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(11/29/01 5:00am)
It's mildly surprising to see a film like "Spy Game" being released in wake of Sept. 11. Many films containing less controversial content have been delayed or shelved indefinitely. "Spy Game" isn't a real scorcher per se. Quite simply it's a character driven think piece involving spy tactics and the ever-ominous government hand.\nRobert Redford headlines the flick as Nathan Muir, a seasoned CIA operative on the brink of retirement. That is until he's notified of the capture of his protégé Tom Bishop (Brad Pitt, turning in nice supporting work). Bishop is arrested and charged with espionage following a botched seize and spring mission from a Chinese prison. The narrative sets up a timetable to establish suspense. Muir has slightly more than 24 hours from the moment of notification to prevent Bishop's inevitable execution. \nMuch of "Spy Game" is told through flashback, and the technique works particularly well here. The film backpedals to reveal a great depth of character in both Bishop and especially Muir. Redford and Pitt embody their roles expertly. The two have an undeniable chemistry that in all likelihood was fostered when Redford directed Pitt in 1992's "A River Runs Through It." Their characters have a warm, understated father-son relationship that propels the piece beyond action movie clichés. \nTony Scott, the director behind action extravaganzas such as "Top Gun," as well as the criminally underrated Tarantino crime yarn "True Romance," lenses "Spy Game" in able fashion. The flick is more grounded than many of his previous works. Redford's weapon of choice is his brain, a pack of smokes, or the telephone, yet Scott infuses the film with a manic energy chock full of jump cuts, extreme close-ups and breakneck editing, which elicits memories of his action flicks past. This can be both good and bad. "Spy Game" calls for a little more subtlety, yet is also spiced-up by the visual pyrotechnics in duller moments.\n"Spy Game" is a capable thriller, and perhaps its impact is amplified in wake of current events. Either way, it's well done and serves as a premiere comeback vehicle for Redford who gives his best performance in at least a decade as teh crafty and sharp-tongued Muir.
(11/29/01 5:00am)
The Matrix" revolutionized the sci-fi genre upon its release it 1999. The film's power was so great it even managed to dull the tremendous roar of the then highly anticipated "Star Wars: Episode I -- The Phantom Menace" released later that year.\nEagerness for the film's sequels "The Matrix Reloaded" and "The Matrix Revolutions" is growing among filmgoers. Thus, it seems appropriate that Warner Bros. and producer Joel Silver released a documentary chronicling the hype surrounding the franchise solely in DVD format.\n"The Matrix Revisited" features the active participation of many of the trilogy's primary creative forces. "Matrix" scribes and directors Andy and Larry Wachowski step before the camera for a change, as does talented cinematographer Bill Pope. These men share interesting tidbits on the first film's production as well as hints concerning the impending sequels and the inevitable "Matrix" anime releases. \nViewers will be treated to sequences of the series' primary actors enduring training under the watchful eye of world-renowned martial arts choreographer Yuen Wooping. These training sessions are in preparation for both the original flick as well as the dual shoot of the series' sequels.\nOne of the most interesting aspects of the DVD features special effects supervisor John Gaeta and his creation of the once revolutionary, but now frequently ripped-off, technique known as bullet-time. The DVD goes so far as to include the first test run of the effect caught on home video. Even in such a coarse format the effect is truly inspiring.\n"The Matrix Revisited" contains no supplementary materials because the documentary itself is essentially a grandiose incarnation of most discs' extras. The DVD probably won't interest the masses, but film fanatics and fans of "The Matrix" should definitely pick up this release.
