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(06/23/05 4:00am)
I'm sick of horror movies.\nThere, I finally said it. Nothing is scary anymore and I am saddened by this current state of non-horrific affairs. \nI think the last time I was actually scared in a movie theater was when I saw "The Exorcist" re-release back in 2000. Why was I scared? The situations were horrifying, the dialogue was disgusting and the movie was just plain creepy, all reasons why others seems to consider it a horror classic. \nLast weekend I made a trip to the local movie theater with high hopes for "High Tension," a film that was supposed to look back at the old slasher and women revenge flicks of the late '70s, but the end results were just pathetic. Why? Well...\nSpoiler alert.\nIn "High Tension," when Marie (Cécile De France) finally kills the psychopath bent on murdering her best friend Alex (Maïwenn), Alex flips out and tries to kill Marie because the entire time Marie and the killer were the same person. Huh? What? I wish I could explain more on it but the movie ends with Marie in a mental institute mumbling and no explanation is given as to how she was the killer and the girl's best friend all along. It all makes about as much sense as Donald Kaufman's plot for "The 3" in "Adaptation." \nI guess what I'm sick of is horror movies that create this huge psychological bullshit mess, such as "High Tension" or "Identity," that makes the general audience think "Oh my God, I never saw that ending coming! It makes me wanna go home and discuss it on internet message boards!" Movies like that leave me insulted and annoyed.\n"High Tension" was supposed to homage slasher and women revenge flicks from the '70s? It doesn't come close. Movies like Wes Craven's "The Last House on the Left" and Meir Zarchi's "I Spit on Your Grave" are horrifying because of natural, realistic elements, not some multiple personality disorder. Take "The Last House on the Left" where a girl is brutally raped and murdered and her family is held hostage only until they decide to avenge their daughter's demise. It's horrifying watching what a group of individuals can do to just one person. When the killer Krug Stillo (David A. Hess) rapes a girl and then carves his name into her chest? That is one of the most horrifying things I've ever seen on celluloid. \nOK, so maybe that reference was a bit over-the-top, but take David Lynch's "Blue Velvet." Dennis Hopper and his gang of corrupt cronies are just normal men terrorizing small town America. They aren't some supernatural force or psycho that keeps coming back for six more sequels; they're just regular men who go down after a bullet but their demeanor is frightening. \nSometimes the most horrifying thing in a movie is what occurs on a daily basis. Murder, rape, the suffering of an individual, there's nothing fake about it. Go watch "Henry: Portrait of a Serial Killer" and tell me you don't get the chills just watching Henry (Michael Rooker) when he's watching his prey or even worse looking directly at you on the screen. \nI remember when the remake of "The Texas Chainsaw Massacre" came out in 2003 and I saw it because I had to know how one could re-envision one of the scariest movies ever. When re-envision equals buckets of gore, overly sensationalized violence and turning an entire town into bloodthirsty rednecks, it isn't as effective as the original. \nThe weapons don't need to be excessive either. The staple weapon for a lot of the slasher flicks was the straight razor and you'd be surprised how frightening of a weapon it can be. The straight razor always popped up in Italian horror maestro Dario Argento's films such as "Tenebre" and "The Stendahl Syndrome" to name a few, and it worked wonders. Even better, take Argento's film "Opera," where a murderer is killing off opera house employees and performers while stalking the female lead. He even ties her up and makes her watch while he kills certain people. How does he do it? He takes a piece of tape lined with sharp pins and places them right beneath her eyes so when her eyelids come down she cuts them open. It's truly terrifying, but isn't that the point? \nAnd this recent flood of Asian horror remakes? All these "Ring" movies and "The Grudge" and "Dark Water?" It's all crap. Just because weapons are reoccurring doesn't mean the killer has to be the same. The American horror franchise is based around the big three: Jason Voorhees, Freddy Krueger and Michael Myers. All these Asian movies have are creepy girls with long black hair running around the place and attacking people. It isn't even scary anymore, but just boring and unoriginal. \nIf you want to make a horror movie, make one that plays on the real fears of an individual. That doesn't mean make a movie with 20 scenes of rape and violent murder, but make one where it is something every person fears. Not everyone is afraid of hockey mask-wearing monsters with machetes but people fear muggers and criminals and serial killers. Make the antagonist be mentally disturbed but not psychologically impossible. \nPeople can only be afraid of the horror found in movies for so long, but they'll always be afraid of what can actually happen to them.
(06/23/05 4:00am)
If anyone knew how to make a comedy with a lot of class, it was director Ernst Lubitsch. There is something magical, something that resonates in his films that earned the merit of "The Lubitsch Touch." "Heaven Can Wait" is one of those films.\nThe film's title card reads "As Henry Van Cleve's soul passed over the Great Divide, he realized that it was extremely unlikely that his next stop could be Heaven. And so, philosophically, he presented himself where innumerable people had so often told him to go." Henry Van Cleve (Don Ameche) finds himself at the gates of hell and engaged in conversation with His Excellency (Laird Cregar). Van Cleve is almost certain that his life of being a captivating Casanova surely justifies that he be admitted into the underworld, but the devil just isn't convinced. Van Cleve then takes it upon himself to tell the devil about all the women he loved over the years and most importantly his wife Martha (Gene Tierney), whom he loved dearly despite his philandering ways. \nNot to be confused with the Warren Beatty film of the same name, "Heaven Can Wait" is one of those wonderful comedies from World War II America with a lot of humor and heart. Much like the work of Preston Sturges, Lubitsch comedies have a sophistication to the humor being presented. Ameche has class written all over him with a romantic attitude that would make any woman swoon. Tierney is just gorgeous and her role only becomes more effective as her character ages. But, at times, it is Charles Coburn as Grandpa Hugo Van Cleve who provides enough wit to keep the laughs coming. And watching all of this unfold in beautiful Technicolor makes the film that much more enjoyable.\nThe extras on this release are definitely of an interesting mix. A video conversation between critics Molly Haskell and Andrew Sarris brings an amusing look back at a classic film. There are also plenty of original press materials and home piano recordings of Lubitsch playing away. The main focus on extras is that of Samson Raphaelson, screenwriter for many of Lubitsch's films, there is a 30-minute documentary on his life and an audio seminar of interviews/Q&A from 1977. The DVD is rounded out with an essay from film scholar William Paul which is standard fair for any Criterion Collection release. \nI would recommend "Heaven Can Wait" to anyone wanting a taste of classic romantic comedy or even better a look at the work of Ernst Lubitsch. It is a delightful gem of a movie, one that contains the perfect mix of wit and charm to keep your attention and more importantly your laughter coming.
