Reviewerrific

The Host 8/10

2007-09-14T12:06:00.000-07:00

This Host has Seoul
Host, Korea’s biggest blockbuster, will shock you – but not like you think. After only 13 minutes, writer/director Bong Joon-ho throws us a screen-wide money shot of the monster capturing a young girl. Rag-tag protagonists then utilize equal parts Wizard of Oz and Teenage Mutant Ninja Turtles, navigating Seoul’s sewers toward an inevitable showdown with a surprisingly cute tadpole T-Rex of a villain. In between, we laugh at a funeral, empathize with child noodle love, and thank our stars we wore brown pants. It is these, between the carnage moments, that cement Host’s place in movie-making history.

The Abyss 8/10

2007-05-29T10:13:00.000-07:00

The Abyss (PG-13) 1989
Reviewer’s Tilt (7)
Suspense-146/171min
Special DVD Features worth a look-Extra Footage Version

Before Titanic, James Cameron wrote and directed a little film called the Abyss. When a nuclear submarine gets lost in one of the deepest parts of the ocean, it is up to an oil rig crew and their deep sea equipment to get it back. Bud (Ed Harris) and Lindsey (Mary Elizabeth Mastrantonio), are recently divorced oilrig specialists, hiding from one another the small spark left in their relationship. Although somewhat overlong, and provided with a disappointing conclusion, The Abyss is one of the most visually stunning movies ever produced.

It is rare for any special effects to hold up for over a decade, but these effects clearly do. Instead of guns and carnage, Cameron uses these special effects to paint an artistic calmness across the screen. The special effects prove to be stars themselves, moving the story forward in a way no real actor ever could. Scenes such as the mercurial water creature amaze, explain and entertain more than any of the movie’s dialogue, and images such as the liquid-breathing mouse are truly worth a thousand words, eliminating much of the geek-speak that would otherwise be required to explain the technology.

Winning an Oscar for best special effects, the beauty of The Abyss lies in the journey, rather than the destination. The spectacular visuals and winning score are enough, in and of themselves, to make this a successful film, worthy of multiple viewings. Avoid getting hung up on the destination, and just enjoy this stellar trip.

Format: Color, Widescreen, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround), THX-Mastered Audio
Extras: Featurette: Under pressure: Making The Abyss, Biographies, Script, Original Treatment, Storyboards, Photos, Mission Components, The Abyss In-Depth, new version of film with 28 minutes of added footage, pop-up caption version of film, trailer.

Titus 8/10

2007-05-28T14:05:00.000-07:00

Titus (R) 1999
Reviewer’s Tilt (8)
Classic/Tragedy-162min
Special DVD Features worth a look-Director Commentary

Imagine Shakespeare on acid, directing Hannibal Lector in an MTV version of Sweeney Todd. This will give you some idea of what Titus is all about. In this breakneck from the Bard, Shakespeare possesses his pitiful cast of characters with crazed revenge. Through their bloodlust, they cannot see the destruction their vengeance wreaks on their own families and broken souls. In the opening scene, Roman General Titus Andronicus (Anthony Hopkins) has returned from defeating the Goths, with their Queen, Tamora, (Jessica Lange), her three sons, and a Moor (Harry Lennix). Over the Queen’s protests, Titus orders the grisly execution of her eldest son.

With Emperor Caesar recently deceased, Rome elects the war hero Titus as its next Emperor. Instead of accepting the title however, Titus abdicates the throne to dead Caesar’s eldest son Saturninus (Alan Cumming). When Saturninus selects Tamora as his bride, Tamora plots her vengeance on Titus and his family. This is where the fun really begins. Be prepared, however, this is atypical Shakespearean fare. Like Baz Luhrmann’s version of Romeo & Juliet, Titus contains much surrealism and many modern touches, most of which are great additions to the story. I mean, what could be better than Hannibal Lector as a bloodthirsty general, Goths with guns and a dead ringer for Pee-Wee Herman as the Roman Emperor? While most of these artistic flourishes work, some, like the opening scene, do not.

Casting disapproval on the violence subjected upon today’s youth, the opening scene should, like Titus itself, be over the top, highlighting the violence in the video games, gangs, movies and domestic disputes many children experience everyday. Ketchup on toy robots simply does not convey the requisite feeling. Fortunately, such minor flaws are few and far between. Hopkins, Lange, Lennix and Cumming are mesmerizing. If you like Shakespeare, the quality and complexity of this material will keep you entertained across multiple viewings.

Format: Color, Widescreen Anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround)
Extras: Director commentary, minor commentary by Hopkins and Lennix, director interview, Making of featurette, costumes, trailer.

