Film Freak Central

Evil Dead Rise (2023)

***/****
starring Lily Sullivan, Alyssa Sutherland, Gabrielle Echols, Morgan Davies
written and directed by Lee Cronin

by Walter Chaw Lee Cronin's Evil Dead Rise is mean. It's that scene from The Exorcist (1973) where little Regan McNeil masturbates with a crucifix and then shoves her mom's face into her crotch mean. Vicious. But it's not Ari Aster mean, where you infer it hates its characters and/or its genre. Rather, it's mean in the sense that demons are mean, and it makes people we like do terrible things to other people we like. Evil Dead Rise is the line separating a horror film from a horrible film. It's closer in tenor to its immediate predecessor, Fede Alvarez's similarly vicious--brutal, really--Evil Dead (2013), than to Sam Raimi's original trilogy, though more to the point, it's exactly as mean as the first two entries in that trilogy but without Raimi's sillier visual affectations and Bruce Campbell's beloved caricature of a hambone persona. Indeed, most of the "fun" of those Campbell/Raimi pictures is the amount of humiliation and abuse heaped upon Campbell, with Campbell's physical resemblance to a cartoon character becoming the central gag of the third film, Army of Darkness, as his features are stretched and multiplied, shrunken and deformed to fit whatever comic-strip setup is required of him in that moment.

The Banshees of Inisherin (2022)

****/****
starring Colin Farrell, Brendan Gleeson, Kelly, Kerry Condon, Barry Keoghan
written and directed by Martin McDonagh

by Walter Chaw I lost a friend this year. Not to death but to no longer having anything of value to offer him, what with time getting short. I understand that. It's happened before for different reasons, and while it's tempting to say it's not my fault, sure, it's my fault. All you need to love in this world unconditionally are your kids, and, well, the last time my late parents told me they loved me, I was nine years old. I remember that because every few years, I've had reason to wonder when it stopped and what exactly I did to deserve it. The myth of family is just that; I think there's a reason people like me build their own families. The only thing unconditional is the love a dog has for you, and people abuse dogs all the time. I have friends who are enervating to me as well, and I wonder if my loyalty to them has everything to do with knowing the pain of being left by the side of the road by the people I have loved--and not wanting to inflict that on anyone else. The fashion of the moment speaks of this as "ending the cycle" of abuse. I'm drawn to artists like Kendrick Lamar who use poetry and what appears to be an extraordinary vulnerability to lay bare their struggles. Even as I write this, I'm noticing the pain I have in the middle knuckle of the third finger on my left hand. I've put down millions of words in the past 20 years, going through multiple keyboards and laptops in that time. I was driven by an obsession not to be forgotten, although I'm losing track of why that matters. The longer I go, the more it seems a blessing to slip beneath the surface, and then it's done. I have a heaviness in my chest sometimes that feels like a stone, worn smooth and round, sitting right there on my sternum. Time is getting short for me. Some days it feels a lot shorter than others. I wonder how small the iris of my perception will become as the possibility of works I'll complete dwindles to not one more. That's it, then someone else closes the cover of your last notebook.

Nocebo (2022)

**½/****
starring Eva Green, Mark Strong, Chai Fonacier, Billie Gadsdon
written by Garret Shanley
directed by Lorcan Finnegan

by Walter Chaw Lorcan Finnegan's Nocebo would fill an interesting double-bill with Jaume Collet-Serra's Black Adam, both violently rejecting the interventionist and exploitative tenets of colonialism (traditional and neo-). The reasons these films at opposite ends of the production spectrum might manifest within days of each other in 2022 are cynically self-evident, perhaps, but it doesn't lessen the fascination of their parallel genesis. The world is being destroyed by unfettered, voracious capitalism in ways so obvious that even widgets extruded from the intellectual-property mill are compelled now to occupy the same sociopolitical spaces as an independent film. I don't know that it's possible to qualify this development in that while it seems like progress, history has a way of reducing revolutions almost instantly to T-shirts and freshman dorm-room poster-ganda. Capitalism is undefeated. I loved Vivarium, Finnegan's previous film, a great deal, mainly because it played out manifold variations on its philosophical theme: to what extent does biology determine behaviour? Nocebo is similar in that it, too, asks a question about guilt and vengeance, then works over through multiple approaches to the answer before landing on the same conclusion that notions of good and evil are arbitrary distinctions imposed on innate compulsions. A mother will be compelled to avenge her child because a creature is obliged to reproduce itself. Anything else is merely obfuscating chantilly on an intrinsic cake.

TIFF '21: You Are Not My Mother

**/****
starring Hazel Doupe, Paul Reid, Carolyn Bracken, Ingrid Craigie
written and directed by Kate Dolan

by Bill Chambers Although I called last year's iteration of the Festival "the COVID-19 TIFF," it's really the 2021 crop of films that have been shaped by the pandemic, formally and, perhaps as a result, conceptually, the way Jørgen Leth wound up with five dissimilar incarnations of his experimental short The Perfect Human when Lars von Trier tasked him with remaking it under different sets of "obstructions." In a charming pre-taped intro that saw her receiving trick-or-treaters (points for creativity), writer-director Kate Dolan talked about how difficult it was shooting You Are Not My Mother during the second lockdown in Ireland, but there's a low-key expressionism to the film that might be a happy accident, a bonus stemming from compromise. Our young heroine navigates a near-apocalyptically empty suburbia, which feels not necessarily true, but right, externalizing her feelings of isolation along with her vulnerability. The movie isn't pushing any envelopes, however, and is, to some extent, modest to a fault.

The Green Knight (2021) + Pig (2021)

THE GREEN KNIGHT
****/****
starring Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Nelson
written for the screen and directed by David Lowery

PIG
****/****
starring Nicolas Cage, Alex Wolff, Adam Arkin
written and directed by Michael Sarnoski

by Walter Chaw A thing has no value if there is no risk of losing it. A treasure is only that if there are hobbits. If you're a parent and you've done everything right, and everything goes exactly as it should, your children will know the exquisite pain of your death. The story for us all ideally has the tang of misadventure to it and a sad ending full of irony. It is a great fable without a moral, wrought with temptations--though hopefully, when the curtain falls, free of too much regret. The key to navigating the labyrinth of the Rose Poet's medieval romance "Sir Gawain and the Green Knight" is perhaps in its prologue, where it presents the history of the founding of England from the Fall of Troy through to Aeneas's further stories: his conquests and foundings, sure, but also the inevitable decline of his line. A popular version of this history around the time that "Sir Gawain and the Green Knight" would have been written holds that Brutus of Troy is the grandson of Aeneas, exiled from Italy because, in fulfillment of a prophecy similar to the one that doomed Oedipus, he accidentally killed his father with an errant arrow. In the course of his wanderings, this Brute, the product of a cursed line beset with hubris and tragic folly, becomes the first king of what would be called England.