(11/29/01 5:00am)
Radiohead released two critically acclaimed (surprise, surprise) albums in less than a year, quite a feat for any artist. Kid A and Amnesiac were infinitely well crafted, albeit a bit obtuse. They were indecipherable to those who were not well acquainted with Radiohead, or to a greater extent with the somewhat odd shift the music took post-O.K. Computer.\nI Might Be Wrong is the band's latest release. The live album, which isn't so much an album as it is an EP, clocks in at under 40 minutes and consists of only eight tracks. It was recorded amid a series of European concerts this past summer and is comprised entirely of tunes from both Kid A and Amnesiac -- minus "True Love Waits," a rare B-Side previously unavailable on disc, which happens to be the best cut off the album.\n"True Love Waits" is a departure from much of the band's recent material in that it eschews trance-like techno loops. The song is reminiscent of material that might have appeared on Pablo Honey or The Bends. If anything, the tune serves as a venue for lead singer Thom Yorke's amazing voice. It's really quite beautiful.\nMuch like "True Love Waits," Yorke's voice comes to the forefront of "Like Spinning Plates," the second best track on the album, and a choice cut off of Amnesiac. The song is driven almost completely by Yorke's extraordinary falsetto and a gorgeous piano accompaniment.\nBetter-known tracks including "Idioteque" and "Everything in its Right Place" are given rousing renditions upon I Might Be Wrong. The latter of the two runs nearly eight minutes and branches out beyond the already experimental form it took on Kid A. \nWhile not as impressive as many of Radiohead's other releases, I Might Be Wrong is nonetheless well done. The disc is worth picking up if for no other reason than its inclusion of "True Love Waits." Radiohead is widely considered one of the finest live acts in rock and roll today, with I Might Be Wrong the band is certainly able to hint at the claim.\nRating: 8
(11/29/01 4:51am)
The Matrix" revolutionized the sci-fi genre upon its release it 1999. The film's power was so great it even managed to dull the tremendous roar of the then highly anticipated "Star Wars: Episode I -- The Phantom Menace" released later that year.\nEagerness for the film's sequels "The Matrix Reloaded" and "The Matrix Revolutions" is growing among filmgoers. Thus, it seems appropriate that Warner Bros. and producer Joel Silver released a documentary chronicling the hype surrounding the franchise solely in DVD format.\n"The Matrix Revisited" features the active participation of many of the trilogy's primary creative forces. "Matrix" scribes and directors Andy and Larry Wachowski step before the camera for a change, as does talented cinematographer Bill Pope. These men share interesting tidbits on the first film's production as well as hints concerning the impending sequels and the inevitable "Matrix" anime releases. \nViewers will be treated to sequences of the series' primary actors enduring training under the watchful eye of world-renowned martial arts choreographer Yuen Wooping. These training sessions are in preparation for both the original flick as well as the dual shoot of the series' sequels.\nOne of the most interesting aspects of the DVD features special effects supervisor John Gaeta and his creation of the once revolutionary, but now frequently ripped-off, technique known as bullet-time. The DVD goes so far as to include the first test run of the effect caught on home video. Even in such a coarse format the effect is truly inspiring.\n"The Matrix Revisited" contains no supplementary materials because the documentary itself is essentially a grandiose incarnation of most discs' extras. The DVD probably won't interest the masses, but film fanatics and fans of "The Matrix" should definitely pick up this release.
(11/29/01 4:45am)
The Wash" was written and directed by oddly named "hood" auteur D.J. Pooh. He's best known as the scribe of the urban cult comedy hit "Friday." His latest effort doesn't stand up to his seminal work, but there are some sparse laughs to be had.\n"The Wash" is nothing more than an homage to the Richard Pryor/George Carlin flick "Car Wash." This film isn't anywhere near as accomplished nor as funny as its 1976 source material, and even the original incarnation wasn't as hot as many would have you believe.\nDre and Snoop co-star as Sean and D-Loc, a pair of eviction bound roomies who have a predilection towards smoking copious amounts of bud. After D-Loc gets Sean fired from Foot Locker following an underhanded sneaker robbery, Sean seeks employment amidst his perpetually stoned roommate at a local car wash as his manager. Hijinks ensue, dope is smoked and "bitches" are played.\nDre plays a likable straight man to Snoop's loose wire, but he is mildly bland, and the Doggfather is a straight-up jerk in this movie. Dre protege Eminem also appears as an ex-car wash employee, and he sucks. \nThe only performance of note in "The Wash" comes from comedian George Wallace (no, not the controversial Alabama governor of the 1960s) who co-stars as the car wash's jive talking, gun toting owner. Pooh, in an unwise writing decision, has Wallace kidnapped in the third act, once he realizes the film has no plot. And when he's not on screen, "The Wash" stinks to all holy hell.\nFans of recycled weed and poop jokes may enjoy "The Wash," but run-of-the-mill viewers will most likely find it derivative. Even cameos from such "comedy luminaries" as Pauly Shore and Tommy Chong can't save this sinking ship. "The Wash" is a film that will inevitably play on "USA Up All Night," and appropriately enough should be caught on cable and under the influence.