(06/23/05 4:00am)
A year ago I found out about the British badasses known as Funeral for a Friend by way of the Casually Dressed & Deep in Conversation LP and Seven Ways to Scream Your Name EP and you could color me impressed. With a fresh pop sound mixed with European melodic metal conventions and hardcore mentality, FFAF have a unique style and approach that is reconfirmed on their sophomore release, Hours.\n"All the Rage" opens up the disc with guitar feedback and drum fills before going into their trademark melodic pop riffs while singer Matt Davies carries on his soaring clean vocals. The second track, "Streetcar," is the first single, which after a few rings of a telephone sample goes into metallic gallops from guitar duo Kris Coombs-Roberts and Darran Smith before melodic acrobatics ensue throughout the song's chorus. \n"Drive" and "History" offer a nice laid-back approach as the band leaves metal mode and offers up slower riffs, acoustic interludes and angelic choruses. You could probably call the songs "emo-esque," but FFAF is far from being emo. \n"Recovery" is the standout heavy track on the album but surprisingly enough singer Davies never heads into screaming territory on this track or really any track on the album. There is screaming here and there on Hours but nowhere near as much as the amount found on their previous releases. "The End of Nothing" keeps up the speedy guitar acrobatics before going into the scream-filled breakdown with Davies growling "You and I will die alone tonight/You and I will lie alone tonight."\nUnfortunately, not every song is a winner on Hours. "Alvarez" becomes a bit repetitious after a few riffs with the last minute being the song's only saving grace. Album closer "Sonny" strays into Linkin Park-esque nonsense as the song's entire structure revolves around techno beats and echoing, undistorted guitar notes. For an album that has so much energy going on in the past ten tracks, the closer ends up being boring and should've been left off the disc. \nThe disc has bonuses as well in the form of enhanced CD content. You get the video for "Streetcar," which rocks, and an FFAF screensaver. If you buy the CD at Best Buy, you also get a bonus on-pack CD containing one extra song called "You Want Romance?" The song is pretty good but far from essential listening. \nFuneral for a Friend avoided the sophomore slump by making an album worth listening to and keeping the same energy and musical sensibilities that worked the first time around. While the album closer is crap, I can forgive them for trying something different. Granted the summer already has big releases from the likes of Coldplay and the White Stripes, but don't let Funeral for a Friend go under your radar. I'm listening to Hours on a regular basis and so should you.
(06/23/05 1:34am)
A year ago I found out about the British badasses known as Funeral for a Friend by way of the Casually Dressed & Deep in Conversation LP and Seven Ways to Scream Your Name EP and you could color me impressed. With a fresh pop sound mixed with European melodic metal conventions and hardcore mentality, FFAF have a unique style and approach that is reconfirmed on their sophomore release, Hours.\n"All the Rage" opens up the disc with guitar feedback and drum fills before going into their trademark melodic pop riffs while singer Matt Davies carries on his soaring clean vocals. The second track, "Streetcar," is the first single, which after a few rings of a telephone sample goes into metallic gallops from guitar duo Kris Coombs-Roberts and Darran Smith before melodic acrobatics ensue throughout the song's chorus. \n"Drive" and "History" offer a nice laid-back approach as the band leaves metal mode and offers up slower riffs, acoustic interludes and angelic choruses. You could probably call the songs "emo-esque," but FFAF is far from being emo. \n"Recovery" is the standout heavy track on the album but surprisingly enough singer Davies never heads into screaming territory on this track or really any track on the album. There is screaming here and there on Hours but nowhere near as much as the amount found on their previous releases. "The End of Nothing" keeps up the speedy guitar acrobatics before going into the scream-filled breakdown with Davies growling "You and I will die alone tonight/You and I will lie alone tonight."\nUnfortunately, not every song is a winner on Hours. "Alvarez" becomes a bit repetitious after a few riffs with the last minute being the song's only saving grace. Album closer "Sonny" strays into Linkin Park-esque nonsense as the song's entire structure revolves around techno beats and echoing, undistorted guitar notes. For an album that has so much energy going on in the past ten tracks, the closer ends up being boring and should've been left off the disc. \nThe disc has bonuses as well in the form of enhanced CD content. You get the video for "Streetcar," which rocks, and an FFAF screensaver. If you buy the CD at Best Buy, you also get a bonus on-pack CD containing one extra song called "You Want Romance?" The song is pretty good but far from essential listening. \nFuneral for a Friend avoided the sophomore slump by making an album worth listening to and keeping the same energy and musical sensibilities that worked the first time around. While the album closer is crap, I can forgive them for trying something different. Granted the summer already has big releases from the likes of Coldplay and the White Stripes, but don't let Funeral for a Friend go under your radar. I'm listening to Hours on a regular basis and so should you.
(06/23/05 1:07am)
I'm sick of horror movies.\nThere, I finally said it. Nothing is scary anymore and I am saddened by this current state of non-horrific affairs. \nI think the last time I was actually scared in a movie theater was when I saw "The Exorcist" re-release back in 2000. Why was I scared? The situations were horrifying, the dialogue was disgusting and the movie was just plain creepy, all reasons why others seems to consider it a horror classic. \nLast weekend I made a trip to the local movie theater with high hopes for "High Tension," a film that was supposed to look back at the old slasher and women revenge flicks of the late '70s, but the end results were just pathetic. Why? Well...\nSpoiler alert.\nIn "High Tension," when Marie (Cécile De France) finally kills the psychopath bent on murdering her best friend Alex (Maïwenn), Alex flips out and tries to kill Marie because the entire time Marie and the killer were the same person. Huh? What? I wish I could explain more on it but the movie ends with Marie in a mental institute mumbling and no explanation is given as to how she was the killer and the girl's best friend all along. It all makes about as much sense as Donald Kaufman's plot for "The 3" in "Adaptation." \nI guess what I'm sick of is horror movies that create this huge psychological bullshit mess, such as "High Tension" or "Identity," that makes the general audience think "Oh my God, I never saw that ending coming! It makes me wanna go home and discuss it on internet message boards!" Movies like that leave me insulted and annoyed.\n"High Tension" was supposed to homage slasher and women revenge flicks from the '70s? It doesn't come close. Movies like Wes Craven's "The Last House on the Left" and Meir Zarchi's "I Spit on Your Grave" are horrifying because of natural, realistic elements, not some multiple personality disorder. Take "The Last House on the Left" where a girl is brutally raped and murdered and her family is held hostage only until they decide to avenge their daughter's demise. It's horrifying watching what a group of individuals can do to just one person. When the killer Krug Stillo (David A. Hess) rapes a girl and then carves his name into her chest? That is one of the most horrifying things I've ever seen on celluloid. \nOK, so maybe that reference was a bit over-the-top, but take David Lynch's "Blue Velvet." Dennis Hopper and his gang of corrupt cronies are just normal men terrorizing small town America. They aren't some supernatural force or psycho that keeps coming back for six more sequels; they're just regular men who go down after a bullet but their demeanor is frightening. \nSometimes the most horrifying thing in a movie is what occurs on a daily basis. Murder, rape, the suffering of an individual, there's nothing fake about it. Go watch "Henry: Portrait of a Serial Killer" and tell me you don't get the chills just watching Henry (Michael Rooker) when he's watching his prey or even worse looking directly at you on the screen. \nI remember when the remake of "The Texas Chainsaw Massacre" came out in 2003 and I saw it because I had to know how one could re-envision one of the scariest movies ever. When re-envision equals buckets of gore, overly sensationalized violence and turning an entire town into bloodthirsty rednecks, it isn't as effective as the original. \nThe weapons don't need to be excessive either. The staple weapon for a lot of the slasher flicks was the straight razor and you'd be surprised how frightening of a weapon it can be. The straight razor always popped up in Italian horror maestro Dario Argento's films such as "Tenebre" and "The Stendahl Syndrome" to name a few, and it worked wonders. Even better, take Argento's film "Opera," where a murderer is killing off opera house employees and performers while stalking the female lead. He even ties her up and makes her watch while he kills certain people. How does he do it? He takes a piece of tape lined with sharp pins and places them right beneath her eyes so when her eyelids come down she cuts them open. It's truly terrifying, but isn't that the point? \nAnd this recent flood of Asian horror remakes? All these "Ring" movies and "The Grudge" and "Dark Water?" It's all crap. Just because weapons are reoccurring doesn't mean the killer has to be the same. The American horror franchise is based around the big three: Jason Voorhees, Freddy Krueger and Michael Myers. All these Asian movies have are creepy girls with long black hair running around the place and attacking people. It isn't even scary anymore, but just boring and unoriginal. \nIf you want to make a horror movie, make one that plays on the real fears of an individual. That doesn't mean make a movie with 20 scenes of rape and violent murder, but make one where it is something every person fears. Not everyone is afraid of hockey mask-wearing monsters with machetes but people fear muggers and criminals and serial killers. Make the antagonist be mentally disturbed but not psychologically impossible. \nPeople can only be afraid of the horror found in movies for so long, but they'll always be afraid of what can actually happen to them.
