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(07/26/06 7:08pm)
Ashamed as I am to admit this dark secret from my past, for many years I had given up hope on comic books. From around age five I had become fascinated with comic books. Spider-Man, the X-Men, Iron Man, you name the superhero and I was either reading it or about to go pick it up. Yet by the time I reached the age of 12, just a mere year before teenager status, I went cold turkey. I was bored to death with comics -- the stories were either foolish or misguided, the heroes fought the same villains over and over, or some of them were even being killed off for good only to be brought back in four different forms, none of which were the real deal. \nMost comic book movies for that time weren't worth a damn either. "The Punisher?" Terrible. "Captain America?" God awful. "The Shadow" and "The Phantom?" Let's not even bother going there. Granted there was "Superman" and Tim Burton's exciting "Batman" offerings, but by the late nineties the Man of Steel was dead in the comics and the big screen while the Dark Knight was given nipples on his batsuit. My hope for comics was officially forsaken. \nIt was only a few years later until what was once claimed to be impossible had actually happened: Spider-Man, my favorite superhero of all-time, had made it to the big screen. Of course I was there opening night if only for the sake of having seen it but by the end I was certain I had died, seen only my comic book life flash before my eyes and then resuscitated by my friends who were eager to grab dinner. It was the reawakening of a once lost childhood love. \nSo why is it that the world needs comic book movies? I'm sure with today's abundant comic book movie output one could say they're box office gold -- I wouldn't deny that -- or perhaps they're just a surefire guarantee for entertainment and again I would agree. Yet for me and surely many others it is the observance of watching so many beloved works we grew up on brought to life from one frame at a time to 24 frames per second. \nSuperheroes have earned their place at the box office. Look at Spider-Man or the X-Men and tell me they aren't successful visualizations. Even those that I didn't find all that entertaining such as "The Hulk" or "Fantastic Four" (for the record I've never been a fan of either during my comic book readership), they still were successful in shutting up the naysayers who all claimed it couldn't be done in a movie. \nThese movies have come to a point where they aren't just meant for kids. Look at 2005 and what did the older crowds get? "Constantine," "Sin City" and "Batman Begins" -- the latter which I personally think surpasses all four of the original movies. \nYet if you think only superheroes have a place on the big screen then you are sorely mistaken. Fresh off his "American Beauty" Oscar success, where did director Sam Mendes turn for his next project? The graphic novel "Road to Perdition." When horror auteur David Cronenberg went searching for his next examination of violence and sexuality what did he discover? "A History of Violence" which was indeed a graphic novel. Or what about Terry Zwigoff, who not once but twice has examined the troubles of post-high school graduation with "Ghost World" and "Art School Confidential." Yeah those were comic books as well -- all of which are great examples at letting people know that there is more to comic books than characters in fancy costumes or spandex.\nThere is no sign of this art-form slowing down at the box office either. Why this past year we've seen Superman finally make his return to the silver screen while the Wachowski brothers brought "V for Vendetta" to life. And then comes all the sequels for 2007 and beyond: "Spider-Man 3," "Fantastic Four and the Silver Surfer," "Sin City 2," and of course Batman and Superman will surely be returning in the near future. Hell with the success of the X-Men series, even characters like Wolverine and Magneto are getting their own spin-off projects -- clearly a sign that movies are taking to the same methods of comic books where if a character is popular enough, why not give them their own series?\nOf course after having spent the weekend at the San Diego Comic Con, I could go on and on about the amount of comic book movies headed to the big screen -- "Iron Man," "Frank Miller's 300" and "The Spirit" just to name a few for all you curious folks. The fact of the matter is I'm glad a lot of these films are being made because not only do they make me feel like a kid again, but they gave me reason to get back into comic books which I should've never stopped reading in the first place.
(07/26/06 6:57pm)
As I watched Olivier Assayas' "Clean," I felt there was much research that needed to be done. After their collaboration on the intricate "Irma Vep," Asian sensation Maggie Cheung and director Assayas were happily married before ending it all nearly three years later. He had written her part in "Clean" just for her and it was on set that they signed their divorce papers from one another. Months later Cheung took home the Best Actress Award at the Cannes Film Festival. Now doesn't all of that sound a bit ironic?\nUnlike the wealthy amount of Lifetime movies filled with melodramatic acting and moody music, "Clean" examines the life of a woman whose rock star husband dies of a heroin overdose, is sent to jail for possession, only to be released six months later with nothing. No money, no friends to turn to, and worst of all lost custody of her son Jay (played by first-timer James Dennis with natural authenticity). \nIt does not delve into the darkest realms of drug addiction like "Requiem for a Dream," but rather takes an observational stance on a woman who really just wants her life back to normal. The only struggles for her are ridding her body of a dependency disease and regaining the trust of many -- the most important being her dead husband's father Albrecht who is played by former addict Nick Nolte. \nThis is Nolte's movie as much as it is Cheung's. Together their relationship is hesitant yet strong; Nolte clearly wanting Cheung to get back on the right track so she can see her son once again and be the parent that her rock star life never allowed her to become. \nUnfortunately such a movie does not lend itself to much supplemental material. Aside from the theatrical trailer and previews, there are roughly 40 minutes of interviews conducted with Assayas, Cheung, Nolte and the two musical acts featured in the movie: trip-hopper Tricky and rockers Metric. While the first three give a closer look at how all three individuals work and prepare for their roles, the musician interviews are rather worthless -- both acts given only brief screen time yet acting like they had great impact on the story. If it is anyone whose musical talents should be recognized, it is Cheung, who actually sang in her role on top of speaking in English, French and Cantonese.\nWhile Cheung and Assayas may no longer be married, hopefully their days of collaborating are far from over. They've made two great films together and it would be a shame to see them part ways.
