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(10/22/04 4:44am)
Comedian Dave Attell is living the American Dream. The comedian and "Insomniac" host earns much of his income by way of carousing about various cities into the wee hours of the morning. "Insomniac," the Comedy Central show in which Attell's drunken hijinks add up to hilarity, has made him a household name. Now after partying his way across the country, Attell will grace Bloomington with his presence at 7:30 p.m. Sunday in an IU Auditorium performance. Recently, I had the opportunity to do a one-on-one phone interview with the man. Here's what resulted.
(10/14/04 4:34pm)
Mid-to-late '90s geek rock sensation Cake has returned with yet another record. This one's called Pressure Chief, and it doesn't do much to differentiate itself from the band's previous works. Much like Cake's albums of yore, the cover is muted and tri-colored. The tunes fuse honky funk, country, new wave, jazz and pop. Hell, there's even a cover of Bread's "Guitar Man" filling in for "I Will Survive." \nWhile what's here is good, it doesn't do anything to break the mold. If you dig Cake, you'll dig the record. If you don't … well, you won't. As far as the band's records go, this one's a tad sub-par, but that's not to say it's bad. In fact, it's imminently listenable and better than Comfort Eagle, the group's last effort. Though, I like Cake. Always have. Probably always will.\nWhile Pressure Chief's first single "No Phone" exudes catchiness, it's slightly repetitive (obviously, Cake's greatest downfall as a band) and isn't indicative of the quality contained within. Lead singer John McCrea's signature sardonic wit is again present -- most notably in the album's opener "Wheels," in which he verbally paints the image of "Muscular cyborg German dudes dancing with sexy French Canadians," and later on the socially conscious "Carbon Monoxide," where he chants "Car after bus, car after truck, after this my lungs will be so fucked up." Much like its predecessors, Pressure Chief also sports its fair share of break-up balladry by way of bombast. Songs such as "Wheels," "Take It All Away," "Waiting" and "Palm of Your Hand" stand just a notch below time-tested classics such as "Friend Is a Four-Letter Word," "Never There," "Walk on By" and "Hem of Your Garment."\nCake's greatest strides come through experimentation and homage. The aforementioned Bread cover sounds as though the band's been listening to the Flaming Lips' Yoshimi Battles the Pink Robots, and this is a good thing. Also, "Dime," which more than any other track projects the record's shaggy, homespun vibe, is among the band's best cuts ever.\nWhile not revelatory, Pressure Chief gives listeners the Cake they know and love and lets them eat it too.
(10/14/04 4:00am)
Mid-to-late '90s geek rock sensation Cake has returned with yet another record. This one's called Pressure Chief, and it doesn't do much to differentiate itself from the band's previous works. Much like Cake's albums of yore, the cover is muted and tri-colored. The tunes fuse honky funk, country, new wave, jazz and pop. Hell, there's even a cover of Bread's "Guitar Man" filling in for "I Will Survive." \nWhile what's here is good, it doesn't do anything to break the mold. If you dig Cake, you'll dig the record. If you don't … well, you won't. As far as the band's records go, this one's a tad sub-par, but that's not to say it's bad. In fact, it's imminently listenable and better than Comfort Eagle, the group's last effort. Though, I like Cake. Always have. Probably always will.\nWhile Pressure Chief's first single "No Phone" exudes catchiness, it's slightly repetitive (obviously, Cake's greatest downfall as a band) and isn't indicative of the quality contained within. Lead singer John McCrea's signature sardonic wit is again present -- most notably in the album's opener "Wheels," in which he verbally paints the image of "Muscular cyborg German dudes dancing with sexy French Canadians," and later on the socially conscious "Carbon Monoxide," where he chants "Car after bus, car after truck, after this my lungs will be so fucked up." Much like its predecessors, Pressure Chief also sports its fair share of break-up balladry by way of bombast. Songs such as "Wheels," "Take It All Away," "Waiting" and "Palm of Your Hand" stand just a notch below time-tested classics such as "Friend Is a Four-Letter Word," "Never There," "Walk on By" and "Hem of Your Garment."\nCake's greatest strides come through experimentation and homage. The aforementioned Bread cover sounds as though the band's been listening to the Flaming Lips' Yoshimi Battles the Pink Robots, and this is a good thing. Also, "Dime," which more than any other track projects the record's shaggy, homespun vibe, is among the band's best cuts ever.\nWhile not revelatory, Pressure Chief gives listeners the Cake they know and love and lets them eat it too.
(10/07/04 3:04pm)
It's unlikely that there's ever been a record as eagerly or lengthily anticipated as Brian Wilson's SMiLE, an album almost 40 years in the making. While very much worth the wait, the work itself isn't all it's been cracked up to be.\nWilson, who in collaboration with lyricist Van Dyke Parks and a massive amount of hash, mounted the mythic SMiLE back in 1966. This, after Wilson's Beach Boys had unleashed the then-panned but now justifiably essential Pet Sounds earlier that year. Amid Wilson's tinkerings, the Beatles unleashed Sgt. Pepper's Lonely Hearts Club Band. He went bat shit assuming the record couldn't be topped and shelved his tapes. Up until now all that remained of SMiLE were the singles "Heroes and Villains" and "Good Vibrations," replacement records Smiley Smile and Wild Honey or bootlegs if you were fortunate enough to obtain them.\nSome of SMiLE as we now know it will ring familiar. The aforementioned "Heroes and Villains" (better now than before) and "Good Vibrations" (worse, but still awe-inspiring) open (well, it's the second track) and close the record respectively. Much of what's here is entirely new and revelatory. Try listening to "Surf's Up," "Wind Chimes" or "In Blue Hawaii" without getting choked up. For that matter, listen to "Vega-Tables" without laughing your ass off. Much of this is attributable to Wilson and Parks' poetic lyrics, as well as Darian Sahanaja's pitch-perfect instrumentals.\nAs much of what's here was re-recorded earlier this year, Wilson's voice isn't what it was 37 years ago, but it's still a thing of beauty. I can't imagine what this thing might've sounded like when it was supposed to have been released back in '67. In all likelihood, it would've been the unadulterated masterpiece it's been billed as for decades. As is, SMiLE is a fantastic album and a mystery revealed.
