Memento 8/10

Memento (R) 2000
Reviewer’s Tilt (10)
Suspense-113min
Special DVD Features worth a look-None

Leonard Shelby (Guy Pearce) is the murderer, killing Teddy (Joe Pantoliano) with a 9mm bullet to the head. Don’t worry; this is no “spoiler” in the ordinary sense. This merely recounts the opening scene. Writer/director Christopher Nolan turns the murder mystery genre on its head with this superb thriller. The film gives us the “who” in the first scene, and keeps us guessing at the “why” for the remaining 110 minutes. A mysterious accident leaves Leonard with anterograde amnesia. Like Dana Carvey’s character in Clean Slate, Leonard remembers everything before the accident, but cannot make any new memories. What the movie calls a problem with Leonard’s short-term memory is actually a problem with his long-term memory. Leonard can remember things only as long as they stay in his short-term memory. He simply has no ability to transfer them to long-term memory. Accordingly, he cannot remember anything that happened the previous day or week, and rarely remembers things for more than a matter of minutes. Despite what you may have heard, this film is not shown backwards. The story plays out in short snippets, giving us information in packets roughly equal to Leonard’s short-term memory capacity.

The film intermixes both black and white and color snippets. Black and white represents a forward story progression, while color represents a reverse story progression, both of which culminate toward the opening scene. Matrix veterans Pantoliano and Carrie-Anne Moss do an excellent job building the tension and twisting the story. At first I was disappointed that the DVD did not provide the option of watching the movie in chronological order. Unlike the typical mystery, however, where the logic of the plot twists are crucial to enjoyment of the film, the importance of this film lies not in its logic, but in its perception. A chronological viewing would greatly diminish the film, highlighting many logical inconsistencies in an otherwise impressive story. It is only in its final edit that this film reveals its true vision: None of us is that different from Leonard. Like Leonard, our perception is our reality. Our egos could not withstand the shock of seeing their images directly reflected by the world around them. Only through the filtering force of our own sheltering perception, and the mercurial nature of our memory, can we survive.

Format: Color and B&W, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround)
Extras: Cast and crew info, trailer.

Batman: The Movie 6/10

Batman: The Movie (NR) 1966
Reviewer’s Tilt (10)
Comedy-110min
Special DVD Features worth a look-West and Ward commentary

Perfectly executed campiness should leave at least some small part of your brain thinking "are these guys are actually taking themselves seriously" Batman: The Movie is a premiere example of such campy perfection. Ridiculous puns, delivered with stoic solemnity abound in this cult classic. Watching the relationship between Family Guy's Adam West’s slightly pot-bellied Batman and Burt Ward’s overly exuberant Robin for any length of time may just convince you that Saturday Night Live's Ace and Gary are just good friends.

As you might expect, the good guys are all unidimensionally good, and the bad guys unidimensionally bad, but not too bad. This movie strives for nothing more than delightful escapism, completely devoid of angst, sex and graphic violence, (assuming punching a foam shark does not fall under one or more of the foregoing categories). Batman: The Movie harkens back to a simpler time, when society regarded moral corruption with such disdain that it was not a required character in every single movie. Do not get me wrong, only a lobotomy patient could feed on a steady diet of Batman: The Movie and Leave it to Beaver; I mean I like Road Trip as much as the next guy.

It is just that I also respect the wit and artistry required to be funny, without being gross or cruel. While clearly not a masterpiece, this film is filled with subtle humor. The supporting cast of baddies includes Lee Meriwether as Catwoman, Burgess Meredith as the Penguin,Cesar Romero as the Joker, and Frank Gorshin as the Riddler all of who provide the precise amount of overacting to this predictable, but entertaining experience. Batman: The Movie is a true family-friendly movie, capable of entertaining kids from six to sixty.

Format: Color, Widescreen anamorphic, Fullscreen, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Commentary by Adam West and Burt Ward, Batman featurette, Batmobile featurette, photos, trailer.

GoodFellas 9/10

GoodFellas (R) 1990
Reviewer’s Tilt (10)
Drama-146min
Special DVD Features worth a look-None

“As far back as I can remember, I always wanted to be a gangster.” Outwardly, this is mobster Henry Hill (Ray Liotta) voice. Inwardly, it is director Martin Scorcese’s. There have been many mob films before and since Godfellas, but none create such a connection with the viewer. Goodfellas delves into the problems that plague gangsters—not the blood and the guts and the lying and the cheating--but the much more pedestrian problems of infidelity, broken friendships and the daily grind. Believe it or not, mobsters have the same problems everyone else has. The only difference is that when wiseguy problems get out of hand, someone gets dead. This film revels in its gore and violence, but also focuses on the petty problems behind the cruelty. Rather than repulse, this tactic actually garners empathy with viewers, and even serves as the basis for the wildly successful series The Sopranos.

