Moulin Rouge 9/10

Moulin Rouge (PG-13) 2001
Reviewer’s Tilt (5)
Musical-127min
Special DVD Features worth a look-Extended scenes

This is not your grandfather’s musical. Baz Luhrmann, the inventive director behind such movies as “Strictly Ballroom” and “William Shakespeare’s Romeo and Juliet” brings his creative juices to bear on the notorious Parisian dance hall. Set a century ago, the plot revolves around Christian (Ewan McGregor), a would be writer with towering aspirations and few prospects. Along the way, he teams up with Henri de Toulouse-Lautrec (John Leguizamo) and a band of bohemians. The plan to buffalo Christian’s way into a paying gig at the Moulin hits a snag when Christian spies the impossibly fetching, and hopelessly unattainable courtesan Satine (Nicole Kidman) performing at the theater.

Dying to resuscitate his dying venue, the theater’s cunning impresario Sidler (Jim Broadbent) marshals Christian, Lautrec, Satine, and the roving band of bohemians to impress the theater’s last hope of funding, the Duke (Richard Roxburgh). The Duke, of course, is interested in nothing other than Satine’s baser talents. With more than a passing nod to Jacques Offenbach's Orpheus in the Underworld, the characters all maintain a pretense, to forward their own aspirations. Do not look for any unusual twists--the story is pedestrian. What is new, and what makes the movie so endearing, is its presentation. Luhrmann repackages 70’s and 80’s standards in millennial wrapping and transplants some of the more famous hooks directly into the screenplay toward rewarding ends. Luhrmann also enlists the talents of director of photography, Donald McAlpine and editor Jill Bilcock. These two are true symbions, anticipating each other’s next move like professional dancers, creating some rather stunning celluloid.

Luhrmann’s wife, Catherine Martin shines through her magical production and costume design. Kidman and McGregor survive the duets with their honor intact, but just barely. They are good enough to get the job done, but not so good as to distract from the experiences. Criticized for its frenetic pacing and MTVesque editing, Moulin Rouge creates a conscience, rather than a parable. It would be a simple task to grab at its flaws as if they were loose threads and pull the movie apart at the seams. It is a little more difficult, but infinitely more rewarding, however to fall into the arms of this devilish endeavor and let it carry you along its sound and vision of love and ribaldry. Luhrmann speaks to his audience through Satine “I make men believe what they want to believe" Moulin Rouge is filled with all the right glitz, glamour, love and tragedy . . . but you still have to believe.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (DTS 5.1 Surround), (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
Extras: Production commentary by Baz Luhrmann, Catherine Martin, and Don McAlpine, Writing commentary by Baz Luhrmann and Craig Pearce, 8 behind-the-scenes branches, HBO's making-of featurette "Behind the Red Curtain", 5 star featurettes, earlier drafts of screenplay, 6 extended scenes, 4 re-cut dance sequences, interview with John "Cha Cha" O'Connell and Caroline O'Conner, dance pre-shoots, 3 multi-angle dance sequences, 2 music videos, design and marketing gallery, Easter Eggs, trailers, live MTV performance of "Lady Marmalade”.

The Big Kahuna 8/10

The Big Kahuna (R) 2000
Reviewer’s Tilt (10)
Adapted Play -91min
Special DVD Features worth a look-None

Virtue is more to be feared than vice,
because its excesses are not subject to
the regulation of conscience.
-Adam Smith

What a premise—Samuel Beckett referees a cage match between Adam Smith and Jesus Christ in a Hospitality Suite in Wichita. Well, not quite. The Big Kahuna is ambitious, however, asking questions such as: What is the meaning of life? Could it be that our simple souls and meager minds are incapable of grasping that life is entirely devoid of meaning? Are capitalism and religion merely our futile attempts to imprint order and meaning onto our lives? First-time director John Swanbeck examines these questions in his big-screen adaptation of Roger Rueff's play, Hospitality Suite. The premise is fantastic, but the execution falls a little short.

Kevin Spacey plays Larry, the consummate salesman, dedicated, honest and a certified “closer.” Danny DeVito plays Phil, an aging, divorced salesman, reexamining his erstwhile understanding of the meaning of life. Peter Facinelli plays Bob, the new guy, recently married, born again and excited about his job. Although their performances are fine, neither Spacey nor Facinelli deliver the internal fervor required of their characters. DeVito, however, steals the show, delivering one of his finest performances ever, and resetting the bar in the “less is more” category. The story evolves in the small Hospitality Suite where the three salesmen for an industrial lubricant company, are on a mission—to land the “Big Kahuna.”

The Big Kahuna is the president of one of the largest manufacturers in the Midwest, and landing his account will make them all heroes. The goal is to draw the Big Kahuna to a reception in their suite and glad hand him into giving them the account. As events conspire against them, they begin to confront each other, chipping away at each other’s most firmly held beliefs. Larry and Bob pit economics against religion, while Phil, the omniscient presence, subtly reveals the true meaning of life. Phil uses scripture, parable and example to explain that religion, economics and all other “Big Kahunas” are red herrings—rationalizations and distractions to avoid accepting the meaninglessness of life. Phil explains that accepting this reality is a seemingly impossible burden, but is the true mark of character. On we plow.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Trailer, recommendations.

Who’s Afraid of Virginia Woolf? 10/10

Who’s Afraid of Virginia Woolf? (NR) 1966
Reviewer’s Tilt (10)
Adapted Play-131min
Special DVD Features worth a look-None

Before directing Catch-22 and The Graduate, Mike Nichols made his big screen debut directing this adroit adaptation of Edward Albee’s play “Who’s afraid of Virginia Woolf?” Nominated for thirteen, and winner of five, Academy Awards, this dark tale centers on history professor George (Richard Burton), and his wife Martha (Elizabeth Taylor), daughter of the college president. At first George and Martha appear to be the average Ozzie and Harriet, an aging, well-adjusted, educated couple, comfortable with their lives and their love. George and Martha quickly shatter this illusion, as they return from a faculty cocktail party, to exchange a caustic barrage of verbal barbs. Just as quickly, however, the couple turns witty and civil when the young new biology professor Nick (George Segal) and his shy, but pretty wife Honey (Sandy Dennis) stop by for a nightcap. Unfortunately for Nick and Honey, the sardonic exchange does not disappear, it merely changed guise. Soon Nick and Honey find themselves helpless pawns in the elder couple’s sick-witted exchange.

Throughout the remainder of the movie, George and Martha dance their finely choreographed, oft-rehearsed dance of despise. The two alternate the lead, alternately dishing out and enabling the abuse, but they never miss a step. Thankfully, writer Albee’s sublime play translates to the big screen almost unadulterated. Taylor and Burton deliver his lines with great force and impeccable timing. At one point George proposes “Now that we're through with Humiliate the Host...and we don't want to play Hump the Hostess yet...how about a little round of Get the Guests?” This provides some idea of the precarious twist of uncomfortable wit that drives the action from start to finish. Albee’s stellar writing notwithstanding, the real star of this film is Taylor and Burton’s alchemy, converting Albee’s words into cinematic gold.

Ok, I will grant you that playing a pair of aging, drunk, selfish lovers may not have been much of a stretch. Both actors, however, deliver their lines with the chilling reality of a serial killer describing his most gratifying slaying. Often unpleasant and disturbing, this film never allows you to relax or look away. Simultaneously seamlessly smooth, and ingeniously rocky this is not a “feel good” movie. “Who’s Afraid of Virginia Woolf?” is, however, a memorable film that will stick with you for years to come.

Format: Black and White, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Production notes.

To Die For 8/10

To Die For (R) 1995
Reviewer’s Tilt (8)
Dark Comedy-106min
Special DVD Features worth a look-None

“To Die For” is a satirical look at media’s fascination with the sensational. Instead of descending into farce, director by Gus Van Sant and writer by Buck Henry add a keen edge to this satire. Based on Joyce Maynard's novel, To Die For follows Suzanne Stone Maretto (Nicole Kidman) as she attempts to ply her spectacular looks into a career as the next Jane Pauley. Susanne’s mantra is “What's the point of doing something good if nobody's watching.” Despite her blinding ambition, Susanne finds it difficult to parlay a small mind and a dearth of talent into a gig as a big time television reporter. Her lack of talent and the lack of stories in her small town conspire to keep her out of the limelight. Suzanne finally decides to muster all of her wiles, cunning, ambition and amorality to create her own opportunity.

