Film Freak Central

Kate & Leopold (2001)

**½/****
starring Meg Ryan, Hugh Jackman, Liev Schreiber, Breckin Meyer
screenplay by James Mangold and Steven Rogers
directed by James Mangold

A NOTE FROM THE AUTHOR

James Mangold's Kate & Leopold, the third holiday release from Miramax to undergo last-minute edits (The Shipping News and In the Bedroom are the two other victims), has been neutered and lobotomized on a snap decision made by Mangold himself. I'm thankful that I saw an unmarred print prior to its impending truncation, for although one of the changes is welcome, another handily excises the main reason that I gave the Kate & Leopold a break and mild recommendation in the first place. The original version begins in a test screening, where the marketing executive played by Meg Ryan presides over an early screening of a romantic comedy very much like the one in which she finds herself. After suggesting changes to what she saw that will amp up the saccharine shamelessness of the film within the film, an outraged director confronts her: "My characters are real--movies can be real, you know. You're sucking the life out of American cinema." Meg Ryan's Kate appears as a 19th century party guest in an early scene in Kate and Leopold. Sharp-eyed viewers spotting her amongst Victorian New York's glitterati would be able to piece together that the time travel conceit of the film will come full circle. It's clever, and "clever" being anathema in today's romantic comedy genre (if ever it held currency), now it's gone. The abovementioned post-modernist self-awareness was clever as well and earned Kate and Leopold the benefit of the doubt--it's gone, too. That would be deliciously ironic if it weren't also so painful to witness. The only welcome elision is the revelation that Liev Schreiber's ex-boyfriend character Stuart is related to Hugh Jackman's Leopold, thus sparing us the odd reveal that Stuart has been sleeping with his great-great-great grandmother for the previous two years. Had Mangold decided to examine the Jocasta-Oedipus implications of a bookish young man desiring carnal relations with a distant mother figure, I'd have little ethical complaint, but the plot point seemed a careless misstep and won't be missed. You are not seeing the version of Kate & Leopold that I've reviewed at right. Perhaps not surprisingly, a print of the edited version has not been made available for critical re-evaluation. In this way be forewarned: some other films that arrived in the cineplex without the benefit of a critic's screening include Texas Rangers, Pootie Tang, and The Wash. To accommodate the last-minute print changes (and to distance it from the sure-bet that is The Lord of the Rings: The Fellowship of the Ring), Kate and Leopold's release date has been moved to December 26th from its originally-scheduled bow of December 21st.-WC

by Walter Chaw That the consistently grating Meg Ryan, now milking her second decade as a suspect princess of perk, stars in yet another variation on the When Harry Met Sally, "opposites in love against all odds" scenario augers ill, to be certain. But Kate & Leopold is a decent addition to the beleaguered and overcrowded romantic comedy genre (think Somewhere in Time meets Splash); look for an explanation in James Mangold's steady direction, the clever, deconstructive screenplay he wrote with Steven Rogers, and a rock-steady performance by Hugh Jackman that is confident and unembarrassed.

Back to the Future: The Complete Trilogy - DVD|Back to the Future: 25th Anniversary Trilogy - Blu-ray + Digital Copy

BACK TO THE FUTURE (1985)
****/****
DVD - Image A- Sound A- Extras B+
BD - Image B+ Sound A Extras A
starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover
screenplay by Robert Zemeckis & Bob Gale
directed by Robert Zemeckis

BACK TO THE FUTURE PART II (1989)
**/****
DVD - Image A- Sound B+ Extras B
BD - Image A- Sound A Extras A-
starring Michael J. Fox, Christopher Lloyd, Lea Thompson, Thomas F. Wilson
screenplay by Bob Gale
directed by Robert Zemeckis

BACK TO THE FUTURE PART III (1990)
**½/****
DVD - Image A Sound A- Extras B
BD - Image A- Sound A Extras A
starring Michael J. Fox, Christopher Lloyd, Mary Steenburgen, Thomas F. Wilson
screenplay by Bob Gale
directed by Robert Zemeckis

by Bill Chambers GREAT SCOT! SPOILERS AHEAD! It's finally here. As not only a mighty-big fan of Robert Zemeckis's Back to the Future but also a completist (and therefore keen to collect Back to the Future's substandard sequels), I've anticipated the DVD release of Back to the Future: The Complete Trilogy (henceforth BTTF) since the format itself became a reality. Alas, the 3-disc set--from its unsexy blue-and-white cover layout to the cheap menus to a slipshod three-part documentary--is problematic. Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers--pan-and-scan sold separately--supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below). But as a BTTF enthusiast, almost every single piece of supplementary material had me arrogantly believing I could've done a better job.