(06/16/05 4:00am)
When a film like "High Tension" comes along, an expectancy is generated. Considering that "Tension" is supposedly an homage to slasher films from the '70s and more importantly women revenge movies like "I Spit on Your Grave" and "Last House on the Left," I was excited to see a horror film that was breaking from the norm like these films did almost 30 years ago. Too bad "Tension" didn't come close to reviving this genre…\nFriends Marie (Cécile De France) and Alex (Maïwenn) are off to stay at Alex's parent's house during the school year in an attempt to get some hardcore studying done for their finals. Unfortunately, no books get cracked open, but Alex's father's head does, as an intruder invades their home, killing both parents, Alex's little brother and even the family dog while chaining Alex to the bed. Marie listens in horror as Alex is beaten and possibly raped and the only thing she feels compelled to do is find a means to rescue her best friend while killing the assailant. I could tell you more, but with a running time of only 90 minutes, there isn't much left.\nIf you're looking for another film that loads up on the gore, then by all means see "Tension," because the deaths are brutally violent. Decapitations, axes to the stomach and plenty more is all showcased here in bloody glory. Beyond the blood though, there is little else of value. The characters lack any depth and what should be a quest for revenge isn't much more than a sub-par psychological game of cat and mouse. And how can we forget the oh-so-required-nowadays super twist ending that makes the audience jump in their seats!? I didn't jump, I just yawned.\n"Tension" is also full of annoyances as well. From the opening credit sequence which would be epileptic's nightmare to an audio track which cannot decide whether to remain in poor English dubbing or subtitled French, a lot of whatever the film was going for is lost in these little things. \nI also fail to see how the stereotypical "killer" is frightening anymore. How many movies feature some giant psycho, who wears -- you guessed it -- a maintenance uniform? Except rather than wearing a mask, this guy prefers his trucker cap. It all boils down to his weapon of choice: the straight razor. This worked wonders 30 years ago when it was still original, but considering this guy is also packing a double-barrel shotgun and a circular saw (and you better believe this movie rips off "The Texas Chainsaw Massacre"), any sort of intimidation factor is thrown out the window.\nFor having a budget of near $3 million, the only scary thing is the fact that it is a waste of money compared to the original "The Texas Chainsaw Massacre," which cost roughly $150,000, and is 10 times scarier. "High Tension" would've been worthwhile had it decided to stick with the roots it tries to pay homage to. Instead it chooses to insult its audience in a complete flop of a slasher flick.
(06/16/05 1:59am)
When a film like "High Tension" comes along, an expectancy is generated. Considering that "Tension" is supposedly an homage to slasher films from the '70s and more importantly women revenge movies like "I Spit on Your Grave" and "Last House on the Left," I was excited to see a horror film that was breaking from the norm like these films did almost 30 years ago. Too bad "Tension" didn't come close to reviving this genre…\nFriends Marie (Cécile De France) and Alex (Maïwenn) are off to stay at Alex's parent's house during the school year in an attempt to get some hardcore studying done for their finals. Unfortunately, no books get cracked open, but Alex's father's head does, as an intruder invades their home, killing both parents, Alex's little brother and even the family dog while chaining Alex to the bed. Marie listens in horror as Alex is beaten and possibly raped and the only thing she feels compelled to do is find a means to rescue her best friend while killing the assailant. I could tell you more, but with a running time of only 90 minutes, there isn't much left.\nIf you're looking for another film that loads up on the gore, then by all means see "Tension," because the deaths are brutally violent. Decapitations, axes to the stomach and plenty more is all showcased here in bloody glory. Beyond the blood though, there is little else of value. The characters lack any depth and what should be a quest for revenge isn't much more than a sub-par psychological game of cat and mouse. And how can we forget the oh-so-required-nowadays super twist ending that makes the audience jump in their seats!? I didn't jump, I just yawned.\n"Tension" is also full of annoyances as well. From the opening credit sequence which would be epileptic's nightmare to an audio track which cannot decide whether to remain in poor English dubbing or subtitled French, a lot of whatever the film was going for is lost in these little things. \nI also fail to see how the stereotypical "killer" is frightening anymore. How many movies feature some giant psycho, who wears -- you guessed it -- a maintenance uniform? Except rather than wearing a mask, this guy prefers his trucker cap. It all boils down to his weapon of choice: the straight razor. This worked wonders 30 years ago when it was still original, but considering this guy is also packing a double-barrel shotgun and a circular saw (and you better believe this movie rips off "The Texas Chainsaw Massacre"), any sort of intimidation factor is thrown out the window.\nFor having a budget of near $3 million, the only scary thing is the fact that it is a waste of money compared to the original "The Texas Chainsaw Massacre," which cost roughly $150,000, and is 10 times scarier. "High Tension" would've been worthwhile had it decided to stick with the roots it tries to pay homage to. Instead it chooses to insult its audience in a complete flop of a slasher flick.