Goodfellas underscores that the bad guys are not one-dimensional monsters, but are individuals, programmed through circumstance to rationalize the ugliness of their actions. Macrocosmically, it is wrong to kill. To a wiseguy, however, the key is to preserve order and authority. In a world where mercy is weakness, self-preservation mandates participation in heinous acts. Part of what makes this film so watchable is that Nicholas Pileggi and Scorcese developed the screenplay from “Wiseguy,” Pileggi’s book based upon the real life adventures of mafia badguy Henry Hill. Goodfellas does not justify the mafia lifestyle. It merely provides objective insight into the lives of these criminals and their myoptic drive to garner respect. Be sure to catch Joe Pesci in his Oscar winning performance as the psychopathic Tommy DeVito and Lorraine Bracco as Hill’s wife, following Hill along his downward spiral of drugs and betrayal.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), Spanish (Dolby Digital 2.0 Surround)
Extras: Trailer, production notes.

Bringing out the Dead 6/10

Bringing out the Dead (R) 1999
Reviewer’s Tilt (9)
Drama-118min
Special DVD Features worth a look-Making of Featurette

"You have to keep the body going until the brain and the heart recover enough to go on their own." Ambulance driver Frank Pierce (Nicholas Cage) repeats this mantra in his head as he patrols the mean streets of Hell’s Kitchen. Frank refuses, however, to incorporate this truism into the context of his own tortured existence. A junkie of sorts, Frank gets high on saving lives and doing good deeds. Things have dried up cold turkey for Frank in the last few weeks, with life after life slipping through his gifted fingers. Ghosts of the recently deceased haunt Frank, while his partners distract themselves with food, violence and the love of the Lord.

Whereas his partners do everything in their power to avoid staring into the abyss, Frank opts for a long hard look. What he sees is not an answer, but helpless babies, denied the joy of life, and tortured souls, denied the succor of death. In a nod to Joseph Heller, the more Frank tries to get fired, the more his boss realizes Frank’s compassion and refuses to fire him. “I’ll fire you tomorrow . . . I promise” his boss assures him. Director Martin Scorsese collaborated on this film with screenwriter Paul Schrader, as he did on the classics “Taxi Driver” and “Raging Bull.” The end result, however, falls far short of these two prior works. There is a lot to like in Bringing Out the Dead: great music, dark comedy, frenetic editing and a touching tale.

Indeed, Ving Rhames, Mary Beth Hurt, Tom Sizemore, and John Goodman all deliver terrific supporting performances, adding humor and a humanity to the story. Unfortunately, there is no common thread linking these wonderful elements and performances together. Probably the biggest disappointment in this film is Patricia Arquette. She plays a reformed junkie, watching her father revived daily from the death he so desperately desires. Arquette plods through the film, failing to generate either sympathy for her character, or chemistry with Cage. In addition to Arquette’s stoic performance, there are several Scorsesesqe elements and plot devices that simply do not deliver in the context of this film. Kudos to Scorsese for dancing on the edge, but just because something is clever, does not mean that it merits the final cut. Despite these distractions, the underlying premise of the movie is still uplifting and heartfelt. Whether you are a middle class old white man or an impoverished young mother of color, your life is what you make of it. We are the ones who choose approval over guilt, satisfaction over angst, and happiness over grief. This film shows us why the manner in which we embrace life, is critically more important than the manner in which life embraces us.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (DTS 5.1 Surround), (Dolby Digital 2.0 Surround)
Extras: Making of featurette, trailer.

Dead Calm 8/10

Dead Calm (R) 1989
Reviewer’s Tilt (7)
Thriller-96min
Special DVD Features worth a look-None

Devastated by the tragic death of their young so, Aussies John and Rae Ingram (Sam Neill and Nichole Kidman) set out to sea to reclaim their lives and rebuild their marriage. Miles from shore, they run across a stranded ship. Hughie Warner (Billy Zane), the ship’s sole surviving crew member, rows a lifeboat over to meet the couple. Hughie explains that his ship’s engine is down and that food poisoning killed everyone on board, including the mechanic. When John visits the stranded ship to investigate, things take a turn for the worse, and thus begins this white-knuckle psychological thriller.

