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(08/25/05 4:32am)
It's a common question that comes up in regular conversations: what are some of your favorite movies? And while there seems to be such a wide selection of flicks to choose from, ever since I've been in college I keep coming across the same film interests from a lot of people. \nIt's not that they have poor taste in movies or anything of the sort. In fact, some of these films are actually worth a damn. However, when someone keeps referencing the same ones again and again, it's easy to lose interest fast. So now I find myself compiling a list of what seem to be the most common (and in some cases most overrated) flicks found on college campuses today:
(08/25/05 4:00am)
It's a common question that comes up in regular conversations: what are some of your favorite movies? And while there seems to be such a wide selection of flicks to choose from, ever since I've been in college I keep coming across the same film interests from a lot of people. \nIt's not that they have poor taste in movies or anything of the sort. In fact, some of these films are actually worth a damn. However, when someone keeps referencing the same ones again and again, it's easy to lose interest fast. So now I find myself compiling a list of what seem to be the most common (and in some cases most overrated) flicks found on college campuses today:
(08/04/05 4:00am)
Long ago when I first heard Arch Enemy's Burning Bridges, I realized I had found melodic death metal gold. Every song was killer, no filler bullshit, just pure metallic greatness. The previous two albums, Black Earth and Stigmata, were just as impressive as was Burning Japan Live 1999. But, before you could throw those horns in the air, vocalist Johan Liiva quit the band and was soon replaced by relatively unknown Angela Gossow. And thus the downward spiral began with Wages of Sin into the prior effort Anthems of Rebellion and finally hitting rock bottom with the latest release, Doomsday Machine.\nDoomsday, much like Anthems, lacks any real sort of musical progression, instead finding comfort in repetitive riffs and a regressing style. The album opens with the mediocre instrumental "Enter the Machine" before going into what is easily the best song, "Taking Back My Soul." Powerful riffs courtesy of the Amott brothers and the signature double-bass rolls of Daniel Erlandson make the track memorable, which is unfortunate since from this point on the songs get worse.\n"Nemesis" is a speedy thrash mess, practically a reprise of "We Will Rise" off Anthems. Maybe it'll get the mosh pits moving at this year's Ozzfest, but the only movement it gets from me is pressing the next track button.\n"My Apocalypse" meanders back and forth while "Carry the Cross" sounds like at least half of the Wages of Sin album -- the boring half. The half-instrumental/half-blastfest "I Am Legend/Out for Blood" is actually worth the listen, if only to hear Arch Enemy utilizing blastbeats and an incredible melodically ascending solo. \n"Machtkampf" would probably be classified as the album's second best song, since it actually sounds like Arch Enemy are trying their best on the track but it goes to spoils with album closer "Slaves of Yesterday" -- yet another study in boredom.\nBut the absolute worst part of the album? Vocalist Gossow's increasingly atonal vocal stylings. Anyone can scream their heart out in front of the microphone, but what she is lacking is former singer Liiva's attitude that went into his voice.\nThe CD comes with enhanced content such as buddy icons and screensavers; it even comes with a poster! I'd hang it on my wall if I actually enjoyed looking at disappointment captured in a photograph. Luckily I'll always have Arch Enemy's first four CDs to revisit, while Doomsday Machine sadly collects dust.
(08/04/05 4:00am)
In the world of Japanese cinema, amongst more traditional directors such as Akira Kurosawa and Yasujiro Ozu, there was one man who always strayed away from convention: Seijun Suzuki. Suzuki, never one to follow the standards, always focuses on films with a darker side and more critical message regarding Japanese culture (something that would cost him his job with Nikkatsu Studios later in life). Within two years (1964-1965), Suzuki leant his artistic vision to five films, two of which were "Gate of Flesh" and "Story of a Prostitute," both adapted from author Taijiro Tamura's blue novels. These weren't films about the geishas found strolling happily through city streets; they're about a much fiercer kind of working girl. \n"Gate of Flesh," set in post-WWII Japan, finds a band of prostitutes trying to maintain their existence within a nation slowly rebuilding itself. Times are hard, finding work is much harder, but they make due through theft and relying on each other. That is until they take the lost Maya (Yumiko Nogawa) and wounded Shintaro (Joe Shishido) into their dark den and problems arise. \n"Story of a Prostitute" is quite the opposite as it is pre-WWII and tells the tale of comfort woman Harumi (also Yumiko Nogawa) working the Manchurian front in 1937. She is forced to service a battalion of men a day, but the suffering inflicted upon her by Lieutenant Narita (Isao Tamagawa) causes Harumi to fall for the much lower Private Mikami (Tamio Kawachi) in hope that he will save her somehow. \nAs I said before, Suzuki works critique into his films. The hookers in "Flesh" are extremely vile women, far from the politeness found in Japanese culture. Their leader Komasa Sen (Satoko Kasai) starts fights with other women, spits on passersby in the street and wears tattoos as if she were a yakuza (gangster) leader while the rest of her gang follows suit. "Story," while not as extreme with female behavior, still offers an attack on Japanese military policies and ranking systems. \nWith his artistic vision (supported by production designer Takeo Kimura), Suzuki crafts two completely different films. "Flesh" is filmed in color and features the kind of bright flair (see the women's dresses) intermixed with grimy postwar landscapes. "Story" is shot in black and white, except it often seems to have a silvery glow creating an almost ghostly effect. Both are quite different, but beautiful nonetheless. \nSuzuki films seem to rarely have many extras. Both DVDs (which can be purchased separately) come with more than 20 minutes of interview footage with Suzuki and Kimura, essays and theatrical trailers. The "Flesh" DVD includes a stills gallery which is worth looking at just for the gorgeous storyboards. Like I said, nothing huge, but certainly worthwhile. \nSo if you're looking for Japanese cinema with a more unique flavor, almost anything from Seijun Suzuki is worth your time. He is one of Japan's last great living directors (at age 82 he is still making films) who, while often imitated (Quentin Tarantino, Takashi Miike), is never close to being duplicated.
