Movie Review: Bubble

Bubble (2006) 

Directed by Steven Soderbergh

Written by Coleman Hough

Starring Debbie Doebereiner, Dustin James Ashley, Misty Dawn Wilkins

Release Date January 27th, 2006 

Published January 27th, 2006 

Steven Soderbergh, the multiple-times Oscar nominee and preeminent auteur has launched a new career as a film entrepreneur. With the help of millionaire Mark Cuban, Soderbergh is attempting to change the way movies are distributed to the masses. The idea? Day and date releasing. His latest film, the low budget indie Bubble, has been released to theaters, TV and DVD all in less than a week.

Whether this experiment will work is debatable. What is not debatable is that Bubble is an intriguing little experiment in its own right. The small town murder mystery starring non-professional actors and shot on location by Soderbergh with a single camera is a hypnotic, disturbing little flick about small town artifice.

Martha's (Debbie Doebereiner) life consists of routine actions. She awakens early every morning to fix breakfast for her father. She then picks up her co-worker Kyle (Dustin James Ashley) and drives to work at a toy factory, where she paints faces on dolls as Kyle makes the doll heads. The two have lunch together, but there is little more to the relationship than work. Kyle is much younger than Martha and, while he seems to appreciate her help, he does not consider her his best friend as she does him.

Martha's routine is upset when a new girl begins working at the factory. Her name is Rose and when she gravitates to Kyle, the only other worker in the factory that is her age, she upsets the delicate balance. Soon Rose is imposing on Martha for rides to her second job as a house cleaner--where she bathes in clients homes and often steals anything that is not nailed down.

When Rose and Kyle begin dating, Rose further imposes on the always-helpful Martha by enlisting her to babysit her two-year-old daughter. To describe further would be to describe too much. At a slight 73 minutes, Bubble does not have much plot to describe without going to far. I can only tell you that the film becomes a murder mystery in the third act.

Soderbergh directed Bubble from a script by Coleman Hough and using non-professional actors all from the small town of Belpre, Ohio, where the film was shot. With his digital camera in hand, Soderbergh crafts a small town story that fits the films title. These characters exist in a small town bubble that will be recognizable to many audience members. From the trailer park to the suburbs to the toy factory, this bubble of small town conformity is perfect until the murder bursts the calm--or seems to, temporarily.

The skill of Soderbergh in directing Bubble is to create a calm atmosphere that is lazy yet hypnotic. You cannot help but be sucked in to the films elegiac pace and whisper-quiet storytelling that only temporarily, with the murder and the introduction of a by the numbers police detective, played by real-life detective Decker Moody, comes out of its trance like state of observance.

The look of the film, shot on digital video with Soderbergh acting as his own cinematographer, is reminiscent of Gus Van Zant's similarly low-budget digital feature Elephant. Not only do both films share the digital aesthetic both films are also about small town quiet disturbed by violence. Both take a relaxed, observant view of the action in the film. Rarely does either film rise to the crescendos of the violence that take place in the film, choosing instead to merely watch and record.

This passivity plagued Elephant and made the film's story of a school shooting, similar to the Columbine massacre, less impactful. However, the passivity of Bubble is effective for Soderbergh's story. The lethargy that surrounds the characters in Bubble is part of their reality and Soderbergh enhances it by adopting it into his shooting and editing styles and in Robert Pollard's excellent acoustic guitar score.

How a movie as slow and observant as Bubble will connect with mainstream audiences used to slam-bang dramatics and MTV-paced editing is anyones guess. But audiences willing to be absorbed into this tiny world of small town boredom and routine will find their patience rewarded with a film that offers a trancelike trip into seemingly real lives undone by passions they did not know they had.

Bubble is no small-town-exposed feature. This is not American Beauty, which posited that all suburban homes were covered for some sort of depravity. Bubble observes a small town filled with people who have accepted their lot in life and seek only the minor comforts that small towns provide, a good bar, a decent paying job and someone you can talk to. It is when those small comforts are upended that something dramatic happens.

While I disagree with Soderbergh's new business ideals, I must applaud his artistry. Bubble is a fascinating little indie feature made with the skill and precision of a master director. In fact, had Soderbergh not saddled the film with the burden of his new business model, he may have found a larger audience and more attention for such an accomplished work. As it is, I can only encourage you to seek out Bubble where you can find it.

Movie Review: Curse of the Golden Flower

Curse of the Golden Flower (2006) 

Directed by Zhang Yimou 

Written by Zhang Yimou 

Starring Chow Yun Fat, Li Gong, Jay Chou 

Release Date December 21st, 2006 

Published January 3rd, 2007 

Director Yimou Zhang is an extraordinary talent whose work in the movies House of Flying Daggers and Hero is a wondrous combination of poetry, romance and awesome visual splendor. Zhang's attention to period detail and fluid, langorous camerawork create a visual tapestry unmatched by any of the greatest directors working today.

His talent for visual splendor is certainly on display in his latest film Curse of the Golden Flower. Unfortunately, in recreating China's Tang Dynasty circa 928 A.D, Zhang neglected his storytelling in favor of the most lustrous visuals he has yet brought to the screen. Curse of the Golden Flower is a feast for the eyes but in story terms, your average soap opera has less drippy, high falutin' melodrama.

Emporer Ping (Chow Yun Fat) has been plotting to eliminate his unfaithful wife, Empress Phoenix (Li Gong), for months; since he found out that she was having an affair with his oldest son Prince Cheng (Qin Jungjie). Prince Cheng who happens to be carrying on an affair with the daughter of the Emporer's medicine man who happens to be in charge of the Empress's daily medicine which is being spiked by the emporer with a poison that will slowly drive the empress insane.

Meanwhile the middle son of the clan Prince Jai has returned to the kingdom. He is to replace his weak willed older brother as the next in line for the throne but before he learns of the honor, he discovers his father is trying to kill his mother and decides to join the coup she has been planning for months. Oh, I mentioned Prince Jai's older brother, actually Prince Cheng is only his half brother, hence the affair Prince Cheng had with the empress wasn't really incest, though that incest ship hasn't sailed just yet, but I will leave that one for you to discover on your own.

Indeed, the plot of Curse of the Golden Flower does read like your average New York gossip column or bad episode of Melrose Place. And unfortunately the actors play the material to that same pitched melodramatic level. Gong Li, beautiful as ever as the empress, vamps like she graduated from the Joan Collins school of drama. The usually reliable Chow Yun Fat delivers a couple of badass moments but for the most part is stiffer than John Forsythe's corpse. (Is John Forsythe dead? Just checking)

Director Zhang Yimou adapted the screenplay from a popular Chinese stage play Yu Cao and retains some of the same broad theatrical beats in the direction of his actors who tend to belt each emotion to the back of the room as if in a large playhouse as opposed to a movie set with mics and sound techs. Still, Yimou's visual signatures are in place and that goes along way to making Curse of the Golden Flower passably entertaining.

All of the appeal of Curse of the Golden Flower comes from the visual wonders created by Zhang Yimou and his team including cinematographer Xiaoding Zhao and production designer Tingxiao Huo both of whom worked on Yimou's ostentatiously beautiful House of Flying Daggers. Because of the extraordinary work of these artists, Curse of the Golden Flower could be presented as a work of art, were it brought forth as a silent film without subtitles.

The eye popping production with it's massive ornate sets, and costumes that would put any Milan fashion show to shame, became the most expensive film in the history of China's movie industry, well over 100 million dollars American. The film is already profitable in the country and around the rest of the globe though it's American release has been something of a non-starter.

Curse of the Golden Flower is without a doubt a visual masterpiece, something that Hollywood studios likely feel won't appeal to American audiences. They might want to try selling the outlandish melodrama of the story. Why, I could see a marketing campaign that could turn ancient China into an old school wisteria lane, that sure seems to be what director Zhang Yimou was going for.

With it's opulant sets and breathtaking costumes,Curse of the Golden Flower is truly a feast for the eyes. The great visuals make the film that much more disappointing. Where his Hero and House of Flying Daggers were poetic, romantic and mostly silent, but also visually stunning, it is shocking to watch director Zhang Yimou deliver a film so tone deaf in its drama.

As a visual work of art, Curse of the Golden Flower is awesome eye candy. As a movie it's an irritating caricature of haughty night time soap opera melodrama.

Movie Review: A Scanner Darkly

A Scanner Darkly (2006) 

Directed by Richard Linklater

Written by Richard Linklater 

Starring Keanu Reeves, Robert Downey Jr, Woody Harrelson, Winona Ryder, Rory Cochrane

Release Date July 7th, 2006

Published July 7th, 2006

The work of Philip K. Dick, the much revered sci fi Author,  has been adapted many times. Some, like Minority Report, have been quite successful. Others, like Paycheck, have been Hollywoodized disasters. Surprisingly only two of Philip K. Dick's full length novels have ever been adapted. Blade Runner , published under the original title "Do Robots Androids Dream of Electric Sheep?", in 1981 and in 2006 A Scanner Darkly, Dick's dystopian drug tale from 1974, adapted in the highly unique fashion of director Richard Linklater.