(10/07/04 4:00am)
It's unlikely that there's ever been a record as eagerly or lengthily anticipated as Brian Wilson's SMiLE, an album almost 40 years in the making. While very much worth the wait, the work itself isn't all it's been cracked up to be.\nWilson, who in collaboration with lyricist Van Dyke Parks and a massive amount of hash, mounted the mythic SMiLE back in 1966. This, after Wilson's Beach Boys had unleashed the then-panned but now justifiably essential Pet Sounds earlier that year. Amid Wilson's tinkerings, the Beatles unleashed Sgt. Pepper's Lonely Hearts Club Band. He went bat shit assuming the record couldn't be topped and shelved his tapes. Up until now all that remained of SMiLE were the singles "Heroes and Villains" and "Good Vibrations," replacement records Smiley Smile and Wild Honey or bootlegs if you were fortunate enough to obtain them.\nSome of SMiLE as we now know it will ring familiar. The aforementioned "Heroes and Villains" (better now than before) and "Good Vibrations" (worse, but still awe-inspiring) open (well, it's the second track) and close the record respectively. Much of what's here is entirely new and revelatory. Try listening to "Surf's Up," "Wind Chimes" or "In Blue Hawaii" without getting choked up. For that matter, listen to "Vega-Tables" without laughing your ass off. Much of this is attributable to Wilson and Parks' poetic lyrics, as well as Darian Sahanaja's pitch-perfect instrumentals.\nAs much of what's here was re-recorded earlier this year, Wilson's voice isn't what it was 37 years ago, but it's still a thing of beauty. I can't imagine what this thing might've sounded like when it was supposed to have been released back in '67. In all likelihood, it would've been the unadulterated masterpiece it's been billed as for decades. As is, SMiLE is a fantastic album and a mystery revealed.
(09/23/04 4:00am)
"Sky Captain and the World of Tomorrow" is a tough flick to review. On one hand, it's a huge step forward as far as cinematic technology goes. On the other, it seems like a movie dreamt up by a nerdy 8-year-old who'd most likely reenact the film's preposterous plot with Legos in his or her bedroom. Ultimately, this is the genius and damnation of this giddily-exciting yet mind-numbingly stupid entertainment.\nJude Law headlines as the titular Joe "Sky Captain" Sullivan, a cocksure fighter pilot who embodies the heroic archetype set forth by Harrison Ford in the "Star Wars" and "Indiana Jones" flicks with a dash of Errol Flynn thrown in for good measure. Gwyneth Paltrow co-stars as ace reporter Polly Perkins (think Lois Lane with blonde locks), Joe's ex-girlfriend. The two are thrown together in hopes of thwarting the treacherous machinations of Dr. Totenkopf (the very much dead Laurence Olivier, appearing here through archival footage), a mad scientist hell-bent on destroying the world. Aiding the dynamic duo in their quest are cyclopic Brit bomber babe Franky Cook (Angelina Jolie -- better here than she's been in ages) and Joe's hilariously named "yes"-man Dex Dearborn (Giovanni Ribisi, channeling Superman sidekick Jimmy Olsen and James Bond's assistant Q).\n"Sky Captain" isn't so much a story as it is a series of visual gags and set pieces -- flying robots inundate a New York City knockoff, ray guns are the weapon of choice, seemingly all planes are submersible, airstrips are airborne and monkey-faced pterodactyls are the norm. First-time director Kerry Conran and his production designer brother Kevin are directly responsible for these traits. In paying homage to "Flash Gordon," "Buck Rogers" (Dex's comic book of choice) and serials from the '30s and '40s, the Conran brothers had to film entirely before blue and green screens later adding sets and props digitally to appropriately convey their fantastical world. The technique is oftentimes dynamic (the aerial fights must be seen to be believed), occasionally laughable (Paltrow confusedly running between robots' legs) and likely to be historical -- more movies will undoubtedly be made this way very shortly. \nThat Kerry spent four years toiling away on his home computer preparing the six-minute demo that eventually got "Sky Captain and the World of Tomorrow" sold should tell viewers something. This is his labor of love, and while commendable, the final product could've been more cohesive.
(09/23/04 2:26am)
"Sky Captain and the World of Tomorrow" is a tough flick to review. On one hand, it's a huge step forward as far as cinematic technology goes. On the other, it seems like a movie dreamt up by a nerdy 8-year-old who'd most likely reenact the film's preposterous plot with Legos in his or her bedroom. Ultimately, this is the genius and damnation of this giddily-exciting yet mind-numbingly stupid entertainment.\nJude Law headlines as the titular Joe "Sky Captain" Sullivan, a cocksure fighter pilot who embodies the heroic archetype set forth by Harrison Ford in the "Star Wars" and "Indiana Jones" flicks with a dash of Errol Flynn thrown in for good measure. Gwyneth Paltrow co-stars as ace reporter Polly Perkins (think Lois Lane with blonde locks), Joe's ex-girlfriend. The two are thrown together in hopes of thwarting the treacherous machinations of Dr. Totenkopf (the very much dead Laurence Olivier, appearing here through archival footage), a mad scientist hell-bent on destroying the world. Aiding the dynamic duo in their quest are cyclopic Brit bomber babe Franky Cook (Angelina Jolie -- better here than she's been in ages) and Joe's hilariously named "yes"-man Dex Dearborn (Giovanni Ribisi, channeling Superman sidekick Jimmy Olsen and James Bond's assistant Q).\n"Sky Captain" isn't so much a story as it is a series of visual gags and set pieces -- flying robots inundate a New York City knockoff, ray guns are the weapon of choice, seemingly all planes are submersible, airstrips are airborne and monkey-faced pterodactyls are the norm. First-time director Kerry Conran and his production designer brother Kevin are directly responsible for these traits. In paying homage to "Flash Gordon," "Buck Rogers" (Dex's comic book of choice) and serials from the '30s and '40s, the Conran brothers had to film entirely before blue and green screens later adding sets and props digitally to appropriately convey their fantastical world. The technique is oftentimes dynamic (the aerial fights must be seen to be believed), occasionally laughable (Paltrow confusedly running between robots' legs) and likely to be historical -- more movies will undoubtedly be made this way very shortly. \nThat Kerry spent four years toiling away on his home computer preparing the six-minute demo that eventually got "Sky Captain and the World of Tomorrow" sold should tell viewers something. This is his labor of love, and while commendable, the final product could've been more cohesive.