Telluride '18: The Favourite

****/****
starring Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult
written by Deborah Davis and Tony McNamara
directed by Yorgos Lanthimos

by Walter Chaw Imagine, if you can, that the leader of the country is ineffectual at best--an invalid, maybe, surrounded by vipers and sharks who do the real business of leading, feeding forever wars to enrich themselves, beholden to the monied upper classes who dictate advantageous-only-to-them policies around taxation. Imagine that this ruling class were devoted to nothing except their own leisure: besotted by firearms and obscure pastimes, throwing lavish parties, while the less fortunate (everyone else) died in wars that could be stopped if only they weren't so profitable. Yorgos Lanthimos's The Favourite is hilarious, but it would be even funnier if it weren't so absolutely spot-on about this mess we're in here in the United States--which is, apparently, spreading. The only comfort Lanthimos offers is that we're probably not in much worse shape than mankind has ever been. Cold comfort, indeed. The Favourite is not just one of the best movies of the year, it's the most topical, too, and the most hopeless as a result.

Fantasia Fest '18: Born of Woman (short films)

by Walter Chaw This is what I believe: I believe that men and women are essentially different and that those differences result in perspectives that are necessarily different. I don't consciously privilege one perspective over the other, but I acknowledge that I am not always aware of my prejudices. I think Wonder Woman would have been garbage if a man had directed it; and I think 20th Century Women, written and directed by a man, had beautiful roles for women. It's confusing and it can be exhausting, but at the end of the day, creating an equal opportunity for women and people of colour to tell stories (whether they're theirs or not) can only be good. So...

Fantastic Fest '16: Sweet, Sweet Lonely Girl + A Dark Song

SWEET, SWEET LONELY GIRL
*½/****
starring Quinn Shephard, Susan Kellermann, Erin Wilhelmi, Frances Eve
written and directed by A.D. Calvo

A DARK SONG
**/**
starring Catherine Walker, Steve Oram, Mark Huberman, Susan Loughnane
written and directed by Liam Gavin

by Walter Chaw Self-consciously a throwback to supernatural softcore lesbian exploitation as indicated by the films of Jean Rollin and, specifically, James Kenelm Clarke's The House on Straw Hill (with bits of Pawel Pawlikowski's My Summer of Love in there), A.D Calvo's Sweet, Sweet Lonely Girl has a pretty good feel for time and place, but not much more than that. It's the definition of slight. Adele (Erin Wilhelmi) is a bit of an outcast. Gangly and awkward, she's sent away to be the helper for her mysterious shut-in of an aunt, Dora (Susan Kellermann), at Dora's decaying Victorian manse. One day Adele sees a beautiful girl at the market, Beth (Quinn Shephard), strikes up a friendship with her that evolves into a love affair of sorts, and discovers herself at the same pace that everything begins to fall apart with Dora. It's a recognizable tale of feminine agency told better, directly and indirectly, as recently as Osgood Perkins's February (now The Blackcoat's Daughter) and Robert Eggers's The Witch. Sweet, Sweet Lonely Girl begs comparisons because it begs them explicitly. Its soundtrack is AM Gold featuring choice cuts from Rod Stewart and Crystal Gayle as well as a few nice slices from Starbuck, and the film itself is a mix-tape in every way.

Love & Friendship (2016)

***½/****
starring Kate Beckinsale, Xavier Samuel, Emma Greenweil, Chloë Sevigny
based on the novella Lady Susan by Jane Austen
written & directed by Whit Stillman

by Angelo Muredda When Whit Stillman emerged from his thirteen-year sojourn in the wilderness after The Last Days of Disco, it was with the pastel-washed curio Damsels in Distress, practically a radio transmission from a planet of the auteur's own construction. Where his Metropolitan and Barcelona dropped anchor in immaculately-observed social environs (Manhattan's waning debutante scene and the European refuge of loquacious Americans, respectively), Stillman's modestly-budgeted return to filmmaking holed up in a dreamlike and not especially convincing college setting, where Gatsby-esque self-inventors sought to transform their ugly little world through good soap and new dance crazes. A deeply hermetic work even by Stillman's standards, Damsels in Distress feels in retrospect like a minor but necessary stepping stone back to the better realized but still heightened reality of Love & Friendship, a signature work that is nevertheless Stillman's most accessible to the uninitiated. Despite marking his first adaptation--of Lady Susan, a short, posthumously-published epistolary novel by Jane Austen, whom he has long worshipped--the film is as pure an expression of the Stillman style and worldview as any despite its largely English cast and the sincerity of its period trappings as a 1790s costume comedy about the machinations of the rich, the formerly rich, and the rich-adjacent.

Fantastic Fest '14: From the Dark

***/****
starring Niamh Algar, Stephen Cromwell, Gerry O'Brien, Ged Murray
written and directed by Conor McMahon

by Walter Chaw Conor McMahan's From the Dark is a hell of a film. Sarah (Niamh Algar) and Mark (Stephen Cromwell) are taking a little detour into the moors when they're predictably bogged down as night approaches. What they don't know is that a peat farmer has just been summarily attacked in a stagnant pool after unearthing what appears to be some sort of bog mummy earlier in the day. It's a nifty set-up for a spam-in-a-cabin scenario, and indeed, Mark discovers a ramshackle farmhouse where he and Sarah decide to spend the night--especially once they're attacked by some unseen thing apparently repulsed by light of any kind. It's an amalgam, in other words, of The Descent and Nosferatu: a horror film resting on those genre pillars of transgression, transformation, and contagion that cannily milks every possible light source in its rural environment (cell phones, an old tube television...more would be telling) for surprise and plot points.