Actually, this movie is two separate thrillers; each with its own cast and plot. This is a rather amazing feat, given that the movie basically has only three characters and two locations. A particularly entertaining aspect of this film is that the protagonists must save themselves to save their spouse. Some have criticized this film because Rae had opportunities to resolve the conflict if she was willing to take a life. It is easy to sit in your Lay-Z-Boy and say that you would kill this guy or that. Anyone who has actually confronted this decision, however, will tell you it is very difficult, especially if there are other options. Combine this with Rae Ingram’s grief associated with her son’s death and the decision not to kill is much more understandable. With only three basic characters, this film could not have worked without incredible performances all around.

Lucky for us, every actor in this film delivers. Neill is the epitome of the good, resourceful husband. Kidman is mesmerizing as the attractive young wife, willing to use anything at her disposal to save herself and what is left of her family. Billy Zane embodies one of the most satisfying villains I have ever seen. Toss in outstanding direction by Phillip Noyce, great cinematography and a stunning score by Graeme Revell, and you have all the makings for an incredible thrillride. Despite a slightly ridiculous conclusion, Dead Calm is a slick and savy thriller, definitely worth a look.

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

Penny Serenade 4/10

Penny Serenade (NR) 1941
Reviewer’s Tilt (4)
Drama-125min
Special DVD Features worth a look-None

“When I woke from my dream she was gone, my poor heart was broken
Still I pray that wherever she may be she will remember
In her heart she will always hear my Penny Serenade”
Irene Dunne and Cary Grant, famous for their incredible comedic chemistry, come together in this tragic tale of a young couple trying to adopt a child. After a whirlwind romance, Roger and Julie Adams marry and move to Tokyo with Roger’s job. The storybook marriage starts to unravel when Roger quits his job and Julie becomes infertile. Julie wants to adopt a child, while Roger wants to do whatever is necessary to save the marriage. What initially started out as Julie’s project, soon consumes Roger, bringing out a joy he has never experienced. The family struggles through various hardships, each of which draws them closer and closer together. When tragedy threatens to destroy their lives, and their family, the couple must look deep within themselves to rekindle their love.

Be prepared for the audio and visual, which are distractingly bad in this poorly preserved piece of celluloid. Despite being technically deficient, overlong and melodramatic, however, this film does have several touching scenes. Both the scenes Roger acclimating himself to the new baby, and professing his love for his daughter appear heartfelt and moving. Unfortunately, however, nothing but the child appears to be holding the marriage together. It would have been much more interesting to see the couple grow through the tragedies, rather than drift further apart. Seeing the couple communicate with each other through the child and about the child, rather than discussing their own pain and frustration, leaves the viewer ultimately unsatisfied. Although the film presents Roger and Julie as model parents, even the fix-it guy, Applejack Carney (Edgar Buchanan) displays more true human compassion and caring in one scene with the kid than either Roger or Julie do throughout the remainder of the movie. Applejack’s genuinely unselfish nature highlights and exposes the dysfunctionality of the marriage. Although billed as a tearjerker, it is tough to feel compassion for such a shallow couple.

Format: B&W, Fullscreen, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Trivia, Photo of the movie poster, Cary Grant bio.

His Girl Friday 6/10

His Girl Friday (NR) 1940
Reviewer’s Tilt (5)
Comedy-92min
Special DVD Features worth a look-None
Review
In 1928, Ben Hecht's three-hour play The Front Page had critics abuzz. The story involved a news editor trying to get prevent his ace reporter from getting married and moving away. In 1931, Producer Howard Hughes turned the story into a very well-received movie. Nine years later, Director Howard Hawks teamed up with one of the screenwriters from the original movie, Charles Lederer, to remake the picture with the ace reporter as the ex-wife of the editor. This spin breathed new depth and dimension into the story, paving the way for sexual innuendos and wry humor.

His Girl Friday became an instant classic, solidifying the “screwball” comedy as an American icon. The film begins with Hildy Johnson (Rosalind Russell) playing the hard-nosed reporter recently divorced from her suave, self-centered, but impossibly charming editor Walter Burns (Cary Grant). Hildy has left the newspaper and is all set to embark on her new life as a housewife in Albany with her responsible fiancé (Ralph Bellamy). When corrupt officials set out to win an election by hanging a pardoned anarchist, Walter sees an opportunity to regain his ace reporter. Walter feigns the absence of his main reporter and asks Hildy for her help, just one more time.