(09/16/04 4:00am)
What's one to think of a horror movie if the idea of seeing the God-forsaken mess a second time is scarier than whatever took place onscreen? Obviously, very little. "Resident Evil: Apocalypse," the lame-brained sequel to 2002's equally-inane video game adaptation "Resident Evil," is one such film. And by calling this crappy confection a "film," I'm already giving this malarkey too much credit.\n"Apocalypse" picks up where its predecessor left off, with the nefarious Umbrella Corp. unleashing its dreaded T-virus in an underground laboratory known as The Hive. Soon thereafter, The Hive's inhabitants transform into zombies. Eventually, Umbrella Corp. opts to open The Hive, thus infecting a majority of Raccoon City's citizens. \nAlice (an uninspiring Milla Jovovich), former Head of Security for Umbrella Corp., is called in to save the day. Alongside her are Jill Valentine (the equally-wooden Sienna Guillory), a demoted cop with a penchant for wearing skirts short enough to necessitate two hairdos, and Carlos Olivera (Oded Fehr of "The Mummy" and "Deuce Bigalow" -- apparently this cat wouldn't know a good movie if it snuck up and bit him in the ass), the leader of an elite tactical unit known as S.T.A.R.S. Together, the trio sets out to rescue Angie (annoying child actress Sophie Vavasseur), daughter of former Umbrella scientist Dr. Ashford (Jared Harris). In exchange for extracting the tyke, our heroes will be choppered out of Raccoon City before an inevitable virus-quelling nuke is dropped.\nThis is a flawed genre exercise from top to bottom, though, most of the fault lies with Paul W.S. Anderson's hackneyed script. Anderson, writer/director of "Alien Vs. Predator" and the original "Resident Evil," wastes the flick's first half-hour by attempting to develop a story and characters that just aren't there. Essentially, this is a third of the film wasted. And worse yet, it's boring -- a cardinal sin amongst movies of this nature. I wouldn't be the least bit surprised if Anderson wrote this debacle on a series of cocktail napkins with a fat crayon, the script is so inept.\nFirst-time director Alexander Witt also bungles the material badly. Witt, who cut his teeth as an assistant director under the tutelage of expert visual stylist Ridley Scott, can't seem to make a coherent film on his own. The action scenes look as though they've been shot by an ADD-afflicted monkey and edited by a grade-schooler's Fiskars.\nThe only likable element of "Apocalypse" is comedian Mike Epps ("Next Friday," "How High"). This dude's very funny, but his character is a racist caricature and belongs in an entirely different movie.\nFans of the zombie sub-genre should seek their fix elsewhere -- see "Shaun of the Dead" when it drops later this month, watch "28 Days Later" on HBO, pick up the newly-released "Dawn of the Dead" four-disc set, whatever. The only thing scarier than seeing "Resident Evil: Apocalypse" is knowing the filmmakers left themselves an out for yet another sequel.
(09/16/04 4:00am)
Kevin Smith's "Jersey Girl" never had a chance in wake of "Gigli" and the whole Bennifer media fiasco. This is unfortunate, as the film, Smith's first departure from the View Askewniverse, is not only good; it's his most mature work since "Chasing Amy." With any luck, this overlooked gem will finally get its just due now that it's been released on DVD.\nBen Affleck gives his best performance in ages as Ollie Trinke, an NYC flack man whose wife, Gertrude (Jennifer Lopez), dies during childbirth, leaving him with the responsibility of raising their daughter, Gertie (adorable newcomer Raquel Castro), alongside his curmudgeon father, Bart (an unbelievably sweet-natured George Carlin). Along the way Ollie loses his PR gig, becomes a New Jersey street sweeper and finds romance with a nebbish yet sexually overt video store clerk by the name of Maya (a very appealing Liv Tyler). The whole thing plays out as Smith's homage to Frank Capra and John Hughes -- yet it works.\nFor a flick that flopped in its theatrical release, the "Jersey Girl" DVD is pretty stacked. There are two commentary tracks; one with Smith and Affleck, the other features Smith, producer Scott Mosier and a guest appearance by Jason "Jay" Mewes. Both are entertaining, though the latter is a tad better if for no other reason than to hear a newly-rehabbed Mewes sounding sober. Other features include the featurette, "From Mallrats to Jersey Girl," in which Smith and Affleck talk about the movie biz and bust one another's balls, and Smith's "Roadside Attractions" segments from "The Tonight Show," which vary greatly in quality. \nWhile probably Smith's least funny film, "Jersey Girl" still has a lot of laughs and heart. Therefore, it should be seen for what it is: a good-natured romantic comedy and not some B. Lo sideshow.