Byzantium (2013)

****/****
starring Gemma Arterton, Saoirse Ronan, Sam Riley, Caleb Landry Jones
screenplay by Moira Buffini, based on her play
directed by Neil Jordan

by Walter Chaw What is it about the Irish character, that particular quality of melancholy fatalism, that seems to inform the great works of native sons Beckett, Joyce, and maybe Yeats in particular. I like G.K. Chesterton's description of Ireland as a place of "men that God made mad,/For all their wars are merry,/And all their songs are sad." It infects the folklore, the story of the crags and the heather, the looming, low skies pregnant with what Michael Almereyda's criminally-underestimated (and long forgotten) The Eternal fashioned into a creation story involving unimaginable losses and the sweet, bitter tears they inspire. To that film, add John Sayles's The Secret of Roan Inish, Neal Jordan's Ondine, and now Jordan's rapturous Byzantium: a quartet of supernaturally-tinged pictures that together form a lush polyptych that captures the very sensation of walking through Dublin in the rain, or along the shores of Galway, or through the pages of Ulysses in the company of Leo and Nora. As for Byzantium, it's beautiful, and sad, and has an eternity to it that's reflected in its tale of a "soucriant," a succubus of sorts with a Dominican history and favoured by Jean Rhys in novels that were themselves attempts to come to terms with the tragedies of her life as an outsider. Jordan, well-read and never shy about expressing that literariness in his pictures, is producing in his later work the very evocation of a city from Italo Calvino's Invisible Cities (a book he once told me he admires): Ersilia, an abandoned city built not of walls, but of strings the lost inhabitants used to mark connections with one another. Jordan weaves an intricate web with Byzantium, a film that, before even attacking the tensions within, provides tensions without in its title, most likely taken from Yeats's "Sailing to Byzantium," which is itself about tensions between the "artifice of eternity" and the temporariness of youth. Turns out, the film is about that, too.

Leap Year (2010)

½*/****
starring Amy Adams, Matthew Goode, Adam Scott, John Lithgow
screenplay by Deborah Kaplan & Harry Elfont
directed by Anand Tucker

by Walter Chaw A rite of passage for starlets aspiring to graduate from the B-list is this crucible of the romantic comedy where, governed by the suffocating strictures of a time-worn formula, the penitent are asked to prove their box-office appeal. See, the genre represents the only variable, however slight, in what shakes out to be something like the Royal Shakespeare Company's tradition of cycling Hamlets. Already through the corny gates, I imagine poor Amy Adams (remember when she used to be better than this?) welcomed into the fold by the unholy Moirae of Sandra Bullock, Renée Zellweger, and Julia Roberts as she teams with Limey Matthew Goode in a babysitter's club-safe series of delightful misunderstandings on the Emerald Isle. Adams, an exceedingly promising American actress as evidenced by turns in Catch Me If You Can, Junebug, and Doubt, demeans herself now in picaresque cash grab Leap Year when her Anna, wanting to be betrothed to douchebag cardiologist Jeremy (Adam Scott), is pushed into the brawny arms of bog-trotting Declan (Goode) in a happy-go-smacky Forces of Nature imbroglio. Seems Anna wants to propose to the reluctant Jeremy in Dublin, where, once every four years, local tradition allows the especially desperate to Sadie Hawkins their cold-footed beaus. But, uh oh, type-A Anna is forced to hire slovenly man of stinky action Declan to ferry her 'cross the proverbial Mersey and, in the process, learn something about herself while teaching him something about himself. Slapstick, interrupted kisses, awkward sleeping conditions, a dancing-at-the-wedding sequence, a food-prep montage, and provincial bumpkin comedy ensues.

2009 TIFF Bytes #3.5: A Shine of Rainbows

originally published September 23, 2009
Too long for Twitter, too brief for the capsule page, some quick takes on films screened at this year's TIFF:

A SHINE OF RAINBOWS (dir. Vic Sarin)
Gawd, this movie is so nauseatingly nice. And generic. And hackneyed--any seasoned moviegoer will be able to predict every single story beat in advance. Connie Nielsen and Aidan Quinn--neither of whom is from Ireland (the director, meanwhile? From India)--play an Irish couple who adopt an adorable stuttering moppet (John Bell) from the local Dickensian orphanage. Because the kid is timid, kind of effeminate, and more than happy to learn the ropes from Nielsen, stoic, grunty Quinn can't relate to him. But then tragedy strikes (as you know it will from the first moment Nielsen tentatively clutches at her chest), and Quinn goes on a bender, and the kid steals a boat, and Quinn's grinch heart grows three sizes when the kid inevitably capsizes. Did I mention the baby seal yet? Who is this movie for? ½*/4

There may still be another capsule at the mothersite, but otherwise this it for my TIFF coverage. Apologies that I wound up reviewing such underwhelming fare; I confess I didn't pursue the buzz very aggressively--a muscle injury, coupled with the unexpected death of a friend, left me at the start of the Festival with little physical or psychic stamina. I'm kinda bummed that in the case of both Werner Herzog movies I showed up at the wrong theatre, but on that I blame a seemingly genetic aversion to doublechecking. Thanks for reading, even if you haven't felt much like commenting!

The Butcher Boy (1998) + The Brave One (2007) - DVDs

THE BUTCHER BOY
****/**** Image A Sound A- Extras B-
starring Stephen Rea, Fiona Shaw, Eammon Owens, Alan Boyle
screenplay by Neil Jordan and Patrick McCabe, based on the novel by McCabe
directed by Neil Jordan

THE BRAVE ONE
***½/**** Image B- Sound B Extras C+
starring Jodie Foster, Terrence Howard, Naveen Andrews, Nicky Katt
screenplay by Roderick Taylor & Bruce A. Taylor and Cynthia Mort
directed by Neil Jordan

THE BUTCHER BOY

by Walter Chaw Opening with a series of panels from Golden Age comics produced circa the era in which the film is set (i.e., 1962), The Butcher Boy identifies Neil Jordan as a director with a secret yen for superhero fantasies. It certainly jibes with the filmmaker's affection for protagonists who, for whatever reason, live in private worlds, in fairytale dreamscapes populated by emblems of good and emissaries of evil--worlds where the most colourful places are the interiors of churches, where the characters' fears and failings alike are assets. Jordan's films are unfailingly about transformation (though sometimes they're about the failure to transform adequately, or quickly enough) and heavy with the illness of existential introspection--the Judas strain with which the modern superhero pantheon is sick. His heroes are rendered simple by their duality, confronted by the idea that for as hollow as it is to change to fit the demands of a particular time and place, it's equally useless to try to stay the same as the world falls down. Jordan makes the movies Terry Gilliam never quite made until Tideland; far from the compassionate fare many label it, his oeuvre is comprised of harsh little ditties about the voraciousness of the social organism and the bites it takes out of individuals living perpendicular to the absolute mean. For me, all of his films, from The Crying Game to Mona Lisa, from The End of the Affair to Interview with the Vampire, are pointedly concerned with the futility of compensatory measures in the lives of deviants.