(11/15/01 5:00am)
The Farrelly Brothers are the undisputed kings of the modern day gross-out comedy. This highly coveted title was attained through such crudely comedic gems as "Dumb and Dumber," "Kingpin" and "There's Something About Mary." \nTheir latest film, "Shallow Hal," differs somewhat from their previous efforts in that it wears its heart blatantly upon its sleeve, extending itself beyond the ongoing series of "fat" jokes promised in trailers. The wince-inducing laughs are still presented in abundance. But the patented Farrelly crassness is dulled by a sensitivity foreign to many of their works.\nJack Black, lead singer of Tenacious D and the man who stole "High Fidelity" from the ever-dependable John Cusack, headlines the flick as Hal Larson.\nHal's father was a preacher who died when Hal was 9. While under the influence of a considerable morphine drip, he instills last minute words of wisdom to his impressionable son. The advice falls somewhere along the lines of, "Avoid love, son. That's the mistake I made with your mother. Hot, young tail. That's what it's all about."\nHal does his father proud, and pursues nothing further than meaningless relationships with women who are far from his league. Alongside his equally shallow buddy Mauricio (Jason Alexander), who wears spray-on hair and an undersized Members Only jacket, Hal prowls clubs looking to hook up with disinterested beauties.\nThis all changes during a chance encounter with self-help guru Tony Robbins (as himself) in a stalled elevator. Tony cuts through Hal's shallow nature to see a kind-hearted and sensitive man lying beneath, and thus, hypnotizes him to see only a woman's inner beauty. \nShortly after, Hal happens upon a nurse/Peace Corps volunteer named Rosemary (Gwyneth Paltrow) who looks exactly like the aforementioned star, but in reality is a 300-pound woman with a heart of gold. He's smitten and enters into a whirlwind romance, unbeknownst to her actual appearance.\nBlack, in his first leading man role, doesn't disappoint. He's charming and consistently funny. "Shallow Hal," will make this guy a star, and rightfully so. He's the most comedically gifted actor working in Hollywood today. Paltrow also does wonders in the role of Rosemary, giving her finest performance since "Shakespeare in Love." She instills Rosemary with an insecurity that suits the character perfectly. She's really very touching, and the two have impeccable chemistry.\n"Shallow Hal" amounts to more than the trailers would have you to believe. It's a tad schizophrenic at times, but that doesn't numb the overall effect of the movie. The Farrelly brothers have produced the best romantic comedy of the year and a great date movie for more adventurous filmgoers.
(11/08/01 5:00am)
Swordfish," the latest of producer Joel Silver's ("The Matrix") mindless big-budgeted action extravaganzas, hit DVD last week. It's not the best DVD out there, but it is one worth owning.\nThe flick chronicles the sordid adventures of renegade CIA spy Gabriel Shear (John Travolta) who recruits ex-con cum ingenious computer hacker Stanley Jobson (Hugh Jackman) to participate in a complicated scheme to pilfer a government slush fund codenamed "Swordfish." Hence, the odd title. Ginger (Halle Berry), a primo femme fatale and Gabriel's right hand woman and Special Agent Roberts (Don Cheadle, the world's finest character actor) also figure prominently into this high-tech tale of intrigue and betrayal.\n"Swordfish" makes a worthy addition to any DVD connoisseur's collection. As far as the audio is concerned the disc delivers in spades. Paul Oakenfold's masterful techno-fueled score mingles perfectly amidst the cacophony of random car crashes, explosions and incessant hails of gunfire. All are presented in crystal clear 5.1 sound. The picture isn't up to par with some other recent releases, but it is still nothing to scoff at. Action sequences ranging from the introductory human land mine to the concluding flying bus scenario are presented in a relatively crystal clear anamorphic transfer.\nThe disc includes a decent amount of supplementary materials. Figuring most prominently amongst these are an informative and entertaining feature-length commentary by director Dominic Sena (the man seems so smart it's a shock to think he was responsible for the turgid excrement otherwise known as "Gone in Sixty Seconds") and two alternate endings which tweak the film's twist ending. Other features include two behind the scenes documentaries and a theatrical trailer.\n"Swordfish" is a solid action film. The film's only faults come in the form of its criminal under utilization of both Cheadle and former footballer turned Guy Ritchie regular Vinnie Jones who co-stars as one of Travolta's thugs. Also, some may see the whole enterprise as nothing more than a 100 minute Heineken commercial. Despite these minimal qualms, "Swordfish" is an entertaining if not mildly flawed action extravaganza that should please fans of the genre.
(11/08/01 4:47am)
Swordfish," the latest of producer Joel Silver's ("The Matrix") mindless big-budgeted action extravaganzas, hit DVD last week. It's not the best DVD out there, but it is one worth owning.\nThe flick chronicles the sordid adventures of renegade CIA spy Gabriel Shear (John Travolta) who recruits ex-con cum ingenious computer hacker Stanley Jobson (Hugh Jackman) to participate in a complicated scheme to pilfer a government slush fund codenamed "Swordfish." Hence, the odd title. Ginger (Halle Berry), a primo femme fatale and Gabriel's right hand woman and Special Agent Roberts (Don Cheadle, the world's finest character actor) also figure prominently into this high-tech tale of intrigue and betrayal.\n"Swordfish" makes a worthy addition to any DVD connoisseur's collection. As far as the audio is concerned the disc delivers in spades. Paul Oakenfold's masterful techno-fueled score mingles perfectly amidst the cacophony of random car crashes, explosions and incessant hails of gunfire. All are presented in crystal clear 5.1 sound. The picture isn't up to par with some other recent releases, but it is still nothing to scoff at. Action sequences ranging from the introductory human land mine to the concluding flying bus scenario are presented in a relatively crystal clear anamorphic transfer.\nThe disc includes a decent amount of supplementary materials. Figuring most prominently amongst these are an informative and entertaining feature-length commentary by director Dominic Sena (the man seems so smart it's a shock to think he was responsible for the turgid excrement otherwise known as "Gone in Sixty Seconds") and two alternate endings which tweak the film's twist ending. Other features include two behind the scenes documentaries and a theatrical trailer.\n"Swordfish" is a solid action film. The film's only faults come in the form of its criminal under utilization of both Cheadle and former footballer turned Guy Ritchie regular Vinnie Jones who co-stars as one of Travolta's thugs. Also, some may see the whole enterprise as nothing more than a 100 minute Heineken commercial. Despite these minimal qualms, "Swordfish" is an entertaining if not mildly flawed action extravaganza that should please fans of the genre.