Borrowing a trick from a famous female reporter, she lands a job as a local weathergirl. Everything is looking up, until Susanne learns her husband Larry (Matt Dillon) wants a baby. Terrified over what a baby would do to her incredible figure, she hatches a plan to simultaneously save her physique and launch her career. Susanne enlists three troubled teenagers Jimmy (Joaquin Phoenix), Lydia (Alison Folland), and Russell (Casey Affleck) to film a documentary. Leveraging the teens’ hidden desires, she uses sex, friendship, and compact discs to convince them to kill Larry. If all goes right, she should have her story and be able to leave her small life in a small town behind.

Fortunately, Larry’s sister Janice (Illeana Douglas) uses her family’s mafia ties to protect her oblivious brother. Although Susanne succeeds in immortalizing her beauty, she never realizes the error of her ways. While the entire cast turns in incredible performances, Kidman shines as the personification of immorality and drive. Van Sant and Henry also hit their marks precisely, conspiring to simultaneously make you laugh at the media, and leave you cringing that the story may be more empirical than satirical. More importantly, they bear witness to the destructive impact the blurred line between news and entertainment has on our children and our society.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Stereo), (Dolby Digital 5.1), French (Dolby Digital 2.0 Stereo)
Extras: Trailer.

Mean Streets 8/10

Mean Streets (R) 1973
Reviewer’s Tilt (8)
Drama-112min
Special DVD Features worth a look-None

Sandwiched between the release of “The Godfather” in 1972 and “the Godfather II” in 1974, Martin Scorsese’s Mean Streets chronicles the lives of small time hoods in New York City. Scorsese co-wrote the screenplay and enlisted the talents of relative unknowns, Harvey Keitel and Robert De Niro, to play the lead roles. Scorsese’s Charlie Cappa Jr. (Keitel) is the conflicted nephew and number runner of mob boss Giovanni (Cesare Danova). Johnny Boy is the volatile punk who once “took a beating” for Charlie. Out of loyalty and compassion, Charlie carries more and more water for the cocky Johnny Boy, protecting him from the circling local loan sharks. Unfortunately, as Johnny Boy’s debt to one particular loan shark grows, so to does Johnny Boy’s bravado and self-destructive behavior. Complicating matters is Charlie’s love for Johnny Boy’s epileptic cousin Teresa (Amy Robinson).

In true Scorsese style, Mean Streets is a semi-autobiographical snapshot of New York’s “Little Italy.” Charlie’s upbringing imbibes him with the conflicting codes of the Mafia and Catholicism. Charlie knows, penance is done on the streets and at home, not silently in a church. He knows he must do penance for every bad deed, but knows penance is not enough; he must change his life. Throughout the movie red overtones and flames foreshadow that Hell awaits sinners like Charlie. Charlie sticks his hands directly into the flames as penance and a reminder of the damnation that awaits him if he does not reform. Coming to terms with his mortality and guilt, Charlie intervenes on Johnny Boy’s behalf, seeking to save Johnny Boy’s physical self and his spiritual self in the process. Keitel, De Niro, Robinson, Richard Romanus (as the loan shark), David Proval (as Tony), and Jeannie Bell (as Diane) all provide stunning performances. Scorsese himself even does a passable job as a Mafia hit man.

Overall, Mean Streets provides fine acting, incredible camera work, great music and many flourishes of avant-grade direction, to back up the action. Although the screenplay is a little rough and unbalanced, nearly every Mafia film since takes away some small part of this film and makes it its own. Stunning in its day, and wearing the test of time quite well, Mean Streets is a classic in the truest sense of the word.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Cast bios, trailer.

Made 6/10

Made (R) 2001
Reviewer’s Tilt (9)
Action-94min
Special DVD Features worth a look-Alternate Scenes

Swingers Jon Favreau and Vince Vaughn team up again to try to recreate some of the onscreen chemistry of their earlier collaboration. This time Favreau is producing writing directing and acting, while Vaughn acts and co-produces. With more than a nod to Scorsese’s “Mean Streets” Favreau plays blue collar mason Bobby, trying unsuccessfully to become a successful boxer. Bobby and his stripper girlfriend Jessica (Famke Janssen) also work bachelor parties for L.A. mobster Max (Peter Falk). Bobby is the classic “good guy,” trying to get out of the business and make a family with Jessica and her daughter Chloe (Makenzie Vega). When Max offers Bobby the opportunity to do “a job” in New York, Bobby sees his opportunity to make a better life for Jessica and Chloe.

Just like Scorcese’s Charlie, Bobby is laden with an oblivious, but rather obnoxious friend Ricky (Vaughn). Over his better judgment, Max reluctantly agrees to send Ricky along. Lacking even a modicum street smarts or savvy, Ricky’s mouth quickly lands the two in trouble with their NY contact, gangsta Ruiz (Sean “P Diddy” Combs). Vaughn drives a fantastic chemistry between the actors, generating several amusing reactions to his character and peppering the film with some grins. Deep down Ricky is truly a good guy, but his mudflap model T-shirt advertises his complete lack of empathy. He likes everybody; he just cannot understand why nobody but Bobby likes him.

Vaughn actually plays the character too well, annoying not only the other characters, but the audience as well. Adding further distraction is the film’s vacillation from a comedy, to a buddy picture, to a love story to a mob movie, failing to represent any genre particularly well. Impressively shot for a mere $5 Million, the great acting and camera work simply cannot overcome the underlying weakness of the story. I recommend this film only to the most die-hard Swingers fans, and only then if they are in desperate need of a new catch phrase or two. You know how I do.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround)
Extras: Favreau and Vaughn commentary, deleted footage, alternate scenes, music cuts, music video, production info, cast and crew bios, trivia and fact track, scene edit workshop, Featurettes: "Independent Filmmaking in America," "Gangster Lifestyle" and "Making the 'Made' Music," trailer, teaser trailer.

Midway 8/10

Midway (PG) 1976
Reviewer’s Tilt (5)
War-131min
Special DVD Features worth a look-Making of Midway Featurette

Crank up the big screen and plug in the subwoofer; this one is big and loud. Even if your home theater cannot quite replicate the original “Sensurround” experience and the intentionally graininess appears blurry on your new plasma screen, Midway will still leave your heart thumping. Recreating the most pivotal naval battle of WWII, Midway follows United States forces as they track Japan’s elusive fleet of aircraft carriers six months after the attack on Pearl Harbor. Fate and luck play heavy roles in shifting the advantage, making these true events even larger than life. Told through the fictional character of Captain Matthew Garth (Charlton Heston), the film explores the personal, political and human impact of this decisive victory. Despite being over two hours long, the movie moves quickly, sacrificing neither coherence nor plausibility. The reason this great story took over three decades to hit the big screen was its sheer scale.

Integral to the story are the interaction of several aircraft carriers, dozens of support ships and hundreds of aircraft, many of which were no longer even in existence. To overcome these logistical problems, the film interweaves war footage and scenes from other movies, adding epic scope and realism to the story. Realizing you are watching actual lives being lost adds both a soberness and somberness to the historical tale. The film does a fine job of balancing United States and Japanese jingoism, while highlighting the racial tension of the time. Midway also boldly explores the United States’ deplorable treatment of Japanese Americans during the war.

Despite chronicling one of the United States’ most impressive victories, the film does not fall victim to Japan bashing. Instead, the film portrays the Japanese as intelligent, resourceful and patriotic. The screenplay was so objective in its portrayal of the Japanese, that it was able to land Toshirô Mifune in the role of Admiral Isoroku Yamamoto. The quality and the objectivity of the storyline, led to the film playing extremely well even in Japan. In addition to Heston and Mifune, the film boasts the talents of Henry Fonda, James Coburn, Hal Holbrook, Robert Mitchum, Pat Morita, Glenn Ford, and Robert Wagner. Look closely and you might even catch a glimpse of burgeoning newcomers Tom Selleck and Erik Estrada.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Featurettes: "They Were There," "The Making of Midway," John Williams’ score, Sensurround, Additional scenes shot for television, photos, trailer, production notes.