(08/04/05 4:00am)
Have you ever found yourself going into a movie you know absolutely nothing about? That's how I felt walking into "Me and You and Everyone We Know," the directorial/screenwriting debut of Miranda July, which won 4 awards at this year's Cannes Film Festival and a Special Jury Prize at Sundance for July's "originality in vision." Is it really that original? In a word: no.\nMiranda July plays one of the film's central characters, Christine Jesperson, an ambitious art student who earns a living by driving an Eldercab, AKA a taxi designed for old folks who can't get around anymore. There's also Richard Swersey (John Hawkes, "Identity," "The Perfect Storm"), a department store shoe salesman whose marriage has gone sour, leaving him separated and caring for his two sons, Peter (Miles Thompson) and Robby (Brandon Ratcliff). And then there are all the little characters in between such as two teenage teases Heather (Natasha Slayton) and Rebecca (Najarra Townsend); a girl no older than 8 years old named Sylvie (Carlie Westerman) who is already planning her future family; and finally Richard's perverted friend Andrew (Brad William Henke). \nWhat's it all about exactly? Well, relationships and a bit of sex, but not really. July's characters all seem to be boring and as lifeless as the script she penned. Her character Christine is just a social oddity and all of the children, while sometimes humorous, just aren't worth caring about. The only worthwhile performance comes from Hawkes since he shows some kind of emotional range, but that still isn't saying much. \nIf Miranda July is a director with such an "original" vision, why does it seem like she is copying all the other dogmatic (read: pretentious) filmmakers out there such as Harmony Korine ("Gummo"), Larry Clark ("Kids," "Ken Park") and Todd Solondz ("Storytelling")? While those three at least push the envelope with how extreme their plot's sexual encounters can be, July instead decides to stray away from such action, replacing it with sub-par sexual dialogue and the two teases giving the kid Peter a blowjob (unseen of course). She may not be copying the highly sexual aspects, but, much like the aforementioned directors, makes the viewer not give a damn about the characters onscreen because, quite frankly, there is nothing that makes them worth caring about. \nI can give July credit where credit is due. She directed/wrote/starred in her feature debut and any director who does so always deserves a pat on the back, maybe even a small round of applause, no matter how disappointing the film is. I'll even make sure to see her future work in hopes that she finds a style she can call her own. But, I won't find myself revisiting "Me and You and Everyone We Know" again anytime soon.
(08/04/05 1:47am)
Have you ever found yourself going into a movie you know absolutely nothing about? That's how I felt walking into "Me and You and Everyone We Know," the directorial/screenwriting debut of Miranda July, which won 4 awards at this year's Cannes Film Festival and a Special Jury Prize at Sundance for July's "originality in vision." Is it really that original? In a word: no.\nMiranda July plays one of the film's central characters, Christine Jesperson, an ambitious art student who earns a living by driving an Eldercab, AKA a taxi designed for old folks who can't get around anymore. There's also Richard Swersey (John Hawkes, "Identity," "The Perfect Storm"), a department store shoe salesman whose marriage has gone sour, leaving him separated and caring for his two sons, Peter (Miles Thompson) and Robby (Brandon Ratcliff). And then there are all the little characters in between such as two teenage teases Heather (Natasha Slayton) and Rebecca (Najarra Townsend); a girl no older than 8 years old named Sylvie (Carlie Westerman) who is already planning her future family; and finally Richard's perverted friend Andrew (Brad William Henke). \nWhat's it all about exactly? Well, relationships and a bit of sex, but not really. July's characters all seem to be boring and as lifeless as the script she penned. Her character Christine is just a social oddity and all of the children, while sometimes humorous, just aren't worth caring about. The only worthwhile performance comes from Hawkes since he shows some kind of emotional range, but that still isn't saying much. \nIf Miranda July is a director with such an "original" vision, why does it seem like she is copying all the other dogmatic (read: pretentious) filmmakers out there such as Harmony Korine ("Gummo"), Larry Clark ("Kids," "Ken Park") and Todd Solondz ("Storytelling")? While those three at least push the envelope with how extreme their plot's sexual encounters can be, July instead decides to stray away from such action, replacing it with sub-par sexual dialogue and the two teases giving the kid Peter a blowjob (unseen of course). She may not be copying the highly sexual aspects, but, much like the aforementioned directors, makes the viewer not give a damn about the characters onscreen because, quite frankly, there is nothing that makes them worth caring about. \nI can give July credit where credit is due. She directed/wrote/starred in her feature debut and any director who does so always deserves a pat on the back, maybe even a small round of applause, no matter how disappointing the film is. I'll even make sure to see her future work in hopes that she finds a style she can call her own. But, I won't find myself revisiting "Me and You and Everyone We Know" again anytime soon.
(08/04/05 1:38am)
In the world of Japanese cinema, amongst more traditional directors such as Akira Kurosawa and Yasujiro Ozu, there was one man who always strayed away from convention: Seijun Suzuki. Suzuki, never one to follow the standards, always focuses on films with a darker side and more critical message regarding Japanese culture (something that would cost him his job with Nikkatsu Studios later in life). Within two years (1964-1965), Suzuki leant his artistic vision to five films, two of which were "Gate of Flesh" and "Story of a Prostitute," both adapted from author Taijiro Tamura's blue novels. These weren't films about the geishas found strolling happily through city streets; they're about a much fiercer kind of working girl. \n"Gate of Flesh," set in post-WWII Japan, finds a band of prostitutes trying to maintain their existence within a nation slowly rebuilding itself. Times are hard, finding work is much harder, but they make due through theft and relying on each other. That is until they take the lost Maya (Yumiko Nogawa) and wounded Shintaro (Joe Shishido) into their dark den and problems arise. \n"Story of a Prostitute" is quite the opposite as it is pre-WWII and tells the tale of comfort woman Harumi (also Yumiko Nogawa) working the Manchurian front in 1937. She is forced to service a battalion of men a day, but the suffering inflicted upon her by Lieutenant Narita (Isao Tamagawa) causes Harumi to fall for the much lower Private Mikami (Tamio Kawachi) in hope that he will save her somehow. \nAs I said before, Suzuki works critique into his films. The hookers in "Flesh" are extremely vile women, far from the politeness found in Japanese culture. Their leader Komasa Sen (Satoko Kasai) starts fights with other women, spits on passersby in the street and wears tattoos as if she were a yakuza (gangster) leader while the rest of her gang follows suit. "Story," while not as extreme with female behavior, still offers an attack on Japanese military policies and ranking systems. \nWith his artistic vision (supported by production designer Takeo Kimura), Suzuki crafts two completely different films. "Flesh" is filmed in color and features the kind of bright flair (see the women's dresses) intermixed with grimy postwar landscapes. "Story" is shot in black and white, except it often seems to have a silvery glow creating an almost ghostly effect. Both are quite different, but beautiful nonetheless. \nSuzuki films seem to rarely have many extras. Both DVDs (which can be purchased separately) come with more than 20 minutes of interview footage with Suzuki and Kimura, essays and theatrical trailers. The "Flesh" DVD includes a stills gallery which is worth looking at just for the gorgeous storyboards. Like I said, nothing huge, but certainly worthwhile. \nSo if you're looking for Japanese cinema with a more unique flavor, almost anything from Seijun Suzuki is worth your time. He is one of Japan's last great living directors (at age 82 he is still making films) who, while often imitated (Quentin Tarantino, Takashi Miike), is never close to being duplicated.