The draw is just too much. Hildy agrees, and Walter unleashes all of his devilish guile to reclaim his ex. Rich with satire, the film weaves wit, charm, and slapstick humor throughout the story. His Girl Friday is the paradigm of frenetic pacing, life and death scenarios and Curlyesque yucks associated with the “screwball comedy.” Unfortunately, the first third of the film sets the bar impossibly high for the finale. The early scenes with Russell and Grant in Burns’ office and later in the restaurant are pure poetry. Not only are Russell and Grant incredible actors, deploying impeccable comedic timing, they share a true chemistry. The comedy moves effortlessly across overlapping dialogue and not-so-subtle mugging. The later scenes do involve witty dialogue and great acting, but never recapture the energy of the opening. Had the movie been able to maintain its initial momentum, this film would be a hands down champion, rivaling any comedy, from any era. As it stands, however, His Girls Friday is simply an enjoyable film, flecked with glimpses of greatness.

Format: B&W, Fullscreen, Closed captioned.
Sound: (Dolby Digital Mono), Spanish (Dolby Digital Mono)
Extras: production notes, audio commentary, featurette, cast/crew bios, vintage ads, trailer(s)

Pleasantville 9/10

Pleasantville (PG-13) 1998
Reviewer’s Tilt (5)
Comedy-124min
Special DVD Features worth a look-Director commentary

On one level this film is a “back in time” comedy about a boy and his sister coping with 1950’s sitcom values. Looking a little deeper, this film really takes a stab at today’s society and the strictures affecting us all. Do not get me wrong, this is not an incredibly deep film, but the story is good and the points well made. A wacky TV repairman (Don Knotts) gives David (Tobey Maguire) and Jennifer (Reese Witherspoon) the secret to transporting themselves into the surreal environment of a 50’s sitcom. As we laugh at the cloistered affected mannerisms, we slowly realize how society still subtly censors our own actions. The film separates themes with the adroit intertwining of Color and B&W images. Upon first blush, the separation appears to be based upon 50’s attitudes and 90’s attitudes. The separation is better viewed, however, as the difference between societal conformity and freewill.

The obvious progression of things taking color, first a rose, then an apple, lips, a car and paintings, make it obvious that love, knowledge, sex, technology and art are the themes writer/director Gary Ross feels are stifled in today’s society. Once you have tasted the apple, having it taken away is much more painful than never having tasted it at all. Can knowledge be bad? This film conveys the trite truism knowledge gained through making mistakes and choosing what is right is what makes life worth living. It does so, however, in a way that brings this truth uncomfortably close to home.

Format: Color and B&W, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), English (Dolby Digital 2.0 Surround)
Extras: Director commentary, isolated score with commentary, cast and crew bios, Featurette "The Art of Pleasantville," Fiona Apple video, storyboard, color TV set-up, 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

Things to do in Denver When You Are Dead 6/10

Things to do in Denver When You Are Dead (R) 1995
Reviewer’s Tilt (9)
Action-115min
Special DVD Features worth a look-None

Screenwriter Scott Rosenberg and director Gary Fleder deliver this interesting precursor to more recent breaknecks like Pulp Fiction and Lock Stock and Two Smoking Barrels. These guys have the right idea, but just miss the mark. The story begins with Jimmy the Saint (Andy Garcia), a reformed mobster, starting a business that videotapes dying peoples’ advice to their heirs. Jimmy, having shed his mobster skin, is trying to make it as an honest businessman in this struggling new venture. His troubles compound when he becomes indebted to Denver’s ruthless, but paraplegic mob boss (Christopher Walken). The boss wants Jimmy to “scare” a kid into not marrying the boss’ son’s former girlfriend. As an additional incentive, the boss offers Jimmy $50K for this “action.”

Initially reluctant, Jimmy sees this as an opportunity to dig himself out of a hole. And hey, nobody gets hurt. Jimmy take the job and rounds up his old crew. The crew, Pieces, a porno projectionist with leprosy (Chistopher Lloyd), Critical Bill a psychotic funeral home worker (Treat Williams), Franchise a blue color family man (William Forsythe), and Easy Wind, the tempered muscle (Bill Nunn) concoct and execute a detailed plan. When details get left out, however, the crew finds themselves on Mr. Mob Boss’ caca list, with reservations in the fish berth. Feeling guilty for drawing them into this sad state of affairs, Jimmy tries to make it right. What Jimmy does not see, is that he cannot make it right, for any of them, ever again. When Jimmy realizes how thouroughly he has screwed things up for everyone around him, including his girlfriend (Gabrielle Anwar), he enlists an old friend (Fairuza Balk) to help him wipe the slate clean and start a new life.