Saving Silverman 4/10

Saving Silverman (R) 2001
Reviewer’s Tilt (8)
Comedy-95min
Special DVD Features worth a look-None

Saving Silverman boasts lots of jokes, but little humor. There are some very funny, sophomoric and crude jokes; they just do not happen to appear in this movie. Actually, having watched the DVD, I had to go back and rewatch the trailer to make sure all of the trailer scenes were in the movie. I just could not believe the previous ninety-five minutes had contained thirty seconds of humor. Kudos to the trailer team; the movie does not do your efforts justice. The story involves Darren Silverman (Jason Biggs) being swept off his feet and away from his buddies, by the very fetching Judith (Amanda Peet). While the buddies J.D. (Jack Black) and Wayne (Steve Zahn) initially support Silverman’s fling, they quickly become concerned about Judith’s darker side. Finding themselves not up to the task, they enlist their old ex-con, sociopathic coach (R. Lee Ermey) to set things straight.

There are some tepidly humorous references to Neil Diamond, and Black’s Tenacious D cohort Kyle Gass is very amusing as a forlorn lounge lizard, but that is all there is. The story has potential, it just falters under the paralyzing dead weight of an unfunny script. Unfunny movies are a dime a dozen, but this one is a real travesty of wasted talent. I understand casting Jason Biggs and Steve Zahn, but it is simply selfish and unconscionable to waste the talents of Ermey and Black in a film this poor. While Black and Ermey perform admirably, these shiny nuts are simply not enough to make the remaining lump of excrement palatable.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Stereo)
Extras: Director commentary, deleted scenes; production info; Easter eggs, trailer.

Rififi 9/10

Rififi (NR) 1955
Reviewer’s Tilt (9)
Foreign-118min
Special DVD Features worth a look- Interview with Jules Dassin

Pay particular attention to the 9 Reviewer’s Tilt on this one. If you do not like black and white, foreign, noir, or bank robbery films, you will not like Rififi. Actually, I take that back, this movie is so good, even if you hate all of those genres, you might like it despite yourself. Blacklisted director Jules Dassin moved to France to make this criminal masterpiece. Filled with ex-cons, hardened criminals, tough guys, sultry prostitutes, smoky songstresses, weasely jewel thieves and strong women, Rififi stands as the definitive film noir. All every-guy-has-a-job-to-do heist pictures, from Kubrick’s The Killing, to last year’s Ocean’s Eleven, take a page out of Rififi’s playbook. Quentin Tarantino is such a fan of this picture, he even borrowed some of its atmosphere for Reservoir Dogs. Despite their ubiquity in other films, however, Rififi’s low-tech, well-orchestrated scenes maintain their freshness and honesty. Their realism makes you forget you have seen it all before, and makes you realize this is where the scenes were born, and why they never quite fit in any other picture.

The action revolves around a meticulously planned jewel robbery. Aging ex-con Tony le Stephanois (Jean Servais) yearns to celebrate his recent parole with one last big heist. After smacking his girlfriend around, he enlists friends and fellow criminals Jo (Carl Möhner) and Mario (Robert Manuel) to assist with the thievery. Cesar le Milanais, a skillful Italian safecracker (Director Jules Dassin) rounds out the team. While the story does involve gambling, kidnapping, beatings and killings, its crown jewel is the heist itself. Devoid of dialogue and high tech gimmicks the robbery itself relies on masterful acting, direction and cinematography to engross the viewer. Although the story becomes a little melodramatic near its conclusion, Rififi stands leagues above its imitators, stunning audiences with its no-holds-barred tough guy tale.

Format: Black & White, Full Screen, Closed captioned.
Sound: French (Dolby Digital Mono)
Extras: Interview with Jules Dassin, production stills, design drawings, trailer

Things You Can Tell Just By Looking at Her 4/10

Things You Can Tell Just By Looking at Her (PG-13) 2000
Reviewer’s Tilt (4)
Drama-109min
Special DVD Features worth a look-None

Miss this one at the theaters? Do not feel bad, so did everyone else. Oh yeah, a few artsy types frequenting art houses in San Francisco might have had the pleasure, but for the rest of us, the experience is strictly relegated to the small screen. Other the short art house runs, the film went straight to Showtime and DVD. Although the direct-to-video route is typically reserved for bad, low budget animation and slasher flicks, this film is neither, actually winning awards at both Cannes and Sundance. Borrowing the talents of Holly Hunter, Glenn Close, Cameron Diaz, Amy Brenneman, Calista Flockhart and Kathy Baker, each for a one week stint, “Things You Can Tell” parlays a miniscule $2 Million budget into an engaging tale, interweaving the lives of seven, very different women. Hunter plays a single bank manager, living the lie that her adulterous affair is not eroding her soul. Close, is a doctor, seeking the warmth and companionship her aging mother cannot provide. Brenneman and Diaz play single sisters, one overprotective and the other blind, but incredibly resilient. Flockhart plays a woman witnessing cancer slowly and painfully steep the life out of her lover (Valeria Golino). Kathy Baker plays a divorced mother enchanted by her vertically challenged neighbor, played skillfully by Danny Woodburn.

The stories never shock or astound, but simply engage the viewer in the ebbs and flows of the complex lives of women. Never losing sight of the premise that “Only a fool would speculate about the life of a woman” the film uncovers many subtle similarities and several distinct differences in the decidedly diverse lives. Make no mistake; this is first and foremost a movie for women. It just so happens to be told so well, the rest of us cannot help learning a thing or two about how little we actually know about the women that surround us.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 2.0 Stereo), Spanish (Dolby Digital 5.1)
Extras: Trailer.

Dark City 6/10

Dark City (R) 1998
Reviewer’s Tilt (9)
Sci-Fi-100min
Special DVD Features worth a look- Commentary by Roger Ebert

In a classic case of sacrificing the forest for some very meticulously crafted trees, Writer/Director Alex Proyas draws us into his eerily noir universe. The acting is great: Rufus Sewell is haunting, Jennifer Connelly is mesmerizing, William Hurt is stunning and Richard O’Brian is positively inhuman. The acting takes a back seat only to the great direction and masterful camera work. The problem lies with the story. Obviously, every Sci-Fi flick requires a certain suspension of belief. Dark City, however, sets us up, and then refuses to play by its own rules. Proyas gives us beings with the power to create completely furnished buildings with their minds, but for some reason, they have to create a candelabra and physically place it in the building. Why it the candelabra different than the chandelier, or the flatware that came with the building? Roger Ebert explains this in his commentary, but the explanation does not make the scenes any less distracting.

Keifer Sutherland unconvincingly plays a doctor with an affected speech pattern, which leaves him sounding like a cross between Peter Lorie and “Stevie” from Malcolm in the Middle. The doctor’s daily chores would appear to take months, but are evidently completed in a matter of hours every night. The worst part, however, is the dues ex machina conclusion, manufacturing a hero from whole cloth. Throughout the film, the existentialist in me yearned to be drawn in, projected, into the film. I wanted to feel “How do I know this is not happening to me, right here, right now.” Needless McGuffins and numerous plot flaws, however, made this impossible. This is not a bad movie; the tragedy is that it could have been a true masterpiece. Watch Dark City for its acting, set designs, special effects and attention to detail; just remember to check reason at the door.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 5.1)
Extras: Director, co-writer, cinematographer and production designer commentary. Commentary by Roger Ebert, production notes, Metropolis comparison, set designs, Neil Gaiman analysis, interactive game, and trailer.

O Brother, Where Art Thou? 8/10

O Brother, Where Art Thou? (PG-13) 2000
Reviewer’s Tilt (8)
Comedy-106min
Special DVD Features worth a look- Coen brothers interview.

After The Big Lebowski, I was afraid that the Coen Brothers had lost their mojo. O Brother has reaffirmed my faith in the talented twosome. Although they base the movie on Homer's Odyssey, the Coen Brothers claim never to have read the underlying work. Strange as it may seem, however, this is not necessarily a weakness. Allusions to the Greek tragedy include Homer’s title character and wife, lotus-eaters, sirens, Helios’ crazed bovine massacre and the blind seer Tiresias. While there are additional, more obscure references, these are, thankfully, more of the “Nudge, nudge, wink, wink” variety, unassociated with any critical plot device. The tale involves three erstwhile chain gangers, George Clooney, John Turturro and Tim Blake Nelson, desperately seeking a multimillion-dollar fortune.