Free Zone (2005) + The Secret Life of Words (2005) - DVDs

FREE ZONE
*/**** Image C- Sound B Extras F
starring Natalie Portman, Hanna Laslo, Hiam Abbass
written and directed by Amos Gitai

THE SECRET LIFE OF WORDS
*½/**** Image A- Sound B+
starring Sarah Polley, Tim Robbins, Javier Cámara, Julie Christie
written and directed by Isabel Coixet

by Walter Chaw The not-at-all-hamfisted allegory of an Israeli woman and a Palestinian woman trekking across the disputed land to find an American who will settle some non-specific debt, Amos Gitai's tediously strident Free Zone opens with ten minutes, uninterrupted, of Natalie Portman weeping over what we discover to be the end of a love affair. It's showy and about as subtle as a kidney-punch--ditto the conception of Portman's passive Rebecca (Portman), the American on the sidelines, a matinee-beautiful beacon who stands by as impassively as Milton's God. That said, the device of a long, car-bound road trip narrated by flashbacks of the protagonists' separate journeys to this journey is, at least for a while, intoxicating. The problem--and it's a doozy--is that Gitai's picture is so blatant an allegory that nothing any of the characters say comes free of dramatic distance or irony, making it impossible to take the film seriously as anything other than ventriloquism for Gitai's, let's face it, unsurprising politics. Nothing wrong with Wailing Wall lamentations about the state of the world, but watching someone shake a fist at a dead horse, long past the hope of resurrection, for upwards of two hours, is tiring and futile. Is there traction in proposing that the film merely mirrors the hopelessness of the Middle East conflict? I guess, but then how many people--specifically, how many people renting a film called Free Zone directed by Amos Gitai--are going to feel edified by that?

Sundance '07: Joe Strummer: The Future is Unwritten

***/****
directed by Julien Temple

by Alex Jackson I worry that this film was wasted on me. I usually walk out of the Q&A sessions after festival screenings because I can't bear to hear the stupid questions the audience asks or, as in the case of M dot Strange, the filmmaker's stupid answers. This time, however, the questions were intelligent and thoughtful, and, it almost goes without saying, so were the replies. Watching Joe Strummer: The Future is Unwritten, I was reminded a bit of those critics who said that The Passion of the Christ was made for hardcore Christians and that nobody else is going to have any idea what's happening. I know fuck-all about Joe Strummer or The Clash, so I watched this film expecting to learn a little something. Good god, man, it was exhausting. Director Julien Temple never stops to let a point sink in and never organizes the material into actual scenes--it's just one thing after another. He folds in clips from Animal Farm and the out-of-print fifties version of 1984, tons of archival footage of The Clash, and fireside interviews with people who knew Strummer and celebrities who admired him (I admit I laughed when Johnny Depp showed up to sombrely reflect on Strummer's legacy in his Captain Jack costume). Punk music, some Strummer's and some not, is weaved in and out of the soundtrack, oftentimes at ear-splitting volumes. (When a segment of Israel Kamakiwo'ole's lyrical "Over the Rainbow" appears, it's a sweet relief.) There is a sense in which the film falls victim to a cardinal sin of documentaries: it doesn't want to say something about its subject or place it in a context in which it can be better understood, it simply wants to be its subject. That hardly matters, though, because Temple may have actually succeeded in finding a union between subject and form--Joe Strummer: The Future is Unwritten might very well be Joe Strummer. Indeed, it doesn't seem to be about the music; the music is one more element in the entire tapestry. Joe Strummer: The Future is Unwritten is two hours of pure energy, and perhaps it's possible to appreciate it on a purely experiential level if you already know virtually all there is to know about The Clash. I'm not sure I can say that it was a particularly enjoyable experience, but I think I can detect brilliance when I see it. There is something magical and otherworldly about the editing: not a frame is wasted and, combined with the narration and music, an image as innocuous as somebody looking directly into the camera or walking into a Baskin-Robbins inexplicably accrues an enormous visceral wallop. I'm not 100% sold on it, but I gotta confess: this is a film with momentum.

Here Comes Mr. Jordan: FFC Interviews Neil Jordan

Tea time with the director of your dreams

December 4, 2005|I expected Neil Jordan to be towering, imposing. From what I'd read, he was a taciturn interview given to long silences and confusing discursions--and from the intelligence of his films, I wondered if I'd be able to keep up with his sources and references. But for a man responsible for some of the most challenging, courageous, and beautiful films of the modern era (Mona Lisa, The Crying Game, now Breakfast on Pluto), Mr. Jordan came off as an everyday Joe (with a light Irish brogue) still amazed by the possibilities of the medium and still feeling his way through the business. His pictures always seem to be fairytales: No matter their subject matter, there are princes and maidens, wolves and woods. (Jordan's most underestimated work (and one of my favourites), In Dreams, is entirely an evocation of fugue states.) As he was on the verge of ordering an espresso, I assured him that this place--Denver's four-star Panzano restaurant--knew how to brew tea properly (in a pot, on the table). Amused, he looked me over and said, "I suppose you'd know. Tea it is."

DIFF '05: The Matador

**½/****
starring Pierce Brosnan, Greg Kinnear, Hope Davis, Philip Baker Hall
written and directed by Richard Shepard

by Walter Chaw Wearing a sleazebag moustache and an ugly print shirt, Pierce Brosnan watches a bartender shake his drink instead of stirring it and the film slows down and blurs accordingly. It's post-modernism as gauzy, lazy hallucination--a swoon that suggests a minor, nearly-imperceptible tremor in reality and the only moment in which hyphenate Richard Shepard acknowledges the irony of the former 007's presence in another licensed-to-kill role as assassin-for-hire Julian Noble. Fond of bottomless tequila and "sucky-fucky" instead of "blushy-blushy," Noble is an unctuous, pathetic character. In any other film, he'd be selling office-furniture and drowning his sorrows in booze and floozies, wondering why nobody's calling on his birthday. On a fateful trip to Mexico, Julian intersects with Danny (Greg Kinnear), a suit-and-tie salesman trying desperately to secure an all-important contract so that his mousy wife (Hope Davis, cast against type as a kind person) doesn't droop into the wallpaper. A lightning-felled tree crashes through Danny's kitchen, no less a harbinger of calamitous change than Julian turning up on his doorstep months later with an offer Danny can't refuse. It's a comedy of murderous Freudian manners in the vogue of Grosse Point Blank or "The Sopranos": there's nothing particularly original about an odd-couple in a thriller nor, even, a thug having an existential crisis while involving Ward Cleaver in his maleficent deeds. The Matador, then, would do well to bring something new to the conversation, but instead, it functions as a workmanlike bit of easy entertainment. Neither challenging nor incompetent, the picture isn't courageous enough to fail and thus not courageous enough to be a masterpiece. It's a studiously inoffensive diversion for an audience of a certain age; for a shot of the real stuff, try Ripley's Game.