(10/31/01 5:00am)
High Times magazine has been at the forefront of America's marijuana subculture for a while now. That said, it's only appropriate for High Times to release a double album chock full of tunes chronicling the weed connoisseur's lifestyle in an album which said individuals can smoke along with. It's a good idea. Jam band music and weed are for the most part intrinsically linked, and the two come to a head with Rip This Joint.\nWell-known and much-loved cult artists such as The String Cheese Incident, Fishbone, Big Head Todd and the Monsters, Gov't Mule and Primus front man Les Claypool all make contributions to the two-disc set. Foghat's classic rock anthem "Slow Ride" is also included in the set. The track serves a prominent role in the stoner's musical pantheon because of its inclusion in Richard Linklater's "Dazed and Confused" (a nostalgic love letter to the '70s, high school and most certainly pot). It's during these tracks that Rip This Joint reaches its high point. The tunes are focused and branch out beyond the whole weed theme of the venture, but only ever so slightly.\nOther contributions by lesser-known artists such as Commander Cody and His East Coast Airmen, The Disco Biscuits and Rubberman also register quite nicely. These tunes are far less commercial in nature but are no less entertaining.\nMusically, the quality remains consistently high throughout Rip This Joint. But the albums as mastered by Glen Robinson are muddled, and the sound is certainly lacking in many respects. Such could be the nature of the beast? These discs sound as though they were engineered by someone who has bong water for brains. I've never heard CDs sound this dirty, and thus cannot give the set a positive review despite the impeccable musical craftsmanship of many of the artists associated.\nHigh Times could be on to something in hopes of expanding their enterprise beyond their dank rag of cannabis centerfolds and mail-in weed offers. The magazine is in post-production on a feature length motion picture entitled Pot Luck starring Jason "Phat Buds" Mewes a.k.a. Jay and Tommy Chong. Further albums wouldn't hurt either, just so long as their music selection remains discriminatory and the technology behind the album is improved.
(10/31/01 5:00am)
Thirteen Ghosts" is the new Halloween offering from Joel Silver and Robert Zemeckis' Dark Castle Entertainment, the same company that brought us 1999's "House on Haunted Hill." Much like that film, "Thirteen Ghosts" is an interpretation of a classic William Castle horror picture and the results are truly mediocre.\n"Thirteen Ghosts" tells the story of Arthur (Tony Shalhoub), a down-on-his-luck mathematics professor who lost his wife and all his earthly possessions in a tragic house fire. He and his two children Bobby (Alec Roberts) and Kathy (Shannon Elizabeth) now live in relative poverty alongside their live-in nanny Maggie (rapper Rah Digga). This makes no sense whatsoever seeing as how most indigent folks have trouble paying the bills let alone the hired help. This is one nonsensical idea in a film chock full of them. Anyway, Arthur is eventually notified that he and his family inherited the house of his Uncle Cyrus (F. Murray Abraham).\nArthur, Maggie and the kids think this is the end to all of their problems. Boy, could they be more wrong? Cyrus was a world-renowned scientist and adventurer, but when all is said and done he's nothing more than a perverse bastard. His gorgeous, shatterproof glass-encased home (kudos to the production designers) is actually "a machine designed by the devil and powered by the dead." Cyrus captured ghosts under the tutelage of a dweebish ghostbuster wannabe named Rafkin (Matthew Lillard) and placed them throughout the dwelling. \nThe film as directed by special effects artist turned first time director Steve Beck is rather muddled and disjoint. The shots are choppy and seem as though they were cut by a ramshackle lawnmower. True horror, minus one creepy bathroom sequence, is never achieved because viewers aren't given enough time to see what is going on. The acting ranges from serviceable (Shalhoub and, surprisingly enough, Lillard) to poor (Elizabeth and Abraham make their "respective" stints in "Tomcats" and "Finding Forrester" seem brilliant and restrained by comparison). \n"Thirteen Ghosts," as advertised by recent television ads, is rated R for gore, violence, nudity and bad language. This may impress your run-of-the-mill 15-year-old boy, but in all likelihood won't do a whole lot for most filmgoers.