Brett Trout

The Adventures of Priscilla, Queen of the Desert 8/10

2006-11-01T16:30:00.000-08:00

The Adventures of Priscilla, Queen of the Desert (R) 1994
Reviewer’s Tilt (4)
Comedy-104min
Special DVD Features worth a look-None

This movie will make you laugh, make you cry and make you wish you were a ping-pong ball. Well maybe not laugh and cry, but trust me on the ping-pong ball. This film showcases tough guys Terence Stamp (Wilson in The Limey) Hugo Weaving (Agent Smith in The Matrix) and Guy Pearce (Detective Lieutenant Exley in L.A. Confidential) as a transsexual and two transvestites traveling across the Australian Outback. The three are secluded to perform a cabaret show at a secluded casino if their big pink bus can make the trip. Flamboyant dress and cliché dialogue, which would otherwise destroy a lesser movie, bring this movie to life. The costumes won this picture and Oscar and the impeccable acting puts feeling behind the hackneyed script.

Although the movie is a comedy, and is replete with unfair stereotypes, the actors convey an underlying angst that sets this movie apart from lesser attempts. More than a film about age, gender, transgender or homosexuality, this film is about the difference between who we are, and who we appear to be. Do not spend too so time looking for this film’s deeper meaning, however, that you miss the subtle humor. Finally, you must view the film in Widescreen format to avoid missing half of the action.

Format: Color, Widescreen, Pan and Scan, Closed captioned.
Sound: (Dolby Digital 5.0), French (Dolby Digital 5.0)
Extras: Trailer.

Brett Trout

Pleasantville 9/10

2006-10-27T09:56:00.000-07:00

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

The Limey 7/10

2006-10-11T09:46:00.000-07:00

The Limey (R) 1999
Reviewer’s Tilt (9)
Action-89min
Special DVD Features worth a look-Director commentary

Aging cockney street thug Wilson (Terence Stamp) invades Los Angeles in search of the answers in the “accidental” death of his estranged daughter. Powerful music promoter Terry Valentine (Peter Fonda) appears to be the prime suspect, but answers are not easy to come by in this taunt drama. The search for his daughter’s killer purifies and focuses Wilson’s anger, vengeance, love and regret. Director Steven Soderbergh and actor Terrence Stamp add depth and emotion to what would otherwise be a rather trite tale. Although not all of Soderbergh’s artistic flourishes work fluidly into the picture, a solid cast and tight story make this a worthy rental.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround)
Extras: Director, writer and actor commentary, production notes, cast and crew bios, featurette, music score, trailer.

The Usual Suspects 5/10

2006-10-10T08:06:00.000-07:00

The Usual Suspects (R) 1999
Reviewer’s Tilt (9)
Suspense-106min
Special DVD Features worth a look-Director commentary

In what has recently become a popular story format, The Usual Suspects reveals itself through voice-overs and flashbacks. Verbal Kint (Kevin Spacey), the only surviving member of a gang of would-be cocaine thieves, spins this tale of being drawn into a score with four other small time crooks. Veteren detective Kujan (Chazz Palminteri) pulls a one-man good cop/bad cop on Verbal throughout the movie. During the interrogation, Verbal begins recounting the events leading up to the explosion and carnage that killed his cohorts and rocked a San Pedro pier the night before.

Intricately woven through Verbal’s tale of criminals, robbery, murder and mayhem are the exploits of the mysterious Hungarian killer Kaiser Soze. So ruthless is this killer that he murdered his own family to prove his resolve to a rival gang. Although this film won an Oscar for its screenplay, the “surprise” ending is the weakest part of the film. The acting and story are intriguing, but the master criminal is really no master if he never gets what he was after all along (trust me, this is not giving anything away).

Watch this film for its curious character interplay and the stellar performances by Spacey, Gabriel Byrne and the enigmatic Pete Postlethwaite as Mr. Kobayashi. Just do not expect a satisfying, or rational, conclusion.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Surround)
Extras: Director and writer commentary, trailer

Brett Trout

Stonebrook 3/10

2006-08-17T07:25:00.000-07:00

Stonebrook (PG-13) 1998
Reviewer’s Tilt (7)
Suspense-89min
Special DVD Features worth a look-None

I wish I could remember who recommended this movie to me so I could convene an intervention of friends to make sure they never recommend another movie to anyone . . . ever. Stonebrook starts out well enough, with farmhand Erik (Brad Rowe) getting a scholarship to the Ivy League Stonebrook through a family friend. Although Erik’s roommate is an enigmatic rich kid named Cornelius (Seth Green), the two become friends.