Along the way, they encounter a Faustian musician, some luscious lovelies, a brazen bank robber and an accomplice with an unfortunate lack of forks in his family tree. Astute acting neatly complements the crisp and impossibly witty dialogue. The cinematography is splendid and the music is magical. As with most Coen brothers’ movies, and Homer's Odyssey as well, the start and end of the tale take a back seat to the intervening adventure. Sit back and enjoy the trip, as overzealous analysis and Draconian attention to logic will most certainly spoil all the fun.
Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (DTS 5.1 Surround), (Dolby Digital 5.1)

Extras: Director, writer and cast interviews, making of featurette, "Painting With Pixels" featurette; script/storyboard/scene comparison; "I Am A Man Of Constant Sorrow" music video; trailer.

Killing Zoe 7/10

Killing Zoe (R) 1994
Reviewer’s Tilt (9)
Action-96min
Special DVD Features worth a look- None

This debut film by Director Roger Avary won him best film awards at Italy's MystFest and Japan's Yubari International Film Festival as well as a Prix Tres Special award at Cannes. Often compared to buddy Quenten Tarantino’s Reservoir Dogs, Killing Zoe does not include the complex story lines and jumbled temporal flow of a true breakneck film. This is not a criticism, merely a description. Killing Zoe is a manic French bank heist; a kind of Rififi on acid. Like many breaknecks, however, Killing Zoe revolves around good people involved in bad situations. Zed (Eric Stoltz) is an American safecracker who meets up with the captivating French prostitute Zoe (Julie Delphi). Although Zed is a criminal, he does not want to actual hurt anyone and although Zoe is a prostitute, she only turns tricks occasionally to pay her way through art school. While this “good in the bad” may be a little hard to swallow, it is easy to understand that this is how these characters actually perceive themselves, how everyone perceives themselves.

Even the worst of us rationalize our actions as a product of circumstance. In the film, Zed travels to Paris to meet up with his childhood criminal cohort Eric (Jean-Hugues Anglade) to pull off a Bastille Day bank heist. Zed, Eric and a miscreant mob of bank robbers, including Spandau Ballet's Gary Kemp, spend the first half of the film planning the robbery. This “planning” involves ten minutes of pouring over bank blueprints and several days of pushing the envelope of human opiate toxicity. Although this half of the film introduces the characters, and sets up their relationships, it is far too long and moves at an excruciatingly slow pace.

Fortunately, the second half of the film pushes the pedal to the metal, with incredible pacing, great presence and a refreshing lack of flaws. Not for the squeamish, the final half of the film expertly weaves action, violence, suspense, drama and dark humor into an impressive tapestry. The story is tense, the acting superb and the action lively. If you can stay awake past the halfway point, and do not mind a little salacious violence, Killing Zoe has a lot to offer.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround)
Extras: Cast and crew info, production notes, trailer.

Rollerball 7/10

Rollerball (R) 1975
Reviewer’s Tilt (8)
Sci-Fi-125min
Special DVD Features worth a look- Jewison commentary

The year is 2018 and corporations have supplanted traditional governments. The corporations stifle individual achievement, and promote team effort, driving the point home with the bloodsport Rollerball. Rollerball is a violent cross between roller derby and ultimate fighting, played on a sloped circular rink with roller skates, motorcycles and a sold metal ball. A microcosm of the corporate environment, Rollerball rewards teamwork and punishes individual accomplishment. Against the odds, however, one athlete, Jonathan E. (James Caan) rises above his fellow teammates, unwittingly undermining the collective philosophy and becoming an inspiration to the proletariat.

Enter corporate head Bartholomew (John Houseman), keen to dial up the violence and vindicate the corporate philosophy. The conclusion is predictable, but the stunts are engaging and the special effects impressive, having been accomplished without any GCI. Ironically, director Norman Jewison uses this rough and tumble vehicle to vilify gratuitous violence and warn of the dangers of capitalism run amok. The film sanitizes the blood from the gore, focusing more on the cerebral carnage being done outside the rink.

The story plods a little, missing several opportunities to build suspense and create a truly creepy futuristic vision ala A Clockwork Orange and Metropolis. Rollerball is a valiant effort, but its failure to build suspense or move the action, along undermine a story with much unrealized potential.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
Extras: Director commentary, trivia, behind the scenes featurette, interactive game, trailer.

Killing Zoe 7/10

Killing Zoe (R) 1994
Reviewer’s Tilt (9)
Action-96min
Special DVD Features worth a look- None

This debut film by Director Roger Avary won him best film awards at Italy's MystFest and Japan's Yubari International Film Festival as well as a Prix Tres Special award at Cannes. Often compared to buddy Quenten Tarantino’s Reservoir Dogs, Killing Zoe does not include the complex story lines and jumbled temporal flow of a true breakneck film. This is not a criticism, merely a description. Killing Zoe is a manic French bank heist; a kind of Rififi on acid. Like many breaknecks, however, Killing Zoe revolves around good people involved in bad situations. Zed (Eric Stoltz) is an American safecracker who meets up with the captivating French prostitute Zoe (Julie Delphi). Although Zed is a criminal, he does not want to actual hurt anyone and although Zoe is a prostitute, she only turns tricks occasionally to pay her way through art school. While this “good in the bad” may be a little hard to swallow, it is easy to understand that this is how these characters actually perceive themselves, how everyone perceives themselves.

Even the worst of us rationalize our actions as a product of circumstance. In the film, Zed travels to Paris to meet up with his childhood criminal cohort Eric (Jean-Hugues Anglade) to pull off a Bastille Day bank heist. Zed, Eric and a miscreant mob of bank robbers, including Spandau Ballet's Gary Kemp, spend the first half of the film planning the robbery. This “planning” involves ten minutes of pouring over bank blueprints and several days of pushing the envelope of human opiate toxicity. Although this half of the film introduces the characters, and sets up their relationships, it is far too long and moves at an excruciatingly slow pace.

Fortunately, the second half of the film pushes the pedal to the metal, with incredible pacing, great presence and a refreshing lack of flaws. Not for the squeamish, the final half of the film expertly weaves action, violence, suspense, drama and dark humor into an impressive tapestry. The story is tense, the acting superb and the action lively. If you can stay awake past the halfway point, and do not mind a little salacious violence, Killing Zoe has a lot to offer.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround)
Extras: Cast and crew info, production notes, trailer.

The Tao of Steve 9/10

The Tao of Steve (R) 2000
Reviewer’s Tilt (6)
Romantic Comedy-87min
Special DVD Features worth a look- Commentary track

American’s are great. We are so engulfed in slacking off, that we bring every brain cell to bear on the matter of increasing the efficiency of our lives to maximize our slacking. In the Tao of Steve, erstwhile lothario Dex (Donal Logue) has become horizontally challenged in the ten years since college, but has not had any less trouble courting the fairer sex. Since his school days, Dex, no less the libertine, has honed his skill into a philosophy of life—the Tao of Steve. Having little to do with outward aesthetic the philosophy focuses on projecting disinterest
in the pursuit of women. Dex has perfected his approach to the point where it does not matter how fat, slovenly, lazy or poor he becomes, the technique still works. A meeting with an attractive former classmate Syd (Greer Goodman), however, convinces Dex that there may be more to life. Dex becomes concerned that his philosophy may be dragging him away from true love and toward the hell that is his life of ennui. His conquests, being so easily taken, wind up being unfulfilling notches on a bedpost. He realizes that he is equally parts suave Don Juan and existential Kierkegaard, both of whom were so afraid of love that they died lonely and alone.

Dex’s catharsis leads him from the Tao of Steve to the Koan of Syd. He realizes that life is not an algorithm to be identified and solved, but an unmasterable experience, capable of dispensing love to those who succumb to it, and sorrow to those who attempt to conquer it. It is only when we stop trying to “solve” life questions and start “experiencing” life’s mysteries that we learn what it is “to be.” A little heavy on 90’s culture, pop references and impossibly witty existentialist exchanges, the film does exude a certain wit, due in no small part to the effortless delivery of its talented cast. Donal Loge, Greer Goodman and David Aaron Baker imbibe the movie with the effortless charm missing from most romantic comedies and indie films. The writing, complements of real life “Dex” Duncan North, director Jenniphr Goodman and her sibling, leading lady Greer Goodman, is crisp and lively, although, like my own, occasionally overwrought and pedantic. Despite the occasional wart, as lighthearted indie films go, this is one is one to take home to mother.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround)
Extras: Cast & crew commentary, bios, trailers.