(09/15/04 5:02pm)
Kevin Smith's "Jersey Girl" never had a chance in wake of "Gigli" and the whole Bennifer media fiasco. This is unfortunate, as the film, Smith's first departure from the View Askewniverse, is not only good; it's his most mature work since "Chasing Amy." With any luck, this overlooked gem will finally get its just due now that it's been released on DVD.\nBen Affleck gives his best performance in ages as Ollie Trinke, an NYC flack man whose wife, Gertrude (Jennifer Lopez), dies during childbirth, leaving him with the responsibility of raising their daughter, Gertie (adorable newcomer Raquel Castro), alongside his curmudgeon father, Bart (an unbelievably sweet-natured George Carlin). Along the way Ollie loses his PR gig, becomes a New Jersey street sweeper and finds romance with a nebbish yet sexually overt video store clerk by the name of Maya (a very appealing Liv Tyler). The whole thing plays out as Smith's homage to Frank Capra and John Hughes -- yet it works.\nFor a flick that flopped in its theatrical release, the "Jersey Girl" DVD is pretty stacked. There are two commentary tracks; one with Smith and Affleck, the other features Smith, producer Scott Mosier and a guest appearance by Jason "Jay" Mewes. Both are entertaining, though the latter is a tad better if for no other reason than to hear a newly-rehabbed Mewes sounding sober. Other features include the featurette, "From Mallrats to Jersey Girl," in which Smith and Affleck talk about the movie biz and bust one another's balls, and Smith's "Roadside Attractions" segments from "The Tonight Show," which vary greatly in quality. \nWhile probably Smith's least funny film, "Jersey Girl" still has a lot of laughs and heart. Therefore, it should be seen for what it is: a good-natured romantic comedy and not some B. Lo sideshow.
(09/15/04 4:51pm)
What's one to think of a horror movie if the idea of seeing the God-forsaken mess a second time is scarier than whatever took place onscreen? Obviously, very little. "Resident Evil: Apocalypse," the lame-brained sequel to 2002's equally-inane video game adaptation "Resident Evil," is one such film. And by calling this crappy confection a "film," I'm already giving this malarkey too much credit.\n"Apocalypse" picks up where its predecessor left off, with the nefarious Umbrella Corp. unleashing its dreaded T-virus in an underground laboratory known as The Hive. Soon thereafter, The Hive's inhabitants transform into zombies. Eventually, Umbrella Corp. opts to open The Hive, thus infecting a majority of Raccoon City's citizens. \nAlice (an uninspiring Milla Jovovich), former Head of Security for Umbrella Corp., is called in to save the day. Alongside her are Jill Valentine (the equally-wooden Sienna Guillory), a demoted cop with a penchant for wearing skirts short enough to necessitate two hairdos, and Carlos Olivera (Oded Fehr of "The Mummy" and "Deuce Bigalow" -- apparently this cat wouldn't know a good movie if it snuck up and bit him in the ass), the leader of an elite tactical unit known as S.T.A.R.S. Together, the trio sets out to rescue Angie (annoying child actress Sophie Vavasseur), daughter of former Umbrella scientist Dr. Ashford (Jared Harris). In exchange for extracting the tyke, our heroes will be choppered out of Raccoon City before an inevitable virus-quelling nuke is dropped.\nThis is a flawed genre exercise from top to bottom, though, most of the fault lies with Paul W.S. Anderson's hackneyed script. Anderson, writer/director of "Alien Vs. Predator" and the original "Resident Evil," wastes the flick's first half-hour by attempting to develop a story and characters that just aren't there. Essentially, this is a third of the film wasted. And worse yet, it's boring -- a cardinal sin amongst movies of this nature. I wouldn't be the least bit surprised if Anderson wrote this debacle on a series of cocktail napkins with a fat crayon, the script is so inept.\nFirst-time director Alexander Witt also bungles the material badly. Witt, who cut his teeth as an assistant director under the tutelage of expert visual stylist Ridley Scott, can't seem to make a coherent film on his own. The action scenes look as though they've been shot by an ADD-afflicted monkey and edited by a grade-schooler's Fiskars.\nThe only likable element of "Apocalypse" is comedian Mike Epps ("Next Friday," "How High"). This dude's very funny, but his character is a racist caricature and belongs in an entirely different movie.\nFans of the zombie sub-genre should seek their fix elsewhere -- see "Shaun of the Dead" when it drops later this month, watch "28 Days Later" on HBO, pick up the newly-released "Dawn of the Dead" four-disc set, whatever. The only thing scarier than seeing "Resident Evil: Apocalypse" is knowing the filmmakers left themselves an out for yet another sequel.
(09/09/04 4:00am)
"The Passion of the Christ" opened to an onslaught of controversy upon its debut this past winter. Some claim the film is anti-Semitic (the notion of which is ridiculous); others demonized the excessive, graphic depiction of violence perpetrated against Jesus. Regardless of one's opinion, "The Passion" should be seen, as it's one of the year's very best films and a personal faith-based statement from director Mel Gibson -- something akin to Martin Scorsese's "The Last Temptation of Christ" or Kevin Smith's "Dogma."\nLuckily, the DVD comes to us as a bare bones affair. Normally, this would agitate me, but not here. It would seem tasteless to have director's commentary or behind-the-scenes featurettes -- this is one circumstance where the film should speak for itself. And speak it does. While imperfect (the depiction of Satan is laughable at times; the resurrection shouldn't have been touched upon unless fully fleshed out), this is an amazingly-powerful piece of work. Jim Caviezel finally makes good on the promise he displayed in "The Thin Red Line," and the cinematography of esteemed lenser Caleb Deshanel is nothing short of stunning. That each man's work is aptly captured in a pristine transfer helps matters considerably.\nGibson exudes bravery in having chosen to tackle this subject matter and doing so in Aramaic no less. Religious or not, everyone owes it to themselves to see "The Passion of the Christ." Rarely is moviemaking this powerful.