For Dick, A Scanner Darkly was an examination of how the drug use of the sixties had taken so many of his friends and idols. For Linklater; this tale of drugs, corruption and paranoia is a jumping off point for a smart satire of modern paranoia and police state tactics. Keanu Reeves leads an awesome cast in A Scanner Darkly as Bob Arctor and Agent Fred. Bob is a drugged out loser living communally with other druggies in his former family tract home. Agent Fred is Bob's undercover cop alter-ego who is watching these druggies for possible trafficking in a drug called Substance D.

Fred's main target is a woman named Donna (Winona Ryder) who promises a major Substance D score but never delivers. She is supposedly Bob's girlfriend but she doesn't like to be touched so intimacy is unattainable. Bob/Fred's situation is worsened by his own growing addiction to Substance D which he has used to get close to his druggie pals. Robert Downey Jr. and Woody Harrelson round out the main cast of A Scanner Darkly as a pair of hopped up druggies. Given the well known, drug related, pasts of both actors the inside joke is obvious but still amusing. Downey gives a standout performance as a fast talking paranoid, conspiracy theorist who goes to extreme lengths to protect himself from unseen forces.

Paranoia is one of the many subjects of the broad satire of A Scanner Darkly. Paranoia, drugs, law enforcement, drug treatment; all are subjects of this highly literate animated head trip from director Richard Linklater. The universe of the film, set 7 years from now, is one in which a drug has conquered much of the United States. Police have set up elaborate surveillance systems and suspended many civil liberties in their attempts to curb the drug; with little success.

The organization used to rehab former users is corrupt and untouchable by even the cops. The paranoia in the film is most often drug induced but extends beyond that to a cameo by nutball conspriracy theorist and paranoia expert Alex Jones. Jones, who was also seen in Linklater's animated masterpiece Waking Life, has been good friends with Linklater for years which explains his inclusion in this film despite his many discredited conspiracies about 9/11, JFK and other such popular conspiracies.

The plot unfolds slowly because the focus of much of the film is the drug inspired verbal diarrhea of these literate but slightly askew characters. Once the film begins to develop a more cinematic form of storytelling the plot emerges almost mundanely. There is an element of police procedural beneath the head tripping rotoscope animation. Reeves' cop character under a mind bending disguise cloak does many of the things a cop in any other movie would do. He is slowly building his case for arresting his supposed friends.

If it weren't for his own drug dependence Agent Fred would be a regular cop gathering evidence for warrants and preparing a case against the criminals around him. Unfortunately, like Jason Patric's undercover cop in Rush, he gets sucked in and subsumed in his subject. If not for the animation and the minor sci fi conceits this could be a very typical plot. There is a twist at the end that gives the film a bit more of a kick than an average undercover cop flick, but that mundane element is still there.

Rotoscope animation under the direction of Richard Linklater is mesmerizing to watch. It's use in A Scanner Darkly lifts what could be an average movie up to the realm of something artful but not exactly art. The film is, at it's core to simple and far too detached to be art. There is no passion outside of a passion for the technology used in painting real life actors with the watercolor tones of rotoscope animation. Beyond the animation there is this unique collection of actors to enjoy and that goes a long way. Each of the four leads are like old friends and watching them interact with one another is a treat. We have watched these four actors for so long that it's odd to think they have never worked together in a film before.

Downey, as I mentioned earlier, is the stand out of this ensemble but there is something to be said here for the maturation of Keanu Reeves. Joke all you want about his dunderhead reputation, that slacker cred plays to his advantage in this picture and I think I see him really beginning to mature into a real actor. He's using his persona more to his own advantage in recent films and that is a smart decision. This is not Philip K. Dick's A Scanner Darkly. What director Richard Linklater makes of Dick's novel is not really a sci fi exercise in metaphoric storytelling but rather, an often straightforward, if somewhat funky, detective story that is only sci fi in terms of its future setting and flashes of futuristic technology.

This version of A Scanner Darkly is fascinated by its own meandering rambles and meditations and especially its trippy visuals. That is not exactly a bad thing; the rambling is often funny and the animation eye catching but a little more of Dick's literate symbolism might have made for a meaty and interesting movie. As it is, A Scanner Darkly is attention grabbing but lackadaisical.

Documentary Review The Devil and Daniel Johnston

The Devil and Daniel Johnston (2005) 

Directed by Jeff Feuerzeig 

Written by Documentary

Starring Daniel Johnson 

Release Date March 31st, 2006 

Published August 20th, 2006 

There is a thin line between genius and madness. Daniel Johnston crossed that line with a combination of manic depression, fundamentalist Christianity, and bad acid trips. Somehow, despite his obvious mental deficiencies, Daniel Johnston became a cult legend as a musician and an artist and the line between genius and madness blurred to nothing.

In 1985 Daniel Johnston left his home in West Virginia to live with his brother in Texas. He soon disappeared and was later found to have joined up with a traveling carnival. The carnival led him to Austin, Texas, the iconoclastic home of one of the most eclectic music and art scenes in the country.

Johnston, carrying his self produced tapes and lyrics, made the rounds introducing himself, handing out his tapes, and blowing the minds of the Austin intelligentsia who saw something in him that most people did not. Johnston would go on to become one of Austin's most renowned characters and likely its most tragic.

His national profile is equally uncanny. Daniel Johnston once lucked his way onto MTV when the music channel's hip underground show, 120 Minutes, profiled Austin's music scene and Daniel simply showed up at the taping and soon found his way on to the stage. From there, in between trips to various mental facilities, Daniel Johnston's friends and acquaintances passed his legend on to anyone who would listen.

When Johnston’s manager set up a publishing label for him, bands like Nirvana, Pearl Jam and Sonic Youth lined up to cover his work. Curt Cobain brought Daniel his most consistent national exposure by wearing a T-shirt with a drawing created by Daniel Johnston on the MTV music video awards. Cobain subsequently wore the shirt in TV and magazine interviews for months on end.

Here is the odd thing I kept going back to as I watched the documentary, The Devil and Daniel Johnston, Daniel Johnston is clinically quite crazy. From a purely scientific standpoint the man's mind is out of his control. He has crazy visions of God and Satan, some of which he has copied down and sold as art. Daniel Johnston has the kind of grand delusions that would have most people lined up for lifetime commitment to a hospital. However, a random arrival in Austin and finding just the right oddball community of artists, finds Daniel Johnston a world renowned musician and artist.

I don't know whether I admire Daniel Johnston or pity him. Watching people like the members of Sonic Youth, who brought Daniel to New York to record with them, and people like Simpsons creator Matt Groening, talk about how much they love Daniel's music is very strange. If these same people saw Daniel Johnston singing on a street corner in New York or LA would they or anyone give him a moment's notice?

The music of Daniel Johnston is bizarre. At once unlistenable and strangely compelling. When Daniel Johnston is riffing at his best; his lyrical combinations are rather mind blowing. More often, however, listeners will find Daniel Johnston lost in his delusions and proselytizing about god and satan and the various voices in his head.

Daniel Johnston has a gift and absolutely no ability to master it. This makes him both fascinating and tragic. It makes the documentary about his life The Devil and Daniel Johnston one of the most compelling and thought provoking documentaries I have ever seen.

Movie Review: The Three Burials of Melquiades Estrada

The Three Burials of Melquiades Estrada (2006) 

Directed by Tommy Lee Jones

Written by Guillermo Arriaga 

Starring Tommy Lee Jones, Barry Pepper, Julio Cedillo, Dwight Yoakam, January Jones 

Release Date February 3rd, 2006 

Published February 21st, 2006

There are places we won't believe exist anymore. Modernization and technology we would assume has phased these places out of existence. Places like the old west. Those lawless dust bowls filled with characters ready to drink, fight and kill if they feel like it.

However, watch the headlines and take a look to the south. The old west is still out there in small pockets of the border between America and Mexico. These are places where cowboys still ride horses and carry shotguns. Places where border patrol guards ride like old school texas rangers delivering swift justice to potential border crossers.

As all await Washington's decision to modernize the border crossing with modern fence technology, the old west attitude thrives in lawlessness and old school justice. The new video The Three Burials of Melquiades Estrada is a snapshot of this new 'old west' attitude. Directed by Tommy Lee Jones, Three Burials takes a cursory glance at border policy with a broader eye on how a modern society often doesn't evolve as a whole.

Melquiades Estrada (Juan Cedillo) was a kind soul simply out to make money for his family. Quiet, unassuming and hard working it is no surprise that he would earn the trust and friendship of a hard working roughneck rancher like Pete (Tommy Lee Jones). Bonding over heads of steer and women of ill repute, Mel and Pete became brothers.

When Melquiades is murdered Pete first seeks modern justice, an investigation by the local sheriff (Dwight Yoakam). However, unable to escape old west attitudes, it isn't long before Pete is ready for some old school biblical justice.