Love and Sex 6/10

Love and Sex (NR) 2000
Reviewer’s Tilt (3)
Romantic Comedy-82min
Special DVD Features worth a look- None

The engaging talents and chemistry of Jon Favreau and Famke Janssen infuse this trite genre with a warm glow. Although the film also stars the talented Cheri Oteri, she has roughly the same screen time and number of lines as a rather ubiquitous cheese sandwich. Janssen plays Kate Wells, an attractive thirtyish single female, bouncing from one unhealthy relationship to the next. As a writer for the Cosmoesque magazine “Monique”, Kate turns in a how too on the Do’s and Don’ts of proper fellaciation. Tired of such tripe, Kate’s boss lays down an ultimatum: Kate can either turn in substantive piece on relationships within the next twenty four hours or she can clean out her desk. Kate sulks back to her desk to reflect on life lessons learned through her many failed relationships. From her twisted high school French teacher to the married man trying to recapture his fleeting youth, Kate waxes philosophic on the remote potential for permanence in any relationship. Analyzing her former suitors, Kate’s thoughts continually return to Adam Levy (Favreau).

Although ennui was the only flaw in their relationship, it was enough to start a rip that split the relationship in two. It is tough to portray a relationship going from giddy newness to irritating boredom over the course of forty minutes, but Favreau and Janssen do a phenomenal job. Kate focuses on the inevitable “no fault” stagnation of any relationship and incredible mutual effort necessary to keep it alive. She realizes no relationship can ever be as fresh as it first appeared. She realizes that with time comes complacency and accommodation. What she cannot see is that with time also comes a growth and a synergy, infinitely more powerful and lasting than any first encounter. This realization requires a maturity neither Kate nor Adam possess. Although physically mature, Kate and Adam are emotionally stunted, Kate because of her many unhealthy relationships and Adam because of a dearth of experience with the fairer sex. The two have fallen in and out of love before, but this time is different. The story follows their mutual introspection, seeking a maturity sufficient to sustain their relationship beyond the shiny newness. The story is trite, but thankfully does not debase itself with senseless male bashing or ridiculous plot twists. This film survives on the clever banter and Protean interaction between the lead actors. And sometimes, just sometimes, that is enough.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Movie synopsis, cast and crew info, trailer.

North by Northwest 7/10

North by Northwest (NR) 1959
Reviewer’s Tilt (8)
Suspense-136min
Special DVD Features worth a look- None

Classic Hitchcock aplomb tangles Roger O. Thornhill (Cary Grant) in a web of mistaken identity and international espionage. Grant, at his best as boring businessman Thornhill, enlists a single-minded focus to convince big time bad guys (James Mason and Martin Landau) that he is not the arch spy they seek. Thornhill hops and engages in a little pickle me tickle me with an attractive mystery woman (Eva Marie Saint). Love, suspense and intrigue track Thornhill across the country, culminating in a South Dakotan cliffhanger. The chemistry between the three main actors is pure magic. Grant is impeccably suave, Marie Saint is satisfyingly sultry, and James Mason is fiendishly evil. Hitchcock’s direction and Bernard Hermann's score provide the perfect backdrop for the talented trio.

The only flaw lies in the story itself. Somewhat slow moving, the real crime is the utter absurdity of it all. It is implausible that the mistaken identity portrayed in the movie would progress as far as it does. The problem is especially hard to follow in the case of Mason’s character that is supposed to be a brilliant spy. It is simply inconceivable that such a brilliant intelligence operative would be so easily duped, especially when Grant’s character will do anything to prove his true identity. Add this to the ridiculous 50’s in-car camera shots and the warts begin to become a little distracting. All in all, however, the good definitely outweighs the bad in this entertaining romp across Cold War America. I realize, of course, that giving this film anything less than an unmitigated 10 is pure heresy, so please forward all requests for my head on a pike directly to trout@bretttrout.com.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 5.1)
Extras: Photos, production info, Behind-the-scenes Featurette, Screenwriter commentary, trailer.

The City of Lost Children 10/10

The City of Lost Children (R) 1995
Reviewer’s Tilt (10)
Foreign-112min
Special DVD Features worth a look- Director/Actor Commentary

The City of Lost Children is a fresh twist on the artsy post apocalyptic genre. While dark and twisted, the film details entertaining characters interacting along an inspired storyline. The typical effects laden, post-apocalypse film contemplates the sad lot of its one-dimensional characters. By contrast, this film focuses on complex characters, transcending their squalid surroundings, in search of their own preconceptions of love, loyalty, honesty and happiness. The plot revolves around the slow, but good-hearted sideshow strongman “One” (Ron Perlman). One is searching for his kidnapped ward Denree (Joseph Lucien), secreted off to a hidden laboratory by Krank (Daniel Emilfork), a genetically flawed madman. Krank cannot dream, and must extract the pleasant dreams of children to stop his premature aging. One allies himself with nine-year old Miette (Judith Vittet), leader of a gang of orphan thieves. Together they set off on the Herculean task of rescuing Denree.

Along the way, the two encounter clones, murder, bottled dreams and some rather ingenious trained fleas. The sets, costumes (Jean-Paul Gaultier), CGI, cinematography, effects, direction, screenwriting and direction all gel perfectly into a milestone of movie making magic. Director Jean-Pierre Jeunet picks at the film on the commentary track, but most of his perceived flaws remain invisible to the viewer. The story is fresh, the acting superb, the costumes incredible, the sets stunning and the direction flawless. The film could easily be mistaken for collaboration between Federico Fellini, Terry Gilliam, Salvador Dali, Alex Proyas and the Wachowski brothers. The result is even more than the sum of its incredible parts. From the overlapping dialogue of the ruthless conjoined twins, to the hilarious expressions of the clones, to the deadpan brain in a tank, the film rivets the viewer with a precise mix of action, humor, suspense, horror and drama. In French with English subtitles, this dark glance is not for everyone, but for fans of the genre, The City of Lost Children is not to be missed.

Format: Color, Pan and scan, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Surround), Spanish (Dolby Digital 2.0 Surround)
Extras: Commentary by director Jean-Pierre Jeunet and Lead Actor Ron Perlman, Costume Design Gallery, Production Sketch Gallery, Trailer.

Citizen Kane 10/10

Citizen Kane (NR) 1941
Reviewer’s Tilt (8)
Drama-119min
Special DVD Features worth a look- Roger Ebert Commentary

You simply cannot make a movie like this. You cannot eliminate cuts in scenes. You cannot have everything in focus throughout the film. You cannot have the entire cast making a screen debut. You cannot make a movie attacking the most powerful man in the world. You cannot give a first time 25 year old director complete control over the entire process. Thank goodness no one told Director Orson Welles what cannot be done. Although not without flaws, Citizen Kane merits is legendary praise. From the revolutionary "deep focus' cinematography to the adroit use of overlapping dialogue, this film represents a landmark celluloid masterpiece. Kane (Orson Welles) is a young boy ripped from his mother's arms, ironically, as a result of newfound wealth. When Kane's mother's (Agnes Moorehead) land literally becomes a goldmine, she reluctantly abdicates motherhood to give her boy a taste of the well heeled.

Black and white imagery imparts a mythical aspect to the story. Huge props and seamless special effects impart wealth and grandeur to the entire film. Ostensibly a caricature of William Randolph Hearst, Kane is actually a composite of wealthy men who wield power in an almost childlike attempt to gain love and acceptance. Welles is a genius, but heavyweights Gregg Toland (cinematographer), Herman L. Mankiewicz (screenwriter), and Bernard Herrmann (composer) arguably bring their best efforts to bear on this picture. Add in the talents of Welles’ radio Mercury Theatre players, (including Joseph Cotten, Everett Sloane, and Agnes Moorehead) and you get a slight cut above simple genius. This film requires active participation on the part of the viewer, and the commentaries are invaluable to the neophyte. While not your typical bubble gum fare, this film rewards concentration with an experience that will last a lifetime.