(09/09/04 3:00am)
"The Passion of the Christ" opened to an onslaught of controversy upon its debut this past winter. Some claim the film is anti-Semitic (the notion of which is ridiculous); others demonized the excessive, graphic depiction of violence perpetrated against Jesus. Regardless of one's opinion, "The Passion" should be seen, as it's one of the year's very best films and a personal faith-based statement from director Mel Gibson -- something akin to Martin Scorsese's "The Last Temptation of Christ" or Kevin Smith's "Dogma."\nLuckily, the DVD comes to us as a bare bones affair. Normally, this would agitate me, but not here. It would seem tasteless to have director's commentary or behind-the-scenes featurettes -- this is one circumstance where the film should speak for itself. And speak it does. While imperfect (the depiction of Satan is laughable at times; the resurrection shouldn't have been touched upon unless fully fleshed out), this is an amazingly-powerful piece of work. Jim Caviezel finally makes good on the promise he displayed in "The Thin Red Line," and the cinematography of esteemed lenser Caleb Deshanel is nothing short of stunning. That each man's work is aptly captured in a pristine transfer helps matters considerably.\nGibson exudes bravery in having chosen to tackle this subject matter and doing so in Aramaic no less. Religious or not, everyone owes it to themselves to see "The Passion of the Christ." Rarely is moviemaking this powerful.
(09/02/04 4:00am)
Throw "Rahomon" and "Crouching Tiger, Hidden Dragon" into a blender, hit puree and what do you get?: "Hero," the 2002 offering from Chinese filmmaker Zhang Yimou (best known for beautifully-crafted character pieces such as "Raise the Red Lantern," "Shanghai Triad" and "The Road Home"). Unfortunately, it took the intervention of "presenter" Quentin Tarantino to get "Hero" released stateside, but better that than allowing the film to languish on Miramax's shelves for another few years, as it's the rarest of creative endeavors: the intimate epic.\nJet Li stars as Nameless, yet another in the long line of anonymous avengers often seen in action cinema (think Clint Eastwood's The Man with No Name or Uma Thurman's The Bride). The movie opens on Nameless ascending upon the imperial court of the loathsome King of Qin (Chen Dao Ming) amid thousands of foot soldiers. Qin seeks to unite all of China in hopes of eradicating skirmishes among warring villages, but more so to develop a national superpower. As the prologue suggests, those who don't fall in line with Qin's agenda shall fall under his guards' swords. Three assassins have vowed to kill their King: Broken Sword (Wong Kar-Wai and John Woo vet Tony Leung), Flying Snow (frequent Jackie Chan collaborator Maggie Cheung) and Long Sky (Donnie Yen, best known to American audiences for turns in "Blade II" and "Shanghai Knights"). Nameless claims to have killed all three and is seeking his just reward. \nInterpretations of the aforementioned murders are offered by Nameless, Qin and even the supposed victims (hence, the parallel to "Rashomon"). With each evaluation Zhang astutely changes his color scheme to convey a particular message or idea in a very painterly manner, i.e. yellow leaves turn red in wake of a stabbing and certain passages are punctuated by a predominance of cool blues, pale greens and sterile whites. The device is fascinating and well-executed, though it may distance viewers from the characters' plights and is likely to confuse denser audiences.\nMany Americans will lump "Hero" and "Crouching Tiger" together, as both are expertly scored by Tan Dun and feature the lovely Zhang Ziyi in a supporting role. Each film also melds romance and martial arts exquisitely. This comparison is both fair and unfair, as the two share similarities while simultaneously being unique. Ultimately, I prefer "Crouching Tiger," if for no other reason than its characters resonate more deeply -- it's more personal than political. Though "Hero" seen simply as a cinematic exercise and "hiyaah!" highlight reel is a resounding success.
(09/02/04 2:55am)
Throw "Rahomon" and "Crouching Tiger, Hidden Dragon" into a blender, hit puree and what do you get?: "Hero," the 2002 offering from Chinese filmmaker Zhang Yimou (best known for beautifully-crafted character pieces such as "Raise the Red Lantern," "Shanghai Triad" and "The Road Home"). Unfortunately, it took the intervention of "presenter" Quentin Tarantino to get "Hero" released stateside, but better that than allowing the film to languish on Miramax's shelves for another few years, as it's the rarest of creative endeavors: the intimate epic.\nJet Li stars as Nameless, yet another in the long line of anonymous avengers often seen in action cinema (think Clint Eastwood's The Man with No Name or Uma Thurman's The Bride). The movie opens on Nameless ascending upon the imperial court of the loathsome King of Qin (Chen Dao Ming) amid thousands of foot soldiers. Qin seeks to unite all of China in hopes of eradicating skirmishes among warring villages, but more so to develop a national superpower. As the prologue suggests, those who don't fall in line with Qin's agenda shall fall under his guards' swords. Three assassins have vowed to kill their King: Broken Sword (Wong Kar-Wai and John Woo vet Tony Leung), Flying Snow (frequent Jackie Chan collaborator Maggie Cheung) and Long Sky (Donnie Yen, best known to American audiences for turns in "Blade II" and "Shanghai Knights"). Nameless claims to have killed all three and is seeking his just reward. \nInterpretations of the aforementioned murders are offered by Nameless, Qin and even the supposed victims (hence, the parallel to "Rashomon"). With each evaluation Zhang astutely changes his color scheme to convey a particular message or idea in a very painterly manner, i.e. yellow leaves turn red in wake of a stabbing and certain passages are punctuated by a predominance of cool blues, pale greens and sterile whites. The device is fascinating and well-executed, though it may distance viewers from the characters' plights and is likely to confuse denser audiences.\nMany Americans will lump "Hero" and "Crouching Tiger" together, as both are expertly scored by Tan Dun and feature the lovely Zhang Ziyi in a supporting role. Each film also melds romance and martial arts exquisitely. This comparison is both fair and unfair, as the two share similarities while simultaneously being unique. Ultimately, I prefer "Crouching Tiger," if for no other reason than its characters resonate more deeply -- it's more personal than political. Though "Hero" seen simply as a cinematic exercise and "hiyaah!" highlight reel is a resounding success.