(07/20/06 4:00am)
Before "Tristram Shandy: A Cock and Bull Story" even came out, people knew it was a huge joke. Who in their right mind would be crazy enough to attempt adapting nine novels of "The Life and Opinions of Tristram Shandy, Gentleman" anyways? Michael Winterbottom ("24 Hour Party People") is that lunatic, but his movie is just a hoax that takes a period piece setting, equal dashes of Federico Fellini's "8 ½" and Olivier Assayas' "Irma Vep," and relies on the sarcastically dry comedic talents of Steve Coogan and Rob Brydon to carry it home.\nThe way "Tristram Shandy" is assembled is half mockumentary, while the filmed parts of the novel are as if they put 100 note cards on a board, tossed darts and saw what stuck. The birth of Tristram Shandy, a battle where his uncle is shot in the genitals and Widow #1 (a quick cameo by "X-Files" beauty Gillian Anderson) are where those darts landed. \nYet in all the chaos of trying to make this unfilmable novel, the film itself becomes unfilmable. Coogan and Brydon constantly bicker with one another while Coogan's girlfriend and newborn son are on set waiting to see him. Reporters, producers and a sexy production assistant named Jennie could only make matters worse for Coogan and the crew. \nThere aren't many extras to be had on the DVD but the offerings are quite hysterical nonetheless. A dueling commentary between Coogan and Brydon gives both Brits a chance to keep their jokes running while taking stabs at the movie itself. Twenty minutes of deleted/extended scenes make for comedic gold that should've just been left in the movie. I'm fairly convinced that more movies need to have characters discuss what their porn star names would be thanks to one scene in particular. \nWhat's left really is some behind-the-scenes footage which I suppose would be all the stuff behind what you're already seeing behind-the-scenes in the first place. There is also an extended interview between Tony Wilson and Coogan in which Coogan even mentions right in the middle of the film to just wait until the DVD release as all this dialogue isn't worth screen time. \nWhile "Tristram Shandy" might not be as great as masterpieces such as "8 ½" or "Irma Vep" when it comes to being self-reflexive, it can hold its own with the best of the best and provide plenty of Brit wit amidst the chaos of film production.
(07/19/06 5:46pm)
Before "Tristram Shandy: A Cock and Bull Story" even came out, people knew it was a huge joke. Who in their right mind would be crazy enough to attempt adapting nine novels of "The Life and Opinions of Tristram Shandy, Gentleman" anyways? Michael Winterbottom ("24 Hour Party People") is that lunatic, but his movie is just a hoax that takes a period piece setting, equal dashes of Federico Fellini's "8 ½" and Olivier Assayas' "Irma Vep," and relies on the sarcastically dry comedic talents of Steve Coogan and Rob Brydon to carry it home.\nThe way "Tristram Shandy" is assembled is half mockumentary, while the filmed parts of the novel are as if they put 100 note cards on a board, tossed darts and saw what stuck. The birth of Tristram Shandy, a battle where his uncle is shot in the genitals and Widow #1 (a quick cameo by "X-Files" beauty Gillian Anderson) are where those darts landed. \nYet in all the chaos of trying to make this unfilmable novel, the film itself becomes unfilmable. Coogan and Brydon constantly bicker with one another while Coogan's girlfriend and newborn son are on set waiting to see him. Reporters, producers and a sexy production assistant named Jennie could only make matters worse for Coogan and the crew. \nThere aren't many extras to be had on the DVD but the offerings are quite hysterical nonetheless. A dueling commentary between Coogan and Brydon gives both Brits a chance to keep their jokes running while taking stabs at the movie itself. Twenty minutes of deleted/extended scenes make for comedic gold that should've just been left in the movie. I'm fairly convinced that more movies need to have characters discuss what their porn star names would be thanks to one scene in particular. \nWhat's left really is some behind-the-scenes footage which I suppose would be all the stuff behind what you're already seeing behind-the-scenes in the first place. There is also an extended interview between Tony Wilson and Coogan in which Coogan even mentions right in the middle of the film to just wait until the DVD release as all this dialogue isn't worth screen time. \nWhile "Tristram Shandy" might not be as great as masterpieces such as "8 ½" or "Irma Vep" when it comes to being self-reflexive, it can hold its own with the best of the best and provide plenty of Brit wit amidst the chaos of film production.
(07/13/06 4:00am)
Every once in awhile the Criterion Collection likes to throw a curveball at its supporters in the form of a cult release; whether it be "The Blob," " Fiend Without a Face" or one of my personal favorites, "Carnival of Souls," nobody ever expects these releases. So how does a seemingly C-grade movie about a group of teenagers who find a book on the occult and release monsters from the very depths of Hell make it in the first place? One name: Dennis Muren. \nYou all know him even if you don't recognize the name. He's the man responsible for the dinosaurs of "Jurassic Park," the war machines of "Terminator 2: Judgment Day" and how could one forget a little series called "Star Wars." Before all of this though, Muren was busy assembling his first movie, "Equinox…A Journey into the Supernatural." It was soon after that producer Jack H. Harris bought the film, added a new director and shot more footage before stripping down the lengthy title to simply "Equinox." \nWith both versions made available in this set, what you get is one of those laughably bad movies that you can't turn away from. The dialogue oozes with cheese and the acting is some of the worst I've ever seen. Yet the stop-motion animation and visual effects this movie has, done by a bunch of youngsters, is fascinating to watch. \nIn addition to both cuts of the film available, this 2-disc set contains enough supplements to make any cult cinephile go wild. Forrest J. Ackerman, editor of "Famous Monsters of Filmland," gets the ball rolling with an excellent introduction to the movie(s) while the likes of Harris and Woods handle commentary on their cut, while Muren and his pals discuss with geekish glee the original film.\nPlenty of interview material with Muren and the actors along with deleted scenes/outtakes make up the second disc but that isn't all. Two rarely seen short films are made available: one from effects animator David Allen called "The Magic Treasure," the other "Zorgon: The H-Bomb Beast from Hell," is worth viewing for it's title alone. If that isn't enough, make sure to read the booklet which contains loving tributes from George Lucas and visual effects pioneer Ray Harryhausen. \n"Equinox" isn't for everyone, and I doubt I would even watch it again any time in the future. Yet to those who would question why such a bad movie could make it into a collection that houses some of cinema's finest moments, I point them to Criterion's mission statement which includes it being "a series of important films." Its always important to recognize first-time outings of ground-breaking filmmakers. Dennis Muren sure as hell is one of 'em.