Format: Black and White, Fullscreen, Closed captioned.
Sound: (Dolby Digital 2.0 Stereo)
Extras: Biographer Peter Bogdanovich Commentary, Roger Ebert commentary, original 1941 movie premiere, storyboard, rare photos, alternate ad campaign, studio and personal correspondence, call sheets and other memorabilia, trailer.

Face Off 3/10

Face Off (R) 1997
Reviewer’s Tilt (7)
Action-140min
Special DVD Features worth a look-None

Teaming action director John Woo with great casting and a new twist on an old story sounds great on paper. Unfortunately, the devil is in the details. Like most of Woo’s films, “Face Off” is designed more for visual, rather than cerebral stimulation. Woo does what he does best, stringing along a sequence of “over the top” action scenes with just the slightest nod to a cohesive storyline. The action scenes are well done, but not the spectacle one would expect from such an accomplished action director. The plot pits FBI agent Sean Archer (John Travolta) against criminal masterminds Castor and Pollux Troy (Nicolas Cage and Alessandro Nivola).

For those of you keeping score at home, Castor and Pollux, were the twin sons of the Roman god Jupiter, and were revered for assisting the Romans in battle. Archer’s search for Troy covers land, sea and air, well . . . almost air. In scenes only marginally shy of comic book hyperbole, Archer and Troy switch faces and take on each other’s lives. The film accepts and embraces the intuitive implausibility of the situation, through the use of wry one-liners and droll glances. The obliviousness of ambient characters to Travolta and Cage flowing in and out of character, however, greatly diminishes the dramatic impact of what is apparently intended as some form of modern soliloquy.

Most importantly, Woo fails to imbibe the films’ complex elements with much needed cohesiveness. Artistic flourishes, like a Judy Garland gunfight and taglines like Castor’s rakish “I could eat a peach for hours” are simply too few in number to overshadow trite fights, cliché dialogue and obvious plot development. Joan Allen, Gina Gershon and Dominique Swain temper the action with some sensitivity, just not enough to compensate for the film’s many flaws.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround), (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
Extras: None

The Wizard of Oz 9/10

The Wizard of Oz (G) 1939
Reviewer’s Tilt (5)
Musical-103min
Special DVD Features worth a look-Cast interviews

Regardless of whether you are a kid, a kid at heart, a friend of Dorothy’s, or just really really high, The Wizard of Oz has something for everyone. (For those of you in the last category, be sure to start the “Dark Side of the Moon” immediately after the third MGM lion roar). This is the tale of a young girl, Dorothy (played by a very talented 17 year old Judy Garland) who runs away from home, only to find herself lost in the surreal and magical land of “Oz”. There she meets an anthropomorphic Lion, a Tinman and a Scarecrow. The four team up to find the mythical “Wizard,” the only one, they feel, that can supply the missing pieces of their incomplete lives. Magic, deceit, kidnapping, death, flying monkeys and various show tunes menace the quartet while supplying life lessons to young audiences. Indeed, the only thing this film lacks is the vantage of a five-year-old to fill in the cracks and make it all seem real.

A “must see” for children, I recommend an adult viewing companion to avoid nightmares and inevitable therapy. Although innocuous on its face, only the Bunuel/Dali collaboration Un Chien Andalou can provide an adult some feel for the impact The Wizard of Oz has on the minds of young children. Although it could be the musical numbers that cause this film to linger in the dark recesses of a child’s psyche well into adulthood, it is more likely the classic battle of good versus evil that provides such a lingering finish. Devoid of any shade of gray, good and evil manifest themselves in many forms throughout the movie. The innocence of childhood simply magnifies this battle to apocalyptic proportion. The film concludes that God is a fake, and that it is nothing more than base Freudian insecurities that govern our lives. Pretty heavy stuff for the Power Ranger set.

If you cannot resurrect the five year old in you to watch this film, watch it with a five year old. Only through their eyes can you polish the flaws and feel the magic. If you never saw this film as a child, and have no children to view it through, it will still impress. It will simply not that which you take to your grave in a small dark recess of your mind.

Format: B&W and Color, Fullscreen, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital Mono), French (Dolby Digital Mono)
Extras: “Wonderful Wizard of Oz” and “Making Of” featurettes, musical outtakes, newsreels, cast interviews, script, recording sessions, vintage movie and cartoon clips, trailers.

Don’t Say a Word 4/10

Don’t Say a Word (R) 2001
Reviewer’s Tilt (7)
Action-113min
Special DVD Features worth a look-Actor Commentaries

If you had never seen any other suspense film, you might find Don’t Say a Word entertaining, not great, but entertaining. If you have seen at least one other suspense film, save yourself the four bucks. You have seen it before, albeit likely in the context of a much more plausible storyline. The plot here revolves around a gang of ruthless jewel thieves, bent on reclaiming their missing booty. Compounding the problem is that only a catatonic mental patient (Brittany Murphy) knows the whereabouts of the cache. The baddies hatch a plot to kidnap the daughter of the catatonic’s mild-mannered psychiatrist (Michael Douglas), to force him to draw the information out of his patient. There is a lot of action and some nice acting, but the film is crippled by a series of implausible contrivances segueing the ridiculous plot twists. As just one example there is a 98.5% probability that the random number the crooks seek would not have worked with the plot twist that leads them astray. Such unbelievable devices, hackneyed bits and plot flaws all converge toward a ridiculously contrived and ultimately unsatisfying finale.

Much like Director Gary Fleder’s earlier effort, Things To Do In Denver When You Are Dead, Don’t Say a Word ends up as nothing more than so much unrealized potential. The plot is an amalgam of dozens of other movies, so many in fact, that identifying them all would supplant this review. Lifting so much, so poorly, from so many other great films, leaves this film without its own identity. Rent one of the template Hitchcock movies instead. You will be glad you did.
Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (DTS 5.1 Surround), (Dolby Digital 5.1), Spanish (Dolby Digital 5.1)
Extras: Director interview and commentary, Commentaries by Michael Douglas, Sean Bean, Brittany Murphy, Famke Janssen and Oliver Platt, storyboards, production workshop, screen test, making-of featurette, cast and crew info, trailer.

All Quiet on the Western Front 8/10

All Quiet on the Western Front (NR) 1930
Reviewer’s Tilt (7)
War-130min
Special DVD Features worth a look-Production notes

Erich Maria Remarque’s story remains as impressive an achievement today as it was in 1929. Recognizing this potential, Universal obtained the movie rights, threw over a million dollars and thousands of people at the project, and garnered two Academy Awards (including Best Picture) in the process. The film follows a group of young German classmates into war. Whipped into a patriotic frenzy by their zealous teacher, the boys dream of heroism and adventure. Cruel training and horrific battles quickly supplant fervor with despair. Battle whittles their number, but the psychological toll is even more devastating. The boys actually begin to congratulate the wounded for getting a ticket out of the war. A discussion of wartime tactics by noncombatants brings home the chilly realization that only the killers and their victims are able to grasp the futility and wrongness of war.

The dialogue and acting are trite and stilted. The special effects are crude and distracting. The audio and video are barely intelligible. The focus and vision, however, come across completely untarnished. The fact that the Polish decried the movie as pro-German and the German’s decried it as anti-German is evidence that the movie strikes a nerve in everyone. At its core, the film is a painfully accurate reflection of the governments and attitudes in place during WWI, and, unfortunately, still in place today. As the seminal work in the genre, this film, despite its many flaws, is still a “must see.”

Format: B&W, Full Screen, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Production notes, trailer.

Caligula 2/10

Caligula (Unrated Version) 1979
Reviewer’s Tilt (8)
Drama-156min
Special DVD Features worth a look-None

Gaius Julius Caesar Germanicus, Caligula (little baby boots) to his friends, ruled most of the free world from 37-41 A.D. After orchestrating the death of the evil syphilitic Emperor Tiberius, the soulless and psychopathic Emperor Caligula wrought torture and death on his people and even his own family members. Caligula’s reign is the least documented and, as a result, Caligula’s legacy is left one of unabashedly libidinous orgies and an insatiable sexual appetite. While pleasures of the flesh leading a man to ruin is a tried and true Hollywood formula, this film posts Caligula as a soulless perversion of nature from the first incestuous scenes. Wishing the protagonist dead from the opening scenes does not bode well for any movie. But wait, it gets worse. Producer and Penthouse mogul Bob Guccione acts as the film’s black hole, successfully sucking every last drop of talent from such stars as Peter O’Toole (Tiberius), Malcom McDowell (Caligula), Helen Mirren (Caesonia) and Sir John Gielgud (Nerva). Guccione dropped a reported $15-20 Million on the project, but you would not be able to tell it from either the sets or the cinematography, each of which are equally appalling.