(08/04/05 1:36am)
Long ago when I first heard Arch Enemy's Burning Bridges, I realized I had found melodic death metal gold. Every song was killer, no filler bullshit, just pure metallic greatness. The previous two albums, Black Earth and Stigmata, were just as impressive as was Burning Japan Live 1999. But, before you could throw those horns in the air, vocalist Johan Liiva quit the band and was soon replaced by relatively unknown Angela Gossow. And thus the downward spiral began with Wages of Sin into the prior effort Anthems of Rebellion and finally hitting rock bottom with the latest release, Doomsday Machine.\nDoomsday, much like Anthems, lacks any real sort of musical progression, instead finding comfort in repetitive riffs and a regressing style. The album opens with the mediocre instrumental "Enter the Machine" before going into what is easily the best song, "Taking Back My Soul." Powerful riffs courtesy of the Amott brothers and the signature double-bass rolls of Daniel Erlandson make the track memorable, which is unfortunate since from this point on the songs get worse.\n"Nemesis" is a speedy thrash mess, practically a reprise of "We Will Rise" off Anthems. Maybe it'll get the mosh pits moving at this year's Ozzfest, but the only movement it gets from me is pressing the next track button.\n"My Apocalypse" meanders back and forth while "Carry the Cross" sounds like at least half of the Wages of Sin album -- the boring half. The half-instrumental/half-blastfest "I Am Legend/Out for Blood" is actually worth the listen, if only to hear Arch Enemy utilizing blastbeats and an incredible melodically ascending solo. \n"Machtkampf" would probably be classified as the album's second best song, since it actually sounds like Arch Enemy are trying their best on the track but it goes to spoils with album closer "Slaves of Yesterday" -- yet another study in boredom.\nBut the absolute worst part of the album? Vocalist Gossow's increasingly atonal vocal stylings. Anyone can scream their heart out in front of the microphone, but what she is lacking is former singer Liiva's attitude that went into his voice.\nThe CD comes with enhanced content such as buddy icons and screensavers; it even comes with a poster! I'd hang it on my wall if I actually enjoyed looking at disappointment captured in a photograph. Luckily I'll always have Arch Enemy's first four CDs to revisit, while Doomsday Machine sadly collects dust.
(07/28/05 4:00am)
Despite his rather disappointing directorial debut "House of 1000 Corpses," Rob Zombie's pseudo-sequel "The Devil's Rejects" drops the creepy carnival-esque camp found in its predecessor, replacing it with 70's grind house grit. \n"Rejects" revisits the Firefly family, the same band of murderous maniacs that weren't all that convincing the first time around. You have Captain Spaulding (a foul but amusing Sid Haig), a creepy clown mimicking John Wayne Gacy; Otis Driftwood (a disturbing Bill Moseley), a necrophiliac channeling Charlie Manson; and Baby (Rob Zombie's real-life wife Sheri Moon Zombie, who needs some acting classes), the bitchy daughter of Captain Spaulding who seduces strangers with her homicidal hormones. The trio, who call themselves "The Devil's Rejects," have killed more than 75 people until one day the Bible-bumping, shit-kicking Sheriff Wydell (character actor William Forsythe) and his troops surround their house to bring the family down and end their rampage. Firefights ensue, but the Fireflys escape and now a dual-revenge tale unravels as Sheriff Wydell seeks to avenge his slain brother while the Fireflys want payback for their murdered mother and a little more bloodshed along the way. \n"Rejects" isn't a horror film and thankfully so. It's all about serial killing 70's exploitation which Zombie does a great job on capturing the look and feel of the era. There's plenty of filth and degradation to be found. The violence is raw, nudity is full-frontal and there is a sense of uneasiness that reeks throughout it all. \nWhile the acting jumps between psychotic and ridiculously awkward (blame Rob Zombie's somewhat oddly penned dialogue), the cast is sure to surprise even cult film lovers. "Dawn of the Dead" alum Ken Foree plays a freaky brothel owner whose only friends are his whores and Michael Berryman AKA Pluto from "The Hills Have Eyes." You also get mean-looking Danny Trejo and former WCW wrestler Diamond Dallas Page as Rondo and Billy Ray Snapper respectively, two bounty hunters hired by Sheriff Wydell. Even Matthew McGrory is utilized (Karl the Giant from Tim Burton's "Big Fish") as Zombie pays a bit of homage to the kind of inbred freaks found in some cannibalistic redneck films like, you guessed it, "The Texas Chainsaw Massacre."\nZombie even gets credit for picking one Southern-fried soundtrack, including cuts from the Allman Brothers Band, Steely Dan and Lynryd Skynryd, whose classic "Free Bird" serves as the backing to one massive firefight. \nSure "The Devil's Rejects" has a few problems in the overacting and screenplay departments, Rob Zombie has still made one worthwhile R-rated flick that is sure to push a few people's buttons, make a few bucks and leave some audience members with uncomfortable bowels.