Breakfast on Pluto (2005)

**½/****
starring Cillian Murphy, Stephen Rea, Brendan Gleeson, Liam Neeson
screenplay by Neil Jordan and Patrick McCabe, based on McCabe's novel
directed by Neil Jordan

by Walter Chaw It would seem impossible that Neil Jordan could maintain the ebullient energy of Breakfast on Pluto, and sure enough, it peters out somewhere in the film's second hour. But for as long as it lasts, the picture stands as Jordan's most cheerful, mining joy from the resilience of an Irish transvestite in London as he squeezes all of the Irish experience through his insouciant prism. It mixes magic realism with a certain fairytale sensibility that has been the hallmark of Jordan's career (his hero even wakes in a castle at one point), used here as something like a Miltonic homily along the lines of "The mind is its own place, and in itself, can make heaven of Hell, and a hell of Heaven." A film about the influences of religion, fanaticism, politics, friendship, and love on identity, it's also a survey history of the Irish/English conflict from the trippy, mod '60s into the '70s, and, by the end, an actors' workshop on how to build a performance based on quirks into a character based in emotion.

Asylum (2005)

***/****
starring Natasha Richardson, Ian McKellen, Hugh Bonneville, Gus Lewis
screenplay by Patrick Marber and Chrysanthy Balis, based on the novel by Patrick McGrath
directed by David Mackenzie

by Walter Chaw Director David Mackenzie's follow-up to his stygian Young Adam is the stygian Asylum, based on a Patrick McGrath (Spider) novel that draws, again, upon a young McGrath's experiences as the son of the medical superintendent for Britain's Broadmoor Prison for the Criminally Insane during the late-1950s, when Freudian analysis was the rule and sway. ("Axe murderers and schizophrenics were my pram pushers," McGrath says.) Moments of sun in the picture--shot all in greens and shadow--are illusions within the walls of the asylum to which new administrator Max Raphael (Hugh Bonneville) and his wife Stella (Natasha Richardson) have arrived, a pale yellow glow indicating a path to right reason and an unnatural dusk leading down a hall to madness and bedlam. It is what the provocatively-named head shrink Dr. Cleave (Ian McKellen) would refer to as a "problem with passion," and as part of their first, vaguely flirtatious meeting, Stella will ask Cleave if he's so afflicted. Pinched silence is the answer--and by the end, once Dr. Cleave has shown how a lack of passion has twisted his interiors, it becomes clear that silence is perhaps the best answer to questions of the heart.

Invincible (2002) - DVD

***/**** Image A Sound A+
starring Tim Roth, Jouko Ahola, Anna Gourari, Jacob Wein
written and directed by Werner Herzog

by Walter Chaw With casting, in true Herzog fashion, being the lion's portion of performance, Finnish strongman Jouka Ahola starring as legendary Jewish strongman Zishe Breitbart in Herzog's Invincible is a stroke of inspired madness. Herzog fashions Ahola's total lack of experience and guile into something like an ecstatic holiness. He's done this before, of course, with madmen Bruno S. in The Enigma of Kaspar Hauser and Stroszek and the certifiable Klaus Kinski in some five astonishing pictures (astonishing not only for their quality, but also for the fact that there were five), so although extratextual complexity ever-threatens to become a distraction in Herzog's films, it's the sort of distraction that edifies Herzog's preoccupation with blurring the distinction between performance and naturalism, fiction and documentary. No less so than in Invincible: The first time Herzog has returned to the pre-Bellum Nazi period in Germany since his directorial debut, Signs of Life, it pits one of Herzog's classic social naïfs against a creature of pure manipulative malevolence, Hanussen (Tim Roth), who is, naturally, the kind of master showman/entertainer Herzog has always mistrusted.

Bridget Jones: The Edge of Reason (2004) [Widescreen] - DVD

½*/**** Image B Sound B+ Extras C+
starring Renée Zellweger, Hugh Grant, Colin Firth, Jim Broadbent
screenplay by Andrew Davies and Helen Fielding and Richard Curtis and Adam Brooks, based on the novel by Fielding
directed by Beeban Kidron

by Walter Chaw SPOILER WARNING IN EFFECT. The gusto with which a certain audience will guffaw at Bridget Jones: The Edge of Reason (henceforth Bridget Jones 2)--will buffet each other on the back in robust bonhomie at a joke well told and a prejudice indulged in appropriate company--says all there really is to say about the class schism that the film itself broaches but stops short of actually addressing. (If you squint, you can see them rendered satiric as swine in top hats, smoking cheap cigars and playing cards in their pearls and print dresses.) We reunite with our porcine heroine (Renée Zellweger) a little more than a month after the end of the first film, at which point she's shagged her new boyfriend Darcy (Colin Firth) a lot but remains saddled with her suspicions that he's a prick. He's a lawyer, see, and clearly too good for her, so Bridget, as is her wont, proceeds to embarrass herself in polite stuffed-shirt company, scoffing at the prig who suggests that giving to charity is bad and pretending to be able to ski whilst wrapped in a dreadful pink jumper. The resulting delightfully-patronizing humiliations are the sort of thing generally installed as the engine in romance novels, the main audience for which is one that looks like Bridget, is probably ten years older, and would be surprised to see that, were a film ever actually made of their fantasy projection of themselves onto the heroine role of their little pulp bodice-rippers, would look just as preposterous as Bridget Jones 2.

In My Country (2005)

*/****
starring Samuel L. Jackson, Juliette Binoche, Brendan Gleeson, Menzi Ngubane
screenplay by Ann Peacock, based on the novel Country of My Skull by Antjie Krog
directed by John Boorman

by Walter Chaw A wrongheaded film from a director responsible for a couple of masterpieces (Deliverance, Point Blank), a couple of cult classics (Excalibur, Zardoz), one of the best films of the '90s (The General), a couple of unqualified disasters (Exorcist II: The Heretic, Leo the Last), and a few flicks that are just sort of middling there in-between grotesque (Where the Heart Is), winsome (Hope and Glory), and generally freaky (The Emerald Forest), In My Country--originally more provocatively titled Country of My Skull--finds itself closer to a disaster than to a noodle. It makes the Truth and Reconciliation hearings in post-Apartheid South Africa something of a Western problem instead of an African one (better were it elevated into a human one) and, worse, makes an illicit romance between two fictional characters, public radio journalist Anna Malan (Juliette Binoche, atrociously cast) and WASHINGTON POST journalist Langston Whitfield (Samuel L. Jackson), a metaphor for South Africa endeavouring to make love, not war.