(08/26/04 4:00am)
Summer has come and gone, and with it came an onslaught of movies -- some good, others bad. I didn't see every flick that came down the pike -- some I simply missed in spite of wanting to see them or they just didn't come to town ("Baadasssss!," "Before Sunset," "The Blind Swordsman: Zatoichi," "Coffee and Cigarettes," "Open Water," "Saved!" and "Super Size Me"). Others looked like the equivalent of a trip to the dentist's office and were justly skipped ("Catwoman," "Garfield," "Soul Plane," "White Chicks" and the tween trifecta of "A Cinderella Story," "New York Minute" and "Sleepover"). Below are the best of summer 2004 for your viewing pleasure.\nBest:\n1.) "Spider-Man 2" -- Certainly one of, if not the best, comic book to screen adaptations of all time. Tobey Maguire and Kirsten Dunst grow into their roles nicely, and Alfred Molina's Doc Ock makes for a much more formidable villain than Willem Dafoe's Green Goblin did. The direction of Sam Raimi is also more assured, i.e. this looks like a big-budget blockbuster from the man that brought us "Evil Dead II." Summer spectacle doesn't get much better than this.\n2.)"Garden State" -- Sitcom actor Zach Braff makes a startling directorial debut with his "Graduate" for Generation Y. "State" is undoubtedly the most heartfelt and hilarious film of the summer, that it's also one of the most visually appealing seals the deal.\n3.)"The Bourne Supremacy" -- Matt Damon's Bond for the new millennia continues to pick up steam. Grittier, meaner, darker and all together better than its predecessor, "Supremacy" is action filmmaking at its pinnacle.\n4.) "Fahrenheit 9/11" -- Michael Moore's follow-up to "Bowling for Columbine" doesn't resonate in the same way its precursor did, but few films do. Equal parts humor and horror, the documentary had enough of an effect to prompt me to vote for the first time in November's election. Shock of shocks, my vote ain't going to be for Bush.\n5.) "Napoleon Dynamite" -- Jon Heder gives the best performance from any debut actor I've seen onscreen this year as this film's titular character. That the movie, a deft mixture of "Revenge of the Nerds" and Wes Anderson's beloved aesthetic, matches him oddity (tater tot fetishism) for oddity (his Poindexter-turned-pimp older brother) makes this a bizarre blast.\n6.) "Harry Potter and the Prisoner of Azkaban" -- Head and shoulders better than its two forebears, the latest "Potter" picture is magical for kids and adults alike. That its director, Alfonso Cuarón, transitioned from the horny humping of "Y Tu Mamá También" to Hogwarts isn't only mind-boggling, it's perversely satisfying.\n7.) "Collateral" -- Granted, this movie is piss compared to director Michael Mann's "Heat," but it's also one of the summer's slickest. Tom Cruise, playing malevolently against type, and Jamie Foxx give performances that rival each man's best. High concept rarely has such grandiosity.\n8.) "Troy" -- Sure, this flick was historically inaccurate and excised the mythology, but I'll be damned if it wasn't entertaining. Much of this can be attributed to two men: star-in-the-making Eric Bana (giving my favorite performance of the summer) and screen legend Peter O'Toole.\n9.) "The Chronicles of Riddick"/ "I, Robot" -- These two sci-fi extravaganzas looked like crap on the basis of their trailers, which just goes to show, you can't judge a movie by its trailer.\n10.) "Anchorman"/"Dodgeball"/"Harold and Kumar Go to White Castle" -- These three comedies are equal parts smarts and stupidity. Each hits and misses, but when hitting, hilarity is high.\nIn Between:\n1.) "The Village" -- Somewhat slow and ponderous, M. Night Shyamalan has made the worst film of his career. That his worst is better than most people's best is a testament to the man's talent. A scene depicting one of the main characters being stabbed was as riveting and well executed as anything seen this summer. Props must also be given for Bryce Dallas Howard's star-making performance.\n2.) "The Terminal" -- Steven Spielberg at his most saccharine. Tom Hanks is good as per usual, but a sequence depicting denizens of the titular terminal flashing him thumbs up and toothy grins almost made me toss my cookies.\nWorst:\n1.) "The Day After Tomorrow" -- Rarely does a film resemble its subject matter. "Tomorrow" is truly a natural disaster.\n2.) "Alien vs. Predator" -- The tagline says it all, "Whoever wins … we lose." Filmmaker, and I use that term loosely, Paul W.S. Anderson (the man behind videogame-turned-movie tripe "Mortal Kombat" and "Resident Evil") turned the Predator into such a pussy this thing might as well be retitled "Predator and Pal." Also, seeing alien face huggers fly through the air in "Matrix" bullet time must've lowered my IQ at least 10 points.\n3.) "Van Helsing" -- This monster mishmash made the usually likable Hugh Jackman look like a huge jackass.\n4.) "The Clearing" -- Seasoned actors Robert Redford and Willem Dafoe should've been above this Lifetime-movie material.\n5.) "King Arthur" -- A gutless, both literally and figuratively, retelling of Arthurian lore.\n6.) "Shrek 2" -- The first "Shrek" is a modern-day classic, its sequel a bad knock-off. Aside from the intermittently funny Puss-in-Boots (Antonio Banderas) and an inspired "Cops" parody, this movie was relatively laughless. Also, any movie ending with its characters jumping joyously into the air and then being captured in freeze-frame is inane.