(10/31/01 5:00am)
George Lucas revolutionized film in 1977 by eschewing the smaller personal movies that populated much of the decade to create a space opera of grand proportions. On a greater level, he created the modern blockbuster as we know it today.\nThe film was "Star Wars: Episode IV -- A New Hope." It entered the public's subconscious and brought about a childlike mystique unlike few films had before. After a 22-year directorial hiatus, Lucas returned to the franchise that made him the iconic figure he is today and produced the expertly crafted yet ultimately disappointing prequel "Star Wars: Episode 1 -- The Phantom Menace."\nThe film possessed no characters who exuded half the cool Han Solo did. Instead, audiences were treated to the grating antics of an annoying Gungan named Jar Jar Binks (a character whose creation came about solely to sell toys). Most filmgoers were pissed. The film that had been hailed as the best thing since sliced bread prior to its release was deemed only good to mediocre. Perhaps the disappointment would've been muffled had the film not been released in the same year as "The Matrix," a truly superior sci-fi epic.\nUpon subsequent viewings, many viewers warmed up to the flick. I certainly did. Anticipation grew with the announcement that "The Phantom Menace" would be the first "Star Wars" film to be released on the immensely popular and technically superior DVD format. The two-disc set was well worth the wait.\nWithout question, "The Phantom Menace" possesses the cleanest sound and picture I've seen in this format. This comes as no real surprise, considering Lucas revolutionized the home theater industry with his THX-certified discs and equipment. In addition to the gorgeous looking flick, the discs contain commentary by Lucas, producer Rick McCallum, sound designer Ben Burtt, special effects supervisor Dennis Muren and deleted scenes prepared exclusively for the DVD, numerous featurettes chronicling the film's production and a new behind the scenes documentary which takes viewers inside the depths of Lucasfilm and ILM. \nIt's a tad disappointing that Lucas chose to release "The Phantom Menace" on DVD prior to the previous films, but the skill and precision exemplified in this truly impressive set whet the appetite for subsequent DVD releases.
(10/31/01 5:00am)
California rockers Lit manage to do something with their latest release, Atomic, that few other breakout bands do: avoid the dreaded sophomore slump.\nLit entered public consciousness two years ago with its major label debut, A Place in the Sun, which spawned hit singles including "My Own Worst Enemy," "Miserable" and "Zip-lock." Atomic maintains the none-too-subtle commercial appeal of the first album while simultaneously improving upon their standard pop-rock formula. The hooks and licks are sharper while the lyrics are a tad more insightful.\nAtomic finds its footing upon its two introductory tracks, "Something to Someone" and "The Last Time Again;" these tunes epitomize Lit at its best. Essentially, the songs are flawless hard rock/pop medleys. The placement of these tracks detracts slightly from the rest of the album because the momentum simply isn't maintained. But mellow tunes including "Happy in the Meantime," "Slip," "She Comes" and "Live for This" give the album a sense of stability and are good in their own right. As is the disc's bonus track "Over My Head," which is highly reminiscent of the works on A Place in the Sun.\nLit co-produced the album with Don Gilmore, best known for his work with Sugar Ray, Eve 6 and Linkin Park. He also manned the boards on A Place in the Sun. His work here is fairly similar to the material he's produced with the other artists, especially the latest Sugar Ray album, but it's capable nonetheless.\nLit prove to be a solid collective. Brothers A.Jay and Jeremy Popoff write solid yet unoriginal pop rock numbers and fill their positions at lead vocals and guitar quite nicely. And bassist Kevin Baldes and drummer Allen Shellenberger provide a solid backbeat to the proceedings. \nWhile Lit produces nothing more than likable pop-fueled rock tunes the sheer saccharine nature of the music can grow grating at times. Atomic is a good album, but one that is best enjoyed in small doses.
(10/25/01 4:00am)
With little knowledge of Alan Moore and Eddie Campbell's graphic novel "From Hell," I went into the screen adaptation with little to no expectations aside from those of the cinematic variety. Many fans of the source material cried foul when informed of narrative and tonal shifts within the film, but to the uninitiated "From Hell" proves to be a taut and provocative historical thriller.\nJohnny Depp headlines the film in grand fashion as Inspector Frederick Abberline. His work here is subtly strong, and slightly reminiscent of recent turns in both "Fear and Loathing in Las Vegas" and "Sleepy Hollow." \nAbberline is a man of the law and for the most part quite ethical. But, he's also a pervasive drug addict indulging in absinthe cocktails and frequent stints in opium dens. In the midst of these binges, he experiences hallucinatory visions of the future. These events pertain to his latest case, one unlike any he's ever tackled. Abberline is tracking the murderous rampage of the "original" serial killer, Jack the Ripper. \nThe Ripper has taken to murdering cockney prostitutes under the veil of night on the streets of White Chapel, a slum in late 19th century London. His actions are brutal yet meticulous. He lures these "ladies of the night" with grapes (a delicacy at the time) and liquor, only to slash their throats and proceed in dissecting them, removing organs ranging from the uterus to the heart. \nOne such prostitute, Mary Kelly (Heather Graham), becomes entangled in both the investigation (she's one of The Ripper's targets) and with Abberline, as the two share a brief romance. Graham turns in her best work since "Boogie Nights." She instills Mary with a great sense of humility allowing viewers to care about her, and thus, makes one hell of a damsel in distress.\n"From Hell" was stylishly directed by the Hughes brothers ("Menace II Society"), who claim this film is as much about the "hood" as any of their previous efforts. This is true to an extent but irrelevant. The film's success cannot be attributed to their street credentials -- that accolade rests solely in their skill as filmmakers. "From Hell" is a gorgeous film to behold what with its phenomenal cinematography, impeccable set design and masterful performances. Without a doubt "From Hell" is the finest suspense/horror film to have been released in some time.