(07/12/06 3:51pm)
Every once in awhile the Criterion Collection likes to throw a curveball at its supporters in the form of a cult release; whether it be "The Blob," " Fiend Without a Face" or one of my personal favorites, "Carnival of Souls," nobody ever expects these releases. So how does a seemingly C-grade movie about a group of teenagers who find a book on the occult and release monsters from the very depths of Hell make it in the first place? One name: Dennis Muren. \nYou all know him even if you don't recognize the name. He's the man responsible for the dinosaurs of "Jurassic Park," the war machines of "Terminator 2: Judgment Day" and how could one forget a little series called "Star Wars." Before all of this though, Muren was busy assembling his first movie, "Equinox…A Journey into the Supernatural." It was soon after that producer Jack H. Harris bought the film, added a new director and shot more footage before stripping down the lengthy title to simply "Equinox." \nWith both versions made available in this set, what you get is one of those laughably bad movies that you can't turn away from. The dialogue oozes with cheese and the acting is some of the worst I've ever seen. Yet the stop-motion animation and visual effects this movie has, done by a bunch of youngsters, is fascinating to watch. \nIn addition to both cuts of the film available, this 2-disc set contains enough supplements to make any cult cinephile go wild. Forrest J. Ackerman, editor of "Famous Monsters of Filmland," gets the ball rolling with an excellent introduction to the movie(s) while the likes of Harris and Woods handle commentary on their cut, while Muren and his pals discuss with geekish glee the original film.\nPlenty of interview material with Muren and the actors along with deleted scenes/outtakes make up the second disc but that isn't all. Two rarely seen short films are made available: one from effects animator David Allen called "The Magic Treasure," the other "Zorgon: The H-Bomb Beast from Hell," is worth viewing for it's title alone. If that isn't enough, make sure to read the booklet which contains loving tributes from George Lucas and visual effects pioneer Ray Harryhausen. \n"Equinox" isn't for everyone, and I doubt I would even watch it again any time in the future. Yet to those who would question why such a bad movie could make it into a collection that houses some of cinema's finest moments, I point them to Criterion's mission statement which includes it being "a series of important films." Its always important to recognize first-time outings of ground-breaking filmmakers. Dennis Muren sure as hell is one of 'em.
(06/15/06 4:00am)
When I first saw "Dazed and Confused" in middle school, I didn't get it. Next came high school and a second viewing proved worthless -- boring and unfunny I remarked to a friend. As the old saying goes though, the third time is the charm as I watched "Dazed" as a double-bill alongside Cameron Crowe's "Almost Famous" and somewhere it all clicked. \nRichard Linklater's "Dazed" is a massive step in the right direction considering his prior debut work, "Slacker," is about as boring as watching paint dry. It's the last day of school in May 1976 and a multitude of things must go down before the summer officially begins. The hazing of soon-to-be freshmen, kegs to be tapped and joints to be passed -- if its illegal, it's in.\nWorking with a cast of relatively unknown/indie actors, Linklater ultimately creates one of the most believable portraits of high school life coupled with historical authenticity. Jason London as Pink, the football player torn between his love of the game and love of his "loser" friends; Wiley Wiggins as Mitch, the now freshman who is finding it easier to blend in than all the others; Parker Posey as Darla, the queen bitch of the high school; and, of course, Matthew McConaughey as Wooderson, whose every line is worth quoting. \n"Dazed" has seen three DVD releases over the past couple years. If the first was a nickel and the "Flashback Edition" was a dime bag, then Criterion's 2-disc edition is the green ounce worth your greenbacks. Finally, fans are treated to the long overdue Linklater commentary track and the wait is worth it. This is clearly Linklater's favorite film as his enthusiasm rings throughout. \nThe second disc is supplemental potpourri. Audition footage, deleted scenes, on-set interviews and behind-the-scenes tidbits, if you ever wanted to feel like you were right alongside all these kids then you'll find your place here. The best extra though is "Making Dazed," a 50-minute documentary years in the making -- taking the best of the old and waiting a decade to add in the new. \nThe 72-page booklet is excellent. Full of critical appreciation and character profiles in yearbook format, fans are given a closer look at their favorite cast member. You're even treated to Linklater's personal notes to his cast regarding the era and "Dazed's" smoking soundtrack. Finally, an original Frank Kozik-designed "Dazed" poster is included for die-hards. I'm not sure why "Dazed" finally hit the right note with me. Maybe I'm older, maybe I'm a bit wiser, or perhaps it just makes me wish I was still in high school without a care in the world, man.
(06/14/06 9:15pm)
When I first saw "Dazed and Confused" in middle school, I didn't get it. Next came high school and a second viewing proved worthless -- boring and unfunny I remarked to a friend. As the old saying goes though, the third time is the charm as I watched "Dazed" as a double-bill alongside Cameron Crowe's "Almost Famous" and somewhere it all clicked. \nRichard Linklater's "Dazed" is a massive step in the right direction considering his prior debut work, "Slacker," is about as boring as watching paint dry. It's the last day of school in May 1976 and a multitude of things must go down before the summer officially begins. The hazing of soon-to-be freshmen, kegs to be tapped and joints to be passed -- if its illegal, it's in.\nWorking with a cast of relatively unknown/indie actors, Linklater ultimately creates one of the most believable portraits of high school life coupled with historical authenticity. Jason London as Pink, the football player torn between his love of the game and love of his "loser" friends; Wiley Wiggins as Mitch, the now freshman who is finding it easier to blend in than all the others; Parker Posey as Darla, the queen bitch of the high school; and, of course, Matthew McConaughey as Wooderson, whose every line is worth quoting. \n"Dazed" has seen three DVD releases over the past couple years. If the first was a nickel and the "Flashback Edition" was a dime bag, then Criterion's 2-disc edition is the green ounce worth your greenbacks. Finally, fans are treated to the long overdue Linklater commentary track and the wait is worth it. This is clearly Linklater's favorite film as his enthusiasm rings throughout. \nThe second disc is supplemental potpourri. Audition footage, deleted scenes, on-set interviews and behind-the-scenes tidbits, if you ever wanted to feel like you were right alongside all these kids then you'll find your place here. The best extra though is "Making Dazed," a 50-minute documentary years in the making -- taking the best of the old and waiting a decade to add in the new. \nThe 72-page booklet is excellent. Full of critical appreciation and character profiles in yearbook format, fans are given a closer look at their favorite cast member. You're even treated to Linklater's personal notes to his cast regarding the era and "Dazed's" smoking soundtrack. Finally, an original Frank Kozik-designed "Dazed" poster is included for die-hards. I'm not sure why "Dazed" finally hit the right note with me. Maybe I'm older, maybe I'm a bit wiser, or perhaps it just makes me wish I was still in high school without a care in the world, man.
