn), Mitch conspires to foil a B.S. zoning clause sprung upon them by their former object of scorn and the university's current dean, Pritchard (Jeremy Piven). Their solution: start a multigenerational fraternity. Drunken hijinks and hilarity ensue in this battle of slobs versus snobs.\nOk, so the flick's plot is thinner than Lara Flynn Boyle on Dexatrim. But a comedy such as "Old School" often succeeds primarily in its casting -- and man, what a cast. Ferrell channels the spirit of Belushi as lunkheaded gentle giant, Frank the Tank. Whether bonging beers, shoving children, shooting himself in the jugular with animal tranquilizers or streaking about campus, Ferrell milks even the most absurd moments to their comedic peak. Vaughn is aces, further honing the hilarious smooth-talking jackass persona he established in "Swingers" and "Made." Wilson isn't nearly as funny as his two co-stars, but serves as a solid straight man. Cameos also litter the film. Seann William Scott's bit as a mullet-headed petting zoo wrangler is a hoot and a half, though Craig Kilborn, despite being naturally funny, can't act his way out of a paper sack.\nUnder the freewheeling script (co-written by director Todd Phillips and Scot Armstrong) and deftly comedic direction of Phillips ("Road Trip"), "Old School" is the funniest movie of the New Year -- a hilarious hybrid of "Animal House" and "Fight Club." Those who find the idea of a surly geriatric wrestling two topless co-eds in a baby pool chock-full of KY Jelly funny should see "Old School." All others need not apply.
(02/20/03 5:00am)
Having been a longtime fan of "Daredevil" (especially the issues penned by Frank Miller and Kevin Smith), I had high hopes for its cinematic incarnation. Lo and behold, I emerged from the theater in bittersweet fashion. Much of what's presented is well done, but a lot also sucked bad.\nBen Affleck capably headlines as Matt Murdock/ Daredevil, a blind Hell's Kitchen lawyer by day and pissed-off, costumed crime fighter by night. Daredevil's origin is none-too-different than many of his contemporaries: a tragic childhood event involving the death of his prizefighter father (David Keith) spurs future bouts of vigilantism. Differences come via Murdock's handicap as he was blinded in a mishap involving toxic waste as a teenager, but his remaining senses are dramatically amplified.\n"Daredevil" serves less as a narrative and more as an introduction into the world of "The Man Without Fear." Ol' Hornhead battles crime boss, Wilson Fisk aka the Kingpin (Michael Clarke Duncan), and his chief assassin, Bullseye (Colin Farrell), beds Greek ninja-broad, Elektra Natchios (Jennifer Garner) and banters with his best buddy and law partner, Franklin "Foggy" Nelson (Jon Favreau). All the while, he's tailed by inquisitive reporter, Ben Urich (Joe Pantoliano), who's suspicious of the uncanny parallels between Murdock and Daredevil. In a film that runs well under two hours, it's a case of sensory overload, too much crammed into too little time.\nThe flick sports a killer cast. Affleck more than fills the utilitarian red leathers of Daredevil. Garner is both sexy and skillful as Elektra, spinning sai and sucking face. Duncan is certainly imposing as the Kingpin, but is also saddled with too little screen time to make a real presence. As far as performances go, the film belongs to Farrell (going full hilt in his Irish brogue) and Favreau as both add humor to the otherwise dark proceedings. Pantoliano and Keith also turn in muted but nonetheless effective work in their small, respective roles. \nAs much as I want to give "Daredevil" a glowing review, I just can't. \nMost, but not all, of the fight sequences are abbreviated, edited and shot poorly. The dialogue and stilted love angle are both corny. Much of the computer graphics are bad (aside from the utterly cool "sonar sense" shots) and the poor alt-rock soundtrack not only irritates, but will also date the film within a few months. While moderately entertaining, here's hoping the inevitable sequel is an improvement.