(07/28/05 4:00am)
Michelangelo Antonioni's "L'Eclisse" ("The Eclipse") is a difficult film to discuss without providing a more personal angle. Years ago I found myself at a screening of "L'Eclisse" and I had never seen an Antonioni film before, but had heard many good things. Well, my hopes were somewhat dashed, considering I fell asleep less than 15 minutes into the film. When I awoke, the room was still dark and I found myself staring at a screen of desolate city landscapes in Rome until the word "FINE" suddenly appeared on the screen. It was all over, and "L'Eclisse" wasn't even available on DVD, so I was out of luck until the recent release of the film. \nSince the unfortunate sleep incident, I had since seen many of Antonioni's other films including the intriguing "Blow-Up," the noirish "Story of A Love Affair" and "L'Avventura" and "La Notte," two incredible films preceding "L'Eclisse" in what is considered Antonioni's trilogy of lost love and alienation. \n"L'Eclisse" tells the story of Vittoria (Monica Vitti, who appears throughout the trilogy), a woman whose relationship with Riccardo (an underused Francisco Rabal) has fully disintegrated. She is lost, confused and often left alone in her apartment with no one until a run-in with local stock market obsessor Piero (a young Alain Delon) leaves her even more emotionally bewildered. Can they discover love, or are they doomed to be distant?\nLike I said, it is a difficult film to discuss, mainly because there is so much going on in the film when there is so little to work off of. Every emotion counts and the world the characters live in is completely alienating. This isn't a bustling Rome but rather a lonely and sometimes discomforting one. \nThe performances Vitti and Delon offer are physically and emotionally convincing. Often it is Delon trying to make a move, but the gorgeous Vitti is quick to go from interested to incapable of affection. They are at times so erotically charged but it becomes almost frustrating to see Vitti pushing Delon away when her reasons go unexplained. \nExtras on this two-disc set are rather slim. The first disc contains the film along with audio commentary. The print is gorgeous but does have the occasional flicker found in older celluloid reels. Disc two contains the documentary, "Michelangelo Antonioni: The Eye That Changed Cinema," a wonderful retrospective of his work up to 1995's "Beyond the Clouds." There is also a short 22-minute interview piece, "Elements of Landscape," which is essential to understanding not only "L'Eclisse" but the themes found throughout many Antonioni films. A booklet of essays and Antonioni's own writings round out the set. \nWhile it has been said that "L'Eclisse" is Antonioni's best work, something I would completely agree with, it isn't the best film to begin with if you're interested in studying one of Italy's greatest auteurs. I'd recommend "Blow-Up" for starters and then go from there, one day discovering the beautiful loneliness within "L'Eclisse"
(07/27/05 10:12pm)
Michelangelo Antonioni's "L'Eclisse" ("The Eclipse") is a difficult film to discuss without providing a more personal angle. Years ago I found myself at a screening of "L'Eclisse" and I had never seen an Antonioni film before, but had heard many good things. Well, my hopes were somewhat dashed, considering I fell asleep less than 15 minutes into the film. When I awoke, the room was still dark and I found myself staring at a screen of desolate city landscapes in Rome until the word "FINE" suddenly appeared on the screen. It was all over, and "L'Eclisse" wasn't even available on DVD, so I was out of luck until the recent release of the film. \nSince the unfortunate sleep incident, I had since seen many of Antonioni's other films including the intriguing "Blow-Up," the noirish "Story of A Love Affair" and "L'Avventura" and "La Notte," two incredible films preceding "L'Eclisse" in what is considered Antonioni's trilogy of lost love and alienation. \n"L'Eclisse" tells the story of Vittoria (Monica Vitti, who appears throughout the trilogy), a woman whose relationship with Riccardo (an underused Francisco Rabal) has fully disintegrated. She is lost, confused and often left alone in her apartment with no one until a run-in with local stock market obsessor Piero (a young Alain Delon) leaves her even more emotionally bewildered. Can they discover love, or are they doomed to be distant?\nLike I said, it is a difficult film to discuss, mainly because there is so much going on in the film when there is so little to work off of. Every emotion counts and the world the characters live in is completely alienating. This isn't a bustling Rome but rather a lonely and sometimes discomforting one. \nThe performances Vitti and Delon offer are physically and emotionally convincing. Often it is Delon trying to make a move, but the gorgeous Vitti is quick to go from interested to incapable of affection. They are at times so erotically charged but it becomes almost frustrating to see Vitti pushing Delon away when her reasons go unexplained. \nExtras on this two-disc set are rather slim. The first disc contains the film along with audio commentary. The print is gorgeous but does have the occasional flicker found in older celluloid reels. Disc two contains the documentary, "Michelangelo Antonioni: The Eye That Changed Cinema," a wonderful retrospective of his work up to 1995's "Beyond the Clouds." There is also a short 22-minute interview piece, "Elements of Landscape," which is essential to understanding not only "L'Eclisse" but the themes found throughout many Antonioni films. A booklet of essays and Antonioni's own writings round out the set. \nWhile it has been said that "L'Eclisse" is Antonioni's best work, something I would completely agree with, it isn't the best film to begin with if you're interested in studying one of Italy's greatest auteurs. I'd recommend "Blow-Up" for starters and then go from there, one day discovering the beautiful loneliness within "L'Eclisse"
(07/27/05 9:25pm)
Despite his rather disappointing directorial debut "House of 1000 Corpses," Rob Zombie's pseudo-sequel "The Devil's Rejects" drops the creepy carnival-esque camp found in its predecessor, replacing it with 70's grind house grit. \n"Rejects" revisits the Firefly family, the same band of murderous maniacs that weren't all that convincing the first time around. You have Captain Spaulding (a foul but amusing Sid Haig), a creepy clown mimicking John Wayne Gacy; Otis Driftwood (a disturbing Bill Moseley), a necrophiliac channeling Charlie Manson; and Baby (Rob Zombie's real-life wife Sheri Moon Zombie, who needs some acting classes), the bitchy daughter of Captain Spaulding who seduces strangers with her homicidal hormones. The trio, who call themselves "The Devil's Rejects," have killed more than 75 people until one day the Bible-bumping, shit-kicking Sheriff Wydell (character actor William Forsythe) and his troops surround their house to bring the family down and end their rampage. Firefights ensue, but the Fireflys escape and now a dual-revenge tale unravels as Sheriff Wydell seeks to avenge his slain brother while the Fireflys want payback for their murdered mother and a little more bloodshed along the way. \n"Rejects" isn't a horror film and thankfully so. It's all about serial killing 70's exploitation which Zombie does a great job on capturing the look and feel of the era. There's plenty of filth and degradation to be found. The violence is raw, nudity is full-frontal and there is a sense of uneasiness that reeks throughout it all. \nWhile the acting jumps between psychotic and ridiculously awkward (blame Rob Zombie's somewhat oddly penned dialogue), the cast is sure to surprise even cult film lovers. "Dawn of the Dead" alum Ken Foree plays a freaky brothel owner whose only friends are his whores and Michael Berryman AKA Pluto from "The Hills Have Eyes." You also get mean-looking Danny Trejo and former WCW wrestler Diamond Dallas Page as Rondo and Billy Ray Snapper respectively, two bounty hunters hired by Sheriff Wydell. Even Matthew McGrory is utilized (Karl the Giant from Tim Burton's "Big Fish") as Zombie pays a bit of homage to the kind of inbred freaks found in some cannibalistic redneck films like, you guessed it, "The Texas Chainsaw Massacre."