(10/18/01 5:11am)
The eagerly anticipated "The Godfather" trilogy DVDs are finally released, and fans of the series will be happy to hear it was well worth the wait.\nThere are five discs in the collection -- one disc for both parts I and III, two discs for part II and a bonus disc chock full of interesting supplementary materials. \nThe supplementary disc is truly a revelation. It includes a documentary entitled "The Godfather Family: A Look Inside," that is immensely informative and includes the active participation of many of the film's stars.\nThe bonus disc also contains "Francis Coppola's Notebook," "Coppola and Puzo on Screenwriting," "The Godfather Behind the Scenes 1971," storyboards from parts II and III, photo galleries, theatrical trailers, an in-depth "Family Tree" that includes both cast and character biographies, filmmaker biographies and Academy Awards acceptance speeches. The DVD medium is constantly evolving to include more information and insight into the filmmaking process, but "The Godfather DVD Collection" raises the bar.\nUnlike many directors of his prominence, Coppola has chosen to include a running audio commentary with the films. Especially illuminating is the commentary that accompanies the much-maligned third installment. Coppola doesn't go so far as to defend the film, but he describes it as both "a meditation on one's own mortality" and a prologue to parts I and II. \nThe film's transfer to DVD leaves a tad to be desired, but blows away previous VHS releases and the prints that were released in 1997 to celebrate the first film's 25th Anniversary. The transfer is rather dark, but given the age and rumored care of the films they look quite good. The sound is stellar as supervised by Coppola and presented in Dolby Digital 5.1. \n"The Godfather DVD Collection" gives viewers the opportunity to experience two of the best movies ever made, and their deeply flawed, yet masterful follow-up in the highest quality picture and sound they may ever be available in. For that reason alone, the set is more than worth its hefty price tag. This collection is a necessity for any avid DVD collector.
(10/18/01 5:10am)
With their debut album Is This It, The Strokes make a considerable splash amid the sad collective of current popular music.\nThese guys arrive on a music scene dominated by money-hungry boy band franchises, and for all technical purposes could qualify as a boy band as well (members of the band range between the ripe old ages of 20 and 23). But they are the very antithesis of their contemporaries. Their music is gruff and unpolished yet undeniably catchy. Is This It wasn't recorded in some massive studio or written by a team of Swedish pop luminaries. It was recorded in a dingy, smoke-filled sub-basement in Manhattan and was written entirely by The Strokes' lead singer Julian, Casablancas.\nThe Strokes didn't break into the mainstream through packaged mall tours. Their credibility came about through a series of now legendary New York club gigs. They didn't lure audiences with lyrics of puppy love and pelvic thrusts. But they are known to incite numerous brawls, make out with one another on stage and simply rock the house with their unique brand of roots rock. \nIs This It is a shot of adrenaline to the now fledgling rock world. The album clocks in at slightly more than a half hour, but the disc is so chock full of tight rhythms, raspy vocal stylings, simultaneously jerky and sharp guitar solos and insightful lyrics that any listener of discernable taste should walk away satisfied.\nIs This It reaches its musical peak during a series of sweetly twisted yet rocking love songs including the album's title track, "Barely Legal", "Someday" and "Hard to Explain." But the album's real coup comes in the form of one of the greatest party songs of all time, "Last Nite." \nThe Strokes have released an immensely entertaining freshman effort. Is This It is a tightly crafted album of smooth rock precision that hearkens back to the days of the British Invasion and '70s punk revolutionaries. The Strokes aren't especially deep, slick or overtly flashy, but they sure are fun.\nRating: 9
(10/18/01 5:07am)