(06/08/06 4:00am)
If you're headed to the theatre this weekend expecting "The Break-Up" to be the next "Wedding Crashers," then turn back. The same goes for anyone expecting this movie to be another guy meets girl, guy woos girl, girl hesitates, magical kiss and then bam "THE END." It just ain't happening folks. \nGary (Vince Vaughn) goes to see the Chicago Cubs one sunny day and just down the aisle sits the equally bright Brooke (Jennifer Aniston). He's single, she's not; she's hot, he's not. Yet somehow Gary just manages to put enough charm into a good ol' ballpark dog and convince her he's more fun than the goofy guy at her side. Thanks to the power of photography we don't need to see all the months poured into courtship but rather plenty of pictures of one happy couple. \nHe gives Chicago double-decker bus tours; she sells "high-class" art pieces. He loves staying in to play video games; she loves ballet and going out on the town. And after all this time together, things just aren't working anymore between them. \nWhat "The Break-Up" clearly sets out to be, and succeeds at being, is the anti-romantic comedy. These people were in love one time -- now they have shouting matches that could give Larry David and the rest of "Curb Your Enthusiasm" a run for their money. We're not supposed to see chemistry and intimacy.\nVince Vaughn is his usual sarcastic self and can do no wrong while Jennifer Aniston has clearly come a long way from her "Friends" roots. The former couple play off each other well. They might not be able to love one another anymore but they sure as hell can take potshots with equal doses of acid and humor. \nIf there was anything I needed to be assured of and was confirmed in "Break-Up" is not that Vaughn/Aniston have chemistry together -- it was the chemistry between Vaughn and Jon Favreau. Everyone whose seen "Swingers" and "Made" knows how well these guys work together. Having not shared a film since 2001, these conversational moments are comedic gold sure to have long-time fans cracking up. \nWhere the movie ends up faltering is all the other characters placed around our troubled couple. Joey Lauren Adams is annoying as ever -- reminding me why I hate "Chasing Amy" so much. "Arrested Development" extraordinaire Jason Bateman gets barely enough time to even make jokes worth remembering while the likes of Judy David and Justin Long are so overdone in their roles that one can only shake their head in annoyance. I almost forgot- Vincent D'Onofrio makes an appearance too -- an actor so awesome he's reduced to just a cameo peppered throughout the movie. \nPerhaps were the supporting cast given stronger parts (they're already strong enough actors), then "Break-Up" would be more solid. Instead Vaughn and Aniston must carry the weight on their shoulders and by the end of it all, they just seem burned out. Even with old pal Favreau, Vaughn still seems to be scrambling for someone to lean on. We'll just have to see how wedding crashing buddy Owen Wilson fairs later this summer in his solo outing, "You, Me and Dupree"
(06/07/06 9:23pm)
If you're headed to the theatre this weekend expecting "The Break-Up" to be the next "Wedding Crashers," then turn back. The same goes for anyone expecting this movie to be another guy meets girl, guy woos girl, girl hesitates, magical kiss and then bam "THE END." It just ain't happening folks. \nGary (Vince Vaughn) goes to see the Chicago Cubs one sunny day and just down the aisle sits the equally bright Brooke (Jennifer Aniston). He's single, she's not; she's hot, he's not. Yet somehow Gary just manages to put enough charm into a good ol' ballpark dog and convince her he's more fun than the goofy guy at her side. Thanks to the power of photography we don't need to see all the months poured into courtship but rather plenty of pictures of one happy couple. \nHe gives Chicago double-decker bus tours; she sells "high-class" art pieces. He loves staying in to play video games; she loves ballet and going out on the town. And after all this time together, things just aren't working anymore between them. \nWhat "The Break-Up" clearly sets out to be, and succeeds at being, is the anti-romantic comedy. These people were in love one time -- now they have shouting matches that could give Larry David and the rest of "Curb Your Enthusiasm" a run for their money. We're not supposed to see chemistry and intimacy.\nVince Vaughn is his usual sarcastic self and can do no wrong while Jennifer Aniston has clearly come a long way from her "Friends" roots. The former couple play off each other well. They might not be able to love one another anymore but they sure as hell can take potshots with equal doses of acid and humor. \nIf there was anything I needed to be assured of and was confirmed in "Break-Up" is not that Vaughn/Aniston have chemistry together -- it was the chemistry between Vaughn and Jon Favreau. Everyone whose seen "Swingers" and "Made" knows how well these guys work together. Having not shared a film since 2001, these conversational moments are comedic gold sure to have long-time fans cracking up. \nWhere the movie ends up faltering is all the other characters placed around our troubled couple. Joey Lauren Adams is annoying as ever -- reminding me why I hate "Chasing Amy" so much. "Arrested Development" extraordinaire Jason Bateman gets barely enough time to even make jokes worth remembering while the likes of Judy David and Justin Long are so overdone in their roles that one can only shake their head in annoyance. I almost forgot- Vincent D'Onofrio makes an appearance too -- an actor so awesome he's reduced to just a cameo peppered throughout the movie. \nPerhaps were the supporting cast given stronger parts (they're already strong enough actors), then "Break-Up" would be more solid. Instead Vaughn and Aniston must carry the weight on their shoulders and by the end of it all, they just seem burned out. Even with old pal Favreau, Vaughn still seems to be scrambling for someone to lean on. We'll just have to see how wedding crashing buddy Owen Wilson fairs later this summer in his solo outing, "You, Me and Dupree"
(06/01/06 4:00am)