Jack Warden plays an ex-mobster watching the action and acting as your humble narrator. Christopher Walken and the fine actors in Jimmy’s crew do an incredible job creating memorable characters. Warden’s character, however, is distracting and unnecessary. Andy Garcia also falls somewhat short, gliding through, rather than carrying, his scenes. Granted, it is not an insubstantial task to carry scenes with these great actors, but a dose of charisma and grit in the title role would have made the difference between a good film and a great film.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Making-Of Featurette, trailer(s)

Last Man Standing 8/10

Last Man Standing (R) 1996
Reviewer’s Tilt (9)
Action-101min
Special DVD Features worth a look-None

I can just see the producer “Write me a screenplay where Bruce Willis is a gangster, and there are about fifty other gangsters, and there is only one man standing at the end . . . oh yeah and did I mention, throw in some gratuitous violence” This cannot be far off the mark. If you are looking for a deep story, sets that match the time period, plausible gunplay or true romance, you have come to the wrong place. The story takes place in Jericho, Texas during prohibition. Besides the undertaker, the barkeep, the sheriff and a girl, the only other people in town are two rival gangs comprising about two dozen baddies each. Apparently, all decent folk jus up’n left. The gangs stand at a shaky truce until decidedly indecent John Smith (Bruce Willis) rolls into town. Smith decides to play the gangs against one another and roll out of town with all their money. Things go a little off kilter, however, when Smith fails to consider basic human compassion in his calculations. What follows is a dark, dusty tale of a tainted hero, doing what heroes do best.

Although the film claims to be loosely based upon Akira Kurosawa's 1961 Yojimbo (which also served as the basis for Sergio Leone's 1964 A Fistful of Dollars) Last Man Standing has neither the story, nor the acting of either of its predecessors. What it does have is cajones, big ones. Willis kills more guys in this movie than in all three Die Hards combined. Christopher Walken turns in his trademark psychopathic gangster role, Michael Imperioli impresses as the son of a Chicago mafia boss sent to keep an eye on things and Bruce Dern plays a great local sheriff paid to keep his eyes closed and his gun in his holster. The remainder of the acting is mediocre at best. If you are looking for a real story and great cinema, this is not your movie. If you are looking for a mindless shoot-em-up, however, it does not get much better

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 2.0 Stereo),
Extras: Making-of featurette, production notes, trailer(s)

High Fidelity 8/10

High Fidelity (R) 2000
Reviewer’s Tilt (7)
Comedy-113min
Special DVD Features worth a look-None

The screenwriters for Grosse Pointe Blank team up to transform Nick Hornby’s novel about a forlorn London record dealer into a film about a forlorn Chicago record dealer. Director Stephen Frears directs John Cusak as Rob Gordon, the owner of Championship Vinyl, one of the few remaining places in Chicago to pick up an LP. On the exterior, Rob is an aging slacker wondering why life and relationships have done him wrong. On the interior, Rob is a gun-shy teenage music, lover trying hard not to open up to his current girlfriend for fear of getting hurt again.

While this film could have easily digressed into a whiny or melodramatic wimpfest, Cusak and his fellow screenwriters infuse a decidedly male perspective into the genre. Rob’s top five likes are: his music, his store, his buddies, his woman and his top five lists (but not necessarily in that order). The film follows Rob’s month long catharsis from a petulant change-hating child, into an introspective relationship-nurturing adult. The film is funny, clever, entertaining and musically astute.