\nZombie even gets credit for picking one Southern-fried soundtrack, including cuts from the Allman Brothers Band, Steely Dan and Lynryd Skynryd, whose classic "Free Bird" serves as the backing to one massive firefight. \nSure "The Devil's Rejects" has a few problems in the overacting and screenplay departments, Rob Zombie has still made one worthwhile R-rated flick that is sure to push a few people's buttons, make a few bucks and leave some audience members with uncomfortable bowels.
(07/21/05 4:00am)
"I'm not a gangster, I'm a businessman." So says Daniel Craig, a cocaine dealer and middleman caught up in the British underworld, who has no name other than "XXXX" as listed in the credits. XXXX wants out of the organized crime world, but as to be expected, saying you want out and getting out are two vastly different things. Such is the story of "Layer Cake," the directorial debut from Matthew Vaughn, who produced the worthwhile Guy Ritchie films "Snatch" and "Lock, Stock and Two Smoking Barrels."\nSo XXXX wants out of the business because he's got plenty of money stored away and wants nothing to do with drugs or criminal drama. Unfortunately for XXXX, he just makes too much money for his superiors and is assigned the task of locating the kidnapped daughter of one Eddie Temple (Michael Gambon). Add on the trouble of dealing with extremely unprofessional drug dealers and an ecstasy shipment stolen from professional drug lords, it all begins to resonate with the classic Michael Corleone phrase: "Just when I thought that I was out, they pull me back in."\nOne thing is certain with "Layer Cake," it possesses plenty of style. Matthew Vaughn has no problem using helicopters for graceful shots, unique camera angles and just the right amount of 360-degree camera spins as to not overdo the effect. His style is also much darker than previous Brit gangter flicks as the humor is black and violence at times unsettling. Watching faces get bashed in and using an iron to boil a man's heart are guaranteed to make you cringe, but watching crosshairs rest on a baby carriage just might make you laugh. I did both. \nThe cast succeeds as well. Daniel Craig turns in an incredibly convincing performance as a "businessman" and he is extremely likeable and respectable. Craig's cohorts Monty and Gene, George Harris and Colm Meaney respectively, prove to be coldhearted at times while humorous at other points. Sienna Miller plays Craig's love interest Tammy and has sex appeal written all over her. But the best performance next to Craig's is that of Michael Gambon. His old gangster ways and intimidating demeanor are the perfect polar opposite to Craig's new school approach of the business.\nThe real problem with "Layer Cake" is its pacing and plot. At times the film seems to be going too slow and yet is still under the two-hour mark. The plot is burdened with Craig's character taking on almost too much of a workload. Trafficking drugs, hunting down a missing daughter, dealing with other criminals and double-crosses all seems a bit heavy. Had the entire missing daughter assignment been cut out, the film would be a bit easier to digest. Thankfully through, all this mix you won't be needing to use your Cockney slang dictionary often. \nRepeated viewings are sure to guarantee more appreciation and understanding of the film (the DVD drops Aug. 23) since there is a lot to like about "Layer Cake." It is only plagued by small problems and overall is an enjoyable ride. And for being the directorial debut of Vaughn, it is a damn good effort from a man I'm sure will continue to impress movie-goers down the line.
(07/20/05 8:58pm)
"I'm not a gangster, I'm a businessman." So says Daniel Craig, a cocaine dealer and middleman caught up in the British underworld, who has no name other than "XXXX" as listed in the credits. XXXX wants out of the organized crime world, but as to be expected, saying you want out and getting out are two vastly different things. Such is the story of "Layer Cake," the directorial debut from Matthew Vaughn, who produced the worthwhile Guy Ritchie films "Snatch" and "Lock, Stock and Two Smoking Barrels."\nSo XXXX wants out of the business because he's got plenty of money stored away and wants nothing to do with drugs or criminal drama. Unfortunately for XXXX, he just makes too much money for his superiors and is assigned the task of locating the kidnapped daughter of one Eddie Temple (Michael Gambon). Add on the trouble of dealing with extremely unprofessional drug dealers and an ecstasy shipment stolen from professional drug lords, it all begins to resonate with the classic Michael Corleone phrase: "Just when I thought that I was out, they pull me back in."\nOne thing is certain with "Layer Cake," it possesses plenty of style. Matthew Vaughn has no problem using helicopters for graceful shots, unique camera angles and just the right amount of 360-degree camera spins as to not overdo the effect. His style is also much darker than previous Brit gangter flicks as the humor is black and violence at times unsettling. Watching faces get bashed in and using an iron to boil a man's heart are guaranteed to make you cringe, but watching crosshairs rest on a baby carriage just might make you laugh. I did both. \nThe cast succeeds as well. Daniel Craig turns in an incredibly convincing performance as a "businessman" and he is extremely likeable and respectable. Craig's cohorts Monty and Gene, George Harris and Colm Meaney respectively, prove to be coldhearted at times while humorous at other points. Sienna Miller plays Craig's love interest Tammy and has sex appeal written all over her. But the best performance next to Craig's is that of Michael Gambon. His old gangster ways and intimidating demeanor are the perfect polar opposite to Craig's new school approach of the business.\nThe real problem with "Layer Cake" is its pacing and plot. At times the film seems to be going too slow and yet is still under the two-hour mark. The plot is burdened with Craig's character taking on almost too much of a workload. Trafficking drugs, hunting down a missing daughter, dealing with other criminals and double-crosses all seems a bit heavy. Had the entire missing daughter assignment been cut out, the film would be a bit easier to digest. Thankfully through, all this mix you won't be needing to use your Cockney slang dictionary often. \nRepeated viewings are sure to guarantee more appreciation and understanding of the film (the DVD drops Aug. 23) since there is a lot to like about "Layer Cake." It is only plagued by small problems and overall is an enjoyable ride. And for being the directorial debut of Vaughn, it is a damn good effort from a man I'm sure will continue to impress movie-goers down the line.