The man who killed Melquiades is a mystery to Pete but not those of us in the audience. He is Mike a newly arrived, wet behind the ears college dropout who has just accepted a job as a border patrol officer. Moving with his wife LouAnn (January Jones) to a nameless border is for both like a trip back in time some 100 years. Used to the creature comforts of the mall and cable television, the former High School sweethearts, voted most likely to succeed, find themselves failures even in this dust covered piece of nowhere.

Mike has grown quite bitter since his days as a king of high school. Spiritually defeated he takes occasion to let out his aggressions on border crossing mexicans. Warned more than once by his supervisor about his brutal assaults and arrests, it is no wonder that he is the in the killing of Melquiades.

The fates can be cruel. While you might believe that Mike in his typically brutish fashion murdered Melquiades  in cold blood, the facts are quite different. The facts however, matter not to Pete who simply and singleminded seeks justice and also seeks to keep a blood promise to Melquiades.

Pete must take Mel back to Mexico and bury him in his hometown and Pete plans to make certain Mike witnesses this funeral first hand.

Thus begins the true thrust of The Three Burials Of Melquiades Estrada. A death march across the barren desert as irony of ironies a pair gringos crosses the border into Mexico.

Written with hard bitten determination by Guillermo Arriaga, Three Burials has a soft spoken hypnotic pitch to it's dialogue. While Arriaga's words often ache to be screamed, the actors remain flat and emotionless. No one does stonefaced aggressiveness like Tommy Lee Jones and though his words ar never shouted, the harsh sadness and anger behind each is beyond resonant.

Barry Pepper as Mike is really the only character given to histrionics but like the rest of the cast, it's the croaky, whispered moments that make the most noise. As Mike makes his forced march across the desert at the barrel of Pete's old style six shooter the journey becomes as much Mike as Pete's or as the late Mel's. Is Mike redeemed by this forced journey? That is for you to discover by watching Barry Pepper's haunting, mesmerizing performance.

Though set in modern day America, The Three Burials of Melquiades Estrada evokes the old west of Peckinpah and Leoni in it's burnt out desert browns and oranges. Picturesque scenery covered in layers of blood and dirt that only old west milieus can convey. This is as beautiful looking a film as it is well acted and moving.

There is another aspect of this story that few people want to comment on. An undercurrent of homoeroticism that is actually quite common in supposedly macho movies bubbles beneath the surface of this manly tale of revenge. Though Pete indulges in an affair with a local married waitress well played by Melissa Leo, it becomes clear that Melquiades is his one and only love. Now neither man would even admit or act upon it, but the bond between the two men, especially expressed after Mel's death, is deeper than Pete can deal with out loud.

There are many layers to peel away while experiencing this intense revenge fantasy. Layers of pain, heartbreak, denial and redemption. The Three Burials of Melquiades Estrada is a treasure trove of subtext and of visual artistry. A truly must see picture for anyone who loves movies.

Movie Review Imagine Me and You

Imagine Me and You (2006) 

Directed by Ol Parker 

Written by Ol Parker

Starring Piper Perabo, Darren Boyd, Matthew Goode, Lena Headey

Release Date June 16th, 2006

Published June 24th, 2006

New Rule: Never watch a romantic movie after you have had your heart broken. You can't possibly be objective. Take for instance the new to DVD romantic comedy Imagine Me and You starring Piper Perabo. This pencil thin romance barely scratches the surface of it's characters and is certainly no visual wonder and yet I loved it. I loved it because like great comfort food even the most flawed romance can't help but instill good feelings.

Piper Perabo stars in Imagine Me and You as Rachel, an English girl on her wedding day. Like all brides she is beautiful and beaming in love. Her soon to be husband is Hector (Matthew Goode), Heck to his friends, a super nice guy, handsome, kind hearted and her best friend. According to the best man, Heck's best friend Cooper (Darren Boyd), Rachel and Heck have been married for years and are only now making it official.

The wedded bliss seems unstoppable even after Rachel meets Luce (Lena Headey) and the two have a typical romantic comedy meet cute, Rachel dropped her wedding ring in the punch bowl and Luce fished it out for her. The chemistry between the ostensibly straight Rachel and the openly gay Luce is palpable but Rachel just got married.

Nevertheless Rachel is feeling something and attempts to make friends with Luce but soon the attraction becomes undeniable and someone is going to get hurt.

It's not all that complicated a story. Poor Heck was doomed from the start of the film. We know this going in so all that director Ol Parker, in his debut picture, can do is try and be funny along the way to prolonging the inevitable which naturally comes with a chase to the airport, don't they always.

The key to Imagine Me and You are the performers. Piper Perabo, employing a surprisingly good British accent, uses her unending likability to smooth over much of the ill will her rather flighty decision making might engender. Lena Headey is a strong presence that any straight woman might have a hard time resisting. She too is likable and pleasant enough that we forgive her for breaking up the cute married couple.

Matthew Goode is a star in the making. Watch him in one of last year's best films, Woody Allen's Match Point, and now here in Imagine Me and You and his charisma is undeniable. The inevitable Hugh Grant comparisons are made only because he is British. Goode is far more weighty and present than Grant who could not pull off the performances Goode has in his first two features. Combining wit, charm and a deep soul Goode's Heck is the only character we truly feel that we get to know in the picture, everyone else is likable but pulled along by the plot.

Even as the characters are thin representations of real people and the plot is terribly predictable and the script is filled with awful platitudes about love at first sight, love eternal and all that romantic stuff, I can't find fault with such a lovable picture.

Never watch a love story when your heart is broken. Remember that. You might watch a movie like Imagine Me and You and with judgment impaired recommend it to all of your friends and various strangers. Like a great piece of comforting candy or ice cream, I can't help but love this ridiculous little romance Imagine Me and You.

Documentary Review: This Movie is Not Yet Rated

This Movie is Not Yet Rated (2006) 

Directed by Kirby Dick 

Written by Documentary 

Starring Kirby Dick, Becky Altringer 

Release Date September 1st, 2006

Published December 22nd, 2006

Documentarian Kirby Dick's snarky, sarcastic, irreverent approach can be a little off-putting, especially when he has a real point to make. In his latest documentary This Film Is Not Yet Rated, Dick has some real strong points to make about the machinations of the Motion Picture Association of America, the group that basically decides what movies Americans can see in movie theaters.

The doc is highly entertaining and very smart. However, when Kirby Dick wants to, he can be a real arrogant, pedantic prick. It's all part of this wonderfully amusing and highly important little movie that I highly recommend, despite it's creators foibles.

I have long felt that the M.P.A.A played a valuable role in the film industry. As long time President Jack Valenti so often pointed out, the motion picture ratings board was what stood between the film industry and government censorship of film. What Kirby Dick demonstrates with sharp, expert interviews is that the M.P.A.A incorporates censorship rather than prevents it.

The argument is thus, remove the MPAA from the equation and force the government to attempt to rate movies. The government being subject to the law would be forced to abide the first amendment. The MPAA being an industry institution is not subject to the law. Filmmakers can work around the MPAA if they like, but theater owners refuse to run films that don't have the MPAA seal which leaves that film basically in limbo.

There are other important points made about the MPAA in This Film Is Not Yet Rated. Among them is the very obvious homophobia of the ratings board members. An interview with director Kimberly Pierce reveals her struggle to avoid an NC-17 rating for her film Boys Don't Cry. Though films featuring graphic sex between men and women sailed to R-ratings, Pierce's love scenes featuring Hilary Swank and Chloe Sevigny had an impossible time getting past the ratings board.

Atom Egoyan struggled with similar issues on his film Where The Truth Lies and when he challenged the ratings board and demanded to speak face to face with raters he was denied. He appealed to the ratings and asked to speak directly with the appeals board and was also denied. His case however, revealed something about the board that is one those great gotcha moments of This Film Is Not Yet Rated.

An interview with Trey Parker of South Park fame revealed two more strange things about the board's taste in movies. The first is the different treatment of violence vs sexuality. On South Park Bigger Longer Uncut, the creators of South Park were able to get away with any and all forms of violence and yet when it came to the sexual content of another Parker-Stone creation, Orgazmo, the cuts requested by the board were deep and seemingly arbitrary.

The other side of that debate was the ease with which the studio that produced Bigger Longer Uncut made it through the ratings process, despite it's highly offensive content, versus the uphill battle that faced the far more innocuous, independently produced Orgazmo. Remember the MPAA is a studio creation, thus it is fair and well argued in This Film Is Not Yet Rated that their is a bias against independent movies.

The most controversial aspect of This Film Is Not Yet Rated and it's most inventively snarky inclusion, is Kirby Dick's choice to hire a private investigator to identify MPAA raters. What he finds is even more hypocricy than that demonstrated just by the ratings the board has given out. Though the MPAA claims that the ratings board is made up of parents of young children, Dick and private investigator Becky Altringer find that few of the raters have children in their teens or younger. A few raters are even single childless men, not a shocking revelation but something MPAA doesn't want us to know about.

And that is the key. What the MPAA does not want us to know about. Why isn't this process more open to scrutiny. Why can't filmmakers speak with raters and plead their case instead of having to simply bend to the will of these non-artists. Why is appeals process even more secretive? And, in another of the films gotcha moments, why is the opinion of church officials so important to the ratings appeal process?