(06/09/05 4:00am)
Boxing films have a long history of being directed by the tough guys. Martin Scorsese and "Raging Bull," Michael Mann and "Ali" and even Clint Eastwood with last year's Oscar-winning "Million Dollar Baby," all three are films directed by men whose prior films backed them up when it came to directing pugilistic pictures. In comes Ron "Happy Days" Howard, a director who I never really saw capable of doing a boxing flick. After seeing "Cinderella Man," I have to say Richie Cunningham did one incredible job.\nThe year is 1929 and James J. Braddock (Russell Crowe) is slowly climbing the heavyweight boxing ranks until his career comes crashing down along with the stock market. Enter the Great Depression, where Braddock no longer lives in a fancy house with wife Mae (Renée Zellweger) and is instead reduced to living among the poor of New Jersey. Barely able to feed his family and rarely finding work at the local shipping docks, all seems lost until Jim's old boxing coach Joe Gould (Paul Giamatti) comes with one final fighting offer down at Madison Square Garden. With the luck of the Irish, Jim takes down the next man in line to the title and slowly works his way up the ranks once again leading up to a bout with titleholder Max Baer (Craig Bierko), the same wrecking machine who killed two men in the ring. \nCrowe as Jim Braddock is a perfect casting decision. Previously having worked with Howard on "A Beautiful Mind," Crowe is able to turn in another performance where he is just a simple man instead of an arena warrior ("Gladiator") or seafaring swashbuckler ("Master & Commander"). His fight is not for fame and glory, but a humbling battle to put food and milk on the table, and he never even comes close to arrogance. Zellweger turns in the typical but integral performance as the caring wife who isn't supportive of her husband's boxing lifestyle. Giamatti, who was snubbed for a "Sideways" Oscar nomination, is in the running for a Best Supporting Actor statue as he portrays Jim's ring corner coach whose performance is incredibly convincing. The rest of the cast fairs well, mainly Bierko and Bruce McGill, the latter playing boxing promoter Jimmy Johnston, but they never steal the show from Crowe and Giamatti.\nWhen it comes to the crew, Howard and the gang do an excellent job. The screenwriting duo of Cliff Hollingsworth and Akiva Goldsman penned a story that tugs on the heartstrings with great aid from Thomas Newman's swelling musical score to keep the tears flowing. Cinematographer Salvatore Totino, who has only worked on three previous films including Howard's clunker "The Missing," convincingly captures Depression-era New Jersey from the dirty loading docks to the dark horrors of "Hooverville" shantytowns. And at the end of it all, director Ron Howard has quite possibly made the best film of his career after playing the Hollywood hit-or-miss game for far too long. He keeps the matches brutal yet still believable while making sure the film isn't just about boxing. \nWhile it is summer and Oscar season is still far away, "Cinderella Man" is a triumphant film that has the staying power to still be remembered seven months from now and long afterwards. It isn't the best boxing flick of all time, a title still held by "Raging Bull" in my book, but "Cinderella Man" definitely puts to shame the rest of the competition.
(06/09/05 4:00am)
The French New Wave movement is a period of filmmaking that many have a love/hate relationship toward. They are films that are either entertaining or confusing and occasionally a mixture of both. There are two big name directors that embody this movement and they are Jean-Luc Godard and François Truffaut. Where Godard's work is more experimental in nature, Truffaut aimed at telling stories while keeping the substance heavy in his work. With "Jules and Jim," Truffaut matches the same charm and wit found in his other classic works such as "The 400 Blows" and "Shoot the Piano Player." \nBased on a novel by Henri-Pierre Roché, "Jules and Jim" is a tale of two friends, Jules (Oscar Werner) and Jim (Henri Serre), whose exploits around early 20th century Paris leads them to fall for the crazy yet captivating Catherine (Jeanne Moreau). Unfortunately for Jim, Catherine only loves Jules and winds up marrying him. To make matters worse, both men find themselves soon fighting against each other in World War I as Jules is forced to side with his native Austria against Jim the Frenchman. The war ends, both men still alive, and they meet once again where this time Catherine finds herself falling for Jim. Thus a love triangle is formed as the men politely try to address the situation when it is Catherine who is truly in control of the both of them. \nI wouldn't be lying by making the statement that "Jules and Jim" is the finest French film I've seen so far in my life. Considering that Truffaut is my favorite French director next to the legendary Jean Renoir ("The Rules of the Game," "The Grand Illusion"), Truffaut creates a wonderful love story centered around three individuals over 25 years from teenage tomfoolery to the midlife marriage crisis. It is a film that is playful, poetic and even poignant at times and overall very rewarding. \nYou'd be surprised how many extras there are on this two-disc set which includes two commentary tracks, one showcasing Jeanne Moreau and while the other contains co-writer Jean Gruault and many others. There are two featurettes dealing with Roché's novel in regards to how the story came together and Truffaut's own opinion of the material. There are video interviews with Gruault and cinematographer Raoul Coutard and so much archival footage of Truffaut from various programs that you get a complete look at the man and his film. Of special note, there is one segment that not only interviews Truffaut and Moreau about "Jules and Jim," but also speaks to Jean Renoir about how he feels Truffaut changed cinema. It is simply fascinating to see one great director discuss the work of a young man who was once writing about films until he began making them. The set is rounded out with a 44-page booklet complete with essays, reviews and a collection of Truffaut's own writings. \nWhile Truffaut's life would come to an end at the early age of 52, his work is a wonderful experience to behold as he went from film criticism to film craftsmanship. His films capture France in a way that not even Jean-Pierre Jeunet has matched yet. Since it seems as if everyone nowadays has seen Jeunet's "Amélie," I recommend giving "Jules and Jim" a chance. You'll see where the magic really started and hopefully find yourself fascinated by not only France's finest filmmaker, but their finest film to date.
(06/09/05 1:16am)
The French New Wave movement is a period of filmmaking that many have a love/hate relationship toward. They are films that are either entertaining or confusing and occasionally a mixture of both. There are two big name directors that embody this movement and they are Jean-Luc Godard and François Truffaut. Where Godard's work is more experimental in nature, Truffaut aimed at telling stories while keeping the substance heavy in his work. With "Jules and Jim," Truffaut matches the same charm and wit found in his other classic works such as "The 400 Blows" and "Shoot the Piano Player." \nBased on a novel by Henri-Pierre Roché, "Jules and Jim" is a tale of two friends, Jules (Oscar Werner) and Jim (Henri Serre), whose exploits around early 20th century Paris leads them to fall for the crazy yet captivating Catherine (Jeanne Moreau). Unfortunately for Jim, Catherine only loves Jules and winds up marrying him. To make matters worse, both men find themselves soon fighting against each other in World War I as Jules is forced to side with his native Austria against Jim the Frenchman. The war ends, both men still alive, and they meet once again where this time Catherine finds herself falling for Jim. Thus a love triangle is formed as the men politely try to address the situation when it is Catherine who is truly in control of the both of them. \nI wouldn't be lying by making the statement that "Jules and Jim" is the finest French film I've seen so far in my life. Considering that Truffaut is my favorite French director next to the legendary Jean Renoir ("The Rules of the Game," "The Grand Illusion"), Truffaut creates a wonderful love story centered around three individuals over 25 years from teenage tomfoolery to the midlife marriage crisis. It is a film that is playful, poetic and even poignant at times and overall very rewarding. \nYou'd be surprised how many extras there are on this two-disc set which includes two commentary tracks, one showcasing Jeanne Moreau and while the other contains co-writer Jean Gruault and many others. There are two featurettes dealing with Roché's novel in regards to how the story came together and Truffaut's own opinion of the material. There are video interviews with Gruault and cinematographer Raoul Coutard and so much archival footage of Truffaut from various programs that you get a complete look at the man and his film. Of special note, there is one segment that not only interviews Truffaut and Moreau about "Jules and Jim," but also speaks to Jean Renoir about how he feels Truffaut changed cinema. It is simply fascinating to see one great director discuss the work of a young man who was once writing about films until he began making them. The set is rounded out with a 44-page booklet complete with essays, reviews and a collection of Truffaut's own writings. \nWhile Truffaut's life would come to an end at the early age of 52, his work is a wonderful experience to behold as he went from film criticism to film craftsmanship. His films capture France in a way that not even Jean-Pierre Jeunet has matched yet. Since it seems as if everyone nowadays has seen Jeunet's "Amélie," I recommend giving "Jules and Jim" a chance. You'll see where the magic really started and hopefully find yourself fascinated by not only France's finest filmmaker, but their finest film to date.