(07/14/05 4:00am)
Having already seen two films from Italian director Luchino Visconti, "The Leopard" and "Death in Venice," I possessed a level of excitement in seeing "Le Notti Bianche" ("White Nights") since I was already impressed twice before. There is truth in the old saying "third time's the charm" because "Bianche" is the best film I've seen yet from Visconti. \nChoosing to adapt and update the "White Nights" short story from Russian author Fyodor Dostoevsky, "Le Notti Bianche" is the tale of one lonely dreamer, Mario (Marcello Mastroianni, "8 ½," "La Dolce Vita"), who finds himself wandering the quiet night streets of Italy. Everything is normal until a chance encounter with a young woman named Natalia (Maria Schell) results in Mario living in a state of love-at-first-sight. She is a love-stricken as well, but her heart belongs to a mysterious tenant (Jean Marais) who once lived in her home. It is a tale of two dreamers unsure if their love is truly real or just some grandiose illusion. \nFrom the opening shot of "Bianche," the film is all about one thing: atmosphere. Shot in black and white (in a gorgeous newly restored digital transfer), the streets of Italy are full of noirish shadows and dim lights. The atmosphere is also ever-changing from starry nights to misty hazes and haunting snowfalls. The element of daytime is almost nonexistent, save for the occasional short scene where Mario wakes up in the morning and you would almost swear the events of the night were all just a dream. \nThe cast is extremely small and the performances of Mastroianni and Schell are wonderful. Mastroianni, who I am used to being the comedic type, still has his humorous moments, but is usually more focused on contemplating his mysterious love for an even more mysterious woman. His performance is quite truthful to Dostoevsky's short story but Schell's is the opposite. Solemnness is replaced with an almost childish glee intermixed with despair over her missing tenant lover. \nThis perfect blend of atmosphere and performance gives "Le Notti Bianche" the kind of loneliness found in a lot of director Michelangelo Antonioni's films. However, where the relationships of Antonioni characters are pushed practically into alienation, this loneliness only makes Mario and Natalia's relationship seem more romantic and dream-like. \nExtras on this release are rather slim. Almost 20 minutes of interviews are available from various collaborators including cinematographer Giuseppe Rotunno (Visconti's "The Leopard," Fellini's "Amarcord") who also supervised the film's restoration. Five minutes worth of screen tests from Mastroianni and Schell are also available along with the original theatrical trailer and 4-page essay. The best and most unique extra is a downloadable mp3 version of Dostoevsky's "White Nights" which you can put on your iPod if you're into exercising while listening to Russian short stories. \n"Le Notti Bianche's" release gives viewers the chance to see a rather unknown oeuvre from Visconti before he entered grander stages in filmmaking. The black and white is beautiful, the relationships are believable and overall it is a wonderful film.
(07/14/05 1:10am)
Having already seen two films from Italian director Luchino Visconti, "The Leopard" and "Death in Venice," I possessed a level of excitement in seeing "Le Notti Bianche" ("White Nights") since I was already impressed twice before. There is truth in the old saying "third time's the charm" because "Bianche" is the best film I've seen yet from Visconti. \nChoosing to adapt and update the "White Nights" short story from Russian author Fyodor Dostoevsky, "Le Notti Bianche" is the tale of one lonely dreamer, Mario (Marcello Mastroianni, "8 ½," "La Dolce Vita"), who finds himself wandering the quiet night streets of Italy. Everything is normal until a chance encounter with a young woman named Natalia (Maria Schell) results in Mario living in a state of love-at-first-sight. She is a love-stricken as well, but her heart belongs to a mysterious tenant (Jean Marais) who once lived in her home. It is a tale of two dreamers unsure if their love is truly real or just some grandiose illusion. \nFrom the opening shot of "Bianche," the film is all about one thing: atmosphere. Shot in black and white (in a gorgeous newly restored digital transfer), the streets of Italy are full of noirish shadows and dim lights. The atmosphere is also ever-changing from starry nights to misty hazes and haunting snowfalls. The element of daytime is almost nonexistent, save for the occasional short scene where Mario wakes up in the morning and you would almost swear the events of the night were all just a dream. \nThe cast is extremely small and the performances of Mastroianni and Schell are wonderful. Mastroianni, who I am used to being the comedic type, still has his humorous moments, but is usually more focused on contemplating his mysterious love for an even more mysterious woman. His performance is quite truthful to Dostoevsky's short story but Schell's is the opposite. Solemnness is replaced with an almost childish glee intermixed with despair over her missing tenant lover. \nThis perfect blend of atmosphere and performance gives "Le Notti Bianche" the kind of loneliness found in a lot of director Michelangelo Antonioni's films. However, where the relationships of Antonioni characters are pushed practically into alienation, this loneliness only makes Mario and Natalia's relationship seem more romantic and dream-like. \nExtras on this release are rather slim. Almost 20 minutes of interviews are available from various collaborators including cinematographer Giuseppe Rotunno (Visconti's "The Leopard," Fellini's "Amarcord") who also supervised the film's restoration. Five minutes worth of screen tests from Mastroianni and Schell are also available along with the original theatrical trailer and 4-page essay. The best and most unique extra is a downloadable mp3 version of Dostoevsky's "White Nights" which you can put on your iPod if you're into exercising while listening to Russian short stories. \n"Le Notti Bianche's" release gives viewers the chance to see a rather unknown oeuvre from Visconti before he entered grander stages in filmmaking. The black and white is beautiful, the relationships are believable and overall it is a wonderful film.