In the wake of the mass commercial and critical success of Ang Lee's "Crouching Tiger, Hidden Dragon," Miramax Films and oft-seen auteur Quentin Tarantino raided the vaults and decided to re-release the 1993 Kung Fu cult classic "Iron Monkey," and in Cantonese, no less.\n"Iron Monkey" is essentially a Hong Kong variation on the tried and true "Robin Hood" formula. The film chronicles the misadventures of a mythic figure known coincidentally enough as Iron Monkey (Yu Rong Guang). Our title character is a masked bandit who frequently pilfers the ill-gained fortunes of corrupt Chinese officials.\nInevitably, a traveling physician known as Wong Kei-Ying (Donnie Yen) and his young son, Wong Fei Hong (Tsang Sze Man) become ensnared in the search for Iron Monkey. The elder of the two actually stands accused of being the much sought after thief and is brought before the provincial governor. But when the actual Monkey appears in court, Wong Kei-Ying is exonerated, but his problems fail to cease. The governor, in collaboration with an evil monk, hold Wong Fei Hong captive, and will continue to do so until Wong Kei-Ying captures Iron Monkey on their behalf.\nOur two heroes predictably unite to overthrow the corrupt officials and rescue Wong Fei Hong. The film's narrative serves as nothing more than a platform from which some of the most elaborate Kung Fu battles ever are staged. Yuen Wo Ping, the film's director, is best known to American audiences as the martial arts choreographer of "The Matrix" and "Crouching Tiger." His work here stands toe to toe with his later efforts, and in some ways even exceeds it, especially in the film's climactic battle sequence which takes place atop a sea of flaming bamboo poles.\nIt's dismaying to see audiences laughing at this film's trailer prior to its release. The title "Iron Monkey" seems to be a stumbling block for many western viewers who fail to see its correlation with Chinese mythology, and thus write the film off as crap. I was fortunate enough to see "Iron Monkey" on home video prior to its domestic theatrical release and am even more fortunate now that I've seen it in all of its 35-mm glory. "Iron Monkey" might not have the crossover appeal of "Crouching Tiger," but nonetheless is quite a spectacle in its own right.
(10/18/01 4:00am)
In the wake of the mass commercial and critical success of Ang Lee's "Crouching Tiger, Hidden Dragon," Miramax Films and oft-seen auteur Quentin Tarantino raided the vaults and decided to re-release the 1993 Kung Fu cult classic "Iron Monkey," and in Cantonese, no less.\n"Iron Monkey" is essentially a Hong Kong variation on the tried and true "Robin Hood" formula. The film chronicles the misadventures of a mythic figure known coincidentally enough as Iron Monkey (Yu Rong Guang). Our title character is a masked bandit who frequently pilfers the ill-gained fortunes of corrupt Chinese officials.\nInevitably, a traveling physician known as Wong Kei-Ying (Donnie Yen) and his young son, Wong Fei Hong (Tsang Sze Man) become ensnared in the search for Iron Monkey. The elder of the two actually stands accused of being the much sought after thief and is brought before the provincial governor. But when the actual Monkey appears in court, Wong Kei-Ying is exonerated, but his problems fail to cease. The governor, in collaboration with an evil monk, hold Wong Fei Hong captive, and will continue to do so until Wong Kei-Ying captures Iron Monkey on their behalf.\nOur two heroes predictably unite to overthrow the corrupt officials and rescue Wong Fei Hong. The film's narrative serves as nothing more than a platform from which some of the most elaborate Kung Fu battles ever are staged. Yuen Wo Ping, the film's director, is best known to American audiences as the martial arts choreographer of "The Matrix" and "Crouching Tiger." His work here stands toe to toe with his later efforts, and in some ways even exceeds it, especially in the film's climactic battle sequence which takes place atop a sea of flaming bamboo poles.\nIt's dismaying to see audiences laughing at this film's trailer prior to its release. The title "Iron Monkey" seems to be a stumbling block for many western viewers who fail to see its correlation with Chinese mythology, and thus write the film off as crap. I was fortunate enough to see "Iron Monkey" on home video prior to its domestic theatrical release and am even more fortunate now that I've seen it in all of its 35-mm glory. "Iron Monkey" might not have the crossover appeal of "Crouching Tiger," but nonetheless is quite a spectacle in its own right.