(06/09/05 12:51am)
Boxing films have a long history of being directed by the tough guys. Martin Scorsese and "Raging Bull," Michael Mann and "Ali" and even Clint Eastwood with last year's Oscar-winning "Million Dollar Baby," all three are films directed by men whose prior films backed them up when it came to directing pugilistic pictures. In comes Ron "Happy Days" Howard, a director who I never really saw capable of doing a boxing flick. After seeing "Cinderella Man," I have to say Richie Cunningham did one incredible job.\nThe year is 1929 and James J. Braddock (Russell Crowe) is slowly climbing the heavyweight boxing ranks until his career comes crashing down along with the stock market. Enter the Great Depression, where Braddock no longer lives in a fancy house with wife Mae (Renée Zellweger) and is instead reduced to living among the poor of New Jersey. Barely able to feed his family and rarely finding work at the local shipping docks, all seems lost until Jim's old boxing coach Joe Gould (Paul Giamatti) comes with one final fighting offer down at Madison Square Garden. With the luck of the Irish, Jim takes down the next man in line to the title and slowly works his way up the ranks once again leading up to a bout with titleholder Max Baer (Craig Bierko), the same wrecking machine who killed two men in the ring. \nCrowe as Jim Braddock is a perfect casting decision. Previously having worked with Howard on "A Beautiful Mind," Crowe is able to turn in another performance where he is just a simple man instead of an arena warrior ("Gladiator") or seafaring swashbuckler ("Master & Commander"). His fight is not for fame and glory, but a humbling battle to put food and milk on the table, and he never even comes close to arrogance. Zellweger turns in the typical but integral performance as the caring wife who isn't supportive of her husband's boxing lifestyle. Giamatti, who was snubbed for a "Sideways" Oscar nomination, is in the running for a Best Supporting Actor statue as he portrays Jim's ring corner coach whose performance is incredibly convincing. The rest of the cast fairs well, mainly Bierko and Bruce McGill, the latter playing boxing promoter Jimmy Johnston, but they never steal the show from Crowe and Giamatti.\nWhen it comes to the crew, Howard and the gang do an excellent job. The screenwriting duo of Cliff Hollingsworth and Akiva Goldsman penned a story that tugs on the heartstrings with great aid from Thomas Newman's swelling musical score to keep the tears flowing. Cinematographer Salvatore Totino, who has only worked on three previous films including Howard's clunker "The Missing," convincingly captures Depression-era New Jersey from the dirty loading docks to the dark horrors of "Hooverville" shantytowns. And at the end of it all, director Ron Howard has quite possibly made the best film of his career after playing the Hollywood hit-or-miss game for far too long. He keeps the matches brutal yet still believable while making sure the film isn't just about boxing. \nWhile it is summer and Oscar season is still far away, "Cinderella Man" is a triumphant film that has the staying power to still be remembered seven months from now and long afterwards. It isn't the best boxing flick of all time, a title still held by "Raging Bull" in my book, but "Cinderella Man" definitely puts to shame the rest of the competition.
(06/02/05 8:25pm)
If there was ever a band who deserved a reward for the most ridiculous musical compositions, System of a Down would win every time. Don't read that the wrong way though, because silliness is something that works extremely well for SOAD and has ever since their self-titled debut. \nMezmerize, SOAD's fourth album and first half to a second disc titled Hypnotize which drops in the fall, is at times both serious and still over-the-top. A relatively calm intro titled "Soldier Side" is just a prelude to the album's first single "B.Y.O.B" (Bring Your Own Bombs) which explodes in less than 10 seconds. Using the typical speedy riffs and stop-n-go drum grooves, singer Serj Tankian screams his anti-war lyrics before suddenly segueing into a chilled-out club groove. "Revenga" rocks hard with its galloping riffs and soaring dual clean vocals from Tankian and guitarist/back-up vocalist Daron Malakian and is the stand-out track on this album. \nPolka territory is covered on "Radio/Video" as the song bounces up and down in pure delight before the music begins spiraling and the notes speedily increase. No SOAD album would be complete without the "repetitive lyrics song" which is found on "Cigaro" as Malakian yells, "My cock is much bigger than yours/My cock can walk right through the door/With the feeling so pure!" If it weren't for the song's amazingly diverse musical structure, I'd write it off for the annoying lyrics instantly.\n"This Cocaine Makes Me Feel Like I'm On This Song" finds SOAD taking a stab at all the drugged-up musicians but isn't too convincing since the song doesn't go anywhere musically. "Violent Pornography" is full of swelling riffs, tongue-twister vocals and even has Tankian yodeling at points. \nThe pair of "Question!" and "Sad Statue" is very reminiscent of songs such as "Chop Suey!" off Toxicity or "Spiders" off their self-titled debut where SOAD decides to tune down the aggression for awhile with calm passages. "Old School Hollywood" takes a blow at the recent New Wave resurgence that the Killers and the Bravery are popularizing and while I like both of the aforementioned bands, I cannot help but enjoy SOAD using synthesizers and robot vocal filters. Mezmerize closes with "Lost in Hollywood" which criticizes the masses enchanted with the west coast, but the song is rather spoiled, as Malakian whines "All you maggots smoking fags on Santa Monica Boulevard." Musically, the song excels and would've been better off as a closing instrumental. \nWhile there is always some complaint I can make about SOAD's albums, Mezmerize is definitely their finest record yet. It's more mature than the self-titled album, stronger musically than Toxicity and more serious than Steal This Album! which means System of a Down has progressed naturally from all prior releases while still keeping to its roots. With Hypnotize only a few months away, hopefully SOAD matches the musical accomplishments found on Mezmerize.