As Dick reveals, a pair of priests reside on the appeals board and one of them even submits to an on camera interview. The priests have no vote in the final process but are allowed to voice concerns over a films content.

Kirby Dick is an arrogant, pushy, jerk. It's what makes him a great editorialist. He has a point to make and will do whatever he can to make that point stick in your head. His work is as off putting as it is persuasive and while you may walk out of This Film Is Not Yet Rated not liking Kirby Dick you will likely still end up agreeing with many of the valuable points he makes about censorship and the MPAA.

Like Michael Moore however, Dick's editorial approach  effects the perception of his film as documentary. Most documentary films are meant to observe a story and come to conclusions only after the facts have been explored. For guys like Michael Moore and Kirby Dick, a documentarian begins with a point of view and seeks only information that conforms to that point of view. That, of course, leads to fair accusations of bias and indeed calls into question some things you may see in This Film Is Not Yet Rated.

If Kirby Dick is only seeking information that backs up his opinion that the MPAA incorporates censorship into the film business then what is the other side? What are we not hearing. Kirby Dick would likely not care. I guess if the MPAA has a problem with This Film Is Not Yet Rated, they should make their own documentary or at the very least respond to the various charges that Dick makes that have thus far gone unchallenged by the MPAA.

This Film Is Not Yet Rated is muckraking, editorial journalism with a whole lot of snark and circumstance. Kirby Dick has an axe to grind with the MPAA and grind away he does invading the homes of the MPAA and taking the fight against film censorship right to the people he feels are incorporating it. Is his style arrogant, overbearing and peevish? Oh yeah. But, is it effective? Definitely.

Movie Review: Volver

Volver (2006) 

Directed by Pedro Almodovar

Written by Pedro Almodovar 

Starring Penelope Cruz, Carmen Maura, Lola Duenes, Blanca Portilla

Release Date March 17th, 2006

Published December 6th, 2006 

I have always thought of myself as an educated filmgoer, it goes with the title of film critic; I suppose. However, despite having seen thousands of movies in my career, the art of Pedro Almodovar has escaped me. I have always planned on seeing his movies, putting them in my netflix cue, borrowing them from friends, but I never have.

So this week I made a special trip to Chicago with the specific intent of seeing Almodovar's latest movie Volver, a film that has been receiving raves since its debut at the Canne film festival back in May. My three hour trip was more than worth it. Volver is a lovely and dazzling slice of unusual life.

Volver (translates "to return" in english) tells the story of three generations of women from a small village outside Madrid Spain. Penelope Cruz is Raimunda an unhappily married woman who spends most of her time working several part time jobs. On weekends however, Raimunda returns to the village where she grew up to take part in a ritual, cleaning and polishing the graves of her late mother and father.

Joining Raimunda on this journey week after week are her daughter Paula (Yohana Cobo) and her sister Sole (Lola Duenas). This weekly trip also includes a visit to Raimunda's aunt Paula who raised her as a child even before her parents died. Aunt Paula is getting frail and losing her sight and yet week after week manages to provide fresh food for the girls to take home.

Back home, Raimunda's husband Paco is a deadbeat with no job and no ambition. Laying on the couch drinking all day, Paco seems unimportant but soon his death as well as the death of Aunt Paula will send everyone's life into an unusual and surprising direction.

That is the bare bones of the plot of Pedro Almodovar's Volver. To give away to much of this wonderfully amazing movie. Watching Volver unfold this rather dark story involving murder, manslaughter, abuse, infidelity and other such transgressions, you expect the film to be heavy. However, despite the many dark revelations and experiences, Volver is more than pleasant, it borders on jaunty.

Dressing everything in bright colors and bathing it in a lush score by Alberto Iglesias, Almodovar makes Volver not a dwelling on sadness but a paean to the bravery, pluck and gumption of the four women who make up the center of this film. I say four because there is another character in Volver, played by longtime Almodovar collaborator Carmen Maura, who holds all of the films secrets and who creates much of the films magic, humor and poignance.

Volver is a major comeback for the oft-maligned actress Penelope Cruz. Having spent much of her career being kicked around for her english language roles in Vanilla Sky and Sahara, and being known for a time as Tom Cruise's girlfriend, Cruz makes a statement as an actress in Volver. Her strength, her spirit and her surprisingly lovely singing voice bring a lively performance to the screen in a role that should win her much awards attention. Ms. Cruz belongs alongside Helen Mirren in the competition for best actress 2006.

Another strong awards candidate is Carmen Mauro who is truly enchanting in a role that holds all of the cards in the film. For a time her character is thought to be a ghost and it is the brilliance of her performance that she manages to really make you wonder about this supernatural possibility. Mauro combines humor and sadness so brilliantly it's breathtaking.

I know how many of you whine and complain about subtitles but please trust me when I tell you that even while reading this movie you will be able to enjoy the many pleasures of this wonderfully visual story. This movie is too good, too entertaining for you to worry about having to bring your reading glasses to the theater. Suck it up, see this movie.

For my first experience with a Pedro Almodovar film I could not have chosen a better film. Volver is bewitching, charming, thoughtful and very entertaining. I can't wait to have a look at past Almodovar films like All About My Mother, Talk To Me or Bad Education. If they are anywhere near as engaging and lovely as Volver I am in for a treat.

Essay Hollywood Sex and Violence Link (2006)

In 2006, in the wake of the release of A History of Violence and Sin City, I wrote about how Hollywood movies linked sex and violence. This is that essay recovered from an old MySpace blog... 

FYI This post contains what you might call spoilers for the plot of the film A History of Violence. If you wish to watch that film with the mystery in place do not read until after you watch the film. Happy reading and please post your responses.

One unique trend in modern film is the link between sex and violence. In horror films and thrillers these two disparate acts are now often found at a crossroad. In horror films sex is often punished with a bloody violent death, see Friday the 13th as an example. Sexuality or sensuality is similarly punished, consider films like Slumber Party Massacre (not exactly a brilliant subject of serious discourse but follow me here) where beautiful woman are brutally and viciously murdered for the simple fact that they are beautiful. The camera spends ample time exploiting the beauty of the women in the film with copious nude scenes and scenes of woman in various states of undress. And then the film sets about destroying that beauty with hardcore violence.

In the thriller genre take an example like Steven Speilberg's Munich which transposes a scene of a husband making love to his wife, a reunion after a long absence by the husband who has been compromising his morals out of duty to his country. The conflicted husband cannot escape thoughts of horrific violence as he is going about the loving act of intercourse with his wife. The sex scene is edited to a chorus violent images of Israeli athletes being brutally killed.What is the purpose of the sex and violence link in Munich? I believe it was the demonstration of the husband's conflicted conscience. On the one hand he is engaged in a pure act of love. On the other he cannot escape the horror of the violence he has been set to avenge. He cannot escape the horror of violence even as he is experiencing the ultimate in pure human goodness and joy.

In Sin City sex and violence are uniquely linked by the prostitutes of Sin City. Led by Rosario Dawson's character the prostitutes are unlikely representations of justice and righteousness. They mete out the punishment of corruption with violence and reward perceived goodness with sexual favors. Thus, Michael Clark Duncan's corrupt detective is punished with violence while Mickey Rourke's Marv is rewarded for his good intentions with the sexual favors of Goldie.

The innocent but oh so provocative sexuality of Jessica Alba's character is protected by the righteous violence of Bruce Willis' cop character. He would be rewarded with sexual favor if he were so inclined. Sex and violence are linked in Sin City in a cause and effect fashion. The good receive sexual favors the evil are punished with violence. All is right with the world.

In A History of Violence the sex violence link is a narrative function. The film features the extremes of both sex and violence. The films central action involves a pair of psychotically violent killers who are first glimpsed having murdered the staff of an anonymous roadside motel and a small child of one of the staffers. They come to the small town Indiana diner of Viggo Mortenson's Tom Stahl with the intent of more violence and are met with a viciously violent reaction from the seemingly mild mannered Mr. Stahl. The violence of this scene is extreme. Tom shoots one killer in the head sending him flailing through a plate glass window. Tom is graphically stabbed in the foot by the other killer who is then shot in the head by Tom. Director David Cronenberg gives us a closeup look at the damage of the bullet through the killer's skull in all of it's gory glory.

Meanwhile at home, prior to the violence at the center of the plot Tom makes love to his wife played by Mario Bello. The first sex scene is tender and loving but with more than a little hint of kink. Tom's wife has chosen to dress as a cheerleader and the two role play as a high school couple entering their first sexual experiment. The sex then becomes more graphic as oral copulation becomes central to the scene before we fade to the next morning and the establishing of the films central plot. Oddly the first sex scene features no nudity. The only link between the sex and violence at this point is Tom. He is an attentive and gentle lover who later shows himself capable of terrific physical violence. This is central to the dichotomy that is Tom who is revealed to have a violent secret past.