Until just recently, I never had the pleasure of viewing "Patton." I had heard all the praise, seen clips here and there, yet in my entire WWII cinema intake I managed to overlook it somehow. I'm sure if "Old Blood and Guts" were alive today he'd kick me in the ass before handing me a cigar and calling me a son of a bitch. \nFrom the early battles against the Afrika Korps, through Italy, Normandy and Germany, Patton's entire campaign in WWII is the backdrop for this massive picture. It showcases his distinct humor, stern leadership, arrogance towards the British, paranoia towards the Russians and even the General's personal beliefs in reincarnation as if he was fighting in wars during the beginning of civilization. \nWritten in part by Francis Ford Coppola ("The Godfather"), he provides a commentary track and introduction to the film that is rich in honesty and anecdotal passages -- something more commentary tracks should contain. There is nothing I find more enjoyable than someone's interesting and/or humorous reminiscences about filmmaking. \nAside from the usual trailers and photo galleries, three vastly different documentaries are located on the second disc. The first, "History Through the Lens: Patton -- A Rebel Revisited," is a solid 90-minute feature discussing how "Patton" so faithfully chronicles its subject. "The Making of Patton" rounds up all those who worked on the film in celebration and tribute to its director, Franklin J. Schaffner, whose most famous work next to "Patton" would be cult-classic "Planet of the Apes." \nThe third documentary is the one that startled me. "Patton's Ghost Corps" is an unexpected 45-minute experience. Compiling interviews with over 60 living WWII veterans, a story is weaved together by men who Patton had forsaken at the time of the Battle of the Bulge. While "Patton" often mentions those who loathed the General's methods, these men provide tales ranging from faint praise to absolute condemnation.\nWith a modest $15 price tag, not only will you be treated to a piece of cinematic history, you'll also get a full history course thanks to superior extras.
(06/01/06 12:42am)
Until just recently, I never had the pleasure of viewing "Patton." I had heard all the praise, seen clips here and there, yet in my entire WWII cinema intake I managed to overlook it somehow. I'm sure if "Old Blood and Guts" were alive today he'd kick me in the ass before handing me a cigar and calling me a son of a bitch. \nFrom the early battles against the Afrika Korps, through Italy, Normandy and Germany, Patton's entire campaign in WWII is the backdrop for this massive picture. It showcases his distinct humor, stern leadership, arrogance towards the British, paranoia towards the Russians and even the General's personal beliefs in reincarnation as if he was fighting in wars during the beginning of civilization. \nWritten in part by Francis Ford Coppola ("The Godfather"), he provides a commentary track and introduction to the film that is rich in honesty and anecdotal passages -- something more commentary tracks should contain. There is nothing I find more enjoyable than someone's interesting and/or humorous reminiscences about filmmaking. \nAside from the usual trailers and photo galleries, three vastly different documentaries are located on the second disc. The first, "History Through the Lens: Patton -- A Rebel Revisited," is a solid 90-minute feature discussing how "Patton" so faithfully chronicles its subject. "The Making of Patton" rounds up all those who worked on the film in celebration and tribute to its director, Franklin J. Schaffner, whose most famous work next to "Patton" would be cult-classic "Planet of the Apes." \nThe third documentary is the one that startled me. "Patton's Ghost Corps" is an unexpected 45-minute experience. Compiling interviews with over 60 living WWII veterans, a story is weaved together by men who Patton had forsaken at the time of the Battle of the Bulge. While "Patton" often mentions those who loathed the General's methods, these men provide tales ranging from faint praise to absolute condemnation.\nWith a modest $15 price tag, not only will you be treated to a piece of cinematic history, you'll also get a full history course thanks to superior extras.
(05/25/06 8:37am)
Having been almost two years since the release of "Early Summer," the Criterion Collection finally offers up the release of another title from Japanese master Yasujiro Ozu: "Late Spring." After having shown much love to Akira Kurosawa and Seijun Suzuki (14 and 6 releases respectively), this marks the fifth title from Ozu and perhaps a sign of more to come. \n"Late Spring" marks the beginning of Ozu's "seasonal" cycle of films and tells the story of Shukichi Somiya (Chishu Ryu) and his daughter Noriko (Setsuko Hara in her first Ozu appearance) who live a quiet life together in post-WWII Japan. Noriko cares for her father dearly, making it known that without her, he would forget many of the daily necessities. With so many people already married or engaged, Shukichi becomes concerned with his 27-year-old daughter who is still unwed, making it a point to find her a suitor. Noriko, however, has no interest in marriage, let alone an arranged one, and would rather spend her days helping dad. \nIt all sounds rather simple and truthfully it is. What makes the work of Ozu so accessible is the crystal clarity worked into his stories. They all deal with family -- something every person has in their life to an extent -- and through that we all can relate somehow. There are no pretentious gusts to avoid in "Late Spring" but rather a cool breeze that calms us.\nFor being her first collaboration with Ozu, the presence of Setsuko Hara is evident from the start. Almost always smiling, Hara's face has the effect on Japanese films that the likes of Marlene Dietrich and Greta Garbo had on cinema itself. \nMeticulously remastered, Criterion gives this important release the usual two-disc treatment. Disc 1 has the film complemented with an excellent commentary from Richard Peña, director of the New York Film Society. There are also essays from critic Michael Atkinson on Ozu's work and historian Donald Ritchie, the latter explaining the wonderful relationship between Hara and Ozu through their films together. \nOpening with the first scenes from Ozu's "Tokyo Story," German auteur Wim Wenders' "Tokyo-Ga" documentary captures the quest of a director in search of the Tokyo found in so many of Ozu's films. It is a wonderful work of artistic filmmaking, observing a very modern Japan intercut with interviews from Chishu Ryu and fellow German director Werner Herzog. It is a film that is very deserving of its own release, but is a great companion piece found in this DVD set. \nAs the back cover reads, "'Late Spring' alone justifies Ozu's inclusion in the pantheon of cinema's greatest directors." I couldn't agree with this statement more.