(08/26/04 4:00am)
Zach Braff is one talented cat. Having only seen his hit sitcom "Scrubs" a few times, my expectations of "Garden State," the actor's writing and directorial debut, were minimal -- this, in spite of a truly tantalizing trailer. Lo and behold, the film is one of this year's best and serves as the pronouncement for an exciting, emerging cinematic talent.\nA hodgepodge of seminal '60s flick "The Graduate," overlooked '90s gem "Beautiful Girls," the works of Wes Anderson and last year's critical darling "Lost in Translation," "Garden State" focuses on Andrew "Large" Largeman (Braff). Large is an aspiring L.A.-based actor with one auspicious credit to his name -- he played a retarded quarterback in a made-for-television movie. For the time being he's working at a Thai restaurant, which requires him to apply black makeup beneath his eyes in hopes of looking more Asian. Large floats through life in a haze of Zoloft, Paxil and Xanax, all prescribed by his psychiatrist father, Gideon (the irreplaceable Ian Holm). That is, until his paraplegic mother drowns in the bathtub and he's beckoned home to New Jersey for the first time in nine years. Large, feeling numb to the fact that his mother's just died and more so to life in general, discontinues the use of his meds prior to leaving.\nWhile at his mother's funeral, Large runs into an old high school buddy, Mark (Peter Sarsgaard), who happens to be working as a gravedigger. Mark, while perfectly intelligent and capable, prefers to busy himself with bong hits, collecting Gulf War trading cards, pilfering corpses' jewelry and nagging the mother (Jean Smart) with whom he still lives. Together, the two spend a night exploring the debaucherous underbelly of suburban Jersey. Soon thereafter, Large meets Sam (Natalie Portman), a cute as a button compulsive liar with epilepsy and a jones for The Shins. Amid her freewheeling ways, Large learns to embrace life. \nSaccharine as this might sound, it's not. "Garden State," while derivative of some of its forebears, is an eccentric, intelligent dramedy. From top to bottom, Braff's capable cast and sharp script shine. The slick cinematography and editing of relative newcomers Lawrence Sher and Myron I. Kerstein coupled with the imaginative production design of indie stalwart Judy Becker make for one visually arresting flick. The soundtrack also kicks ass. Shortcomings are minimal: Method Man makes an ill-timed cameo, Holm is underused but still good and the middle lags a tad. Otherwise, this 'Garden' is akin to Eden.
(08/26/04 3:23am)
Zach Braff is one talented cat. Having only seen his hit sitcom "Scrubs" a few times, my expectations of "Garden State," the actor's writing and directorial debut, were minimal -- this, in spite of a truly tantalizing trailer. Lo and behold, the film is one of this year's best and serves as the pronouncement for an exciting, emerging cinematic talent.\nA hodgepodge of seminal '60s flick "The Graduate," overlooked '90s gem "Beautiful Girls," the works of Wes Anderson and last year's critical darling "Lost in Translation," "Garden State" focuses on Andrew "Large" Largeman (Braff). Large is an aspiring L.A.-based actor with one auspicious credit to his name -- he played a retarded quarterback in a made-for-television movie. For the time being he's working at a Thai restaurant, which requires him to apply black makeup beneath his eyes in hopes of looking more Asian. Large floats through life in a haze of Zoloft, Paxil and Xanax, all prescribed by his psychiatrist father, Gideon (the irreplaceable Ian Holm). That is, until his paraplegic mother drowns in the bathtub and he's beckoned home to New Jersey for the first time in nine years. Large, feeling numb to the fact that his mother's just died and more so to life in general, discontinues the use of his meds prior to leaving.\nWhile at his mother's funeral, Large runs into an old high school buddy, Mark (Peter Sarsgaard), who happens to be working as a gravedigger. Mark, while perfectly intelligent and capable, prefers to busy himself with bong hits, collecting Gulf War trading cards, pilfering corpses' jewelry and nagging the mother (Jean Smart) with whom he still lives. Together, the two spend a night exploring the debaucherous underbelly of suburban Jersey. Soon thereafter, Large meets Sam (Natalie Portman), a cute as a button compulsive liar with epilepsy and a jones for The Shins. Amid her freewheeling ways, Large learns to embrace life. \nSaccharine as this might sound, it's not. "Garden State," while derivative of some of its forebears, is an eccentric, intelligent dramedy. From top to bottom, Braff's capable cast and sharp script shine. The slick cinematography and editing of relative newcomers Lawrence Sher and Myron I. Kerstein coupled with the imaginative production design of indie stalwart Judy Becker make for one visually arresting flick. The soundtrack also kicks ass. Shortcomings are minimal: Method Man makes an ill-timed cameo, Holm is underused but still good and the middle lags a tad. Otherwise, this 'Garden' is akin to Eden.
(08/26/04 2:52am)
Summer has come and gone, and with it came an onslaught of movies -- some good, others bad. I didn't see every flick that came down the pike -- some I simply missed in spite of wanting to see them or they just didn't come to town ("Baadasssss!," "Before Sunset," "The Blind Swordsman: Zatoichi," "Coffee and Cigarettes," "Open Water," "Saved!" and "Super Size Me"). Others looked like the equivalent of a trip to the dentist's office and were justly skipped ("Catwoman," "Garfield," "Soul Plane," "White Chicks" and the tween trifecta of "A Cinderella Story," "New York Minute" and "Sleepover"). Below are the best of summer 2004 for your viewing pleasure.\nBest:\n1.) "Spider-Man 2" -- Certainly one of, if not the best, comic book to screen adaptations of all time. Tobey Maguire and Kirsten Dunst grow into their roles nicely, and Alfred Molina's Doc Ock makes for a much more formidable villain than Willem Dafoe's Green Goblin did. The direction of Sam Raimi is also more assured, i.e. this looks like a big-budget blockbuster from the man that brought us "Evil Dead II." Summer spectacle doesn't get much better than this.\n2.)"Garden State" -- Sitcom actor Zach Braff makes a startling directorial debut with his "Graduate" for Generation Y. "State" is undoubtedly the most heartfelt and hilarious film of the summer, that it's also one of the most visually appealing seals the deal.\n3.)"The Bourne Supremacy" -- Matt Damon's Bond for the new millennia continues to pick up steam. Grittier, meaner, darker and all together better than its predecessor, "Supremacy" is action filmmaking at its pinnacle.