The second sex scene takes place after further violence has established Tom as a dangerous figure. An argument between Tom and his wife becomes physical as Tom attempts to stop his wife from walking away from their argument. Tom grabs her forces her to the ground, they are fighting on the stares leading to their bedroom, she slaps and kicks to break away from him. He forces her beneath him. After seeming to subdue her the violent confrontation suddenly begins to become sexual. The wife becomes turned on as does Tom and the two engage in angry, violent sex right there on the staircase. The scene, I believe, demonstrates the wife's tacit acceptance of her husbands true nature. She is telling him at once that she is unhappy with his lie but accepts it and will eventually be able to put it behind her. It's a brilliant form of shorthand that eliminates the need for a merely melodramatic scene of a couple arguing.

None of what I've written however truly gets at the heart of the sex/violence link in modern film. I have demonstrated the link but not the reason. This is where you come in dear reader. What is your theory of why Hollywood has so directly linked sex and violence. Post your responses please.

Movie Review: Ask the Dust

Ask the Dust (2006) 

Directed by Robert Towne 

Written by Robert Towne 

Starring  Colin Farrell, Salma Hayek, Donald Sutherland, Idina Menzel 

Release Date March 17th, 2006

Published September 16th, 

Though one of the great screenwriters of the 70's; Robert Towne's directorial career is spotty at best. His Personal Best was groundbreaking in subject but banal in execution. Without Limits was well acted but laconic. And the less said about the Mel Gibson-Michele Pfeiffer thriller Tequila Sunrise the better. Back behind the camera for the first time in 8 years; Robert Towne's latest effort, the romance Ask The Dust, is likely his greatest failure yet.

A miscalculation of idea and performance, Ask The Dust is Towne indulging his love of Los Angeles and its history at the expense of telling an interesting story.

Colin Farrell stars in Ask The Dust as Arturo Bandini. Coming to LA in 1930, Bandini intended to write the definitive novel of that famed city. Unfortunately the city of Los Angeles in the 1930's is not as inspiring as he had hoped. The streets are dusty and dull, the people are either decrepit and living out their string or they're writers like Bandini trying to write the great American novel.

The lives of some Angelenos are less easily devised. Camilla (Salma Hayek), a waitress at a dive bar where our friend Bandini drops his last nickel on some bad coffee, claims to be an aspiring actress held back by her latino heritage. However, her real aspirations are far less obvious and eventually undone when she falls into a romance with the struggling writer.

The relationship between Bandini and Camilla is defined by conflict. Their first meeting, the bad coffee, Bandini insulted Camilla and poured his coffee all over the floor. Later, after Bandini gives a weak apology, the two share a romantic drive to the beach where Camilla implores Bandini to join her for some skinny dipping. She plays a cruel trick on him, pretending to drown, and the angry Bandini walks home the seven miles from the beach to his rundown hotel. Still the romance somehow persists.

Meanwhile Bandini has another girl, though not one he really wants anything to do with. The other woman is Vera Rivkin a needy Jewish princess, who Bandini finds passed out in his hotel room. She offers him a sad story and begs for sex which he turns down. Later, however, Bandini, after another strikeout with Camilla, does fall into Vera's arms but is blunt in telling her that he was dreaming of Camilla. Vera's character and her fate are two of the more puzzling aspects of Ask The Dust.

There are any number of puzzling things about Ask The Dust. It's clear that Director Robert Towne is crafting a dusty paean to his beloved city of Los Angeles. With the help of Cinematographer Caleb Deshanel, Towne turns his South African location into a lovely image of 1930's California. At some point however, Towne became too enamored of his scenery and neglected his characters and their romance. Thus why we get stilted angry exchanges that turn quickly to passionate love making and back again with little rhythm and zero chemistry.

Colin Ferrell's performance in Ask The Dust is, at once, the most entertaining and confusing part of the film. On the one hand, Ferrell's offbeat delivery and flashes of Johnny Depp-like tics and mannerisms are quite humorous. Unfortunately, it's unclear whether or not we are supposed to be laughing. Ferrell as Bandini schizophrenically moves from shy to belligerent, from belligerent to sweet and from sweet to cocky without warning. Caught in the maze of Robert Towne's direction, Ferrell likely just did what was asked of him in each scene, regardless of whether the performance would coherently cut together later.

The one thing that really works in Ask The Dust is Caleb Deschanel's lush and beautiful cinematography. While Farrell and Hayek bicker and antagonize us and each other, we can at the very least distract ourselves by gazing at the gorgeous sandy vistas of early South Africa standing in for 30's Los Angeles. The dusty streets and blaze orange sunsets are the stuff of picture postcards, lovely images of warmth and comfort, completely at odds with the war of the roses characters.

Movies are not supposed to work to the audiences' preconceived notions of what we think the movie should be. Movies are the visions of the filmmakers with only a modicum of consideration of what the audience might want. That still doesn't quell my disappointment over not getting what I expected from Ask The Dust. I was hoping for a classical, passionate romance with two hot stars burning up the screen and the kind of literate, well read dialogue that you get with the best literary adaptations.

What I got with Ask The Dust was angry banter that works like a sad, unintentional parody of the Cary Grant-Irene Dunne romances of the 30's and 40's.

Robert Towne is a very talented writer but his direction in Ask The Dust is as lazy as the dusty, windblown, sun drenched streets of 1930's Los Angeles. The script relies heavily on the performances of Colin Farrell and Salma Hayek who, whether they were directed this way or not, come off like petulant children playing dramatic versions of the Bickersons. Blowing the dust off of cliches of 40's melodramas, they bicker like cats and dogs and fall in love anyway. The film is updated only for the sex which runs hot and cold, but mostly cold.

Movie Review Little Children

Little Children (2006) 

Directed by Todd Field 

Written by Todd Field, Todd Perrotta 

Starring Patrick Wilson, Kate Winslet, Jennifer Connelly, Jackie Earl Haley, Noah Emmerich

Release Date October 6th, 2006

Published October 12th, 2006 

Before the release of his astonishing debut feature In The Bedroom writer director Todd Field was an anonymous actor best known for a small role as a piano player in Stanley Kubrick's final film Eyes Wide Shut. Field has said that it was that experience watching Stanley Kubrick, getting to ask the master questions and peer over his shoulder that inspired him to move ahead with In The Bedroom.

As life changing experiences go, that's a pretty good one. Now with his second feature Little Children, Todd Field cements his rising auteur status with another self assured examination of suburban angst that is part American Beauty but all Todd Field.

Kate Winslet heads a terrific ensemble in Little Children as  Sarah, a bored housewife trapped in a lousy marriage with a three year old daughter she simply can't connect with. Sarah spends her days with her daughter, watching her play alone as other kids run around. Sarah sits to the side listening to the clucking of fellow stay at home moms who dote on their kids and make catty comments about strangers.

Then in walks the prom king, a nickname given to a handsome young stay at home dad none of the mothers has the nerve to talk to. His name is Brad (Patrick Wilson) and to break up the monotony of her routine, Sarah decides to engage him. The meeting goes further than either would have imagined as Sarah explains to Brad his nickname and the two of them decide to shock the other mothers with a hug and a kiss.

Brad is married to Kathy (Jennifer Connelly) a stunningly beautiful documentary filmmaker that any man would count himself lucky to be with. However, somehow he finds himself attracted to the far less striking, though not unattractive Sarah. The two began to spend time together taking their kids to the local pool and the park. Eventually the friendship becomes an affair and things begin to get out of control.

On the periphery of Sarah and Brad's relationship is the story of a sex offender who has moved into their neighborhood. His name is Ronald (Jackie Earl Haley) and though the nature of his crime is unknown, he is fresh from prison and on the sex offender list. A retired cop, and friend of Brad's, Larry (Noah Emmerich); has made protecting the neighborhood from Ronald his new mission in life. As you can probably imagine, this subplot is headed for an explosion that will collide with Sarah and Brad. There is however, nothing easily predicted about Little Children.

Field is an observant director who finds story in the details of peoples lives. His attention to detail in Little Children is at times darkly humorous, as in a scene where Winslet observes her fellow mothers with the eye of an anthropologist and it is heartbreaking as when Winslet and Wilson share that kiss in the park and find everything that has been missing in their mundane routine lives.

Suburban angst became quite fashionable after American Beauty won best picture. Suddenly, peeling back the veneer of those manicured lawns and white picket fences became a quick, clever shorthand for Hollywood writers. The results were often mere ripoffs. Todd Field's own In The bedroom was essentially one of those films and with its quiet dignity and devastating twists it broke the mold. Now with Little Children Field plows the same rich soil and once again delivers unique insight and characters.

Little Children is unexpectedly sexy as Winslet and Wilson engage in some of this years most erotic love scenes. These scenes have a sweat soaked intensity and emotional acuity that they go beyond being merely sexual in context and become dramatic expressions of angst, heartache and longing. So much modern movie sex is about the exposure of good looking actors, the love scenes in Little Children feel essential in getting to the core of these characters.

Kate Winslet is the standout of a terrific ensemble. Though dressed down to seem dowdy and bookish, Winslet remains effortlessly sexy and inviting. As Iris her eyes sparkle with intelligence wounded by years of underachievement. This is a woman who finds herself married and a mother and realizes that these are things she never wanted for herself. Her relationship with Brad is the one outlet she has for the angst of these realizations and that brings an intensity to the relationship that aches from the screen.