(05/25/06 4:00am)
Having been almost two years since the release of "Early Summer," the Criterion Collection finally offers up the release of another title from Japanese master Yasujiro Ozu: "Late Spring." After having shown much love to Akira Kurosawa and Seijun Suzuki (14 and 6 releases respectively), this marks the fifth title from Ozu and perhaps a sign of more to come. \n"Late Spring" marks the beginning of Ozu's "seasonal" cycle of films and tells the story of Shukichi Somiya (Chishu Ryu) and his daughter Noriko (Setsuko Hara in her first Ozu appearance) who live a quiet life together in post-WWII Japan. Noriko cares for her father dearly, making it known that without her, he would forget many of the daily necessities. With so many people already married or engaged, Shukichi becomes concerned with his 27-year-old daughter who is still unwed, making it a point to find her a suitor. Noriko, however, has no interest in marriage, let alone an arranged one, and would rather spend her days helping dad. \nIt all sounds rather simple and truthfully it is. What makes the work of Ozu so accessible is the crystal clarity worked into his stories. They all deal with family -- something every person has in their life to an extent -- and through that we all can relate somehow. There are no pretentious gusts to avoid in "Late Spring" but rather a cool breeze that calms us.\nFor being her first collaboration with Ozu, the presence of Setsuko Hara is evident from the start. Almost always smiling, Hara's face has the effect on Japanese films that the likes of Marlene Dietrich and Greta Garbo had on cinema itself. \nMeticulously remastered, Criterion gives this important release the usual two-disc treatment. Disc 1 has the film complemented with an excellent commentary from Richard Peña, director of the New York Film Society. There are also essays from critic Michael Atkinson on Ozu's work and historian Donald Ritchie, the latter explaining the wonderful relationship between Hara and Ozu through their films together. \nOpening with the first scenes from Ozu's "Tokyo Story," German auteur Wim Wenders' "Tokyo-Ga" documentary captures the quest of a director in search of the Tokyo found in so many of Ozu's films. It is a wonderful work of artistic filmmaking, observing a very modern Japan intercut with interviews from Chishu Ryu and fellow German director Werner Herzog. It is a film that is very deserving of its own release, but is a great companion piece found in this DVD set. \nAs the back cover reads, "'Late Spring' alone justifies Ozu's inclusion in the pantheon of cinema's greatest directors." I couldn't agree with this statement more.
(05/18/06 4:00am)
If by some chance you've never seen a film based on one of playwright Tennessee Williams' plays, you're missing out on cinematic slices of southern Americana. Williams broke rules and pushed boundaries of how much sexuality could be depicted, while psychological tensions burst out at the seams. \nWhat Warner Bros. has done is gathered up all their films based on good ol' TW's work and thrown them into a boxset. Sure you can buy all the films separately, but with a $60 price tag, you'd end up wasting plenty of dollars taking that route. \nThe biggest attraction is the American classic "A Streetcar Named Desire." Known for its iconic depiction of a drunken Marlon Brando screaming "STELLA!," this release is a massive upgrade from the first DVD incarnation. Spanning two discs, the film has been restored and now contains three minutes of unseen footage that was too steamy to be seen on the silver screen back in the day. Screen legend Karl Malden makes an appearance on the commentary track as do historians Rudy Behlmer and Jeff Young. \nDisc 2 is essential for it contains outtakes, an excellent documentary on director Elia Kazan and five other docs dealing with "Streetcar" on the stage, in Hollywood and even the censorship issues. Oh and for the ultimate in historic extras, Brando's screen test is here for the world to see. \nNext up, two TW films with Paul Newman: "Cat on a Hot Tin Roof" and "Sweet Bird of Youth." "Cat" comes in an all-new deluxe edition with a new featurette and commentary by TW biographer Donald Spoto. "Bird" too has a new featurette and more screen tests from the likes of Geraldine Page and Rip Torn. \n "The Night of the Iguana," directed by maverick John Huston, is a personal favorite of mine. It tells the story of a priest (Richard Burton) who has a falling out with his parish and must find redemption south of the border while confronted by three lovely ladies played by Ava Gardner, Deborah Kerr and Sue Lyon. Speaking of stories, check out the featurette "Huston's Gamble" for a look at one of Hollywood's finest directors. \nAlso included are the sultry "Baby Doll" and dull yet delightful "Roman Spring of Mrs. Stone." Both come with new featurettes and trailer galleries.\nExclusive to this set is an eighth DVD containing the documentary "Tennessee Williams' South" which I found to be both interesting and disappointing. It's great to hear the man tell stories and reminisce about his Hollywood days, but the re-enactments of scenes from his plays I could've done without.