When Erik’s scholarship falls through due to a technicality, Cornelius sees this as an opportunity to help his friend and execute some of the self-concocted con games he never had the guts to execute. The con games work well until the two cross paths with local small-time crime boss Alexander Tali (Stanley Kamel) and the law. Stonebrook attempts to tell a story of fortune, downfall and redemption in a “Usual Suspects” type format. Unfortunately, neither the story, nor the acting comes close to that seminal work.

While plot twists are the mark of the genre, these characters go from being upstanding honest citizens one minute, to adroit con men the next, then back to being the model of morality. While I realize people change, in this movie the bad guy is the only one of the characters that does not go through two lifetimes of catharses in a matter of months. I am thankful, however, that Director Byron Thompson mercifully combined the wild characters swings, the trite dialogue, the bad acting and the ridiculous plot twists into only 89 minutes, and did not insist on providing any “extras” on the DVD. At least he has some empathy for his audience.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 2.0 Stereo)
Extras: None

The Beach 6/10

2006-08-16T07:18:00.000-07:00

The Beach (R) 2000
Reviewer’s Tilt (3)
Suspense-119min
Special DVD Features worth a look-Director commentary

Trainspotting director Danny Boyle latest pays homage to many great films, combining different directorial styles to present a single story. The underlying tale lies somewhere between Animal Farm and Blue Lagoon, but gets from point “A” to point “B” using direction elements from Trainspotting, Apocalypse Now, Lord of the Flies and many other films. The story revolves around Richard, (Leonardo DiCaprio), an American seeking all the indulgences the world’s unseemly back streets have to offer.

Whether it is drugs, women, booze or parties Richard is looking for the next fix. Pondering his next exotic experience in a seedy Thailand hotel, Richard encounters Daffy (Robert Carlysle), a psychologically disturbed drug addict, regaling Richard with tales of a utopia he experienced on a secluded island. Richard then meets a French couple (Virginie Ledoyen and Guillaume Canet), and the three decide to seek out Daffy’s island utopia. The story follows the three through fear, pain, love, heartbreak, pity and growth as they wash off society and seek their true selves. Carlysle is riveting as Daffy, and Tilda Swinton's scene stealing performances as the island leader are very satisfying.

Unfortunately, neither DiCaprio nor the script develops enough empathy for Richard to make the viewer care about his journey or his catharsis. The movie has a lot to offer in terms of style and cinematography, but a weak performance by DiCaprio and overindulgent direction, are distracting and prevent the viewer from fully participating in the experience. Boyle presents this uneven, trite piece of escapism in a cinematographically beautiful package, but fails to deliver any real depth or substance.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Surround)
Extras: Director commentary, alternate ending, deleted scenes, All Saints music video, storyboard, trailer.

Girlfight 2/10

2006-08-15T08:22:00.000-07:00

Girlfight (R) 2000
Reviewer’s Tilt (6)
Drama-110min
Special DVD Features worth a look-None

Girlfight won Director Karyn Kusama the best director award at Sundance and shared the Grand Jury Prize with Kenneth Lonergan’s "You Can Count on Me". Why it received these awards, I do not know. Girlfight is the hackneyed story of angst-ridden teen Diana (Michelle Rodriguez), seeking outlet in an unconventional manner, in this case, boxing. The tale vacillates between inner-city clichés and unbelievable plot turns.

Try as it might, Girlfight simply could not convince me that this young woman, as strong and skilled as she was, could so soundly physically thrash the men in her life. I understand boxing is an art, and that skill triumphs over strength, but this movie does not lay the groundwork to make Diana’s beatings plausible. The film is rife with tired characters, including the former boxer (Jaime Tirelli), living vicariously through his prodigy, the abusive inner-city father (Paul Calderon)., the sensitive, bookish brother (Ray Santiago) that does not want to fight, and the boxer (Santiago Douglas), with the heart of gold. Tirelli, the veteran and Rodriguez, the newcomer are both stunning, but cannot overcome the films many weaknesses.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), (Dolby Digital 2.0 Surround), French (Dolby Digital 2.0 Stereo), Spanish (Dolby Digital 2.0 Stereo)
Extras: Director commentary, making-of featurette, trailer.