(02/20/03 5:00am)
Fans of Steven Soderbergh's "Out of Sight," "Erin Brockovich" or "Ocean's 11," expecting to see something similarly light and entertaining from his recent work, "Full Frontal," will be gravely disappointed. \n"Frontal" is a scathing Hollywood satire containing a movie within the movie entitled "Rendezvous." Nicholas (Blair Underwood) and Catherine (Julia Roberts) both star. Carl (David Hyde Pierce) is the struggling magazine writer who penned the script. He is unhappily married to Lee (Catherine Keener), a draconian human resources executive. Lee's sister, Linda (Mary McCormack), is a mopey masseuse with plans of meeting experimental theater director, Arty (Enrico Colantoni), whom she's spoken to on the Internet. Arty is prepping a Hitler-themed play entitled "The Sound and the Fuhrer," which stars a blood-drinking nut job of an actor (the hilarious Nicky Katt). Most of these characters converge at the 40th birthday party of Gus (David Duchovny), the horny yet depressed producer of "Rendezvous." \nCameos also inundate this already confusing and ironically melodramatic scenario. Brad Pitt and director David Fincher both appear as themselves in a knowing and utterly funny "Seven" send-up, and British badass Terrence Stamp briefly reprises his role from Soderbergh's "The Limey." Sound complicated? It is, often unnecessarily so.\nMuch like the film itself, the DVD is a mixed bag. The transfer often looks horrible as a majority of the flick was shot on intentionally grainy DV (exceptions include the "Rendezvous" segments, which were shot on 35 mm). The sound mix also doesn't really register, as the film is primarily dialogue driven. Soderbergh and screenwriter Coleman Hough deliver a decent commentary that the director dominates. Much of the discussion is both entertaining and insightful, but the track doesn't hold a candle to those on the "Out of Sight," "The Limey" or "Ocean's 11" DVDs.\n"Frontal," which was budgeted at $2 million and shot in 18 days, could best be described as a throwback to the earlier, more experimental days of the auteur's career. It's reminiscent of films such as "Sex, Lies, and Videotape," "Kafka," "Gray's Anatomy" and "Schizopolis." Opening to scathing reviews and lackluster business this past summer, \n"Frontal" is better than the negative buzz would suggest. In fact, it's well-worth renting now that it's available on DVD. Just enter with an open mind.
(02/20/03 5:00am)
If the buzz on "Old School" is any indication, fans of lowbrow collegiate humor are in for quite a treat. Early word indicates that Saturday Night Live veteran Will Farrell gives a performance of Belushi-esque proportions as a drunken, oftentimes naked, thirtysomething frat rat. Throw in the expertly honed motor-mouthed hilarity of Vince Vaughn, and we're looking at a college comedy masterpiece in the making.\nI would have seen the flick already, but advance screenings coincided with IU basketball games and the 300th episode of "The Simpsons," both important cornerstones to my existence (not really, but entertaining nonetheless).\nObviously, college serves as a natural extension to the four wasted years otherwise known as high school. Comedies concerning both levels of academia work in a similar manner. As a precocious middle-schooler, I looked to films such as "Fast Times at Ridgemont High" and "Dazed and Confused," as a point of reference. I wanted to catch riptides and smoke myself silly alongside Spicoli (Sean Penn). I yearned to "dog chicks out" with the aplomb of Randy "Pink" Floyd (Jason London), all the while avoiding the vicious paddlings of nefarious seniors. Years later, toward the end of my high school career (paddle free, thank God), the granddaddy of collegiate comedies, "Animal House," spoke to me, as I'm sure it's spoken to many horny, misdirected young men.\n"Animal House" serves as the iconographic representation of what college should be for any red-blooded American male. Who hasn't wanted to implement Eric "Otter" Stratton's (Tim Matheson) sleazy methods of courting? Drinking, toking, screwing and decimating all became synonymous with college as a result of the flick. Unfortunately, college isn't as much seedy fun these days. Sure, many of us enter the occasional drunken stupor, hit the pipe or get laid with some regularity, but not without repercussions. Don't believe me? Just read the IUPD blotter or rent "Campus Invasion No. 32." "Animal House" and latter films of its ilk represent a world void of these problems. This is what college should be.\nWhere else but in cinema could geeks be as cool as Booger, Wormser and Takashi of "Revenge of the Nerds?" How are "PCU"'s two fogies, Droz (Jeremy Piven) and Rand McPherson (David Spade), still in college? How does one make a sex tape with an Amy Smart caliber babe ala "Road Trip?" What else but weed and a poorly written screenplay could plunk rappers Method Man and Redman into the depths of Harvard in "How High?" How did the eldest Pete (Michael C. Maronna) of Nickelodeon's beloved "The Adventures of Pete & Pete" perform such daunting acts of penis puppetry in "Slackers?" And how does the titular character of "Van Wilder" (Ryan Reynolds) not only remain in college for seven years doctorate free, but also wind-up bedding dunderheaded hottie, Tara Reid? \nThe aforementioned questions, while silly, should be answered in an ideal world.\nSure, most of the previously mentioned films are bad. But they're funny and entertaining pieces, which give us insight into what college might have been and still could be. Instead of worrying about how much you paid for an overpriced textbook, which in all likelihood, you'll only read a quarter of, go out, have fun, find your inner Bluto. In the meantime, "Old School" or any of the aforementioned flicks should serve as ample Cliff's Notes. "Carpe the Diem. Seize The Carp"