(05/17/06 11:25pm)
If by some chance you've never seen a film based on one of playwright Tennessee Williams' plays, you're missing out on cinematic slices of southern Americana. Williams broke rules and pushed boundaries of how much sexuality could be depicted, while psychological tensions burst out at the seams. \nWhat Warner Bros. has done is gathered up all their films based on good ol' TW's work and thrown them into a boxset. Sure you can buy all the films separately, but with a $60 price tag, you'd end up wasting plenty of dollars taking that route. \nThe biggest attraction is the American classic "A Streetcar Named Desire." Known for its iconic depiction of a drunken Marlon Brando screaming "STELLA!," this release is a massive upgrade from the first DVD incarnation. Spanning two discs, the film has been restored and now contains three minutes of unseen footage that was too steamy to be seen on the silver screen back in the day. Screen legend Karl Malden makes an appearance on the commentary track as do historians Rudy Behlmer and Jeff Young. \nDisc 2 is essential for it contains outtakes, an excellent documentary on director Elia Kazan and five other docs dealing with "Streetcar" on the stage, in Hollywood and even the censorship issues. Oh and for the ultimate in historic extras, Brando's screen test is here for the world to see. \nNext up, two TW films with Paul Newman: "Cat on a Hot Tin Roof" and "Sweet Bird of Youth." "Cat" comes in an all-new deluxe edition with a new featurette and commentary by TW biographer Donald Spoto. "Bird" too has a new featurette and more screen tests from the likes of Geraldine Page and Rip Torn. \n "The Night of the Iguana," directed by maverick John Huston, is a personal favorite of mine. It tells the story of a priest (Richard Burton) who has a falling out with his parish and must find redemption south of the border while confronted by three lovely ladies played by Ava Gardner, Deborah Kerr and Sue Lyon. Speaking of stories, check out the featurette "Huston's Gamble" for a look at one of Hollywood's finest directors. \nAlso included are the sultry "Baby Doll" and dull yet delightful "Roman Spring of Mrs. Stone." Both come with new featurettes and trailer galleries.\nExclusive to this set is an eighth DVD containing the documentary "Tennessee Williams' South" which I found to be both interesting and disappointing. It's great to hear the man tell stories and reminisce about his Hollywood days, but the re-enactments of scenes from his plays I could've done without.
(04/27/06 4:00am)
When nighttime comes and little Sharon Da Silva (Jodelle Ferland, soon to be seen in Terry Gilliam's "Tideland") lays her head down to sleep, there are times when her parents awaken in horror as she is sleepwalking outside and shouting out "Silent Hill."\nConcerned for her daughter's well-being, Rose (Radha Mitchell, "Finding Neverland") goes against her husband Christopher's (Sean Bean) wishes, taking young Sharon to Silent Hill, the mysterious place she mutters about. As they race up the mountain drive, Rose swerves to avoid hitting a girl in the road, banging her head and leaving her knocked out until daylight when her worst fear returns: Sharon is missing. \nWhat happened to the town of Silent Hill? It was built on top of a coal mine where fires never stopped burning, resulting in catastrophe. Silent Hill is a land where fog fills every corner and there is a constant stream of ashen snowfall. A siren warns Rose that this gray city will soon turn the color of blood-rust, the walls black and cracked with something always waiting in the darkness. \nUnlike so many critics currently bashing "Silent Hill," I have played the video game series the film is based on. Simply put, this is the best video game-based movie I've ever seen, but competition doesn't exist when you look at crap like "Street Fighter," "Super Mario Bros." or "Tomb Raider." \nI'm told director Christophe Gans actually played the games too -- he must have, considering the world he has crafted is exactly how I would've pictured it. The foggy ghost town turns into a nightmarish cage from which no one can escape. The monsters are faithful to their design, whether it be the disturbing Dark Nurses or hulking Pyramid Head. Thanks to Gans' smart camerawork, we feel at ease during the day but claustrophobic as soon as those sirens wail. Another smart decision was asking game composer Akira Yamaoka to lend his talents to the soundtrack. \nWriter/director Roger Avary ("The Rules of Attraction," "Pulp Fiction) lends his talents as scribe to "Silent Hill." For a guy who's used to the witty, this screenplay is a bit wooden, just like the acting is at times. \nConsider that to be "Silent Hill's" only downfall. Yet Avary is still clever, as he didn't choose to adapt one single game but instead took elements from all four. Mitchell and Ferland are the best part of the film as their mother/daughter relationship is believable, but it is the surrounding players that bring it down a notch. Alice Krige, who plays church leader Christabella, comes off looking like Katharine Hepburn turned cultist. Laurie Holden is a cop too tough for her tight leather pants and so is Sean Bean, who wasn't even in the original screenplay. He was added in because studios felt no one would enjoy a horror film with all female leads. \nThere is one ultimate thing that "Silent Hill" must be praised for: its ability to transcend the horror genre. Flooded with teenage slasher romps and supernatural schlock-fests, "Silent Hill" is that breath of fresh air -- a film that manages to make a dreamy lullaby into a haunting nightmare.
(04/26/06 9:49pm)
When nighttime comes and little Sharon Da Silva (Jodelle Ferland, soon to be seen in Terry Gilliam's "Tideland") lays her head down to sleep, there are times when her parents awaken in horror as she is sleepwalking outside and shouting out "Silent Hill."\nConcerned for her daughter's well-being, Rose (Radha Mitchell, "Finding Neverland") goes against her husband Christopher's (Sean Bean) wishes, taking young Sharon to Silent Hill, the mysterious place she mutters about. As they race up the mountain drive, Rose swerves to avoid hitting a girl in the road, banging her head and leaving her knocked out until daylight when her worst fear returns: Sharon is missing. \nWhat happened to the town of Silent Hill? It was built on top of a coal mine where fires never stopped burning, resulting in catastrophe. Silent Hill is a land where fog fills every corner and there is a constant stream of ashen snowfall. A siren warns Rose that this gray city will soon turn the color of blood-rust, the walls black and cracked with something always waiting in the darkness. \nUnlike so many critics currently bashing "Silent Hill," I have played the video game series the film is based on. Simply put, this is the best video game-based movie I've ever seen, but competition doesn't exist when you look at crap like "Street Fighter," "Super Mario Bros." or "Tomb Raider." \nI'm told director Christophe Gans actually played the games too -- he must have, considering the world he has crafted is exactly how I would've pictured it. The foggy ghost town turns into a nightmarish cage from which no one can escape. The monsters are faithful to their design, whether it be the disturbing Dark Nurses or hulking Pyramid Head. Thanks to Gans' smart camerawork, we feel at ease during the day but claustrophobic as soon as those sirens wail. Another smart decision was asking game composer Akira Yamaoka to lend his talents to the soundtrack. \nWriter/director Roger Avary ("The Rules of Attraction," "Pulp Fiction) lends his talents as scribe to "Silent Hill." For a guy who's used to the witty, this screenplay is a bit wooden, just like the acting is at times. \nConsider that to be "Silent Hill's" only downfall. Yet Avary is still clever, as he didn't choose to adapt one single game but instead took elements from all four. Mitchell and Ferland are the best part of the film as their mother/daughter relationship is believable, but it is the surrounding players that bring it down a notch. Alice Krige, who plays church leader Christabella, comes off looking like Katharine Hepburn turned cultist. Laurie Holden is a cop too tough for her tight leather pants and so is Sean Bean, who wasn't even in the original screenplay. He was added in because studios felt no one would enjoy a horror film with all female leads. \nThere is one ultimate thing that "Silent Hill" must be praised for: its ability to transcend the horror genre. Flooded with teenage slasher romps and supernatural schlock-fests, "Silent Hill" is that breath of fresh air -- a film that manages to make a dreamy lullaby into a haunting nightmare.