(06/02/05 4:00am)
Without any hesitation, I would automatically say that Martin Scorsese's "The Aviator" was the best film of last year. Never had I seen Scorsese so passionate in his filmmaking process since "Goodfellas" over a decade ago. Never had I seen a better performance from the likes of Leonardo DiCaprio or Cate Blanchett. And when "Aviator" came out in theaters in December, it was the best early Christmas present a guy like me could ask for.\n"The Aviator" tells the story of Howard Hughes, a man most commonly known for his later stages in life where he lived as a hermit in his Las Vegas penthouse with long hair and even longer fingernails. This is not the Hughes depicted in "Aviator." Instead, the biopic chronicles Hughes' life when he was making Hollywood movies such as "Hell's Angels" and "The Outlaw" and building airplanes that used aviation technology the world had never seen before, all while suffering from a progressing obsessive-compulsive disorder. The film details the many loves of Hughes (DiCaprio) including Katharine Hepburn (Blanchett) and Ava Gardner (Kate Beckinsale). We also find the story of Hughes to be one of many hardships due to numerous plane crashes which he suffered from greatly and a long battle against Senator Ralph Owen Brewster (Alan Alda) and Pan-Am exec Juan Trippe (Alec Baldwin).\nI've heard many people complain about how "Aviator" does not tell the full story of Howard Hughes, the aforementioned hermit period, and I would tell those people that there was no need to exploit such a time in Hughes' life because that was what he had become known for. No one knew of his genius when it came to being a perfectionist behind the camera and in the cockpit and that is what "Aviator" set out to do.\nThe sucess of "The Aviator" comes from Scorsese and his cast. Not only does Scorsese return to his graceful camera movements but he also pulls out a unique trick by filming certain periods of Hughes' life in Cinecolor and two-strip Technicolor to recreate the cinematic look of the movies of those eras. DiCaprio's performance is easily his career best and is equal parts astonishing and heartbreaking. Blanchett truly becomes Katharine Hepburn down to the slightest mannerism and Beckinsale is gorgeous as Ava Gardner. Alda also scores major points for being cold and calculating. \nThe two-disc DVD set houses the film with commentary by Scorsese, producer Michael Mann and editor Thelma Schoonmaker on the first disc while the second is loaded with supplements. There is a making-of and numerous featurettes which cover every aspect of the film, from musical score to costumes, from production design to visual effects. Two featurettes deal with discussing Hughes' OCD disorder, which provide insight into the disease and how DiCaprio learned to channel it. Much like the "Gangs of New York" DVD, there is a History Channel documentary which gives even more insight into Hughes' entire life. While I wish they would just bundle all these featurettes up into one entire making-of, the extras do total up to be around three hours in length, which I cannot complain about.\nWhile "Aviator" gathered eleven Oscar nominations and took home 5 statues, sadly Scorsese was yet again at a loss when it came to Best Director and Best Picture. But just because he didn't win any statues doesn't make this any lesser of a great film. It is one of Scorsese's finest moments, a film which his love for an era of filmmaking shines brightly, and it takes a place right up there with "Goodfellas," "Raging Bull" and "Taxi Driver." "The Aviator" is a true epic, one that will leave you fascinated and in awe of a man ahead of his time.
(06/02/05 4:00am)
Surrealist film director Luis Buñuel's films and I became acquainted a little more than two years ago when I found myself curious about how he influenced some of my favorite directors such as David Lynch ("Mulholland Dr.") and Terry Gilliam ("12 Monkeys"). I was able to watch "The Discreet Charm of the Bourgeoisie" and "That Obscure Object of Desire" to view his later works and even "Un Chien Andalou" and "L'Âge d'or" to get a taste of earlier material. While I never found myself fascinated with Buñuel's work, I still understood what he was trying to accomplish and enjoyed it to an extent. That was until I saw "The Phantom of Liberty."\nI would describe the plot to you if there was a concrete plot to describe, but there isn't. My first recommendation is to watch the introduction on the DVD by screenwriter Jean-Claude Carrière, who explains what the film is going for. Buñuel and Carrière wanted to make a film that had no conclusions and left storylines unresolved. For example, take the opening sequence in which Napoleon's army has taken a village and begins executing the opposition: just as the commander is about to make a decree to his unit, the film suddenly cuts to modern-day France where a woman is reading the previous scene aloud only to be interrupted yet again. "Phantom" continues to do this over and over and while some parts are quite amusing, it also becomes rather annoying when you actually begin taking interest in a character's story. \nExtras on the DVD are rather slim as there is only the video introduction from Carrière and the theatrical trailer. I would say, though, that the introduction is quite essential, otherwise the film would appear to be even more confusing. There is also a booklet which includes an essay by critic Gary Indiana and an interview with Buñuel from the 1970s. \nPersonally, I found "The Phantom of Liberty" to be a bit too ambitious. With Buñuel's other films there is always a sort of critique. "The Discreet Charm of the Bourgeoisie" takes a blow at the French upper class and "The Obscure Object of Desire" comments on marriage and infidelity. With "Phantom" there are too many ideas going on at once to gather a clear message but that doesn't mean it is a bad film, considering it still looks great and has its humorous moments. I would recommend checking out Buñuel's other films, especially "The Discreet Charm of the Bourgeoisie," before taking your chances with "The Phantom of Liberty"
(06/02/05 2:19am)
Surrealist film director Luis Buñuel's films and I became acquainted a little more than two years ago when I found myself curious about how he influenced some of my favorite directors such as David Lynch ("Mulholland Dr.") and Terry Gilliam ("12 Monkeys"). I was able to watch "The Discreet Charm of the Bourgeoisie" and "That Obscure Object of Desire" to view his later works and even "Un Chien Andalou" and "L'Âge d'or" to get a taste of earlier material. While I never found myself fascinated with Buñuel's work, I still understood what he was trying to accomplish and enjoyed it to an extent. That was until I saw "The Phantom of Liberty."\nI would describe the plot to you if there was a concrete plot to describe, but there isn't. My first recommendation is to watch the introduction on the DVD by screenwriter Jean-Claude Carrière, who explains what the film is going for. Buñuel and Carrière wanted to make a film that had no conclusions and left storylines unresolved. For example, take the opening sequence in which Napoleon's army has taken a village and begins executing the opposition: just as the commander is about to make a decree to his unit, the film suddenly cuts to modern-day France where a woman is reading the previous scene aloud only to be interrupted yet again. "Phantom" continues to do this over and over and while some parts are quite amusing, it also becomes rather annoying when you actually begin taking interest in a character's story. \nExtras on the DVD are rather slim as there is only the video introduction from Carrière and the theatrical trailer. I would say, though, that the introduction is quite essential, otherwise the film would appear to be even more confusing. There is also a booklet which includes an essay by critic Gary Indiana and an interview with Buñuel from the 1970s. \nPersonally, I found "The Phantom of Liberty" to be a bit too ambitious. With Buñuel's other films there is always a sort of critique. "The Discreet Charm of the Bourgeoisie" takes a blow at the French upper class and "The Obscure Object of Desire" comments on marriage and infidelity. With "Phantom" there are too many ideas going on at once to gather a clear message but that doesn't mean it is a bad film, considering it still looks great and has its humorous moments. I would recommend checking out Buñuel's other films, especially "The Discreet Charm of the Bourgeoisie," before taking your chances with "The Phantom of Liberty"