Harry Potter and the Prisoner of Azkaban (2004)

****/****
starring Daniel Radcliffe, Rupert Grint, Emma Watson, Gary Oldman
screenplay by Steven Kloves, based on the novel by J.K. Rowling
directed by Alfonso Cuarón

by Walter Chaw There's real poetry in Alfonso Cuarón's Harry Potter and the Prisoner of Azkaban (hereafter Harry Potter 3), encapsulated in a moment where Harry mistakes a vision of himself for the phantom of his dead father. It's another of the Mexican director's magic-realism conversations about children coming of age emotionally and sexually, marking the picture as a lovely companion piece to his A Little Princess and identifying Cuarón as a gifted, eloquent voice for the rage and the rapture of adolescence. Opening with the 13-year-old Harry (Daniel Radcliffe) fiddling with his wand beneath a blanket, the theme of self-discovery unfolds along jagged, de-romanticized lines like the rough rhythms of an Irish lyric or, more to the heart of the matter, a Mexican folk tale, all of blood, dirt, and heroic fervour.

Edge of Tomorrow (2014) - Blu-ray + DVD + Digital HD

click any image to enlarge

***/**** Image A Sound A+ Extras B+
starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson
screenplay by Christopher McQuarrie and Jez Butterworth & John-Henry Butterworth, based on the graphic novel All You Need Is Kill by Hiroshi Sakurazaka
directed by Doug Liman

by Angelo Muredda Whatever one thinks of his weaselly insouciance as a performer, it's hard to argue against Tom Cruise's record of choosing solid collaborators to bring a certain kind of high-concept amuse-bouche to life. From Joseph Kosinski's Oblivion, a derivative film about derivatives, to the more or less solid auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise's reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted. So we arrive at Edge of Tomorrow, Doug Liman's first kick at the Cruise can--a clever, fleetly-paced sci-fi riff on Groundhog Day with all the paradoxes of Duncan Jones's structurally similar Source Code but a more playful demeanour.

X-Men: Days of Future Past (2014)

***½/****
starring Hugh Jackman, Patrick Stewart, Ian McKellen, James McAvoy
screenplay by Simon Kinberg
directed by Bryan Singer

by Walter Chaw The seventh X-Men film including the two Wolverine flicks, Bryan Singer's X-Men: Days of Future Past (hereafter X7) is a sterling return to form for Singer, exiled after X2 for choosing to helm the spectacularly-underestimated Superman Returns. He brings with him, as he brought to the Superman mythology, a complete empathy with the material. He understands that the X-Men property--comic-book mutants battling human bureaucrats aiming to outlaw them as alien threats--is, just like the Superman property, at its heart about the pain and complexity of being born different. They're assimilation melodramas that present their heroes with the seductive choice to pass as "normals" when possible, to seek vengeance against bigotry as it presents itself, or to rise above it to achieve a sense of self and carve out a corner of the world for themselves.

The Butterfly Effect (2004)

***/****
starring Ashton Kutcher, Amy Smart, Kevin Schmidt, Melora Walters
written and directed by J. Mackye Gruber & Eric Bress

by Walter Chaw The Butterfly Effect is tidy, nifty even, a great little genre picture that wallows in ugliness, child abuse, animal abuse, classism, and misogyny but with a dirty polish that tends to distract a little from the nastiness. Evan (Ashton Kutcher) suffers from blackouts, has ever since he was a kid, and no wonder, as there seems to be some nasty bouts of molestation, baby murder, and dog immolation buried in there, desperately in need of some good old-fashioned repression. Now a psych student at State U (his research having something to do with memory, naturally), he discovers that he can "possess" himself at various stages of his youth after being triggered by the comp book journals he's been keeping ever since he started having his spells. His efforts at "fixing" the tragedies of his life all tend towards failure, however, as every little wrinkle he puts in the fabric of time results in catastrophic changes in the present. The Butterfly Effect owes a great debt, then, to Ray Bradbury's "A Sound of Thunder," Brian Aldiss's "Poor Little Warrior," William Goldman's Control, and Clive Barker's "The Inhuman Condition"; that it manages to honour to some degree each one of its sources (if only with the precision lavished on the telling of its dank tale) identifies the picture as a most difficult beast to embrace--and just as difficult to dislike. The craft above reproach, it's the content that worries.