(04/20/06 4:00am)
Imagine opening your front door one morning to find a VHS tape wrapped in a piece of white paper with a child's drawing on it. Poorly sketched, the picture depicts a child's face covered in blood. You place the tape in your VCR and all you see is two hours worth of footage containing the front of your home. Nothing exciting, nothing unusual, just nothing at all really.\n"Caché" ("Hidden") shows us just how paranoid one can become when unknown surveillance is placed upon them. Georges Laurent (Daniel Auteuil) and his wife Anne ("Chocolat" beauty Juliette Binoche) deal with the aforementioned problem almost daily. Someone is leaving these VHS tapes wrapped in drawings which aren't really all that harmful from the looks of things. Since they aren't harmful, the police couldn't care less. If something actually happens to the Laurent family, then law enforcement will give a damn.\nThe thing about these drawings is they mirror memories Georges had as a child. Dealing with an adopted brother named Majid (Maurice Bénichou, "Amélie"), Georges would make up stories about Majid coughing up blood and other bizarre incidents, which he would then inform his parents about. Upon confrontation in modern times, Majid denies it all, but considering nobody besides Georges and his parents knew of these exchanges, who is spying on him? If Majid really isn't the one "terrorizing" the Laurents, then who is and why?\nTaking cues from Francis Ford Coppola's classic "The Conversation," director Michael Haneke removes the tightrope thrills and places things on a track moving slower than a surveillance camera's automatic motions. I've never seen any of Haneke's other films, but the style he presents with "Caché" is as minimal as possible.\nYes it is slow, but there is a stroke of brilliance that should be recognized. These tapes are absolutely harmless. A bit creepy yes, but nothing out of the ordinary. The paranoia and uneasiness that boils from these eerie events is fascinating. All we can do is sit back and watch either in horror, bewilderment or even possibly amusement at the fact that these people really are just getting worked up over what could really be nothing at all.\nHowever, while sitting back, it is hard to not be aware of the snail's pace at which this story unfolds. And, at the end of it all, we are left with more questions than answers. We're reminded not only of youth's harsh circumstances but also of the gullibility that comes along with it. Then again, maybe it's we, the audience that are the gullible ones.
(04/20/06 4:00am)
If someone told you at least eight different versions of a film existed, which version would you watch? \nNobody has ever had more trouble when it came to editing control than the legendary Orson Welles. Granted "Citizen Kane" remained under his control, the rest of his output rarely was. While "The Magnificent Ambersons" and "Touch of Evil" became the victims of deadly studio scissors, nothing was more admittedly painful for Welles than watching his own "Mr. Arkadin" be torn from his grasps and shredded to pieces.\nThere may be many versions of this fateful film, but the general story follows that of Guy Van Stratten (Robert Arden), a smuggler hired by tycoon turned amnesiac Gregory Arkadin (Welles himself with curly wig and curlier beard) to investigate his forgotten past. It is a journey across the world for secrets that might not even exist. It mirrors "Citizen Kane" in many ways and perhaps it could've been greater than Welles' debut, but sadly we'll never really know.\nWhat the Criterion Collection has done, much like when offering two different versions of Terry Gilliam's "Brazil" or Ingmar Bergman's "Fanny and Alexander," is show us just how powerful editing can be. We are given three versions of "Arkadin": the commonly seen "Corinth" version, the British release titled "Confidential Report" and an all-new version dubbed the "Comprehensive" version containing as much of Welles's original ideas, editing structure and varying shots. \n While the "Comprehensive" may be the closest to Welles's vision, no one can say for certain if it's better than the other two because it still isn't the definitive version nor will any such version ever exist.\nThe thing about "Mr. Arkadin" though is the history behind this project is more fascinating than the film itself -- something this boxset captures, feeling more like a museum piece than just another DVD. The "Corinth" version comes with commentary by two notable scholars: "Chicago Reader" critic Jonathan Rosenbaum and Indiana University's own Communications and Culture professor James Naremore who penned "The Magic World of Orson Welles." The commentary is enriching, essential viewing material as it covers the history, Welles' style and every aspect on the film.\nFor the "Comprehensive" version, we're treated to a documentary with important words from Stephan Droessler and Claude Bertemes who aided in assembling this edition along with Welles supporter Peter Bogdanovich giving us the personal angle thanks to so many long talks with the auteur. \nMany versions of "Arkadin" exist so rather than just provide the films, we're also treated to three radio episodes of "The Lives of Harry Lime," which inspired the film and even the "Mr. Arkadin" novel which Welles once claimed he wrote. \nOn top of all this, outtakes, deleted scenes, photo stills and one packed booklet containing essays on each version and a complete timeline on "Arkadin's" fate are included for this release. Simply put, Criterion has gone out of their way to guarantee this is the greatest treatment Welles's most troublesome project could receive.\nUse any synonym you want to describe "Arkadin" and it fits. Puzzle box, jigsaw puzzle, Rubix cube, this is a cinematic labyrinth begging to be explored by anyone willing to take a chance on what is easily the best DVD release of the year.