If that were not enough, Guccione, thinking the final product lacked the requisite girl-on-girl action, went back and added some of his own “artistic” flourishes. As a result, Director Tinto “Il Maestro” Brass and screenwriter Gore Vidal demanded their names be removed from the project. What remains is a wretched collection of otherwise fine actors, unsuccessfully plodding through this pile of filth, trying to maintain some shred of dignity. The film is almost so bad as to be good. Almost. While a touch of camp could have turned this picture into riotous fun, the uncomfortable seriousness of the actors, and the gratuitous lasciviousness of the subject matter, combine to make this film anything but funny. The film is very bad, but at least it is long. I know there are those of you who will still rent the DVD, thinking the erotica factor will outweigh the annoyance factor. Trust me, it does not. You will simply be left lamenting those nearly three hours of your lives you will never reclaim.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: Dolby Digital 5.1
Extras: Production Notes

The Virgin Suicides 9/10

The Virgin Suicides (R) 1999
Reviewer’s Tilt (6)
Drama-96min
Special DVD Features worth a look- The Making Of The Virgin Suicides

With The Virgin Suicides, screenwriter/director Sophia Coppola pays audiences back the debt she owes them for her performance in The Godfather III. For those of you who have seen The Godfather III, you realize what an accomplishment this film must be. Transforming the best selling novel by Jeffrey Eugenides, Coppola guides the project with the knowing hands of a loving mother. Giovanni Ribisi is perfectly understated as the narrator of this 25-year flashback of a well-heeled Michigan neighborhood. The story follows four neighborhood boys who become infatuated with the teenage Lisbon sisters. Years later, they reexamine the unsettling events leading up to the film’s titular conclusion. Like all great films, the visceral experience rests in the “feel” of the film, rather than in any particular dialogue or visual.

Deft cinematography, casual acting and an adroit soundtrack convey the melancholy of youth, reminding us of the utter vulnerability lurking just below the surface of every teenager. Just like the precipitous infection of the Lisbon’s Elm tree, the virulence of life critically infects the girls, leaving them mere hollow shells, devoid of feeling. Unlike Nabokov’s Lolita, the Lisbon girls exude an accidental sensuality, a sensuality belying their rotting interiors. The true tragedy of adolescence is the indifference with which it doles out pleasure and pain. This film captures that feeling, drawing adults of all ages and all generations back to a time they all cherish, but few would repeat. The Virgin Suicides is a timeless original, destined to become a classic.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
Extras: Featurette "The Making Of The Virgin Suicides," Air "Playground Love" video; photos, trailer.

Training Day 7/10

Training Day (R) 2001
Reviewer’s Tilt (7)
Action-120min
Special DVD Features worth a look-Deleted scenes

Bad movies come and go. Moviegoers simply accept them as the tax levied on the incalculable experience of a truly great film. Much worse than a bad movie, however, is a movie with unrealized potential. That is this film. Denzel Washington plays Alonzo Harris, the hardened undercover cops stopping crime using whatever means necessary. If one must commit crimes to stop crimes, then so be it; the end justifies the means. Ethan Hawke plays Jake Hoyt, up and coming golden boy, looking to land his detective shield his first day out of uniform. Conflict between new school and old school frames the opening scenes. Old school wins out, backed by unquestionable brute force and sociopathic drive. On his first day on the job Hoyt witnesses adultery, prostitution, threats, drug usage, beatings, theft, murder and conspiracy. And that is just the good guys. Comparatively, the bad guys do not seem all that bad.

Deleted scenes flesh out the story, but were obviously left on the cutting room floor to maintain the action at a fever pitch. The tension is impressive, but the tale is strong enough to have weathered some additional flesh and a more satisfying conclusion. Additionally, although Washington is a fine actor, he simply could not cross that line from functioning human to sociopathic criminal. Perhaps it was a glint in his eye or a curl of his lip, but there was never a point I would have felt uncomfortable asking him for a cigarette. Perhaps I have seen too many real bad guys. Their cool indifference to human life is not easily replicated, even by the most skilled thespian. Notwithstanding, the acting and ubiquitous ad lib are impressive overall, maintaining a high level of tension throughout the film. Just do not anticipate a rational conclusion on par with the first ninety minutes.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Director commentary, deleted scenes, alternate ending, Making of Featurette, Nelly and Pharoahe Monch music videos, trailer

Manchurian Candidate 9/10

Manchurian Candidate (PG-13)
Reviewer’s Tilt (8)
Thriller-129min
Special DVD Features worth a look-None

"You gotta give it everything . . . and sometimes that's not even enough." director John Frankenheimer was quoted as saying. The Manchurian Candidate embodies this mantra and, at least in this instance, demonstrates that “everything” is more than enough. This magnificent film stands toe to toe with the greatest thrillers of all time. Screenwriter George Axlerod artfully crafts Richard Condon’s novel into a heart-pounding screenplay. The direction and source material wring once-in-a-lifetime performances from Frank Sinatra, Laurence Harvey and Angela Lansbury. The story focuses on Raymond Shaw (Harvey), an army sergeant who single-handedly saves his military patrol from certain death. Awarded the Congressional Medal of Honor for his valor, events surrounding his heroism have left him strangely cold and distracted.

Even the vice-presidential campaign of his Joe McCarthesque stepfather (James Gregory) fails to invigorate the war-ravaged veteran. When another soldier in his outfit, Maj. Bennett Marco (Sinatra) begins to have startling visions of what actually happened, a riveting cold war cloak and dagger drama begins to unravel. The film marks America’s abrupt transition from naiveté to paranoia. Wedged between the height of McCarthyism and the slaying of JFK, the Manchurian Candidate played the then rudderless country for all it was worth. Although many scenes in the film might have qualified as hyperbole prior to the Assassination of JFK, the chill and paranoia engendered in that single act have left us a country fearful of faceless foreign enemies and distrustful of our leaders’ ability to keep them in check.

Not surprisingly, the hyperparanoia angle plays even better today, heightened by America’s post 9-11 xenophobia. The political backdrop of the last three decades, however, does temper some of the black comedy. Ridiculously vacuous politicians and fatal foreign conspiracies of recent memory transform much of the film’s satire. Viewed through millennium colored glasses, the intentionally satirical scenes often play more as Oliver Stone type docuconspiracy than comedy noir. For these reasons, the film is even more powerful and revered today than it was upon its debut. If that still does not convince you, be advised that the subtleties Angela Lansbury infuses into her a “mother” character are more perverted than anything that lurks in the darkest of children’s nightmares. Her performance alone merits a rental.

Format: B&W, Pan and scan and widescreen, Closed captioned.
Sound: Dolby Digital 2.0 Stereo, Dolby Digital 2.0 Stereo (French), Dolby Digital 2.0 Stereo (Spanish)
Extras: Director commentary, Interviews with Frankenheimer, Axelrod and Sinatra. Trivia, Production notes, Trailer.

The Tao of Steve 9/10

The Tao of Steve (R) 2000
Reviewer’s Tilt (6)
Romantic Comedy-87min
Special DVD Features worth a look- Commentary track

Americans are great. We are so engulfed in slacking off, that we bring every brain cell to bear on the matter of increasing the efficiency of our lives to maximize our slacking. In the Tao of Steve, erstwhile lothario Dex (Donal Logue) has become horizontally challenged in the ten years since college, but has not had any less trouble courting the fairer sex. Since his school days, Dex, no less the libertine, has honed his skill into a philosophy of life—the Tao of Steve. Having little to do with outward aesthetic the philosophy focuses on projecting disinterest in the pursuit of women.