(02/19/03 5:01pm)
If the buzz on "Old School" is any indication, fans of lowbrow collegiate humor are in for quite a treat. Early word indicates that Saturday Night Live veteran Will Farrell gives a performance of Belushi-esque proportions as a drunken, oftentimes naked, thirtysomething frat rat. Throw in the expertly honed motor-mouthed hilarity of Vince Vaughn, and we're looking at a college comedy masterpiece in the making.\nI would have seen the flick already, but advance screenings coincided with IU basketball games and the 300th episode of "The Simpsons," both important cornerstones to my existence (not really, but entertaining nonetheless).\nObviously, college serves as a natural extension to the four wasted years otherwise known as high school. Comedies concerning both levels of academia work in a similar manner. As a precocious middle-schooler, I looked to films such as "Fast Times at Ridgemont High" and "Dazed and Confused," as a point of reference. I wanted to catch riptides and smoke myself silly alongside Spicoli (Sean Penn). I yearned to "dog chicks out" with the aplomb of Randy "Pink" Floyd (Jason London), all the while avoiding the vicious paddlings of nefarious seniors. Years later, toward the end of my high school career (paddle free, thank God), the granddaddy of collegiate comedies, "Animal House," spoke to me, as I'm sure it's spoken to many horny, misdirected young men.\n"Animal House" serves as the iconographic representation of what college should be for any red-blooded American male. Who hasn't wanted to implement Eric "Otter" Stratton's (Tim Matheson) sleazy methods of courting? Drinking, toking, screwing and decimating all became synonymous with college as a result of the flick. Unfortunately, college isn't as much seedy fun these days. Sure, many of us enter the occasional drunken stupor, hit the pipe or get laid with some regularity, but not without repercussions. Don't believe me? Just read the IUPD blotter or rent "Campus Invasion No. 32." "Animal House" and latter films of its ilk represent a world void of these problems. This is what college should be.\nWhere else but in cinema could geeks be as cool as Booger, Wormser and Takashi of "Revenge of the Nerds?" How are "PCU"'s two fogies, Droz (Jeremy Piven) and Rand McPherson (David Spade), still in college? How does one make a sex tape with an Amy Smart caliber babe ala "Road Trip?" What else but weed and a poorly written screenplay could plunk rappers Method Man and Redman into the depths of Harvard in "How High?" How did the eldest Pete (Michael C. Maronna) of Nickelodeon's beloved "The Adventures of Pete & Pete" perform such daunting acts of penis puppetry in "Slackers?" And how does the titular character of "Van Wilder" (Ryan Reynolds) not only remain in college for seven years doctorate free, but also wind-up bedding dunderheaded hottie, Tara Reid? \nThe aforementioned questions, while silly, should be answered in an ideal world.\nSure, most of the previously mentioned films are bad. But they're funny and entertaining pieces, which give us insight into what college might have been and still could be. Instead of worrying about how much you paid for an overpriced textbook, which in all likelihood, you'll only read a quarter of, go out, have fun, find your inner Bluto. In the meantime, "Old School" or any of the aforementioned flicks should serve as ample Cliff's Notes. "Carpe the Diem. Seize The Carp"
(02/19/03 4:57pm)
Fans of Steven Soderbergh's "Out of Sight," "Erin Brockovich" or "Ocean's 11," expecting to see something similarly light and entertaining from his recent work, "Full Frontal," will be gravely disappointed. \n"Frontal" is a scathing Hollywood satire containing a movie within the movie entitled "Rendezvous." Nicholas (Blair Underwood) and Catherine (Julia Roberts) both star. Carl (David Hyde Pierce) is the struggling magazine writer who penned the script. He is unhappily married to Lee (Catherine Keener), a draconian human resources executive. Lee's sister, Linda (Mary McCormack), is a mopey masseuse with plans of meeting experimental theater director, Arty (Enrico Colantoni), whom she's spoken to on the Internet. Arty is prepping a Hitler-themed play entitled "The Sound and the Fuhrer," which stars a blood-drinking nut job of an actor (the hilarious Nicky Katt). Most of these characters converge at the 40th birthday party of Gus (David Duchovny), the horny yet depressed producer of "Rendezvous." \nCameos also inundate this already confusing and ironically melodramatic scenario. Brad Pitt and director David Fincher both appear as themselves in a knowing and utterly funny "Seven" send-up, and British badass Terrence Stamp briefly reprises his role from Soderbergh's "The Limey." Sound complicated? It is, often unnecessarily so.\nMuch like the film itself, the DVD is a mixed bag. The transfer often looks horrible as a majority of the flick was shot on intentionally grainy DV (exceptions include the "Rendezvous" segments, which were shot on 35 mm). The sound mix also doesn't really register, as the film is primarily dialogue driven. Soderbergh and screenwriter Coleman Hough deliver a decent commentary that the director dominates. Much of the discussion is both entertaining and insightful, but the track doesn't hold a candle to those on the "Out of Sight," "The Limey" or "Ocean's 11" DVDs.\n"Frontal," which was budgeted at $2 million and shot in 18 days, could best be described as a throwback to the earlier, more experimental days of the auteur's career. It's reminiscent of films such as "Sex, Lies, and Videotape," "Kafka," "Gray's Anatomy" and "Schizopolis." Opening to scathing reviews and lackluster business this past summer, \n"Frontal" is better than the negative buzz would suggest. In fact, it's well-worth renting now that it's available on DVD. Just enter with an open mind.