Patrick Wilson puts to rest the whining weakling performance from Phantom Of The Opera and shows a talent for playing a good looking cipher without it seeming like just another dumb actor not really actiing. Jackie Earl Haley rounds out the main cast with a devastating performance as Ronald the convicted child molester. This is a role of great depth and sadness and Haley plays it with a wounded animal's ferocity.

Little Children is a smart, darkly humorous and observant human drama that features career best performances from each of its ensemble players. With In The Bedroom and Little Children leading his resume he has cemented a burgeoning reputation as one of the next generation of auteurs. I can't wait to see what Todd Field does next.

Movie Review Silent Hill

Silent Hill (2006) 

Directed by Christophe Gans

Written by Roger Avary, Christophe Gans

Starring Radha Mitchell, Sean Bean, Debra Kara Unger 

Release Date April 21st, 2006 

Published April 27th, 2006

Horror movies based on videogames are supposed to suck. They are supposed to be directed by hacks like Andrej Bartkowiak (Doom) or Uwe Boll (Bloodrayne, House of The Dead, Alone In The Dark). They are supposed to incorporate the awful first person perspective that makes video games individual experiences rather than communal ones like.. oh I don't know... movies!

That is what makes the new horror flick Silent Hill such a pleasant and disturbing surprise. Based on a popular late nineties video game about a haunted West Virginia mining town, Silent Hill is a creepy mixture of dazzling horror visuals and a little girl power.

Radha Mitchell stars in Silent Hill as Rose Da Silva whose adopted daughter Sharon(Jodelle Ferland)  has developed a frightening penchant for sleepwalking to the hilly peaks surrounding their home. While sleepwalking, Sharon mumbles about a place called Silent Hill which seems to hold the key to her nightmares.

Sharon's father Chris (Sean Bean) wants his daughter to go to the hospital but Rose inexplicably believes that taking Sharon to Silent Hill will quell her nightmares and mid night strolls. It's a faulty premise that calls Rose's character into question but you have to stick with this film to enjoy it.

On the road to Silent Hill, which is supposed to be closed to traffic, Rose is tailed by a police officer, Cybil Bennett (Laurie Holden) who has a traumatic history with Silent Hill herself. Officer Bennett tries to stop Sharon from going to Silent Hill but before she can both are involved in an accident that leads to Sharon's disappearance. Together, upon waking from their injuries, Rose and officer Bennett must enter Silent Hill to find the child.

The town of Silent Hill was closed off from the rest of the world after what police called a mining accident some 30 years ago. The entire town was nearly swallowed by an underground coal fire that continues to spew ash over the abandoned city.

The few remaining residents are tormented by the spirits of the people who died in the fire and take refuge in a church where their prayers keep the demons at bay. The remaining citizens have a dark secret linked to the fire that killed the town and Rose's daughter's dangerous connection to it as well.

The story of Silent Hill is often convoluted and bewildering but director Christophe Gans escapes the plot issues by dressing the film in some of the most striking horror images in the genre. Gans shows some serious horror chops in creating frightening visuals and startling characters. There are the children made of ash, formless, bile spewing zombies and a killer carrying the largest sharp weapon of any horror villain in history.

Maybe the film's best contribution to modern horror are its two lead actresses. Radha Mitchell and Laurie Holden both deliver strong performances but are more important symbolically as the rare occasion of women in horror who are not merely victims, naked bodies or scream queens. These are two strong fully formed female characters and that they exist at all in the modern horror genre makes Silent Hill a worthy effort.

Visually frightening and dazzling Silent Hill may not be a great film but by modern horror standards it's among the best of the genre. For horror fans Silent Hill is a must see.

Movie Review See No Evil

See No Evil (2006) 

Directed by Gregory Dark 

Written by Dan Madigan

Starring Glenn 'Kane' Jacobs, Christina Vidal, Luke Pegler 

Release Date May 19th, 2006

Published May 20th, 2006

I have a confession to make. My name is Sean Patrick and I am a wrestling fan. Yes, every Monday night I clear the decks and watch Monday Night Raw and I love it. This is why I was more aware than most of the new horror film See No Evil. As a WWE insider, a fan who holds literal stock -one lone share of WWE stock- I was made aware early on that WWE intended to get into the movie biz and that its first venture was to be a low budget horror flick called Eye Scream Man starring WWE superstar Kane.

The title may have changed but the inspired idea of taking the WWE's premiere 7 foot tall 300 plus pound former psychotic inmate and turning him into a horror film bad guy remained. Now under the title See No Evil, with heavy promotion on WWE TV, Kane is on the big screen and while he looks the part of the terrifying, unstoppable killer, the film is disappointingly mundane horror garbage.

Jakob Goodknight (Kane) grew up under the thumb of a fundamentalist mother who kept him in a cage as a child and drilled into his head that all women except for her were dirty and evil and needed to be punished for their sins. No shock then when Jakob grows up to be a fearsome serial killer. Early on in his psycho career Jakob survives a run in with cops by taking the head off of a nameless rookie before taking a bullet from his veteran partner, not before taking the vets hand with his ax.

Williams was that cop's name and three years after losing his hand he has no idea whatever happened to Goodknight. Now working in a juvenile detention facility Williams leads a work detail of teenage offenders assigned to clean up an old hotel which is to be converted to a home for the homeless.

Bad luck for all involved that Jakob has taken up residence in the hotel and he doesn't like visitors. With the cannon fodder cast of hot body twentysomethings, playing teens, in place Jakob can run amok plucking out eyeballs, his favorite pastime that gets little to no explanation.

I'm told in interviews with Kane and other member of the See No Evil production team that each of Jakob's modes of murder has some kind of significance, irony or hidden meaning. In the hands of former porn director Gregory Dark however, any such meaning is lost in translation, or directorial incompetence to be less colloquial about it.

Director Dark and screenwriter Dan Madigan's idea of an ironic death is a bimbo blonde who ends up eating her cellphone and a PETA member who is eaten by wild dogs. Subtlety and deep meaning, not exactly the milieu of this filmmaking duo.

Kane cuts an intimidating figure onscreen at 7 foot 300 plus pounds but unfortunately director Gregory Dark too often brings Kane down to the size of his victims through his sheer incompetence in how to shoot a movie scene. His angles and lighting make Kane look smaller and more lumbering than he is. Also where Jason had that very frightening, kee kee hah hah hah sound effect to reveal his presence on screen , Kane is stuck with the buzzing of a fly which rather than striking fear of Jakob's presence, makes you wonder if the psycho needs a shower.

The less said about the rest of the films, the better. Each is merely a placeholder for violence. Watching Kane/Jakob pick them off one by one gives no one any fear for their passing or dark pleasure in the way they are disposed of. Not one of the kids in See No Evil earns sympathy or even becomes character enough for us to quietly root for their horrifying demise.

There is a good idea in turning the hulking, intimidating presence of Kane into a horror film villain. He has played a variation of that role on WWE Raw for years to great effect. Maybe they shouldn't have left that idea in the hands of the auteur behind such cinema classics as The Devil 'IN' Miss Jones 5 and, I kid you not, Hootermania.

Movie Review: Codename The Cleaner

Codename The Cleaner (2006) 

Directed by Les Mayfield 

Written by George Gallo 

Starring Cedric the Entertainer, Lucy Liu 

Release Date January 5th, 2006 

Published January 5th, 2006

I like Cedric The Entertainer, as a stand up comic. As part of the Original Kings of Comedy and on his own HBO comedy special, Cedric has shown a real talent for ribald racial humor and sly family comedy, along with indulging his love of music and humorous dance productions. His film work however, has never been able to capture the same affable personality.

As a matter of fact, Cedric’s film career has simply sucked. From Johnson Family Vacation to Man of the House to his latest starring effort Codename: The Cleaner, Cedric The Entertainer has flailed and flopped about in search of a good joke and most often comes up empty.

Codename: The Cleaner actually has what could be a clever premise in more skilled hands. Combining a dash of Chris Nolan's Memento with a touch of The Bourne Identity inside a comedy plot, the idea is there, but the execution is pitiful.

Jake Rogers (Cedric The Entertainer) woke up on the wrong side of the wrong bed this morning. Unable to remember his own name, Jake has even bigger problems than amnesia. There is a dead FBI agent in the bed with him and a suitcase full of hundred dollar bills at the foot of the bed. Did Jake kill this guy? If so why? If not, who did?

In the lobby Jake meets Diane (Nicolette Sheridan) who claims to be his wife. She knows all about his desperate situation and spirits him away to a mansion that he has no memory of living in. Jake has some kind of computer chip hidden somewhere that might help him clear his memory and figure out what all is happening and Diane desperately wants it. When her seduction skills fail to jog Jake's memory she plans to torture him, but before she can Jake escapes.