Although Iben Hjejle’ performance as Laura, Rob’s girlfriend, rings a little flat, Jack Black’ delivery as Rob’s friend and co-worker provides more than apt compensation. If you are wondering who Jack Black is and why he merited his own film (Shallow Hal), opposite Gwyneth Paltrow, High Fidelity provides you with all the answers. High Fidelity mixes pop culture, slacker love, teenage misogyny, pop music, wry comedy and male angst in the precise proportion. High Fidelity evolves as an entertaining character study of the goofy little boy trapped inside most American men.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (Dolby Digital 2.0 Surround)
Extras: Deleted scenes; Frears and Cusak featurettes, trailer(s)

Best in Show 8/10

Best in Show (PG-13) 2000
Reviewer’s Tilt (7)
Comedy-90min
Special DVD Features worth a look-Deleted scenes

Mockumentary screenwriter Christopher Guest (This is Spinal Tap and Waiting for Guffman) brings us a satirical look at another twisted enclave of Americana. Best in Show features five groups of dysfunctional families living vicariously through their dogs and dog shows. While the script itself may be a little uneven, the seasoned cast’s adroit improvisation and impeccable timing hide most of the blemishes. In sending up everything from dominatrix lesbians to neurotic attorneys, this movie slaughters many sacred cows, showing no mercy to any lifestyle. The stereotypes are so far over the top, so noone should take offense. Despite being parodies of various lifestyles, however, there is just enough underlying truth to give the comedy a rather smart edge.

The film does have some very funny lines, but the real beauty lies in the skillful improvisation. The actors are not spontaneously witty in character, but they flawlessly set up and feed off each other. This seamless interplay creates an undercurrent of constantly flowing humor, which fills in the interstices in the script. Standouts in this talented cast include Parker Posey, John Michael Higgins, Eugene Levy, Catherine O'Hara and Michael McKean. Posey plays Meg, the neurotic attorney taking out her marital frustrations on an Asian pet storeowner, while Higgins plays a gay dog trainer that would make Liberace blush. Levy, O’Hara and McKean take the opposite route, garnering laughs with subtlety and timing. Pay particular note to Fred Willard’s amusing performance as the politically incorrect half-wit of a dog show announcer and Eugene Levy’s reactions to the running joke about his wife’s past relationships. The movie is worth the watch if for no other reason than the Willard’s obliviousness and Levy’s puzzlement.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Director/Actor audio commentary, deleted scenes with commentary, dogs and their owners featurette, cast bios, TV spots, trailer.

American Beauty 9/10

American Beauty (R) 1999
Reviewer’s Tilt (7)
Drama-122min
Special DVD Features worth a look-Making of featurette

Beauty lies within all things. Unfortunately, the harder you look, the more elusive it becomes. American Beauty is about men striving for success, wives driving their men, children seeking parental approval, parents seeking understanding with their children and everyone seeking a loving respect. Middle-aged husband and father, Lester Burnham (Kevin Spacey), slowly discovers his white suburban life is devoid of respect, fulfillment, love and meaning. Rallying the few remaining drops of moxie left in his tired bones, Lester catalyzes a life altering catharsis. He chucks his white-collar job for a fast food gig, starts getting high and buys a cherry 1970 Pontiac Firebird.

Surprisingly, as Lester sheds responsibility, his family and those around him actually begin to respect him more envying his newfound peace. This message of this film is profound. People generally think “If I just had this” or “If this person would just do this” they would be happy. Fulfillment, however, is never found in another’s reflection or in material pleasures. Fulfillment comes with inner peace. You must change yourself. As Lester discovers, once the material possessions and the transgressions of others no longer direct your life, you have achieved inner peace.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround), (Dolby Digital 5.1), (DTS 5.1 Surround)
Extras: Director and writer commentary; making-of featurette; cast and crew info; interviews with cast and crew; Storyboard commentary with director and cinematographer; Digital screenplay and storyboards (DVD-ROM).

Arsenic and Old Lace 2/10

Arsenic and Old Lace (NR) 1944
Reviewer’s Tilt (7)
Comedy-118min
Special DVD Features worth a look-None

Filmed in 1941, the studio did not release this “classic” until 1944. Joseph Kesselring’s original play was still on stage, and the producers wanted to give the play its full run. The stage actors Jean Adair (Aunt Abby Brewster), Josephine Hull (Aunt Martha Brewster), and John Alexander (Theodore Brewster) also needed an opportunity to immortalize their roles on celluloid. Combining a hit play, with seasoned stage actors, the directorial talents of Frank Capra and the star power of Cary Grant, Raymond Massey, Peter Lorie and Indianola, Iowa born Priscilla Lane, sounds like a recipe for success.

The result, however, is far less than the sum of its parts. Audiences received the film very well, but even Grant was disappointed with his performance. Throughout much of the movie he mugs for the camera with a contorted face and eyeballs popping out of their sockets. Many of the actors, including Alexander, fail to tone their performances down several notches to garner the subtleties of the big screen. Cast more appropriately and placed into the hands of a different director, this film might have shown some promise. The overblown melodrama (even for a screwball comedy) frenetic pacing and dated, unfunny lines, however, result in a dark comedy only a mother could love . . . and only if the mother was stuck in 1944.