Rory O'Shea Was Here (2004)

Inside I'm Dancing
*/****
starring James McAvoy, Steven Robertson, Romola Garai, Brenda Fricker
screenplay by Jeffrey Caine
directed by Damien O'Donnell

by Walter Chaw Looking for shock value, the more unkind would call Rory O'Shea Was Here "One Rolled Over the Cuckoo's Nest": the film is a straight-up rip-off that substitutes Randle McMurphy and Chief Bromden for plucky punk afflicted with Muscular Dystrophy Rory (James McAvoy) and his cerebral palsy-afflicted chum Michael (not Donnie Wahlberg). Because neither actor is actually afflicted, it can be said that their performances are at best affected; at their worst, and at the service of a condescending screenplay, the two come off as patronizing caricatures engaged in an insipid waltz around the real issues that arise when you're thrust by disability into the full-time care of strangers. It's a great idea to cast the disabled in lead roles, even romantic (gasp!) roles, in motion pictures, but it's a terrible idea to do so for the express purpose of making them into noble savages from which we can suckle our portion of moral outrage and smug, shit-eating superiority. Best, the rebel that brings a sparkle into the lives of everyone he touches has the decency to croak as his last act of charity, allowing the much-maligned social order to go on ticking with one fewer annoying gadfly.

Laws of Attraction (2004) - DVD

**/**** Image B- Sound A- Extras C-
starring Pierce Brosnan, Julianne Moore, Parker Posey, Michael Sheen
screenplay by Aline Brosh McKenna and Robert Harling
directed by Peter Howitt

by Walter Chaw Utterly mediocre and hence better than most of the romantic comedies cranked out by the Hollywood schmaltz factory these days, Peter Howitt's Adam's Rib throwback Laws of Attraction has the over-polished sheen of an apple waxed and stroked so many times that it's more aesthetically impressive than palatable. The film bears a Sandra Bullock/Julia Roberts checklist for a screenplay, with blacked-out boxes next to: meet-cute (she sticks a pencil in his ear); two musical montages (one happy, one sad); a celebration of bad behaviour (binge-drinking); fetishizing of one metaphor-laden item (broken leprechaun figurine); baguette sticking out of a grocery bag; betrayal of half-hearted feminist tenets by making heroine bedazzled by jewellery and men; betrayal of female gender by having model-perfect heroine have the "earthy" habit of binge-eating and not vomiting; quirky elderly/gay/parental comic relief figure; a scene where heroine falls down; a scene where hero does/admits to bad thing; travel/architectural pornography; and temporary break-up leading to nauseating epilogue. Yep, Laws of Attraction is pounded earth complete with a tiresomely whimsical score by Ed Shearmur, opening titles lifted from "Dynasty", and a streak of potential subversion so neutered that it's completely childlike.

King Arthur (2004)

*/****
starring Clive Owen, Kiera Knightley, Stellan Skarsgård, Stephen Dillane
screenplay by David Franzoni
directed by Antoine Fuqua

by Walter Chaw King Arthur wants to have it both ways. It wants to be smart and it wants to be stupid, too. It wants to appeal to eggheads, so it opens with a title card that promises what follows is based on "new" archaeological evidence; then, for the alleged delight of the peanut gallery, it trots out the same period epic dog-and-pony show to which we've been repeatedly subjected since Zulu Dawn. Strangely enough, this new archaeological evidence apparently dates feminism back to the fifth century (witness the dominatrix version of Guinevere, decked out at one point like Grace Jones), in addition to facilitating a clumsy political satire of twenty-first century America's religiosity, arrogance, and imperialism. Needless to say, when something tries to please everyone, everyone is seldom pleased; King Arthur is both stupid and boring, and the revelation that, stripped of tragedy, controversy, and resonance, Arthurian legend is as banal as and similar to Tears of the Sun (director Antoine Fuqua's previous film) displeases indeed.

Around the World in 80 Days (2004)

½*/****
starring Jackie Chan, Steve Coogan, Robert Fyfe, Jim Broadbent
screenplay by David Titcher and David Benullo & David Andrew Goldstein, based on the novel by Jules Verne
directed by Frank Coraci

by Walter Chaw I've spent all the bile and disappointment I'm going to spend on Jackie Chan and what's become of possibly the biggest star on the planet since his relocation to Hollywood. The rumour that this iteration of Jules Verne's Around the World in 80 Days is to be Chan's American swan song fuels the suspicion that even folks unfamiliar with the stuff that once earned Chan comparisons to Buster Keaton have begun to wish, like any majority culture member towards any outcast in any community, that they would stop taking the abuse and just go home. There must be a breaking point for Centurion scourers when pity (revulsion?) overtakes zeal for punishment, and the lengths to which Chan has voluntarily subjugated himself in the role of sidekick, comic relief, and yellow Stepin Fetchit have progressed beyond paternalistic bemusement into the raw area of salt into an open wound. The old Jackie Chan would have done this film and taken the role of Phileas Fogg--new Jackie Chan is content to be Kato. (Burt Kwouk's, not Bruce Lee's.) I was one of three Asians in a large high school in the middle of one of the whitest, most conservative states in the Union, where Chan bootlegs provided by one of South Federal's Vietnamese groceries were among my few lifelines to a positive Chinese media role model amidst all the Long Duck Dongs, Short Rounds, and Ancient Chinese Secret launderers. For me now to feel more apathy than outrage at Chan selling out--dancing, singing, and acting the fool for the charity of the dominant culture--represents a death of a lot of things essential about me. It happens this way: the tide of ignorance wins out not with a bang but with a whimper.

The Commitments (1991) [Collector's Edition] - DVD

*½/**** Image A Sound A Extras A
starring Robert Arkins, Michael Aherne, Angeline Ball, Maria Doyle Kennedy
screenplay by Dick Clement & Ian La Frenais and Roddy Doyle
directed by Alan Parker

by Walter Chaw Alan Parker likes to use his platform as a film director to preach about all manner of society's more obvious ails, reserving the bulk of his ham-fisted proselytizing for the problems he himself identifies as endemic to the United States: hedonism and drug abuse (The Wall, Midnight Express); the price of a culture of fame (The Wall, Fame); the price of Vietnam and our broken social services system (Birdy); the rampant Yankee tragedy of divorce (Shoot the Moon); racism (Mississippi Burning, Come See the Paradise); our love/hate/fear relationship with food (The Road to Wellville); and, most recently (and egregiously), the death penalty (The Life of David Gale). When Parker manages to shut his hole long enough to pack his ponderous, moronic disdain back across the pond, the films he produces there (Angela's Ashes, The Commitments) are weepy prole sagas highlighting the determination of grubby Dickensian urchins toiling in the underbelly of failed capitalism--which, in Parker's mind, is probably America's fault, too. Poor baby. I'm not sure what's made Parker an expert on fixing the United States (something to do with his background as a commercial director, I suspect), but I for one am just so grateful for his insight.