Following what little clues he has about himself, a video game company ID card and a taste for pancakes, Jake finds himself at a diner across from the videogame company where he is greeted by yet another beautiful woman, Gina (Lucy Liu), who also claims to be his significant other. She informs Jake that he is no more than a simple janitor, but Jake can't shake the idea that he is somehow a high powered secret agent.

Directed by Les Mayfield (Blue Streak,American Outlaws), Codename: The Cleaner plays like a script Martin Lawrence passed on several years ago. Cedric The Entertainer mugs and moons all he can to try inject some life into this film, one made for a big comic personality like his, but unfortunately, the goofy plot and Mayfield's inept direction keep interrupting Cedric's flow.

The comedy of Codename: The Cleaner works in small doses of Cedric being Cedric. In investigating his mysterious situation, Jake finds himself dressed in Dutch boy blues and clog dancing for a wildly entertained crowd. This is Cedric The Entertainer in his comfort zone, acting goofy; independent of the ridiculous plot. The scene is entirely unnecessary and superfluous but it's also one of the rare funny moments in otherwise laughless exercise.

I've liked Lucy Liu since her weird/sexy role on TV's Ally McBeal. It's a shame that her film career has been so wildly hit and miss. Her starring roles here and in the action flick Ballistic: Ecks Vs Sever show that she should definitely avoid titles with colons in the middle, but also that maybe being a lead actress is not her strong suit. Supporting roles in Kill Bill Vol. 1 and this year's terrific but sadly underseen, Lucky Number Slevin, have been a far better showcase for her skill, her range and her beauty.

There is no denying that Cedric The Entertainer is a funny guy and that even in something as idiotic as Codename: The Cleaner he can find laughs. But no matter how funny Cedric is; Codename: The Cleaner was doomed the moment director Les Mayfield took the helm. Mayfield's resume reads like something only a mother, or Shawn Levy, could love. Blue Streak, American Outlaws, The Man, Ugh! Les Mayfield is to bad comedy what Uwe Boll is to the poorly made video game based horror film.

Now I always seem to get emails when I inject large issues into innocuous movies, especially when I talk about the treatment of women in films. However, Codename: The Cleaner is yet another film that treats its female cast members with contempt. There is no doubt that both Lucy Liu and Nicolette Sheridan are beautiful women who turn heads whether in business attire or bikinis, but was it necessary for them to wrestle nearly nude in bubbles? Not that I didn't enjoy the visual, but the gratuity of this dream sequence is beyond anything any right thinking director could justify.

As attractive as the visual is, I felt ashamed for Lucy Liu for taking part in such a degrading and unnecessary scene. As for Sheridan, her towel drop with Terrell Owens on Monday Night Football and her regular gig in the nighttime soap Desperate Housewives makes such a scene rather par for the course for her career which also includes a number of softcore straight to video flicks. That fact doesn’t change how sexist and pointless this scene was. 

Codename: The Cleaner is not offensively bad but it's far from anything I could recommend even to the most ardent fan of Cedric The Entertainer. Director Les Mayfield continues an embarrassing string of unfunny films that is likely to continue regardless of this film's box office failure. Like an old school studio hack, Mayfield makes the kind of cheap, high concept garbage that studios seem to like dumping into January, February and other non-blockbuster months.

As long as there are stand up comics in need of a quick paycheck and studios in need of dim-witted filler material; the Les Mayfield's of the world will always find work.

Movie Review: Children of Men

Children of Men (2006) 

Directed by Alfonso Cuaron

Written by Alfonso Cuaron

Starring Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Charlie Hunnam

Release Date December 25th, 2006

Published December 24th, 2006

Alfonso Cuaron has said that his latest film, the futuristic thriller Children Of Men, is an allegory to our times. A warning of problems to come if we continue on our current path. The film alludes to ideas about immigration policy, war in the middle east, terrorism and death with dignity. These ideas are introduced but none are given great weight. It's as if just mentioning these hot button issues is enough to bring importance to a movie that is otherwise a chase thriller with an interesting premise.

The fact is,Children Of Men is not about its story or characters. Children Of Men is about director Alfonso Cuaron and his ability as a director. Using long, unbroken takes and some dazzling cinematography, Cuaron impresses with style and technique but does so at the expense of his story.

In 2027 woman haven't given birth in nearly 20 years. The world's youngest person, an 18 year old, has been killed and chaos reigns throughout the world. England is the last hold out of civil order, though the chaos is banging at the door. Immigrants from around the world have attempted to immigrate causing the government to round up foreigners and place them in camps. Those who fight are killed, those who don't are sent back to the chaos and famine of their home countries.

In the midst of the tumultuous times a former activist named Theo (Clive Owen) is slowly drinking himself to death. Having lost his own baby son more than a decade and a half ago, as well as his wife, Theo has given up. His ex-wife Julian (Julianne Moore) has not. Now the leader of an insurgency, Julian has come to the aid of an immigrant teenager, Kee (Claire Hope Ashitay) who holds the future of humanity.

Kee is; by some miracle, pregnant and Julian knows she can't protect her. Turning to Theo for help, she leaves it to him to take Kee to a utopian group of scientists and thinkers called the human project where it's hoped her pregnancy can reveal the key to saving humanity.

That is what I could make of the plot of Children of Men, a movie that is more style than substance. Director Alfonso Cuaron claims the film is an allegory to modern times however, his metaphors are shallow and underserved. This alarmist tale of government oppression and societal crumbling has a dark vision of the future that is supposed to be a warning of things to come and a comment on how things currently are but it fails to be convincing in either metaphoric conceit.

Children of Men is not an allegory, it is rather a movie about how the action is filmed and not why the action is taking place. Working with super long takes, Cuaron uses his camera in unbroken scenes that traverse big action movie chases and war scenes without a single edit. It's an impressive technical achievement. It's also an extraordinarily showy exercise. Like a dog begging for attention, the filmmaking tricks of Children of Men sit up, beg and roll over.

The worst thing about Children of Men is how cheap and manipulative the plot is. Of course, all movies are manipulative. However, the best movies allow you to suspend disbelief and forget you are being manipulated. Children of Men uses a cheap screenwriting trick, the child in danger plot, to manipulate audiences into feeling tension that the adult characters and the plot they are trapped in cannot.

I will grant you that much of the technological trickery employed by Alfonso Cuaron is so good that you can forgive much of the very shallow plot. The extended, unedited takes are compelling visuals that you can't help but marvel at. Also, I was surprised how visually impressive the film is without Cuaron's usual flourishes of color. In his Great Expectations, Y Tu Mama Tambien and Harry Potter, Cuaron's visuals overflowed with color. Children of Men goes in the opposite direction, desaturating the screen leaving a gray, light green hue that is as effective as his use of bright colors in previous films.

The color palette matches the mood of the film. Gloomy and oppressive and while that doesn't sound appealing, in execution and as part of this story, the color palette is visually engaging.

Another appealing element of Children of Men is the star performance of Clive Owen. No actor embodies weariness the way Owen does. Look at his roles in I'll Sleep When I'm Dead, Closer and Sin City, no actor looks more tired or beaten up by the world as Owen. His gloom ridden role in Children of Men was made just for him.

The character of Theo has lost everything when we meet him. He can barely muster the energy to not give a damn. Watching him come back to life as he helps Kee escape is appealing for the way Owen plays it, even if the rest of the movie is not interested in character development. Owen and the rest of the cast of Children of Men were on their own trying to bring their characters some life while Alfonso Cuaron focused on unique ways to shoot them.

Children of Men is a technical marvel. Alfonso Cuaron and cinematographer Emmanuel Lubezki dazzle us with camera work, lighting, settings and chases and the films centerpiece, long unbroken takes. Dazzled we are but the technical brilliance can't disguise a shallow thriller plot clothed in faux importance. Saying your movie is important in metaphor is one thing, actually being important is another.

Movie Review: Black Christmas

Black Christmas (2006) 

Directed by Glenn Morgan 

Written by Glenn Morgan

Staring Katie Cassidy, Michelle Trachtenberg, Mary Elizabeth Winstead, Oliver Hudson, Lacey Chabert

Release Date December 25th, 2006

Published December 25th, 2006

In 1974 Black Christmas shocked audiences with a Christmas based, blood soaked massacre. The film was only notable for its Christmas horror setting and was soon forgotten. 32 years later a pair of shock masters, Harvey and Bob Weinstein, who know a good marketing hook when they see one, acquired the remake rights and rushed out new version of Black Christmas just in time for the holiday season.

Crafted by one of the minds behind the Final Destination series, Glen Morgan, Black Christmas is, once again, only notable for its release date. Though soaked in bloody, horror film tradition, Black Christmas is simply yet another rehash of horror movie cliches.

Michelle Trachtenberg, of Buffy The Vampire Slayer fame, heads a cast of pretty faces as a sorority sister who finds her self stuck on campus for Christmas. Along with her sisters played by Katie Cassidy, Mary Elizabeth Winstead (Final Destination 3), Lacey Chabert (Party of Five) and their house mother Mrs. Mac (Andrea Martin, star of the original Black Christmas), she is exchanging gifts and trading stories when a strange phone call sets off a series of horrifying deaths.