(06/02/05 2:19am)
Without any hesitation, I would automatically say that Martin Scorsese's "The Aviator" was the best film of last year. Never had I seen Scorsese so passionate in his filmmaking process since "Goodfellas" over a decade ago. Never had I seen a better performance from the likes of Leonardo DiCaprio or Cate Blanchett. And when "Aviator" came out in theaters in December, it was the best early Christmas present a guy like me could ask for.\n"The Aviator" tells the story of Howard Hughes, a man most commonly known for his later stages in life where he lived as a hermit in his Las Vegas penthouse with long hair and even longer fingernails. This is not the Hughes depicted in "Aviator." Instead, the biopic chronicles Hughes' life when he was making Hollywood movies such as "Hell's Angels" and "The Outlaw" and building airplanes that used aviation technology the world had never seen before, all while suffering from a progressing obsessive-compulsive disorder. The film details the many loves of Hughes (DiCaprio) including Katharine Hepburn (Blanchett) and Ava Gardner (Kate Beckinsale). We also find the story of Hughes to be one of many hardships due to numerous plane crashes which he suffered from greatly and a long battle against Senator Ralph Owen Brewster (Alan Alda) and Pan-Am exec Juan Trippe (Alec Baldwin).\nI've heard many people complain about how "Aviator" does not tell the full story of Howard Hughes, the aforementioned hermit period, and I would tell those people that there was no need to exploit such a time in Hughes' life because that was what he had become known for. No one knew of his genius when it came to being a perfectionist behind the camera and in the cockpit and that is what "Aviator" set out to do.\nThe sucess of "The Aviator" comes from Scorsese and his cast. Not only does Scorsese return to his graceful camera movements but he also pulls out a unique trick by filming certain periods of Hughes' life in Cinecolor and two-strip Technicolor to recreate the cinematic look of the movies of those eras. DiCaprio's performance is easily his career best and is equal parts astonishing and heartbreaking. Blanchett truly becomes Katharine Hepburn down to the slightest mannerism and Beckinsale is gorgeous as Ava Gardner. Alda also scores major points for being cold and calculating. \nThe two-disc DVD set houses the film with commentary by Scorsese, producer Michael Mann and editor Thelma Schoonmaker on the first disc while the second is loaded with supplements. There is a making-of and numerous featurettes which cover every aspect of the film, from musical score to costumes, from production design to visual effects. Two featurettes deal with discussing Hughes' OCD disorder, which provide insight into the disease and how DiCaprio learned to channel it. Much like the "Gangs of New York" DVD, there is a History Channel documentary which gives even more insight into Hughes' entire life. While I wish they would just bundle all these featurettes up into one entire making-of, the extras do total up to be around three hours in length, which I cannot complain about.\nWhile "Aviator" gathered eleven Oscar nominations and took home 5 statues, sadly Scorsese was yet again at a loss when it came to Best Director and Best Picture. But just because he didn't win any statues doesn't make this any lesser of a great film. It is one of Scorsese's finest moments, a film which his love for an era of filmmaking shines brightly, and it takes a place right up there with "Goodfellas," "Raging Bull" and "Taxi Driver." "The Aviator" is a true epic, one that will leave you fascinated and in awe of a man ahead of his time.
(05/26/05 4:00am)
If there was ever a band who deserved a reward for the most ridiculous musical compositions, System of a Down would win every time. Don't read that the wrong way though, because silliness is something that works extremely well for SOAD and has ever since their self-titled debut. \nMezmerize, SOAD's fourth album and first half to a second disc titled Hypnotize which drops in the fall, is at times both serious and still over-the-top. A relatively calm intro titled "Soldier Side" is just a prelude to the album's first single "B.Y.O.B" (Bring Your Own Bombs) which explodes in less than 10 seconds. Using the typical speedy riffs and stop-n-go drum grooves, singer Serj Tankian screams his anti-war lyrics before suddenly segueing into a chilled-out club groove. "Revenga" rocks hard with its galloping riffs and soaring dual clean vocals from Tankian and guitarist/back-up vocalist Daron Malakian and is the stand-out track on this album. \nPolka territory is covered on "Radio/Video" as the song bounces up and down in pure delight before the music begins spiraling and the notes speedily increase. No SOAD album would be complete without the "repetitive lyrics song" which is found on "Cigaro" as Malakian yells, "My cock is much bigger than yours/My cock can walk right through the door/With the feeling so pure!" If it weren't for the song's amazingly diverse musical structure, I'd write it off for the annoying lyrics instantly.\n"This Cocaine Makes Me Feel Like I'm On This Song" finds SOAD taking a stab at all the drugged-up musicians but isn't too convincing since the song doesn't go anywhere musically. "Violent Pornography" is full of swelling riffs, tongue-twister vocals and even has Tankian yodeling at points. \nThe pair of "Question!" and "Sad Statue" is very reminiscent of songs such as "Chop Suey!" off Toxicity or "Spiders" off their self-titled debut where SOAD decides to tune down the aggression for awhile with calm passages. "Old School Hollywood" takes a blow at the recent New Wave resurgence that the Killers and the Bravery are popularizing and while I like both of the aforementioned bands, I cannot help but enjoy SOAD using synthesizers and robot vocal filters. Mezmerize closes with "Lost in Hollywood" which criticizes the masses enchanted with the west coast, but the song is rather spoiled, as Malakian whines "All you maggots smoking fags on Santa Monica Boulevard." Musically, the song excels and would've been better off as a closing instrumental. \nWhile there is always some complaint I can make about SOAD's albums, Mezmerize is definitely their finest record yet. It's more mature than the self-titled album, stronger musically than Toxicity and more serious than Steal This Album! which means System of a Down has progressed naturally from all prior releases while still keeping to its roots. With Hypnotize only a few months away, hopefully SOAD matches the musical accomplishments found on Mezmerize.