Mansfield Park 7/10

2006-08-04T06:55:00.000-07:00

Mansfield Park (PG-13) 1999
Reviewer’s Tilt (7)
Period Drama-112min
Special DVD Features worth a look-Director commentary

Director Patricia Rozema combines Jane Austen’s personal notes and letters with Austen’s novel Mansfield Park, in an attempt to open a window into the classic author’s soul. Frances O'Connor, plays Fanny, Austen’s alter ego, raised in poverty, but given a taste of the good life when she moves to the great Mansfield Park, a country estate owned by her relatives. Her aunt and uncle love her, but relegate her to third class citizenship (second class citizenship being reserved for “privileged” women). Fanny falls in love with her cousin Edmund (Jonny Lee Miller), but sees little chance of ever entering proper society. Soon, a charming and wealthy rake (Alessandro Nivola) and his beautiful sister (Embeth Davidtz) enter the picture, pursuing Fanny and Edmund and offering them a chance to escape their poverty and lack of social status.

Undercurrents of slavery, debauchery, lust, incest and betrayal flow just beneath the surface of this great estate. Like her mother and aunt before her, Fanny must make the Hobson’s choice between poverty and ennui. Harold Pinter is fabulous as the family patriarch, and the supporting cast all give fine performances. My only reservation about this film is Rozema’s attenuation of Fanny’s venom and the buffoonery of those around her. In her attempt to make the heroine both more likable and plausible, Rozema undercuts Austen’s artifice. This unfortunate direction tempers both Austen’s wit and her vilification of nineteenth century society. The movie is good, but Austen’s original vision is genius. Not that genius vision is inviolate. Rozema’s changes however, ultimately weaken, rather than strengthen, the underlying story. I heartily recommend this film, but anticipate a future version of Mansfield Park, incorporating this great acting with Austen’s unabridged artistry.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1)
Extras: Director commentary, making-of featurette, trailer.

Trainspotting 9/10

2006-07-17T06:31:00.000-07:00

Trainspotting (R) 1995
Reviewer’s Tilt (10)
Action-93min
Special DVD Features worth a look-None

Based upon the much more graphic (believe it or not) cult novel by Irvine Welsh, Director Danny Boyle takes you underneath the underbelly of the Scottish heroin scene. This graphic film is neither a PBS documentary about the horrors of drugs, nor a party flick about the joys of disorientation. Instead, is a riveting analysis of why addicts stay addicts. Addicts say it is for the drugs, but this film delves into a much deeper addiction—the connection addicts share with one another. It is addiction’s insidious nature to prey on society’s weak. Although addicts may be stockbrokers and accountants, it is more often the poor and the abused that take refuge under its wing.

Trainspotting drives home the point that the underprivileged not only seek the “high,” but also that brief period of time when the ugliness of their lives melt away. Unfortunately, when they shake off the fog, they are worse than they started. This film’s crisp and taught script shows us that addictions cruelest blow the disturbing codependency it demands of other addicts. The very talented cast of Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd and Robert Carlyle play close-knit addicts sharing their lives, while maintaining the awareness that any one of them will betray the other for a single fix. They have the same wants, the same needs, the same dysfunctions, and the same understanding of why they do the inexplicable things they do.

You would never convince a non-addict to dive into “The worst toilet in Scotland” to recover a single suppository. Other addicts, however, understand and actually covet accounts of such behavior as vindication of their own wrongdoings. The only thing that would make this film better would be the provision of English subtitles throughout to catch every witty word. On the surface, this film is very drool and entertaining. As with most fine films, however, its beauty lays in the deeper connection it seeks with our consciousness—not judging right and wrong, but telling us why others are as they are.

Format: Color, Widescreen anamorphic, Closed captioned.
Sound: (Dolby Digital 5.1), French (2.0 Surround)
Extras: New versions of this DVD have no extras. Older versions have a second playable side and extra features including outtakes, interviews, and "Railway Sounds."

Memento 8/10

2006-06-29T09:26:00.000-07:00

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

2006-06-28T08:07:00.000-07:00

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

2006-06-27T09:28:00.000-07:00

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

2006-06-25T19:07:00.000-07:00

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

2006-06-23T14:01:00.000-07:00

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

2006-06-21T07:11:00.000-07:00

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

2006-06-20T06:42:00.000-07:00

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

2006-06-19T07:29:00.000-07:00

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

On one level this film is a Âback in timeÂ comedy about a boy and his sister coping with 1950Âs sitcom values. Looking a little deeper, this film really takes a stab at todayÂs 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 50Âs 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 50Âs attitudes and 90Âs 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 todayÂs 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

2006-06-16T13:23:00.000-07:00

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

2006-06-15T07:42:00.000-07:00

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

2006-06-14T07:00:00.000-07:00

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

2006-06-12T07:22:00.000-07:00

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

2006-06-09T11:07:00.000-07:00

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.