28 Movies Later...: FFC Interviews Brendan Gleeson

December 28, 2003|On the telephone from the Cold Mountain junket in San Diego, on the afternoon of the announcement that the film had garnered an extravagant eight Golden Globe nominations, I was honoured to speak with the marvellous Brendan Gleeson--the best thing about Cold Mountain, as it happens, and the best thing about a great many films. The star of John Boorman's criminally underestimated The General, Gleeson has found himself of late cast in the role of patriarch or mentor and, more fascinatingly, providing both the moral and metaphorical centre of his films, often in just a supporting role. For Gleeson to be routinely overlooked come awards season says a great deal about awards season and the extent to which showy performances--performances that the layperson swiftly identifies as performances--overshadow the sort of bedrock naturalism and presence of a character actor like Gleeson.

The Human Stain (2003)

½*/****
starring Anthony Hopkins, Nicole Kidman, Ed Harris, Gary Sinise
screenplay by Nicholas Meyer, based on the novel by Philip Roth
directed by Robert Benton

by Walter Chaw A gravid piece of Oscar-baiting garbage, Robert Benton's dead-on-arrival The Human Stain plods along with the dedication of the dangerously bloated and the pathologically self-important. It's so woefully miscast that its awards-season intentions become transparent, honouring pedigree to mortify the material, and no matter how eternally topical issues of race in the United States might be, the whole production feels airless and badly dated--something like an Arthur Miller parable, lead balloons and rhetorical minefields and all. In fact, the picture is just on this side of camp classic as venerable whore Anthony Hopkins cuts a rug with Gary Sinise to a few Irving Berlin classics and game Nicole Kidman, going the Frankie and Johnny route with an entirely unsuccessful blue-collar turn indicated by a fake tattoo and cigarette, is outmatched by a Nicholas Meyer screenplay packed with head-slappers and incongruities. The sort of movie I tend to dismiss offhand, The Human Stain proves trickier to exorcise for its populist attack on the populist phenomena of political correctness. That doesn't mean the picture's interesting, it means that the picture's thumbing of a hot-button topic buys it a little analysis.

Veronica Guerin (2003)

*/****
starring Cate Blanchett, Gerard McSorley, Ciarán Hinds, Brenda Fricker
screenplay by Carol Doyle and Mary Agnes Donoghue
directed by Joel Schumacher

by Walter Chaw By the end of the piece, the only thing missing is John Wayne in ill-fitting Centurion garb, drawling "I do believe she truly was the son of God" over the corpse of slain journalist Veronica Guerin (Cate Blanchett), so at pains is Joel Schumacher's tedious spectacle of a hagiography of Guerin to paint her as some sort of sainted martyr. Veronica Guerin is horrible, really, a passel of forced dramatic slow push-ins framing Blanchett's mannered performance (in a Princess Diana haircut, no less, to really ramp up that pathos) all of insouciantly arched eyebrows and saucy eyeballs and centred dead and soft-lit like a Giotto effigy. Much is made of Guerin's print peers looking down on her, then a closing title card offers a statistic on the number of journalists killed in the line of duty, the suggestion being that journalists are sniffy elitists who don't like someone who can't write, has no background or experience in journalism, and takes unnecessary risks with themselves and their families--and that journalists are heroes regularly martyred by their thirst for truth. You really can't have it both ways, and that lack of focus isn't ambiguity so much as confusion brought about by a mortal dose of self-righteousness.

The Magdalene Sisters (2002)

**½/****
starring Geraldine McEwan, Anne-Marie Duff, Nora-Jane Noone, Dorothy Duffy
written and directed by Peter Mullan

by Walter Chaw Most discussions of Peter Mullan's The Magdalene Sisters will probably focus on the extent to which the story that it relates is inspired by truth; the Catholic Church has been predictably swift in its blanket condemnation, while the film's supporters have presented actual "Magdalene Laundry" survivors who attest that the reality was actually much grimmer. The skeleton truth of the film, then, falls somewhere between those extremes, and its presentation, likewise, vacillates between elegant reserve and keening hysteria. The picture is a fictional treatment of the forced labour of tens of thousands of "wayward" girls in the convents of the Irish Catholic order of the Sisters of the Magdalene--compelled through intimidation and abuse to literally wash their sins away with backbreaking work scrubbing butcher's whites and the like under Dickensian conditions. When it works (as in a prologue and conclusion that mute dialogue in an approximation of collective guilt), it works on the strength of Mullan's smooth visual sensibility and narrative acumen. And when it doesn't work (as in a subplot concerning a priest stridently not a "man of God"), the film tends to grate and, worse, cast doubt on the extent to which Mullan's willing to go to take sides on his subject.

Evelyn (2002) [Special Edition] - DVD

*/**** Image C+ Sound B- Extras B+
starring Pierce Brosnan, Julianna Margulies, Aidan Quinn, Stephen Rea
screenplay by Paul Pender
directed by Bruce Beresford

by Walter Chaw It seems as though "inspired" in the phrase "inspired by a true story" is the operative word as the 2002 Christmas season presents to us a rotten couplet of films "inspired" by true stories that, in all likelihood, were pretty interesting prior to the whitewashed variety of "inspiration" dished out in most high profile biopics. Headliner Antwone Fisher (a rancid piece of garbage I like to refer to as "Good Antwone Fishing" or "Finding Fisher-er") gains esteem just by the association of twinkly-eyed Denzel Washington behind the camera (and stentorian Denzel in front), while small foreign film Evelyn will probably gain esteem by dint of its small and foreign status. (Just like its cute-as-a-button titular waif.) Like so many horrible movies of this mongrel breed, however, both Antwone Fisher and Evelyn are so uncompromising in their saccharine manipulations that nurses should stand at theatre entrances, passing out hypodermics of insulin.

Ordinary Decent Criminal (2000) - DVD

*/**** Image A- Sound B+
starring Kevin Spacey, Linda Fiorentino, Peter Mullan, Stephen Dillane
screenplay by Gerard Stembridge
directed by Thaddeus O'Sullivan

by Walter Chaw Completed about a year after John Boorman's infinitely superior The General, Thaddeus O'Sullivan's Ordinary Decent Criminal is a sporadic "fictionalizing" of the life of Irish crime boss Martin Cahill that dresses up Cahill's exploits with slick visuals while attempting the unsavory task of doing exactly what The General was accused of doing: making urban terrorism and torture whimsical caper fare. Recasting Cahill as a Keyser Soze with a sense of oily humor and renaming him Michael Lynch (Kevin Spacey), Ordinary Decent Criminal is extraordinarily lightweight blather free entirely of the sense of scale and place of Boorman's film. The General is fantastic, Ordinary Decent Criminal: just fatuous.