It seems that the girls sorority house was once the home of a serial killer who killed and ate his mother on Christmas day; some 20 years earlier. Now, having escaped from a mental institution, Billy (Robert Mann) has come home and is ready to make the sisters his new family. Billy isn't alone, the daughter he had by his own mother is also home to get in on the carnage.

It's a creepy idea but in execution, Black Christmas is little more than a collection of horror movie cliches. Nubile flesh is modestly displayed. Girls run upstairs when they should run outside. Cops are incapacitated and the killers make their murders more elaborate and gruesome when a simpler approach might save some time and work more effectively.

I was surprised to find this collection of cliches was directed by Glen Morgan who with his producing partner James Wong worked on the X-Files TV show and created the clever, if over done, Final Destination series. Morgan's direction of Destination 1 & 3 was, at the very least witty, if not all that frightening. Going for classic slasher movie scares in Black Christmas, Morgan loses the wit in favor of more blood. He should have stuck with his wits.

The cast of Black Christmas reads like the rejected casting for the WB teen drama One Tree Hill. Michelle Trachtenberg, former Harriet The Spy and Buffy The Vampire Slayer alum, Lacey Chabert, the forgotten member of the Party of Five cast, Mary Elizabeth Winstead, star of Final Destination 3 and....nothing else, and Oliver Hudson who knows his way around a teen drama, he guest starred on Dawson's Creek as a wrong side of the tracks bad boy.

This Clearasil approved cast is pleasant to look at but their acting leaves much to be desired. Not that Black Christmas calls for much acting beyond run, scream and die painfully. Though the film does carry an R-rating, the fresh faced cast is not called upon for the kind of nudity that might give a slight erotic charge to all of the carnage. There are glimpses of a naked back in the shower, but only hints of the kind of exposure we are used to in the slasher genre.

Black Christmas pales in comparison to the creepy 1974 original, though that film isn't all that great either. Too weak kneed for a typical exploitation film, but too bloody for the dull PG-13 lot that has been stinking up the horror genre, Black Christmas inhabits an unhappy middle-ground between enjoyable crap and just plain crap. Any less interesting and Wes Craven would have slapped his name on it as producer.

Movie Review The Good Shepherd

The Good Shepherd (2006)

Directed by Robert DeNiro 

Written by Eric Roth

Starring Matt Damon, Alec Baldwin, Michael Gambon, Joe Pesci, Eddie Redmayne 

Release Date December 22nd, 2006

Published December 21st, 2006

Playing a super spy has been great for Matt Damon's career. As secret agent Jason Bourne, Damon has found world wide stardom and massive blockbuster returns. Now for his latest super spy role, Damon goes an entirely different direction. As Edward Wilson the protagonist of The Good Shepherd, Damon helps track the founding of the Central Intelligence Agency and the rise of real life spycraft.

With no karate moves, or even a gun, Damon crafts yet another exceptionally watchable spy character; though not one likely to be sequelize.

Edward Wilson's (Matt Damon) initiation into the spy game was heartbreaking. Wilson was approached by an FBI agent (Alec Baldwin) and informed that his favorite professor (Michael Gambon) was a Nazi sympathizer. Using his trusted position in the professors inner circle, Wilson attended a party with the professor and a Nazi intelligence officer during which Wilson steals the evidence necessary to hang his mentor.

Of course were you to believe any of what you see in the spy game, you are not really much of a spy. Robert De Niro's unique, sometimes breathtaking, always absorbing spy drama The Good Shepherd is filled with twists and turns that will leave lesser audience members dazed and confused. With a complicated time shifting narrative, and a close to the vest, poker faced performance from Matt Damon, The Good Shepherd can, at times, seem impenetrable. Audiences willing to invest in the film's complications will be rewarded with one of the better spy pictures they've seen in a long while.

Charting the founding of the CIA with the fictional story of a man who became that institution's backbone, The Good Shepherd indulges in some spy cliches but justifies those cliches by acting as if this film invented them. Check the multi-layered double talk that Damon engages in throughout. If you are paying attention you might be able to decipher what the characters are saying. If however, your attention span doesn't allow for languid pacing and complicated scripting, you might want to sit this one out.

The Good Shepherd draws you in slowly and rewards you with a movie watching experience that is absorbing and almost hypnotic. Damon's performance is aloof but daringly so. His Edward Wilson is consistently duplicitous and frighteningly quiet and calculating. At the same time, the secretive nature of the character is seductive. He puzzles you with his elusiveness so that in the rare moment that we catch an emotion flash across his face; it nearly takes your breath away.

Robert DeNiro's direction of The Good Shepherd is precise without ever becoming mechanical. His warm, dark visual style works at  odds with a coldly efficient story. The Good Shepherd is classic, old school filmmaking, reminiscent of the kind of complex storytelling prevalent in the 60's and early 70's when movies weren't dominated by the need to satisfy younger demographics. This is a smart, adult minded movie that works at its own pace. If it drags in the middle; it's as much a function of the modern attention span as it is DeNiro's expensive form of storytelling.

The Good Shepherd is an absorbing, though slightly overlong, spy tale that features yet another career-making performance by Matt Damon. Robert DeNiro's direction is understated and underestimated. All of those years working with Scorsese have paid off in DeNiro's great eye and scene setting ability. And, thankfully, the story is as strong as the acting and direction.

The Good Shepherd needs a bit of a trim around the middle, but overall, this is an easy film to recommend. A smart, adult minded thriller with a classical sense of how to tell a story.

Movie Review Rocky Balboa

Rocky Balboa (2006) 

Directed by Sylvester Stallone

Written by Sylvester Stallone

Starring Sylvester Stallone, Burt Young, Antonio Tarver, Milo Ventimiglia 

Release Date December 20th, 2006

Published December 20th, 2006

When I first heard Sylvester Stallone was reviving the Rocky series I rolled my eyes and dismissed the idea as a desperate attempt by an aging star to save his flagging career. That, indeed, was the case. Stallone's career has been flagging for years with one disappointing film leading to another to eventually Stallone being unable to open his movies in theaters.

I wasn't the only dismissive skeptic. MGM, the company that holds the rights to the Rocky character, had no interest in another Rocky. It wasn't until Stallone raised the production capitol on his own that MGM agreed to release the film and now that film has been made and to the shock and amazement of many Rocky Balboa is more than just a star's desperate attempt to reclaim the spotlight.

Pretending that the last installment of the Rocky movies, one that found a brain damaged Rocky brawling in the streets with a younger, dumber fighter (played by real life boxer Tommy Morrison), this Rocky picks up the story with the champ running a successful restaurant in his old neighborhood in Philly. A Lot has changed but most devastatingly, Rocky's beloved wife Adrian has passed away.

Spending countless days visiting Adrian's grave and his nights commiserating with his pal Pauly (Burt Young), Rocky somehow gets it in his head that he's got something left in the tank for another fight. His decision to fight again happens to coincide with an ESPN video game stunt that pitted a virtual Rocky in his prime against the current world champion Mason 'The Line' Dixon (Antonio Tarver). Virtual Rocky wins the fight and this sparks interest in seeing Rocky get back in the ring.

Much of Rocky Balboa plays like Rocky's greatest hits. The training scenes have their usual grit and grunts. Bill Conti's score is soaring and inspirational and yes, Rocky is back on the steps running all the way to the top. This sounds like a negative criticism but I must say, as greatest hits go, these are pretty good ones. Think of it like this, you wouldn't turn up your nose at your favorite rock bands greatest hits, so why turn your nose up at Rocky's.

Sylvester Stallone stars in, wrote the screenplay, produced and directed Rocky Balboa and this one man movie company does quite an impressive job. Shooting on handheld digital, Stallone takes Rocky back to his low budget days and it's terrific how the handheld digital is so visually reminiscent of the original film. The big budget slickness of Rocky's 3,4 and 5 were part and parcel of the disgusting excess that took the once beloved character and made him a joke.

Of course,Rocky Balboa culminates with a big time boxing match and as in Rocky 1 and 2 this one doesn't disappoint. The fight between Rocky and real life boxing champ Antonio Tarver never resembles anything remotely like a real boxing match, but as a Rocky version of boxing; it's as rousing and invigorating as the two bouts with Apollo Creed that provided the crescendo of the first two Rocky movies.

The death of Talia Shire's Adrian provides the film with a powerful emotional punch. Adrian is arguably as iconic a character as Rocky, though Talia Shire was never properly honored for her work. This film is a beautiful love letter to Rocky's anchor, the one character who managed to maintain her dignity through the ever more ludicrous sequelizations of Rocky.

Is Rocky Balboa a cynical, last gasp at stardom by an aging action hero desperate for the spotlight? Yeah, maybe a little. But, surprisingly, Rocky Balboa is also a well told story that takes advantage of our nostalgia for a beloved character to tell a pretty engaging and dramatic story. Most of all the film is a reminder of why we fell in love with this character and it leaves us with the memory of Rocky that was taken from us by the goofiness of the other sequels. For that reason alone Rocky Balboa is worth the price of a ticket.