(07/07/05 4:00am)
Oh, Steven Spielberg and the big budget movie. Does it ever get any better? I can think of no better director to put reliability on when it comes to banking successfully at the box office. And when you put Hollywood's biggest director with one of the biggest leading men, Tom Cruise, the results, much like their prior teaming on "Minority Report," are sure to be successful. Or are they?\nTom Cruise is Ray Ferrier, a working man and divorced father of two children, Rachel (Dakota Fanning, "Man on Fire") and Robbie (Justin Chatwin, whose cinematic underachievement equates to the likes of "Taking Lives" and "SuperBabies: Baby Geniuses 2"), living in New Jersey. What might seem like a typical fall afternoon is soon spoiled by a lightning storm which renders everything useless and leaves a mysterious hole in the middle of town. As Ray and the townsfolk gather round, the ground begins to swell and fissure revealing a hulking mechanical monstrosity, which, without any hesitation, begins annihilating every living person in its path. People disappear instantly with only their clothes left floating in the wind and Ray rushes home to his family in what is about to become the quest of one man's family to survive the exterminating onslaught of the towering Tripods. \nH.G. Wells' novel "The War of the Worlds" has seen the big screen before, released in 1953 as a somewhat entertaining sci-fi flick, but Orson Welles' radio version from 1938 truly terrified an entire nation before announcing it was all a hoax. With Spielberg's take on things, it is a further step away from the novel's plotline and more about terrifying the audience. Unfortunately though, the results are far from terrifying but instead more intimidating. Watching bodies disintegrate at the hands of death-ray-wielding Tripods is certainly horrific, but lands nowhere in scream territory. \nDespite the recent media outbursts by Tom Cruise, such nonsense shouldn't interfere with seeing his movies. His performance in "War" is a good one, but certainly nowhere near as great as recent work in "Collateral," "The Last Samurai" and his previous Spielberg outing. Cruise the fatherly figure and family defender is an interesting role to take on, but I think Cruise's persona is better suited for larger, more demanding roles. Dakota Fanning, who I usually cannot stand and showcases the kind of bossy attitude which would get an 11-year-old girl instantly grounded, is quickly (and quite thankfully) reduced to the crying, terrified tyke she should be in every film. Chatwin fulfills the angsty teen-who-hates-his-father role nicely but I'm certain any kid could've fulfilled the role all the same. The small performance from Tim Robbins, playing the paranoid Ogilvy, has some value despite no character development whatsoever. And I'll admit that for what is less than five minutes of screen time, Miranda Otto as Ray's ex-wife Mary Ann contains just the right dose of motherly character to be worthy of merit. \nAs for Spielberg and crew, "War" is something of a completely different film. Spielberg regulars John Williams (composer), Michael Kahn (editor) and Janusz Kaminski (cinematographer) seem to work against their typical techniques. Williams' score is more booming, Kahn's editing is quicker than usual and Kaminski's cinematography is at times very frenetic and showcases camerawork I have never seen before in any Spielberg outing. \nWhat it all boils down to is excitement. While there are some great visuals, the film just seems to zip by in no time. An extra half-hour might've given more time to develop characters and show off a little more action against the Tripods. The film does however capture the great non-stop escape of the Ferrier family and one could say this film adds a new chapter to Spielberg's unofficial "running man trilogy" comprised of "A.I. Artificial Intelligence," "Minority Report" and "Catch Me If You Can." \nDespite some shortcomings, Steven Spielberg's 'third' encounter with alien life is his best one, and I'm sure both H.G. Wells and Orson Welles would be proud.
(07/07/05 1:02am)
Oh, Steven Spielberg and the big budget movie. Does it ever get any better? I can think of no better director to put reliability on when it comes to banking successfully at the box office. And when you put Hollywood's biggest director with one of the biggest leading men, Tom Cruise, the results, much like their prior teaming on "Minority Report," are sure to be successful. Or are they?\nTom Cruise is Ray Ferrier, a working man and divorced father of two children, Rachel (Dakota Fanning, "Man on Fire") and Robbie (Justin Chatwin, whose cinematic underachievement equates to the likes of "Taking Lives" and "SuperBabies: Baby Geniuses 2"), living in New Jersey. What might seem like a typical fall afternoon is soon spoiled by a lightning storm which renders everything useless and leaves a mysterious hole in the middle of town. As Ray and the townsfolk gather round, the ground begins to swell and fissure revealing a hulking mechanical monstrosity, which, without any hesitation, begins annihilating every living person in its path. People disappear instantly with only their clothes left floating in the wind and Ray rushes home to his family in what is about to become the quest of one man's family to survive the exterminating onslaught of the towering Tripods. \nH.G. Wells' novel "The War of the Worlds" has seen the big screen before, released in 1953 as a somewhat entertaining sci-fi flick, but Orson Welles' radio version from 1938 truly terrified an entire nation before announcing it was all a hoax. With Spielberg's take on things, it is a further step away from the novel's plotline and more about terrifying the audience. Unfortunately though, the results are far from terrifying but instead more intimidating. Watching bodies disintegrate at the hands of death-ray-wielding Tripods is certainly horrific, but lands nowhere in scream territory. \nDespite the recent media outbursts by Tom Cruise, such nonsense shouldn't interfere with seeing his movies. His performance in "War" is a good one, but certainly nowhere near as great as recent work in "Collateral," "The Last Samurai" and his previous Spielberg outing. Cruise the fatherly figure and family defender is an interesting role to take on, but I think Cruise's persona is better suited for larger, more demanding roles. Dakota Fanning, who I usually cannot stand and showcases the kind of bossy attitude which would get an 11-year-old girl instantly grounded, is quickly (and quite thankfully) reduced to the crying, terrified tyke she should be in every film. Chatwin fulfills the angsty teen-who-hates-his-father role nicely but I'm certain any kid could've fulfilled the role all the same. The small performance from Tim Robbins, playing the paranoid Ogilvy, has some value despite no character development whatsoever. And I'll admit that for what is less than five minutes of screen time, Miranda Otto as Ray's ex-wife Mary Ann contains just the right dose of motherly character to be worthy of merit. \nAs for Spielberg and crew, "War" is something of a completely different film. Spielberg regulars John Williams (composer), Michael Kahn (editor) and Janusz Kaminski (cinematographer) seem to work against their typical techniques. Williams' score is more booming, Kahn's editing is quicker than usual and Kaminski's cinematography is at times very frenetic and showcases camerawork I have never seen before in any Spielberg outing. \nWhat it all boils down to is excitement. While there are some great visuals, the film just seems to zip by in no time. An extra half-hour might've given more time to develop characters and show off a little more action against the Tripods. The film does however capture the great non-stop escape of the Ferrier family and one could say this film adds a new chapter to Spielberg's unofficial "running man trilogy" comprised of "A.I. Artificial Intelligence," "Minority Report" and "Catch Me If You Can." \nDespite some shortcomings, Steven Spielberg's 'third' encounter with alien life is his best one, and I'm sure both H.G. Wells and Orson Welles would be proud.