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

An Ideal Husband 8/10

An Ideal Husband (R) 1999
Reviewer’s Tilt (7)
Comedy-98min
Special DVD Features worth a look-None

Rupert Everett plays 19th century Lord Goring, a self-involved playboy and misanthrope with a keen sardonic wit. When it appears his good friend and gentleman Sir Robert (Jeremy Northam) may have become ensnared by a past transgression, Lord Goring casts aside his ennui to come to the rescue of his friend. Unfortunately for Lord Goring, his involvement drives matters even further awry. The addition of Goring’s blackmailing ex-lover (Julianne Moore), Sir Robert’s adoring wife (Cate Blanchett) and Sir Robert’s beautiful sister (Minnie Driver) certainly appears to foreshadow the downfall of both men.

As this film is based upon the play by Oscar Wilde, however, you know this could never be the case. Wilde’s story plays upon the stoic hypocrisy of English convention. Under this regime, no deceit, however grave, is contemptible unless society finds out. Flawlessly adopting Wilde’s acidic tongue, Everett simultaneously narrates the tale, while working to extricate himself and his friends from the direst of circumstances. As implausible as it is that either Wilde or Everett would retire their playboy status for an ingénue, the mere possibility certainly livens the plot.

The only thing keeping this fine film from a perfect rating is the modifications made to Oscar Wilde’s original text. Such an undertaking reflects the height of hubris. That being said, take solace in the large portion of Wilde that remains. You may catch most of the humor upon a simple listen, but run the subtitles to prevent missing even a single pearl.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Making-of featurette, trailer.

Coyote Ugly 2/10

Coyote Ugly (PG-13) 2000
Reviewer’s Tilt (3)
Drama-101min
Special DVD Features worth a look-None

Don’t be fooled by the Jerry Bruckheimer production or the Kevin Smith script rewrite. This movie is nothing but eye-candy—no exploding buildings, no witty dialogue, no impressive plot, just lots of scantily clad vixens dancing on a bar. In fact, one would be hard pressed to find any imprint of Bruckheimer or Smith on the film whatsoever (Actually Smith did just one rewrite, with very few of his changes making it into the final cut). Coyote Ugly definitely lives down to its expectations. The movie's one redeeming quality is that it is a great date movie. The dialogue will make any drivel that pours out of your mouth seem to rival the Bard of Avon. As an added bonus, the movie gets worse as it progresses, making alternate endeavors much more attractive.

Thankfully, not a single ounce of talent goes down with the ship; the acting, direction, story and dialogue are all equally bad. Piper Perabo plays Violet, the undiscovered singer from New Jersey, with stars in her eyes. Violet is filled with stage fright, but apparently not at all self-conscious about simulating sex on a Manhattan bar to the drunken cat calls of forty drunken strangers. Maria Bello plays the hard-nosed, but attractive bar owner willing to give Violet the chance to prove herself. Adam Garcia plays the sweet boyfriend, with John Goodman filling in as the concerned father. There is nothing in this film you have not seen done better in such films as Cocktail, Pretty Woman and Flashdance. But, who am I to say. Baywatch is wildly popular. For all the same reasons, this “Baywatch in a bar” may become a cult classic . . . although I am not holding my breath.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Audio commentary; Featurettes: "In Search of Violet: Casting the Lead Role, Piper Perabo," "Coyote 101: actor prep; "What It Means to be a Coyote," "Howling Good Time: Filming the Bar Scenes"; deleted scenes; LeAnn Rimes music video.

Jacob’s Ladder 9/10

Jacob’s Ladder (R) 1990
Reviewer’s Tilt (8)
Suspense-116min
Special DVD Features worth a look- Making of" Featurette

Jacob’s Ladder is the story of Jacob Singer (Tim Robbins), a Vietnam vet who goes on to obtain his PhD and settle into sedentary life as a mailman. Having lost his young son, being bayoneted in Vietnam, and divorcing his wife, Jacob tries to make sense of his life as it unravels years later. His angst over unresolved past issues leads to horrible dreams, disturbing flashbacks and unsettling visions. Jacob’s girlfriend, Jezzie (short for Jezebel) (Elizabeth Pena), is a sexy co-worker, deeply in love with Jacob, but trying to help him put his disturbing past behind him. As Jacob tries to piece together the horrible scenes of drug-induced violence and carnage during his last days “in country,” he comes to the conclusion that there is a military conspiracy to keep him quiet about what happened.