Dex has perfected his approach to the point where it does not matter how fat, slovenly, lazy or poor he becomes, the technique still works. A meeting with an attractive former classmate Syd (Greer Goodman), however, convinces Dex that there may be more to life. Dex becomes concerned that his philosophy may be dragging him away from true love and toward the hell that is his life of ennui. His conquests, being so easily taken, wind up being unfulfilling notches on a bedpost. He realizes that he is equally parts suave Don Juan and existential Kierkegaard, both of whom were so afraid of love that they died lonely and alone. Dex’s catharsis leads him from the Tao of Steve to the Koan of Syd.

Dex realizes that life is not an algorithm to be identified and solved, but an unmasterable experience, capable of dispensing love to those who succumb to it, and sorrow to those who attempt to conquer it. It is only when we stop trying to “solve” life questions and start “experiencing” life’s mysteries that we learn what it is “to be.” A little heavy on 90’s culture, pop references and impossibly witty existentialist exchanges, the film does exude a certain wit, due in no small part to the effortless delivery of its talented cast. Donal Loge, Greer Goodman and David Aaron Baker imbibe the movie with the effortless charm missing from most romantic comedies and indie films. The writing, complements of real life “Dex” Duncan North, director Jenniphr Goodman and her sibling, leading lady Greer Goodman, is crisp and lively, although, like my own, occasionally overwrought and pedantic. Despite the occasional wart, as lighthearted indie films go, this is one is one to take home to mother.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround)
Extras: Cast & crew commentary, bios, trailers.

Chopper 9/10

Chopper (R) 2000
Reviewer’s Tilt (9)
Drama-90min
Special DVD Features worth a look-Director/Author Commentaries


Eric Bana (2003’s “The Hulk”) delivers uncanny bravura in this fictionalized account of Australia’s most notorious criminal. Erstwhile comedian Bana supplants cute, whimsical Paul Hoganesque Australian stereotypes with a steely cold ruthlessness we have not seen since “Mad Max”. With dead eyes, Bana portrays Mark “Chopper” Read both in and out of prison. Panache, the sine quo non of a cult classic, flows in waves throughout the movie. From bolt cuttering a victim’s toes, to ordering his own ears sliced off to avoid a prison hit, Chopper Read is a true original, in the utmost sociopathic sense of the word. The film does take artistic license with actual events, but is not billed as a biography. Rather, the film is simply a medium to convey a sense of an acutely disturbed soul.

Chopper Read himself wrote the underlying book upon which this movie was based, but Bana and Director/Screenwriter Andrew Dominik are the true auteurs of this work. Bana’s lifeless visage and curiosity over the psychopathic actions of his own character frame well within Dominik’s artful guidance. It is not so much the actions themselves: the stabbings, beatings, shootings, sex and drugs that transform the audience into perverse rubberneckers. It is much more the riveting direction and the particular portrayal of the man himself that lends the film such magnetism. As cult status has painted Chopper Read much larger than life, it would have been easy to overplay or “camp up” the role. Bana does neither.

In scenes such as the fight with his girlfriend, Bana seamlessly vacillates the character between predator and prey, embodying the parody that is Chopper. With the inspired assistance of Simon Lyndon, playing Chopper’s erstwhile friend, the film captures a slice of life we all yearn to see and then try to pretend does not exist. Watch this film. You will not forget it. Be forewarned, the violence in this movie is nothing new, but the callousness with which it is delivered should have earned this film an “NC-17” rating. This film is not recommended for anyone under the age of eighteen.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (DTS 5.1 Surround), (Dolby Digital 2.0 Stereo), (Dolby Digital 5.1)
Extras: Director and author commentary, deleted scenes, featurettes "Weekend with Chopper," Eric Bana meets Mark "Chopper" Read, trailer.

Sexy Beast 7/10

Sexy Beast (R) 2001
Reviewer’s Tilt (8)
Heist-89min
Special DVD Features worth a look-None

Noone ever truly appreciates what they have until events conspire to teeter it on the precipice. When all is said and done, one is either left with nothing, or a profound appreciation for that which nearly was lost. Sexy Beast is a quaint, cockney yarn of love, rage, graft and violence, transcending strict genre classification to reveal a tale of modern romance. Gal (Ray Winstone) plays a retired thief passing his days in his remote Spanish villa with his beautiful wife Deedee (Amanda Redman) Gal has grown very much in love with his wife, and, in an unusual twist of double irony, his wife is also very much in love with him. In the opening scene, a deadly boulder foreshadows the turmoil about to enter, and shatter, their earthly heaven.

After a disturbing phone call, Gal, Deedee and their close friends Aitch (Cavan Kendall) and Jackie (Julianne White) discuss the impending visit of an earthbound devil. Don (Ben Kingsley), moniker notwithstanding is not the head of a mob family. He is, however, a seriously miswired sociopath, bent on conscripting Gal for another heist. As is his wont, speak of the devil and the devil appears. Don arrives, charged with directing his “will” to find a “way” to accomplish the impossible. In this case, the impossible is convincing Gal to leave his idyllic life and wife for the proverbial “one last job.” Deedee knows that Gal no longer has the skills or the mettle for the job. Another job would mean a death sentence for Gal and everything they have built together. To even consider the opportunity would be to spit on everything they hold sacred. A mobster himself, Gal would have no trouble turning anyone else down. But Don is different.

Don is a complete void of compassion, coupled with a temper and penchant for violence. As you might imagine, this makes for rather touchy negotiation. Kingsley’s Oscar nominated performance is truly a new take on the gangster heavy. Rather than brute strength, Don’s persuasion rests with his mercurial and volatile nature. The grisliness of Don’s past atrocities remains unspoken, but stands indelibly etched on the faces of Gal, Deedee, Aitch and Jackie. Truly between Scylla and Charybdis, Gal feels the tranquility and peace of his former life quickly fading to memory. The story evolves into a tragic love story, woven with violence and explicatives, refreshing the age old expression “the things we do for love”. Although original in parts and replete with impeccable acting, the story does suffer some plot flaws and has some noticeably spartan production values. Overall, however, Sexy Beast is refreshing, engaging and worth a look.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround)
Extras: Kingsley and Producer Jeremy Thomas commentary, Background Featurette, trailer, trailers for other movies.

Croupier 8/10

Croupier (NR) 1998
Reviewer’s Tilt (9)
Drama-94min
Special DVD Features worth a look-Deleted scenes
Review
In disembodied first person Clockwork style voice over, Croupier pessimistically compares our lives to those of hapless gamblers. We know the odds are stacked against us, yet we continue to play the games. Gamblers, or “punters” as they are more derogatorily known, however, play their games under the watchful eyes of the croupier (casino dealer). Constantly pulled by the siren song of fast money, the croupier knows better than anyone that to play is to lose. Thus, the cool croupier relegates himself to his addiction of watching others lose.

Jack Manfred (Clive Owen) is the croupier, raised by his croupier father (Nicholas Ball) who taught him all the tricks of the trade. Through his losses both in the casino and in his personal life, Jack’s father also taught Jack that the only way to win is not to play. Punters are sorry sods; the croupier is king. From father to son, the lesson passes -- watching others strive and falter is the only real enjoyment in life. Despite decades of croupier training, Jack is compelled to write the great novel burning deep inside him, yearning to escape. Jack’s publisher regrettably relates to Jack that his novel idea is trite; stories of real life graft and corruption are what sell.

When Jack’s father informs Jack of a casino opening in a small London Casino, Jack snatches the opportunity to parlay his skill into a novel exposing the seedy underbelly of London’s casinos. Unfortunately, Jack’s ex-cop girlfriend sees the job hardening and irreparably changing Jack for the worst. In an attempt to fool himself, Jack creates alter ego “Jake” to bear the brunt of inequity, attempting to maintain Jack both morally and physically unscathed. The absence of any clear delineation between the personas becomes apparent when a lovely punter (Alex Kingston) approaches Jack with a scheme to rob the casino. Jack slowly comes to the realization that no one can have it both ways, either in the casino or in life. You are either in the game, or you are not.

Seasoned veteran director Michael Hodges deftly crafts this tale around the subtle talents of the ultra cool Clive Owen. Owen rules this drama, not with flex and volume, but with glances and nods. Less is truly more, much more, in this low budget escape from the unsatisfying blockbuster suspense films of recent memory. Croupier proves that it is not a large budget, but direction, dialogue and acting that drive the genre.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: Dolby Digital 2.0 Stereo
Extras: None