Plus One (2013) - DVD

+1
***/**** Image A- Sound A Extras B-
starring Rhys Wakefield, Logan Miller, Ashley Hinshaw, Natalie Hall
screenplay by Bill Gullo
directed by Dennis Iliadis

by Walter Chaw David (Rhys Wakefield) screws up and loses girlfriend Jill (Ashley Hinshaw), only to run into her the night of a gigantic, hedonistic, Gatsby-esque party attended by rave strippers, DJs, and drug dealers. An unlikely place to stage a comeback, David, with buddy Teddy (Logan Miller), coaxes Jill into a conversation that goes south--but then the lights cut out, there's a weird meteorite event outside, and David finds himself with the opportunity to try the conversation again: same place, different Jill. It seems that something's created a quantum split--a little bleed-over maybe from a parallel dimension that twists time and creates doubles of all the revellers, though only a few notice. The ones who don't party on in a kind of nightmarish inattention that reminds of the dreamscapes of Miracle Mile and After Hours; the ones who do begin to wonder what will happen when the time-slips overlap and they find themselves attempting to share the same space as their doppelgängers.

13 Going on 30 (2004)

**/****
starring Jennifer Garner, Mark Ruffalo, Judy Greer, Christa B. Allen
screenplay by Cathy Yuspa & Josh Goldsmith and Niels Mueller
directed by Gary Winick

by Walter Chaw Threatening at any moment to veer off the populist tracks and become something legendarily, unpleasantly subversive, the middling 13 Going on 30 is really little more than a collection of "I Love the '80s" vignettes presided over by Jennifer Garner's peculiar, mannish mien. It's also peculiar that the genre of body-swapping/quick-aging jibber-jabber is making a resurgence now a couple of decades after the last spate (18 Again, Vice Versa, Big), and peculiar again that with Mark Waters's Freaky Friday and Gary Winick's 13 Going on 30, the genre is being re-imagined through the prism of young women. (Perhaps not so strange when you consider that the key demographic slavered over by studio wonks has shifted from the pre-adolescent boys of the mid-'80s to post-Titanic pre-adolescent girls.) It's clear that this film is meant to satisfy some sort of wish-fulfillment fantasy for 13-year-old members of the babysitters' club, but with Eighties references that can only be amusing to people who've passed the third-decade mark, it manages mostly to be a wish-fulfillment fantasy for thirtysomething men who want emotionally immature, sexually malleable women who happen to resemble television starlets.

Black Knight (2001) - DVD

**/**** Image B Sound A- Extras B
starring Martin Lawrence, Tom Wilkinson, Marsha Thomason, Vincent Regan
screenplay by Darryl J. Quarles and Peter Gaulke & Gerry Swallow
directed by Gil Junger

by Walter Chaw Jamal Walker (Martin Lawrence) is a groundskeeper at an all-black amusement park who, just prior to falling in a stagnant moat, is given a dressing down for being "selfish" and not community-minded enough. ("Community" referring to the African-American populace of South Central Los Angeles.) Sharp-eyed viewers should instantly recognize that Black Knight will at some point metastasize from a farce to a public service announcement. (Luckily, we're given a solid first act and a few moments in the second before it does.) When Jamal goes into the moat in pursuit of a golden medallion, he surfaces from a fetid stew in a never-never land where the plain protagonist becomes the keystone in a kingdom-wide intrigue.

Hot Tub Time Machine (2010) [Unrated] - Blu-ray + Digital Copy

*½/**** Image A Sound A Extras D
starring John Cusack, Rob Corddry, Craig Robinson, Chevy Chase
screenplay by Josh Heald and Sean Anders & John Morris
directed by Steve Pink

by Walter Chaw Emboldened, perhaps, by the surprisingly good The Other Guys and the surprisingly great Get Him to the Greek, I went into Steve Pink's Hot Tub Time Machine with the belief that its high-concept idea--not the time travel, but the casting of '80s icon John Cusack in a film that would return him to his decade of greatest power and influence--would be at least enough for it to function as a fairly smart nostalgia piece. Sadly, it's not very smart, nor is it very funny--and the parts of it that work do so in spite of what feels like Cusack's disdain for this period that made him famous. It's pretty standard fare, really, full of obvious jokes about changing the past and the obvious "rebellion" of not honouring the Prime Directive by introducing The Black-Eyed Peas into an eighties music scene that, for everything you could say about Falco or Flock of Seagulls, never produced anything remotely as odious as The Black-Eyed Peas. No, not even Billy Joel. In other words, Pink and his stable of writers can't seem to tell what's ironic from what isn't, meaning the whole project was doomed before it left the starting gate.