DIFF '02: Bloody Sunday

****/****
starring James Nesbitt, Tim Pigott-Smith, Nicholas Farrell, Gerard McSorley
screenplay by Paul Greengrass, based on the novel Eyewitness Bloody Sunday by Don Mullan
directed by Paul Greengrass

by Walter Chaw With a fade-out/fade-in editing style that pulses like quickening breath, Paul Greengrass's harrowing, documentary-style recreation of the January 1972 Derry Massacre--immortalized in U2's song ("Sunday, Bloody Sunday") and about 30 years ("centuries" seems more appropriate) of violence between Irish separatists and the British army--is thick with an oppressive sense of inevitability. As Greengrass moves between the British troops readying for war and well-meaning Irish activist Ivan Cooper (James Nesbitt) stumping for a peaceful demonstration, the anger of the British paramilitary ("We've lost forty-three men in the last few weeks") and the frustration of the Irish demonstrators gel into something like a coherent portrait of a violent legacy swelling into flashpoint. Greengrass's approach is unfailingly naturalistic, from performances that astonish for their transparency to the grittiness of his 35mm eye. It's hard to imagine a better document of the fog of war, the tension of a maddening crowd mustering for riot, and the impossibility of a "peaceful demonstration" in an ideological war. Bloody Sunday is transporting and educational (not merely from a strictly historical standpoint, but from an anthropological perspective as well), and Greengrass is a major talent to watch. Though proximate explanations for what happened that day are maddeningly elusive, what remains is as clear an explanation as any of how a tinderbox sometimes erupts into conflagration with nothing so much as a strike.

TIFF '02: The Good Thief

***/****
starring Nick Nolte, Tcheky Karyo, Said Taghmaoui, Nutsa Kukhianidze
written and directed by Neil Jordan

by Bill Chambers A loose remake of Jean-Pierre Melville's Bob le Flambeur (director Neil Jordan seems to have cast Tcheky Karyo for the way "Bob le flambeur" rolls off his tongue), The Good Thief is a minor-ish work from Jordan that benefits mightily, as most movies would, from Chris Menges's cinematography. Nolte inherits Roger Duchesne's role as Bob Montagne, an expert gambler and larcenist who in this film is hooked on heroin out of what appears to be sheer boredom. (A hilarious scene finds him stumbling on a Narcotics Anonymous meeting while fleeing pursuers and saying, "I'm Bob, and I'm an addict" in passing.) Drying out to come out of retirement, he agrees to lead a gang of novice thieves in the heist of a Monte Carlo casino; as in the original, even the police can't help but root for him. Nolte's role fits him like a glove: All late-middle-age wear-and-tear, he's not a man who is broken-down--he's someone who has lived. (The actor claims to have used heroin to get in touch with the role.) Melville's characters blossom under Jordan's revisionism and his plot has evolved aesthetically: here, Bob sets out to rob a casino not of its money but its paintings. There's always something to watch in The Good Thief, and that includes the ludicrously appealing Nutsa Kukhianidze as a 17-year-old prostitute Bob takes under his wing. It's a shame the only female presence in the film is such a shameless male-fantasy figure somewhat rag-dolled between powerful men, but Bob not taking advantage of her advances strikes a peculiarly chivalrous note that reflects well on the filmmakers. PROGRAM: GALAS

The Films of John Sayles (1980-2002)

Return of the Secaucus Seven (1980)
**/****
Buy DVD at Amazon.com
John Sayles's directorial debut has taken on the aura of a folk tale, the details of its genesis are that well known: With a $40,000 budget raised largely from the quadruple-threat's (writer/editor/director/actor) work for the scripts for Roger Corman's Battle from Beyond the Stars, Piranha, and Alligator, Sayles shot a film at a rented lake house with friends possessed of neither experience nor know-how and redefined the American indie movie scene. Return of the Secaucus Seven had two separate New York runs, made appearances on several year-end lists, and became a cause célèbre for snobs "in the know" deriding Kasdan's The Big Chill as a Secaucus rip-off. Twenty-some years later and the bloom is off the rose, so to speak: Return of the Secaucus Seven reveals itself to be sloppily made, overwritten, and horrendously performed (with the exception of David Strathairn and Gordon Clapp). Still, there are moments of truth in the picture that are pure: an embarrassing interlude when two old friends pass on their way to an unfortunately placed bathroom, and another during a feverish pick-up basketball sequence that steadily develops a delicious subtext. Gathering for what might be an annual reunion, the titular seven reminisce about characters who never appear, discuss past indiscretions (legal and sexual), and locate themselves on the verge of their third decade unmoored from the virulent liberalism of their flower-powered youth. Stealing the show is nerdy "straight" man Chip (Clapp), demonstrating the kind of unaffected naturalism indicative of Sayles's later work but a naturalism buried for the most part here by oodles of hanging plots, mismanaged character moments, odd editing choices, and a peculiarly literate lack of focus indicative of a brilliant novelist moonlighting as a filmmaker. 104 minutes

On the Edge (2001) - DVD

**½/**** Image A Sound A
starring Cillian Murphy, Tricia Vessey, Stephen Rea, Jonathan Jackson
screenplay by Daniel James and John Carney
directed by John Carney

by Walter Chaw John Carney's On The Edge is sort of a Gaelic One Flew Over the Cuckoo's Nest: an irreverent teen Murphy ("Cillian Murphy" as it happens, playing a character named Jonathan Breech) inspires a batch of ruined adolescents in a County Dublin asylum to restore themselves through the healing power of petty rebellion. It's formulaic and derivative at the least, but the soundtrack, performances, and smooth look of the piece elevate its stagnant material into something--at least fitfully--emotionally engaging, if not intellectually involving.

The Count of Monte Cristo (2002)

**/****
starring Guy Pearce, Jim Caviezel, JB Blanc, Henry Cavill
screenplay by Jay Wolpert, based on the novel by Alexandre Dumas
directed by Kevin Reynolds

by Walter Chaw Preserving the main events of the bombastic blunderbuss novel on which it is based, Kevin Reynolds's adaptation of Alexandre Dumas père's The Count of Monte Cristo also jettisons what meagre subtlety there was in the source material. The film, an attractive swashbuckling spectacle, is pleasantly campy for its first hour and a plodding endurance test for its final eighty minutes, an initially agreeable, if ridiculous, escapist (literally) flick that bloats to the dimensions of standard Hollywood offal.