Not until Jacob climbs all the way down this ladder of madness is he able to begin his ascent. The movie reflects numerous religious and spiritual philosophies. In the Bible, the ill-fated Tower of Babel was a man-made attempt to rise up to God. Jacob’s Ladder was the stairway God used to communicate with Man. The moral is that you cannot communicate with God on your terms; you must do so on his. In the Bible angels and demons, as well as lost souls used the ladder to ascend into heaven or descend into hell.

In the film, director Adrian Lyne proclaims that your perspective determines whether demons lead you down the ladder or angels lead you up. As written in the Tibetan Book of the Dead, however, at death the soul cannot release from the body until the soul reconciles the decedent’s life. Until this time, the soul experiences realistic demons which are actually ethereal reflections of the soul’s own inner self. The demons are actually no more than the disembodied consciousness symbolically expressing its psychic conflicts. Seen in this light, the demons are really angels, assisting the soul with reconciliation and release.

Lyne juxtaposes the Christian key to heaven, God’s forgiveness, against the Tibetan key to peace, self-forgiveness. In making sense of his life, Jacob must reconcile many ladders. Grief, drugs, posttraumatic shock, metal illness and death are the ladders he must climb or descend. Ascension leads to closure and growth, while descension leads to continued pain. Why then does Jacob not simply start up each ladder? Lyne provides a uniquely disturbing window into Jacob’s motivations. In one particularly notable scene, Jacob becomes trapped in the subway. Jacob tries to take the stairs out, only to find them barricaded. It is not until he first descends and reconciles his fears, which he is then able to rise out of the “tomb.” This truly disturbing movie is difficult to follow, but rewards close attention and multiple viewings with a profound message.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Director commentary, "Making of" featurette, deleted scenes, production notes, cast and crew bios, trailer.

The Killing 9/10

The Killing (NR) 1956
Reviewer’s Tilt (10)
Thriller-83min
Special DVD Features worth a look-None

The remake of Ocean’s 11 grossed hundreds of millions of dollars. Why? Partly due to the cavalcade of stars, but partly, actually mostly, due to the taunt underlying plot. Far from novel, this plot has entertained movie audiences for nearly half a century; since it was originally unveiled in Stanley Kubrick’s 1956 “The Killing.” In the early 50’s Frank Sinatra was mulling over purchasing the rights to Clean Break, a gang robbery novel by Lionel White. Sinatra balked, and Kubrick stepped up to buy the rights out from under him. Although Kubrick wrote the screenplay, the movie is heavily based on the book, and owes its realistic gangspeak to crime writer Jim Thompson.

If you think Quentin Tarintino created the “breakneck” genre, with chronologically shuffled scenes, gritty characters and tense action, you would be sadly mistaken. The killing stands as the first, and probably most sterling example of the genre, holding up impeccably nearly over four decades later. The story focuses on seasoned criminal Johnny Clay (Sterling Hayden), who hatches a plan for an incredible heist. The take is two million dollars and nobody gets hurt. The gang must execute like clockwork though and everyone has to keep his mouth shut. Clay is careful to pick only seasoned professionals for the job. Realizing there is more than enough dough for everyone, he seals the deal with an even split of the money.

This skewed “morality” also surfaces in Johnny’s doting and protective relationship with his mousy fiancée (Coleen Gray). The plan is flawless, except for its inclusion of a spineless racetrack cashier (Elisha Cook). Short and balding, the pathetic sod finds the more he does to impress his vixen of a wife Sherry Peatty (Marie Windsor), the more evil she becomes. When he finally spills the plan to his wife in an attempt to impress her, she teams up with boyfriend Val (Vince Edwards) to reap the rewards of the heist for herself. As with any breakneck, things do not go according to plan and someone always gets hurt. The artful cinematography nicely complements the riveting plot; skillful direction and fine acting make getting from point A to point B an edgy and entertaining ride. The film holds up as impressively today as they did in 1956. Pay particular attention to the great performances by Tim Carey, as the sociopathic gunman, Ted DeCorsia, as the crooked cop and Joe Sawyer, as the bartender trying to raise money to save his dying wife.

Format: B&W, Fullscreen, Closed captioned.
Sound: (Dolby Digital Mono)
Extras: Trailer