\n4.) "Fahrenheit 9/11" -- Michael Moore's follow-up to "Bowling for Columbine" doesn't resonate in the same way its precursor did, but few films do. Equal parts humor and horror, the documentary had enough of an effect to prompt me to vote for the first time in November's election. Shock of shocks, my vote ain't going to be for Bush.\n5.) "Napoleon Dynamite" -- Jon Heder gives the best performance from any debut actor I've seen onscreen this year as this film's titular character. That the movie, a deft mixture of "Revenge of the Nerds" and Wes Anderson's beloved aesthetic, matches him oddity (tater tot fetishism) for oddity (his Poindexter-turned-pimp older brother) makes this a bizarre blast.\n6.) "Harry Potter and the Prisoner of Azkaban" -- Head and shoulders better than its two forebears, the latest "Potter" picture is magical for kids and adults alike. That its director, Alfonso Cuarón, transitioned from the horny humping of "Y Tu Mamá También" to Hogwarts isn't only mind-boggling, it's perversely satisfying.\n7.) "Collateral" -- Granted, this movie is piss compared to director Michael Mann's "Heat," but it's also one of the summer's slickest. Tom Cruise, playing malevolently against type, and Jamie Foxx give performances that rival each man's best. High concept rarely has such grandiosity.\n8.) "Troy" -- Sure, this flick was historically inaccurate and excised the mythology, but I'll be damned if it wasn't entertaining. Much of this can be attributed to two men: star-in-the-making Eric Bana (giving my favorite performance of the summer) and screen legend Peter O'Toole.\n9.) "The Chronicles of Riddick"/ "I, Robot" -- These two sci-fi extravaganzas looked like crap on the basis of their trailers, which just goes to show, you can't judge a movie by its trailer.\n10.) "Anchorman"/"Dodgeball"/"Harold and Kumar Go to White Castle" -- These three comedies are equal parts smarts and stupidity. Each hits and misses, but when hitting, hilarity is high.\nIn Between:\n1.) "The Village" -- Somewhat slow and ponderous, M. Night Shyamalan has made the worst film of his career. That his worst is better than most people's best is a testament to the man's talent. A scene depicting one of the main characters being stabbed was as riveting and well executed as anything seen this summer. Props must also be given for Bryce Dallas Howard's star-making performance.\n2.) "The Terminal" -- Steven Spielberg at his most saccharine. Tom Hanks is good as per usual, but a sequence depicting denizens of the titular terminal flashing him thumbs up and toothy grins almost made me toss my cookies.\nWorst:\n1.) "The Day After Tomorrow" -- Rarely does a film resemble its subject matter. "Tomorrow" is truly a natural disaster.\n2.) "Alien vs. Predator" -- The tagline says it all, "Whoever wins … we lose." Filmmaker, and I use that term loosely, Paul W.S. Anderson (the man behind videogame-turned-movie tripe "Mortal Kombat" and "Resident Evil") turned the Predator into such a pussy this thing might as well be retitled "Predator and Pal." Also, seeing alien face huggers fly through the air in "Matrix" bullet time must've lowered my IQ at least 10 points.\n3.) "Van Helsing" -- This monster mishmash made the usually likable Hugh Jackman look like a huge jackass.\n4.) "The Clearing" -- Seasoned actors Robert Redford and Willem Dafoe should've been above this Lifetime-movie material.\n5.) "King Arthur" -- A gutless, both literally and figuratively, retelling of Arthurian lore.\n6.) "Shrek 2" -- The first "Shrek" is a modern-day classic, its sequel a bad knock-off. Aside from the intermittently funny Puss-in-Boots (Antonio Banderas) and an inspired "Cops" parody, this movie was relatively laughless. Also, any movie ending with its characters jumping joyously into the air and then being captured in freeze-frame is inane.
(08/05/04 4:00am)
Blatant product placement within films is something that normally pisses me off to no end. It's OK when used appropriately, i.e. James Bond drinking a martini made from Smirnoff vodka or in "Wayne's World" as a source of satire. "Harold and Kumar Go to White Castle" might be the movie most guilty of committing the aforementioned cinematic sin, but for some reason it's fitting. Much like the flick's protagonists, two Asian Americans (something rarely seen onscreen), the titular, slider-serving burger joint is far out enough to be fresh. For Christ's sake, who'd pay eight bucks to see "Dave and Jason Go to McDonald's?"\nJohn Cho (one of the MILF men from "American Pie") and Kal Penn (Van Wilder's horny assistant in the film of the same name) play Harold and Kumar, respectively. Harold is a Korean-American investment banker who's often crapped upon by his Caucasian colleagues. Kumar is a slack-ass Indian-American who toys with the notion of attending medical school to appease his doctor father. These two twentysomething roommates have very little in common -- one's an introvert, the other an extrovert. Though, they bond over bong rips. Think: they're the 21st century's response to Felix and Oscar, only with an ethnic slant and a case of cottonmouth. After smoking out one evening, the duo seeks a sack of sliders -- wacky "high" jinks (Neil Patrick Harris aka Doogie Howser steals their car, Harold's attacked by a presumably rabietic raccoon, the two ride a chiefing cheetah) and hilarity ensue. Yeah, believe it or not, that's the story in a nutshell.\nWhat makes "White Castle" better than many films of its ilk is an acute sense of smarts. Sure, superficially speaking the flick is a stupid stoner comedy, but there's more going on beneath the surface. Harold and Kumar would be periphery characters, most likely stereotypical ones, in other teen flicks. Here, Cho and Penn imbue their roles with heart and humor, which makes for two likable, intelligent and handsome leading men. That the film addresses their races, while also presenting the characters as everymen, is refreshing.\nAs directed by "Dude, Where's My Car?" helmer Danny Leiner, this is a marked improvement. When I first saw "Dude," the only thing that came to mind was, "Dude, Where's My Eight Bucks?" Granted, subsequent viewings on HBO under the influence swayed me … marginally. While seeing "White Castle," I was sober as the wind, and the laughs still stuck (especially a dream sequence depicting the ups and downs of Kumar's romantic relationship with a huge sack of weed). The film also has an uncharacteristically sharp sense of style for a pot comedy -- an opening montage boasts slick jump cuts more often seen in art house fair.\nWhen all is said and done, "Harold and Kumar Go to White Castle" is very much akin to the burgers its heroes crave. That is to say, it's better consumed every so often while drunk or high.