(06/30/05 4:00am)
Long after dancing his way through "Newsies" but before donning the cape in "Batman Begins," Christian Bale put his name on the map by taking the lead role in "American Psycho," the film adaptation of the Bret Easton Ellis novel. \nPatrick Bateman (Bale) is a man mixed up in the madness of being a Wall Street yuppie in the heart of the 1980s. Sure, he has fun flashing c-notes and comparing business card designs with his fellow employees, but the only thing Bateman enjoys more than pop music is serial killing -- and his murderous rage has no limits. From hookers to hobos to competition in the workplace, Bateman takes great pleasure in busting out his favorite toys (which include a chainsaw and nail gun to name a few) and going to town on assorted denizens of New York City. But how long can his killing spree continue?\nWhile it might seem like "American Psycho" is a pure gore fest, it is the complete opposite. Sure there is blood here and there, but the focus is more on the subtlety of murder. One moment you see Bateman with a woman, the next day he is fondling a lock of her hair at his desk and quite obvious that he had some "fun." "American Psycho" is the farthest thing from a horror flick. Instead it acts as a dark comedy and critique of yuppie mentality, the latter which Bale exudes in fine form while still teetering into murderous insanity. \n"American Psycho" has seen a DVD release before, but the "Killer Collector's Edition" (obviously meant to tie into the recent "Batman Begins" release) boasts extras not on the original release which has since gone out-of-print. You get two commentary tracks from director Mary Harron and co-writer Guinevere Turner which doesn't add much to the film. "American Psycho: From Book to Screen" is a three-part documentary which to be perfectly honest is completely disposable. It is poorly arranged with not much insight into the film but instead more rants from Harron who kept bouncing back and forth to direct (Oliver Stone and David Cronenberg were once attached). The deleted scenes are rather boring as is the featurette, "The '80s: Downtown," which you would swear came from a VH-1 special. I recommend avoiding the video essay, "The Pornography of Killing," because the girl reading it is plain annoying. And "Uncut Version" doesn't mean uncut violence but rather disturbing, extended sex scenes. \nFor being such a great film, the extras are anything but "Killer." If this disc had more contribution from the actors, such as an interview with Bale to get his thoughts today on the film, then perhaps the extras would've been more redeeming. Buy it for the film, not for the weak extras.
(06/30/05 12:17am)
Long after dancing his way through "Newsies" but before donning the cape in "Batman Begins," Christian Bale put his name on the map by taking the lead role in "American Psycho," the film adaptation of the Bret Easton Ellis novel. \nPatrick Bateman (Bale) is a man mixed up in the madness of being a Wall Street yuppie in the heart of the 1980s. Sure, he has fun flashing c-notes and comparing business card designs with his fellow employees, but the only thing Bateman enjoys more than pop music is serial killing -- and his murderous rage has no limits. From hookers to hobos to competition in the workplace, Bateman takes great pleasure in busting out his favorite toys (which include a chainsaw and nail gun to name a few) and going to town on assorted denizens of New York City. But how long can his killing spree continue?\nWhile it might seem like "American Psycho" is a pure gore fest, it is the complete opposite. Sure there is blood here and there, but the focus is more on the subtlety of murder. One moment you see Bateman with a woman, the next day he is fondling a lock of her hair at his desk and quite obvious that he had some "fun." "American Psycho" is the farthest thing from a horror flick. Instead it acts as a dark comedy and critique of yuppie mentality, the latter which Bale exudes in fine form while still teetering into murderous insanity. \n"American Psycho" has seen a DVD release before, but the "Killer Collector's Edition" (obviously meant to tie into the recent "Batman Begins" release) boasts extras not on the original release which has since gone out-of-print. You get two commentary tracks from director Mary Harron and co-writer Guinevere Turner which doesn't add much to the film. "American Psycho: From Book to Screen" is a three-part documentary which to be perfectly honest is completely disposable. It is poorly arranged with not much insight into the film but instead more rants from Harron who kept bouncing back and forth to direct (Oliver Stone and David Cronenberg were once attached). The deleted scenes are rather boring as is the featurette, "The '80s: Downtown," which you would swear came from a VH-1 special. I recommend avoiding the video essay, "The Pornography of Killing," because the girl reading it is plain annoying. And "Uncut Version" doesn't mean uncut violence but rather disturbing, extended sex scenes. \nFor being such a great film, the extras are anything but "Killer." If this disc had more contribution from the actors, such as an interview with Bale to get his thoughts today on the film, then perhaps the extras would've been more redeeming. Buy it for the film, not for the weak extras.