(05/26/05 4:00am)
Last year there was a downpour of biopics ranging from Howard Hughes to Ray Charles to J.M. Barrie and countless others. The best part about these biopics, though, was that they were all worth watching and "Kinsey," the biopic of IU's own sex researcher Alfred C. Kinsey, is no exception. In fact, it was easily one of the best films of the year.\nTaking the proper biopic route, the film starts off during Kinsey's (Liam Neeson) childhood years so that you are given an understanding of the Puritanical upbringing he was forced to endure until it was time to head to college. Instead of following his father's (John Lithgow) wishes, Kinsey decided to follow a path rooted in biology. Skip ahead a few years and we find Kinsey teaching at IU while continuing his fascination with gall wasps. It is at IU that he meets Clara McMillen (Laura Linney) who takes great interest in not only Kinsey's gall wasp collection but Kinsey himself. Soon enough the two are married and thus begins the trip into human sexuality that Kinsey is so famous for today.\nWhile this might seem rather bold, I cannot find any problems with "Kinsey" as a whole. All of the acting performances are top-notch, especially Neeson's which is only bested by his Oscar-nominated role in "Schindler's List." Linney, who did earn an Oscar nod for her performance, has a wonderful emotional range and doesn't hide it one bit. The additional performances by the likes of Peter Sarsgaard, Timothy Hutton and Chris O'Donnell, all playing the role of Kinsey's research assistants, each get enough screen time to turn in worthwhile performances. And while John Lithgow is only in a handful of scenes, his usual comedic value is nonexistent as he turns in one incredibly serious performance. All this fine acting is thanks to director Bill Condon's wonderful ability to write fine-tuned screenplays and bring out the best in his cast. \nThere are two different versions of the "Kinsey" DVD and you would be missing out if you picked up the single-disc which only contains a commentary track with Condon. The two-disc set, which includes the same commentary, is also host to special features that are all worth viewing. There are 20 deleted scenes, some which should've remained in the film while others deserved to be cut, and also Condon's original ending which is good but nowhere near as moving as the one he ended up using. The gag reel is also quite humorous. \nThe real gold in this set are the supplements dealing with the production and Kinsey Institute. The documentary, "The Kinsey Report: Sex on Film," is great look at how long it took to create the film from the earliest pre-production stages and ultimately ending with the "Kinsey" premiere hosted at IU Auditorium last November. There is also a short featurette, "Sex Ed. at The Kinsey Institute," which is a small tour of some artifacts on display in the institute's museum. Finally, there is an "Interactive Sex Questionnaire" similar to the reoccurring one in the film.\nIf for whatever reason you missed one of the many opportunities to see this film while on campus at IU, do yourself a favor and check it out. In the constantly growing sea of biopics, "Kinsey" easily takes a spot near the top for being one of the finest.
(05/25/05 8:00pm)
Last year there was a downpour of biopics ranging from Howard Hughes to Ray Charles to J.M. Barrie and countless others. The best part about these biopics, though, was that they were all worth watching and "Kinsey," the biopic of IU's own sex researcher Alfred C. Kinsey, is no exception. In fact, it was easily one of the best films of the year.\nTaking the proper biopic route, the film starts off during Kinsey's (Liam Neeson) childhood years so that you are given an understanding of the Puritanical upbringing he was forced to endure until it was time to head to college. Instead of following his father's (John Lithgow) wishes, Kinsey decided to follow a path rooted in biology. Skip ahead a few years and we find Kinsey teaching at IU while continuing his fascination with gall wasps. It is at IU that he meets Clara McMillen (Laura Linney) who takes great interest in not only Kinsey's gall wasp collection but Kinsey himself. Soon enough the two are married and thus begins the trip into human sexuality that Kinsey is so famous for today.\nWhile this might seem rather bold, I cannot find any problems with "Kinsey" as a whole. All of the acting performances are top-notch, especially Neeson's which is only bested by his Oscar-nominated role in "Schindler's List." Linney, who did earn an Oscar nod for her performance, has a wonderful emotional range and doesn't hide it one bit. The additional performances by the likes of Peter Sarsgaard, Timothy Hutton and Chris O'Donnell, all playing the role of Kinsey's research assistants, each get enough screen time to turn in worthwhile performances. And while John Lithgow is only in a handful of scenes, his usual comedic value is nonexistent as he turns in one incredibly serious performance. All this fine acting is thanks to director Bill Condon's wonderful ability to write fine-tuned screenplays and bring out the best in his cast. \nThere are two different versions of the "Kinsey" DVD and you would be missing out if you picked up the single-disc which only contains a commentary track with Condon. The two-disc set, which includes the same commentary, is also host to special features that are all worth viewing. There are 20 deleted scenes, some which should've remained in the film while others deserved to be cut, and also Condon's original ending which is good but nowhere near as moving as the one he ended up using. The gag reel is also quite humorous. \nThe real gold in this set are the supplements dealing with the production and Kinsey Institute. The documentary, "The Kinsey Report: Sex on Film," is great look at how long it took to create the film from the earliest pre-production stages and ultimately ending with the "Kinsey" premiere hosted at IU Auditorium last November. There is also a short featurette, "Sex Ed. at The Kinsey Institute," which is a small tour of some artifacts on display in the institute's museum. Finally, there is an "Interactive Sex Questionnaire" similar to the reoccurring one in the film.\nIf for whatever reason you missed one of the many opportunities to see this film while on campus at IU, do yourself a favor and check it out. In the constantly growing sea of biopics, "Kinsey" easily takes a spot near the top for being one of the finest.
(05/19/05 4:00pm)
The release of "The Life and Death of Peter Sellers" is something I had eagerly anticipated for a long time. I had heard rave reviews from the Cannes Film Festival, watched the film collect a couple Golden Globes and yet it never came out in theaters nor did I have access to HBO which it premiered on. So finally "Life and Death" finds its home on DVD and I must say I'm not pleased with the results.\nAvoiding any sort of back story whatsoever, the film jumps right in at Peter Sellers' (Geoffrey Rush) switch from hosting BBC radio programs to his acting career on the big screen. We watch his life unfold through various episodes ranging from his numerous collaborations with Blake Edwards (John Lithgow) on the popular "Pink Panther" series and a short focus on Stanley Kubrick's (Stanley Tucci) "Dr. Strangelove." Rather than remain focused on his films, the bigger picture is looking at how Sellers deconstructed himself and fell into various bouts of depression, which ruined marriages to original wife Anne (Emily Watson) and subsequent wife Britt Eckland (Charlize Theron). \nFirst and foremost, if you have never seen a Peter Sellers film, don't even bother watching "Life and Death" until you have. It isn't really a proper biopic and a lot of the jokes (which are quite sparse) are derived directly from his movies and aren't that funny without the background. The best part of the movie is Rush's performance as Sellers because he is dead-on every time and even looks exactly like him. However, like a lot of Sellers' movies, the rest of the cast remains in the background. Watson, Theron and Lithgow's performances are so random and episodic that they don't really have much time to shine. The relationship between Kubrick and Sellers, something I was really hoping would be covered in detail considering Kubrick loved Sellers' acting abilities, amounted to less than five minutes of screen time for Tucci. At almost two hours, a large part of the movie is a complete downer.\nThe DVD extras come with two commentary tracks, one featuring Geoffrey Rush and director Stephen Hopkins while the other has writers Christopher Markus and Stephen McFeely. There is 20 minutes worth of deleted scenes which thankfully remained cut out, considering they were all depressing, save one where Sellers keeps crashing his car into every car on the street. Finally, there is the typical making-of featurette containing interviews spliced with clips of the movie to fill up time. It was interesting hearing what the real Blake Edwards had to say about the movie, but nothing ground-breaking is discussed. \nIn the end, "The Life and Death of Peter Sellers" isn't really a laughing matter. It's a serious look at one of cinema's greatest comedic chameleons and this ends up hurting the film. My advice would be just pickup "Dr. Strangelove" or the original "Pink Panther" flick and have yourself a good laugh.