(10/18/01 4:00am)
With their debut album Is This It, The Strokes make a considerable splash amid the sad collective of current popular music.\nThese guys arrive on a music scene dominated by money-hungry boy band franchises, and for all technical purposes could qualify as a boy band as well (members of the band range between the ripe old ages of 20 and 23). But they are the very antithesis of their contemporaries. Their music is gruff and unpolished yet undeniably catchy. Is This It wasn't recorded in some massive studio or written by a team of Swedish pop luminaries. It was recorded in a dingy, smoke-filled sub-basement in Manhattan and was written entirely by The Strokes' lead singer Julian, Casablancas.\nThe Strokes didn't break into the mainstream through packaged mall tours. Their credibility came about through a series of now legendary New York club gigs. They didn't lure audiences with lyrics of puppy love and pelvic thrusts. But they are known to incite numerous brawls, make out with one another on stage and simply rock the house with their unique brand of roots rock. \nIs This It is a shot of adrenaline to the now fledgling rock world. The album clocks in at slightly more than a half hour, but the disc is so chock full of tight rhythms, raspy vocal stylings, simultaneously jerky and sharp guitar solos and insightful lyrics that any listener of discernable taste should walk away satisfied.\nIs This It reaches its musical peak during a series of sweetly twisted yet rocking love songs including the album's title track, "Barely Legal", "Someday" and "Hard to Explain." But the album's real coup comes in the form of one of the greatest party songs of all time, "Last Nite." \nThe Strokes have released an immensely entertaining freshman effort. Is This It is a tightly crafted album of smooth rock precision that hearkens back to the days of the British Invasion and '70s punk revolutionaries. The Strokes aren't especially deep, slick or overtly flashy, but they sure are fun.\nRating: 9
(10/18/01 4:00am)
The eagerly anticipated "The Godfather" trilogy DVDs are finally released, and fans of the series will be happy to hear it was well worth the wait.\nThere are five discs in the collection -- one disc for both parts I and III, two discs for part II and a bonus disc chock full of interesting supplementary materials. \nThe supplementary disc is truly a revelation. It includes a documentary entitled "The Godfather Family: A Look Inside," that is immensely informative and includes the active participation of many of the film's stars.\nThe bonus disc also contains "Francis Coppola's Notebook," "Coppola and Puzo on Screenwriting," "The Godfather Behind the Scenes 1971," storyboards from parts II and III, photo galleries, theatrical trailers, an in-depth "Family Tree" that includes both cast and character biographies, filmmaker biographies and Academy Awards acceptance speeches. The DVD medium is constantly evolving to include more information and insight into the filmmaking process, but "The Godfather DVD Collection" raises the bar.\nUnlike many directors of his prominence, Coppola has chosen to include a running audio commentary with the films. Especially illuminating is the commentary that accompanies the much-maligned third installment. Coppola doesn't go so far as to defend the film, but he describes it as both "a meditation on one's own mortality" and a prologue to parts I and II. \nThe film's transfer to DVD leaves a tad to be desired, but blows away previous VHS releases and the prints that were released in 1997 to celebrate the first film's 25th Anniversary. The transfer is rather dark, but given the age and rumored care of the films they look quite good. The sound is stellar as supervised by Coppola and presented in Dolby Digital 5.1. \n"The Godfather DVD Collection" gives viewers the opportunity to experience two of the best movies ever made, and their deeply flawed, yet masterful follow-up in the highest quality picture and sound they may ever be available in. For that reason alone, the set is more than worth its hefty price tag. This collection is a necessity for any avid DVD collector.
(10/11/01 4:40am)
As each year goes by, it seems films have less substance. Therefore, it's a real shock to the system when a daring, edgy and immensely well done work is released amidst mainstream mediocrity -- a film that knocks you on your ass -- a film such as Larry Clark's "Bully."\n"Bully" chronicles the entirely true incidents leading up to and following the brutal, group-orchestrated murder of heinous bully Bobby Kent (Nick Stahl), which occurred in southern Florida in 1993.\nBobby and Marty (Brad Renfro) have been friends for as long as either could remember. But along with the friendship comes an unrelenting cycle of verbal, physical and sometimes sexual abuse that Bobby willfully exacts against Marty.\nMarty eventually falls in love with a shy wallflower named Lisa (Rachel Miner). Lisa can't stand the way Bobby freely belittles Marty, and she fears the constant threat of rape toward her and her friend Ali (Bijou Phillips).\nInevitably, Lisa suggests to Marty they should kill Bobby. Soon after, Lisa enlists the services of her lonely, videogame-addicted cousin, Derek (Daniel Franzese), Ali's drug-addled boyfriend Donny (Michael Pitt) and Heather (Kelli Garner), a recent rehab escapee. The group amounts to very little and seeks outside help from a hilarious Mafioso wannabe known simply as Hitman (Leo Fitzpatrick).\nIn wake of the killing at Columbine in 1999, "Bully" is an incredibly bold and brave film. Clark, the director of the somewhat similarly themed "Kids," should be applauded for the way in which he unrelentingly depicts the lives of aimless teens. As should the film's cast, especially Miner, who serves as a teenage incarnation of Lady Macbeth, Renfro, who brings a warped sense of sensitivity to his role and Stahl, who creates one of the most loathsome characters to have ever graced the screen.\n"Bully" is an incredibly powerful film, one that should be viewed and discussed by mature children and parents. Sadly, "Bully" was released with little fanfare, and will most certainly turn many off because of its pervasive sexuality and graphic violence. Hopefully, viewers can look past these baser elements and see the issues at hand. Without a doubt, "Bully" is the most socially relevant and thought-provoking film released this year.
